May Beatty Movies

Overloaded with unreleased films in 1942 and 1943, Paramount Pictures cleaned house by diverting several pictures to United Artists. One such effort was The Crystal Ball, wherein beauty contest loser Toni Gerard (Paulette Goddard) takes a job as a sideshow fortune teller. Subbing for the ailing head (Gladys George) of a fake medium racket, Toni whimsically advises attorney Brad Cavanaugh (Ray Milland) to purchase some property that is coveted by the government. Cavanaugh follows her advice, nearly ruining himself in the process. All turns out okay in the end, but there's a last-minute entanglement when several of Toni's disgruntled clients converge upon her all at once. Strictly second-rate, The Crystal Ball is salvaged by the work of such surehanded supporting players as William Bendix, Cecil Kellaway, Mary Field, Ernest Truex, Iris Adrian, Nestor Paiva and Mabel Paige (in her film debut). ~ Hal Erickson, Rovi

The 80-star cast of Forever and a Day would certainly not have been feasible had not most of the actors and production people turned over their salaries to British war relief -- a point driven home during the lengthy opening credits by an unseen narrator. The true star of the film is a stately old manor house in London, built in 1804 by a British admiral (C. Aubrey Smith) and blitzed in 1940 by one Adolf Hitler. Through the portals of this house pass a vast array of Britons, from high-born to low. The earliest scenes involve gay blade Lt. William Trimble (Ray Milland), wronged country-girl Susan (Anna Neagle), and wicked landowner Ambrose Pomfret (Claude Rains). We move on to a comic interlude involving dotty Mr. Simpson (Reginald Owen), eternally drunken butler Bellamy (Charles Laughton), and cockney plumbers Mr. Dabb (Cedric Hardwicke) and Wilkins (Buster Keaton). Maidservant Jenny (Ida Lupino) takes over the plot during the Boer War era, while the World War I sequence finds the house converted into a way-station for soldiers (including Robert Cummings) and anxious families (including Roland Young and Gladys Cooper). Finally we arrive in 1940, with American Gates Pomfret (Kent Smith) and lady-of-the-house Lesley Trimble (Ruth Warrick) surveying the bombed-out manor, and exulting over the fact that the portrait of the home's founder, Adm. Eustace Trimble (Smith), has remained intact -- symbolic proof of England's durability in its darkest hours. The huge cast includes Dame May Whitty, Edward Everett Horton, Wendy Barrie, Merle Oberon, Nigel Bruce, Richard Haydn, Donald Crisp, and a host of others -- some appearing in sizeable roles, others (like Arthur Treacher and Patric Knowles) willingly accepting one-scene bits, simply to participate in the undertaking. Seven directors and 21 writers were also swept up in the project. Forever and a Day was supposed to have been withdrawn from circulation after the war and its prints destroyed so that no one could profit from what was supposed to have been an act of industry charity. Happily for future generations, prints have survived and are now safely preserved. ~ Hal Erickson, Rovi

The fourth of 20th Century-Fox's "Michael Shayne" mysteries finds private detective Shayne (Lloyd Nolan) anxiously preparing for his long-delayed marriage to showgirl Joanne La Mar (Mary Beth Hughes). Alas, Mike's pre-nuptual tete-a-tete with Joanne is interrupted by the sound of a scream. Rushing into a well-appointed hotel room, Shayne finds Emily the maid (Virginia Brissac) trembling beside the dead bodies of a washed-up Broadway producer and a faded stage actress. Noodling around the room a bit, our hero discovers that both murder victims had participated in a popular musical comedy some 25 years earlier. A souvenir program from that production provides a lengthy list of potential suspects, sending Shayne off on another clue-hunting expedition, while Joanne fusses and fumes in her apartment. Hired by two of the suspects, Phyllis Lathrop (Mae Beatty) and Julian Davis (Henry Daniell), to locate the real murderer, Mike has a high old time confounding police inspector Pierson (William Demarest) and reconstructing the crime with the reluctant aid of janitors Rusty (Ben Carter) and Sam (Mantan Moreland). This time around, however, Mike is just as surprised as the audience when the "mystery killer" is revealed, and for a few anxious moments it looks like curtains for Mr. Shayne. A dizzying blend of comedy and melodrama, Dressed to Kill benefits from a powerhouse supporting cast and the effectively moody cinematography of Glenn MacWilliams. The film was based on The Dead Take No Bows, a "Quinny Hite" mystery written by Richard Burke. ~ Hal Erickson, Rovi

Long before 19th-century novelist Jane Austen became a hot property in Hollywood, MGM produced this opulent and entertaining adaptation of one of Austen's best-known novels. The elegant and slyly satirical comedy of manners gets under way when socially conscious Mrs. Bennet (Mary Boland), with the begrudging assistance of her husband (Edmund Gwenn), begins seeking out suitable (and suitably wealthy) husbands for her five daughters: Elizabeth (Greer Garson), Jane (Maureen O'Sullivan), Lydia (Ann Rutherford), Kitty (Heather Angel), and Mary (Marsha Hunt). One of the least likely matrimonial prospects is Mr. Darcy (Laurence Olivier), a rich, handsome, but cynical and boorish young man. Naturally, Elizabeth Bennet, the strongest-willed of the Bennet girls, is immediately fascinated by him, and she sets out to land him -- but only on her own terms, and only after she has exacted a bit of genteel revenge for his calculated indifference to her. Though Austen's novel was set in 1813, the year of its publication, the film version takes place in 1835, reportedly so as to take advantage of the more attractive costume designs of that period. Not surprisingly, a few changes had to be made to mollify the Hollywood censors (eager to find offense in the most innocent of material): the most notable is the character of Mr. Collins (Melville Cooper), transformed from the book's hypocritical clergyman to the film's standard-issue opportunist. ~ Hal Erickson, Rovi

Though the title character is loosely based on that of the notorious killer/robber Ma Barker, she has been sanitized and prettified to meet the perceived conservative values of Hollywood movie audiences. Unlike Barker, who was bad to the bone, Ma Webster is simply a matriarch who would do anything for her three crazy sons, even assisting them with thieving and kidnapping. Their exploits land the nefarious family on the FBI's "most wanted" list and cause the agency to send out their very best man to find them. ~ Sandra Brennan, Rovi

Anita's (Loretta Young) life seems to be progressing nicely. She's engaged to Don Barnes (Broderick Crawford), a wealthy man that will give her all the stability and comfort a woman could desire. But then she meets a magician with the unlikely name of The Great Arturo (David Niven), who performs a singular feat of magic -- he sweeps her off her feet. Promptly dropping Barnes, she weds Arturo and travels the globe as his assistant. After some time, however, the magic begins to wear off and Anita longs for a simpler life, perhaps on a quite farmhouse in the country. She's also a bit put out by Arturo's flirting with other women, but what really worries her are the dangerous stunts he has added to his repertoire. Realizing it is time for her to do something, she pulls a little magic of her own and disappear, forcing Artuto to set off on a lively chase to find her. ~ Craig Butler, Rovi

Cecil B. DeMille takes us back to the 1860s, then rebuilds the first intercontinental railroad in Union Pacific. The real-life spectacle is occasionally interrupted by the fictional adventures of railroad overseer Joel McCrea, postmistress Barbara Stanwyck (with an incredible Irish brogue), and McCrea's best pal Robert Preston. Unfortunately Preston has fallen in with Brian Donlevy, who is dedicated to destroying the Union Pacific railroad on behalf of a crooked political cartel. During an Indian attack, McCrea and Preston fight side by side to save Stanwyck, prompting Preston to turn honest. On the day in 1869 that the "Golden Spike" is to be driven at Promontory Point, Preston is killed saving McCrea from Donlevy's bullets. Union Pacific owes a great deal to John Ford's 1924 film on the same subject, The Iron Horse, even restaging one or two major action sequences from the earlier film. This DeMille spectacular was a big hit with audiences of 1939, who craved a booster shot of flag-waving now and again. ~ Hal Erickson, Rovi

Based on the Clare Booth Luce play of the same name, this MGM comedy is famous for its all-female cast and deft direction by George Cukor. The plot centers on a group of gossipy high-society women who spend their days at the beauty salon and haunting fashion shows. The sweet, happily wedded Mary Haines (Norma Shearer) finds her marriage in trouble when shopgirl Crystal Allen (Joan Crawford) gets her hooks into Mary's man. Naturally, this situation becomes the hot talk amongst Mary's catty friends, especially the scandalmonger Sylvia Fowler (Rosalind Russell), who has little room to talk -- she finds herself on a train to Reno and headed for divorce right after Mary. But with a bit of guts and daring, Mary snatches her man right back from Crystal's clutches. Snappy, witty dialogue, much of it courtesy of veteran screenwriter Anita Loos, helps send this film's humor over the top. So do the characterizations -- Crawford is as venomous as they come, and this was Russell's first chance to show what she could do as a comedienne. And don't discount Shearer -- her portrayal of good-girl Mary is never overpowered by these two far-flashier roles. The only part of The Women that misses is the fashion-show sequence. It was shot in color -- an innovative idea in its day -- but now both the concept and clothes are dreary and archaic. Do keep an eye on the supporting players, though, especially Mary Boland as the Countess DeLage. The role was based on a cafe society dame of that era, the Countess DiFrasso, who had a wild affair with Gary Cooper; that romance is satirized here. ~ Janiss Garza, Rovi

Based upon the book The Four Marys, by Fanny Heaslip Lea, Man-Proof involves members of the smart and sophisticated set of Manhattan, circa 1938. Mimi Swift (Myrna Loy), the daughter of a successful romance novelist, is having no luck in getting the man she loves. Although she has made her interest very clear to Alan Wythe (Walter Pidgeon), he is more concerned with marrying someone who can support him. Still, Mimi is unprepared for the shock of discovering that Alan is engaged to her wealthy friend Elizabeth Kent (Rosalind Russell) -- and even more unprepared when they want her to suffer through the ceremony firsthand, as a bridesmaid. Ever the lady, Mimi forces herself to attend the wedding and attempts to put up a good front; unfortunately, she takes a little too much advantage of the free flowing champagne, with the result that she lets Alan know that she hasn't given up on him. While Alan and Elizabeth are on their honeymoon, Mimi becomes involved with Jimmy Kilmartin (Franchot Tone), an illustrator at the New York Chronicle. After the honeymooners return, Mimi tries to accept the fact that lan is Elizabeth's, but she just can't and lets Elizabeth know that things will never be the same. For his part, Alan seems to want to have his cake and eat it, too, and indicates to Mimi that perhaps something can be worked out. As they are talking, Elizabeth enters, puts two-and-two together and tells Alan she knows he only married her for her money and suggests they get a divorce. Eventually, Elizabeth takes Alan back and Mimi suddenly realizes that there is more to Jimmy than she had previously observed -- and more than enough to make her happily forget about Alan. ~ Craig Butler, Rovi

Call It a Day is a Warner Bros. attempt at British light comedy. Nothing much happens of any consequence in this story of a day in the life of a typical middle-class London family, headed by accountant Ian Hunter. The husband is tempted by a seductress (Marcia Ralston), the wife (Freda Inescourt) tries but fails to have a "fling" herself, the daughter (Olivia De Havilland) throws herself at a married artist (Walter Woolf King), and all is set aright before the sun goes down. The film's funniest moments belong to droll Roland Young and sharp-tongued Alice Brady. Call it a Day was adapted from Dodie Smith's gossamer-thin stage play. ~ Hal Erickson, Rovi

Private Number is the old saw about the wealthy young man who marries his family's serving girl. This time Richard Winfield (Robert Taylor) is the handsome, aristocrat hero, while Ellen Neal (Loretta Young) is the gorgeous, low-born heroine. Though they oppose the match, Richard's parents cope with the situation as best they can, but arrogant family butler Wroxton (Basil Rathbone) works overtime to break up the happy couple. Wroxton, of course, is not entirely motivated by snobbery -- he has a craving for Ellen himself. Private Number is based on Cleave Kinkead's stage play Common Clay, previously filmed twice under that title. ~ Hal Erickson, Rovi

This second film version of the Edna Ferber/Jerome Kern/Oscar Hammerstein II musical Show Boat is considered by many film buffs to be the best of the three. Covering nearly four decades (was there ever an Edna Ferber novel that didn't?), the film stars Irene Dunne as Magnolia Hawks, a role she'd previously played on stage, though not in the Broadway version. The daughter of showboat impresario Captain Andy (Charles Winninger, who was in the Broadway original), Magnolia is swept off her feet by dashing gambler Gaylord Ravenal (Allan Jones). Yearning to appear on the showboat stage, Magnolia gets her chance when Captain Andy's leading lady, the tragic Julie (Helen Morgan, likewise a holdover from Broadway), is ordered not to perform by a small-town sheriff because she is Mulatto. Julie's husband Steve (Donald Cook) loyally walks out with his wife, thereby leaving the leading-man position open--but not for long, since Gaylord Ravenal agrees to take over for Steve, the better to stay close to Magnolia. Despite the disapproval of Magnolia's mother Parthy Hawks (Helen Westley), Magnolia and Ravenal are married. Later on, the couple has a baby girl named Kim. At first, the young family is blissfully happy, but as Ravenal's gambling debts begin to mount, things turn sour. Unable to support Magnolia and Kim, Ravenal walks out on them both. Desperately, Magnolia tries to get a job as a singer in Chicago. She auditions at a night spot where, fortuitously, Julie is the featured attraction. Hoping to give Magnolia a break, Julie gets drunk, forcing the manager to hire Magnolia as a replacement. During her New Years' Eve debut, Magnolia "chokes up" in front of the raucous audience--and then, who should emerge from the crowd but lovable Captain Andy, who gives Magnolia the encouragement she needs. Magnolia goes on to become a famous musical comedy star, as does her grown-up daughter Kim (played as an adult by Sunnie O'Dea). On the eve of Magnolia's retirement from the theater, she is reunited with her now-contrite husband Gaylord Ravenal. While the second half of Show Boat departs radically from both the novel (in which Ravenal never returns ) and the Broadway show, the film manages to capture the spirit of its literary and theatrical ancestors. Of the original score, "Cotton Blossom," "Ol' Man River," "Where's the Mate for Me?" "Make Believe," "Can't Help Lovin' Dat Man," You are Love" and "Bill" are retained, while most of the other songs are heard as background accompaniment. Jerome Kern and Oscar Hammerstein II penned three new tunes for the film version: "Ah Still Suits Me," "Gallavantin' Around" and "I Have the Room Above." As in all stage and screen versions of Show Boat, the Charles K. Harris standard "After the Ball" is heard in the New Year sequence. In addition to the aforementioned Dunne, Jones, Winninger, Westley, Morgan, and O'Dea, the Show Boat cast includes the magnificent Paul Robeson as Joe (his rendition of "Ol' Man River" can still induce goosebumps), Hattie McDaniel as Queenie and Sammy White and Queenie Smith as the engagingly second-rate vaudeville team of Frank and Ellie Schultz. Though James Whale of Frankenstein fame seems an odd choice for director, he brings a vibrant theatricality to the proceedings that is lacking in other versions. Show Boat literally saved the financially strapped Universal Pictures from receivership--but not soon enough to prevent the ousters of Carl Laemmle Sr. and Jr. in favor of a new administration. ~ Hal Erickson, Rovi

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, Rovi