Harry Tyler Movies

Previously filmed in 1923 as a vehicle for Marion Davies, Rida Johnson Young's warhorse theatrical property Little Old New York was dusted off by 20th Century-Fox for Alice Faye, Fred MacMurray and Richard Greene. The latter plays the nominal lead, Scottish inventor Robert Fulton, who in 1807 arrives in New York City with the intention of building a steamboat which will accelerate transportation between the many boroughs. Everyone laughs at "Fulton's Folly" with the exception of gorgeous tavern keeper Pat O'Day (Alice Faye), who offers Fulton shelter and financial assistance. This doesn't sit at all well with Pat's boyfriend Charles Brownne (MacMurray), who like most of the sailors in the region is fearful that Fulton's steamboat will put him out of business. By film's end, however, Brownne has aligned himself with Fulton, if only because of his intense dislike for the villain of the piece, rival mariner Regan (Ward Bond). Several notably 19th century New York personages show up for cute cameo bits, among them Nicholas Roosevelt (Robert Middlemass), John Jacob Astor (Roger Imhof) and Washington Irving (Theodore Von Eltz). ~ Hal Erickson, All Movie Guide

Based on a story by Vicki Baum (of Grand Hotel) fame, Dance, Girl Dance finds innocent young Judy (Maureen O'Hara) journeying to the Big Apple in hopes of gaining fame as a classical dancer. Instead she ends up as the "stooge" for raucous strip-tease artist Bubbles (Lucille Ball), who attempts to perform ballet before leering, catcalling, unappreciative burlesque audiences. Eventually, Judy and Bubbles both fall for playboy Jimmy Harris (Louis Hayward), a rivalry that culminates in a hair-pulling, eye-scratching cat fight. Eventually, Harris's ex-wife (Virginia Field) reels him back in, and Judy is hired by ballet producer and entrepreneur Steve Adams (Ralph Bellamy). In recent years, Dance, Girl, Dance has been canonized as a feminist manifesto, due to the fact that Dorothy Arzner was the director and because of Maureen O'Hara's climactic burlesque-house speech, in which she lambastes the male spectators for their puerile chauvinism. It should be noted, however, that Arzner became director only after Roy Del Ruth pulled out of the project. Uncertain how to promote the film, RKO Radio elected to sneak it into its first-run houses without fanfare, and the result was a $400,000 loss for the studio. ~ Hal Erickson, All Movie Guide

Director Rouben Mamoulian often claimed that he'd been inspired to make Golden Boy after reading a newspaper clipping about a recently deceased boxer. While Mamoulian may have genuinely believed that he was the true "auteur" of Golden Boy, he probably wouldn't have made the picture at all had not Clifford Odets started the ball rolling by writing the property for the stage in 1936. In his first starring role, William Holden plays Joe Bonaparte, a promising young boxer. While boxing promoter Tom Moody (Adolphe Menjou) and Menjou's mistress Lorna Moon (Barbara Stanwyck) urge Joe to pursue a ring career, Joe's Italian father (played with a surfeit of Chico Marx by 27-year-old Lee J. Cobb) wants his boy to become a famous violinist. Moody tells Lorna to romance the boy to get him into the ring. She does so, but regrets her callous actions when she genuinely falls in love with Joe. Having already broken his father's heart, Joe is further devastated when he accidentally kills a ring opponent. In the original play, both Joe and Lorna pay for their "sins" by dying in an auto accident. This would never do in Hollywood, so at fadeout time the chastened Joe returns to his forgiving father, with a tearful Lorna by his side. Clifford Odets' overrated purple prose seems to flow naturally from the actors, though it is obvious that William Holden had a long way to go. Still, Holden is pretty good in his first bonafide lead, a fact that he would ever after attribute to the patience and encouragement of his co-star Barbara Stanwyck; each year on the anniversary of Golden Boy's Hollywood premiere, Holden would send Stanwyck flowers as a sign of his eternal gratitude. While much of Golden Boy seems like a cliche-ridden museum piece when seen today, the film comes to life during the boxing sequences, helmed in exciting montage fashion by the always innovative Rouben Mamoulien. ~ Hal Erickson, All Movie Guide

In this crime drama, a grizzled cabbie is scammed out of his life savings by a fake finance company. He tries to no avail to get police assistance. Finally he becomes a wanted criminal and escapes to California where he meets the girl who will become his wife. She helps him go straight by helping him set up a garage. When she gets pregnant, she talks him into to confessing his crimes to the police. He agrees, but before he goes, he decides to commit one last crime to ensure that his wife and child will not starve while he serves his prison sentence. He then steals a million dollars only to learn that the money is worthless. He is subsequently killed in a police shoot-out. ~ Sandra Brennan, All Movie Guide

This fictionalized biography of the famed American inventor's life provided actor Don Ameche with his signature role. For years after its release, people even referred to the telephone as "an Ameche." The story begins in 1873 Boston as Bell endeavors to teach deaf people to speak in the manner invented by his father. When not teaching, Bell tinkers with his various inventions. Opportunity knocks when Bell is befriended by an aristocratic fellow (Charles Coburn) who wants Bell to help teach his daughter (Loretta Young) to speak. Bell agrees and falls in love with her. It is she who inspires and encourages him to invent the telephone, while it is young Watson (Henry Fonda) who assists him. After they meet with success, the inventors must do battle in court with Western Union, the company that held the patent to the telegraph. ~ Sandra Brennan, All Movie Guide

The "Lady" of the title is horse-farm owner Penelope Hollis (Ellen Drew), but during the first half of this film, bookie Marty Black (George Raft) only has eyes for Penelope's prize two-year-old. After losing his gambling joint, Marty finds himself with half ownership of the horse as his sole asset. He tries to persuade Penelope to continue racing the horse, but she will have none of this and packs the nag back to her Kentucky farm. Through Marty's persistence, the horse is entered in an important stake race, but in the process is "ridden out" and rendered useless. The enraged Penelope refuses to have anything to do with Marty again unless he changes his reckless ways-which of course he does. The best moment in The Lady's From Kentucky comes at the end, when supporting players Hugh Herbert ("Woo woo!") and ZaSu Pitts ("Oh, dear, oh, my") imitate each other's catch-phrases, a gag repeated the following year by Mae West and W.C. Fields in My Little Chickadee. ~ Hal Erickson, All Movie Guide

John Ford's fine direction distinguishes this highly fictionalized account of the early life of Abraham Lincoln. The film shows Lincoln (Henry Fonda) as he rises from a country boy born in a log cabin to a lawyer in Springfield, Illinois defending two young men unjustly accused of murder. The film, produced by Darryl F. Zanuck, received an Academy Award nomination for "Best Original Screenplay" for its screenwriter Lamar Trotti. Henry Fonda perhaps the most American of actors, is at his best playing Lincoln as the quintessential, compassionate American hero. ~ Linda Rasmussen, All Movie Guide

After several years' faithful service in supporting parts, Frank Jenks and Dorothea Kent were promoted to leading roles in Universal's Strange Faces. Even so, it is fourth-billed Leon Ames who dominates the film, in the dual role of a notorious gangster and a respectable small-town citizen. Taking advantage of a "celebrity lookalike" newspaper series created by reporter Denby (Jenks), the gangster learns the identity of his double, concocting a scheme to kill off the lookalike so that he (the gangster, that is) can continue eluding the law by passing himself off as his "twin". But Denby and his girl Friday Maggie (Kent) tumble to the scheme and head to the villain's hideaway, where they team up with bucolic weekly-newspaper editor Hobbs (Andy Devine) and Hobb's sweetheart Lorry May (Mary Treen). From this point onward, melodrama takes a back seat to comedy, with Jenks, Kent, Devine and Treen going through the repertoire of their tried-and-true laughmaking bits. ~ Hal Erickson, All Movie Guide

Harold Lloyd plays a professor of Egyptology, frightened by the notion that he has fallen under an ancient Egyptian curse. Lloyd has the opportunity to join an archeological expedition to search for a missing tablet that will determine his fate, but he has to travel from Los Angeles to New York before the party sails to Egypt. Alas, Lloyd is also required to appear in court to answer charges of "indecent exposure" (it's a long story). The rest of the film is a frantic chase with the authorities pursuing the fugitive professor across the country, highlighted by a daredevil sequence atop a moving train. Most of the individual gags are funny, but Professor Beware is several notches below the standard set by Harold Lloyd's silent films. The lukewarm boxoffice response to this film would convince Lloyd that he should retire from performing--which he did, returning to the screen only for 1947's Sins of Harold Diddlebock. ~ Hal Erickson, All Movie Guide

The second motion picture version of a Saturday Evening Post story by Dana Burnet, this romantic melodrama was also the second pairing of actors James Stewart and Margaret Sullavan. Stewart plays Private Bill Pettigrew, a naïve young Texan in New York for basic training prior to being shipped overseas to fight in WWI. When he is nearly run over by an automobile, he meets its owner, Daisy Heath (Sullavan). A sophisticated entertainer, Daisy is taken with Bill's sweet, uncomplicated nature, and she agrees to a ruse when Bill asks her to pose has his girl in order to impress his Army bunkmates. Daisy's real boyfriend, Sam Bailey (Walter Pidgeon), is at first amused by Daisy's new friendship, but he soon becomes jealous of Bill's growing affection for Daisy. When Bill receives his orders, he begs Daisy to marry him, and although she doesn't really love him, Daisy can't reject a soldier who may be about to meet his maker, so a quickie ceremony is arranged. When word later comes that Bill has been killed on the front lines, a heartbroken Daisy realizes that she and Sam are taking each other for granted. ~ Karl Williams, All Movie Guide

When Walter Pidgeon wasn't playing Greer Garson's perfect husband at MGM, he could usually be found portraying a newspaper editor. This is how we find him in My Dear Miss Aldrich, the first MGM flick in which Pidgeon was awarded top billing. Maureen O'Sullivan plays the title character, a glamorous schoolteacher who receives an inheritance from a wealthy relative. That legacy turns out to be the very newspaper managed by Mr. Pidgeon--and the usual fireworks result. My Dear Miss Aldrich was written by Herman J. Mankiewicz, a former newspaperman who would cap his cinematic reminiscences with his 1940 screenplay for Citizen Kane. ~ Hal Erickson, All Movie Guide

The hyped-up 1930s radio feud between bandleader Ben Bernie and columnist Walter Winchell is all but forgotten today, but that doesn't lessen the entertainment value of the Bernie/Winchell vehicle Wake Up and Live. Amidst the bickering of the two stars, the film traces the progress of mike-shy singer Jack Haley (whose singing voice was dubbed by Buddy Clark). Leading lady Alice Faye tricks Haley into singing on the air with Bernie's orchestra, which results in Winchell doing his best to discredit both Bernie and Haley. Eventually Haley and Alice Faye fall in love, and Ben and Walter patch up their differences. So successful was Wake Up and Live that 20th Century-Fox rushed Bernie and Winchell into a follow-up, Love and Hisses (38), but by that time their feud had taken second place in the hearts of America to the equally contrived "battle" between Jack Benny and Fred Allen. ~ Hal Erickson, All Movie Guide

Guy Kibbee, moviedom's archetypal small-town bigshot, stars in RKO Radio's Don't Tell the Wife. On this occasion, Kibbee, playing Malcolm Winthrop, has greatness thrust upon him when he buys a few shares of supposedly worthless mining stock. Though it looks as though he and the entire town will be ruined financially, Winthrop emerges triumphant when he manages to outwit up a gang of stock swindlers. Lynne Overman has some good moments as one of the crooks, Steve Dorset by name, who intends to go straight for the sake of his spouse Nancy (the "wife" of the title, played by Una Merkel), but he can't resist trying to pluck a fat goose like Winthrop. The supporting cast of Don't Tell the Wife is filled to overflowing with familiar faces, none more familiar than RKO contractee Lucille Ball. ~ Hal Erickson, All Movie Guide