Rudy Vallee Movies

This documentary, made for PBS' American Masters series, explores the life and career of the renowned screenwriter and director Preston Sturges (1898-1959), whose few but very influential films managed to change the entire film industry. The documentary features clips from his films, and interviews with those who knew him well, including ex-wives. He was the first screenwriter to make the move to become a film director. He is best known for his unerringly light touch in dealing humorously with difficult topics, and directed one of the first widely successful spoofs of Hollywood, The Great McGinty. The director had a life as eventful and fraught with coincidences as anything in the movies, and this is recounted also. ~ Clarke Fountain, All Movie Guide

Singing stars from two very different generations appear in Live A Little, Love A Little. Elvis Presley plays Greg, a photographer who divides his time working for a skin magazine and a conservative newspaper. Rudy Valle plays Penlow, the veteran newspaper publisher. Lansdown (Don Porter) is the publisher of a girly magazine as Greg tries to work for both without the other finding out. Greg falls in love with a fashion model (Michele Carey) in this situation comedy that even die-hard Elvis fans have a hard time swallowing. By this time, Elvis planned to fulfil his remaining movie obligations and return to the stage, as his 1960s film career had failed to take on the dramatic seriousness he desperately sought. ~ Dan Pavlides, All Movie Guide

This evening of musical magic includes some of the greatest jazz artists and their exciting performances. ~ All Movie Guide

Marjorie Main is the whole show in the Universal programmer Ricochet Romance. Playing the outspoken new cook at a rundown dude ranch, Marjorie forces everyone around her to pitch in and bring some life back into the place. She also sets her sights on old layabout Chill Wills, scheming to rope the critter into marriage. Veteran comedy director Charles W. Lamont moves the proceedings along with style, never missing an opportunity for a low-comedy slapstick turn. The most surprising aspect of Ricochet Romance is that it is not an entry in Marjorie Main's Ma and Pa Kettle series. ~ Hal Erickson, All Movie Guide

The same studio that brought forth Father Was a Fullback was responsible for Mother is a Freshman. Loretta Young stars as Abbigail Abbott, the widowed mother of coed Susan Abbott (Betty Lynn). In order to legally validate Susan's scholarship fund (a legacy of her late grandmother), Abigail enrolls in the university as a freshman. Here she is wooed by Professor Richard Michaels (Van Johnson)--much to Susan's dismay, since she'd set her cap for the professor herself. Rudy Vallee reprises the "stuffy middle-aged suitor" characterization he'd essayed in such previous comedies as The Palm Beach Story and Bachelor and the Bobby-Soxer. Mother is a Freshman afforded audiences the opportunity of glimpsing 20th Century-Fox's familiar "college campus" sets in full Technicolor (these standing sets were also seen in black & white in such 1949 releases as Mr. Belvedere Goes to College and It Happens Every Spring). ~ Hal Erickson, All Movie Guide

First came 20th Century-Fox's Mother Was a Freshman; then, a few months later, the same studio's Father Was a Fullback. Fred MacMurray stars as college football coach George Cooper, whose team can't win a game to save its life. George finds some comfort in the arms of his wife Elizabeth (Maureen O'Hara), but his young daughters Connie (Betty Lynn) and Ellen (Natalie Wood) are too concerned with boys to pay their dad any attention. Connie causes no end of trouble for George by printing a highly imaginative article about her various romances. On the verge of losing his job, George is saved by the arrival of football champ Joe Burch (Richard Tyler). Rudy Vallee virtually repeats his stuffy-suitor characterization from Mother is a Freshman in Father Was a Fullback. ~ Hal Erickson, All Movie Guide

Radio humorist Henry Morgan made his film debut in So This is New York. Based on The Big Town, a collection of stories by Ring Lardner, the film traces country bumpkin Morgan's progress as he uses an inheritance to take a trip with his wife (Virginia Grey) and sister-in-law (Dona Drake) to the New York of the 1910s. He encounters numerous oddball characters, the most colorful of which is a drunken jockey (Leo Gorcey). The boxer and at least four other Broadwayites (Hugh Herbert, Rudy Vallee, Bill Goodwin and Jerome Cowan) complicate Morgan's life when they court his wife's sister--most of them hoping for a slice of that inheritance. The movies were not the ideal medium for the satiric barbs of Henry Morgan, though he plays his role well and carries the film with assurance. In addition to being Morgan's first picture, So This is New York was also the maiden voyage for producer Stanley Kramer. ~ Hal Erickson, All Movie Guide

Absent from films since 1938 (except as producer of a brace of RKO Radio features), silent-screen comedy favorite Harold Lloyd returned before the cameras in The Sin of Harold Diddlebock. The project began as a labor of love between Lloyd and the brilliant, innovative producer/writer/director Preston Sturges. Though these two comedy geniuses eventually had a stylistic falling out, resulting in an uneven, spasmodically dreary film, on the whole Harold Diddlebock is well worth having. Sturges cleverly opens the picture with the final reel of Lloyd's silent classic The Freshman(1925), in which the drudge of the college football team makes good and scores the winning touchdown. The story proper begins in the locker room, where football hero Harold Diddlebock (Lloyd, looking three decades younger than his 53 years) is impulsively offered a job by banker J.E. Wagglebury (Raymond Walburn). Taking his place at his new desk and festooning his walls with inspirational homilies, Harold starts to work, supremely confident that he's poised on the brink of bigger things. Twenty-three years pass: In 1946, a weary, stoop-shouldered Harold is still at the same desk at the same job, his dreams of success but a dim memory. Summarily fired by the pompous Wagglebury ("You have not only ceased to go forward, you have gone backward"), Harold collects his final paycheck, cleans out his desk, and bids farewell to office girl Miss Otis (Frances Ramsden), all of whose older sisters had previously been Harold's sweethearts. Wandering aimlessly on the street with his severance pay in hand, Harold is spotted by a dessicated street hustler named Wormy (Jimmy Conlin), who inveigles the newly fired clerk to join him at a nearby bar. Informed that Harold has never taken a drink in his life, the bartender (Edgar Kennedy) lights up and declares, "Sir, you rouse the artist in me!" With great ceremonial flourish, the bartender concocts a potent beverage called the Diddlebock. Harold takes one sip of the brew, lets out a yell, and immediately loses all the inhibitions that have kept him from advancing himself in the past two decades. With Wormy in tow, Harold goes on a wild spending and carousing spree, totally losing track of an entire day-and-a-half.

At the end of his revelry, the hung-over Harold is awakened by his sister (Margaret Hamilton), who informs him that he's bought a garish new wardrobe, a ten-gallon hat, and goodness knows what else. He soon finds out what else when he ventures into the street and is informed that he's bought a horse-drawn cab (with driver!) -- and a circus, complete with hungry lions. Quickly formulating a plan to get rid of the circus at a substantial profit, Harold decides to elicit bids from the town's various bankers, bringing Jackie the Lion along with him so that the bank guards won't stop him at the door. All of this leads to a wild recreation of Lloyd's skyscraper-teetering gags from his silent days, a noisy episode at the local jail, and a romantic tête-à-tête with Miss Otis, who reveals at the very end how Harold really spent his "missing" Wednesday! Though it tested well upon its first release, Sin of Harold Diddlebock was abruptly withdrawn from circulation by its co-producer Howard R. Hughes, who spent four years reediting and sometimes reshooting the film before finally releasing it through RKO as Mad Wednesday. Both this version and the original Sin of Harold Diddlebock still exist; while the earlier version is undeniably richer in comic invention and characterization, the shortened Mad Wednesday works better in front of an audience. Neither version completely fulfills the potential of its premise, however. Though not to be missed, this final Harold Lloyd vehicle pales in comparison with his vintage silent comedies. ~ Hal Erickson, All Movie Guide

Art Linkletter had only recently taken over the popular audience-participation radio series People are Funny from Art Baker when he appeared as "himself" in this lighthearted musical comedy. The film's plot concerns a rivalry between two radio producers, both of whom want to produce a weekly radio series in which audience members indulge in silly stunts for huge cash prizes. A romance develops between supposedly slow-on-the-uptake radio producer Pinky Wilson (Jack Haley) and writer Corey Sullivan (Helen Walker), while wealthy sponsor Ormsby Jamison (Rudy Vallee) tries to determine if People are Funny is a saleable concept. Ozzie Nelson costars as Wilson's business rival, Frances Langford shows up for a song, and future 3 Stooges member Joe DeRita has a funny bit as a contestant. ~ Hal Erickson, All Movie Guide

Based on the popular Russian novel The Twelve Chairs, this stars Fred Allen as flea-circus impresario Fred Floogle. Learning that he's inherited $12 million from his uncle, Fred also discovers that the money has been stuffed in one of thirteen chairs that he's sold at auction. The rest of the film goes off on any number of hilarious tangents, each tied-in ever so tenuously to the plot. Included is an episode at the movies (Fred and his wife Binnie Barnes are continually escorted up several balcony steps and out several alleyway doors), a visit to Floogle's radio cohort Mrs. Nussbaum (Minerva Pious), a brief misadventure with Jack Benny (this time Benny has a hat-check girl in his hall closet, so that he can collect tips from visitors), an impromptu barbershop quartet session with Fred, Rudy Vallee, Don Ameche and Victor Moore, and a confrontation with the dreaded William Bendix mob (Bendix isn't really a gangster; he simply inherited the mob from his mother). Also weaving in and out of the proceedings are John Carradine as a crooked attorney, Robert Benchley as Fred's pompous in-law-to-be, Sidney Toler as a popcorn-munching detective, and Jerry Colonna as Fred's live-in psychiatrist. Two versions of this film exists, one without Fred Allen's ongoing voice over narration. ~ Hal Erickson, All Movie Guide

As for the opening reels, the principal motivating factor is money. After a deliberately confusing pre-credit sequence (not explained until the film's punch line), Tom Jeffers (Joel McCrea) and Gerry Jeffers (Claudette Colbert) are married. "And so they lived happily ever after," exults a title card, "...or did they?" Well, they didn't. After five years of marriage, Tom hasn't raised a dime with his pie-in-the-sky inventions. Using the sort of logic common to Sturges heroines, Gerry decides that the only way to help her husband is to divorce him, marry a wealthy man, and use the second husband's money to finance Tom's schemes. Borrowing money from a generous self-made business mogul known only as the Wienie King (Robert Dudley), Gerry boards a train to Palm Beach, FL, where all the rich folk go. En route, she is "adopted" by the Ale & Quail Club, a group of perpetually drunken millionaires whose idea of a good time is to shoot their rifles at everything that moves (among the club members are such Sturges regulars as William Demarest, Robert Warwick, Jimmy Conlin, Robert Greig, Jack Norton, and Dewey Robinson). Taking refuge from this rowdy crew, Gerry makes the acquaintance of likeable stuffed shirt John D. Hackensacker III (Rudy Vallee), who happens to be one of the wealthiest men in the Western Hemisphere. While Gerry spoons with Hackensacker in Palm Beach, the confused Tom (remember him?) dallies with Hackensacker's man-crazy sister, Princess Centimillia (Mary Astor). How all this straightens itself out is better seen than described, which is pretty much the case whenever one discusses Sturges' singular work, and The Palm Beach Story is vintage Sturges with one side-splitting sequence after another. ~ Hal Erickson, All Movie Guide