Wade Boteler Movies

24 Hours is all it takes for tippling married man Jim Towner (Clive Brook) to go from social respectability to convict stripes. Upset that his wife Fanny (Kay Francis) has been unfaithful, the wealthy Jim weaves drunkenly from one nightclub to another. He falls for a cabaret performer (Miriam Hopkins) and begins an affair. The girl is killed by her gangster boyfriend (Regis Toomey), but Jim is arrested for the crime. Released from prison, the chastened Jim returns to his wife, who has vowed to remain loyal to her husband. 24 Hours was based on a novel by Louis Bromfield. ~ Hal Erickson, All Movie Guide

A feud between taxicab companies forms the basis of this drama. The trouble begins when the hero is double-crossed and framed for a murder by his rival with whom he was competing for the position of fleet superintendent in the city's biggest cab company. The hero does not know who framed him until he is released from prison. Enraged, he and some of his old cabbie cronies get together and create their own cab company. The war is on until the police get involved. Eventually, the real murderer is convicted and the hero wins the biggest cab company. ~ Sandra Brennan, All Movie Guide

A master blend of high comedy and tense emotional drama, A Letter of Introduction reteams Adolphe Menjou, Andrea Leeds, and Edgar Bergen & Charlie McCarthy, who'd previously costarred in the negligible Goldwyn Follies. Menjou plays John Mannering, a Barrymoresque actor who years earlier had divorced his wife and severed his relationship with his daughter Kay (Andrea Leeds). Now a grown woman, Kay aspires to an acting career, fully determined to make it on her own without her father's help. She goes so far as to change her last name to Martin, and to keep her actual relationship to Mannering a secret from the public. This set-up leads to a dizzying series of complications, including the breakup of Mannering's romance with a tootsie named Lydia Hoyt (Anne Sheridan), who falsely assumes that Kay is Mannering's mistress, and Kay's own romantic travails with vaudeville hoofer Barry Paige (George Murphy). Meanwhile, Kay's ventriloquist friend Bergen and his dummy McCarthy rise to superstardom on radio. It is, in fact, Bergen and Charlie who are instrumental in reuniting the estranged Mannering and Kay, paving the way for the film's tear-stained conclusion. Unavailable for many years, A Letter of Introduction re-emerged on the Public Domain circuit in 1975. ~ Hal Erickson, All Movie Guide

Again forsaking his traditional western garb, Tim McCoy plays a rough-and-ready fireman in Columbia's A Man's Game. During one blaze, Tim and his partner Dave (Ward Bond) rescue pretty stenographer Judy (Evelyn Knapp). Falling in love with the girl, the boys try to save her from getting mixed up in an embezzlement scheme. The plot requires Judy to set off a fire herself to rout the villains, which of course also brings Tim and Dave back into the picture. As was his custom, director D. Ross Lederman deftly combines newly shot scenes with stock footage of genuine fires (one of which pops up three different times in the film!) ~ Hal Erickson, All Movie Guide

A Star is Born came into being when producer David O. Selznick decided to tell a "true behind-the-scenes" story of Hollywood. The truth, of course, was filtered a bit for box-office purposes, although Selznick and an army of screenwriters based much of their script on actual people and events. Janet Gaynor stars as Esther Blodgett, the small-town girl who dreams of Hollywood stardom, a role later played by both Judy Garland and Barbra Streisand in the 1954 and 1976 remakes. Jeered at by most of her family, Esther finds an ally in her crusty old grandma (May Robson), who admires the girl's "pioneer spirit" and bankrolls Esther's trip to Tinseltown. On arrival, Esther heads straight to Central Casting, where a world-weary receptionist (Peggy Wood), trying to let the girl down gently, tells her that her chances for stardom are about one in a thousand. "Maybe I'll be that one!" replies Esther defiantly. Months pass: through the intervention of her best friend, assistant director Danny McGuire (Andy Devine), Esther gets a waitressing job at an upscale Hollywood party. Her efforts to "audition" for the guests are met with quizzical stares, but she manages to impress Norman Maine (Fredric March), the alcoholic matinee idol later played by James Mason and Kris Kristofferson. Esther gets her first big break in Norman's next picture and a marriage proposal from the smitten Mr. Maine. It's a hit, but as Esther (now named Vicki)'s star ascends, Norman's popularity plummets due to a string of lousy pictures and an ongoing alcohol problem. The film won Academy Awards for director William Wellman and Robert Carson in the "original story" category and for W. Howard Greene's glistening Technicolor cinematography. ~ Hal Erickson, All Movie Guide

World War I veteran Frank Mayo wasn't Afraid to Fight in the battlefields of France. But when he becomes a professional boxer, it's a different story. Hoping to raise enough money to pay for his sister's medical bills, Mayo isn't a likely prospect for pugilistic greatness. Only when it is absolutely crucial for him to win does he fully demonstrate his fighting skills. Universal used to churn out programmers like Afraid to Fight by the bushel basket, so we can only assume that the public craved such films and wanted more. Both star Frank Mayo and director William Worthington would remain active into the talkie era as bit players; Mayo's sister is played by child actress Peggy Cartwright, then one of the Our Gang kids. ~ Hal Erickson, All Movie Guide

Winchellesque radio commentator Perry Travis (William Gargan) fancies himself a brilliant amateur detective; the cops wish he'd just stick to his microphone and let them do the detecting. This proves impossible when a famed scientist is murdered in Perry's studio, right in the middle of an interview. All the evidence points to Perry as the guilty party, which of course means that he isn't. With the help of the dead man's secretary Lois Allen (Marguerite Churchill), Perry tries to figure out how a man could be murdered in a locked room with no visible weapon or assailant. A hectic car chase winds up this cookie-cutter Columbia mystery, which features appearances by such familiar "B"-picture faces as Gene Morgan, John Gallaudet and Dwight Frye. ~ Hal Erickson, All Movie Guide

In this drama, an old woman gets disgusted by her relatives and runs away from home. She then begins working as a cook in the home of a prominent antique dealer who works as a jewel thief on the side. As the chef, she gradually meets all of his gang members and takes a special liking to one young man and his girl friend, whom she encourages to reform. Eventually, the crook decides to heed her advice, but before he can safely leave, he must pull off a final caper. Worried, the cook follows him. When the boy is caught, she gets the jewels from him and tries to take the fall. ~ Sandra Brennan, All Movie Guide

When widower Stephen Blake (Melvyn Douglas) and divorcee Edith Farnham (Mary Astor) are the only guests at a snowed-in mountain resort, sports director Snirley (Romaine Callender) and hostess Alma Peabody (Dorothy Stickney) try to promote a romance between Stephen and Edith. However, Stephen's son Tommy (Jackie Moran) and Edith's daughter Brenda (Edith Fellows) think this is a rotten idea and do what they can to prevent them from getting together. ~ Bill Warren, All Movie Guide

This entertaining little silent comedy stars Earl Schenck and Betsy Ross Clark). The pair play Harlan Carr and his wife, who have inherited a New England homestead, the Jack O' Lantern, from his Uncle Ebenezer. One stipulation in the will is that they must live in the house for six months before they can claim ownership. It isn't long after they've moved in that they're invaded by a passel of obnoxious relatives who have made it a habit of spending every summer at the place. The relatives spend their time taking advantage of the Carrs and complaining that they inherited nothing. Eventually the couple can take it no longer and they summarily eject all the freeloaders. With that, the lawyer arrives and hands them a letter from Uncle Ebenezer, which congratulates them -- he felt the same way they did about his relatives, but he never had the courage to kick them out. ~ Janiss Garza, All Movie Guide

Originally titled It Ain't No Sin until the censors prevailed, then St. Louis Woman and Belle of New Orleans, until complaints were registered from those two communities, Belle of the Nineties was Mae West's first post-Production Code film. West is cast as cabaret entertainer Ruby Carter, plying her trade along the Mississippi. Having no trouble surviving on her own terms in a man's world, Ruby fends off the unwarranted attentions of a steady stream of libidinous males, reserving her affections for a muscular boxer called The Tiger Kid (Roger Pryor). In keeping with the star's casual liberality, a number of black entertainers and athletes are given ample opportunities in this film, notably Duke Ellington and His Orchestra. The surest sign that the Code had "tamed" West a bit is the fact that she actually marries the hero at film's end. The musical highlights include West's unforgettable rendition of "My Old Flame". ~ Hal Erickson, All Movie Guide

A primitive early talkie from Pathé, this crime drama starred relative newcomers Robert Armstrong and Carole Lombard, the latter still spelling her first name Carol. They play husband and wife, she threatening divorce unless he devotes more of his time to their marriage. In reality, Armstrong is an undercover detective busy investigating a dope ring lead by Reno (Sam Hardy), a crook with friends in high places. When Armstrong gets too close to the truth, Reno has him framed in the murder of corrupt newspaper publisher Addison (Charles Sellon). A Dictaphone recording Addison was making when he was murdered ultimately exonerates Banks, who can now return to his forgiving wife. Both Robert Armstrong and Carole Lombard would see their careers soar in the 1930s, he as the nominal star of King Kong (1933), she as one of Hollywood's best light comediennes. In fact, director Gregory La Cava and Lombard would collaborate again on My Man Godfrey (1936), one of the era's best screwball comedies and a far cry from the pedestrian Big News. ~ Hans J. Wollstein, All Movie Guide