Gene Raymond Movies

In this comedy, the shady editor of a newspaper does all he can to keep his best reporter from marrying a journalist from a rival paper. In spite of the editor, the wedding day finally comes. The happy couple is at the alter when suddenly the woman gets news of a big scoop. Without a backward glance she leaves her groom to get the story first. ~ Sandra Brennan, All Movie Guide

Newlywed Carolyn Martin (Barbara Stanwyck) has been raised to expect the finer things in life, but these are things that can't be provided by her working-stiff husband Michael (Gene Raymond). Hoping to supplement the family coffers, Carolyn offers to take a job, but the chauvinistic Michael won't hear of it, insisting that the couple live on his measly 35 dollars per week, causing no end of trouble when wifey overextends her bank account. When millionaire Hugh McKenzie (Robert Young) enters her life, Carolyn is sorely tempted to walk out on her husband -- and, as indicated by the film's title, she does. Ultimately, however, money flies out the door when love flies back in the window. Counterpointing the marital travails of our hero and heroine is the contentious union between Mattie and Paul Dodson (Helen Broderick and Ned Sparks), who've learned to be happy while miserable. Black comic actor Willie Best is prominently billed in The Bride Walks Out, but his role was cut down to a mere walk-on. ~ Hal Erickson, All Movie Guide

Love on a Bet is a lightweight programmer from the "Get Rich Quick Wallingford" school of comedy. Gene Raymond stars as Michael, a fresh young sprout who needs $15,000 to produce a Broadway play. His rich uncle Carlton (William Collier Jr.) agrees to pony up the money, but only on the condition that Michael leave New York City in nothing but his underwear and show up in Los Angeles 10 days later in a new suit, with a hundred dollars, and a sweetheart -- which happens to be the plotline of the play that Michael wants to produce! As he embarks upon his hitchhiking "tour" of the U.S., Michael is given a lift by wisecracking Charlotte (Helen Broderick) and her pretty niece Paula (Wendy Barrie). At this point, everyone in the audience will know how Love on a Bet ends up, but getting there is all the fun. ~ Hal Erickson, All Movie Guide

In this romantic drama, a horsewoman is forced to work in a society dame's stable. There she meets and falls in love with a destitute polo-player who has curried the favor of his lovely employer. The matron gets jealous of the budding relationship between the horsewoman and the player. A wealthy man, who wants the stable girl, also gets jealous. Fortunately, the young lovers are able to withstand the ensuing turmoil and they elope. A while later, the other man attends a lively party aboard a yacht. There a drunken chorine falls overboard and drowns. One of the ship's officers blames the wealthy man and says he saw him leaving with a mysterious "woman in red." During the ensuing trial, the horsewoman clears his name by admitting that he was with her. It is a difficult admission because she knows she is risking her marriage. Fortunately, her husband and his family support her all the way and the marriage is strengthened. ~ Sandra Brennan, All Movie Guide

The George M. Cohan-Earl Digger Biggers theatrical comedy/mystery Seven Keys to Baldpate had already been filmed in 1915, 1917, 1925 and 1929 when this 1935 version made its appearance. It turned out to be the second of four talkie remakes of the Cohan-Diggers piece, if one includes the misbegotten 1983 adaptation House of the Long Shadows. The 1935 edition stars Gene Raymond as author William Magee, who wagers that he can write a mystery novel in 24 hours. At the suggestion of his agent, Magee heads to the remote and reportedly deserted Baldpate Inn so he can work undisturbed. Unfortunately, a steady stream of eccentric and highly suspicious characters, including a minor-league crook (Murray Alper) a duplicitous detective (Eric Blore), a damsel in distress (Margaret Callahan) and a murder victim-to-be (Erin O'Brien-Moore) converge upon the inn, all apparently in search of a cache of stolen money. The amusing double-surprise ending works just as well here as it did in all other versions of the Cohan-Diggers play. At the time of this film's release, RKO Radio issued a study guide to schoolrooms, noting with pride that all the "dated" slang in the original Seven Keys to Baldpate had been carefully weeded out -- unmindful that the "improved" rewrite would seem even more dated 60 years hence! ~ Hal Erickson, All Movie Guide

Obviously filmed on a tight budget, RKO Radio's Hooray for Love nevertheless has as much sheer entertainment value as any high-priced Busby Berkeley spectacular. Gene Raymond plays Doug, a college boy who aspires to become a Broadway producer. With reluctant songstress Pat (Ann Sothern) as his star, Doug stages a big-time revue, financed by Pat's father, a seedy con artist known as the Commodore (Thurston Hall). When it turns out that The Commoder hasn't a cent to his name, Doug is tossed into jail, but salvation is at hand in the form of a wealthy widow (Georgia Caine) who's set her cap for Pat's reprobate father. Lionel Stander has several choice moments as a temperamental Russian orchestra leader, as does Pert Kelton as a talentless soubrette, but the film's strongest selling card is the presence of the matchless Bill "Bojangles" Robinson and Fats Waller. The musical highlight is Robinson's "I'm Living in a Great Big Way," accompanied by Waller and Jeni Le Gon. ~ Hal Erickson, All Movie Guide

MGM's Sadie McKee is a superb example of how the "committee" system of moviemaking in the 1930s could sometimes yield unexpected delights. It all begins when Sadie McKee (Joan Crawford) is brought to big bad old New York by glib vaudevillian Tommy (Gene Raymond), only to be unceremoniously dumped in favor of actress Dolly (Esther Ralston). Cast adrift, our Sadie lands a nightclub job, where she meets genially intoxicated millionaire Brennan (Edward Arnold). Accepting his drunken marriage proposal, Sadie must endure the slings and arrows of Brennan's friends and family, who consider her a gold-digger. Meanwhile, Sadie's former boss Michael (Franchot Tone), the one true love of her life, waits and waits and waits to see what's really on the girl's mind! And as a bonus, this is the film that introduced the peppy ditty "All I Do Is Dream of You". The labyrinth plotline of Sadie McKee is proof enough that more than one screenwriter had a hand in its creation: but instead of chaos, the film is irresistibly watchable, full of unexpected plot twists and marvelous little surprises. ~ Hal Erickson, All Movie Guide

International musical-comedy favorite Lillian Harvey is as delightful as ever in the bizarre romantic tunefest I Am Suzanne. In a plotline curiously similar to the much-later Lili, Harvey is cast as Suzanne, a crippled dancer in love with young, self-involved puppeteer Tony (Gene Raymond), who finds it easier to talk to his wooden-headed creations than to human beings. Growing jealous of her puppet "rivals," Suzanne actually shoots a puppet designed in her image -- which leads to a bizarre dream sequence, in which the heroine is put on trial by the King and Queen of Puppet Land (played by Podrecca's Piccoli Marionettes). In time, Suzanne recovers from her lameness and enjoys a happily-after-ever denouement with Tony, no thanks to her Svengali-like manager Baron (Leslie Banks). Rowland V. Lee's direction of I Am Suzanne is almost as Germanically symbolic as his later handling of Universal's Tower of London and Son of Frankenstein. ~ Hal Erickson, All Movie Guide

In this romantic sex-comedy from director Robert Florey, Bette Davis stars as Helen Bauer, a free-spirited, self-sufficient feminist who would rather pursue her career as a graphic artist than settle down and marry Don Peterson (Gene Raymond), the advertising writer she loves, out of fear that marriage will destroy the romance. Eventually, Don wears Helen down and the couple marry. But when the flame quickly burns out, Don begins an affair with a female client. Not to be outdone and without missing a beat, Helen takes up with Nick Malvyn (Monroe Owsley), another ad writer, who by no coincidence also happens to be Don's biggest rival. In light of their respective bouts of infidelity, the couple must consider whether or not they want to give the marriage another shot. ~ Matthew Tobey, All Movie Guide

In this melodrama a superb female lawyer finds that her success has emasculated her husband, a rather average architect, who runs away from home and career to become a nightclub singer and save some shred of manly dignity. While working at the club, he falls in love with an alcoholic, self-destructive patron. When she dies during a binge, he ends up accused of killing her. Fortunately, the court-appointed defense is a superb female lawyer, and in a corny, histrionic speech she manages to convince the jury that he is really innocent. ~ Sandra Brennan, All Movie Guide

This melodrama chronicles three decades in the life of the New York located title house beginning at the turn of the century when a chorine falls in love with a wealthy young man. He loves her too and this inspires the lass to leave her sugar daddy, marry and move into the beautiful home that is located very close to Park Avenue. The pair are deliciously happy and even more so when a daughter is born. Unfortunately, unhappiness comes in the form of the jilted lover who returns and threatens to kill himself unless the former dancer comes back to him. Concerned, she visits his apartment to dissuade him from suicide. A struggle ensues with his gun and he dies leaving her to spend twenty years in jail for the alleged crime. Fortunately, her husband's belief in her innocence and his devotion never wavers. Unfortunately, he ends up killed on the front lines during WW I. It is 1925 when the hapless heroine is finally released from prison. She finds herself confused by the many dramatic changes that have turned refined New York into the wild Big Apple of the 1920s. She is also upset that her late husband's family refuses to let her see her grown daughter. They pay her a large sum to stay a stranger. On a subsequent ocean cruise she joins forces with a card sharp and becomes a wealthy con artist. They decide to work in a speakeasy on 56th Street. Surprise, it turns out to be her old home and in it is still the beautiful Florentine medallion that once symbolized the undying love between the woman and her husband. Still she opens the house for its disreputable business. One night her daughter, a compulsive gambler, who of course, doesn't recognize her own mother, shows up and loses a lot of money. She and the card sharp get in a terrible row and the young girl shoots him. Her mother then tries to take the rap but the speakeasy owner doesn't buy it and tells her he'll cover for her on the provision that she remain in the house forever. She accepts the dubious proposition and the story ends. ~ Sandra Brennan, All Movie Guide

Red Dust was lensed almost entirely on MGM's back lot; even so, we are utterly convinced that the film takes place in Indochina (never mind that everyone pronounces "Saigon" as Say-gone). Even more importantly, the audience never doubts for one moment that the relationship between "hero" Clark Gable and "heroine" Jean Harlow has gone far beyond the meaningful-glances stage. Gable plays the overseer of a rubber plantation, whiling away the hot, lonely nights with his drunken assistant Tully Marshall. Donald Crisp, another of Gable's cohorts, arrives by boat with stranded prostitute Jean Harlow in tow. Gable wants no part of Harlow at first, telling her that she's history the moment the next boat to Saigon shows up. But Gable and Harlow are, in the parlance of the time, made for each other. After the inevitable affair, Harlow leaves, just as engineer Gene Raymond shows up to participate in the construction of a bridge. Raymond has brought along his seemingly proper wife Mary Astor; it isn't long, however, before Astor is throwing herself at the not altogether unwilling Gable. Raymond is such a good egg that Gable feels ashamed of himself for enjoying Astor's favors. When Harlow returns, Gable goes back to her, which drives the already unstable Astor completely off her trolley. She shoots Gable in a fit of jealous rage. Hearing the shot, Raymond rushes in. Proving that she's "aces," Harlow quickly covers up for Astor, insisting that it was she who shot Gable. None the wiser, Raymond returns to the mainland with Astor, while Gable and Harlow end up in each other's arms for keeps. Fairly "hot" even by pre-code standards, Red Dust has gained legendary status thanks to rumors concerning Jean Harlow's famous bathing scene in a shaved barrel; according to rumor, footage still exists of Harlow totally au naturel (some stories go as far as to claim that the overseas version of Red Dust shows Gable and Harlow "doing it".) For all the sexual badinage, our favorite bit occurs when Harlow, cleaning out a parrot's cage, mutters "Watcha been eatin', cement?" A heavily laundered remake of Red Dust, Mogambo, appeared in 1954, again with Clark Gable in the lead, but this time with Ava Gardner and Grace Kelly in the Harlow and Astor roles, respectively. ~ Hal Erickson, All Movie Guide

Based on a story by Robert Andrews, If I Had a Million is a multipart comedy-drama employing Paramount's top directorial and acting talents. Refusing to leave his fortune to his grasping relatives, dying millionaire Richard Bennett selects several people at random from the phone book and bestows upon each of them a check for one million dollars. The first recipient is henpecked husband Charlie Ruggles, who cheerily enters his former place of employment, a china shop, and smashes every bit of crockery in the place. Prostitute Wynne Gibson uses her money to escape from her sordid lifestyle and finally sleep in a bed all by herself. Forger George Raft finds that he can't convince anyone that his check is genuine, and ends up handing the check to a flophouse manager--who promptly burns it. Husband and wife W.C. Fields and Alison Skipworth, dismayed that their new car has been destroyed by a "road hog," utilize part of their million dollars to purchase a fleet of cars and then smash up every road hog in sight! Convicted murderer Gene Raymond hopes that his million will help finance a new trial, but the execution is carried out on schedule. Newly rich clerk Charles Laughton calmly makes his way through a series of offices, reaches his boss' desk, and delivers a loud Bronx cheer. Gary Cooper, Roscoe Karns and Jack Oakie play three brawling marines who think the check's a joke and sign it over to an illiterate lunch-counter owner. The last million-dollar recipient is May Robson, an elderly woman confined to a dismal nursing home. She spends her money to turn the home into a joyful resort for old people, forcing the formerly repressive nursing-home staffers to earn their paychecks by sitting all day in rocking chairs. The millionaire who started the plot rolling is given a new lease on life by May Robson's example, and he recovers from his "fatal" illness. ~ Hal Erickson, All Movie Guide