Buster Phelps Movies

Elizabeth MacDonald (Claudette Colbert) is a newly married corporate librarian in 1918 Baltimore working for a chemical company owned by the Hamilton family and managed by Larry Hamilton (George Brent). Just as she is celebrating the armistice and anticipating the return of her husband John (Orson Welles), she learns he was killed in action, just days before the cease fire. Pregnant with their child and alone in the world, she is taken in by Larry Hamilton, who has loved her from afar and is driven by sympathy for her plight. She has her baby, a boy named Drew, and she and Larry marry, raising the child as his own and never telling the boy of his real father. Meanwhile, in an Austrian hospital, a horribly wounded and disfigured American officer (Welles) without any identification insists to the doctor treating him (John Wengraf) that he be allowed to die. The doctor saves his life, but the shock of his injuries and the strain of his recovery causes him to lose his memory, and he ends up adopting a new identity. Cut to 1939, and the outbreak of the Second World War in Europe. Drew (Richard Long) is about to graduate from college and wants to join his fraternity brothers, who are planning on going to Canada, signing up with the Royal Canadian Air Force, and heading to England to fly against the Germans. Drew is not yet 21, however, and needs the permission of his parents, but Elizabeth is appalled by the notion of losing Drew to war the same way that she lost John.

Into their family comes a visitor, Erich Kessler (Welles), a crippled, ailing Austrian refugee and chemical expert hired by Hamilton's company, who arrives in Baltimore with his young daughter Margaret (Natalie Wood). Kessler starts to recognize places in the city, including the home where Elizabeth lived, and when they meet, despite her discomfort at having an Austrian army veteran in the house, she does her best to welcome him. Elizabeth also starts to notice little aspects of Kessler that remind her vaguely of John. But much as she is haunted by these strange similarities, she is appalled when Kessler seems to encourage Drew to pursue his goal of fighting the Nazis. Even Kessler's presence in their home, despite his genial and deferential manner, is a vexation to Elizabeth, bringing the horror of the war and what the Nazis represent into their midst and making Drew even more fervent in his desire to join up and fight. When Margaret displays terrible fears and nightmares, it comes out that she isn't really Kessler's child at all, but the daughter of the doctor who saved his life (he and his wife had been executed by the Nazis).

Larry, meanwhile, must watch from the sidelines, not aware of Kessler's real identity and unable to resolve the conflict between his admiration for Drew's intentions and his love for his wife. When Drew decides to ignore his parents' wishes and go to Canada and enlist without their permission, Kessler follows and stops him (despite his own weakened condition), and brings the young man home. A confrontation ensues upon their return, and Kessler explains to her that, whomever she thinks he might have been, the past has passed. Elizabeth finds the strength and courage to face the future, and the coming of the new war and what it may bring. ~ Bruce Eder, Rovi

In the 1930s and 1940s, Warner Bros. developed a positive genius for remaking earlier films in new, disguised fashion, retaining the plotlines but altering the circumstances and character names. Wagons Roll at Night was a 1941 reworking of the prizefight drama Kid Galahad, filmed only four years earlier. The original film was about a naive boxer who falls in love with the sister of his semi-crooked manager. The remake stars Eddie Albert as a bucolic lion tamer, Humphrey Bogart (who'd been the villain in Kid Galahad) as the circus manager, and Joan Leslie as the girl. The earlier film also included Bette Davis as the manager's put-upon mistress; her counterpart in Wagons Roll at Night is Sylvia Sidney as a worldly circus star. It's amazing how well the prizefight milieu adapts itself to the lion cage, and for this alone Wagons Roll at Night is memorable. ~ Hal Erickson, Rovi

The Hero for a Day is elderly night watchman Frank Higgins (Charley Grapewin), still basking in the memories of his long-age college football triumphs. To stir up publicity for a crucial post-season game, his alma mater plucks Higgins out of obscurity and once more showers him in glory. The old man's triumph turns to tragedy when he drops dead during the Big Game, but at least he goes out secure in the knowledge that his protégé Brainy (Dick Foran) has scored the winning touchdown. Critics in 1939 were amused by the inconsistencies during the gridiron sequences (the scenes appeared to have been shot at several different stadiums, then haphazardly patched together in the cutting room) and by the lavish wardrobe sported by "humble" stenographer Sylvia Higgins (Anita Louise). Featured in the cast of Hero for a Day is Richard Lane, who seems to have been in every sports movie ever produced between 1935 and 1945. ~ Hal Erickson, Rovi

Eric Linden and Cecilia Parker, the stars of Grand National's first release In His Steps (1936), were reunited in the same studio's Girl Loves Boy. Linden plays Bob Conrad, the playboy son of town squire Charles Conrad. Much against his dad's wishes, Bob falls in love with Dorothy (Parker), the daughter of penniless widow Mrs. McCarthy (Dorothy Peterson). At the insistence of Conrad Sr., Bob weds Sally Lacy (Bernadene Hayes), but Dorothy's broken heart is mended when it turns out that Sally's divorce from her previous husband was never finalized. Like the previous In His Steps, Girl Loves Boy was scripted by cinematographer-director Karl Brown. ~ Hal Erickson, Rovi

One Horse Town is the TV title for MGM's 1936 version Small Town Girl (the new title was bestowed to avoid confusion with the 1953 remake). Robert Taylor plays an irresponsible playboy who is arrested in a backwater town for drunken driving. While intoxicated, Taylor proposes to local girl Janet Gaynor. She accepts, knowing full well that he wouldn't have popped the question had he been sober. Gaynor spends the rest of the film trying to reform Taylor and to get him to fall in love with her while he's got all his faculties--no small trick, in that her competition is sophisticated Binnie Barnes. ~ Hal Erickson, Rovi

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, Rovi

In this romantic comedy, a man marries his Russian lover and discovers that she has a large extended family. He is utterly overwhelmed and decides that the only way he will be able to free himself of their burden will be to make them famous. Along the way, he keeps running into the bold lover of his new bride. Mayhem ensues. ~ Sandra Brennan, Rovi

Ne'er-do-well Gary Cooper is so desperate for quick cash that he's willing to sell the custody rights of his own daughter (Shirley Temple), whom he's never seen. Cooper's girlfriend Carole Lombard is shocked by this callousness and walks out on him, but when Cooper meets his daughter and has a change of heart, he reclaims the little girl and is reunited with Lombard. Still, Cooper can't hold down a job. Another get-rich-quick scheme ends unhappily when Cooper is forced to participate in a jewel robbery. After fighting it out with his confederates, the wounded Cooper begs the victim of the robbery, a wealthy and loving woman, to adopt his daughter and give her the sort of life he is unable to provide. Now and Forever would have been mighty turgid stuff without the combined star power of Gary Cooper, Carole Lombard, and six-year-old Shirley Temple. ~ Hal Erickson, Rovi

While U.S. sailor Jimmy Harrigan (James Dunn) is on leave in San Pedro, he unexpectedly falls in love with the beautiful Sally Brent (Sally Eilers. Though Sally (Eilers) promises to be faithful after Jimmy (Dunn) ships out to San Francisco, Jimmy becomes jealous. Furious at the news that Sally has entered a marathon dance contest sponsored by the lecherous Baron Portola (Victor Jory) , Jimmy and several of his Navy buddies go to the ballroom on the night of the dance marathon in an attempt to change Sally's mind and win her back. Directed by Raoul Walsh, this movie also features actors Sammy Cohen and Frank Moran. ~ Tracie Cooper, Rovi

Jenny (Ruth Chatterton) becomes pregnant by a young man who is killed in the 1906 San Francisco earthquake. Bearing her child in secret, Jenny gives up custody to a wealthy couple. The years pass, and through the auspices of a crooked politician (Louis Calhern), Jenny becomes the number one "madame" of San Francisco, with interests in several other illicit activities. Crusading district attorney Dan Reynolds Donald Cook decides to rid the city of Jenny's operations -- little suspecting that the notorious woman is actually his own mother. ~ Hal Erickson, Rovi

In this melodrama a father rejects his son after his wife dies in childbirth. As a result, the boy is sent to live with his relatives. Six years later, the father reconsiders and tries to regain custody of his son. A custody battle ensues with the father emerging victorious. But the victory is bittersweet as he must now cope with problems between his second wife and his son. ~ Sandra Brennan, Rovi

In this newspaper drama, a dedicated small-town reporter works hard and becomes the editor of a major New York paper. Unfortunately the man's ambition has blinded him to the needs of his wife and son. When the son dies, the bereaved, and lonely woman decides to leave him. Later the editor reconsiders his life, quits his high-pressure job and decides to save his marriage by working in a quieter town. ~ Sandra Brennan, Rovi