George M. Arthur Movies

Higher and Higher was advertised by RKO Radio as "The Sinatra Show", and small wonder: In his first major film role, Frank Sinatra was easily the film's biggest box-office draw. Actually, Frankie was a last minute addition to the film, which began as a traditional adaptation of a popular Broadway musical. Repeating his original stage role, Jack Haley plays Mike, the head servant in the household of millionaire Mr. Drake (Leon Errol). When Drake faces bankruptcy, Mike rallies the servants together and cooks up a moneymaking scheme: they'll pass off pretty scullery maid Millie (Michele Morgan) as Drake's daughter, and marry her off to a wealthy bachelor. Complicating matters is Sir Bictor Fitzroy Victor (Victor Borge), an impoverished nobleman who is himself looking for a rich wife. Mike saves the day with a last-minute discovery in the wine cellar, but not before a series of hilarious and tuneful plot twists involving Millie, heiress Katherine (Barbara Hale), and hired help Mickey (Marcy McGuire) and Marty (Mel Torme). Hastily written into the proceedings as Drake's next door neighbor, Sinatra croons several standards-to-be, including "I Couldn't Sleep a Wink Last Night" and "This is a Lovely Way to Spend an Evening"; he also is arbitrarily permitted the film's closing shot, emerging from heavenly clouds like the Second Coming of Music. Thanks to the film's enormous box-office take, everybody was happy with Higher and Higher--except Jack Haley, understandably miffed that his onetime starring role was whittled down to a supporting part to allow more screen time for the estimable Mr. Sinatra. ~ Hal Erickson, Rovi

Ironically, the marriage between Dick Powell and Joan Blondell was beginning to fall apart at the time they co-starred in Paramount's I Want a Divorce. The film manages to sustain two plotlines, with newlyweds Alan and Geraldine MacNally (Powell and Blondell) beginning to have second thoughts about their union, while David and Wanda Holland (Conrad Nagel and Gloria Dickson) are in the last stages of their divorce proceedings. It so happens that Alan is the struggling attorney handling the Holland case, much to his wife's chagrin. As the hearings proceed, Alan and Geraldine drift further and further apart, only to abruptly reunite when Wanda Holland's suicide after losing custody of her son forces Alan to rethink his own priorities. Often written off as a mere comedy, I Want a Divorce has a surprising amount of meat on its bones. ~ Hal Erickson, Rovi

A big city lawyer returns to his tiny home town to enter the firm of his late father. His father's partner is happy to have him, but the partner's lovely daughter is even happier.. Every one is happy until the young attorney decides to represent the local villain, a ruthless factory owner who cares more for money than his employees. When the abused workers go on strike, the partner drops the factory owner's account, but the young slicker stays with the magnate. This upsets the partner's daughter. Tragedy and chaos follow when gangsters get involved. ~ Sandra Brennan, Rovi

The legendary Cocoanut Grove nightclub is the setting for this all-star Paramount musical. Fred MacMurray heads the cast as Johnny Prentice, a small-time bandleader who heads to the Grove for an all-important audition. He is accompanied by his foster son Half-Pint (Billy Lee), a talented drummer in his own right. Joining the troupe is Linda Rodgers (Harriet Hilliard), ostensibly Half-Pint's tutor but actually an aspiring vocalist. The thinnish plot serves as an excuse for an unending stream of specialty numbers featuring Royal Hawaiian orchestra leader Harry Owens, comedian Ben Blue, the zany Yacht Club Boys (a WASP version of the Ritz Brothers), funny-noise specialist Rufe Davis and bandmaster Red Stanley. In the course of events, nine new original songs are performed, none of which graduated to hit-parade status. Curiously, the real Cocoanut Grove is never seen, though the Paramount mockup is reasonably convincing. ~ Hal Erickson, Rovi

Sarong-clad Dorothy Lamour made her Technicolor debut in this follow-up to her earlier starrer Jungle Princess. After crash-landing on a tropic isle, aviator Bob Mitchell (Ray Milland) and his mechanic Jimmy Wallace (Lynne Overman) make the acquaintance of the lovely Tura (Lamour). While Bob enthusiastically teaches Tura how to kiss, Jimmy tangles with comic-relief chimpanzee Gaga and playful tiger cub Meewa. The villain of the piece is megalomanic witch doctor Kuasa (J. Carroll Naish), who hypnotizes Tura into assisting him with his periodic human sacrifices. Just as Bob, Jimmy and Tura are about to meet their doom at the hands of Kuasa, a timely volcanic eruption saves the day. Any hints of miscegenation (a big no-no for 1938 movie censors) are swept away when it is revealed that Tura is the daughter of white parents, enabling her to find connubial bliss in the arms of Bob. In his autobiography, Ray Milland recalled the filming of Her Jungle Love in vivid detail, devoting special attention to the time that he relieved himself during a swimming sequence ("No wonder the water was so warm" was Dorothy Lamour's only comment). ~ Hal Erickson, Rovi

Ralph Ince both directs and stars in the silent crime melodrama Chicago After Midnight. Ince plays a gang leader who is betrayed by his rival, James Mason. After 15 years in the slammer, Ince returns to murder Mason. He pins the crime on Robert Seiter, the sweetheart of cabaret dancer Jola Mendez. Then he has to undo all this when he discovers that Jola is actually his long-lost daughter. Chicago After Midnight is one of several products from Hollywood's first gangster cycle, which spawned such classics as Underworld and Walking Back. ~ Hal Erickson, Rovi