Maureen O'Sullivan Movies

Judging by the number of times it's popped up on TV, Tarzan's Secret Treasure was one of the most popular of the MGM "Tarzan" pictures, though it's hardly the best. This time around, a group of gold hunters invade the domain of Tarzan (Johnny Weissmuller), Jane (Maureen O'Sullivan) and Boy (Johnny Sheffield). Expedition leader Professor Elliot (Reginald Owen) is an honorable man, but his assistants Medford (Tom Conway) and Vandemeer (Philip Dorn) are scoundrels, while the party's aggressively Irish general factotum O'Doul (Barry Fitzgerald) remains an enigma until the final reel. Thinking they've done away with Tarzan, Medford and Vandemeer force Jane and Boy to lead them through the jungle to a hidden gold mine, only to be captured by a hostile tribe which specializes in literally tearing its captives apart (via tastefully gruesome stock footage from 1936's Tarzan Escapes). Will ol' Tarz revive in time to rescue his loved ones from fierce tribesmen and even fiercer crocodiles? Perhaps the "campiest" of MGM's "Tarzan" entries, Tarzan's Secret Treasure is chock full of laughable vignettes, one or two of them intentional. Best line: When Jane asks Boy what he's been doing all day, the plucky youngster, who's just survived a series of hair-raising perils culminating with his nearly being burned at the stake by superstitious natives, replies "Oh, nothing much." ~ Hal Erickson, All Movie Guide

Directed in 1940 by S. Sylva Simon, Sporting Blood stars Robert Young as racing stable owner Myles Vanders. Shortly after traveling back to his ramshackle family estate in Virginia, he stirs up a long-term family rivalry with Davis Lockwood (Lewis Stone), who runs a neighboring stable. Vanders (Young), in order to get under Lockwood's (Stone) skin, initiates a romance with Lockwood's daughter Linda (Maureen O'Sullivan. As the big race approaches, however, Vanders slowly realizes he truly loves Linda. Though a stable fire harms his best racing prospect, Vanders' cockiness has waned significantly, and he enters Linda's best nag in the race against her father's stable. Following the competition, Vanders attempts to mend fences between himself and Lockwood. ~ Tracie Cooper, All Movie Guide

Tarzan Finds a Son was to have been Maureen O'Sullivan's final Tarzan film, with Jane getting killed in the final reel. But Edgar Rice Burroughs refused to allow MGM to kill his character, so MGM had to increase her salary a substantial amount to do a few more Tarzan adventures. Tarzan Finds a Son was also the first MGM Tarzan film in three years and it introduced a new character --Boy (Johnny Sheffield). Tarzan (Johnny Weissmuller) finds Boy as an infant in a plane-wreck deep in the heart of the African jungle. He takes the baby to his jungle home where he and Jane (Maureen O'Sullivan) raise him as their own son for five years. When Boy's relatives find out that he is alive, they are less than happy, since he stands to receive a large inheritance. An evil African tribe then captures Tarzan and Jane and it is left to Boy to try to rescue them. ~ Paul Brenner, All Movie Guide

Hold That Kiss is a cute story cutely played by the irresistably cute Maureen O'Sullivan. She plays working girl June Evans, who meets handsome Tommy Bradford (Dennis O'Keefe) at a society wedding. June assumes that Tommy is wealthy, and Tommy assumes same about June. Both keep up the artifice throughout their courtship until the inevitable revelation, remonstration and reconciliation. Most MGM programmers of the 1930s included at least on "offbeat" comedy setpiece, and this one is no exception: After attending a dog show, June is obliged to go home with a huge, slobbering Saint Bernard (one wonders whether Maureen O'Sullivan enjoyed the company of the dog any more than she did the companionship of Cheeta in the "Tarzan" pictures). Stealing every scene he's in is Mickey Rooney as June's obsteperous kid brother. ~ Hal Erickson, All Movie Guide

Not a remake of the 1932 James Cagney vehicle of the same name, The Crowd Roars is set in the sweat-stained world of professional boxing. Handy with his fists, young Tommy McCoy (Robert Taylor) is virtually pushed into the ring by his alcoholic father Brian (Frank Morgan). During his climb to the championship, Tommy accidentally kills one of his opponents in the ring, and is thereafter tagged "Killer McCoy". He then falls in with crooked gambling czar Jim Cain (Edward Arnold), who uses various methods of persuasion to get Tommy to do his bidding. Though the film at first seems to holding the fickle fight fans responsible for the cesspool that professional boxing had become by 1938, the blame is ultimately laid squarely on the shoulders of men like Jim Cain. The Crowd Roars was remade by Mickey Rooney as Killer McCoy (1947). ~ Hal Erickson, All Movie Guide

The tempestuous love affair between a young surgeon and a pretty but married nurse provides the basis for this melodrama. The nurse would much rather be with the good doctor as she is married to a wretched alcoholic but she cannot bear to leave her husband in his hour of need. Later the surgeon falls in love with a wealthy young woman. Shortly after removing her appendix in emergency surgery, they get married. Unfortunately, the new wife hates her husband's devotion to his career and begins nagging him. He finally gives in and takes her out on the town. Meanwhile the nurse's drunken husband has a medical emergency. Unfortunately, the surgeon is not there to save him. Fortunately, the husband's death frees the would-be lovers to follow their hearts, but not before the surgeon divorces his wife first. ~ Sandra Brennan, All Movie Guide

A Day at the Races was the Marx Brothers' follow-up to their incomparable A Night at the Opera. Groucho Marx is cast as Hugo Z. Hackenbush, a veterinarian who passes himself off as a human doctor when summoned by wealthy hypochondriac Emily Upjohn (Margaret Dumont) to take over the financially strapped Standish Sanitarium. Chico Marx plays the sanitarium's general factotum, who works without pay because he has a soft spot for its owner, lovely Judy Standish (Maureen O'Sullivan). Harpo Marx portrays a jockey at the local racetrack, constantly bullied by the evil Morgan (Douglass Dumbrille), who will take over the sanitarium if Judy can't pay its debts. After several side-splitting routines--Chico selling Groucho tips on the races, Chico and Harpo rescuing Groucho from the clutches of femme fatale Esther Muir, all three Marxes conducting a lunatic "examination" of Margaret Dumont--the fate of the sanitarium rests on a Big Race involving Hi-Hat, a horse belonging to the film's nominal hero, Allan Jones. Virtually everything that worked in "Opera" is trotted out again for "Races", including a hectic slapstick finale wherein the Marxes lay waste to a public event. What is missing here is inspiration; perhaps this is due to the fact that MGM producer Irving Thalberg, whose input was so essential to the success of "Opera", died during the filming of "Races". Even so, Day at the Races made more money than any other previous Marx Brothers film--the result being that MGM, in the spirit of "they loved it once", would continue recycling Races' best bits for the studio's next three Marx vehicles. ~ Hal Erickson, All Movie Guide

Produced under the working title The Capture of Tarzan, Tarzan Escapes was completely refilmed before release, eviscerating several blood-curdling sequences involving killer pygmies, torture murders and vampire bats. Wearing considerably more clothing than in 1934's Tarzan and His Mate, Tarzan (Johnny Weissmuller) and Jane (Maureen O'Sullivan) have taken up residence in their gadget-laden treehouse, replete with animal-powered elevator. Two of Jane's British relatives (Benita Hume and Willam Henry) come calling, together with an underhanded hunter (Hugh Buckler) who plans to kidnap Tarzan and put him on display in London. The Lord of the Jungle is briefly subdued, but escapes just in time to rescue Jane and her family from hostile natives, who practice the jolly ritual of spread-eagling their victims between two bent trees, then splitting the unfortunates in two (a harrowing but tastefully filmed sequence, later excerpted in 1941's Tarzan's Secret Treasure). Other than this grisly finale, Tarzan Escapes was strictly family fare. The familial aspects of the film extended into the film's credits; among the screenwriters were John Farrow, husband of leading lady Maureen O'Sullivan, and Cyril Hume, brother of supporting actress Benita Hume. ~ Hal Erickson, All Movie Guide

MGM's The Flame Within was the second entry in the "psychiatric" film-cycle inaugurated by Paramount's Private Worlds. Ann Harding stars as female psychiatrist Mary White, who likes to think that she is personally above her patients' emotional problems. This proves not to be the case when Mary takes a more than professional interest in the plight of self-destructive alcoholic Jack Kerry (Louis Hayward). Also involved in this situation is Kerry's troubled fiancee Lillian Belton (Maureen O'Sullivan), who has twice attempted suicide out of love for the man. Thus, Mary's dilemma is compounded: she has fallen in love with Kerry herself, and where does that leave poor Lillian? A little shaky in terms of psychology, The Flame Within works best on a purely melodramatic level. ~ Hal Erickson, All Movie Guide

This second filmization of Leo Tolstoy's novel is widely regarded as the best version. Greta Garbo plays the title character, the sheltered wife of Czarist official Rathbone. Intending to dissuade Rathbone's brother (Reginald Owen) from a life of debauchery, Garbo is sidetracked by her own fascination with dashing military officer Fredric March. This indiscreet liaison ruins Garbo's marriage and position in 19th century Russian society; she is even prohibited from seeing her own son (Freddie Bartholomew). In keeping with the censorial strictures of 1935 Hollywood, Anna Karenina is extremely careful in the staging of its final suicide sequence, allowing the audience to determine for itself whether or not Garbo's desperate act of throwing herself under wheels of a train is intentional. Outside of the expected superb performances of Garbo and March, the film's most fascinating characterization is offered by Basil Rathbone, whose cold cruelty in banishing his wife is shown to be the by-product of his own broken heart (though Rathbone never allows himself to descend into cheap sentiment). The first film version of Anna Karenina was the 1927 silent feature Love, also starring Garbo, which substituted an imbecilic happy ending for Tolstoy's bleak denouement (there would be an acceptable third version in 1948, starring Vivien Leigh. The 1935 Anna Karenina is arguably the finest accomplishment of the felicitous 1930s alliance between star Greta Garbo, director Clarence Brown and cinematographer William Daniels. ~ Hal Erickson, All Movie Guide

David Copperfield was MGM's major Christmas release for its 1934-1935 season and also the first of producer David O. Selznick's major "literary" films for that studio. While a great deal of editing and streamlining was necessary to distill Charles Dickens' massive novel into 133 minutes of screen time, the end result was so successful that only the nittiest of nitpickers complained about the excised characters and events. Freddie Bartholomew plays the young Copperfield, who, after the death of his mother (Elizabeth Allan), is cruelly mistreated by his stepfather, Mr. Murdstone (Basil Rathbone). David's life brightens when he meets the ever-in-debt Mr. Micawber (W.C. Fields), and he is sheltered by Micawber's large and loving family until Micawber is carted off to debtor's prison. Forced once more to seek a home, David makes his way to the Dover estate of his Aunt Betsey (Edna May Oliver), where he meets another colorful cast of characters, none more so than the childlike Mr. Dick (Lennox Pawle). When Murdstone arrives, insisting that David be returned to him, Aunt Betsey and Mr. Dick form a united front to protect the boy. Flash-forward several years: the grown David (now played by Frank Lawton) is attending school, where he meets the lovely Agnes Wickfield (Madge Evans). David discovers that Agnes' businessman father (Lewis Stone) is under the thumb of the "'umble" prevaricator Uriah Heep (Roland Young) and the equally disreputable Steerforth (Hugh Williams). With the help of Mr. Micawber-who in a weak moment has taken a job working side-by-side with Heep-David proves Heep's treachery and rescues the Wickfields. By rights, he should marry Agnes, but David impulsively weds the empty-headed Dora (Maureen O'Sullivan). Only after Dora's death does David come to his senses, realizing that Agnes is the true love of his life. Originally, Charles Laughton was slated to play Micawber, but he pulled out of the production, worried that he wouldn't be funny enough. The casting of W.C. Fields was an inspired choice: although he injects his own established screen personality at every opportunity, Fields was born to play Micawber. Likewise, second-billed Lionel Barrymore fits his portrayal of crusty old Dan Peggoty like a glove. In fact, there isn't a false bit of casting in the whole production, and this, as much as Selznick's sumptuous production values, is the key to David Copperfield's enormous success. ~ Hal Erickson, All Movie Guide