Bernard Siegel Movies

Technicolor is the main attraction of this overheated South Seas adventure. Ray Milland, Akim Tamiroff and Barry Fitzgerald play three shifty sailors who commandeer a smallpox-ridden boat and set out to sea. A typhoon washes them ashore on a faraway Pacific island, which is ruled by a white religious fanatic (Lloyd Nolan) who has set himself up as the local god. The three sailors anxiously await an opportunity to appropriate the "god's" valuable stash of pearls and head for the mainland. Only one of the sailors escapes to tell his story; check out the cast list and guess which one survives. The third filmization of Robert Louis Stevenson and Lloyd Osborne's novel, Ebb Tide is rough going until Lloyd Nolan shows up to deliver the picture's best and subtlest performance. The story would be filmed again in 1947 as Adventure Island. ~ Hal Erickson, Rovi

In this Samuel Goldwyn production directed by King Vidor, the studio's intent was to make Russian-born Anna Sten a star, but it didn't succeed. Sten plays Manya Nowak, a Polish farm girl attracted to Tony Barrett (Gary Cooper), a novelist with writer's block who has retreated to a Connecticut farmhouse to find his muse. Barrett's wife Dora (Helen Vinson) misses the city and returns there, while Tony decides to use Manya as a character in his next novel. They become friends, and Tony learns that her straightlaced father Jan (Sigfried Rumann) has betrothed Manya to Fredrik Sobieski (Ralph Bellamy), whom she does not love. Manya and Tony spend a chaste night together when a blizzard shuts them in. Her father drags her home and demands that she marry Fredrik immediately. Many arguments and disagreements ensue. ~ Michael Betzold, Rovi

Hoping to benefit from the popularity of the 1927 silent version of P.C. Wren's Beau Geste, RKO Radio reunited the earlier film's star Ralph Forbes and director Herbert Brenon for 1931's Beau Ideal, again adapted from a Wren novel. Something of a sequel to Beau Geste, the story concerns the efforts by Foreign Legionnaire Otis Madison (Lester Vail) to locate his childhood chum John Geste (Forbes). The two men are reunited in the Arabian desert, where Geste is doing penance in a stockade reserved for discredited Legionnaires. With Otis's help, Geste redeems himself by squashing a native uprising fomented by a duplicitous Emir (George Regas). Ultimately, our hero returns to England and the arms of heroine Loretta Young -- but not before a close call with a slinky seductress (Leni Stengel), appropriately nicknamed "The Angel of Death." Beau Ideal was a flop to the tune of $330,000, and as a result the exploits of the Geste family would not again be dramatized for the screen until the 1939 remake of Beau Geste. ~ Hal Erickson, Rovi

In this high seas adventure, a shipload of smugglers decide to mutiny and end up tossing their captain and his officers into the briny. The only one they spare is the navigator who must sail the ship to a safe harbor. But the honorable fellow refuses to do this unless the mutineers settle down and leave the poor young woman they rescued from a shipwreck in peace. ~ Sandra Brennan, Rovi

In this romance, a greedy poacher travels to a small island in the Bering sea to rob a seal rookery. There he falls for the governor's daughter who learns that the poacher is the estranged son of a prominent, but dead, citizen. She reveals his true identity to him, and he decides not to kill the baby seals. Unfortunately, one of his henchmen attempts to continue the slaughter. The ex-poacher stops him and is thereby, welcomed into the community. ~ Sandra Brennan, Rovi

A former leading lady for director Cecil B. DeMille, vivacious Vera Reynolds was experiencing somewhat of a career slump when she starred in this romantic melodrama from poverty row producer Trem Carr. She played Lillia, a small town girl who gets involved with the wrong crowd in Paris. Arrested by police prefect Nigel De Brulier, Lillia agrees to seduce a politically important foreign prince Ernest Hilliard in exchange for her freedom. They fall in love, of course, and when the prince is informed of his succession to the throne, he chooses love instead of power and abdicates. A very young Carole Lombard (still spelling her first name "Carol") appeared in a supporting role as one of the heroine's Parisian friends. ~ Hans J. Wollstein, Rovi

Fifteen-year-old Loretta Young is 45-year-old Lon Chaney's winsome leading lady in Laugh, Clown, Laugh. Based on the war-horse stage piece by David Belasco and Tom Cushing, the film casts Chaney as (what else?) an aging circus clown, who adopts an orphaned girl and falls in love with her when she grows up. Alas-and not surprisingly-the girl loves another, prompting Chaney to perform a suicidal circus stunt, freeing her to marry the man she truly cares about (Nils Asther). Chaney had been here before, having played a similar role opposite Norma Shearer in 1924's He Who Gets Slapped. Though widely touted as Loretta Young's film debut, she had actually made earlier appearances with her sisters as a child extra. A silent film, Laugh Clown Laugh was released with a musical sound track, which highlighted the hit title song. ~ Hal Erickson, Rovi

Having scored big-time box office with his first Biblical epic, The Ten Commandments (1923), Cecil B. DeMille hoped to top this success with his 1927 The King of Kings. Inasmuch as he was now dealing with the life of Christ, DeMille had to be careful to serve up equal amounts of showmanship and reverence. The first creative challenge: how to "introduce" Christ in a tasteful manner? The answer: as a blind child is cured through Jesus' intervention, DeMille cuts to the child's point-of-view, slowly fading in on the kindly countenance of H.B. Warner as the Son of Man. Still, DeMille remained DeMille, especially in his handling of the character of Mary Magdalene (Jacqueline Logan). No longer a tattered streetwalker, Mary Magdalene is now a glamorous courtesan, replete with legions of gorgeous slave girls (one of whom is "bubble dancer" Sally Rand) and dressed in revealing Hollywood-style gowns. In fact, the film opens on this character, as she ruminates over the defection of her favorite customer, Judas Iscariot (Joseph Schildkraut), who is spending far too much time with Jesus of Nazareth. Upon visiting Jesus herself, she immediately repents, casting off all her prior sins. Once again, the efficacy of the Cecil B. DeMille formula is proven: redemption has no dramatic value unless the film shows viewers why the sinner needs to be redeemed. Once he's gotten his box-office considerations out of the way, DeMille adheres faithfully to the particulars of Jesus' life, betrayal, trial, Crucifixion, and Resurrection. (Again, however, the director improves a bit upon his source material: the storm that follows the Crucifixion is of the same spectacular dimensions as the parting of the Red Sea in Ten Commandments, while the Resurrection is filmed in vibrant Technicolor). To back up the authenticity of his images, DeMille -- with an assist from scenarist Jeannie Macpherson -- utilizes Scriptural quotes in his subtitles. And to avoid any untoward publicity while filming, DeMille required all of his actors to sign legal documents preventing them from indulging in any sort of "sinful" activity; this meant that poor old H.B. Warner had to steer clear of alcoholic beverages for nearly a year, though he more than made up for lost time after his contract ran out. Prepared to mercilessly lambaste The King of Kings, DeMille's critics were disarmed by his reverent, tasteful approach to the subject. Years after the film's release, a specially prepared 60-minute version of the 18-reel King of Kings was making the rounds of religious groups, church basements, and Easter-weekend telecasts. The film was remade in 1961 by producer Samuel Bronston and director Nicholas Ray, with Jeffrey Hunter as Jesus. ~ Hal Erickson, Rovi

William Wyler, a distant relative of Universal's founder Carl Laemmle, directed this routine western about a cowboy, "Smilin'" Sam (Fred Humes), who mistakes lovely Milly (Ena Gregory) and her brother (Churchill Ross) for a couple of outlaws. Everything is quickly sorted out, however, and Humes can search for the real villain. Director Wyler later recalled that moving from the Ted Wells unit to that of Fred Humes was considered quite a step up in prestige at Universal. ~ Hans J. Wollstein, Rovi

Ronald Colman plays the title role in the first of several screen adaptations of Christopher Wren's tale of adventure in the foreign legion. Beau is the youngest of three brothers who fall into an ethical dilemma when their aunt resorts to stealing valuable jewelry from the family's collection to pay off her home. Beau takes the blame for the crime and, before he can be put in jail, flees the country, with his brothers John (Ralph Forbes) and Digby (Neil Hamilton) in tow. The Geste Brothers eventually join the French Foreign Legion, where they suffer under the tyrannical leadership of the cruel Sgt. Lejaune (Noah Beery Sr.). Unknown to Beau, Lejaune is in cahoots with men who want to capture the Geste Brothers and bring them to justice, but when Arab forces attack the Legion compound, the valiant Gestes fight with such bravery that even Lejaune is impressed with their selfless courage. It's said that Ronald Colman considered his performance in Beau Geste the finest work of his career; lip readers might get a chuckle out of some of Noah Beery Sr.'s non-subtitled dialogue, which today would have pushed the film into an R rating if it were audible. ~ Mark Deming, Rovi

Silent film leading lady Priscilla Dean's best years were behind her when she made Crimson Runner. Still, her ability to convey emotion in the most subtle, economical manner possible had not dimished. Dean is cast as the "brains" of a European criminal gang. But she's not all bad: in fact, Dean and her cohorts are modern-day Robin Hoods, stealing from the very rich to give to the very poor. A kindly-and handsome-aristocrat convinces Dean to give up her life of crime, but not before she has settled accounts with those responsible for her father's death. The hero of Crimson Runner is played by Bernard Siegel, an actor better known in the 1920s for his Native American characterizations. ~ Hal Erickson, Rovi

Lon Chaney stars as Erik, the Phantom, in what is probably his most famous and certainly his most horrifying role. Produced by Universal, the film shot in 1923 and shelved for nearly two years, and was subjected to intensive studio tinkering. While many expected a disaster, the film turned out to be a rousing success. It was both the stepping off point for Chaney's run as a superstar at MGM and the prototype for the horror film cycle at Universal in the 1930s. The story concerns Erik, a much-feared fiend who haunts the Paris Opera House. Lurking around the damp, dank passages deep in the cellars of the theater, he secretly coaches understudy Christine Daae (Mary Philbin) to be an opera star. Through a startling sequence of terrors, including sending a giant chandelier crashing down on the opera patrons, the Phantom forces the lead soprano to withdraw from the opera, permitting Christine to step in. Luring Christine into his subterranean lair below the opera house, the Phantom confesses his love. But Christine is in love with Raoul de Chagny (Norman Kerry). The Phantom demands that Christine break off her relationship with Raoul before he'll allow her to return to the opera house stage. She agrees, but immediately upon her release from the Phantom's lair, she runs into the arms of Raoul and they plan to flee to England after her performance that night. The Phantom overhears their conversation and, during her performance, the Phantom kidnaps Christine, taking her to the depths of his dungeon. It is left to Raoul and Simon Buquet (Gibson Gowland), a secret service agent, to track down the Phantom and rescue Christine. ~ Paul Brenner, Rovi