Charles McNaughton Movies

In this film noir drama, Bill Saunders (Burt Lancaster) is a former Prisoner of War living in England whose experiences have left him emotionally unstable and prone to violence. One night, while drinking in a pub, he gets into an argument with the owner which quickly escalates into a brutal fist fight; Bill kills the publican and flees with the police giving chase. Bill is given shelter by Jane Wharton (Joan Fontaine), a kind-hearted nurse who believes Bill when he tells her that the killing was an accident and that he's innocent of any wrongdoing. Bill soon gets in a fight with a policeman and ends up in jail, but Jane, who has fallen in love with Bill, still has faith in him, and upon his release she finds him a job driving a truck delivering drugs for the clinic where she works. Career criminal Harry Carter (Robert Newton), who witnessed Bill's murder of the pub owner, now sees a perfect opportunity for blackmail, and he forces Bill to tip him off for his next major drug shipment, which can then be routed to the black market at a high profit. Bill has little choice but to agree, but when Jane ends up tagging along when Bill is to make the delivery in question, he refuses to jeopardize her and makes the delivery to the clinic without incident. This quickly earns Harry's wrath, and they soon find themselves at the mercy of a very dangerous man. Miklos Rozsa composed the film's highly effective score. ~ Mark Deming, All Movie Guide

Based on a play by Leslie Storm, Tonight and Every Night is a musical wartime morale booster in which star Rita Hayworth is but one of a lively ensemble. Set in battle-scarred Britain, the action takes place in a seedy old music hall, which never misses a performance even at the height of the "blitz". Five times a day like clockwork, American-born entertainer Rosalind Bruce (Rita Hayworth) and her British cohorts put on a show for their ever-appreciative audiences. Along the way, a romance develops between Rosalind and RAF pilot Paul Lundy (Lee Bowman). Providing excellent support are Janet Blair as the troupe's plucky ingenue and Broadway alumnus Marc Platt as the entourage's resident eccentric dancer. The individual numbers are inventively staged, with one scene creatively harnessing the Technicolor process in an eye-popping manner seldom seen in 1940s films. All that Tonight and Every Night lacks is a memorable score, though Rita's solo number "Anywhere" enjoyed brief hit-parade popularity. Incidentally, one of the chorus girls is a slim-and-trim Shelley Winters! ~ Hal Erickson, All Movie Guide

Ingrid Bergman won her first of three Oscars for this suspense thriller, crafted with surprising tautness by normally genteel "women's picture" director George Cukor. Bergman stars as Paula Alquist, a late 19th century English singer studying music in Italy. However, Paula abandons her studies because she's fallen in love with dapper, handsome Gregory Anton (Charles Boyer). The couple marries and returns to the U.K. and a home inherited by Paula from her aunt, herself a famous singer, who was mysteriously murdered in the house ten years before. Once they have moved in, Gregory, who is in reality a jewel thief and the murderer of Paula's aunt, launches a campaign of terror designed to drive his new bride insane. Though Paula is certain that she sees the house's gaslights dim every evening and that there are strange noises coming from the attic, Gregory convinces Paula that she's imagining things. Gregory's efforts to make Paula unstable are aided by an impertinent maid, Nancy (teenager Angela Lansbury in her feature film debut). Meanwhile, a Scotland Yard inspector, Brian Cameron (Joseph Cotten), becomes suspicious of Gregory and sympathetic to Paula's plight. ~ Karl Williams, All Movie Guide

Given the omnipresence of the Motion Picture Production Code in 1940, the second film version of Robert E. Sherwood's Waterloo Bridge would have to be laundered and softened to pass muster. In the original, made in 1931, the heroine is nothing more or less than a streetwalker, patrolling London's Waterloo Bridge during World War I in hopes of picking up the occasional soldier. She falls in love with one of her clients, a young officer from an aristocratic family. Gently informed by the young man's mother that any marriage would be absolutely impossible, the streetwalker tearfully agrees, letting her beau down gently before ending her own life by walking directly into the path of an enemy bomb. In the remake, told in flashback as a means of "distancing" the audience from what few unsavory story elements were left, the heroine, Vivien Leigh, starts out as a virginal ballerina. Robert Taylor, a British officer from a wealthy family, falls in love with Vivien and brings her home to his folks. This time around, Taylor's uncle (C. Aubrey Smith), impressed by Vivien's sincerity, reluctantly agrees to the upcoming marriage. When Taylor marches off to war, Vivien abandons an important dance recital to bid her fiance goodbye, losing her job as a result. Later, she is led to believe that Taylor has been killed in battle. Thus impoverished and aggrieved, she is given a motivation for turning to prostitution, a plot element deemed unecessary in the original-which indeed it was. Now the stage is set for her final sacrifice, though the suicidal elements are carefully weeded out. Waterloo Bridge was remade for a second time in 1956 as Gaby, with Leslie Caron and John Kerr. ~ Hal Erickson, All Movie Guide

Paramount's "Bulldog Drummond" series got off to a start with 1937's Bulldog Drummond Escapes. Up-and-coming Ray Milland stars as soldier-of-fortune Hugh "Bulldog" Drummond, who on this occasion comes to the aid of pretty heiress Phyllis Clavering (Heather Angel). The heroine is being held against her will by scheming "family friend" Merridew (Porter Hall), who hopes to get his mitts on her inheritance. With the help of his silly friend Algy (Reginald Denny) and Scotland Yard inspector Nielsen (Sir Guy Standing), Drummond manages to rescue Phyllis several times -- and, reciprocally, is rescued by her on one occasion. ~ Hal Erickson, All Movie Guide

Lloyds of London traces the rise to prominence of the venerable British insurance company, as seen through the eyes of fictional 19th-century Londoner Jonathan Blake (Tyrone Power, in his first starring role). A lifelong friend of naval hero Lord Nelson, Blake puts his job (and the future existence of Lloyds) on the line when he announces Nelson's victory at Trafalgar -- before it takes place. For those not interested in policies and premiums, the script serves up a romance between Blake and the lovely Lady Elizabeth (Madeleine Carroll), the unhappily married spouse of snotty aristocrat Lord Everett Stacy (George Sanders). Among the few real-life historical personages depicted in the film is Lloyds founder John Julius Angerstein, played by Sir Guy Standing. A box-office bonanza, Lloyds of London proved that 23-year-old Tyrone Power could carry a picture -- and that the recently-formed 20th Century-Fox was truly a major Hollywood studio. ~ Hal Erickson, All Movie Guide

Three former POWs return home and find that they have been listed among the dead. This comedy follows their attempts to prove themselves among the living. ~ Sandra Brennan, All Movie Guide

This fifth film version of Robert Louis Stevenson's Treasure Island boasts an all-star MGM cast, headed by Wallace Beery as Long John Silver and Jackie Cooper as Jim Hawkins. The screenplay, by John Lee Mahin, John Howard Lawson and Leonard Praskins, remains faithful to the Stevenson original...up to a point. The story begins when drunken old sea dog Billy Bones (Lionel Barrymore) drags himself into the seaside pub managed by Jim and his mother (Dorothy Peterson). After Billy is killed by the scurrilous Blind Pew (William V. Mong) and his henchmen, Jim discovers that the deceased ex-pirate carries a treasure map on his person. Together with Dr. Livesey (Otto Kruger) and Squire Trelawny (Nigel Bruce), Jim books passage on a ship captained by Alexander Smollett (Lewis Stone); their destination is the "treasure island" depicted on the map. Smollett doesn't like the voyage nor the crew, and not without reason: ship's cook Long John Silver has rounded up the crew from the dregs of the earth, fully intending to mutiny and claim the treasure for himself. A further plot complications awaits both treasure-seekers and pirates in the person of half-mad island hermit Ben Gunn (Chic Sale) who's already found the treasure and has stashed it away for himself. Towards the end, the plot strays from the Stevenson version in detailing the ultimate fate of ruthless-but-lovable Long John Silver. While consummately produced, Treasure Island suffers from overlength and a mannered performance by Jackie Cooper. Disney's 1950 remake with Robert Newton and Bobby Driscoll is far more satisfying. ~ Hal Erickson, All Movie Guide

This star-laden version of Lewis Carroll's novel combines elements of both the title novel and Carroll's sequel, Through the Looking Glass. In England of the 19th century, young Alice finds that the mirror over the library fireplace opens into a strange world. She has odd adventures and changes size several times both before and after she follows a time-obsessed White Rabbit (Skeets Gallagher). Soaked after nearly drowning in a pool of tears, Alice is helped to dry off by a Dodo (Polly Moran), and encounters a caterpillar (Ned Sparks), whose mushroom also changes Alice's size. In a noisy home where the Cook (Lillian Harmer) and the Duchess (Alison Skipworth) are always fighting, Alice takes care of the Duchess' baby, but it turns into a pig and runs away. Asking directions of the Cheshire Cat (Richard Arlen) is no help, and a tea party with the Mad Hatter (Edward Everett Horton), the March Hare (Charlie Ruggles) and the Dormouse (Jackie Searl) is confusing and annoying.

Alice meets the Queen of Hearts (May Robson), and encounters the Duchess again; while strolling with her, Alice meets the Gryphon (William Austin) and the Mock Turtle (Cary Grant). The twins Tweedledum (Jack Oakie) and Tweedledee (Roscoe Karns) recite a poem about a Walrus and a Carpenter (seen as an animated cartoon), but when they decide to go to battle, they're chased off by a crow. Humpty Dumpty (W.C. Fields) relates the poem "Jabberwocky" to Alice, then falls off a wall and breaks. The mournful White Knight (Gary Cooper), unable to put Humpty Dumpty together again, escorts Alice for a while, but she tumbles down a hill and finds she's become a queen. At a party in Alice's honor, the Red Queen (Edna Mae Oliver) becomes furious at Alice, who then wakes up to find herself in the library, with her kitten Dinah in her lap. ~ Bill Warren, All Movie Guide

Everybody in The Midnight Club is seeing double, and it's all the handiwork of slick London criminal mastermind Colin Grant (Clive Brook). Anyone who wants to commit a crime and get away with it had better get in touch with Grant, who obligingly provides exact doubles of the criminals so as to establish an alibi. At present, Grant and his minions are planning a big-time society jewel heist. Admittedly baffled by Grant's near-perfect racket, Scotland Yard commissioner Hope (Sir Guy Standing) calls in American sleuth Nick Mason (George Raft) to help out. Nick wastes no time going to work, not only insinuating himself into the "Midnight Club" gang but also wooing away Grant's sweetheart Iris Whitney (Helen Vinson). ~ Hal Erickson, All Movie Guide

In this comedy, a lady-bootlegger does her 90 days in jail, gets released and becomes the secretary for a prominent millionaire. The magnate falls madly in love with his new secretary and they marry. Unfortunately, she has not revealed her shady past to him, and when friends from her smuggling days suddenly show up as employees, mayhem ensues. The marriage almost ends when she gets illicitly tipsy one night. Fortunately, it all works out in the end and they live happily henceforth. ~ Sandra Brennan, All Movie Guide

Ellen Neal (Constance Bennett) is a "nice" girl -- just turned 18 -- who's been picked up in a raid on a speakeasy where she just started working. She pleads guilty to vagrancy, but gets a lecture and warning from the judge to steer clear of places like that, and to try and find honest work. She tries to do precisely that and is hired a year later as a maid in the household of the Fullertons, a wealthy family with roots going back to the English aristocracy. She's very aware of the opportunity she's been given, and tries to lead an honorable life, despite the lecherous inclinations of the household's major domo (Charles McNaughton) and the less obnoxious but equally fervent impulses of their college-age son, Hugh (Lew Ayres), and his friends. Ellen soon finds, however, that for all of their pretensions to greatness, the Fullertons and their friends enjoy exactly the same leisure activities -- including drinking illegal liquor (this is in the middle of the Prohibition era), bought from the same gangsters, dancing the same dances, and singing the same songs that the customers did in the speakeasy where she worked; and that at least one of the close family friends, Bud Coakley (Matty Kemp), was a customer at that same place and remembers her. He tells Hugh what he thinks he knows about Ellen's "past" and soon Hugh is putting moves on her, which she resists anew. When he realizes the kind of woman she really is, Hugh ultimately comes to genuinely love her, and those attentions she is willing to accept and return in kind. He returns to college in September -- before Ellen discovers that she is pregnant -- and when she writes to tell him, he doesn't answer.

Ellen leaves her job and returns to live with her mother (Beryl Mercer), and she has the baby, a boy. Hugh never does reply to her letters, and she is forced to hire an attorney, Yates (Tully Marshall). The Fullerton family, led by the blustery patriarch Richard (Purnell Pratt), wants this case settled quietly, out of court, and so instructs his lawyer, Judge Filson (Hale Hamilton). Filson expects to encounter a cheap gold digger, but when he meets Ellen, he's pleasantly surprised and comes to believe her story about the baby's paternity. Meanwhile, it turns out that Hugh would like to do the right thing by Ellen, but his best impulses have been diverted by his father's advice (always focused on preserving the family's reputation) and Bud, who still thinks of Ellen as the girl from the speakeasy. Complicating matters even further is that Ellen doesn't even want money and never did -- all she wanted is the acknowledgement from Hugh about who she was to him and who the baby's father is. When she's confronted by her "past," it looks as though she may never get a chance to press her case, until her attorney uncovers a fact that gets Bud and Hugh hauled into court. It still looks like the Fullertons will get their way, with a trumped-up session prejudiced in favor of them, when suddenly some truths come out that turn the reputations of all concerned completely on their heads. ~ Bruce Eder, All Movie Guide