Charles Moore Movies

Absent from films since 1938 (except as producer of a brace of RKO Radio features), silent-screen comedy favorite Harold Lloyd returned before the cameras in The Sin of Harold Diddlebock. The project began as a labor of love between Lloyd and the brilliant, innovative producer/writer/director Preston Sturges. Though these two comedy geniuses eventually had a stylistic falling out, resulting in an uneven, spasmodically dreary film, on the whole Harold Diddlebock is well worth having. Sturges cleverly opens the picture with the final reel of Lloyd's silent classic The Freshman(1925), in which the drudge of the college football team makes good and scores the winning touchdown. The story proper begins in the locker room, where football hero Harold Diddlebock (Lloyd, looking three decades younger than his 53 years) is impulsively offered a job by banker J.E. Wagglebury (Raymond Walburn). Taking his place at his new desk and festooning his walls with inspirational homilies, Harold starts to work, supremely confident that he's poised on the brink of bigger things. Twenty-three years pass: In 1946, a weary, stoop-shouldered Harold is still at the same desk at the same job, his dreams of success but a dim memory. Summarily fired by the pompous Wagglebury ("You have not only ceased to go forward, you have gone backward"), Harold collects his final paycheck, cleans out his desk, and bids farewell to office girl Miss Otis (Frances Ramsden), all of whose older sisters had previously been Harold's sweethearts. Wandering aimlessly on the street with his severance pay in hand, Harold is spotted by a dessicated street hustler named Wormy (Jimmy Conlin), who inveigles the newly fired clerk to join him at a nearby bar. Informed that Harold has never taken a drink in his life, the bartender (Edgar Kennedy) lights up and declares, "Sir, you rouse the artist in me!" With great ceremonial flourish, the bartender concocts a potent beverage called the Diddlebock. Harold takes one sip of the brew, lets out a yell, and immediately loses all the inhibitions that have kept him from advancing himself in the past two decades. With Wormy in tow, Harold goes on a wild spending and carousing spree, totally losing track of an entire day-and-a-half.

At the end of his revelry, the hung-over Harold is awakened by his sister (Margaret Hamilton), who informs him that he's bought a garish new wardrobe, a ten-gallon hat, and goodness knows what else. He soon finds out what else when he ventures into the street and is informed that he's bought a horse-drawn cab (with driver!) -- and a circus, complete with hungry lions. Quickly formulating a plan to get rid of the circus at a substantial profit, Harold decides to elicit bids from the town's various bankers, bringing Jackie the Lion along with him so that the bank guards won't stop him at the door. All of this leads to a wild recreation of Lloyd's skyscraper-teetering gags from his silent days, a noisy episode at the local jail, and a romantic tête-à-tête with Miss Otis, who reveals at the very end how Harold really spent his "missing" Wednesday! Though it tested well upon its first release, Sin of Harold Diddlebock was abruptly withdrawn from circulation by its co-producer Howard R. Hughes, who spent four years reediting and sometimes reshooting the film before finally releasing it through RKO as Mad Wednesday. Both this version and the original Sin of Harold Diddlebock still exist; while the earlier version is undeniably richer in comic invention and characterization, the shortened Mad Wednesday works better in front of an audience. Neither version completely fulfills the potential of its premise, however. Though not to be missed, this final Harold Lloyd vehicle pales in comparison with his vintage silent comedies. ~ Hal Erickson, All Movie Guide

In this musical, a messenger boy does a remarkable imitation of Bing Crosby and finds himself surrounded by luscious little bobby-soxers. One woman is so impressed by his Crosbiesque crooning that she takes him New York and convinces investors to bank on him. Unfortunately, she accidentally sells the shares for 125 percent of the profits. Fortunately, by the end, the situation is rectified. Songs include: "June Comes Around Every Year," "Out Of This World" (Johnny Mercer, Harold Arlen), "I'd Rather Be Me" (Eddie Cherkose, Felix Bernard, Sam Coslow), "All I Do Is Beat That Golden Drum" (Coslow, sung by Cass Daley), "It Takes A Little Bit More" (Coslow), "A Sailor With An Eight-Hour Pass" (Ben Raleigh, Bernie Wayne, sung by Daley) and "The Ghost Of Mr. Chopin" (Coslow). ~ Sandra Brennan, All Movie Guide

It took nerve for writer/director Preston Sturges to lampoon the whole concept of hero worship in the middle of World War II, but once more Sturges' oddball sense of taste and propriety paid off at the box office in Hail the Conquering Hero. Eddie Bracken plays the son of a World War I Marine hero who is the first in his small town to sign up for military service. When Bracken is discharged from the Marines for hay fever, he hasn't the nerve to go home and tell his mother and the rest of the townsfolk. Fortunately, he is befriended by a bunch of good-hearted Marines, led by sergeant William Demarest. Bracken's new buddies decide to help him save face by accompanying him to his home and telling one and all that Bracken has served valiantly in the Pacific. Lauded as a hero thanks to this subterfuge, the hapless Bracken finds himself being coerced into running for mayor! When he finally does confess the truth, the townspeople decide that only a real hero would own up to his lies in public. As always, Preston Sturges' richly varied supporting cast makes the most of every scene they're in, especially Raymond Walburn as a blustering politico and Franklin Pangborn as a persnickety councilman. Special mention must be made of Ella Raines as a refreshingly non-cliched heroine, and ex-boxer Freddie Steele as a morose Marine with a Mother complex. While Eddie Bracken's nerdish mannerisms can wear on the viewer, he is kept marvelously in check throughout Hail the Conquering Hero. ~ Hal Erickson, All Movie Guide

No relation to the 1950 Frank Capra film of the same name, the 1943 Technicolor musical Riding High is a by-the-numbers vehicle for Dorothy Lamour and Dick Powell. Lamour stars as Ann Castle, a former burlesque queen who heads westward to claim her father's silver mine. Powell plays mining engineer Steve Baird, who like Ann has a vested interest in the worked-out mine. With the help of genial counterfeiter Mortimer J. Slocum (Victor Moore), Steve and Ann are able to peddle mining stock, thus saving her from bankruptcy. The stockholders are in a lynching mood when it appears that they've been flim-flammed, but a last minute "miracle" saves the day. Featured in the cast are Paramount stalwarts Cass Daley and Gil Lamb, the former doing her quasi-Martha Raye act and the latter swallowing his harmonica for the millionth time. Production values are excellent and the songs are exuberantly performed; it's only in its hackneyed plot that Riding High slows to a clip-clop. ~ Hal Erickson, All Movie Guide

According to this exuberant Paramount musical, famed pre-Civil War minstrel performer Daniel Decatur Emmett looked and sounded exactly like Bing Crosby! Very loosely based on the real Emmett's life and career, the film is essentially an excuse for an unending stream of Southern-fried ballads and boisterous blackface production numbers. The best scenes involve Emmet's creation of the minstrel tradition, helped along by Billy De Wolfe as the original "Mr. Bones." As Emmet's sweetheart Millie Cook, Dorothy Lamour has less to do than fourth-billed Marjorie Reynolds as Jean Mason, the physically challenged girl whom Emmet ultimately marries. In the midst of several old-time musical numbers, Bing Crosby introduces one of his lasting hits, "Sunday, Monday and Always". ~ Hal Erickson, All Movie Guide

Though billed fourth in This Gun For Hire, Alan Ladd was catapulted to stardom in the role of Phillip Raven, a ruthless professional killer with a long-suppressed streak of decency. After successfully pulling off his latest murder, Raven reports to his boss, effeminate fifth columnist Willard Gates (Laird Cregar). He collects his $1000 fee, only to discover later that Gates has double-crossed him with marked bills. This was done at the behest of Gates' boss, crooked business executive Alvin Bewster (Tully Marshall), who wants no loose ends left around to connect him with a plot to sell poison gas to the Axis. As Raven ducks and dodges the police, detective Michael Crane (Robert Preston) is hot on the trail of Bewster and Gates. Crane talks his girlfriend, nightclub singer-musician Ellen Graham (Veronica Lake), into taking a job at Gates' nightclub. While on the train to the club, Ellen makes the acquaintance of the escaping Raven. Gates boards the train, spots Ellen innocently sitting next to Raven, and assumes that the two are in cahoots. Later, Gates kidnaps Ellen and spirits her away to his mansion, intending to do away with her the first chance he gets. Instead, Raven, still seeking revenge for being set up, bursts into the mansion in search of Gates. Having previously been impressed by Ellen's kindness, he rescues her, though he intends using her as hostage should the police catch up with him. As they hide out together in the rail yards, Ellen and Raven get to know each other. Learning of Raven's miserable, abusive childhood, Ellen tries to chip away his murderous veneer, hoping to reform him. But when the cops arrive, Raven reverts to his instincts, shooting his way out of his hiding place. As Crane escorts Ellen out of harm's way, Raven rushes towards a bloody showdown with Bewster and Gates. Based on Graham Greene's A Gun For Sale, This Gun For Hire was remade in 1958 as Short Cut to Hell, then again under the original title as a 1990 made-for-TV film. ~ Hal Erickson, All Movie Guide

In this lighthearted musical comedy, Marjory Stuart (Mary Martin) is a girl who works in the hatcheck room at a Manhattan nightclub and dreams of being a rich socialite herself. Toward that end, Marjory wants to land a rich husband, so she saves up her money and takes a cruise to the Caribbean, where she poses as wealthy debutante. Marjory quickly makes friends with Bubbles Hennessy (Betty Hutton), a brassy but good-natured singer who's on board to rendezvous with her boyfriend Wally Case (Eddie Bracken). Tagging along with Wally is his pal Pete Hamilton (Dick Powell), a beach bum with charm and personality but no bankroll. Bubbles, Wally, and Pete soon realize that Marjory is hardly a member of the upper crust, but they like her enough to help her snag the man she has her eye on, stiff-as-a-board millionaire Alfred Monroe (Rudy Vallee). However, just as Marjory begins making progress with Alfred, she and Pete begin to realize that they've fallen in love. Both Betty Hutton and Mary Martin sing several songs along the way (Hutton's standout number, "Murder, He Says," later found it's way into Woody Allen's Crimes and Misdemeanors), and legendary calypso performer Sir Lancelot performs "Ugly Woman" (later a hit for Jimmy Soul under the title "If You Want To Be Happy"). Hutton and Bracken were reunited a year later in the Preston Sturges classic The Miracle of Morgan's Creek. ~ Mark Deming, All Movie Guide

Director Rouben Mamoulian completed a three-picture 20th Century Fox deal with this airy comic romance that attempted to ape the story and style of the previous year's The Lady Eve (1941) but without that film's success. While vacationing in Southern California, accountant John Wheeler (Henry Fonda) intends to purchase a boat, a luxury for which he's saved long and hard on his limited income. Maybelle (Spring Byington) and Warren (Laird Cregar), a pair of grifters on the prowl for a mark, overhear John discussing the upcoming transaction and mistake him for a millionaire. They persuade pretty sales clerk Susan Miller (Gene Tierney) to help them dupe John by pretending to be their daughter and fall in love with him. As the couple spends time together, however, Susan really does fall in love with John. She backs out of her agreement with the con artists, tells John the truth, and learns that he's not a man of means. The truth does nothing to diminish their feelings for each other, and the happy couple marries, but Warren and Maybelle are not quite done with Susan yet, and they embark on a scheme to find her a real millionaire. ~ Karl Williams, All Movie Guide

A college student's passion for swinging music leads him to found his own band. When he starts spending more time playing music than studying, his father, a prominent hotelier, steps in and sends the lad to a dude ranch in Arizona. Undeterred, the boy brings the band with him. Once there, he encounters a pretty girl. Unfortunately, her father owns a rival hotel chain. Fortunately, after much singing, dancing and misunderstanding, the two young people finally manage to fall in love. Though only an hour long, the film is packed with 16 popular songs. ~ Sandra Brennan, All Movie Guide

Bantam-weight western star Don "Red" Barry certainly deserved his designation as "The Cowboy Cagney" in Republic's Desert Bandit. Barry is cast as two-fisted Texas Ranger Bob Crandall, who after being dishonorably discharged heads to the Mexican border to start life anew. He falls in with a gang of gun runners, headed by corrupt lawman Largo (William Haade). It turns out, of course, that Crandall's "disgrace" was merely a ruse to allow him to work undercover in bringing Largo and his minions to justice. More realistic than most Republic B oaters, Desert Bandit is climaxed by a tension-filled shootout between hero and villain. ~ Hal Erickson, All Movie Guide

German director Joe May was light-years removed from his glory days at UFA when he helmed the "Little Tough Guys" entry Hit the Road. This time, the youthful protagonists-Tom (Billy Halop), Pig (Huntz Hall), String (Gabe Dell) and Ape (Bernard Punsley)-are all the orphaned sons of gangsters who'd been murdered by mob boss Spike (Edward Pawley). "Graduating" from reform school, the boys show every sign of follwing in their parents' footseps, so they're paroled in the custody of kindhearted reformed gangster Jimmy Ryan (Barton MacLaine). Taking the kids to his cattle farm, Ryan gives them more than enough chores and responsiblities to keep them out of trouble, and before long the boys have cleaned up their act-but not without a bit of strong-arm persuasion from Ryan's tough-talking wife Molly (Gladys George). When Spike and his mob try to steal the $50,000 which the Ryans have saved to build a Boys' Town-like school for wayward youths, the Little Tough Guys rally to the defense of their benefactors, throwing punches and wisecracks with reckless abandon. The most pleasant aspect of Hit the Road is the presence of charming leading lady Evelyn Ankers (who later recalled having to fend off the amorous advances of teenaged Huntz Hall by deploying a well-aimed knee!); the least pleasant is the lachrymose performance of child actor Bobs Watson, who never spoke when crying would do. ~ Hal Erickson, All Movie Guide

The irrepressible Donald Barry is twice falsely accused of murder in this typical low-budget but well-mounted Republic Western. Barry plays Jim Randall, a lawman assigned to investigate a series of gold shipment robberies. Arriving in the middle of a hold-up, Randall finds himself accused of killing the driver (Yakima Canutt). Wells Fargo agent Cal Chambers (Milton Kibbee) vouches for his innocence, however, claiming him to be a noted geologist. Along with several of the prospectors, Jim devises a plan to prove that Jud Parker (Harry Worth) is using his dummy mine as a cover for stealing ore. The plan backfires and Jim is accused of killing one of the miners. About to be lynched, Jim is saved in the nick of time by crusading newspaper woman Martha King (Lynn Merrick), who arrives with proof of his true identity. As usual, this Donald Barry Western benefited from a well-chosen supporting cast that included William Haade as a crooked sheriff, silent screen star Dorothy Sebastian as the sheriff's ailing wife, and, of course, stunt man extraordinaire Yakima Canutt. Blond Lynn Merrick, whose contract was shared by Republic and Columbia Pictures, was to appear no less than 16 times opposite Barry. ~ Hans J. Wollstein, All Movie Guide

In this entry in the long-running "Higgins" series of comedy dramas, Papa Higgins throws his family into turmoil when he decides to retire and become a full-time duck hunter. His wife is particularly upset because she believes her insurance agent who tells her that prolonged idleness leads to an early grave. She therefore valiantly forces her hubby into running for mayor against the corrupt, mob-controlled incumbent with the support of her women's reform group. ~ Sandra Brennan, All Movie Guide