H.B. Warner Movies

Veteran movie leading man Bert Lytell warmed the director's chair for Along Came Love. Irene Hervey plays a shopgirl, while western star Charles Starrett dons civvies in the role of a pediatrician. Through a series of bizarre but credible complications, Hervey's mother (Irene Franklin) is arrested during a raid at a burlesque house, which plot device serves to bring hero and heroine together. All misunderstandings are ironed out within the film's 65-minute time frame, as we all knew they would be. Along Came Love was cowritten by Arthur Caesar, miles away from his Oscar-nominated original story for 1934's Manhattan Melodrama. ~ Hal Erickson, All Movie Guide

Amateur detective Peter Cornish (William Gargan) and dimwitted police inspector Killian (Paul Hurst) combine forces to track down a blackmailer. Cornish's interest in the case is more than professional: among those being blackmailed is pretty heiress Joan Rankin (Florence Rice). The case takes on a whole new coloring when the extortionist is murdered, and Joan falls under suspicion. On the other hand, the guilty party could be Nelson the butler (Wyrley Birch), who was being indirectly victimized by the dead man. For the most part, Blackmailer is played for laughs, presumably to keep the Hays Office from complaining that the picture was too morbid. ~ 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

A wealthy young heir rebels when his snooty parents refuse to allow him to marry a lovely young secretary. Deciding to teach them a lesson, he goes West where he falls in love and marries the daughter of a Native American chief. He brings her home to meet his parents, who are naturally appalled, and vengeance is his. Unfortunately their marital bliss is disturbed when a woman shoots her married lover and the Indian girl is blamed for the crime. The husband then goes to the police and confesses the crime to protect her. Fortunately, the astute police put the couple together in a room bugged with a concealed microphone. They then learn that both are innocent. ~ Sandra Brennan, 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

A far from factual filmed biography of Mexican patriot Pancho Villa, Viva Villa! was written by lengendary screenwriter Ben Hecht. We first meet the young Villa when his father is beaten to death after protesting Diaz' seizure of the Mexican peons' land. Pancho exacts a temporary revenge by knifing one of his father's killers, then heads for the hills, where he organizes a band of renegades. As he "matures," Pancho is played by child actor Phillip Cooper and adult star Wallace Beery. Though ruthless in his treatment of the rich, Pancho is a hero to the poor, who receive the spoils of Villa's raids. Befriended by American reporter Johnny Sykes (Stuart Erwin), Villa becomes internationally famous thanks to Sykes' articles concerning his exploits. Pancho also finds a strong ally in Don Felipe de Castillo (Donald Cook), who introduces the rebel bandit to Madero (Henry B. Walthall), the leader of the peon revolt. Madero convinces Villa to join forces with him, the better to oust the Diaz regime. His principal rival in this goal is ambitious General Pascal (Joseph Schildkraut), who intends to set up an even more despotic regime once Diaz is eliminated. Emerging victorious in his fight against the federales, Villa is encouraged to go back home by Madero. Illiterate and dangerously naïve, Villa quickly runs into trouble with the new government, giving Pascal a chance to humiliate his former "comrade in arms." Later, Pascal shows his true colors by assassinating Madero and assuming control of Mexico. Thirsting for revenge, Villa and his men go on a bloody rampage, culminiating in the ritualistic murder of the treacherous Pascal (he is staked out on an anthill and covered with honey). Made president of Mexico upon the elimination of Pacal, Villa once more finds himself in over his head. Unable to deal with political infighting, Villa retires to his ranch. One day, after running into his old friend Johnny Sykes (Stu Erwin), Villa is shot and mortally wounded by his onetime friend Don Felipe, who holds Pancho responsible for the death of his sister Teresa (Fay Wray). As he dies, Villa begs Johnny to tell him what his epitaph will be. Improvising quickly, Johnny tells of Villa's love for Mexico and his many accomplishments. Partially filmed on location in Mexico, Viva Villa was plagued with a multitude of production problems, not least of which was the diplomatic gaffe committed by Lee Tracy, the film's original Johnny Sykes: While standing on a balcony watching a military parade, an inebrieated Tracy relieved himself on the troops below and was immediately fired. Another crisis arose when the Mexican government objected to star Wallace Beery, on the grounds that Beery usually played villains or buffoons. Despite these and other setbacks, Viva Villa was finally completed under the assured directorial hand of MGM troubleshooter Jack Conway and the expert supervision of David O. Selznick. Though some critics objected to the film's violence, Viva Villa was a financial success. ~ Hal Erickson, All Movie Guide

Having recently left Universal Pictures in a huff, mercurial cowboy star Ken Maynard stopped briefly at Mascot Studios for a brace of films. The first was In Old Santa Fe, a modern story set at a dude ranch where Maynard (playing himself) is employed. The villain is dude sharpshooter Chandler (Kenneth Thomson), who makes a play for Maynard's sweetheart Lila Miller (Evelyn Knapp). Before our hero is permitted to triumph, the film makes a side trip to a western nightclub, wherein a couple of radio crooners named Gene Autry and Smiley Burnette make their joint film debuts. Less than a year later, Autry would replace a recalcitrant Ken Maynard in the Mascot serial Phantom Empire -- and the rest, as they say, is history. ~ Hal Erickson, All Movie Guide

This atmospheric suspense film from the makers of White Zombie marked an unusual turn for glamorous Carole Lombard as heiress Roma Courtenay, who is approached by phony psychic Paul Bavian (Alan Dinehart), who claims to bear an important message from her recently deceased brother. After attending a bogus seance, Roma suddenly becomes possessed by the malevolent spirit of executed triple-murderess Ruth Rogen (Vivienne Osborne), whose unfinished business includes killing Bavian, her one-time lover. Fearing that Roma is actually under the charlatan's control, her fiancé (Randolph Crane Scott) sets out to rescue her -- and eventually discovers that the supernatural influence is quite real. Though too subdued to generate real suspense, this atmospheric film benefits from the visual style of director Victor Halperin. ~ Cavett Binion, All Movie Guide

In this syrupy tear-jerker a young girl is adopted by the judge who sent her daddy to prison. The father agreed to this relationship and soon the aging judge becomes very fond of his new charge. Unfortunately, his love for her blinds him to mounting evidence attesting to her real father's innocence and whenever the convict comes up for parole, the judge denies it. Frustrated and desperate to see his child, the convict finally engineers an escape and then heads for the judge's home for revenge. But after spying upon the older man and his daughter and seeing how happy she has become, the convict's heart changes and he selflessly returns to the pen to serve his sentence. ~ Sandra Brennan, All Movie Guide

It took nerve for low-budget producer M.H. Hoffman to update Gustave Flaubert's 19th century novel Madame Bovary and relocate the story to Rye, New York. It was equally nervy to retitle the film as Unholy Love and to cast Joyce Compton, usually cast as a dumb blonde, in the central role. Compton plays Sheila Bailey, a selfish young woman who enters into a financially beneficial marriage with Jerry Gregory (Lyle Talbot), the son of highly respectable Dr. Gregory (H.B. Warner). Unable to adjust to her new husband's conservative lifestyle, Sheila begins playing the field with other men, resulting in disgrace and tragedy for everyone around her. The tacked-on happy ending finds young Gregory being reunited with his childhood sweetheart Jane Bradford (Lila Lee). No question about it: Vincente Minnelli's 1949 Madame Bovary, despite the censorial restrictions imposed upon it, is infinitely more faithful to its source. ~ Hal Erickson, All Movie Guide

A Woman Commands is often cited as silent screen star Pola Negri's first talking picture. Actually, it was her first American talkie and almost her last, posting a $265,000 loss for RKO Radio. Ordered to marry Serbian king Alexander (Roland Young), noblewoman Maria Draga (Negri) does what she's told, though her heart belongs to dashing army captain Pasitch (Basil Rathbone). Ultimately, the heroine nearly brings about Pasitch's total downfall, but she redeems herself by sacrificing her life to save his. Negri's thick Teutonic accent is not as much of a detriment as some historians have claimed: the problem lies in the terrible dialogue she is called upon to speak. Such was the failure of A Woman Commands that Pola Negri immediately returned to her adopted homeland of Germany, where she remained until WWII necessitated her second Hollywood comeback in 1943's Hi Diddle Diddle. ~ Hal Erickson, All Movie Guide

William Wyler directed this melodramatic story about a boy who, after growing up in the shadow of his father, learns the old man wasn't all he claimed to be. Tom Brown (played, as coincidence would have it, by an actor named Tom Brown) is a boy who has been struggling to help his mother keep body and soul together ever since the death of his father during World War I. The elder Brown died in combat when Tom was a baby, but her heroism earned him a posthumous Congressional Medal of Honor, and in tribute to his father a local American Legion post presents Tom with a full scholarship to attend the prestigious Culver Military Academy; while Tom has his doubts about his future as a soldier, he certainly understands the value of an education and accepts. However, its not until after he's enrolled at Culver that Tom learns the truth about his father -- "Doc" Brown (H.B. Warner) fled in the midst of battle, exchanging his identification with a dead soldier, and has been living the life of a coward ever since. Will Tom be able to restore the good name of the Brown family? Andy Devine, Sidney Toler, Slim Summerville and a young Tyrone Power highlight the supporting cast. ~ Mark Deming, All Movie Guide