Charles Sullivan Movies

German director Joe May was light-years removed from his glory days at UFA when he helmed the "Little Tough Guys" entry Hit the Road. This time, the youthful protagonists-Tom (Billy Halop), Pig (Huntz Hall), String (Gabe Dell) and Ape (Bernard Punsley)-are all the orphaned sons of gangsters who'd been murdered by mob boss Spike (Edward Pawley). "Graduating" from reform school, the boys show every sign of follwing in their parents' footseps, so they're paroled in the custody of kindhearted reformed gangster Jimmy Ryan (Barton MacLaine). Taking the kids to his cattle farm, Ryan gives them more than enough chores and responsiblities to keep them out of trouble, and before long the boys have cleaned up their act-but not without a bit of strong-arm persuasion from Ryan's tough-talking wife Molly (Gladys George). When Spike and his mob try to steal the $50,000 which the Ryans have saved to build a Boys' Town-like school for wayward youths, the Little Tough Guys rally to the defense of their benefactors, throwing punches and wisecracks with reckless abandon. The most pleasant aspect of Hit the Road is the presence of charming leading lady Evelyn Ankers (who later recalled having to fend off the amorous advances of teenaged Huntz Hall by deploying a well-aimed knee!); the least pleasant is the lachrymose performance of child actor Bobs Watson, who never spoke when crying would do. ~ Hal Erickson, All Movie Guide

Neither James Cagney nor Bette Davis were particularly pleased with the outdated screwball comedy The Bride Came C.O.D., but both performers behaved with thorough professionalism, doing a lot more for the film than the film did for them. Davis stars as flighty heiress Joan Winfield, whose impending marriage to bandleader Allen Brice (Jack Carson) does not rest well with her oil-rich father Lucius K. Winfield (Eugene Pallette). When Joan announces that she intends to defy her father's wishes and elope with Brice, Winfield hires charter pilot Steve Collins (Cagney) to kidnap the girl and deliver her back home, C.O.D. Nearly bankrupt, Steve goes along with the scheme, but on the return flight his plane crashes in the desert. Realizing that he's only a few miles from civilization, Steve schemes to keep Joan from signalling any potential rescuers by chasing her into an old tunnel and convincing her that they're hopelessly lost. When Joan tumbles to the scheme, she forces Steve to let her marry Brice. The surprisingly cooperative Steve agrees, knowing full well that he still has a few aces up his sleeve. So guess who Joan ends up with at fadeout time? Genuine laughs are few and far between in this hectic farce, but at least Bette Davis has one hilarious moment, predicated on her outraged delivery of the word "Mustard!" ~ Hal Erickson, All Movie Guide

Manpower was Warner Bros' latest reworking of 1932's Tiger Shark, with power-company linemen substituting for tuna fisherman. While repair some downed lines in a heavy thunderstorm, Hank McHenry (Edward G. Robinson) saves the life of his best pal Johnny Marshall (George Raft). While Johnny emerges from the experience unscathed, Hank is permanently crippled. He takes this misfortune in stride, but Johnny vows to look after Hank's best interests for the rest of their lives. When Hank marries blowzy nightclub hostess Fay Duval (Marlene Dietrich), Johnny is disdainful, convinced that Fay is playing Hank for a sucker. While recuperating in Hank's home after a slight injury, Johnny confesses to Fay that he's in love with her, a feeling that turns out to be mutual. Out of loyalty to Hank, Johnny refuses to have anything to do with Fay, who finally decides to leave town rather than break up the men's friendship. But Fay cannot stay away from Johnny, forcing him to confront the ever-trusting Hank with the truth, leading inexorably to the film's violent conclusion on a precariously high utility pole. A few comic interludes aside, Manpower is virile, gutsy entertainment; the fact that Edward G. Robinson and George Raft did not get along at all during shooting-resulting in a well-publicized on-set fistfight-only adds to the film's crackling tension. ~ Hal Erickson, All Movie Guide

The third of Bud Abbott and Lou Costello's starring films, In the Navy was released second; Universal had just made a bundle off Abbott and Costello's Buck Privates, and the studio wanted another "service" comedy put into circulation in a hurry. Abbott and Costello share over-the-title billing with Dick Powell, who plays a popular radio singer. Eager to avoid his screaming fans, Powell enlists in the Navy under an assumed name, hoping to serve his country incognito. Girl reporter Claire Dodd chases after Powell, hoping to secure a photo of the fugitive "idol of millions." So much for the "straight" plot; what are Abbott and Costello up to? Well, Costello plays a ship's cook who wants to impress Patty Andrews of The Andrews Sisters. With his pal Abbott's help, Costello poses as an admiral -- and in so doing nearly destroys the entire American fleet. This climactic sequence ran into trouble when the U.S. Navy decided that it didn't want to be held up to ridicule by showing the bumbling Costello ordering its ships around. To save the climax -- the most expensive portion of the film -- the scriptwriters wrote a new coda, passing off Costello's "admiralty" as a dream sequence. The best Abbott and Costello routines have little if anything to do with the plot: our favorite (indeed, everyone's favorite) is Costello proving to Abbott that 7 X 13 = 28. Those viewers who prefer music to comedy will be thoroughly satisfied by the vocal contributions of Dick Powell and The Andrews Sisters, as well as a lively dance number offered by the Condos Brothers. ~ Hal Erickson, All Movie Guide

W.C. Fields plays Egbert Souse, a bibulous denizen of Lompoc who supports his family by winning radio contests. When a fleeing bank robber is knocked cold upon tripping over the park bench where Egbert sits, Souse is hailed as a hero and offered the job of bank guard. The next day, he is approached by one J. Frothingham Waterbury (Russell Hicks), who offers to sell Egbert shares in the Beefsteak Mines. Souse raises the necessary money by convincing bank clerk Og Oggilby (Grady Sutton), the fiance of Egbert's daughter Myrtle (Una Merkel), to "borrow" some funds from the bank; it isn't really embezzling, explains Egbert, because the mine is bound to pay off. Unfortunately, bank examiner J. Pinkerton Snoopington (Franklin Pangborn) comes calling, spelling possible trouble for Souse. ~ Hal Erickson, All Movie Guide

They just don't make 'em like They Drive By Night anymore. This slam-bang Warner Bros. attraction stars George Raft and Humphrey Bogart as Joe and Paul Fabrini, owners of a small but scrappy trucking firm. The film deftly combines comedy with thrills for the first half-hour or so, as the Fabrini boys battle crooked distributors and unscrupulous rivals while establishing their transport company. Things take a potentially tragic turn when the overworked Paul Fabrini falls asleep at the wheel and cracks up, losing an arm in the accident. He's pretty bitter for a while, but, with the help of his loving wife, Pearl (Gale Page), Paul eventually snaps out of his self-pity and goes to work as a dispatcher for the Fabrinis' company. Meanwhile, Joe's on-and-off romance with wisecracking waitress Cassie Hartley (Ann Sheridan) is threatened by the presence of seductive Lana Carlsen (Ida Lupino), the wife of glad-handing trucking executive Ed Carlsen (Alan Hale). At this point, the film metamorphoses into a remake of the 1935 Paul Muni-Bette Davis vehicle Bordertown. Desperately in love with Joe, Lana murders her husband, making it look like an accident, then offers Joe half-interest in Carlsen's organization. Joe accepts the offer, but spurns Lana's romantic overtures, whereupon the scheming vixen accuses Joe of plotting Carlsen's murder. Thus, the stage is set for a spectacular courtroom finale, completely dominated by a demented Lana, whose "mad scene" rivals those of Ophelia and Lucia di Lammermoor. In addition to the full-blooded performances by the stars and the virile direction by Raoul Walsh, They Drive By Night benefits immeasurably from the nonstop brilliant dialogue by Jerry Wald and Richard Macaulay -- especially in an early lunch-counter scene between Ann Sheridan and George Raft, generously seasoned with hilarious double- and single-entendres. ~ Hal Erickson, All Movie Guide

Director Rouben Mamoulian often claimed that he'd been inspired to make Golden Boy after reading a newspaper clipping about a recently deceased boxer. While Mamoulian may have genuinely believed that he was the true "auteur" of Golden Boy, he probably wouldn't have made the picture at all had not Clifford Odets started the ball rolling by writing the property for the stage in 1936. In his first starring role, William Holden plays Joe Bonaparte, a promising young boxer. While boxing promoter Tom Moody (Adolphe Menjou) and Menjou's mistress Lorna Moon (Barbara Stanwyck) urge Joe to pursue a ring career, Joe's Italian father (played with a surfeit of Chico Marx by 27-year-old Lee J. Cobb) wants his boy to become a famous violinist. Moody tells Lorna to romance the boy to get him into the ring. She does so, but regrets her callous actions when she genuinely falls in love with Joe. Having already broken his father's heart, Joe is further devastated when he accidentally kills a ring opponent. In the original play, both Joe and Lorna pay for their "sins" by dying in an auto accident. This would never do in Hollywood, so at fadeout time the chastened Joe returns to his forgiving father, with a tearful Lorna by his side. Clifford Odets' overrated purple prose seems to flow naturally from the actors, though it is obvious that William Holden had a long way to go. Still, Holden is pretty good in his first bonafide lead, a fact that he would ever after attribute to the patience and encouragement of his co-star Barbara Stanwyck; each year on the anniversary of Golden Boy's Hollywood premiere, Holden would send Stanwyck flowers as a sign of his eternal gratitude. While much of Golden Boy seems like a cliche-ridden museum piece when seen today, the film comes to life during the boxing sequences, helmed in exciting montage fashion by the always innovative Rouben Mamoulien. ~ Hal Erickson, All Movie Guide

In this crime drama, a grizzled cabbie is scammed out of his life savings by a fake finance company. He tries to no avail to get police assistance. Finally he becomes a wanted criminal and escapes to California where he meets the girl who will become his wife. She helps him go straight by helping him set up a garage. When she gets pregnant, she talks him into to confessing his crimes to the police. He agrees, but before he goes, he decides to commit one last crime to ensure that his wife and child will not starve while he serves his prison sentence. He then steals a million dollars only to learn that the money is worthless. He is subsequently killed in a police shoot-out. ~ Sandra Brennan, All Movie Guide

In this interesting drama, a highly respected straight-arrow Irish cop is pleased when his son follows him onto the force. Unfortunately, the son is more interested in promotions than in upholding the law and he makes few friends among his peers. When he shoots a child caught stealing, the others frame him and he is sent to prison where his attitude becomes even worse than before. Upon his escape, the bad seed goes on a crime spree. He then learns that his wife has just borne him a son. When he goes to the hospital to see the babe, his father, who set this trap, arrests him and sends him back to the pokey, proving that in this case, justice is thicker than blood. ~ Sandra Brennan, All Movie Guide

Childhood chums Rocky Sullivan (James Cagney) and Jerry Connelly (Pat O'Brien) grow up on opposite sides of the fence: Rocky matures into a prominent gangster, while Jerry becomes a priest, tending to the needs of his old tenement neighborhood. Rocky becomes a hero to a gang of teenaged boys (played by Dead End Kids Billy Halop, Leo Gorcey, Huntz Hall, Gabriel Dell, Bobby Jordan and Bernard Punsley). Father Jerry despairs at this, asking Rocky to lay off so he can keep the kids on the straight and narrow. Then Rocky's crooked business associates George Bancroft and Humphrey Bogart attempt to end Father Jerry's radio campaign against the rackets by killing the priest. Rocky (whose cynical outlook on life has been softened by his romance with true-blue Anne Sheridan) shoots them down and takes it on the lam. Arrested and convicted of murder, Rocky sits smugly on death row, fully intending to go to the chair with a smile on his face. A few moments before the execution, Father Jerry pleads with Rocky to "turn yellow" so that the tenement kids will despise his memory. ~ Hal Erickson, All Movie Guide

Goddbye Broadway is wrapped up by two stage & screen veterans, Alice Brady and Charles Winninger. The stars play vaudevillians Molly and Pat Malloy, who are suckered into investing $4000 in a ramschackle New England hotel. After a variety of predictable but amusing complications, the Malloys turn the tables on the sharpsters (Jed Prouty and Frank Jenks) who unloaded the property on them. Radio fans will enjoy seeing comedian Tommy Riggs, whose squeaky-voiced "Betty Lou" alter ego was a major airwaves attraction throughout the 1930s and 1940s. Directed by Leo McCarey's brother Raymond, Goodbye Broadway is based on James Gleason's 1927 stage comedy The Shannons of Broadway, previously filmed in 1929. ~ Hal Erickson, All Movie Guide

The Sidney Howard/Paul de Kruf Broadway play Yellow Jack was transferred to the screen by MGM in 1938. The film is set at the turn of the century, when yellow fever was the Number One killer in Latin America. Army doctors Lewis Stone, Charles Coburn and Stanley Ridges gather in Cuba to attempt to find the cause and cure of the dreaded disease. Five US soldiers--Robert Montgomery, Buddy Ebsen, Alan Curtis, Sam Levene and William Henry--volunteer to expose themselves to yellow fever as a means to test the experimental vaccines. In a very well handled close-up setpiece, the audience discovers long before the medical staff that the humble mosquito is the disease carrier. The "Let me be the first to die" brand of heroics is sometimes hard to take, but otherwise Yellow Jack is inspiring entertainment in the grand old Hollywood tradition. ~ Hal Erickson, All Movie Guide