Noel Neill Movies

14-year-old Shirley Temple receives her first on-screen kiss in this innocuous romantic comedy. Temple is cast as the titular Annie Rooney, the starry-eyed, idealistic daughter of erstwhile --and impoverished--inventor Tim Rooney (William Gargan). Annie is swept off her feet by intellectual high-schooler Marty White (Dickie Moore), the son of a millionaire rubber magnate (Jonathan Hale). At first cold-shouldered by Marty's snooty friends, Annie wins them over at a party with a lively jitterbug dance (future choreographer Roland DuPree, who appears in the film as Joey, doubled for Dickie Moore in the dance sequence). It is, however, a different story with Marty's socially conscious parents, who are appalled by such riff-raff as Annie's dad and grandpop (Guy Kibbee). But circumstances change when, in true "touring stock company" fashion, Tim Rooney comes up with a new form of synthetic rubber which Mr. White simply cannot do without. In later years, Shirley Temple's co-star Dickie Moore would recall that the much-publicized scene in which he kisses Temple was extremely embarrassing for him, inasmuch as it was the first time he had ever kissed any girl; conversely, in her autobiography Temple cheekily pointed out that it most certainly wasn't her first time, and that she breezed through the scene with her customary professional aplomb. ~ Hal Erickson, All Movie Guide

Let's Face It is adapted from the Broadway musical of the same name, which in turn was based on the old Norma Mitchell/Russell G. Medcraft stage chestnut The Cradle Snatchers. The basic story of three neglected wives who hire a trio of young men as professional companions is updated for the World War II era: The three young men are now lonely GIs. Bob Hope is the funniest member of the threesome engaged by the wives in order to make their wandering hubbies jealous. He is paired off with vivacious Betty Hutton, both of whom fight a complex situation-comedy plotline in order to find time for their expected specialties. Hope's best moment is a parody of the cigarette-lighting bit from Now, Voyager, in which he winds up with six burning cigarettes in his mouth. The stage version of Let's Face It was essentially a vehicle for Danny Kaye, who of course played the role essayed in the film by Bob Hope. ~ Hal Erickson, All Movie Guide

Rainbow Island is a lavish Technicolor confection designed to show off the physical attributes of star Dorothy Lamour. This time Lamour is a white girl raised as native on a tropical isle. Barry Sullivan, Eddie Bracken and Gil Lamb play merchant-marine sailors hiding from Japanese troops on Lamour's island. The storyline may have had dramatic inclinations, but these are forgotten amidst several seductive musical numbers and numerous shots of Dorothy swaying in her patented sarong. Perhaps aware that no one could have taken this film seriously, Ms. Lamour plays her role for laughs, and gets them. Rainbow Island was based on a story by silent screen star Seena Owen, the "Dorothy Lamour" of her time. ~ Hal Erickson, All Movie Guide

This 1940s drama implies that children do indeed learn what they live as it tells the story of a teenage girl who runs away from her posh boarding school to be with her ne'er-do-well, blue-collar boy friend because she believes her wealthy parents do not care about her. Soon the idle kids are getting into minor trouble that turns major when they find themselves accused of murder. ~ Sandra Brennan, All Movie Guide

Our Hearts Were Young and Gay was based on the lighthearted joint autobiography of actress Cornelia Otis Skinner and humorist Emily Kimbrough. Gail Russell and Diana Lynn star respectively as Cornelia and Emily, two innocent but fun-loving young girls at loose in the Roaring 20s. The story concerns the girls' first trip abroad to London and Paris, and the various misadventures encountered therein. The more amusing moments involve a pair of rabbit-skin capes that begin shedding at the most inopportune moments, and a lengthy episode in which the girls are stranded atop Notre Dame Cathedral at midnight. And of course there's romance, in the form of handsome young doctor Tom Newhall (Bill Edwards) and college "Lothario" Avery Moore (James Brown). Also appearing are Charlie Ruggles as Cornelia's actor-father Otis Skinner and Dorothy Gish (whose talkie film appearances were sadly infrequent) as Mrs. Skinner. So well-received was Our Hearts Were Young and Gay that Paramount commissioned a 1946 sequel, Our Hearts Were Growing Up . ~ Hal Erickson, All Movie Guide

The Stork Club, the famed New York nightspot immortalized by columnist Walter Winchell (in return for special favors from its owners), is the setting for this typically brash Betty Hutton musical. Hutton plays a young hat check girl who rescues an elderly tramp (Barry Fitzgerald) from drowning. The old bum turns out to be a millionaire, and expresses his gratitude by setting up Hutton in luxury--asking for nothing in return. Hutton's boyfriend Don DeFore suspects hanky panky, but all is forgiven during the obligatory floor show. There are rumors that the Stork Club itself financed The Stork Club as a feature-length commercial. Whatever the case, ownership of the film was cloudy enough to allow it to slip into the public domain in 1982, which explains why Stork Club seems to be running 24 hours a day on cable TV. ~ Hal Erickson, All Movie Guide

In this high-spirited musical comedy, J. Newport Bates (Eddie Bracken) is a millionaire who finds women are only interested in him for his money. When he becomes infatuated with Teddy Collins (Veronica Lake), a cigarette girl, he tries to hide his true identity from her, hoping she'll be interested in him for himself rather than his bank account. However, once Teddy figures out who he is, Bates drops her, and he is about to give up on women entirely when he meets Sue Thomas (Marjorie Reynolds), a nice girl who isn't interested in his money (or at least not yet). Musical satirists Spike Jones and his City Slickers also appear, though most prints are missing a bit from one of their musical numbers: a verse from a song that made fun of Eleanor Roosevelt was clipped after the film's initial engagements. ~ Mark Deming, All Movie Guide

Freddy Stewart and June Preisser, Monogram's answer to Donald O'Connor and Peggy Ryan, star in Junior Prom. The plot concerns a high-school election, with a snotty rich kid literally buying his way to the class presidency. The backers of hero Freddy Stewart garner votes by using music, specifically big-band numbers and dancing specialties. Guest stars include bandleaders Abe Lyman and Eddie Heywood, Harry "The Hipster" Gibson and the Airliners. Junior Prom represented one of producer Sam Katzman's final Monogram efforts before moving his base of operations to Columbia. ~ Hal Erickson, All Movie Guide

The fun in this musical comedy begins when a popular swing singer mysteriously vanishes and a group of prank-loving college students try to pass off a schoolmate, the crooner's exact double, as the missing singer. ~ Sandra Brennan, All Movie Guide

A talented small town gal from Tennessee ends up in the big city after she is discovered by a talent scout. Though the scout is genuinely enthused about her latest discovery, her employers ignore the young girl, causing the enterprising scout to quit and team up with another former co-worker to create their own talent agency. With their help, the girl becomes a big hit. Gene Krupa and his band are the featured artists of this low-budget musical. ~ Sandra Brennan, All Movie Guide

A woman struggles to reassemble her broken life in this drama that features Susan Hayward in her first starring role. The woman started out as a night-club singer, but abandoned her career after marrying a budding radio star. At first she does everything she can to insure his success, but when he finally hits the big-time, the woman finds herself deeply depressed and turning toward the bottle for solace because he is increasingly absent from her life. She becomes a full-fledged alcoholic and her husband, unable to take it anymore begins divorce and custody procedures. It takes such extreme measures to wake her up to her problem. Fortunately, with hard work, and renewed support from her husband, she overcomes her addiction. ~ Sandra Brennan, All Movie Guide

This musical tells of two argumentative brothers who accidently find themselves working on the same musical performance. ~ All Movie Guide

John Farrow's movie adaptation of Kenneth Fearing's The Big Clock, based on a screenplay by Jonathan Latimer (and produced by future James Bond screenwriter Richard Maibaum), is a near-perfect match for the book, telling in generally superb visual style a tale set against the backdrop of upscale 1940s New York and offering an early (but accurate) depiction of the modern media industry. Told in the back-to-front fashion typical of film noir, it opens with George Stroud (Ray Milland) trapped, his life in danger, his survival measured in the minute-by-minute movements of the huge central clock of the office building where he's hiding. In flashback we learn that Stroud works for media baron Earl Janoth (Charles Laughton), loosely based on Henry Luce, as the editor of Crimeways magazine. Janoth is a manipulative, self-centered megalomaniac with various obsessions, including clocks; among other manifestations of the latter fixation, the skyscraper housing his empire's headquarters has as one of its central features a huge clock that reads out the time around the world down to the second.

Twenty-four hours earlier, on the eve of a combined honeymoon/vacation with his wife, Georgia (Maureen O'Sullivan), that has been put off for seven years, Stroud was ordered by Janoth to cancel the trip in order to work on a special project, and he resigned. As the narrative picks up speed, in his depression, Stroud misses the train his wife is on and crosses paths with Pauline York (Rita Johnson), a former model for Janoth's Styleways magazine, who is also Janoth's very unhappy mistress, and the two commiserate by getting drunk together in a night on the town. While hurriedly leaving Pauline's apartment, he glimpses Janoth entering. Janoth and York quarrel, and the publisher kills her in a jealous rage, using a sundial that she and Stroud picked up the night before while wandering around in their revels. Janoth and his general manager, Steve Hagen (George Macready), contrive to pin the murder on the man that Janoth glimpsed leaving York's apartment, whom he thinks was named Jefferson Randolph -- the name Stroud was drunkenly bandying about the night before. He gets Stroud back to Crimeways to lead the magazine's investigators in hunting down "Jefferson Randolph," never realizing that this was Stroud. And Stroud has no choice but to return, desperately trying to gather evidence against Janoth and, in turn, prevent the clues gathered by the Crimeways staff from leading back to him. The two play this clever, disjointed game of cat-and-mouse, Janoth and Hagen planting evidence that will hang "Randolph" (and justify his being shot while trying to escape), while Stroud, knowing what they don't about how close the man they seek to destroy is, arranges to obscure those clues and, in a comical twist, sends the least capable reporters and investigators to follow up on the most substantial clues.

Janoth sometimes seems to be unraveling at the frustrating pace and lack of conclusion to the hunt, but Stroud can't escape the inevitable, or the moments of weakness caused by fear and his own guilt over his near-unfaithfulness to his wife or the inscrutable gaze of Janoth's mute bodyguard Bill Womack (Harry Morgan), a stone-cold killer dedicated to protecting his employer. The trail of proof and guilt winds ever tighter around both men, taking some odd twists courtesy of the eccentric artist (Elsa Lanchester) who has seen the suspect. Milland is perfect in the role of the hapless Stroud, and Laughton is brilliant as the vain, self-centered Janoth, but George Macready is equally good as Hagen, his smooth, upper-crust Waspy smarminess making one's skin crawl. Also worth noting is Harry Morgan's sinister, silent performance as Womack, and sharp-eyed viewers will also recognize such performers as Douglas Spencer, Noel Neill (especially memorable as a tart-tongued elevator operator), Margaret Field (Sally's mother), Ruth Roman, and Lane Chandler in small roles. Additionally, the Janoth Publications building where most of the action takes place is almost a cast member in itself, an art deco wonder, especially the room housing the clock mechanism and the lobby and vestibules, all loosely inspired by such structures as the Empire State Building and the real-life Daily News headquarters on East 42nd Street. This film was later remade as No Way Out. ~ Bruce Eder, All Movie Guide