Lloyd Whitlock Movies

Samson and Delilah is Cecil B. DeMille's characteristically expansive retelling of the events found in the Old Testament passages of Judges 13-16. Victor Mature plays Samson, the superstrong young Danite. Samson aspires to marry Philistine noblewoman Semadar (Angela Lansbury), but she is killed when her people attack Samson as a blood enemy. Seeking revenge, Semadar's younger sister Delilah (Hedy Lamarr) woos Samson in hopes of discovering the secret of his strength, thus enabling her to destroy him. When she learns that his source of his virility is his long hair, Delilah plies Samson with drink, then does gives him the Old Testament equivalent of a buzzcut while he snores away. She delivers the helpless Samson to the Philistines, ordering that he be put to work as a slave. Blinded and humiliated by his enemies, Samson is a sorry shell of his former self. Ultimately, Samson's hair grows back, thus setting the stage for the rousing climax wherein Samson literally brings down the house upon the wayward Philistines. Hedy Lamarr is pretty hopeless as Delilah, but Victor Mature is surprisingly good as Samson, even when mouthing such idiotic lines as "That's all right. It's only a young lion". Even better is George Sanders as The Saran of Gaza, who wisely opts to underplay his florid villainy. The spectacular climax to Samson and Delilah allows us to forget such dubious highlights as Samson's struggle with a distressing phony lion and the tedious cat-and-mouse romantic scenes. ~ Hal Erickson, Rovi

Each of Bob Hope's "My Favorite" films (My Favorite Blonde, My Favorite Brunette, My Favorite Spy) was, by accident or design, a parody of a dead-serious movie genre. 1942's My Favorite Blonde, for example, was a takeoff of Alfred Hitchcock in general and Hitchcock's 39 Steps in particular. Two-bit vaudeville entertainer Hope gets mixed up with gorgeous blonde British-spy Madeline Carroll. The "maguffin" (Hitchcock's nickname for "gimmick") which ties the two stars together is a ring which contains the microfilmed plans for a revolutionary new bomber. Hope and Carroll are forced to take it on the lam when Hope is framed for murder by Nazi-agents Gale Sondergaard, George Zucco et. al. Highlights include Hope eluding capture by impersonating a famed psychologist (watch for Carl "Alfalfa" Switzer as Hope's most contentious "patient"). Madeline Carroll also got several opportunities to shine comedically, especially when she lapsed into cloying baby talk while posing as Hope's wife. Bob Hope was hesitant to work with My Favorite Blonde director Sidney Lanfield, having heard of Lanfield's reputation as an on-set dictator. However, the two got along so swimmingly that they would collaborate on such future top-notch Hope farces as Let's Face It (1943) and The Lemon Drop Kid (1951). ~ Hal Erickson, Rovi

Not to be confused with his later Home in Wyomin', Gene Autry's Sunset in Wyoming is essentially a musical with western interludes. This time, Autry champions the cause of a group of ranchers who are being victimized by the apparent megalomania of lumber baron George Cleveland. Upon palavering with Cleveland, Autry discovers that the lumberman himself is not to blame for the despoiling of the territory: the real villain is Easterner Robert Kent, who is presently engaged to Cleveland's daughter Maris Wrixon. Forced to enter the rarefied world of High Society, Autry settles Kent's hash and ultimately claims Ms. Wrixon for himself. The best scene finds comical sidekick Smiley Burnette duded up as a butler, which is far more enjoyable than the climactic flood scenes, most of which were obviously culled from previously Republic productions. ~ Hal Erickson, Rovi

Edith Fellows and Billy Lee, two of Hollywood's most talented second-echelon child stars, are teamed in the Columbia tearjerker Nobody's Children. The film was inspired by Walter White Jr.'s popular human-interest radio series, which ran from 1939 to 1941. The radio version of Nobody's Children was dedicated to finding loving homes for the orphaned and abandoned kids under the care of the Children's Home Society of Los Angeles. White himself appears in the film in the "framing" scenes, ostensibly taking place during one of his broadcasts. The story proper deals with the plight of orphaned siblings Pat (Fellows) and Tommy (Lee), whose efforts at finding adoptive parents have been thwarted by the fact that Pat is crippled. Many adults have offered to adopt Tommy alone, but he loyally refuses to be separated from his sister?and the plot wends its sentimental way from there. ~ Hal Erickson, Rovi

Frank Capra's classic comedy-drama established James Stewart as a lead actor in one of his finest (and most archetypal) roles. The film opens as a succession of reporters shout into telephones announcing the death of Senator Samuel Foley. Senator Joseph Paine (Claude Rains), the state's senior senator, puts in a call to Governor Hubert "Happy" Hopper (Guy Kibbee) reporting the news. Hopper then calls powerful media magnate Jim Taylor (Edward Arnold), who controls the state -- along with the lawmakers. Taylor orders Hopper to appoint an interim senator to fill out Foley's term; Taylor has proposed a pork barrel bill to finance an unneeded dam at Willet Creek, so he warns Hopper he wants a senator who "can't ask any questions or talk out of turn." After having a number of his appointees rejected, at the suggestion of his children Hopper nominates local hero Jefferson Smith (James Stewart), leader of the state's Boy Rangers group. Smith is an innocent, wide-eyed idealist who quotes Jefferson and Lincoln and idolizes Paine, who had known his crusading editor father. In Washington, after a humiliating introduction to the press corps, Smith threatens to resign, but Paine encourages him to stay and work on a bill for a national boy's camp. With the help of his cynical secretary Clarissa Sanders (Jean Arthur), Smith prepares to introduce his boy's camp bill to the Senate. But when he proposes to build the camp on the Willets Creek site, Taylor and Paine force him to drop the measure. Smith discovers Taylor and Paine want the Willets Creek site for graft and he attempts to expose them, but Paine deflects Smith's charges by accusing Smith of stealing money from the boy rangers. Defeated, Smith is ready to depart Washington, but Saunders, whose patriotic zeal has been renewed by Smith, exhorts him to stay and fight. Smith returns to the Senate chamber and, while Taylor musters the media forces in his state to destroy him, Smith engages in a climactic filibuster to speak his piece: "I've got a few things I want to say to this body. I tried to say them once before and I got stopped colder than a mackerel. Well, I'd like to get them said this time, sir. And as a matter of fact, I'm not gonna leave this body until I do get them said." ~ Paul Brenner, Rovi

Arson Gang Busters was a slick little Republic programmer highlighted by several well-staged miniature sequences, courtesy of the talented Lydecker Brothers. Robert Livingston plays a firefighter who feels that the police aren't moving fast enough in tracking down an arson ring. Livingston decides to do a little sleuthing himself, ultimately going undercover and joining the crooks. It turns out that the culprits are insurance underwriters, seeking a quick turnover by creating their own "accidents". The 65-minute Arson Gang Busters was later reissued to television as the 54-minute Arson Racket Squad. ~ Hal Erickson, Rovi

It has been said that Ray Mala was the only Jewish Eskimo actor in Hollywood. Whatever his religious or racial origins, Mala is "all hero" in the 14-chapter Republic serial Robinson Crusoe of Clipper Island. The star plays a character also named Mala, a Polynesian native and U.S. Intelligence agent. Mala is dispatched to Clipper Island to prove that the huge dirigible San Francisco was destroyed by saboteurs (the destruction of the big blimp is culled from library footage of the Hindenburg disaster). Accompanied by his faithful dog Buck and human assistant Hank (William Newell), Mala discovers that a nest of enemy spies are operating on the island, with the electronic technology to control volcanic eruptions and keep the natives in thrall. Convincing the lovely Princess Melani (Mamo Clark) that he's one of the good guys, Mala manages not only to thwart the spies, but to also prevent a takeover by despotic high priest Porotu (John Piccori). A 100-minute feature version of this serial, retitled Robinson Crusoe of Mystery Island, was released to TV in 1966. ~ Hal Erickson, Rovi

Warner Baxter plays Dr. Samuel Mudd, American history's most famous victim of circumstance. In 1865, Dr. Mudd, a known Confederate sympathizer, sets the broken leg of a mud-caked stranger who stumbles into his home. The injured man turns out to be John Wilkes Booth, and Mudd is accused of conspiring to murder President Lincoln. Sentenced to hang with the genuine conspirators, Mudd finds his sentence commuted to life imprisonment at the very last moment. He is shipped to Shark Island, a brutal penal colony. Subject to the cruelties of a guard (John Carradine) who hates Mudd because of his "complicity" in Lincoln's death, the doctor suffers the torments of the damned, while outside Shark Island his wife (Gloria Stuart) campaigns desperately to get her husband pardoned. During a Yellow Fever breakout on Shark Island, Dr. Mudd performs heroically to save the survivors. For his humanitarian efforts, Mudd is finally released and reunited with his wife. While the script glosses over the fact that Dr. Mudd had never been officially pardoned by the US government (the pardon wouldn't be granted until years after this film was made), Prisoner of Shark Island strives long and hard to exonerate the man for whom the phrase "your name is mud!" was coined. Dr. Samuel Mudd's story was retold in the 1952 feature Hellgate, with Sterling Hayden as a (fictional) doctor, and in the 1980 TV movie The Ordeal of Dr. Mudd, starring Dennis Weaver in the title role. ~ Hal Erickson, Rovi

Silent screen juvenile Lloyd Hughes, who once starred opposite Mary Pickford, found himself headlining this ultra-low-budget melodrama, the final release from Poverty Row company Peerless Pictures Corp. Searching for his long-lost love, Bruce Donaldson (Hughes) makes the acquaintance of Shark Moran (Walter Miller), a Singapore planter who eventually makes him his partner. Unbeknownst to Bruce, his missing fiancée, Claire Martineau (Jacqueline Wells), is working as a dancer in a Singapore dive under the name of Marty. Shark, who is bankrolling the dive, asks Marty to marry him but she is still pining for the man who once left her because his wealthy family took a dim view of showgirls. When Marty presents him with a photograph of Bruce, Shark flies into a rage and is stabbed by the girl's faithful servant (Jimmy Aubrey). While trying to flee, Marty runs into Bruce who brings her to the plantation. There, Tiana (Carlotta Monti), Shark's servant who has been trying to seduce Bruce, accuses Marty of murdering her employer. In the end, however, a witness acknowledges that Shark was killed in self-defense by Marty's servant and the lovers are reunited. ~ Hans J. Wollstein, Rovi

The Texas Rangers vs. the United States Cavalry. That is basically the main thrust of the plot in this tuneful, fairly engrossing Gene Autry music Western. That Autry's singing-style is rather more endemic to 1936 than the late 19th century is merely part of the Autry phenomenon. While supposedly aiding Cavalry Colonel Summerall (Robert E. Homans), Indian sign interpretor Duval (Monte Blue) is instead plotting with the Comanches to attack a supply train. Ranger lieutenant Gene Autry and his sidekicks Frog Millhouse (Smiley Burnette) and Rube (Max Terhune) attempt to warn the colonel but are instead jailed on a trumped up charge. The governor of Texas, however, reinstates Autry and Co. and the rangers save the cavalry from a massacre. The plot is, as always, merely a framework for the Autry magic, which includes serenading leading lady Kay Hughes, as the colonel's daughter, and a running gag that has Burnette pursued by an Indian (Chief Thundercloud) with a scalping complex. The only departure from the routine comes at the end when Autry actually marries the colonel's daughter, a union, so to speak, between the Texas Rangers and the United States Cavalry..Ride, Ranger, Ride was filmed at Newhall, California, by former editor Joseph Kane, who included plenty of stock footage to give the film a more sumptuous look than the stingy Republic Pictures would allow. ~ Hans J. Wollstein, Rovi

In this drama, an amateur pilot is driven to living life in the fast lane after he pilots that plane that crashed and killed his parents and his sister. He goes on to marry. He and his new wife live in terrible conditions until he suddenly inherits $8,000 which he uses to buy a plane and start up a commuter service. Unfortunately, he finds himself again in debt. His disgusted wife leaves, but when he is hurt in a car crash, she eventually returns. ~ Sandra Brennan, Rovi

"She" is secretary Claudette Colbert and "Her Boss" is Melvyn Douglas. Once married, Colbert discovers that Douglas expects her to work as usual. She must also contend with his wealthy, snooty family, whose most hateful member is his spoiled brat of a daughter (Edith Fellows) by a previous marriage. Rebelling against her repressive existence, Colbert eventually puts her in-laws in their place and arouses the ardor of the "strictly business" Douglas. While consistently amusing throughout, the highlight of She Married Her Boss is a first-reel bit of pantomimic whimsy involving Claudette Colbert and a roomful of department store mannequins. ~ Hal Erickson, Rovi

Assigned to write and direct the John Wayne western West of the Divide, Robert N. Bradbury dug out the plotline he'd used so often and to such good effect in his son Bob Steele's vehicles. Wayne plays frontiersman Ted Hayden, who spends most of the picture searching for the man who killed his parents. Along the way, he "tames" spoiled heroine Fay Winter (Virginia Brown Faire) and rediscovers his long-lost brother Spud (Billy O'Brien). John Wayne's fistfights with chief heavy Yakima Canutt aren't in the same league as his later Canutt-supervised stunt sequences, but they're pretty good by their own standards. West of the Divide was the fourth entry in Wayne's "Lone Star" series. ~ Hal Erickson, Rovi