Grant Mitchell Movies

The "ex" of the title is daffy mystery-writer Jean Arthur, former wife of urbane doctor William Powell. When Powell becomes the prime suspect in a murder case, Arthur endeavors to solve the case herself -- and to reclaim her ex-hubby in the process. After a well-directed semiclimax at a race track, the killer is revealed during one of those expository scenes in which all the suspects are gathered together in one room. The murderer attempts to escape, and Powell is knocked cold in the process. When he awakens, he discovers that Arthur has set up some projection equipment, and is running a film of a minister reciting the wedding vows. Curses! Trapped again! Like William Powell's previous RKO effort Star of Midnight, The Ex-Mrs. Bradford was an attempt to cash in on the popularity of Powell's Thin Man films. ~ Hal Erickson, All Movie Guide

To fully accept the premise of Her Master's Voice, one must also accept the notion that Edward Everett Horton is radio celebrity Ned Farrar, "The Fireside Troubadour." Besieged by his adoring female fans, Ned hides out at the home of his wife Queena's (Peggy Conklin) imperious Aunt Min (Laura Hope Crews). He pretends to be Aunt Min's handyman, performing his tasks so well that the old lady refuses to let him leave! This in itself is amusing enough, but the producers felt that a few low laughs were needed, thus the film ends in a slapstick car chase. Adapted from a play by Clare Kummer (which also starred Laura Hope Crews), Her Master's Voice represented another of Dore Schary's early screenwriting assignments before his upward move into the executive suites of RKO and MGM. ~ Hal Erickson, All Movie Guide

With little plot but incredible photography and choreography, Gold Diggers of 1935 was exactly what you would expect a Busby Berkeley movie to be--visually stimulating, awe-inspiring and almost Freudian in its obsession toward perfection. The Titanic scale of Berkeleian choreography was especially apparent in the "Lullaby on Broadway" number, showing the last day in the life of a "Broadway Baby" before she kills herself. This scene has some of the most precise choreography ever filmed. This was the second of the Gold Diggers films and it remains a classic for the startling technological display found in all Berkeley efforts. ~ Tana Hobart, All Movie Guide

The Secret Bride is Ruth Vincent (Barbara Stanwyck), the daughter of Governor Vincent (Arthur Byron). Attorney general Robert Sheldon (Warren William) falls in love with Ruth and they marry, but Sheldon insists that their marriage be kept secret. It seems that the Governor has been accused of accepting $10,000 in bribes, and Sheldon doesn't want to be accused of complicity while he investigates the matter. In the course of events, two murders occur, and it's up to Ruth to straighten the mess out. But how will she be able to manage this without involving herself or her secret husband in the scandal? It's funny how the various TV cable services tend to trot out The Secret Bride whenever a real-life political scandal bursts onto the scene. ~ Hal Erickson, All Movie Guide

The title refers to those special government agents who go undercover to flush out criminal gangs. In his second starring role, Fred MacMurray plays a government man who travels incognito as he trails a team of crooks from Brooklyn to Kansas. Lynne Overman is MacMurray's easygoing partner, who (naturally) is rubbed out by the hoods. MacMurray inveigles his way into the gang and brings them to justice--the ones who survive, that is. Released at the very beginning of Hollywood's G-Man cycle, Men without Names was instrumental in securing more prestigious acting assignments for Fred MacMurray. ~ Hal Erickson, All Movie Guide

Binnie Barnes stars as Rina Sorel, a glamorous kleptomaniac who steals for the thrill of it. Specializing in uncut diamonds, Rina amasses quite a collection before detectives Lavassor (Grant Mitchell) and Kleinsibler (Eugene Pallette) catch up with her. Using the scent of Rina's perfume as their only clue, the detectives enlist the aid of perfume-factory clerk Walter Stone (Neil Hamilton). He, however, falls in love with Rina and warns her to get out of town post-haste. Instead, she decides to stick around with Stone, and together they trap professional thief Lavassor (Paul Cavanaugh) -- who unexpectedly turns out to be Rina's "guardian angel," exonerating her in the eyes of the law. ~ Hal Erickson, All Movie Guide

One More Spring is a laundered version of Robert Nathan's whimsical Depression-era novel. Left destitute by the Wall Street crash are an odd assortment of lost souls: Former antique dealer Otkar (Warner Baxter), concert violinist Rosenberg (Walter Woolf King) and unemployed actress Elizabeth (Janet Gaynor). Kindly Central Park street cleaner Sweeney (Roger Imhof) allows the threesome -- later a foursome when they're joined by suicidal banker Sheridan (Grant Mitchell) -- to live in an abandoned tool shed. Chastely, the three men and the girl survive a tough winter, remaining hopeful that things will be better in the Spring (as indeed they are!) At one point, Elizabeth manages to raise enough money for a week's worth of food, leading the men to conclude that she's taken to streetwalking. But, no, our heroine remains chaste and pure to the very end (in the novel, Elizabeth was a streetwalker, but that's another story). The most indelible image in One More Spring is the sight of Otkar and Rosenberg blithely roasting a tiny pigeon over an open fire. ~ Hal Erickson, All Movie Guide

Max Reinhardt's legendary Hollywood Bowl production of Shakespeare's A Midsummer Night's Dream was transferred to the screen by Warner Bros. in 1935. Like most of Shakespeare's comedies, the story contains several seemingly unrelated plotlines, all tied together by a single unifying event, in this instance the impending wedding of Theseus and Hippolyta. One story thread concerns the mistaken-identity romances of four young Athenians; another involves a group of "rude mechanicals" who plan to stage a production of "Pyramus and Thisbe" in honor of the wedding; and third plot strand is motivated by the mischievous misbehavior of invisible fairies Oberon, Titania, and Puck. While one of the members of Reinhardt's original stage cast, Olivia De Havilland (Hermia) was retained for the film version, the remainder of the roles went to Warners' ever-reliable stock company. Some of the casting is inspired: James Cagney is brilliant as vainglorious amateur thespian Bottom, while Joe E. Brown is ideal as the reluctant female impersonator Flute. As the four lovers, De Havilland and Jean Muir far outshine the smirking and simpering Dick Powell and Ross Alexander. In the dominion of the fairies, Mickey Rooney is a bit too precious as Puck, but Anita Louise is a lovely Titania and Victor Jory a suitably menacing Oberon (his opening line "Ill met by moonlight, proud Titania!" still sends shivers down our spines). Cagney and Brown's fellow "mechanicals" are an odd mixture of the sublime (Frank McHugh) and the just plain silly (Hugh Herbert). While the performances and direction (by Reinhardt and William Dieterle) are uneven, the art direction and special effects (especially the nocturnal dance of the fairies) are breathtakingly beautiful. Mendelssohn's "Midsummer Night's Dream" incidental music is masterfully orchestrated by Erich Wolfgang Korngold, while the cinematography by Hal Mohr earned the first write-in Academy Award in Hollywood history (Mohr had not been nominated due to hostilities arising from a recent industry strike). Considered a brave failure at the time of its first release, on a purely visual level A Midsummer Night's Dream is one of the more satisfying Shakespearean cinemadaptations of Hollywood's golden age. ~ Hal Erickson, All Movie Guide

In this comedy-drama, an enterprising college football coach's desire to win overshadows his common-sense when he cuts a deal with a talented convict. If the youth will play on Bedford College's team and stay out of trouble, the coach will get him paroled. Well, natch, the con agrees to the deal. Unfortunately for Coach, he has no intention of staying away from trouble. Fortunately, Coach isn't as naive as he seems and convinces his pretty niece to use her wiles to insure that the youth remains on the straight and narrow. ~ Sandra Brennan, All Movie Guide

Trying a bit too hard to qualify as a "screwball" comedy, RKO Radio's We're Rich Again is based on Alden Nash's stage play And Let Who Will be Clever. Carolyn Page's (Joan Marsh) once-rich family has gone broke thanks to their profligate spending habits. Parents Mr and Mrs. Page (Billie Burke and Grant Mitchell) try to marry Carolyn off to a wealthy banker (Reginald Denny), but he begins having second thoughts as he wades through an assortment of madcaps and loonies. The plot is unexpectedly resolved by the daffiest member of the family, country cousin Arabella (Marian Nixon, the wife of director William A. Seiter), allowing Marsh to marry her true love (Buster Crabbe). Edna May Oliver is hilarious as the family's salty, polo-playing grandmother, while Edgar Kennedy is almost as funny as a flustered bill collector. ~ Hal Erickson, All Movie Guide

Harold Lloyd plays Ezekial Cobb, a missionary's son who has spent his entire life in China. Cobb is sent to his father's home church in California, where it is hoped he will find a wife. A true babe in the woods, Cobb is befriended by politician Jake Mayo (George Barbier). Mayo is a cog in a crooked political machine whose bosses plan to set up a "reform" candidate for mayor, so that they can continue their underhanded activities unmolested. The candidate drops dead, so Mayo sets up the innocent Cobb as the mayor-to-be--a "cat's paw" to deflect attention from the system's corruption. But once elected, Cobb takes his duties quite seriously and begins to clean up the town. The machine frames Cobb with planted evidence of wrongdoing, destroying the lad's political career. Undaunted, Cobb remembers the story of an ancient Chinese leader, who, similarly disgraced, took the law in his own hands and executed all known criminals in his last days of power. Cobb orders that every crook in town be rounded up and brought to a dark cellar. He insists that they confess their crimes or face instant death--and backs up his words by "beheading" two of the crooks on the spot! Actually, these executions are cleverly designed magical illusions, and no one is really killed; but the terrified criminals are so hoodwinked by Cobb's apparent cold-bloodedness that they literally climb over one another to confess. Cobb is exonerated, and honesty is restored to his administration. While not Harold Lloyd's best feature film, The Cat's Paw is definitely his most unorthodox. ~ Hal Erickson, All Movie Guide

A midwestern girl heads for Hollywood in hopes of becoming a star. She is accompanied by two good buddies and this comedy chronicles their adventures in Tinseltown. It all begins when the new arrivals enroll in a bogus acting school run by two con artists. A wealthy entrepreneur shows up looking to invest his money. One of the greedy grifters persuades him into financing a film starring the new girl from Peoria, but he gives one condition to the businessman: if the film fails, the conman gets to keep the money. To insure failure, the fellow hires a washed up boozer of a director. The director takes the job seriously and wants to prove that he is not a has-been. This doesn't set well with the "producer" who has his partner take the starlet to a remote cabin and leave her stranded after he gets drunk and passes out. By this time, the director has fallen in love with the girl. Meanwhile, her buddies have found that they'd rather go home and resume their old jobs. The director begins looking for the girl so he can save her and his career. Her buddies hear of her predicament and they too rush to her rescue. It is they who return her safe and sound to the studio. The director makes his film and it is a smash hit. The girl becomes a star and the conmen go to jail. ~ Sandra Brennan, All Movie Guide