Anne Shirley Movies

Loosely based on a story by frontier writer Bret Harte, this romantic western drama tells the story of an innocent, carefree mountain-raised girl who causes quite a stir every time she comes to town to bring her boozy father home from the bar. One day, the flirtatious gal is kissed by the town schoolmaster. Utterly confused as to the gesture's significance, she goes to the town brothel for professional advice. The film was made twice before in 1918 and 1922. ~ Sandra Brennan, Rovi

Stagestruck Vermont girl Jenny Yates (Anne Shirley) manages to land a job with a ragtag stock company. This she does over the objections of her grandfather (Edward Ellis), who'd disowned Jenny's mother when she became an actress. After a series of amusing and bemusing setbacks, Jenny is discovered by a big-time producer and cast in the Broadway production "Virtue's Reward." Both the girl and the show are flops, but she finds a happily-ever-after with handsome Phil Greene (Phillips Holmes). Based on a play by David Carb, Chatterbox contains some knowing insights about provincial theater and the vagaries of show business. Lucille Ball makes a brief but amusing appearance as a snobbish small-time leading lady. ~ Hal Erickson, Rovi

Two of America's most distinguished humorists, Oklahoma's Will Rogers and Kentucky's Irvin S. Cobb, costar in Steamboat Round the Bend. Cobb isn't much of an actor, so it is Rogers who carries the comic weight of this fast-paced slice of Americana. Will uncharacteristically sticks to the script for most of the proceedings as the proprietor of a combination travelling waxworks and medicine show. The plot resolution hinges on a climactic steamboat race, in which Rogers' paddlewheeler is fed bit by bit into its own furnace when the fuel supply runs out. Steamboat Round the Bend was released posthumously after Rogers' sudden death, at which point Fox Studios tried unsuccessfully to create a "new" Will Rogers--in the form of his old friend and costar Irvin S. Cobb. ~ Hal Erickson, Rovi

This Side of Heaven is an early, muted example of what would refine itself into the "screwball comedy" genre. Lionel Barrymore plays an accountant, who's also the head of a large family consisting principally of dizzy buffoons. Not only that, but the Barrymore clan is selfish, totally unappreciative of Dad's efforts in their behalf. But when Barrymore is falsely accused of embezzlement, the family members rally to his aid and prove their hidden worth. Amazingly, all the problems in This Side of Heaven are ironed out within a 24-hour span (and 78 minutes' screen time). ~ Hal Erickson, Rovi

The Key is a story of the Irish "troubles" which avoids taking sides, but spends most of its screen time with the British occupation troops. William Powell stars as a soldier for hire who works on behalf of the British in the Dublin of the early 1920s. Powell is as celebrated for his boudoir antics as his bravery, so it's no surprise that he soon takes up with the wife (Edna Best) of his best friend, British intelligence officer Colin Clive. The plot thickens when Clive is captured by the Irish freedom fighters, to be released only on condition that Irish patriot Donald Crisp is not hanged. Powell makes up for his past indiscretions by rescuing Clive from his captors. ~ Hal Erickson, Rovi

Jimmy Dolan (Douglas Fairbanks, Jr.) is a light heavyweight champion, with the world at his feet. Then he gets into a fight with a reporter at a party and, thanks to an accident of fate and a perfect frame by some "friends" of his, he ends up on the run from a homicide. He ends up hiding out in a small town on a health farm, run for the rehabilitation of young children suffering from infantile paralysis (aka polio) by Peggy (Loretta Young) and Mrs. Moore (Aline MacMahon). They initially have doubts about this stranger, who seems to be hiding something, but Dolan is gradually won over by the unselfishness of the two women -- especially Peggy -- and the love of the children, whose ranks include Freckles (Mickey Rooney), Mary (Anne Shirley), and Sam (Allen "Farina" Hoskins). Peggy and Mrs. Moore may lose the farm unless they can come up with a way of paying off the mortgage, and when a barnstorming fighter comes through town offering $100 a round for anyone who can stay in the ring with him, Jimmy starts thinking that maybe this is a chance to use his fists one last time for a good cause. But then Philaxer (Guy Kibbee), a disgraced police detective, shows up, looking to redeem himself by finding the killer in the case back in New York -- and he's got his eye on Dolan. ~ Bruce Eder, Rovi

It's hard to separate fact and fancy from the many accounts of what happened on the set when all three of the fabulous Barrymores -- Ethel, John and Lionel -- appeared together for the only time in Rasputin and the Empress. As for the end result, John offers the subtlest (!) performance as Russian Prince Paul Chegodieff; Lionel throws all caution to the four winds in the role of "Mad Monk" Rasputin; and Ethel comes off as rather artificial as Empress Alexandra (Ethel was more appealing in her character roles of the 1940s and 1950s). The plot covers the years 1913 through 1918, during the tumultuous final years of the Romanov regime in Russia. When young Prince Alexis (Tad Alexander), a hemophiliac, hovers near death after an accident, the royal physicians regretfully predict an imminent demise. At the advice of Prince Paul's impressionable sweetheart Natasha (Diana Wynyard), Alexandra and her husband, Czar Nikolai (Ralph Morgan), call in the mysterious Rasputin to look after Alexis. Using hypnosis, Rasputin is able to "cure" the boy-and to slowly gain control over the royal family. Prince Paul, concerned that Rasputin's despotic misuse of his new-found authority will cause the people to revolt, does his best to discredit the oily holy man, but to no avail. When Natasha is raped by Rasputin, Paul attempts to shoot the miscreant down. But Rasputin, who has taken the precaution of wearing a bullet proof vest, is not so easily killed off. In a last, desperate measure, Paul and his cohorts try to poison Rasputin to death-and even this doesn't work. Only a climactic fight to the death puts an end to Rasputin's reign. Alas, the damage has already been done, and the royal family is doomed to be toppled from power...and, ultimately, to be shot down like dogs by the Bolsheviks. Perhaps it's true that the three Barrymores spent more time trying to upstage one another than concentrating on the script at hand, but we wouldn't have it any other way. When seen today, Rasputin and the Empress seems rather choppy in spots, with isolated lines of dialogue and sometimes whole scenes completely missing. This is due to a million-dollar lawsuit brought against MGM by Prince Yusupov, the man who really engineered Rasputin's assassination. The Prince wasn't offended by being depicted as a murderer, but he was distressed when MGM suggested that his wife had been raped by Rasputin. As a result, Rasputin and the Empress was withdrawn from distribution, and all prints were later bowdlerized when released to television. Also as a result, all future Hollywood films were obliged to carry the "Any resemblance to actual persons, living or dead, is purely coincidental" disclaimer. ~ Hal Erickson, Rovi

Three on a Match covers approximately 13 years in the lives of girlhood chums Mary Keaton (Joan Blondell), Ruth Wescott (Bette Davis) and Vivian Deverse (Ann Dvorak). Having graduated from grammar school together in 1919, the girls stage a reunion ten years later. Hard-boiled Mary is now a chorus girl, level-headed Ruth has a steady job as a secretary, and vixenish Vivian is on the verge of capriciously deserting her wealthy husband Robert Kirkwood (Warren William) and their baby in favor of sexy mob-boss Mike (Lyle Talbot). Several more years pass, during which Mary marries Henry, Ruth is hired as governess for Henry, and Vivian's son and a drug-addicted Vivian become fatally enmeshed in a kidnapping plot involving her own child. In his second Warner Bros. film, tenth-billed Humphrey Bogart essays his first sneering-gangster role. Three on a Match was remade (and considerably laundered) in 1938 as Broadway Musketeers. ~ Hal Erickson, Rovi

Emma is a turn-of-the-century domestic drama completely dominated by star Marie Dressler. She plays the maid of an upper middle class family, keeping her wits about her as her employers suffer crisis after crisis. When the master of the house (Jean Hersholt), a prominent inventor, is widowed, he proposes marriage to Emma. Shortly afterward, Hersholt dies, and Emma, who has married "out of her class", is accused of murder by Hersholt's jealous children. Cleared of the accusation, Emma turns over her inheritance to the selfish children and heads off to work for another family, once again making the best of any and all bad situations. ~ Hal Erickson, Rovi

William Boyd is one of the stars of the Paramount western Gun Smoke -- only it's not the same William Boyd who later essayed the role of Hopalong Cassidy, but another actor who billed himself as William "Stage" Boyd. The plot was a familiar one to western devotees of the early 1930s: a bunch of urban gangsters, forced out of the Big City when the cops put the screws in, head to Idaho to continue their crooked activities in the Wide Open Spaces. Unfortunately, the bad guys, headed by Kedge Davas (Boyd), haven't reckoned with the resourcefulness of cowboy hero Brad Farley (Richard Arlen) and his saddle pals. Farley and company organize a vigilante group to purge the territory of the gangsters, adopting tactics that might in any other circumstances be considered fascistic. The unspeakable Davas finally comes to a well-deserved end when he falls from a mountain top (a cinematic tour de force for cinematographer Archie J. Stout). It may seem hopelessly hokey and outdated in synopsis form, but Gun Smoke is as entertaining in the 1990s as it was six decades earlier; indeed, a recent screening of the film in the small Idaho resort community of Ketchum earned a standing ovation from the audience. ~ Hal Erickson, Rovi

This first film version of Ferenc Molnar's poignant fantasy Liliom was supposed to have reunited the director Frank Borzage and stars Charles Farrell and Janet Gaynor of Fox's 1927 box-office smash Seventh Heaven. But Gaynor was enmeshed in one of her periodic contract disputes with the studio, so she was replaced by Rose Hobart. Set in the suburbs of Budapest, the film centers on the rocky romantic relationship between studdish carnival barker Liliom (Farrell) and his working-girl sweetheart Julie (Hobart). Fired by jealous carnival owner Mme. Muscat (Estelle Taylor), the swaggering Liliom is financially unprepared for Julie's pregnancy. Needing plenty of money fast, he agrees to participate in a robbery masterminded by "The Buzzard" (Lee Tracy), a two-bit thief. The hold-up goes horribly awry, whereupon Liliom, rather than face arrest, commits suicide. His soul is whisked by a modernistic celestial train to the outer gates of Heaven where he stands trial before the Court of Judgment. After ten years in Purgatory, he is given the opportunity to visit Earth for one day to make amends for past wrongs. He meets for the first time his daughter, Marie (Mildred Van Dorn), and tries to give her a stolen gift. When she backs off from him in terror, Liliom slaps the girl, just as he had her mother. A failure in death as in life, Liliom wearily returns to Purgatory, while Julie, somehow sensing what has happened, comforts her confused daughter. At present considered a "lost" film, Liliom was faithfully remade three years later in France, with Charles Boyer as the title character and Fritz Lang in the director's chair; this version is still extant. The property was reworked again as the 1945 Rodgers & Hammerstein musical Carousel, itself duly filmed by 20th Century Fox in 1956. ~ Hal Erickson, Rovi