Ona Munson Movies

This made-for-cable documentary traces the filming of the imperishable classic Gone with the Wind, from its inception to its triumphant Atlanta premiere in December of 1939. Filmmaker David Hinton interviews as many survivors of the experience as he's able to round up, but the main attraction of this film is its precious "test" clips. We watch a montage of screen tests of the many actresses considered for the role of Scarlett O'Hara, ranging from such front-runners as Paulette Goddard to such not-a-chancers as Lana Turner. The Goddard footage is particularly enjoyable as we watch her eagerly reciting the lines of all the characters as she auditions for Scarlett. The documentary also turns up several tantalizing bits of trivia, notably the fact that the film was shown to a preview audience with an entirely different musical score (portions of which are played on the soundtrack). There is, of course, very little suspense involved in Making of a Legend, but even those who've heard all the Gone With the Wind factoids from other sources will watch in fascination as the saga unfolds. This documentary was produced by David Selznick's sons, and written by iconoclastic movie historian David Thomson. ~ Hal Erickson, Rovi

According to Hollywood lore, both John Wayne and director Frank Borzage refused to work with Vera Hruba Ralston, the Czech-born inamorata (and future wife) of Republic Pictures owner Herbert I. Yates. Yates somehow managed to convince Wayne to change his mind, but Borzage was replaced by contract director Joseph Kane. The result was Dakota, the company's major release of 1945, a potentially sprawling empire-building Western. Wayne and Ralston play newlyweds heading for Fargo, North Dakota, where they plan to buy land in anticipation of the coming of the railroad. They are opposed by saloon owner Jim Bender (Ward Bond), who also knows about the expansion and is coercing the homesteaders into selling their land to him and his chief lieutenant, Collins (Mike Mazurki). The latter has been elected president of the Wheat Growers Association, and soon the farmers find themselves indebted to Bender. But Wayne, with his wife's help, beats Bender and his henchman at their own game, making certain that the farmers are well compensated for selling their land to the railroad company owned by Ralston's father (Hugo Haas). Contrary to popular belief, Vera Hruba Ralston was not Dakota's chief liability. For some reason, Republic Pictures, normally a leader in action-oriented melodrama, chose to employ an inordinate amount of rear projection footage this time around, making for rather dull viewing. The Western only leaves the confines of the studio back lot for the climactic prairie fire scenes, filmed by a second unit under the direction of stunt expert Yakima Canutt. Apparently a better figure skater than an actress, Ralston actually shows a bit of spirit in some of her scenes but is rather obviously upstaged by the veteran Ona Munson as a kind-hearted saloon entertainer. Munson was borrowed from Warner Bros. and her singing of "Coax Me" by Andrew B. Sterling and Harry Von Tilzer remains one of Dakota's main pleasures despite editor Fred Allen's endless cross-cutting to Ralston's reactions. The latter was reportedly a very pleasant person devoid of a prima donna ego and would be cast opposite John Wayne again in The Fighting Kentuckian (1949). Republic serial heroines Linda Stirling and Adrian Booth can be spotted among Munson's dancing girls. ~ Hans J. Wollstein, Rovi

At 70 minutes, the Roy Rogers musical western Idaho was packaged and promoted as a "special", rather than just another B-flick. The story concerns the efforts by kindly judge Grey (Harry Shannon) to establish a "Boy's Town"-style establishment for wayward youngsters. The judge is opposed by gambling-house proprietress Belle Bonner (Ona Munson), who is a prositute in everything but name. Belle hopes to discredit Grey by revealing the judge's criminal record, but state ranger Roy Rogers comes to the rescue. The climax finds Rogers, heroine Terry Grey (Virginia Grey) and the ex-delinquent kids (played by members of the Robert Mitchell Boy Choir) capturing Belle's bandit gang. Gabby Hayes, Roy Rogers' former sidekick, is conspicuous by his absence in Idaho; Hayes was replaced on this occasion by the ubiquitous Smiley Burnette, as always cast as "Froggy Millhouse." ~ Hal Erickson, Rovi

John Wayne goes up against the lottery racket, 1880 Louisiana-style, in this passable time-killer from Republic Pictures. Arriving from New England to look into the Louisiana lottery on behalf of uplifter Blanche Brunot (Helen Westley), attorney John Reynolds (Wayne) falls in love with sultry Julie Mirbeau (Osa Munson), who attempts to persuade him that her father's gaming business is on the up and up. When a New Orleans restaurateur, Gaston (Shimen Ruskin), is found murdered, Reynolds begins to suspect that General Mirbeau's (Henry Stephenson) gang is behind the killing. To meet the attorney halfway, Mirbeau fires his chief henchman, Blackie (Ray Middleton), but is himself killed by one of Blackie's men, Cuffy Brown (Jack Pennick). Reynolds, who has been appointed special city attorney, pays his respect to Julie, but the angry girl accuses him of indirectly causing the death of her father and then flaunts her engagement to Blackie. Said engagement, however, suffers a fatal blow when Julie finds her fiancé in the arms of gambling hall hostess Pearl (Jacqueline Dalya). Taking the stand in court against the racket, Julie's testimony is interrupted when a rainstorm sweeps the area, breaking a levee. While pursuing a fleeing Blackie, Reynolds orders a steamship to block the hole in the levee, a plan that ultimately saves New Orleans. Having survived the potential disaster, Julie leaves the lottery racket behind and agrees to become Mrs. Reynolds. ~ Hans J. Wollstein, Rovi

Josef von Sternberg made his first return to exotic Shanghai since 1932's Shanghai Express in this baroque conflagration, based on a 1925 play by John Colton that required 30 revisions before it was sufficiently sanitized to pass muster with Hays Office censors. The film takes place in the gambling den of Mother Gin Sling (Ona Munson), who finds her casino threatened with closing by stuffed shirt English financier Sir Guy Charteris (Walter Huston). Gin Sling knows that the key to keeping her casino open is to dig up some dirt on Sir Guy, and it's quick in coming. She finds that Sir Guy was compelled to leave China in a hurry some time in the past, stealing his wife's money and plotting to kill her. Sir Guy ended up abandoning his wife in China and leaving her with an infant daughter. She also finds out that Sir Guy's grown-up daughter, Poppy (Gene Tierney, is a frequent and deeply indebted guest of Gin Sling's casino. Gin Sling is now ready to blackmail Sir Guy into keeping her casino open. He tracks down his daughter and tries to convince her to leave town. But Poppy refuses to budge, having fallen in love with Doctor Omar (Victor Mature). ~ Paul Brenner, Rovi

Gone With the Wind boils down to a story about a spoiled Southern girl's hopeless love for a married man. Producer David O. Selznick managed to expand this concept, and Margaret Mitchell's best-selling novel, into nearly four hours' worth of screen time, on a then-astronomical 3.7-million-dollar budget, creating what would become one of the most beloved movies of all time. Gone With the Wind opens in April of 1861, at the palatial Southern estate of Tara, where Scarlett O'Hara (Vivien Leigh) hears that her casual beau Ashley Wilkes (Leslie Howard) plans to marry "mealy mouthed" Melanie Hamilton (Olivia de Havilland). Despite warnings from her father (Thomas Mitchell) and her faithful servant Mammy (Hattie McDaniel), Scarlett intends to throw herself at Ashley at an upcoming barbecue at Twelve Oaks. Alone with Ashley, she goes into a fit of histrionics, all of which is witnessed by roguish Rhett Butler (Clark Gable), the black sheep of a wealthy Charleston family, who is instantly fascinated by the feisty, thoroughly self-centered Scarlett: "We're bad lots, both of us." The movie's famous action continues from the burning of Atlanta (actually the destruction of a huge wall left over from King Kong) through the now-classic closing line, "Frankly, my dear, I don't give a damn." Holding its own against stiff competition (many consider 1939 to be the greatest year of the classical Hollywood studios), Gone With the Wind won ten Academy Awards, including Best Picture, Best Director, Best Screenplay, Best Actress (Vivien Leigh), and Best Supporting Actress (Hattie McDaniel, the first African-American to win an Oscar). The film grossed nearly 192 million dollars, assuring that, just as he predicted, Selznick's epitaph would be "The Man Who Made Gone With the Wind." ~ Hal Erickson, Rovi

Legion of Lost Flyers is a typically action-packed entry in Universal's Richard Arlen-Andy Devine series (if one can call a group of thematically unconnected B-pictures a "series"). This time, heroes Loop Gillian (Arlen) and Beff Brumley (Devine) are, respectively, a pilot and mechanic for an Alaskan air freight service. The main plotline concerns Loop's efforts to absolve himself of blame for a recent plane crash in which several civilians were killed. He also finds time to romance heroine Paula (Anne Nagel), whose purpose in the picture is never clearly defined: like Mount Everest, she's simply "there." A pre-stardom Jack Carson plays the obligatory "lucky" pilot whose luck runs out, while Carson's vaudeville partner Dave Willock also plays a supporting role. Comedy-relief eskimo Edith Mills may seem offensive to today's ethnically sensitive viewers. ~ Hal Erickson, Rovi

In this comedy, a milquetoast clerk is betrothed to the socialite whose aunt holds a big account with his company. When the agency owner hears that the generous aunt is preparing to close her account and give all the money to the happy couple, the boss decides to stop the wedding. To do so, he hires the seductive blonde wife of a vaudevillian friend to play a "practical joke" upon the hapless clerk. The joke almost succeeds when he comes very close to losing his beloved. Fortunately, the gal is loyal and totally trusting. The marriage takes place and all is well. ~ Sandra Brennan, Rovi

Adapted from the stage play by former newspaperman Louis Weitzenkorn, Five Star Final is an uncompromising look at the consequences of journalistic irresponsibility. Hounded by his publishers to pep up circulation with a sensational story, newspaper editor Edward G. Robinson decides to revive public interest in a long-ago murder case. He discovers that a woman (Sally Starr) who'd shot her lover nearly three decades earlier is now living under a new name and is married to a pillar of society (H.B. Warner). The woman's daughter (Marian Marsh) is just about to marry the son (Anthony Bushell) of another wealthy couple. Robinson sends one of his slimier reporters (Boris Karloff), a onetime divinical student who'd been expelled for sexual misconduct, to visit the woman and secure a photograph. The underhanded reporter disguises himself as the clergyman who will officiate at the wedding, worms his way into the family's confidence, and appropriates the photo. When the story hits the papers, the woman desperately tries to call Robinson and ask him to cease and desist, but Robinson is unmoved. The disgraced woman commits suicide, as does her husband a few moments later. The groom's parents snobbishly try to call off the wedding, but the groom stands by his fiancee's side and is disinherited. The grief-maddened daughter breaks into Robinson's office with a gun, threatening to kill him for ruining her mother. She is calmed down by her fiance, who warns Robinson that he himself will come back for revenge if the newspaper ever mentions the dead woman's name again. Five Star Final was remade in 1936 as Two Against the World, this time set in a radio station instead of a newspaper office. ~ Hal Erickson, Rovi

Class distinction rears its ugly head in this otherwise tuneful little musical from the pens of Richard Rodgers and Lorenz Hart. Ona Munson plays Julie Hunter, a society belle who falls in love with Hap Harrigan (Ben Lyons), a lowly construction worker. But their different stature in life makes a romance difficult and Julie takes to claiming that Hap is an architect. Slick Clay (Walter Pidgeon), who is in love with Julie, discovers the truth and an angry Hap leaves her after an argument. But Julie is determined and eventually proves that she is perfectly willing to live on Hap's salary. Although Rodgers and Hart reportedly were so disappointed with the outcome of The Hot Heiress that they broke their contract with Warner Bros./First National, there is nothing wrong with their score, which includes "You're the Cats," "Riveter's Song," and "Too Good to Be True." ~ Hans J. Wollstein, Rovi