James Pierce Movies

The third and (to date) last film version of the Edna Ferber/Jerome Kern/Oscar Hammerstein II musical Show Boat falls just short of greatness but is still a whale of a show. Howard Keel and Kathryn Grayson are in fine fettle as irresponsible gambler Gaylord Ravenal and showboat ingenue Magnolia Hawks. The plot adheres closely to the Broadway original making several welcome improvements in the final act (which was always a bit shaky). Magnolia, daughter of showboat impresario Captain Andy (Joe E. Brown) and Parthy Hawkes (Agnes Moorehead), falls head over heels in love with the raffish Ravenal. When the show's leading lady, Julie (Ava Gardner), and leading man, Steve (Robert Sterling), are forced to leave when Julie's mulatto heritage is revealed by disgruntled suitor Pete (Leif Erickson), Magnolia and Gaylord step into the vacant stage roles and score a hit. Eventually, the two are married and for several months are quite happy. After incurring serious gambling losses, however, Gaylord walks out of Magnolia's life never realizing that his wife is expecting a baby. With the help of her former showboat colleagues Ellie and Frank Schultz (Marge and Gower Champion) and a behind-the-scenes assist from the tragic Julie, Magnolia secures work as a Cabaret singer in Chicago. Her new year's eve debut threatens to be a bust until her father Captain Andy quells the rowdy crowd and guides his daughter through a lovely rendition of After the Ball (a Charles K. Harris tune that pops up in every stage version of Show Boat). Magnolia returns to her family, with her daughter Kim in tow. Upon learning from Julie that he has a daughter, Gaylord returns to Magnolia and Kim, setting the stage for a joyous ending.

Virtually all of the Kern-Hammerstein songs are retained for this version of Show Boat (though none of the songs specially written for the 1936 film version are heard). These cannot be faulted, nor can MGM's sumptuous production values. Still, the 1951 Show Boat leaves one a bit cold. Perhaps it was the removal of the racial themes that gave the original so much substance (as black stevedore Joe, William Warfield exists only to sing a toned-down version Ol' Man River while Joe's wife Queenie is virtually written out of the proceedings). Also, MGM reneged on its original decision to cast Lena Horne as Julie; the role was recast with Ava Gardner and rewritten with an excess of gooey sentiment). Or perhaps it was the production's factory-like slickness; typical of the film's smoothing out of the original property's rough edges was the casting of Marge and Gower Champion, who are just too darn good to be convincing as the doggedly mediocre entertainers Frank and Ellie. Even so, Show Boat does have Howard Keel and Kathryn Grayson at their peak, not to mention the peerless Joe E. Brown as Captain Andy. And the film was a financial success, enabling MGM to bankroll such future musical triumphs as Singin' in the Rain and Seven Brides for Seven Brothers. ~ Hal Erickson, Rovi

With a female protagonist as its only selling point, Cattle Queen trots out a farfetched Western story of Queenie Hart (Maria Hart), a rather glamorous bleached blonde cattle driver in 1866 Wyoming. After conning a potential buyer (Robert Robinson) into believing that Queenie's herd is diseased, nasty would-be empire builder Duke Drake (Robert Gardett) is confronted by the girl's new tough foreman, Bill Foster (Drake Smith). In retaliation, Drake frames Bill for a stage robbery, actually committed by his own henchmen, and arranges a phony trial presided over by the saloon's bartender, Judge Whipple (Douglas Wood). Queenie, however, interrupts the "trial" with the news that the townswomen have all elected Jim marshal. To uphold the decision, Bill has secured the release of three convicted outlaws: Blackie Malone (Joe Bailey), Bad Bill Smith (James Pierce), and Shotgun Thompson (Emile Meyer), two of whom join in the fight against Drake and his gang. With all this muscle -- and the power of prayer! -- Queenie finally bests Drake in a climactic shootout. ~ Hans J. Wollstein, Rovi

Casting Frank Sinatra as a Pennsylvania priest is but one of the many miscalculations made by the producers of Miracle of the Bells. Adapted by Ben Hecht and Quentin Reynolds from the best-selling novel by Russell Janney, the story revolves around an aspiring actress named Olga Treskovna (Alida Valli). Escaping the sooty environs of Coaltown, Pennsylvania, Olga heads to Hollywood, where through a series of incredible circumstances she manages to land the highly coveted leading role in a film based on the life of Joan of Arc. Tragically, Olga dies suddenly after wrapping up the film's final scene. Producer Marcus Harris (Lee J. Cobb) wants to reshoot the film with another, better-known actress, rather than risk losing a fortune on an "unknown" whom he can no longer groom for stardom. But press agent Bill Dunnigan (Fred MacMurray), who has journeyed to Coaltown to learn Olga's life story, tries to persuade Harris to release Joan of Arc as filmed, and to this end he enlists the aid of local priest Father Paul (Sinatra). To show their support for the late, lamented Olga, all the churches of all denominations in Coaltown ring their bells, nonstop, for three days. This man-made miracle not only convinces Harris to change his mind, but leads to a genuine miracle at the fadeout. Reviewers were unanimous in condemning Miracle of the Bells as a pretentious failure: the kindest comments ranged from "mawkish" to "nauseating." The picture hasn't improved much with age, but should be seen at least once on the strength of its cast alone. If it is seen, however, it's best to stick with the original black-and-white version and avoid the colorized TV print. ~ Hal Erickson, Rovi

The moody mystery melodrama Nocturne was produced by longtime Alfred Hitchcock associate Joan Harrison. The film wastes no time getting started, with a caddish Hollywood composer (Edward Ashley) dropping dead right after the opening credits. The police think it's a suicide, but maverick lieutenent Joe Warne (George Raft) suspects foul play. Checking around, Warne discovers that the dead man had broken at least ten female hearts in the past few years, providing a motive for murder for all ten. The principal suspect is Frances Ransom (Lynn Bari), who may or may not have been avenging her sister, nightclub thrush Carol Page (Virginia Huston). Pursuing the case with such dogged diligence that he's eventually tossed off the police force, Warne nonetheless refuses to give up, and by film's end he has collared the murderer. It wouldn't be fair to reveal the killer's identity, except to note that the actor in question went on to quite a different career at Universal Pictures. Like the previous RKO George Raft vehicle Johnny Angel, Nocturne was a box-office bonanza, posting a then-impressive profit of $568,000. ~ Hal Erickson, Rovi

William Powell and Myrna Loy re-team for this (literally) crazy screwball comedy about a happily married couple who, thanks to a visit from mother, find their marriage on the rocks and the husband committed to a mental institution. Poised to celebrate their fourth wedding anniversary, Steven (William Powell) and Susan Ireland (Myrna Loy) find their domestic bliss shattered by a visit from Susan's mother (Florence Bates). Susan's mother sprains her ankle and extends her visit, just in time to draw the wrong conclusions when her son-in-law pays a friendly visit to his old girlfriend Isobel (Gail Patrick). Susan's mother eavesdrops and reports it all to Susan, who in a jealous rage tries to make Steven jealous. But she winds up being chased through the hallway of her apartment building by half-naked archery enthusiast Ward Willoughby (Jack Carson). The couple agree on a divorce, but Steven then has second thoughts. On the advice of his lawyer, George Renny (Sidney Blackmer), Steven pretends he is insane, since the law prohibits Susan from divorcing him if Steven is mentally ill. Unfortunately, Susan is wise to his charade and has him committed to an asylum. ~ Paul Brenner, Rovi

In Hitchcock's rare foray into comedy (courtesy of a wittily risque script by Norman Krasna), Mr. Smith (Robert Montgomery) makes the mistake of telling Mrs. Smith (Carole Lombard) that if he had it to do all over again, he might not have married her. Shortly thereafter, Mr. Smith discovers that his marriage is invalid. Rather than say goodbye, the newly aroused Mr. Smith attempts to entice Mrs. Smith into the bedroom, thrilled at the prospect of an "illicit" romance. But Mrs. Smith has also been apprised that her marriage is no more--and, remembering Mr. Smith's "second thoughts", she kicks him out of the house. This comedy of misunderstanding rolls merrily along from this point onward, accommodating an uproarious scene at a fancy restaurant, a near-liaison between Mrs. Smith and new beau Gene Raymond on the World's Fair parachute jump, and a farcical denouement at a ski lodge, with Mrs. Smith's conjugally crossed skis symbolizing the carnal pleasures ahead for both Mr. and Mrs. Smith. ~ Hal Erickson, Rovi

After a couple of Westerns with barely any singing, former radio crooner Tex Ritter was back to form in this his fifth Monogram oater of 1940. Apart from his own and Frank Harbord's Gold Is Where You Find It, Ritter also performed Donohue's Done It Again, by Jack Frost and Johnny Lange and Lew Porter's They're Hanging Pappy in the Morning. Tex and bucolic sidekick Slim Andrews are prospectors in Boom Town, a community terrorized by a band of claim jumpers known as "The Ceegaret Gang" due to their practice of leaving the intended victim with a death threat written on cigarette paper. When Tex and Slim strike pay dirt, the former is falsely accused of being the leader of the gang. The real criminals plan to blow up the jail, but Tex and Slim escape. Seeking shelter in a cave, they discover Rawls (Forrest taylor), the only man alive able to identify the leader of the gang. Returning to town, Tex is reveals that the culprit is Prader (Stanley Price), a particularly unpleasant specimen who is in cahoots with the local county clerk. Little Sugar Dawn, a precocious child actress who had helped ruin Ritter's previous Pals of the Silver Stage with her sugary presence, returned for an encore in The Golden Trail, but her screen time was mercifully brief. (Rival Western hero Tom Keene was not so lucky; the irritating child would appear in no less than five of his Monogram oaters 1941-1942.) ~ Hans J. Wollstein, Rovi

Tyrone Power plays the college-grad son of jailed-embezzler Edward Arnold. Power tries to find work, only to be turned away because of his father's reputation. When he decides to use a phony name, he is still fired, because his ex-convict boss feels that Power is being unfair to his imprisoned father. If you can't win for losing in a 1940 film, you turn to crime. Power hires on as the right-hand man of personable but deadly gangster Lloyd Nolan. Arnold, who has become a model convict, is disgusted that his son has turned to crime. He even refuses to have anything to do with his son when Power lands in the slammer himself. Through the intervention of Nolan's moll Dorothy Lamour, a nightclub singer who has grown to love Power, Arnold realizes that his son is still a good guy underneath. Power proves as much by preventing a climactic jailbreak engineered by the homicidal Nolan. ~ Hal Erickson, Rovi

"Strange" is right: this mystical MGM melodrama has to be the oddest of the studio's Clark Gable-Joan Crawford vehicles. When eight prisoners escape from a New Guinea penal colony, they are picked up by a sloop commandeered by another escapee named Verne (Gable) and his trollop girl friend Julie (Joan Crawford). Among the fugitives is Cambreau (Ian Hunter), a soft-spoken, messianic character who has a profound effect on his comrades. One by one, the escapees abandon their evil purposes and find God-and a peaceful death--through the auspices of the Christlike Cambreau. The last to succumb to Cambreau's ministrations is Verne, who agrees to return to return to the prison colony serve out his sentence if Julie will wait for him (which she does). A superb Franz Waxman score provides a touch of show-biz grandeur to this haunting fable. ~ Hal Erickson, Rovi

Cecil B. De Mille directed this lavish all-star spectacular paying tribute to America's neighbors to the North. In 1885, as Louis Riel (Francis J. McDonald) tries to organize Indians and French settlers into a fighting force that will battle against the ruling British, Texas Ranger Dusty Rivers (Gary Cooper) arrives in Canada to arrest Jacques Corbeau (George Bancroft), one of Riel's associates who is wanted for murder in the U.S. Rivers promptly falls for nurse April Logan (Madeleine Carroll), which triggers jealously in the straightlaced Mountie sergeant Jim Brett (Preston S. Foster), who is also in love with April. Meanwhile, April's brother, Ronnie Logan (Robert Preston), also a member of the North West Mounted Police, is in love with Louvette (Paulette Goddard), Corbeau's sister and a fiery "half-breed" who lives among the Indians. When Dusty arrives in Canada, he joins forces with the mounties, who are looking for Corbeau on another murder charge, and soon joins the fight against Riel's rebel factions. De Mille imported 300 pine trees for his "forest" set, believing that a woods created on the controlled environment of a soundstage would look more "real" onscreen than location shooting in Canada. ~ Mark Deming, Rovi

In this comedy/drama, a feisty taxi-dancer (Lana Turner in her first starring role) takes on a sorority full of snooty debutantes after an equally snobbish Ivy Leaguer (Lew Ayres) who goes on a bender, meets her and invites her to his school's annual weekend bash. The next day, the fellow forgets all about the invite. When the party begins, the low-class girl shows up. The fellow then warns her that the catty debutante crowd will gleefully unsheathe their claws and rip her to shreds. The taxi-dancer is not so easily frightened and not only stays, she also stands up to every one of the wicked sorority sisters. She then gets sweet revenge by making herself the most popular girl of the weekend. ~ Sandra Brennan, Rovi

Gail Patrick plays a brilliant but naive country lawyer brought to the city to defend gangster Sidney Toler. She is subsidized by pillar of society Otto Kruger, who is actually the "big boy" behind the city's rackets. Ms. Patrick must prove that Toler didn't own a weapon that he is accused of pointing at a terrified states' witness. She believes in her client's innocence, but honest district attorney Robert Preston steers her to the side of Right. Patrick is exonerated of a complicity charge, and bad guys Toler and Kruger are carted off to prison. Ironically, Gail Patrick was later the executive producer of the TV series Perry Mason. ~ Hal Erickson, Rovi

When Errol Flynn insisted that Warner Bros. cook up a non-swashbuckler for his next vehicle, the result was Green Light. Based on a novel by Lloyd C. Douglas (Magnificent Obsession, The Robe etc.), the film tells the story of a young surgeon (Flynn) who willingly takes blame for a fatal mistake committed by an older doctor (Henry O'Neill). Disgraced, Flynn takes the near-suicidal assignment of testing a new vaccine for spotted fever; to ascertain the serum's effectiveness, he must expose himself to the disease. Flynn's fiancee (Anita Louise), having learned that her lover was not responsible for the older doctor's error, is reunited with Flynn as he lies recuperating from the fever. Weaving in and out of Green Light is the kindly old spiritual leader (Cedric Hardwicke) who espouses the values of sacrifice and faith. Green Light did acceptable box office business, but Errol Flynn was back at his sword-wielding best in his next film, The Prince and the Pauper. ~ Hal Erickson, Rovi