May McAvoy Movies

The Wings of Eagles is filmmaker John Ford's paean to his frequent collaborator--and, it is rumored, drinking buddy--Cmdr. Frank "Spig" Wead. John Wayne stars as Wead, a reckless WW1 Naval aviator who (it says here) was instrumental in advancing the cause of American "air power". In private life, Wead becomes estranged from his wife Minnie (Maureen O'Hara) after the death of their baby. Drinking heavily, Wead tumbles down the stairs of his home, and as a result he is apparently paralyzed for life. With the help of happy-go-lucky Navy mechanic Carson (Dan Dailey), Wead is able to regain minimal use of his legs, but it seems clear that his Naval career is over. Fortunately, he manages to find work as a prolific Hollywood screenwriter, and after the attack of Pearl Harbor he is called back to active duty to oversee the construction of "jeep carriers". Not one of John Ford's more coherent films--in fact, it's downright sloppy at times--The Wings of Eagles nonetheless contains several highlights, not least of which are the "I'm gonna move that toe" scene with John Wayne and Dan Dailey, and Ward Bond's inside-joke performance as irreverent film director "John Dodge". ~ Hal Erickson, All Movie Guide

Blonde good-time girl Vivian Heldon (Jan Sterling), who lives in a cheap rooming house in a working-class section of Boston, run by the inquisitive and neurotic Mrs. Smerrling (Elsa Lanchester), goes out one night after a phone conversation with her boyfriend, proclaiming that she's got big plans and might even move to a nicer place. After putting in her shift as a waitress at a cheap dive called The Grass Skirt, she latches onto Henry Shanway (Marshall Thompson), an innocently drunk patron, who's trying to wash away his sadness over his wife's stillborn child. She uses Henry's car with him in tow to drive out to Cape Cod, then strands him on foot and meets her boyfriend -- but when she arrives, he puts a bullet into her, then strips the body, throws it into the sea, and drops the clothes and the car into a lake. Six months later, an ornithologist from the cape spots the skeleton of a human foot sticking up through the sand.

Enter Lt. Peter Morales (Ricardo Montalban) of the Boston PD; he and his partner on this case, Det. Sharkey (Wally Maher), bring the bones to Dr. McAdoo (Bruce Bennett), of Harvard University's forensic medical laboratory. Over the next few days, McAdoo and his staff are able to determine the gender, age, and general appearance of the person to whom the bones belonged, and that this is a case of murder -- and that the victim was pregnant. Morales and Sharkey, combing through what they know about the victim and the missing persons records of six nearby states, eventually tie the skeleton up with Vivian Heldon, who disappeared on just about the same day the victim was killed, and also to Shanway's car, which he reported stolen that day. The poor slob, who is merely trying to cover up a drunken lapse from his wife (Sally Forrest), acts guilty enough and lies about just enough so that Morales is certain that he's the murderer. His investigation isn't helped by the interference of Mrs. Smerrling, who sold Vivian's belongings when she didn't return to her room, and now seems fixated, even obsessed with the details of the case and its connection to her rooming house. While the police tighten the screws on Shanway, she backtracks Vivian's phone calls and makes contact with the woman's boyfriend, James Joshua Harkley (Edmon Ryan), member of a wealthy Boston family, and a married man; she also manages to steal a vital piece of evidence. But instead of turning it over to the police, she uses it to blackmail Harkley.

Meanwhile, the district attorney sets an early trial date for Shanway, but with the opening arguments only a week away, Morales begins to develop doubts about Shanway's guilt, in addition to harboring his own sympathy for Grace Shanway, whose life is being gradually destroyed by the prosecution on her husband -- not that Morales thinks he's innocent, but there's enough that's not right about the case, including the missing murder weapon, that he's not 100-percent sure. And that's when Vivian's friend and neighbor, Jackie Elcott (Betsy Blair) reports how strangely Mrs. Smerrling is acting, and the fact that she's got a gun. But before they can question her, Harkley kills Mrs. Smerrling -- now it's a race between Morales and Harkley to see who can get to the murder weapon first. ~ Bruce Eder, All Movie Guide

Broke and stranded once more, golden-hearted showgirl Maisie Revere (Ann Sothern) finds herself in upstate New York in general proximity with a prizefighting camp. She meets and ultimately falls in love with up-and-coming boxer Terry Dolan (played by Ann Sothern's future husband Robert Sterling). Upon realizing that her heart belongs to Terry's manager Skeets Maguire (George Murphy), our heroine finds herself on the horns of an emotional dilemma-especially after Dolan is blinded in a fight, possibly permanently. The film's best moments belong to "Slapsie" Maxie Rosenbloom, typecast in his usual role of a pugilist who's suffered one too many blows to the cranium. Also worth the price of admission is Maisie's opening dance-hall scene, highlighted by the terpischorean skills of the star. ~ Hal Erickson, All Movie Guide

Two Girls on Broadway is an updated reworking of MGM's Oscar-winning 1929 musical Broadway Melody. Joan Blondell and Lana Turner play a vaudeville "sister" act, slightly more talented than the similar duo in Broadway Melody. The twosome have sworn never to break up, but that was before hoofer George Murphy entered the scene. Blondell realizes that it's Turner whom Murphy loves, so she nobly steps aside to make room for her baby sister. Two Girls on Broadway was another step in the right direction for the blossoming career of Lana Turner, here permitted to show off her terpsichorean skills. ~ Hal Erickson, All Movie Guide

This box-office smash comedy of manners featured the popular Myrna Loy as Margot Sherwood Merrick, the stodgy editor of a glamorous women's fashion magazine. To protect herself from suitors and jealous wives of businessmen, she wears a gold band on the third finger of her left hand and pretends that she is married. But the wolfish artist Jeff Thompson (Melvyn Douglas) is undeterred. After his efforts to romance Margot fail repeatedly, her icy exterior finally melts and the two become involved. She then has to explain the ring to all her cronies. Jeff's idea is to pretend to be her long-lost husband, but this plan backfires and leads to some comic complications. ~ Michael Betzold, All Movie Guide

Although his popularity eroded with each successive talkie appearance, silent-film favorite Monte Blue fulfilled his Warner Bros. contract to the letter in such trifling vehicles as No Defense. In this one, Blue is cast as Monte Collins, foreman of a bridge construction crew. Monte's romance with wealthy engineer's daughter Ruth Harper (May McAvoy, in her final starring appearance) is endangered when the bridge collapses and Monte is held responsible. The actual culprit was Ruth's no-good brother John (William Desmond), who clears our hero's name in the final reel. A "part-talkie," No Defense's 60 minutes were evenly divided between silent scenes and dialogue passages. ~ Hal Erickson, All Movie Guide

The Lion and the Mouse was adapted from the well-worn stage play by Charles Klein. Lionel Barrymore stars as "Ready Money" Ryder, a ruthless businessman who destroys Judge Rossmore (Alec B. Francis), the father of heroine Shirley (May McAvoy). Soon thereafter, Ryder's weak-willed son Jefferson (William Collier Jr.) marries Shirley. Now that she's in a position of authority, the "mousy" Shirley gets even with "lion" Ryder by beating him at his own intimidation game. Originally released silent, Lion and the Mouse was reissued a few weeks later with talkie sequences. It is said that silent star May McAvoy's movie career was ruined because she had a pronounced lisp, but her voice registered quite well in the sound sequences; acting-wise, however, she was rather outclassed by those old barnstormers Barrymore and Francis. ~ Hal Erickson, All Movie Guide

The winning combination of star May McAvoy and director Byron Haskin was reteamed in Warner Bros.' Irish Hearts. McAvoy stars as Sheila, an Irish immigrant who lands a job as a short-order cook in New York. Scrimping and saving, Sheila gives all her money to fellow immigrant Emmett (Warner Richmond), on the assumption that he plans to marry her. But when the ungrateful Emmett throws her over for another colleen, Sheila finds solace in the arms of handsome Rory (Jason Robards Sr.). But Emmett isn't let off the hook for his duplicity: in the final scene, a fiery Sheila pelts her ex-sweetie's wedding party with rotten vegetables! ~ Hal Erickson, All Movie Guide

May McAvoy stars as Sallie Smith, a nightclub cigarette girl who falls in love with Bob Ward (Malcolm McGregor), who's working his way through college as a paid escort. Alas, Sally's head is turned by wealthy cad Tom Mannion (Richard Tucker), who lures the girl to a wild weekend party at his Long Island estate. Once he gets her alone on his yacht, Mannion does his best (or worst) to seduce Sally. A convenient storm capsizes the yacht, whereupon Sally is rescued by her ever-loving Bob. Matinee Ladies was among the first directorial efforts of cinematographer Byron Haskin. ~ Hal Erickson, All Movie Guide

On the verge of receivership in 1926, Warner Bros. studio decides to risk its future by investing in the Vitaphone sound system. Warners' first Vitaphone release, Don Juan, was a silent film accompanied by music and sound effects. The studio took the Vitaphone process one step farther in its 1927 adaptation of the Samson Raphaelson Broadway hit The Jazz Singer, incorporating vocal musical numbers in what was essentially a non-talking film. Al Jolson stars as Jakie Rabinowitz, the son of Jewish cantor Warner Oland. Turning his back on family tradition, Jakie transforms himself into cabaret-entertainer Jack Robin. When Jack comes home to visit his parents, he is warmly greeted by his mother (Eugenie Besserer), but is cold-shouldered by his father, who feels that Jack is a traitor to his heritage by singing jazz music. Several subsequent opportunities for a reconciliation are muffed by the stubborn Jack and his equally stubborn father. On the eve of his biggest show-business triumph, Jack receives word that his father is dying. Out of respect, Jack foregoes his opening night to attend Atonement services at the temple and sing the Kol Nidre in his father's place. Through a superimposed image, we are assured that the spirit of Jack's father has at long last forgiven his son. Only twenty minutes or so of Jazz Singer is in any way a "talkie;" all of the Vitaphone sequences are built around Jolson's musical numbers. What thrilled the opening night crowds attending Jazz Singer were not so much the songs themselves but Jolson's adlibbed comments, notably in the scene where he sings "Blue Skies" to his mother. Previous short-subject experiments with sound had failed because the on-screen talent had come off stilted and unnatural; but when Jolson began chattering away in a naturalistic, conversational fashion, the delighted audiences suddenly realized that talking pictures did indeed have the capacity to entertain. Despite its many shortcomings (the storyline goes beyond mawkish, while Jolson's acting in the silent scenes is downright amateurish), The Jazz Singer was a box-office success the like of which no one had previously witnessed. The film did turn-away business for months, propelling Warner Bros. from a shoestring operation into Hollywood's leading film factory. Proof that The Jazz Singer is best viewed within its historical context is provided by the 1953 and 1980 remakes, both interminable wallows in sentimental goo. Worse still, neither one of those films had Al Jolson--who, in spite of his inadequacies as an actor, was inarguably the greatest musical entertainer of his era. ~ Hal Erickson, All Movie Guide

First filmed in 1915, the time-honored Albert Chevalier stage success My Old Dutch was remade (this time sans Chevalier) in 1926. May McAvoy stars as Sallie Brown, young costermonger (street peddler) who sells her fish and vegetables in the streets of London. With the help of her hard-working husband Joe (Pat O'Malley) she endeavors to pay for a fancy education for her son David (Cullen Landis). The boy grows up ashamed of his low-born parents but at the last moment realizes how much they've done for him and rescues the couple from the poor farm. My Old Dutch was filmed a third time as a Betty Balfour vehicle in 1934. ~ Hal Erickson, All Movie Guide