Wilson Benge Movies

Cecil B. DeMille's first screen version of The Ten Commandments is only peripherally a Biblical story. The film's first 45 minutes recaps the struggle between Moses (Theodore Roberts) and Rameses (Charles de Roche) over the liberation of the Hebrews. Only after the Lord has imposed a series of plagues upon Egypt does Rameses relent and permit the Exodus to take place--only to go back on his word a few moments later. The scenes of thousands of Hebrews trekking across the desert, the parting of the Red Sea (an effect accomplished in part by splitting a bowl of gelatin down the middle) and the pre-Commandments revelries before the Golden Calf--complete with a fetchingly undressed Estelle Taylor as Miriam--are produced on a spectacular scale...but this is only the beginning. Just as Moses is invoking the Wrath of God upon the ungrateful Hebrews, the film dissolves to the present day (1923, that is). We are introduced to the MacTavish Family: pious, Bible-thumping Martha McTavish (Edythe Chapman) and her sons, straight-arrow John (Richard Dix) and hedonistic Dan (Rod LaRocque). Both sons love Mary Leigh (Leatrice Joy), but the roguish Dan wins out. While John continues honoring the Ten Commandments, Dan breaks as many as he can get his hands on, especially after falling under the spell of Eurasian adventuress Sally Lung (Nita Naldi). Before the uplifting climax, wherein John and Mary finally get together with (it is implied) the blessings of Heaven, we are treated to a series of disastrous plot turns, including the death of mother McTavish in a collapsing church, Sally Lung's revelation that she has leprosy, and a wild speedboat chase. All that's missing is the kitchen sink. Partially filmed in Technicolor at a then-astronomical cost of $1.2 million (a sum that caused a decade-long rift between Cecil B. DeMille and Paramount Pictures), The Ten Commandments grossed several times that amount. DeMille's 1956 Ten Commandments dispenses with the modern story to concentrate on the life of Moses. ~ Hal Erickson, All Movie Guide

Cecil B. DeMille's century-hopping extravaganza The Road to Yesterday begins in the present (1925, that is). Wealthy Joseph Schildkraut can't understand why his wife Jetta Goudal is so cold to him. Goudal senses that Schildkraut had once done her dirt....in a previous life. Likewise unhappily married are William Boyd and Vera Reynolds. All four principals are on an express train which crashes. While unconscious, the foursome flash back to their previous existences in Elizabethan England. Schildkraut was then a knight, Goudal a gypsy, and Boyd and Reynolds were royal hangers-on. Just as Schildkraut is about to burn Goudal at the stake, the four protagonists return to the present. Armed with the knowledge of their past misdeeds, the lovers all vow to set things right in their current lives. Nobody believed The Road to Yesterday back in 1925 (any more than anyone believes it today), but everybody enjoyed it for what it was: a slam-bang piece of pure entertainment. ~ Hal Erickson, All Movie Guide

Vampy Margaret Livingston and stalwart Earl Foxe seem miscast in this farce comedy. Foxe plays a young hypochondriac who believes that he has only a week to live. His name, by the way, is Welland Strong (get it?). He decides to visit his uncle (J. Farrell MacDonald) in the short amount of time he has left in the world. On the train he runs afoul of Norman Blood (Harry Woods), a jealous bridegroom who mistakenly believes that he is involved with his new wife, Rose (Marie Astaire). At his uncle's, he meets Alicia Guyer (Livingston), an attractive young widow. Alicia is visiting the uncle's ward, Marion Haste (Gladys McConnell), who wants to marry Gayne Wilder (a pre-Janet Gaynor Charles Farrell). The uncle, however, disapproves of the match. Eventually Strong winds up in Chinatown, where once again he runs into Blood -- who is still out for blood. Eventually Strong figures out he is well, and free to marry Alicia. Marion, meanwhile, elopes with Wilder. ~ Janiss Garza, All Movie Guide

Another of Reginald Denny's money-spinning Universal vehicles, Fast and Furious casts Denny as "speed demon" Tom Brown. Fascinated with fast roadsters, Tom enjoys nothing more than "opening up" on the highway -- at least, until he's run off the road by another reckless driver. After emerging from the hospital, Tom discovers that he's developed a mortal fear of automobiles -- in fact, he jumps three feet in the air whenever he hears a honking horn. Naturally, the outcome of the plot hinges on Tom's willingness to man the controls of a racing car for the sake of his sweetheart Ethel (Barbara Worth). All that prevents Fast and Furious from being a "perfect" Reginald Denny picture is a moment near the climax, when our jailed hero is released from his cell when his father bribes the guard: undoubtedly, Denny's fans would have preferred that he figure a way out of his dilemma. ~ Hal Erickson, All Movie Guide

Those who believe that misleadingly titled "instant" movies produced in the wake of earth-shaking news events are an aberration of the 1990s are referred to 1927's The Lone Eagle. The title, of course, was meant to invoke Col. Charles Lindbergh. Unfortunately for Universal Pictures, Lindbergh turned down every movie contract offered him, so the studio was compelled to cast contractee Raymond Keane as "Lt. William Holmes." And, because Lindbergh was averse to seeing his life recreated on celluloid, Universal's "lone eagle" became a World War I pilot (shades of Wings), who overcomes an initial bout of cowardice to vanquish a Von Richtoffen-like German air ace. The haste with which Lone Eagle was produced was made obvious in its unconvincing miniature work during the "dogfight" scenes. ~ 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

Tired of his sedentary postwar existence, Col. Hugh "Bulldog" Drummond (Ronald Colman) offers his services as adventurer for hire. This gets him mixed up with lovely Joan Bennett, whose wealthy father is being held against his will in a gloomy sanitarium. Armed with little more than bravado, Drummond, his pal Algy (Claud Allister) and faithful butler Danny (Wilson Benge) walk right into the villain's lair--said villain being the evil Dr. Lakington. Drummond is overpowered by Lakington's henchpersons, played by Lilyan Tashman and Montague Love. Our Hero is willing to accept the inevitability of his own death, but when the unspeakable Lakington fondles the unconscious Ms. Bennett, that's too much! Drummond escapes, and in a jaw-dropping sequence kills Lakington in cold blood. He then becomes his old charming self and allows secondary villains Love and Tashman to escape, since he's not really mad at them. Drummond saves the millionaire and wins the girl, though later "Bulldog Drummond" films bear out the fact that he doesn't marry her immediately as he should (virtually every subsequent "Drummond" flick would open with an interrupted wedding). Filmed in the earliest days of the talkie era, Bulldog Drummond is a remarkably sophisticated film for its time, directed with assurance by former Mack Sennett associate F. Richard Jones (who unfortunately died shortly after the film's release). Its only concessions to the "all talking/all singing" mania of 1929 are the unnecessary Irish songs performed by tenor Donald Novis. ~ Hal Erickson, All Movie Guide

Magnificently restored by UCLA to its original "Grandeur" wide-screen format The Bat Whispers may not be a cinematic masterpiece but is certainly worth a second look. Opening with a series of flamboyant tracking shots, director Roland West soon enough settles down to the usual "Old House" shenanigans of sliding panels, mysterious bumps in the night, crawling hands, thunder and lightning (sounding more like an earthquake, incidentally, than a storm), etc. An official remake of the 1926 The Bat (which was itself based on an Avery Hopwood play), The Bat Whispers owed just as much to The Cat and the Canary (1927), the true grand-daddy of all haunted house mysteries. After taunting the New York City police a final time, the notorious criminal "The Bat" announces his retirement to the country. Meanwhile, in said country wealthy spinster Cornelia Van Gorder (Grayce Hampton is leasing the Courtleigh Fleming estate. The news of "The Bat" and the simultaneous disappearance of cashier Brooks Bailey (William Bakewell) shortly after a robbery at the Fleming bank set in motion a series of troubling events -- troubling especially for Miss Van Gorder's eternally frightened maid Lizzie (Maude Eburne). The missing Brooks Bailey shows up soon enough courtesy of Van Gorder's pretty niece Dale (Una Merkel), who persuades the young man to impersonate a gardener -- a disguise that fools no one. There is a mysterious doctor who speaks with an accent (Gustav von Seyffertitz); an equally alarming caretaker (Spencer Charters),; a piece of missing blueprint that leads to a secret room; and, of course, "The Bat," who appears to be prowling the estate as well. Enter into all this Detective Anderson (Chester Morris), who in his unique gritty way gets to the bottom of things. The "Grandeur" wide-screen format was lost on most movie-goers when the film premiered in late November of 1930. Exhibitors who had just spent fortunes rigging their theaters for sound were of course loath to spend even more on yet another "newfangled" invention. Of course, some of cinematographer Robert H. Planck's more breathtaking shots of "The Bat" climbing towering skyscrapers were lost in the standard 35mm prints. But cartoonist Bob Kane reportedly had this film in mind when he nine years later created his eternally popular comic-strip hero Batman. A sadly neglected craftsman, Roland West directed only 11 films before he retired at the age of 44. West (who also directed the 1926 The Bat co-starring his then-wife Jewel Carmen as the imperiled niece) left films to run a Santa Monica café with girlfriend Thelma Todd. He was questioned by the authorities but was apparently never a suspect in Todd's mysterious death in December of 1935. ~ Hans J. Wollstein, All Movie Guide

This first talkie version of the evergreen Brandon Thomas stage farce Charley's Aunt stars Charlie Ruggles, obviously having the time of his life in the leading role. Though updated to 1930, the film adheres to the familiar plot as set down by Thomas back in 1895. Two Oxford undergraduates, Charley Wickeham (Hugh Williams) and Jack Chesney (Rodney McLennon), anxiously await the visit of their respective girlfriends Amy Spettigue (June Collyer) and Kitty Verdun (Flora Sheffield). Trouble is, the ladies have no chaperone, and this will never do in the hallowed halls of Oxford. Anxiously, Charley and Jack persuade their twittish school chum Fancourt Babberly (Ruggles) to pose as Charley's aunt Donna Lucia D'Alvadorez (Doris Lloyd) -- "from Brazil, where the nuts come from." Poor Babbs is forced to remain in drag as both Jack's father Sir Francis Chesney (Phillips Smalley, repeating his role from the 1925 version of Charley's Aunt) and Amy's uncle Stephen Spettigue (Halliwell Hobbes) unexpectedly show up. The scenes in which Chesney and Spettigue ardently court the "Aunt" are hilarious, as is the inevitable moment when the disguised Babbs comes face to face with the real Donna Lucia (Doris Lloyd), whose ward Ella Delahay (Flora le Breton) had previously been our hero's shipboard sweetheart! A revised ending allows Charlie Ruggles to perform a farcical death scene that's every bit as funny as what has gone before. Charley's Aunt would be remade several times in the future, most memorably by Jack Benny in 1941 and by Ray Bolger in the 1952 musical adaptation Where's Charley? ~ Hal Erickson, All Movie Guide

In this drama, a woman with dubious past finds herself blackmailed when she makes plans to marry a senator's son. She finds salvation with a bootlegger who offers to take care of the excursionist. Unfortunately, he chooses to kill the fellow, gets caught, and is put on trial. Now the woman must choose to risk reputation, and good marriage or tell the truth and save him from the electric chair. Eventually, she chooses the honorable path and happiness ensues all around. ~ Sandra Brennan, All Movie Guide