George E. Stone Movies

In their third crime-solving adventure, smart-aleck newspaper woman Torchy Blane (Glenda Farrell) and slightly dense homicide dick Steve McBride (Barton MacLane) are about to get hitched when Torchy's reporter friends pull a practical joke on them. As a wedding present, the harebrained newsboys hire a stage actor, Harvey Hammond (Leland Hodgson), to simulate a murder victim. But when Torchy and Steve arrive at the scene of the supposed crime, Hammond has been killed for real. Suspects, of course, abound, including Hammond's fellow thespians Hugo Brand (Anderson Lawlor) and Grace Brown (Anne Nagel), whose romance the actor had tried to destroy. Even more suspicious to Torchy are Hammond's long-suffering wife (Virginia Brissac), and his socialite mistress (a surprisingly brunette Natalie Moorhead). With little help from Steve and his even dumber sergeant, Gahagan (Tom Kennedy), Torchy sets a trap for the killer. Produced by Warner Bros.'s busy B-unit, The Adventurous Blonde was acted at breakneck speed by a justly famous stock company, who, as always, nearly managed to make a hackneyed plot seem fresh and new. Torchy herself was ostensibly based on reporter Dorothy Kilgallen and had begun her crime-solving career in Smart Blonde (1937). Eight more Torchy films were made, but Farrell and MacLane were replaced by Lola Lane and Paul Kelly in Torchy in Panama (1938), the seventh entry, and by Jane Wyman and Allen Jenkins in the final, Torchy Plays With Dynamite (1939). By then, then series had more than run its course. ~ Hans J. Wollstein, All Movie Guide

In this newsroom drama, a tabloid's ace reporter's investigations lead to a chorine's conviction for murdering her husband. The trouble begins when the reporter digs a little deeper and realizes that the showgirl is really innocent. Now, despite the objections of her editor, the reporter must hurry to keep the dancer off of death row. ~ Sandra Brennan, All Movie Guide

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, All Movie Guide

At the time of its release, Polo Joe was critically lambasted as the worst Joe E. Brown starrer to date. Compared to his later non-Warners efforts, however, it's not so bad: the biggest criticism that can be levelled against it is that it's virtually indistinguishable from Brown's other 1930s vehicles. The plot and comedy of the film can be summed up in a single sentence: Joe Bolton (Brown) is terrified of horses, but joins a polo team to impress his sweetheart Mary (Carol Hughes). The climax borrows a page from Brown's 1935 baseball flick Alibi Ike, with the villains holding Joe prisoner so that he can't ride in a polo championship. As always, Brown does all his own stunts in Polo Joe, a fact that is more impressive than amusing. ~ Hal Erickson, All Movie Guide

In this drama, a press agent loses his job and becomes a Hollywood radio columnist. He is angry about having to change careers and ends up launching a smear campaign upon the actor who got him fired. He begins by announcing that the star's brother is a gangster. This causes the star to be blackballed. The columnist's wife begs him to stop, telling him that she will leave him if he doesn't. He does and peace is restored. ~ Sandra Brennan, All Movie Guide

King of Hockey was one of three low-budget hockey films released during the 1936-37 season, each one produced by a different studio. Dick Purcell stars as swell-headed hockey champ Gabby Dugan, whose career is abruptly terminated when he's accused of shaving points during a crucial game. Even worse, a blow on the skull induces temporary blindness, causing Gabby to wonder if he'll ever get to play again. Not only does he stage a spectacular comeback, but he also wins back the love of his estranged sweetheart Kathleen O'Rourke (Anne Nagel). A goodly portion of the film is given over to juvenile performer Ann Gillis, whom Warner Bros. evidently hoped would develop into the "new Shirley Temple" (even though there was still plenty of mileage left in the "old" Shirley Temple). ~ Hal Erickson, All Movie Guide

Dusting off a couple of old Ken Maynard Western plots -- already recycled once with John Wayne in the early 1930s -- Warner Bros. jumped on the singing cowboy band wagon with a series starring baritone Dick Foran (formerly Nick Foran. The opener, Moonlight on the Prairie was filmed on glorious locations at California's June Lake and featured a good supporting cast that included future Western hero William "Wild Bill" Elliott (here billed Gordon Elliott) as an agent for the ubiquitous Cattlemen's Association. Foran himself played Ace Andrews, a Wild West Show performer falsely accused of murdering rancher Butch Roberts. Butch's estranged wife, now his widow, Barbara (Sheila Mannors), and young son have until midnight to take over the ranch or lose it to nasty Luke Thomas (Joe Sawyer and crooked lawyer Buck Cantwell (Robert Barrat). After a scheme to delay Barbara and little Dickie (Dickie Jones) is foiled by Ace and his escape artist sidekick "Small Change" (George E. Stone), Luke and his motley crew engage in a bit of cattle rustling. Ace, who has already proven Cantwell to be Butch's real killer, successfully leads the sheriff's posse to victory and soon both Thomas and Cantwell are apprehended. Foran, whose inclination to shout every line was tempered in subsequent entries, found time between fightin' and shootin' to warble Covered Wagon Days and Moonlight on the Prairie, both composed and written by M.K. Jerome, Joan Jasmyn, Vernon Spencer and Bob Nolan. Foran's horse, Smokey, earned second billing ahead of leading lady Sheila Mannors, a brunette beauty who also spelled her last name "Manners" on occasion. Miss Mannors/Manners would attempt to escape an increasing list of B-Westerns by changing her moniker to Sheila Bromley in the 1940s. ~ Hans J. Wollstein, All Movie Guide

Radio baritone Joe Morrison was being groomed for stardom by Paramount when he was top-billed in One Hour Late. Morrison is cast as shipping clerk Eddie Blake, whose girlfriend Betty Dunn (Helen Twelvetrees) is secretary to big boss Stephen Barclay (Conrad Nagel). A trusting soul, Betty sees nothing wrong in accepting Barclay's invitation to visit his home for the weekend. But Eddie suspects the worst and tags along to make sure that Betty's virtue remains intact. As it happens, Eddie's fears are groundless -- as are those of Barclay's wife Ellen (Gail Patrick), who was poised to walk out on her husband at the first sign of extramarital hanky-panky. The script contrives to have a radio station located in the building where Eddie works, permitting Joe Morrison to croon a medley of his hit "The Last Roundup." ~ Hal Erickson, All Movie Guide

The stringent censorship imposed upon Hollywood of the mid-1930s dictated that gangsters could no longer be the "heroes" in any crime film. Public Hero No. 1 reflects this restriction. G-Man Chester Morris poses as a crook to infiltrate the notorious Purple Gang, a band of hoodlums which preys upon other hoodlums. Orchestrating the jailbreak of the Gang's leader (Joseph Calleia), Morris joins him in a Dillinger-like flight across the country. The bloody denouement, which occurs in a vaudeville theatre, is likewise drawn from the Dillinger saga (that particular gentleman was of course killed in front of a movie house). Also featured in Public Hero No. 1 is Jean Arthur as the heroine (a comic role) and Lionel Barrymore as a drunken gang doctor. The film was remade as The Getaway in 1942. ~ Hal Erickson, All Movie Guide

Based on a story by Damon Runyon, Hold 'Em Yale is also more than a little beholden to O. Henry's Ransom of Red Chief. Spoiled-rotten heiress Clarice Van Cleve (Patricia Ellis) is enticed to New York by fortune-hunter Gigolo Georgie (Cesar Romero), who dumps her in the apartment owned by Runyonesque hoodlums Sunshine Joe (William Frawley), Liverlips (Andy Devine), Sam the Goniff (Warren Hymer) and Benny Southstreet (George E. Stone). Plotting to hold Clarice for ransom, the four hooligans figure that this "dame" will be easy to handle. Boy, are they wrong! Like the proverbial babysitter from hell, the temperamental Clarice is soon ruling the roost in the foursome's hideout. The beleaguered crooks offer to ship the girl back to her father, Mr. Van Cleve (George Barbier), only to find out that he won't take her back -- not even for free! In desperation, the four hoods try to marry Clarice off to college football-hero Hector Wilmot (Buster Crabbe), and to that end they try their best (?) to "fix" the annual Yale-Harvard game so that Hector will prove worthy of the hoydenish heroine -- which, as it turns out, was Mr. Van Cleve's plan all along. ~ Hal Erickson, All Movie Guide

In this children's movie, a married vaudevillian team learns that talent scouts are looking for the new Shirley Temple. Unfortunately, they have an adorable little boy. This does not prevent them from dressing up like Temple and entering him in a contest, which he, unfortunately for him, wins. He then finds himself bewigged and train-bound for Hollywood. The hapless lad, would rather die than face life as a little girl, and so leaps from the speeding train. He soon encounters a friendly vagabond and a gang of fugitive bank robbers who think the lad may be able to help them with their nefarious schemes. ~ Sandra Brennan, All Movie Guide

A far from factual filmed biography of Mexican patriot Pancho Villa, Viva Villa! was written by lengendary screenwriter Ben Hecht. We first meet the young Villa when his father is beaten to death after protesting Diaz' seizure of the Mexican peons' land. Pancho exacts a temporary revenge by knifing one of his father's killers, then heads for the hills, where he organizes a band of renegades. As he "matures," Pancho is played by child actor Phillip Cooper and adult star Wallace Beery. Though ruthless in his treatment of the rich, Pancho is a hero to the poor, who receive the spoils of Villa's raids. Befriended by American reporter Johnny Sykes (Stuart Erwin), Villa becomes internationally famous thanks to Sykes' articles concerning his exploits. Pancho also finds a strong ally in Don Felipe de Castillo (Donald Cook), who introduces the rebel bandit to Madero (Henry B. Walthall), the leader of the peon revolt. Madero convinces Villa to join forces with him, the better to oust the Diaz regime. His principal rival in this goal is ambitious General Pascal (Joseph Schildkraut), who intends to set up an even more despotic regime once Diaz is eliminated. Emerging victorious in his fight against the federales, Villa is encouraged to go back home by Madero. Illiterate and dangerously naïve, Villa quickly runs into trouble with the new government, giving Pascal a chance to humiliate his former "comrade in arms." Later, Pascal shows his true colors by assassinating Madero and assuming control of Mexico. Thirsting for revenge, Villa and his men go on a bloody rampage, culminiating in the ritualistic murder of the treacherous Pascal (he is staked out on an anthill and covered with honey). Made president of Mexico upon the elimination of Pacal, Villa once more finds himself in over his head. Unable to deal with political infighting, Villa retires to his ranch. One day, after running into his old friend Johnny Sykes (Stu Erwin), Villa is shot and mortally wounded by his onetime friend Don Felipe, who holds Pancho responsible for the death of his sister Teresa (Fay Wray). As he dies, Villa begs Johnny to tell him what his epitaph will be. Improvising quickly, Johnny tells of Villa's love for Mexico and his many accomplishments. Partially filmed on location in Mexico, Viva Villa was plagued with a multitude of production problems, not least of which was the diplomatic gaffe committed by Lee Tracy, the film's original Johnny Sykes: While standing on a balcony watching a military parade, an inebrieated Tracy relieved himself on the troops below and was immediately fired. Another crisis arose when the Mexican government objected to star Wallace Beery, on the grounds that Beery usually played villains or buffoons. Despite these and other setbacks, Viva Villa was finally completed under the assured directorial hand of MGM troubleshooter Jack Conway and the expert supervision of David O. Selznick. Though some critics objected to the film's violence, Viva Villa was a financial success. ~ Hal Erickson, All Movie Guide