Harland Tucker Movies

William Powell stars in Take One False Step as a happily married college professor who foolishly agrees to a reunion supper with old flame Shelley Winters. Winters later disappears, and the evidence points to murder. To allay suspicion--and to avoid losing an important financial grant to his university--Powell starts his own investigation. The trail leads him to San Francisco, where poor Powell becomes mired in a confusing crime plot. Fortunately, Winters is still alive; unfortunately, Powell may not be for long. Adapted from the Irwin Shaw novel Night Call, Take One False Step is saved from tawdriness by the innate dignity of William Powell. Also, the film is leavened by unexpected moments of humor, notably the relaxed banter between Powell and Shelley Winters. ~ Hal Erickson, All Movie Guide

Writer/director Billy Wilder (in collaboration with producer/writer Charles Brackett) earned his first critical condemnation with A Foreign Affair. Reviewers accused Wilder (as they would so often in the future) of moral bankruptcy, challenging him to prove what could possibly be funny about the Nazi war guilt, the bombed-out city of Berlin, the postwar European black market or attempted suicide. All of these elements are in Foreign Affair, and all are very funny. John Lund is an American army captain carrying on a casual affair with Berlin songstress Marlene Dietrich, who accepts Lund's attentions so long as there are contraband cigarettes and nylons added to the bargain. Iowa congresswoman Jean Arthur is sent as part of an American fact-finding delegation to Berlin, and Lund is compelled to clean up his act--or at least pretend to. Despite her initial shock at the corruption all around her, straitlaced Arthur eventually falls for Lund, but Dietrich has been at this game a lot longer. For an interesting cinematic and sociological exercise, A Foreign Affair should be shown in tandem with Wilder's 1961 Cold War comedy One, Two, Three. ~ Hal Erickson, All Movie Guide

John Farrow's movie adaptation of Kenneth Fearing's The Big Clock, based on a screenplay by Jonathan Latimer (and produced by future James Bond screenwriter Richard Maibaum), is a near-perfect match for the book, telling in generally superb visual style a tale set against the backdrop of upscale 1940s New York and offering an early (but accurate) depiction of the modern media industry. Told in the back-to-front fashion typical of film noir, it opens with George Stroud (Ray Milland) trapped, his life in danger, his survival measured in the minute-by-minute movements of the huge central clock of the office building where he's hiding. In flashback we learn that Stroud works for media baron Earl Janoth (Charles Laughton), loosely based on Henry Luce, as the editor of Crimeways magazine. Janoth is a manipulative, self-centered megalomaniac with various obsessions, including clocks; among other manifestations of the latter fixation, the skyscraper housing his empire's headquarters has as one of its central features a huge clock that reads out the time around the world down to the second.

Twenty-four hours earlier, on the eve of a combined honeymoon/vacation with his wife, Georgia (Maureen O'Sullivan), that has been put off for seven years, Stroud was ordered by Janoth to cancel the trip in order to work on a special project, and he resigned. As the narrative picks up speed, in his depression, Stroud misses the train his wife is on and crosses paths with Pauline York (Rita Johnson), a former model for Janoth's Styleways magazine, who is also Janoth's very unhappy mistress, and the two commiserate by getting drunk together in a night on the town. While hurriedly leaving Pauline's apartment, he glimpses Janoth entering. Janoth and York quarrel, and the publisher kills her in a jealous rage, using a sundial that she and Stroud picked up the night before while wandering around in their revels. Janoth and his general manager, Steve Hagen (George Macready), contrive to pin the murder on the man that Janoth glimpsed leaving York's apartment, whom he thinks was named Jefferson Randolph -- the name Stroud was drunkenly bandying about the night before. He gets Stroud back to Crimeways to lead the magazine's investigators in hunting down "Jefferson Randolph," never realizing that this was Stroud. And Stroud has no choice but to return, desperately trying to gather evidence against Janoth and, in turn, prevent the clues gathered by the Crimeways staff from leading back to him. The two play this clever, disjointed game of cat-and-mouse, Janoth and Hagen planting evidence that will hang "Randolph" (and justify his being shot while trying to escape), while Stroud, knowing what they don't about how close the man they seek to destroy is, arranges to obscure those clues and, in a comical twist, sends the least capable reporters and investigators to follow up on the most substantial clues.

Janoth sometimes seems to be unraveling at the frustrating pace and lack of conclusion to the hunt, but Stroud can't escape the inevitable, or the moments of weakness caused by fear and his own guilt over his near-unfaithfulness to his wife or the inscrutable gaze of Janoth's mute bodyguard Bill Womack (Harry Morgan), a stone-cold killer dedicated to protecting his employer. The trail of proof and guilt winds ever tighter around both men, taking some odd twists courtesy of the eccentric artist (Elsa Lanchester) who has seen the suspect. Milland is perfect in the role of the hapless Stroud, and Laughton is brilliant as the vain, self-centered Janoth, but George Macready is equally good as Hagen, his smooth, upper-crust Waspy smarminess making one's skin crawl. Also worth noting is Harry Morgan's sinister, silent performance as Womack, and sharp-eyed viewers will also recognize such performers as Douglas Spencer, Noel Neill (especially memorable as a tart-tongued elevator operator), Margaret Field (Sally's mother), Ruth Roman, and Lane Chandler in small roles. Additionally, the Janoth Publications building where most of the action takes place is almost a cast member in itself, an art deco wonder, especially the room housing the clock mechanism and the lobby and vestibules, all loosely inspired by such structures as the Empire State Building and the real-life Daily News headquarters on East 42nd Street. This film was later remade as No Way Out. ~ Bruce Eder, All Movie Guide

An older soldier enters West Point but remains haunted by nagging guilt. It all began in Tunisia during a tremendous battle. The soldier passed out during the fight, and when he awoke he discovered his commanding officer was dead. He blames himself for the death and after being released from the army, he goes to see the officer's wife. Love blossoms, and with her help he enrolls in West Point where he becomes a model cadet until a jealous plebe begins making trouble that eventually sends the soldier to a court-martial hearing. There the truth of the incident is finally revealed. ~ Sandra Brennan, All Movie Guide

In this musical, the fourth entry in a five-film series, three singers come together to form a nightclub act. Their songwriter falls for the female. They become a hit and are soon signed to appear in Hollywood musicals, but when the female becomes a star, the group disbands. Songs include: "Chiquita from Santa Anita," "Is There Anyone Here from Texas?" "I Guess I'll Have That Dream Right Away," "Couldn't Be More in Love," "The Customer is Always Wrong," "The Cats Are Going to the Dogs," "Brooklyn Buckaroos," and "Out California Way." ~ Sandra Brennan, All Movie Guide

Just as Bob Hope's My Favorite Blonde (1942) was a takeoff on Alfred Hitchcock, Hope's My Favorite Brunette was a lampoon of the noirish "hard-boiled detective" school popularized by Raymond Chandler. Awaiting execution on death row, Hope tells the gathered reporters how he got into his present predicament. It seems that Hope was once a baby photographer, his office adjacent to the one leased by a private detective (played in an amusing unbilled cameo by Alan Ladd). While hanging around the p.i.'s office, Hope is mistaken for the detective by beautiful client Dorothy Lamour. She hires Hope to search for her missing uncle, and also entrusts him with a valuable map. Hope's diligent (if inept) sleuthing takes him to a shady rest sanitarium, where he runs afoul of lamebrained henchman Lon Chaney, Jr. and sinister, knife-throwing Peter Lorre. Both are in the employ of attorney Charles Dingle, who is responsible for the disappearance of Lamour's uncle. Escaping the sanitarium with Lamour in tow, Hope follows the trail of evidence to noted geologist Reginald Denny. The geologist is murdered, and Hope is accused of the crime. ~ Hal Erickson, All Movie Guide

An unusually sentimental endeavor from rough-and-ready Monogram pictures, Road to Happiness stars former 20th Century-Fox leading man John Boles. Recently divorced, Boles tries to make things pleasant for his son Billy Lee (who two years earlier had captivated the critics in The Biscuit Eater). Complications ensue in the form of Boles' ex-wife and a battery of lawyers. Roscoe Karns lightens the proceedings with his patented brashness. Road to Happiness was scripted by Robert D. Andrews, of If I Had a Million fame. ~ Hal Erickson, All Movie Guide

In this entry in the long-running series, the reformed master jewel thief rushes to help a lovely heiress whose pearl necklace has been stolen by other thieves. Using his consummate skill, the Wolf pulls a deft switcheroo and substitutes the real ones for fakes. He then brings the real necklace back to the socialite. The crooks are soon arrested by the cops. ~ Sandra Brennan, All Movie Guide

Choreographer Bobby Connolly and prolific screenwriter Crane Wilbur teamed up on the direction of Warner Bros.' The Patient in Room 18. Patric Knowles delivers a delightfully comic performance as Lance, an outwardly normal young man obsessed with detective stories. When his obsession threatens to lapse over into lunacy, Lance is sent to the hospital for a nice long rest. It isn't long before he gets mixed up in a genuine murder mystery, using his second-hand knowhow to solve the case. Up-and-coming Ann Sheridan is quite amusing as Lance's nurse and confidante, while the murderer is played by a fellow who is usually cast as the murder victim. ~ Hal Erickson, All Movie Guide

Professional horsewoman Ann Dvorak is the Racing Lady in this hit-and-miss romantic comedy. The story begins breaking into a trot when millionaire auto tycoon Steven Wendel (Smith Ballew) (later a movie "singing cowboy") purchases a thoroughbred horse and engages the services of Ruth Martin (Dvorak) as a trainer. She begins to fall in love with Steven, but renounces him upon discovering that his "affection" for horses is motivated by his desire for publicity. Harry Carey, no stranger to horseflesh himself, co-stars as Dvorak's crusty father. The Ann Dvorak-Smith Ballew combination in Racing Lady proved unsatisfactory, with Dvorak handily out-acting her stiff-necked co-star throughout the picture. ~ Hal Erickson, All Movie Guide

The racket-busting activities of New York DA Thomas E. Dewey was the inspiration for several late-1930s crime films, including Warner Bros.' Missing Witnesses. The Dewey counterpart this time out is Inspector Lane (John Litel), assigned to drive all organized crime out of his community. But Lane needs good, strong evidence -- and gangland witnesses have a nasty habit of refusing to testify in court, or disappearing altogether from the face of the earth. When Mary Norton (Jean Dale) courageously comes forth with evidence against protection racketeer Ward Turgis (Harland Tucker), detective Bull Regan (Richard Purcell) is ordered to keep Mary from ending up sleeping with the fishes. Is it any surprise that Mary and Bull fall in love halfway through the picture? Missing Witnesses was written by Kenneth Gamet and Don Ryan, two ex-reporters who were intimately familiar with the doings of Dewey and his enemies. ~ Hal Erickson, All Movie Guide

A cast of Warner Bros. B-movie players struggles valiantly with a leaden script in this medical drama about foster brothers Steven (Donald Woods) and Jerry Brace (Gordon Oliver) following in their physician father's footsteps. But when Jerry, the natural son, loses two patients on account of drunkenness, he cowardly blames Steven, who is subsequently barred from practicing medicine. Dr. Brace Sr. (Joseph King) suffers a fractured skull in a struggle with Jerry, but the latter is once again too drunk to operate. To the rescue comes the disgraced Steven who not only saves the life of his foster-father but also regains the love of pretty Paula Nordland (Jean Muir). Once a Doctor was an unofficial remake of Alias the Doctor, a 1934 melodrama featuring Richard Barthelmess and Marian Marsh. ~ Hans J. Wollstein, All Movie Guide