Harry Worth Movies

The Great Impersonation is based on the E. Phillips Oppenheim espionage novel of the same name, previously filmed in 1921. During WW I, drunken, dissolute British nobleman Everard Dominey (Edmund Lowe) wanders into the African jungle, where he meets his exact double, German spy Von Ragenstein (also Edmund Lowe). The scene shifts back to England, where, apparently, Von Ragenstein has assumed Dominey's identity after the latter is reported killed. The actual identity of the protagonist is kept secret until the very end. Either way, it's a story of redemption: If he's really Von Ragenstein, he may very well be persuaded to cast his lot with the British; if he's really Dominey, he might just sober up and assume his proper place in society. The film is brightened by the presence of two former Bride of Frankenstein co-stars: Valerie Hobson, then only a teenager, delivers one of her best performances as Dominey's distraught wife, while Dwight Frye goes through his usual "Renfield" paces as a roving lunatic. Both the 1935 Great Impersonation and the 1945 remake with Ralph Bellamy and Evelyn Ankers were later included in Universal's "Shock Theater" TV package, even though both films are more suspenseful than shocking. ~ Hal Erickson, All Movie Guide

An existing production still for the Kermit Maynard "northern" Phantom Patrol pretty much sums up the outcome of the plot. Smartly dressed in a Mountie uniform, Maynard holds unconscious heroine Joan Barclay in his arms. Meanwhile, villain Julian Rivero, arms to his sides and a scowl of defeat on his face, surrenders to the Royal Canadian Mounted. About the only aspect of the plotline not revealed in the still is the fact that head-baddie Harry Worth has been trying to conduct a criminal empire while disguised as a celebrated detective-story writer. Directed by silent-serial veteran Charles Hutchison, Phantom Patrol was "suggested" by a James Oliver Curwood yarn. ~ Hal Erickson, All Movie Guide

John Wayne steered clear of westerns for the most part during his year-long contract with Universal Pictures. In The Sea Spoilers, Wayne is cast as Bob Randall, temporary skipper of a Coast Guard cutter. Randall knows that a gang of seal poachers are operating within his jurisdiction but can do little about it, since head crook Morgan (Russell Hicks) has kidnapped Bob's sweetheart Connie Dawson (Nan Grey). Relying more on brains than brawn in dealing with Morgan's minions, Bob is finally able to secretly summon reinforcements via two-way radio. He also finds time to straighten out Lt. Mays (William Bakewell), the outwardly cowardly son of a Coast Guard commander. Sea Spoilers set up its basic premise in the first reel, devoting the remainder of the running time to a tense game of seaborne cat-and-mouse. ~ Hal Erickson, All Movie Guide

The first of nine Bill Carson Westerns produced by Sigmund Neufeld and starring the stalwart Tim McCoy, Lightnin' Bill Carson was the only entry released by Puritan Pictures. Lightnin' Bill is the marshal of Blue Gap, TX, who resigns to chase down "Breed" Hawkins (John Merton) and the "Pecos" Kid (Rex Lease), a couple of outlaws he earlier ran out of town. During a stagecoach robbery, Pecos witnesses Hawkins murder a deputy (Edmund Cobb) and flees to the house of his brother, "Silent" Tom Rand (Harry Worth). Bill discovers the body of Bates the deputy, and follows the trail to the Rand house where he arrests Pecos. Learning that the killer is really Hawkins, Bill fails to save Pecos from being hanged by the sheriff (Jack Rockwell). Avenging his brother's death, Rand kills both the sheriff and his posse, leaving a playing card on each corpse. Tom has saved the highest card for Bill, but confronted with the lawman, he realizes that vengeance is the sole responsibility of God and secretly empties his own gun before meeting Bill in a final shootout. McCoy made four additional non-Carson Westerns for Puritan before bringing his act to Neufeld's Victory Pictures and resuming the Bill Carson series. ~ Hans J. Wollstein, All Movie Guide

Set during the terrible Spanish Civil War, this film avoids political commentary in favor of objectively centering on the plight and personal lives of refugees preparing to board a train that will take them far away from the bloody horrors of war-besieged Loyalist-controlled Madrid. Once safely on the train, the film presents snippets from their lives in the same manner as was done on Grand Hotel (1932). Among the refugees are a political fugitive, his flirtatious ex-girl friend, a hooker, a baroness, a world-weary newspaper reporter and the orphan who follows him. In charge of making sure the train safely reaches its destination is a single guard. ~ Sandra Brennan, All Movie Guide

The second of Paul Muni's biographical films for Warner Bros., the Oscar-winning The Life of Emile Zola is by far the best, even allowing for the dramatic license taken with the material. When first we meet French novelist and essayist Zola, he is starving in a Parisian garret with his painter friend, Paul Cezanne. Each time Zola attempts to write "the truth," he is stymied by governmental censors. Still, he is able to achieve both fame and fortune with the publication of "Nana," an unardorned and best-selling tale of a prostitute (whom we can safely assume was not quite as likeable or attractive as Erin O'Brien-Moore, who plays the novel's "role model"). The lion's share of the film is devoted to Zola's attempts to clear the reputation of Army captain Alfred Dreyfus (Joseph Schildkraut), who has been framed on a charge of treason by his superiors and condemned to Devil's Island. Publishing his famous manifesto "J'accuse," Zola leaves himself wide open for public condemnation and criminal prosecution. Though he delivers a brilliant self-defense in court, Zola is found guilty. Forced to flee to England, he continues railing against the unjust, corrupt military establishment, eventually forcing a retrial and exoneration of Dreyfus. Alas, Zola is killed in a freak accident at home before he can meet the liberated Dreyfus. At his funeral, Emile Zola is eulogized by Anatole France (Morris Carnovsky), who refers to the fallen crusader as "a moment of the conscience of man." For various reasons -- some dramatic, some legal -- the actual facts of "L'affaire Dreyfus" are altered by the Norman Reilly Raine/Heinz Herald/Geza Herczeg screenplay.

The fact that Dreyfus was railroaded because he was Jewish is obscured; in fact, except for a very brief visual reference, the word "Jew" is never mentioned. Only those villains whose names were a matter of public record (Major Dort, Major Esterhazy) are specifically identified. Others are referred to as the Chief of Staff, the Minister of War, etc. to avoid lawsuits from their descendants (remember that the events depicted in the film, most of which take place between 1894 and 1902, were still within living memory in 1937). As for Dreyfus himself, he was not freed and restored to rank in 1902, the year of Zola's death, but in 1906-after being found guilty again in an 1899 retrial (Dreyfus died in 1935, outliving everyone else involved in the case). These historical gaffes can be forgiven in the light of the film's overall message: that a single small, clear voice can fight City Hall. If for nothing else, The Life of Emile Zola deserves classic status due to Paul Muni's towering performance, most notably in the unforgettable summation scene: "By all that I have done for France, by my works -- by all that I have written, I swear to you that Dreyfus is innocent. May all that melt away -- may my name be forgotten, if Dreyfus is not innocent. He is innocent." ~ Hal Erickson, All Movie Guide

In this crime drama, a newsboy and a reporter join forces to stop the racketeer who has been bilking lottery winners. The crook also runs the local sleazy bar where the newsboy's sister sings. The young lad gets involved when gangsters kill his grandpa and try to steal his winning lottery ticket. The boy has the ticket and in the end, he and the reporter must fight the gangsters. ~ Sandra Brennan, All Movie Guide

In this comedy, the shady editor of a newspaper does all he can to keep his best reporter from marrying a journalist from a rival paper. In spite of the editor, the wedding day finally comes. The happy couple is at the alter when suddenly the woman gets news of a big scoop. Without a backward glance she leaves her groom to get the story first. ~ Sandra Brennan, All Movie Guide

Financier J.B. Ball (Edward Arnold) -- known in the press as "the Bull of Broad Street" -- may be one of the wealthiest investment bankers in the country, but he also knows the value of a dollar. And when his wife (Mary Nash) spends 50,000 of them on a sable coat, he is driven into such a fury in the ensuing argument on the roof of their Fifth Avenue townhouse, that he throws the coat into the street -- where it promptly lands on the head of Mary Smith (Jean Arthur), a clerk-typist on her way to work, riding on the upper deck of a double-decker bus, ruining her hat in the process. She jumps off the bus to try to return the coat, but Ball insists that she keep it. What she really needs, however, is not a 50,000-dollar sable coat so much as a ride to work -- as she doesn't even have a dime for bus fare -- and perhaps a new hat. Ball obliges, taking her to one of the top clothing stores in New York, buying her an expensive fur hat to go with the coat, and then dropping her at work in his limo. Her superiors, seeing her decked out in a sable coat and a new hat, and getting out of the chauffeured car, conclude that Mary is a kept woman, and, therefore, unfit to work for the boys magazine where she is employed, and they fire her. Now out of work and virtually broke, she seems to have become a victim of random fate, but suddenly the scales start to tip the other way from the very same misunderstanding that got her fired. Having been seen in the company of J.B. Ball -- whose name she didn't even get -- she is rumored to be his mistress; the prissy clothing store proprietor (Franklin Pangborn) spreads this story, and that turns Mary into the object of attention for Mr. Louis Louis (Luis Alberni), the owner of a failed luxury hotel on which Ball's bank holds the mortgage, and is about to foreclose. For reasons that she can't begin to understand, since there is nothing going on between her and J.B. Ball (whose name she doesn't even know), or between her and anyone, Louis moves her into the most luxurious suite in his hotel for a dollar a day, asking her only to inform "that certain someone" of how she loves living there. Mary has no idea of who "that certain someone" is, or what Louis is talking about, but she needs a place to live, and Louis is insistent. She still needs to eat, and, while trying to get a meal at the automat, she crosses paths with a handsome, well-meaning, but inept waiter (Ray Milland), who gets fired for helping her. She takes him into her suite so he has a place to stay, and the two fall in love in the course of finding out about each other. She knows that he is John Ball Jr., but doesn't realize that he is the son of J.B. Ball, trying to make it on his own, nor does she yet realize who J.B. Ball is, in terms of being the man who gave her the coat and the new hat, or one of the wealthiest men in the country. But after the elder Ball spends an innocent night at the Hotel Louis, a gossip columnist named "Wallace Whistling" (William Demarest) prints that he is keeping a woman at the hotel, and suddenly the Hotel Louis, perceived as a fashionable playground for the upper-crust, is filled with guests. This multiple case of mistaken identity plunges through two or three new layers, eventually bringing about an impending stock market crash to rival 1929, before Mary discovers who her would-be benefactor and her would-be fiancé are. She bails them out of the jam that they're in, also restoring the Ball's marriage, her own reputation, and her romance with Ball's son in the process. ~ Bruce Eder, All Movie Guide

We never actually see J. Carroll Naish in Alcatraz, but there's no doubt he's the "king" of the title. Most of the action takes place aboard a passenger ship, which Naish has boarded incognito in hopes of escaping prosecution. Naish and his gunmen take over the ship, complicating the lives of passengers and crew alike (in one scene, nurse Gail Patrick is obliged to perform an operation while being guided by an on-shore surgeon via wireless). Seamen Lloyd Nolan and Robert Preston bide their time, then turn the tables on Naish and his henchmen. Packing more action into its 57 minutes than most "A" pictures, King of Alcatraz is a film buff's dream, with a cast filled to the brim with familiar faces, from up-and-coming Anthony Quinn to silent movie vets Monte Blue, Tom Tyler and Gustav von Seyfertitz. ~ Hal Erickson, All Movie Guide

In this drama, a gangster finds the woman of his dreams, but before he can have her he must frame her fiance. Meanwhile the Asian lover he dumped plots her revenge. ~ Sandra Brennan, All Movie Guide

This second of three movie versions of P.C. Wren's adventure novel Beau Geste is a virtual scene-for-scene remake of the 1927 silent version. We open on the now-famous scenes of a remote, burning desert fort, manned by the dead Foreign Legionnaires, then flash back to the early lives of the Geste brothers. As children, the Gestes swear eternal loyalty to one another and to their family. One of the boys, young Beau (played as a youth by Donald O'Connor), witnesses his beloved aunt (Heather Thatcher) apparently stealing a valuable family jewel in order to finance the Geste home; Beau chooses to remain silent rather than disgrace his aunt. Years later, the grown Beau (Gary Cooper) again protects his aunt by confessing to the theft and running off to join the Foreign Legion. He is joined in uniform by faithful brothers John (Ray Milland) and Digby (Robert Preston), who in turn are pursued by a slimy thief (J. Carroll Naish). The crook is in cahoots with sadistic Legion Sgt. Markov (Brian Donlevy, in one of the most hateful portrayals ever captured on celluloid), who is later put in charge of Fort Zinderneuf, where Beau and John are stationed. When the Arabs attack, Markov proves himself a valiant soldier; it is he who hits upon the idea of convincing the Arabs that the fort is still fully manned by propping up the corpses of the casualties at the guard posts. Beau is seriously wounded, and while the greedy Markov searches for the jewel supposedly hidden on Beau's person, he is held at bay by loyal John. The suddenly enervated Beau kills Markov, then dies himself--but not before entrusting two notes to John, one of which requests that John give Beau the "Viking funeral" he'd always wanted (this is why the fort is in flames at the beginning of the film). After the battle, Digby Geste, a bugler with the relief troops, comes upon Beau's dead body, and appropriates the notes. As it turns out, John Geste is the only one who survives to return to England. He gives his aunt Beau's letter, which explains why Beau had confessed and run off--"a 'beau geste', indeed" comments his tearful aunt. No one missed nominal leading lady Susan Hayward in this essentially all-male entertainment. For years available only in muddily processed or truncated versions, Beau Geste was restored to its pristine glory by the American Film Institute in the late 1980s. ~ Hal Erickson, All Movie Guide

Even geniuses have to eat, and when Mark Twain was offered a substantial sum of money to slap together a quickie sequel to his classic novel Tom Sawyer, he responded with the pulpish but entertaining Tom Sawyer, Detective. Billy Cook is sublimely cast as Tom, while Donald O'Connor steals the film in the more colorful role of Huckleberry Finn. When local deacon Uncle Silas (Porter Hall) is accused of murder, Tom and Huck endeavor to prove his innocence by solving the mystery themselves. Complicating matters is the fact that the "dead man" (William Haade) is seen roaming around very much alive. The film's highlight is a spooky episode in a mausoleum, with our intrepid heroes working overtime to convince each other that they ain't really scared. Janet Waldo, later one of the most versatile voiceover actresses in the business, plays Tom's puppy-love interest Ruth Phelps. ~ Hal Erickson, All Movie Guide