Ben Holmes Movies

The One Crowded Night of the title takes place at a tourist camp on the outskirts of the Mojave Desert. In true "Grand Hotel" fashion, the film manages to keep several subplots going at once, all of them resolved in one fell swoop by fadeout time. Former gun moll Gladys (Billie Seward) hopes to find happiness with honest truckdriver Joe (William Haade), but her past catches up with her in the form of escaped convict Jim (Paul Guilfoyle). Lunch-counter waitress Annie (Gale Storm) allows gas station attendant Vince (Dick Hogan) to flirt with her. Young mother-to-be Ruth (Adele Pearce), on the verge of giving birth, is unexpectedly reunited with her AWOL sailor husband Mat (Gaylord Pendleton). Quack doctor Joseph (J. M. Kerrigan) tries to peddle his miracle elixir. A pair of gunmen show up to knock off Jim, a couple of MPs arrive to pick up Mat, and so it goes?.. ~ Hal Erickson, Rovi

Radio comedian Joe Penner, of "You Naaassty Man!" fame, was very much an acquired taste in 1938, and even more so when seen today. Nevertheless, such Penner movie vehicles as I'm From the City never failed to make a tidy profit for RKO Radio Pictures. In this one, the star plays a circus bareback rider who happens to be deathly afraid of horses. In order to perform his equestrian act, Penner must be hypnotized, whereupon he turns into a fearless, ridin' fool. This single joke is stretched across 7 reels as Penner finds himself participating in a grueling cowboy race, snapping out of his hypnotic trance at the most inopportune of moments. Former dancer Lorraine Krueger is actually funnier then Penner in the role of the hero's birdbrained girlfriend, as is Paul Guilfoyle as a comic-strip Indian. ~ Hal Erickson, Rovi

Joan Fontaine was still two years away from full stardom when she appeared in the B-plus comedy Maid's Night Out. Future cowboy star Allan Lane plays Bill, a millionaire's son who, to win a bet with his father (George Irving), sets out to prove that he can succeed without his family's money. While working as a milkman, Bill offers a lift to Sheila (Fontaine), whom he takes to be a housemaid. In fact, Sheila was also born into wealth, but she doesn't let Bill know that, fearful that she'll lose his love; Bill likewise keeps his actual identity a secret for the same reason. Adding to the fun is the presence of Hedda Hopper, making one of her final acting appearances before devoting herself full-time to her gossip columnist. Film buffs will also enjoy a fleeting but hilarious jibe at Hopper's number-one rival Louella Parsons. ~ Hal Erickson, Rovi

In this comedy, the shady editor of a newspaper does all he can to keep his best reporter from marrying a journalist from a rival paper. In spite of the editor, the wedding day finally comes. The happy couple is at the alter when suddenly the woman gets news of a big scoop. Without a backward glance she leaves her groom to get the story first. ~ Sandra Brennan, Rovi

In this homespun comedy, a farm family in Iowa lead a pastoral existence until old Ma decides that they must pull up stakes and head for Hollywood so their daughter can become a movie star. As it turns out, it is Pa who becomes the movie star, while the domineering stage Ma almost destroys her daughter's love life with her obsession. To protect his kin, Pa takes the family back to their peaceful farm. ~ Sandra Brennan, Rovi

Dithery ZaSu Pitts is miscast as novelist Stuart Palmer's crime-solving schoolmarm Hildegarde Withers in The Plot Thickens. As usual, Hildegarde tries to figure out the connection between two ostensibly unrelated murders. The unifying factor turns out to be a priceless museum artifact, targeted for pilfering by a gang of international art thieves. James Gleason, a holdover from RKO Radio's previous Hildegarde Withers films with Edna May Oliver and Helen Broderick, is back as Hildegarde's friendly nemesis, Inspector Oscar Piper. The Plot Thickens was released in Great Britain as The Swinging Pearl Mystery. ~ Hal Erickson, Rovi

Considered by many to be the best of the many Bert Wheeler-Robert Woolsey vehicles of the 1930s, Cockeyed Cavaliers is set in Merrie Olde England, where the comic-opera ambience is immediately established when a Walter Winchellesque town crier (Franklin Pangborn) sings the local gossip. Bert and Bob play a pair of wandering indigents who are constantly in trouble because of Bert's chronic kleptomania. "My doctor tells me it's a sickness," he explains." Bob: "Well, why don't you take something for it?" Bert: "I've already taken everything." Bert's latest bit of unintentional larceny earns the boys a few hours in the local pillory, where the villagers pelt them with vegetables until they are rescued by a feisty young boy. Unbeknownst to our heroes, the "boy" is beautiful young Mary Ann (Dorothy Lee), who has disguised herself to escape an arranged marriage with the gross and gouty Duke of Weskit (Robert Grieg). Stopping over at a local inn, Bert, Bob and the in-drag Marian make the acquaintance of a lusty Baron (Noah Beery), who celebrates his recent hunting trip in song. Forced to make a quick getaway when the local constable shows up, Bert and Bob "borrow" the clothes of a pair of drunken royal physicians (Snub Pollard and Jack Norton) and escape in the doctors' coach, with Mary Ann still in tow. Following the instructions found in the coach, the boys stop over at the home of the Duke of Weskit, obliging Mary Ann to remain in disguise. Bert and Bob ingratiate themselves with the Duke by curing his stomach ache (using a horse-doctor book!), while Bob tries to make time with Weskit's gorgeous niece Lady Genevieve (Thelma Todd) -- never dreaming that "Genny" is the wife of the irascible Baron whom they previously met at the inn. All sorts of double-entendre nonsense ensues before Bert and Bob save themselves from the Baron's jealous wrath by capturing an elusive wild boar, a contingency that also permits Bert to wed Mary Ann, whose true identity has finally been revealed. Elaborately produced on leftover sets from RKO Radio's The Little Minister, Cockeyed Cavaliers is a gem of a comedy, filled to overflowing with clever dialogue and hilarious sight gags. Musical highlights include the novelty song "I Went Hunting (And the Big Bad Wolf is Dead)" and the delightful "Dilly Dally." ~ Hal Erickson, Rovi

Broadway comedians Bobby Clark and Paul McCullough were as popular as the Marx Brothers during the 1920s and 1930s. While mustachioed straight man McCullough was essentially a fur-coated nonentity, Clark was hailed as a comic genius, a master of the instant adlib and zany nonsequitur. Certainly no one looked more like a comedian than Clark, who sported a pair of painted-on hornrimmed glasses and wore an impossibly wide-brimmed hat. From 1930 to 1936 (the year of McCullough's death), Clark and McCullough turned out an average of six 2-reel comedies per year for RKO Radio Pictures. While many were mediocre, a handful are as amusing today as they were six decades ago. Clark and McCullough: Inspired Madness contains three of their best short subjects: The Druggist's Dilemma (1933), Fits in a Fiddle (1933) and Alibi Bye-Bye (1935). The last-named film, wherein the pair portray "alibi photographers" in Atlantic City, is perhaps the funniest of the batch. One quibble: why not include the team's all-time best effort, 1934's Odor in the Court? ~ Hal Erickson, Rovi

An elderly gentleman finds himself in a difficult situation when he finds himself faced with becoming a burden on his children or going into an old folks home. ~ Sandra Brennan, Rovi