Robert E. O'Connor Movies

Popular film lore has it that The Jazz Singer was the film that established the talkie as the pre-eminent film medium in 1927. But it was Al Jolson's follow-up film, The Singing Fool that actually introduced the sound film to the general film-going population of the United States and it was the popularity of The Singing Fool that paved the way for the wide-acceptance of sound features. Jolson plays Al Stone, a singing waiter at Blackie Joe's cafe, who writes a hit song and sky-rockets to success as a Broadway headliner. Looking ahead to unlimited success, Al falls in love with scheming golddigger Molly Winton (Josephine Dunn), whom he marries. When Molly gives him a son, Sonny Boy (Davey Lee), Al is beside himself with love for his cutey-pie offspring. But when Molly deserts him for small-time gangster John Perry (Reed Howes) and takes Sonny Boy with her, Al is heartbroken. His spirit shattered, Al becomes a bum and, after a time, regains his singing waiter job at Blackie Joe's. Back at the dive, Grace (Betty Bronson), a cigarette girl secretly in love with Al, convinces him to make a comeback. Al struggles and regains his confidence and hits the stage like a trouper -- even when he hears that his beloved Sonny Boy has died in a hospital ward. ~ Paul Brenner, All Movie Guide

Most of Dressed to Kill takes place at a swank nightclub which serves as an Underworld rendezvous. Heroine Jean (Mary Astor) hopes to recover the bonds that her imprisoned sweetheart is accused of stealing. To do this, Jean sidles up to mob boss Mile-Away Barry (Edmund Lowe), figuring that he was the mastermind behind the theft. Unfortunately, the crooks play for keeps, and by Reel Five it looks as though Jean is going to be taken "for a ride." But Mile-Away Barry undergoes a sudden change of heart, putting his own life on the line to save Jean's. One symbolic touch -- the chief heavy dying from police bullets under an advertising billboard reading "You Can't Win" -- was borrowed from Josef Von Sternberg's Salvation Hunters and would be used again, with variations, in Howard Hawks' Scarface. ~ Hal Erickson, All Movie Guide

Lewis Stone, best known to modern viewers as kindly Judge Hardy from the "Andy Hardy" series, was on occasion not so kindly in films. In Freedom of the Press, Stone plays a thoroughly corrupt politician named Daniel Steele. Embarking upon a mayoral campaign, Steele sets about to destroy his enemies, starting with newspaper publisher John Ballard (H.B. Warner). He goes so far as to order Ballard's assassination. The publisher's son Bill (Malcolm McGregor), previously an aimless wastrel, takes over the newspaper and mounts an expose of Steele's dirty political machine. ~ Hal Erickson, All Movie Guide

Released in both silent and sound versions, Isle of Lost Ships stars Jason Robards Sr. as Frank Howard, an accused criminal being transported to prison by no-nonsense cop Jackson (Robert Emmet O'Connor). While sailing towards their destination, prisoner and policeman are swept up in a storm at sea and deposited on an island "decorated" with derelict ships. Having already performed heroically during the storm, Howard further proves his mettle by saving heroine Dorothy Renwick (Virginia Valli) from lecherous privateer Captain Forbes (Noah Beery Sr), killing a marauding shark, and braving the depths of the Sargasso Sea to repair a submarine. Understandably impressed by all this, Jackson changes his mind about following the letter of the law and sets about to prove Howard's innocence. Isle of Lost Ships was later reissued in excerpt form as the Robert Youngson one-reeler An Adventure to Remember. ~ Hal Erickson, All Movie Guide

Paid was the third film version of the Bayard Veiller stage play Within the Law. Joan Crawford is cast as a shopgirl falsely arrested for stealing and sent to jail for three years. She swears vengeance on the store owner (Purnell Pratt), and to that end sets up a shady but legal racket wherein she and partner Marie Prevost act as "matchmakers" for lonely old men. It's all part of a plan to fleece the store owner by placing him in a compromising position, but Joan is sidetracked when she meets the owner's son (Kent Douglass. Marrying him in order to exact revenge on his father, Crawford falls in love with the young man and abandons her scheme. But once more, Crawford is wrongly accused of a crime, this time of murder. Paid ends happily for all concerned--especially MGM, which remade this reliable property (again!) under its old title Within the Law (1939), with Ruth Hussey in the lead. ~ Hal Erickson, All Movie Guide

The one-time-only combination of director John Ford and actors Spencer Tracy (in his first film) and Humphrey Bogart (in his second) should be recommendation enough for the offbeat comedy-drama Up the River. Tracy and Warren Hymer play Saint Louis and Dannemora Dan, two hard-boiled but likeable prison convicts. While in stir, the boys befriend another convict named Steve (Bogart), who is in love with woman's-prison inmate Judy (Claire Luce). Eventually, Steve and Judy are released, whereupon they get married and head to a small town where no one knows of their criminal pasts. It isn't long, however, before the couple's future happiness is threatened by dishonest salesman Frosby (Gaylord Pendleton), the no-good rat who framed Judy. Frosby threatens to expose Steve's prison record if the latter refuses to go along with a scheme to defraud his neighbors. Learning of this situation, Saint Louis and Dan escape from jail, foil Frosby's scheme, and return behind bars just in time to play in a prison all-star baseball game! Nonsensical to say the least, Up the River is also a film that's hard to dislike. It was remade by 20th Century-Fox in 1938, with Preston S. Foster and Tony Martin respectively in the Tracy and Bogart roles. ~ Hal Erickson, All Movie Guide

This thriller begins in 1889 as a lover kills another in a mansion. The film then jumps ahead to 1929 as an eccentric antique dealer, his daughter, maid and butler are moving in to the same mansion. Upon the arrival of the daughter's fiance, a reporter, a series of strange murders start. ~ Sandra Brennan, All Movie Guide

Bebe Daniels plays a safecracker posing as a French maid in order to gain access to wealthy homes. In the midst of a nocturnal search for a cache of valuables, Daniels is interrupted by Ben Lyon, another safecracker. Narrowly escaping arrest, Bebe and Ben decide to pool their talents, but Bebe gets the urge to reform and encourages Ben to do the same. As it turns out, both thieves are swindled out of their own savings by a seemingly benign old couple. Alias French Gertie, based on the Bayard Veiller play The Chatterbox, represents the first screen teaming of future newlyweds Bebe Daniels and Ben Lyon. ~ Hal Erickson, All Movie Guide

The inimitable Edna May Oliver makes a meal of the title role in the Technicolor backstage drama Fanny Foley Herself. The star is cast in the Marie Dressler-like role of a vaudeville performer who has trouble dividing her time equally between her career and her two daughters (Helen Chandler, Rochelle Hudson), and as a result she alienates both girls. Fanny Foley's true colors come through in the end, when she braves an airplane ride through a driving storm and makes a perilous parachute jump when she is led to believe that her daughter Carmen (Rochelle Hudson) has been sexually compromised by a cad. The fact that Carmen is living blissfully and respectfully with hubby Teddy (John Darrow) does not alter the fact that Fanny has proven her devotion to her progeny. The film was retitled Top of the Bill in Great Britain, where the name "Fanny" had an objectionable connotation. ~ Hal Erickson, All Movie Guide

Man to Man refers to the relationship between father John Bolton (Grant Mitchell) and son Michael (Phillips Holmes) -- or least, to the relationship as it should be. After serving a prison sentence for homicide (established by the screenwriters as justifiable), John starts life anew as a small-town barber. When Michael learns the truth about John's past, it causes a rift in the relationship between the two men. But when Michael is accused of embezzlement, John gallantly shoulders the blame, even though he believes his son to be guilty -- while Michael, convinced that his dad stole the money, refuses to recant his confession. Only after the true culprit is exposed are father and son tearfully reunited. Dwight Frye does his patented "Renfield" overacting in a minor role. ~ Hal Erickson, All Movie Guide

William Wellman's landmark gangster movie traces the rise and fall of prohibition-era mobster Tom Powers. We are first shown various episodes of Tom's childhood with the corrupting influences of the beer hall, pool parlor, and false friends like minor-league fence Putty Nose. As young adults, Tom (James Cagney) and his pal, Matt Doyle (Edward Woods), are hired by ruthless but innately decent bootlegger Paddy Ryan (Robert Emmett O'Connor). The boys quickly rise to the top of the heap, with all the accoutrements of success: custom-tailored tuxedoes, fancy cars, and gorgeous girls. All the while, Tom's loving (and somewhat addlepated) mother (Beryl Mercer) is kept in the dark, believing Tommy to be a good boy, a façade easily seen through by his older brother Mike (Donald Cook). Tommy's degeneration from brash kid to vicious lowlife is brought home in a famous scene in which he smashes a grapefruit in the face of his latest mistress (Mae Clarke). Some dated elements aside, The Public Enemy is as powerful as when it was first released, and it is far superior to the like-vintage Little Caesar. James Cagney is so dynamic in his first starring role that he practically bursts off the screen; he makes the audience pull for a character with no redeeming qualities. The film is blessed with a superior supporting cast: Joan Blondell is somewhat wasted as Matt's girl, Mamie; Jean Harlow is better served as Tom's main squeeze, Gwen (though some of her line readings are a bit awkward); and Murray Kinnell is slime personified as the deceitful Putty Nose, who "gets his" in unforgettable fashion. Despite a tacked-on opening disclaimer, most of the characters in The Public Enemy are based on actual people, a fact not lost on audiences of the period. Current prints are struck from the 1949 reissue, which was shortened from 92 to 83 minutes (among the deletions was the character of real-life hoodlum Bugs Moran). ~ Hal Erickson, All Movie Guide

Bank president Thomas Dickson (Walter Huston) has instituted a lending policy that shows great faith in ordinary people but which also irritates his board of directors, as does his claim that an increased money supply will help end the Depression. Elsewhere in the bank, criminal Dude Finlay (Robert Ellis) has coerced head cashier Cluett (Gavin Gordon) into cooperating with a robbery by threatening to reveal Cluett as a habitual gambler. Dickson's neglected wife Phyllis (Kay Johnson), upset that Thomas has forgotten their anniversary, agrees to go out with Cluett, but they're spotted by head teller Matt Brown (Pat O'Brien). Matt goes to Cluett's apartment and convinces Phyllis to leave with him just as the robbery takes place back at the bank. Because he was responsible for locking the vault, Matt is assumed to be in league with the robbers, and he's arrested. News of the robbery leads to frantic depositors demanding their money back from the bank; Dickson cannot talk them out of it, and the bank is running out of money. This gives the board of directors the leverage over Dickson that they've been seeking, and they try to force his resignation. ~ Bill Warren, All Movie Guide