Harold Minjir Movies

Like the same-named 1934 and 1935 films, RKO Radio's 1945 musical George White's Scandals uses the eponymous Broadway revue as a framework for a fabricated plotline. The main story concerns the romance between stage comedienne Joan Mason (Joan Davis) and back-bay Bostonite Jack Williams (Jack Haley), which is staunchly opposed by Jack's spinsterish sister Clarabelle (Margaret Hamilton, who of course had previously costarred with Haley in The Wizard of Oz) A secondary romance involves the hot-and-cold relationship between British socialite Jill Martin (Martha Holliday) and Tony McGrath (Philip Terry), the assistant to Broadway impresario George White (played not by the real White but by Glenn Tryon). Musical specialties are provided by Gene Krupa and his band, organ virtuoso Ethel Smith and pianist Rose Murphy. The film's highlight is "Who Killed Vaudeville?", a tour-de-force for Joan Davis and Jack Haley which was later excerpted in the RKO musical pastiche Make Mine Laughs (prompting a lawsuit from Haley!) ~ Hal Erickson, All Movie Guide

Lucky Jordan (Alan Ladd) is a tough but good-natured New York racketeer who tries to finagle his way out of Army service. Despite his efforts, Jordan is drafted, but soon goes AWOL, with a lovely USO worker (Helen Walker) dogging his heels. She tries to arouse Jordan's patriotism, but he is unmoved until a gang of enemy spies beat up an old lady con artist (Mabel Paige) whom Lucky regards as a surrogate mother. Using his underhanded "street smarts," Jordan rounds up the spies and agrees to complete his military servitude. Lucky Jordan was one of several wartime films in which otherwise larcenous individuals are redeemed by channelling their talents for the good of Uncle Sam. ~ Hal Erickson, All Movie Guide

Strange Skirts is the TV title of the 1941 MGM film When Ladies Meet. The film was a remake of a 1933 production of the same name, which starred Ann Harding, Myrna Loy and Spring Byington; their roles were taken over in the remake by Greer Garson, Joan Crawford and Spring Byington. Both films are based on a Rachel Crothers play about a lady novelist who falls in love with a married publisher. The novelist (Crawford) meets the publisher's wife (Garson) at the home of a chatterbox society matron (Byington). The fact that the 1941 version was forced to undergo the censor's scissors to a greater extent than the 1933 film was compensated by the later version's lusher production values, which earned an Academy Award nomination for MGM art director Cedric Gibbons and Randall Duell. Under both its original title When Ladies Meet and its TV-dictated cognomen Strange Skirts, this dated but enjoyable film has become a "standard" on the various cable TV services of Ted Turner. ~ Hal Erickson, All Movie Guide

In 1940, MGM turned out two films on the life of Thomas Alva Edison.The first, Young Tom Edison, starred Mickey Rooney and trotted out all the old Edison folklore, including the now-discredited incident in which Tom loses his hearing by being yanked onto a train by his ears. Edison the Man, starring Spencer Tracy in the title role, downplays certain inconvenient facts (including Edison's strong-arm tactics to protect his patents), but adheres more closely to actual events than its predecessor. The story concentrates on Edison's most productive years, from 1872 to 1882 (surprisingly ignoring his role in the development of the motion picture!) The inventions invented herein include the ticker-tape machine, the phonograph, the Dictaphone, and of course the electric light. Gene Lockhart is on hand to once more perform his movie specialty of the blinkered financier who can see no future in Edison's crazy schemes. The film tries to stir up suspense by giving Edison only six months to complete his dream of illuminating the streets of New York, lest he lose the contract--and, by extension, his credibility. While Young Tom Edison had unexpectedly lost money, Edison the Man was a success; as for Spencer Tracy, he was a versatile enough actor to escape the fate of poor Don Ameche, who was forever and inextricably associated with his portrayal of Alexander Graham Bell. ~ Hal Erickson, All Movie Guide

In this interesting drama, a highly respected straight-arrow Irish cop is pleased when his son follows him onto the force. Unfortunately, the son is more interested in promotions than in upholding the law and he makes few friends among his peers. When he shoots a child caught stealing, the others frame him and he is sent to prison where his attitude becomes even worse than before. Upon his escape, the bad seed goes on a crime spree. He then learns that his wife has just borne him a son. When he goes to the hospital to see the babe, his father, who set this trap, arrests him and sends him back to the pokey, proving that in this case, justice is thicker than blood. ~ Sandra Brennan, All Movie Guide

The great Ernst Lubitsch directed this farce (written by Charles M. Brackett and Billy Wilder) about a free-wheeling millionaire, Michael Brandon (Gary Cooper), who enjoys getting married but has a hard time staying married: he's had seven wives and is looking for number eight. He thinks he may have found her in the person of Nicole de Loiselle (Claudette Colbert), whom he meets in a shop on the French Riviera. Unfortunately for Michael, Nicole doesn't like him very much and keeps rebuffing his advances, even though most women would be only too happy to marry him for his money. For just that reason, Nicole's father (Edward Everett Horton), a financially embarrassed French nobleman, strongly suggests that matrimony with Michael would be a good idea, especially since Michael doesn't want to take no for an answer. Nicole eventually relents and weds Michael, but when she tries to get him to change a few of his habits during the honeymoon, he makes plans to divorce her. But Nicole has finally decided that she loves Michael after all, and, as he tries to flee from her, she gives chase, determined to win his heart once and for all. The same story was previously filmed as a silent picture in 1923. ~ Mark Deming, All Movie Guide

It's more Ginger Rogers than Fred Astaire, and more comedy than singing and dancing in this Astaire-Rogers entry into the screwball comedy sweepstakes which features a top-of-the-line Irving Berlin score (Change Partners, I Used to be Color Blind, The Night is Filled with Music). Fred Astaire plays Dr. Tony Flagg, a psychiatrist, who enters the psyche of Amanda Cooper (Ginger Rogers), a radio singer whom Tony's friend Stephen Arden (Ralph Bellamy) takes to see him. It seems Arden thinks that Amanda needs psychiatric help since she can't reach a decision regarding Stephen's proposal of marriage to her. As Tony explores her subconscious dream life, she falls in love with him. Tony feels that her love is temporary -- merely a sign of transference. To channel her love in the right direction, Tony hypnotizes her to believe that she is in love with Stephen. But then things become more complicated when Tony comes to realize that he, in fact, is in love with Amanda himself. He now has to figure out a way to bring her out of her hypnosis and get her back to normal so that they can both fall into the clinch. ~ Paul Brenner, All Movie Guide

Doughnuts and Society is the first of several attempts by Republic Pictures to create a new screen team comparable to MGM's Marie Dressler and Polly Moran. In this one, Louise Fazenda and Maude Eburne are paired up as Kate Flannagan and Belle Dugan, joint owners of a greasy-spoon diner. Unexpectedly striking it rich, Belle buys her way into high society, followed in short order by Kate, who has likewise increased her bank account with a revolutionary new invention. The humor lies in the contrasting behavior of the "400" and the rambunctious heroines, who spend most of their time trying to one-up each other. The romantic subplot concerns Kate's son Jerry (Eddie Nugent) and Belle's daughter Joan (Ann Rutherford), both of whom are extremely relieved when their mothers go broke and return to normal. ~ Hal Erickson, All Movie Guide

The old British musical-hall ditty "The Man Who Broke the Bank at Monte Carlo" provides the title for this lightweight Ronald Colman vehicle. Colman, playing a refugee Russian prince, is the "man" in question, and the owners of the "broken bank"--that is, the proprietors of the Monte Carlo casino where Colman scored the big win--are anxious to get their money back. They dispatch the beautiful Joan Bennett to lure Colman back into the casino. He falls for her and loses his winnings in the process, but she has pangs of remorse when she learns that Colman had been gambling on behalf of his impoverished countrymen. Bennett joins Colman as he merrily heads off to chase another rainbow. ~ Hal Erickson, All Movie Guide

It's a Small World was the latest in a long line of It Happened One Night clones, this time starring Spencer Tracy and Wendy Barrie as rough approximations of Clark Gable and Claudette Colbert. It all begins when spoiled socialite Jane Dale (Barrie) and abrasive lawyer Bill Shevlin (Tracy) "meet cute" in a small-town auto accident. The couple is arrested by Julius B. Clummerhorn (Raymond Walburn), the local judge, justice of the peace, sheriff, notary public and everything else. Clummerhorn subjects Jane and Bill to a farcical trial, which is continually interrupted by a wide variety of oddball characters and silly emergencies. In the course of events, our hero and heroine fall in love? But that's not the end of the story by a long shot! Future singing star Dick Foran plays a motorcycle cop, while perennial Abraham Lincoln impersonator Frank McGlynn Sr. shares an amusing scene with his real-life son Frank McGlynn Jr. ~ Hal Erickson, All Movie Guide

In this newspaper drama, a reporter known for criticizing the top city official has his column taken over by the man's daughter. As a farewell, he writes a huge attack on the man, causing friction between him and the daughter. But he rescues her when she is trapped in a fire at her father's paper factory. ~ Steve Huey, All Movie Guide

Cited by film historian William K. Everson as one of the fastest-moving crime melodramas of the 1930s (if not the fastest) Fog Over Frisco still manages to leave viewers breathless. Top-billed Bette Davis plays giddy heiress Arlene Bradford, whose perverse fascination with gangsters gets her mixed up in a stolen-securities scheme. Arlene's more sensible sister Val (Margaret Lindsay) tries to keep her out of trouble, but this proves impossible. Entering into the fray are hotshot society reporter Tony (Donald Woods) and goofy photojournalist Izzy (Hugh Herbert), who like Val get in over their heads when they stumble upon the body of the murdered Arlene. The identity of the killer remains a well-concealed secret until Izzy, of all people, stumbles across a vital clue. Things really begin to accelerate when Val is kidnapped by Arlene's gangster cohorts (who, interestingly enough, are very reluctant to take her prisoner and do so only when there's no other option!), leading to a mile-a-minute rescue and hasty plot wrap-up. Among the many good guys, bad guys and red herrings are Alan Hale as an Irish cop, Robert H. Barrat as a butler who isn't a butler, and Henry O'Neill as a gosh-knows-what who may be the murderer. Though physical action is at a minimum, Fog Over Frisco is kept constantly on the move by director William Dieterle, using every cinematic trick and optical effect (wipe dissolves, iris-outs, swish-pans etc.) at his disposal. The film was less effectively remade as Spy Ship in 1942. ~ Hal Erickson, All Movie Guide

In this drama, a tough and bitter woman working in a beauty salon in Panama takes a young, naive woman under her wing. Later when her mentor becomes deadly ill, the young woman decides to sell herself so she can scrape up the money to save her friend. Fortunately, her first client turns out to be a really nice guy. Soon after, the ailing woman's husband, an admiral in the Chinese navy, is passing through the canal and comes to her aid. ~ Sandra Brennan, All Movie Guide