Henry B. Walthall Movies

Originally designed for exhibition at the 1939 World's Fair, Land of Liberty is a 137-minute compendium of filmclips from past American historical epics. The project was sponsored by the Motion Picture Producers & Distributors of America, Inc. and supervised by Cecil B. DeMille, who also edited the film with the assistance of his crack Paramount production staff. The narration was written by old DeMille hands Jeannie MacPherson and Jesse Lasky Jr. and spoken by a talented team of uncredited announcers (one of whom sounded suspiciously like old C. B. himself). Clips from such Hollywood productions as America (1924), Abraham Lincoln (1930), Alexander Hamilton (1931), Show Boat (1936), Man of Conquest (1939) and DeMille's own The Plainsman (1936), The Buccaneer (1938) and Union Pacific (1939) are woven together into a chronological continuity, tracing American history from the Revolutionary War to the "present," which is largely represented by newsreel footage of President Roosevelt, the TVA project, and other current personalities and events. In later years, Land of Liberty was redistributed on the classroom circuit, with new footage added from historical dramas of the 1940s and 1950s. ~ Hal Erickson, All Movie Guide

Based on the true story of Pan American Airlines, China Clipper was released only a year after the first transpacific flight in history. Pat O'Brien stars as Dave Logan, a man completely obsessed with starting the first commerical airline across the Pacific ocean. Engineer Dad Brunn (Henry B. Walthall) designs the airplane, while Dave teams up with business partner Tom Collins (Ross Alexander) to start up his company. Dave's wife, Jean (Beverley Roberts) has her doubts about the airline business, but loves her husband. Dave hires Hap Stuart (Humphrey Bogart) as the pilot to make his first flight to the Caribbean, where he ends up helping out the local people during a hurricane. Things start to go really wrong for Dave when Jean wants to leave him, his Dad gets ill, and his planes are subject to all kinds of tests. This was the last film appearance of Birth of a Nation star Henry B. Walthall, who had reportedly collapsed on the set right during production. ~ Andrea LeVasseur, All Movie Guide

Falsely convicted Lionel Barrymore escapes from Devil's Island with fellow prisoner H.B. Walthall. A brilliant scientist, Walthall reveals to Barrymore that he has developed a process to shrink human beings. Upon Walthall's death, Barrymore makes his way back to the old scientist's lab, intending to use Walthall's formula to exact vengeance on those who have wronged him. He does so, clearing his name and securing the future happiness of his daughter Maureen O'Sullivan (who believes that Barrymore is dead) in the process. But Barrymore's crazed assistant Rafaela Ottiano isn't satisfied. "We'll make the whole world small!" she hisses, forcing Barrymore to kill her and destroy the formula. To save his daughter from scandal, Barrymore disappears into the night, the implication being that he plans to commit suicide at the first opportunity. The excellent miniature work in The Devil Doll (much of it accomplished with outsized sets, a la the Laurel and Hardy comedy Brats) successfully takes the viewers' minds off the rather silly plot. Director Tod Browning was always stronger with atmosphere than with plot and dialogue, and this film is no exception. Far less logical than the miniaturization process is Barrymore's decision to disguise himself as an old woman, since this transparent guise wouldn't convince a 2-year-old in real life. Based on the novel Burn, Witch, Burn by Abraham Merritt, The Devil Doll was scripted by several hands, including Erich Von Stroheim. ~ Hal Erickson, All Movie Guide

Edmund Lowe made his only screen appearance as S. S. Van Dine's dilettante sleuth Philo Vance in The Garden Murder Case. The story wastes no time getting started, with Floyd Garden (Douglas Walton) being killed in the first reel from a fall in a steeplechase. It looks like an accident -- but then, so do the subsequent deaths of Lowe Hammle (Gene Lockhart) and Mrs. Fenwick-Ralston (Frieda Inescourt). The police are baffled, but Philo Vance (Lowe) deduces that the victims were done in by a very clever -- and very deadly -- hypnotist. The revelation of the killer's identity won't be surprising to longtime mystery buffs, but it proved quite a shock to audiences in 1936. The tense final scene, in which the murder attempts to mesmerize Vance into committing suicide, was effective enough to be "borrowed" for the 1946 Sherlock Holmes film The Woman in Green. ~ Hal Erickson, All Movie Guide

It is a tale known well, filmed many times over the years, but never better than this early black and white version from the MGM Studios, David O. Selznick producing. "It was the best of times, it was the worst of times"-- Charles Dickens juxtaposes England and France, George and Louis, tradition and revolution. One of the most beloved of Dickens' stories, finding not only countries and conditions compared, but also two individuals thrown up in stark contrast to one another: -- the dissolute barrister Sydney Carton (Ronald Colman) and the young, somewhat callow aristocrat Charles Darnay (Donald Woods), both in love with Lucie (Elizabeth Allan), daughter of a victim of the French Regime. Their lives intertwine until the violent revolution that overtook an entire nation engulfs them all as well.

Dickens' story has stood the test of time; remade frequently since the release of this1935 version. It is this version by director Jack Conway's that is best remembered and to which all others are compared. The settings, cinematography, and direction are all right on the mark, recreating the streets of London and of Paris with great skill and realism. The supporting cast, filled with faces we have grown to cherish-- Reginald Owen, Edna May Oliver, Claude Gillingwater, Walter Catlett, H. B. Warner, Basil Rathbone, and E. E. Clive-comes through with crystalline performances which add substance to the inexorable stream of events. Blanche Yurka's bravura turn as Therese de Farge delights us even as we shudder at her intensity. Second unit directors Jacques Tourneur and Val Lewton, who would both go on to memorable careers as leading directors in their own right, staged the storming of the Bastille and other "revolutionary" scenes brilliantly, managing to combine fervor with panache. It is, however, Colman's portrayal of the lonely man redeemed by love and sacrifice which stands at the center of the story.

Sydney Carton first saves Charles Darnay from a charge of treason, thereby meeting those who care for him: the beautiful Lucie Manette, her father, Doctor Manette (Henry B. Walthall), released from the Bastille after many years of unjust incarceration; Lucie's servant Miss Pross, (Oliver) and Mister Lorry (Claude Gillingwater), an functionary of Tellson's Bank. His relationship with this circle of kind friends grows rocky when Darnay marries Lucie, whom Carton has loved from afar, but even this turn of events cannot change his feelings for them all and he grows to love them even more when daughter Lucie comes along. He reforms, leaving old ways behind and enjoying a familial warmth he has never known. This happy life is shattered when Darnay returns to France during the first revolutionary struggles, intent on saving his old tutor from the guillotine. He soon finds himself behind bars and facing the blade instead. The Revolution does not forget an aristocrat, even one who has recanted and lived life abroad as a commoner. The whole family makes the channel crossing to come to the young man's aid and Carton seeks a way to save him, discovering only one path to free Darnay and return everyone to safety. It is a sacrifice easily promised and quickly made.

Ronald Colman had long wanted to make a film of this story and, when he finally got his chance, he happily shaved off his signature mustache in an appropriate gesture to historical realism. Reviews of his work indicate his portrayal of Sydney Carton surpassed all his previous endeavors; he had been accused of walking through light parts, once he started making "talkies," and not putting his many talents to good use. "A Tale of Two Cities" put rest to those complaints. He dominates completely the scenes he which he does appear, and his skill gives substance to a literary achievement, a melancholy man of intelligence and wit, given to drink and despair, whose life seems to attain meaning only when it is given up for someone else. It is one of the portrayals for which Ronald Colman has come to be remembered.

There are various remake versions of A Tale of Two Cities. Dirk Bogarde played Carton in 1958 and Chris Sarandon starred in a television remake in 1980. While these and other versions have all been good films, none has achieved the stature of the 1935 version and its excellent combination of star power, technical brilliance and great storytelling. ~ All Movie Guide

This tuneful melodrama is set upon a college campus and follows the attempts of a pretty young woman who slyly helps her wealthy, free-wheeling freshman boy friend learn about responsibility. She contacts his father and together they convince the boy that his inheritance has been lost. Now he must work his way through college. Sure enough, her ploy succeeds and romance ensues. ~ Sandra Brennan, All Movie Guide

Previously filmed with Lillian Gish in 1926, Nathaniel Hawthorne's The Scarlet Letter was given a remarkably faithful treatment by low-budget Majestic Pictures in 1934. In her last film appearance, Colleen Moore stars as 17th-century Salem resident Hester Prynne, who when she delivers a child out of wedlock is forced by the prudish townspeople to wear the scarlet "A" for adultery. The father of the baby is none other than Reverend Dimmesdale (Hardie Albright), who wants to confess to his indiscretion but is prohibited from doing so by the pious Hester. Things come to a sorry pass when Hester's long-missing husband Roger Chillingworth (Henry B. Walthall, repeating his role from the 1926 version) returns to Salem and demands a few immediate answers. The film's colonial-era milieu is not always realized, due to inconsistent period costumes and phraseology; also, the direction and acting ranges from adequate to stilted. Still, this Scarlet Letter is a lot more worthwhile than Demi Moore's vanity remake of 1995. ~ Hal Erickson, All Movie Guide

Love Time is the story of the unhappy life of composer Franz Schubert, here played by Swedish actor Nils Asther. Too poor even for romance, Schubert feels compelled to give up his sweetheart Valerie (Pat Paterson) never realizing that she's the daughter of the fabulously wealthy Duke von Hatzfeld (Henry B. Walthall). Not wishing to humiliate the proud Schubert by revealing her identity, she leaves her posh surroundings and joins a band of travelling musicians, finally coming back into Schubert's life long enough to nurse him through a serious illness. The film ends triumphantly as Schubert makes his debut in the court of Emperor Franz 1st (Henry Kolker), thanks to the behind-the-scenes manipulations of the faithful Valerie. Touted as an "original," Love Time was obviously inspired by the Sigmund Romberg operetta Blossom Time. ~ Hal Erickson, All Movie Guide

In an unusual move, MGM released its film version of Sidney Kingsley's Pulitzer-Prize winning play Men in White while the play was still running on Broadway. Clark Gable is cast as Dr. George Ferguson, a dynamic young intern whose brilliant future seems assured. In addition to planning to study in Vienna, then to serve as the assistant to his mentor Dr. Hochberg (Jean Hersholt), Ferguson is slated for a socially prestigious marriage to wealthy Laura Hudson (Myrna Loy). But when Laura begins expressing displeasure over Ferguson's dedication to his work, he enters into a brief affair with student nurse Barbara Dennin (Elizabeth Allan). Upon finding that she's pregnant, Barbara desperately undergoes an illegal abortion (a plot point merely alluded to in the screenplay). The botched operation results in Barbara being rushed into emergency surgery, where her life is in Ferguson's hands. In a third-act climax that would not have seemed out of place on TV's Chicago Hope, Laura finds herself a witness to the operation -- and to Barbara's deathbed "absolution" of Dr. Ferguson's sins. Critics were kind to Men in White, but some felt that the Kingsley original had been unnecessarily reshaped into a Clark Gable vehicle. ~ Hal Erickson, All Movie Guide

The distinguished Henry B. Walthall, a major star of the early silent screen, headlined this cheap whodunit that fully capitalized on his remaining box-office pull in the hinterlands. Walthall plays Professor Mysto, a carnival magician warned by his boss, Carr (Lynton Brent), that a group of reformers headed by the police commissioner (Joseph W. Girard) and a teetotalist councilman (Sam Flint) are after him. When the latter is murdered, both Mysto, Carr, and a concessionaire (John Elliot) are among the suspects, the last mentioned admitting ownership of a .45-calibre gun. The concessionaire, however, is released when it becomes clear that the lethal bullet came from a .38-calibre weapon. Newspaperman Jerry Ross (John Harron), who is in love with the commissioner's pretty daughter (Phyllis Barrington), attempts to scoop the competition by unmasking the killer, but is knocked unconscious by a hooded figure. Carr, who is guilty of selling bootleg liquor in his establishment, manages to flee the law but is eventually killed by a jealous employee. None of this leads Jerry closer to the killer, who, it later turns out, has invented a device that equips a .45-calibre gun to fire .38-calibre bullets. In the end, however, the killer is unmasked and Jerry proposes to the police commissioner's daughter. ~ Hans J. Wollstein, All Movie Guide

Will Rogers stars as Judge William "Billy" Priest, the common-sense Kentucky jurist created by humorist Irvin S. Cobb. The Judge's easygoing manner bothers many of the self-righteous good citizens of his small 19th-century hometown, imperiling his chances for re-election. The anecdotal plot boils down to a single storyline involving orphaned Anita Louise, reclusive David Landau (secretly Louise's father), and young attorney Tom Brown.The testimony that saves Landau from a murder charge is delivered by Civil War veteran H.B. Walthall, whose stirring loyalty to the Confederacy inspires everyone in town to organize an impromptu parade! Some of the best scenes are highlighted by Will Rogers' affectionate rapport with stereotyped black-actors Stepin Fetchit and Hattie McDaniel, though these scenes are frequently removed from TV showings of Judge Priest due to their undeniably racist overtones. If you haven't guessed by the first frame of the film that John Ford was the director, you'll recognize Ford's personal stamp the moment Will Rogers kneels by his wife's grave and carries on a warm conversation with his long-departed bride. Ford would remake (and improve upon) Judge Priest in 1953 as The Sun Shines Bright, with Charles Winninger as the judge. ~ Hal Erickson, All Movie Guide

At first concentrating exclusively on westerns and serials, up-and-coming Mascot Pictures began branching out in the early 1930s with such lavish star vehicles as Laughing at Life. Victor McLaglen is in his element as a devil-may-care globetrotting adventurer named McHale. After risking his neck in WWI, the restless McHale heads to Mexico for more action. Before the film is half over, our hero is overseeing a South American revolution, and in this capacity comes face-to-face with his long-estranged son -- who, like his dad, is a thrillseeker travelling under an assumed name. The star-studded cast includes William "Stage" Boyd, Regis Toomey, Frankie Darro, Henry B. Walthall, Noah Beery Jr., J. Farrell McDonald and Lois Wilson -- many appearing in one scene each, indicating that the ever-economical Mascot studios hired these talented thespians by the day rather than the week. Also showing up uncredited is ace stuntman Yakima Canutt, doubling for Victor McLaglen in the more strenuous action scenes. ~ Hal Erickson, All Movie Guide