William Keighley Movies

Errol Flynn buckled his last swash in The Master of Ballantrae, playing out the final film of his Warner Brothers contract in this high seas adventure, liberally adapted from the Robert Louis Stevenson yarn. Flynn plays Jamie Durrisdeer, a Scottish heir, who fights for freedom against the British. When the rebels are defeated, Jamie must flee to the West Indies with Col. Francis Burke (Roger Livesey), an Irish soldier of fortune, in order to escape capture. After battling pirates, Jamie puts together a small fortune and returns to Scotland to marry his true love, Lady Alison (Beatrice Campbell). But Jamie's hopes are dashed when he finds that Lady Alison, thinking that Jamie was dead, is now engaged to his brother Henry (Anthony Steel), who may have betrayed Jamie to the English. ~ Paul Brenner, All Movie Guide

Rocky Mountain was planned as a big budget western, but Warner Bros. pared down both its budget and its length to "programmer" dimensions. Errol Flynn plays a Confederate officer trying to recruit troops in California. Unfortunately the only folks interested in the Southern cause are bandits and drifters, so Flynn has to watch his back. The fiancee (Patrice Wymore) of a Union Army officer (Scott Forbes) is rescued from an Indian attack by Flynn's men, but they are reluctant to release her lest she tip off their whereabouts. A Yankee patrol headed by the girl's fiance is captured by Flynn, but he eventually allows the Yanks and the girl safe passage in order to save them from an Indian massacre. Rocky Mountain was no great advance in cinematic art, but it did serve to introduce Errol Flynn to Patrice Wymore, who became his third (and last) wife. ~ Hal Erickson, All Movie Guide

Honeymoon stars an attractively grown-up Shirley Temple as Barbara, the sweetheart of a GI corporal named Phil (Guy Madison). Eloping to Mexico City, Barbara discovers that her boy friend, stationed in the Panama Canal zone, is tied up in bureaucratic red tape and may not make it to his own wedding. The headstrong bride-to-be enlists the reluctant aid of American consul Flanner (Franchot Tone), leading to any number of compromising situations involving Barbara, Flanner, and Flanner's own girl friend Raquel (Lina Romay). The film extracts most of its laughs from the legal and language barriers facing Barbara and her beau while south of the Border. Posting a $675,000 loss, Honeymoon unfortunately proved that Shirley Temple's drawing power had slipped considerably since her 1930s heyday. ~ Hal Erickson, All Movie Guide

Neither James Cagney nor Bette Davis were particularly pleased with the outdated screwball comedy The Bride Came C.O.D., but both performers behaved with thorough professionalism, doing a lot more for the film than the film did for them. Davis stars as flighty heiress Joan Winfield, whose impending marriage to bandleader Allen Brice (Jack Carson) does not rest well with her oil-rich father Lucius K. Winfield (Eugene Pallette). When Joan announces that she intends to defy her father's wishes and elope with Brice, Winfield hires charter pilot Steve Collins (Cagney) to kidnap the girl and deliver her back home, C.O.D. Nearly bankrupt, Steve goes along with the scheme, but on the return flight his plane crashes in the desert. Realizing that he's only a few miles from civilization, Steve schemes to keep Joan from signalling any potential rescuers by chasing her into an old tunnel and convincing her that they're hopelessly lost. When Joan tumbles to the scheme, she forces Steve to let her marry Brice. The surprisingly cooperative Steve agrees, knowing full well that he still has a few aces up his sleeve. So guess who Joan ends up with at fadeout time? Genuine laughs are few and far between in this hectic farce, but at least Bette Davis has one hilarious moment, predicated on her outraged delivery of the word "Mustard!" ~ Hal Erickson, All Movie Guide

Four Mothers was the last of three films inspired by Fannie Hurst's sentimental novel Sister Act. As in the earlier Four Daughters and Four Wives, the quartet of heroines-Ann, Kay, Thea and Emma Lemp-are enacted by real-life siblings Priscilla, Rosemary and Lola Lane, and by Gale Page as the fourth sister. As the film opens, all four daughters are happily married, and three are mothers. The girls return to the home of their musician-father Adam Lemp (Claude Rains) for a family reunion, whereupon Thea's husband Ben Crowley (Frank McHugh) inveigles the family and the rest of the community into investing in a "land boom." A disastrous hurricane wipes out everyone's hopes-and their bank accounts-but things begin to look up a bit in the final reel. As a bonus, the previously barren fourth daughter Emma announces that she has finally become pregnant (thereby justifying the title). Like its predecessors, Four Mothers is expertly produced, directed and acting, but the franchise was beginning to wear out its welcome. ~ Hal Erickson, All Movie Guide

Officially, America had no intention of entering the Second World War in 1940: Why, then, were there so many "preparedness" pictures like The Fighting 69th? This film, based on the experiences of military priest Father Duffy (Pat O'Brien), is set during World War I. The US 69th division was a national guard contingent comprised of Irish Americans, who fought with the Rainbow Division in the years 1917-1918. Into this Hibernian stronghold comes cocky Jerry Plunkett (Jimmy Cagney), a streetwise tough who is certain that he can lick the Germans single-handedly. But during his first taste of real combat, Plunkett turns coward and inadvertently reveals the 69th's position. Held responsible for the deaths of his companions, Plunkett is sentenced to a firing squad. Thanks to a conveniently dropped bomb that levels the stockade in which he is held, Plunkett redeems himself on the battlefield by sacrificing his life to save his fellow soldiers. The beauty of James Cagney's star performance is that he is as thoroughly convincing as a "yellow belly" as he is a hero. In addition to father Duffy, the real-life personages depicted in The Fighting 69th include future OSS leader Wild Bill Donovan (George Brent) and poet Joyce Kilmer (Jeffrey Lynn). Other Irish "regulars" include Alan Hale, Frank McHugh, Dennis Morgan, and Sammy Cohen. ~ Hal Erickson, All Movie Guide

S.N. Behrman's hit Broadway show about a guy who writes hit Broadway shows comes to the screen in this comedy. Gaylord Esterbrook (James Stewart) is a reporter from Minnesota who writes a play about life in New York City -- a place he's never visited. To his surprise, a Big Apple producer wants to stage Gaylord's show and asks him to come to New York immediately. While Gaylord hardly seems like a Big City sophisticate, his regular-guy charm makes a big impression on leading lady Linda (Rosalind Russell), who is tired of jaded braggarts like her director, Morgan (Allyn Joslyn). Gaylord and Linda get married, and he becomes one of the most successful playwrights in town, but his new popularity goes to his head, and Linda wonders what happened to the man she married. However, Gaylord's career takes a turn for the worse when he meets Amanda (Genevieve Tobin), a snooty high society type who convinces him that he ought to be writing the Great American Tragedy instead of crowd-pleasing comedies. ~ Mark Deming, All Movie Guide

In this comedy, a young woman is determined to spend a weekend with her lover before he takes off to Europe for his new job. Her mother, a devout feminist, disapproves of her daughter's plan. When her daughter learns that her mother had a similar youthful affair with a poet years before, she uses that to convince her mother to change her mind. The two spend their weekend, but nothing much happens until they return to find her family is in an uproar. The girl then heeds her grandmother's advice and travels with her lover across the Atlantic. While aboard the ship, the two get married. ~ Sandra Brennan, All Movie Guide

Kay Francis fights off tears, deprivations and a mediocre script in Warner Bros.' Secrets of an Actress. La Francis plays Fay Carter, a popular Broadway star romantically involved with architect Dick Orr (George Brent), who has put up the money for her latest production. Problem is, Dick is already married-albeit unhappily-to selfish Carla Orr (Gloria Dickson). When Carla refuses to give Dick a divorce, he decides to kick over all the traces and sail off alone to Norway. Fay manages to prevent Dick from making this radical move, simultaneously giving him up. Fortunately, Dick's business partner Peter Snowden (Ian Hunter), who isn't married, is waiting in the wings. ~ Hal Erickson, All Movie Guide

In this lively comedy, three young hell-raisers enroll in the Virginia Military Institute and have a hard time staying out of trouble. ~ Sandra Brennan, All Movie Guide

In 1882, Mark Twain published a delightful fairy tale "for young people of all ages"; 45 years later, Warner Bros., inspired by the real-life coronation of Edward VII, created a lavish screen version starring radio favorites Billy and Bobby Mauch in the title roles and Errol Flynn as their dashing savior. As Jane Seymour (Helen Valkis), consort of King Henry VIII (Montagu Love), gives birth to the heir to the throne, the later Edward VI (Bobby Mauch), Tom Canty (Billy Mauch) is born in the nearby slums. Years later, as King Henry is near death, providence brings the two together and they discover that they share a striking resemblance. Having changed clothes with Tom during play, Edward Tudor is mistaken for a pauper by the Captain of the Guard (Alan Hale) and evicted from the palace. In contrast, Tom is believed to be the Prince of Wales by all of sundry and, when protesting, is treated as mentally unsound. Only the Earl of Hertford (Claude Rains), the king's scheming advisor, realizes the truth but keeps quiet to further his own career. With a price on his head, the real Edward lives the life of a pauper among the thieves and beggars of London, befriended only by Miles Hendon (Flynn), whom he, to Miles' great amusement, creates an earl. But despite his skepticism, Miles is right there to rescue Edward from the murderous Captain of the Guard and return him to the palace just as Tom is about to be crowned king. Proving his true identity by locating the missing Seal of England, Edward is restored to the throne and Hertford is banished from the realm. Miles is recognized for his bravery and Tom is made a ward of the king for life. ~ Hans J. Wollstein, All Movie Guide

The Green Pastures began life as a group of "revisionist" Biblical stories titled Ol' Man Adam and His Chillun, written in exaggerated Negro dialect by white humorist Roark Bradford. These Old Testament stories were purportedly told from the point of view of an elderly black Sunday School teacher, who translated the Biblical prose into words that his congregation ("untutored black Christians" was Bradford's description) could readily understand. Thus, "De Lawd" behaves very much like a Southern black Baptist preacher; Heaven is a wondrous bayou-like land of big cigars and eternal fish fries; "Cap'n" Noah is a languid ferryboat skipper who argues with De Lawd over the advisability of bringing along a couple of kegs of liquor on the Ark; and the court of the Pharoah is redefined as a "Mystic Knights of the Sea" type lodge hall, with Moses introduced as a "conjure man". It is, of course, a white man's perspective on black life, but both the original "Ol' Man Adam", and the subsequent Pulitzer Prize-winning stage version written by Marc Connelly and retitled Green Pastures, have a lot more clarity, profundity and spiritual reverence than most "serious" Biblical adaptations. In this 1936 film version of the Connelly play, Rex Ingram is nothing less than brilliant as De Lawd, speaking the most ludicrous of lines with dignity and quiet authority. Others in the all-black cast include Eddie "Rochester" Anderson as Noah, Frank Wilson as Moses, George Reed as Rev. Deshee, and Oscar Polk as Gabriel, who has the film's single most stirring line: "Gangway! Gangway for de Lawd God Jehovah!" Unlike many other so-called racist films of decades past, The Green Pastures nearly always charms and captivates its modern-day audiences; even the most adamant of "P.C" advocates will probably thoroughly enjoy the experience. Playwright Marc Connelly is credited as director of Green Pastures, as he was for the original stage version, but co-director William Keighley and director of photography Hal Mohr deserve most of the credit for the film's strong cinematic sense. ~ Hal Erickson, All Movie Guide