Sig Herzig Movies

The Lone Wolf, the gentleman thief created by Louis Joseph Vance, made his talking-picture debut in Columbia's The Lone Wolf's Daughter (the film was essentially silent, save for an opening dialogue sequence). Bert Lytell, who'd essayed the title role so often during the silent era, again appears as Michael Lanyard, alias the Lone Wolf. Promising to reform his ways for the sake of his adopted daughter (Florence Allen), Lanyard is obliged to revert to his old tricks to prevent a jewel robbery. Scotland Yard is convinced that Lanyard has not reformed, but he proves otherwise when he turns the genuine miscreants over to the authorities. Unavailable in recent years for reappraisal, The Lone Wolf's Daughter was remade in 1939 as The Lone Wolf Spy Hunt, easily the best-ever entry in Columbia's long-running Lone Wolf series. ~ Hal Erickson, Rovi

Vaudeville performer George Dwight (Roger Pryor) finds himself stranded in the small town of Walkerville, and talks his way into a job at a music store owned by Sally Upton (Mary Brian). Dwight's personality and piano playing, and his way with plugging a song help make the store a success, but his real goal is a shot at the big time as a songwriter, and he gets it when he sells one of his compositions. That sends him running to New York -- much to Mary's disappointment -- and he manages to wangle a job with a pair of Broadway producers. Over the next couple of years, working closely with leading lady Elsie Warren (Lillian Miles), George Dwight becomes one of the most successful songwriters on the Great White Way, and when he and Elsie tire of the manipulations of their bosses, they decide to break away so that George can produce his work himself. This gives him the chance to write in a more serious mode than he's ever had the opportunity to do before, something that Elsie isn't thrilled with -- George wants to do a show that's not only popular, but also important, with memorable music and an important message. Sally walks back into his life in the midst of the production, and now he wants to resume the romance that she'd hoped would blossom in Walkerville. But he's soon beset by problems when his former producers try to steal the production out from under him, and he's forced to go to a professional gambler, Nick Pappacroplis (Leo Carrillo) to rescue the show. And just when it looks like he's got his chance, along comes Nick's friend Sport Powell (Herbert Rawlinson), who has eyes for Sally and his own designs on the production. ~ Bruce Eder, Rovi

The title doesn't refer to mosquitoes but to the amount of money that could be earned in the radio business of the 1930s. Samuel S. Hinds plays a Major Bowes-type entrepreneur who sponsors a weekly radio amateur contest. Hinds' daughter Wendy Barrie has show-biz aspirations, but dad won't hear of it. She enters his contest under an assumed name, winning not only the prize but the heart of a the program's emcee (John Howard). Millions in the Air is one of the few feature films costarring Broadway comedian Willie Howard, whose Jewish characterization and "blue" humor made him difficult to cast in most Hollywood productions. ~ Hal Erickson, Rovi

A tuneful taxi driver secretly works to achieve his dream of becoming a radio singer in this musical comedy. One day he gives a radio station secretary a lift. She prattles on about a sponsor's new contest. The sponsor, a prominent cheese company, is looking for a singing gondolier to participate in their newest campaign. Later the secretary and the head cheese go to Venice to look for the real McCoy, unaware that the determined cabbie is already there waiting for them. Sure enough, they are fooled and he is hired. Things go really well until he feels compelled to tell the truth during a major broadcast. Songs include: "Lulu's Back in Town", "The Rose in Her Hair", "Lonely Gondolier", and ""You Can Be Kissed"". ~ Sandra Brennan, Rovi

For a change of pace, Warner Bros. contract tenor James Melton sings no opera in Sing Me A Love Song -- nor does he sing anything particularly memorable, either. Melton stars as Jerry Haines, a young man-about-town who takes an entry-level job in his dad's department store. Jerry wants no special favors, so he works under an assumed name, a fact that will lead to complications in due time. Music-counter clerk Jean Martin (Patricia Ellis) is attracted to Jerry, especially when he helps her out by singing the latest tunes for her customers. As their off-and-on romance plays itself out, the film's comedy subplot is carried by Hugh Herbert as zany kleptomaniac Siegfried Hammerschlag, ZaSu Pitts is would-be hillbilly crooner Gwen, and Walter Catlett as a stupidly obsequious floorwalker. In fact, there's so much comedy in Sing Me a Love Song that there's hardly any time to sing that love song! ~ Hal Erickson, Rovi

The disarmingly zany Marry the Girl was one of the better Hugh Herbert "B"-vehicles for Warner Bros. Much of the story takes place within the walls of the ramshackle newspaper syndicate owned by the screwball Radway family. Purportedly the head of the operation, John B. Radway (Hugh Herbert) is under the thumb of his domineering sister Ollie (Mary Boland), while his niece Virginia (Carol Hughes) schemes to abandon journalism in favor of marriage to eccentric caption-writer Dimitri (Mischa Auer). The rest of the plot is a hodgepodge of farce, misunderstandings, and slapstick, all tied in with the solemn pronouncements of psychiatrist Stryker (Alan Mowbray) -- who turns out to be as crazy as the rest. In one of the saner moments of Marry the Girl, a shotgun is fired, whereupon a gaggle of geese in a wall painting suddenly take flight (it's that kind of movie). ~ Hal Erickson, Rovi

If you're wondering which Warners musical featured the songs "Old King Cole" and "Have You Got Any Castles?," we refer you to Varsity Show. Dick Powell stars as a musical producer, called back to his alma mater to stage the annual college variety show. Uptight dean Walter Catlett is dead set against Powell's "scandalous" form of entertainment. The college kids conspire with Powell to stage their show in an empty Broadway theatre during the off-season. Turns out that Powell has Busby Berkeley under contract; well, he doesn't really, but it is Berkeley who stages the "big show" finale, in a spectacular fashion that would be impossible for any stage, college or professional. Among the costars of Varsity Show are Rosemary Lane as the ingenue, Ted Healy (in his last screen appearance) as comic relief, and Our Gang's "Spanky," here billed more formally under his real name, George McFarland. ~ Hal Erickson, Rovi

A standard-issue "screwball comedy" of the 1930s, Four's a Crowd starred a quartet of Warner Bros' biggest stars: Errol Flynn, Olivia DeHavilland, Rosalind Russell and Patric Knowles. Flynn plays a publicity agent hired to stir up "good press" for a nasty millionaire (Walter Connolly). Errol accomplishes this by going back to his old job as editor of a newspaper owned by Knowles, then using the paper to elucidate Connolly's virtues. Along the way, he romances Olivia de Havilland, who plays Connolly's daughter, and Rosalind Russell, portraying--surprise, surprise--Knowles' star reporter. Much to the amazement of the audience, Flynn ends up not with his frequent costar DeHavilland but with Russell. Fast-moving and chucklesome, Four's a Crowd was nothing new; chances are it would never have been made had it not been for the success of the vaguely similar MGM comedy Libelled Lady (36), which likewise had a quadruple-barreled starring lineup (Spencer Tracy, Jean Harlow, William Powell and Myrna Loy). ~ Hal Erickson, Rovi

Louis Armstrong steals the show as the groom to Jeepers Creepers, a skittish racehorse that can only settle down and run when Armstrong croons him the horse's namesake song. The main story concerns a plucky, ingenious salesman, who needing business, poses as a steeplechase jockey and endears himself to a prominent stable owner and his lovely niece. Romantic sparks fly between the girl and the sly fellow and his ruse works well until he is assigned to ride Jeepers Creepers, in the big race. The trouble is, the salesman doesn't know how to ride. On the day of the big race, the horse is extra nervous until Armstrong and a full band ride up beside him and begin performing. The horse then runs like the champ he is, insuring that the salesman gets his girl. Sure, it's a lot of horsefeathers, but who watches these old musicals for the plot? The story was filmed twice before as Hottentot and Polo Joe. Look for Ronald Reagan in a minor role as the stable owner's playboy son. ~ Sandra Brennan, Rovi

They Made Me a Criminal opens in New York, depicting the latest victory in the ring for Johnny Bradfield (John Garfield), a young boxer who seems headed for a championship. When a reporter finds Bradfield drunk and carousing with women, and learns that the squeaky-clean image that he has cultivated is a complete lie, he threatens to blow the lid off the boxer's real life, and is beaten to death by Bradfield's manager. Bradfield, who was in a drunken stupor during the fight, is framed for the killing by his manager, who rolls him for his wallet, watch, and anything else of value, makes a run for it, and is killed in a fiery car accident. As far as the police are concerned, the case is closed, "Bradfield" having been identified in the wreck by the watch he was wearing. But Johnny Bradfield now has to disappear from New York and anyplace else he's ever been seen, in order to stay "dead." He is sent on his way by his crooked attorney with just a few dollars in his pocket, thumbing rides and walking west. Bradfield collapses one day from exhaustion and near starvation outside of a ranch in Arizona. The ranch is run by May Robson as part of a relief effort to help a group of boys from the New York slums -- Tommy (Billy Halop), Spit (Leo Gorcey), Dippy (Huntz Hall), T.B. (Gabriel Dell), Angel (Bobby Jordan), and Milty (Bernard Punsly) -- keep out of trouble. Identifying himself as "Jack Dorney," he first tries to see what he can get in the way of a free ride from the kids and Tommy's sister, Peggy (Gloria Dickson), who doesn't trust Dorney or his influence over the kids. Meanwhile, back in New York, one police detective, Phelan (Claude Rains), is convinced that the body found in the burned wreck of Johnny Bradfield's car wasn't Bradfield. Phelan is an outcast in his department for having once presented "conclusive" evidence in court against a man who was executed for murder, only to discover later that the man was innocent. He sees this as his chance to redeem himself and his career, and he is such a pariah that his chief gives him permission to follow up leads anywhere he needs to. At the ranch, Dorney takes a genuine liking to the kids, and sees Peggy as a kind of woman he's never known, who has no "angles" in her approach to life. The ranch may have to be sold, however, as there is no more money coming from the church in New York to keep it going. In order to save the ranch and set Peggy and the kids up in a roadside business pumping gas -- an idea of Tommy's -- Dorney decides to enter a prize fight for money against a barnstorming boxer. On the eve of the fight, however, Phelan shows up, drawn by a newspaper photo of Dorney, his face obscured but using the same unusual left-handed boxing stance he used as Johnny Bradfield. Dorney goes into the ring, and finds himself up against a brute who has already flattened two opponents in less than one round each, trying to hide his identity by fighting right-handed. He gets savaged, round after round, until Phelan tells him from ringside that he knows who he is. Free to use his left, Dorney saves himself. Phelan confronts him in the dressing room, and Johnny tells him he'll give him no trouble -- they're about to head back east, with Peggy and the kids trying to thank him, and it dawns on Phelan that possibly this is one case that might better be left "solved" officially the way it is already, even though it means the detective going back to his job as a laughing stock. ~ Bruce Eder, Rovi

Three disparate young men struggle to become Army Air Corps pilots in this rousing drama that earned an Oscar for its excellent aerial special effects. The film is also noted for making Veronica Lake, who previously appeared in films under the name Constance Keane, a star. For added realism, the three male leads, William Holden, Ray Milland and Wayne Morris were placed into the same training program at Randolph Field, Texas (and also Kelly Field, Texas) as real recruits. Lake plays a seductress who pursues Holden while Constance Moore plays a female photographer who comes to shoot a story and ends up falling for Milland. By the time the pilots' rigorous training has finished only one will have proved himself fit to fly. ~ Sandra Brennan, Rovi

The 80-star cast of Forever and a Day would certainly not have been feasible had not most of the actors and production people turned over their salaries to British war relief -- a point driven home during the lengthy opening credits by an unseen narrator. The true star of the film is a stately old manor house in London, built in 1804 by a British admiral (C. Aubrey Smith) and blitzed in 1940 by one Adolf Hitler. Through the portals of this house pass a vast array of Britons, from high-born to low. The earliest scenes involve gay blade Lt. William Trimble (Ray Milland), wronged country-girl Susan (Anna Neagle), and wicked landowner Ambrose Pomfret (Claude Rains). We move on to a comic interlude involving dotty Mr. Simpson (Reginald Owen), eternally drunken butler Bellamy (Charles Laughton), and cockney plumbers Mr. Dabb (Cedric Hardwicke) and Wilkins (Buster Keaton). Maidservant Jenny (Ida Lupino) takes over the plot during the Boer War era, while the World War I sequence finds the house converted into a way-station for soldiers (including Robert Cummings) and anxious families (including Roland Young and Gladys Cooper). Finally we arrive in 1940, with American Gates Pomfret (Kent Smith) and lady-of-the-house Lesley Trimble (Ruth Warrick) surveying the bombed-out manor, and exulting over the fact that the portrait of the home's founder, Adm. Eustace Trimble (Smith), has remained intact -- symbolic proof of England's durability in its darkest hours. The huge cast includes Dame May Whitty, Edward Everett Horton, Wendy Barrie, Merle Oberon, Nigel Bruce, Richard Haydn, Donald Crisp, and a host of others -- some appearing in sizeable roles, others (like Arthur Treacher and Patric Knowles) willingly accepting one-scene bits, simply to participate in the undertaking. Seven directors and 21 writers were also swept up in the project. Forever and a Day was supposed to have been withdrawn from circulation after the war and its prints destroyed so that no one could profit from what was supposed to have been an act of industry charity. Happily for future generations, prints have survived and are now safely preserved. ~ Hal Erickson, Rovi

MGM's musical extravaganza Meet the People top-bills two future powerful TV executives: Dick Powell and Lucille Ball. Ball plays a popular but stuck-up Broadway star who leaves the bright lights to become a welder in a shipyard. Here she meets and falls in love with coworker Powell. This being a wartime musical, the plotline is periodically abandoned for the guest-star turns of the likes of Virginia O'Brien, Bert Lahr, Spike Jones and His City Slickers, Vaughn Monroe, and Mata and Hari. Buried beneath this cornucopia of corn is a stage play by Louis Lantz, upon which Meet the People was supposedly based. (Note: some sources mistakenly list Edward Dmytrk as the director of this film). ~ Hal Erickson, Rovi