Dorothy Vernon Movies

The Cole Porter title tune is but one of the musical highlights in the (literally) splashy Esther Williams musical Easy to Love. Reshuffling plot devices utilized in previous Williams vehicles, the film casts Williams as Julie Hallerton, the star of Ray Lloyd's (Van Johnson) aquacade. She loves Lloyd, but he hardly knows she exists. Only when she inaugurates romances with swimming instructor Hank (John Bromfield) and singer Barry (Tony Martin) does Lloyd wake up and smell the chlorine. The plot's finale is top-heavy with "good sport" behavior involving the three male leads. However, if you've come to an Esther Williams movie for the plot, maybe you'd better try another theatre. Easy to Love is the film that includes Busby Berkeley's legendary "motorboat/hang-glider" production number, performed at Florida's Cypress Gardens--though, incredibly, this aquatic tour de force is not the end of the picture! ~ Hal Erickson, Rovi

Anticipating The Defiant Ones by nearly ten years, the British My Brother's Keeper concentrates on the exploits of two handcuffed-together escaped convicts. The protagonists are career criminal George Martin (Jack Warner) and terrified "first timer" Willie Stannard (George Cole). The film is one long chase, with a brief respite to establish the relationship between Martin and his girlfriend Nora Lawrence (Jane Hylton). Despite the fact that they're polar opposites, George and Willie develop a grudging friendship and dependence upon one another, broken only by the events in the final scenes. Director Alfred Roome's utilization of actual exterior locations adds a great deal of credibility to the story. ~ Hal Erickson, Rovi

Good Time Girl, directed by David MacDonald and based on a story by Arthur La Bern (It Always Rains On Sunday) starts off unpromisingly, as juvenile justice official Flora Robson tries to keep a would-be female felon on the straight-and-narrow, telling the cautionary tale of Gwen Rawlings (Jean Kent). A victim of an unhappy home and her own stupidity, Rawlings leaves home and, with help from her sleazy new neighbor Jimmy Rosso (Peter Glenville, the future director), gets a job as a hat-check girl at a club run by Max Vine (erbert Lom). But Jimmy's jealousy soon gets him fired, and leaves him aiming for revenge on Max and Gwen. Despite the best efforts of Michael Farrell (Dennis Price), the one truly decent man she's ever met, Jimmy achieves his goal and Gwen is sent to a reformatory. It is there that she's truly corrupted by being locked up with more seasoned juvenile (and not so juvenile) felons, who know how to game the system -- whem she escapes, she's a professional criminal, and, taking on a new alias, falls in with a pair of loose-living gents. She manages to commit a vehicular homicide, and then falls in with a pair of American military deserters (Bonar Colleano, Hugh McDermott) who aren't above committing pre-meditated murder. ~ Bruce Eder, Rovi

It's Buster Crabbe times two in this low-budget "Billy Carson" Western from PRC, which once again trots out that anatomical impossibility: identical cousins. The bad cousin, Jim, heads a gang of cattle rustlers that has just killed both the local sheriff and his deputies. The only one left standing is amiable diner owner Fuzzy Q. Jones (Al St. John), who is promptly elected new sheriff. Enter Billy Carson, Jim's right-thinking relative, and the bad guys may as well pack it in, outnumbered as they are by an army of one. In a break from the fighting and shooting, Tex Williams and a hillbilly aggregation perform "It's Over and So Goodbye" by Lew Porter. ~ Hans J. Wollstein, Rovi

You'll Never Get Rich was the first of two films made by Fred Astaire at Columbia, and also the first in which he was paired with his favorite female dancing partner--not Ginger Rogers or Cyd Charisse, but Rita Hayworth. Fred and Rita play a team of Broadway dancers whose partnership is abruptly rent asunder when Fred is drafted into the Army. Unable to adapt to military routine, Astaire frequently ends up in the guardhouse; during one of these visits, he and the Delta Rhythm Boys collaborate on the lively song-and-dance number "The A-starable Rag." Back to the plot: Rita shows up on the army base as the girl friend of captain John Hubbard. This leads to more fancy footwork, and, of course, a happy ending for our stars. Though the Cole Porter score yielded no hits, one of the songs, "Since I Kissed My Baby Goodbye", was nominated for an Academy Award. Robert Benchley provides comic relief, as he would in the subsequent Astaire vehicle The Sky's the Limit. You'll Never Get Rich was followed by the even better Astaire-Hayworth pairing You Were Never Lovelier. ~ Hal Erickson, Rovi

Silent screen queen Gloria Swanson returned to films after a seven-year absence in RKO Radio's Father Takes a Wife. Adolphe Menjou costars as a middle-aged widowed shipping magnate known as Senior, who falls in love with celebrated actress Leslie Collier (Gloria Swanson) and marries her after a whirlwind courtship. Now Senior must break the news to his strait-laced son Junior (John Howard), who disapproves of show people. Junior is convinced that Leslie will leave his father the moment a younger, handsomer man enters the scene-a prediction that seems to come true when the honeymooning couple make the acquaintance of South American singing hearthrob Carlos (Desi Arnaz). Meanwhile, Leslie's jealousy is aroused when she sees Senior in the company of gorgeous young Enid (Florence Rice), unaware that the girl is Senior's daughter-in-law. All misunderstandings are forgotten when it turns out that both Leslie and Enid are about to become mothers-legitimately! Though Gloria Swanson was in fine fettle, Father Takes a Wife failed to draw a crowd, posting a loss of $104,000; eight years later, Swanson staged a real comeback in the classic Sunset Boulevard. ~ Hal Erickson, Rovi

The once-in-a-lifetime teaming of Mae West and W.C. Fields in My Little Chickadee had the potential for comic greatness: what emerged, though generally entertaining, was, in the words of critic Andrew Sarris, "more funny strange than funny ha-ha." Mae West dominates the film's first reel as Flowerbelle Lee, a self-reliant woman who is abducted by a mysterious masked bandit during a stagecoach holdup. Because she refuses to tell anyone what happened during her nocturnal rendezvous with the bandit, Flowerbelle is invited to leave her prudish hometown and move to Greasewood City. En route by train, Flowerbelle makes the acquaintance of con-artist Cuthbert J. Twillie (W.C. Fields), who carries a suitcase full of what seems to be large-denomination monetary notes. After a lively clash with marauding Indians, Flowerbelle tricks Twillie into a phony marriage; she does this so that she can arrive in Greasewood City with a modicum of respectability, and incidentally to get her hands on Twillie's bankroll. Once she discovers that Twillie's "fortune" consists of nothing but phony oil-well coupons, Flowerbelle refuses to allow Twillie into the bridal chamber (he unwittingly crawls into the marriage bed with a goat, muttering "Darling, have you changed your perfume?") Through a fluke, the cowardly Twillie is appointed sheriff of Greasewood City by town boss Joseph Calleila. The plot is put on hold for two reels while La West does a "schoolroom" routine with a class full of markedly overage students, and while Fields performs a bartender bit wherein he explains how he once knocked down the notorious Chicago Mollie. Jealous over the attentions paid to his "wife" by Calleila and honest newspaper-editor Dick Foran, Twillie decides to gain entry into his wife's boudoir by posing as the still-at-large masked bandit. His ruse is soon discovered by Flowerbelle, but the townsfolk capture Twillie as he makes his escape. They are about to lynch the hapless Twillie when Flowerbelle discovers that Calleia is the genuine masked bandit. She urges Calleia to save Twillie's life by making a surprise appearance at the lynching and by returning the money he's stolen. When all plot lines are ironed out, Flowerbelle and Twillie bid goodbye to one another. Borrowing a device utilized by ZaSu Pitts and Hugh Herbert in 1939's The Lady's From Kentucky, W.C. Fields invites Mae West to "come up and see me sometime," whereupon West appropriates Fields' tagline and calls him "My Little Chickadee." The script for this uneven comedy western was credited to Mae West and W.C. Fields, though in fact West was responsible for most of it. Fields willingly conceded this, noting that West had captured his character better than any other writer he'd ever met. Despite this seeming gallantry, it was no secret that West and Fields disliked each other intensely, a fact that had an injurious effect on their scenes together. My Little Chickadee has assumed legendary status thanks to its stars, and it certainly does deliver the laughs when necessary: still, it is hardly the best-ever vehicle for either Fields or West, two uniquely individual performers who should never have been required to duke it out for the same spotlight. ~ Hal Erickson, Rovi

This box-office smash comedy of manners featured the popular Myrna Loy as Margot Sherwood Merrick, the stodgy editor of a glamorous women's fashion magazine. To protect herself from suitors and jealous wives of businessmen, she wears a gold band on the third finger of her left hand and pretends that she is married. But the wolfish artist Jeff Thompson (Melvyn Douglas) is undeterred. After his efforts to romance Margot fail repeatedly, her icy exterior finally melts and the two become involved. She then has to explain the ring to all her cronies. Jeff's idea is to pretend to be her long-lost husband, but this plan backfires and leads to some comic complications. ~ Michael Betzold, Rovi

This comedy, the second film version based on a popular stage play, chronicles the exploits of a tricky old lady who cheats her landlady out of rent and then masquerades as her wealthy sister in order to reclaim the trunk she left behind. ~ Sandra Brennan, Rovi

Ace the Wonder Dog, RKO's Rin Tin Tin-wannabe, plays Picardy Max, a mongrel dog adopted by Dan Preston (James Ellison) when both are thrown in jail for vagrancy. Dan's legal problems are quickly done away with but his pretty boarder, Shirley Haddon (Helen Wood), is increasingly troubled by Dan's obsessive competitiveness with fellow dog owner Robert Mabrey (Robert Kent). In fact, the young man's grudge against the entire Mabrey family threatens to ruin his burgeoning relationship with Shirley but everything works out fine when Picardy helps locate a kidnapped Marian Mabrey (June Clayworth). Almost a Gentleman was the second of three programmers starring Ace the Wonder Dog and produced by RKO 1938-1940. Ace also worked for Republic Pictures and was featured in the 1943 serial The Phantom. ~ Hans J. Wollstein, Rovi

Filmed in Ireland, Rose of Tralee purports to tell the story behind the titular song. Rose herself is played by Binkie Stuart, Dublin's answer to Shirley Temple. When her parents are separated, Rose is willing to move heaven and earth to bring them together. She is helped along by affable London restauranter Tim Kelly (Talbot O'Farrell) and by a pair of vaudeville singers (Fred Conyngham and Danny Malone). With the exception of American actress Dorothy Dare, most of the cast members are actually English rather than Irish. ~ Hal Erickson, Rovi