S.K. Lauren Movies

Sharkishly handsome Zachary Scott is right in his element in the Eagle-Lion melodrama Ruthless. Told in flashback, this is the story of the rise and fall of unscrupulous financier Horace Vendig (Scott). Hiding behind a veneer of respectability, Vendig steps on and rolls over anyone who stands in his way, including his lifelong friend Vic Lambdin (Louis Hayward), utilities executive Buck Mansfield (Sydney Greenstreet) and various and sundry women, among them Susan Duane (Martha Vickers) and Christine Mansfield (Lucille Bremer). Poor Diana Lynn is subjected to Vendig's cruelties twice, in the dual role of Martha Burnside and Mallory Flagg. It is a tribute to the acting skills of Zachary Scott that he makes his despicable character somehow likeable and, in the end, rather pathetic. Based on a novel by Dayton Stoddart, Ruthless, like many Eagle-Lion films of its period, was topheavy with loaned-out Warner Bros. contract players. It was also one of the few big-budgeted projects helmed by "cult" director Edgar G. Ulmer. ~ Hal Erickson, Rovi

Flight for Freedom was an "a clef" version of the Amelia Earhart story. Rosalind Russell plays the Earhart-like aviatrix Tonie Carter, who spends the early part of the film fighting against the aviation industry's prejudice against woman pilots. Tonie establishes a reputation as "the Lady Lindbergh", setting flight records on a near-weekly basis. Along the way, she falls in love with an agreeable flying ace (Fred MacMurray), much to the dismay of her conservative flight instructor (Herbert Marshall). The film's ending expands on speculation regarding Amelia Earhart's disappearance during a 1937 flight; Tonie Carter flies off on a secret mission to aid the Pacific war effort, then vanishes before completing her task. Flight for Freedom was produced for RKO by Floyd Odlum, whose wife Jacqueline Cochran was herself a renowned aviatrix. ~ Hal Erickson, Rovi

Strange Skirts is the TV title of the 1941 MGM film When Ladies Meet. The film was a remake of a 1933 production of the same name, which starred Ann Harding, Myrna Loy and Spring Byington; their roles were taken over in the remake by Greer Garson, Joan Crawford and Spring Byington. Both films are based on a Rachel Crothers play about a lady novelist who falls in love with a married publisher. The novelist (Crawford) meets the publisher's wife (Garson) at the home of a chatterbox society matron (Byington). The fact that the 1941 version was forced to undergo the censor's scissors to a greater extent than the 1933 film was compensated by the later version's lusher production values, which earned an Academy Award nomination for MGM art director Cedric Gibbons and Randall Duell. Under both its original title When Ladies Meet and its TV-dictated cognomen Strange Skirts, this dated but enjoyable film has become a "standard" on the various cable TV services of Ted Turner. ~ Hal Erickson, Rovi

The Carter Family finds itself in serious financial difficulty when its patriarch, druggist Doc Carter (Frank Craven), is all but forced out of business by a neighboring chain store. Doc isn't worried so much for himself and his wife Emma (Fay Bainter) as he is for his five children, played by Scotty Beckett, Bennie Bartlett, Donald Brenon, Mary Thomas and Gloria Carter (who real name is the same as her "reel" name). But there may be a way out: wealthy Bill and Gloria Hastings (Edmund Lowe, Genevieve Tobin), longtime friends of the Carters, have offered to adopt the couple's polio-stricken son Dickie (Beckett) for a substantial fee. Doc and Emma refuse this offer, but their somewhat more practical children offer themselves up for adoption rather than separate little Dickie from his parents. The ultimately happy denoument suggests that Paramount Pictures hoped to develop a "Carter Family" series, though no such project developed. ~ Hal Erickson, Rovi

In this screwball comedy, a fresh-out-of-college fellow heads for the gold fields of Alaska to find his fortune. He is gone for a long time. He returns to marry his girl friend and is dismayed to discover that she is no longer interested him. When her mother learns that the fellow has struck it rich, she changes her daughter's mind. Unfortunately, the young man has become enamored of the girl's little sister. Catastrophic sibling rivalry ensues as the women vie for the young man's affection. Meanwhile, the fellow's prospector friend tries to mediate and calm things down. In the end, the young man gets the best woman and happiness ensues. ~ Sandra Brennan, Rovi

The story goes that Peter Lorre wanted to star in a film version of Dostoyevsky's Crime and Punishment, but was certain that Columbia Pictures chieftain Harry Cohn would turn the project down flat. So Lorre hired a secretary to type up a synopsis of the story in words of one syllable then submitted this simplified resume to Cohn. Enthusiastic over the project, Cohn gave Lorre the go-ahead -- but first he asked "Tell me -- has this book got a publisher?" Apocryphal story or no, the fact is that Lorre did star in Columbia's Crime and Punishment and in the bargain was directed by the ultra-stylish Josef Von Sternberg. As the arrogant sociopath Raskolnikov, who is convinced that he can get away with the murder of a nasty pawnbroker because he is "above" such intangibles as a conscience, Lorre is excellent, especially when his bravado is slowly eroded by the gentle but determined Inspector Porfiri (Edward Arnold). Like the aforementioned typed-up synopsis, the film oversimplifies the Dostoyevsky original, concentrating only on the crime, the pangs of guilt, the confession and the arrest: the punishment and its aftermath, so essential to the novel's overall impact, are dispensed with entirely. To make the film even more accessible to a mass audience, the story is subtly updated, though any distinctly "contemporary" touches such as automobiles, telephones and current slang are studiously avoided. The supporting cast is wildly inconsistent: Mrs. Patrick Campbell is fine in her brief scenes as the vitriolic pawnbroker, but Marian Marsh is all wrong as the streetwalker heroine Sonya. The principal strength of this Crime and Punishment is the film-long game of cat-and-mouse between the reckless Raskolnikov and the quietly methodical Porfiri. ~ Hal Erickson, Rovi

The party's barely begun for mild-mannered CPA Bruce (Stuart Erwin); browbeaten by his lazy family and his domineering boss, our hero despairs of ever having a good time. Even Bruce's budding romance with Ruth (Ann Sothern) is threatened by his sponging relatives, who demand that he pump extra money into his sister Phyllis's (Arline Judge) marriage to good-for-nothing Martin (Chick Chandler). At long last, the worm turns, as Bruce kicks all the deadbeats out of his house, tells his boss where to go, and embarks on a whole new life with Ruth. Based on a play by Daniel Kusel, The Party's Over is a serviceable vehicle for Stu Erwin, who does a nice job as a milquetoast-turned-tiger. Otherwise, this Columbia feature isn't a whole lot different from the studio's Andy Clyde 2-reelers. ~ Hal Erickson, Rovi

Three-Cornered Moon is regarded by many film buffs as the first of the genuine "screwball comedies." Claudette Colbert stars as the only level-headed member of a wacky Brooklyn family. Her mother (Mary Boland) loses the family fortune in the stock market, forcing Colbert's knuckleheaded brothers to look for work. Unfortunately the boys seem interested only in jobs for which they're uniquely unsuited. Even Colbert has her weak moments, especially when she falls for a callow writer (Hardie Albright), but she eventually finds happiness with sensible doctor Richard Arlen. Three-Cornered Moon was written by the gloriously named Gertrude Tonkonogy. ~ Hal Erickson, Rovi

This turn-of-the-century tragedy chronicles the sorrowful travails of a woman who endures a series of devastating losses. ~ Sandra Brennan, Rovi

A remarkably ambitious endeavor from low-budget World Wide Studios, Those We Love was adapted by F. Hugh Herbert from a play by S.K. Lauren and George Abbott. Mary Astor stars as May, the doggedly devoted wife of struggling writer Fred (Kenneth McKenna). When Fred strays from his wedding vows to dally with temptress Valerie (Lilyan Tashman), May insists upon remaining loyal to her husband, if only for the sake of their son Ricky (Tommy Conlon). As it happens, it is young Ricky who confronts his dad with evidence of his indiscretion, forcing Fred to make a clean breast of things and beg May's forgiveness. Critics were warmly responsive to Those We Love and were especially impressed by pinchpenny World Wide's willingness to spend a bit more than usual for the sake of a good picture. ~ Hal Erickson, Rovi

Marlene Dietrich stars as Helen Faraday, a German cabaret singer in the States whose husband, Ned, falls ill and his only hope is to receive expensive medical treatment at a clinic in Europe. Struggling to afford his care and to support their son Johnny, she works at a nightclub and succumbs to the advances of wealthy playboy Nick, whose gifts assist in her husband's recovery. Soon Ned recovers and returns, but when he discovers that Helen has been unfaithful, he divorces her, threatening to take their son. After running with little Johnny, she ends up a prostitute in New Orleans, where she is found by the detective hired by Ned. The boy is taken from her and Helen flees to Paris where she becomes a cabaret sensation. Upon witnessing a performance, Nick begins seeing her again and when the show moves to NYC, he secures a meeting between her and her ex -- who is finally made aware of the motivation behind her affair years before. This is the feature containing the well-known scenes where Dietrich performs stage numbers in an ape-suit and a white tuxedo (complete with top hat). ~ Kristie Hassen, Rovi