Anders Randolf Movies

It is difficult to explain why the fly-by-night distribution firm of Road Show Pictures dragged the silent sagebrusher West of the Rockies off the shelf in 1931, three years into the talkie era. Outfitted with an unconvincing beard, Ben Lyon is cast as frontier scout Kit Carson, leading a wagon train through Indian country. Heroine Marie Prevost is in love with Carson, but he prefers to spend his time with Gladys Johnston. An Indian attack and buffalo stampede, obviously lifted from another picture, have been arbitrarily inserted in the narrative. The only other recognizable actors in the picture were Russell Simpson and Anders Randolph. ~ Hal Erickson, Rovi

Maybe It's Love is one of the many college football musicals which bred like minks in the early talkie era. A very young Joan Bennett tops the cast as Nan Sheffield, the daughter of a college president (George Irving). The nominal leading man is Tommy Nelson (James Hall), the black-sheep son of a wealthy alumnus (Anders Randolph). Though Nelson is an ace football player, President Sheffield refuses to enroll the boy because of his bad reputation, whereupon Tommy's father withdraws his financial backing and bars his son from ever setting foot on Sheffield's campus. Falling in love with Nan, Tommy signs up with the college under an assumed name, giving up his wastrel ways to lead the football team to victory. Joe E. Brown steals the show as Speed Hanson, a goofy gridiron star who emits a loud and long yell whenever scoring a touchdown (this was, in fact, the first film in which Brown's famous "Yeeeeowww" was heard -- but certainly not the last). The remaining footballers are played by the members of the real-life 1929 All-American team. Incidentally, screenwriter "Mark Canfield" was actually a pseudonymous Darryl F. Zanuck. To avoid confusion with a later, unrelated film of the same title, Maybe It's Love was rechristened Eleven Men and a Girl for television showings. ~ Hal Erickson, Rovi

Adapted from a story by Rex Beach, Son of the Gods stars Richard Barthelmess as Sam Lee, a young Chinese-American, anxious to distance himself from his oriental heredity. While travelling throughout the world, Sam falls in love with wealthy white girl Allana (Constance Bennett). He chooses not to tell her about his Chinese ancestors -- a wise decision, as it turns out, since she mercilessly lambastes him with a stream of hateful racist epithets when she does learn the truth. Only after she walks out on him does Sam discover that he hasn't a drop of Chinese blood after all. Even so, he now despises the entire white race and vows revenge against the woman who so viciously spurned him. But when Allana finds out that he's a racially "acceptable" sweetheart, the two fall in love all over again! Modern-day viewers who may find the denouement of Son of the Gods both offensive and unbelievable can take comfort in the fact that reviewers in 1930 experienced a similar reaction. ~ Hal Erickson, Rovi

In this drama, an elevator operator in a big hotel gets in big trouble after he and a chambermaid are found in a guest's suite. Though they had good reason to be in there, they are charged with breaking and entering. The story has an unexpected twist at the end. ~ Sandra Brennan, Rovi

Circus life provides the framework of this drama that chronicles the love, life, and aspiration of a young circus waif. The aspiring star is learning to walk the high-wire with the young wire-walker she adores. He loves another, his partner, but she is untrue to him. As a result he is almost on the edge of a breakdown. When she abandons him, he takes comfort in drinking too much. The plucky young girl tries to help him return to his former glory. ~ Sandra Brennan, Rovi

The first of Nancy Carroll's talkie films for Paramount had already been released when Fox's silent Sin Sister was taken off the shelf. Carroll is cast as Pearl, a vaudeville dancer stranded somewhere in Alaska. With no local Equity office in the vicinity, Pearl is obliged to accept the hospitality of a wealthy family which has itself been stranded in the Great White North. An ill-tempered fur trader and a looney Eskimo both lust after Pearl, but she is rescued by Peter Van Dykeman (Lawrence Gray), her hosts' male secretary. Despite the presence of four screenwriters in the credits, it would seem as if Sin Sister was made up as it went along. ~ Hal Erickson, Rovi

Baroness Gerda Wallentin (Pola Negri) walks out on her philandering husband Count Dietrich (Paul Lukas) and heads to Vienna. En route, she meets musician Raoul Stanislaw (Tullio Carminatti) and agrees to a romantic rendezvous during a stopover at a small village. In the throes of passion, Gerda and Raoul miss their train, which is subsequently involved in a terrible accident. Reported killed in the crash, Gerda, guilty over her indiscretion, decides to remain "dead" for her husband's sake. She dyes her hair, changes her name, and finds work at a gambling casino. Years pass: Count Dietrich inevitably pays a visit to the casino, and with equal inevitability falls in love with Gerda, whom he does not recognize. Our heroine is about to rekindle her romance with the Count but changes her mind when she discovers that he's still keeping company with his mistress. Telling the Count the truth, Gerda leaves him for good and departs for America, intending to start life over for a third time. Three Sinners was based on Das Zweitte Leben, a play by Bernauer Osterreicher. ~ Hal Erickson, Rovi

Me, Gangster was director Raoul Walsh's third 1928 film -- and, according to some historians, the blueprint for such future Walsh crime dramas as Me and My Gal, The Roaring Twenties and White Heat. Told in the form of a diary, the story details the rise and fall of gangster boss Jimmy Williams, played by future serial favorite Don Terry. Shown to be a layabout and ne'er-do-well in his youth, Jimmy falls in with a gang of petty thieves, working his way up the professional ladder through a combination of brains and cold-blooded ruthlessness (not unlike the characters played by frequent Raoul Walsh collaborator James Cagney). He finally comes acropper when he tries to pull off a $50,000 heist by himself, which earns him a stiff jail term. The death of his beloved mother Lizzie (Stella Adams), combined with the good influence of heroine Mary Regan (June Collyer), prompts Jimmy to try to turn over a new leaf upon his arrest. Alas, he must now contend with his former gangland buddies, who don't cotton to "turncoats" and begin drawing up plans to put Jimmy "on the spot" for keeps. On the whole, Me Gangster is a bit more sentimental than one might expect from Raoul Walsh, but at least it's honest sentiment and doesn't weaken the picture as a whole. Filmed silent, Me, Gangster was released with a Fox Movietone music score. ~ Hal Erickson, Rovi

Directed by a young Michael Curtiz, this Warner Bros. epic had aspirations of becoming another Intolerance (1916). In the end, Curtiz' treatise of man's inhumanity to man was ironically sabotaged by the enormous success of yet another studio release, the groundbreaking The Jazz Singer (1927). Basically a quaint romantic melodrama set during World War I, Noah's Ark opens with American George O'Brien falling in love with German Dolores Costelllo while travelling on the Orient Express on the eve of war. The train wrecks and the two seek shelter at a nearby hostelry. Russian military officer Noah Beery tries to molest Miss Costello but is repulsed by O'Brien. The three meet again near the end of the war in a little French village, where Beery accuses Costello, now Mrs. O'Brien, of being a German spy. Placed before a firing squad, Dolores is saved in the nick of time by her husband, a member of the squad.The Germans use this very moment to bomb and all are soon entombed in the basement of a demolished building. Comparing the war with the Biblical account of the Flood, screenwriters Anthony Coldeway and Darryl F. Zanuck flash back to Miriam (Costello) and Japheth (O'Brien) at the festival of Jaghut. The climactic Flood (the filming of which brought Miss Costello a severe case of pneumonia) pulls out all the stops and is magnificent in UCLA's lovingly restored print. After the deluge, the story shifts back to war-torn France, where Costello and O'Brien are rescued by the Red Cross on the eve of the Armistice. Ready to be released, Warner Bros. withdrew the film in order to add several scenes of dialogue, considered a necessity after the unprecedented reception of The Jazz Singer. The results were doleful: Ever so often, Noah's Ark comes to a screetching halt as the characters leave the realm of silent movies to speak stolid lines of dialogue. The cumbersome Vitaphone sound-on-disc made for pedestrian drama as everyone were forced to speak slowly and enunciate carefully. Dolores Costello, Warners' blonde leading lady and the off-screen Mrs. John Barrymore, suffered the most and would see her flourishing career all but evaporate. But UCLA's restoration of Noah's Ark proves once and for all that the rumors of Miss Costello having trouble with sibilants were highly exaggerated. It was Costello's line-reading of "Merthy, merthy, have you no thisther of your own?" in Tenderloin (1928) that supposedly sealed her fate in talkies. But even though the restored Noah's Ark shows little sign of the dreaded lisp, the hapless Miss Costello is visibly ill at ease before the microphone and her stilted dialogue, by Coldeway, is of no help whatsoever. "Part-talkies" like Noah's Ark were mercifully only a stop-gap measure; by the time of M-G-M's Broadway Melody (released June 6, 1929), "all-talking, all-dancing" features had already freed themselves from the constraints of early sound technology. ~ Hans J. Wollstein, Rovi

Billie Dove stars as Marcia Kane, whose head is turned by the charming but sinister Grand Duke Sergei (Montague Love). Handsome and virtuous Wally McKenzie (Ben Lyon) is in love with Marcia, but how can he possibly compete with a "title"? Tricked into a marriage with the Grand Duke, Marcia soon finds that life with a nobleman is not all it's cracked up to be, especially since her husband is a cad and a bounder. Eventually, Wally comes to the rescue, cinching a happy ending for our muddle-headed heroine. Lavishly produced, The Tender Hour could have spent a little of its budget on a believable script. ~ Hal Erickson, Rovi

Legendary racecar driver Barney Oldfield plays himself in the engaging little period piece The First Auto. Russell Simpson plays livery-stable owner Hank Armstrong, who is appalled beyond words when his son Bob (Charles E. Mack) comes home with one of those newfangled "horseless carriages." Throwing Bob out of the house, Hank stubbornly sticks to his stable business, only to be driven into bankruptcy by the ever-growing popularity of the automobile. When Bob returns to his hometown to participate in an auto race, his father, having temporarily gone off the beam, agrees to sabotage the boy's car to make certain that he loses. Only when he attends the race does Hank realize that he's booby-trapped his own son's vehicle. On cue, the car blows up, but Bob emerges unscathed, setting the stage for an emotional reunion between father and son. Long believed lost, The First Auto has been restored to nearly its original length and has frequently been telecast over the Turner Classic Movies cable service. ~ Hal Erickson, Rovi