Bert Hanlon Movies

Based loosely on the Dostoyevsky novel, The Gambler stars Gregory Peck as a sensitive 19th-century Russian author. His "great sin" is gambling, which starts when he attempts to rescue aristocratic Ava Gardner from the gaming tables. He succeeds, only to lose himself to gambling fever, which costs him his friends, his reputation and his talent. Director Robert Siodmak was never happy with the screenplay for The Great Sinner, constant revisions bloated the film's rough-cut running time to nearly six hours! After Siodmak pared the film down, MGM insisted that the director reshoot the love scenes. Siodmak refused, thus the new sequences were filmed sans screen credit by Mervin LeRoy. ~ Hal Erickson, All Movie Guide

John Garfield, in the best performance of his career, portrays Joe Morse, an ambitious attorney who has long since abandoned his scruples in favor of monetary reward. Morse now represents the interests of crime boss Ben Tucker (Roy Roberts), who plans to take over the numbers racket in New York. Morse has devised a way of doing this legally and above-board, with no violence: Tucker's people will bring about the collapse of the illegal numbers racket in the city, using a race track-betting scam that will bankrupt the small-time underworld numbers banks; an investigation will ensue, along with a call for a legal numbers operation in the form of a lottery, which Tucker will control through Morse's machinations. The whole plan hinges on Morse's estranged brother, Leo (Thomas Gomez), a small-time numbers banker who is to be shielded from the collapse, and who will serve as the "legitimate" front for Tucker. Leo is the flaw in the plan, however, because not only can't he stand the sight of Joe, but he is also too honest to participate in the plan -- he doesn't want his employees, all decent people just looking to earn a living, forced into the employ of real gangsters. Joe orchestrates a series of police raids that force Leo into his corner, and Joe's plan seems to be working out, but then the whole enterprise is threatened when a rival mob, run by Tucker's former Prohibition-era partner, Fico (Paul Fix), starts pressuring Leo, trying to get to Joe and Tucker. Fico and his men aren't any different from Tucker's mob, except that they're prepared to start shooting sooner to get what they want. Tucker decides to hang tough and expects everyone, including Leo, to do the same, even when Fico starts sending thugs around to frighten everyone. Soon Joe is beset by problems on three fronts -- he wants his brother out of Tucker's combination and safe; he is trying to romance Leo's bookkeeper (Beatrice Pearson), who is too nice a girl for who he is; and his own well-being is threatened by both Fico and Tucker, and a state investigator who has already tapped the phone of Joe's otherwise respectable partner. All of these threads are pulled together in the final section of the film, which is as violent and disturbing, yet poetic and graceful a resolution as any crime film of the 1940s ever delivered. Force of Evil was star-crossed almost from the start, as many of the people involved, including star John Garfield and director Abraham Polonsky (a writer making his debut behind the camera, with help from assistant director Don Weis in doing the camera set-ups and blocking), were suspect at the time for their leftist political views. Indeed, the company that made Force of Evil, Enterprise Productions, was also in trouble for the leftist leanings of its films in the midst of the Red Scare, and went out of business just as the movie was finished -- dropped by United Artists and picked up by MGM, of all studios, Force of Evil made it into theaters during Christmas week of 1948, not the ideal schedule for something as grim (albeit great) as this film was. As it turned out, it was Polonsky's last chance to direct for more than 20 years, and Garfield's last completely successful film. And a movie that should have been a triumph for all concerned ended up a cult favorite. ~ Bruce Eder, All Movie Guide

Former army pilot Robert Taylor is accused, on the basis of strong circumstantial evidence, of his wife's murder. Suffering from periodic blackouts, Taylor isn't so certain of his innocence himself. When offered a brain operation, Taylor refuses, knowing that if he is proven sane he will be executed for murder. Instead, he opts for confinement in a high-walled veteran's mental institution. A compassionate lady doctor (Audrey Totter) falls in love with Taylor, convincing him to have the operation. Even after emerging from the ether, Taylor cannot remember any of the details concerning his wife's death--but he does recall that the dead woman had recently taken a job with a publisher (Herbert Marshall) of religious books. While the killer's identity is tipped off by this revelation, the audience is never certain that Robert Taylor isn't a murderer--especially since he'd previously appeared as a homicidal maniac in the 1946 film Undercurrent. The best moment in High Wall is the casual disposal of the sole witness to the murder, via a long, dark elevator shaft. ~ 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

In this comedy, a young waitress is given $1,000 from her grandfather. She desires to buy a race horse and so trustingly gives the money to a man at the track. The trouble begins when he loses the money. To make up for his mistake, he gives her a ticket for the Irish sweepstakes and then sells her a broken-down horse. Not surprisingly, both end up winners and happiness ensues. ~ Sandra Brennan, All Movie Guide

Based upon an idea by Broadway columnist Mark Hellinger, The Roaring Twenties opens during World War I as doughboys Eddie Bartlett (James Cagney), Lloyd Hart (Jeffrey Lynn), and George Hally (Humphrey Bogart) discuss what they will do when the war is over. Bartlett wants to go back to repairing cabs, and Hart yearns to be a lawyer, but it becomes clear that Hally has less reputable plans in mind for himself. Come the end of the war, things are not as easy for veterans like Bartlett as they should be. He is unable to get his old job back and ends up driving a cab for little money. One night he is asked to deliver a package (which turns out to be whiskey) to an address that turns out to be a speakeasy. This starts him on a life of crime, as he gets deeper involved as a bootlegger. Things are not made easy by a rival bootlegger -- who turns out to be Hally. The two join forces and prosper. Hart shares in their prosperity, as Bartlett engages him to take care of his legal matters. Unfortunately, Hart is also interested in Jean Sherman (Priscilla Lane), a young woman that Bartlett has had an eye on for quite some time. He loses her to Hart at about the same time that his criminal empire crumbles, and he is reduced to driving a cab again while Hally continues to prosper with his ruthless ways. Eventually, Hart -- now a crusading prosecutor -- runs afoul of Hally, who tells Jean that he will kill him if he doesn't change his ways. Jean begs Bartlett to intercede with Hally; because he still is carrying a torch for her, Bartlett agrees -- but by doing so, he may have signed his own death warrant. ~ Craig Butler, All Movie Guide

Slight Case of Murder is a breakneck-paced comedy starring Edward G. Robinson as a tough but good-hearted bootlegger. When Prohibition is repealed, Robinson faces a financial crisis: His beer tastes so awful that no one wants to drink it legally. As an additional headache, Robinson is under scrutiny from the Law, which is waiting to slip the cuffs on him for the slightest infraction. He arrives at his rented Saratoga mansion with his wife (Ruth Donnelly), daughter (Jane Bryan) and adopted son (Bobby Jordan), only to discover that a killer has left four corpses in his bedroom. Robinson and his stooges are forced to hide the bodies before his future son-in-law (Willard Parker), who happens to be a cop, tumbles to the dilemma. Based on a stage play by Howard Lindsay and Damon Runyon, A Slight Case of Murder a just as entertaining in the 1990s as it was fifty years ago (please ignore a tepid 1953 musical remake titled Stop, You're Killing Me). Surprisingly, this film was not a favorite of star Edward G. Robinson, who felt that director Lloyd Bacon rushed through the material without taking full advantage of its comic potential. ~ Hal Erickson, All Movie Guide

In this lively musical, an eccentric philanthropist's will dictates that four people receive $5,000 with the stipulation that the first one who can double the amount-- without dishonesty-- will win a cool million. Hindering the four are the avaricious relatives of the late millionaire. Songs include: "It's On, It's Off," "Double or Nothing," "Listen My Children," "Smarty," "The Moon Got in My Eyes" and "After You." ~ Sandra Brennan, All Movie Guide

Joan Bennett is a manicurist who becomes a newspaper reporter. She joins forces with jaunty detective Cary Grant to get the goods on a particularly vicious insurance racket. Bennett unwittingly puts her life in danger by dating a supposedly above-board socialite (Walter Pidgeon) who is actually the brains behind the criminal operation. Big Brown Eyes is an enigma; every time we think we're in for a screwball comedy, something awful happens to jolt us back to reality. It's hard to lightly dismiss such scenes as the shooting death of a baby in its stroller. ~ Hal Erickson, All Movie Guide

Curt Hayden (Ralph Bellamy), a witness from the mob, is hidden away in a remote mountain cabin for his own safety. Accompanying Hayden is his young son Johnny (David Holt), who resents his father for planning to remarry. But Johnny loyally rushes to his dad's defense when a pair of gunmen invade the cabin during Hayden's absence. As the assassins await Hayden's return, Johnny concocts a deucedly clever scheme to disarm them. This tension-laden climax is the best part of the picture, which otherwise is a traditional crime melodrama with romantic undertones. ~ Hal Erickson, All Movie Guide

Henry Fonda made his screen debut in this filmization of his Broadway success The Farmer Takes a Wife. The story is set along the Erie Canal in the 1850s. Fonda plays a farmer who takes a river job to make ends meet. He falls in love with Janet Gaynor, daughter of a canal-boat cook, who thinks very little of farmers. Nonetheless, Fonda and Gaynor marry, much to the displeasure of canal skipper Charles Bickford, who'd assumed that Janet was his girl. When Fonda avoids a fight with Bickford, Janet believes that he's yellow, but he eventually proves otherwise. It is said that during his first day on the set, movie novice Henry Fonda, noting the camera direction "dolly with Dan and Molly" in the script, asked director Victor Fleming who Dolly was. Adapted from the play by Frank B. Elser and Marc Connelly, The Farmer Takes a Wife was remade with Betty Grable and Dale Robertson in 1955. ~ Hal Erickson, All Movie Guide

MGM loaned Myrna Loy to Paramount to co-star with Cary Grant in the roller coaster-paced romantic drama Wings in the Dark. Loy plays daredevil aviatrix Sheila Mason, who marries Ken Gordon (Grant), a flyer with serious aspirations to set groundbreaking world records. When Ken is accidentally blinded just before he jets off for Paris, Sheila prompts him to continue working at any cost. He decides to become a writer, dictating his work and mailing it off to several magazines; all he receives for his trouble is a pile of rejection slips, but Sheila doesn't let him know that. In the mean time, he works out a fantastic invention -- a plane designed for "blind flying," which enables the pilot to command the craft without the use of his eyes. His plane is repossessed for lack of payment, cluing him into what Sheila has been up to with his articles. Infuriated, he severs all communication with her. In an effort to drive Grant out of her mind, Sheila then undertakes a Moscow-to-Manhattan flight and thus attempts to set a new world record of her own. But on the last leg of her journey -- over Boston -- she becomes surrounded by thick blankets of heavy fog, and cannot locate the airport. At the last moment, Ken steals his own plane from Roosevelt Field, takes it up, and uses it to guide Sheila back to the ground, where he declares his undying love and devotion to her. ~ Hal Erickson, All Movie Guide

An innocent but admittedly none-too-bright victim of circumstance, Mary Burns (played by perennial movie victim Sylvia Sidney) is inexorably sucked into the vortex of organized crime. She tries to escape her murderer husband Babe Wilson (Alan Baxter), but it's a losing proposition, especially since the newspapers have already branded her a gun moll. Making matters worse, she is thrown into prison for crimes committed by her husband (understandably, since her behavior at her trial was self-defeating to say the least). Though believing her guilty, detective Harper (Wallace Ford) allows Mary to escape from jail, hoping in this way to track down Wilson. Nominal hero Alec MacDonald (Melvyn Douglas) isn't much help; not introduced until the film's halfway point, he spends most of his time in a hospital bed, recuperating from an injury. In fact, the story is wrapped up only after MacDonald is rescued by the heroine! ~ Hal Erickson, All Movie Guide