Margaret Bert Movies

Merlini the Magician, Clayton Rawson's crime-solving illusionist, has been singularly ill-used by Hollywood, having appeared in a mere two films, "starring" in only one. Miracles for Sale compounds the oversight by rechristening Merlini as "Michael Morgan", in the person of Robert Young. The picture starts well, with a grisly political execution revealed to be an elaborate bit of stage magic perpetrated by the personable Morgan. The story then goes into a fraud and murder scheme perpetrated by Dave Duvallo (Henry Hull), whose consummate skill with makeup and Houdinilike escape devices comes in handy for phony spiritualist Madame Rapport (Gloria Holden). The film's highlight finds Morgan exposing several tricks utilized by magicians and fortune-tellers to gull the public, a sequence which incurred the wrath of the Pacific Coast Association of Magicians, who took a dim view at having the secrets of their trade revealed for the cost of a movie ticket. Of historical interest is the fact that Miracles for Sale was the final directorial effort of Tod Browning (Dracula, Freaks etc.) ~ Hal Erickson, All Movie Guide

When Our Gang member Mickey (Robert Blake) reads an article stating that one out of every four children born is Chinese, he begins to worry that his new baby brother will be Chinese as well. Spanky McFarland and the rest of the Gang put Mickey at ease by introducing him to the family of Spanky's new friend Lee Wong. Once he's learned that people are people no matter what their ethnic background, Mickey is mollified -- until he discovers that his much-anticipated "kid brother" is not only a girl, but twins to boot. Originally released on February 15, 1941, the one-reel Our Gang comedy Baby Blues might be regarded as patronizing and even offensive by contemporary viewers. ~ Hal Erickson, All Movie Guide

Wrongfully accused of stealing, an angry Carl "Alfalfa" Switzer decides to get even with his parents by embarking upon a life of crime. To that end, he enlists the other Our Gang kids as his "mob." Hoping to deflect his pals from this drastic action, Spanky McFarland decides to teach the gang a lesson. He tricks the kids into thinking they're burglarizing a house, when in fact they're merely helping the homeowners clean out their junk. Things take an unexpected turn when a real-life fugitive from justice (Al Hill) chooses the gang's clubhouse as his hideout, with the cops hot on his heels. The one-reel Our Gang comedy Good Bad Boys was originally released on September 7, 1940. ~ Hal Erickson, All Movie Guide

Junior con man Freddie "Slicker" Walburn sells the Our Gang kids some "invisible rays," with which they hope to power their homemade mechanical robot. Miracle of miracles, the robot not only begins to move, but actually performs several of the gang's household chores. In truth, the robot is being manipulated by Slicker's cohort Billy Ray "Boxcar" Smith, but the kids don't find out until their rampaging mechanical man nearly lays waste to the entire neighborhood. The one-reel Our Gang comedy Robot Wrecks was originally released on July 12, 1941. ~ Hal Erickson, All Movie Guide

The Our Gang kids are upset that WWII is causing them deprivations and inconveniences. Organizing a fact-finding committee, Gang members Mickey (Robert Blake), Froggy (Billy Laughlin), Buckwheat (Billy Thomas), and Janet Burston try to determine what to do about the present national crisis. With the help of a convenient copy of Benjamin Franklin's Poor Richard's Almanac, the kids stage a play in which they cathartically come to grips with the sacrifices indigenous to the war effor, and provide patriotic solutions to the situation. The one-reel Our Gang propaganda piece Benjamin Franklin Jr. was originally released on January 30, 1943. ~ Hal Erickson, All Movie Guide

Weighing themselves on a penny machine, the Our Gang kids receive a fortune card predicting that they will receive "unexpected riches." Acting upon this, the kids decide to dig for buried treasure, using a fradulent map provided by one of their wise-guy acquaintances. Though the treasure hunt comes a-cropper, the fortune card's prediction comes true in an unexpected fashion. Originally released on November 28, 1942, the one-reel Unexpected Riches represented Spanky McFarland's final Our Gang appearance, ending an incredible ten-year run with the comedy series. ~ Hal Erickson, All Movie Guide

Upset because, as a leap year baby, he only has a birthday every four years, Our Gang member Billy "Froggy" Laughlin bemoans the fact that he has never had a birthday party. The gang decides to throw a surprise party in Froggy's honor, but to keep him in the dark, they pretend to kick him out of the clubhouse. Vengefully, Froggy sneaks back and sets all sorts of booby-traps for the other gang members. But -- you guessed it -- when the party takes place, it is Froggy who bears the brunt of his pre-set pranks. Originally released on May 30, 1942, the one-reel Our Gang comedy Surprised Parties is but a pale shadow of the series' vintage entries of the '20s and '30s. ~ Hal Erickson, All Movie Guide

Ginger Rogers gives a dramatic performance in this moving romantic drama in which a woman named Mary Marshall, who was convicted of manslaughter (she defended herself when her lecherous boss attempted to rape her and she accidentally killed him), is granted a ten-day furlough for Christmas to visit relatives. Once out, she encounters a shell-shocked vet (Joseph Cotten) on leave from the VA psych ward on a train. The unstable vet has been allowed out by his doctors to see if he is ready to function in normal society. At first, the vet is nervous around Mary, but something clicks and she invites him to stay at her house during their respective breaks. Together they attempt to have a happy Christmas while dealing with the vet's problems. At first Mary keeps her own past and troubles to herself, but as they begin falling in love, she decides to tell him the whole story. In this way, the two reconcile their pasts and move closer toward forming a relationship. ~ Sandra Brennan, All Movie Guide

In this musical comedy, a young singer becomes so desperate to appear on Broadway that she goes to a prominent producer and tells him that she is the daughter who resulted from his day-long marriage to a young woman he knew years ago. The producer is delighted and soon puts his daughter up on stage. The trouble begins when the girl's "mother" suddenly pays a call. For her own reasons, the woman decides to play along with the girl's ruse. Fortunately, by the story's end, the truth is revealed, all differences are reconciled and happiness ensues. Songs include: "Once Upon a Dream" (Jack Brooks, Hans J. Salter), "Market Place," "Shadows," and "Largo al Factotum" (from Rossini's Barber of Seville). ~ Sandra Brennan, All Movie Guide

William Powell plays a cynical con man who graduates from penny-ante operations to a big-time charity racket. The scam involves collecting money on behalf of St. Dismas, bringing Powell in close contact with several men of the cloth. As the racket rolls on, Powell is touched by the sincerity of the religious men and the plights of the charity's rightful recipients. He has a change of heart, confessing his original criminal intentions but seeing to it that the money goes to the right people. Hoodlum Saint was typical of the facile religiosity often found in MGM pictures of the period. The film is best remembered as the first non-aquatic performance of MGM swimming star Esther Williams. ~ Hal Erickson, All Movie Guide

Usually associated with erudite, urbane comedies, the legendary screen team of Katharine Hepburn and Spencer Tracy goes intensely dramatic in the expensive western Sea of Grass. Tracy plays cattle baron Colonel James Brewton, who staunchly opposes opening the western frontier to homesteaders. Standing steadfastly beside Brewton-at least at the beginning--is his headstrong wife Lutie (Hepburn). Eventually disillusioned by the stern implacability of her husband, Lutie leaves Brewton and goes off to Denver, where she falls in love with liberal attorney Brice Chamberlain (Melvyn Douglas), the champion of the homesteaders' cause. Upon giving birth to Chamberlain's son, Lutie confesses her indiscretion to Brewton, who takes the news with commendable restraint, even offering to accept the baby as his own. Unfortunately, the Brewtons' standing in the community is weakened by the revelation of Lutie's infidelity, causing her to leave her husband for a second time. Years later, Lutie's grown-up boy Brock (Robert Walker) drifts to the wrong side of the law, leading to his death at the hands of a posse. Though it hardly seems possible under the circumstances, Brewton and Lutie are at long last reconciled through the intervention of their daughter Sara Beth (Phyllis Thaxter). Elaborately produced in the traditional MGM manner and adroitly directed by Elia Kazan, Sea of Grass is still one of the lesser Tracy-Hepburns. ~ Hal Erickson, All Movie Guide

John Garfield, in the best performance of his career, portrays Joe Morse, an ambitious attorney who has long since abandoned his scruples in favor of monetary reward. Morse now represents the interests of crime boss Ben Tucker (Roy Roberts), who plans to take over the numbers racket in New York. Morse has devised a way of doing this legally and above-board, with no violence: Tucker's people will bring about the collapse of the illegal numbers racket in the city, using a race track-betting scam that will bankrupt the small-time underworld numbers banks; an investigation will ensue, along with a call for a legal numbers operation in the form of a lottery, which Tucker will control through Morse's machinations. The whole plan hinges on Morse's estranged brother, Leo (Thomas Gomez), a small-time numbers banker who is to be shielded from the collapse, and who will serve as the "legitimate" front for Tucker. Leo is the flaw in the plan, however, because not only can't he stand the sight of Joe, but he is also too honest to participate in the plan -- he doesn't want his employees, all decent people just looking to earn a living, forced into the employ of real gangsters. Joe orchestrates a series of police raids that force Leo into his corner, and Joe's plan seems to be working out, but then the whole enterprise is threatened when a rival mob, run by Tucker's former Prohibition-era partner, Fico (Paul Fix), starts pressuring Leo, trying to get to Joe and Tucker. Fico and his men aren't any different from Tucker's mob, except that they're prepared to start shooting sooner to get what they want. Tucker decides to hang tough and expects everyone, including Leo, to do the same, even when Fico starts sending thugs around to frighten everyone. Soon Joe is beset by problems on three fronts -- he wants his brother out of Tucker's combination and safe; he is trying to romance Leo's bookkeeper (Beatrice Pearson), who is too nice a girl for who he is; and his own well-being is threatened by both Fico and Tucker, and a state investigator who has already tapped the phone of Joe's otherwise respectable partner. All of these threads are pulled together in the final section of the film, which is as violent and disturbing, yet poetic and graceful a resolution as any crime film of the 1940s ever delivered. Force of Evil was star-crossed almost from the start, as many of the people involved, including star John Garfield and director Abraham Polonsky (a writer making his debut behind the camera, with help from assistant director Don Weis in doing the camera set-ups and blocking), were suspect at the time for their leftist political views. Indeed, the company that made Force of Evil, Enterprise Productions, was also in trouble for the leftist leanings of its films in the midst of the Red Scare, and went out of business just as the movie was finished -- dropped by United Artists and picked up by MGM, of all studios, Force of Evil made it into theaters during Christmas week of 1948, not the ideal schedule for something as grim (albeit great) as this film was. As it turned out, it was Polonsky's last chance to direct for more than 20 years, and Garfield's last completely successful film. And a movie that should have been a triumph for all concerned ended up a cult favorite. ~ Bruce Eder, All Movie Guide