Walter Browne Rogers Movies

The factual story of H.A.W. Tabor and "Baby Doe" was the inspiration of Silver Dollar. Edward G. Robinson plays the Tabor counterpart, a prospector who strikes it rich with a silver mine. Robinson establishes the city of Denver, strongarms his way into political power, buys every creature comfort he can get his hands on, and deserts his faithful wife (Aline McMahon) for a flashy younger woman (Bebe Daniels, playing the character based on Tabor's mistress "Baby Doe"). Robinson is ruined by the decline of the silver market, spending his last days in near-madness planning and dreaming for a return to his glory days. In real life, it was Baby Doe who went insane, living (and dying) in a tiny shack near the once-prosperous silver mine. Stodgily directed, Silver Dollar isn't nearly as surrealistic as the true story it's based on. ~ Hal Erickson, All Movie Guide

Adapted from Richard Connell's short story A Friend of Napoleon, Seven Faces was a tour de force for the multitalented Paul Muni (in his second screen appearance). Although only 33 at the time, Muni is most convincing as elderly Papa Chibuou, caretaker of a Parisian wax museum. When the museum goes bust, its most popular wax effigies go on the auction block. Unable to meet the price demanded for his favorite statue, that of Napoleon Bonaparte, Chibou steals the statue and is convicted of theft. Defense attorney Georges Dufeyl (Russell Gleason), who happens to be in love with Helene (Marguerite Churchill), the daughter of the trial judge (Lester Lonergan, who also co-directed the film), sympathetically takes Chibou's case on a pro bono basis. The film's best scene finds Chibou dreaming that he is offering Dufeyl and Helene romantic advice in the guises of six of the museum's wax figures, including Napoleon, Don Juan, Svengali and Franz Schubert. Although shown to excellent advantage, Paul Muni wasn't happy with the film medium and stayed off screen for over a year after the completion of Seven Faces. If Muni was unhappy, imagine the discomfort of Broadway headliner Tom Patricola, whose supporting role in the film went completely uncredited. ~ Hal Erickson, All Movie Guide

Marking the 50th anniversary of General George Armstrong Custer's famous defeat at Little Big Horn, Universal re-created the battle in their biggest production ($400,000) of the year, The Flaming Frontier. Veteran screen actor Dustin Farnum came out of semi-retirement to play Custer -- to overwhelmingly positive notices -- and according to studio publicity, the film employed several thousand extras, including many Native Americans. Universal re-created Fort Hays, Custer's outpost, on the back lot in the San Fernando Valley and a duplicate of Crane City was erected at great expense near Pendleton, Oregon. Unfortunately, the studio also cast their resident cowboy star, the lackadaisical Hoot Gibson, in the starring role, and the entire production was thus geared to Gibson's familiar shtick rather than faithfully re-telling the story of one of the great blunders in military history. In the hands of Edward Sedgwick, Gibson's usual director, the slaughter at Little Big Horn proved little more than a plot contrivance. Gibson played a Pony Express rider admitted to West Point due to the influence of a powerful senator (George Fawcett), whose daughter (Anne Cornwall) he loves. In return, Gibson assumes the blame when the senator's wastrel son (Harold Goodwin) gets in trouble with the daughter (Kathleen Key) of a crooked Indian agent (Ward Crane). Gibson is expelled and returns West to join Custer's forces. To get even with Gibson, whom he still accuses of defiling his daughter, the Indian agent conspires with Sitting Bull (African-American actor Noble Johnson) to lure Custer and his troops into an ambush. Misinformed about the strength of the enemy, Custer and his 400 men are slaughtered by Indian warriors numbering in the thousands. Gibson, meanwhile, has been sent for reinforcements, thus surviving the massacre. He later leads an uprising among the settlers against the nefarious Indian agent, who has taken the senator's daughter prisoner. Most reviewers were appreciative of Universal's great expenditure, but Variety's scribe saw the film as little more than an ordinary Gibson Western. Sadly, modern audiences are prevented from forming an opinion, as no prints now survive. However, many of the more spectacular sequences later found their way into The Indians Are Coming (1930), a Universal serial released in both silent and sound versions. ~ Hans J. Wollstein, All Movie Guide