James Millican Movies

Three disparate young men struggle to become Army Air Corps pilots in this rousing drama that earned an Oscar for its excellent aerial special effects. The film is also noted for making Veronica Lake, who previously appeared in films under the name Constance Keane, a star. For added realism, the three male leads, William Holden, Ray Milland and Wayne Morris were placed into the same training program at Randolph Field, Texas (and also Kelly Field, Texas) as real recruits. Lake plays a seductress who pursues Holden while Constance Moore plays a female photographer who comes to shoot a story and ends up falling for Milland. By the time the pilots' rigorous training has finished only one will have proved himself fit to fly. ~ Sandra Brennan, All Movie Guide

Back at Hal Roach Studios for the first time since 1938's Block-Heads, Stan Laurel and Oliver Hardy star in the uneven but generally rewarding A Chump at Oxford. The boys are cast as street-sweepers who hope to better their lot in life by attending night school. Fate intervenes when Stan and Ollie are instrumental in the capture of a bank robber, whereupon they are rewarded by the bank's grateful president (Forbes Murray) with an all-expenses-paid education at England's Oxford University. Arriving on the venerable old campus dressed in Eton jackets, our heroes are pounced upon by a group of prankish students and subjected to all manner of practical jokes. After spending most of the night trying to escape from a maze, Stan and Ollie are installed in their "new quarters"-which turns out to be the bedroom of the Dean (Wilfred Lucas). This sort of collegiate nonsense comes to an end when it is discovered that simple-minded Stan is actually Lord Paddington, the brainiest student and finest athlete that ever attended Oxford. According to Meredith the valet (Forrester Harvey), His Lordship wandered away from the university upon being rendered an amnesiac by a blow on the head. An accidental tap on the noggin restores Stan to his aristocratic Lord Paddington status, whereupon he beats up a crowd of bullying students and deposits them one by one in a nearby ditch. Though Ollie is aghast to learn that Stan-er, His Lordship-has no recollection of their previous friendship, he decides to stay on at Oxford as Paddington's manservant. After having been humiliated once too often by his vain and condescending employer, Ollie angrily packs his bags and prepares to head for home, when yet another bop on His Lordship's skull causes him to revert to lovable, bumbling old Stan again. Originally intended as a four-reeler (running approximately 45 minutes), A Chump at Oxford was completed in the spring of 1939, whereupon Laurel and Hardy were loaned out to producer Boris Morros to star in The Flying Deuces. When shooting was finished on the latter film, the team was summoned back to Roach to film a 2-reel "prologue" for Oxford, bringing the film's running time up to 63 minutes. The new footage consisted of a reworking of the boys' 1928 comedy From Soup to Nuts, with temporary servants Stan and Ollie unintentionally wrecking a dinner party held by Mr. and Mrs. Vandevere (played by veteran L&H supporting players James Finlayson and Anita Garvin). The patchwork stucture of A Chump at Oxford works against its overall effectiveness, but the scenes in which Stan Laurel undergoes a complete change of character as the genius-level Lord Paddington more than make up for the film's earlier shortcomings. One of the students (the tall, mustachioed one) is played by Peter Cushing, in his second Hollywood film appearance. ~ Hal Erickson, All Movie Guide

This family drama features the same cast and crew from the highly successful Four Daughters, but it isn't actually a sequel. Whereas the first film was a chronicle of the Lemp family, this one centers on the Masters family. This film is also characterized by a much happier ending than its predecessor. The story begins as a wandering husband finally returns home after a 20 year absence. He is alarmed to discover that his wife is planning to marry a nice stodgy fellow who yearns only to stay in the town of Carmel, California, the story's setting. Though the errant husband is still suave and charming, his two angry daughters reject and do all they can to get him to leave their hometown. But he is not so easily swayed and despite their protests, stays until he charms them into submission. The peace doesn't last long when he sees that one of his four girls is about to marry a younger version of himself. His wife is terribly upset not only by this development, but also by the fact that she must choose between her dull-but devoted fiance and her exciting, irresponsible husband (of whom she was legally freed after he was declared dead). ~ Sandra Brennan, All Movie Guide

Virtually a textbook example of Howard Hawks' "macho" mode, Only Angels Have Wings takes place high in the Peruvian Andes. Cary Grant heads a ramshackle airmail and freight service, forced to fly in the most perilous of weather conditions to the most treacherous of destinations. Facing death on a near-hourly basis, Grant and his flyers have adopted a casual, all-in-day's-work attitude towards mortality. If a pilot cracks up and dies, it's simply because he didn't have what it took, and that's that. Stranded showgirl Jean Arthur can't stand this cavalier attitude at first, but before long she becomes, in true Hawksian fashion, "one of the guys". Complicating the story is the presence of Richard Barthelmess, who has been persona non grata with the other pilots ever since his carelessness cost the life of one of their number. In addition to a surfeit of guilt, Barthelmess is saddled with a faithless wife, played by Rita Hayworth in her first important A-picture role. Hayworth makes a play for Grant, but he spurns her, finally realizing that, in spite of himself, he's in love with Arthur. Grant himself is riddled with guilt when near-blind pilot Thomas Mitchell insists upon taking on one final flight. Having lost his best friend, Grant drops his hard-bitten shell, and for the first time opens himself up emotionally to Arthur-which of course leads to a nail-biting climax wherein Arthur suffers mightily as Grant faces certain death. Scripted by Jules Furthman from a story by Hawks, Only Angels Have Wings is a treasure trove of terse, pithy dialogue: our favorite scene occurs when, upon discovering that he's about to die, Thomas Mitchell says he's often wondered how he'd react to imminent death-and, now that death is but a few moments away, he'd rather that no one else be around to witness his reaction. Though sometimes laid low by obvious miniatures, the aerial scenes in Only Angels Have Wings are by and large first-rate, earning a first-ever "best special effects" Oscar nomination for Roy Davidson and Edwin C. Hahn. ~ Hal Erickson, All Movie Guide

I Am the Law is arguably the best of the late-1930s films inspired by the racket-busting career of New York district attorney Thomas E. Dewey. Edward G. Robinson switches to the right side of the law as the Dewey counterpart, here named John Lindsay (!) A feisty, no-nonsense law professor, Lindsay is approached by a group of concerned citizens to act as special prosecutor to rid up their (unnamed) state of big-time lawbreakers. He wastes no time taking charge, storming into the prosecutor's office and firing anyone whom he suspects of being "on the take." With the help of his dedicated law students, who work alongside him for free, Lindsay purges the local government of such corrupt influences as Eugene Ferguson (Otto Kruger), the outwardly respectable "brains" behind the rackets. Among the minor pleasures in I Am the Law is watching Robinson dancing the Big Apple with gun moll Wendy Barrie in an early scene, and his firing of suspicious-looking Charles Halton with a brusque "Don't like your face! Never have! You've got shifty eyes and a weak chin!" (which, indeed, were Halton's screen trademarks). Barbara O'Neil, who the following year played Scarlet O'Hara's mother in Gone with the Wind, is quietly effective as Robinson's supportive wife. ~ Hal Erickson, All Movie Guide

When a car crash ends the life of a fabulously wealthy patron of the arts, the decedent's $20,000,000 fortune is inherited by one Longfellow Deeds (Gary Cooper) of Mandrake Falls, Vermont. Already a reasonably successful local businessman, Deeds doesn't really feel the need for anything extra in his life: he just wants enough time to practice his tuba and compose greeting-card doggerel. When Deeds is convinced to move to New York, hard-boiled newspaper reporter Babe Bennett (Jean Arthur) is dispatched to get the inside scoop on "The Cinderella Man." Babe's stories of Deeds' eccentricities and no-nonsense dealings with phonies and poseurs provide excellent headline fodder; but she begins to regret her actions, having fallen in love with the big lug. Deeds ultimately sets up a foundation to dispense his fortune to the country's neediest souls, on the proviso that the recipients do their best to get back on their feet, a turn of events that leads his lawyer John Cedar (Douglas Dumbrille) to try to have him declared insane. By the end of the sanity hearing, the judge (H. B. Walker) declares: "Not only are you sane, but you're the sanest man who ever walked in this courtroom!" A joyously unadulterated hunk of Frank Capra-corn, Mr. Deeds Goes to Town was adapted by Robert Riskin from Clarence Buddington Kelland's short story "Opera Hat." In addition to the pleasure of watching the country bumpkin outwit city slickers, the movie is a film buff's dream, boasting one of the best character-actor casts ever assembled for a single film. Nominated for four Academy Awards, the film won Frank Capra his second Oscar (out of three) as Best Director. ~ Hal Erickson, All Movie Guide