Barry Norton Movies

A jewel thief is at large on the Riviera, and all evidence points to retired cat burglar Cary Grant. Escaping the law, Grant heads to the Cote D'Azur, where he is greeted with hostility by his old partners in crime. All of them had been pardoned due to their courageous activities in the wartime Resistance, and all are in danger of arrest thanks to this new crime wave. But Grant pleads innocence, and vows to find out who's been copying his distinctive style. With the reluctant aid of detective John Williams, Grant launches his investigation by keeping tabs on the wealthiest vacationers on the Riviera. One such person is heavily bejeweled Jessie Royce Landis, who is as brash and outspoken as her daughter Grace Kelly is quiet and demure. But "still waters run deep," as they say, and soon Kelly is amorously pursuing the far-from-resistant Grant. Part of Kelly's attraction to Grant is the possibility that he is the thief; the prospect of danger really turns this gal on. Being Cary Grant, of course, he can't possibly be guilty, which is proven in due time. But by film's end, it's obvious that Kelly has fallen hard for Grant, crook or no crook. Occasionally written off as a lesser Alfred Hitchcock film (did we really need that third-act fashion show?), To Catch a Thief is actually as enjoyable and engaging now as it was 40 years ago. Though the Riviera location photography is pleasing, our favorite scene takes place in a Paramount Studios mockup of a luxury hotel suite, where Grant and Kelly make love while a fireworks display orgasmically erupts outside their window. And who could forget the scene where Jessie Royce Landis disdainfully stubs out a cigarette in an expensive plate of eggs? Adapted by frequent Hitchcock collaborator John Michael Hayes from a novel by David Dodge To Catch a Thief won an Academy Award for cinematographer Robert Burks. ~ Hal Erickson, Rovi

In this drama, an embittered widow, a former concert singer, can't help but blame Lassie for her son's death. Needing help with her chores, she hires an orphan from the local home. At first she remains aloof towards the charming lad who quickly bonds with the collie dog, but as time passes she can't help but develop feelings for the boy. Later Lassie redeems herself when she saves the boy from a terrible fire in the orphanage. After that, the widow suddenly realizes that she does indeed love the boy and adopts him and puts Lassie back in her good graces. ~ Sandra Brennan, Rovi

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, Rovi

Smugglers are working the border between Mexico and California in this action-filled and, of course, tuneful Gene Autry Western. Autry, sidekick Sterling Holloway, and the Cass County Boys get involved with fiery Elena Del Rio (Adele Mara), a singer in the local cantina who alternately throws knives at them and helps catch a gang of jewel smugglers taking advantage of local refugees. Chasing in and out of Joshua Tree National Monument, our heroes go up against a couple of supposedly law-abiding citizens, a peon (Martin Garralaga) who isn't what he pretends to be, and the local rural residents. Happily, everyone takes time out from the mayhem to perform Jack Elliott's "Twilight on the Rio Grande" and "The Pretty Knife Grinder," Smiley Burnette's "It's My Lazy Day" and "Great Grand Dad," Nat Simon and Charles Tobias' "The Old Lamplighter" and a couple of other selections. In addition to Joshua Tree National Monument, Twilight on the Rio Grande was filmed at Victorville, CA. ~ Hans J. Wollstein, Rovi

The 80-star cast of Forever and a Day would certainly not have been feasible had not most of the actors and production people turned over their salaries to British war relief -- a point driven home during the lengthy opening credits by an unseen narrator. The true star of the film is a stately old manor house in London, built in 1804 by a British admiral (C. Aubrey Smith) and blitzed in 1940 by one Adolf Hitler. Through the portals of this house pass a vast array of Britons, from high-born to low. The earliest scenes involve gay blade Lt. William Trimble (Ray Milland), wronged country-girl Susan (Anna Neagle), and wicked landowner Ambrose Pomfret (Claude Rains). We move on to a comic interlude involving dotty Mr. Simpson (Reginald Owen), eternally drunken butler Bellamy (Charles Laughton), and cockney plumbers Mr. Dabb (Cedric Hardwicke) and Wilkins (Buster Keaton). Maidservant Jenny (Ida Lupino) takes over the plot during the Boer War era, while the World War I sequence finds the house converted into a way-station for soldiers (including Robert Cummings) and anxious families (including Roland Young and Gladys Cooper). Finally we arrive in 1940, with American Gates Pomfret (Kent Smith) and lady-of-the-house Lesley Trimble (Ruth Warrick) surveying the bombed-out manor, and exulting over the fact that the portrait of the home's founder, Adm. Eustace Trimble (Smith), has remained intact -- symbolic proof of England's durability in its darkest hours. The huge cast includes Dame May Whitty, Edward Everett Horton, Wendy Barrie, Merle Oberon, Nigel Bruce, Richard Haydn, Donald Crisp, and a host of others -- some appearing in sizeable roles, others (like Arthur Treacher and Patric Knowles) willingly accepting one-scene bits, simply to participate in the undertaking. Seven directors and 21 writers were also swept up in the project. Forever and a Day was supposed to have been withdrawn from circulation after the war and its prints destroyed so that no one could profit from what was supposed to have been an act of industry charity. Happily for future generations, prints have survived and are now safely preserved. ~ Hal Erickson, Rovi

The stunningly beautiful Lupita Tovar stars in the Mexican drama El Traidor. The storyline, however, is carried by Jose Bohr, who also wrote and directed. Bohr plays a crusading crime fighter, dedicated to bring a gang of dope peddlers to justice. Somewhere among Bohr's circle of friends is a traitor, equally dedicated to allowing the crooks to escape scot-free. Featured in the cast is Argentine leading man Barry Norton, whose starring career in the U.S. had dwindled to bit parts due to his inability to master the English language. Energetically directed, El Traidor suffers from murky cinematography. ~ Hal Erickson, Rovi

Produced and directed by New York banker King Guidice, this obscure Northwest melodrama was filmed on locations at Lake Arrowhead, Big Bear, and Victorville, California. A famous singer, Andy Rance (Barry Norton), suffers a nervous breakdown and heads into the wilderness with his faithful dog, Flash. The pooch saves his master from a poisonous snake, a couple of wolves, and other wildlife dangers. Andy and his dog receive unwanted female companionship when lovely Celeste (Vyola Vonn) parachutes into their camp. Man and dog accompany the girl to her grandfather's lodge, where a gramophone recording reveals that Celeste is the girl singer that Andy has long admired. According to some reports, Guidice produced both a Spanish and a German version of this 41-minute long back-to-nature melodrama, which, strangely, was advertised as a musical. ~ Hans J. Wollstein, Rovi

The "Crime Club" detective-novel series spawned a film counterpart in 1935, which for the next four years bounced around such studios as Warner Bros., Universal, and Chesterfield. The last-named company's contribution was Murder at Glen Athol, based on a novel by Norman Lippincott. Usually cast as an oily villain, John Miljan heads the cast as detective Bill Holt, who has suspects aplenty to choose from when the titular murder takes place. The catalyst for the killing -- and all follow-up killings -- is faithless wife Muriel Randall, an uncharacteristic assignment for brassy blonde character-comedienne Iris Adrian. As was usually the case in the Chesterfield product, Murder at Glen Athol is populated by several former silent-movie favorites, including Barry Norton, Betty Blythe (heavily disguised as an old lady, which she wasn't at the time) and Robert Frazer. ~ Hal Erickson, Rovi

This low-budget precursor to Howard Hawks' Only Angels Have Wings stars Jack Holt as Bob Kent, the head of a charter-airplane service in South America. When not risking his life flying mail and supplies through the treacherous Andes, Kent must contend with the earthbound hostilities between his Bolivian and Paraguayan employees. He also gets into hot water by attempting to romance Theresa (Mona Barrie), never suspecting that she's the wife of Bolivian major Tovar (Antonio Moreno). The conclusion finds Kent taking to the air in mortal combat against a renegade pilot. For a man who was reportedly deathly afraid of flying, Jack Holt certainly made more than his share of aviation pictures. ~ Hal Erickson, Rovi

The first of two film version of Fannie Hurst's novel, 1934's Imitation of Life chronicles the friendship between two women--one white (Claudette Colbert), one black (Louise Beavers). Colbert is a widow with a baby daughter who hires Beavers, who also has a daughter, as a housekeeper. Colbert is a working girl who yearns to operate her own business, which she does thanks to Beavers' special pancake recipe. A family friend (Ned Sparks) suggests that the ladies form a corporation to merchandise the "Aunt Delilah" pancake mix, and within ten years both women are quite wealthy. Colbert's relationship with her teenaged daughter (Rochelle Hudson) is strained when both ladies vie for the attentions of the same man, but these problems are minor compared to the travails of Beavers, who not only must deal with the De Facto segregation of the 1930s but must also contend with her restless daughter (Fredi Washington), who resents being an African-American and attempts to pass for white. The heartbroken Beavers dies, and at her funeral her now-chastened daughter weeps out her apologies for turning her back on her mother. Imitation of Life was remade in 1959, its story glamorized and updated to accommodate star Lana Turner. ~ Hal Erickson, Rovi

This drama, an adaptation of a novel by A.J. Cronin, chronicles the exploits of an alcoholic doctor whose career is in shambles as he embarks upon a cruise to the Canary Islands. The deeply despondent physician spends much of the journey hiding in his stateroom staring at the walls and woefully reminiscing about his younger, more successful days. He is unaware of the young female missionary who has a crush upon him. Instead he is interested in the affections of a married woman. When the boat docks upon the island it is discovered that yellow fever is running rampant. The doctor manages to dry out long enough to save the victims and his self-respect is restored. Later the married woman gets a divorce and she and the doctor have a real relationship. ~ Sandra Brennan, Rovi