Leo White

Filmed in 1947, Warner Bros. Night Unto Night wasn't released until 1949. Based on a novel by Philip Wylie, the film stars Ronald Reagan as John, a young scientist suffering from epilepsy (In 1951, Reagan would play another epileptic, baseball star Grover Cleveland Alexander, in The Winning Team). Viveca Lindfors co-stars as Ann, who is recovering from the loss of her husband. Both John and Ann head to the coast of Florida for rest and relaxation, and it is here that they fall in love. While John and Ann contend with their individual afflictions and private demons, their mutual friend Shawn (Broderick Crawford) dispenses philosophical advice. The psychological aspect of Night Unto Night seems dated and simplistic when seen today; even so, Reagan and especially Lindfors are convincing in their difficult roles. ~ Hal Erickson, All Movie Guide

Love leads a man to his most evil deeds and forces him to change his ways in this Western. After being handed a dishonorable discharge during the Civil War, Mike McComb (Errol Flynn) becomes a professional gambler and follows a path of ruthless action to get what he wants. After moving out West and making a killing prospecting silver, McComb becomes a wealthy and powerful man, and he finds himself infatuated with beautiful Georgia Moore (Ann Sheridan). However, Georgia is married to Stanley Moore (Bruce Bennett), who works for McComb, so he arranges for Stanley to be given a dangerous assignment; Stanley is killed, and McComb sweeps the widowed Georgia off her feet. Georgia weds McComb, but in time she finds out the ugly truth about her second husband, leaving him behind. Devastated, McComb sets out to mend his ways and win Georgia back by serving more noble purposes. Silver River was the seventh Flynn vehicle directed by Raoul Walsh; it would also mark the last time they worked together. ~ Mark Deming, All Movie Guide

Arsenic and Old Lace is director Frank Capra's spin on the classic Joseph Kesselring stage comedy, which concerns the sweet old Brewster sisters (Josephine Hull, Jean Adair), beloved in their genteel Brooklyn neighborhood for their many charitable acts. One charity which the ladies don't advertise is their ongoing effort to permit lonely bachelors to die with smiles on their faces--by serving said bachelors elderberry wine spiked with arsenic. When the sisters' drama-critic nephew Mortimer (Cary Grant) stumbles onto their secret, he is understandably put out--especially since he has just married the lovely Elaine Harper (Priscilla Lane). Given the homicidal tendencies of his aunts, the sinister activities of his escaped-convict older brother Jonathan (Raymond Massey) and the disruptive behavior of younger brother Teddy (John Alexander)--who is convinced that he's really Theodore Roosevelt, and runs around the house yelling "CHAAAAARGGGE"--Mortimer isn't keen on starting a family with his new bride. "Insanity runs in my family," he explains. "It practically gallops." Further complications ensue when the murderous Jonathan Brewster arrives home, with his snivelling accomplice Dr. Einstein (Peter Lorre) in tow. When Jonathan learns that his darling aunts have killed twelve men, he is incensed--they're challenging his own record of murders. Though the movie rights for Arsenic and Old Lace were set up so that the film could not be released until 1944, director Capra shot the film quickly and inexpensively in 1941, so that his family could subsist on his $100,000 salary while he was serving in World War II. ~ Hal Erickson, All Movie Guide

A Warner Bros. attempt to ape the success of the Universal horror films, The Mysterious Doctor is a moody little piece centering around a series of decapitations. These outrages are being committed in a cloistered English village, and the perpetrator is supposedly a legendary headless ghost. For a while, suspicion falls upon the village idiot (Matt Willis), but the true culprit is mad doctor John Loder, who is using the "ghost" legend to cover up his Nazi activities. Eleanor Parker, a recent Warners contractee, is around to scream and look terrified. Mysterious Doctor wraps everything up in 57 minutes. ~ Hal Erickson, All Movie Guide

This quickie RKO musical is the second retread of Street Girl (1929); the 1937 musical That Girl from Paris was the first remake. This time around, the four jacks are musicians Nifty (Ray Bolger), Happy (Eddie Foy Jr.), Nat (Jack Briggs), and Eddie (William Blees). Their singer Opal (June Havoc) quits the band because her mobster boyfriend The Noodle (Jack Durant) is pressuring her to pay more attention to him. Nifty discovers the down-on-her-luck Nine (Anne Shirley) and persuades her to masquerade as a celebrated foreign singing star. Farcical complications result -- including cab driver Steve (Desi Arnaz) posing as Balkan nobility! -- as the musicians and their new girl singer pursue fame and fortune. Songs include "You Go Your Way And I'll Go Crazy" and Boogie Woogie Conga". ~ Nicole Gagne, All Movie Guide

The fact that James M. Cain (Double Indemnity, Mildred Pearce et. al.) was responsible for the storyline is the sole distinguishing feature of the pedestrian Warner Bros. melodrama Money and the Woman. Roger Pryor plays bank teller Charles Patterson, an outwardly honest soul who is actually a conscienceless embezzler. When Patterson becomes seriously ill, his wife Barbara (Brenda Marshall) calls upon bank president Dave Bennett (Jeffrey Lynn), beginning his forgiveness for her husband's past misdeeds. It turns out that Patterson isn't worth the effort, since he's been carrying on a torrid affair with coworker Miss Church (Lee Patrick). But Barbara doesn't have time to grieve, inasmuch as she's fallen in love with the handsome Bennett. ~ Hal Erickson, All Movie Guide

Code of the Secret Service was the second of Warner Bros. "Brass Bancroft" series, starring Ronald Reagan as troubleshooting federal operative Bancroft. This time, Brass and his wisecracking partner Gabby (Eddie Foy Jr., brother of producer Bryan Foy) take on a particularly vicious gang of counterfeiters. Our heroes end up in Mexico, where they undergo a series of wild and wooly adventures the like of which were seldom seen outside of the Republic serials. According to Reagan, he was obliged to do his own stunts in the film because the budget couldn't afford a double; it certainly looks that way. Entertaining in its own dizzy fashion. Code of the Secret Service is proof positive that Reagan could carry a film with the right material. ~ Hal Erickson, All Movie Guide

In this lively adventure aimed at youthful audiences, a wiseacre fireman soon finds himself in trouble with his fire captain after the smarty pants begins dating the captain's sister. Mayhem ensues, culminating in a fist fight. In the end, the young fireman saves the captain from certain death in a great fire and the two reconcile their differences. ~ Sandra Brennan, All Movie Guide

In this drama, the big city wife of a small town doctor learns a valuable lesson as she struggles to adapt to rural life. ~ Sandra Brennan, All Movie Guide

Paul Muni is a prominent physician who is kidnapped by gangsters and forced to tend the needs of head crook Barton MacLaine. MacLaine takes a liking to the intellectual doctor and allows him to go home after his job is done. Muni finds himself the reluctant "staff physician" for the gangster, thus is periodically spirited away from his practice to look after the criminal. He has given his word not to "rat" on the crooks, but he can't sit idly by while the gangsters loot the city. Muni foils the crooks by injecting them with a drug which induces temporary blindness. Dr. Socrates was remade in 1939 as King of the Underworld, with Humphrey Bogart as the gangster boss and actress Kay Francis in Paul Muni's role (with surprisingly few dialogue alterations to accommodate the gender switch!) ~ Hal Erickson, All Movie Guide

In this comedy, a waitress at a local lunch counter inadvertently foils a bank robbery and finds herself turned into a national heroine by an eager-beaver reporter. Unfortunately, her sudden notoriety causes gangsters to abduct her. The plucky waitress not only manages to talk them into returning her, she also convinces them to go straight. ~ Sandra Brennan, All Movie Guide

Although some purists hold out for Duck Soup (1933), many Marx Brothers fans consider A Night at the Opera the team's best film. Immediately after the credits roll, we are introduced to Groucho Marx as penny-ante promoter Otis B. Driftwood. After a sumptuous dinner with a beautiful blonde at a fancy Milan restaurant, Driftwood tries to cadge another free meal from his wealthy patroness, Mrs. Claypool (Margaret Dumont). The dignified dowager complains that Driftwood had promised to get her into high society, but has done nothing so far. Otis B. counters by introducing Mrs. C to pompous opera entrepreneur Gottleib (Sig Rumann); all Mrs. Claypool has to do is invest several hundred thousand dollars in Gottleib's opera company, and her entree into society is in the bag. Contingent upon this plan is Driftwood's signing of Rodolfo Lassparri (Walter Woolf King), a self-important tenor. Backstage at the opera, Driftwood meets Fiorello (Chico Marx), who poses as a manager and offers to sell Driftwood the "world's greatest tenor"-not Lassparri, as Driftwood assumes, but Fiorello's pal Ricardo Baroni (Allan Jones). Instantly the two sharpsters try to draw up a contract ("The party of the first part shall hereafter be known as the party of the first part..."), which they proceed to tear up piece by piece whenever coming across a clause that displeases them (Driftwood: "That's a sanity clause"; Fiorello: "You no foola me. There ain't no Sanity Claus"). Having lost Lassparri to Gottleib, Driftwood sails back to America with Mrs. Claypool and the opera company. Gottleib arranges for Driftwood to get the tiniest, least accessible stateroom on the ship. Unpacking his trunk, Driftwood discovers that he's got to share his postage-stamp quarters with Ricardo Baroni, who has stowed away because he's in love with the opera troupe's leading lady Rosa (Kitty Carlisle). Also hiding out in Driftwood's trunk is Fiorello, who's come along because he's still Ricardo's manager, and the wacky Tomasso (Harpo Marx), Lassparri's former dresser, who has come along for the hell of it. Anxious to arrange a tete-a-tete with Mrs. Claypool in his stateroom, Otis finds out that his unwelcome guests won't leave until they're fed ("Do you have any stewed prunes? Well, give them some black coffee, that'll sober 'em up"). After ordering a huge dinner, Otis and his new friends are crowded even farther by a steady stream of intruders, including an engineer and his assistant, a cleaning lady, a manicurist, a girl looking for her Aunt Minnie, and a dozen waiters. The celebrated "stateroom scene" comes to a rollicking conclusion when Mrs. Claypool has the misfortune of opening the door. On the last night of the voyage, Fiorello, Tomasso and Ricardo sneak out of their stateroom to enjoy an impromptu ethnic festival in steerage. Ricardo sings, Fiorello "shoots the keys" on the piano, and Tomasso plays the film's theme song Alone on the harp. The stowaways are caught and thrown in the brig, but with Driftwood's help they escape. To avoid recapture, the stowaways don heavy beards and pose as three famed Russian aviators. After making a shambles of a public reception, the three reprobates hide out in Driftwood's New York apartment, where everyone conspires to drive an investigating detective (Robert Emmet O'Connor) crazy. Driftwood is fired from the opera company for associating with the stowaways, while Rosa is dismissed for refusing Lassparri's affections. In order to restore Rosa's job and put the deserving Ricardo in Lassparri's place during the opening performance of La Traviata, Driftwood, Fiorello and Tomasso concoct a scheme that will reduce the opera to comic chaos. The actual night at the opera in A Night at the Opera must be seen to be believed, but the spirit of the scene can be summed up by Gottleib's anguished cry "A battleship in Il Trovatore!" Opera was the Marx Brothers' first film for MGM, and they dearly coveted a hit after the disappointing box-office showing of their final Paramount films. With the blessing of MGM production chief Irving Thalberg, the Marxes went on the road with their brilliant writing staff (including George S. Kaufman, Morrie Ryskind and Al Boasberg) to test their comedy material before live audiences. As a result of this careful preplanning, Night at the Opera was a smash-hit gigglefest, grossing over $3 million and putting the Marxes back on top in the hearts and minds of filmgoers everywhere. ~ Hal Erickson, All Movie Guide

A few unique touches aside -- notably the opening costume-party scene, in which the revellers are dressed as insects -- Rip Tide is a standard-issue Norma Shearer soap opera. Shearer plays Mary, a footloose and fancy-free American heiress who weds British nobleman Lord Rexford (Herbert Marshall). Five years later, Rexford embarks upon a business trip to New York, while Mary, urged on by her fun-loving aunt, vacations on the Riviera. Here she is reacquainted with her ex-boyfriend Tommie (Robert Montgomery), whose drunken misbehavior causes scandal to befall them both. Refusing to hear Mary's side of the story, Rexford begins divorce proceedings, but a happy ending finally manifests itself after reels and reels of endless high-toned dialogue. Legendary stage star Mrs. Patrick Campbell makes her Hollywood film debut in Rip Tide as Shearer's all-knowing Aunt Hetty, while Walter Brennan and Bruce Bennett show up in microscopic bit roles. ~ Hal Erickson, All Movie Guide