John Qualen Movies

Elmer Rice's Pulitzer Prize-winning play Street Scene was purchased for the screen by producer Samuel Goldwyn in 1931. The entire story takes place on the street in front of a foreboding old New York brownstone, between one evening and the next afternoon. The individual fates of eight neighboring Manhattan families intertwine during this brief stretch of time. Special emphasis is given the Maurrant family: the philandering mother (Estelle Taylor), the drink-sodden husband (David Landau) and long-suffering daughter Rose (Sylvia Sidney). When the husband catches the wife "in the act" with bill-collector Russell Hopton, the resulting tragedy is not shown, but reflecting in the wildly varying reactions of neighbors and passersby. Though resisting the temptation to "open up" the play, director King Vidor nonetheless injects his cinematic know-how into the proceedings, by utilizing an entirely different camera setup or angle for each individual "take." The cast of Street Scene includes several carry-overs from the Broadway original, including David Landau, Max Montor, Matt McHugh (brother of Frank), John Qualen, George Humbert, Tom H. Manning, and Anna Konstant (Sidebar: Shirley Kaplan, the role played by Ms. Konstant, was portrayed in the London production of Street Scene by Greer Garson). Unavailable for TV for many years due to legal tangles, Street Scene was freed up for the small screen when it lapsed into public domain in the early 1980s. ~ Hal Erickson, All Movie Guide

Adapted from the play by Elmer Rice, Counsellor-at-Law is the story of a successful Jewish lawyer George Simon (John Barrymore) who finds it's lonely at the top. Simon's wife (Doris Kenyon) and children look down upon him because of his humble upbringings, while his mother reprimands him for turning his back on his heritage. Simon is threatened with disbarment when a rival digs up a big wormy can of legal wrongdoing in Simon's past, but this is only the beginning of the end. When the beleaguered lawyer discovers that his wife has been unfaithful, he looks out the window of his Empire State Building office and contemplates suicide. Simon is brought to his senses by his faithful secretary (Bebe Daniels), who has loved him all along. Filled with vivid character vignettes and blessed with energetic direction by William Wyler, Counsellor-at-Law is one of the best "lawyer" films of the 1930s. ~ Hal Erickson, All Movie Guide

In this crime drama, Flicker Hayes (James Cagney) is a safecracker who has just been released following a stretch in prison; after his last job, his partners Dan Curley (Bradley Page) and Red Deering (Ralf Harolde) set him up, and now Hayes is determined to get revenge. Fooling them into believing that there's no hard feelings, Hayes sets up another robbery with Curley and Deering, but after it goes off without a hitch, Hayes turns the tables on his so-called friends and squeals on them to the cops, keeping all the money for himself. Hayes makes tracks for San Francisco, unaware that Curley has escaped from the police and is hot on his trail. Once he settles in San Francisco, Hayes meets Rose Lawrence (Joan Blondell), a former streetwalker who has reformed and settled down with fisherman Nick Gardella (Victor Jory). Even though she's married, Hayes falls head over heels for Rose, and she finds that she's quite attracted to him as well. Rose is torn between Hayes and Gardella, but Hayes' decision about the relationship is made for him when Curley and his goons arrive in San Francisco, and Hayes has to flee for his own safety. He Was Her Man was the last of seven pictures James Cagney and Joan Blondell would make together. ~ Mark Deming, All Movie Guide

A midwestern girl heads for Hollywood in hopes of becoming a star. She is accompanied by two good buddies and this comedy chronicles their adventures in Tinseltown. It all begins when the new arrivals enroll in a bogus acting school run by two con artists. A wealthy entrepreneur shows up looking to invest his money. One of the greedy grifters persuades him into financing a film starring the new girl from Peoria, but he gives one condition to the businessman: if the film fails, the conman gets to keep the money. To insure failure, the fellow hires a washed up boozer of a director. The director takes the job seriously and wants to prove that he is not a has-been. This doesn't set well with the "producer" who has his partner take the starlet to a remote cabin and leave her stranded after he gets drunk and passes out. By this time, the director has fallen in love with the girl. Meanwhile, her buddies have found that they'd rather go home and resume their old jobs. The director begins looking for the girl so he can save her and his career. Her buddies hear of her predicament and they too rush to her rescue. It is they who return her safe and sound to the studio. The director makes his film and it is a smash hit. The girl becomes a star and the conmen go to jail. ~ Sandra Brennan, All Movie Guide

Inasmuch as the film was based on a novel by Swedish author Sigrid Boo, Fox's Servant's Entrance is logically set in Sweden. Heiress Hedda Nillson (Janet Gaynor) certain that her family is about to lose all its money, takes a job as a maid. After the usual trials and tribulations, Hedda falls in love with humble chauffeur Eric Landstrom (Lew Ayres). When it turns out she's not going to go broke after all, Hedda despairs, believing that she will be forced to give Eric up -- but of course nothing like that ever happens. The highlight of Servant's Entrance is an animated nightmare sequence, courtesy of Walt Disney studios, wherein poor Hedda is "attacked" by a barrage of anthropomorphic pots and pans (Disney's previous contribution to Fox Studios was a futuristic television sequence in the 1933 Lilian Harvey vehicle My Lips Betray). ~ Hal Erickson, All Movie Guide

Unable to secure Hollywood-studio backing for his Depression-era agrarian drama Our Daily Bread, director King Vidor financed the picture himself, with the eleventh-hour assistance of Charles Chaplin. Intended as a sequel to Vidor's silent classic The Crowd (1928) the film casts Tom Keene and Karen Morley as John and Mary, the roles originated in the earlier film by James Murray and Eleanor Boardman. Unable to make ends meet in the Big City, John and Mary assume control of an abandoned farm, even though they know nothing about tilling the soil. Generous to a fault, the couple opens their property to other disenfranchised Depression victims, and before long they've formed a utopian communal cooperative, with everyone pitching together for the common good. Beyond such traditional obstacles as inadequate funding, failed crops and drought, John is deflected from his purpose by sluttish blonde vamp Sally (Barbara Pepper), but he pulls himself together in time to supervise construction of a huge irrigation ditch -- a project which consumes the film's final two reels, and which turns out to be one of the finest and most thrilling sequences that Vidor (or anyone) ever put on film. The acting by Tom Keene and Barbara Pepper is atrocious, but John Qualen saves the show as a dedicated Swedish farmer, especially when he loudly rejects the notion that communal farming is a "Red" idea (this didn't stop the anti-New Deal press from labelling the film as "Pinko" back in 1934 -- and never mind that the communist press considered the film "capitalist propaganda"!) The optimistic finale, distinguished by its Eisentein-like "rhythmic" editing, fortunately lingers in the memory far longer than the film's dramatic and structural defects. Our Daily Bread is also enhanced by Alfred Newman's stirring musical score, later borrowed by Darryl F. Zanuck for his production of Les Miserables (1935). ~ Hal Erickson, All Movie Guide

Doubting Thomas is the 1935 film version of George Kelly's satirical comedy The Torch Bearers, tailored for the talents of Will Rogers. Billie Burke, Will's wife, becomes so involved in a local amateur theatre group that she has no time for her husband. In retaliation, Will pretends to "go Hollywood," proving that he is stage-struck by doing an extended imitation of Bing Crosby. The film's highlight is the "opening night" scene, a cornucopia of missed cues, inappropriate costumes and collapsing scenery. An earlier, silent version of The Torch Bearers has unfortunately been lost to the ages. ~ Hal Erickson, All Movie Guide

One More Spring is a laundered version of Robert Nathan's whimsical Depression-era novel. Left destitute by the Wall Street crash are an odd assortment of lost souls: Former antique dealer Otkar (Warner Baxter), concert violinist Rosenberg (Walter Woolf King) and unemployed actress Elizabeth (Janet Gaynor). Kindly Central Park street cleaner Sweeney (Roger Imhof) allows the threesome -- later a foursome when they're joined by suicidal banker Sheridan (Grant Mitchell) -- to live in an abandoned tool shed. Chastely, the three men and the girl survive a tough winter, remaining hopeful that things will be better in the Spring (as indeed they are!) At one point, Elizabeth manages to raise enough money for a week's worth of food, leading the men to conclude that she's taken to streetwalking. But, no, our heroine remains chaste and pure to the very end (in the novel, Elizabeth was a streetwalker, but that's another story). The most indelible image in One More Spring is the sight of Otkar and Rosenberg blithely roasting a tiny pigeon over an open fire. ~ Hal Erickson, All Movie Guide

Though usually a supporting player in Warner Bros' A pictures, Barton MacLane was permitted an occasional leading role in the studio's B-picture product. Man of Iron casts MacLane as a blue-collar factory worker who, through hard work and initiative, is promoted to vice president. Unfortunately, the higher he climbs up the corporate ladder, the more capitalistic and autocratic he becomes. After losing the confidence of his old friends, MacLane is forced to try to win it back during a factory strike. Mary Astor and Dorothy Peterson provide a welcome dose of femininity to the all-male proceedings. ~ Hal Erickson, All Movie Guide

This first talkie version of Dumas' The Three Musketeers had been planned by RKO Radio as a John Ford production, with Francis Lederer as D'Artagnan. By the time the film emerged on screen, Rowland V. Lee was in the director's chair, with the talented but uncharismatic Walter Abel in the D'Artagnan role. Equally unengaging were Paul Lukas, Moroni Olsen and Onslow Stevens as Athos, Porthos and Aramis, while Margot Grahame was more petulant than menacing as Milady De Winter. Like most filmed adaptations of the Dumas novel, this Three Musketeers concentrates on the episode of the Queen's purloined necklace; the story ends on a misleadingly happy note, with heroine Constance (Heather Angel) alive and kicking at film's end (which she certainly wasn't in the novel). Except for some excellent swordplay -- especially during the opening credits -- this is considered the dreariest of the many versions of The Three Musketeers. ~ Hal Erickson, All Movie Guide

Like many 1930s Warner Bros. films, Black Fury drew its inspiration from the headlines. The story is adapted from a true-life incident from 1929, wherein a striking Pennsylvania coal miner was beaten to death by three company detectives; this served as the focus for Henry R. Irving's stage play Bohunk as well as Judge M. A. Musmanno's story Jan Volkanik, both of which were woven into Black Fury's screenplay. Using a Polish accent so thick one can cut it with scissors, Paul Muni plays an illiterate miner, happy in his job and his company-town surroundings until his girl Karen Morley deserts him for policeman William Gargan. A disconsolate, drunken Muni stumbles into a labor meeting, where his loud, unthinking outbursts win him the leadership of the new miner's union. When the company locks out the strikers and brings in scabs, the angry miners hold the thick-headed Muni responsible. Fellow miner John Qualen, Muni's best friend, is then killed by a gang of rampaging hired goons. Vowing to "feex" the situation, Muni kidnaps head goon Barton MacLaine and takes him into the bowels of the mine with several sticks of dynamite in tow. Muni threatens to blow himself, MacLaine, and the mine to smithereens unless management comes to terms with the union. Thanks to overwhelming public support, the owners capitulate, and Muni is the hero of the hour. Though it seemed uncompromising in 1935, Black Fury obviously pulls its punches when seen today; for example, it is suggested that the mine owners are guiltless regarding violence against the strikers, laying blame on the hired detectives, who are shown to be in the employ of a crook who plays both sides against the other. Even allowing for this, Black Fury is one of the most powerful of Warners' "social conscience" films. Although the Academy gave Muni a Best Supporting Actor nod for this film, the AMPAS database indicates that it wasn't an "official nomination" - he was a write-in candidate, and came in second. ~ Hal Erickson, All Movie Guide

The title may be Orchids to You, but the plot is motivated by a camellia -- to be exact, Camelia Rand (Jean Muir). About to be ejected from her thriving flower shop when a developer plans to tear down the building, Camelia confronts Thomas Bentley (John Boles), the lawyer representing the developer. Despite her anger, Camelia can't help but take a liking to Bentley, though she refuses to entertain any romantic notions because the lawyer is already married to Evelyn (Ruthelma Stevens). Later on, a stranger enters Camelia's shop and orders a dozen orchids for Mrs. Bentley. Not wishing to hurt Mr. Bentley, Camelia refuses to mention Mrs. B's name in court when ordered to do so, and as a result spends 10 days in jail on a contempt charge. All-around comedy relief Teddy Stuyvesant (Charles Butterworth) shows up in time to solve everything, and the film ends with the philandering Mrs. Bentley out in the cold and Camelia in Mr. Bentley's arms. ~ Hal Erickson, All Movie Guide