Harry Tyler Movies

A Day Of Fury stars Jock Mahoney as town marshal Alan Burnett, whose life is saved by a stranger he meets on the trail. His rescuer turns out to be Jagade (Dale Robertson), a gunslinger just returned after years away, who finds when he gets into town that he can't abide the peace that has been settled between "his" people (i.e. the saloon-keepers, gamblers, etc.) and the righteous, "respectable" folk. Jagade stirs up trouble by persuading the saloon owners to open on Sunday, which they'd voluntarily stopped doing years ago. Suddenly, the peace that had settled over the town is broken, and gambling and other vices that had been in check rise anew, drawing in many of the respectable townsmen and women in the process -- some of the men can't resist the lure of a good high-stakes poker game or a pretty woman, and even the spinster schoolteacher finds herself drawn to Jagade's dark charisma. An escalating cycle of vice and violence unfolds in barely 24 hours; Burnett won't back Jagade down, partly because the man has broken no laws and also partly due to his gratitude to the gunman for saving his life. None of the townspeople can comprehend his inaction, however, and this soon jeopardizes not only his job as marshal and his safety, but also the well-being of his fiancée, Sharmon Fulton (Mara Corday), who was a saloon girl before she was brought out of that life and given a home with a respectable family. Soon Jagade loses control of what he's started, and the town begins to destroy itself in a cycle of guilt, anger, betrayal, murder, suicide, and lynch law.
~ Bruce Eder, 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

A Woman of Distinction serves as a tailor-made vehicle for Rosalind Russell. The star is cast as Susan Middlecott, a highly respected college dean. As can be expected, Susan is too busy for romance -- at least until handsome professor Alec Stevenson (Ray Milland) enters the picture. At first, the dean and the prof are thrown together by the overzealous machinations of a press agent, and they're none too pleased about it. No matter how hard they try to keep their distance from each other, Susan and Alec constantly find themselves in embarrassing situations in full view of the public. It takes the behind-the-scenes maneuvers of Susan's puckish papa (Edmund Gwenn) to straighten things out. Appearing in unbilled cameos are Lucille Ball as herself, and Ball's future TV cohort Gale Gordon as a railroad ticket agent. ~ Hal Erickson, All Movie Guide

The last of Bud Abbott and Lou Costello's three MGM features, Abbott & Costello in Hollywood is a loose remake of Buster Keaton's Free and Easy. Bud and Lou play a pair of Tinseltown barbers who dream of becoming high-priced showbiz agents. Their first clients are Frances Rafferty and Robert Stanton, whose careers may be over before they begin when A&C manage to antagonize powerful producer Donald MacBride and stuck-up film star Carleton Young. The plot serves only as a clothesline upon which to hang several sidesplitting comedy routines: Abbott teaching Costello how to give a shave, Lou vainly trying to get a good night's sleep, a "stunt man" bit involving the tremulous Costello and hulking Mike Mazurki, and a wild roller-coaster finale. MGM contractees Lucille Ball, Jackie "Butch" Jenkins, Preston S. Foster and Robert Z. Leonard make guest appearances. ~ Hal Erickson, All Movie Guide

This second of MGM's Thin Man films reteams William Powell and Myrna Loy as, respectively, bibulous private detective Nick Charles and his socialite wife Nora. The Charleses are sucked into another murder case via Nick's lovely cousin Elissa Landi, whose husband Alan Marshall has vanished. Hubby has been conducting an affair with nightclub thrush Dorothy McNulty (later known as Penny Singleton) and is also blackmailing gangsterish Joseph Calleia. When the corpses begin piling up, Nick and Nora try to piece the clues together, with the earnest assistance of Jimmy Stewart, who carries a torch for Landi. You won't believe who turns out to be the murderer in this one--then again, given the plot's strict adherence to "least likely suspect" formula, you probably will. ~ Hal Erickson, All Movie Guide

Hoping to murder the man who has swindled him, Ray Clements (Mark Damon) worms his way into the remote monastery where his intended victim is convalescing after a serious car accident. Father Vincent (Everett Sloane), head of the monastery, senses that Ray is up to no good, and tries to persuade him to forget about his murder scheme -- and to forgive his enemy. Ultimately, Ray sees the error of his ways -- and, incidentally, discovers that a murder is entirely unnecessary. ~ Hal Erickson, All Movie Guide

Approximately 18 months before launching his own sitcom, Dick Van Dyke appears in this episode as Thomas Craig, who finds out that his millionaire uncle intends to leave all his money to his pet dog Casper. As disappointed as Thomas is by this news, Thomas' gold-digging girlfriend Judy (Stella Stevens) is even more so. Upon learning that Thomas will get all the money upon the death of Casper, Judy begins cooking up schemes to bump off the dog, all of which fail miserably -- and worst of all, the unwitting Casper has taken quite a liking to the mercenary Judy! ~ Hal Erickson, All Movie Guide

Lonely old Emma Paisley (Dorothy Stickney) adopts a stray cat, which insists upon roaming outside Emma's apartment and annoying her next-door neighbor, a bookie named Rinditch (Fred Graham). Finally, Rinditch tells Emma to keep the cat locked up, else he'll kill the wandering feline. As it turns out, however, it is Rinditch who ends up dead -- and he doesn't have eight spare lives like Miss Paisley's cat. ~ Hal Erickson, All Movie Guide

Having remarried since the mysterious disappearance of his first wife Jocelyn four years ago, Mark Halliday (Philip Abbott) is understandably astonished when he sees a painting of a woman who is the spitting image of his missing wife. Halliday locates the artist, Arthur Clymer (John Baragrey), who insists that Jocelyn has been posing for him during the past several months. But Halliday declares that this is impossible -- and if anyone should know beyond doubt that this is impossible, it is Halliday. ~ Hal Erickson, All Movie Guide

While waiting at a train station, Mr. Jones (Albert Salmi) becomes convinced that another traveler, Mr. Bellfontaine (Robert H. Harris), is an escaped psycho killer -- and Bellfontaine arrives at the same conclusion about Jones. Their paranoia is fed by a policeman (Ken Clarke), who evidently thinks that either one of the men could be the killer. Sure enough, there's a criminal at large at the train station -- but his identity comes as quite a surprise. This was the final episode of Alfred Hitchcock Presents' second season. ~ Hal Erickson, All Movie Guide

Bob Hope plays a 19th-century insurance agent whose miserable sales record prompts his boss to send him out West, where he can (supposedly) do little harm. Hope manages to sell a $100,000 life insurance policy--to outlaw Jesse James (Wendell Corey), one of the worst "risks" in history! In his efforts to get the policy back, Hope finds himself being mistaken for Jesse, which is all part of the outlaw's plan to get Hope killed and thereby collect the policy money himself. But with the help of beauteous Rhonda Fleming (the essentially honest beneficiary to Jesse's policy), Hope gains a reputation as a lightning-fast gunslinger. In the inevitable shoot-out with the James gang, Hope is helped out by several famous Westerners, including Gary Cooper, Roy Rogers, Gene Autry, James "Maverick" Garner, and even Tonto (Jay Silverheels). ~ Hal Erickson, All Movie Guide

The debutante whom Andy Hardy (Mickey Rooney) meets-after falling in love with her photograph -- is blonde Diana Lewis (the real-life wife of William Powell). It all comes about when Andy accompanies his dad Judge Hardy (Lewis Stone) to New York. Plunging into the Manhattan social whirl, Andy is introduced to the wealthy Diana by his hometown chum Betsy Booth (Judy Garland), who finds time to sing "I'm Nobody's Baby" and "Alone". Meanwhile, Andy's steady Polly Benedict (Ann Rutherford) sits home and fumes. It takes a few personal disillusionments and public embarrassment for Andy to realize that his true heart's desire is back in his own back yard (Judy Garland could have told him as much; after all, she previously said those lines in Wizard of Oz). Andy Hardy Meets Debutante was the ninth in MGM's "Hardy Family" series. ~ Hal Erickson, All Movie Guide