Guy Bolton Movies

The first feature from the 20th Century-Fox animation unit in Phoenix, Arizona, this is the ninth film produced and directed by the Don Bluth/Gary Goldman duo (An American Tail) and the first animated feature to be made in CinemaScope since Disney's Sleeping Beauty (1959). This $50 million animated fantasy retells the story of Anastasia, daughter of Czar Nicholas, beginning with her childhood in 1916 Russia. After Rasputin's curse on the Romanovs, little Anastasia is separated from her grandmother, the Dowager Empress Maria. After growing up in an orphanage, Anastasia emerges as a young woman called Anya. With no clear memory of her youth, Anya encounters entrepreneurs who seek an Anastasia look-alike in hopes of collecting a reward in Paris from the aged Dowager Empress. Despite demonic interference from Rasputin, the three travel to Paris where another problem awaits: the Dowager Empress is now skeptical of the parade of imposters. ~ Bhob Stewart, Rovi

Anything Goes is a Technicolor-and-Vistavision remake of the 1936 film of the same name, which in turn was based on Cole Porter's hit 1934 Broadway musical. The 1956 bears little relationship plotwise to its predecessors, except for the fact that most of the story takes place aboard a luxury liner. Bing Crosby and Donald O'Connor star as Bill Benson and Ted Adams, a pair of top Broadway tunesmiths who agree to collaborate on their next musical just as soon as they complete their respective vacations. Complications arise when, unbeknownst to one another, Bill and Ted each sign up a potential leading lady; Bill's choice is ballerina Gaby Duval (Zizi Jeanmaire), while Ted's selection is brassy chanteuse Patsy Blair (Mitzi Gaynor). Retained from the original Cole Porter score are such standards as "You're the Top", "I Get a Kick Out of You" (with appropriately laundered lyrics), "Blow, Gabriel Blow", and the title tune. New songs, penned by Sammy Cahn and Jimmy Van Heusen, include "You Gotta Give the People Hoke" and "A Second-Hand Turban and a Crystal Ball". To avoid confusion with the 1956 adaptation of Anything Goes, the 1936 version was for many years retitled Tops is the Limit for television. ~ Hal Erickson, Rovi

Fred Astaire had announced his retirement before the cameras began to roll on Easter Parade, but he decided to accept the film's leading role when its original star Gene Kelly became incapacitated. The thinnish plot, which finds Astaire trying to turn chorus girl Judy Garland into a star in order to show up his former partner Ann Miller, is hardly what keeps the audience's eyes riveted to the screen. All that truly matters are the 17 musical numbers, all written by Irving Berlin (ten were standards, while seven were new to this film). Among the many highlights are Astaire's slow-motion version of "Steppin' Out," the Astaire/Garland duet "We're a Couple of Swells," the opening rendition of "Happy Easter," and the closing performance of the title number. So successful was Easter Parade that plans were immediately drawn to reteam Fred Astaire and Judy Garland in The Barkeleys of Broadway; this time, however, it was Garland who withdrew, to be replaced by Astaire's most famous vis-à-vis, Ginger Rogers. ~ Hal Erickson, Rovi

The presence of William Powell as legendary showman Flo Ziegfeld at the beginning of Ziegfeld Follies might lead an impressionable viewer from thinking that this 1946 film is a Technicolor sequel to the 1936 Oscar-winning The Great Ziegfeld. Not so: this is more in the line of an all-star revue, much like such early talkies as Hollywood Revue of 1929 and Paramount on Parade. We meet a grayed, immaculately garbed Ziegfeld in Paradise (his daily diary entry reads "Another heavenly day"), where he looks down upon the world and muses over the sort of show he'd be putting on were he still alive. Evidently Ziegfeld's shade has something of a celestial conduit to Metro-Goldwyn-Mayer studios, since his "dream" show is populated almost exclusively by MGM stars. Vincente Minnelli is given sole directorial credit at the beginning of the film, though many of the individual "acts" were helmed by other hands. The Bunin puppets offer a tableau depicting anxious theatregoers piling into a Broadway theatre, as well as caricatures of Ziegfeld's greatest stars. The opening number, "Meet the Ladies", spotlights a whip-wielding (!) Lucille Ball, a bevy of chorus girls dressed as panthers, and, briefly, Margaret O'Brien. Kathryn Grayson and "The Ziegfeld Girls" perform "There's Beauty Everywhere." Victor Moore and Edward Arnold show up in an impressionistically staged adaptation of the comedy chestnut "Pay the Two Dollars". Fred Astaire and Lucille Bremer (a teaming which evidently held high hopes for MGM) dance to the tune of "This Heart is Mine." "Number Please" features Keenan Wynn in an appallingly unfunny rendition of an old comedy sketch (performed far better as "Alexander 2222" in Abbott and Costello's Who Done It?) Lena Horne, strategically placed in the film at a juncture that could be edited out in certain racist communities, sings "Love". Red Skelton stars in the film's comedy highlight, "When Television Comes"-which is actually Skelton's classic "Guzzler's Gin" routine (this sequence was filmed late in 1944, just before Red's entry into the armed services). Astaire and Bremer return for a lively rendition of "Limehouse Blues". Judy Garland, lampooning every Hollywood glamour queen known to man, stops the show with "The Interview". Even better is the the historical one-time-only teaming of Fred Astaire and Gene Kelly in "The Babbitt and the Bromide". The excellence of these sequence compensate for the mediocrity of "The Sweepstakes Ticket", wherein Fanny Brice screams her way through a dull comedy sketch with Hume Cronyn (originally removed from the US prints of Ziegfeld Follies, this sequence was restored for television). Excised from the final release print (pared down to 110 minutes, from a monumental 273 minutes!) was Judy Garland's rendition of "Liza", a duet featuring Garland and Mickey Rooney, and a "Baby Snooks" sketch featuring Fanny Brice, Hanley Stafford and B. S. Pully. A troubled and attenuated production, Ziegfeld Follies proved worth the effort when the film rang up a $2 million profit. ~ Hal Erickson, Rovi

Weekend at the Waldorf is an unabashed remake of MGM's 1932 Oscar-winner Grand Hotel: in fact, at several points in the story, the cast makes pointed references to the earlier film. The posh Waldorf Hotel in the heart of New York is the setting for several plots and subplots. Ginger Rogers plays the Garbo counterpart, a successful but severely depressed movie star who wants to be alone. Walter Pigeon steps into John Barrymore's role, sort of; whereas Barrymore was a thief posing as nobility, Pigeon is a war correspondent posing as a thief. Hotel stenographer Lana Turner (originally Joan Crawford) latches onto tycoon Edward Arnold (originally Wallace Beery) in hopes of a life of luxury. And, in the film's biggest adaptation stretch, Van Johnson is cast as a war hero who, about to undergo life-threatening surgery, wants to thoroughly enjoy what may be his last days on earth. It takes a while to figure this out, but Johnson is supposed to be the character played in Grand Hotel by Lionel Barrymore: the meek clerk who, upon discovering that he's dying, blows his life savings on one last fling. On the whole, Weekend at the Waldorf is a lot more light-hearted than Grand Hotel, as indicated by the expository character played by humorist Robert Benchley, not to mention the presence of Xavier Cugat as the Waldorf's orchestra leader. ~ Hal Erickson, Rovi

Guy P. Bolton's stage farce Mirabelle was given a more saleable title for its 1938 British filmization. Now travelling under the name Too Many Husbands, Bolton's story tells of notorious con artist Jack Melford, who is wrongly reported as having been killed in a plane crash. Adopting a new identity, Melford heads for the gaming tables of Monte Carlo, certain that he will not be prevented by his bad reputation from making a fortune. Enter Melford's wife Iris Baker, who is posing as a countess. Using the threat of exposure, Baker convinces Melford to turn honest. ~ Hal Erickson, Rovi

Generally considered one of director Ernst Lubitsch's lesser works, Angel stars Marlene Dietrich as Maria, the neglected wife of Sir Frederick Barker (Herbert Marshall), a British diplomat who travels often and seems little concerned with his spouse. Maria has nearly reached her breaking point when she travels to Paris to visit her old friend Anna Dmitrivena (Laura Hope Crews), a Grand Duchess who also operates an exclusive bordello. While in Paris, Maria meets Anthony Halton (Melvyn Douglas), a visitor from America who seems quite taken with her. While Maria enjoys Anthony's attentions, she backs off and retreats to England. Shortly after her return, Maria and Frederick attend the races and she spots Anthony in the crowd. Maria is tempted to continue her romance with Anthony (who now realizes that she's married), while Frederick begins to wonder if his wife might be growing restless. ~ Mark Deming, Rovi

Anything Goes is a fun-filled but hardly faithful adaptation of the same-named Cole Porter Broadway musical, with additional songs by Hoagy Carmichael, among many many others. Set on a luxury liner, the story gets under way when Moonface Mullins (Charlie Ruggles), Public Enemy No. 13, slips on board disguised as a bishop. As he weaves in and out of the story, Billy Crocker (Bing Crosby) romances Hope Harcourt (Ida Lupino), titled Englishman Evelyn Oakleigh (Arthur Treacher) also pursues Hope, and brassy entertainer Reno Sweeney (Ethel Merman) chases after Sir Evelyn. Critics in 1934 complained that the original Broadway production's Victor Moore was replaced by Charlie Ruggles, but none could fault Ethel Merman's rendition of "I Get a Kick Out of You", nor her duet with Bing Crosby, "You're the Top" (the only two songs retained from the Porter score!) Anything Goes was remade in 1956, again with Bing Crosby, and again with little fidelity to the original (this remake required MCA Television to retitle the 1936 version as Tops is the Limit). ~ Hal Erickson, Rovi

Eminent British stage star George Arliss is a most elegant tramp in The Guv'nor. Though shabby and indigent, Arliss seems to have a lot more financial savvy than most of London's established financiers. Through a fluke, Arliss is mistaken as a member of the Rothschild family (the actor did, after all, star in 1934's House of Rothschild) and is made a bank director. Not only does he save the Empire from ruin, but he also takes time out to play Cupid for the requisite young lovers. In other words, The Guv'nor is a standard George Arliss vehicle, despite his rags and tatters. The film was released in the US under the title Mister Hobo, which sounds more like a Mattel action figure. ~ Hal Erickson, Rovi

Samuel Goldwyn's The Dark Angel is a sumptuously produced soap opera with a poignant "Enoch Arden" style denouement. Fredric March, Merle Oberon and Herbert Marshall star respectively as Alan Trent, Kitty Vane and Gerald Shannon, friends since childhood. Though Gerald is deeply in love with Kitty, it is Alan who wins her hand in marriage. But before the wedding can take place, WW I intervenes, and both Alan and Gerald march off with their regiments. Blinded on the battlefield, Alan gallantly pretends to have been killed so that Kitty will not feel obligated to care for him. Eventually, however, she discovers that he's still alive, which leads to the film's most memorable scene, in which the proud Alan painstakingly arranges all the furniture and bric-and-brac in his room to make it seem as though he can still see. Though the film is set in the late teens and early '20s, Merle Oberon is garbed throughout in the latest 1935 fashions -- an endearingly anachronistic Sam Goldwyn trademark. Oscar nominations went to star Oberon and art director Richard Day, with the latter taking home the gold statuette. Adapted by Lillian Hellman and Mordaunt Sharp from a stage play by Guy Bolton (written pseudonymously as H. B. Treveleyen), The Dark Angel was previously filmed by Goldwyn in 1925. ~ Hal Erickson, Rovi

In this comedy-mystery, a private detective helps three businessmen get even with the man who misused their investments. The detective plans to kidnap the man's wife so he can get her signature and reclaim the money. The detective didn't plan on falling in love with the wife, but he does, and mayhem ensues. ~ Sandra Brennan, Rovi

In this romantic comedy, a Parisian businessman heads for South American for a busman's holiday. There he hopes to have some fun and negotiate a deal concerning the mining of valuable nitrate deposits. Naturally, he carries the necessary contract with him. Knowing this, two con-artists conspire to steal it from him. The unwitting businessman is also pursued by a man-hungry spinster and a love-struck, nosy switchboard operator who taps his phone and ultimately saves his bacon. ~ Sandra Brennan, Rovi