Percival Vivian Movies

This retelling of one of Charles Lindbergh's most famous feats stars Jimmy Stewart as the legendary flier, and was directed by Billy Wilder. The story, adapted from Lindbergh's autobiography, begins when the aviator is working as an airmail pilot, but has much loftier goals in mind for himself. He begins to envision a nonstop solo flight across the Atlantic - something that no one has ever done before - and finds a group in St. Louis, Missouri willing to provide the necessary financial backing; he then has a special plane built in honor of the funders. Later, as Lindbergh sits in his cockpit, waiting to take off, he thinks back over his days as a circus flier, stunt flier and aimail pilot. The journey itself presents a series of hazards, but Lindbergh perseveres, using the stars for navigation when his compass disappears and overcoming other obstacles such as ice on the wings. ~ Nathan Southern, Rovi

This last remake (thus far) of the Jean Webster novel Daddy Long Legs was extensively revised to accommodate the talents of Fred Astaire and Leslie Caron. Fragments of the basic plot remain: American millionaire Astaire is the unknown benefactor of French orphan girl Caron, financing the girl's education on the proviso that his identity never be revealed to her. Moved by Caron's letters of thanks, Astaire's secretary Thelma Ritter advises Astaire to go to France to visit the "child". When he arrives, he finds that his ward has grown up rather nicely, and the two fall in love--though Caron never knows until the very end who Astaire really is. The old story has been updated to allow for an elaborate "cowboy" number and a couple of Eisenhower jokes. Highlights include a solo ballet by Caron and a wonderful Astaire routine involving a set of drums. The score for Daddy Long Legs is unremarkable save for Johnny Mercer's hit "Something's Gotta Give". ~ Hal Erickson, Rovi

The Bowery Boys go to college in Hold That Line. Things haven't changed much since the Marx Bros. went to college in Horse Feathers: academic achievement still takes second place to football. The story shifts into gear when Sach (Huntz Hall) swallows a chemical-lab mixture which turns him into a super-athlete. Sach's pal Slip (Leo Gorcey) parlays this metamorphosis into an unbroken winning streak for the university's gridiron team. Football star Biff Wallace (John Bromfield), who has bet heavily on the opposing team, arranges for Sach to be kidnapped just before the Big Game, but eventually sees the error of his ways and tells Slip where to locate his pal. The climax is right out of Harold Lloyd's The Freshman, but if one must steal, steal from the best. Most of Hold That Line was filmed on location at Los Angeles City College, not far from the Bowery Boys' headquarters at Monogram Studios. ~ Hal Erickson, Rovi

Director Victor Fleming's final film features Ingrid Bergman as a vivid and luminous Joan of Arc, the 15th-century French peasant girl who led the French in battle against the invading English, becoming a national hero. When she was captured, tortured, and ultimately executed by the English, she was made a Catholic saint. Bergman's Joan is a strong and spiritual figure who proves her devotion to the Dauphin (Jose Ferrer), later to become the King of France. Joan is compelling as she wins an alliance with the Governor of Vaucouleurs and the courtiers at Chinon, leads her army in the Battle of Orleans, is betrayed by the Burgundians, and edicts that "our strength is in our faith." ~ Paul Brenner, Rovi

The wonderful newfangled world of television provides the backdrop for this musical. The tale begins as an advertising executive has a misunderstanding with his employer's wife and ends up fired. Now her family is left penniless until her younger sister begins impersonating a nightclub singer and becomes a television star. Songs include: "When You're Near," "When Does Love Begin?" (Hal Borne, sung by David Bruce), "For the Right Guy," "I'm So Lonely" (Borne), and "Bob-Bob That Did It" (Borne, Eddie Cherkose). ~ Sandra Brennan, Rovi

Based on Conan Doyle's The Adventure of the Empty House, this "Sherlock Holmes" entry finds Holmes (Basil Rathbone) and Dr. Watson (Nigel Bruce) trying to solve the case of the "Finger Murders". Several beautiful women have been found slain, all with their right forefingers severed from their hands. The police are prepared to write off the killings as the work of a madman, but Holmes deduces that there's a sane motive behind it all. Sure enough, the trail of evidence leads to Holmes' perennial nemesis Professor Moriarity (Henry Daniell), who is in league with lissome female criminal Lydia (Hillary Brooke). Though it isn't sporting to reveal Moriarity's nefarious scheme here, it can be noted that The Woman in Green comes to a nailbiting conclusion as a hypnotized Holmes wanders precariously along the ledge of a penthouse! ~ Hal Erickson, Rovi

The wild and woolly early days of New York -- when it was still known as New Amsterdam -- provide the backdrop for this period musical-comedy. In 1650, Peter Stuyvesant (Charles Coburn) arrives in New Amsterdam to assume his duties as governor. Stuyvesant is hardly the fun-loving type, and one of his first official acts is to call for the death of Brom Broeck (Nelson Eddy), a newspaper publisher well-known for his fearless exposes of police and government corruption. However, Broeck hasn't done anything that would justify the death penalty, so Stuyvesant waits (without much patience) for Broeck to step out of line. Broeck is romancing a beautiful woman named Tina Tienhoven (Constance Dowling), whose sister Ulda (Shelley Winters) happens to be dating his best friend, Ten Pin (Johnnie "Scat" Davis). After Stuyvesant's men toss Broeck in jail on a trumped-up charge, Stuyvesant sets his sights on winning Tina's affections. However, as Broeck begins to organize his fellow New Amsterdamians in a bid for independence, he tries to convince Stuyvesant that working for justice might do him more good that following his current policies of graft and corruption. Based on a Broadway musical with songs by Kurt Weill and Maxwell Anderson, Knickerbocker Holiday's score was beefed up for its screen incarnation with a number of new tunes by Sammy Cahn and Jules Styne, though the best known song from the stage version remained the best remembered selection from the film, September Song. ~ Mark Deming, Rovi