Maurice Moscovich Movies

En route to America, Irish immigrant Arleen Whelan is the victim of shipboard masher Raymond Walburn. Pushed away by the girl, Walburn is slightly injured, whereupon he brings up charges against Whelan and holds up her entry visa at Ellis Island. War correspondent Don Ameche comes to the rescue, but Whelan's problems are far from over thanks to her involvement with another immigrant, gangster Gilbert Roland. Gateway represents perhaps the best screen opportunity for 20th Century-Fox starlet Arleen Whelan, who faded from prominence in the 1940s. Other than that, the film is an intriguing glimpse of immigration procedures in the prewar years. ~ Hal Erickson, Rovi

Set during World War I, Lancer Spy stars a young George Sanders as Michael Bruce, an officer in the British Navy who bears an uncanny resemblance to the recently-captured Baron Kurt von Rohbach (also Sanders). Rohbach is highly connected in the German aristocracy, and his capture has been kept quite secret. This allows Bruce to be drafted into service to impersonate the German officer, infiltrate the enemy at the top level, and send back information that can turn the tide in the war. Bruce does a remarkable job and fools just about everyone; only the head of the secret police Major Gruning (Peter Lorre) has his doubts, but he can hardly accuse someone of the Baron's standing on nothing more than suspicions. He therefore engages a comely nightclub singer Dolores Daria Sunnell (Dolores Del Rio) to seduce Bruce and find out if his suspicions are sound or baseless. Unfortunately for Gruning, the singer finds her heart genuinely stolen by the imposter. She discovers the truth, but refuses to out him. Meanwhile, Gruning has laid his hands on some evidence of his own, and he moves to capture Bruce. Having accomplished his mission, Bruce flees to Switzerland. Gruning captures Dolores instead and puts her to death for her betrayal. ~ Craig Butler, Rovi

While not a box-office success, this drama, directed by Leo McCarey, developed a potent reputation among film critics and movie buffs for its sensitive and perceptive treatment of the problems of the elderly. When McCarey won the Oscar for Best Director the same year for The Awful Truth, he remarked that the Academy gave him the award for the wrong movie. Barkley and Lucy Cooper (Victor Moore and Beulah Bondi) are a couple in their late 60s who have fallen on hard times and have been given the bad news that the bank is foreclosing on their house. Barkley and Lucy turn to their five children for help, but none are willing or able to do much for them; their son George (Thomas Mitchell) says that Lucy can stay with him and his wife Anita (Fay Bainter), while Nellie (Minna Gombell) and her husband Harvey (Porter Hall) can take in Barkley, but neither couple have the space or the means to house them both. Living with their children and their new families proves stressful for everyone involved, and Lucy decides to take up residence in a home for older women. She and Barkley realize that this will probably mean a permanent separation for the two of them, and they try to enjoy one last outing together before they part. Remarkably, Beulah Bondi was only 46 years old when this film was made, making her less then ten years older than several of her on-screen children; make-up wizard Wally Westmore used his bag of tricks to age her the appropriate two decades for the role. ~ Mark Deming, Rovi

Charles Bickford and James Craig are the rough-and-ready leads in Universal's South to Karanga. Running guns in South Africa, Bickford and Craig are hired to deliver ammunition to a mining community. The reason: the natives are restless (again!) Our heroes come through in smashing form, making the area safe for white supremacy. More than a little dated, South to Karanga is a hodgepodge of stock footage from earlier Universal epics. ~ Hal Erickson, Rovi

The sole survivor of an Indian attack, orphan girl Susannah Sheldon (Shirley Temple) becomes the mascot of the Canadian Mountie outpost headed by Superintendent Standing (Moroni Olsen). Mountie Angus "Monty" Montague (Randolph Scott) and his sweetheart (and Standing's daughter), Vicky (Margaret Lockwood), appoint themselves as Susannah's unofficial parents, doing their best to help the girl overcome her terrible ordeal. Eventually, it is "little miss fix-it"Susannah who brings peace between the Mounties and the Blackfeet, but not before Monty is nearly burned at the stake by the renegade Indian responsible for fomenting all the trouble. This is the film in which Shirley Temple not only teaches Randolph Scott how to tap dance, but also shares a peace pipe with a Blackfoot youngster (and gets good and nauseated in the process). Based on a novel by Muriel Denison, Susannah of the Mounties was originally released in sepiatone. ~ Hal Erickson, Rovi

"This is the story of the period between two world wars--an interim during which insanity cut loose, liberty took a nose dive, and humanity was kicked around somewhat." With this pithy opening title, Charles Chaplin begins his first all-talking feature film, The Great Dictator. During World War I, a Jewish barber (Chaplin) in the army of Tomania saves the life of high-ranking officer Schultz (Reginald Gardiner). While Schultz survives the conflict unscathed, the barber is stricken with amnesia and bundled off to a hospital. Twenty years pass: Tomania has been taken over by dictator Adenoid Hynkel (Chaplin again) and his stooges Garbitsch (Henry Daniell) and Herring (Billy Gilbert). Hynkel despises all Jews and regularly wreaks havoc on the Tomanian Jewish ghetto, where feisty Hannah (Paulette Goddard) lives. Meanwhile, the little barber escapes from the hospital and instinctively heads back to his cobweb-laden ghetto barber shop. Unaware of Hynkel's policy towards Jews (in fact, he's unaware of Hynkel), the barber gets into a slapstick confrontation with a gang of Aryan storm troopers. He is rescued by his old friend Schultz, now one of Hynkel's most loyal officers. Thanks to Schultz's protection, the ghetto receives a brief respite from Hynkel's persecution. The barber sets up shop again, developing a warm platonic relationship with the lovely Hannah. But things take a sorry turn when Hynkel, angered that a Jewish banker has refused to finance his impending war with Austerlitz, begins bearing down again on the Ghetto. Near the end of the film, when the dictator is expected to make another one of his hate-filled, war-mongering speeches, the barber steps up to the microphones...and Charles Chaplin drops character and becomes "himself," delivering an impassioned plea for peace, tolerance, and humanity. ~ Hal Erickson, Rovi