Richard Hageman Movies

In this drama, an Austrian taxi driver dreams of going to the US, but cannot as he has no papers nor identification. One day, an American businessman is waiting for his cab, when another man kills him. The quick-thinking cabbie grabs the dead man's papers and takes over his identity. Later he falls in love with the wife of the killer who thinks that the cab driver is the killer. He finally convinces her that he is innocent, and together they try to flee to America with the killer in hot pursuit. Both the cabby and the killer are captured but the former receives a small sentence. His new love decides to wait for him and happiness ensues. ~ Sandra Brennan, All Movie Guide

The film traces Naples-born Caruso's ascension from adolescent choir singer to the uppermost ranks of the opera world. Caruso is brought to America, getting off to a bad start by inadvertently insulting the impresario (Carl Benton Reid) responsible for his Metropolitan debut. This complication has a happy outcome when Caruso marries his benefactor's daughter (Ann Blyth). Refusing to spare himself or to hold back his talents from his fans, Caruso's health fails him, and he dies in 1921 at the age of 47. Featuring no fewer than 27 musical numbers, Great Caruso also stars Mario Lanza as Caruso, as well as such operatic superstars as Dorothy Kirsten and Jarmila Novotna. ~ Hal Erickson, All Movie Guide

Wagon Master, splendidly directed by John Ford, is a superlative western. The film is the outwardly simple tale of a Mormon wagon train headed for Utah. Along the way, the group, led by Elder Wiggs (Ward Bond) hook up with two horse traders Travis Blue (Ben Johnson) and Sandy Owens (Harry Carey Jr), the members of a traveling medicine show and a tribe of Navajo Indians. The group is threatened by a gang, known as the Clegg family, who have robbed an express office and murdered the clerk. This wonderful film emphasizes the virtues of solidarity, sacrifice and tolerance, and shows John Ford at his most masterful, in total control of the production from the casting to the bit players to the grandeur and scope of the visual compositions. The film, with its breathtaking scenery, brilliant performances by a cast of character actors, and an engaging sense of humor, is a superlative example of the American western. Wagonmaster inspired the television series Wagon Train and was also shown in a computer-colorized version ~ Linda Rasmussen, All Movie Guide

The second of John Ford's "Cavalry Trilogy", She Wore a Yellow Ribbon is the only one of the three to be lensed in Technicolor. In an Oscar-calibre performance, 42-year old John Wayne plays sixtyish Cavalry Captain Nathan Brittles. In his last days before his compulsory retirement, Brittles must face the possibility of a full-scale attack from the Arapahos, fomented by the recent defeat of Custer and by double-dealing Indian agents. After a series of minor victories and major frustrations, Brittles decides to ride into the Arapaho camp, there to smoke a pipe of peace with his old friend, Chief Pony That Walks (Chief John Big Tree). Before he leaves, he is presented with his retirement present by his troops: a pocket watch, with the inscription "Lest We Forget"(Wayne's playing of this scene, barely holding back tears as he adjusts his spectacles to read the inscription, is one of his finest moments on film). Brittles is able to forestall an Indian attack, just in time for his official retirement. The film really ends here, but there are two more potential climaxes before the words THE END dissolve into view. The patchiness of the Frank Nugent/Lawrence Stallings screenplay (attributal to the fact that it is adapted from two different short stories) prevents She Wore a Yellow Ribbon from reaching the same lofty heights as the Ford/Wayne collaborations Fort Apache (1947) and Rio Grande (1949). The gratuitous offscreen narration of Irving Pichel is also rather distracting. Even so, Wayne's flawless performance, coupled with the supporting contributions of Ford's stock company (John Agar, Harry Carey Jr., Victor McLaglen et al) and the Academy Award-winning photography by Winston C. Hoch, automatically elevates She Wore a Yellow Ribbon to classic status. ~ Hal Erickson, All Movie Guide

John Ford had already directed one of the three previous film versions of Peter Kyne's novel under the title Marked Men (1919) with his mentor Harry Carey, a great cowboy star of the silent era who had recently died. It's not difficult to see how the story's sentimentality and Christian symbolism might have appealed to the director's sensibility. John Wayne stars as Bob Hightower, the leader of a trio of thieves who rob a bank in Arizona and take off with the posse of Sheriff Buck Sweet (Ward Bond) in close pursuit. Although they need to stop to water their horses and care for the wounds of Abilene (Harry Carey Jr.), their accurate suspicion that the sheriff is laying an ambush for them at the Mohave water tank leads the gang toward the more distant Terrapin tanks. However, en route, they're waylaid by a terrible sandstorm which scatters their horses. Forced to go on foot, they come upon a lone woman (Mildred Natwick) in a covered wagon who is about to give birth. She dies in childbirth, but not before extracting a promise from the three to take care of her child. Under a blistering sun, they head for New Jerusalem. ~ Michael Costello, All Movie Guide

One of John Wayne's most mystical films, Angel and the Badman is also the first production that Wayne personally produced. The star plays a wounded outlaw who is sheltered by a Quaker family. Attracted to the family's angelic daughter Gail Russell, the hard-bitten Wayne undergoes a slow and subtle character transformation; still, he is obsessed with killing the man (Bruce Cabot) who murdered his foster father. The storyline traces not only the regeneration of Wayne, but of the single-minded sheriff (Harry Carey) who'd previously been determined to bring Wayne to justice. Not a big hit in 1947, Angel and the Badman has since become the most frequently telecast of John Wayne's Republic films, thanks to its lapse into Public Domain status in 1974. ~ Hal Erickson, All Movie Guide

New Orleans is Republic Pictures' spin on such "musical origin" films as Birth of the Blues and Dixie. Covering nearly four decades, the story is a fanciful recreation of the "birth" of American jazz music. Arturo de Cordova plays Nick Duquesne, owner of a posh gambling house in turn-of-the-century New Orleans (yes, that's an uncredited Shelley Winters as Duquesne's secretary!) When the "good" people of the town forced Duquesne to pack up and leave, he relocates in Chicago, where he discovers that his customers are turned on by hot jazz. Hiring bandleader Louis Armstrong to entertain his patrons, Duquesne no longer has to rely on gambling to make a living. Romance enters the picture in the form of Miralee Smith (Dorothy Patrick), a straightlaced student of classical music who learns to kick up her heels and shed her inhibitions at the sound of jazz. New Orleans is the only mainstream Hollywood feature good enough to cast Billie Holliday in a major role: true, she's playing a maid, but a maid with the most exquisitve singing voice this side of Heaven. The film's highlight is the Holliday/Armstrong duet "Do You Know What it Means to Miss New Orleans", surely one of the great moments of movie-musical history. ~ Hal Erickson, All Movie Guide

Andrew Stone's The Bachelor's Daughters has much of the nonsensical breeziness of Stone's earlier screwball comedy Hi Diddle Diddle; the stylistic link between the two properties is emphasized by the presence in both films of stars Adolphe Menjou and Billie Burke. The title characters are four merrily mercenary salesgirls: Eileen (Gail Russell), Terry (Ann Dvorak), Marta (Jane Wyatt) and Cynthia (Claire Trevor). Persuading distinguished-looking floorwalker Mr. Moody (Menjou) and shop assistant Molly (Burke) to pose as their wealthy parents, the girls rent a lavish Long Island mansion and pretend to be heiresses, for the express purpose of landing rich husbands. Eileen catches millionaire Bruce Farrington (John Whitney), Terry goes after Broadway impresario Diane (Russell Hicks), and Marta ends up with Schuyler Johson (played by famed concert pianist Eugene List), son of the owner of the store where she works. Only Cynthia fails in her mission, but there's still hope for her yet at the finale. In the process of snaring their mates, the bachelor's daughters learn the hard way that (all together now) Money Isn't Everything, while middle-aged Moody and Molly find true love without a price tag attached. ~ Hal Erickson, All Movie Guide

Originally titled simply Sensations, this musical comedy was the final starring film for dancer Eleanor Powell and the final film, period, for comedian W.C. Fields. Powell is the prize client of flamboyant press agent Eugene Pallette. Dennis O'Keefe, Pallette's stiff-necked son, disapproves of his dad's razzle-dazzle promotional techniques, but finds himself just as shameless as his father when he takes over the business. Powell's particular highlight is a dance staged in a huge pinball machine (yes, critics in 1945 did say "Tilt!") W.C. Fields' contribution, based on one of his old Ziegfeld Follies sketches, is astonishingly unfunny; this protracted shaggy-dog story about a man who refuses to vacate his train compartment comes to life only during the byplay between a visibly ailing Fields and his sprightly female companion Louise Currie. Other guest stars in Sensations include Sophie Tucker, Cab Calloway, Woody Herman and a pre-Mary Ford Les Paul. ~ Hal Erickson, All Movie Guide

Made just before America's entry into World War II, Paris Calling is one of the earliest French Underground adventures. When the German march into Paris, a polyglot of French patriots organize to undermine the Nazi occupation troops (represented by Lee J. Cobb, who plays his character with a surprising amount of depth). Elizabeth Bergner plays a French aristocrat who learns that her ex-fiance (Basil Rathbone) is a collaborator; she agrees to help the Underground, even unto killing her former lover. Gale Sondergaard, normally a villain, is sympathetically cast as a blowsy waterfront entertainer whose waterfront dive serves as Resistance headquarters. And how do the neutral Americans figure into all of this? Yankee-doodle-dandy Randolph Scott parachutes into view as a pilot for the RAF. ~ Hal Erickson, All Movie Guide

The illustrious National Music Camp in Interlochen, Michigan provides the backdrop for this musical that chronicles the ups and downs of overseeing such an establishment. The story centers on a young burlesque singer who is discovered and taken to the camp. At first the uncultured girl rebels against the many rules of the camp, but eventually she settles down and sets to work. Trouble for the camp ensues when a negative newspaper article is published and the backers for the camp withdraw their support. To save the place, the young singer stages a benefit performance. She has by then become an opera diva and succeeds in saving the day. ~ Sandra Brennan, All Movie Guide

John Ford welded four of Eugene O'Neill's one-act plays about the sea, Bound East for Cardiff, The Long Voyage Home, The Zone, and Moon of the Caribees, into this melancholy film about wayfaring seamen, changing the setting from the turn of the century to WWII. This was O'Neill's favorite of the films based on his work, and he watched it often enough to eventually wear out his print. After a night of revelry in the West Indies, the crew of the SS Glencairn return to the tramp steamer and set sail for Baltimore. They're a varied lot, from middle-aged Irishman Driscoll (Thomas Mitchell), to the young Swedish ex-farmer Ole Olsen (John Wayne), to the brooding Lord Jim-like Englishman Smitty (Ian Hunter). After the ship picks up a load of dynamite in Baltimore, the rough seas they encounter become especially nerve-racking to the crew, who are also concerned that Smitty might be a German spy. ~ Michael Costello, All Movie Guide