Zack Williams Movies

It is altogether typical of Republic Pictures that the studio's 1945 horror effort The Vampire's Ghost was interrupted mid-film by a barroom brawl! Set in a coastal African village, the story concerns one Webb Fallon (John Abbott), an unprepossessing sort who holds the region in thrall because of his vampiric tendencies. Fallon attempts to exercise his influence over a local plantation owner, and almost succeeds-until the hand of God, in the form of an intellectual priest (Grant Withers), intervenes. Republic stalwart Peggy Stewart and newcomer Charles Gordon handle the romantic subplot. Vampire's Ghost was the first screenwriting effort by Leigh Brackett, who went on to somewhat loftier projects like The Big Sleep and Rio Bravo. ~ Hal Erickson, Rovi

Ralph Byrd, known far and wide for his movie interpretation of Dick Tracy, trades his civvies for Navy blues in PRC's Duke of the Navy. On furlough with his pal Cookie (played by swimming champion Stubby Kruger), Breezy Duke (Byrd) is mistaken for millionaire candy manufactuer John T. Duke. While in this guise, Breezy is inveigled into joining a treasure hunt-provided, of course, he puts up a great deal of money for an entry fee. Amazingly, Breezy and Cookie manage to unearth a genuine treasure, namely a fortune in diamonds. Director William Beaudine was one of the three credited screenwriters of Duke of the Navy, which was certainly haphazard enough to have been written by a committee. ~ Hal Erickson, Rovi

This horror movie, featuring an all African-American cast, tells the story of a lonesome ape-man who steals a human bride and takes her to his lab. The film's title references the 1930 "documentary" Ingagi, which chronicled the bizarre actions of a wild "gorilla" with a penchant for topless women. ~ Sandra Brennan, Rovi

The success of 1938's Kentucky prompted 20th Century-Fox to come up with the similar (though not entirely identical) horse-racing opus Maryland. After her husband (Russell Hicks) is killed during a fox hunt, Maryland matriarch Charlotte Danfield (Fay Bainter) forbids her son Lee (John Payne) from ever riding or even owning a horse. Lee obedient only until he meets lovely Linda Stewart (Brenda Joyce), the daughter of his father's ex-trainer William Stewart (Walter Brennan, doing a virtual reprise of his Kentucky characterization). In concert with Linda, Lee enters his horse in the fabled Maryland Hunt, an annual steeplechase event. The outcome of the race is instrumental in weakening Charlotte Danfield's anti-equestrian stance, but Stewart, alas, isn't around long enough to fully bask in his restored glory. Much of Maryland was filmed on location, gorgeously lensed in Technicolor by George Barnes. ~ Hal Erickson, Rovi

Brooklyn tugboat worker Eddie (Eddie Cantor), bullied and cowed by his tough-guy stepfather and stepbrothers (a la Harold Lloyd's The Kid Brother), inherits $77 million from his uncle, an Egyptologist. Con artist Dot (Ethel Merman) wants to get her lunchhooks on the money, and to this end offers herself as Eddie's adopted mother (never mind that she's nearly 20 years younger), intending to have her thuggish brother Louie (Warren Hymer) bump off our hero at the first opportunity. The nonsensical plotline ends up with Eddie, Dot, Louie, pompous Southern colonel Larrabee (Berton Churchill), and nominal romantic leads Jerry (George Murphy in his film debut) and Jane (Ann Sothern) trapped in the palace of Arab potentate Mulhulla (Paul Harvey). The better-than-average comic banter includes some funny bits between Cantor and Eve Sully, of the comedy team of "Block and Sully" (her husband-partner Jesse Block is also in the picture, but just barely). Spotted among the featured players in Kid Millions are such "Our Gang" members as Stymie Beard, Scotty Beckett and Tommy Bond, and there's a specialty by the Nicholas Brothers during Cantor's obligatory "blackface" number; and yes, that's Lucille Ball as a blonde Goldwyn Girl in the harem sequence. PS: According to Ethel Merman, the film's elaborate Technicolor ice-cream factory finale, in which Eddie allows dozens of tenement kids to gorge themselves on his tasty confections, posed censorship problems: while producer Sam Goldwyn was allowed to show the little boys with comically extended stomachs, he was not permitted to do so with the little girls, for fear that the audience might think the female moppets were pregnant! ~ Hal Erickson, Rovi

Together with MGM's Hallelujah, Fox's Hearts in Dixie is historically significant as one of the first all-talkie, big-studio productions to boast a predominately African-American cast. The ineluctable Clarence Muse, all of forty years old, stars as elderly Grandpap Nappus, a former slave whose beloved daughter Chloe (Bernice Pilot) marries the shiftless Gummy (comedian Stepin Fetchit, in his only "straight" role). After Chloe's death, Grandpap determines that his grandson Chinaquapin (Eugene Jackson) will not follow in Gummy's footsteps. He intends to send the boy North for a proper education, a move that is strongly opposed by the no-good Gummy. Essentially a white man's view of the Black South, Hearts in Dixie may strike modern viewers as stereotypical and demeaning, but its intentions were honorable, and the end result was quite pleasing to both black and white audiences in 1929. ~ Hal Erickson, Rovi

One of the most readily available features of the silent era, The Yankee Clipper is happily also one of the best. A pre-Hopalong Cassidy William Boyd plays Hal Winslow, the scion of a prominent Boston shipbuilding family. Manning the helm of the Yankee Clipper, Winslow prepares to race The Lord of the Isles, a British vessel; the winner will control China's tea trade to America. The race begins at Foo Chow Harbor, where Winslow is paid a courtesy visit by Lady Jocelyn (played by Elinor Fair, then the wife of star Boyd), the daughter of the rival English captain. Lady Jocelyn is escorted by her fiance Paul de Vigny (John Miljan), whom we will learn in due time is a cad and bounder. The Yankee Clipper shoves off while Lady Jocelyn and de Vigny are still on board. They demand to be put ashore, but Winslow, anxious not to lose any sailing time, refuses. Lady Jocelyn's presence on board is resented by cabin boy Mickey (Junior Coghlan), who hates all "wimmin"; on the other head, crew member Iron Head Joe (Walter Long), "mongrel whelp of the high seas", begins drawing up plans to rape the girl at the first opportunity. An outsized typhoon imperils the Yankee Clipper, its crew and passengers, but stalwart Captain Winslow manages to save everyone from drowning. After the storm, the water supply is rationed. Angrily demanding more water, the crew joins a mutiny fomented by the treacherous de Vigny. Meanwhile, Iron Head Joe chases Jocelyn and Mickey to the very top of the rigging, intending to kill the boy and have his way with the girl. Both of the film's villains are foiled in very permanent fashion before the thrill-packed finale at Boston Harbor. One of the videocassette versions of The Yankee Clipper is introduced by surviving cast member Junior Coghlan, now better known as Frank Coghlan Jr. ~ Hal Erickson, Rovi

This silent adaptation of Franz Lehar's famous operetta (in which precious little of the original story was retained) was a rare event in Erich Von Stroheim's directorial career -- a critical and commercial success that the director was also able to complete according to his wishes (though in the latter years of his life, he would claim that the film's final moments were forced upon him by studio brass intent on a happier ending). Prince Danilo (John Gilbert) and Crown Prince Mirko (Roy D'Arcy) are two brothers in the Ruritanian royal family who are notorious womanizers, frequently finding themselves competing for the same woman. When Sally O'Hara (Mae Murray), a dancer from America, stops in Ruritania on a performance tour, both Danilo and Mirko are both strongly attracted to her, as is the older Baron Sadoja (Tully Marshall). Each begins making plans to seduce her; however, during Sally's performance, the differences between the three men become apparent -- Danilo is attracted to the beauty of Sally's eyes and face, while Mirko is strictly interested in her body, and Sadoja's intense focus is upon her feet. Danilo introduces himself to Sally after a performance as "Danilo Petrovich," claiming to be a wealthy commoner rather than royalty. He invites her to dine at his estate after her performance, and when he "mistakenly" spills soup on her dress, it's the first step in his successful efforts to lead her to his bed. Danilo asks Sally to marry him, and she agrees. To his surprise, Danilo finds that he is eager to settle down with the American dancer, but King Nikita (George Fawcett) and Queen Milena (Josephine Crowell) forbid him to marry a woman who does not carry a royal title, and Danilo is forced to leave Sally waiting at the altar. Seizing an opportunity, the aging Sadoja asks Sally for her hand in marriage, and she grudgingly accepts; he dies on their wedding night while ecstatically rummaging through her collection of shoes. Sally inherits Sadoja's estate and retains the title of Baroness, and a year later she encounters Danilo, who is still deeply in love with Sally and wants another chance to win her heart -- although since she never learned the truth about why he never arrived for their wedding, she is not eager to be wooed by him again. Mirko also re-enters the picture in a new effort to win Sally's affections, but while Danilo is motivated by true love, Mirko's efforts are fueled by lust, both for her body and her newly-gained wealth. The Merry Widow was a lavishly-staged production shot on a long schedule (19 weeks, very unusual for the time) with a large cast of extras. If you look carefully, you can spot Clark Gable and Myrna Loy among the bit players, several years before either would become a star. ~ Mark Deming, Rovi

Cinema veteran Benjamin B. Hampton produced this fanciful silent western starring his wife Claire Adams as a girl forced to marry the man she suspects killed her father. When she refuses, she is virtually kept a prisoner along with kid-brother Frankie Lee until a handsome stranger (Jack Conway) rescues them. Played more as a romantic melodrama than a rough-and-tumble western adventure, The Killer benefited from a thoroughly believable turn by character actor Frank Campeau as the villain. Leading man Conway later enjoyed a long, fruitful career as a house director at MGM. ~ Hans J. Wollstein, Rovi