Harry Beresford Movies

The "Little Tough Guys" get involved in a circulation war between a paper with underhanded tactics and a paper being mismanaged by the woman who inherited it. The Tough Guys' leader is partial to the latter, since it took him in when his sheriff father was murdered. He helps draw readers away from the other paper and gets to avenge his father's death, since the man playing dirty is his father's killer. ~ Steve Huey, Rovi

This "Thin Man" derivation stars William Gargan and Orien Heyward as Dwight and Penelope Stanford. A mystery writer, Dwight enjoys impersonating his fictional hero and solving mysteries on his own. Much to the discomfort of the cops, Dwight insists upon tackling the baffling murder of old man Stettin (Tully Marshall). Then, much to the discomfort of Dwight, Penelope demands to tag along and offer her own theories. Thus when Penelope finds herself in dire peril, the film's title can be offered as explanation. It's odd that the police are baffled in She Asked for It; anyone in the audience could have told them whodunit from the third reel onward. ~ Hal Erickson, Rovi

This hard-hitting Warner Bros. courtroom drama begins with the usual "Any resemblance to actual persons, living or dead, is coincidental" disclaimer. Filmgoers with long memories, however, recognized Robert Rossen and Aben Kandel's screenplay as a blow-by-blow recreation of the Leo Frank-Mary Phagan case of 1915. Phagan, a 14-year-old employee in a Marietta, GA pencil factory, was found murdered. The bulk of the evidence pointed to a black janitor (who actually confessed to the crime years after the fact), but race-baiting Atlanta newspaper publisher Tom Watson decided to go after Leo Frank, the Northern Jew who owned the factory where Mary worked. "We can lynch a nigger any time," the politically ambitious Watson is alleged to have said, "but when do we get a chance to hang a Yankee Jew?" Thanks largely to Watson's "guilt by headline" campaign, and to Fulton County's cooperative solicitor general, Frank was found guilty and sentenced to death. Georgia Governor John M. Slaton, who all along smelled something fishy in the case, commuted Frank's case to life imprisonment (and was ruined politically as a result). En route to prison, Frank was abducted by a mob and lynched, an incident that boosted the prestige of the Georgia Ku Klux Klan. Aben Kandel dramatized this appalling miscarriage of justice in his novel Death in the Deep South, which served as the basis for They Won't Forget. In Mervyn LeRoy's film version, Lana Turner (in a star-making turn) plays Mary Clay, a teen-aged typing school student who dresses garishly and flirts with every man she meets. Mary is later found murdered; the last person to see her alive was her teacher, recently arrived Northerner Robert Hale (Edward Norris). Once more, a black janitor (played as a superstitious moron by Clinton Rosemond) is the most likely suspect, but the ambitious district attorney (Claude Rains) seems sincere in his belief that Hale is guilty. Once Hale is sentenced to death, the governor, played by Paul Everton, commutes his sentence, serene in the belief that, once his career is finished, he'll be able to retire peacefully (real-life governor Slaton did not go down so benignly). Except for the removal of the original case's anti-Semitic elements, They Won't Forget is stark, powerhouse filmmaking, one of the best of Warners' "social protest" films of the 1930s. It was remade as the 1987 TV movie The Murder of Mary Phagan starring Jack Lemmon, Kevin Spacey, Peter Gallagher, and Charles S. Dutton (as well as as the unsuccessful 1998 Broadway musical Parade). ~ Hal Erickson, Rovi

Not only is "she" no lady, but heroine Jerry (Ann Dvorak) doesn't even have a ladylike name. Jerry is an insurance investigator who moonlights as a jewel thief, making life difficult for professional diamond-swiper Carter (John Trent). It turns out that at least one of these two reprobates is actually working on the side of the law -- but which one? The story is played for laughs, perhaps because the producers realized that this confusing concoction would never be taken seriously. She's No Lady was produced independently by former studio executive B. P. Schulberg, and released by Schulberg's old studio Paramount. ~ Hal Erickson, Rovi

The Commodore (Fred Stone), an average man in an average small town, is incensed that killers and thieves are able to use legal loopholes to escape punishment. He mounts a civic crusade to bring a local gang of racketeers to justice and is aided in this endeavor by idealistic young reporter Steve (Owen Davis Jr.) -- who, fortuitously, is the sweetheart of the Commodore's granddaughter Edith (Louise Latimer). Steve and the Commodore do their job too well, and as a result end up in the gang's clutches. This 11th-hour injection of melodrama seems out of place in this otherwise leisurely programmer, but in the long run it works to the picture's benefit. Four screenwriters contributed to Grand Jury, including future Casablanca collaborator Philip G. Epstein. ~ Hal Erickson, Rovi

A postal inspector finds himself caught in a sticky situation as he tries to pin a rap for mail theft upon the owner of a prominent nightclub owner. The owner is guilty and only stole the mail so he could get the money he needs to pay off a murderous and impatient loan shark. Unfortunately, upon opening the mail sack, he discovers it filled with inane mail-order gadgets and a few letters. Meanwhile as the intrepid inspector closes in, he finds himself falling in love with a singer. ~ Sandra Brennan, Rovi

Kay Francis stars as Stella Parish, a London stage favorite who suddenly disappears without a trace. British news correspondent Keith Lockridge (Ian Hunter) girdles the globe in search of Stella, who has left her beloved daughter Gloria (Sybil Jason) in the care of an aunt (Jessie Ralph). Finally locating his quarry, Lockridge learns that Stella dropped from view to hide the fact that she once served a jail sentence as an accessory to murder. He promises to kill the story for Gloria's sake, but his dispatch is inadvertently published away, forcing Stella into a tawdry career as a "freak" stage attraction (not unlike Evelyn Nesbit Shaw). After hitting rock-bottom in a burlesque show, Stella is rescued by her old director Stephan Norman (Paul Lukas), who invites her to revive the show she was starring in at the time of her disappearance. Little does she know that this comeback has been arranged by Lockridge, who hopes to atone for betraying her trust. All roads lead to a tear-stained reunion between Stella and her daughter, a denouement as inevitable as death and taxes. For years, it was believed that Errol Flynn played an unbilled bit in I Found Stella Parish, but a researcher in the late 1960s discovered that the Flynn look-alike was actually Francis X. Bushman Jr. ~ Hal Erickson, Rovi

The George M. Cohan-Earl Digger Biggers theatrical comedy/mystery Seven Keys to Baldpate had already been filmed in 1915, 1917, 1925 and 1929 when this 1935 version made its appearance. It turned out to be the second of four talkie remakes of the Cohan-Diggers piece, if one includes the misbegotten 1983 adaptation House of the Long Shadows. The 1935 edition stars Gene Raymond as author William Magee, who wagers that he can write a mystery novel in 24 hours. At the suggestion of his agent, Magee heads to the remote and reportedly deserted Baldpate Inn so he can work undisturbed. Unfortunately, a steady stream of eccentric and highly suspicious characters, including a minor-league crook (Murray Alper) a duplicitous detective (Eric Blore), a damsel in distress (Margaret Callahan) and a murder victim-to-be (Erin O'Brien-Moore) converge upon the inn, all apparently in search of a cache of stolen money. The amusing double-surprise ending works just as well here as it did in all other versions of the Cohan-Diggers play. At the time of this film's release, RKO Radio issued a study guide to schoolrooms, noting with pride that all the "dated" slang in the original Seven Keys to Baldpate had been carefully weeded out -- unmindful that the "improved" rewrite would seem even more dated 60 years hence! ~ Hal Erickson, Rovi

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, Rovi

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, Rovi

Now known simply as Fashions, the lavish Warner Bros. musical Fashions of 1934 stars the unlikely but copacetic team of William Powell and Bette Davis. It all begins when genial con artist Sherwood Nash (Powell) transfers his base of operations from New York to Paris. Sensing that the fashion "racket" is a hot commodity, Nash puts all his energies into promoting heroine Lynn (Davis) as France's foremost fashion designer. Along the way, of course, Nash and Lynn fall in love, but first the plotline must find a nice way to dispose of Nash's former partner-in-crime The Duchess (Veree Teasdale), currently posing as a White Russian Countess. Fashions is the picture in which a bevy of Busby Berkeley beauties are dressed (but just barely) as harps, prompting the apocryphal admonition from a chorus girl's mother, "Mr. Berkeley, I didn't raise my daughter to be a human harp!" ~ Hal Erickson, Rovi

Film historian William K. Everson once observed that the secret to the success of Cecil B. DeMille's 1934 Cleopatra is that DeMille subtly reshaped the known historical events into a contemporary "gold-digger makes good" scenario. Exhibiting the same determination with which Barbara Stanwyck sleeps her way to the top in 1933's Baby Face, Queen Cleopatra (Claudette Colbert) uses her feminine wiles to become sole ruler of Egypt. By turns kittenish and cold-blooded, Cleopatra wraps such otherwise responsible Roman worthies as Julius Caesar (Warren William, who wittily plays his role like one of his standard ruthless business executives) and Marc Antony (Henry Wilcoxon) around her well-manicured little finger. To emphasize the "contemporary" nature of the film, DeMille adds little modernistic touches throughout: The architecture of Egypt and Rome has a distinctly art-deco look; a matron at a social gathering clucks "Poor Calpurnia...well, the wife is always the last to know"; and, after Caesar's funeral, Mark Anthony is chided by an associate for "all that 'Friends, Romans, Countrymen' business!" Cleopatra's barge scene and her suicide from the bite of a snake marked two of the most memorable sequences in DeMille's career. Remarkably, for all the enormous sets and elaborate costumes, Cleopatra came in at a budget of $750,000 -- almost $40 million less than the 1963 Elizabeth Taylor remake. ~ Hal Erickson, Rovi

An espionage drama set in the early 20th century, Ever in My Heart stars Barbara Stanwyck as a New England naif who marries a German citizen (Otto Kruger). In 1915, Stanwyck and her husband suffer a brace of blows: The death of their son, and the sinking of the Lusitania, the latter incident sparking a wave of anti-German sentiment. Hounded out of their small town by the angered citizens, Stanwyck and Kruger move to Europe, where the husband voluntarily leaves his wife to join the Kaiser's army. In 1917, Stanwyck, working as a canteen volunteer in France, discovers that her once pro-American husband is now a German spy. To save him from a firing squad, she poisons his wine, then kills herself. ~ Hal Erickson, Rovi