Harry Seymour Movies

The quintessential "backstage" musical, 42nd Street traces the history of a Broadway musical comedy, from casting call to opening night. Warner Baxter plays famed director Julian Marsh, who despite failing health is determined to stage one last great production, "Pretty Lady." Others involved include "Pretty Lady" star Dorothy Brock (Bebe Daniels); Dorothy's "sugar daddy" (Guy Kibbee), who finances the show; her true love Pat (George Brent); leading man Billy Lawlor (Dick Powell); and starry-eyed chorus girl Peggy Sawyer (Ruby Keeler). It practically goes without saying that Dorothy twists her ankle the night before the premiere, forcing Julian Marsh is to put chorine Peggy into the lead: "You're going out there a youngster, but you've got to come back a star!" Delightfully corny, with hilarious wisecracking support from the likes of Ginger Rogers, Una Merkel, and George E. Stone, 42nd Street is perhaps the most famous of Warners' early-1930s Busby Berkeley musicals. Based on the novel by Bradford Ropes (which was a lot steamier than the movie censors would allow), 42nd Street is highlighted by such grandiose musical setpieces as "Shuffle Off to Buffalo," "Young and Healthy," and of course the title song. Nearly fifty years after its premiere, it was successfully revived as a Broadway musical with Tammy Grimes and Jerry Orbach. ~ Hal Erickson, All Movie Guide

Slight Case of Murder is a breakneck-paced comedy starring Edward G. Robinson as a tough but good-hearted bootlegger. When Prohibition is repealed, Robinson faces a financial crisis: His beer tastes so awful that no one wants to drink it legally. As an additional headache, Robinson is under scrutiny from the Law, which is waiting to slip the cuffs on him for the slightest infraction. He arrives at his rented Saratoga mansion with his wife (Ruth Donnelly), daughter (Jane Bryan) and adopted son (Bobby Jordan), only to discover that a killer has left four corpses in his bedroom. Robinson and his stooges are forced to hide the bodies before his future son-in-law (Willard Parker), who happens to be a cop, tumbles to the dilemma. Based on a stage play by Howard Lindsay and Damon Runyon, A Slight Case of Murder a just as entertaining in the 1990s as it was fifty years ago (please ignore a tepid 1953 musical remake titled Stop, You're Killing Me). Surprisingly, this film was not a favorite of star Edward G. Robinson, who felt that director Lloyd Bacon rushed through the material without taking full advantage of its comic potential. ~ Hal Erickson, All Movie Guide

One-time movie song-and-dance man James Dunn won an Academy Award for his "comeback" performance in A Tree Grows in Brooklyn. Based on the best-selling novel by Betty Smith, the film relates the trials and tribulations of a turn-of-the-century Brooklyn tenement family. The father, Dunn, is a likable but irresponsible alcoholic whose dreams of improving his family's lot are invariably doomed to disappointment. The mother, Dorothy McGuire, is the true head of the household, steadfastly holding the family together no matter what crisis arises. The story is told from the point of view of daughter Peggy Ann Garner, a clear-eyed realist who nonetheless would like to believe in her pie-in-the-sky father, whom she dearly loves. Joan Blondell co-stars as the family's brash, freewheeling aunt, whose means of financial support is a never-ending source of neighborhood gossip. This first film directorial effort of Elia Kazan earned a special Oscar for "Most Promising Juvenile Performer" Peggy Ann Garner. A Tree Grows From Brooklyn was remade for TV in 1974, and also served as the basis of a Broadway musical. ~ Hal Erickson, All Movie Guide

Once a staple of summer stock and community theatres, Bella and Samuel Spewack's Broadway farce Boy Meets Girl dates rather badly when seen today. The 1938 movie version is also a bit mildewed, though it is saved by the dynamo-like energy of James Cagney and Pat O'Brien. The stars are cast as Robert Law and J.C. Benson, a pair of iconoclastic Hollywood screenwriters based upon Ben Hecht and Charlie McArthur. Cynically declaring that every film can be boiled down to "Boy meets girl, boy loses girl, boy gets girl", Law and Benson drive their studio-executive bosses crazy with their zany irreverence. Their pet target is bigwig C. Elliot Friday (Ralph Bellamy), a delicious take-off of 20th Century-Fox prexy Darryl F. Zanuck. Friday orders the boys to concoct a screenplay for cowboy star Larry Toms (Dick Foran), whose popularity is on the wane. Upon making the acquaintance of pregnant, unmaried waitress Susie (Marie Wilson), Law and Benson hit upon a brilliant scheme: they'll transform Susie's baby into a child star and team the kid with Toms in his latest epic ("based on an original story by William Shakespeare"). Complication piles upon complication, reaching a high point of hilarity when the baby gives Larry Toms the measles. Ronald Reagan appears briefly as a radio announcer covering the Hollywood premiere of Law and Bensen's newest masterpiece. Boy Meets Girl was originally conceived as a Marion Davies vehicle, with the comedy team of Olsen & Johnson playing the screenwriters, but things changed radically (and for the better) when Davies' sponsor William Randolph Hearst huffily pulled his Cosmopolitan Pictures unit off the Warner Bros. lot. ~ Hal Erickson, All Movie Guide

An aspiring singer learns the bitter price of stardom in this musical drama. She starts out a small-town girl and soon becomes a big star. Unfortunately, she still cannot find true love and so must lead a successful but lonely life. Songs include: "He Was Her Man", "Let It Be Me", "Weary", and ""Who But You"". ~ Sandra Brennan, All Movie Guide

Everything clicks in this tuneful, colorful and profitable Betty Grable musical. The star plays Katie Farley, a gyrating saloon entertainer in turn-of-the-century New York. Convinced that Katie is destined for Bigger Things, Coney Island impresario Eddie Johnson (George Montgomery) tries to turn the raucous song-and-dance girl into a refined entertainer, at one point handcuffing her wrists and ankles so she'll be forced to rely on her voice rather than her undulations. Sure enough, Katie becomes a high-class Broadway star under the aegis of showman Willie Hammerstein (Matt Briggs) -- and equally sure enough, she and Eddie grow apart. After a desultory romance with Eddie's rival, slick saloon owner Joe Rocco (Cesar Romero), Katie eventually returns to the arms of the man she truly loves, as comedy relief Frankie (Phil Silvers) looks on in myopic glee. Among the musical highlights of Coney Island is Betty's delightful rendition of the old chestnut "Cuddle Up a Little Closer". The film was remade, again with Grable, as Wabash Avenue (1950). ~ Hal Erickson, All Movie Guide

This last remake (thus far) of the Jean Webster novel Daddy Long Legs was extensively revised to accommodate the talents of Fred Astaire and Leslie Caron. Fragments of the basic plot remain: American millionaire Astaire is the unknown benefactor of French orphan girl Caron, financing the girl's education on the proviso that his identity never be revealed to her. Moved by Caron's letters of thanks, Astaire's secretary Thelma Ritter advises Astaire to go to France to visit the "child". When he arrives, he finds that his ward has grown up rather nicely, and the two fall in love--though Caron never knows until the very end who Astaire really is. The old story has been updated to allow for an elaborate "cowboy" number and a couple of Eisenhower jokes. Highlights include a solo ballet by Caron and a wonderful Astaire routine involving a set of drums. The score for Daddy Long Legs is unremarkable save for Johnny Mercer's hit "Something's Gotta Give". ~ Hal Erickson, All Movie Guide

In this suspenseful drama, based on a John Dickson Carr novel, blissfully happy newlywed Ruth Bowman (Jeanne Crain) boards a transatlantic ocean liner with her new husband John (Carl Betz). A few days later, however, John suddenly disappears. Ruth quickly discovers that her cruise ticket was made out under her maiden name, and that her "husband" never even bought one. To make matters worse, no one on board admits to ever having seen them together. Only the ship's doctor (Michael Rennie) believes the distraught bride's story. Together they discover the truth about her husband's disappearance. ~ Hal Erickson, All Movie Guide

The real Diamond Horseshoe was a Las Vegas nightclub created by impresario Billy Rose, which spotlighted old-time stars from the early 20th century recreating the songs and skits that had made them great. Rose allowed 20th Century-Fox to use the name "Diamond Horseshoe" for a Technicolor musical, but only on the proviso that Rose's name be included in the title. Billy Rose's Diamond Horseshoe does have the occasional old-timer specialty, but for the most part the plot concentrates on Betty Grable, a young entertainer who romances would-be songwriter Dick Haymes. The affair is frowned upon by Haymes' father (William Gaxton), the manager of the Diamond Horseshoe, who is determined that his son pursue a medical career. The predictability of the storyline is redeemed by Haymes' rendition of the song hit "The More I See You", and by the comedy turns of Phil Silvers. ~ Hal Erickson, All Movie Guide

The second of three Kay Francis films in which the star was cast as a dedicated lady physician, Doctor Monica was adapted from a Polish play by Marja Morozowicz Szezepkowska. Francis plays obstetrician Dr. Monica, whose husband John (Warren William) cheats on her with young Mary (Jean Muir). When Mary becomes pregnant, the selfless Monica befriends her, provides her with advice, and delivers the baby. The good doctor even offers to give up John so that the child will have a father. But after giving birth, Mary calmly tells John to go back to Monica -- even though there's every indication that he'll never give up his philandering ways! ~ Hal Erickson, All Movie Guide

Cited by film historian William K. Everson as one of the fastest-moving crime melodramas of the 1930s (if not the fastest) Fog Over Frisco still manages to leave viewers breathless. Top-billed Bette Davis plays giddy heiress Arlene Bradford, whose perverse fascination with gangsters gets her mixed up in a stolen-securities scheme. Arlene's more sensible sister Val (Margaret Lindsay) tries to keep her out of trouble, but this proves impossible. Entering into the fray are hotshot society reporter Tony (Donald Woods) and goofy photojournalist Izzy (Hugh Herbert), who like Val get in over their heads when they stumble upon the body of the murdered Arlene. The identity of the killer remains a well-concealed secret until Izzy, of all people, stumbles across a vital clue. Things really begin to accelerate when Val is kidnapped by Arlene's gangster cohorts (who, interestingly enough, are very reluctant to take her prisoner and do so only when there's no other option!), leading to a mile-a-minute rescue and hasty plot wrap-up. Among the many good guys, bad guys and red herrings are Alan Hale as an Irish cop, Robert H. Barrat as a butler who isn't a butler, and Henry O'Neill as a gosh-knows-what who may be the murderer. Though physical action is at a minimum, Fog Over Frisco is kept constantly on the move by director William Dieterle, using every cinematic trick and optical effect (wipe dissolves, iris-outs, swish-pans etc.) at his disposal. The film was less effectively remade as Spy Ship in 1942. ~ Hal Erickson, All Movie Guide

Clearly inspired by the success of Goldwyn's Barbary Coast, Warner Bros.' The Frisco Kid stars James Cagney as turn-of-the-century opportunist Bat Morgan. Heading to the gold fields of California, Bat is almost shanghaied in San Francisco but manages not only to escape his would-be captors but also to kill the infamous crime lord Shanghai Duck (Fred Kohler Sr.). The grateful citizens enable Bat to rise to wealth and power on the Barbary Coast. But he's less lucky in love, and it is his seemingly hopeless fascination with Nob Hill debutante Jean Barrat (Margaret Lindsay) that may well bring about Bat's downfall. The film is a festival of cliches, occasionally enlivened by barroom brawls and rowdy musical numbers. Featured as extras in Frisco Kid were several stars and directors of the silent era, a "generous" gesture made by Warner Bros. partly to stave off the inevitability of unionized actors. ~ Hal Erickson, All Movie Guide

Second-billed Marilyn Monroe is the blonde in question in this second film version of Gentlemen Prefer Blondes: Miss Lorelei Lee, whose philosophy is "diamonds are a girl's best friend." Together with her best human friend Dorothy (top-billed Jane Russell), showgirl Lorelei embarks upon a boat trip to Paris, where she intends to marry millionaire Gus Esmond (Tommy Noonan). En route, the girls are bedeviled by private detective Malone (Elliot Reid), hired by Esmond's father (Taylor Holmes) to make certain that Lorelei isn't just another gold-digger. When Dorothy falls in love with the poverty-stricken Malone, Lorelei decides to find her pal a wealthier potential husband, and that's how she gets mixed up with flirtatious diamond merchant Sir Francis Beekman (Charles Coburn) and precocious youngster Henry Spofford III (George "Foghorn" Winslow). Most of the Leo Robin-Jule Styne songs from the Broadway show remain intact, including Marilyn Monroe's rendition of "Diamonds are a Girl's Best Friend," a production number later imitated by pop icon Madonna. ~ Hal Erickson, All Movie Guide