Sarah Padden Movies

The Kettles in the Ozarks was the eighth of Universal's "Ma and Pa Kettle" series--minus "Pa" (actor Percy Kilbride had left the series). Carrying on without the Kettle paterfamilias, Ma Kettle (Marjorie Main) and her large brood of children head for the Ozarks to visit her brother-in-law Sedge (Arthur Hunnicutt). She spends a good portion of the film's running time outwitting three bootleggers who've set up shop in Sedge's barn. Ma also accelerates Sedge's marriage to Bedelia Baines (Una Merkel), to whom he has been engaged for two decades. Kettles in the Ozarks suffers from the absence of Percy Kilbride, but the climactic slapstick battle with the bootleggers is well up to par. Una Merkel, who played Sedge's erstwhile sweetheart, would recall years later that she fought tooth and nail with her agent to get out of Kettles in the Ozarks, but eventually had a wonderful time on the set thanks to the kindness and cooperation of star Marjorie Main. ~ Hal Erickson, All Movie Guide

Cub reporter Jimmy Olsen (Jack Larson) pays a visit to his Aunt Louisa (Sarah Padden) who lives in a lighthouse off the coast of Maine. Upon arrival, Jimmy begins to suspect that something is amiss: Though he's never met Aunt Louise, she sure doesn't live up to her description. And besides, there's a sinister looking "cousin" (Jimmy Ogg) and a very terrified young woman (Allen Roberts) on the premise. It is up to Clark Kent (George Reeves) to figure out that the lighthouse is being used by a gang of smugglers--and it's up to Kent's alter ego Superman to save Jimmy from a watery doom.. ~ Hal Erickson, All Movie Guide

"Arizona Cowboy" Rex Allen and his faithful horse Koko head the cast of Republic's Utah Wagon Train. Allen plays a modern-day cowpoke who agrees to shepherd a group of Easterners along the same route used by a long-ago wagon train. The purpose is to hopefully locate a fortune in gold, left behind by the original pilgrims. There's something suspicious about the whole enterprise: for starters, Rex's uncle is killed just before he was to join the expedition. The plot gradually evolves into a murder mystery, complete with the Least Likely Suspect who turns out to be the killer. Penny Edwards co-stars as the pert heroine who instigates the reconstructed wagon train, while Buddy Ebsen once more proves to be a suitable sidekick for the personable Rex Allen. ~ Hal Erickson, All Movie Guide

Lana Turner stars as an ambitious model who seeks her fortune in New York City. She is befriended by over-the-hill cover-girl Ann Dvorak, whose performance carries the story until she commits suicide twenty minutes into the film. Turner promises herself that she won't end up burned out like Dvorak, but as her fame grows, she is inexorably drawn into the hectic social whirl that sealed Dvorak's doom. Enjoying the favors of wealthy Ray Milland, Turner seeks out Milland's wife (Margaret Phillips), hoping to convince the woman to give up her husband. When she meets the crippled Mrs. Milland, Turner is made painfully aware of the length and breadth of the woman's love for her husband. Turner pulls out of the relationship, and we are encouraged to believe that hers will be a much happier and more fulfilling life than that of the unfortunate Ann Dvorak (ironically, in real life Ann Dvorak's final days were relatively contented ones, while Lana Turner spent her twilight years wondering where the looks, the men and the money had gone). Though not so noted in the credits, A Life of Her Own was inspired by The Abiding Vision, a novel by Rebecca West. Bronislau Kaper's musical score was later recycled for the 1951 MGM romantic drama Invitation. ~ Hal Erickson, All Movie Guide

This Monte Hale western casts the tall-in-the-saddle hero as a wandering cavalier who strikes a blow for tolerance. Hale is sheriff of a jerkwater frontier town where Polish/American Robert Neil is treated with contempt by certain prejudiced townsfolk. Neil's kinsman Roy Barcroft comes to town with the intent of pulling off a robbery. Implicated in the crime, Neil is cleared by Hale, who also makes a heartfelt speech against judging one by his heritage. As in all of his Republic program westerns, Monte Hale is given an opportunity to sing in The Missourians, though in this case the musical elements take a back seat to the story and its moral. ~ Hal Erickson, All Movie Guide

Johnny Mack Brown does his usual Johnny Mack Brown thing in the Monogram western Range Justice. Once more teamed with comic sidekick Max Terhune, Brown champions the cause of feisty lady rancher Ma Curtis (Sarah Padden). A gang of crooks led by the scurrilous Stoner (Fred Kohler Jr.) is trying to drive Ma off her land. Going undercover, Brown joins the gang to bore from within. The rest of the story adheres religiously to the formula firmly established in previous Johnny Mack Brown oaters. Legendary stunt man Eddie Parker is seen in a rare speaking role as "Lacey." ~ Hal Erickson, All Movie Guide

Produced on the cheap by Ron Ormond and his wife, June Carr, this Western was one of ten to star Lash LaRue and Al St. John, formerly of PRC. They are assigned to catch a gang of outlaws working out of Rhyolite, a town run by Duce Rago (Ray Bennett), who is posing as a legitimate businessman. With the help of an elderly widow, Mrs. Owens (Sarah Padden), and a female undercover agent (Peggy Stewart), Lash and Fuzzy manage to infiltrate the gang and bring Rago and his henchman, Brant (former Western star Jim Bannon), to justice. The Ormonds produced a quite unnecessary sequel to this Western, The Black Lash (1952), which contained sequences lifted in their entirety from Frontier Revenge. A former serial queen at Republic Pictures, Peggy Stewart was a fine actress who deserved better than what the Ormonds had to offer. ~ Hans J. Wollstein, All Movie Guide

Joe Palooka, Ham Fisher's famed comic-strip fighter, risks his life to clear the name of his manager in this series entry. In this episode, Palooka is blinded during a fight. Although surgery restores his vision, the doctors strongly caution him not to fight again for at least a year. Meanwhile Knobby Walsh, his manager, begins managing another heavyweight fighter who gets himself mixed up with gamblers. To save his manager's good name, Palooka disregards the doctors' advice and reenters the ring. ~ Sandra Brennan, All Movie Guide

This cowboy drama from Hungarian director Andre De Toth was the first of several films based on the stories of Western author Luke Short. Veronica Lake stars as Connie Dickason, strong-willed daughter of Ben Dickason (Charles Ruggles), a ranch owner who has become the toady of a powerful local cattleman, Frank Ivey (Preston Foster), whom Ben once wanted Connie to marry. Connie instead married a sheep rancher and inherited his spread. With her husband out of the picture, Connie becomes determined to run the ranch despite the opposition of Ivey and her father. In her camp are the town drunk, veteran cowhand Dave Nash (Joel McCrea) and a crew of anti-Ivey locals. The resulting bloody range war is much to the dismay of Dave, who wants to resolve Connie's problems with Ivey legally. ~ Karl Williams, All Movie Guide

We first meet Joan Crawford, star of the moody flashbackfest Possessed, wandering aimlessly through the city streets, moaning "David....David." She goes to pieces in public and is rushed to the mental ward, where a team of psychiatrists try to find out who she is and where she's been. Who she is is a practical nurse, hired by Raymond Massey to care for Massey's invalid wife. While going about her duties, Crawford renews her acquaintance with an old flame, architect Van Heflin. Though Heflin is indifferent, Crawford is still crazy for the man. She remains so even after marrying her employer Massey, whose wife has committed suicide. Any further details would give away the ending, but we can note that Van Heflin's character name is David. Best scene: Crawford, descending into schizophrenia, imagining that she's killed Massey's vitriolic daughter Geraldine Brooks. While the psycho-babble delivered in the asylum scenes is laughable, Possessed still holds up well as one of the best of Joan Crawford's Warner Bros. soap operas. This black-and-white film is also available in a colorized version, but don't blame us. ~ Hal Erickson, All Movie Guide

Filmed in less than glorious two-strip Cinecolor, this average Eddie Dean western benefited from Dean performing "Ride on the Tide of a Song", "Journey's End"and "I Can Tell by the Stars". The story surrounding all this warbling, however, was the standard one of a gang of thugs interfering with the building of the telegraph. Headed by Drake Dawson (Terry Frost) and a crooked lay judge (Warner P. Richmond), the gang stirs up trouble among the local Indians, who are persuaded that the telegraph may mean the end of the buffalo. Enter retired rangers Eddie Dean, Soapy Jones (Roscoe Ates) and Stormy Day (Al "Lash" La Rue), who are persuaded back in harness to secure the prompt continuation of the building project. Carrie Bannister (Sarah Padden), the widow of a slain ranger captain, persuades her friend Chief Black Fox (Chief Yowlachie) to help secure the telegraph rather than oppose its construction. On their way to gather more information on the outlaws, Soapy and Skinny (Robert "Buzzy" Henry, Mrs. Bannister's young son, are ambushed by Dawson's men. Discovering an abandoned gun near a wounded Skinny, Soapy recognizes the weapon as belonging to the murdered Captain Bannister. When Eddie learns that Dawson himself is carrying a matching gun, Bannister's murderer has finally been found. The rangers arrive just in time to round up the gang and, peace finally restored, a recovered Skinny is made an honorary ranger. A truncated black and white version of this film was released in 1948 under the title of Prairie Outlaws, presumably in order to cash in on the appearance of Al "Lash" La Rue, who by then had his own starring series. ~ Hans J. Wollstein, All Movie Guide

In this first entry in the pugilistic comedy series based on Ham Fishers long-running comic strip, Joe Palooka is seen before his boxing career took off. The story begins as he is discovered by Knobby Walsh, a keen-eyed manager. As Knobby trains Joe, gangsters intervene and attempt to insure that the young fighter takes a dive. When a wealthy socialite sees the handsome boxer she ignores the vast class differences and falls in love with him. The film features cameo appearances by real life boxing greats Joe Louis, Manuel Ortiz, Ceferino Garcia and Henry Armstrong. ~ Sandra Brennan, All Movie Guide