Herbert Bunston Movies

Society girl Constance Bennett goes to work as a reporter for a big-city newspaper. Harried editor Clark Gable fires the flighty socialite, but rehires her when Bennett starts dating the co-respondent (Harvey Stephens) in a major divorce case. Things get sticky when the wife in the case is murdered and Bennett's beau is accused of the crime. More interested in the well-being of Bennett than in making headlines, Gable tracks down the killer and springs the boy friend. The freed man sizes up the situation and courteously steps out of the picture, allowing Gable and Bennett--who of course have been in love all along--to head for the altar. ~ Hal Erickson, Rovi

Released generally as Cardinal Richelieu, this George Arliss vehicle was based on the popular 19th-century blank-verse play by Lord Edward Bulwer-Lytton. Downplaying the more villainous aspects of the character, Arliss portrays Richelieu as a dry-witted foxy-grandpa type, manipulating the well-meaning but often ineffectual French monarch Louis XIII (Edward Arnold) and cleverly outmaneuvering his scurrilous enemies, especially Louis' power-hungry brother Gaston (Francis Lister). Richelieu even finds time to smooth the romantic path of the young lovers, his young ward Lenore (Maureen O'Sullivan) and handsome Andre de Pons (Cesar Romero) -- though he does this mainly to suit his own political and ecumenical purposes. Highlights include the famous scene in which the wily Richelieu defeats his foes by threatening them with eternal damnation! Richelieu was George Arliss's last American film; henceforth, he would appear only in British productions. ~ Hal Erickson, Rovi

Comparatively little known, this Monogram thriller is a remarkably concise adaptation of Wilkie Collins' lengthy 1868 mystery novel The Moonstone. On a dark and stormy night, Franklin Blake (David Manners) and his Hindu manservant Yandoo (John Davidson) arrive at Vandier Manor to deliver the Moonstone, a priceless gem stolen from an Indian temple way back in 1799. The recipient is Anne Verinder (Phyllis Barry), who despite being warned to lock the Moonstone away in the family vault, chooses to place it under her pillow. Sure enough, the gem is stolen during the night, right from under the sleeping Anne. Scotland Yard inspector Cliff (Charles Irwin) has quite an array of suspects to choose from, the most obvious of whom is usurious Septimus Lucker (Gustav von Seyfertitz). One murder and one assault later, Inspector Cliff reveals the genuine culprit -- who, in time-honored tradition, is the least likely and most cooperative of the suspects. The Moonstone is a prime example of what can be accomplished on a small budget with a little extra time and care. ~ Hal Erickson, Rovi

A witty Norman Krasna script distinguishes this airy romantic comedy. Millionairess Dorothy Hunter (Miriam Hopkins) is tired of finding out that her boyfriends love her for her money, and equally weary of losing eligible beaus who don't want to be considered fortune-hunters. That's why she trades identities with her secretary Sylvia (Fay Wray) before embarking on her next romance with Tony Travers (Joel McCrea). This causes numerous complications not only for Dorothy and Tony but for Sylvia, whose own husband Philip (Reginald Denny) is not the most patient of men. The Richest Girl in the World was remade in 1944 as Bride by Mistake, and in 1955 as the Jane Russell musical The French Line. ~ Hal Erickson, Rovi

Based on the novel and play by James M. Barrie, The Little Minister turned out to be Katharine Hepburn's best vehicle since Little Women. John Beal plays the Reverend Gavin, the sobersided new cleric of a tiny Scottish village. Almost against his better judgment, Beal falls in love with Babbie (Hepburn), a feisty gypsy girl whom the villagers regard as a pariah. Thanks to this "unholy" alliance, the little minister is nearly run out of town, but when he is accidentally stabbed in a fracas, the townsfolk come to their senses. Previously filmed in 1921, The Little Minister was afforded sumptuous production values by RKO Radio (its elaborate Scottish-village set would later pop up in innumerable films, notably Laurel & Hardy's Bonnie Scotland), and benefits immeasurably from the spirited performances of all concerned. Alas, the film was too expensive to post a profit, and despite respectable business it ended up $9000 in the red. ~ Hal Erickson, Rovi

Based on the Broadway hit by George S. Kaufman and Edna Ferber, Dinner at Eight is a near-flawless comedy/drama with an all-star cast at the peak of their talents. Social butterfly Mrs. Oliver Jordan (Billie Burke) arranges a dinner party that will benefit the busines of her husband (Lionel Barrymore). Among the invited are a crooked executive (Wallace Beery), who is in the process of ruining Jordan; his wife (Jean Harlow), who is carrying on an affair with a doctor (Edmund Lowe); a fading matinee idol (John Barrymore), who has squandered his fortune on liquor and is romantically involved with the Jordan daughter (Madge Evans); and a venerable stage actress (Marie Dressler), who since losing all her money has become a "professional guest." Nothing goes as planned, due to various suicides, double-crosses, compromises, fatal illness, and servant problems. But dinner is served precisely at eight. The script by Herman Mankiewicz, Frances Marion, and Donald Ogden Stewart is a virtual enclyopedia of witty lines and scenes, right down to the unforgettable closing gag. ~ Hal Erickson, Rovi

First filmed in 1911, William Makepeace Thackeray's satirical novel Vanity Fair has undergone several cinemadaptations, most memorably as the pioneering Technicolor feature Becky Sharp (1935). This 1932 version is perhaps the least known, probably because it has been updated to the 20th century and it isn't terribly good. In her first starring role, Myrna Loy plays the modernized Becky Sharp, a crafty lass who'll do anything to advance herself socially, even if it means romancing several older men whom she doesn't love. Going from rags to riches and back again several times, Becky continually bounces back, though the same cannot be said for many of her male companions. Of the large cast, the biggest surprise is former 2-reel comedy star Billy Bevan, who makes a surprisingly effective Joe Sedley (the character played in the 1935 Becky Sharp by Nigel Bruce). Not a classic by any means, Vanity Fair gets by on its curiosity value. ~ Hal Erickson, Rovi

On something of a "literary binge" in the early 1930s, low-budget Monogram Pictures acquired the screen rights for the well-known Gaborieu detective yarn File 113. Lew Cody stars as urbane Parisian detective Le Coq, who must contend with a bank robbery and blackmail scheme. Le Coq is anxious to get both cases over with in a hurry lest his love life with Mlle. Adoree (Mary Nolan) suffer from neglect. Departing from the Gaborieu original, the film ends with an exciting chase across the roofs of Gay Paree. Clara Kimball Young, who like Lew Cody had been a silent-screen favorite, does her best in an unsympathetic role. ~ Hal Erickson, Rovi

Boris Karloff stars as the villainous Dr. Fu Manchu in this wild and wooly -- and wildly racist -- adventure yarn, based on Sax Rohmer's fiction about the personification of the "yellow peril." Sir Nayland Smith (Lewis Stone) of the British Secret Service recruits Sir Lionel Barton (Lawrence Grant) to lead an expedition with Prof. Von Berg (Jean Hersholt) and McLeod (David Torrence) to the Gobi Desert, to find the tomb of Genghis Khan and retrieve the scimitar and golden mask held within. To Barton, these are mere archeological trophies, but Smith has learned that Dr. Fu Manchu also has his designs on them; and if he gets hold of these artifacts, he will use them to cause a rising in the East, and foment a war for the destruction of the white race. The action is fast and furious, resembling a Saturday-morning serial, as Barton is kidnapped and brought to Fu Manchu, who proceeds to torture him to find the location of the tomb. Barton's daughter, Sheila (Karen Morley), replaces her father to guide the expedition, accompanied by her fiancé, Terry Granville (Charles Starrett). They find the tomb and retrieve the sword and mask, and find themselves in the company of Nayland Smith as they try to return to England, and surrounded by enemies on all sides. One man is dead and soon Terry is in the hands of Fu and his sadistic daughter Fah Lo See (Myrna Loy), who proceeds to torture him; Nayland Smith is slowly being lowered into a pit of crocodiles, Von Berg is trapped between moving spiked walls, and Sheila Barton is about to be sacrificed as part of the ritual in which Fu will declare himself the reincarnation of Genghis Khan. ~ Bruce Eder, Rovi

In this romantic comedy, a milquetoast bookworm finds his life transformed when he takes the advice of a fortune teller and travels to Central America. There he finds a distressed young woman about to be sold into marriage. His attempts to rescue her change him into a swashbuckling hero. In the end they marry. ~ Sandra Brennan, Rovi

In this drama, a Russian woman marries a British aristocrat, bears him a daughter, and is forced to abandon them by his snooty family when he decides to run for Parliament because constituents would disapprove of her eccentric Russian ways. The poor wife moves to Paris and many years pass. The daughter travels to Paris, and there unknowingly meets her mother who gives her some sage advice when the young woman falls in love with a man her father disapproves of. ~ Sandra Brennan, Rovi

Based on Frederick Lonsdale's The High Road, The Lady of Scandal is typical of the "teacup drama" genre so prevalent during the early talkie period. It all begins with down-to-earth musical comedy star Elsie (Ruth Chatterton) visiting the home of her aristocratic fiancee, John (Ralph Forbes. She briefly becomes acquainted with his cousin Edward (Basil Rathbone), an individual of dubious character allegedly nursing an affair with a married woman. In time, two changes occur during Elsie's visit to the stiff and formal household: first, each family member falls under her spell and "loosens up"; Elsie and Edward also become amorously entwined, and in the end - when the husband of Edward's married lover dies, Elsie must make a sacrifice to this woman. In the process, she also realizes that she does not love John and wishes to return to the theater. Extremely stagy and garrulous, the film also incorporates a great deal of humor to offset the prospective melodramatic pitfalls of the material. ~ Hal Erickson, Rovi