Leo White Movies

The title of Charlie Chaplin's fifth comedy for Essanay refers to the popular term for a Model T Ford, a jitney. Its theme of impersonation was one Chaplin had used before in Caught in a Cabaret and Her Friend the Bandit, and would use again in The Count and other films. Chaplin's girlfriend Edna Purviance is about to be forced by her father to wed the wealthy Count de Ha-Ha (Leo White), whom neither has met. Chaplin, dropping by for a visit, stands below her bedroom window whistling for her. She tosses him a note from the Count, announcing his visit and pleads to be rescued. Chaplin impersonates the Count and is welcomed by her mercenary father. He's given drinks and cigars and sits down to lunch with Purviance and her father. Chaplin performs a bit that he had done in one of the Karno sketches, that of carving a loaf of bread into a spiral and using it as an accordion. Although his table manners are decidedly not upper class, Chaplin pulls off the impersonation until the real Count arrives. The enraged father kicks Chaplin out of the house, then goes out for a spin with Purviance and the Count in the latter's car. They drive to a park where father hopes the Count can sweet-talk Purviance into marrying him. At first horrified by his intentions, she breaks out into gales of laughter at the sight of the tattered seat of his pants. Chaplin happens by and steals Purviance away, dispatching Count and father, along with a couple of cops. The fleeing couple steal the Count's jitney, and lead Count, father and cop, now following in a car they've taken, on a merry chase. The chase leads them to a pier, where in a clever stop-motion photography scene, the cars jockey about until Chaplin bumps the other car off the pier and into the water. A happy Chaplin and Purviance are about to kiss as the film fades out. ~ Phil Posner, 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

Before he settled down to a long career as a jovial character actor, Lloyd Corrigan functioned as screenwriter and director on a number of Hollywood programmers. Corrigan co-directed Paramount's Along Came Youth with Norman Z. McLeod. The frothy story involves heiress Frances Dee, who balks at the wealthy marriage that her aunt is arranging. Enter Charles "Buddy" Rogers, a near-impoverished gent who takes a job as a sandwich board man. Dee assumes that Rogers is the rich man she's expected to marry, and then the fun begins. ~ Hal Erickson, 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

In Behind the Screen, the seventh of his 12 Mutual Studios two-reelers, Charlie Chaplin pokes some less than gentle fun at his former employer Mack Sennett. Chaplin and Eric Campbell play a couple of bumbling stagehands at Gigantic Picture Studios. They knock each other about, break for lunch, and knock each about again. Pretty Edna Purviance sneaks into the studio disguised as a boy. Chaplin finds out her secret and steals a kiss -- drawing a very suspicious glance from Campbell. The film ends with a combination union strike and slapstick pie fight. Best bit: a temperamental movie comedian refuses to throw a pie without proper "motivation." Chaplin spent so much time achieving perfection in Behind the Screen that Mutual was obliged to apologize to its exhibitors for missing the scheduled release date by two weeks. ~ Hal Erickson, All Movie Guide

A novel by Stephen French Whitman was the source for First National's The Blonde Saint. Lewis Stone stars as Sebastian Maure, a world-famous author and a notorious ladies' man. Well aware of Maure's reputation, heroine Anne Bellamy (Doris Kenyon) refuses to have anything to do with him -- but the audience knows that she's secretly in love with the "bad boy" novelist. Travelling by steamship from Italy to England, there to marry stuffy Brit Vincent Pamfort (Malcolm Denny), Anne can't seem to shake the persistent Maure, who has booked passage on the same ship. In desperation, Maure grabs Anne and leaps off the side of the boat. The two swim to the shore of a tiny Sicilian fishing village, where hero and heroine find themselves at the mercy of homicidal jewel thieves. As if that weren't enough, a plague breaks out in the village, endangering the lives of everyone in the community. Through his selfless ministrations to the sick, Maure proves to Anne that he'd be a worthy husband despite all his faults -- and when her British fiance shows up to rescue her, our heroine steadfastly refuses to be rescued. ~ Hal Erickson, All Movie Guide

Universal Western star Ted Wells played a Chicago millionaire working incognito as a cowhand in this average silent Western comedy. Wells rescues John Pearson (Byron Douglas) and his daughter Helen (Duane Thompson) from a gang of kidnappers. Helen's foppish fiancée, Clyde Montmorency Wilpenny (Leo White), invites the cowboy to a party at his lodge hoping to show him up as an uncouth hillbilly. Wells, of course, not only arrives in faultless evening dress but manages to foil a robbery along the way. If nothing else, Born to the Saddle featured a rare Western appearance by British music-hall veteran Leo White, known for his many roles as well-dressed French anarchists during Charles Chaplin's Essanay and Mutual periods. ~ Hans J. Wollstein, All Movie Guide

Popular Universal star Priscilla Dean teamed for the second time with director Tod Browning in 1918's Brazen Beauty (the first of their many collaborations was the profitable The Deciding Kiss) Dean plays a Montana rancher who heads to New York when she inherits her late father's millions. The snooty Manhattan socialites treat the brash, uninhibited Dean rather badly. Still, she is determined to become one of the "400"-at least until she falls in love with unpretentious Thurston Hall. The Brazen Beauty was based on The Magnificent Jacala, a French novelette by Louise Winter. The 5-reel film was one of seven pictures directed by Tod Browning in 1918. ~ Hal Erickson, All Movie Guide

Lovely senorita Maria Alvaro (Dorothy Kitchen) is rescued from a gunshot wedding to foppish Senor Valdez (former Charlie Chaplin associate Leo White) practically on the steps to the church by daredevil rider Jim Collins (Bob Steele). The young man simply kidnaps her and holds her until her father (George Bunny) accepts him as a more appropriate son-in-law. The comic Breed of the Sunset was directed by Wallace Fox, a one-time black-face comic and an old hand at these sort of things, and scripted by a young Oliver Drake, whose deft handling of both action and gag humor would be even better utilized in the sound era. ~ Hans J. Wollstein, 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

Originally released on July 1, 1923, the silent, two-reel Dogs of War may well have been the most schizophrenic entry in the entire Our Gang series. The film begins with an elaborate sandlot recreation of a battlefield, with the Our Gang kids staging an elaborate mock war, complete with such "artillery" as rotten eggs and overripe vegetables, and with makeshift tanks and cannons adding to the imaginary carnage. Suddenly an armistice is declared when "Red Cross Nurse" Mary Kornman is called away to the local movie studio to appear in an epic titled Should Husbands Work? for a magnificent five dollars a day. Recognizing a good thing when they see it, the rest of the kids head to the studio (actually the Hal Roach lot) and offer their services as actors. Ordered to get out and stay out, the youngsters devise a clever method to gain access to the studio where, in addition to wreaking their usual havoc, they produce a one-reel "masterpiece" that more closely resembles an Andy Warhol experimental picture of the 1960s. Watch for comedy great Harold Lloyd in an amusing cameo -- which also serves as a plug for Lloyd's latest release, Why Worry?. One TV version of Dogs of War, retitled Hollywood USA, jettisons the "war" sequence entirely, with little damage to the film's continuity. ~ Hal Erickson, All Movie Guide

This one opens with a live-action shot of a pianist (played by former Chaplin foil Leo White, but voiced by Mel Blanc) as he musically recounts the story of a Moth and his "flame"--namely a Honey Bee. Hoping to horn into this romance and claim the Moth for herself is a homely Black Widow Spider, who tries everything from disguising herself as Veronica Lake to luring the Moth to her web with a seductive candle flame. But Honey Bee isn't about to give up her man (or Moth) that easily--and confidentially, she stings! ~ Hal Erickson, All Movie Guide