E. Alyn Warren Movies

In this interesting drama, a highly respected straight-arrow Irish cop is pleased when his son follows him onto the force. Unfortunately, the son is more interested in promotions than in upholding the law and he makes few friends among his peers. When he shoots a child caught stealing, the others frame him and he is sent to prison where his attitude becomes even worse than before. Upon his escape, the bad seed goes on a crime spree. He then learns that his wife has just borne him a son. When he goes to the hospital to see the babe, his father, who set this trap, arrests him and sends him back to the pokey, proving that in this case, justice is thicker than blood. ~ Sandra Brennan, Rovi

Merlini the Magician, Clayton Rawson's crime-solving illusionist, has been singularly ill-used by Hollywood, having appeared in a mere two films, "starring" in only one. Miracles for Sale compounds the oversight by rechristening Merlini as "Michael Morgan", in the person of Robert Young. The picture starts well, with a grisly political execution revealed to be an elaborate bit of stage magic perpetrated by the personable Morgan. The story then goes into a fraud and murder scheme perpetrated by Dave Duvallo (Henry Hull), whose consummate skill with makeup and Houdinilike escape devices comes in handy for phony spiritualist Madame Rapport (Gloria Holden). The film's highlight finds Morgan exposing several tricks utilized by magicians and fortune-tellers to gull the public, a sequence which incurred the wrath of the Pacific Coast Association of Magicians, who took a dim view at having the secrets of their trade revealed for the cost of a movie ticket. Of historical interest is the fact that Miracles for Sale was the final directorial effort of Tod Browning (Dracula, Freaks etc.) ~ Hal Erickson, Rovi

Jeanette MacDonald and Lew Ayres make strange bedfellows in the overproduced MGM musical Broadway Serenade. She plays aspiring singer Mary Hale, and he plays her husband, struggling songwriter James Geoffrey Seymour. The couple's vaudeville act breaks up when Mary is hired for a big-time Broadway revue. As she rises to the top of the show-business heap, Seymour hits the skids, having lost his inspiration. On the verge of divorcing Seymour to marry a wealthy producer, Mary finally realizes that her life will be incomplete without her husband by her side. Saving the film from drowning in a sea of cliches are Jeanette MacDonald's musical renditions, not to mention the comedy relief of Frank Morgan and veteran vaudevillian Al Shean. ~ Hal Erickson, Rovi

Frank Borzage directed this doomed romance starring Joan Crawford as Olivia Riley, the young bride of Henry Linden (Melvyn Douglas), an upper-crust conservative. Olivia is a show girl in a New York nightclub and when Henry brings her home to his family -- his brother David (Robert Young) and spinster sister Hannah (Fay Bainter) -- on his family's estate, Olivia is given the cold shoulder, particularly by David, who is actually attracted to Olivia himself. Olivia strikes up a friendship with David's wife Judy (Margaret Sullivan), who feels as shut out from the family as Olivia does. Olivia is attracted to David herself, and Hannah tries to drive Olivia away before things really heat up. Judy recognizes the attraction and is willing to leave David so he can pursue his romance with Olivia. David has no idea how to handle the situation, and Henry is blissfully unaware of the simmering passions between David and his wife. But Hannah brings the situation to its inevitable, and tragic, outcome buy setting fire to the estate. ~ Paul Brenner, Rovi

Based on a novel by Erich Maria Remarque, Three Comrades represented one of the few successful screenwriting efforts of F. Scott Fitzgerald. Set in Germany in the years just following World War I, the film stars Robert Taylor, Franchot Tone and Robert Young as three battle-weary, thoroughly disillusioned returning soldiers. The three friends pool their savings and open an auto-repair shop, and it is this that brings them in contact with wealthy motorist Lionel Atwill--and with Atwill's lovely travelling companion Margaret Sullavan. Taylor begins a romance with Sullavan, who soon joins the three comrades, making the group a jovial, fun-seeking foursome (this plot element bears traces of Hemingway's The Sun Also Rises, as well as the 1931 film The Last Flight). Though Sullavan suffers from tuberculosis (her shady past is only alluded to), she is encouraged by her male companions to fully enjoy what is left of her life. This becomes increasingly difficult when one of the comrades, Young, is killed during a political riot (it's a Nazi riot, though not so-labelled by ever-careful MGM). In the end, the four comrades are only two in number, with nothing but memories to see them through the cataclysmic years to come. Despite its Hollywoodized bowdlerization of the Remarque original, Three Comrades remains a poignant, haunting experience. ~ Hal Erickson, Rovi

This hard-hitting Warner Bros. courtroom drama begins with the usual "Any resemblance to actual persons, living or dead, is coincidental" disclaimer. Filmgoers with long memories, however, recognized Robert Rossen and Aben Kandel's screenplay as a blow-by-blow recreation of the Leo Frank-Mary Phagan case of 1915. Phagan, a 14-year-old employee in a Marietta, GA pencil factory, was found murdered. The bulk of the evidence pointed to a black janitor (who actually confessed to the crime years after the fact), but race-baiting Atlanta newspaper publisher Tom Watson decided to go after Leo Frank, the Northern Jew who owned the factory where Mary worked. "We can lynch a nigger any time," the politically ambitious Watson is alleged to have said, "but when do we get a chance to hang a Yankee Jew?" Thanks largely to Watson's "guilt by headline" campaign, and to Fulton County's cooperative solicitor general, Frank was found guilty and sentenced to death. Georgia Governor John M. Slaton, who all along smelled something fishy in the case, commuted Frank's case to life imprisonment (and was ruined politically as a result). En route to prison, Frank was abducted by a mob and lynched, an incident that boosted the prestige of the Georgia Ku Klux Klan. Aben Kandel dramatized this appalling miscarriage of justice in his novel Death in the Deep South, which served as the basis for They Won't Forget. In Mervyn LeRoy's film version, Lana Turner (in a star-making turn) plays Mary Clay, a teen-aged typing school student who dresses garishly and flirts with every man she meets. Mary is later found murdered; the last person to see her alive was her teacher, recently arrived Northerner Robert Hale (Edward Norris). Once more, a black janitor (played as a superstitious moron by Clinton Rosemond) is the most likely suspect, but the ambitious district attorney (Claude Rains) seems sincere in his belief that Hale is guilty. Once Hale is sentenced to death, the governor, played by Paul Everton, commutes his sentence, serene in the belief that, once his career is finished, he'll be able to retire peacefully (real-life governor Slaton did not go down so benignly). Except for the removal of the original case's anti-Semitic elements, They Won't Forget is stark, powerhouse filmmaking, one of the best of Warners' "social protest" films of the 1930s. It was remade as the 1987 TV movie The Murder of Mary Phagan starring Jack Lemmon, Kevin Spacey, Peter Gallagher, and Charles S. Dutton (as well as as the unsuccessful 1998 Broadway musical Parade). ~ Hal Erickson, Rovi

Dore Schary, several years removed from his tenure as head of MGM, was screenwriter for the modest Universal actioner Chinatown Squad. Lyle Talbot plays Ted Lacey, a disgruntled ex-cop reduced to driving a sightseeing bus in Chinatown. When a man who has been collecting funds for the Chinese communist cause is murdered, Lacey leaps at the opportunity to solve the case in hopes of getting his badge back. The killing is tied in with some stolen airplanes -- and, this being Hollywood's version of Chinatown, there's an abundance of sinister-looking suspects. Eighteen-year-old Valerie Hobson is the pretty if antiseptic heroine. For reasons best known to the folks at Universal, Chinatown Squad was included in TV's "Shock Theatre" package, lumped together with the studio's Frankenstein and Dracula pictures! ~ Hal Erickson, Rovi

It's "Never the twain shall meet" time again, this time in London's Limehouse district. George Raft stars as Harry Young, a half-caste saloonkeeper who shelters beleaguered white girl Toni (Jean Parker) from her tormentors (shades of Broken Blossoms). Harry falls in love with the girl, but mixing of the races was still a Hollywood no-no in 1934, so tragedy results -- except for Toni, who finds happiness in the arms of Eric Benton (Kent Taylor), a man of "her own kind." The highly eclectic cast includes Anna May Wong as Raft's obligatory cast-off sweetheart Tu Tuan, former 2-reel comic Billy Bevan, and in a tiny uncredited role, Ann Sheridan. To avoid confusion with another Limehouse Blues, this one was retitled East End Chant for television. ~ Hal Erickson, Rovi

Adapted from a Zane Grey story, Wagon Wheels is a remake of the 1931 Gary Cooper starrer Fighting Caravans. Randolph Scott assumes Cooper's role, playing a trail guide named Clint Belmet. The plot follows the progress of a typical wagon train journey from Missouri to Oregon, with the usual quote of Indian attacks and outlaw treachery. Murdock (Monte Blue), the main villain, foments trouble between the whites and Indians on behalf of a carter of foreign fur traders, adding a bit of international intrigue to the proceeding. Gail Patrick, still in her "ingenue" period, portrays the heroine along more intelligent and self-reliant lines than usual. Generous amounts of stock footage from Fighting Caravans were liberally sprinkled throughout the 57-minute time span of Wagon Wheels. ~ Hal Erickson, Rovi

If MGM could cast an Olympic champion it its Tarzan series, so could Sol Lesser's Principal Pictures. Thus it was that Larry "Buster" Crabbe, gold-medal winner for the 400 meter free-style swimming event in the 1932 L.A. Olympics, played the title role in Principal's 15-chapter serial Tarzan the Fearless. One of the few Tarzan epics actually based on a story by Edgar Rice Burroughs, this one finds the Lord of the Jungle protecting pulchritudinous heroine Mary Brooks (Jacqueline Wells) from the villainous machinations of the High Priest (Mischa Auer) of Zar, God of the Jeweled Fingers. Tarzan must also avoid Jeff (Philo McCullough), a bounty hunter who has been offered a huge reward to bring the ape man to Civilization -- dead or alive! This 60-minute feature-length version of Tarzan the Fearless is mostly comprised of the first four chapters, with a rather abrupt wrap-up of several plotlines in the final two reels; another feature version, running 86 minutes, was prepared for television in 1960. ~ Hal Erickson, Rovi

Directly after his successful screen teaming with Marlene Dietrich in Morocco, Gary Cooper returned to Paramount's "Zane Grey" western series with Fighting Caravans. Cooper is cast as Clint Belmet, a hell-raisin' frontiersman facing a misdemeanor jail term. To avoid arrest, Clint talks French-born Felice (Lily Damita) into posing as his wife. Having successfully eluded the Law, Clint joins a wagon train heading to California, with Felice in tow. He callously tells her that he expects to exercise his "husbandly" prerogative in bed, but changes his tune when he genuinely falls in love with the girl. Eventually, Clint assumes some responsibility for the first time in his life by becoming the wagon train's sole trail guide, rescuing the other passengers from the villainous machinations of gun-runner Lee Murdock (Fred Kohler). Several stock shots and outtakes from Fighting Caravans (retitled Blazing Arrows for television) later showed up in another Zane Grey series entry, Wagon Wheels (1934). ~ Hal Erickson, Rovi

Actor Robert Montgomery would serve as a lieutenant in the U.S. Naval Reserve during WWII, but he was just a lowly seaman in the 1931 MGM programmer Shipmates. When he's not being pushed around by chief petty officer Ernest Torrence, naval recruit Jonesy (Montgomery) is busily wooing Kit (Dorothy Jordan) the daughter of Admiral Corbin (Hobart Bosworth). After several reels of irresponsibility, Jonesy proves his worth by preventing an arsenal ship from being destroyed by a burning oil tanker. Cliff Edwards provides the requisite comic relief as a goofy gob named Bilge. Though Shipmates could hardly qualify as Robert Montgomery's best film, it was the picture in which he was finally afforded top billing, thereby increasing his salary to a daunting $2100 per week. ~ Hal Erickson, Rovi