Yorke Sherwood Movies

Van Johnson portrays a blind American writer living in London. Blessed with an acute hearing sense, Johnson overhears a kidnapping plot but neither his friends nor the authorities believe him, chalking up his story as the product of a writer's imagination. Disgruntled, Johnson vows to scuttle the kidnapping himself -- with the assistant of his fiancée Vera Miles. Despite his handicap, Johnson puts the pieces together using sounds as evidence and guidance. Ultimately Johnson finds his life in danger when he corners the criminal in a dark alley. 23 Paces to Baker Street was one of several ''50s 20th Century-Fox films shot on location in London to take advantage of Fox's "frozen funds" -- money earned by the studio in England which by law could only be spent in that country. ~ Hal Erickson, Rovi

The Lodger was the third film version of Mrs. Marie Belloc-Lowndes' classic "Jack the Ripper" novel, and in many eyes it was the best (even allowing for the excellence of the 1925 Alfred Hitchcock adaptation). Laird Cregar stars as the title character, a mysterious, secretive young man who rents a flat in the heart of London's Whitechapel district. The Lodger's arrival coincides with a series of brutal murders, in which the victims are all female stage performers. None of this fazes Kitty (Merle Oberon), the daughter of a "good family" who insists upon pursuing a singing and dancing career. Scotland Yard inspector John Warwick (George Sanders), in love with Kitty, worries about her safety and works day and night to solve the murders. All the while, Kitty draws inexorably closer to The Lodger, who seems to have some sort of vendetta on his mind?..Some slight anachronisms aside (for example, the villain falls off a bridge that hadn't yet been built at the time of the story), The Lodger is pulse-pounding entertainment, with a disturbingly brilliant performance by the late, great Laird Cregar. ~ Hal Erickson, Rovi

Director Robert Stevenson collaborated with novelist Aldous Huxley and theatrical-producer John Houseman on the screenplay for this 1944 adaptation of Charlotte Bronte's gothic romance Jane Eyre. After several harrowing years in an orphanage, where she was placed by a supercilious relative for exhibiting the forbidden trait of "willfulness," Jane Eyre (Joan Fontaine) secures work as a governess. Her little charge, French-accented Adele (Margaret O'Brien), is pleasant enough. But Jane's employer, the brooding, tormented Edward Rochester (Orson Welles), terrifies the prim young governess. Under Jane's gentle influence, Rochester drops his forbidding veneer, going so far as to propose marriage to Jane. But they are forbidden connubial happiness when it is revealed that Rochester is still married to a gibbering lunatic whom he is forced to keep locked in his attic. Rochester reluctantly sends Jane away, but she returns, only to find that the insane wife has burned down the mansion and rendered Rochester sightless. In the tradition of Victorian romances, this purges Rochester of any previous sins, making him a worthy mate for the loving Jane. The presence of Orson Welles in the cast (he receives top billing), coupled with the dark, Germanic style of the direction and photography, has led some impressionable cineasts to conclude that Welles, and not Stevenson, was the director. To be sure, Welles contributed ideas throughout the filming; also, the script was heavily influenced by the Mercury Theater on the Air radio version of Jane Eyre, on which Welles, John Houseman and musical director Bernard Herrmann all collaborated. But Jane Eyre was made at 20th Century-Fox, a studio disinclined to promote the auteur theory; like most Fox productions, this is a work by committee rather than the product of one man. This in no way detracts from the overall excellence of the film; of all adaptations of Jane Eyre (it had previously been filmed in 1913, 1915 and 1921, and has been remade several times since), this 1943 version is one of the best. Keep an eye out for an uncredited Elizabeth Taylor as the consumptive orphanage friend of young Jane Eyre (played as child by Peggy Ann Gardner). ~ Hal Erickson, Rovi

The title of this Errol Flynn vehicle sprang from an "inside" joke at Warner Bros. Whenever the studio depicted a marquee or poster of a fictional film in one of their productions, the film's title was inevitably Another Dawn. When time came to shoot this Flynn epic, the studio, stuck for a title, opted for Another Dawn -- and had to cast about for another phony film title whenever the necessity arose. An unabashed soap opera, the film casts Flynn as Captain Denny Roark, a British army officer stationed in a remote Sahara outpost. Against his better judgement, Roark falls in love with Julia (Kay Francis), the wife of his commanding officer Colonel Wister (Ian Hunter). Wister knows what's going on, but he is too much the gentleman to interfere, just as Roark is too much the gentleman to demand that the Colonel grant Julia a divorce. Wister finally does the honorable thing by volunteering for a suicide mission, allowing Roark and Julia to continue their romance unencumbered. About the only distinguishing aspect in this dreary exercise in restraint is the lush Erich Wolfgang Korngold musical score. ~ Hal Erickson, Rovi

Lloyds of London traces the rise to prominence of the venerable British insurance company, as seen through the eyes of fictional 19th-century Londoner Jonathan Blake (Tyrone Power, in his first starring role). A lifelong friend of naval hero Lord Nelson, Blake puts his job (and the future existence of Lloyds) on the line when he announces Nelson's victory at Trafalgar -- before it takes place. For those not interested in policies and premiums, the script serves up a romance between Blake and the lovely Lady Elizabeth (Madeleine Carroll), the unhappily married spouse of snotty aristocrat Lord Everett Stacy (George Sanders). Among the few real-life historical personages depicted in the film is Lloyds founder John Julius Angerstein, played by Sir Guy Standing. A box-office bonanza, Lloyds of London proved that 23-year-old Tyrone Power could carry a picture -- and that the recently-formed 20th Century-Fox was truly a major Hollywood studio. ~ Hal Erickson, Rovi

This second and final "Bulldog Drummond" film to star Ronald Colman, finds the famed sleuth in the midst of a sinister plan orchestrated by Warner Oland. Damsel in distress Loretta Young reports that her wealthy and influential uncle is missing, but all those concerned insist that the uncle never existed, and that Young is out of her mind. Drummond suspects that she's telling the truth, and that the uncle's disappearance is tied into political intrigue of some sort or other. Before the rousing climax, Drummond, the heroine, and Drummond's pal Algy (Charles Butterworth) are repeatedly kidnapped, imprisoned, and threatened with certain death. Counterpointing the film's plot twists (a bit too convoluted to relate in full here) is a comic subplot involving the continually interrupted honeymoon of Algy and his frustrated bride (Una Merkel). Unfortunately, Bulldog Drummond Strikes Back is currently unavailable on television or on videocassette. ~ Hal Erickson, Rovi

Eagle and the Hawk is a "war is hell" saga slightly reminiscent of All Quiet on the Western Front. Fredric March plays a British World War One flying ace suffering from emotional fatigue. March's happy-go-lucky pilot buddy (Cary Grant) tries to help his friend forget his problems by accompanying him on leave in London. March meets a beautiful young lady (Carole Lombard), to whom he pours out his problems and with whom he has an implicit affair (made even more discreet when this film was edited for reissue). Tortured by the memory of the his fallen comrades and by the men he's killed in battle, March finally breaks and commits suicide. To save his friend's reputation, Cary Grant props March's body up in the cockpit of his plane, flies the craft into the air, and makes it appear that March died while shooting it out with a German ace. ~ Hal Erickson, Rovi

Robert Montgomery plays an aimless young man who secures a job as a bailiff's deputy. Montgomery is assigned to guard a house under writ, but when he falls for the lady of the house (Irene Purcell), the boy decides to serve as her butler to keep up her family's appearances. Throughout the film, Montgomery assumes several more disguises to keep the family's legal reverses from becoming public. P. G. Wodehouse adapted H. M. Harwood's play The Man in Possession for this brisk film version. The story was Americanized in 1937 as Personal Property, with Robert Taylor and Jean Harlow in the leads. ~ Hal Erickson, Rovi

The difference between social classes provides the basis for this comedy. The trouble begins when a drunken sot wanders into the fancy home of a woman who is hosting a gala dinner. She had invited 13 guests, and so hired Blankely's, a professional company to send her a sophisticated 14th guest. Naturally she mistakes the drunk for the hired guest and invites him to dine. Mayhem ensues. ~ Sandra Brennan, Rovi

The present unavailability of 1928's Gentlemen Prefer Blondes is especially frustrating for those who'd like to compare this first version of the classic Anita Loos comic novel to the 1953 Marilyn Monroe-Jane Russell remake. The blonde in question is Miss Lorelei Lee, a dumb-like-a-fox golddigger on the prowl for a rich husband. With her best friend Dorothy Shaw (Alice White), Lorelei takes a trip to Gay Paree, where among other adventures she gets mixed up with roguish old millionaire Sir Francis Beekman (Mack Swain). Eventually she finds that true love doesn't come with a price tag, or does it? Ford Sterling and Holmes Herbert co-star as Lorelei and Dorothy's middle-aged swains. Lorelei herself is played by Ruth Taylor, a onetime Mack Sennett bathing beauty who retired from films upon her marriage to a Manhattan stockbroker (life imitates art!) Incidentally, Taylor was the mother of humorist Buck Henry. ~ Hal Erickson, Rovi