Elizabeth Allan Movies

In this drama, two half-sisters begin fighting after they fall for the same man. The fight is resolved when one of the girls gets pregnant and must marry and the other ends up in a convent. Later murder, forgery, and extortion ensue. ~ Sandra Brennan, All Movie Guide

The Boat From Shanghai may be an unprepossessing title, but at least it's better than the film's original cognomen, Chin Chin Chinaman. Leon M. Lion plays The Mandarin, a Charlie Chanish oriental sleuth, while Elizabeth Allan co-stars as his assistant, The Countess. Infiltrating an aristocratic Chinese family, Lion and Allan search for a gang of jewel thieves. If you're looking for political correctness, skip this one; otherwise, it's fun in a mindless sort of way. The British The Boat From Shanghai was based on a popular stage play by Percy Walsh. ~ Hal Erickson, All Movie Guide

The British Black Coffee starred Austin Trevor in one of his many appearances as Agatha Christie's pompous Belgian detective Hercule Poirot. Adapted from a Christie play, the film takes place during a house party in a rural British mansion. A famous but much-hated scientist is killed, and several of his valuable papers are missing. The insufferably brilliant Poirot rapidly determines the cause of death and the motive. Narrowing down the suspects to the most likely culprit takes a bit longer-75 minutes, in fact. ~ Hal Erickson, All Movie Guide

In this romance, the love lives of several London dress shop employees are chronicled. Much of the story centers upon the head dressmaker who gets into trouble by borrowing one of her own designs to attend a gala with a rich fellow and finds herself accused of stealing it. ~ Sandra Brennan, All Movie Guide

In Belloc-Lowndes' original novel The Lodger, the reclusive young man suspected of being Jack the Ripper turns out to be exactly who he's assumed to be. When Alfred Hitchcock directed the 1926 film version of The Lodger, he was advised that the public would never accept the popular star Ivor Novello as a serial killer, thus the film was given a happy ending. Novello himself wrote the screenplay for the 1932 non-Hitchcock talkie version of The Lodger, which, though updated from the novel's 19th century setting, retains its original shocker climax. Well received at the time of its release but rarely seen in recent years, the 1932 Lodger can be regarded as a serviceable bridge between the 1926 Hitchcock silent and the definitive 1944 20th Century-Fox remake starring Laird Cregar. ~ Hal Erickson, All Movie Guide

In this drama a Chinese mandarin admits that he stole a secret treaty. He does this to protect the true thief who is his friend's wife. ~ Sandra Brennan, All Movie Guide

Ace of Aces was based on Bird of Prey by John Monk Saunders, an acknowledged master of aviation epics. Richard Dix stars as Rex Thorne, a pacifistic sculptor who registers as a conscientious objector when WWI breaks out. Thorne's unwillingness to fight in a war he believes to be unnecessary is misread as cowardice by his socialite sweetheart Nancy Adams (Elizabeth Allen). In "four feathers" fashion, Thorne signs up with the air corps to prove his courage. Before long, he has established a reputation as a reckless, ruthless flying ace, with little concern for anyone's safety, including his own. This fails to satisfy Nancy -- now also serving her country as a Red Cross nurse -- who feels that Thorne has become too bloodthirsty for his own good (What does this woman want?) The supporting cast includes radio singer Art Jarrett and James Cagney's look-alike brother Bill. Some of the aerial scenes in Ace of Aces were "borrowed" from Howard Hughes's Hell's Angels. ~ Hal Erickson, All Movie Guide

Based on a story by Bela and Samuel Spewack, Solitaire Man stars Herbert Marshall as Oliver Lane, a "diamond expert" (read: master jewel thief). During a plane flight across the English channel, Lane becomes aware that practically every member of his gang plans to double-cross him -- not that the crooks trust one another any more than they trust their boss. Even detective Wallace (Lionel Atwill), assigned to keep tabs on Lane, turns out to be a double-crossing scoundrel. Under the circumstances, Lane becomes the film's hero by default. Practically the only person worth caring about in the story is heroine Helen (Elizabeth Allen) -- and one has one's doubts about her. ~ Hal Erickson, All Movie Guide

Often mistaken for a screen adaptation of the popular radio series, the British The Shadow was actually based on a play by Donald Stuart. A series of brutal murders have occurred in London, and the culprit is a vicious blackmailer known only as The Shadow. It is up to Scotland Yard to stop the killings and expose the identity of the elusive killer. The Yard receives unexpected (and at first unwelcome) assistance from twittish socialite Reggie Ogden (Henry Kendall), who fancies himself a dilettante detective. But Reggie is harboring a secret agenda, one which isn't revealed until the very last moment. ~ Hal Erickson, All Movie Guide

In an unusual move, MGM released its film version of Sidney Kingsley's Pulitzer-Prize winning play Men in White while the play was still running on Broadway. Clark Gable is cast as Dr. George Ferguson, a dynamic young intern whose brilliant future seems assured. In addition to planning to study in Vienna, then to serve as the assistant to his mentor Dr. Hochberg (Jean Hersholt), Ferguson is slated for a socially prestigious marriage to wealthy Laura Hudson (Myrna Loy). But when Laura begins expressing displeasure over Ferguson's dedication to his work, he enters into a brief affair with student nurse Barbara Dennin (Elizabeth Allan). Upon finding that she's pregnant, Barbara desperately undergoes an illegal abortion (a plot point merely alluded to in the screenplay). The botched operation results in Barbara being rushed into emergency surgery, where her life is in Ferguson's hands. In a third-act climax that would not have seemed out of place on TV's Chicago Hope, Laura finds herself a witness to the operation -- and to Barbara's deathbed "absolution" of Dr. Ferguson's sins. Critics were kind to Men in White, but some felt that the Kingsley original had been unnecessarily reshaped into a Clark Gable vehicle. ~ Hal Erickson, All Movie Guide

Mark of the Vampire is Tod Browning's remake of his own 1927 thriller London After Midnight, which unfortunately no longer exists. The sudden appearance of ghostly vampires in a remote mittel-European community is seemingly tied in with an old, unsolved murder case. Police inspector Neumann (Lionel Atwill) and occult expert Prof. Zelen (Lionel Barrymore) investigate, with the full cooperation of leading citizen Baron Otto (Jean Hersholt). For awhile, it looks as though the vampires -- Count Mora (Bela Lugosi) and his chalky-faced daughter Luna (Carroll Borland) -- will continue to hold the community in thrall, but the truth behind their mysterious activities is revealed midway through the film, whereupon the story concentrates on identifying the well-concealed murderer. In the original London After Midnight, Lon Chaney played both Count Mora and Prof. Zelen, which should provide a clue as to the film's incredible outcome. ~ Hal Erickson, All Movie Guide

It is a tale known well, filmed many times over the years, but never better than this early black and white version from the MGM Studios, David O. Selznick producing. "It was the best of times, it was the worst of times"-- Charles Dickens juxtaposes England and France, George and Louis, tradition and revolution. One of the most beloved of Dickens' stories, finding not only countries and conditions compared, but also two individuals thrown up in stark contrast to one another: -- the dissolute barrister Sydney Carton (Ronald Colman) and the young, somewhat callow aristocrat Charles Darnay (Donald Woods), both in love with Lucie (Elizabeth Allan), daughter of a victim of the French Regime. Their lives intertwine until the violent revolution that overtook an entire nation engulfs them all as well.

Dickens' story has stood the test of time; remade frequently since the release of this1935 version. It is this version by director Jack Conway's that is best remembered and to which all others are compared. The settings, cinematography, and direction are all right on the mark, recreating the streets of London and of Paris with great skill and realism. The supporting cast, filled with faces we have grown to cherish-- Reginald Owen, Edna May Oliver, Claude Gillingwater, Walter Catlett, H. B. Warner, Basil Rathbone, and E. E. Clive-comes through with crystalline performances which add substance to the inexorable stream of events. Blanche Yurka's bravura turn as Therese de Farge delights us even as we shudder at her intensity. Second unit directors Jacques Tourneur and Val Lewton, who would both go on to memorable careers as leading directors in their own right, staged the storming of the Bastille and other "revolutionary" scenes brilliantly, managing to combine fervor with panache. It is, however, Colman's portrayal of the lonely man redeemed by love and sacrifice which stands at the center of the story.

Sydney Carton first saves Charles Darnay from a charge of treason, thereby meeting those who care for him: the beautiful Lucie Manette, her father, Doctor Manette (Henry B. Walthall), released from the Bastille after many years of unjust incarceration; Lucie's servant Miss Pross, (Oliver) and Mister Lorry (Claude Gillingwater), an functionary of Tellson's Bank. His relationship with this circle of kind friends grows rocky when Darnay marries Lucie, whom Carton has loved from afar, but even this turn of events cannot change his feelings for them all and he grows to love them even more when daughter Lucie comes along. He reforms, leaving old ways behind and enjoying a familial warmth he has never known. This happy life is shattered when Darnay returns to France during the first revolutionary struggles, intent on saving his old tutor from the guillotine. He soon finds himself behind bars and facing the blade instead. The Revolution does not forget an aristocrat, even one who has recanted and lived life abroad as a commoner. The whole family makes the channel crossing to come to the young man's aid and Carton seeks a way to save him, discovering only one path to free Darnay and return everyone to safety. It is a sacrifice easily promised and quickly made.

Ronald Colman had long wanted to make a film of this story and, when he finally got his chance, he happily shaved off his signature mustache in an appropriate gesture to historical realism. Reviews of his work indicate his portrayal of Sydney Carton surpassed all his previous endeavors; he had been accused of walking through light parts, once he started making "talkies," and not putting his many talents to good use. "A Tale of Two Cities" put rest to those complaints. He dominates completely the scenes he which he does appear, and his skill gives substance to a literary achievement, a melancholy man of intelligence and wit, given to drink and despair, whose life seems to attain meaning only when it is given up for someone else. It is one of the portrayals for which Ronald Colman has come to be remembered.

There are various remake versions of A Tale of Two Cities. Dirk Bogarde played Carton in 1958 and Chris Sarandon starred in a television remake in 1980. While these and other versions have all been good films, none has achieved the stature of the 1935 version and its excellent combination of star power, technical brilliance and great storytelling. ~ All Movie Guide

Based on a novel by Netta Syrett, A Woman Rebels is the story of Pamela Thistlewaite (Katharine Hepburn), whose mission in life is to defy the restrictive and often hypocritical conventions of Victorian England. Refusing to conform to the status quo, Pamela lives alone, reads, and says whatever she wishes, and even -- horrors! -- takes a job. Her romantic dalliance with young Gerald (Van Heflin, in his film debut) results in an illegitimate daughter (Doris Dudley), whom Pamela raises as her niece until she decides it's high time to tell the truth in all matters. Faithful suitor Thomas Lane (Herbert Marshall) offers to make an "honest woman" of her, but Pamela refuses until she can stand on her own two feet financially. Fiercely independent to the last, she becomes the crusading editor of a pioneering pro-feminist magazine and an early champion of Women's Suffrage. It was hoped by RKO Radio that The Woman Rebels would restore the popularity of Katharine Hepburn, which thanks to a series of expensive failures had been flagging for the past two years. Though the film turned out to be a box-office loser (it posted a $220,000 deficit), in retrospect it can be regarded as an artistic triumph -- and a remarkably timely one at that. ~ Hal Erickson, All Movie Guide