Adrian Rosley Movies

The Warner Bros. musicals began running out of gas in the late 1930s, yielding such lukewarm efforts as Ready, Willing and Able. Ruby Keeler, as charmingly ingenuous as ever, plays Jane, a college student with show-biz aspirations. In order to land a role in an upcoming Broadway spectacular, Jane impersonates famous British stage luminary Jane Clarke (and never mind that her British accent is as transparent as a plastic bag). On the strength of Jane's supposed reputation, fly-by-night producers Pinky Blair (Lee Dixon) and Barry Granville (Ross Alexander) convince a movie studio to pony up the money for their Broadway show. The trouble begins when the real Jane Clarke shows up, threatening lawsuits left and right. Somehow, Pinky and Barry are able to make both of their leading ladies happy, and the show goes on. The film's solitary musical highlight is "Too Marvelous For Words," performed by a battalion of leggy chorines on a huge typewriter; curiously, this very famous sequence was barely mentioned at all in the original reviews for Ready, Willing and Able. Sadly, co-star Ross Alexander died before the film was released nationally. ~ Hal Erickson, All Movie Guide

A bell ringer's wife dies while giving birth to his second son who turns out to be deaf. His oldest son moves to America where he becomes a successful engineer. Meanwhile, back at home in Austria, the bell ringer gives his remaining son to a monastery and then wanders off to become a bum. Years pass and eventually the hearing-impaired boy grows up. During WW I, an explosion miraculously restores his hearing. He then becomes a musician and moves to America where he not only finds fame and fortune, but also renewed family ties. ~ Sandra Brennan, All Movie Guide

In one of his most successful portrayals of a "living dead" man, Boris Karloff plays John Ellman, an ex-convict who is framed by the mob for the murder of the judge who first put him away. Evidence proving Ellman's innocence arrives seconds after he is electrocuted. Officials allow Dr. Evan Beaumont (Edmund Gwenn) to experiment with putting a mechanical heart into Ellman. The device revives the dead man, but he has become a white-haired, monster-faced zombie who hangs out in graveyards and seeks revenge on the conspirators who framed him. ~ Michael Betzold, All Movie Guide

One Horse Town is the TV title for MGM's 1936 version Small Town Girl (the new title was bestowed to avoid confusion with the 1953 remake). Robert Taylor plays an irresponsible playboy who is arrested in a backwater town for drunken driving. While intoxicated, Taylor proposes to local girl Janet Gaynor. She accepts, knowing full well that he wouldn't have popped the question had he been sober. Gaynor spends the rest of the film trying to reform Taylor and to get him to fall in love with her while he's got all his faculties--no small trick, in that her competition is sophisticated Binnie Barnes. ~ Hal Erickson, All Movie Guide

It was standard operating procedure at MGM to cast their favorite singing team of Nelson Eddy and Jeanette MacDonald in new versions of old operettas, then retain only the music, drastically altering the plotlines to conform to popular tastes. This was the treatment afforded the Rudolf Friml-Herbert Stothart-Oscar Hammerstein-Otto Harbach musical Rose Marie--and thank heaven that MGM decided to jettison the original's creaky libretto about a woman who offers her body to the villain to save the hero from a trumped-up murder charge (this chestnut seemed old-fashioned even in 1928, when Joan Crawford starred in the silent version). In lieu of this wearisome storyline, the Eddy-MacDonald version casts MacDonald as a spoiled, temperamental Canadian opera star who learns that her uncontrollable brother (James Stewart), serving a prison sentence, has escaped to a cabin in the North Woods and needs someone to tend his wounds. MacDonald travels to northern Canada incognito, where in a hilarious sequence she tries and fails to pass muster as a dance-hall girl. Upon meeting likeable mountie Nelson Eddy, who unbeknownst to her has been assigned to locate her brother, MacDonald fabricates a story about needing an escort for a rendezvous with her lover. Such latter-day parodies as Dudley Do-Right notwithstanding, the Eddy-MacDonald sequences are often deliberately played for laughs, even when Nelson is uttering such lines as "Heavy? Why, I could carry you for hours!" Gradually, Nelson and MacDonald fall in love, only to fall out of love when Nelson tracks down and captures MacDonald's brother. Despite this rift, a happy--and logical--ending is not long in coming. It might be hard to watch such Eddy-MacDonald duets as "Rose Marie" and "Indian Love Call" with a completely straight face; it is reassuring, however, to find out that the filmmakers knew that "Rose Marie" was ripe for ridicule, and decided to laugh at themselves first in order to disarm the audience. To avoid confusion with the 1955 remake, the 1936 Rose Marie was retitled Indian Love Call for TV showings. ~ Hal Erickson, All Movie Guide

In this romance, a social worker employed by Traveler's Aid finally is able to show her love to a construction foreman responsible for building the Golden Gate Bridge. She has loved him for nine years and is delighted that they can finally be together. Unfortunately, both of them are so busy that it is difficult to be together. Fortunately, they do eventually connect. The film contains actual footage of the construction of the great San Francisco Bridge. ~ Sandra Brennan, All Movie Guide

A pre-Charlie Chan Sidney Toler stars in Champagne for Breakfast as The Judge, a philosophical racetrack tout. Though eternally broke, the Judge manages to smooth the path of life for Vivian Morton (Joan Marsh), a nice girl to whom he's taken a fancy. By and by, the Judge brings together Vivian and handsome young Bob Bentley (Hardie Albright), then rescues Vivian's sister Natalie (Lila Lee) from the clutches of lecherous villain Osborne (Bradley Page). Though top-billed, Mary Carlisle has comparatively little to do as socialite Edie Reach. All things considered, Champagne for Breakfast is really Sidney Toler's film, and it's nice to see this perennial supporting player in a major role for a change. ~ Hal Erickson, All Movie Guide

Metropolitan was the first release from the newly merged 20th Century-Fox corporation. Famed operatic baritone Lawrence Tibbett stars as Thomas Renwick, the new leading man for temperamental diva Ghita Galin (Alice Brady). After storming out of the Metropolitan Opera, Ghita organizes her own troupe, full of young, untried singers. On the eve of the company's first performance, Ghita walks out again, and it's up to Renwick to pull himself and his cohorts together to put on their own show. In other words, it's Mickey Rooney and Judy Garland with better music. Lawrence Tibbett's splendid singing voice was, alas, not enough to transform him into a satisfying screen personality. ~ Hal Erickson, All Movie Guide

Alice Duer Miller's novel Gowns by Roberta was adapted into the 1933 Broadway musical Roberta, with music by Jerome Kern and Otto Harbach. The 1935 filmization of Roberta was slightly adapted to accommodate the dancing talents of Fred Astaire and Ginger Rogers, though their roles are secondary to the characters portrayed by Irene Dunne and Randolph Scott. Dunne plays a deposed White Russian princess who has become a famed Parisian couturier. Dunne is the partner of "Roberta" (Helen Westley), who passes away, leaving her half of the business to American football player Randolph Scott--who of course knows next to nothing about the gown business, and couldn't care less anyway. Astaire co-stars as bandleader Huck Haines, the character played by Bob Hope in the original Broadway production of Roberta. Rogers rounds out the cast as a phony Polish countess who happens to be Astaire's former girlfriend. Many of the songs written for Roberta were retained for the film version, including "Lovely to Look At," "Smoke Gets in Your Eyes" and "I Won't Dance;" other tunes are heard as background music. Keep an eye out for a blond Lucille Ball as a fashion model. Withdrawn from circulation for many years due to the 1952 MGM remake (titled Lovely to Look At), Roberta began making the public-domain rounds in the early 1980s. ~ Hal Erickson, All Movie Guide

A few unique touches aside -- notably the opening costume-party scene, in which the revellers are dressed as insects -- Rip Tide is a standard-issue Norma Shearer soap opera. Shearer plays Mary, a footloose and fancy-free American heiress who weds British nobleman Lord Rexford (Herbert Marshall). Five years later, Rexford embarks upon a business trip to New York, while Mary, urged on by her fun-loving aunt, vacations on the Riviera. Here she is reacquainted with her ex-boyfriend Tommie (Robert Montgomery), whose drunken misbehavior causes scandal to befall them both. Refusing to hear Mary's side of the story, Rexford begins divorce proceedings, but a happy ending finally manifests itself after reels and reels of endless high-toned dialogue. Legendary stage star Mrs. Patrick Campbell makes her Hollywood film debut in Rip Tide as Shearer's all-knowing Aunt Hetty, while Walter Brennan and Bruce Bennett show up in microscopic bit roles. ~ Hal Erickson, All Movie Guide

In this melodrama, set backstage at the theater, a fading, but still egotistical Hungarian star and his actress wife who has quietly endured his constant domination for years, move from Budapest to New York where they lead an impoverished life until their luck changes and they are given the leads in a famed young playwright's newest play. The old actor becomes an immediate hit. When he later learns that his wife has a crush on the playwright he is upset. The playwright doesn't mind though and quickly writes another play designed especially for her. It is a major hit, but the actress leaves the show in order to save her marriage. ~ Sandra Brennan, All Movie Guide

The real-life career of the notorious female spy known as "Fraulein Doktor" inspired several films of the 1930s. Stamboul Quest stars Myrna Loy as a seductive espionage agent, working on behalf of the Kaiser in 1915 Istanbul. American medical student George Brent crosses Loy's path, and the two fall in love. Divided between romance and duty, Loy opts for the latter, and apparently causes Brent's death. She goes mad with grief, and is packed away to a mental institution, where her fevered reminiscences provide the lengthy flashback sequences in this film. ~ Hal Erickson, All Movie Guide