George "Slim" Summerville Movies

Though Will Rogers was still packing 'em in on Broadway, he was considered a Hollywood has-been when he starred in the independently produced A Texas Steer. Rogers also wrote the screenplay of this "topical comedy," in which he plays Texas rancher Maverick Brander, who is maneuvered into politics by his status-seeking wife Ma (Louise Fazenda). Unfortunately, Maverick finds himself at the mercy of a trio of corrupt political hacks who want our hero to use his influence to push through a piece of questionable legislation. The opponents of the bill contrive to abduct Maverick, but he escapes in time to strike a blow for honesty in Washington. The level of humor in the film can be gauged by such character names as "Bossy Brander," "Dixie Style" and "Fairleigh Bright." A Texas Steer had its moments, but Will Rogers would have to wait until talkies arrived to fully blossom as a film star. ~ Hal Erickson, All Movie Guide

One of the most powerful anti-war statements ever put on film, this gut-wrenching story concerns a group of friends who join the Army during World War I and are assigned to the Western Front, where their fiery patriotism is quickly turned to horror and misery by the harsh realities of combat. Director Lewis Milestone pioneered the use of the sweeping crane shot to capture a ghastly battlefield panorama of death and mud, and the cast, led by Lew Ayres, is terrific. It's hard to pick a favorite scene, but the finale, as Ayres stretches from his trench to catch a butterfly, is one of the most devastating sequences of the decade. The film won Oscars for Best Picture and for Milestone's direction -- and trivia buffs should note that the actors were coached by future luminary George Cukor, while Ayres became a conscientious objector in World War II. The Road Back (1937) followed, and the film was remade for television in 1979. ~ Robert Firsching, All Movie Guide

A naive, wealthy small-town girl, bored with her routine life, falls for a dashing con artist who has come looking for fresh marks to swindle. He soon charms her into faking her prominent father's name on a letter of endorsement, which he presents to the other local merchants. They willingly give him all sorts of goodies and he prepares his escape, but not before conning the girl into becoming his wife. After their wedding night in a sleazy hotel, he abandons her. Fortunately, by the story's end, she is able to reassemble her shattered life and find happiness. ~ Sandra Brennan, All Movie Guide

Previously filmed as a vehicle for Baby Peggy Montgomery in 1922, Laura E. Richard's Captain January was warmed up as a Shirley Temple picture 14 years later. Temple plays Star, a child of divorce who is looked after by crusty-but-lovable lighthouse keeper Captain January (Guy Kibbee). Truant officer Agatha Morgan (Sara Haden) determines that the Captain is not providing Star with suitable surroundings or a proper education, and before long our sobbing heroine is whisked away to a boarding school. She is rescued by kindly Mr. and Mrs. Morgan (George Irving and Nella Walker), distant relatives who try to provide the girl with a decent home, but the poor child still yearns for the company of Captain January and his friends Paul (Buddy Ebsen) and Nazro (Slim Summerville). All ends happily when January and his two chums are hired as crew members on the Morgans' yacht. One of Shirley Temple's best films, Captain January would be memorable if only for her singing-dancing duet with Buddy Ebsen, "At the Codfish Ball." Thanks to a legal loophole, the film has lapsed into public domain, joining A Little Princess as the most accessible of Temple's vehicles. ~ Hal Erickson, All Movie Guide

This "lost" film would be especially valuable to see again, if only for two reasons: It was the second American effort of German director Paul Leni (of Cat and the Canary), and it represented the second screen appearance of Earl Derr Biggers' celebrated oriental sleuth, Charlie Chan. The plot is motivated by a pearl necklace, which has caused the death and/or ruination of all its owners. Disguised as a servant, Honolulu detective Chan (played by Japanese actor Sojin) delivers the pearls to his client -- who is promptly killed. Retaining his "hired help" guise, Chan snoops around the dead man's estate, hoping that one of the guests will reveal himself (or herself) as the murderer. Providing the vital clue in this instance is the titular Chinese parrot, who can understand Chinese and translate it into English! Anna May Wong appears briefly in the opening sequences as a hootchy-kootchy dancer who is murdered just before delivering an important bit of information to Mr. Chan. The Chinese Parrot was remade in 1934 as Charlie Chan's Courage --which, like its predecessor, apparently no longer exists. ~ Hal Erickson, All Movie Guide

Charlie Chaplin's 29th comedy for Keystone was one of his most popular, grossing $130,000 in its initial year of release. It was shot before, but released after Those Love Pangs, and was originally conceived as an early sequence of the latter, showing Charlie and Chester Conklin at work in a combination cafe/bakery. The sequence was so good Mack Sennett suggested that Chaplin expand it. Waiter Charlie has his mind on a waitress as he clears one patron's plate onto the food of another. He mans the bakery counter and is taken with a female customer, especially her hip movements which he imitates. He gets into fights with fellow-waiter Chester and disrupts work in the bakery below. The bakers strike for higher wages and Charlie and Chester are impressed into service as bakers at which both are inept. The striking bakers plot revenge as one of them buys a loaf of bread and inserts a stick of dynamite into it. They send a little girl to return it as undercooked, and the owner's wife brings it downstairs to have it baked further. She observes Charlie's method of bagel making - whipping a roll of dough around his wrist forming a ring and rolling it off over his hand. Meanwhile the owner (Fritz Schade) has been noticing that the waitresses have dough on their derrieres, indicating they've been socializing with Charlie in the bakery. When his wife returns from downstairs, the owner likewise sees dough on her behind, put there by Charlie, and he flies into a rage. He goes down to the bakery and berates Charlie, slaps him around and chases him upstairs to the restaurant and down again. In self defense Charlie flings dough and flour bags at Fritz and Chester. Just then the oven explodes, covering Chester and Fritz with debris and burying Charlie under a huge lump of dough from which he emerges, eyes first, as the film ends. ~ Phil Posner, All Movie Guide

The financial exploitation of Canada's Dionne Quintuplets rolled ever forward with 20th Century-Fox's Five of a Kind, the third Dionne feature-length vehicle. Under the watchful eye of kindly obstetrican Dr. Dafoe (Jean Hersholt), the lovable quints, now 4 1/2 years old, play with their pets and toys, and even sing and dance. Meanwhile, reporter Christine Nelson (Claire Trevor) and radio commentator Duke Lester (Cesar Romero) battle over the exclusive rights to the Dionne girls' life story. The story ends with an experimental television broadcast, a rarity for a 1938 film. Knowing what we know now about the Dionne Quintuplets' far from happy home lives and difficult transitions to adulthood, it is hard to watch Five of a Kind objectively today. ~ Hal Erickson, All Movie Guide

This third installment in MGM's "Maisie" series finds eternally stranded showgirl Maisie Revere (Ann Sothern) stuck in a deserted mining camp. Here she links up with Davises, an impoverished migrant family which hopes to strike gold somewhere in the neighboring hills. Their efforts are resisted by hard-hearted local rancher Bill Anders (Lee Bowman), who orders the family off his property. With Maisie's assistance, the Davises are offered the opportunity to launch a cooperative farming project, with Anders' blessing. Evidently inspired by The Grapes of Wrath, Gold Rush Maisie is hardly in the same league, but it passes the time painlessly. ~ Hal Erickson, All Movie Guide

Frank Morgan stars as vaudevillian Henry Conroy, who puts show business behind him when he inherits a dilapidated Arizona ranch. For some reason, several interested parties, most of them wielding six-guns, are bent upon chasing Henry off his supposedly worthless land. Terrified of firearms (this despite the fact that he was a trick-shot artist in vaudeville!), Henry summons up his courage to go to the rescue when his young friend Molly (Virginia Weidler) is placed in danger's path. As a bonus, he solves the murder of his half-brother, who was responsible for Henry "going Arizona" in the first place. Though technically a B picture, this MGM production boasts better production values than most of the "A" efforts from any other studio. ~ Hal Erickson, All Movie Guide

Helen Twelvetrees became a major star in this laundered version of the "naughty" Broadway play Frankie and Johnny. A singer in a Havana dive, Frankie is fought over by the proprietor, Johnny (Ricardo Cortez), and Dan O'Keefe (Phillips Holmes), an American sailor who sees some good in the girl. When Frankie decides to leave Havana with Dan, Johnny has his henchmen abduct the couple, but is himself accidentally killed in the ensuing melee. A successful combo, Twelvetrees and Cortez were reunited with director Tay Garnett for the gangster melodrama Bad Company (1931). ~ Hans J. Wollstein, All Movie Guide

In this crime drama, a remake of Heat Lightning(1931), a robber kills a bank teller during a robbery and then takes his wife, who believes he is a traveling businessman, on the road with him as he flees. He is eventually captured and sentenced. Meanwhile his wife returns to running a motel and gas station with her sister. Her drab daily existence changes dramatically when her husband escapes from prison three years later and forces her to protect him. In the end, he is finally captured by the dogged cop who has been pursuing him. ~ Sandra Brennan, All Movie Guide

A sleepy hay-seed filled Arkansas town gets spotlight fever when a local sow bears an unprecedented 10 piglets. Suddenly poor Pitchfork is inundated with greedy interlopers anxiously rooting around trying to make silk purses out of the unusual situation. ~ Sandra Brennan, All Movie Guide