Eddie Shubert Movies

The Big Noise is retired textile manufacturer Julius Trent (Guy Kibbee). Seeking a new outlet for his entrepreneurial energies, Trent buys a half interest in a thriving dry-cleaning establishment. This gets him mixed up with a gang of protection racketeers, who promise dire consequences if Trent doesn't dance to their tune. But our hero is not so easily frightened, and with the help of his fellow merchants Trent forms a strong united front against the crooks, utilizing a clever strategy of "divide and conquer." This Warner Bros. programmer bears no relation to the later Laurel and Hardy vehicle The Big Noise. ~ Hal Erickson, Rovi

The all-purpose title Man Hunt was trotted out for this 1936 Warner Bros. "B". Aging country newspaper editor Chic Sale is laughed off by the rest of his community for his tall tales. When an escaped Public Enemy (Ricardo Cortez) shows up in the vicinity, Sale decides to prove his worth by tracking down the criminal himself. The G-Men on the case tell Sale to mind his own business, but it is the old codger who collars Cortez and drags him in. No one made gangster pictures as well as Warner Bros., so even a low-priority item like Man Hunt has its moments. ~ Hal Erickson, Rovi

Bucolic Elmer Lamb (Stuart Erwin), who only wants to raise dairy cattle, is a mathematical prodigy; he's even a whiz at playing bridge. Circus pitchman Bill (Robert Armstrong) and circus owner Jeffrey Crane (Edmund Gwenn) want to make money off Elmer, but Jeff's daughter Kitty (Betty Furness) finds herself drawn to him. Eventually, Elmer is pitted against the reigning bridge champion (E.E. Clive) -- whom he's already beaten in an informal match -- which involves shady Pudgy (Edward S. Brophy) and gangster Al (Dewey Robinson). ~ Bill Warren, Rovi

Spencer Tracy, Myrna Loy, and William Powell star in this crackling screwball comedy about a cut-throat newspaper editor's scheme to prevent a libel suit that ends up exploding in everybody's face. Tracy plays Warren Haggerty, the managing editor of a newspaper that mistakenly prints a story declaring the rich Connie Allenbury (Myrna Loy) has stolen away another woman's husband. Connie retaliates by suing the paper for $5 million. This happens right before Warren is about to marry his fiancee Gladys (Jean Harlow). As he has done several times in the past, Warren delays the wedding in order to stop the libel suit. Warren hires Bill Chandler (William Powell), a former employer who is desperate for a job, to marry Gladys in name only and then court Connie. That way, Gladys can sue Connie for alienation of affections and get Connie to agree to drop her lawsuit if Gladys will drop hers. Bill hops an ocean liner to accompany Connie and her father (Walter Connolly) back to the United States, but along the way Bill and Connie fall in love and Bill tries to convince Gladys to drop her suit so it won't hinder his relationship with Connie. ~ Paul Brenner, Rovi

This Dick Foran "singing western" makes extensive use of stock footage from First National's Ken Maynard series of the silent era. Foran is cast as Northern officer Rod Colton, who goes undercover during the Civil War to flush out a gang of Confederate spies. It develops that the mercenary villains are planning to play one side against the other by fomenting an Indian uprising. Colton finds an unlikely but very attractive ally in the form of dance-hall hostess Lucy Blake (Paula Stone). Evidently Frank McGlynn Sr. was busy during shooting of Trailin' West, else why would the role of Abraham Lincoln be played by brawny Robert H. Barrat? ~ Hal Erickson, Rovi

Two-fisted New York police detective Edward G. Robinson is so volatile that he manages to get himself thrown off the force in disgrace. The local gangsters are delighted, in that Robinson had been breathing down their necks. When Robinson goes to crime boss Barton MacLaine insisting that he's through with law enforcement and wants to switch to the other side, MacLaine's chief henchmen Humphrey Bogart doesn't buy the story, but has to go along since he doesn't want to incur the wrath of MacLaine. Robinson offers to show his former enemies how to circumvent the law, making him an invaluable participant in gang activities. Actually, Robinson hasn't gone crooked at all; he's operating undercover, with the full knowledge of the city police inspector, in hopes of locating the "big boys" who've been financing the mob. His diligence costs him his life, but Robinson, with the help of bad-girl-gone-good Joan Blondell, busts the rackets wide open. Former crime reporter Martin Mooney was responsible for the story upon which Bullets or Ballots was based. ~ Hal Erickson, Rovi

Like many 1930s Warner Bros. films, Black Fury drew its inspiration from the headlines. The story is adapted from a true-life incident from 1929, wherein a striking Pennsylvania coal miner was beaten to death by three company detectives; this served as the focus for Henry R. Irving's stage play Bohunk as well as Judge M. A. Musmanno's story Jan Volkanik, both of which were woven into Black Fury's screenplay. Using a Polish accent so thick one can cut it with scissors, Paul Muni plays an illiterate miner, happy in his job and his company-town surroundings until his girl Karen Morley deserts him for policeman William Gargan. A disconsolate, drunken Muni stumbles into a labor meeting, where his loud, unthinking outbursts win him the leadership of the new miner's union. When the company locks out the strikers and brings in scabs, the angry miners hold the thick-headed Muni responsible. Fellow miner John Qualen, Muni's best friend, is then killed by a gang of rampaging hired goons. Vowing to "feex" the situation, Muni kidnaps head goon Barton MacLaine and takes him into the bowels of the mine with several sticks of dynamite in tow. Muni threatens to blow himself, MacLaine, and the mine to smithereens unless management comes to terms with the union. Thanks to overwhelming public support, the owners capitulate, and Muni is the hero of the hour. Though it seemed uncompromising in 1935, Black Fury obviously pulls its punches when seen today; for example, it is suggested that the mine owners are guiltless regarding violence against the strikers, laying blame on the hired detectives, who are shown to be in the employ of a crook who plays both sides against the other. Even allowing for this, Black Fury is one of the most powerful of Warners' "social conscience" films. Although the Academy gave Muni a Best Supporting Actor nod for this film, the AMPAS database indicates that it wasn't an "official nomination" - he was a write-in candidate, and came in second. ~ Hal Erickson, Rovi

In this bedroom farce, an ex-wife overhears her former hubby's new wife and her lover planning a tryst for the weekend while the husband is away on a business trip. Hoping that the husband will catch them in the act, the ex creates an elaborate scheme whereby the lovers' plans are foiled and they must spend the weekend at her house. She then arranges for her former husband to drop by so he can see for himself the kind of hussy he married. Unfortunately the whole plot goes terribly awry when two fugitive jewel thieves wind up stranded at the ex-wife's house too. Things get really mixed up when the ex-wife discovers that she is in love with the second-wife's lover. Meanwhile second wifey recovers the jewels from the thieves just as her hubby returns. He gets there just as his ex-wife and the lover are married. ~ Sandra Brennan, Rovi

The hero of The Pay-Off is somewhat denser than usual, making his ultimate victory all the more amazing. James Dunn plays newspaper columnist Joe McCoy, who is inveigled by his no-good wife Maxine (Claire Dodd) to become the dupe of crooked sports promoter Marty Bleuler (Alan Dinehart). So devoted is Joe to Maxine that he's willing to overlook the fact that she's committed murder to achieve her own goals. But the guilty must be punished eventually, and Maxine comes to an ignoble end, leaving Joe free to marry his co-worker Connie (Patricia Ellis), who's loved him all along. This 1936 The Pay-Off is not a remake of the 1930 film of the same name. ~ Hal Erickson, Rovi

High-rolling gambler "Odds" Owen (Warren William) establishes an American insurance agency created along the lines of Lloyd's of London. Owen insures Kentucky colonel Jefferson Davis Youngblood (Guy Kibbee) against the possibility that Youngblood's actress daughter Marilyn (Claire Dodd) might get married, thereby cutting off the Colonel's allowance. After scaring away several prospective suitors, Owen messes things up by falling in love with Marilyn himself. Odds are that the 60-minute Don't Bet on Blondes would be completely forgotten were it not for the presence of new Warner Bros. contractee Errol Flynn, who appears in two brief scenes as one of Marilyn's boyfriends. It was Flynn's first speaking role at Warners, and he carried it off with class if not distinction. ~ Hal Erickson, Rovi

Paul Muni stars in this drama about a romantic triangle that leads to madness and murder. Overly enthusiastic Mexican attorney Johnny Ramirez (Muni) is disbarred after his first trial for his flagrant disregard of courtroom etiquette. In desperate need of work, he takes a job as a bouncer in a sleazy bordertown night club owned by Charlie Roark (Eugene Pallette). Charlie's wife Marie (Bette Davis) is immediately attracted to Johnny and makes a none-too-subtle play for him. But Johnny has his eye on Dale Elwell (Margaret Lindsay), a socialite who enjoys slumming in low-class dives and admiringly refers to Johnny as a "savage." Johnny tells Marie that it's against his principles to get involved with a married woman, so she decides to do something about that: she traps drunken Charlie in his car while it's locked in a garage, allowing the carbon monoxide to take Charlie out of the picture. When Marie explains that she killed her husband and is now available to him, Johnny wants no part of her; bitter that Johnny has snubbed her, Marie implicates him in Charlie's murder, leading to a dramatic and surprising trial. Paul Muni reportedly moved in with his Mexican chauffeur in order to study his accent and reproduce it accurately for this film. ~ Mark Deming, Rovi

Lyle Talbot stars as "Three Star" Halsey, a hotshot West Coast aviator with a reputation for recklessness. Time and time again, Halsey promises his stewardess sweetheart Judy Wagner (Ann Dvorak) that he'll stop taking risks, and time and again he breaks his word. After several misadventures, Halsey becomes a hero when he prevents a top-secret explosive formula from falling into the hands of the villains -- and as a bonus, solves four airborne murders. Much of the aerial photography in Murder in the Clouds would be reused in such future Warners programmers as Fly-Away Baby and Fugitive in the Sky. ~ Hal Erickson, Rovi