Lynton Brent Movies

In this melodrama that was considered utterly scandalous in its day, an impoverished, beautiful young ghetto girl quickly learns that she can get to Easy Street on her back. Her indecent journey begins when a scout discovers her working in a department store. He gets her signed up to a modeling agency where she soon becomes the mistress of the owner. He gives her plenty of money and a nice place to live. She tries to share the money with her family, but they strongly disapprove of the means by which she is "earning" it. The young model later falls in love with an Argentine tycoon who proposes, but is unable to marry her because he must hastily return to Buenos Aires to attend to personal matters. He asks that she wait for him. She wants to, but finds herself seduced by the lure of her other lover's money and so moves in with him. When the tycoon finally returns and finds out, he is utterly devastated and tragedy ensues for the girl. There are two prints of the film around: one features a happy ending, while in the other, the tragedy continues. ~ Sandra Brennan, All Movie Guide

This thriller involves a shipboard murder, castaways on a desert island, another murder, a wild man, and the hapless hero who must deal with it all. ~ Sandra Brennan, All Movie Guide

Thirteen years after a dinner party where the wealthy host dropped, the thirteen guests are invited to reassemble at the dinner table. First to arrive is Ginger Rogers--who is promptly killed. It turns out that the dead woman was an impostor, hired to impersonate a real guest (Ginger Rogers again). Playboy detective Lyle Talbot is called in to investigate. It seems that the man who died 13 years ago was just about to announce the heir to his fortune, thus all the guests fall under suspicion. The culprit's true identity is hidden by a hood; the culprit's method of murder is a complex electrocution device. In an excitingly staged finale, Ginger is kidnapped by the hooded killer, but is rescued by Lyle Talbot. Made on a shoestring by Monogram Pictures, Thirteenth Guest is a marvelous "old house" mystery, with Ginger Rogers giving her all as the damsel in distress. ~ Hal Erickson, All Movie Guide

"How would you like to star opposite the tallest, darkest leading man in Hollywood?" Enticed by these words, brunette leading lady Fay Wray dyed her hair blonde and accepted the role of Ann Darrow in King Kong -- and stayed with the project even after learning that her "leading man" was a 50-foot ape. The film introduces us to flamboyant, foolhardy documentary filmmaker Carl Denham (Robert Armstrong), who sails off to parts unknown to film his latest epic with leading lady Darrow in tow. Disembarking at Skull Island, they stumble on a ceremony in which the native dancers circle around a terrified-looking young girl, chanting, "Kong! Kong!" The chief (Noble Johnson) and witch doctor (Steve Clemente) spot Denham and company and order them to leave. But upon seeing Ann, the chief offers to buy the "golden woman" to serve as the "bride of Kong." Denham refuses, and he and the others beat a hasty retreat to their ship. Late that night, a party of native warriors sneak on board the ship and kidnap Ann. They strap her to a huge sacrificial altar just outside the gate, then summon Kong, who winds up saving Ann instead of devouring her. Kong is eventually taken back to New York, where he breaks loose on the night of his Broadway premiere, thinking that his beloved Ann is being hurt by the reporters' flash bulbs. Now at large in New York, Kong searches high and low for Ann (in another long-censored scene, he plucks a woman from her high-rise apartment, then drops her to her death when he realizes she isn't the girl he's looking for). After proving his devotion by wrecking an elevated train, Kong winds up at the top of the Empire State Building, facing off against a fleet of World War I fighter planes. ~ Hal Erickson, All Movie Guide

In this drama, a teenage girl threatened by a man who wants to steal her virtue, kills him. She is taken to court and her lawyer ends up laying the blame upon the girl's narrow minded mother who did not provide proper sex-education for the girl. The distraught teen winds up jumping out of a window. She never knows that the jury found her not-guilty. ~ Sandra Brennan, All Movie Guide

Unable to secure Hollywood-studio backing for his Depression-era agrarian drama Our Daily Bread, director King Vidor financed the picture himself, with the eleventh-hour assistance of Charles Chaplin. Intended as a sequel to Vidor's silent classic The Crowd (1928) the film casts Tom Keene and Karen Morley as John and Mary, the roles originated in the earlier film by James Murray and Eleanor Boardman. Unable to make ends meet in the Big City, John and Mary assume control of an abandoned farm, even though they know nothing about tilling the soil. Generous to a fault, the couple opens their property to other disenfranchised Depression victims, and before long they've formed a utopian communal cooperative, with everyone pitching together for the common good. Beyond such traditional obstacles as inadequate funding, failed crops and drought, John is deflected from his purpose by sluttish blonde vamp Sally (Barbara Pepper), but he pulls himself together in time to supervise construction of a huge irrigation ditch -- a project which consumes the film's final two reels, and which turns out to be one of the finest and most thrilling sequences that Vidor (or anyone) ever put on film. The acting by Tom Keene and Barbara Pepper is atrocious, but John Qualen saves the show as a dedicated Swedish farmer, especially when he loudly rejects the notion that communal farming is a "Red" idea (this didn't stop the anti-New Deal press from labelling the film as "Pinko" back in 1934 -- and never mind that the communist press considered the film "capitalist propaganda"!) The optimistic finale, distinguished by its Eisentein-like "rhythmic" editing, fortunately lingers in the memory far longer than the film's dramatic and structural defects. Our Daily Bread is also enhanced by Alfred Newman's stirring musical score, later borrowed by Darryl F. Zanuck for his production of Les Miserables (1935). ~ Hal Erickson, All Movie Guide

In the first of two proposed serials for Mascot Pictures, Western hero Ken Maynard goes up against a murderous fiend known as "the Rattler." Wearing a strange disguise consisting of eye glasses, a fake nose, and crepe-hair mustache, the Rattler, aka "the Menace of the Mountain," attempts to control the mountain -- and its hidden gold -- from a secret cave filled with strange electronic gadgets. Maynard is Ken Williams, a young cowboy coming to the aid of Jane Corwin (Verna Hillie), whose railroad worker father (Lafe McKee) was the Rattler's first victim. Just as in a previous Mascot serial, The Hurricane Express (1932), the masked villain of Mystery Mountain uses a seemingly endless supply of rubber masks that enables him to perform his skullduggery disguised as almost every member of the cast. He is finally brought to ground in chapter 12, "The Judgment of Tarzan" ("Tarzan" being Maynard's faithful steed), and is revealed to be supposedly solid citizen Edward Earle. The denouement, of course, was a typical Mascot "cheat," the masked villain having up to that point been played by Edmund Cobb. Maynard, whom Mascot producer Nat Levine had gotten on the cheap at 10,000 dollars a week, proved almost not worth the trouble he created. The difficult star demanded that the serial be filmed at his old stomping grounds, Universal City, and kept changing the script and direction to suit himself. Although Mystery Mountain proved the most successful Mascot serial up to that time, Levine had had enough of the obstinate Maynard and replaced him with newcomer Gene Autry in The Phantom Empire (1935). ~ Hans J. Wollstein, All Movie Guide

Alice Faye, Frances Langford, and Patsy Kelly play three humble factory workers (with a Hollywoodized wardrobe beyond the budget of any genuine factory girl) who occasionally sing together for the fun of it. They harbor dreams of becoming famous, but the prospect isn't likely until bandleader George Raft hears the girls harmonizing. He promotes the girls into top radio stars, while each of the girls entertains romantic thoughts about Raft. (And yes, he does win one of them romantically, at the end of the picture). The likable but unimportant Every Night at Eight sparked a minor controversy in the rarefied world of 1960s film criticism. "Auteur" theorist Andrew Sarris pointed out a brief scene in which star George Raft awakens from a nightmare, cited other such scenes in the work of director Raoul Walsh, and used this "evidence" to support his theory that Walsh was a true auteur who left his "signature" on each of his films. Anti-auterist Pauline Kael spoke for many when she advised Sarris to go fly a kite. ~ Hal Erickson, All Movie Guide

"She" is secretary Claudette Colbert and "Her Boss" is Melvyn Douglas. Once married, Colbert discovers that Douglas expects her to work as usual. She must also contend with his wealthy, snooty family, whose most hateful member is his spoiled brat of a daughter (Edith Fellows) by a previous marriage. Rebelling against her repressive existence, Colbert eventually puts her in-laws in their place and arouses the ardor of the "strictly business" Douglas. While consistently amusing throughout, the highlight of She Married Her Boss is a first-reel bit of pantomimic whimsy involving Claudette Colbert and a roomful of department store mannequins. ~ Hal Erickson, All Movie Guide

Playwright Greg Stone (Reginald Denny) spends most of his spare time at the theater where his latest effort is in rehearsals. Stone's new play is a murder mystery, but the various backstage habitues are every bit as suspicious and sinister as the characters onstage. Sure enough, life imitates art when both of the producers are murdered in a manner strikingly similar to a pair of killings in Stone's play. Naturally, this places our hero under suspicion, forcing him to turn amateur sleuth to track down the real culprit. Evelyn Brent, who like Reginald Denny was a major star in silent pictures, is featured as the victims' feisty secretary, in love with Greg Stone but averse to admitting it. ~ Hal Erickson, All Movie Guide

A typical Gene Autry everything-but-the-kitchen-sink musical Western, The Old Corral featured the spectacle of Autry getting robbed at gunpoint by his future rival, Roy Rogers. Rogers, who was then known as Dick Weston, and his fellow highwaymen (the singing group the Sons of the Pioneers) go about their illegal activities like true gentlemen, of course, refusing to rob female passengers Nora Cecil and Hope Manning. The latter, playing Eleanor Spencer, is wanted by both the authorities and the Chicago mob after witnessing gangster Mike Scarlotti (John Bradford) murder rival Tony Pearl (Buddy Roosevelt). En route to Los Angeles by Greyhound bus, she hooks up with small town saloon owner Martin Simms (Cornelius Keefe) who offers her a job singing in his Turquoise City establishment. Both Simms and Turquoise City sheriff Gene Autry, however, recognize Eleanor as the key witness in the Pearl murder case and the former is quick to notify Scarlotti. Arriving to silence the girl for good, the Chicago mobsters are met by Sheriff Autry, Deputy Frog Millhouse (Smiley Burnette), and their erstwhile prisoners, the O'Keefe brothers (Rogers, Bob Nolan, and the Sons of the Pioneers, the brothers having taken a break from harmonizing in their cell). The outcome, of course, is a given and the entire gang is soon behind bars. Milburn Morante, a veteran silent screen comedian who was rarely very funny, is actually amusing this time around as a farmer with car troubles, and Lon Chaney Jr. is well cast as Simms' lumbering henchman. Leading lady Hope Manning later signed with Warner Bros., changed her name to Irene Manning, and starred as Fay Templeton opposite James Cagney's George M. Cohan in Yankee Doodle Dandy (1942). Aside from all the aforementioned pleasures, The Old Corral is probably the only chance to see silent screen cowboy star Buddy Roosevelt playing a tuxedo-clad mobster. ~ Hans J. Wollstein, All Movie Guide

On the threshold of international fame as mature cowboy hero Hopalong Cassidy, William Boyd made three low-budget action-melodramas for independent company Winchester Pictures, the last of which, Federal Agent, featured the prematurely graying star as Bob Woods, a G-Man looking into the death of a colleague. As Bob learns, Recard Kantos (Don Alvarado), a vicious foreign spy, and his wife, Vilma (Lenita Lane), intend to buy a newly invented explosive capable of destroying the entire world. Turning to one of Kantos' disgruntled associates, Helen Gray (Irene Ware), Bob gets the inside scoop on the spy ring but ends up its prisoner. Helen, who proves to be the daughter of the murdered agent, manages to pass a knife to Bob and there is a final confrontation between the G-Man and his dangerous prey. Federal Agent, which was filmed in 1935 and released the following year by Republic Pictures, proved William Boyd's final non-Hopalong Cassidy starring vehicle. ~ Hans J. Wollstein, All Movie Guide