Eric Blore Movies

Accurately described as "a beautiful job" by novelist John O'Hara, this 1926 silent version of F. Scott's Fitzgerald's The Great Gatsby stars Warner Baxter in the title role. Self-made millionaire Jay Gatsby lacks only one thing in life: the love of the beautiful, impulsive Daisy Buchanan (Lois Wilson). Gatsby's carefully laid scheme to announce his intentions to take Daisy away from her cloddish husband Tom Buchanan (Hale Hamilton) goes horribly awry, setting the stage for the inexorable tragedies that follow. Georgia Hale, previously seen as Chaplin's vis-a-vis in The Gold Rush, is cast as Buchanan's pathetic low-life mistress Myrtle Wilson, while Neil Hamilton exudes dependability from every pore as Gatsby's loyal friend Nick Carraway. Among Fitzgerald adaptations, the 1926 Gatsby was actually filmed during the historical period it depicts (which wasn't historical at all back then). The property was remade in 1949 with Alan Ladd, then again in 1974 with Robert Redford. ~ Hal Erickson, All Movie Guide

Renowned American-born London stage star Tallulah Bankhead made her feature sound film debut in this drama based on Donald Ogden Stewart's story New York Lady. Bankhead plays Nancy Courtney, a gold-digging socialite who sets her sights on Norman Cravath (Clive Brook), a wealthy tycoon. Their marriage exasperates Nancy's ex-boyfriend, DeWitt Taylor (Alexander Kirkland), and her rival, Germaine Prentiss (Phoebe Foster). Nancy soon grows tired of the tedium of marriage and returns to making her rounds in nightclubs (some scenes were shot on location in a Harlem club). Nancy finally gets her own job and becomes increasingly independent even after she has a child. But Cravath's fortune is wiped out in the stock market crash. Nancy feels bad for her husband and returns to him, and for the first time they discover true love together, unsullied by the pursuit of material wealth. This film was the first feature directed solely by George Cukor, who would go on to be the champion of "women's pictures" such as The Philadelphia Story. ~ Michael Betzold, All Movie Guide

The top-billed stars in the extravagant RKO musical Flying Down to Rio are Dolores Del Rio and Gene Raymond. Forget all that: this is the movie that first teamed Fred Astaire and Ginger Rogers. We're supposed to care about the romantic triangle between aviator/bandleader Raymond, Brazilian heiress Del Rio and her wealthy fiance Raul Roulien, but the moment Fred and Ginger dance to a minute's worth of "The Carioca", the film is theirs forever. Other musical highlights include Rogers' opening piece "Music Makes Me" and tenor Roulien's lush rendition of "Orchids in the Moonlight". Then there's the title number. The plot has it that Del Rio' uncle has been prohibited from having a floor show at his lavish hotel because of a Rio city ordinance. Astaire and Raymond save the day by staging the climactic "Flying Down to Rio" number thousands of feet in the air, with hundreds of chorus girls shimmying and swaying while strapped to the wings of a fleet of airplanes. It is one of the most outrageously brilliant numbers in movie musical history, and one that never fails to incite a big round of applause from the audience--even audiences of the 1990s. Together with King Kong, Flying Down to Rio saved the fledgling RKO Radio studios from bankruptcy in 1933. The film was a smash everywhere it played, encouraging the studio to concoct future teamings of those two stalwart supporting players Fred Astaire and Ginger Rogers. ~ Hal Erickson, All Movie Guide

Based on Dwight Taylor and Cole Porter's play of the same name, The Gay Divorcee centers on Mimi (Ginger Rogers), a woman seeking a divorce from her husband. Mimi travels to an English seaside resort, pursued by the love-stricken Guy (Fred Astaire), whom she mistakes for the hired correspondent in her divorce case. Among the many musical numbers featured are "Night and Day," the only song from the original Broadway musical included in the film, and "The Continental," which won the first ever Academy Award for Best Song. Directed by Mark Sandrich, the film features supporting performances by Alice Brady and Edward Everett Horton. ~ Matthew Tobey, All Movie Guide

A wealthy young heir rebels when his snooty parents refuse to allow him to marry a lovely young secretary. Deciding to teach them a lesson, he goes West where he falls in love and marries the daughter of a Native American chief. He brings her home to meet his parents, who are naturally appalled, and vengeance is his. Unfortunately their marital bliss is disturbed when a woman shoots her married lover and the Indian girl is blamed for the crime. The husband then goes to the police and confesses the crime to protect her. Fortunately, the astute police put the couple together in a room bugged with a concealed microphone. They then learn that both are innocent. ~ Sandra Brennan, All Movie Guide

In this musical campus comedy, trouble ensues when a meddlesome, overprotective father enrolls in the same college as his son so he can watch over his love life. The son soon finds himself involved with a conniving golddigger who dumps him when she discovers that his family fortune has been squandered on a bum business deal. Songs include: "Old Man Rhythm," "I Never Saw a Better Night," "There's Nothing Like a College Education," "Boys Will Be Boys," "When You Are in My Arms," and "Come the Revolution, Baby." ~ Sandra Brennan, All Movie Guide

This French-language version of the 1935 Hollywood musical Folies Bergere retains the original star (Maurice Chevalier) and director (Roy Del Ruth) and Busby Berkeley's big-scale production numbers. It also follows substantially the same plot: A nightclub entertainer (Chevalier), is hired to pose as his look-alike (also Chevalier), a prominent aviation tycoon. The masquerade causes consternation for the entertainer's girlfriend, who of course has no idea what's going on, and for the tycoon's wife, who can't understand why her cold-fish husband has suddenly become so warm and demonstrative. Beyond the obvious language change, the major differences between the two Folies Bergeres are found in their supporting casts: for example, Natalie Paley plays the tycoon's spouse role originally essayed by Merle Oberon, while Sim Viva, as the girlfriend, fills the dancing shoes of the English-language version's Ann Sothern. Folies Bergere served as the basis for two future 20th Century-Fox musicals, That Night in Rio and On the Riviera, neither of which were released in French versions. ~ Hal Erickson, All Movie Guide

Hugh Herbert plays a middle-aged bumbler who is about to inherit a multimillion dollar estate. But there's a catch: Herbert must be married to a widow--any widow--within three days. Roger Pryor plays a suicidal young man who offers to marry young Phyllis Brooks, then kill himself and make Brooks a widow, leaving the field clear for Herbert to move in! Bandleader Fred Keating, who stands to get the money if Herbert doesn't marry, appoints himself Pryor's "protector." To Beat the Band is no worldbeater in the field of comedy, but it does feature Johnny Mercer, Joy Hodges, Sonny Lamont and Nick Condos on the musical end. ~ Hal Erickson, All Movie Guide

Feeling stifled by her wealthy existence, flighty heiress Kay (Joan Crawford) falls in love with poor archaeologist Terry (Brian Aherne). The couple seems happiest when they're yelling at one another, indicating perhaps that screenwriter Joseph L. Mankiewicz was none too fond of either character. Anyway, Terry decides that a marriage to Kay would be a big mistake, so he talks her into jilting him at the altar, thereby making a public declaration that their romance is through. But Kay "double-crosses" Terry by showing up at the wedding anyway, allowing the couple to live scrappily ever after. It's hard to tell if this is supposed to be a rip-off of It Happened One Night, but it sure plays that way in the first few reels. ~ Hal Erickson, All Movie Guide

The "ex" of the title is daffy mystery-writer Jean Arthur, former wife of urbane doctor William Powell. When Powell becomes the prime suspect in a murder case, Arthur endeavors to solve the case herself -- and to reclaim her ex-hubby in the process. After a well-directed semiclimax at a race track, the killer is revealed during one of those expository scenes in which all the suspects are gathered together in one room. The murderer attempts to escape, and Powell is knocked cold in the process. When he awakens, he discovers that Arthur has set up some projection equipment, and is running a film of a minister reciting the wedding vows. Curses! Trapped again! Like William Powell's previous RKO effort Star of Midnight, The Ex-Mrs. Bradford was an attempt to cash in on the popularity of Powell's Thin Man films. ~ Hal Erickson, All Movie Guide

In this musical comedy, a pacifistic song-and-dance man is compelled to don a military uniform for one of his acts. Before he can blink, he finds himself fighting in Germany. Later he is tossed into jail after being accused of being an enemy spy. He escapes and somehow manages to capture a strategic hill; he is then awarded the prestigious Croix de Guerre for his heroism. ~ Sandra Brennan, All Movie Guide

British humorist P. G. Wodehouse wrote the story upon which Piccadilly Jim was based. Frank Morgan and Robert Montgomery play a well-to-do father and son, who find themselves rivals in love. The object of their affection is Madge Evans, who likes them both but favors the son. Everything could have been wrapped up in eight reels, but MGM had a mania about lengthy running times, so Piccadilly Jim lumbers on at 100 minutes. Fortunately, such accomplished farceurs as Billie Burke, Robert Benchley and Eric Blore are around to pep up the dull spots. ~ Hal Erickson, All Movie Guide

In this screwball comedy, Valentine Ransome (Barbara Stanwyck) is an heiress who falls for Jonathan Blair (Herbert Marshall), a carefree playboy who owns part of a large steamship line. However, Valentine doesn't especially like Jonathan's brassy fiancé, Carol Wallace (Glenda Farrell), and thinks he needs to start taking a more serious attitude about his money and his investments. To teach Jonathan a lesson (and get closer to him in the process), Valentine arranges to buy enough stock in the shipping company that she's the majority owner, and begins giving him orders about how things should be done. Jonathan isn't about to stand for that, and set off for a cruise on one of his ships, with Carol in tow and every intention of having the ship's captain marry them. But Jonathan's sidekick Butch (Eric Blore) doesn't like Carol any more than Valentine, and seizes every available opportunity to throw a spanner into the works. The same year that the versatile Barbara Stanwyck starred in this comic trifle, she received an Oscar nomination for her dramatic work in the movie Stella Dallas. ~ Mark Deming, All Movie Guide