Guy Bellis Movies

Stanley Clements stars in Republic's Pride of Maryland as an ambitious jockey named Frankie (an inside joke: most movie jockeys were played by Frankie Darro -- who plays a supporting role in this film!). After discovering a sure-fire method of winning all his races, Frankie is barred from competition when he bets on himself. This turn of events leaves him utterly broke, since he's been sending his money to his girlfriend Christine (Peggy Stewart) and her horse-breeding father. Christine returns the favor by helping Frankie regain his professional standing. The film ends predictably with the Big Race that solves all the dilemmas posed by screenwriter John K. Butler. A better-than-average Monogram release, Pride of Maryland is marred only by its overreliance on stock footage (much of which would resurface in the Bowery Boys' Crazy Over Horses). ~ Hal Erickson, Rovi

As Academy Award-winning films go, Mrs. Miniver has not weathered the years all that well. This prettified, idealized view of the upper-class British home front during World War II sometimes seems over-calculated and contrived when seen today. In particular, Greer Garson's Oscar-winning performance in the title role often comes off as artificial, especially when she nobly tends her rose garden while her stalwart husband (Walter Pidgeon) participates in the evacuation at Dunkirk. However, even if the film has lost a good portion of its ability to move and inspire audiences, it is easy to see why it was so popular in 1942-and why Winston Churchill was moved to comment that its propaganda value was worth a dozen battleships. Everyone in the audience-even English audiences, closer to the events depicted in the film than American filmgoers-liked to believe that he or she was capable of behaving with as much grace under pressure as the Miniver family. The film's setpieces-the Minivers huddling in their bomb shelter during a Luftwaffe attack, Mrs. Miniver confronting a downed Nazi paratrooper in her kitchen, an annual flower show being staged despite the exigencies of bombing raids, cleric Henry Wilcoxon's climactic call to arms from the pulpit of his ruined church-are masterfully staged and acted, allowing one to ever so briefly forget that this is, after all, slick propagandizing. In addition to Best Picture and Best Actress, Mrs. Miniver garnered Oscars for best supporting actress (Teresa Wright), best director (William Wyler), best script (Arthur Wimperis, George Froschel, James Hilton, Claudine West), best cinematography (Joseph Ruttenberg) and best producer (Sidney Franklin). Sidebar: Richard Ney, who plays Greer Garson's son, later married the actress-and still later became a successful Wall Street financier. Mrs. Miniver was followed by a 1951 sequel, The Miniver Story, but without the wartime setting the bloom was off the rose. ~ Hal Erickson, Rovi

Having tried to wrest Shirley Temple away from 20th Century-Fox for nearly seven years, MGM was finally able to put the enormously popular child star under contract in 1941. Alas, by this time the bloom was off the rose for 13-year-old Temple, and her inaugural MGM production Kathleen was met with sublime indifference. For the record, the film casts Temple as Kathleen Davis, the irritatingly forthright daughter of neglectful widower John Davis (Herbert Marshall). Fed up with being left in charge of her superstrict nursemaid (Nella Walker), Kathleen welcomes the arrival of her new governess, warm-hearted Dr. A. Martha Kent (Laraine Day). In her usual take-charge manner, our heroine begins trying to arrange a marriage between her father and Martha, choosing to ignore the fact that Mr. Davis already has a fiancee in the form of actress Lorraine Bennett (Gail Patrick). So poorly did Kathleen fare at the box office that MGM dropped Shirley Temple's contract after this one film. ~ Hal Erickson, Rovi

In the 1580s, the Sea Hawks -- the name given to the bold privateers who prowl the oceans taking ships and treasure on behalf the British crown -- are the most dedicated defenders of British interests in the face of the expanding power of Philip of Spain. And Captain Geoffrey Thorpe (Errol Flynn) is the boldest of the Sea Hawks, responsible for capturing and destroying more than 50 Spanish ships and ten Spanish cities. His capture of a Spanish galleon, however, leads to more than he bargained for, in a romance with the ambassador's niece (Brenda Marshall) and the first whiff of a plan to put Spanish spies into the court of Elizabeth I (Flora Robson). Thorpe's boldness leads him to a daring raid on a treasure caravan in Panama which, thanks to treachery within Elizabeth's court, gets him captured and, with his crew, sentenced to the life of a slave aboard a Spanish ship. Meanwhile, Philip of Spain decides to wipe the threat posed by Elizabeth's independence from the sea by conquering the island nation with his armada. Thorpe, though chained to an oar, knows who the traitor at court is and plans to expose him and Philip's plans, but can he and his men break their bonds and get back to England alive in time to thwart the plans for conquest?

The Sea Hawk was the last and most mature of Flynn's swashbuckling adventure films, played with brilliant stylistic flourishes by the star at his most charismatic, and most serious and studied when working with Flora Robson, whom he apparently genuinely respected. Boasting the handsomest, most opulent production values of a Warner Bros. period film to date, The Sea Hawk was made possible in part by a huge new floodable soundstage. Another highlight was the best adventure film score ever written by Erich Wolfgang Korngold; and the script's seriousness was nailed down by various not-so-veiled references not to 16th century Spain but 20th century Nazi Germany. The movie was cut by over 20 minutes for a reissue with The Sea Wolf, and the complete version was lost until a preservation-quality source was found at the British Film Institute. Since then, that 128-minute version -- which actually contains a one-minute patriotic speech by Robson as Elizabeth that was originally left out of U.S. prints, as well as amber tinting in all of the Panamanian sequences -- has become standard. ~ Bruce Eder, Rovi

Shirley Temple's first Technicolor feature, The Little Princess was inspired by the oft-filmed novel by Frances Hodgson Burnett. Set in turn-of-the-century England, the film finds Temple being enrolled in a boarding school by her wealthy widowed father (Ian Hunter), who must head off to fight in the Boer War. At first, Temple is treated like royalty; her behavior couldn't be more down to earth, but this preferential treatment foments resentment. When her father is reported killed in the war, circumstances are severely altered. The spiteful headmistress (Mary Nash) relegates Temple to servant status and forces the girl to sleep in a drafty attic. She keeps her spirits up by hoping against hope that her father will return, and to that end she haunts the corridors of a nearby military hospital. Queen Victoria doesn't have to make a guest appearance in the tearfully joyous closing sequence, but it does serve as icing on the cake to this, one of Temple's most enjoyable feature films. Reliable Shirley Temple flick supporting actors Cesar Romero and Arthur Treacher are back in harness in The Little Princess, while adult leading lady Anita Louise figures prominently in a sugary dream sequence. ~ Hal Erickson, Rovi