John Cromwell Movies

Robert Altman's over-frenetic satire on American marriage rituals and hypocrisy concerns the upper-crust marriage between Dino Corelli (Desi Arnaz Jr.) and Muffin Brenner (Amy Stryker). As the film begins, a senile bishop forgets the lines to the wedding ceremony and Nettie Sloan (the groom's grandmother) drops dead in an upstairs bedroom. Nettie's death is not disclosed to the two families who converge at the wedding reception. As the two sets of in-laws slam into each other, the bride and groom disappear in the ensuing whirlwind of chaos as both extended families vie for sexual favors and try to keep hidden never-discussed family secrets. Regina Corelli (Nina Van Pallandt) is revealed to be a drug addict, while Luigi, is endeavoring unsuccessfully to keep his Mafia connections under wraps. Meanwhile, the bride's family, although more down to earth, are revealed to be no better. Tulip Brenner (Carol Burnett) begins to flirt with one of the wedding guests, Mackenzie Goddard (Pat McCormick), while Snooks Brenner (Paul Dooley) acts like a lout and drinks heavily. And flying around the edges of the action like Tinkerbell is Buffy Brenner, the Brenners' youngest daughter, who is pregnant by the groom. As other characters bang into each other -- sexual degenerates, hard-nosed radicals, raw-boned emotional wrecks -- the wedding reception heads for its inevitable nuclear explosion. ~ Paul Brenner, Rovi

A Matter of Morals is the usual boiling pot of intrigue and double-dealings that reveals how once an imaginary line is crossed, morality can slide inexorably downhill. Alan Kennebeck (Patrick O'Neal) sets off in relative innocence to supervise his bank's million-dollar loan to a Swedish manufacturer. Since the boss is gone at the moment, Alan deals with the sleazy manager Erik Waldeman (Mogens Wieth), who happens to be embezzling money from the company. Unfortunately, Alan falls in love with Erik's sister-in-law Anita Anderson (Maj-Britt Nilsson), and with the help of Erik, his slide into moral degeneracy begins. Alan will do anything, anything at all to win Anita's love. ~ Eleanor Mannikka, Rovi

Screenplay writer Paddy Chayefsky, and indeed everyone involved with the film, insisted that The Goddess wasn't really all about Marilyn Monroe. Nawww. Kim Stanley plays a neglected young woman living in poverty who aspires to be a movie star. She gets a few roles here and there on looks alone. She marries a washed-up athlete (Lloyd Bridges) who becomes fiercely jealous of her sex appeal. She sleeps her way to the top, then finds that her success is hollow. Regarded in many circles as the pinnacle of dramatic art in 1958, The Goddess is more likely to invoke howls of laughter from today's in-the-know audiences. The most famous bit: Patty Duke, playing Kim Stanley as a child, telling her pet cat that she got promoted in school. ~ Hal Erickson, Rovi

The Racket was based on a play by Bartlett Cormack, first filmed as a silent in 1928. The storyline was updated to include references to Estes Kefauver's Senate Crime Investigating Committee: otherwise, the plot (and much of the dialogue) was lifted bodily from the Cormack play. Racketeer Robert Ryan has managed to get several government and law-enforcement higher-ups in his pocket. But Ryan can't touch the incorruptible police officer Robert Mitchum, who refuses all attempts at bribery. Ryan pulls strings to get Mitchum transferred to a series of undesirable precincts, but Mitchum will not be dissuaded. The battle of wills between cop and criminal comes to a head when mob-connected nightclub singer Lizabeth Scott turns on her former protector Ryan. The Broadway version of The Racket starred Edward G. Robinson as the racketeer; the 1928 film version featured Louis Wolheim in the Robinson role and Thomas Meighan as the upright cop. Both the silent and sound versions of the property were personally produced by Howard R. Hughes. ~ Hal Erickson, Rovi

Caged, considered the best woman's prison film ever made, represents a union between realistic socially conscious drama and the more stylized world of film noir. Marie, (Eleanor Parker), is sentenced to prison for helping her husband in a small robbery. The prison is run by the sadistic matron Evelyn (Hope Emerson) who is secure in her position due to corrupt political influence. The film shows Marie's slow disillusionment with society and her eventual decision to become a prostitute in order to gain parole after observing her friend and fellow inmate Kitty (Betty Garde) lose her sanity and murder their oppressor Evelyn. With this uncompromisingly pessimistic statement on human nature, John Cromwell reaches his peak as a director. Under his expert direction, Eleanor Parker gives the best performance of her career and creates a convincing metamorphosis from a innocent young girl to a hardened criminal. Her performance is nuanced, low-keyed and emotionally charged. Equally impressive is Cromwell's visual realization of the claustrophobia of prison life, aided by the high-contrast photography of Carl Guthrie. This excellent, grim drama is uncompromising in its refusal to sentimentalize the plight of Marie as a victim or to absolve her of her role in her fate, nor does it absolve society as it shows the results of desperation and brutalization on human dignity. ~ Linda Rasmussen, Rovi

In this melodrama, a brilliant pianist is struck blind in an accident and stops working on his equally brilliant concerto. A wealthy woman pretends to be poor and blind to help him regain his confidence, and holds a contest with a large prize for the best musical composition. She, as the blind girl, encourages him to finish his work and enter it. He wins the prize, uses the money to have his sight restored, falls in love with the wealthy woman, and is thrilled to find that his two loves are one and the same. ~ Steve Huey, Rovi

This romantic fantasy was based on a popular play by Arthur Pinero. Oliver Bradford (Robert Young) is a young man who returned from World War II with severe facial scars; while he was engaged to be married before he left, he believes that no one could love him now, and he lives on the brink of suicide. Oliver meets Laura Pennington (Dorothy McGuire), a plain young woman who is convinced that her looks will never win her a man. These two lonely people marry, more out of desperation than love, and move into a small cottage which is all that remains of the large estate of Abigail Minnett (Mildred Natwick), who lost the rest of her property in a fire. The cottage has been the site of many happy honeymooners over the years, and inside its walls, Oliver and Laura discover that a magical transformation takes place; he regains the handsome features he once possessed, and she becomes beautiful. The couple find love and happiness with each other, but find that the cottage's magical spell only works as long as they remain at home with each other; the outside world does not recognize the beauty that they have found with each other. The Enchanted Cottage was previously adapted for the silent screen in 1924, with Richard Barthelmess and May McAvoy as the newlyweds. ~ Mark Deming, Rovi

David O. Selznick's first production since 1940's Rebecca, Since You Went Away, based on Margaret Buell Wilder's bestselling novel, is a long but rewarding paean to the World War 2 "home front". Claudette Colbert plays the wife of a businessman who, though well past draft age, volunteered to serve his country as an officer (though the husband is never seen, he is "played"-via a photograph-by Neil Hamilton). Fighting back her own fears and anxieties, Colbert does her best to maintain a normal, stable household for the sake of her growing daughters Jennifer Jones and Shirley Temple. She is offered moral support by cynical-but-kindly boarder Monty Woolley, by maid Hattie McDaniel (who willing foregoes her salary "for the duration") and by Navy man and friend-of-the-family Joseph Cotten, whose relationship with Claudette remains staunchly platonic. The harsh realities of war hit home several times throughout the film, first when it seems as though Colbert's husband is missing in action, and later when Jennifer's young boyfriend, GI Robert Walker, is killed in combat. From the vantage point of the 1990s, it is easy to see why Since You Went Away scored with its wartime audiences. Though the leading characters are slightly more financially secure than most of the moviegoers of 1944, the various vignettes presented throughout-complaints about rationing and priorities, shoulder-to-shoulder sacrifices, the weekly escape to the local movie house, tender partings, joyous reunions, the returning wounded, the dreaded wire from the war department-all had the ring of truth and topicality. Even today, the film's emotional highlights, particularly the much-imitated farewell scene at the railroad station, are sufficient to bring tears to the eyes of the most jaded viewer. Enhancing the film's heartstring tugging tenfold is Max Steiner's Oscar-winning musical score. If you can remain objective while watching Since You Went Away (it isn't easy), see if you can spot Ruth Roman, Guy Madison and John Derek, making their screen debuts in microscopic roles ~ Hal Erickson, Rovi

The Nazis are clearly the villains in So Ends Our Night, but since the film was made before America's entry into World War II, Adolph Hitler goes unmentioned (we wouldn't want to lose those foreign markets, would we?) Based on Erich Maria Remarque's novel Flotsam, the film zeroes in on three German refugees. Frederic March despises the Nazis on ideological grounds; Margaret Sullavan, a Jew, is fleeing for her life; and Glenn Ford, born of a Jewish mother and Aryan father, is racked with confusion and torn loyalties. The three separate as they move from country to country in Europe, just a step or so ahead of the advancing Nazis. As Sullavan and Ford fall in love, March puts his life on the line by trying to arrange a reunion with his ailing wife Frances Dee, who has remained in Germany. Had So Ends Our Night been released a few months after the US entry into the war, it might have done better at the box office. ~ Hal Erickson, Rovi

Raymond Massey plays Abe Lincoln in this moving adaptation of Robert Sherwood's Pulitzer Prize-winning play. Expanded a bit for cinematic purposes, the film traces Lincoln's progress from his days of scrambling for a living as a woodsman, to his courtship of the tragic Ann Rutledge (Mary Howard) and then the mercurial Mary Todd (Ruth Gordon), to the formative years of his law practice, to his debates with Stephen Douglas (Gene Lockhart), and finally to his election as President of the soon-to-be-divided United States in 1860. Latter-day critics have complained about Massey's stolidity in his signature role, but even the most stone-hearted viewer will be moved by such scenes as Lincoln riding through the ruins of what once was the village of Salem; Abe's heated election-eve quarrel with his spiteful wife Mary; and his climactic speech from the observation car of the train that will carry him to Washington...and immortality. Abe Lincoln at Illinois turned out to be a succes d'estime for its producer Max Gordon and its studio (RKO), taking a bath to the tune of $750,000. Its failure moved one Hollywood wise-guy to collar Gordon at a party and say, "I can't understand it, Max. Lincoln was so kind to everybody but you." ~ Hal Erickson, Rovi

James Stewart and Carole Lombard star in this comedy-drama about the struggles of a young married couple directed by John Cromwell. Stewart and Lombard play a recently married couple, Jane and John Mason. John works as an attorney for the law firm of skinflint Judge Doolittle (Charles Coburn). Doolittle calls John back to work immediately after the wedding ceremony, forcing the couple to abandon their honeymoon. But John is ready to do Doolittle's bidding, since he hopes to become a partner in the firm. Doolittle is openly disappointed at the marriage, hoping John would have instead married his daughter Eunice (Ruth Weston). Eunice eventually marries another lawyer in the firm, Carter (Donald Briggs). John and Jane try to make ends meet and invite Doolittle, Eunice, and Carter to dinner. The dinner turns into a disaster, climaxing with Doolittle informing John he has decided to make Carter a partner in the firm. Crushed, John and Jane work hard but to no avail, sinking deeper and deeper into debt. Jane has a baby, but when the child becomes seriously ill, the only way to save the baby is to have a special serum flown in through a blizzard from Salt Lake City. John needs $5000 to hire a pilot and get the medicine, and his only hope is to beg Judge Doolittle for the money. ~ Paul Brenner, Rovi

Ronald Colman stars in David O. Selznick's classic production of Anthony Hope's swashbuckling adventure. The film takes place in a mythical Central European kingdom with Colman in a dual role as King Rudolf V and Rudolph Rassendyl, a visitor from England who's a distant cousin to the prince. Arriving in the city of Strelsau, the inhabitants are startled by Rudolph's resemblance to the prince. Spotted by two of the prince's aides, Captain Fritz von Tarlenheim (David Niven) and Colonel Zapt (C. Aubrey Smith), the Englishman is taken to meet the prince at his hunting lodge. The two lookalikes have dinner together as the prince tells Rudolph of the preparations for his upcoming coronation as king. The next morning, Zapt wakes Rudolph and informs him the prince had been drugged the night before and is now in a coma. Because of their similar appearance, Zapt prevails upon Rudolph to impersonate the prince at the coronation, otherwise the prince's evil brother Black Michael (Raymond Massey) will be crowned in his place. With the assistant of Zapt and von Tarlenheim, Rudolph bluffs his way through the coronation, successfully fooling Michael, who is shocked to see his brother alive. Crowned king, Rudolph then meets Princess Flavia (Madeleine Carroll), the prince's fiancee. As they proceed to the reception, Princess Flavia is amazed how kindly the prince is now treating her. Rudolph is falling in love with her, but Michael suspects something foul and dispatches Rupert of Hentzau (Douglas Fairbanks Jr.) to investigate the matter further, preparing to gain control of the throne at any cost. ~ Paul Brenner, Rovi

This lively riverboat musical shows off the vocal and terpsichorean talents of former Ziegfeld Follies star Barbara Stanwyck as it tells the tale of two newlyweds who must postpone their honeymoon when the groom gets in a fight with a villain, decks him and, believing he has killed him, flees upon a riverboat, leaving his bride to take up with a womanizing photographer. She and the cameraman head for New Orleans and this is where most of the action, music and romantic mayhem takes place. ~ Sandra Brennan, Rovi