Ferdinand Munier Movies

The first "Road" picture in three years (the last was The Road to Morocco), Road to Utopia is set during the Alaskan gold rush. Bob Hope and Bing Crosby play a pair of third-rate San Francisco entertainers, Chester Hooton and Duke Johnson, who are obliged to skip town in a hurry. They book passage on a ship to Alaska, where they run afoul of escaped murderers Sperry (Robert H. Barrat) and McGurk (Nestor Paiva). Through a fluke, Chester and Duke overpower the killers, then get off the ship in Skagway disguised as Sperry and McGurk so that they themselves can evade the authorities. The boys can't understand why everyone is so afraid of them, nor why saloon owner Ace Larson (Douglas Dumbrille) and Larson's moll Kate (Hillary Brooke) are so chummy. It turns out that Sperry and McGurk had stolen a deed to a valuable gold mine before escaping to Alaska. Sal Van Hoyden (Dorothy Lamour) is the rightful owner of that deed, thus she too shows up in Skagway, hoping to extract the document from Chester and Duke. Whenever the plot threatens to become too difficult to follow, narrator Robert Benchley shows up to explain things -- which of course only adds to the confusion. At any rate, the whole affair ends up with Chester, Duke, and Sal running through the snowy wastes, with the villains in hot pursuit. Duke nobly stays behind to fight off the bad guys himself, handing the deed to Chester and Sal and wishing them Godspeed. Flash-forward to 1945: Chester and Sal, both old and wealthy, are reunited with their equally aged pal Duke, who wasn't killed after all. Sal tells Duke that Chester has been a wonderful husband and father. Yes, father...and wait till you see who plays their child ("We adopted him!"). ~ Hal Erickson, Rovi

The real Diamond Horseshoe was a Las Vegas nightclub created by impresario Billy Rose, which spotlighted old-time stars from the early 20th century recreating the songs and skits that had made them great. Rose allowed 20th Century-Fox to use the name "Diamond Horseshoe" for a Technicolor musical, but only on the proviso that Rose's name be included in the title. Billy Rose's Diamond Horseshoe does have the occasional old-timer specialty, but for the most part the plot concentrates on Betty Grable, a young entertainer who romances would-be songwriter Dick Haymes. The affair is frowned upon by Haymes' father (William Gaxton), the manager of the Diamond Horseshoe, who is determined that his son pursue a medical career. The predictability of the storyline is redeemed by Haymes' rendition of the song hit "The More I See You", and by the comedy turns of Phil Silvers. ~ Hal Erickson, Rovi

In this engagingly silly musical fantasy from the waning days of WW2, Fred MacMurray stars as Bill, who wants to serve his country but has been classified 4-F. While working at a local USO, Bill falls in love with the fickle Lucilla (June Haver, soon to be Mrs. Fred MacMurray), never realizing that he himself is worshipped from afar by the sensible Sally (Joan Leslie). Stumbling across an old lamp donated to a scrap drive, Bill impulsively rubs the lamp--and out pops Ali (Gene Sheldon), a bibulous, bumbling genie. Hoping to become a hero in Lucilla's eyes, Bill asks Ali to put him in the US Army. The genie complies, but gets his wires crossed, and Bill ends up in the Continental Army during the Revolutionary War. In short order, Bill meets two lookalikes of the girls in his life at "Ye U.S.O.", shows up at Valley Forge and trades quips with General Washington (Alan Mowbray)--who, in anticipation of MacArthur and Eisenhower, bombastically insists that he has no political aspirations--unsuccessfully tries to alert Washington of the duplicity of Benedict Arnold (John Davidson), and ultimately finds himself behind enemy lines with a troop of Hessians, whom he tries to hoodwink by delivering a Nuremberg-style speech, replete with "Sieg Heils." Arrested and sentenced to a Hessian firing squad, Bill again summons Ali, who whisks him off to the year 1492. In an elaborate "opera bouffe", Bill musically dissuades the sailors serving under Christopher Columbus (Fortunio Bonanova) from staging a mutiny, convincing them to continue seeking out the New World (as represented by a group of Cuban natives in a conga line). Once on dry land, Bill is entranced by a comely Indian maiden who looks a lot like Lucilla, only to be entrapped in an old-fashioned "badger game" cooked up by the girl's wily Native American boyfriend (Anthony Quinn). Buying his way out of an embarrassing situation by agreeing to purchase Manhattan Island for $24, Bill is then transported to "New Amsterdam" in the mid-1600s. In his efforts to persuade the local Dutch elders that he is the rightful owner of Manhattan, Bill succeeds only in getting arrested again. This time, however, the drunken Ali manages to zap our hero back to the 20th Century--with the 17th-century equivalent of Sally in tow. The songs, by Kurt Weill and Ira Gershwin, are appropriately bright and satirical, but none are standouts. Still, Where Do We Go From Here? is one of those frothy 1940s concoctions that is absolutely impossible to dislike. ~ Hal Erickson, Rovi

The wild and woolly early days of New York -- when it was still known as New Amsterdam -- provide the backdrop for this period musical-comedy. In 1650, Peter Stuyvesant (Charles Coburn) arrives in New Amsterdam to assume his duties as governor. Stuyvesant is hardly the fun-loving type, and one of his first official acts is to call for the death of Brom Broeck (Nelson Eddy), a newspaper publisher well-known for his fearless exposes of police and government corruption. However, Broeck hasn't done anything that would justify the death penalty, so Stuyvesant waits (without much patience) for Broeck to step out of line. Broeck is romancing a beautiful woman named Tina Tienhoven (Constance Dowling), whose sister Ulda (Shelley Winters) happens to be dating his best friend, Ten Pin (Johnnie "Scat" Davis). After Stuyvesant's men toss Broeck in jail on a trumped-up charge, Stuyvesant sets his sights on winning Tina's affections. However, as Broeck begins to organize his fellow New Amsterdamians in a bid for independence, he tries to convince Stuyvesant that working for justice might do him more good that following his current policies of graft and corruption. Based on a Broadway musical with songs by Kurt Weill and Maxwell Anderson, Knickerbocker Holiday's score was beefed up for its screen incarnation with a number of new tunes by Sammy Cahn and Jules Styne, though the best known song from the stage version remained the best remembered selection from the film, September Song. ~ Mark Deming, Rovi

Dorothy McGuire charmingly recreates her stage role in this film adaptation of Rose Franken's Broadway hit Claudia. The title character (McGuire) is the naïve, somewhat childish young bride of David Naughton (Robert Young). Slowly adapting to married life, the unworldy Claudia receives several "wake-up calls" regarding the maintenance of a household, dealing with her husband's (and her own) sexual urges, impending childbirth, and, on a more somber note, the inevitable death of a loved one. A subplot involving the criminal past of the family butler is downplayed on screen, and the film is the better for it. Tops among the supporting cast of Claudia is Ina Claire as the heroine's witty, sprightly and, alas, doomed mother. ~ Hal Erickson, Rovi

Universal's "Invisible Man" series does its bit for the war effort in this slyly tongue-in-cheek action melodrama. Jon Hall stars as Frank Raymond, grandson of the man who invented the invisibility formula several pictures back. When Nazi agents try to coerce the secret formula out of Raymond, he eludes them by becoming transparent himself. Shortly afterward, the US government parachutes Raymond behind enemy lines, reasoning that an invisible counterespionage agent would be an invaluable tool in defeating the Axis. He is aided and abetted by the beautiful Maria Sorenson (Ilona Massey), who may or may not be in league with villains Helser (J. Edward Bromberg in a scene-stealing turn), Stauffer (Cedric Hardwicke) and Japanese spy Ikito (Peter Lorre). As was always the case in Universal's mid-1940s fantasies, David Horsley's special effects work in Invisible Agent is absolutely first-rate, with some truly eye-popping moments. Incidentally, this is the film in which an elderly victim of Nazi persecution moans "I can't sign? I can't sign? You have broken my fingers!" ~ Hal Erickson, Rovi

There are moments in Columbia's Flight Lieutenant that approach "high camp"; indeed, one is hard pressed to remember if any cliché is left unturned. Pat O'Brien plays air pilot Sam O'Doyle, who is professionally disgraced when he survives a crash in which his co-pilot is killed. He tries to get work elsewhere, but finds that he can't shake the onus of his apparent dereliction of duty (Even the newspapers conspire against him, trumpeting his humilitation in front-page headlines!) Finally O'Doyle escapes to the tropics, leaving his young son in the care of his best friend Sanford (Jonathan Hale). As the years pass, young Danny Doyle (Glenn Ford), an aviator himself, grows to despise his father's memory-especially since he has married Susie Thompson (Evelyn Ankers), the daughter of Sam's unfortunate co-pilot. When WW2 breaks out, Danny is promoted to flight lieutenant, whereupon his father enlists as an Army Air Corps private under Danny's command. The elder Doyle finally redeems himself when he knocks Danny out and takes over a suicidal test-pilot assignment (That darn fool kid-er, darn fool grownup!) ~ Hal Erickson, Rovi

The real-life marriage between Dick Powell and Joan Blondell was already on the rocks when they costarred in Model Wife. The story is "Working Girl Plot No. 6": Blondell's employer frowns upon married women working. She's married to Powell. The marriage must remain secret. The boss has a "thing" for Blondell. So does every other man. Powell fumes. Complications. Movie ends happily. And that's Model Wife, the second and last of the Powell/Blondell vehicles of the 1940s (the other film was titled, significantly, I Want a Divorce). ~ Hal Erickson, Rovi

Kenneth Roberts' fact-based novel Northwest Passage would seem too raw and explicit a book to be considered for an MGM film adaptation-much less one in Technicolor. Amazingly, MGM retained many of the grim episodes from the Roberts' novel, though - thanks to the Hays Code - most are discussed rather than shown. The film is set in 1759, when the headstrong and gifted young artist Langdon Towne (Robert Young) is expelled from Harvard much to the chagrin of his parents and his fiancee, Elizabeth Browne (Ruth Hussey). Towne and his tough-as-nails sidekick, Hunk Marriner (Walter Brennan) get soused one night in a pub and - while intoxicated - viciously insult Elizabeth's father, Rev. Browne (Louis Hector). The two men are nearly arraigned for the incident, but escape just in time and ultimately wind up at the camp of famed Indian hunter Major Robert Rogers (Spencer Tracy). Rogers then invites Towne to join his troupe as a cartographer, and suggests that Marriner tag along. Together, the hundreds of Indian fighters under Rogers's aegis team up and chart their way through the wilderness, headed straight for St. Francis, the base of the French-supported Abenaki tribe, notorious for bloodily wiping out British-controlled colonies, after which they will forge the titular 'northwest passage' to the Pacific. Along the route, the boys counter such obstacles as traitorous Native American guides and exploding gunpowder. Metro Goldwyn-Mayer originally slated this production for Tracy, Wallace Beery, Robert Taylor and Franchot Tone, but only Tracy signed on; the studio reeled in Brennan and Young as last-minute additions, to support Tracy's lead. Northwest Passage marked Vidor's first Technicolor film. William V. Skall and Sidney Wagner received Oscar nominations for their outstanding cinematographic work on the film. Nineteen years after its premiere, Northwest Passage later became an NBC TV series between 1959-60, starring Keith Larsen in the Tracy role, Buddy "Jed Clampett" Ebsen in the Brennan role, and Don Burnett in the Young role. ~ Hal Erickson, Rovi

20th Century Fox's Christmas gift to moviegoers in 1939, this fanciful comedy-drama features the studio's darling of the ice, Sonja Henie. She plays the daughter of a Nobel Peace Prize-winner feared murdered by the German Gestapo. A couple of rival American newspaper reporters, Ray Milland and Robert Cummings, discover that the legendary Professor Norden (Maurice Moscovich) is still very much alive and living under an assumed name in Switzerland. The heroes, however, completely forget their critical assignment after spotting the professor's lovely daughter, Louise (Henie), and their preoccupation with the girl nearly leads to disaster. Fox borrowed Ray Milland from Paramount for this Henie vehicle, which was partially filmed at Sun Valley, ID. ~ Hans J. Wollstein, Rovi

Based on a novel by Erich Maria Remarque, Three Comrades represented one of the few successful screenwriting efforts of F. Scott Fitzgerald. Set in Germany in the years just following World War I, the film stars Robert Taylor, Franchot Tone and Robert Young as three battle-weary, thoroughly disillusioned returning soldiers. The three friends pool their savings and open an auto-repair shop, and it is this that brings them in contact with wealthy motorist Lionel Atwill--and with Atwill's lovely travelling companion Margaret Sullavan. Taylor begins a romance with Sullavan, who soon joins the three comrades, making the group a jovial, fun-seeking foursome (this plot element bears traces of Hemingway's The Sun Also Rises, as well as the 1931 film The Last Flight). Though Sullavan suffers from tuberculosis (her shady past is only alluded to), she is encouraged by her male companions to fully enjoy what is left of her life. This becomes increasingly difficult when one of the comrades, Young, is killed during a political riot (it's a Nazi riot, though not so-labelled by ever-careful MGM). In the end, the four comrades are only two in number, with nothing but memories to see them through the cataclysmic years to come. Despite its Hollywoodized bowdlerization of the Remarque original, Three Comrades remains a poignant, haunting experience. ~ Hal Erickson, Rovi

Marriage Forbidden is the film version of Eugene Briaux' once-notorious 1912 stage drama Damaged Goods. This pioneering study of the consequences of venereal disease had been praised by none other than George Bernard Shaw; the film version likewise boasted a "famous name", muckraking novelist Upton Sinclair, who is credited with the adaptation. George (Douglas Walton), a young man from a good family, makes the mistake of going "all the way" with Margie (Phyllis Barry), a girl with a bad reputation. Feeling guilty, George tries to wriggle out of his upcoming marriage to Henrietta (Arletta Duncan), the daughter of a congressman. The wedding proceeds as planned, however, with the expected long-range tragic results for Henrietta and her child. Acting as the "voice of reason" is Pedro de Cordoba as kindly Dr. Walker. Produced in 1936 by Phil Goldstone (who directed under the name of Phil Stone), the film was first released as Damaged Goods in 1937, then under its Marriage Forbidden cognomen the following year. Neither version was able to earn a production code seal, and both ran into heavy censorship problems when distributed nationally. ~ Hal Erickson, Rovi