Lee Phelps Movies

The third of MGM's Dr. Kildare series to dispense with the services of Dr. Kildare (Lew Ayres), Dr. Gillespie's Criminal Case stars crusty old Lionel Barrymore in the title role. The first half of the film concerns Gillespie's efforts to expedite the romance of Army sergeant Orisin (Michael Duane) and Marcia Bradburn (Donna Reed), with the help of doctors Red Adams (Van Johnson) and Lee Wong How (Keye Luke). The closing reels lapse into melodrama when Gillespie is kidnapped by mentally unstable convict patient Roy Todwell (John Craven) and his gang. In addition to new MGM contractees Van Johnson and Donna Reed, Dr. Gillespie's Criminal Case gave a boost to young star-in-the-making Margaret O'Brien. Like most of the later films in the series, this one is hampered a bit by its excessive length. ~ Hal Erickson, All Movie Guide

In the tradition of his earlier Carnival in Flanders and Tales of Manhattan, director Julien Duvivier's Flesh and Fantasy is a "pormanteau" film, consisting of several short stories. Linking the three tales unfolded herein are clubmen Doakes (Robert Benchley) and Davis (David Hoffman), who carry on a spirited debate about Destiny. In the first story, homely Henrietta (Betty Field) is made beautiful through the love of handsome Mardi Gras reveller Michael (Robert Cummings)-and the help of an enigmatic mask-maker (Edgar Barrier). The second story, based on Oscar Wilde's "Lord Arthur Saville's Crime", concerns a fortune teller named Septimus Podgers (Thomas Mitchell) who predicts that socialite Marshall Tyler (Edward G. Robinson) will commit a murder. In the final tale, psychic high wire artist Paul Gaspar (Charles Boyer) dreams that he will meet his doom during the performance of his act-and then falls in love with Joan Stanley (Barbara Stanwyck), who looks exactly like the girl who appeared in that dream. A fourth story, detailing the doomed romance between a fugitive from justice (Alan Curtis) and a blind girl (Gloria Jean), was cut from Flesh and Fantasy, then expanded and released separately as Destiny (1944). ~ Hal Erickson, All Movie Guide

In this musical, which manages to look back with nostalgia upon prohibition and the depression (no small accomplishment), George Raft plays George, a hoofer looking back on his glory days. His memories are triggered when The Paradise Club, a nightspot where he used to work, is about to be turned into a bowling alley. In the Roaring '20s, George and his partner Billie (Janet Blair) were a star attraction at The Paradise, run by Nick (S.Z. Sakall). George wants his relationship with Billie to be as graceful off-stage as on, but he has several rivals vying for her affections, including gangster Steve (Broderick Crawford) and policeman Dan (Pat O'Brien). Marjorie Rambeau plays Lil, modeled after brassy nightclub owner Texas Guinan. Raft actually worked for Guinan in his early days as a dancer, and he gets a chance to show off his fancy footwork accompanied by a number of classic tunes, including "Alabamy Bound", "Yes Sir, That's My Baby", "Sweet Georgia Brown", and "I'm Just Wild About Harry". Broadway was a loose remake of the 1929 Merna Kennedy vehicle of the same name. ~ Mark Deming, All Movie Guide

Aircraft plant worker Robert Cummings is accused of sabotaging his factory and causing the death of a co-worker. Actually, Cummings is the fall guy for a clever ring of Nazi spies, headed by above-suspicion American philanthropist Otto Kruger. Our hero goes on a cross-country chase after genuine saboteur Norman Lloyd, all the while pursued himself by the police. Along the way, he acquires a reluctant "travelling companion" in the form of Priscilla Lane, who at first despises Cummings and intends to turn him over to the authorities at the first opportunity, but who gradually comes to realize that the boy is innocent. Alfred Hitchcock intended Saboteur to be the American equivalent to his British The 39 Steps, employing such details as the solid-citizen villain, the handcuffed hero, the unwilling blonde heroine, and any number of stopovers with a variety of offbeat characters (a travelling "freak" show, a compassionate blind man, a grizzled old prospector who turns out to be one of the spies, etc.) ~ Hal Erickson, All Movie Guide

The tumultuous presidency of 17th-president Andrew Johnson is chronicled in this biopic. The story begins with Johnson's boyhood and covers his early life. During the Civil War, Johnson stays a staunch Unionist and upon Lincoln's reelection in 1864, becomes his Vice President. After Lincoln's assassination, Johnson becomes the President. ~ Iotis Erlewine, All Movie Guide

This happy musical chronicles the exploits of a suicidal composer who is desolate after someone swiped his newest musical comedy. He is saved by three young people who join up with the writer's daughter and put on the production. With the help of a pugnacious cab driver, they manage to draw their audience from the composer's rival. Featured in the show is the extravaganza number "Ballad for Americans", which was directed by Busby Berkely. Other songs include "I Hate the Conga", "Alone", "You Are My Lucky Star", and "I Love Ya". ~ Sandra Brennan, All Movie Guide

In this drama, a dedicated forest ranger begins suspecting that a recent series of fires has been caused by arson. He investigates in a neighboring town. There he meets a beautiful rich girl, and they fall in love and get married. Unfortunately, the other rangers do not react well to the female's intrusion into their domain. Meanwhile, the daughter of a lumber baron, who has always secretly loved the ranger, is deeply disturbed by the nuptials. When the fires begin running wild, the two women rally together and help. Unfortunately, they are trapped by a wildfire and the ranger must save them by parachuting into their locale. While en route, he discovers that it is the pilot of the airplane who has been setting the fires. The two get into a fight, the arsonist torches the plane and jumps, and the ranger lies unconscious on the airplane floor as it spirals into a fatal nose dive. Fortunately, he wakes up just in time to jump out. He lands near the women, and together they put out the blaze. Later they learn that the arsonist died when his chute drifted into one of the blazes he himself had set. ~ Sandra Brennan, All Movie Guide

In This Our Life is not a "for the ages" classic of the Golden Age of Cinema, but as a highly effective and entertaining melodrama, it more than fits the bill. Howard Koch's screenplay is a trifle predictable, but it's well structured and provides the requisite juicy roles for its pair of female stars. It also provides a number of little surprises -- a sympathetic and (for the time) non-stereotypical portrayal of a black character and two characters living not only in sin but adulterously so -- that give it some distinction. The script's main drawback is its initial lack of focus; it doesn't seem to quite know exactly what its story is and where the real conflict will lie. Ultimately, this doesn't really matter, for John Huston knows where it's going, and he shepherds the story along very efficiently, throwing in a little social commentary here, heightening the atmosphere there, tossing in a hint of the unsavory elsewhere. Although he doesn't really know what to do with the male actors (save for Charles Coburn and Frank Craven, each of whom is just right in entirely different ways), he handles the women in exactly the right way, including Billie Burke as the coddling, neurotic mother. It's Bette Davis, of course, who gets the showiest role, and she sinks her teeth into it and plays it for all it's worth. It's a great Davis performance, but she's still outdone by Olivia de Havilland, whose quiet, understated work anchors the film and ultimately makes the greater impression. It's terribly fine film acting, and immensely satisfying. ~ Craig Butler, All Movie Guide

Wild Geese Calling is one of those 20th Century-Fox star vehicles which used to pop up all the time on TV before the Carsons, Lenos and Lettermans rendered "The Late Late Show" obsolete. Set in Oregon and Alaska at the turn of the century (the last century, that is), the film stars Henry Fonda as John Murdock, a restless young lumberjack. Tired of his job at a Seattle logging camp, he heads to the Yukon in search of gold. Here he marries dance hall girl Sally (Joan Bennett), who turns out to be the sweetheart of his old pal Blackie (Warren William). Throughout the early months of their marriage, he spends less time paying attention to her than he does worrying that she'll run off with her ex-beau. Murdock finally shows he's a right guy when he risks his life braving the elements to deliver a doctor to her bedside when she goes into labor. Russell Simpson, who played Henry Fonda's dad in The Grapes of Wrath, shows up in a typically grizzled role. ~ Hal Erickson, All Movie Guide

Ball of Fire is a delightful retelling (by Billy Wilder and Charles Brackett) of the "Snow White and the Seven Dwarfs" legend -- though strictly for grownups. Gary Cooper is the youngest of eight bookish professors authoring an encyclopedia. They find a perfect "research associate" in the curvaceous form of stripteaser Barbara Stanwyck, who (chastely) hides on the professors' domicile to escape her gangster boyfriend (Dana Andrews). As Stanwyck interprets various slang expression, she and the professors grow quite fond of one another; she brings out their sentimental sides, while they revive her essential decency. Naturally, Cooper is the one most smitten, though he hides his true feelings until the inevitable clinch. When gangster Andrews and his torpedo Dan Duryea show up to claim Stanwyck (Andrews wants to marry her so she can't testify against him), the professors save the day and it is Cooper who ends up with the beautiful Stanwyck. For the record, two of the "ancient" professors are Richard Haydn and O.Z. Whitehead, still in their mid-thirties (the others are S.Z. Sakall, Tully Marshall, Oscar Homolka, Leonid Kinskey and Aubrey Mather). Producer Sam Goldwyn later remade Ball of Fire as a Danny Kaye musical, A Song is Born (1948). ~ Hal Erickson, All Movie Guide

In a manner of speaking, Humphrey Bogart had George Raft to thank for his ascendancy to stardom: after all, if Raft hadn't turned down both High Sierra and The Maltese Falcon, Bogart might have continued playing second-billed gangsters to the end of his days. Adapted from W. R. Burnett's novel by Burnett and John Huston, High Sierra opens with gangster Roy Earle (Bogart) being paroled after a lengthy prison term. Though he enjoys the fresh air and sunshine of the outside world, Earle has no intention of giving up his criminal ways. In fact, his parole has been arranged by Big Mac (Donald MacBride), so that Earle can mastermind a big-time heist at a fancy California resort hotel. After a few unkind words with a crooked cop, Kranmer (Barton MacLane), in Big Mac's employ, Earle heads toward a fishing resort, where he is to commiserate with his inexperienced, hot-headed cohorts Babe (Alan Curtis) and Red (Arthur Kennedy). En route, he befriends a farm family, heading to LA in search of work. He falls in love with the family's club-footed daughter Velma (Joan Leslie)--though she never really gives him any encouragement--and makes a silent promise to finance an operation on her foot once he's gotten his share of the loot. At the mountain cabin rendezvous, Earle meets Marie (Ida Lupino), Babe's tough-but-vulnerable girlfriend. He angrily orders her to scram, but she stubbornly remains. Earle also finds himself the owner of a "jinxed" dog, whose previous masters have all met with early demises (a none-too-subtle foretaste of things to come). Marie is strongly attracted to Earle, but he refuses to have anything to do with her, reserving his affections for Velma. He arranges an operation for the girl with mob doctor Banton (Henry Hull), never suspecting that the self-serving Velma is planning all along to marry someone else. The robbery goes off without a hitch, save for the fact that "inside man" Mendoza (Cornel Wilde) panics and nearly gives the game away. While escaping, Babe and Red are killed in a car accident, but Earle and Marie escape. Having been disillusioned by Velma's indifference and by the fact that the untrustworthy Kranmer has taken over the late Big Mac's operation, Earle at last realizes that the only person he can truly depend upon is the faithful Marie. With the police hot on his trail, Earle tells Marie to look after herself, then heads alone into the High Sierras--where, in Greek Tragedy fashion, he "busts out" of life. As in Petrified Forest, Humphrey Bogart plays a burnt-out anachronism from an earlier era in crime in High Sierra; in the latter film, however, Bogart has an innate nobility that allows the audience to empathize with him throughout. It is nothing short of amazing that, despite his superb performance in this 1940 film, he still had to wait until The Maltese Falcon for top billing in an "A picture." High Sierra was remade in 1949 as Colorado Territory and in 1955 as I Died a Thousand Times. ~ Hal Erickson, All Movie Guide

"Mr. and Mrs. North" started as a series of comic articles about a Park Avenue married couple, written by Richard and Frances Lockridge. One of these articles was "The Norths Solve a Murder", which was adapted as a stage play by Owen Davis Sr. and was later spun off into a popular radio and TV comedy-mystery series. The Davis play made it to the screen in 1941 as Mr. and Mrs. North, with Gracie Allen (in a rare appearance without George Burns) as dizzy socialite Pamela North and William Post Jr. as her long-suffering husband Jerry. Upon returning home from a vacation, Pam North opens her closet door--and out pops a dead body. As it turns out, all the suspects are close friends of the Norths, a fact that encourages Pam to gently interfere in the ongoing murder investigation conducted by Lt. Weygand (Paul Kelly). A second murder serves only to send Pam off on another flight of convoluted logic, but somehow or other the case is solved and justice is served. ~ Hal Erickson, All Movie Guide

If Edward G. Robinson thought he'd get away from tough-guy roles by moving from Warners to MGM, he was sorely mistaken. Robinson plays the editor of a 1920s tabloid newspaper, compelled to accept financial aid from a gangster (Edward Arnold). Defying his "unholy partner," Robinson adopts an editorial stance in direct opposition to the gangster's activities. The crook is less upset by this than by the fact that Robinson's star reporter (William T. Orr) is romantically interested in the crook's girlfriend (Marsha Hunt). When Robinson tries to expose the gangster's insurance racket, the young reporter is kidnapped. Robinson kills the crook, then covers his tracks in noble fashion by participating in a suicidal airplane test flight. Unholy Partners manages to keep its multitude of plot threads in order, resulting in one of Edward G. Robinson's most solid vehicles. ~ Hal Erickson, All Movie Guide