Merle Tottenham Movies

This mystery is based upon the popular radio quiz show, Twenty Questions and chronicles the endeavors of panelists to solve a real murder. The killer sends the four players clues which are read on the air. Fortunately, two clever reporters solve the mystery and then use the players to catch the killer. ~ Sandra Brennan, All Movie Guide

In this drama, a young Englishman wants to become a surgeon, but after medical school, his father dies, leaving him the responsibility of supporting his mother and paying for his brother's education. He becomes a partner in a small practice and watches the woman he wanted to marry go off with his brother. The brother is killed in WWI, after which his illegitimate son is born. The doctor marries the woman, but she dies in childbirth, leaving him to raise his brother's child. Eventually, he finds a new wife. ~ Steve Huey, All Movie Guide

In this British melodrama, an indigent writer suffers from amnesia, forgets that he is in love with an aristocratic lady, and instead falls in love with a seductive gypsy. The rich girl's father is enraged by her lover's betrayal. ~ Sandra Brennan, All Movie Guide

In this thriller, an aspiring actor from London lets a room in a hotel filled with theatrical personalities. No sooner does he arrive, than the man in the adjoining room, an Australian acrobat, is found murdered. Being the newest tenant, the Londoner is immediately blamed. But then the killer attempts to murder him while he wanders through a Hall of Mirrors. The Londoner lives and catches the real killer thereby clearing his name. He then gets an acting job. ~ Sandra Brennan, All Movie Guide

After several months' heavy war duty, the crew of the British submarine Sea Tiger is enjoying a much-deserved leave, when suddenly they're called back to active duty. Sub commander John Mills has been ordered to pursue and sink the formidable German battleship Brandenburg. A series of nailbiting seaborne perils, each one more life-threatening than the last, awaits the Sea Tiger as Mills endeavors to carry out his orders. Setting the British We Dive at Dawn apart from the usual Hollywood submarine epic is the fact that all the characters-include the senior officers-are between the ages of 19 and 23; There's no room for an "old sea dog" Alan Hale or Charles Bickford in this one. Though modestly produced, We Dive at Dawn offers a million dollars (or a million pounds)' worth of pulse-pounding excitement. ~ Hal Erickson, All Movie Guide

Released worldwide by 20th Century Fox, Carol Reed's The Young Mr. Pitt is a static but sincere filmed biography of 19th century British prime minister William Pitt Jr., here played by Robert Donat. Appointed to his office at the tender age of 24, Mr. Pitt spends most of his time in Parliament alerting his countrymen of the dangers posed by France's Emperor Napoleon (Herbert Lom, in his first English-speaking role). The Frank Launder-Sidney Gilliat screenplay works overtime drawing parallels between the Pitt-Napoleon conflict and the present crisis involving Great Britain and Nazi Germany. Various historical personages are impersonated by the likes of Phyllis Calvert, John Mills, and Robert Morley, with Morley stealing the show hands down. Like its thematic "twin" Penn of Pennsylvania, Young Mr. Pitt is lavishly produced, but suffers from pedantic speechifying and substandard special effects. ~ Hal Erickson, All Movie Guide

A Girl Must Live is the philosophy of gold-digging chorus girls Gloria Lind (Renee Houston) and Clytie Devine (Lilli Palmer). Both feel that they could live most comfortably off the money inherited by the Earl of Pangborough (Hugh Sinclair) a handsome but unworldly nobleman. Despite the most strenuous efforts by Gloria and Clytie, it is sweet and demure chorine Leslie James (Margaret Lockwood) who claims the Earl as her husband. Robust comedy relief is provided by the venerable George Robey as a bibulous "sugar daddy". A Girl Must Live was one of three 1939 films directed by Carol Reed, still some distance removed from Odd Man Out, The Third Man and Oliver!. ~ Hal Erickson, All Movie Guide

A minor effort from a major director, Bank Holiday is little more than a series of anecdotes involving middle-class Brightoners on holiday. Margaret Lockwood and Hugh Williams played the largest roles, as a couple who find love during their one-day respite from work. Comic relief (which in this film is superior to the straight plotting) is provided by several reliable character actors, notably Wilfred Lawson as an officious constable. The film's major purpose is to poke gentle fun at the foibles of the working class, and as such it doesn't amuse as much as it did back in 1938. Bank Holiday was released in the U.S. as Three on a Weekend. ~ Hal Erickson, All Movie Guide

In this British comedy, a poor college porter suddenly becomes an earl and must protect his newly inherited estate from clever con artists who try to convince him that there is oil on his land. ~ Sandra Brennan, All Movie Guide

This musical quota-quickie was produced by Twickenham Films, the British "sister firm" of Universal Pictures. Mary Clare stars as Mary Brown, a no-nonsense London nightclub manager who is the sole support for her crippled husband and her college-student son. When a murder is committed at her establishment, Mary is charged with the crime. She is defended by her husband, a former lawyer, who recounts Mary's unhappy life in a lengthy flashback. Whether or not the jury is truly swayed by his eloquence is left up in the air at the end of the picture. ~ Hal Erickson, All Movie Guide

The only Academy Award winning picture for Fox Studios (in its pre-20th Century-Fox era), Cavalcade is a stately film adaptation of the pageant-like stage hit by Noel Coward. The film concentrates on the years 1901 through 1933, as seen through the eyes of an upper-class British family and its servants. Clive Brook and Diana Wynyard portray the "upstairs" Marryots, while Herbert Mundin and Una O'Connor represent the "downstairs" Bridges (the incidents and characterizations in Cavalcade are very, very close to those seen in the popular 1970s BBC series Upstairs, Downstairs). The triumphs and tragedies of both masters and servants are placed in context with the death of Queen Victoria, the Boer War, World War I, the Jazz Age, and the Depression. Both classes have their troubles with their children, what with their offsprings' predilection for opposing authority, marrying the wrong people, and dying at the least opportune moments. The film's highlight was also the most talked-about scene in the original play: newlyweds Edward Marryot (John Warburton) and Edith Harris (Margaret Lindsay), discussing their future while on their honeymoon cruise, reveal at the scene's fadeout that they've been standing in front of a life preserver bearing the name "TITANIC". On the whole, however, Cavalcade creaks a bit when seen today, and is best viewed from a historical perspective. ~ Hal Erickson, All Movie Guide

A mysterious stranger, his face swathed in bandages and his eyes obscured by dark spectacles, has taken a room at a cozy inn in the British village of Ipping. Never leaving his quarters, the stranger demands that the staff leave him completely alone. Working unmolested with his test tubes, the stranger does not notice when the landlady inadvertently walks into his room one morning. But she notices that her guest seemingly has no head! The stranger, one Jack Griffin, is a scientist, who'd left Ipping several months earlier while conducting a series of tests with a strange new drug called monocane. He returns to the laboratory of his mentor, Dr. Cranley (Henry Travers), where he reveals his secret to onetime partner Dr. Kemp (William Harrigan) and former fiancee Flora Cranley (Gloria Stuart). Monocane is a formula for invisibility, and has rendered Griffin's entire body undetectable to the human eye. Alas, monocane has also had the side effect of driving Griffin insane. With megalomanic glee, Griffin takes Kemp into his confidence, explaining how he plans to prove his superiority over other humans by wreaking as much havoc as possible. At first, his pranks are harmless; then, without batting an eyelash, he turns to murder, beginning with the strangling of a comic-relief constable. When Kemp tries to turn Griffin over to the police, he himself is marked for death. Despite elaborate measures taken by the police, Griffin is able to murder Kemp, considerately taking the time to describe his homicidal methods to his helpless victim. After a reign of terror costing hundreds of lives, Griffin is cornered in a barn, his movements betrayed by his footsteps in the snow. Mortally wounded by police bullets, Griffin is taken to a hospital, where he regretfully tells Flora that he's paying the price for meddling into Things Men Should Not Know. As Griffin dies, his face becomes slowly visible: first the skull, then the nerve endings, then layer upon layer of raw flesh, until he is revealed to be Claude Rains, making his first American film appearance. So forceful was Rains' verbal performance as "The Invisible One" that he became an overnight movie star (after nearly twenty years on stage). Wittily scripted by R.C. Sherriff and an uncredited Philip Wylie, and brilliantly directed by James Whale, The Invisible Man is a near-untoppable combination of horror and humor. Also deserving of unqualified praise are the thorouhgly convincing special effects by John P. Fulton and John Mescall. With the exception of The Invisible Man Returns, none of the sequels came anywhere close to the quality of the 1933 original. Trivia alert: watch for Dwight "Renfield" Frye as a bespectacled reporter, Walter Brennan as the man whose bicycle was stolen, and John Carradine as the fellow in the phone booth who's "gawt a plan to ketch the h'invisible man." ~ Hal Erickson, All Movie Guide