Ray Collins Movies

This airy bit of MGM fluff stars Lana Turner as small-town soda clerk Peggy Evans. After telling off the self-important new drugstore manager Bob Stuart (Robert Young), Peggy, convinced that there's no future for her in her hometown, fakes her suicide and heads for the big city. After a series of dizzying comic complications, she successfully poses as the long-lost daughter of millionaire Cornelius Burden (Walter Brennan). Meanwhile, poor Bob, held responsible for Peggy's "death," comes to town determined to clear his name by exposing Peggy as an impostor. How this all works itself out is as hard to swallow as the rest of the picture, but the stars are attractive and the production values first-rate. ~ Hal Erickson, All Movie Guide

Author William Saroyan's corn-shucking brand of sentimentality works wonders in this 1943 filmization of his novel. Narrator Ray Collins is dead before the film begins; thus he is able to provide an all-seeing overview of the tiny community of Ithaca, California. The principal character, played by Mickey Rooney, is Collins' son; as the delivery boy for the local telegraph office, Rooney keeps in close contact with virtually every family in town, which results in several comic and poignant moments. Rooney's older brother Van Johnson is in uniform, off fighting World War II; his sister Marcia Hunt is the erstwhile sweetheart of telegraph-office supervisor James Craig. The "circle of life" concept that unifies the anecdotal plotline is best illustrated by the film's final image: after Johnson dies in battle, his best friend, parentless John Craven, is more or less adopted by Collins' family. Reportedly, The Human Comedy was MGM chief executive Louis B. Mayer's favorite film, an apotheosis of Mayer's devotion to "family values." Among the many small-part players populating Human Comedy are Barry Nelson, Robert Mitchum, Don DeFore, Jay Ward (later the producer of Rocky and His Friends) and Carl "Alfalfa" Switzer. ~ Hal Erickson, All Movie Guide

The last of three films starring Red Skelton as ace radio detective Wally "The Fox" Benton, Whistling in Brooklyn opens with Fox and girl friend Carol Lambert (Ann Rutherford) making final preparations for a trip to Niagara Falls, where they intend to get married. Of course, they've made these plans before, and true to form, something comes up to derail the trip to the altar. The something this time is Constant Reader, a murderer who delights in taunting the police by letting newspapers know about his latest victims and where their bodies can be found. Through an error on his valet's part, the police come to believe that Wally is Constant Reader, forcing him to delay his plans, go undercover and search out the killer himself. After being chased through various warehouses and creaky old houses, Wally eventually ends up disguised as a member of a bearded baseball team playing the Brooklyn Dodgers. (Leo Durocher makes his screen debut, playing himself.) All gets straightened out in the end, and even the real Constant Reader is apprehended. ~ Craig Butler, All Movie Guide

Orson Welles' followup to Citizen Kane (1941) was utterly different from Kane in style and texture, but just as brilliant in its own way. Writer/director Welles does not appear on camera, but his voiceover narration superbly sets the stage for the movie's action, which fades in valentine fashion on Amberson Mansion, the most ostentatious dwelling in all of turn-of-century Indianapolis. Its mistress is the haughtily beautiful Isabel Amberson (Dolores Costello). When Isabel's beau, erstwhile inventor Eugene Morgan (Joseph Cotten), inadvertently humiliates her in public, she breaks off the relationship and marries colorless Wilbur Minafer (Donald Dillaway). The neighbors are certain that, since Isabel can't possibly love Wilbur, she will spoil her children rotten. As it turns out, she has one child, George Minafer (Tim Holt), and that one is enough as far as the rest of Indianapolis is concerned. There are those who live for the day that the arrogant, insufferable George will get his comeuppance. When George returns home from college, his mother and grandfather (Richard Bennett) hold a gala reception in his honor. Among the guests is the older-and-wiser Eugene, now a prosperous automobile manufacturer, and his pretty daughter Lucy (Anne Baxter). George takes to Lucy immediately, but can't warm up to Eugene, especially after learning from his uncle Jack Amberson (Ray Collins) and his maiden aunt Fanny (Agnes Moorehead) that Eugene and Isabel had once been sweethearts. After the death of Wilbur Minafer, the widowed Eugene feels emboldened enough to propose to Isabel again. This time she is willing, but the obstreperous George refuses to allow his mother to see Eugene. His imperious bullheadedness will lead to tragedy for all concerned--and, at long last, a chastened George Minafer will indeed receive his comeuppance. The film's real villain is not George but that old intangible bugaboo called "Progress." As the automobile age comes to fruition, the elegant, cloistered lifestyle of the Ambersons fades from view, finally disappearing altogether. This is superbly foreshadowed in the "winter outing" sequence (filmed in an L.A. icehouse) in which George's two-horse sleigh is abandoned in favor of Eugene's clunky horseless carriage. Welles evokes performances that his actors seldom (if ever) matched in later years; even the very limited Tim Holt is wholly believable-and even a bit pitiable-as the blinkered George Amberson Minafer. The current version, however, is but a pale shadow of Welles' original concept. Out of time and overbudget, the movie previewed badly and was eventually sliced down to an abrupt 88 minutes (by, among others, editor Robert Wise, who would go on to direct such films as West Side Story and The Sound of Music). Even though the film therefore must be regarded as a marred masterpiece, the remaining two-thirds of Welles' original concept is still a thrilling cinematic experience, especially whenever Agnes Moorehead is on the screen. ~ Hal Erickson, All Movie Guide

Lucille Ball delivers the finest dramatic performance of her career in this satisfying adaptation of Damon Runyon's The Big Street. Ball is cast as Gloria, aka "Your Highness," the vain and thoroughly selfish star attraction of gangster Case Ables' (Barton MacLaine) New York nightclub. Henry Fonda costars as busboy Little Pinks, who worships Gloria from afar. When Gloria is crippled by a fall downstairs-caused by a blow across the face by the sadistic Ables-Little Pinks selflessly waits upon the invalided and doggedly ungrateful songstress hand and foot. So devoted to Gloria is Pinks that he's willing to pilot her wheelchair from Manhattan to Florida so that she can renew her romance with callow playboy Decatur Reed (William Orr). Touched by Pinks' loyalty, his Runyonesque friends-Professor B (Ray Collins), Horsethief (Sam Levene), Mr. and Mrs. Nicely-Nicely Johnson (Eugene Pallette, Agnes Moorehead) and all the rest-raise enough money to open a Florida nightclub so that Gloria can put up a brave front. The ending is at once the most lachrymose and most effectively moving scene in the film, one that can only be spoiled if detailed here. Produced by Damon Runyon himself, The Big Street is one of the few completely successful filmed Runyon adaptations-as well as Lucille Ball's finest hour (and a half) on-screen. ~ Hal Erickson, All Movie Guide

Orson Welles first feature film -- which he directed, produced, and co-wrote, as well as playing the title role -- proved to be his most important and influential work, a ground-breaking drama loosely based on the life of William Randolph Hearst which is frequently cited as the finest American film ever made. Aging newspaper magnate Charles Foster Kane (Orson Welles) dies in his sprawling Florida estate after uttering a single, enigmatic final word -- "Rosebud" -- and newsreel producer Rawlston (Phil Van Zandt) sends reporter Jerry Thompson (William Alland) out with the assignment of uncovering the meaning behind the great man's dying thought. As Thompson interviews Kane's friends, family, and associates, we learn the facts of Kane's eventful and ultimately tragic life: his abandonment by his parents (Agnes Moorehead and Harry Shannon) after he becomes the heir to a silver mine; his angry conflicts with his guardian, master financier Walter Parks Thatcher (George Coulouris); his impulsive decision that "it would be fun to run a newspaper" with the help of school chum Jedediah Leland (Joseph Cotten) and loyal assistant Mr. Bernstein (Everett Sloane); his rise from scandal sheet publisher to the owner of America's largest and most influential newspaper chain; his marriage to socially prominent Emily Norton (Ruth Warrick), whose uncle is the President of the United States; Kane's ambitious bid for public office, which is dashed along with his marriage when his opponent, corrupt political boss Jim Gettys (Ray Collins), reveals that Kane is having an affair with aspiring vocalist Susan Alexander (Dorothy Comingore); Kane's vain attempts to promote second wife Alexander as an opera star; and his final, self-imposed exile to a massive and never-completed pleasure palace called Xanadu. While Citizen Kane was a film full of distinguished debuts -- along with Welles, it was the first feature for Joseph Cotten, Everett Sloane, Ray Collins, Agnes Moorehead, and Ruth Warrick -- the only Academy Award it received was for Best Original Screenplay, for which Welles shared credit with veteran screenwriter Herman Mankiewicz. ~ Mark Deming, All Movie Guide