Cedric Hardwicke Movies

In this downbeat drama based on a novel by John Steinbeck (which was also adapted for the stage), German troops invade Norway during WWII, and Nazi forces occupy a small town. Col. Lanser (Cedric Hardwicke), the officer in charge of the occupation, believes that reason and the illusion of cooperation will achieve more than open hostility against the townspeople, and he tries to persuade the city fathers to work with him. However, an anti-Nazi resistance force soon springs into action, and they begin sabotaging German installations and materiel and assassinating Axis officers. Mayor Orden (Henry Travers) gently but stubbornly refuses to assist Lanser in any way, as he tacitly aids the resistance movement. Eventually, Lanser is forced to respond to the continuing anti-Nazi actions with a series of arrests and executions, but the Norwegians bravely remain steadfast against the enemies to the end. One of the children in the village is played by Natalie Wood, who was a mere five years old at the time (it was her second film, following a small role in Happy Land). ~ Mark Deming, All Movie Guide

The time is World War II. A group of disillusioned French soldiers are approached by Nazi troops and promised safe passage to their homeland. The Frenchmen willingly surrender, only to discover that their next destination is a German concentration camp located near a Gallic village. The anticipated escape attempt results in an uprising from the French villagers--hence the film's title, which refers to the emblem of the Free-French underground. Cross of Lorraine compensates for its Hollywood's-eye view of France (no more realistic than the Paris of the Ernst Lubitsch musicals) with some remarkably graphic sequences showing the extent of German brutality. The melting-pot cast includes Frenchman Jean-Pierre Aumont as a patriot, Hungarian Peter Lorre as a hateful Nazi, American Gene Kelly as a cynical victim of German torture, and Canadian Hume Cronyn as the traditionally rodent-like informer. ~ Hal Erickson, All Movie Guide

Universal's "Invisible Man" series does its bit for the war effort in this slyly tongue-in-cheek action melodrama. Jon Hall stars as Frank Raymond, grandson of the man who invented the invisibility formula several pictures back. When Nazi agents try to coerce the secret formula out of Raymond, he eludes them by becoming transparent himself. Shortly afterward, the US government parachutes Raymond behind enemy lines, reasoning that an invisible counterespionage agent would be an invaluable tool in defeating the Axis. He is aided and abetted by the beautiful Maria Sorenson (Ilona Massey), who may or may not be in league with villains Helser (J. Edward Bromberg in a scene-stealing turn), Stauffer (Cedric Hardwicke) and Japanese spy Ikito (Peter Lorre). As was always the case in Universal's mid-1940s fantasies, David Horsley's special effects work in Invisible Agent is absolutely first-rate, with some truly eye-popping moments. Incidentally, this is the film in which an elderly victim of Nazi persecution moans "I can't sign? I can't sign? You have broken my fingers!" ~ Hal Erickson, All Movie Guide

Universal's "Frankenstein" series descended from the "A" to the "B" category with The Ghost of Frankenstein, though production values were still well above average and the cast is first-rate. The story picks up where Son of Frankenstein (1939) left off, with both the Monster (Lon Chaney Jr.) and his crazed companion Igor the shepherd (Bela Lugosi) being chased out of the village of Frankenstein by the irate citizens (actually both Monster and Igor had been killed at the end of Son of Frankenstein, but that's neither here nor there). The gruesome twosome head to the tiny Balkan community where dwells the son (Sir Cedric Hardwycke) of the original Dr. F. At the urgings of both Igor and the disgraced Doctor Bohmer (Lionel Atwill), Frankenstein Jr. is coerced into repeating his father's experiment of placing a fresh brain in the head of the monster. Seeking vengeance against his enemies, Igor wants to have his own brain grafted into the Monster's skull, but the big lug himself has other ideas: having befriended cute little Cloestine (Janet Ann Gallow), the only person in the village who doesn't fear him, the Monster insists upon receiving Cloestine's brain. In the end, however, Dr. Frankenstein goes with Igor's graymatter-and the result is disaster for practically everyone in the cast. Highlights of this 68-minute scarefest include Lionel Atwill's outraged reaction when he is reminded of the "slight miscalculation" that ruined his medical career, and the uncredited appearances of several "Frankenstein" movie veterans, including Dwight Frye, Holmes Herbert and Lionel Belmore. ~ Hal Erickson, All Movie Guide

Wealthy, sheltered Joan Fontaine is swept off her feet by charming ne'er-do-well Cary Grant. Though warned that Grant is little more than a fortune-hunter, Fontaine marries him anyway. She remains loyal to her irresponsible husband as he plows his way from one disreputable business scheme to another. Gradually, Fontaine comes to the conclusion that Grant intends to do away with her in order to collect her inheritance...a suspicion confirmed when Grant's likeable business partner Nigel Bruce dies under mysterious circumstances. To his dying day, Hitchcock insisted that he wanted to retain the novelist Francis Iles' original ending, but that the RKO executives intervened. Fontaine won an Academy Award for her work. ~ Hal Erickson, All Movie Guide

A semi-sequel to the 1933 Universal horror masterwork The Invisible Man, The Invisible Man Returns stars Vincent Price in the title role. Condemned for a murder he did not commit, Price begs doctor John Sutton to inject him with the invisibility serum invented by Claude Rains in the first film. Sutton does so, even though he warns Price that the serum will very likely drive him insane. Sir Cedric Hardwicke co-stars as the genuine murderer, a colliery owner who framed Price. Though his behavior veers dangerously close to homicidal, Price is able to mete out retribution to Hardwicke without stooping to murder. As he gradually weakens, Price is recaptured and rushed to the hospital, where his life is saved by an emergency blood transfusion. Price's face is revealed to us for the first time as he vows his undying love to leading lady Nan Grey. Taking a less playful approach to the grim goings-on than director James Whale had in The Invisible Man, The Invisible Man Returns is a grim little morality play, containing vestiges of The Count of Monte Cristo and distinguished by an odd preoccupation with the mechanics and minutiae of death (a characteristic trait in the screenplays of Curt Siodmak). The film helped to solidify the cinematic reputation of Vincent Price, though it would be years before he'd specialize in horror on a full-time basis. ~ Hal Erickson, All Movie Guide

This Victorian-era drama is based upon the classic novel by Thomas Hughes. It follows the exploits of a young boy forced to attend a rowdy boarding school. There he finds himself surrounded by budding punks and hoods. It is rough at first, but eventually he learns to make friends and handle himself well in the tough environment. The film is also titled Adventures at Rugby. ~ Sandra Brennan, All Movie Guide

Few will argue with the contention that RKO Radio's 1939 adaptation of Victor Hugo's The Hunchback of Notre Dame was the best of the many screen versions of the Hugo classic. We say this even allowing for certain liberties taken with the source material-liberties calculated by scenarists Sonya Levien and Bruno Frank to draw parallels between 15th century Paris and 20th century Europe. Thus, Claude Frollo (Cedric Hardwicke), the villain of the piece, is no longer merely a religious hypocrite unable to control his own carnal desires. Instead, Frollo is a bush-league Hitler, warning that the invention of the printing press is dangerous in that it will encourage the rabble to think for themselves, and plotting the persecution and destruction of the "undesirable" gypsies. In the same vein, Gringoire the Poet (Edmond O'Brien in his film debut) has been transformed into an agit-prop "Group Theatre" activist, bent on bringing the unvarnished truth to the ignorant Parisians. Many of Hugo's subplots have been dispensed with, the better to concentrate on the grotesquely deformed Quasimodo (Charles Laughton), bell-ringer of Notre Dame Cathedral, and his puppylike loyalty towards imperiled gypsy dancer Esmerelda (Maureen O'Hara, in her first American film appearance). The schism between the haves and have-nots in the walled city of Paris is illustrated in broad, visually dynamic strokes by director William Dieterle. ~ Hal Erickson, All Movie Guide

The first of three talkie versions of H. Rider Haggard's adventure novel King Solomon's Mine was produced by British Gaumont. While Cedric Hardwicke plays the nominal leading role of explorer Alan Quartermaine, top billing goes to African-American singing-star Paul Robeson, who plays dauntless native- guide Umbopa. The plot gets under way when Anna Lee organizes an expedition to locate her father, who has disappeared in the wilds of Africa while searching for King Solomon's Mines, a legendary diamond repository. Umbopa's motivation for guiding the expedition is to reclaim the tribal throne wrested from him by treacherous witch-doctor Gagool (Sidney Fairbrother). At first treated as white gods by the natives, the explorers soon find their lives imperiled. Thanks to Umbopa's know-how, the whites are saved from a horrible death and the evil tribesmen are overthrown. As for King Solomon's Mines, Quartermaine and his party finally locate the fabled diamond cache--and then fate deals an ironic hand, as fate has a habit of doing. ~ Hal Erickson, All Movie Guide

Calling the Tune uses its skeletal plot to celebrate the British record industry, circa 1936. Adele Dixon plays the daughter of a powerful record company executive. She falls in love with Clifford Evans, who happens to be the man her father once cheated in order to build up his show business empire. Amidst several specialty numbers, love finds a way. Calling the Tune anticipates the 20th Century-Fox "feel good" musicals of the 1940s by spotlighting several prominent guest stars, including actor Cedric Hardwicke, music hall legend George Robey, conductor Sir Henry Wood, and the Queen's Hall Light Orchestra. ~ Hal Erickson, All Movie Guide

H. G. Wells was both the author of the original source -- an essay, rather than an actual novel, concerning mankind's future -- and the screenplay (in conjunction with Lajos Biro) of this epic science fiction tale, but it was producer Alexander Korda who framed the terms on which it is presented, vast and elegant, and visually striking. Opening in the year 1940, we see the next century of human history unfold, initially with amazing prescience. In Everytown (a stand-in for London) in 1940, the people prepare to celebrate Christmas amid rumors and rumblings of war -- forward-thinking pacifists like John Cabal (Raymond Massey) try to raise concerns amid a populace either too fearful to think about the risks, or so pleased with business conditions that they're oblivious to the downside of war. And then it comes, devastating Everytown (in scenes shockingly close to the actual World War II London blitz, a half-decade away when these scenes were written) and the country, and finally the world. After 30 years, the war goes on, except that there are no more nations to fight it, only isolated petty fiefdoms ruled by brigand-like strongmen, running gangs organized like tiny armies. Among the most ruthless and successful of them is Rudolph (Ralph Richardson), who runs what's left of Everytown. He keeps his people in line by force, and his war with his neighbors going with his bedraggled troops, while pressuring the tiny handful of scientists, mechanics, and pilots to keep as many of the aging, decrepit planes as they can operating. A few educated men around him -- whom he doesn't really trust -- try to resist the worst of his plans and orders, while going through the motions of carrying them out. And then, one day, out of the sky comes a plane the like of which they've never seen before, sleek and fast, and piloted by a mysterious man whom Rudolph orders imprisoned. It is John Cabal, older but just as dedicated to the cause of peace, and ready to fight for it. He announces the existence of a new order, run by a society of engineers and scientists, called Wings Over The World, here to re-establish civilization. Rudolph will hear none of it, thinking instead to use Cabal's plane and those of any of his friends who follow as weapons of war -- but Rudolph's wife Roxana (Marguerite Scott) sees the wisdom of what Cabal offers and helps him. The bombers of Wings Over The World drop the Gas of Peace, which puts the entire population of Everytown to sleep -- all except Rudolph, who goes down fighting and dies -- allowing the army of the Airmen to enter and free the city. Seventy years go by, during which the Earth is transformed and a new civilization rises, led by scientists and engineers. Immense towers now rise into the sky, and the population is freed from most of the concerns that ever led to it war. In fact, a new complacency starts to take hold amid a populace for whom most needs are now easily met -- all except the leaders, engineers who keep advancing, year after year, with new projects and goals. And now, having conquered the Earth and all of the challenges it has to offer, Oswald Cabal (Raymond Massey), the great-grandson of John and the current leader, is about to embark on the grandest project of all, moving into deep space. The first launch of a manned vehicle, fired by the Space Gun, is about to take place. But there is discontent being spread by the sculptor Theotocopulos (Cedric Hardwicke), who is weary and distressed from this constant push toward new advances and progress -- he wants mankind to reassert itself over this ever-advancing technology, and sees the Space Gun and all it represents as a new threat. In a speech, he exhorts the restive populace to stop the launch. They proceed, en masse, to attack the Space Gun, while Cabal struggles to beat them to their objective and take the next bold step into space. "All of the Universe," he declares, "or nothing -- which shall it be?" ~ Bruce Eder, All Movie Guide

Anna Neagle is every other inch a lady in the frolicsome costume epic Nell Gwyn. The star is of course cast as the title character, the lusty orange vendor-turned-actress who becomes the "great and good friend" of merry monarch King Charles II (Sir Cedric Hardwicke). This is not to the liking of the King's current favorite, the Duchess of Portsmouth (Jeanne De Casalis), who wastes no time plotting Nell Gwyn's downfall -- only to be banished from court herself. Meanwhile, essayist Samuel Pepys (Esme Percy), the Walter Winchell of his day, records every aspect of the scandalous romance between Nell and the King in colorful detail. Perhaps as a balm to the censors, the story is told in flashback form from the point of view of an aging, dissipated Nell, who has come to learn the terrible price of living life too fully. Despite this cautionary framing device, the film was never meant to be taken seriously: in the opening titles, the screenplay is credited to Miles Malleson, "in collaboration with King Charles II, Samuel Pepys and Nell Gwyn." The film was produced by Anna Neagle's future husband Herbert Wilcox, who'd made a silent version of the same story with Dorothy Gish. ~ Hal Erickson, All Movie Guide