Cora Witherspoon Movies

Former cartoonist and gag man Frank Tashlin made his directorial debut with 1952's The First Time. The story concerns Joe and Betsey Bennet (Robert Cummings, Barbara Hale) a young married couple anxiously awaiting the arrival of their first child. Once the bundle of joy has arrived, Joe and Betsey experience the flip side of parenthood--the mounting bills, the incessant demands made on their time, and the ceaseless strain on their nerves. The story material is on the thinnish side, but Tashlin keeps things hopping with a few well-placed sight gags, while Bob Cummings and Barbara Hale work very well together. The First Time is pleasant enough, though it would take a few more pictures before Frank Tashlin would let loose with the zany slapstick and on-target social satire which made him the darling of French film critics. ~ Hal Erickson, Rovi

A pair of top 20th Century Fox contractees were loaned to Paramount as stars of The Mating Season. Gene Tierney plays globe-trotting socialite Maggie Carleton, while Thelma Ritter is cast as Ellen McNulty, the hash-slinging mother of Maggie's husband, Val (John Lund). Perceiving that her son is embarrassed by his lower-class origins, Ellen poses as a maid when she attends Maggie and Val's wedding reception. Even after Val expresses displeasure at this deception, Ellen refuses to reveal her true identity, leading to a series of funny and poignant consequences. Miriam Hopkins co-stars as Ellen's blue-blooded mother, whose third-act arrival heralds the film's inevitable "moment of truth." Rest assured, The Mating Season is never dull. ~ Hal Erickson, Rovi

Jane Featherstone (Joan Davis) is a staid, almost pathologically repressed professor at a small midwestern college, who gets roped into impersonating a friend while on a trip to New York. It seems the friend (Gloria Stuart), the wife of the dean of the college, has written a steamy bestseller under another name, and is supposed to go to her publisher's office in New York to collect her royalty checks. She's too embarrassed to appear personally before her publisher -- who has never met her -- and persuades Jane to stand in for her. But a series of misadventures culminating with a hard bump on the head leave Jane with a temporary case of amnesia and, thanks to publicist Jerry Marlowe (Jack Oakie), believing that she really is the author of the steamy adventures in the book in question, and that she has lived that life. Soon she's living out the role, all of her previous inhibitions gone, much to the delight of Jerry and his employers and the distress of Jane's straight-shooting would-be paramour Eddie Caldwell (Kirby Grant) and officials at her college, who are ready to dismiss her. Jane eventually regains her memory, but not before the damage has been done to her struggling school -- she vows to at least save the school, and to do it must make one more public appearance in her "libertine" guise. Caught in the middle of Jane's antics are devious hanger-on Mischa Auer and shipping magnate Thurston Hall, whose own marriage (to Jacqueline DeWitt) is strained to the breaking point. ~ Bruce Eder, Rovi

As its fortunes grew in the mid-1940s, Republic Pictures occasionally strayed from its usual manifest of westerns and serials, hoping to produce something of "class." Filmed on a lavish budget in glorious Technicolor, Republic's I've Always Loved You stars Philip Dorn as a tyrannical symphony conductor and Catherine McLeod as his gifted young pianist protegee. In his own way, Dorn loves McLeod, but it is he who destroys her career by browbeating her mercilessly during her Carnegie Hall debut. Effortlessly stealing the film from the leads are Maria Ouspenskaya as one "Mme. Goronoff" and comedy relief Fritz Feld. The plot of I've Always Loved You is rather derivative of several like-vintage British "concerto" films, but the classical music passages, performed by piano virtuoso Artur Rubinstein, are well worth the admission price. ~ Hal Erickson, Rovi

Rosalind Russell plays yet another independent career woman in She Wouldn't Say Yes. This time she's a psychiatrist who sees no need for a man in her life. Her resolve weakens a bit when she meets Lee Bowman, a dashing combat sketch artist suffering from wartime emotional problems. Bowman falls in love with the shrink and determines to establish a beachhead, while Russell is equally determined to hold her ground. She doesn't say yes for the first 80 minutes of the film, but does in the last six. Even Rosalind Russell made jokes concerning the inordinate number of look-alike films she made in this vein. ~ Hal Erickson, Rovi

Based on a novel by Barry Fleming, Colonel Effingham's Raid stars Charles Coburn in the title role. Upon retiring from the army, Effingham returns to his home town of Fredericksville, Georgia. Dismayed by the town's paucity of civic pride, the Colonel begins writing a newspaper column honoring Fredericksville's old traditions and chastizing those who would tear those traditions down. His pet peeve is the city administration's plan to rename Confederate Square after the pompous, mildly corrupt town mayor (Thurston Hall). When it seems that his protests are falling upon deaf ears, Colonel Effingham literally stage a "military assault" against City Hall, which in real life would get him thrown in the looney bin but which in a whimsical comedy of this nature results in a smashing success for the "good guys". If Colonel Effingham's Raid seems to be popping up on TV at a rate of once a day, it is because the film lapsed into public domain in 1973. ~ Hal Erickson, Rovi

Though Wendy Barrie never quite achieved stardom in A pictures, she could always count on top billing in Hollywood's B product. In PRC's Follies Girl, Barrie plays dress designer Anne Merriday, who becomes the object of middle-aged millionaire J. B. Hamlin's (J.C. Nugent) affections. To save his dad from throwing his life away on a supposed golddigger, Hamlin's son, Army private Jerry Hamlin (Gordon Oliver), begins courting Anne-and, of course, falls genuinely in love with her himself. Meanwhile, the rogueish J.B. tries to mount a Broadway burlesque show, with costumes designed by Our Heroine. The titular "Follies Girl" is burlesque queen Francine La Rue (Doris Nolan), who never strips when singing will do (worse luck for the male moviegoers of the era!) ~ Hal Erickson, Rovi

Actress/ballerina Vera Zorina stars as a phony countess, working in cahoots with two international con artists (Erich von Stroheim and Peter Lorre). She renounces her earlier life after falling in love with one of her victims (Richard Greene), but her old crooked cronies show up to blackmail her. Zorina confesses to her husband, who forgives all. Von Stroheim and Lorre steal everything but the cameras in their brief scenes, outshining both hero and heroine with their patented rascality. I Was an Adventuress ends with a George Balanchine ballet sequence, which like all such film "highlights" goes on too long and is strictly a matter of taste. ~ Hal Erickson, Rovi

It matters not at all that the famed "wrong way" flight of aviator Douglas Corrigan, who in 1938 tried to fly from New York to California by way of Ireland, was probably a carefully calculated publicity stunt. The end result was that Corrigan became a household name, and as such was an ideal candidate for film stardom. RKO Radio shelled out a considerable amount of money to purchase "Wrong Way" Corrigan's life story, enhancing the publicity value of the resultant The Flying Irishman by casting Corrigan himself in the leading role. It's too bad that the same amount of effort wasn't lavished on the film itself, which is a ponderous, perfunctory tale of a barnstorming flyer who, unable to get a legitmate pilot's job because he never went to college, resorts to a variety of colorful methods to make a living. Like many other non-showbiz celebrities, Corrigan was constitutionally unable to play himself convincingly, so it's up to such supporting actors as Eddie Quillan, Paul Kelly, Robert Armstrong, Donald MacBride and Joyce Compton to take up the slack. ~ Hal Erickson, Rovi

Bette Davis earned an Oscar nomination for her role in this classic four-hanky tearjerker. Judith Traherne (Bette Davis) is a very wealthy Long Island heiress whose life is a constant whirl of cocktails, parties, and wild living. Despite her hedonistic lifestyle, Judith derives little pleasure from life except for her horses, cared for by stable master Michael O'Leary (Humphrey Bogart). When Judith begins suffering from headaches and dizzy spells, Dr. Frederick Steele (George Brent) gives her the bad news: she has a brain tumor that could threaten her life if not treated immediately. Judith consents to surgery, and Frederick informs her that the operation was a success. A grateful Judith quickly falls in love with Frederick, and they plan to marry. However, the tumor returns, and when Judith discovers that she has only a few months to live, she calls off the wedding, convinced that Frederick is marrying her only as an act of pity for a dying woman. A major success and perennial favorite, Dark Victory was later remade as Stolen Hours with Susan Hayward and as a TV movie starring Elizabeth Montgomery. ~ Mark Deming, Rovi

Based on the Clare Booth Luce play of the same name, this MGM comedy is famous for its all-female cast and deft direction by George Cukor. The plot centers on a group of gossipy high-society women who spend their days at the beauty salon and haunting fashion shows. The sweet, happily wedded Mary Haines (Norma Shearer) finds her marriage in trouble when shopgirl Crystal Allen (Joan Crawford) gets her hooks into Mary's man. Naturally, this situation becomes the hot talk amongst Mary's catty friends, especially the scandalmonger Sylvia Fowler (Rosalind Russell), who has little room to talk -- she finds herself on a train to Reno and headed for divorce right after Mary. But with a bit of guts and daring, Mary snatches her man right back from Crystal's clutches. Snappy, witty dialogue, much of it courtesy of veteran screenwriter Anita Loos, helps send this film's humor over the top. So do the characterizations -- Crawford is as venomous as they come, and this was Russell's first chance to show what she could do as a comedienne. And don't discount Shearer -- her portrayal of good-girl Mary is never overpowered by these two far-flashier roles. The only part of The Women that misses is the fashion-show sequence. It was shot in color -- an innovative idea in its day -- but now both the concept and clothes are dreary and archaic. Do keep an eye on the supporting players, though, especially Mary Boland as the Countess DeLage. The role was based on a cafe society dame of that era, the Countess DiFrasso, who had a wild affair with Gary Cooper; that romance is satirized here. ~ Janiss Garza, Rovi

M.G.M.'s opulent costume drama Marie Antoinette marked a return to the screen after a two-year absence for reigning Queen of M.G.M. Norma Shearer. Shearer plays the title role of an Austrian princess who is married off to Louis Auguste (Robert Morley), the Dauphin of France. Marie, by becoming the Dauphine, finds herself plopped smack in the middle of French palace intrigue between Louis's father King Louis XV (John Barrymore) and his scheming cousin, the Duke of Orleans (Joseph Schildkraut). With Louis unable to consummate his marriage to Marie, she takes to holding elaborate parties and gambling her fortune away. In a casino, she meets the handsome Count Axel de Fersen (Tyrone Power) and they have an affair. But when Louis XV dies and Louis becomes King Louis XVI, Fersen takes his leave, telling her that he could carry on an affair with a dauphine but not the Queen of France. Marie vows to be a great queen and remain loyal to her king. But the Duke of Orleans is plotting against Louis XVI, financing the revolutionary radicals. When the monarchy is overthrown, Louis and Marie are thrown into prison, awaiting execution. But when word gets back to Fersen, he travels back to France in an attempt to rescue Marie. ~ Paul Brenner, Rovi