Philip Trent Movies

A "B" picture with "A" aspirations, Bombay Clipper mostly takes place on a flight from India to San Francisco. Someone has absconded with $4,000,000 worth of diamonds, and that someone may very well be a passenger on the Bombay Clipper. International news correspondent Jim (William Gargan) hopes to solve the mystery for two reasons-to get a big scoop for his paper, and to repair his tattered marriage to long-suffering Frankie (Irene Hervey). Less than five minutes before the end, the jewel thief is revealed, whereupon the culprit tries to take over the plane and dispose of the other passengers. Fat chance! Obviously made on a tight budget, Bombay Clipper is nonetheless beautifully and meticulously photographed by Stanley Cortez, who on the strength of this and other Universal projects was signed by Orson Welles to lens the classic Magnificent Ambersons. ~ Hal Erickson, Rovi

Paper Bullets (aka Crime Inc.) was the first production by former slot-machine entrepreneurs Maurice and Frank Kozinski, later and better known as the King Brothers. Written by former crime reporter Martin Mooney, the story focuses on the efforts by an undercover agent Bob Elliot (John Archer) to get the goods on mobster Mickey Roma (Jack LaRue). The key to Elliot's investigation is gorgeous ex-convict Rita Adams (Joan Woodbury), who hopes to get even with Harold Dewitt (Philip Trent), the cad responsible for her incarceration. Rita's plan is to inveigle herself into the graft operation run by Harold's "respectable" politician father Clarence Dewitt (George Pembroke), then to obtain valuable evidence against Dewitt and his partner-in-crime Roma. Billed sixth as reporter Jimmy Kelly is young up-and-comer Alan Ladd, who managed to land a part in Paper Bullets because he and costar Philip Trent shared the same agent, Sue Carol (later Mrs. Ladd). When the film was reissued in 1943 as Gangs Inc, Ladd was awarded star billing. ~ Hal Erickson, Rovi

Gone With the Wind boils down to a story about a spoiled Southern girl's hopeless love for a married man. Producer David O. Selznick managed to expand this concept, and Margaret Mitchell's best-selling novel, into nearly four hours' worth of screen time, on a then-astronomical 3.7-million-dollar budget, creating what would become one of the most beloved movies of all time. Gone With the Wind opens in April of 1861, at the palatial Southern estate of Tara, where Scarlett O'Hara (Vivien Leigh) hears that her casual beau Ashley Wilkes (Leslie Howard) plans to marry "mealy mouthed" Melanie Hamilton (Olivia de Havilland). Despite warnings from her father (Thomas Mitchell) and her faithful servant Mammy (Hattie McDaniel), Scarlett intends to throw herself at Ashley at an upcoming barbecue at Twelve Oaks. Alone with Ashley, she goes into a fit of histrionics, all of which is witnessed by roguish Rhett Butler (Clark Gable), the black sheep of a wealthy Charleston family, who is instantly fascinated by the feisty, thoroughly self-centered Scarlett: "We're bad lots, both of us." The movie's famous action continues from the burning of Atlanta (actually the destruction of a huge wall left over from King Kong) through the now-classic closing line, "Frankly, my dear, I don't give a damn." Holding its own against stiff competition (many consider 1939 to be the greatest year of the classical Hollywood studios), Gone With the Wind won ten Academy Awards, including Best Picture, Best Director, Best Screenplay, Best Actress (Vivien Leigh), and Best Supporting Actress (Hattie McDaniel, the first African-American to win an Oscar). The film grossed nearly 192 million dollars, assuring that, just as he predicted, Selznick's epitaph would be "The Man Who Made Gone With the Wind." ~ Hal Erickson, Rovi

Following up their successful film Love Affair, Charles Boyer and Irene Dunne team up again for the romantic melodrama When Tomorrow Comes, based on a story by James M. Cain. Philip (Boyer) is a concert pianist who stops into a restaurant for lunch and meets waitress Helen Lawrence (Dunne). He follows her to a rally where she is planning a strike. The two fall in love despite the fact that Philip is married to Madeline (Barbara O'Neil), who suffers from psychotic spells after a miscarriage has brought her to madness. Helen goes on strike and Philip wants to take her to Long Island on his sailboat, but they are stranded by a hurricane. Taking refuge in a destroyed church, Helen learns about his wife and is forced to make a difficult decision. When Tomorrow Comes won an Academy award in 1939 for Best Sound, mostly due to the novel hurricane scene. This is one of three films by director John M. Stahl to be remade by Douglas Sirk in the late '50s and early '60s. ~ Andrea LeVasseur, Rovi

Flirting with Fate is one of the lesser Joe E. Brown vehicles for independent producer David L. Loew. Brown is cast as Dixon, the manager of a third-rate vaudeville troupe stranded in a mythical South American country. Completely broke, Dixon hits upon a plan to finance the actors' trip home: he'll take out a huge life insurance policy, then arrange to get himself killed by bandit chieftan Sancho (Leo Carrillo). Unfortunately, Sancho has no interest whatsoever in knocking off our hero, nor can he be insulted into committing the deed. By the final reel, of course, Dixon has decided to go on living-and that's when his life is really in danger, courtesy of a cannister of nitroglycerine. Hungarian-born Steffi Duna provides unintentional laughs as an offkey Latin American songstress. The title Flirting with Fate had previously been used by Douglas Fairbanks in 1917; coincidentally, that film also had a leading character with suicidal notions. ~ Hal Erickson, Rovi

In this comedy drama, a worried Irish father, leaves his Erin pub and heads for middle America to find out why his son has suddenly stopped writing him. He finds his son married to a snobbish uppercrust wife and embroiled in a heated mayoral election. At his wife's suggestion, the young man has changed his last name, and does all he can to hide his Irish heritage. Unfortunately the cat comes out of the bag when his pappy comes to town. Fortunately, once the brouhaha settles down all turns out for the best. ~ Sandra Brennan, Rovi

Gloria Stuart's trouble only begins when she inherits a newspaper in this routine, but at times, quite hilarious comedy from Universal. Overhearing a chauvinistic remark from senior editor Hank Gilman (Edmund Lowe), Joan Langford decides to begin her newspaper business career from the bottom and incognito. Gilman, however, quickly discovers the ruse and sends the girl out on the most arduous assignments he can find. After threatening to quit, the heroine unwittingly gets herself involved with a gang of blackmailers but Hank is watching over her and together they bring the gang to justice. ~ Hans J. Wollstein, Rovi

A lesser but still effective entry in the mid-1930s "prison" cycle, Parole catalogues the many problems facing prisoners who've served their debt to society. The story concentrates on Russ Whalen (Henry Hunter), one of several parolees trying to find work on the outside. The "ex-con" onus forces some of these men to return to crime, but Russ keeps his nose clean and finally finds success. Also given attention are the many abuses in the parole system, which in 1936 frequently favored those with the right connections. Of historical significance, Parole represents the film debut of Anthony Quinn, in a 45-second bit as a prisoner named Zingo Browning. ~ Hal Erickson, Rovi

This obscure Damon Runyon adaptation stars Jean Parker as Princess O'Hara, the spirited granddaughter of Central Park horse-carriage driver King O'Hara (Ralph M. Remley). When King's beloved horse dies, Princess tries to purchase a new nag, and that's how she inadvertently gets her hands on a "stolen" race horse. Our heroine nearly ends up with a lengthy prison term before the story is resolved during the climactic Big Race. Leon Errol garners most of the film's laughs as minor-league sharpster named Louie. Princess O'Hara was remade in 1943 as the Abbott & Costello vehicle It Ain't Hay. ~ Hal Erickson, Rovi

This third entry in Columbia's "Inspector Trent" series is cleverly (and economically) set in a movie studio. A malevolent leading lady (Gail Patrick) is murdered while filming a scene, whereupon the nervous studio head calls in Inspector Trent (Ralph Bellamy). Since everybody on the lot despised the victim, there's a surplus of suspects -- among them nominal romantic leads Shirley Grey and Kane Richmond and future director Vincent Sherman. The key to the solution is a booby-trapped camera, a gimmick that strains the audience's credulity but which works well within the film's framework. Among the film's highlights is a nightclub scene in which a bit player, who later became famous as mentalist Norvelle, predicts Trent's future (and he's right!) Crime of Helen Stanley was remade four years later as Who Killed Gail Preston, with Rita Hayworth as the unfortunate title character. ~ Hal Erickson, Rovi

Alison Skipworth and W.C. Fields play Tillie and Augustus Winterbottom, a husband-and-wife team of con artists. The larcenous couple is summoned to a small town by their niece (Jacqueline Wells) and her husband (Clifford Jones) when the niece's father dies. Hoping for a sizeable inheritance, Tillie and Gus discover that the legacy consists of one rundown ferry boat. When they notice that a local lawyer (Clarence Wilson) seems unusually interested in obtaining this seemingly worthless vessel, T and G decide to help their niece restore the boat and keep the ferry line running. The climax occurs during a boat race between Tillie & Gus and the duplicitous lawyer; the prize is a large cash settlement from a major ferry franchise. Disappointingly restrained for a W.C. Fields film, Tillie and Gus is still good for a few quiet chuckles. ~ Hal Erickson, Rovi