Hugh Herbert Movies

Estelita Rodriguez, Republic's south-of-the-border answer to their own Judy Canova, stars in Havana Rose. Rodriguez plays Estelita DeMarco, the daughter of foreign Ambassador DeMarco (Fortunio Bonanova), who is looking for a way to raise $5,000,000 for his poverty-stricken South American country. Just when Ambassador DeMarco is on the verge of securing a loan from eccentric millionaire Filbert Fillmore (Hugh Herbert) and his haughty wife (Florence Bates), Estelita messes up the deal. With the help of Texas rancher Tex Thompson (Bill Williams), our heroine manages to mollify Fillmore and his wife and save the day. Havana Rose is highlighted by three Latin American musical numbers, all of which are a lot livelier than the rest of the film. ~ Hal Erickson, Rovi

A Song is Born is a musical remake of the 1941 comedy Ball of Fire, with the same producer (Sam Goldwyn) and director (Howard Hawks) at the helm. It will be recalled that the original film, co-scripted by Billy Wilder, was an amusing spin on "Snow White and the Seven Dwarfs," wherein seven pedantic professors, working on a dictionary of slang, "adopted" an authority on the subject, breezy burlesque dancer Sugarpuss O'Shea. In the remake, the septet of scholars are working on an encyclopedia of music, but they're held up on the subject of "swing." When nightclub singer Honey Swanson (Virginia Mayo), escaping from her gangster suitor Tony Crow (Steve Cochran), takes refuge in the professors' home, she offers to introduce them to the world of popular music. This proves to be quite a tuneful undertaking, since two of the professors are played by Danny Kaye and Benny Goodman! The tang and zest of original plotline has been muted to the point of harmlessness, but the film is saved by the presence of Goodman, his fellow bandleaders Charlie Barnet, Tommy Dorsey and Mel Powell, and specialty performers Louis Armstrong, Lionel Hampton and Buck & Bubbles. A Song is Born was Danny Kaye's final starring vehicle for Sam Goldwyn. ~ Hal Erickson, Rovi

Radio humorist Henry Morgan made his film debut in So This is New York. Based on The Big Town, a collection of stories by Ring Lardner, the film traces country bumpkin Morgan's progress as he uses an inheritance to take a trip with his wife (Virginia Grey) and sister-in-law (Dona Drake) to the New York of the 1910s. He encounters numerous oddball characters, the most colorful of which is a drunken jockey (Leo Gorcey). The boxer and at least four other Broadwayites (Hugh Herbert, Rudy Vallee, Bill Goodwin and Jerome Cowan) complicate Morgan's life when they court his wife's sister--most of them hoping for a slice of that inheritance. The movies were not the ideal medium for the satiric barbs of Henry Morgan, though he plays his role well and carries the film with assurance. In addition to being Morgan's first picture, So This is New York was also the maiden voyage for producer Stanley Kramer. ~ Hal Erickson, Rovi

Blondie opens a bakery in her home to help fill the family cookie jar in this entry in the long-running domestic comedy series based on the popular comic strip. Her tasty cookies become so popular that a cookie magnate makes her an offer that is difficult to refuse. Unfortunately, this creates all kinds of problems for the Bumsteads. ~ Sandra Brennan, Rovi

Oriental Dream is the TV title for the 1944 Technicolor version of Kismet. Ronald Colman plays Hadji, "king of beggars" in the days of the Arabian Nights. Posing as a prince, Colman woos Marlene Dietrich, the favorite wife of the evil Wazir (Edward Arnold). Meanwhile, Colman's daughter Joy Ann Page falls in love with handsome Caliph James Craig--while the Wazir connives to get Page into his own harem. Several plot convolutions later, Colman ends up with Dietrich, Page winds up with Craig, and the Wazir winds up six feet under. Kismet was based on the war-horse stage play by Edward Knoblock, previously filmed in 1920 and 1930 with the play's original star Otis Skinner. The title Oriental Dream was bestowed upon the 1944 Kismet when it was remade as a musical in 1955. The earlier version had its musical moments as well, notably a delicious dance number spotlighting Dietrich, painted gold head from head to toe; an additional dance sequence was cut, but later showed up in the Abbott and Costello comedy Lost in a Harem (1944). ~ Hal Erickson, Rovi

Musical producer Joe Pasternak moved from Universal to MGM in the early 1940s, taking his pet director Henry Koster (the two men had teamed to make a star of Deanna Durbin) with him. The Pasternak/Koster collaboration Music for Millions features child star Margaret O'Brien as a Durbin-like Miss Fix-it, who tries to help her pregnant older sister (June Allyson), who in turn is pining away for her GI husband. As it happens, the older girl is a cellist in Jose Iturbi's orchestra; thus, in keeping with the formula established by Pasternak's One Hundred Men and a Girl, many of the plot threads are knotted together in a series of concert recitals. The highlight of Music for Millions features Jimmy Durante, giving a stirring rendition of his famed nightclub piece "Umbriago." The film won an Academy Award nomination for screenwriter Myles Connelly, plus a special Oscar for moppet Margaret O'Brien. ~ Hal Erickson, Rovi

In this comedy, a slightly addled young advertising executive works for his father's radio-advertising agency. His first job is to hire a famous big-game hunter for an upcoming show. Unfortunately, the man he chooses proves to be a fake and mayhem ensues. ~ Sandra Brennan, Rovi

The second of Universal's "modernized" Sherlock Holmes films pits the Great Detective (Basil Rathbone, of course) against that "Napoleon of Crime," Professor Moriarty (Lionel Atwill). Surpassing his previous skullduggery, Moriarty has now aligned himself with the Nazis and has dedicated himself to stealing a top-secret bomb sight developed by expatriate European scientist Dr. Franz Tobel (William Post Jr.). Before being kidnapped by Moriarty's minions, Tobel was enterprising enough to disassemble his invention and distribute its components among several other patriotic scientists. Racing against the clock, Holmes and Dr. Watson (Nigel Bruce) try to stem the murders of Tobel's colleagues and prevent Moriarty from getting his mitts on the precious secret weapon. The now-famous climax finds Holmes playing for time by allowing Moriarty to drain all the blood from his body, drop by drop ("The needle to the last, eh Holmes?" gloats the villain). Dennis Hoey makes his first appearance as the dull-witted, conclusion-jumping Inspector Lestrade. Constructed more like a serial than a feature film, Sherlock Holmes and the Secret Weapon (based loosely on Conan Doyle's The Dancing Men) is one of the fastest-moving entries in the series; it is also one of the most readily accessible, having lapsed into public domain in 1969. ~ Hal Erickson, Rovi

Up-and-coming Universal leading man Robert Stack made his western-movie debut in Badlands of Dakota. Set in the Dakotas during the days of the Great Gold Boom, the story finds brothers Jim and Bob Holliday (Stack and Broderick Crawford) dukeing it out over the affections of pretty Anne Grayson (Ann Rutherford). While all this is going on, Wild Bill Hickok (Richard Dix) does his best to neutralize the local criminal element-and to fend off the romantic overtures of boisterous Calamity Jane (Frances Farmer). The screenplay juggles the facts a bit, concluding with Calamity performing a self-sacrificing act straight out of Destry Rides Again to save her sweetheart from harm. Just to make sure that the audience doesn't mistake Badlands of Dakota for Real Life, Hugh Herbert is on hand with his patented "Woo woo!" comedy relief. ~ Hal Erickson, Rovi

Three different Universal pictures made between 1922 and 1941 bore the catchall title Don't Get Personal. The 1941 film stars Hugh Herbert as a ditzy pickle manufacturer whose favorite radio program stars Jane Frazee and Robert Paige. The couple plays a bickering husband and wife on the air, and Herbert mistakes their scripted bouts for the real thing. He heads to the radio station to patch up their differences, but succeeds in embroiling the actors in a real battle. Don't Get Personal seems to have been made at the same time as Universal Hellzapoppin' (41), with at least four actors (Hugh Herbert, Robert Paige, Jane Frazee and Mischa Auer) appearing in both films. ~ Hal Erickson, Rovi

Hellzapoppin' is the film version of the "anything goes" Broadway hit starring Ole Olsen and Chic Johnson. The original production was part musical comedy, part "blackout" revue, with wild sight gags, zany props, audience participation sequences, dirty jokes, and never-ending gunshots. There was no plot, and in fact no two performances were exactly alike. When Hellzapoppin' was optioned by Universal, the original intention was to film the play as it stood (minus the more ribald one-liners), but the studio got cold feet and grafted on a conventional plot and romantic interest. The film's story concerns a musical show being staged at a fancy estate, and the romantic triangle of the show's producer (Robert Paige), the wealthy girl who lives at the estate (Jane Frazee), and the girl's erstwhile fiance (Lewis Howard). The show's stars are Olsen, Johnson, and Martha Raye. Martha is mistaken for the wealthy girl by a penniless Russian aristocrat (Mischa Auer), and the entire proceedings are "investigated" by a goofy private detective (Hugh Herbert). Olsen and Johnson are thus reduced to supporting players in their own film, but when they do manage to command the screen, the results are hilarious. The best moments range from a throwaway gag about Citizen Kane (Johnson finds a sled marked "Rosebud" and mutters "I thought they burned that!") to the more elaborate special-effects routines involving the mixed-up projectionist (Shemp Howard) who's ostensibly running Hellzapoppin for the benefit of the film audience. While the movie version fails to completely capture the spirit of the original play (except in a bizarre opening sequence), and the finale is a major disappointment, Hellzapoppin remains one of the few sustained filmic examples of the "nut humor" exemplified by Olsen and Johnson. ~ Hal Erickson, Rovi

The comic effusions of Hugh "woo woo" Herbert helps to keep this otherwise forgettable farce afloat. It all begins when Bob Wade (Tom Brown) and Rosalie Brown (Peggy Moran), are conned into buying a run-down vaudeville agency. Upon taking charge of the failing enterprise, they find they have a partner named Hubert (Herbert),who's likewise been victimized by con artists. Pooling their wits and resources, the three suckers put some life back into their agency by promoting variety acts for department-store window displays. A stupid misunderstanding nearly breaks up the budding romance between Bob and Rosalie, but helpful Hubert patches things up in his own inimitable fashion. ~ Hal Erickson, Rovi

Teenaged soprano Gloria Jean plays the Little-Miss-Fixit heroine in Universal's Little Bit of Heaven. The most precocious member of an impoverished 10th Avenue family, little Midge (Gloria Jean) makes an impulsive appearance on a "man in the street" radio interview show. Catapulted to stardom, Midge becomes the primary support for her family, all of whom begin behaving atrociously and overspended insanely. The only one who doesn't go over the top is Midge's lovable Grandpa (C. Aubrey Smith), with whom our heroine concocts a scheme (straight out of Shirley Temple!) to teach her relatives a lesson. In the previous Gloria Jean starrer If I Had My Way, Universal featured several former Broadway favorites, including Blanche Ring and Julian Eltinge, in cameo roles: the studio repeats this stunt in Little Bit of Heaven, showcasing such silent-movie greats as Maurice Costello, Noah Beery Sr., Charles Ray, Monte Blue, William Desmond and Pat O'Malley as the heroine's "adopted uncles". ~ Hal Erickson, Rovi