David Gould Movies

Joel Coen and Ethan Coen concocted this stylish screwball comedic amalgam of Frank Capra and Howard Hawks. Tim Robbins stars as Norville Barnes, a dull-wit from Muncie, Indiana who wrangles a job with the big Hudsucker Industries. He has a singular idea for a new children's toy that he wants to present to corporate executive Sidney J. Mussberger (Paul Newman). As he makes his way up to Mussberger's office, the company president Waring Hudsucker (Charles Durning) is on his way down -- through the window of the forty-fourth floor boardroom! Hudsucker's death sets off a panic that Mussberger sees as an opportunity for taking over the company -- by installing a total incompetent in Hudsucker's place and devaluing the stock. When Barnes stumbles into Mussberger's office, Mussberger sees his pigeon and appoints Barnes as the new company president. The only problem is that the new product Barnes proposes for the company, the Hula Hoop, turns out to be a tremendous success, and Mussberger has difficulty manipulating his new corporate president. ~ Paul Brenner, All Movie Guide

This Egyptian melodrama stars Farid Chawky, who also produced the film. Chawky plays a charming but deadly drug smuggler, living by his wits -- and the good graces of his many girlfriends. When one of his amours, Hoda Soultan, becomes pregnant, Chawky first tries to ditch her, then to murder her. On the verge of getting away with his crimes, the "hero" outsmarts himself. The film's narcotics angle caused Hamido to run into censor interference in the U.S. Surprisingly, the bellydance gyrations of Tahia Carioca were left intact for the enlightenment and edification of American audiences. ~ Hal Erickson, All Movie Guide

In this effervescent musical comedy, a stuffy college professor secretly works as a burlesque comedian during the summer. He, a professor of Shakespeare, manages to keep his secret, until a stripper shows up and threatens to blow his cover unless he gives her a starring role in his latest production of The Taming of the Shrew. He does, but the rest of the cast is so appalled they walk-off. In desperation, the professor begins hiring the stripper's colleagues and this creates all sorts of tuneful fun. Songs include: "Who Took Me Home Last Night?" "Mess Me Up," "Casanova Joe", "Five-A-Day Fatima," "Willie the Shake," and "Taming of the Shrew." ~ Sandra Brennan, All Movie Guide

A druggist's pretty assistance ignores the call of the bright lights and audience that runs in the veins of her show biz family. Eventually though, the family succeeds in getting the talented lass to perform the music of a struggling young composer. His music is great and she enthusiastically helps him to launch his new show. ~ Sandra Brennan, All Movie Guide

Country-western star Roy Acuff is top-billed in the Republic musical comedy O, My Darling Clementine. The story concerns a band of ragtag musicians, headed by Acuff, who blow into a hoity-toity town where the "right people" look down on pickin' and grinnin'. The town's social arbiter is Mrs. Uppington, a character that orignated on radio's Fibber McGee and Molly and is here portrayed by the original "Uppy", Isabel Randolph. Manager Frank Albertson struggles manfully to get Acuff's band booked into a classy hotel, and along the way romances the title character, played by Lorna Gray. Also on hand is a decidedly pre-Beverly Hillbillies Irene Ryan, who passes herself off as a middle-eastern princess. As thin as gossamer, O, My Darling Clementine will appeal most to C&W buffs. ~ Hal Erickson, All Movie Guide

There's practically no western action in Hands Across the Border, but there's music aplenty. Roy Rogers stars as a wandering cavalier (named "Roy Rogers", naturally), who comes to the aid of entertainer Kim Adams (Ruth Terry). The daughter of a rancher, Kim does her patriotic bit by raising prize horses for the Army. But villainous Brock Danvers (Onslow Stevens) does his best to keep Kim's stock from reaching the Army, and that's when Rogers comes to the rescue. The final two reels of Hands Across the Border is a virtual nonstop parade of musical numbers by the likes of Hoagy Carmichael and Ned Washington, and featuring Rogers, Ruth Terry, Janet Martin and that zany European comedy trio The Wiere Brothers. ~ Hal Erickson, All Movie Guide

Humphrey Bogart is a gangster again, this time as counterpoint to the comic elements of It All Came True. On the lam from the cops, Bogart hides out in a theatrical boarding house, where most of the residents are old-timers dreaming of a comeback. Amused by these offbeat characters, Bogart arranges to transform the boarding house into a nostalgia-oriented nightclub, along the lines of Billy Rose's Diamond Horseshoe. Thanks to his intervention, singer Ann Sheridan gets her big break, introducing the Warner Bros. standard "Angel in Disguise". Based on the Louis Bromfield novel Better Than Life, It All Came True is typical of the lighthearted fare in which Bogart frequently was forced to act before The Maltese Falcon allowed the actor to pick and choose his roles. ~ Hal Erickson, All Movie Guide

Having made a mint with his Bobby Breen films, producer Sol Lesser decide to groom another talented youngster for stardom. Everything's on Ice was specifically designed to suit the talents of six-year-old skating sensation Irene Dare, who'd previously played as supporting role in Breen's Everything on Ice. Little Ms. Dare plays an ice-skating whiz who is passed off as an heiress by her wheeler-dealer uncle (Roscoe Karns). Starring in an oversized ice show at a Florida resort, the pint-sized heroine also stage-manages a romance between her 19-year old sister (Lynne Roberts) and a handsome young sprout (Eric Linden), while uncle tries to land a wealthy husband for Sis, never realizing that her sweetheart is himself a millionaire. Billed last in Everything's on Ice is Paul Winchell, a young ventriloquist who'd rise to fame and fortune on television in the 1950s. ~ Hal Erickson, All Movie Guide

Everybody Sing is an uncertain blend of screwball comedy and standard MGM musical. Reginald Owen plays Hillary Bellaire, patriarch of a looney theatrical family, while Billie Burke co-stars as his overly dramatic actress wife Diana. What story there is gets under way when the Bellaire's daughters Judy (Judy Garland) and Sylvia (Lynne Carver) are expelled from school because Judy insists upon singing Mendelssohn to a "swing" beat. As it turns out, Judy is the most sensible member of the family! In one of her few film appearances, Fanny Brice is rather wasted as a Russian maidservant, though she does get to perform a musical number based on her "Baby Snooks" radio character. Far better served within the film's framework is MGM's resident tenor Allan Jones as the family's chauffeur and Reginald Gardiner as Diana Bellaire's long-suffering stage leading man. ~ Hal Erickson, All Movie Guide

A Day at the Races was the Marx Brothers' follow-up to their incomparable A Night at the Opera. Groucho Marx is cast as Hugo Z. Hackenbush, a veterinarian who passes himself off as a human doctor when summoned by wealthy hypochondriac Emily Upjohn (Margaret Dumont) to take over the financially strapped Standish Sanitarium. Chico Marx plays the sanitarium's general factotum, who works without pay because he has a soft spot for its owner, lovely Judy Standish (Maureen O'Sullivan). Harpo Marx portrays a jockey at the local racetrack, constantly bullied by the evil Morgan (Douglass Dumbrille), who will take over the sanitarium if Judy can't pay its debts. After several side-splitting routines--Chico selling Groucho tips on the races, Chico and Harpo rescuing Groucho from the clutches of femme fatale Esther Muir, all three Marxes conducting a lunatic "examination" of Margaret Dumont--the fate of the sanitarium rests on a Big Race involving Hi-Hat, a horse belonging to the film's nominal hero, Allan Jones. Virtually everything that worked in "Opera" is trotted out again for "Races", including a hectic slapstick finale wherein the Marxes lay waste to a public event. What is missing here is inspiration; perhaps this is due to the fact that MGM producer Irving Thalberg, whose input was so essential to the success of "Opera", died during the filming of "Races". Even so, Day at the Races made more money than any other previous Marx Brothers film--the result being that MGM, in the spirit of "they loved it once", would continue recycling Races' best bits for the studio's next three Marx vehicles. ~ Hal Erickson, All Movie Guide

This French-language version of the 1935 Hollywood musical Folies Bergere retains the original star (Maurice Chevalier) and director (Roy Del Ruth) and Busby Berkeley's big-scale production numbers. It also follows substantially the same plot: A nightclub entertainer (Chevalier), is hired to pose as his look-alike (also Chevalier), a prominent aviation tycoon. The masquerade causes consternation for the entertainer's girlfriend, who of course has no idea what's going on, and for the tycoon's wife, who can't understand why her cold-fish husband has suddenly become so warm and demonstrative. Beyond the obvious language change, the major differences between the two Folies Bergeres are found in their supporting casts: for example, Natalie Paley plays the tycoon's spouse role originally essayed by Merle Oberon, while Sim Viva, as the girlfriend, fills the dancing shoes of the English-language version's Ann Sothern. Folies Bergere served as the basis for two future 20th Century-Fox musicals, That Night in Rio and On the Riviera, neither of which were released in French versions. ~ Hal Erickson, All Movie Guide

Based on Dwight Taylor and Cole Porter's play of the same name, The Gay Divorcee centers on Mimi (Ginger Rogers), a woman seeking a divorce from her husband. Mimi travels to an English seaside resort, pursued by the love-stricken Guy (Fred Astaire), whom she mistakes for the hired correspondent in her divorce case. Among the many musical numbers featured are "Night and Day," the only song from the original Broadway musical included in the film, and "The Continental," which won the first ever Academy Award for Best Song. Directed by Mark Sandrich, the film features supporting performances by Alice Brady and Edward Everett Horton. ~ Matthew Tobey, All Movie Guide

Hollywood Party was planned as a lavish, star-studded MGM musical titled Hollywood Revue of 1933. Under the less-than-sterling guidance of "kicked upstairs" MGM producer Harry Rapf, production dragged on interminably, using up the talents of five directors (none of whom were credited) and seven writers. The "all star" cast lineup slowly dwindled down to comparatively inexpensive contract players Jimmy Durante and Jack Pearl (radio's Baron Munchhausen) and a passel of non-MGM personalities. The final product wove a goofy story about The Great Schnarzan (Durante), a jungle-movie star whose films are suffering at the box office because his lions are anemic. Schnarzan schemes to purchase several healthy lions from Baron Munchhausen; to get the baron into a bargaining mood, Schnarzan throws a huge Hollywood party in Munchhausen's honor. Liondora (George Givot), Schnarzan's "hated rival", hopes to purchase the Baron's lions for himself, and crashes the party disguised as a Greek Baron. Also figuring into the plot are the members of the Klemp family (Charles Butterworth, Polly Moran and June Clyde), who are filthy rich and thus quite attractive to both Schnarzan and Liondora; poor-but-honest Eddie Quillan, who romances the Klemp's daughter; and Schnarzan's ex-girlfriend Lupe Velez, who shows up at the party in an astonishingly revealing gown for the express purpose of making trouble. In an amusing animated sequence courtesy of Walt Disney, Mickey Mouse introduces the Technicolor musical exploits of "The Hot Chocolate Soldiers." Shortly before the end, Stan Laurel and Oliver Hardy make a welcome appearance as a pair of lion-farm owners who wish to collect a debt from Baron Munchhausen. This segues into the classic egg-breaking sequence involving Stan, Ollie, and Lupe Velez. Now we've reached the 65 minute mark, with no logical ending in sight. Director Allan Dwan, brought into the project at the last minute, took a look at the existing footage and declared "It's a nightmare!" Inspired, Dwan directed a closing sequence which suggested that the whole plot had been dreamed by Jimmy Durante; Durante is wakened from his slumbers by his wife--played by Mrs. Jimmy Durante. Hollywood Party makes no sense at all, but it's a must for comedy lovers and 1930s film buffs. Don't miss that opening number, written by Rodgers and Hart and performed by Frances Williams and a chorus of barely dressed telephone operators; and keep an eye peeled for a lengthy uncredited appearance by the Three Stooges. ~ Hal Erickson, All Movie Guide