Lionel Royce Movies

Tarzan (Johnny Weissmuller) must once more contend with outsiders who invade his jungle domain to hunt for gold. Guarding the valuable ore is a tribe of hostile Amazons, led by Maria Ouspenskaya. The Amazons regard every man as their enemy, and very nearly kill Tarzan before he can rescue them from the villains. Also in the cast are Brenda Joyce as a blonde Jane, Johnny Sheffield as Boy, Barton MacLaine as the principal heavy, and "cult" horror star Aquanetta as an Amazon maiden. Tarzan and the Amazons was Johnny Weissmuller's ninth appearance as the Lord of the Apes. ~ Hal Erickson, Rovi

Though it takes several liberties with facts and motivations, The Hitler Gang is a reasonably absorbing chronicle of Hitler's rise to power. An obscure German corporal in WW1, Adolf Hitler (played by Robert Watson, better known for his comic portrayals of Der Fuhrer), embittered by the Versailles treaty, joins a minor-league politcal party called the National Socialists. With the help of some clever "spin doctors" like Joseph Goebbels (Martin Kosleck) and Heinrich Himmler (Luis van Rooten), Hitler takes the Nazis over from the ineffectual Captain Roehm (Roman Bohnen). Arrested for such political imbroglios as the 1923 Beer Hall Putsch, Hitler is sentenced to a short prison term, during which he writes his manifesto "Mein Kampf." Quickly enlisting the support of other disenfranchised losers, Hitler becomes a force to conjure with, finally winning political respectability when a senile General Von Hindenburg (Sig Ruman) appoints him to a choice political post. With the death of Hindenburg in 1933, Hitler is able to completely dominate the German government, whereupon he immediately embarks upon indoctrinating Germany's youth in the "glories" of Nazism, slaughtering his political enemies, and fomenting the second World War. Though the film was made in 1944, it ends on a note of hope, assuring the audience that Hitler and his minions could not long endure the Allied counterrattack (the filmmakers were far less certain of this than they would be some six months later). Understandably propagandistic, The Hitler Gang cannot be termed 100 percent accurate: For example, Hitler's persecution of the Jews is depicted as a cynical political tactic rather than the end result of deep-set European anti-semitism, while the death of his niece Geli Raubal (Pobly Dur) is misrepresented as a murder rather than a suicide. But considering the lies that were being spewed forth by the Nazis on a daily basis, the few factual gaffes in The Hitler Gang are eminently forgivable. The film's only real drawback is Robert Watson's two-dimensional portrayal of the title character, though even such accomplished actors as Alec Guinness and Derek Jacobi have found Hitler a virtually unplayable part. ~ Hal Erickson, Rovi

Let's Face It is adapted from the Broadway musical of the same name, which in turn was based on the old Norma Mitchell/Russell G. Medcraft stage chestnut The Cradle Snatchers. The basic story of three neglected wives who hire a trio of young men as professional companions is updated for the World War II era: The three young men are now lonely GIs. Bob Hope is the funniest member of the threesome engaged by the wives in order to make their wandering hubbies jealous. He is paired off with vivacious Betty Hutton, both of whom fight a complex situation-comedy plotline in order to find time for their expected specialties. Hope's best moment is a parody of the cigarette-lighting bit from Now, Voyager, in which he winds up with six burning cigarettes in his mouth. The stage version of Let's Face It was essentially a vehicle for Danny Kaye, who of course played the role essayed in the film by Bob Hope. ~ Hal Erickson, Rovi

Hitler's Madman is based on an all-too-real wartime atrocity. John Carradine portrays Heydrich, the vicious SS officer put in charge of Nazi-occupied Czechoslovakia. Heydrich is killed by the Czech underground, prompting the Nazis to plan a horrible retaliation. The Gestapo selects the Czech village of Lidice for annihilation: They kill all the male villagers, throw the women and children into concentration camps, and torch Lidice into nonexistence. The victims of Nazi tyranny become martyrs to the underground cause, ending the film on a note of triumph. Based on a narrative poem by Edna St. Vincent Millay, Hitler's Madman was produced by the "poverty row" PRC studio, but was sold to MGM and given a class-A presentation at choice theatres throughout the U.S. ~ Hal Erickson, Rovi

More so than most wartime films, Mission to Moscow must be viewed within the context of its times. Requested by President Roosevelt to make a film supportive of America's Russian allies, Warner Bros. turned to the memoirs of Ambassador Joseph H. Davies, who spent several years prior to WWII in the Soviet Union. As played by Walter Huston, Davies is a pillar of incorruptable integrity, reporting the facts "as I saw them" (only in later years was Davies revealed to be something less than a paragon of virtue who was willing to alter opinions for political, personal and financial expedience). Sent to Moscow by FDR as a means of finding out if Russia is a potentially trustworthy ally in case of war, Davies and his family are given the royal treatment by the Commissars, who display the social, technological, agricultural and artistic advances made under the Stalin regime. Invariably, the Russian citizens are shown to be singing, smiling, freedom-loving rugged individuals-in contrast to the Nazis, who are depicted as humorless automatons. In its efforts to present the USSR in the best possible light, the film glosses over the notorious Purge Trials of 1937, presenting the trials as scrupulously fair and the defendants as unabashed traitors to the Soviet cause. At one point, Russia's annexation of Finland in 1939 is "justified" by Davies' explanation that the Soviets merely wanted to protect their tiny neighbor from Nazi domination! It is unfair to label Mission to Moscow as Communistic or even left-wing, since it was merely parroting the official party line vis-a-vis US/Soviet relations in 1943. Even so, screenwriter Howard Koch found it very difficult to get film work after the war because of his contributions to this "Pinko" project (conversely, Jack Warner pulled a Pontius Pilate, washing his hands of the matter by insisting that he was strongarmed into making the film). Seen objectively, Mission to Moscow is top-rank entertainment, superbly and excitingly assembled in the manner typical of Warners and director Michael Curtiz. The huge cast includes Gene Lockhart as Molotov, attorney Dudley Field Malone as Winston Churchill, Maynart Kippen as a benign, pipe-smoking Stalin, Charles Trowbridge as Secretary Cordell Hull, Leigh Whipper as Hailie Selassie, Georges Renavent as Anthony Eden and Alex Chirva as Pierre Laval, along with the more familiar faces of Ann Harding (as Mrs. Davies), George Tobias, Eleanor Parker, Moroni Olsen, Minor Watson, Jerome Cowan, Duncan Renaldo, Mike Mazurki, Frank Faylen, Edward van Sloan, Louis-Jean Heydt, Monte Blue, Robert Shayne and even Sid (sic) Charisse. Original prints of Mission to Moscow include a 6-minute prologue delivered by the real Joseph Davies. ~ Hal Erickson, Rovi

Tyrone Power made his last screen appearance before a three-year stretch in the Marines in this World War II drama. Lt. Ward Stewart (Tyrone Power) has served with distinction as the commander of a PT boat, so his uncle, Adm. Bob Stewart (Minor Watson), gives him a new and more challenging assignment aboard a submarine. Before shipping out, Ward enjoys a night on the town, where he meets and romances a pretty schoolteacher, Jean Hewlett (Anne Baxter). However, when Ward reports for duty, he discovers he'll be serving under Lt. Cmdr. Dewey Connors (Dana Andrews), who happens to be Jean's boyfriend. On leave and on land, Ward and Dewey are soon caught up in a romantic rivalry, while on duty and under the water they must work together to ferret out Nazi U-boats. Crash Dive received an Academy Award nomination for the special effects work in the film's battle sequences. ~ Mark Deming, Rovi

Half Way to Shanghai is Burma, according to this Universal B-grade actioner. The film takes place almost in its entirety on a train bound from Lashio to Rangoon in the days just prior to the Japanese invasion. Passenger Alexander Barton (Kent Taylor) becomes the reluctant hero of the piece when he comes into possession of a map showing Chinese defense sites. When he's not trying to elude Nazi agents Zerta (George Zucco) and Van Simet (Lionel Royce), Barton is dealing as best he can with the film's two heroines, Vicki Nelson (Irene Hervey) and Caroline Wrallins (Charlotte Wynters). Half Way to Shanghai bears traces of the earlier Universal suspenser Bombay Clipper, which took place on a cramped passenger plane. ~ Hal Erickson, Rovi

The surrealistic opening sequence, featuring a WW2 calendar as written "by A. Hitler", should be indication enough that Once Upon a Honeymoon is no ordinary lighthearted romantic trifle. Ginger Rogers plays Katie, an American chorus girl who seeks to better herself by marrying titled European Baron von Luber (Walter Slezak), despite the warnings of reporter Pat (Cary Grant). Katie thinks Pat is just jealous, but both he and the audience are aware that Von Luber is secretly a high-ranking Nazi, whose "unofficial" visits to Czechoslovakia, Poland and France precipitate the German invasions of those countries. When Katie wises up, she agrees to help counterespionage agent LeBlanc (Albert Dekker) in his efforts to stop Von Luber before he can reach New York-and along the way, she falls in love with the ubiquitous Pat. The bizarre ending, in which one of the main characters is casually murdered, is played for laughs, as if WW2 is merely fodder for a screwball comedy. In the film's most unsettling scene, Katie and Pat, mistaken for Jews, are briefly interred in a Polish concentration camp; their outrage over this treatment seems to be founded not on Germany's crimes against humanity, but over the fact that the Gestapo would have the audacity to incarcerate two non-Jewish Americans! A curious and often tasteless misfire from producer-director Leo McCarey, One Upon a Honeymoon is an undeniably fascinating historical artifact. ~ Hal Erickson, Rovi

Each of Bob Hope's "My Favorite" films (My Favorite Blonde, My Favorite Brunette, My Favorite Spy) was, by accident or design, a parody of a dead-serious movie genre. 1942's My Favorite Blonde, for example, was a takeoff of Alfred Hitchcock in general and Hitchcock's 39 Steps in particular. Two-bit vaudeville entertainer Hope gets mixed up with gorgeous blonde British-spy Madeline Carroll. The "maguffin" (Hitchcock's nickname for "gimmick") which ties the two stars together is a ring which contains the microfilmed plans for a revolutionary new bomber. Hope and Carroll are forced to take it on the lam when Hope is framed for murder by Nazi-agents Gale Sondergaard, George Zucco et. al. Highlights include Hope eluding capture by impersonating a famed psychologist (watch for Carl "Alfalfa" Switzer as Hope's most contentious "patient"). Madeline Carroll also got several opportunities to shine comedically, especially when she lapsed into cloying baby talk while posing as Hope's wife. Bob Hope was hesitant to work with My Favorite Blonde director Sidney Lanfield, having heard of Lanfield's reputation as an on-set dictator. However, the two got along so swimmingly that they would collaborate on such future top-notch Hope farces as Let's Face It (1943) and The Lemon Drop Kid (1951). ~ Hal Erickson, Rovi

The Nazis are clearly the villains in So Ends Our Night, but since the film was made before America's entry into World War II, Adolph Hitler goes unmentioned (we wouldn't want to lose those foreign markets, would we?) Based on Erich Maria Remarque's novel Flotsam, the film zeroes in on three German refugees. Frederic March despises the Nazis on ideological grounds; Margaret Sullavan, a Jew, is fleeing for her life; and Glenn Ford, born of a Jewish mother and Aryan father, is racked with confusion and torn loyalties. The three separate as they move from country to country in Europe, just a step or so ahead of the advancing Nazis. As Sullavan and Ford fall in love, March puts his life on the line by trying to arrange a reunion with his ailing wife Frances Dee, who has remained in Germany. Had So Ends Our Night been released a few months after the US entry into the war, it might have done better at the box office. ~ Hal Erickson, Rovi

Underground is an average Warner Bros. suspenser, given a boost by its unrelenting portrayal of Nazis as verminous scum--several months before America's entry into World War II. Jeffrey Lynn plays an impressionable young European who is intoxicated by the "glories" of National Socialism. Lynn's brother, Philip Dorn, is on the opposite side of the fence as an announcer for an underground Resistance radio station. At first scornful of his brother's activities, Lynn soon learns that Hitler isn't the saint he believed him to be--especially after several of his friends are liquidated by the Gestapo. Lynn belatedly joins his brother's cause and, at the cost of his own life, helps the Resistance thwart a band of fifth columnists. Underground is a solid piece of film craftsmanship, lacking only the big star names that would have made it a box-office hit. ~ Hal Erickson, Rovi

This cautionary pre-World War II drama stars Joan Bennett as an American girl who falls in love and marries a German (Francis Lederer) in 1938. At first he seems charming, but Joan discovers that her husband is slowly being seduced by the Nazi Party. Determined to leave, Bennett is forced to battle Lederer for custody of their child, whom the husband plans to raise as a budding Fascist. The Nazi is foiled by his father(Otto Kruger), who crushes Lederer's "iron will" by informing his son that his own mother was Jewish. At 77 minutes, The Man I Married cuts out all slack, and the result is a taut, exciting melodrama. ~ Hal Erickson, Rovi