Sig Rumann Movies

George Burns and Gracie Allen made their last screen appearance together in the 1939 MGM musical Honolulu; indeed, it would be Burns' last film until his 1976 "comeback" in The Sunshine Boys. The nonsensical plotline is carried by Robert Young as famous movie star Brooks Mason, who wants to go to Honolulu for a long rest but can't shake off his throngs of adoring female fans. As luck would have, Mason has an exact double, a Hawaiian plantation owner named George Smith. Mason convinces Smith to switch identities, with the expected comedy-of-error complications as a result. Things get really complicated when Smith, posing as Mason, proposes marriage to lovely Dorothy March (Eleanor Powell), who then can't understand why the real Mason seems to be so fickle. Clearly in support, Burns and Allen are cast respectively as Mason's personal manager Joe Duffy and Dorothy's scatterbrained friend Millie de Grasse. The film contrives to separate George and Gracie for most of the footage, bringing them together in the last reel for a characteristic comedy routine about Gracie's dizzy relatives. Also on hand in a minor role is another comedy giant, Eddie "Rochester" Anderson. Highlights include a masquerade-party production number in which Gracie Allen is serenaded by the King's Men Quartet (disguised as the Marx Brothers), and Eleanor Powell's blackface stair-tap tribute to Bill "Bojangles" Robinson (Powell also performs a tap-dance hula, which scores on its novelty value alone!) ~ Hal Erickson, All Movie Guide

This is an epic Darryl F. Zanuck production that plays fast and loose with historical facts regarding early 19th century French politics and the building of the Suez Canal. Tyrone Power stars as Ferdinand de Lesseps, an engineer and son of a French nobleman (Harry Stephenson). At the start of the film, he is in love with Eugenie (Loretta Young), but so is the French President Louis Napoleon (Leon Ames). After his father is appointed French consul to Egypt, the younger de Lesseps travels there and conceives the idea of a canal connecting the Mediterranean and Red seas. Back in France, he is promised help by Eugenie, now Napoleon's mistress, in exchange for Count de Lesseps' agreement to dissolve the government temporarily. Napoleon then declares himself emperor, making Eugenie his empress. The elder de Lesseps dies of shock at the political betrayal, while the younger de Lesseps starts building the canal, overcoming attacks by tribal people and severe heat. France cuts off backing, and de Lesseps has to get help from England to finish the project. A sandstorm injures de Lesseps, and his French-Egyptian lover Toni (Annabella) straps him to a post to save him, sacrificing her own life for the canal. Power and Annabella married each other after the film. The descendants of de Lesseps sued 20th Century Fox for libel, but lost. ~ Michael Betzold, All Movie Guide

Warner Bros.' Girls on Probation was, and is, a potboiler, redeemed slightly by its cast. The fascinating, underused Jane Bryan stars as innocent young Connie Heath, who is falsely accused of theft by witchy Gloria Adams (Susan Hayward). Though Gloria withdraws her charge, the insurance company continues to persecute poor Connie, resulting in a charge of grand larceny. Championing her cause is crusading attorney Neil Dillon (Ronald Reagan), who gets Gloria off with probation. Alas, she resumes her friendship with "fast girl" Hilda Engstrom (Sheila Bromley), who was responsible for getting Connie into trouble in the first place. And there's still 30 minutes to go! Girls on Probation received plenty of airplay in the 1980s during the Reagan presidency then enjoyed a second life as a late-night mainstay of the Turner Classic Movies cable service. ~ Hal Erickson, All Movie Guide

The Saint, Leslie Charteris' charming but deadly criminal-turned-sleuth, made his first film appearance in RKO Radio's The Saint of New York. Faithful to Charteris' original concept, this first movie Saint is a cold-blooded murderer, redeemed by the fact that all of his victims are notorious gangsters who'd otherwise elude the clutches of the law. Hired by a coterie of businessmen, Simon Templar (Louis Hayward), aka the Saint, methodically rids New York of its worst criminals, though "The Big Fellow", aka Hutch Rellin (Sig Rumann), continues to elude him. He is aided by Rellin's enigmatic mistress Fay Edwards (Kay Sutton), who pays for her actions with her life. The film's most memorable moment finds Templar disguising himself as a nun to dispose of a particularly nasty villain. The success of The Saint of New York prompted RKO to negotiate with Charteris for a series of "Saint" films, with George Sanders and Hugh Sinclair taking over from Louis Hayward as the title character. ~ Hal Erickson, All Movie Guide

The Great Hospital Mystery is based on one of Mignon Eberhardt's "Nurse Sarah Keate" whodunits. Physically and temperamentally, Jane Darwell at least approximates the middle-aged Sarah (here renamed Miss Keats), but otherwise the film runs far afield from Eberhardt's original concept. As the night superintendent of a metropolitan hospital, Miss Keats does her best to handle the personal problems of her staff -- especially nurse Ann (Sally Blane), whose brother Tracy (George Walcott) is being victimized by mobsters. To save Tracy from assassination, Keats and Ann make it appear as though he has died in the hospital while a patient there. Their plan is compromised when another patient is murdered -- or is he? Joan Davis provides gratuitous comic relief as a klutzy "girl in white." ~ Hal Erickson, All Movie Guide

Think Fast, Mr. Moto was the first of 20th Century-Fox's movie series based on the wily Japanese sleuth created by J. P. Marquand. Moto (Peter Lorre) seems to be a criminal this time around, involved with a gang of international smugglers. Virginia Field is a White Russian expatriate who likewise appears to be an agent of the criminals. The adventure takes Moto, Ms. Field and the son of a legitimate gem dealer (Thomas Beck) from San Francisco to Shanghai. During the inevitable showdown with the head of the smugglers (Sig Rumann), Virginia turns out to be an unwilling pawn of the crooks, while the inscrutable Mr. Moto reveals himself to be a special agent of the International Police. ~ Hal Erickson, All Movie Guide

The third of MGM's profitable Jeanette MacDonald/Nelson Eddy songfests, Maytime opens in the early 20th century, with a young girl arguing with her boyfriend over her wishes to become an opera singer. The girl's neighbor, a lonely old woman whom we gradually recognize as a convincingly "aged" Jeanette MacDonald, tells the girl of her own career in opera. The old lady was once the radiant young diva Marcia Mornay. In 1868 she was the toast of Europe, thanks to the tutelage of her voice instructor Nikolai Nazarov (John Barrymore). He proposes marriage, and Marcia accepts, more out of gratitude than love. In a euphoric pre-nuptial state, Marcia finds herself on Paris' Left Bank, where she meets handsome café crooner Paul Allison (Nelson Eddy). They meet again at a lavish Maytime festival, falling in love (to the accompaniment of Sigmund Romberg's most dazzling duets) in the process. Sadly, Marcia returns to Nazarov, while Paul goes off to America to lick his wounds. Seven years later, Marcia, making her New York debut in a fictional opera based on the works of Tchaikovsky, finds that the leading baritone is none other than Paul. Unable to envision life without her new love, Marcia begs Nazarov for a divorce. He smiles slyly and promises to give her her freedom-whereupon he heads to Paul's apartment and kills the poor fellow. The flashback done, Marcia advises her pretty young neighbor that one can never have both love and a career. Out of tragedy grows the happy ending, in which the spirit of the now-deceased Marcia is reunited with Paul in a blossom-filled Hereafter. On paper, Maytime may seem to be the ultimate in Hoke, but even in recent revival showings the film never fails to cast its spell over an audience. ~ Hal Erickson, All Movie Guide

The second of eight 1930s films based on J. P. Marquand's Japanese detective, Thank You, Mr. Moto finds Moto (Peter Lorre) coming to the aid of Chinese royalty. The last remaining members of an ancient Chinese clan (Pauline Frederick and Philip Ahn) have in their possession six of seven scrolls, which when put together reveal the secret hiding place of Genghis Kahn's treasure. Moto has the seventh scroll, which he sneaks into Peking in hopes of contacting the family. The villains torture and kill the Chinese royals, then lure Moto to a rendezvous on a Chinese river junk. Moto is aided in thwarting the villains by the quick thinking of ingenue Jayne Regan; then, rather than risk the scrolls falling into the wrong hands and thus disgracing the Chinese family who died for their sake, Moto burns all seven parchments. ~ Hal Erickson, All Movie Guide

"This is New York, Skyscraper Champion of the World...Where the Slickers and Know-It-Alls peddle gold bricks to each other...And where Truth, crushed to earth, rises again more phony than a glass eye..." With this jaundiced opening title, scripter Ben Hecht introduces his classic comedy Nothing Sacred. Fredric March plays Wally Cook, a hotshot reporter condemned to writing obituaries because of his unwitting complicity in a fraud. Anxious to get back in the good graces of his editor Oliver Stone (Walter Connolly), Cook pounces on the story of New England girl Hazel Flagg (Carole Lombard), who is reportedly dying from radiation poisoning. Actually, Hazel isn't dying at all; she's been misdiagnosed by Moscow's eternally drunk doctor (Charles Winninger). But when Cook offers to take her on an all-expenses-paid trip to New York in exchange for her exclusive story, it's too good an offer to pass up. Once in the Big Apple, Hazel is feted as a heroine by the novelty-seeking populac; she enjoys the adulation at first, but soon (and with the help of gallons of alcoholic beverages) suffers the pangs of conscience. She confesses her deception to Cook, who by now has fallen in love with her. Cook and Stone conspire to keep the public from discovering the truth, eventually dreaming up a phony suicide. Travelling incognito to avoid arrest, Wally and Hazel marry and go on a honeymoon, secure in the knowledge that New York City has forgotten all about her and moved on to their next fad. Brimming with witty, acerbic dialogue and hilarious bits of physical business, Nothing Sacred is among the best "screwball" comedies of the 1930s. The musical score by Oscar Levant both mocks and celebrates the George Gershwinesque musical style then in vogue. As an added bonus, the film is lensed in Technicolor (avoid those two-color reissue prints), allowing modern viewers to see what New York City looked liked back in 1937. Nothing Sacred was later adapted into a Broadway musical, Hazel Flagg, which in turn was filmed by Dean Martin and Jerry Lewis as Living It Up (1954), with Lewis in the Carole Lombard role. ~ Hal Erickson, All Movie Guide

Director Roy Del Ruth and singing star Dick Powell were raided from the Warner Bros. stables for this frothy musical comedy that features a wonderful collection of Irving Berlin songs, including "I've Got My Love to Keep Me Warm" and "Slumming on Park Avenue." Powell stars as Broadway impresario Gary Blake, who is busy putting together his latest Broadway musical starring the Ritz Brothers (as themselves) and musical comedy star Mona Merrick (Alice Faye). Mona's role as "The Richest Girl in the World" is a blunt burlesque of Park Avenue socialite Mimi Caraway (Madeleine Carroll), who catches a performance and becomes enraged at the not-so-subtle ribbing. Mimi goes backstage to protest Mona's performance to Gary, who is immediately attracted to Mimi and agrees to tone down the role. Unfortunately, Mona, who was once Gary's girlfriend, has other ideas. When Mimi and her family come to the next performance, they are shocked to discover Mona's character is even more nasty and self-centered than before. In retaliation, Mimi and her family buy out the production and Mimi makes changes that even the moony Gary objects to. ~ Paul Brenner, All Movie Guide

Johanna Spyri's perennial children's favorite Heidi was retailored to the talents of Shirley Temple, resulting in one of her best vehicles. Orphaned early in the proceeding, Heidi is left in the care of her bitter, misanthropic grandfather Adolph Kramer (Jean Hersholt). It doesn't take long before the sweet little child has melted grandpa's hardened heart, and the two "outcasts" become inseparable. But things take a sinister turn when Heidi's cruel and avaricious aunt (Mady Christians) kidnaps the girl and sells her into servitude in the home of wealthy Segemann (Sidney Blackmer). Making the best of the situation, Heidi befriends Segemann's invalid daughter Klara (Marcia Mae Jones), encouraging the girl to walk unassisted for the first time in years. The grateful Segeman promises to reunite Heidi with her grandfather, but Jones's wicked governess Fraulein Rottenmeier (Mary Nash) contrives to keep the girl and her grandpa separated once more -- until the very, very last moment! Perhaps feeling that the Alpine setting of Heidi did not allow Shirley Temple full scope for her musical talents, the screenwriters contrived to include a dream sequence, wherein Heidi imagines herself to be in Holland and clogs to the tune of "In My Little Wooden Shoes." ~ Hal Erickson, All Movie Guide

The Bold Caballero, Republic Pictures' first color film, was also the first talkie version of the "Zorro" legend (as originally set down by Johnston McCulley in The Curse of Capistrano). Robert Livingston essays the dual role of foppish Spanish-Californian aristocrat Don Diego, who when the necessity arises dons the mask and black cape of righter-of-wrongs Zorro. As usual, the Z-man spends his time defending the California peasantry from the wicked machinations of the corrupt, quasi-fascistic commandante (Sig Rumann), who has murdered the provincial governor and shifted the blame to Zorro. The film contains such marvelous set-pieces as Diego's advice to the leering commandante as to how to romance the fair Isabella (Heather Angel), and a bizarre "drag" scene in which the hero disguises himself as the heroine's duenna. Alas, current prints of The Bold Caballero are available only in black and white. ~ Hal Erickson, All Movie Guide