Frederick Burton Movies

Frank Yerby's Foxes of Harrow was one of those long historical novels so popular in the 1940s. 20th Century-Fox boiled the novel down into 118 minutes' worth of essentials for this film version. In antebellum New Orleans, roguish Irish gambler Rex Harrison buys his way into society--something he couldn't do in his homeland because he is illegitimate. Sequestering himself in a mansion won in a card game, Harrison courts Southern belle Maureen O'Hara, but their subsequent marriage is befouled by Rex's incessant womanizing. Though tempted to walk out for good, O'Hara stays by her husband's side after he loses his fortune, hoping that the impoverished Harrison will now behave more responsibly. ~ Hal Erickson, Rovi

In this romantic comedy, two warring neighbors are aghast when their respective daughter and son fall in love and plan to marry. Despite their parents' objections they begin planning and getting the legal paper work done; it is then they learn they could be brother and sister. Fortunately, the situation is straightened out and the two find out they are related only by marriage. ~ Sandra Brennan, Rovi

There's practically no western action in Hands Across the Border, but there's music aplenty. Roy Rogers stars as a wandering cavalier (named "Roy Rogers", naturally), who comes to the aid of entertainer Kim Adams (Ruth Terry). The daughter of a rancher, Kim does her patriotic bit by raising prize horses for the Army. But villainous Brock Danvers (Onslow Stevens) does his best to keep Kim's stock from reaching the Army, and that's when Rogers comes to the rescue. The final two reels of Hands Across the Border is a virtual nonstop parade of musical numbers by the likes of Hoagy Carmichael and Ned Washington, and featuring Rogers, Ruth Terry, Janet Martin and that zany European comedy trio The Wiere Brothers. ~ Hal Erickson, Rovi

Long forgotten, Monogram's Man With Two Lives has recently resurfaced on the videocassette market, proving itself a most intriguing second-echelon "mad doctor" melodrama. Nearly killed in a car accident, Edward Norris is given a new lease on life when a dedicated (but slightly addled) scientist artificially injects a new soul into Norris' body. Alas, Norris' new soul is that of a recently executed murderer. Before the words "Frankenstein" or "Donovan's Brain" can form in our collective subconscious, Norris finds himself inexorably drawn to a life of crime. While the ending is a letdown, Man With Two Lives manages to keep the viewers on pins and needles for 66 of its 67 minutes. ~ Hal Erickson, Rovi

In this Victorian-era adventure, a blue-blooded girl is dismayed to discover that her recently deceased father, a compulsive gambler, has left her destitute and deeply in debt. At one time, he'd had a silver mine but even that was lost at the card table. The man who won the mine learns the circumstances of the girl's state of affairs, meets her, and falls in love. Unfortunately, she is to marry a wealthy young man so she can regain her previous social standing. The card-player demonstrates his love by giving her the deed to the mine as a wedding present, but she never sees it. Later she heads out west and opens a large saloon. It is a great success and she is finally able to pay her father's debts. She sends the money to her husband, who squanders it, looking for more silver. Now it is up to the gambler to rectify the situation. ~ Sandra Brennan, Rovi

Advertised as a sort of sequel to MGM's Babes in Arms (1939), Babes on Broadway reunites the two stars of the earlier film: Mickey Rooney and Judy Garland. Rooney is the guiding force of a group of young showbiz hopefuls who are trying to make it on Broadway. When things look darkest, he goes into his "Say, kids!" routine, rousing his companions to put on their own show. Highlights include a sequence in which Rooney and Garland go through a series of imitations of past theatrical greats. As cute and perky as Garland is, she has nothing on the "Carmen Miranda" takeoff performed--in full makeup and platform shoes--by the ubiquitous Rooney. Babes on Broadway ends with a typically overproduced production number stage by the film's director, the immortal Busby Berkeley. ~ Hal Erickson, Rovi

Unrelated to Monogram's series of "Bowery Boys" B pictures, Republic's Bowery Boy stars Dennis O'Keefe as a crusading slum doctor. Actually, O'Keefe doesn't play the title character: that honor goes to Jimmy Lydon, a tough street kid who tries to block the plans made by O'Keefe and nurse Louise Campbell to build a health clinic. But when mobster Roger Pryor sells tainted meat that results in an outbreak of botulism, Lydon becomes O'Keefe's biggest booster. Also in the cast is Jimmy Lydon's younger brother Ormund, who plays...Jimmy Lydon's younger brother. Bowery Boy served as the directorial debut of former film editor William Morgan. ~ Hal Erickson, Rovi

This box-office smash comedy of manners featured the popular Myrna Loy as Margot Sherwood Merrick, the stodgy editor of a glamorous women's fashion magazine. To protect herself from suitors and jealous wives of businessmen, she wears a gold band on the third finger of her left hand and pretends that she is married. But the wolfish artist Jeff Thompson (Melvyn Douglas) is undeterred. After his efforts to romance Margot fail repeatedly, her icy exterior finally melts and the two become involved. She then has to explain the ring to all her cronies. Jeff's idea is to pretend to be her long-lost husband, but this plan backfires and leads to some comic complications. ~ Michael Betzold, Rovi

Frank Capra's classic comedy-drama established James Stewart as a lead actor in one of his finest (and most archetypal) roles. The film opens as a succession of reporters shout into telephones announcing the death of Senator Samuel Foley. Senator Joseph Paine (Claude Rains), the state's senior senator, puts in a call to Governor Hubert "Happy" Hopper (Guy Kibbee) reporting the news. Hopper then calls powerful media magnate Jim Taylor (Edward Arnold), who controls the state -- along with the lawmakers. Taylor orders Hopper to appoint an interim senator to fill out Foley's term; Taylor has proposed a pork barrel bill to finance an unneeded dam at Willet Creek, so he warns Hopper he wants a senator who "can't ask any questions or talk out of turn." After having a number of his appointees rejected, at the suggestion of his children Hopper nominates local hero Jefferson Smith (James Stewart), leader of the state's Boy Rangers group. Smith is an innocent, wide-eyed idealist who quotes Jefferson and Lincoln and idolizes Paine, who had known his crusading editor father. In Washington, after a humiliating introduction to the press corps, Smith threatens to resign, but Paine encourages him to stay and work on a bill for a national boy's camp. With the help of his cynical secretary Clarissa Sanders (Jean Arthur), Smith prepares to introduce his boy's camp bill to the Senate. But when he proposes to build the camp on the Willets Creek site, Taylor and Paine force him to drop the measure. Smith discovers Taylor and Paine want the Willets Creek site for graft and he attempts to expose them, but Paine deflects Smith's charges by accusing Smith of stealing money from the boy rangers. Defeated, Smith is ready to depart Washington, but Saunders, whose patriotic zeal has been renewed by Smith, exhorts him to stay and fight. Smith returns to the Senate chamber and, while Taylor musters the media forces in his state to destroy him, Smith engages in a climactic filibuster to speak his piece: "I've got a few things I want to say to this body. I tried to say them once before and I got stopped colder than a mackerel. Well, I'd like to get them said this time, sir. And as a matter of fact, I'm not gonna leave this body until I do get them said." ~ Paul Brenner, Rovi

When Zoë Akins' play The Old Maid (based on a novel by Edith Wharton) won the 1934-1935 Pulitzer Prize, the selection was roundly condemned by critics, who felt that Lillian Hellman's The Children's Hour was more deserving, but had lost because of its lesbian theme. Certainly, Akins' story of the relationship between two Southern cousins in the years between 1833 and 1854 is nothing spectacular. Delia Lovell marries James Ralston, leaving her old beau Clem Spender out in the cold. Delia's cousin Charlotte comforts Clem by spending the night with him. Charlotte becomes pregnant, secretly farming out her daughter, Tina, to another family. The years pass; Charlotte sets up a day nursery so that she may remain close to her daughter (still in the dark as to the true identity of her mother). Meanwhile, Charlotte has become engaged to Ralston's brother Joseph. The troublesome Delia, who discovers her cousin's secret, contrives to prevent Charlotte from marrying Joseph, then arranges to have Charlotte raise Tina as her niece rather than her daughter. More years pass; Tina regards Delia as her mama and Charlotte as just an "old maid." At Tina's wedding, Charlotte almost reveals the truth to her daughter, but.....It's all slick romance-magazine stuff, and hardly worthy of the Pulitzer. On the other hand, the film version of The Old Maid, starring Bette Davis as Charlotte and Miriam Hopkins as Delia, is a classic of its kind, and one of Davis' best vehicles. The story is given additional substance by moving the early scenes up to the time of the Civil War, making Clem Spender (George Brent) less of a cad by killing him off at Vicksburg, thus rendering it impossible for Clem to make an honest woman of Charlotte. From the vantage point of the 1990s, when film stars find it difficult to turn out more than one picture a year, it is incredible that The Old Maid was but one of four first-rate Bette Davis films to be released in 1939; the others were Dark Victory, Juarez, and The Private Lives of Elizabeth and Essex. ~ Hal Erickson, Rovi

This Damon Runyon yarn features William Gargan and Ann Sothern as Brooklynites Joe and Ethel Turp. The Turps are up in arms when their faithful old mailman (Walter Brennan) is fired. Unable to get satisfaction on a municipal level, Joe and Ethel plead their mailman's case to the President himself--not Roosevelt, of course, but MGM's idea of a president, as played by Lewis "Judge Hardy" Stone. Joe Turp gilds the lily by giving the President some Brooklynese advice on how to deal with certain foreign dictators. Joe and Ethel Turp Call on The President is at its best in its flashback sequences, depicting the aged Walter Brennan as a handsome young man (with teeth!) ~ Hal Erickson, Rovi

A Bar-20 cattle drive ends in rustling in this fine Hopalong Cassidy Western from producer Harry Sherman. Windy (George "Gabby" Hayes) makes the mistake of accusing the buyer, Lazy-J owner Tom Hamilton (Frederick Burton), of the theft, but Lucky (Russell Hayden) suspects the foreman Dave Talbot (Stanley Ridges). Hamilton is murdered, however, and Talbot has the perfect alibi: He was playing cards at the Mirage Bar where Hoppy (William Boyd) had gotten himself a job under the guise of being the noted gambler Bill Thompson. With Talbot not able to be in two places at the same time, the marshal (Jack Rockwell) has no choice but to arrest Lucky for murder. Silver on the Sage was Hopalong Cassidy series entry number 25. ~ Hans J. Wollstein, Rovi

The Saint, Leslie Charteris' charming but deadly criminal-turned-sleuth, made his first film appearance in RKO Radio's The Saint of New York. Faithful to Charteris' original concept, this first movie Saint is a cold-blooded murderer, redeemed by the fact that all of his victims are notorious gangsters who'd otherwise elude the clutches of the law. Hired by a coterie of businessmen, Simon Templar (Louis Hayward), aka the Saint, methodically rids New York of its worst criminals, though "The Big Fellow", aka Hutch Rellin (Sig Rumann), continues to elude him. He is aided by Rellin's enigmatic mistress Fay Edwards (Kay Sutton), who pays for her actions with her life. The film's most memorable moment finds Templar disguising himself as a nun to dispose of a particularly nasty villain. The success of The Saint of New York prompted RKO to negotiate with Charteris for a series of "Saint" films, with George Sanders and Hugh Sinclair taking over from Louis Hayward as the title character. ~ Hal Erickson, Rovi