Lucien Prival Movies

In this African adventure, a fearless physician goes into the jungle to search for rare medicinal herbs. While there, he runs into a tribe ruled by white women claiming to be goddesses. Some viewers may find the racial stereotypes presented in this story offensive. ~ Sandra Brennan, All Movie Guide

Also known as A Miracle Can Happen, On Our Merry Way is a multipart comedy linked by inquiring reporter Burgess Meredith. It is Meredith's job to interview several people, asking them what effect children have had on their lives. First he checks with two itinerant musicians (James Stewart and Henry Fonda), who earn extra under-the-counter money by fixing a music contest so the mayor's son will win. Next he meets Hollywood extras Dorothy Lamour and Victor Moore, who are hired to work with a precocious child star. Finally, the old "Ransom of Red Chief" twist is given to the tale of hoboes Fred MacMurray and William Demarest, who find themselves at the mercy of a preteen prankster, whose wealthy uncle (Hugh Herbert) won't take the kid back unless the hoboes pay him. Meredith returns to the newspaper office with a black eye, which earns him the sympathy and affection of coworker Paulette Goddard. Though the direction is credited to Leslie Fenton, portions of On Our Merry Way were actually directed (sans credit) by George Stevens and King Vidor. ~ Hal Erickson, All Movie Guide

Leonard Maltin once observed that Storm Over Lisbon is what Casablanca would have looked like had it been produced by Republic instead of Warner Bros. This wartime meller reunites the cast and director of the successful Republic melodrama Lady and the Monster, with less than successful results. Skating star Vera Hruba Ralston plays Maritza, a woman of mystery operating in neutral Lisbon. Maritza is somehow connected with sinister café owner Deresco (Erich Von Stroheim), who seems to have a more than a cozy relationship with the Nazis. Deresco tries to prevent American journalist John Craig (Richard Arlen) from leaving Lisbon with a cache of top-secret microfilm (what, no Letters of Transit?) With the whole world crumbling, Vera Ralston manages to work in an ice-ballet number. Few have ever had the urge to shout "Play it again" after watching Storm Over Lisbon. ~ Hal Erickson, All Movie Guide

Cole Porter's musical hit Panama Hattie originally starred Ethel Merman on Broadway. But Merman was not a proven movie commodity, thus it was Ann Sothern who appeared in the film version as Hattie, brassy but golden-hearted proprietress of a Canal Zone hotel. Accustomed to dealing with such raucous cohorts as she-sick sailors Red (Red Skelton), Rags (Rags Ragland) and Rowdy (Ben Blue), Hattie isn't quite certain how to handle herself when she falls in love with wealthy and cultured Dick Bulliett (Dan Dailey Jr.) Socialite Leila Tree (Marsha Hunt), who'd previously set her cap for Dick, does her best to break up the romance, but Hattie is championed by Dick's kid sister Geraldine (Jackie Horner) and family butler Jenkins (Alan Mowbray). The play's original storyline, which shifted into gear when Hattie began picking up Nazi shortwave radio broadcast in the fillings of her teeth, is virtually nonexistent here, as is Porter's score, save for "I've Still Got My Health" and "Let's be Buddies" (Lena Horne does, however, show up to sing "Just One of Those Things", a carryover from an earlier Porter musical). A notoriously troubled production, Panama Hattie was completely refilmed after a disastrous preview, delaying its scheduled release by nearly a year. ~ Hal Erickson, All Movie Guide

A hunter finds himself in a world of danger when he decides to stalk Adolf Hitler in this taut WWII thriller. Capt. Thorndike (Walter Pidgeon) is an expert big-game hunter from England. While hunting in Bavaria, he happens upon Hitler's Berchtesgaden estate and spots the Fuhrer; he has his rifle in tow, and he toys with the idea of firing at the dictator, even raising the unloaded weapon, putting Hitler in the crosshairs, and pulling the trigger to make the gun click. Unfortunately, this draws the attention of Maj. Quive-Smith (George Sanders), a Gestapo leader assigned to guard the Führer, who promptly apprehends Thorndike, drags him off and attempts to force him to sign a confession. When he refuses, he's brutally beaten and dumped into a hole in the woods, and must climb out and make his way to safety, by hiding as a stowaway on a Danish steamer. The poor fellow then runs afoul of the menacing Mr. Jones (John Carradine), who steals his passport and identity. By the time Thorndike returns to London, the hunter has become the hunted, with Gestapo agents combing the streets looking for the would-be assassin. Thorndike finds an unlikely ally in Jerry (Joan Bennett), a seamstress and sometimes streetwalker who takes him in and helps him hide from the German forces closing in around him. And meanwhile, he must still contend with teh nefarious doings of Mr. Jones Man Hunt was directed by Fritz Lang, the great German director who fled to Paris in 1933 rather than accept a commission from Joseph Goebbels to make Nazi propaganda films. He came to America the following year. ~ Mark Deming, All Movie Guide

The last of MGM's "Nick Carter" trilogy, Sky Murder is a tad too cute and clever for its own good, but its mystery angle holds up pretty well. Returning from a weekend party, amateur sleuth Nick Carter (Walter Pidgeon) boards a private plane, where urbane Fifth Columnist Andrew Hendon (Tom Conway) is murdered in a locked compartment. Suspicion immediately falls upon refugee Pat Evans (Kaaren Verne), who was being blackmailed into helping Hendon smuggle secrets to the Nazis. Dividing his time between the land and the air, Carter is eventually able to expose the real murderer, and to smash the Nazi spy ring for good and all (or at least until the next spy movie). The film is hampered by the excessive comedy relief of Carter's self-appointed assistant Bartholomew the Bee Man (Donald Meek), who once upon a time was an amusing character. Far better attuned to the film's framework is perennial dumb blonde Joyce Compton, here cast as deceptively scatterbrained female detective Chris Cross. ~ Hal Erickson, All Movie Guide

The Nazi Party's rise to power has disastrous consequences for a German family in this drama. Victor Roth (Frank Morgan) is a college professor teaching in Germany in 1933 who leads a peaceful and contented life with his wife Emelie (Irene Rich), son Rudi (Gene Reynolds), daughter Freya (Margaret Sullavan), and stepsons Otto (Robert Stack) and Erich (William T. Orr). However, Adolph Hitler's emergence as Germany's ruler has an unexpected impact on their lives. Fritz (Robert Young) and Martin (James Stewart) both vie for Freya's hand in marriage, but anti-Nazi activist Martin is forced to flee to Austria, while Freya is disturbed by Fritz's membership in a pro-fascist group. Victor repudiates Hitler's theories about Aryan superiority in class, and he not only loses his teaching position, but he is sentenced to a concentration camp. And while Emelie and Rudi join Freya as she tries to escape to Martin's new home in Austria, they find themselves hunted by Otto and Erich, now members of the Hitler Youth. The Mortal Storm was perhaps the most explicitly anti-Nazi film made in Hollywood prior to America's entry into WWII, and it resulted in all of MGM's product being banned in Germany. ~ Mark Deming, All Movie Guide

Many of the "preparedness" films of the years just prior to World War II sidestepped censorship by depicting past outrages of the Germans. Such a film was British producer Herbert Wilcox's Hollywood production Nurse Edith Cavell, in which Wilcox's future wife Anna Neagle portrayed the titular martyred Englishwoman. Ms. Neagle plays the legendary Ms. Cavell as a candidate for Canonization. Her selfless efforts to rescue refugee soldiers from World War I Belgium results in her being arrested on charges of espionage. Despite international pleas for clemency, the dastardly Deutschlanders sentence Edith to death. She faces the firing squad with a courageous serenity that makes Joan of Arc look like a hysterical schoolgirl. An earlier, silent version of Nurse Edith Cavell had caused turmoil in England due to its unadorned depiction of war's horrors. In 1939, however, audiences inundated by reports of Hitler's latest outrages were more receptive. Ironically, the film opened in the US a scant few days before war broke out in Europe. ~ Hal Erickson, All Movie Guide

Bold for its time (just prior to World War II), Confessions of a Nazi Spy is an expose of a genuine Nazi espionage ring operating in the United States. Dedicated National Socialist Paul Lukas arrives in America to conduct Bund rallies and enlist German-Americans in the service of Hitler. His rabble-rousing speeches inspire a blue collar worker (Francis Lederer) to join a Bund, and then participate in spy activities. FBI agent Edward G. Robinson is assigned to investigate. Extracting a confession from the not-too-bright Lederer, Robinson traces the espionage activities to Lukas. The Nazi official's notoriety and his undesirability as a security risk compels the German secret police to kidnap Lukas and spirit him back to the Fatherland, presumably to face liquidation. The spy ring is rounded up, but Robinson realizes that this is only the beginning. Confessions of a Nazi Spy may seem dated today, but in 1939 it packed a real wallop, especially since most filmmakers of that era chose to ignore the Nazis lest they lose the valuable European market. ~ Hal Erickson, All Movie Guide

Paramount spent a record one million dollars on its 1937 Mae West vehicle Every Day's a Holiday. La West portrays a turn-of-century confidence trickster who poses as a famous French chanteuse to avoid arrest. In this guise, she manages to expose crooked police chief Lloyd Nolan and smooths the path for reform mayoral candidate Edmund Lowe. A strong cast of supporting comedians, including Charles Winninger, Charles Butterworth and Walter Catlett, match Mae quip for quip. Elaborately produced and snappily directed by Eddie Sutherland, Every Day's a Holiday should have been the hit that Mae West needed to save her flagging film career. Unfortunately, her vogue had passed, plus she was under fire from America's bluenoses because of her previous "racy" vehicles and her recent "lewd and lascivious" appearance on Edgar Bergen's radio show. (When heard today, West's "Adam and Eve" sketch seems harmless enough, but remember the formidability of the Bible Belt back in 1938.) As a result, Every Day's a Holiday lost every penny it cost and then some -- and effectively ended Mae West's relationship with Paramount, the studio she had single-handedly rescued from bankruptcy with She Done Him Wrong back in 1933. ~ Hal Erickson, All Movie Guide

Bert Wheeler and Robert Woolsey's final film is far from their best, but at least it never plunges to the depths reached by their earlier Silly Billies and Mummy's Boys. Adapted from an unproduced stage play called The Kangaroos, High Flyers casts Bert and Bob as Jerry Lane and Pierre Potkins, operators of an amusement park kiddie-airplane concession. Newspaperman Dave Hanlon (Jack Carson) persuades the boys to fly out to sea to pick up a life preserver which purportedly contains precious photos taken by Hanlon of the British Royal Family. What our heroes don't know is that Hanlon is head of a gang of smugglers, and that the preserver contains stolen jewels and a cache of drugs. But what Hanlon doesn't know is that, despite their boasts, Jerry and Pierre have never flown a real plane in their lives. Upon scooping up the preserver, the boys accidentally open a package of cocaine powder, whereupon they become really high flyers (how this scene got past the censors is astonishing). They crash-land in the backyard of wealthy Horace Arlington (Paul Harvey), who fears that there's a sneak thief at large on his property (actually the "crook" is Arlington's pet dog). Assuming that Jerry and Pierre are the private eyes, he's summoned to his estate to protect the priceless Markoff Diamonds. Arlington gives the boys full reign over the household, allowing Jerry to romance Arlington's daughter Arlene (Marjorie Lord) and Pierre to spoon with household maid Maria (Lupe Velez). Things get really hectic when Hanlon and his fellow thieves converge on the Arlington household, demanding that Jerry and Pierre help them steal the Markoff gems -- or else. The whole mess is viewed with alarm by Arlington's eccentric wife Martha (Margaret Dumont), who fancies herself a fortune-teller. There are isolated moments in High Flyers that rank with Wheeler and Woolsey's best, notably Bert Wheeler's imitation of Charlie Chaplin and Bob Woolsey's song-and-dance duet with Lupe Velez. Also fascinating in a bizarre sort of way are Velez's impressions of Simone Simon, Dolores Del Rio, and Shirley Temple! All in all, however, High Flyers is a stilted, mechanical effort, garnering the team some of their worst reviews. Whether or not Wheeler and Woolsey would have been retained by RKO after the lukewarm box-office reception to this film is a moot point: Gravely ill with kidney disease, Robert Woolsey was confined to his bed after the film wrapped, where he remained until his death 14 months later. ~ 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

Born to Gamble was one of the more palatable efforts of M.H. Hoffman's poverty-row Liberty Films. The four protagonists are brothers who are "cursed" by their family's gambling bug. All four try to overcome the urge to speculate: only one, the youngest, is successful. Onslow Stevens plays both the lucky brother and his 19th-century riverboat-gambler ancestor. Born to Gamble was Americanized from British writer Edgar Wallace's novel The Greek Poropulos. ~ Hal Erickson, All Movie Guide