Hans Steinke Movies
- 1938
Cecil B. DeMille's The Buccaneer stars Fredric March, complete with curly hair, pencil moustache and florid "Sacre Bleu!" French accent, as 18th century pirate Jean Lafitte. Operating out of a "buccaneer's haven" of the coast of New Orleans, Lafitte plunders all passing ships for their wealth, but refuses to attack any vessel flying the American flag. During one seafaring skirmish, he rescues Dutch maiden Gretchen (Franziska Gaal) from a sunken ship. Gretchen falls madly in love with the dashing Lafitte, but he has eyes only for aristocratic Louisana belle Annette (Margot Grahame). During the War of 1812, Lafitte is offered a pardon by Andrew Jackson (Hugh Sothern) if he and his pirates will fight on the American side. As good as his word, Lafitte stands shoulder to shoulder with Jackson as they ward off the British at the Battle of New Orleans. During a Victory Ball in his honor, Lafitte is confronted with evidence that he unknowingly caused the death of Annette's younger sister Marie (Louise Campbell) during a previous act of piracy. The assembled guests are all for hanging Lafitte on the spot, but General Jackson offers the pirate an hour's head start out of New Orleans, provided he never set foot on American soil again. This naturally costs Lafitte the love of Annette; fortunately, Gretchen is awaiting him on board his ship with open arms. From the opening scene in which Dolly Madison (Spring Byington) rescues the Declaration of Independence during the burning of Washington to the closing clinch between Lafitte and Gretchen, The Buccaneer is one of DeMille's most exhilarating films. It was remade less successfully in 1958 under the direction of Cecil B's son-in-law Anthony Quinn, who played the supporting role of Beluche in the original film. ~ Hal Erickson, All Movie Guide
- Starring:
- Fredric March, Franziska Gaal, (more)
"This is New York, Skyscraper Champion of the World...Where the Slickers and Know-It-Alls peddle gold bricks to each other...And where Truth, crushed to earth, rises again more phony than a glass eye..." With this jaundiced opening title, scripter Ben Hecht introduces his classic comedy Nothing Sacred. Fredric March plays Wally Cook, a hotshot reporter condemned to writing obituaries because of his unwitting complicity in a fraud. Anxious to get back in the good graces of his editor Oliver Stone (Walter Connolly), Cook pounces on the story of New England girl Hazel Flagg (Carole Lombard), who is reportedly dying from radiation poisoning. Actually, Hazel isn't dying at all; she's been misdiagnosed by Moscow's eternally drunk doctor (Charles Winninger). But when Cook offers to take her on an all-expenses-paid trip to New York in exchange for her exclusive story, it's too good an offer to pass up. Once in the Big Apple, Hazel is feted as a heroine by the novelty-seeking populac; she enjoys the adulation at first, but soon (and with the help of gallons of alcoholic beverages) suffers the pangs of conscience. She confesses her deception to Cook, who by now has fallen in love with her. Cook and Stone conspire to keep the public from discovering the truth, eventually dreaming up a phony suicide. Travelling incognito to avoid arrest, Wally and Hazel marry and go on a honeymoon, secure in the knowledge that New York City has forgotten all about her and moved on to their next fad. Brimming with witty, acerbic dialogue and hilarious bits of physical business, Nothing Sacred is among the best "screwball" comedies of the 1930s. The musical score by Oscar Levant both mocks and celebrates the George Gershwinesque musical style then in vogue. As an added bonus, the film is lensed in Technicolor (avoid those two-color reissue prints), allowing modern viewers to see what New York City looked liked back in 1937. Nothing Sacred was later adapted into a Broadway musical, Hazel Flagg, which in turn was filmed by Dean Martin and Jerry Lewis as Living It Up (1954), with Lewis in the Carole Lombard role. ~ Hal Erickson, All Movie Guide
- Starring:
- Carole Lombard, Fredric March, (more)
- 1936
Hecht and MacArthur's Once in a Blue Moon was an unsuccessful attempt to fashion a film vehicle for legendary Broadway comedian Jimmy Savo. The pixieish star is cast as Gabbo the Great, a circus performer in pre-Revolutionary Russia. A sensitive soul, Gabbo is afforded an opportunity to prove his loyalty to the Motherland by delivering an urgent message to a Russian general (Nikita Balieff, who died just after completing his role). Savo's great appeal lies in his whimsical pantomime, not his handling of dialogue; alas, he is saddled with reams and reams of satirical dialogue, very little of which was genuinely amusing. Though co-scripters Ben Hecht and Charlie McArthur are credited with the direction, it was an open secret in 1936 that most of Once in a Blue Moon was directed by cinematographer Lee Garmes. ~ Hal Erickson, All Movie Guide
- Starring:
- Nikita Balieff, Cecilia Loftus, (more)
- 1935
Reckless is a delightfully breezy screwball comedy from the same director (Victor Fleming) and star (Jean Harlow) responsible for the celebratedBombshell (itself a film à clef loosely based on Clara Bow) -- with the added appeal of William Powell. One can readily see the chemistry between the two stars at work, which would lead to their impending marriage at the time of Harlow's death a year later. The sets for the Broadway number that Harlow's Mona Leslie performs in are also extraordinary. Mona Leslie (Jean Harlow) is an up-and-coming Broadway actress, dancer, and singer, who leads a happy-go-lucky, freewheeling lifestyle; bailed out of jail by family friend Ned Riley (William Powell), a sports promoter who loves Mona but won't slow down his lifestyle long enough to give her the satisfaction of admitting it, she performs in a bizarre "benefit" show, only to discover that she has an audience of one, wealthy admirer Bob Harrison (Franchot Tone). He declares his love for her and a romance does develop, but when he proposes marriage, he discovers that his upper-crust set won't accept a showgirl as one of their blue-blood crowd.
Their romance leads to a marriage and desperate unhappiness for all concerned, most of all Harrison, whose basic neurotic nature gets worse as the marriage deteriorates. When Harrison takes his own life, Riley and Mona find themselves accused of every foul deed possible, and when Mona gives birth to a son, a legal battle ensues over custody of the child, with Harrison's family claiming that she is unfit. Finally, Mona decides to fight back -- she gets Harrison's family to stand down by giving up any claim to her late husband's money, but she must now contend with the nation's self-appointed moral guardians. No producer will take the risk of backing a show with Mona in it, but she finally gets a helping hand from Ned Riley. The movie has a few too many changes in tone, which detracts from the verisimilitude. The whole story is a film à clef based on the tragic romance between torch singer Libby Holman and tobacco heir Smith Reynolds (which also provided fodder for such à clef films as Brief Moment, Sing, Sinner, Sing, and Written on the Wind) -- and Harlow's singing is obviously dubbed, just as her dancing is doubled. Also, the songs -- except for the final two numbers -- don't quite fit with the melodrama, and the Damon Runyon-esque comic antics feel completely out of left field at times. But when she and Powell are onscreen together, the film just lofts into the air, past all of those flaws. ~ Bruce Eder, All Movie Guide
Their romance leads to a marriage and desperate unhappiness for all concerned, most of all Harrison, whose basic neurotic nature gets worse as the marriage deteriorates. When Harrison takes his own life, Riley and Mona find themselves accused of every foul deed possible, and when Mona gives birth to a son, a legal battle ensues over custody of the child, with Harrison's family claiming that she is unfit. Finally, Mona decides to fight back -- she gets Harrison's family to stand down by giving up any claim to her late husband's money, but she must now contend with the nation's self-appointed moral guardians. No producer will take the risk of backing a show with Mona in it, but she finally gets a helping hand from Ned Riley. The movie has a few too many changes in tone, which detracts from the verisimilitude. The whole story is a film à clef based on the tragic romance between torch singer Libby Holman and tobacco heir Smith Reynolds (which also provided fodder for such à clef films as Brief Moment, Sing, Sinner, Sing, and Written on the Wind) -- and Harlow's singing is obviously dubbed, just as her dancing is doubled. Also, the songs -- except for the final two numbers -- don't quite fit with the melodrama, and the Damon Runyon-esque comic antics feel completely out of left field at times. But when she and Powell are onscreen together, the film just lofts into the air, past all of those flaws. ~ Bruce Eder, All Movie Guide
- Starring:
- Jean Harlow, William Powell, (more)
- 1935
No relation to the 1951 Cary Grant film of the same name, People Will Talk was another of Paramount's moneymaking comedies starring Charles Ruggles and Mary Boland. This time the middle-aged pair try to patch up the marriage of their daughter (Leila Hyams) and son-in-law (Dean Jagger, with hair). They do this to quell the local gossip mongers, who have been set abuzz by the fact that daughter has come home alone. Ruggles and Boland stage a fake fight, hoping to shame their daughter into returning to her husband--and, as expected, the phony quarrel turns into the genuine article. People Will Talk was coscripted by Broadwayite Herbert Fields, the son of famed 1890s comedian Lew Fields and brother of lyricist Dorothy Fields. ~ Hal Erickson, All Movie Guide
- Starring:
- Charlie Ruggles, Leila Hyams, (more)
- 1932
This first film version of H.G. Wells' Island of Dr. Moreau stars Charles Laughton as Dr.Moreau, a dedicated but sadly misguided scientist who rules the roost on a remote island. Shipwrecked sailor Edward Parker Richard Arlen finds himself on Moreau's island, agreeing to stick around until another boat can come along and take him home. But that's not quite what Moreau has in mind: he'd rather Parker stay on the island and marry the exotic Lota (Kathleen Burke), who curiously possesses the characteristics of the panther. In fact, all the island's natives seem more animal than human, especially the hirsute Bela Lugosi. And why not? They are animals who've been transformed by Moreau into humanlike creatures via surgery. Moreau's plans to mate Parker and Lota are complicated by the arrival of Parker's fiancee Leila Hyams, who has been brought to the island by ship's captain Stanley Fields, one of Moreau's flunkies. When Moreau kills Fields for this insubordination, he makes the mistake of breaking one of the rules he himself has imposed on the island: That no creature shall kill another. Island of Lost Souls does its job of inducing goosebumps so well that one can forgive the cherubic excesses of Charles Laughton in his portrayal of Dr. Moreau. The film would be remade under Wells' original title in 1978, with Burt Lancaster in the Laughton role. ~ Hal Erickson, All Movie Guide
- Starring:
- Charles Laughton, Bela Lugosi, (more)
