Margaret Wycherly Movies

Venerable Scandinavian leading-man Nils Asther tops the cast of That Man from Tangier. The story concerns foolhardy American heiress Mary Ellen, played by Nancy Coleman, who drunkenly weds the rakish Henri (Asther) after a three-hour courtship. Comes the dawn, and Mary Ellen's new husband is nowhere to be found. As she stalks through Tangier in search of Henri, Mary Ellen learns a great many Horrible Truths about her new hubby -- not least of which is the fact that he is travelling under a stolen passport. Finally catching up with Henri, Mary Ellen demands that he play the role of a respectable, dutiful husband so as not to break the heart of her old-fashioned grandmother (Margaret Wycherly). Mary Ellen's father George (Roland Young), something of a rascal himself, helps the couple keep up appearances. Filmed on location as a possible tax write-off, That Man From Tangier is endearingly anachronistic. ~ Hal Erickson, All Movie Guide

In later years, James Cagney regarded White Heat with a combination of pride and regret; while satisfied with his own performance, he tended to dismiss the picture as a "cheap melodrama." Seen today, White Heat stands as one of the classic crime films of the 1940s, containing perhaps Cagney's best bad-guy portrayal. The star plays criminal mastermind Cody Jarrett, a mother-dominated psychotic who dreams of being on "top of the world." Inadvertently leaving clues behind after a railroad heist, Jarrett becomes the target of the feds, who send an undercover agent (played by Edmond O'Brien) to infiltrate the Jarrett gang. While Jarrett sits in prison on a deliberately trumped-up charge (he confesses to one crime to provide himself an alibi for the railroad robbery), he befriends O'Brien, who poses as a hero-worshipping hood who's always wanted to work with Jarrett. Busting out of prison with O'Brien, Jarrett regroups his gang to mastermind a "Trojan horse" armored-car robbery. ~ Hal Erickson, All Movie Guide

They said it couldn't be done, but they did it: Kathleen Winsor's "notorious", bestselling bodice-ripper Forever Amber actually made it to the screen in 1947 with full censorial approval. Of course, it was necessary to tone down the more erotic passages of Winsor's novel, but the end result pleased fans of the book and bluenosed nonfans alike. A last-minute replacement for British import Peggy Cummins, Linda Darnell steps into the role of 17th century blonde bed-hopper Amber as though she'd been born to play it. Feeling suppressed by her Puritan upbringing, Amber heads to London, finding considerable success as a courtesan (that's the polite word for it). The first real love of her life is dashing soldier Bruce Carlton, who leaves her pregnant and penniless when he marches off to war. Subsequent amours include the sadistic Earl of Radcliffe (a superbly loathsome performance by comic actor Richard Haydn), handsome highwayman Black Jack Mallard (John Russell) and privateer Captain Rex Morgan (Glenn Langan). Surviving the Plague and the Great London Fire with nary a hair out of place, Amber ends up in the arms of no less than King Charles II (wittily portrayed by George Sanders), but true love, as personified by Bruce Carlton, will always elude her. Taking no chances, 20th Century-Fox sent out Forever Amber with a spoken prologue, heard over the opening credits, which explained that the film in no way endorsed its heroine's libertine behavior, and that she would be amply punished for her sins before fadeout time (that prologue has thankfully been removed from current prints). A model of restraint by today's standards, Forever Amber was sufficiently titillating in 1947 to post an enormous profit, far in excess of its $4 million budget. ~ Hal Erickson, All Movie Guide

Based on the novel by Marjorie Kinnan Rawlings, The Yearling is set in post-Civil War Florida. Claude Jarman Jr. plays Jody Baxter, the lonely son of just-getting-by farmers Pa and Ma Baxter (Gregory Peck and Jane Wyman). With all of his siblings dead and buried, Jody yearns to have a pet of some sort. When Pa is forced by circumstances to kill a doe, the animal's fawn-the yearling of the title-is adopted by Jody. The boy's love for the animal does not alter the fact that the fawn is eating all of the Baxters' crops. Sadly, Pa tells Jody that he must kill the yearling before all their crops are destroyed. Jody can't bring himself to do this, so he sets the animal free in the wilds. Time and again, however, the yearling returns to the farm. Finally, Ma Baxter, who'd been against having the fawn on the property in the first place, shoots and wounds the animal. Now, Jody has no choice: rather than see his beloved yearling writhe in agony, he kills it. Though this results in a rift between himself and his family, Jody at last realizes that, by taking the responsiblity of saving the farm at the expense of his own feelings, he has also taken the first step towards manhood. He himself is a "yearling" no more. MGM had intended to film The Yearling in 1941 with a different cast and director, but a series of personality clashes delayed production for five years. Watching the inspired performances of Gregory Peck, Jane Wyman and Claude Jarman Jr., it is nearly impossible to imagine the film with its originally intended cast of Spencer Tracy, Anne Revere and the unknown Gene Eckman. The studio had also intended to lens the film on location in Florida, but in the end it proved more practical and expedient to shoot in the studio and its environs. Oscars went to the Technicolor photography of Charles Rosher, Leonard Smith and Arthur Arling, and to the art direction/set decoration work of Cedric Gibbons, Paul Groesse and Edwin B. Willis. Originally released at 128 minutes, the film was reissued in a butchered 94 minute version; steer clear of this one and opt for the still-available original. ~ Hal Erickson, All Movie Guide

Officially based on a novel by Margaret Carpenter, Experiment Perilous would seem to be more inspired by MGM's psychological thriller Gaslight. Set at the turn of the century, the film stars Hedy Lamarr as Allida, the beautiful young wife of an elderly "gentleman" named Nick (Paul Lukas). Treating his wife like a possession, Nick keeps her a virtual prisoner in their London town house, cutting off all contact with the outside world. The situation is exacting a terrible emotional toll on Allida and her stepson Alec (George N. Neise). Enter kindly psychiatrist Huntington Bailey (George Brent), who takes it upon himself to free Allida and Alec from the despotic control of the insanely jealous Nick. The film's "money scene" is a frenzied gun battle in an aquarium, replete with shattered glass, gushing water and floundering fish; this sequence would be imitated ad nauseum in such future films as Lethal Weapon (1988) and Mission: Impossible (1996). ~ Hal Erickson, All Movie Guide

In this downbeat drama based on a novel by John Steinbeck (which was also adapted for the stage), German troops invade Norway during WWII, and Nazi forces occupy a small town. Col. Lanser (Cedric Hardwicke), the officer in charge of the occupation, believes that reason and the illusion of cooperation will achieve more than open hostility against the townspeople, and he tries to persuade the city fathers to work with him. However, an anti-Nazi resistance force soon springs into action, and they begin sabotaging German installations and materiel and assassinating Axis officers. Mayor Orden (Henry Travers) gently but stubbornly refuses to assist Lanser in any way, as he tacitly aids the resistance movement. Eventually, Lanser is forced to respond to the continuing anti-Nazi actions with a series of arrests and executions, but the Norwegians bravely remain steadfast against the enemies to the end. One of the children in the village is played by Natalie Wood, who was a mere five years old at the time (it was her second film, following a small role in Happy Land). ~ Mark Deming, All Movie Guide

An innocent man is put on trial, but is he really as innocent as he claims? Diplomat David Talbot (William Powell) and his bride Lucienne (Hedy Lamarr) are enjoying a honeymoon in Paris when David is confronted by extortionists who demand money in exchange for not turning him in to the police. David has no idea what the men are talking about and ignores their threats, but the men prove good to their word, and David finds himself on trial for a series of thefts. At the trial, David's name is cleared when Henri Sarrow (Basil Rathbone) testifies that he knew the man who committed the crimes, a friend of his who recently died. However, after the trial, David meets Sarrow, who informs David that he lied under oath; according to Sarrow, David did indeed commit the robberies while suffering from amnesia after a severe blow to the head, and if he wants to keep the facts quiet, he'll do whatever Sarrow says. ~ Mark Deming, All Movie Guide

At the close of World War I, shell-shocked amnesia victim Ronald Colman is sequestered in a London sanitarium; with no identity and no next of kin, he has nowhere else to go. Unable to stand the loneliness, Colman wanders into the streets, then stumbles into a music hall, where he is befriended by good-natured entertainer Greer Garson. That Colman and Garson fall in love and marry should surprise no one; what is surprising, at least to Colman, is that he discovers that he has a talent for writing. Three years pass: while in Liverpool to sell one of his stories, Colman is struck down by a speeding car. When he comes to, he has gained full memory of his true identity; alas, he has completely forgotten both Garson and their child. Returning to his well-to-do relatives, Colman takes over the family business. Having lost her child, the distraught Garson seeks out the missing Colman. Psychiatrist Philip Dorn helps Garson, advising her that to reveal her identity may prove a fatal shock for her husband. To stay near him all the same, Garson takes a job as Colman's secretary. "Strangely" attracted to Garson, Colman falls in love with her all over again. Will there be yet another memory lapse? Under normal circumstances, we wouldn't believe a minute of Random Harvest, but the magic spell woven by the stars and by author James Hilton (Lost Horizon, Goodbye Mr. Chips etc.) transforms the wildly incredible into the wholly credible (just one quibble: isn't Colman a bit long in tooth as a "young" World War I veteran?) The film was one of MGM's biggest hits in 1942--indeed, one of the biggest in the studio's history. ~ Hal Erickson, All Movie Guide

Victory was the first of Joseph Conrad's novels to be adapted to film, way back in 1919. The earliest talkie version, pointlessly retitled Dangerous Paradise, was lensed in 1930. Finally, Victory was given its best screen treatment in 1940 under the sensitive direction of John Cromwell. Fredric March plays an intellectual British recluse living in the Dutch East Indies. Having vowed to close himself off from the world, March is forced to break this promise to himself when lovely travelling showgirl Betty Field is imperiled by three murderous scavengers. The villains--led by Cedric Hardwicke at his most sardonically scurrilous--switch their attentions from Field to March when they're led to believe that the recluse is wealthy. The experience shakes the morose March back into the real world, but his regeneration is tinged by tragedy. Not precisely perfect (it's possible the book was unfilmable), the 1940 Victory is superior to the earlier film versions if for no other reason than its retention of Joseph Conrad's overall sense of doom and foreboding. ~ Hal Erickson, All Movie Guide

Tod Browning (Dracula, Freaks) directed this second film version of the Bayard Veiller play, which was his first collaboration with Bela Lugosi, whom he would launch to stardom two years later. Lugosi plays Inspector Delzante, who investigates a series of murders near a British mansion in Calcutta. The murders are pinned on a young runaway named Helen O'Neill (Leila Hyams) who is taken in by a well-intentioned fake Irish medium, Madame LaGrange (Margaret Wycherly). Delzante toys with the various characters in attendance and makes them reveal the real killer, and Lugosi is a lot of fun to watch. The film doesn't hold up to straight criticism very well -- the accents are particularly ludicrous, the Indian setting is totally unconvincing (and, in light of the short shrift it is given in the script, wholly unnecessary), and the acting is of the stiff, declamatory style so popular in the early days of sound. If one can accept these drawbacks and just enjoy the cast (Holmes Herbert, Conrad Nagel, even a young Joel McCrea), the film is quite entertaining. Those viewers whose familiarity with Lugosi is limited to his horror work and his sad decline under the tutelage of Edward D. Wood Jr. may be quite surprised at his screen presence here, which -- while undeniably hammy -- is nonetheless commanding and powerful. He doesn't really act so much as mesmerize. ~ Robert Firsching, All Movie Guide