William Arnold Movies

Charles Dickens' novel Dombey and Son is set in 1931 America in this interesting drama that centers on an egotistical, over-ambitious owner of a shipbuilding company. So focused is he on succeeding that he forgets his family and their needs. He begins looking for a successor to his wealth and immediately ignores his capable daughter (after all, a woman couldn't possibly manage a business now could she?) in favor of her younger, more frail son whom he is determined to turn into a "real man." When the father's wife dies, he does not allow his poor son to grieve. This causes the sickly youth to become physically weakened; he dies. This does not deter the ice-hearted father who again ignores his daughter and soon marries another woman so she can bear him an heir. Meanwhile the lonely daughter marries the son of her father's rival. The father's new bride is made miserable by his obsession and leaves him. Finally all his grief comes crashing down and in his subsequent rage, the man single-handedly destroys his newest ship, the one that would have brought him even more money for he has finally learned the bitter lesson that love is more important than material gain. ~ Sandra Brennan, All Movie Guide

Howard Hawks directed this fast-paced auto racing drama. Joe Greer (James Cagney) is a top-ranked race car driver; his younger brother Eddie (Eric Linden) wants to follow in Joe's footsteps, but Joe knows his brother's reckless side and tries to keep him away from the racer's life. Eddie, however, can't be dissuaded from a career on the track, and he turns out to like his women as fast as his cars when he gets involved with Ann (Joan Blondell). Joe's best friend Spud (Frank McHugh) tries to keep the feuding brothers apart, but his attempts to do so in the midst of a race leads to Spud's death. Joe is despondent after Spud's passing and gives up his career in racing, while Eddie becomes eligible for the Indianapolis 500. Joe grudgingly comes to the race to see his kid brother in action, but he gets the chance to redeem himself when Eddie is hurt and needs a driver to complete the race in his car. Racing legend Billy Arnold, who won the Indy 500 in 1930, advised the production. ~ Mark Deming, All Movie Guide

In his autobiography, Pat O'Brien described his character in The Personality Kid as a "Cassius Clay" type (this of course, was before Clay metamorphosed into Muhammad Ali). Indeed, arrogant prizefighter Ritzy (Pat O'Brien) is quite a piece of work, wearing a derby hat in the ring and dancing an Irish jig whenever he scores a knockout. Once he's risen to the top of his profession, Ritzy becomes even more insufferable, forsaking his faithful manager-wife Joan (Glenda Farrell) in favor of society artist Patricia (Claire Dodd). Ultimately he discovers that he'd be nowhere without Joan, who's been arranging "bum a month" boxing matches to guide him towards the championship. Only when he's hit the skids, however, does Ritzy return to Joan -- just in time to learn of another surprise in store for him, courtesy of "Mr. Stork." ~ Hal Erickson, All Movie Guide

Brooklyn tugboat worker Eddie (Eddie Cantor), bullied and cowed by his tough-guy stepfather and stepbrothers (a la Harold Lloyd's The Kid Brother), inherits $77 million from his uncle, an Egyptologist. Con artist Dot (Ethel Merman) wants to get her lunchhooks on the money, and to this end offers herself as Eddie's adopted mother (never mind that she's nearly 20 years younger), intending to have her thuggish brother Louie (Warren Hymer) bump off our hero at the first opportunity. The nonsensical plotline ends up with Eddie, Dot, Louie, pompous Southern colonel Larrabee (Berton Churchill), and nominal romantic leads Jerry (George Murphy in his film debut) and Jane (Ann Sothern) trapped in the palace of Arab potentate Mulhulla (Paul Harvey). The better-than-average comic banter includes some funny bits between Cantor and Eve Sully, of the comedy team of "Block and Sully" (her husband-partner Jesse Block is also in the picture, but just barely). Spotted among the featured players in Kid Millions are such "Our Gang" members as Stymie Beard, Scotty Beckett and Tommy Bond, and there's a specialty by the Nicholas Brothers during Cantor's obligatory "blackface" number; and yes, that's Lucille Ball as a blonde Goldwyn Girl in the harem sequence. PS: According to Ethel Merman, the film's elaborate Technicolor ice-cream factory finale, in which Eddie allows dozens of tenement kids to gorge themselves on his tasty confections, posed censorship problems: while producer Sam Goldwyn was allowed to show the little boys with comically extended stomachs, he was not permitted to do so with the little girls, for fear that the audience might think the female moppets were pregnant! ~ Hal Erickson, All Movie Guide

Notorious as the movie that gangster John Dillinger attended on the night he was killed, Manhattan Melodrama has weathered the years as one of MGM's finest examples of pure storytelling. The pageant-like story begins in 1904, when the excursion steamer "General Slocum" blows up and burns in the East River. Two young boys are orphaned by the disaster. They are adopted by a kindly Jewish businessman (Harry Green) who has lost his own children. Years later, when he is killed during a anarchist rally, the boys are separated once more. They grow up to be straight-arrow attorney Jim Wade (William Powell) and big-time gambler Blackie Gallagher (Clark Gable). Though the two men still like and respect one another, they are now on opposite sides of the legal fence. The professional rivalry becomes personal when Jim marries Blackie's ex-mistress Eleanor (Myrna Loy). The typically stellar MGM supporting cast includes Nat Pendleton as Blackie's faithful stooge, Isabel Jewell as his addled girlfriend, Mickey Rooney as the younger Blackie (a marvelous piece of mimicry here), and blonde singer Shirley Ross, here appearing in blackface in a Harlem nightclub sequence, singing a new Richard Rodgers and Lorenz Hart tune that would later gain popularity (with different lyrics) as "Blue Moon." ~ Hal Erickson, All Movie Guide

This romantic comedy-drama is set -- typical for producer Samuel Goldwyn at the time -- among the upper class. Joel McCrea plays Brighton Lorrimore, son of a well-to-do American family who returns from a trip abroad with a new wife, Phyllis Manning (Miriam Hopkins). Brighton's parents are dismayed because they had hoped that their son would restore the faltering Lorrimore fortunes with a marriage to society girl Edith Gilbert (Ruth Weston). Although Phyllis urges Brighton to pursue his dream career as a writer, Brighton's mother pushes him unhappily into a finance job, at which he does not excel. Mrs. Lorrimore also schemes to create romantic sparks between her new daughter-in-law and her son's superior, Martin Deering (Paul Cavanaugh), hoping that an affair will improve her son's fortunes and refill the family's coffers. Written by Rachel Crothers from her unproduced play, Spendor (1935) featured the first significant role on screen for actor David Niven. ~ Karl Williams, All Movie Guide

Rendezvous at Midnight shifts from "low" to "drive" when corrupt city commissioner Myles Crawford (Arthur Vinton) is murdered. His assistant, Bob Edmonds (Ralph Bellamy), originally assigned to investigate the commissioner's administration, now tries to solve his murder. The prime suspect is Sandra Rogers (Valerie Hobson), the last person to see Crawford alive. Despite the most damning evidence, Edmonds refuses to believe that Sandra is guilty, and he sets about to prove it -- even if it means compromising his own honesty. This mild whodunit has curiously been included in TV's "Shock Theater" package, right along with Frankenstein, Dracula, and The Wolf Man. ~ Hal Erickson, All Movie Guide

For a change of pace, Warner Bros. contract tenor James Melton sings no opera in Sing Me A Love Song -- nor does he sing anything particularly memorable, either. Melton stars as Jerry Haines, a young man-about-town who takes an entry-level job in his dad's department store. Jerry wants no special favors, so he works under an assumed name, a fact that will lead to complications in due time. Music-counter clerk Jean Martin (Patricia Ellis) is attracted to Jerry, especially when he helps her out by singing the latest tunes for her customers. As their off-and-on romance plays itself out, the film's comedy subplot is carried by Hugh Herbert as zany kleptomaniac Siegfried Hammerschlag, ZaSu Pitts is would-be hillbilly crooner Gwen, and Walter Catlett as a stupidly obsequious floorwalker. In fact, there's so much comedy in Sing Me a Love Song that there's hardly any time to sing that love song! ~ Hal Erickson, All Movie Guide

Four Days Wonder is adapted from the A. A. Milne novel of the same name. New Universal contractee Jeanne Dante stars as precocious 13-year-old Judy Widdell, a devoted fan of dime-novel detective stories. When a real murder occurs in the vicinity, Judy insists upon playing sleuth, dragging teenaged astronomer Tom Fenton (Kenneth Howell) into her Sherlock shenanigans. It's no trick for Judy or Tom to out-guess dimwitted police detective Duffy (Walter Catlett), but the murderer isn't so easy to flummox, and for a while it looks as though our heroine will never reach adulthood. As it turned out, star Jeanne Dante, a youthful veteran of the Broadway stage, was something of a four-day wonder herself, disappearing from films not long after this one was released. ~ Hal Erickson, All Movie Guide

Love Before Breakfast was the scintillating title Universal chose over Spinster Dinner, the Faith Baldwin novel upon which this airy comedy is based. Carole Lombard is a Park Avenue beauty squired by Preston S. Foster and Cesar Romero. Since neither gentleman is a prize catch, Lombard is fey and fickle throughout the film. That's all there is to Love Before Breakfast, which might have been completely forgotten had it not been for a famous 1930s-era painting in which a detailed poster for the film is the focus of attention. There's one iconoclastic alteration in the painting: Carole Lombard has been given a black eye. ~ Hal Erickson, All Movie Guide

Edward G. Robinson offers an excellent turn as a crime lord obsessed with the welfare of his son in this melodramatic crime story. The lad is born while the notorious Robinson serves 10 years. Unfortunately, the press hound the babies mother and constantly derider her until a kinder reporter takes pity and begins writing stories to support her. This angers his editor who fires him. One day Robinson's wife goes to visit him and he behaves like a brute. She is so shocked that she ends her marriage and hooks up with the reporter. Together, they move far away to start successful new lives. A decade later, Robinson gets out and begins searching for his boy. Unfortunately, he also gets talked into his gangster activities by an old cohort. The gang, however turns on him and forces him to reveal the location of a large cache of loot that he hid before entering the slammer. Tough old Robinson won't tell them, so they kidnap his son.
Fortunately, Robinson and the lad escape. The gangster tries to get to know his boy, but the child wants nothing to do with him. Angered, Robinson swears vengeance upon his ex and her new spouse. ~ Sandra Brennan, All Movie Guide

Swing High Swing Low is a new coat of paint on the old stage play Burlesque, first filmed in 1929 as The Dance of Life. Ex-serviceman Skid Johnson (Fred MacMurray) rises to the uppermost rungs of show business as a bandleader. As his fame swells, so does his head, and he becomes impossibly arrogant, forgetting the friends who helped him get to the top -- not to mention his ever-faithful sweetheart, band vocalist Maggie King (Carole Lombard). Consuming great quantities of booze, Skid hits the skids, ending up a skid-row derelict (there seems to be a pattern here). The ultimate humiliation comes when he isn't even allowed to return to the Army because his insides are shot. In the film's calculatedly teary finale, Skid is rescued emotionally and professionally by Maggie, now a big star in her own right. As indicated by the synopsis, the film is banal and old-hat, but the stars are terrific, especially Carole Lombard, who sings in several scenes (and not all that badly!) Swing High, Swing Low was remade in 1948 as When My Baby Smiles at Me. ~ Hal Erickson, All Movie Guide