Helen Parrish Movies

Dog of Flanders, the durable novel written in 1872 by the author who signed herself Ouida, was filmed three times, first in 1924 with Jackie Coogan. The second filmization, produced in 1935, stars child actors Frankie Thomas, Helen Parrish and Richard Quine as three poor Flemish youths whose lives are interconnected by a handsome German shepherd (played by "Lightning"). The threesome nurse the abandoned dog back to health; soon afterward, the dog rekindles the creative spark of a reclusive artist, whose painting of the noble hound wins a hefty cash prize. Richard Quine, the third juvenile lead of Dog of Flanders, grew up to become an important Hollywood writer/director of the 1950s. Quine did not, however, work on the 1959 remake of Dog of Flanders--which starred another future filmmaker, David Ladd. ~ Hal Erickson, All Movie Guide

Cinderella Swings It was the last in a series of RKO programmers based on the popular radio series Scattergood Baines (its original title, Scattergood Swings It, was changed in the light of the poor reception afforded the earlier series entries). Guy Kibbee stars as small-town busybody Baines, who in this outing tries to make a big star out of local songstress Betty Palmer (Gloria Warren). One of his strategies is to spotlight the girl in a USO benefit show, which takes up most of the film's 70-minute running time. The supporting cast include juvenile actors Butch and Buddy (Bill Lenhart and Kenneth Brown), who'd previously bedevilled W. C. Fields and Abbott &Costello over at Universal, and future 3 Stooges straight woman Christine McIntyre. Cinderella Swings It was packaged by Pyramid Productions, the same concern responsible for RKO's radio-inspired "Lum and Abner" series. ~ Hal Erickson, All Movie Guide

Best remembered as the film in which 17-year-old Deanna Durbin receives her first screen kiss, First Love is a modernized variation of the Cinderella legend (there's even "six white mice" in the form of a sextet of motorcycle policemen!). The film casts Durbin as Constance Harding, the poor relation of wealthy tycoon James Clinton (Eugene Pallette). When she comes to live with the Clinton family, she runs headfirst into her eccentric, social-climbing aunt Grace (Leatrice Joy) and her nasty, nightclub-hopping cousin Barbara (Helen Parrish); James himself rather likes the girl, but most his attention is directed towards dealing with his monumentally lazy son Walter (Lewis Howard in a comic turn). Left behind on the night of a fancy society ball, Constance is championed by the household servants, who provide her with a gorgeous gown and transportation to the event. She meets her Prince Charming in the form of likeable socialite Ted Drake (Robert Stack in his film debut)- but, just after the stroke of midnight, leaves her slipper behind. Later that night, the hateful Barbara convinces Constance that Ted was only toying with her emotions. Sorrowfully, Constance decides to return to school and bury herself in her studies, only to be dissuaded by her head teacher (Kathleen Howard), who made the same mistake herself many years before. Naturally there's a happy ending, with time to spare for Durbin to sing five numbers, including the Puccini-inspired aria "One Fine Day". ~ Hal Erickson, All Movie Guide

The unique directorial touches of Gregory LaCava lift this standard military comedy well above the norm. William Boyd plays Terry Culver, a wise-guy officer who receives his first commission. Amazingly, Culver's commanding officer Colonel Gaylord (Alphonse Ethier) takes a liking to the brash, obnoxious young officer -- as does Gaylord's pretty daughter Judy (Dorothy Sebastian, at the time the wife of co-star Boyd). Despite his blundering and bluster, Culver proves his worth by rescuing a small child from jeopardy, and as a reward wins Judy's hand in marriage. A brief Technicolor sequence and an exciting steeplechase finale add to the film's overall conviviality. ~ Hal Erickson, All Movie Guide

With its slight resemblance to Destry Rides Again (1939) -- probably not entirely coincidental -- this rousing Western from Republic Pictures remains a joy throughout. John Wayne plays Tom Craig, a mild-mannered druggist from Boston who opens a shop in wild and woolly Sacramento shortly before the Gold Rush. The town is "owned" by the Dawson brothers, Britt (Albert Dekker) and Joe (Dick Purcell), who poison Craig's tonic when saloon hostess Lacey Miller (Binnie Barnes) takes too much of an interest in the handsome newcomer. Town drunk Whitey (Emmett Lynn) has one drink too many, and all of Sacramento is soon in a lynching mood. The news of "gold in them thar hills" saves the druggist in the nick of time, but his business is destroyed. While everyone is heading for the gold fields, Craig prepares to leave town with snobbish debutante Ellen Sanford (Helen Parrish), whom he intends to marry. News of typhoid fever among the prospectors changes his mind, however, and the man once referred to as "a human hitchin' post instead of a two-legged man," risks his own life to save the suffering populace. The Dawson brothers, meanwhile, plan to hijack the medical supplies and sell them to the highest bidder, but when Britt Dawson learns that Lacey is helping the sick and may be stricken with the disease herself, he has a change of heart and eventually confesses to spiking Craig's medicine. Cast against type for most of the film, John Wayne fails to make his amiable druggist entirely believable but remains simply John Wayne throughout -- which is as it should be. Binnie Barnes is rowdy and fun whether leading a chorus of "California Joe" by Johnny Marvin and Fred Rose, or jealously interrupting a tête-à-tête between Wayne and 19-year-old Helen Parrish. Usually cast as glacial "other women" in Hollywood films, the British-born Barnes had actually begun her professional career touring Europe and South Africa with bucolic American headliner Tex McLeod, which was as good a preparation as any to play In Old California's saloon belle. Patsy Kelly, who shoots down her laundry with a Winchester, and Edgar Kennedy, as Wayne's tooth-ache plagued sidekick, add to the general fun. ~ Hans J. Wollstein, All Movie Guide

The first of the "splinter" groups to emerge from the Dead End Kids was the Little Tough Guys, consisting of veteran Dead-Enders Billy Halop, Huntz Hall, Gabriel Dell, Bernard Punsly and David Gorcey (Hally Chester and Billy Benedict would also appear in this new grouping from time to time). Though most of the "Little Tough Guy" vehicles were played for laugh, the initial entry was not. When labor activist Jim Boylan (Edward Pawley) is executed for a murder he didn't commit, his son Johnny (Billy Halop) decides to become a crook. He and his pals Pig (Huntz Hall), String (Gabe Dell), Sniper (David Gorcey) and Dopey (Hally Chester), embark upon a crime spree, aided and abetted by thrill-seeking rich kid Cyril (Jackie Searl), who happens to be the son of the district attorney. While committing a robbery orchestrated by Cyril, Johnny and Pig are trapped by the police. Pig makes a break for it, only to be killed in a hail of bullets. This startling turn of events convinces Johnny to mend his ways, but not before an obligatory stretch in reform school with his fellow Little Tough Guys-including Cyril! Beyond the spectacle of Huntz Hall dying in agony, Little Tough Guy offers very little that is new and innovational: still, the film made money, prompting a whole series of "Little Tough Guy" quickies from the Universal assembly line. ~ Hal Erickson, All Movie Guide

In this musical comedy, a girl with a lively imagination gets in hot water when she tries to make her tall tales real. Gloria Harkinson (Deanna Durbin) is the teenage daughter of Gwen Taylor (Gail Patrick), a well-known Hollywood actress who has shipped Gloria off to a boarding school in Switzerland to keep the girl out of the public eye, partly for her well being, and party because Gwen would prefer people not to know that she's old enough to have a teenage daughter. Gloria amuses herself and earns the awestruck admiration of her schoolmates when she begins spinning increasingly remarkable tales about the globe-trotting adventures of her millionaire father. However, in reality Gloria has no father, and after some time, her friends become skeptical and demand some sort of physical evidence that he exists. Gloria makes the acquaintance of Richard Todd (Herbert Marshall), a British composer, and she asks him if he wouldn't mind posing as her dad so that her friends could meet the man they've heard so much about. Richard agrees, but the scheme doesn't go quite as Gloria had hoped. Mad About Music was later remade as The Toy Tiger (1956), with "Gloria" turned into a young boy named Timmie, and the songs removed. ~ Mark Deming, All Movie Guide

The third of MGM's profitable Jeanette MacDonald/Nelson Eddy songfests, Maytime opens in the early 20th century, with a young girl arguing with her boyfriend over her wishes to become an opera singer. The girl's neighbor, a lonely old woman whom we gradually recognize as a convincingly "aged" Jeanette MacDonald, tells the girl of her own career in opera. The old lady was once the radiant young diva Marcia Mornay. In 1868 she was the toast of Europe, thanks to the tutelage of her voice instructor Nikolai Nazarov (John Barrymore). He proposes marriage, and Marcia accepts, more out of gratitude than love. In a euphoric pre-nuptial state, Marcia finds herself on Paris' Left Bank, where she meets handsome café crooner Paul Allison (Nelson Eddy). They meet again at a lavish Maytime festival, falling in love (to the accompaniment of Sigmund Romberg's most dazzling duets) in the process. Sadly, Marcia returns to Nazarov, while Paul goes off to America to lick his wounds. Seven years later, Marcia, making her New York debut in a fictional opera based on the works of Tchaikovsky, finds that the leading baritone is none other than Paul. Unable to envision life without her new love, Marcia begs Nazarov for a divorce. He smiles slyly and promises to give her her freedom-whereupon he heads to Paul's apartment and kills the poor fellow. The flashback done, Marcia advises her pretty young neighbor that one can never have both love and a career. Out of tragedy grows the happy ending, in which the spirit of the now-deceased Marcia is reunited with Paul in a blossom-filled Hereafter. On paper, Maytime may seem to be the ultimate in Hoke, but even in recent revival showings the film never fails to cast its spell over an audience. ~ Hal Erickson, All Movie Guide

Quick on the Trigger was Charles Starrett's second "Durango Kid" picture for 1949. It all begins when ousted sheriff Steve Warren (Starrett) is put on trial for the murder of heroine Nora Reed's (Helen Parrish) brother. Steve is innocent, of course, but he doesn't stand a chance against prosecuting attorney Garvey Yager (Lyle Talbot) -- especially since Yager is the real killer. Escaping from jail, Steve dons a mask and assumes the identity of the Durango Kid to see to it that justice is done. The film's requisite comedy and music are handled, respectively, by Smiley Burnette and the Sunshine Boys (not George Burns and Walter Matthau!) ~ Hal Erickson, All Movie Guide

To those under the age of 60, it should be noted that the title of this lively Universal filler was inspired by a popular song of 1941. Carrying over their antics from RKO Radio's "Mexican Spitfire" series, Lupe Velez and Leon Errol star respectively as Havana nightclub entertainer Madame La Zonga and South American aristocrat Senor Alvarez. What the audience knows but La Zonga doesn't is that Alvarez is a phony, who's no more Latin than a Coney Island hot dog. While the stars carry the comedy burden of the film, a romantic subplot develops between ambitious bandleader Steve (Charles Lang) and his Cuban sweetie Rosita (Helen Parrish). Astonishingly, this 62-minute film manages to crowd in an abundance of musical numbers, including the title tune. ~ Hal Erickson, All Movie Guide

Roy Rogers champions the cause of Easterner Sylvia Clark (Helen Parrish), who is in danger of losing her father's ranch to crooked land speculators. Roy tries to deal with the villains through legal channel, but they spoil things by resorting to strong-arm tactics. Making our hero's task all the more difficult is that the principal heavy is woman, one Vera Martin (Joan Woodbury)-and just try to catch Roy Rogers punching out a female! Despite stiff competition from the ineluctable Gabby Hayes, the film is slyly stolen by Onslow Stevens as a shifty lawyer. The musical portion of the program is ably handled by Rogers and his old pals, the Sons of the Pioneers (with Bob Nolan). ~ Hal Erickson, All Movie Guide

This greatest of all Frankenstein movies begins during a raging thunderstorm. Warm and cozy inside their palatial villa, Lord Byron (Gavin Gordon), Percy Shelley (Douglas Walton), and Shelley's wife Mary (Elsa Lanchester) engage in morbidly sparkling conversation. The wicked Byron mockingly chastises Mary for frightening the literary world with her recent novel Frankenstein, but Mary insists that her horror tale preached a valuable moral, that man was not meant to dabble in the works of God. Moreover, Mary adds that her story did not end with the death of Frankenstein's monster, whereupon she tells the enthralled Byron and Shelley what happened next. Surviving the windmill fire that brought the original 1931 Frankenstein to a close, the Monster (Boris Karloff) quickly revives and goes on another rampage of death and destruction. Meanwhile, his ailing creator Henry Frankenstein (Colin Clive) discovers that his former mentor, the demented Doctor Praetorius (Ernst Thesiger), plans to create another life-sized monster -- this time a woman! After a wild and wooly "creation" sequence, the bandages are unwrapped, and the Bride of the Monster (Elsa Lanchester again) emerges. Alas, the Monster's tender efforts to connect with his new Mate are rewarded only by her revulsion and hoarse screams. "She hate me," he growls, "Just like others!" Wonderfully acted and directed, The Bride of Frankenstein is further enhanced by the vivid Franz Waxman musical score; even the film's occasional lapses in logic and continuity (it was trimmed from 90 to 75 minutes after the first preview) are oddly endearing. Director James Whale was memorably embodied by Ian McKellen in the Oscar-winning 1998 biopic Gods and Monsters. ~ 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