Paul Jones Movies

In this comedy classic, Jerry Lewis plays Jerome Littlefield, an orderly in a mental hospital in this slapstick situation comedy that makes full use of Lewis's patented brand of screwball comedy. Dr. Jean Howard (Glenda Farrell) is the exasperated head of the sanitarium who almost becomes a patient after the antics of the frantic employee. Jerome takes on the symptoms of most of his patients and helps Susan Andrews (Susan Oliver) go from a woman considering suicide to an alluring woman of sensual confidence. When talkative patient Alice Pearce relates her maladies to Jerry, he hilariously has psychosomatic symptoms that mirror those of the woman. ~ Dan Pavlides, Rovi

Jerry Lewis stars in this broad slapstick comedy as Lester March, a TV repairman who dreams of some day being a private detective like his friend and role model Mr. Flint (Jesse White). One night, Lester sees a report on television about Cecilia Albright (Mae Questel), the elderly owner of a successful electronics empire. Cecilia is looking for her missing nephew, who will be the heir to her estate, and Lester decides that this is a case he should try to crack. However, when Lester pays a visit to Cecilia's estate, more than one person remarks that he looks an awful lot like the missing person in question -- including Gregory DeWitt (Zachary Scott), Cecilia's money-hungry attorney who would just as soon the nephew not be found so he could have the fortune to himself. Gregory attempts to kill Lester, but he turns out to be much harder to get rid of than anyone expected. It's Only Money was directed by Frank Tashlin, who after directing a number of classic animated shorts for Warner Bros. moved on to live-action films and made several classic Jerry Lewis vehicles, including two features with onetime partner Dean Martin. ~ Mark Deming, Rovi

This comedy is a remake of 1941's The Lady Eve, and tells the story of the vegetarian son of a prominent meat packer who is sailing back from an African safari when he meets and falls in love with a con-artist's lovely daughter. Posing as a military officer, the card-sharp and his boys have come to fleece a few wealthy passengers at poker. The daughter finds the milque-toast son irresistible and much to her father's dismay, they fall in love. Unfortunately their happiness is nearly destroyed when someone tells him the truth about her father. Fortunately, that is not the end of their affair. ~ Sandra Brennan, Rovi

Bob Hope tries to capture the comic magic of his 1946 costume farce Monsieur Beaucaire with the splashy Technicolor romp Casanova's Big Night (filmed in 1952, released in 1954). Set in 18th century Venice, the film casts Hope as Pippo, the humble tailor of notorious ladies' man Casanova (an unbilled Vincent Price). When Casanova skips town without paying his debts, the local tradesman's guild, led by Casanova's butler Lucio (Basil Rathbone), conspire to pass off one of their number as the great lover and arrange a profitable marriage. Selected to impersonate Casanova is the hapless Pippo, who soon afterward is hired by the imperious Duchess of Castelbello (Hope Emerson) to test the fidelity of the duchess' future daughter-in-law Elena (Audrey Dalton). Along the way, Pippo is given lessons in etiquette and swordsmanship by both Lucio and tradeswoman Francesca (Joan Fontaine). Eventually, Pippo finds himself up to his neck in court intrigue, courtesy of the scheming Doge of Venice (Arnold Moss). Further complications include a couple of hilarious swashbuckling scenes, an interlude in a dungeon with addlepated prisoner Emo (Lon Chaney), and the obligatory disguise scene. The Pirandellian ending of Casanova's Big Night was later imitated by such films as The Maltese Bippy (1969) and Wayne's World (1992). Bob Hope is in fine form, the production is sumptuous and the supporting cast superb, but somehow there's a little something missing in Casanova's Big Night. ~ Hal Erickson, Rovi

Martin and Lewis tee each other off on a PGA tour in The Caddy. Harvey Miller (Jerry Lewis) is an expert with his golf club, except when he tries to play in front of a crowd -- then he completely loses control. With his mind set on getting into the PGA one way or another, he latches onto Joe Anthony (Dean Martin), a stylish gadabout. Harvey teaches Joe everything he knows about the game, and when Joe enters a tournament, Harvey does too -- as his caddy. But while the golf fans still make Harvey go wild, laid-back Joe feeds upon their applause. As Joe's game improves, his ego grows, and he begins to think Harvey is useless and wants to take the tour alone. The Caddy introduced the Dean Martin classic That's Amore to the world of kitsch and features a bevy of real life professional golfers in cameo roles -- including Sam Snead, Byron Nelson, and Julius Boros. ~ Paul Brenner, Rovi

Because of its misleadingly sensual title and the participation of screenwriter/director F. Hugh Herbert (author of the once-notorious "The Moon is Blue"), Girls of Pleasure Island was ballyhooed in 1953 as the ultimate in sex and sin. In truth, the film is an innocent, inconsequential WW II comedy, designed to showcase Paramount's crop of "new faces." Leo Genn plays Roger Halyard, a stiff-upper-lip British gentleman who lives on a South Pacific Island with his three nubile, naïve daughters, Violet (Joan Elan), Hester (Audrey Dalton) and Gloria (Dorothy Bromiley). Hoping to shelter the girls from the lascivious advances of the opposite sex, Halyard is thwarted when 1500 Marines arrive to transform the island into an aircraft landing base. Despite the best efforts of Halyard, his housekeeper Thelma (Elsa Lanchester),and marine colonel Reade (Phil Ober), romance blossoms between the three girls and a trio of handsome leathernecks (one of whom is a young Gene Barry). Top billing in Girls of Pleasure of Island is bestowed upon Don Taylor as Lieutenant Gilmartin, whose warm relationship with Hester Halyard (Dalton) carries most of the plotline. ~ Hal Erickson, Rovi

Hot on the heels of Columbia's The Fuller Brush Man, MGM released another Red Skelton gagfest, A Southern Yankee. Set during the Civil War, the film casts Skelton as bumbling bellboy Aubrey Filmore. Yearning to help the Northern cause by becoming an undercover spy, Aubrey succeeds beyond his wildest dreams when circumstances force him to pose as notorious Southern secret agent Major Drumman (George Coulouris), aka "The Grey Spider". Infiltrating rebel territory, our hero does his best (which is none too good) to intercept the Grey Spider's messages and smuggle them to the North. Along the way, he falls in love with pert Southern belle Sallyann Weatherby (Arlene Dahl). Many of the side-splitting gag routines were devised by Buster Keaton, notably the now-famous scene in which Aubrey gingerly walks across the battlefield between Northern and Southern lines carrying a two-sided flag -- the Northern Stars and Stripes on one side, the Southern Stars and Bars on the other -- a strategy that works until the wind suddenly changes! Though Edward Sedgwick is credited with the direction, Red Skelton later revealed that A Southern Yankee was actually directed by S. Sylvan Simon. ~ Hal Erickson, Rovi

Adapted from the popular stage play of the same name, Dear Ruth features Mona Freeman as teenaged Miriam Watkins, who can't keep her nose out of other people's affairs. Fired up by patriotism, Miriam inaugurates a warm pen-pal relationship with an overseas air force officer (William Holden), hinting at a future marriage. When the airman arrives in town, he insists upon seeing Miriam's older sister Ruth (Joan Caulfield). It seems that Miriam, in an effort to appear older, signed her letters with her sister's name, and even enclosed her sister's picture. Ruth, however, is engaged to her nerdish employer (Billy DeWolfe), and it isn't hard to imagine the plot convolutions that ensue from this set-up. Dear Ruth was written by Norman Krasna, who based the Watkins household on the family of his old friend Groucho Marx (whose first wife's name was Ruth). ~ Hal Erickson, Rovi

The first "Road" picture in three years (the last was The Road to Morocco), Road to Utopia is set during the Alaskan gold rush. Bob Hope and Bing Crosby play a pair of third-rate San Francisco entertainers, Chester Hooton and Duke Johnson, who are obliged to skip town in a hurry. They book passage on a ship to Alaska, where they run afoul of escaped murderers Sperry (Robert H. Barrat) and McGurk (Nestor Paiva). Through a fluke, Chester and Duke overpower the killers, then get off the ship in Skagway disguised as Sperry and McGurk so that they themselves can evade the authorities. The boys can't understand why everyone is so afraid of them, nor why saloon owner Ace Larson (Douglas Dumbrille) and Larson's moll Kate (Hillary Brooke) are so chummy. It turns out that Sperry and McGurk had stolen a deed to a valuable gold mine before escaping to Alaska. Sal Van Hoyden (Dorothy Lamour) is the rightful owner of that deed, thus she too shows up in Skagway, hoping to extract the document from Chester and Duke. Whenever the plot threatens to become too difficult to follow, narrator Robert Benchley shows up to explain things -- which of course only adds to the confusion. At any rate, the whole affair ends up with Chester, Duke, and Sal running through the snowy wastes, with the villains in hot pursuit. Duke nobly stays behind to fight off the bad guys himself, handing the deed to Chester and Sal and wishing them Godspeed. Flash-forward to 1945: Chester and Sal, both old and wealthy, are reunited with their equally aged pal Duke, who wasn't killed after all. Sal tells Duke that Chester has been a wonderful husband and father. Yes, father...and wait till you see who plays their child ("We adopted him!"). ~ Hal Erickson, Rovi

This curious mixture of comedy, romance and melodrama teams up comic actor Eddie Bracken and glamour girl Veronica Lake, two of Paramount's most popular stars of the mid-1940s. He plays Ogden Spencer Trulow III, a wealthy kleptomaniac; she plays Sally Martin, who may or may not provide the "cure" for the lovesick Trulow. As it turns out, Sally is a professional thief, part of a gang planning to rip off the Romanoff necklace. Trulow tries to prevent this, and in so doing divest himself of his own kleptomania. Sally's cohorts aren't at all interested in Trulow's problems, and accordingly spend half the film trying to bump him off. Buried somewhere in the glossy silliness of Hold That Blonde is a pre-WW1 play by Paul Armstrong; some of the sight gags in the film are even older than the Armstrong original. ~ Hal Erickson, Rovi

The overcrowding in WWII-era Washington, D.C., provided the concept for this comedy, as well as another film from the previous year, The More the Merrier (1943). Lee Stevens (Fred MacMurray) is an executive from a toy company owned by T.J. Todd (Edward Arnold). In hopes of landing a lucrative wartime production contract, Todd has dispatched Stevens and Jane Rogers (Paulette Goddard), a secretary, to Washington, D.C., for a meeting with a political fat cat. Once there, Jane foolishly cancels their hotel reservations, unaware that the capitol is so jammed that there is nowhere else to stay. She devises a plan -- she and Lee will pose as servants in the home of wealthy Ira Cromwell (Roland Young), where their lodging will be part of their salary. Lee is a disaster as a domestic, and when the very same politician they've come to meet arrives for a formal dinner, disaster looms. Standing Room Only (1944) was the third of five films in which MacMurray and Goddard would appear together. ~ Karl Williams, Rovi

True to Life stars Dick Powell as a radio writer in search of saleable material. He comes up with a weekly sitcom about a typical American family. To soak up inspiration, he hangs around the household of waitress Mary Martin and her parents (Ernest Truex, Mabel Paige), transcribing their conversations for use on the air. When Mary listens to the radio and discovers that Powell's attentions towards her are strictly professional, she runs to the arms of Franchot Tone. But Powell convinces her that his ardor is genuine--while musical fans are disappointed that only one song has been sung in the whole of True to Life. Devotees of two-reel comedies will note the presence of veteran second bananas Billy Bletcher and Bud Jamison as two of the "family members" in Dick Powell's radio series. ~ Hal Erickson, Rovi