Willis Goldbeck Movies

This fourth entry in MGM's "Dr. Kildare" series once again stars Lew Ayres as Kildare, Laraine Day as his sweetheart Mary Lamont, and Lionel Barrymore as crusty Dr. Gillespie. In this outing, surgeon Gregory Lane (Sheppard Strudwick) begins pitching woo at Mary himself, much to Kildare's dismay. But when Lane is accused of incompetence in the wake of an unsuccessful surgery, it is Kildare who proves that his rival is blameless. One of the film's subplots involves an emotionally disturbed patient who is cured via shock therapy-a dubious procedure that held more water in 1940 than it does today. The usual comedy relief is provided by the usual Nat Pendleton and Marie Blake. ~ Hal Erickson, All Movie Guide

In this third installment of MGM's "Dr. Kildare" series, Dr. James Kildare (Lew Ayres) comes to the rescue when his supervisor/mentor Dr. Gillespie (Lionel Barrymore) nearly collapses from overwork. Gillespie is seeking a permanent cure for pneumonia, and must ask Kildare for assistance when the task proves beyond his physical ability. The older doctor eventually does collapse, and the diagnosis is cancer. Gillespie recovers, while Kildare finds his hands full in juggling both the pneumonia cure and the case of a woman (Helen Gilbert) suffering from psychosomatic blindness. But what's the "secret" of Dr. Kildare? Well...that's a secret (until you see the film). ~ Hal Erickson, All Movie Guide

Wednesday's Child, the song goes, is "full of woe." This is indeed the case for Bobby (Frankie Thomas), who is bundled off to military school when his father (Edward Arnold) and mother (Karen Morley) divorce. That Bobby was forced to testify during the divorce action was traumatic enough; now he must face the grim reality that neither of his parents really want him around. Eventually, Bobby's dad relents and brings the boy home -- not the painfully realistic original ending of the Leopold Atlas play upon which this film was based. When RKO Radio refilmed Wednesday's Child as Child of Divorce in 1946 (with Sharyn Moffett playing a distaff version of the Frankie Thomas role), Atlas' doleful ending was left intact. ~ Hal Erickson, All Movie Guide

An eager cub reporter visits a roadhouse, stumbles across a corpse and decides to drum up a little notoriety for himself by pretending to make it look as if he were the killer. He then plans to write a series of articles chronicling his experiences with the courts. Well, it seemed like a good idea at the time. Unfortunately, he made the evidence look too real and he is sent to prison until the real crook is apprehended. ~ Sandra Brennan, All Movie Guide

The genesis of MGM's Freaks was a magazine piece by Ted Robbins titled Spurs. The story involved a terrible revenge enacted by a mean-spirited circus midget upon his normal-sized wife. In adapting Spurs for the screen, writers Willis Goldbeck, Leon Gordon, Edgar Allan Wolf, and Al Boasberg retained the circus setting and the little man-big woman wedding, all the while de-vilifying the midget and transforming the woman into the true "heavy" of the piece. German "little person" Harry Earles plays Hans, who falls in love with long-legged trapeze artist Cleopatra (Olga Baclanova). Discovering that Hans is heir to a fortune, Cleopatra inveigles him into a marriage, all the while planning to bump off her new husband and run away with brutish strongman Hercules (Henry Victor). What she doesn't reckon with is the code of honor among circus freaks: "offend one, offend them all." What set this film apart from director Tod Browning's earlier efforts was the fact that genuine circus and carnival sideshow performers were cast as the freaks: Harry Earles and his equally diminutive sister Daisy, Siamese twins Violet and Daisy Hilton, legless Johnny Eck, armless-legless Randian (who rolls cigarettes with his teeth), androgynous Josephine-Joseph, "pinheads" Schlitzie, Elvira, Jennie Lee Snow, and so on. Upon its initial release, Freaks was greeted with such revulsion from movie-house audiences that MGM spent the next 30 years distancing themselves as far from the project as possible. For many years available only in a truncated reissue version titled Nature's Mistakes, Freaks was eventually restored to its original release print. ~ Hal Erickson, All Movie Guide

In this silent film, the beautiful Lili Sterling (Greta Garbo) meets up with the enchanting Prince de Gace (Nils Asther) while on a trip with her husband, John (Lewis Stone), and the two find themselves impossibly drawn to one another. However, when John begins to suspect his wife of infidelity, his jealousy could have deadly results. ~ Iotis Erlewine, All Movie Guide

George Fitzmaurice directed this romantic World War I drama, which was First National Pictures' entry into the epic war/romance genre popular in the late 1920s (The Big Parade, Wings). Colleen Moore stars as the French gamin Jeannine Bertholot who is a good luck charm to a seven-man platoon of the British Air Force that uses the lilac fields of a small French village as their base. Jeannine is the niece of Madame Berthelot (Eugenie Besserer), who lodges and cares for the platoon. After a bumpy start, one of the flyers from the platoon, Philip Blythe (Gary Cooper) falls in love with her. Philip is reluctant to tell Jeannine that he loves her, but one morning before a dangerous mission, he declares his love. During the mission, Philip is shot down, and Jeannine frantically arranges for an ambulance crew to remove Philip's body from the wreckage. But during the rescue operations, Jeannine loses sight of Philip. To find him again, she begins an exhausting search of all the military hospitals, hoping to see Philip for one last time. ~ Paul Brenner, All Movie Guide

The Enemy was based on the rabidly anti-war play by Channing Pollock. Lillian Gish plays Pauli Amdt, the granddaughter of August Behrend (George Fawcett), a pacifistic Viennese schoolteacher. Pauli marries student Carl Behrend (Ralph Forbes), who almost immediately thereafter marches off to World War I. We say "almost," because Pauli has been rendered pregnant. When her grandfather loses his job due to political pressure, poor Pauli is forced into prostitution to provide food for her baby. Things get darker when Carl is reported missing in action. A happy ending did not diminish the dramatic clout of the earlier scenes, though when The Enemy was first released, many critics complained that Lillian Gish's performance paled in comparison to that of Fay Bainter, who starred in the original Broadway production. ~ Hal Erickson, All Movie Guide

As a whimsical adaption of James M. Barrie's stage version of the Cinderella story, this film was not immediately appreciated for the magic created by its cinematography. It has become a classic masterpiece, in the genre of similar films like Peter Pan. The story begins with a very young woman (Betty Bronson) and a ray of light that violates the blackout during a WW I air raid in London. A policeman (Tom Moore) investigates the light, and is beguiled by the young woman and her vivid imagination. In a splendid dream sequence that begins as the woman falls asleep in the snow, this little house maid undergoes a stunning transformation. First she leaves her scullery self behind as she waits for her Fairy Godmother, and then she becomes a glorious Cinderella. She joins the ball of her dreams, where she finds people from her regular life mixed in with the imaginary dancers at the ball. The London bobby's enchantment grows as the story reaches its charming end. ~ Eleanor Mannikka, All Movie Guide

According to the Paramount publicity mill, Joseph Hergesheimer wrote this unoriginal tale of California's early days especially for Pola Negri. Like all too many of Negri's Paramount vehicles, this drama was not worthy of her talents. Don Geraldo y Villalon (Joseph Dowling) hates Americans because he believes they robbed him of his mine. While he sequesters himself at his ranchero, his daughter Carlotta (Negri) yearns for excitement. When she insists on attending a ball that is being held at the mine, her father kills himself. Carlotta falls in love with John Basset (Youcca Troubetzkoy), the superintendent of the mine, but he has no use for her. So she goes to San Francisco where she becomes a dancehall girl and attracts the attention of vigilante leader Luke Rand (Warner Oland). He offers to get the mine back for her if she gives him what he wants. Carlotta agrees, but when she realizes that Rand's efforts will mean Basset's death, she helps defend the mine instead. Rand nevertheless comes to collect what he feels that Carlotta owes him, and Basset shoots him. After being exonerated of the villain's death, Basset is united with Carlotta. ~ Janiss Garza, All Movie Guide

Agnes Ayres, who'd once been topbilled over Rudolph Valentino, was beginning the slow downward slide when she starred in Bluff. Ayres plays a young woman who must raise a great deal of money in a hurry to afford medical treatment for her brother. Thus she poses as a world-reknowned fashion designer, and in this guise is able to accrue the necessary funds. Her plan backfires when she is arrested for crimes committed by the designer. Attorney Antonio Moreno saves the day. Bluff was directed by Sam Wood, whose more famous endeavors included A Night at the Opera, Goodbye Mr. Chips and The Pride of the Yankees. ~ Hal Erickson, All Movie Guide

When Paramount bought the rights to the delightful James M. Barrie story, every actress in Hollywood wanted the role of Peter Pan, made famous on the stage by Maude Adams. Mary Pickford, Lillian Gish, and even Gloria Swanson thought they were perfect for the role, but Barrie's own choice was Betty Bronson, a virtual unknown. The story is familiar to nearly everyone. When Mr. and Mrs. Darling (Cyril Chadwick and Esther Ralston) go to a party, they leave their children -- Wendy (Mary Brian), Michael (Philippe de Lacey), and John (Jack Murphy) -- in the care of their dog, Nana. But Peter (Bronson) shows up with the fairy, Tinker Bell (Virginia Brown Faire), and they take the children to Never Never Land. They have a series of adventures with the Lost Boys and defeat Captain Hook (Ernest Torrence) and his band of pirates. Finally, the children return home to Mrs. Darling, who is overjoyed to have them back. She adopts the Lost Boys and offers to take Peter in too, but he refuses to grow up and flies away after promising to visit Wendy every year. An interesting side note -- although she had no involvement in casting Brian as Wendy, Ralston had discovered her a couple of years earlier while judging a beauty contest. ~ Janiss Garza, All Movie Guide

This silent era classic was based on the swashbuckling adventure novel by Rafael Sabatini, the author whose works later inspired such renowned genre favorites as Captain Blood (1935) and The Sea Hawk (1940). Andre Moreau (Roman Novarro) is a law student during the time of the brewing French Revolution who politically supports his dissatisfied fellow citizens. During a confrontation with the Marquis de la Tour d'Azyr (Lewis Stone), a feared nobleman sympathetic to the royalist cause, the blue blood murders Andre's agitator friend. Unable to engage in swordplay against the legendary prowess of the Marquis, Andre vows revenge and joins a local circus troupe, hiding behind the guise of Scaramouche, a clown, while training in the art of fencing with a master. Andre also falls in love with a woman smitten by the dashing Marquis, but she returns to the troupe when she learns of the nobleman's infidelity. As political unrest boils over into rebellion, Moreau and the Marquis cross steel. Scaramouche (1923) was remade often, most notably in 1952, which features the cinema's longest sword battle and costarred Stone in a different role. ~ Karl Williams, All Movie Guide