Henry Stephenson Movies

A "new" Lassie (once again, a male collie in drag) starred in A Challenge to Lassie, MGM's fourth entry in their series based on characters created by Eric Knight. This time, Lassie is plunked into the plotline of William Ludwig's novel Greyfriars Bobby (remade by Disney under its original title in 1963). In 19th-century Edinburgh, crusty sheepherder Jock Gray (Donald Crisp) rescues a puppy and raises it into a champion sheep dog. When Gray is murdered by rustlers, his faithful collie keeps a night-and-day watch over his late master's grave, despite local laws banning the presence of unleashed canines. The rest of the film is a battle of wills between kindly innkeeper John Traill (Edmund Gwenn) and by-the-book constable Davie (Reginald Owen) over the dog's well-being. A romantic subplot is capably handled by Geraldine Brooks and Ross Ford, both of whom went on to healthy character-actor careers. ~ Hal Erickson, Rovi

The second of director David Lean's adaptations of a Charles Dickens novel (Great Expectations (1946) was the first), Oliver Twist expertly boils down an enormous novel to a little less than two hours' screen time. The film begins with baby Oliver left on the doorstep of an orphanage/workhouse by his unwed mother. Proving a difficult charge to the wicked orphanage official, Oliver (John Howard Davies) is sold into a job as an undertaker's apprentice. He runs away and joins a gang of larcenous street urchins, led by master pickpocket Fagin (Alec Guinness). Oliver is rescued from this life by the kindly Mr. Brownlow (Henry Stephenson); but, with the complicity of evil Bill Sikes (Robert Newton), Fagin abducts Oliver. Sikes' girl friend Nancy (Kay Walsh) restores Oliver to Brownlow, leading to tragic consequences before an ultimately happy ending. Oliver Twist was filmed in England in 1948, but its American release was held up for three years due to the allegedly anti-Semitic portrayal of the duplicitous Fagin. Even in its currently censored form, Oliver Twist is one the best-ever film versions of a Dickens novel. It served as a blueprint for Oliver! (1968), the Oscar-winning musical version. ~ Hal Erickson, Rovi

Song of Love is the MGM-ified version of the lives and loves of 19th century musicians Clara Wieck Schumann (Katharine Hepburn), Robert Schumann (Paul Henreid) and Johannes Brahms (Robert Walker, who the previous year had played another composer, Jerome Kern, in Til the Clouds Roll By). Clara gives up her thriving career as a concert pianist to devote herself to her struggling composer husband Robert. Unable to cope with disappointment and failure, Robert dies in an asylum, leaving poor Clara to cope with seven children and mounting debts. At this point, the eminently successful Brahms, who has loved Clara all along, proposes to her, but Clara insists upon going it alone, perpetuating her husband's memory on the concert stage. Also represented in this musical "through the years" pageant is Franz Liszt, played with remarkable understatement by Henry Daniell. Clearly designed to capitalize on the popularity of Columbia's Chopin biopic A Song to Remember, Song of Love is slow and poky at times, though it's fascinating to see Katharine Hepburn at the piano (reportedly, she learned to play enough classical music to get by in the close-up scenes, though her music is dubbed in medium and long shots). ~ Hal Erickson, Rovi

In this period drama, Joan Fontaine stars as Ivy Lexton, a woman with an unusual hunger for men. Though she already has a husband, Jervis (Richard Ney), and is having an affair with Roger Gretorex (Patric Knowles), Ivy becomes obsessed with Miles Rushworth (Herbert Marshall), and is determined to have him. However, Miles has no interest in married women and rejects Ivy's advances. Angered, Ivy plans to get her revenge by poisoning Miles and pinning the blame on Roger. Cedric Hardwicke plays the inspector assigned to look into Miles' mysterious death. ~ Mark Deming, Rovi

In this drama, a Bostonian socialite marries the owner of a racehorse and begins a life of globe-trotting from international track to track until her hubby runs out of money. In desperation, he borrows money from an ex-girlfriend who decides that she will not let him leave her again. Meanwhile, the wife is beginning to wonder why she married him and begins contemplating divorce. Things change when her philandering spouse dumps the other, decides to rebuild his stables, and bets every last nickel on his one remaining horse's Kentucky Derby run. His horse barely loses to his wife's horse. Fortunately, the couple makes up and they live a long, happy life together. ~ Sandra Brennan, Rovi

Louis Hayward, star of 1940's Son of Monte Cristo, returns to Alexandre Dumas territory in Columbia's Return of Monte Cristo. This time, Hayward plays the grandson of his namesake Edmond Dantes, who, it will be recalled, was cheated out of his fortune and falsely imprisoned, only to escape and wreak vengeance on his betrayers by assuming the guise of the Count of Monte Cristo. Just like grandpa, the younger Dantes is framed by a trio of connivers and shipped off to Devil's Island. Escaping with a fellow convict, political radical Bombelles (Steven Geray), Dantes adopts the bearded guise of an elderly man in order to destroy his enemies and reclaim his birthright. One of his principal antagonists -- at least during the first half of the film -- is haughty aristocrat Angele Picard (Barbara Britton), who because she wasn't a part of the original conspiracy genuinely believes that Dantes is a criminal (This is the sort of pre-Political Correctness film in which the hero robs and ties up the heroine, but she falls in love with him anyway). After orchestrating the ruin of two of his tormentors, Dantes settles accounts with main villain Henri de la Roche (George Macready) in a darkened theater, a climax that invokes memories of Rafael Sabatini's Scaramouche. ~ Hal Erickson, Rovi

Faced with the challenge of writing a screenplay based on the life of fabulously wealthy, fabulously successful composer Cole Porter, one Hollywood wag came up with a potential story angle: "How does the S.O.B. make his second million dollars?" By the time the Porter biopic Night and Day was released, the three-person scriptwriting team still hadn't come up with a compelling storyline, though the film had the decided advantages of star Cary Grant and all that great Porter music. Roughly covering the years 1912 to 1946, the story begins during Porter's undergraduate days at Yale University, where he participated in amateur theatricals under the tutelage of waspish professor Monty Woolley (who plays himself). Though Porter's inherited wealth could have kept him out of WWI, he insists upon signing up as an ambulance driver. While serving in France, he meets nurse Linda Lee (Alexis Smith), who will later become his wife. Focusing his attentions on Broadway and the London stage in the postwar years, Porter pens an unbroken string of hit songs, including "Just One of Those Things," "You're the Top," "I Get a Kick Out of You," "Begin the Beguine," and the title number. The composition of this last-named song is one of the film's giddy highlights, as Porter, inspired by the "drip drip drip" of an outsized rainstorm, runs to the piano and cries "I think I've got it!" The film's dramatic conflict arises when Porter is crippled for life in a polo accident. Refusing to have his legs amputated, he makes an inspiring comeback, even prompting a WWI amputee to remark upon his courage! Corny and unreliable as biography, Night and Day is redeemed by the guest appearances of musical luminaries Mary Martin (doing a spirited if disappointingly demure version of her striptease number "My Heart Belongs to Daddy") and Ginny Simms, the latter cast as an ersatz Ethel Merman named Carole Hill. Jane Wyman, seen as Porter's pre-nuptial sweetheart Gracie Harris, also gets to sing and dance, and quite well indeed. Beset with production problems, not least of which was the ongoing animosity between star Grant and director Michael Curtiz, Night and Day managed to finish filming on schedule, and proved to be an audience favorite -- except for those "in the know" Broadwayites who were bemused over the fact that Cole Porter's well-known homosexuality was necessarily weaned from the screenplay. ~ Hal Erickson, Rovi

A remake of the 1939 French film Battement de Couer, Heartbeat reunites star Ginger Rogers with her Kitty Foyle director Sam Wood. Ms. Rogers plays Arlette, a reform school alumnus who is recruited by Faginlike Professor Aristide, headmaster at a school for pickpockets. Before long, Arlette becomes Aristide's prize pupil, and is being groomed for bigger things. Assigned by a corrupt foreign ambassador (Adolphe Menjou) to steal a valuable watch from wealthy and handsome diplomat Pierre (Jean Pierre Aumont), Arlette not only bungles the job, but also falls in love with her would-be victim. Heartbeat wasn't the first mediocre American remake of a French film, and it certainly wouldn't be the last. ~ Hal Erickson, Rovi

Tarzan (Johnny Weissmuller) must once more contend with outsiders who invade his jungle domain to hunt for gold. Guarding the valuable ore is a tribe of hostile Amazons, led by Maria Ouspenskaya. The Amazons regard every man as their enemy, and very nearly kill Tarzan before he can rescue them from the villains. Also in the cast are Brenda Joyce as a blonde Jane, Johnny Sheffield as Boy, Barton MacLaine as the principal heavy, and "cult" horror star Aquanetta as an Amazon maiden. Tarzan and the Amazons was Johnny Weissmuller's ninth appearance as the Lord of the Apes. ~ Hal Erickson, Rovi

Two Girls and a Sailor is another of those all-star, no-plot wartime musicals turned out by the bushel basket in the 1940s. Its lack of nuance does not lessen its entertainment value in the least. Gloria DeHaven and June Allyson play a couple of well-meaning sisters who stage their own USO shows in their apartment for the benefit of visiting servicemen. They'd like to expand their show, so GI Van Johnson, who happens to be a millionaire, buys an empty factory and has it converted into a canteen. A trivial love triangle develops, but who cares? Bring on the stars! In the case of Two Girls and a Sailor, the celebrity lineup includes Jimmy Durante, Lena Horne, Jose Iturbi, Xavier Cugat, Grace Allen (performing her immortal "Concerto for Index Finger"), Harry James, Helen Forrest, and, in an amusing uncredited cameo, Buster Keaton (Also: keep a sharp eye out for Ava Gardner) ~ Hal Erickson, Rovi

Reckless Age is a by-the-numbers Universal musical, elevated by the presence of perky songstress Gloria Jean. The star plays Linda Wadsworth, the granddaughter of fabulously wealthy department-store magnate J. H. Wadsworth (Henry Stephenson). Rebelling against Wadsworth's close-minded tyranny, Linda assumes an alias and takes a job at one of his stores. She also moves into a boarding house for Wadsworth employees, overseen by stern-but-kindly Mrs. Connors (Jane Darwell). Oddly, there is no romantic subplot to speak of; like Deanna Durbin before her, Gloria Jean plays a sexless "Little Miss Fixit" who saves the day when all looks bleak. The film is noteworthy only as the screen debut of that matchless comic actor Jack Gilford, then starring in the Broadway revue Meet the People, whose budding film and TV career was egregiously cut short by the Hollywood Blacklist. ~ Hal Erickson, Rovi

One of Cary Grant's most financially successful 1940s vehicles, Mr. Lucky finds Grant atypically cast as a shifty, out-for-number-one gambler. Having dodged the draft by adopting the identity of a dead man, Grant sets his sights on purchasing a fancy gambling ship. To raise the necessary funds, he pretends to be working hand in glove with the American War Relief society. Once he meets Laraine Day, however, Grant is seized by an uncontrollable bout of honesty. It takes him awhile, but he finally does the right thing. The film is framed in flashback, as old seaman Charles Bickford explains why a tearful Laraine Day waits at the dock each evening for a certain ship to come in. Also in the cast is Paul Stewart as a cold-eyed but nonetheless semi-comic hoodlum, and Kay Johnson and Gladys Cooper as elegant but gullible society women. The best aspect of this breezy comedy-drama is Grant's cockney propensity for "rhyming slang," a running gag better heard than described. Mr. Lucky was later adapted into a TV series in 1959, with John Vivyan in the Cary Grant part and with Blake Edwards at the production controls. ~ Hal Erickson, Rovi

Eric Knight's wartime novel This Above All was given the Tiffany treatment in the this 20th Century Fox big-budgeter. Tyrone Power plays Clive Briggs, a conscientious objector from humble origins, who deserts the British Army because he doesn't believe in fighting to preserve his country's oppressive class structure. But Briggs is no coward, and he performs admirably in rescuing air-raid victims. Through the love of Prudence Cathaway (Joan Fontaine), a doctor's daughter and member of the women's air corps, Briggs realizes that love of country supersedes all social outrage. This Above All ends with Briggs seriously wounded, though given a good chance to survive. In the original novel, the hero not only dies, but also has a censor-baiting love affair with the Prudence character (who, of course, is as pure as the driven snow in the film). ~ Hal Erickson, Rovi