Lillian Bond Movies

Intrepid poverty-row producer Victor Adamson also wrote, directed and starred in this ultra-cheap 4-reel western about a drifter who saves the sheriff's son (Wally Merrill) from a gang of outlaws headed by the notorious "Wolf" (William Ryno). Adamson, who sometimes acted under the name Denver Dixon, appeared here as Art Mix, a guise occupied in previous films alternately by George Kesterson or Bob Roberts. Adamson's leading lady, Lillian Bond, was a British-born brunette who would later enjoy a minor Hollywood career playing mostly Bad Girls. To make his little western "up to date," Adamson borrowed some sound equipment one night and filmed a couple of tinny dialogue sequences. ~ Hans J. Wollstein, Rovi

No relation to the 1949 Bob Hope comedy of the same name, The Great Lover stars that master of sartorial splendor, Adolphe Menjou. Menjou plays a famed opera singer, better known for his sexual proclivities than his theatrical performances. He sets his sights on the opera company's ingenue, novice singer Irene Dunne. Menjou's love for Dunne is genuine--the first time he's ever permitted himself such an emotion--but his past misdeeds catch up with him. Dunne ultimately finds happiness in the arms of arrow-collar leading man Neil Hamilton. The Great Lover was directed by Harry Beaumont, the man responsible for so many of MGM's early talkie musicals. ~ Hal Erickson, Rovi

Produced by Trem Carr, this enjoyable B-Western featured the strapping Tom Tyler, a cowboy performer who historically worked well with children. The child in this case was freckled Andy Shuford, a tough little boy rider. Little orphaned Sandy is adopted by a reformed outlaw (Tyler, of course), but when the townsfolk discover Tyler's true identity they conspire to take the tyke away from him. The express office is robbed and Tyler is the obvious suspect. He is provided with a seemingly airtight alibi by the kid, who swears to have seen two of Tyler's enemies commit the crime. After the real culprits have been apprehended, young Sandy confesses that he never really saw anything but only "guessed correctly." Although based on an original screenplay by Wellyn Totman, Rider of the Plains bore a certain resemblance to the same year's The Sheriff's Secret, a Robert J. Horner misfire starring Jack Perrin. ~ Hans J. Wollstein, Rovi

Undoubtedly inspired by Charles Lindbergh's unprecedented sudden fame (but not the ensuing tragedy), Mary McCall's 1932 novel The Goldfish Bowl was turned into a satirical comedy-drama featuring an engaging Douglas Fairbanks Jr. as a navy captain thrust into the limelight after saving his crew during a submarine disaster. With an unsolicited "personal manager" (played to the hilt by Walter Catlett) and a greedy corporation taking care of both ticker tape parades and all kinds of silly public relations stunts, Fairbanks discovers that he no longer has control of his life. He is constantly embarrassed by a novelty song, "Scotty Boy" (vigorously performed by Broadway crooner Clarence Nordstrom), and even wedded bliss to the understanding Mary Brian is turned into a public spectacle. Fortunately, a Danish sailor (Ivan Linow) saves a dog from drowning and instantly takes Fairbanks' place in the public awareness. Afraid of becoming celebrities once again after saving a car from being wrecked by an express train, the reluctant hero and his bride drive away as fast as they can, happy to begin a new, anonymous life in teeming New York City. ~ Hans J. Wollstein, Rovi

It's a wildly varied group that takes shelter from a raging English storm in the forbidding mansion of the Femm family. Among the reluctant guests are stuffed-shirt Philip Waverton (Raymond Massey): Philip's sensitive wife Margaret (Gloria Stuart); their mutual friend, disillusioned war veteran Roger Penderell (Melvyn Douglas); vulgar self-made millionaire Sir William Porterhouse (Charles Laughton); and Porterhouse's no-better-than-she-ought-to-be lady friend Gladys DuCane (Lillian Bond). Under the baleful eyes of ungracious, atheistic host Horace Femm (Ernst Thesiger) and Horace's religious-zealot sister Rebecca (Eva Moore), the group sits around conversing, slowly coming to the realization that first impressions are most deceiving. Normally, that would be the whole story-except that the old dark house houses a deep dark secret involving 101-year-old Sir Roderick Femm (played by "John Dudgeon", actually an actress named Elspeth Dudgeon) and pyromaniac Saul Femm (Brember Wills). Lumbering ominously throughout the proceedings is top-billed Boris Karloff, playing Morgan, the mute, alcoholic family butler (the opening credits felt obligated to tell 1932 filmgoers that yes, this was the same Karloff who'd portrayed the Monster in the previous season's Frankenstein). Directed with sinister verve by James Whale and brimming with unforgettable dialogue, The Old Dark House is one of the most enjoyable and least formularized of the Universal "scare" pictures of the early 1930s. The film was based on J. B. Priestly's Benighted, though Priestly's hero dies in the book and does not in the film (this appears to have been a last-minute decision--and a wise one). Long thought lost, The Old Dark House was rediscovered in the early 1970s; copyright problems with the lukewarm 1963 remake kept it off television until 1994, at which time a sparkling new print was struck, replacing the washed-out dupes with which film buffs were all too familiar. ~ Hal Erickson, Rovi

The air-mail pilots who fly from a small airport in the Rocky Mountains are determined but not paid well, and there are occasional fatal crashes. It's a tradition of long standing that when this happens, chief pilot Mike Miller (Ralph Bellamy) makes the next flight himself. Daredevil Duke Talbot (Pat O'Brien) is hired; he starts an affair with Irene Wilkins (Lilian Bond), wife of pilot Dizzy (Russell Hopton). A fierce snowstorm rages when Dizzy next takes off. He crashes and is killed, so Mike makes the next flight. He crashes in an inaccessible valley, but survives. Although Duke has now run off with Irene, when he hears about Mike's crash, he decides to fly to the rescue. ~ Bill Warren, Rovi

A Grand Hotel derivation set in a major metropolitan train terminal, Union Depot features most of the reliable Warner Bros. stock company. Douglas Fairbanks Jr. stars as a slick thief; Joan Blondell costars as a stranded chorus girl; Alan Hale Sr. is featured as a phony baron absconding with company funds; and Frank McHugh does his drunk act. Other arrivals and departures include Guy Kibbee, David Landau, and George Rosener (as a sexual deviate stalking Ms. Blondell!) The huge depot set built for this film may seem like an unnecessary expenditure, but the set would come in handy for future, less costly Warners endeavors. The British title for Union Depot was Gentleman for a Day, reflecting the crooked Fairbanks' good-guy turnaround at the end of the film. ~ Hal Erickson, Rovi

Joe E. Brown plays a small town fireman who is also the town's star ballplayer--and an itinerant inventor on the side. Brown is offered a pitching contract with the St. Louis Cardinals; he accepts, reasoning that the money he'll earn will help finance his invention. While in spring training, Brown becomes entangled with a seductive "good time girl" (Noel Francis), which severely compromises his game playing ability and also strains his relationship with his hometown sweetheart (Evalyn Knapp). On the day of the Cardinal's World Series clincher, Brown arrives at the doorstep of the Zenith Fire Extinguishing company, which has invited Joe to demonstrate his invention, a baseball-shaped "extinguisher bomb." A mix-up in briefcases nearly causes Brown to burn down the Zenith company, but eventually he proves the efficiency of his invention. The local fire chief then rushes Brown to the big game, where he pitches his team to victory. Though just as much a "zany inventor" comedy as a baseball yarn, Fireman Save My Child qualifies as the first of Joe E. Brown's "baseball trilogy", followed by 1933's Elmer the Great and 1935's Alibi Ike. ~ Hal Erickson, Rovi

Joan Colby (Ann Harding) is the unmarried older daughter in a once-wealthy family. She's always been the mature, level-headed one among the two sisters, but she is feeling the pressure to find a husband especially strongly these days, as her much more flighty and impetuous younger sister Valerie (Lucille Brown) is about to marry. Joan has been lately seen in the company of John Fletcher (William Powell), the wastral heir to a once-great shipping company -- he doesn't care a bit about the family business, but still has enough money to live an upper-class lifestyle without worry, and is a well-known playboy, and enjoys Joan's company. With her sister's help and the unwitting participation of her well-meaning father (Henry Stephenson), Joan manages to set up a situation in which John is forced to do what they used to call "the decent thing" and marry her. Joan is secretly torn by guilt about how she got his name, however, and tries to be a truly good wife for John over the months that follow -- she gets him to clean up his life a bit, and to take himself more seriously and look past the next game of polo, and even starts to convince him to take more of a role in his family's moribund shipping line, which is about to pass into outside control as a result of his neglect. But when Valerie, in a fit of anger, blurts out the truth about how their marriage came about, John loses all interest in Joan, returning to the company of his ex-girlfriend (Lillian Bond) and turning the matter over to his lawyers. Now Joan has to fight on two fronts, to help save her husband's business, and also to save their marriage before it's too late. Given this plot, it may seem odd that Double Harness was presented as a comedy, but it is, and a good one, too. The humor lies in the way the upper-class are shown "coping" with the Great Depression, and the witty presentation of the romantic flirtations in the lives of Joan, Valerie, and John (and their friends), as well as the tone of John and Joan's marriage -- Joan, in particular, has a wryly detached side that comes out even at her most unhappy moments. It's all very sophisticated, a comedy by adults, about adults, for adults, and it holds up amazingly well as a piece of entertainment across 75 years. In some ways, Double Harness is also a bit reminiscent of the 1930 version of Holiday, which is perhaps not entirely accidental or surprising, as the latter also starred Ann Harding, although Cromwell's 1933 film is a far more skillful and accomplished cinematic work by modern standards. ~ Bruce Eder, Rovi

In this action-drama, a railroad worker plys his trade at the straits of Malay. He begins a steamy affair with a spoiled rich girl. His romantic rival tries to break them and keep the railroad from being completed. ~ Sandra Brennan, Rovi

Edmund Gwenn makes his American film debut in this lighthearted adaptation of Frederick Jackson's stage play The Bishop Misbehaves. The central character is a Bishop (Edmund Gwenn) who harbors a fondness for detective stories. This harmless pastime gets him mixed up in the travails of heroine Hester (Maureen O'Sullivan), who hopes to wreak vengeance against the man who stole her father's invention. The key to the plot solution is a packet of valuable patent papers, for which the Bishop, Hester, and handsome American tourist Donald (Norman Foster) put their lives on the line. Hester and Donald are briefly kidnapped by a team of holdup men, but they escape in time to beard the villain in his den -- with, of course, the considerable aid of the "misbehaving" Bishop. ~ Hal Erickson, Rovi

In this comedy, a pair of ex-Marines team up and get involved in a nightclub.Trouble ensues when they both fall in love with a feisty woman and begin fighting over her. ~ Sandra Brennan, Rovi

The mysterious death of a notoriously candid author provides the basis of this mystery. Investigators do not believe the suicide note found with his corpse. It seems the author had written a scandalous autobiography detailing his many affairs, with no regard to the feelings of the women involved. The police begin investigating these women and the story is told in flashback. It all began during a publisher's party for the author. Several of his ex-girl friends show up, and he entertains them. Afterward he returns to his study, but not before telling his butler that he plans to kill himself because life is simply too much to bear. It is the valet who suggests he leave a suicide note to protect the innocent. The distraught author does so and then fires the gun. Unfortunately, he only wounds himself. The butler runs in, sees an opportunity to at long last get revenge and finishes the job. He feels secure that he has committed the perfect crime. Unfortunately, he forgot about the second bullet embedded in the floor. Fortunately, the police find it and the butler gets his just desserts. ~ Sandra Brennan, Rovi