Cheryl Walker Movies

Three on a Ticket was the fourth entry in PRC's "Michael Shayne" series, and arguably the best of the batch. Hugh Beaumont, still ten years away from Leave It to Beaver, stars as Brett Halliday's red-headed private eye Michael Shayne, who this time out is assigned to locate a fortune in stolen bank funds. Mike's only clue is a baggage claim check, which has been torn in three pieces. Tracing these missing fragments, Shayne methodically tracks down the thieves. Though officially based on a story by Brett Halliday, the plot of Three on a Ticket is remarkably similar to the storyline of PRC's Lash LaRue western Law of the Lash. ~ Hal Erickson, All Movie Guide

How Dooo You Do? offers two refugees from radio's Eddie Cantor Show, Bert Gordon and Harry Von Zell, as an erstwhile comedy team. The film's title is a catchphrase of Gordon's, who gained famed in the 1940s as "The Mad Russian". Seeking refuge from their fans, Gordon and Von Zell head to Desert Springs and register at a resort hotel. No sooner have they arrived than a much-despised radio agent is murdered, casting suspicion on our heroes-not to mention fellow guests Cheryl Walker, Ella Mae Morse, Clare Windsor, and Keye Luke. For reasons that aren't explained until the end of the film, practically all the cast members (including bit players Thomas Jackson, James Burke, and Fred Kelsey) appear under their own names. In fact, the Pirandellian ending is the most entertaining aspect of this patchy comedy-mystery. ~ Hal Erickson, All Movie Guide

Larceny in Her Heart was the second entry in PRC's revival of the "Michael Shayne" series, with Hugh Beaumont as Brett Halliday's two-fisted sleuth. It all starts when Shayne agrees to track down the stepdaughter (Marie Harmon) of a local bigwig. But when his client's corpse turns up at his doorstep, our hero finds himself reluctantly involved in yet another murder mystery. Along the way, he must fend off femme fatale Phyllis (Cheryl Walker), who may or may not be intimately involved in the killing. He also endures a chilling episode at an alcoholic ward that's straight out of The Lost Weekend, by way of Murder My Sweet. It says in the credits that Larceny in Her Heart is based on a novel by Brett Halliday, though liberties were obviously taken. ~ Hal Erickson, All Movie Guide

In this musical, two writers endeavor to write an innovative operetta in order to establish themselves. They end up writing a libretto about a mid-19th-century fellow with a secret past. He was a real person, and the authors begin looking to discover the nature of his secret. Later, the man's last living relative shows up and tries to stop them from producing the show. Fortunately, she eventually gives in and even lets them stage the first production in her palatial plantation manor. In the end, the show ends up a hit on Broadway. Songs include: "It All Could Have Happened Before," "What I Like About You," "The Country Ain't the Country Anymore" and "I Love to Remember" (Marla Shelton, Louis Herscher). Also included is "Bayou Calls." ~ Sandra Brennan, All Movie Guide

Predating 20th Century-Fox's Somewhere in the Night by at least a year, Identity Unknown is one of the first (if not the first) 1940s melodramas centering around an amenisiac ex-GI. Richard Arlen plays Johnny March, who returns from WW2 with nary a clue as to his true identity or the details of his past. March begins a long and arduous trek across America, visiting a wide variety of people who've lost loved ones in the war, in hopes of piecing together his own previous existence. In the manner of The Fugitive, March profoundly affects the lives of everyone he meets, helping them understand what the sacrifices of the war were all about and enabling them to face the future with optimism and pride. Though it may have been merely coincidental, Identity Unknown was released around the same time that the United Nations' first San Francisco Conference was about to convene. ~ Hal Erickson, All Movie Guide

In this romance, a GI falls in love with his pen-pal. Believing her to be a wealthy, beautiful girl, he goes to see her after the war. Unbeknownst to him, the girl is actually impoverished and wheelchair bound. Her two sisters work as char women and barely make enough to live on. When the soldier shows up, the girls trade identities and pretend to be wealthy. Even though he doesn't know about the ruse, he still ends up falling for the girl in the chair and after learning the truth stands steadfastly behind her. ~ Sandra Brennan, All Movie Guide

Republic Pictures' final 1942 release was the "Three Mesquiteers" western Shadows on the Sage. The better-than-average plot (brainstormed by screenwriter J. Benton Cheney) finds our three heroes battling a crooked banker and an elusive bandit -- who happens to be the exact double of Mesquiteer Tucson Smith (Bob Steele). The other members of the courageous triumvirate are Tom Tyler as Stony Brooke and future Mickey Mouse Club host Jimmy Dodd, here replacing Rufe Davis as Lullaby Joslin. The most memorable supporting players include corpulent Frank Capra-"regular" Harry Holman as the ineffectual sheriff and juvenile performer Freddie Mercer as a would-be lawman. The leading lady is Cheryl Walker, one year away from her bid for stardom as the idealized "Eileen" in Stage Door Canteen. ~ Hal Erickson, All Movie Guide

Diminutive Frankie Darro was always a lot of fun to watch when given his head in a leading role. In Monogram's Chasing Trouble, Darro plays a fella named Cupid, who fancies himself a handwriting analyst. He tries out his dilettante talent when a gang of spies begins covert activities in his community. He wins the day, and the girl (Marjorie Reynolds). Two future TV-series regulars show up in the supporting cast of Chasing Trouble: George Cleveland, beloved old "Gramps" in Lassie, and Milburn Stone, cantankerous old "Doc" in Gunsmoke. Produced by actor Grant Withers and written by Mary McCarthy, Chasing Trouble is positively lavish by Monogram standards. ~ Hal Erickson, All Movie Guide

If I Were King is a delightful costume adventure tale set in 14th century France, during the reign of Louis XI, and inspired by the legend of the rebel poet François Villon, whose exploits were filmed earlier as The Beloved Rogue (1927) with John Barrymore, and later transformed into the musical The Vagabond King on Broadway and onscreen. The movie opens with Paris surrounded by the forces of the Duke of Burgundy, whose armies have laid siege to the city in hopes of starving out King Louis XI (Basil Rathbone, in a riveting performance), a wily, cruel monarch who distrusts all around him -- mostly, however, Burgundy has succeeded in forcing Louis to hunker down and in starving the common people of Paris, whose well-being their king can't be bothered about.

The one man in Paris with the courage to raise a hand to ease the suffering is François Villon (Ronald Colman), a gifted poet and glib orator who understands the common people far better than Louis. We first meet him leading a raid on the king's storehouse for sorely needed food and wine. Pursued by the king's guards, he accidentally crosses paths with Louis himself -- trying to uncover a nest of traitors -- at a tavern, and is captured. Louis would normally have Villon put to death without a second thought, but the rebel poet has done him the service of killing a treasonous officer, and has also piqued the king's interest with his notion of inspiring loyalty rather than fear in his subjects. The king also wishes to show Villon that it isn't always easy, even with all of the power of the crown on one's side, to rule a kingdom, or even the capitol city of a kingdom. Louis appoints Villon to the post of Constable of France, in command of all military and police authorities, and nominally in charge of the army, and leaves it to him to do his job -- with the provision that, at the end of a week in so powerful a position, Villon will, indeed, hang. Villon does a very good job of dispensing justice in a way that makes his followers love the king, and even turns one traitor into a loyalist. He is less successful at getting the titled nobility on his side, or the generals to rally their armies for the task at hand, breaking the siege, and is further distracted from his task by his romantic entanglements, with Ellen Drew as the girl of the streets who loves Villon and Frances Dee as the lady-in-waiting to the queen who has stolen his heart.

Director Frank Lloyd uses the same sure hand that propelled his Oscar-nominated Mutiny on the Bounty (1935) to weave together the telling of this lusty and witty tale (from a clever screenplay by Preston Sturges, who added his own translations of Villon's poetry to the original script); but the real interest for most viewers will reside with the sparks that fly from the performances of Colman and Rathbone as the two equally matched antagonists, each toying with the other's perceived weaknesses (especially their vanity) while, in his way, secretly admiring elements of the other's character. In the end, Sturges' script cleverly interweaves their common interests, Villon realizing that he must save Paris in order to keep from losing his head. ~ Bruce Eder, All Movie Guide

Tip-Off Girls is a worthwhile entry in Paramount's "FBI" series, based on the various writings of
J. Edgar Hoover. The title refers to a group of pretty young women who are ordered by their gangster bosses to pick up tips on incoming merchandise shipments, thereby expediting a sophisticated hijacking operation. The girls are also expected to keep the freight drivers occupied while the crooks go about their business. G-Man Bob Anders (Lloyd Nolan) eventually smashes the racket with the help of decoy Marjorie Rogers (Mary Carlisle). Equipped with a Greek accent this time out, J. Carrol Naish plays the supposedly respectable head of the hijackers, while the rest of the cast is populated with such reliable Paramount stock-company players as Roscoe Karns, Buster Crabbe, Anthony Quinn, Benny Baker, Evelyn Brent, Irving Bacon and Stanley Andrews. ~ Hal Erickson, All Movie Guide

Brash and vigorous director William Wellman always had a place in his filmography for movies glorifying the early years of aviation -- from the start of his career (Wings), until the end (Lafayette Escadrille). But, perhaps, never has his devotion to aviation been made more vivid than in his 1938 drama Men With Wings. Wellman, in this film, attempts to dramatize the history of aviation from the early days of the Wright Brothers until the 1930s, when airline transportation first became viable. The story centers upon two contrasting aviation types: the barnstormer, Pat Falconer (Fred MacMurray), and the methodical scientist of flight, Scott Barnes (Ray Milland). Through these two archetypes, Wellman follows Pat and Scott from childhood to adulthood. Pat marries childhood sweetheart Peggy Ransom (Louise Campbell) and they have a child. Scott, who had always loved Peggy, remains in the background, not wanting to break up his solid friendship with Pat. But Pat is clearly doomed by his recklessness and breakneck individuality. After fighting in the skies during World War I, he refuses to sit back and do the methodical work of flight research like Scott. Always searching for another war to fight, Falconer leaves Scott and Peggy behind, taking off for China to help the Chinese fight Japanese invaders. ~ Paul Brenner, All Movie Guide