Dewey Robinson Movies

In this tuneful, romantic drama, an Australian opera star (Grace Moore) wants to perform in a major U.S. festival but cannot enter the country unless she is married. To this end, she hires a handsome artist (Cary Grant) temporarily marry her. At first it is all strictly business, but in time, the artist starts falling in love. Songs include: "Our Song," "Minnie the Moocher" (this number is usually cut out in 98m televised version of the film), "Siboney," and "The Waltz Song." ~ Sandra Brennan, All Movie Guide

This period adventure drama was directed by Tay Garnett and adapted from a story by William Faulkner. The skipper of a slave trading vessel operating along the West African coast in 1860, Captain Jim Lovett (Warner Baxter) is troubled by his flesh-peddling trade. He's marrying the beautiful Nancy Marlowe (Elizabeth Allan) and wants to replace his morally-indefensible business with a more respectable foray into standard goods shipping. So he orders his first mate, Jack Thompson (Wallace Beery) to fire most of the crew and replace them with new hands. However, the ship's swabbies are accustomed to their lucrative line of work and, under the sway of the greedy Lefty (George Sanders), they mutiny, resulting in high seas histrionics and swashbuckling sword fights, with comedy relief provided by Mickey Rooney as Swifty the cabin boy. Lon Chaney, Jr. appears unbilled in the film's opening, where his character is crushed during a ship's launching. ~ Karl Williams, All Movie Guide

Having turned down the opportunity to produce Frank Capra's It Happened One Night (1934), MGM's Louis B. Mayer had second thoughts when the Capra film swept the 1935 Oscars ceremony. Mayer hastily commissioned an It Happened One Night wannabe titled Love on the Run, tailored for the talents of Joan Crawford and Clark Gable (who, of course, had starred in the Capra picture, and had copped one of those Oscars). Gable and Franchot Tone play rival journalists Michael Anthony and Barnabas Pells, who travel the length and breadth of Europe to outscoop one another. Crawford portrays madcap heiress Sally Parker, who is engaged to marry fortune-hunting Prince Igor (Ivan Lebedeff). Whereas in It Happened One Night the heroine (Claudette Colbert) linked up with Gable in order to expedite her elopement with the wrong man, in Love on the Run Crawford seeks out Gable's help to escape her impending marriage with Prince Igor. The two stars combine their flight across Europe with business, dogging the trail of international aviator Baron Spandermann (Reginald Owen), whom Anthony suspects of being a spy. Pells goes along with Anthony and Parker, and soon all three of them are tied up (literally, in Pells' case) with an espionage ring. While it is Clark Gable who ends up with Joan Crawford at fadeout time, it was Franchot Tone who claimed her as his bride in real life. ~ Hal Erickson, All Movie Guide

A Florida-bound train is filled with romance and intrigue in this comedy. Among the passengers is a millionaire bon vivant carrying $1 million in diamonds. He is fully aware that a gang of would-be jewel thieves have followed him and so pretends to be an invalid with an ice bag perpetually stuck to his head. Of course, the bag actually contains the diamonds. He puts some fakes in a different place to keep the thieves entertained. When the train reaches its destination, the police are waiting for the crooks. ~ Sandra Brennan, All Movie Guide

Impressed by the popularity of radio program about the exploits of legendary safecracker Jimmy Valentine, advertising man Gary Howard (Roger Pryor) posts a huge reward for anyone who knows the whereabouts of real Valentine, who is technically still a fugitive from justice. Following a lead, Howard ends up in a small town, where it appears as though Valentine has been living a respectable pseudonymous life as the town banker (played by Robert Warwick, coincidentally the star of the 1915 film Alias Jimmy Valentine!) Just as Howard is about to "expose" the banker, another old duffer steps forth to claim that he's Valentine. By now, Howard has fallen in love with banker's daughter Midge (Charlotte Henry), so he decides to let sleeping crooks lie. The last-minute introduction of villainous gangsters adds some life to this laid-back yarn. Return of Jimmy Valentine was remade (and significantly improved upon) in 1942 as Affairs of Jimmy Valentine. ~ Hal Erickson, All Movie Guide

Stodgily directed by actor Russell Hopton, this low-budget oil-drilling melodrama was one of three action-adventures teaming boy actor Frankie Darro with B-Western villain LeRoy Mason, the latter changing his billing to "Roy Mason" for the occasion. Young master Darro plays Clifford Riley, nicknamed "Fishtail," whose father Dan (Frank Shannon) is killed when a rival, J.G. Anderson (Berton Churchill), sabotages his oil well. Enter geologist Hank Langford (Mason), who persuades "Fishtail" to hold on to the potentially valuable well. In retaliation, Anderson has Hank abducted, but the young geologist manages to escape. Learning that Anderson is planning to blow up the Riley well with nitroglycerin, the hero arrives just in time to rescue "Fishtail," but Anderson is killed in the ensuing explosion. The blast also causes the well to come in and both Hank and "Fishtail" emerge from the wreckage as millionaires. ~ Hans J. Wollstein, All Movie Guide

Mae West is Goin' to Town in this elegant post-Production Code vehicle. West plays Cleo Borden, a nouveau riche cattle rancher who hopes to crash into high society. Though she is willing to subject herself to "refinement" lessons, she still has a high old time puncturing the pretensions of those around her: when aristocratic Ivan Valadov (Ivan Lebedeff) haughtily announces that he is the backbone of his family, West gives him the once-over and replies "Then your family'd better see a chiropractor." Through the connections of her husband-by-convenience Fletcher Colton (Monroe Owsley), Cleo is able to move freely among the glitterati of Southhampton but is forced to rely on her tried-and-true "street smarts" when she crosses swords with haughty villainess Grace Brittony (Marjorie Gateson) at a Buenos Aires race track. Through it all, aristocratic British engineer Edward Carrington (Paul Cavanaugh) awaits the opportunity to claim Cleo for his own -- as if anyone could ever "own" our fiercely self-reliant heroine. The film's highlight is a society operatic gala, in which Mae West delivers a serious (and most effective) rendition of "My Heart at Thy Still Voice" from Samson and Delilah. In a more characteristic vein, the star gets down and dirty (well, at least semi-dirty) with "He's a Bad Bad Man, But He's Good Enough for Me." ~ Hal Erickson, All Movie Guide

Buster Keaton began his career in vaudeville as a child, starring with his father Joe and mother Myra as The Three Keatons. This clever Educational two-reeler reunites the trio and adds Buster's sister Louise in the bargain. They play a family of hill folk that make moonshine but who pin their hopes on turning their oversized son Elmer (Dewey Robinson) into a champion wrestler. The big tournament held in Paducah finds Elmer in the ring with the lethal Bullfrog Kraus (Bull Montana). When Kraus starts getting too rough with Elmer, the entire family throws itself at the wrestler and annihilates him, winning the bout. ~ Nicole Gagne, All Movie Guide

Max Reinhardt's legendary Hollywood Bowl production of Shakespeare's A Midsummer Night's Dream was transferred to the screen by Warner Bros. in 1935. Like most of Shakespeare's comedies, the story contains several seemingly unrelated plotlines, all tied together by a single unifying event, in this instance the impending wedding of Theseus and Hippolyta. One story thread concerns the mistaken-identity romances of four young Athenians; another involves a group of "rude mechanicals" who plan to stage a production of "Pyramus and Thisbe" in honor of the wedding; and third plot strand is motivated by the mischievous misbehavior of invisible fairies Oberon, Titania, and Puck. While one of the members of Reinhardt's original stage cast, Olivia De Havilland (Hermia) was retained for the film version, the remainder of the roles went to Warners' ever-reliable stock company. Some of the casting is inspired: James Cagney is brilliant as vainglorious amateur thespian Bottom, while Joe E. Brown is ideal as the reluctant female impersonator Flute. As the four lovers, De Havilland and Jean Muir far outshine the smirking and simpering Dick Powell and Ross Alexander. In the dominion of the fairies, Mickey Rooney is a bit too precious as Puck, but Anita Louise is a lovely Titania and Victor Jory a suitably menacing Oberon (his opening line "Ill met by moonlight, proud Titania!" still sends shivers down our spines). Cagney and Brown's fellow "mechanicals" are an odd mixture of the sublime (Frank McHugh) and the just plain silly (Hugh Herbert). While the performances and direction (by Reinhardt and William Dieterle) are uneven, the art direction and special effects (especially the nocturnal dance of the fairies) are breathtakingly beautiful. Mendelssohn's "Midsummer Night's Dream" incidental music is masterfully orchestrated by Erich Wolfgang Korngold, while the cinematography by Hal Mohr earned the first write-in Academy Award in Hollywood history (Mohr had not been nominated due to hostilities arising from a recent industry strike). Considered a brave failure at the time of its first release, on a purely visual level A Midsummer Night's Dream is one of the more satisfying Shakespearean cinemadaptations of Hollywood's golden age. ~ Hal Erickson, All Movie Guide

Cruelly separated from his mother (Dorothy Peterson), little Donald McCoy (Scotty Beckett) is being robbed of his childhood by greedy relatives. Taking pity on the boy, pilot Mitchell (Chester Morris) "kidnaps" the kid and sets out to return him to his mom. Detective Maxine (Sally Eilers), assigned to bring Donald back to his legal guardians, instead joins Mitchell in his efforts to do what's best for the boy. Along the way, the three fugitives disguise themselves in blackface, a scene that has often been cut from TV showings. Pursuit is based on Lawrence G. Blochman's mini-novel Gallant Highway. ~ Hal Erickson, All Movie Guide

Harold Lloyd plays Ezekial Cobb, a missionary's son who has spent his entire life in China. Cobb is sent to his father's home church in California, where it is hoped he will find a wife. A true babe in the woods, Cobb is befriended by politician Jake Mayo (George Barbier). Mayo is a cog in a crooked political machine whose bosses plan to set up a "reform" candidate for mayor, so that they can continue their underhanded activities unmolested. The candidate drops dead, so Mayo sets up the innocent Cobb as the mayor-to-be--a "cat's paw" to deflect attention from the system's corruption. But once elected, Cobb takes his duties quite seriously and begins to clean up the town. The machine frames Cobb with planted evidence of wrongdoing, destroying the lad's political career. Undaunted, Cobb remembers the story of an ancient Chinese leader, who, similarly disgraced, took the law in his own hands and executed all known criminals in his last days of power. Cobb orders that every crook in town be rounded up and brought to a dark cellar. He insists that they confess their crimes or face instant death--and backs up his words by "beheading" two of the crooks on the spot! Actually, these executions are cleverly designed magical illusions, and no one is really killed; but the terrified criminals are so hoodwinked by Cobb's apparent cold-bloodedness that they literally climb over one another to confess. Cobb is exonerated, and honesty is restored to his administration. While not Harold Lloyd's best feature film, The Cat's Paw is definitely his most unorthodox. ~ Hal Erickson, All Movie Guide

Assistant DA Bob Martel (Bruce Cabot) is in love with sweet Muriel (Mary Brian). This in itself is not earth-shattering, except that Muriel is the sister of gangster boss Rossi (Harry Woods). The latter frames Martel for murder, but the police forensics lab provides a surprising solution to his plight. Columbia Pictures' standing prison sets, originally built for The Criminal Code, are given a good workout here. Grant Mitchell gives the best-rounded performance as Martel's father, who expedites the film's satisfying conclusion. ~ Hal Erickson, All Movie Guide

Two popular film genres were combined by low-budget Chestefield Films in 1934, and the result was Murder on the Campus. Hotshot reporter Bill Bartlett (Charles Starrett) wants to get to the bottom of things when three murders are committed at a co-educational college. In the nastiest of the killings, a female victim is hung from the clapper of the campus' tower bell. Since Bartett's own sweetheart (Shirley Grey) is implicated, he works twice as hard as usual to solve the mystery. It wouldn't be fair to reveal the ending, though it's worth noting that such highly suspicious characters as Edward Van Sloan (as the college president) and Dewey Robinson are lurking about during most of the picture. ~ Hal Erickson, All Movie Guide