Frank Moran Movies

Fred Astaire's first RKO musical without his longtime partner Ginger Rogers is one of his best from any period -- even though it's obvious that leading lady Joan Fontaine can't dance a step. Written by P. G. Wodehouse, Damsel in Distress casts Astaire as Jerry, an American entertainer appearing in London. Poor Jerry gets sucked into a wager conducted among servants of country squire Lord Mashmorton (Montague Love) He is "elected" to rescue his Lordship's daughter Lady Alyce (Joan Fontaine) from an arranged marriage with orchestra leader Reggie (Ray Noble), a likeable chap who steadfastly refuses to play the villain of the piece. Weaving in and out of all this are Jerry's business manager George (George Burns) and his daffy secretary Gracie (Gracie Allen). In addition to including such Gershwin standards as "A Foggy Day" and "Nice Work if You Can Get It," not to mention Fred Astaire's untoppable "drum dance," A Damsel in Distress affords George Burns and Gracie Allen their best-ever screen roles; the team is permitted to join Astaire in the elaborate "round-and-round" production number "Things are Looking Up," as well as a delightful whisk-broom dance (which, it is said, George and Gracie taught to Fred, rather than the other way around). As Lady Alyce's duplicitous butler, Reginald Gardiner enjoys his own comic highlight with an interesting variation on his "musical cop" routine in Born to Dance. As for 19-year-old Joan Fontaine, she's quite lovely and charming, and Astaire does his very best to camouflage her utter lack of terpsichorean ability. Amazingly, A Damsel in Distress lost money at the box office, compelling RKO Radio to play safe by quickly reteaming Fred Astaire and Ginger Rogers in Carefree. ~ Hal Erickson, All Movie Guide

Lively June (Jane Withers), teen-aged daughter of mystery writer Waldo Everett (Jon Qualen), who calls her "Angel," becomes involved in intrigue centering on movie star Pauline Kaye (Sally Blane) and her companion Stivers (Joan Davis). Reporter Nick Moore (Robert Kent), once sweet on Pauline, is convinced that her sudden disappearance is a publicity stunt, which is true -- until gangster Bat Regan (Harold Huber) decides to get involved. ~ Bill Warren, All Movie Guide

Despite stiff competition like Poor Little Rich Girl and Heidi, Bright Eyes is arguably the best of Shirley Temple's 1930s vehicles. The little curly-top is cast as Shirley Blake, daughter of Mary Blake (Lois Wilson), the widowed housemaid of snooty J. Wellington and Anita Smythe (Theodore Von Eltz and Dorothy Christy). Though continually terrorized by the Smythe's obnoxious, doll-destroying daughter Joy (Jane Withers), Shirley finds comfort in the fact that she is the darling of the airplane-pilot buddies of her late father. Especially fond of our heroine is flyboy Loop Merritt, who arranges a birthday party for the girl. Alas, even as Shirley sings "On the Good Ship Lollipop" to a gathering of beaming airmen, her mother Mary is run over by a car while shopping for her daughter's birthday cake. It thus becomes Loop's painful duty to tell Shirley that her mother "cracked up," just like her father did (if this scene doesn't move the viewer to tears, the viewer is made of granite). Fortunately, the Smythe's irascible Uncle Ned takes a liking to Shirley, securing her financial future at the expense of his repulsive relatives. But before this happy ending can come about, Shirley must be rescued from an imperiled passenger plane by the resourceful Loop. Though Shirley Temple is inarguably the main drawing card in Bright Eyes, 9-year-old Jane Withers is equally terrific as the pint-sized "villainess"; indeed, some critics felt that Withers stole the show, and it was this as much as anything else that earned Withers her own starring series at 20th Century-Fox. ~ Hal Erickson, 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

This modest Preston Sturges comedy stars Dick Powell as an office clerk dreaming of better things and Ellen Drew as his more pragmatic girlfriend. Powell convinces himself that his fortune will be made if he can win a slogan contest sponsored by a coffee company. Powell's contribution: "If you can't sleep at night, it isn't the coffee, it's the bunk!" Three of Powell's fellow workers decide to have some fun with him; they fake a telegram which announces that he's won the contest. The deception snowballs to the point that even the head of the coffee firm (Raymond Walburn) labors under the misapprehension that Powell has won. When the painful truth is revealed, Powell finds himself broke (because of all the creature comforts he's bought) and jobless, but at least he's retained the love of his wife. A cute deus ex machina to the story appears in the person of William Demarest, the foreman of the "jury" that is judging the slogan contest. ~ Hal Erickson, All Movie Guide

Carnival barker Spencer Tracy befriends elderly concessionaire Henry B. Walthall, who owns a picturesque but stodgy display depicting Dante's Inferno. Walthall is more interested in the spiritual aspects of Man's fascination with Hell, but Tracy uses hoopla and exaggeration to get the suckers into the Inferno. His interest isn't altruistic; Tracy is enamored of Walthall's niece, Claire Trevor. Through his publicity savvy, Tracy builds the Inferno into a major attraction, complete with full orchestra and scantily clad "devil girls". He also buys up the rest of the carnival, using cold-blooded tactics that result in the suicide of a fellow concessionaire. Within five years, Tracy is a millionaire tycoon of the Entertainment industry. While loved by his wife (Trevor) and son (Scotty Beckett), Tracy conducts his business ruthlessly, bribing a city official to look the other way regarding structural defects in his Inferno display. When this duplicity results in a disastrous accident at the exhibit, the bribed official kills himself. Tracy is exonerated thanks to legal chicanery, but his wife is fed up; she walks out on him, taking their son along. Injured in the accident, Inferno creator H. B. Walthall warns Tracy of the pitfalls of success, using an illustrated edition of Dante to make his point. For nearly ten minutes, the movie audience is treated to a lavish depiction of Hell, magnificently photographed by Rudolph Mate. When the plot resumes, Tracy is on hand for his latest venture, a sumptuous gambling ship. Thanks to the drunken negligence of the crew, the ship catches fire, and it is only upon learning that his son has sneaked aboard that Tracy realizes the consequences of his greed. Tracy labors heroically to rescue the passengers--and, incidentally, to atone for his past sins. ~ Hal Erickson, All Movie Guide

In this action film, an officer is thrown off the force by his father the chief of police. The bitter ex-cop then joins a racketeering operation. The ring leader assigns him to drive a truck-load of armed hoods to ambush his father. Unbeknownst to the crooks, the ex-cop is still active on the force. The whole affair was a ruse to capture them. The brave cop succeeds in warning his peers of the ambush and the bad-guys die in a hail of bullets. ~ Sandra Brennan, All Movie Guide

Silent film stalwart Neil Hamilton heads the cast of the PRC "special" Federal Fugitives. Hamilton plays secret service officer Captain Madison, assigned to investigate the deaths of three of his colleagues in highly suspicious plane crashes. Posing as an airplane manufacturer, Madison keeps a watchful eye over two sinister types (Victor Varconi, Charles Wilson), who are desirious of taking over "his" factory. The villains manage to slip Madison a mickey and send him aloft in a doomed plane, but the film's resident Mata Hari-style seductress falls in love with our hero and rescues him instead. The heroine is played by a starlet Doris Day--not, it must be emphasized, the same Doris Day who later starred with Rock Hudson in a series of sex comedies in the 1950s and 1960s. ~ Hal Erickson, All Movie Guide

This lesser Astaire/Rogers vehicle is one of several screen versions of the venerable Hubert Osborne stage play Shore Leave. For reasons unknown, Fred and Ginger are virtually supporting players here, spending most of their time trying to patch up the romance between Fred's fellow sailor Randolph Scott and Ginger's sister Harriet Hilliard (better known as Harriet Nelson, of Ozzie and Harriet fame). One of the sillier aspects of the plot hinges on raising enough money to renovate a broken-down old ship; to do this, Fred and Ginger stage a lengthy musical number that must have cost five times as much money as they raised! But that number, a languorous dance rendition of Irving Berlin's "Let's Face the Music and Dance", compensates for all the nonsense that has gone before. One fringe benefit of Follow the Fleet is spotting two fresh-faced starlets named Betty Grable and Lucille Ball. ~ Hal Erickson, All Movie Guide

Ghosts on the Loose (which features no ghosts whatsoever) is perhaps the best-known of Monogram's "East Side Kids" series. This time, Muggs (Leo Gorcey), Glimpy (Huntz Hall), and the rest of the kids offer to decorate the honeymoon cottage of Glimpy's sister, Betty (Ava Gardner), and her new husband, Jack (Rick Vallin). Unfortunately, the boys end up at the wrong house, a sinister mansion that serves as the headquarters for a Nazi spy ring headed by Emil (Bela Lugosi). The rest of the film is an extended chase -- first the Nazis chasing the boys, then the boys chasing the Nazis. Incidentally, this is the film in which Bela Lugosi allegedly sneezes out an obscenity. Ghosts on the Loose has been reissued under several titles, notably The East Side Kids Meet Bela Lugosi. ~ Hal Erickson, All Movie Guide

In a manner of speaking, Humphrey Bogart had George Raft to thank for his ascendancy to stardom: after all, if Raft hadn't turned down both High Sierra and The Maltese Falcon, Bogart might have continued playing second-billed gangsters to the end of his days. Adapted from W. R. Burnett's novel by Burnett and John Huston, High Sierra opens with gangster Roy Earle (Bogart) being paroled after a lengthy prison term. Though he enjoys the fresh air and sunshine of the outside world, Earle has no intention of giving up his criminal ways. In fact, his parole has been arranged by Big Mac (Donald MacBride), so that Earle can mastermind a big-time heist at a fancy California resort hotel. After a few unkind words with a crooked cop, Kranmer (Barton MacLane), in Big Mac's employ, Earle heads toward a fishing resort, where he is to commiserate with his inexperienced, hot-headed cohorts Babe (Alan Curtis) and Red (Arthur Kennedy). En route, he befriends a farm family, heading to LA in search of work. He falls in love with the family's club-footed daughter Velma (Joan Leslie)--though she never really gives him any encouragement--and makes a silent promise to finance an operation on her foot once he's gotten his share of the loot. At the mountain cabin rendezvous, Earle meets Marie (Ida Lupino), Babe's tough-but-vulnerable girlfriend. He angrily orders her to scram, but she stubbornly remains. Earle also finds himself the owner of a "jinxed" dog, whose previous masters have all met with early demises (a none-too-subtle foretaste of things to come). Marie is strongly attracted to Earle, but he refuses to have anything to do with her, reserving his affections for Velma. He arranges an operation for the girl with mob doctor Banton (Henry Hull), never suspecting that the self-serving Velma is planning all along to marry someone else. The robbery goes off without a hitch, save for the fact that "inside man" Mendoza (Cornel Wilde) panics and nearly gives the game away. While escaping, Babe and Red are killed in a car accident, but Earle and Marie escape. Having been disillusioned by Velma's indifference and by the fact that the untrustworthy Kranmer has taken over the late Big Mac's operation, Earle at last realizes that the only person he can truly depend upon is the faithful Marie. With the police hot on his trail, Earle tells Marie to look after herself, then heads alone into the High Sierras--where, in Greek Tragedy fashion, he "busts out" of life. As in Petrified Forest, Humphrey Bogart plays a burnt-out anachronism from an earlier era in crime in High Sierra; in the latter film, however, Bogart has an innate nobility that allows the audience to empathize with him throughout. It is nothing short of amazing that, despite his superb performance in this 1940 film, he still had to wait until The Maltese Falcon for top billing in an "A picture." High Sierra was remade in 1949 as Colorado Territory and in 1955 as I Died a Thousand Times. ~ Hal Erickson, All Movie Guide

Italian immigrant George Raft uses his wits and his fists to rise to prominence in a local political machine. He falls in love with Rosalind Russell, the wife of a prominent banker, but discreetly hides his feelings even as he and Russell are thrust together by social circumstances. The banker turns out to be an embezzler, but Raft comes to the rescue by replacing the stolen funds. Accused of conspiring with the banker because he'd failed to make the original embezzlement public, Raft is grilled by a grand jury. Once cleared, Raft is finally able to wed the divorced banker's wife, who it turns out had always had a crush on him. It Had to Happen is most entertaining in its early scenes wherein we see George Raft strongarming his way to success. ~ Hal Erickson, All Movie Guide

Will Rogers stars as Judge William "Billy" Priest, the common-sense Kentucky jurist created by humorist Irvin S. Cobb. The Judge's easygoing manner bothers many of the self-righteous good citizens of his small 19th-century hometown, imperiling his chances for re-election. The anecdotal plot boils down to a single storyline involving orphaned Anita Louise, reclusive David Landau (secretly Louise's father), and young attorney Tom Brown.The testimony that saves Landau from a murder charge is delivered by Civil War veteran H.B. Walthall, whose stirring loyalty to the Confederacy inspires everyone in town to organize an impromptu parade! Some of the best scenes are highlighted by Will Rogers' affectionate rapport with stereotyped black-actors Stepin Fetchit and Hattie McDaniel, though these scenes are frequently removed from TV showings of Judge Priest due to their undeniably racist overtones. If you haven't guessed by the first frame of the film that John Ford was the director, you'll recognize Ford's personal stamp the moment Will Rogers kneels by his wife's grave and carries on a warm conversation with his long-departed bride. Ford would remake (and improve upon) Judge Priest in 1953 as The Sun Shines Bright, with Charles Winninger as the judge. ~ Hal Erickson, All Movie Guide