John Tyrrell Movies

Moss Hart and George S. Kaufman's whimsical Pulitzer Prize-winning Broadway play You Can't Take It With You was transformed into a paean to populism by director Frank Capra and screenwriter Robert Riskin. This is the story of the zany Sycamore household, presided over by Grandpa Vanderhof (Lionel Barrymore), a former businessman who has turned his back on commerce to enjoy life. At the Sycamores', everyone does just what he or she pleases. Penny Sycamore (Spring Byington), Grandpa's daughter, has become a novelist because someone delivered a typewriter to her home by mistake. Penny's husband makes firecrackers in his basement with the help of Mr. DePinna (Halliwell Hobbes), an iceman who showed up at the Sycamore doorstep one day and never left. Their daughter, Essie (Ann Miller), imagines that she's a prima ballerina, even though her dour teacher, Boris (Mischa Auer), assesses her work with, "Confidentially, it steenks!" Essie's husband, Ed (Dub Taylor), who'd rather play a xylophone than work, spends his free time selling Essie's candy, wrapping each package in paper from a used printing press that dispenses anarchistic slogans. The one normal member of the household is Alice Sycamore (Jean Arthur), in love with wealthy Tony Kirby (James Stewart).

Naturally, when the stuffy, aristocratic Kirbys come to the Sycamores' for dinner, the event is a disaster, capped with the arrest of everyone in the household. Hart and Kaufman's third act found the previously judgmental Kirby softening his attitude toward the freewheeling Sycamore clan, admitting that he's never had so much fun in his life. Screenwriter Riskin altered the focus of the play by throwing out the third act and concentrating upon Tony Kirby's father, Kirby Sr., who as played by Edward Arnold is transformed from a stock stuffed shirt into a ruthless, grasping tycoon, eager to buy up every house on the Sycamores' block to make room for a munitions plant. The film thus became the story of Kirby's regeneration at the hands of the carefree Sycamores. Enough of the play's screwball elements are retained to compensate for Riskin's speechifying and plot distortions (though the softening of one of the play's vital ingredients, Grandpa's refusal to pay his income tax, borders on the sacrilegious). You Can't Take It With You earned several Academy Awards, including Best Picture and Best Director (Capra's third Oscar). ~ Hal Erickson, Rovi

The Game That Kills is professional hockey, at least according to this Columbia "B"-picture. Charles Quigley stars as Ferguson, a rough-and-tumble hockey player who discovers that his chosen profession is nothing more than a racket, a plaything for game-fixing racketeers. When his brother is killed in a highly suspicious accident, Ferguson and team trainer Holland (J. Farrell McDonald) join forces to bring the killers to justice. Second-billed Rita Hayworth is decorative as Holland's daughter (and Ferguson's sweetheart, natch). The Game That Kills was the second of three hockey-themed films released in 1937, the others being Warner Bros.' King of Hockey and Universal's Idol of the Crowd. ~ Hal Erickson, Rovi

Movie trends always come in cycles: in 1937, motorboat melodramas were briefly the rage. In Columbia's Motor Madness, small-time boat manufacturer Cap McNeil (J. M. Kerrigan) enters an international cup race to raise enough money to keep his business afloat. Much to the delight of Cap's pretty daughter Peggy (Rosalind Keith), handsome mechanic Joe Dunn (Allan Brooks) is chosen to steer McNeil's motorboat to (hopefully) victory. Complicating matters is a cute orphan lad (George Ernest) whom Joe adopts and a gambling boat which serves as a safe haven for wanted criminals. While leading players Allan Brooks and Rosalind Keith didn't go very far in Hollywood, the supporting cast of Motor Madness is full of reassuringly familiar Columbia faces, including the ubiquitous Marc Lawrence and Joe Sawyer. ~ Hal Erickson, Rovi

Joan Perry plays the title role in Columbia's Counterfeit Lady. She is cast as Phyllis, a country lass with a rare talent for larceny. Managing to steal a $37,000 diamond from a swank New York jewelry shop, Phyllis is pursued by private detective Johnny (Ralph Bellamy), and by a gang of professional thieves who play for keeps. Johnny rescues the heroine from the villains, whereupon she instantly reforms in order to permit a climactic romantic clinch. So well does Joan Perry pull off the leading role in Counterfeit Lady that it seems a shame she retired from acting after becoming the wife of Columbia prexy Harry Cohn. ~ Hal Erickson, Rovi

In this crime drama, an evil ex-con makes his living selling cheap booze masked under expensive labels. He runs a drugstore as a front and also sponsors a girl's baseball team. The story is split between the gangster's illegal activities and the action on the baseball field where the lovely players practice. Trouble ensues when one of the dishonest ex-con's prison buddies appears. To protect his scam, the ex-con kills his friend. Later, the team catcher is poisoned during a game. A dullard cop is assigned the case as a brainless rookie reporter. The ex-con ends up attempting to sell his drugstore and illicit booze in order to escape them. ~ Sandra Brennan, Rovi

A never-completed stage musical was the source for the MGM superproduction Born to Dance. The plot is another three-sailors-on-leave affair, with Ted (James Stewart), Mush (Buddy Ebsen) and Gunny (Sid Silvers, who also co-wrote the script) romancing the eminently romanceable Nora (Eleanor Powell), Peppy (Frances Langford) and Jenny (Una Merkel). Nora aspires to become a dancing star, but her career nearly ends before it begins when she inadvertently comes between Broadway luminary Lucy James (Virginia Bruce) and her producer-lover McKay (Alan Dinehart). If anyone watching back in 1936 really cared about the plot, they probably weren't music lovers. The lovely Cole Porter score (his first written directly for the screen) includes "I've Got You Under My Skin", sung by Virginia Bruce to James Stewart, and "Easy to Love", warbled by Stewart to Eleanor Powell. Highlights include Reginald Gardiner's impersonation of a symphony-conducting traffic cop (a routine he'd previously performed on stage) and Eleanor Powell's climactic tap routine on board an art-deco battleship (a sequence later re-deployed for the climax of 1944's I Dood It). ~ Hal Erickson, Rovi