Harry Tyler Movies

Two vagabonds find romance in this love story. It all begins when they get jobs as railroad brakemen by proving to the foreman that they are strong. Both of them simultaneously think about giving up their wandering ways when they meet two eligible women: the railroad's paymaster and commissary chief, and a dumbbell waitress. Things are looking up until one of the hoboes loses his savings in a crap shoot and later finds himself framed for theft. Fortunately, the two are able to finger the real thieves before it is too late. ~ Sandra Brennan, All Movie Guide

Babbitt, Sinclair Lewis' satirical novel of the American "middle class" was first filmed as a silent in 1924, then as a talkie ten years later. In this second version, Guy Kibbee portrays George Babbitt, a small town businessman whose sense of self-importance has turned him into a pompous ass. Only Babbitt's loving wife (Aline MacMahon) sees the decent man behind the fatuous facade. Babbitt's ego gets the better of him when he is inveigled by a lovely but duplicitous young lady (Claire Dodd) into promoting a shady land deal. On the verge of ruin, Babbitt is rescued by his wife, though there's every indication that he hasn't completely learned his lesson. While the sting of Sinclair Lewis' original novel has been blunted, One couldn't ask for a better George Babbitt than Guy Kibbee. ~ Hal Erickson, All Movie Guide

James Cagney manages to retain his pre-Code cockiness within post-Code limitations in the likeable St. Louis Kid. Cagney and Allen Jenkins, Eddie Kennedy, and Buck Willetts play long-distance truck drivers who get entangled in a battle between a crooked trucking firm and striking milk farmers (a plot thread based on actual events). When one of the dairymen is killed by a hired goon, Eddie is accused of the crime. He breaks out of jail to track down the real killer then has to rescue his girlfriend Ann (Patricia Ellis), who's been kidnapped by henchmen of the truck company. It takes a bit of clever brainwork between Eddie and Buck, but our hero manages to flummox the bad guys and rescue the girl. James Cagney's sheer star power is such that the audience is willing to forgive the fact that, in the early passages of the film, his character is nothing more or less than a "scab." St. Louis Kid is the picture in which Cagney, tired of playing characters who settle differences with their fists, hit upon the novel idea of incapacitating his screen rivals by butting his forehead against theirs, knocking them cold without laying a hand on them! ~ Hal Erickson, All Movie Guide

Two wealthy neighbors, who make no secret of despising one another, both claim that they're married to Bessie Foley (Mary Astor). When one of the claimants is murdered, Bessie is the prime suspect. Brilliant defense counsel Perry Mason (Warren William), whose spacious offices look like something out of the Taj Mahal, takes Bessie's case, aided and abetted by faithful secretary Della Street (Helen Trenholme). Like his later TV counterpart, Mason isn't above suppressing evidence to benefit his client, much to the dismay of district attorney Claude Drumm (Grant Mitchell) and obnoxious but efficient Sgt. Holcomb (Allen Jenkins). The solution to the mystery manages to have its cake and eat it too, but to tell more would spoil it. This initial entry in Warner Bros.' "Perry Mason" film series is also the least fascinating of the bunch, due mainly to Warren William's surprisingly somber approach to the role (he'd lighten up considerably in his subsequent "Mason" outings). ~ Hal Erickson, All Movie Guide

A pre-stardom Bette Davis struggles mightily as the "other woman" in this rather obvious divorce court drama from Warner Bros. George Brent stars as William Reynolds, a hardworking but markedly unmotivated office manager whose wife, Nan (Ann Dvorak), manages to make ends meet with the little she's got. Enter Patricia Berkeley (Davis), a high-powered advertising exec, with whom William falls madly in love. Does he leave the little wife for the glamorous co-worker? Well almost, but all bets are off when young Buddy Reynolds (Ronnie Cosbey) is hit by a car and nearly killed. ~ Hans J. Wollstein, All Movie Guide

The title refers to those special government agents who go undercover to flush out criminal gangs. In his second starring role, Fred MacMurray plays a government man who travels incognito as he trails a team of crooks from Brooklyn to Kansas. Lynne Overman is MacMurray's easygoing partner, who (naturally) is rubbed out by the hoods. MacMurray inveigles his way into the gang and brings them to justice--the ones who survive, that is. Released at the very beginning of Hollywood's G-Man cycle, Men without Names was instrumental in securing more prestigious acting assignments for Fred MacMurray. ~ Hal Erickson, All Movie Guide

Although some purists hold out for Duck Soup (1933), many Marx Brothers fans consider A Night at the Opera the team's best film. Immediately after the credits roll, we are introduced to Groucho Marx as penny-ante promoter Otis B. Driftwood. After a sumptuous dinner with a beautiful blonde at a fancy Milan restaurant, Driftwood tries to cadge another free meal from his wealthy patroness, Mrs. Claypool (Margaret Dumont). The dignified dowager complains that Driftwood had promised to get her into high society, but has done nothing so far. Otis B. counters by introducing Mrs. C to pompous opera entrepreneur Gottleib (Sig Rumann); all Mrs. Claypool has to do is invest several hundred thousand dollars in Gottleib's opera company, and her entree into society is in the bag. Contingent upon this plan is Driftwood's signing of Rodolfo Lassparri (Walter Woolf King), a self-important tenor. Backstage at the opera, Driftwood meets Fiorello (Chico Marx), who poses as a manager and offers to sell Driftwood the "world's greatest tenor"-not Lassparri, as Driftwood assumes, but Fiorello's pal Ricardo Baroni (Allan Jones). Instantly the two sharpsters try to draw up a contract ("The party of the first part shall hereafter be known as the party of the first part..."), which they proceed to tear up piece by piece whenever coming across a clause that displeases them (Driftwood: "That's a sanity clause"; Fiorello: "You no foola me. There ain't no Sanity Claus"). Having lost Lassparri to Gottleib, Driftwood sails back to America with Mrs. Claypool and the opera company. Gottleib arranges for Driftwood to get the tiniest, least accessible stateroom on the ship. Unpacking his trunk, Driftwood discovers that he's got to share his postage-stamp quarters with Ricardo Baroni, who has stowed away because he's in love with the opera troupe's leading lady Rosa (Kitty Carlisle). Also hiding out in Driftwood's trunk is Fiorello, who's come along because he's still Ricardo's manager, and the wacky Tomasso (Harpo Marx), Lassparri's former dresser, who has come along for the hell of it. Anxious to arrange a tete-a-tete with Mrs. Claypool in his stateroom, Otis finds out that his unwelcome guests won't leave until they're fed ("Do you have any stewed prunes? Well, give them some black coffee, that'll sober 'em up"). After ordering a huge dinner, Otis and his new friends are crowded even farther by a steady stream of intruders, including an engineer and his assistant, a cleaning lady, a manicurist, a girl looking for her Aunt Minnie, and a dozen waiters. The celebrated "stateroom scene" comes to a rollicking conclusion when Mrs. Claypool has the misfortune of opening the door. On the last night of the voyage, Fiorello, Tomasso and Ricardo sneak out of their stateroom to enjoy an impromptu ethnic festival in steerage. Ricardo sings, Fiorello "shoots the keys" on the piano, and Tomasso plays the film's theme song Alone on the harp. The stowaways are caught and thrown in the brig, but with Driftwood's help they escape. To avoid recapture, the stowaways don heavy beards and pose as three famed Russian aviators. After making a shambles of a public reception, the three reprobates hide out in Driftwood's New York apartment, where everyone conspires to drive an investigating detective (Robert Emmet O'Connor) crazy. Driftwood is fired from the opera company for associating with the stowaways, while Rosa is dismissed for refusing Lassparri's affections. In order to restore Rosa's job and put the deserving Ricardo in Lassparri's place during the opening performance of La Traviata, Driftwood, Fiorello and Tomasso concoct a scheme that will reduce the opera to comic chaos. The actual night at the opera in A Night at the Opera must be seen to be believed, but the spirit of the scene can be summed up by Gottleib's anguished cry "A battleship in Il Trovatore!" Opera was the Marx Brothers' first film for MGM, and they dearly coveted a hit after the disappointing box-office showing of their final Paramount films. With the blessing of MGM production chief Irving Thalberg, the Marxes went on the road with their brilliant writing staff (including George S. Kaufman, Morrie Ryskind and Al Boasberg) to test their comedy material before live audiences. As a result of this careful preplanning, Night at the Opera was a smash-hit gigglefest, grossing over $3 million and putting the Marxes back on top in the hearts and minds of filmgoers everywhere. ~ Hal Erickson, All Movie Guide

Adapted from one of Dashiell Hammett's best novels, The Glass Key is a lively and straightforward melodrama of political corruption and urban intrigue. George Raft plays Ed Beaumont, the right-hand man to genial ward heeler Paul Madvig (Edward Arnold), who wants to clean up his political act. On the eve of a major election, Madvig is implicated in a murder, and it's up to Beaumont to help him out. Intimately involved in the case is Janet Henry (Claire Dodd), the sister of the murdered man and the daughter of "above reproach" Senator Henry (Charles Richman). Though no babe-in-the-woods, Beaumont is in for quite a few disillusionments as he pursues his investigation, though he does rather better romantically than the redoubtable Madvig. The Glass Key was remade (and improved) in 1942, with Alan Ladd, Veronica Lake and Brian Donlevy; neither version, however, has as much bite and vitriol as the Hammett original. ~ Hal Erickson, All Movie Guide

The 1929 Jerome Kern-Oscar Hammerstein Broadway musical Sweet Adeline has generally been credited as the vanguard for the "Gay 90s" nostalgia fad of the early 1930s. By the time the film was adapted to the screen in 1935, that fad had pretty much played itself out, making the property seem more old-fashioned than ever. Irene Dunne takes over from Broadway's Helen Morgan as beer-hall entertainer Adeline Schmidt, whose romance with songwriter Sid Barnett (Donald Woods) undergoes an inordinate number of setbacks in the course of the film's 85 minutes. Much of the play's libretto has been scrapped in favor of an espionage angle, as Adeline tries to avoid assassination at the hands of a Spanish spy named Elysia (Wini Shaw). Contemporary critics carped that Irene Dunne was unable to match Helen Morgan's delivery of such torch songs as "Why Was I Born"; this is true enough, but Warner Bros. deserves credit for endeavoring to cast Dunne against type. ~ Hal Erickson, All Movie Guide

Social butterfly Rena Allen (Doris Nolan) is bored unto tears by her stuffy fiance Throckton Van Cortland (Gerald Oliver Smith). She runs off to the country, where she falls in love with struggling playwright Ken Durkin (Michael Whalen). He is astonished by her uncanny ability to critique his work and offer advice, but the audience knows that Rena is the niece of prominent Broadway producer Robert Hartley (Nigel Bruce). The audience also knows -- but Rena doesn't -- that Durkin is himself a runaway socialite. Elated when his play is purchased by Hartley, Ken is offended when he discovers that Rena was responsible for this stroke of fortune and storms out of her life (the fact that he'd also been deceiving her doesn't seem to bother him too much). It takes a night together in the small-town jail of rustic sheriff Chic Sale for Rena and Robert to kiss and make up. ~ Hal Erickson, All Movie Guide

Breezy James Dunn breezes through the usual James Dunn breeziness in Two-Fisted Gentleman. Dunn is cast as a prizefighter named Mickey, who manages to survive the mean streets of New York on the strength of sheer stupidity. One of the few mildly original touches in the film is the fact that Mickey's sweetheart Ginger (June Clayworth) is also his manager. So little happens in the film that one is amazed it was based on a short story which actually had a plot. Critics complained that James Dunn brought nothing new to his characterization, but they applauded his fight scenes, which were the highlights of the picture. ~ Hal Erickson, All Movie Guide

In this newspaper farce, an editor loses his voice and his job after he tires of being tormented by the practical jokes of one of two reporters. The joker ends up the new editor. Soon after taking the job, his personality changes dramatically and soon he has become a pompous and excessively harsh taskmaster. His former partner is so disgusted that she decides to leave and marry a stodgy writer of inspirational books. The new editor loves his partner and tries to get her back. When he fails, he begins drinking heavily and wondering what kind of wedding gift he should get her. Knowing that she likes the excitement of police and fire calls, he insures that her wedding will be unforgettable by having fire engines, police cars, and hearses show up to the nuptials. In the end, the editor drives a wagon from the local loony bin into the ceremony and kidnaps her. Romance ensues and eventually the two are married. ~ Sandra Brennan, All Movie Guide

Based on a Damon Runyon story, Three Wise Guys stars Betty Furness as a Broadway golddigger hired by gangster Bruce Cabot to romance playboy Robert Young, then take the sap for every penny he's got. But when Young marries Furness, he is disinherited. Furness decides she's truly in love with Young and leaves town with him. Pursued by Cabot and his henchmen, the couple takes refuge in a deserted farm. Cabot is about to exact vengeance on Furness when he discovers that she's pregnant, and due at any minute. Thus the chastened Cabot and his "wise guy" companions aid Furness in bringing her baby into the world. That's right, it's Christmas...and it's also in a little town called Bethlehem. ~ Hal Erickson, All Movie Guide