Gene Morgan Movies

While the Our Gang kids are beating the summer heat with their own elaborate version of a "slip-n-slide," a fire alarm rings, and the men from the nearby firehouse race to the conflagration. Tagging along, the youngsters manage, through a series of incredible coincidences, to put the fire out themselves. Impressed, the fire chief deputizes the kids and helps them organize their own fire brigade. As usual, the gang takes its new responsibilities with the seriousness of any adult: They even build their own fire engine, which though unwieldy is certainly fast and efficient. But will the gang be able to extinguish a fire in a chemist's lab and escape being blown to bits by a hidden reserve of dynamite? Largely filmed on the familiar Hal Roach Studios back lot (sharp-eyed comedy fans can spot such "landmarks" as the A to Z Pawnshop and the Pink Pup Café), The Fourth Alarm was originally released on September 12, 1926. The film was meticulously remade in 1932 as Hook and Ladder. ~ Hal Erickson, All Movie Guide

The Our Gang kids hold an election, with Joe Cobb running against Jay R. Smith, and vice versa (the boys' campaign slogans are along the lines of "Vote for Joe or Get a Punch in the Nose.") For unexplained reasons, both candidates try to prevent Allen "Farina" Hoskins and Farina's kid sister Pleurisy from leaving their farmyard until the votes are counted. Meanwhile, a real-life election explodes into violence when the "Pool Room Party" tries to steal the ballots. Inevitably, the kids and the adults cross paths -- with disastrous results for the bundle of laundry that Farina and Pleurisy have been ordered to deliver. Among the adult actors are well-known African American performers Louise Beavers and Clarence Muse. The film's best gag, involving a "reverse" cloud of dust, was repeated seven years later in the Laurel and Hardy feature Way Out West. Election Day was first released on January 12, 1929. ~ Hal Erickson, All Movie Guide

Two-reel comedy favorites Stan Laurel and Oliver Hardy made their feature-film debut (excluding their guest appearances in Hollywood Revue of 1929 and Rogue Song) in the prison comedy Pardon Us. A spoof of MGM's The Big House, the story begins when erstwhile bootleggers Laurel and Hardy sell a bottle of beer to a Prohibition agent. Shipped off to the pen, our heroes are escorted to the cell occupied by "The Tiger" (Walter Long), the toughest con in the joint. The Tiger immediately becomes the boys' best friend when he mistakes Laurel's loose-tooth "buzz" as an act of defiance! Swept up in one of The Tiger's escape attempts, Laurel and Hardy disguise themselves in blackface and lose themselves among the cotton-pickers in the Deep South, but Stan's buzzing tooth gives the game away when the warden's (Wilfred Lucas) car breaks down near the cotton fields. Carted back to jail, Stan and Ollie become heroes when they inadvertently foul up The Tiger's next prison break. Pardon Us was previewed in late 1930 in a 70-minute version titled The Rap, which included several sequences (including an elaborate prison fire) which never made it to the final, 56-minute release version. More recently, the film has been reissued to TV in the 65-minute print prepared for Great Britain; the "new" footage includes a handful of previously discarded gag punchlines and several outtakes. In its 56-minute state, Pardon Us is not bad for a first feature-length attempt, even though the best Laurel & Hardy features were still to come. Highlights include an "Our Gang"-style schoolroom routine with perennial Laurel & Hardy foil James Finlayson as the teacher (incidentally, June Marlowe, who played Miss Crabtree in the real Our Gang comedies, shows up as the warden's daughter), a pleasant song-and-dance number in blackface, and a hilarious dentist-office routine "borrowed" from the team's 1928 silent comedy Leave 'Em Laughing. Pardon Us was simultaneously filmed in several foreign languages -- one of which, the Spanish-language De Bote en Bote, has popped up from time to time on American cable television. ~ Hal Erickson, All Movie Guide

Though he spent the bulk of the talkie era at mighty MGM, director Richard Thorpe put in three solid years' service on Poverty Row. In Thorpe's Neck and Neck, Glenn Tryon plays Bill Grant, a boastful young chap who claims to be an expert horseman. When he falls in love with wealthy Norma Rickson (Vera Reynolds), Grant is forced to prove his turf prowess by Norma's father Col. Rickson (Lafe McKee). Comic relief is supplied by Walter Brennan -- already playing toothless codgers at age 37 -- and stereotypical Black mirthmaker Stepin Fetchit. Much of Neck and Neck was filmed on location at the racetrack at Aguascalientes, Mexico. ~ Hal Erickson, All Movie Guide

Originally released on August 27, 1932, Hook and Ladder was a remake of the 1926 "Our Gang" comedy The Fourth Alarm, with several gags repeated verbatim. Answering the Fire Chief's request for volunteers, the Our Gang kids form their own firefighting squadron, replete with ersatz uniforms, a fire pole, a dog-and-cat-powered alarm, and a jerry-built fire engine that must be seen to be believed. After a few false alarms and delays, the kids are afforded the opportunity to put out a real fire, which they do with the expertise of veteran smoke-eaters. Some of the sequences in the blazing warehouse may be a bit intense for modern viewers, but rest assured that the kids back in 1932 were both thrilled and delighted. An amusing running gag involving little Spanky McFarland's worm medicine punctuates this lively series entry. ~ Hal Erickson, All Movie Guide

Night World is an astonishingly compact 57-minute extravaganza, all of which takes place at the upscale (but somewhat less-than-swank) nightclub owned by good-natured racketeer Happy MacDonald (Boris Karloff) (complete with a winning, grinning smile). In a story arc of no more than a couple of hours, MacDonald is betrayed by his faithless wife (Doris Revier), who has been cavorting with the club's stage producer (Russell Hopton), and who sets her husband up to be killed by a rival; the gentle, articulate African-American doorman (Clarence Muse) learns the fate of his beloved wife, whose stay in the hospital has been a source of worry for him all night; despondent socialite Michael Rand (Lew Ayres), the son of an acquitted murderess, meets chorus girl Ruth Taylor (Mae Clarke), who turns out to have a heart-of-gold; and gets to confront his mother (Hedda Hopper), a viciously self-centered and venal woman. But Michael and Ruth soon find themselves caught in the midst of the mob's attempt on Happy's life, and facing a pair of assassins who would just as soon kill them as look at them. All of these story threads are interspersed between a good deal of backstage banter -- including a tense pair of vignette with tough-guy Ed Powell (George Raft, about as scary as he ever looked on screen) -- and a Busby Berkeley-choreographed dance number that, despite the low-budget and obviously fast shooting schedule of this picture, manages to work in the latter's celebrated overhead camera angles and other requisite visual touches. ~ Bruce Eder, All Movie Guide

Joe E. Brown plays Elmer Kane, a rookie ballplayer with the Chicago Cubs whose ego is matched only by his appetite. Because he is not only vain but naive, Elmer's teammates take great delight in pulling practical jokes on him. Still, he is so valuable a player that the Cubs management hides the letters from his hometown sweetheart Nellie (Patricia Ellis), so that Elmer won't bolt the team and head for home. When Nellie comes to visit Elmer, she finds him in an innocent but compromising situation with a glamorous actress (Claire Dodd). She turns her back on him, and disconsolate Elmer tries to forget his troubles at a crooked gambling house. Elmer incurs an enormous gambling debt, which the casino's owner is willing to forget if Elmer will only throw the deciding World Series game. Elmer brawls with the gambler and lands in jail, where he learns of a particularly cruel practical joke that had previously been played on him. Out of spite, he refuses to play in the Big Game, and thanks to a jailhouse visit by the gamblers, it looks as though Elmer has taken a bribe. But when he shows up to play (after patching things up with Nellie), Elmer proves that he's been true-blue all along. Based on the Broadway play by Ring Lardner and George M. Cohan, Elmer the Great betrays its stage origins in its static early scenes, but builds confidently to a terrific climax during a rain-soaked ball game. This enjoyable film was the second in Joe E. Brown's "baseball trilogy" (see also Fireman Save My Child and Alibi Ike). Elmer the Great was remade in 1939 as Cowboy Quarterback, with Bert Wheeler in Joe E. Brown's part and with football substituting for baseball. ~ Hal Erickson, All Movie Guide

This turn-of-the-century tragedy chronicles the sorrowful travails of a woman who endures a series of devastating losses. ~ Sandra Brennan, All Movie Guide

In G Men, Warner Bros. "bad boy" James Cagney plays James "Brick" Davis, a young lawyer whose education has been financed by soft-hearted racketeer McKay (William Harrigan). When Cagney's best pal, detective Eddie Buchanan (Regis Toomey), is killed in a gangland shooting, James decides to become a G-Man. Though scrupulously honest, Davis is looked upon with suspicion by his fellow agents because of his association with the crooked McKay. He proves he's a "good guy" when his former girlfriend, Jean Ann Dvorak, now the wife of mobster Brad Collins (Barton MacLane), tips him off to a "Little Bohemia"-style gangster hideaway. Jean later sacrifices her own life to help James rescue his new girl, nurse Kay McCord (Margaret Lindsay), from the vengeful Collins. Based on Gregory Miller's book Public Enemy No. 1, G-Men was reissued in 1949, with an added prologue featuring David Brian as an FBI trainer who advises his students not to laugh at the old-fashioned costumes and slang in the 1935 film; seen today, it is Brian's superfluous opening comments that seem hopelessly dated, while the film itself is as exciting and entertaining as ever. ~ Hal Erickson, All Movie Guide

MGM loaned Myrna Loy to Paramount to co-star with Cary Grant in the roller coaster-paced romantic drama Wings in the Dark. Loy plays daredevil aviatrix Sheila Mason, who marries Ken Gordon (Grant), a flyer with serious aspirations to set groundbreaking world records. When Ken is accidentally blinded just before he jets off for Paris, Sheila prompts him to continue working at any cost. He decides to become a writer, dictating his work and mailing it off to several magazines; all he receives for his trouble is a pile of rejection slips, but Sheila doesn't let him know that. In the mean time, he works out a fantastic invention -- a plane designed for "blind flying," which enables the pilot to command the craft without the use of his eyes. His plane is repossessed for lack of payment, cluing him into what Sheila has been up to with his articles. Infuriated, he severs all communication with her. In an effort to drive Grant out of her mind, Sheila then undertakes a Moscow-to-Manhattan flight and thus attempts to set a new world record of her own. But on the last leg of her journey -- over Boston -- she becomes surrounded by thick blankets of heavy fog, and cannot locate the airport. At the last moment, Ken steals his own plane from Roosevelt Field, takes it up, and uses it to guide Sheila back to the ground, where he declares his undying love and devotion to her. ~ Hal Erickson, All Movie Guide

Joan Blondell and Glenda Farrell, the female Laurel and Hardy of Warner Bros., share top billing in We're in the Money. This time Blondell and Farrell are cast respectively as Ginger and Dixie, intrepid process-servers for goofy lawyer Homer Bronson (Hugh Herbert). Things go from the ridiculous to the even more ridiculous when the girls are ordered to serve a summons to Ginger's wealthy boyfriend C. Richard Courtney (Ross Alexander), who's entangled in a breach-of-promise suit. Our heroines are also called upon to deliver their missives to a nightclub singer (Phil Regan), a brawny wrestler (Man Mountain Dean) and a surly gangster (Lionel Stander), with predictable but hilarious results. With so many expert farceurs in the cast, poor Ross Alexander virtually ends up as dramatic relief! ~ Hal Erickson, All Movie Guide

In this rollicking adaptation of Ring Lardner's short story, Joe E. Brown plays an ace baseball player whose insistence upon making up excuses earns him the nickname "Alibi Ike." In the course of his first season with the Chicago Cubs, Brown also falls in love with Olivia De Havilland, sister-in-law of the team's manager. Brown's "alibi" habit prompts De Havilland to walk out on him, whereupon he goes into a slump-- which coincides with attempts by gamblers to get Brown to throw the World Series. The plot weaves its way towards a climax in which Brown escapes the gamblers by commandeering an ambulance and driving onto the ball field during the final Series game. Alibi Ike was the most successful of Joe E. Brown's "baseball trilogy" (which included Elmer the Great and Fireman Save My Child), and one the best baseball comedies of all time. ~ Hal Erickson, All Movie Guide