Irene Rich Movies

Director Victor Fleming's final film features Ingrid Bergman as a vivid and luminous Joan of Arc, the 15th-century French peasant girl who led the French in battle against the invading English, becoming a national hero. When she was captured, tortured, and ultimately executed by the English, she was made a Catholic saint. Bergman's Joan is a strong and spiritual figure who proves her devotion to the Dauphin (Jose Ferrer), later to become the King of France. Joan is compelling as she wins an alliance with the Governor of Vaucouleurs and the courtiers at Chinon, leads her army in the Battle of Orleans, is betrayed by the Burgundians, and edicts that "our strength is in our faith." ~ Paul Brenner, Rovi

New Orleans is Republic Pictures' spin on such "musical origin" films as Birth of the Blues and Dixie. Covering nearly four decades, the story is a fanciful recreation of the "birth" of American jazz music. Arturo de Cordova plays Nick Duquesne, owner of a posh gambling house in turn-of-the-century New Orleans (yes, that's an uncredited Shelley Winters as Duquesne's secretary!) When the "good" people of the town forced Duquesne to pack up and leave, he relocates in Chicago, where he discovers that his customers are turned on by hot jazz. Hiring bandleader Louis Armstrong to entertain his patrons, Duquesne no longer has to rely on gambling to make a living. Romance enters the picture in the form of Miralee Smith (Dorothy Patrick), a straightlaced student of classical music who learns to kick up her heels and shed her inhibitions at the sound of jazz. New Orleans is the only mainstream Hollywood feature good enough to cast Billie Holliday in a major role: true, she's playing a maid, but a maid with the most exquisitve singing voice this side of Heaven. The film's highlight is the Holliday/Armstrong duet "Do You Know What it Means to Miss New Orleans", surely one of the great moments of movie-musical history. ~ Hal Erickson, Rovi

In this drama, a young groom finds his marriage in trouble when he begins working for his bride's demanding father. ~ Sandra Brennan, Rovi

In addition to his supporting-player duties at MGM, Frank Morgan could always be counted upon to star in the studio's B-picture product. In Keeping Company, Morgan plays real estate broker Harry C. Thomas, blessed (or saddled) with three growing daughters. Mary (Ann Rutherford), oldest of the Thomas girls, leaves the nest to marry handsome Ted Foster (John Shelton). Thanks to the well-meaning parental interference of Thomas and his wife (Irene Rich), the young couple ends up on the verge of divorce. Leave it to tomboyish kid sister Harriet (Virginia Weidler) to patch things up by fadeout time. Intended as the first entry in a series that never materialized, Keeping Company was based on a story by Herman J. Mankiewicz, who obviously didn't take this assignment as seriously as he did Citizen Kane. ~ Hal Erickson, Rovi

Columbia's The Lady in Question is a remake of the French Gribouille, a Raimu vehicle from 1939. Brian Aherne plays Andre Morestan, the seeming contently paterfamilias of a bourgeois Parisian family. Summoned for jury duty, Morestan at first believes that accused murderess Natalie Rougin (Rita Hayworth) is guilty, but eventually takes pity on the homeless girl and invites her to live with his family after her acquittal. Things get pretty dicey when Morestan's impressionable young son Pierre (Glenn Ford) falls in love with the enigmatic Natalie and begins committing petty crimes to finance their elopement-leading to a situation not unlike the one that got the girl arrested in the first place! In the original Gribouille, it was abundantly clear that both father and son had a yen for their pretty guest, but this menage a trois has been toned down in the Hollywood version, with Morestan remaining more or less faithful to his long-suffering wife Michelle (Irene Rich). ~ Hal Erickson, Rovi

In this musical romantic comedy of 1938, Deanna Durbin plays Alice Fullerton, a young woman of a "certain age" who is prone to developing crushes against her best judgment. Her parents have taken in an intriguing house guest, Vincent Bullitt (Melvyn Douglas), a successful international news correspondent who has come to town to work on some assignments for her father's newspaper. Alice falls hard for Bullitt, and she ditches her boyfriend Ken (Jackie Cooper), a local guy who seems provincial and pedestrian in comparison to Bullitt; unfortunately, complications ensue. The songs include You're as Pretty as a Picture. ~ Michael Betzold, Rovi

This drama is a compilation of stories occurring in the Empire State Building with the focus on topics such as bank failures, love scenes and odd clerks. ~ Rovi

Hoping to benefit from the popularity of the 1927 silent version of P.C. Wren's Beau Geste, RKO Radio reunited the earlier film's star Ralph Forbes and director Herbert Brenon for 1931's Beau Ideal, again adapted from a Wren novel. Something of a sequel to Beau Geste, the story concerns the efforts by Foreign Legionnaire Otis Madison (Lester Vail) to locate his childhood chum John Geste (Forbes). The two men are reunited in the Arabian desert, where Geste is doing penance in a stockade reserved for discredited Legionnaires. With Otis's help, Geste redeems himself by squashing a native uprising fomented by a duplicitous Emir (George Regas). Ultimately, our hero returns to England and the arms of heroine Loretta Young -- but not before a close call with a slinky seductress (Leni Stengel), appropriately nicknamed "The Angel of Death." Beau Ideal was a flop to the tune of $330,000, and as a result the exploits of the Geste family would not again be dramatized for the screen until the 1939 remake of Beau Geste. ~ Hal Erickson, Rovi

Based on a story by Fannie Hurst, Five and Ten stars Marion Davies as Jennifer, the spoiled daughter of department-store magnate John Rarick (Richard Bennett). Because Rarick neglects his family, they all manage to get themselves into hot water. Jennifer's mother, Jenny (Irene Rich), nearly runs off with a gigolo, while her alcoholic brother, Avery (Kent Douglass), nearly dies in a reckless aviation escapade. As for our heroine, she messes up her entrée into high society, but at least finds happiness in the arms of architect Berry (Leslie Howard). Rarick finally awakens to his family responsibilities, and in a last-reel flurry of activity, he pulls all their coals out of the fire. Five and Ten was released in Great Britain as Daughter of Luxury. ~ Hal Erickson, Rovi

Wicked stars Elissa Landi as Margot Rande, a basically decent woman led down the path to perdition by her bank-robber husband Tony (Theodore Von Eltz). When Tony is cornered by the police, Margot tries to protect him, shooting a policeman in the process. Sentenced to a 20-year prison term, the ladylike heroine is subjected to all manner of brutality and humiliation behind bars. Scott Burrows (Victor McLaglen), Margot's former sweetheart, hires an attorney to help reduce her sentence, but in the meantime she has given birth to a child, which is promptly snatched from her arms and put up for adoption. Upon her release, Margot desperately kidnaps her own baby, leading to further courtroom entanglements before a happy (or at least satisfactory) ending can be reached. It's positively miraculous that director Alan Dwan was able to squeeze all of Wicked into a mere 57 minutes. ~ Hal Erickson, Rovi

Norma Shearer stars in this pre-Code melodrama as Lisbeth Corbin, who is in love with Alan (Neil Hamilton), a globe-trotting newspaper reporter, but also strings along Steve (Robert Montgomery), a well-mannered local boy who is good friends with Lisbeth, even though she doesn't love him. When Alan is sent to Mexico to cover a story, love-struck Lisbeth goes with him, but when he's next sent to China, Alan leaves Lisbeth behind. Heartbroken, she heads for Europe, where she tries to forget Alan with a series of short-term love affairs. Try as she might, Lisebth can't forget Alan, but when she returns home, lonely and desperate, she finally agrees to marry Steve. Alan picks this moment to return, but just as she's thrown over Steve for her true love, Alan learns of Lisbeth's escapades in Europe and breaks off the engagement, sending her to the brink of suicide. Keep an eye peeled for an early appearance by Ray Milland as one of Lisbeth's suitors. ~ Mark Deming, Rovi

Will Rogers' second starring talkie feature was a spiritual twin of the first, They Had to See Paris, albeit with a significant change of locale. Although newly rich Texas mill owner Hiram Draper (Rogers) intensely despises all things British (dismissing the country as the land of "marmalade eaters"), he is forced by business considerations to journey to London. Going along for the ride are his wife (Irene Rich, who had costarred with Rogers in They Had to See Paris), and his son Hiram Junior (Frank Albertson). Upon the family's arrival, Junior falls in love with Elinor (Maureen O'Sullivan), daughter of aristocratic Lord Percy Worthing (Lumsden Hare), whose opinion of "Yankees" is about as low and disdainful as is Hiram's attitude towards "Limeys." Through a series of amusing incidents, not least of which is a zany hunting expedition, Hiram and Lord Percy become friends, consoling themselves to the marriage of their children. Highlights in this episodic star vehicle include the famous early sequence in which Hiram, who was born in Oklahoma while it was still "Indian Territory", tries to get a passport without the necessary U.S. birth certificate; and the finale, in which the two proud fathers perform a "singing duel" of their respective national anthems. Based on the successful stage play by Arthur F. Goodrich (which had originally starred George M. Cohan), So This is London was remade eight years later as one of 20th Century-Fox's "Jones Family" B-pictures. ~ Hal Erickson, Rovi

Will Rogers' first all-talking feature casts the beloved humorist as Pike Peters, owner of an auto repair shop in Claremore, OK (Rogers' real-life home town). Living in genteel but contented poverty, Pike and his family suddenly find themselves millionaires when an oil well in which he is part-owner comes in a gusher. Though Pike remains the same humble, down-to-earth fellow that he was before his good fortune, his social-climbing wife (Irene Rich) instantly begins taking on airs, insisting that the family spend a year in Paris. Reluctantly, Pike agrees, and before long he, his wife, his daughter, Opal (Marguerite Churchill), and son, Ross (Owen Davis Jr.) are seeing the sights in the City of Lights. Determined to crash Parisian high society and land a wealthy nobleman husband for daughter Opal, Mrs. Peters callously insists that her "embarrassing" husband keep his distance at all social gatherings. Not surprisingly, the Peters family unit begins to unravel, with Opal succumbing to the charms of silky gigolo Marquis de Brissac (Ivan Lebedeff), and Ross living a life of debauchery in the Latin Quarter with French floozy Fleury (Marcelle Corday). Though Pike manages to make a friend of exiled Russian grand duke Mikhail (Theodore Lodi), he simply cannot coordinate himself with his wife's incessant title-chasing, nor can he convince her that her new "friends" are only interested in her money. Cast out of the hotel suite he shares with his wife, the crestfallen Pike heads to a sidewalk café, where he renews his platonic friendship with vivacious cabaret entertainer Claudine (Fifi D'Orsay, whose saucy performance caused a bit of trouble with the local movie censors of the era). With her help, Pike cooks up a scheme to bring his family back together by pretending that he's "gone Parisian" and has taken Claudine as his mistress. Adapted from a 1926 novel by Homer Croy (and a subsequent stage version by May Savell Croy), They Had to See Paris remains one of Will Rogers' most entertaining talkies, with the star ad-libbing to his heart's content. ~ Hal Erickson, Rovi