Keenan Wynn Movies

Joan Crawford is at her most glamorous (a different outfit and hairdo in each scene!) in the romantic melodrama Chained. Crawford plays Diane Lovering, the mistress of prominent Manhattan businessman Richard Field (Otto Kruger). Though she really isn't in love with him, she feels obligated to marry him when he divorces his wife (Margaret Gateson) for Diane's sake. By the time the divorce is final, Diane has fallen for wealthy South American rancher Mike Bradley (Clark Gable), but, out of loyalty to Field, she abruptly cuts off her relationship with Mike, who does his best to hide his pain. It looks as though both Diane and Mike will continue to suffer stoically until the plot is resolved by the understanding and remarkably generous Field. Clarence Brown's glossy direction helps to make this star vehicle seem more important than it really is. ~ Hal Erickson, All Movie Guide

In this North western, Indians orphan two boys who are then raised by a Mountie. The boys are different as night and day: one wants to be a Mountie; the other is drawn to gambler. During one unprofitable outing the gambler swears vengeance upon the crooked proprietor of the local casino. Years pass, and the gambler returns to town with his friend, now a Mountie. Again he returns to the gambling establishment to play roulette. There he kills two people forcing his life-long friend to arrest him. The gambler resists and a gun battle ensues. The gambler is killed. ~ Sandra Brennan, All Movie Guide

Newspaper reporter Marion Hargrove's best-selling novel was adapted to the screen by MGM as a vehicle for Robert Walker. The story is basically a series of humorous anecdotes about Hargrove's tenure at boot camp in the early days of World War II. Keenan Wynn is terrific as Hargrove's topkick, and Robert Benchley is no less superb as the father of Hargrove's girl friend (Donna Reed). See Here, Private Hargrove not only secured the stardom of Robert Walker, but launched Marion Hargrove on a lengthy career as a Hollywood screenwriter (his son, Dean Hargrove, has carried on the tradition into TV). The film was followed by a lesser 1946 sequel, What Next, Corporal Hargrove?, which followed the leading character to France. ~ Hal Erickson, All Movie Guide

David O. Selznick's first production since 1940's Rebecca, Since You Went Away, based on Margaret Buell Wilder's bestselling novel, is a long but rewarding paean to the World War 2 "home front". Claudette Colbert plays the wife of a businessman who, though well past draft age, volunteered to serve his country as an officer (though the husband is never seen, he is "played"-via a photograph-by Neil Hamilton). Fighting back her own fears and anxieties, Colbert does her best to maintain a normal, stable household for the sake of her growing daughters Jennifer Jones and Shirley Temple. She is offered moral support by cynical-but-kindly boarder Monty Woolley, by maid Hattie McDaniel (who willing foregoes her salary "for the duration") and by Navy man and friend-of-the-family Joseph Cotten, whose relationship with Claudette remains staunchly platonic. The harsh realities of war hit home several times throughout the film, first when it seems as though Colbert's husband is missing in action, and later when Jennifer's young boyfriend, GI Robert Walker, is killed in combat. From the vantage point of the 1990s, it is easy to see why Since You Went Away scored with its wartime audiences. Though the leading characters are slightly more financially secure than most of the moviegoers of 1944, the various vignettes presented throughout-complaints about rationing and priorities, shoulder-to-shoulder sacrifices, the weekly escape to the local movie house, tender partings, joyous reunions, the returning wounded, the dreaded wire from the war department-all had the ring of truth and topicality. Even today, the film's emotional highlights, particularly the much-imitated farewell scene at the railroad station, are sufficient to bring tears to the eyes of the most jaded viewer. Enhancing the film's heartstring tugging tenfold is Max Steiner's Oscar-winning musical score. If you can remain objective while watching Since You Went Away (it isn't easy), see if you can spot Ruth Roman, Guy Madison and John Derek, making their screen debuts in microscopic roles ~ Hal Erickson, All Movie Guide

The oft-used movie title Between Two Women was resurrected once more for this entry in MGM's "Dr. Kildare" series. Though Kildare is nowhere to be found, Lionel Barrymore is very much in evidence as Dr. Leonard Gillespie, crusty chief surgeon of Blair General Hospital. Gillespie's assistant is Dr. Red Adams (Van Johnson), who spends the early part of the film fending off the romantic advances of social worker Ruth Edley (Marilyn Maxwell)-a carryover subplot from the previous "Kildare" entry Three Men in White. Adams is also romantically involved with ailing socialite Cynthia Grace (Lucille Bremer), who suffers from a life-threatening blood clot. As the story draws to a close, Adams must choose between a lucrative practice in the Big City, or a lower-paying but more professionally rewarding post in a small town. Here's a hint to the outcome: in the next (and last) "Kildare" film, Dark Delusion, Gillespie's assistant is played by James Craig. ~ Hal Erickson, All Movie Guide

This follow-up to the 1944 hit See Here, Private Hargrove suffers from that common movie malady known as Sequelitis, meaning that it's not quite as good as its predecessor. U.S. artillery corporal Marion Hargrove (Robert Walker) finds himself at large in wartime France -- or at least the MGM backlot version of France -- with wheeler-dealer pal Pvt. Thomas Mulvehill (Keenan Wynn). Inadvertently detached from their outfit, Hargrove and Mulvehill wander into a French village, where they're lauded as conquering heroes by the populace. Later on, our two heroes bumble their way into Paris. Finally, Hargrove and his principal foe Sergeant Cramp (Chill Wills) unexpectedly join forces to rescue Mulvehill from a desertion charge. Like the first "Hargrove" film, What Next, Corporal Hargrove? is based on characters created by the real-life Marion Hargrove, who later became one of Hollywood's most prolific screenwriters. ~ Hal Erickson, All Movie Guide

The Clock was designed by MGM as a "small" picture--though characteristically, it was a bigger production than most "A" efforts from any other studio. Paul Gallico's simple story involves a girl (Judy Garland) and a GI (Robert Walker), who meet under the huge clock at New York's Pennsylvania Station. Over the next 48 hours, the girl and the soldier fall in love, make the acquaintance of such lovable gotham types as cabbie James Gleason and inebriate Keenan Wynn, and decide to get married before the GI is shipped out again. The enormous Pennsylvania Station set, combined with some unusually convincing back projection (MGM was hitherto notorious for the worst back projection in the business) has convinced even lifelong New Yorkers that The Clock was actually lensed in Manhattan rather than Hollywood. Director Vincente Minnelli injected further visual dynamism in The Clock by seldom repeating the same camera angle twice. ~ Hal Erickson, All Movie Guide

This Technicolor musical remake of the 1936 comedy classic Libeled Lady isn't quite up to the standards of the original, but on its own terms is quite entertaining. Van Johnson, Esther Williams, Lucille Ball and Keenan Wynn expertly assume the roles originally played by William Powell, Myrna Loy, Jean Harlow and Spencer Tracy. Faced with a libel suit from socialite Connie Allenbury (Williams), newspaper editor Warren Haggerty (Wynn) cooks up a plan to beat Connie at her own game. To do this, he must rely upon the romantic chicanery of ex-employee Bill Stevens Chandler (Johnson), with Haggerty's fiancee Gladys Benton (Ball) caught in the middle. The comedy high point of the original Libeled Lady, in which William Powell is forced to demonstrate his (non-existent) prowess as a fisherman, is ably repeated in Easy to Wed when Van Johnson must prove his skills at duck-hunting. The songs aren't anything special, but Lucille Ball's superb comic performance is worth the admission price in itself. ~ Hal Erickson, All Movie Guide

This A-minus musical stars Evelyn Keyes in the uncharacteristically comic role of Vicki Dean, the divorce-bound wife of theatrical impresario Steve Farraugh (Keenan Wynn). While mounting a big musical spectacular in Brazil, Farraugh simultaneously campaigns to win back his wife. The couple encounters romantic interference from tap-dancer Linda Lorens (Ann Miller) and Latin American singing heartthrob Tito Guizar (as himself). Nothing new here, but the cast puts over the material with such enthusiasm that the film seems better than it is. The highlight is Ann Miller's energetic specialty number "Man is Brother to a Mule" (it makes sense in context!) ~ Hal Erickson, All Movie Guide

When he was first offered the film version of the best-selling Frederick Wakeman novel The Hucksters, Clark Gable turned it down, characterizing the book as "filthy and not entertainment." He finally agreed to star in the film after screenwriter Luther Davis' extensive laundering job. Gable plays Vic Norman, a radio advertising executive just returned from World War II. His wartime experiences have soured him on the phony aspects of his profession; nonetheless, he takes a job with the biggest and phoniest agency in town, headed by the glad-handing Kimberly (Adolphe Menjou). At Kimberly's recommendation, Vic takes over the Beautee Soap account, which brings him in close quarter's with Beautee's boorish head man Evans (Sidney Greenstreet). At their first meeting, Evans unexpectedly spits on his highly polished conference table. "Gentlemen," he growls, summing up his philosophy on advertising, "You have just seen me do a disgusting thing. But you will always remember it!" (Evans was based on George Washington Hill, the colorfully crude president of the American Tobacco Company). Vic's first assignment for Evans is to round up 25 high society women to sign testimonials for Beautee Soap. The least cooperative of the bunch is young widow Mrs. Dorrance (Deborah Kerr, in her American film debut), the stepdaughter of an American war hero. Attracted to Vic, Mrs. Dorrance signs the agreement, but breaks off her personal relationship with Vic when it appears as though he's making unsolicited advances towards her. The ever-demanding Evans then insists that Vic sign up two-bit comedian Buddy Hare (Keenan Wynn) for a radio program. Becoming more and more corrupt with each passing day, Vic obtains Hare's service at a rock-bottom price by blackmailing the comedian's agent (Edward Arnold), Vic's onetime close friend. A demo record is made of Hare and of nightclub singer Jean Ogilvie (Ava Gardner), who is in love with Vic but who eventually gives him up because of his apparent lack of scruples. Returning to the Beautee Soap headquarters, Vic watches dumbstruck as Evans smashes the demo record--then laughs uproariously, telling Vic that the contract is his, along with a $25,000 bonus. By this time, Vic is so disgusted with himself and with Evans' childish baiting tactics that he tells off the soap mogul in no uncertain terms, ending his tirade by dousing Evans with a pitcher of water. Having regained his integrity, Vic is now worthy of the love of Mrs. Dorrance, who has forgiven him his earlier misdeeds. As the film ends, she encourages Vic to use his advertising talents for something clean and honest (and, undoubtedly, starve to death in the process!) To mollify Madison Avenue, screenwriter Davis narrowed the attack on advertisers to one single radio sponsor; to please Gable, Mrs. Dorrance was changed from a still-married woman to a widow, while Vic Rodman is transformed from a "huckster" to an idealist who Does the Right Thing at the end. The Hucksters is one of Clark Gable's best postwar films, as well as one of the finest Hollywood satires of the rarefied world of advertising. ~ Hal Erickson, All Movie Guide

Barbara Stanwyck plays Polly Fulton, rebellious daughter of a wealthy industrialist (Charles Coburn). Polly marries a conservative economist professor (Richard Hart), but she chafes at his values and leaves him for socialist professor Van Heflin. Polly nearly ruins both her father's reputation and her own by embracing Heflin's radicalism. Based on a novel by J. P. Marquand, B.F.'s Daughter emerges as an unsubtle swipe at the policies of the late president Franklin Roosevelt; perhaps this was at the behest of MGM's arch-Republican head man Louis B. Mayer. In England, where the letters "B. F." comprise a euphemism for "bloody fool", the film was retitled Polly Fulton. ~ Hal Erickson, All Movie Guide

That Midnight Kiss served to introduce the film-going public to MGM's newest singing sensation, Mario Lanza. Just as he did with Deanna Durbin at Universal, producer Joe Pasternak removes the "stuffy" onus attached to classical music by presenting Lanza as a down-to-earth truck driver named Johnny Donetti. When it turns out that Johnny has a splendid singing voice, he gets a minor job at the Philadelphia opera company sponsored by aristocratic Abigail Trent Budell (Ethel Barrymore). Abigail's granddaughter Prudence (Kathryn Grayson) is instrumental in bringing Johnny to public attention by insisting that he replace the opera troupe's defecting star tenor. Featured in the cast are Keenan Wynn as Lanza's best pal, J. Carroll Naish as his "Whatsa matta you?" Italian father, and MGM's resident musical genius Jose Iturbi as himself. That Midnight Kiss served its purpose by transforming the relatively unknown Mario Lanza into a box-office champion. ~ Hal Erickson, All Movie Guide