Ralph Block Movies

Ann Sothern closed out her MGM contract with the Technicolor musical Nancy Goes to Rio. As Frances Elliot, Sothern is billed second to Jane Powell, who plays Nancy Barklay. A popular Broadway star, Frances heads to Rio for R&R before starting her next production. Meanwhile, unbeknownst to Frances, her daughter Nancy is hired to appear in her mother's starring vehicle. This would seem to be enough to sustain a plot, but the screenwriters contrive to have Frances mistakenly believe that Nancy is about to become an out-of-wedlock mother. In addition, both ladies vie for the romantic attentions of leading man Paul Berten (Barry Sullivan). Also appearing is Carmen Miranda, just to remind us that the film takes place in Brazil. Producer Joe Pasternak handles the material with the same tastefulness that he'd applied to his Deanna Durbin pictures at Universal: in fact, Nancy Goes to Rio is a remake of Durbin's 1940 vehicle It's a Date. ~ Hal Erickson, All Movie Guide

In It's a Date, the teenage diva Deanna Durbin is cast as Pamela Drake, the daughter of celebrated stage actress Georgia Drake (Kay Francis). Hoping to find success as an actress herself, Pamela energetically lobbies for the role of the maid in an upcoming play based on the life of St. Bernadette -- a role that has already been given to Georgia. When those conducting the auditions hear Pamela's singing, however, they quickly change their mind and offer the part to her. The rivalry between Pamela and Georgia intensifies when both fall in love with handsome middle-ager John Arlen (Walter Pidgeon). Innumerable complications follow, leading to a happy ending for both mother and daughter, though not quite the ending that either one had in mind. Deanna Durbin's musical repertoire this time out includes "Musetta's Street Song" from La Bohème, "Loch Lomond," "Love Is All," and a curious climactic rendition of "Ave Maria." It's a Date was remade in 1950 as Nancy Goes to Rio, with Jane Powell and Ann Sothern. ~ Hal Erickson, All Movie Guide

Small-town waiter Will Wright (Edward Everett Horton) can't help but feel that his Kansas community has lost its civic pride. After attending a speech delivered by a New York Realtor, Will takes it upon himself to head to the Big Apple to promote a real-estate deal for the benefit of his friends and neighbors. It isn't long before he gets mixed up with two rival gangsters, Dizzy Rantz (Cesar Romero) and Jake Cavendish (Frank Conroy). But with the help of moll Ruby Miller (Glenda Farrell), Will manages to convince the two mobsters to bury the hatchet -- and to invest their money in a real estate development that will result in big bucks for all concerned. Edward Everett Horton's flawless performance is the glue that holds Nobody's Fool together. ~ Hal Erickson, All Movie Guide

American opera baritone George Houston, who later gained a measure of fame as a western hero, made his film debut in The Melody Lingers On. Houston plays Salvini, a dashing Italian army captain who enjoys a brief romantic fling with concert pianist Ann Prescott (Josephine Hutchinson). Their dalliance results in an illegitimate baby -- and, by extension, brings about Salvini's death when he saves the lives of Ann and the child. Raised by foster parents, Ann's son Guido (Dave Scott) grows up to become a talented musician, never suspecting that his gifts have been inherited; meanwhile, Guido's mother does penance for past sins in an Italian convent. A ruthless assault on the tear-ducts, The Melody Lingers On was adapted from a novel by Lowell Bretano. ~ Hal Erickson, All Movie Guide

The Right to Live was the second film version of Somerset Maugham's The Sacred Flame (the first, produced in 1929, starred Conrad Nagel), which in its original form posed the question "Can there truly be such a thing as a mercy killing?" Put simply, it is the tragic tale of two brothers: Colin Trent (George Brent), strong and virile, and Maurice Trent (Colin Clive), crippled and bedridden. Though there's no hope for Maurice's recovery, his wife Stella (Josephine Hutchinson) has vowed -- publicly at least -- to remain faithfully by his side until the bitter end. When that end finally comes, the family doctor declares that Maurice has died a natural death. But Nurse Weyland (Peggy Wood), who has long suspected that something has been going on between Stella and her healthy brother-in-law Colin, believes that Maurice was murdered. Her insistence upon an autopsy is as much a product of her dedication to duty as to her own silent yearning for Colin. Thanks to the newly-strengthened Production Code, Maugham's powerful ending could not be used, thereby watering down what might have been a truly compelling and controversial film. ~ Hal Erickson, All Movie Guide

One of the first major Hollywood films to seriously address America's ongoing mistreatment of its Indian population, Massacre is more admirable for its intentions than its execution. The film was inspired by the activities of John Collier, commissioner for the Bureau of Indian Affairs during Franklin Delano Roosevelt's first term. A staunch advocate for Native American rights, Collier had been far more effective than his predecessors in this pursuit, effectively purging much of the corruption and bigotry then prevalent in the administration of the Indian Reservation system. The film's John Collier counterpart, a man named Dickinson (Henry O'Neill), turns out to be less important to the storyline than Joe Thunder Horse, the "assimilated" college-educated Sioux portrayed by Richard Barthelmess. Upon the death of his father, who was the tribal chieftain, Joe returns to the reservation of his youth, only to discover that his people are dying of various diseases and are being systematically cheated of their possessions and basic rights by crooked Indian agents. He heads to Washington in hopes of righting these wrongs, only to experience prejudice and hatred all along the way. Eventually successful in his efforts, Joe casts away the last vestige of his "white" existence by giving up socialite Norma (Claire Dodd) in favor of Sioux maiden Lydia (Ann Dvorak). The optimism of the final reels is sorely at odds with the rest of the picture, which paints a bleak portrait of an oppressed people under the thumb of corrupt, rapine petty tyrants (colorfully represented by Dudley Digges as the worst of the batch). The deck-stacking is a bit hard to take at times (surely there must have been some Indian agents who weren't substance abusers and lechers), but it's undeniably effective in the usual over-the-top Warner Bros. tradition. The film's oddest scene (and the one which has drawn the most attention from William K. Everson and other prominent film historians) finds a stereotyped African American valet (Clarence Muse) looking disdainfully upon the Indians as his racial inferiors! ~ Hal Erickson, All Movie Guide

This suspenseful, exciting mystery is based upon an Edgar Wallace story and centers upon the search for $1 million in buried loot. Only the original thief, Joe Valerie knows its location. He tells the crazed Austrian Dr. Cornelius about it. The good doc secretly schemes to get it for himself, but first he must evade a determined detective and the bogus psychic he has hired to help him out. The search leads the gumshoe to a spooky, seemingly haunted mansion. Three people die during the hunt and as they go, the mystic and the detective find themselves falling in love. ~ Sandra Brennan, All Movie Guide

Warner Baxter, who had won an Academy Award for playing the Cisco Kid in In Old Arizona (1929), is at it again, fake Spanish accent and all, in this fanciful Western filmed on-location at Utah's Zion National Park. Cisco in anything but name, The Arizona Kid loves all the ladies in Rockville, UT, but especially the fiery Lorita (Mona Maris), who sings in the local saloon. Operating a secret mine by day and playing the noble bandit at night, the Kid is only one step ahead of the local sheriff (Walter P. Lewis), who has his suspicions as to his real identity. Said identity, however, is about to be revealed when the carefree bandit falls for a flaxen-haired Easterner, Virginia Hoyt (Carole Lombard), who arrives in Rockville with Nick (Theodore Von Eltz), a handsome crook whom she passes off as her brother, but in reality is her husband. Although contemporary reviewers believed The Arizona Kid to be yet another O. Henry creation, the character was conjured up by screenwriter Ralph Block. ~ Hans J. Wollstein, All Movie Guide

Dakin Barrolles (played by Edmund Lowe is a criminal who, while escaping from a bank robbery that went wrong, stumbles across a famous banker, Sir John Lasher, and his wife, Xandra. Lasher is deep in his cups, and neither he nor Xandra notice when Barrolles absconds with one of their possessions -- a locket with a picture of the married couple. For once, Barrolles has more in mind than thievery. He has become instantly smitten with banker's wife; planning to escape the police by enlisting in the army, he wants the picture to serve as a reminder of her beauty. During heavy fighting, Barrolles is injured in a mine explosion, and the surgeon who operates on him gives him the face of the man in the locket. By coincidence, Lasher has also joined the war effort and is missing. Xandra arrives to reluctantly take home her husband and is surprised at the change in her husband, who now is clearly in love with her and concerned about her feelings. Now in a position to commit a spectacular bank robbery, Barrolles must decide whether to give in to this temptation or stay with the woman he loves -- and must also worry about what he will do if Scotland Yard finds him or the real Lasher returns. ~ Craig Butler, All Movie Guide

In this romantic drama, a wealthy, young heiress suffers from ennui and begins rebelling against the restrictions of her class by refusing to marry her equally wealthy fiance. Instead she falls for a serious salesman. Unfortunately, the salesman wants nothing to do with her money and refuses to marry her; she begins to dread her upcoming nuptials to the other fellow. In the end she and salesman reconcile, but she cannot get out of her engagement honorably. She is standing at the alter in her gown on her wedding day, when suddenly a dog wanders up with a note in its mouth. The note tells her that the salesman is leaving town. Suddenly the girl decides to follow her heart and takes off after the dog to profess undying love to the salesman. Humble marital bliss ensues. ~ Sandra Brennan, All Movie Guide

This late-20s gangster movie features Carole Lombard as a young gal who agrees to marry a smooth-talking gangster in exchange for the mob man's pledge to arrange a big-time concert appearance for her violinist boyfriend. The only thing that can save the day for the mis-aligned lovers is a shootout between the cops and the gangland thugs. This film is notable because it is one of the early 'talkies," and uses the newly developing audio technology with abandon. In fact, most of the action takes place off screen and the characters tell the cameras just what's happened. This one's small on sets, big on dialog. ~ All Movie Guide

When Cecil B. DeMille's own production company was absorbed by Pathe in 1928, several DeMille contractees went along for the ride. One of these was William Boyd, the star of the 1929 Pathe effort The Leatherneck. The setting is China, specifically the headquarter of the 6th U.S. Marine regiment, where Calhoun (Boyd) and Schmidt (Alan Hale) are facing court-martial for desertion. In a series of flashbacks, the viewer is apprised of the reasons for the two leathernecks' supposed dereliction of duty. Essential to the action are a third marine, the unfortunate Joe Hanlon (Robert Armstrong), and a mysterious Russian girl named Tanya (Diane Ellis). A silent picture for most of its 76-minute running time, The Leatherneck includes approximately eight minutes' worth of dialogue. ~ Hal Erickson, All Movie Guide

The piquant Leatrice Joy starred in this frothy marital comedy about a wife who leaves her boring husband (John Boles) to be the companion of a kept woman (Seena Owen). The latter, however, leaves in a huff when she suspects that her gentleman friend (H.B. Warner) may be paying a bit too much attention to the newcomer. Sure enough, the lecherous Warner does indeed propose a similar arrangement for Miss Joy, who promptly turns him down in favor of returning to home and hearth. With her close-cropped and rather mannish hairstyle, Leatrice Joy was one of the era's great trendsetters and excelled at playing naughty but nice. ~ Hans J. Wollstein, All Movie Guide