William Le Baron Movies

In this comedy, a barge captain with an Electra complex marries two women. He married the first because she laughed like his late mother. He married the other because she cooks like his mom. He soon finds himself in over his head. A good friend helps extricate him by devising an ingenious plot. The captain is to be blamed for a murder. He can then escape his wives by pretending to be sent to prison. ~ Sandra Brennan, All Movie Guide

Those willing to accept Carmen Miranda as a "typical" 1920s type will be able to swallow the rest of the lavish but rather silly 20th Century-Fox musical Greenwich Village. Most of the action takes place in a New York speakeasy managed by tough guy Danny O'Mara (William Bendix). Providing entertainment in this rowdy establishment is songwriter Kenneth Harvey (Don Ameche), singing sensation Bonnie Watson (Vivian Blaine) and fortune-teller/dancer Princess Querida (Carmen Miranda). Harvey aspires to become a serious composer, while O'Mara has yearnings to produce a hit Broadway show. Everything works out to everyone's satisfaction by fadeout time, and Harvey (of course) falls in love with Bonnie. Specialty acts included the ballroom dance team of Tony and Sally De Marco, the precision-tap specialists The Four Step Brothers, and an up-and-coming group of nightclub comedians called The Revuers (Judy Holliday, Adolph Green, Betty Comden and Alvin Hammer), whose main routine, alas, ended up on the cutting room floor. ~ Hal Erickson, All Movie Guide

Sgt. Andy Mason Jr. (James Ellison) is on the eve of shipping out from New York with his unit -- he's the son of Andrew Mason Sr. (Eugene Pallette), a wealthy, blustery Wall Street financier. While paying respects to his father and the latter's business partner, dithering fuss-budget Peyton Potter (Edward Everett Horton), at the Club New Yorker, he spots chorus girl Eadie Allen (Alice Faye) and turns on the charm and all of the allure that the ne'er-do-well son of a Wall Street millionaire can muster. That, however, doesn't impress Eadie, who ignores his invitation so she can do her patriotic bit helping servicemen at the Stage Door Canteen (or, as it's called here, the "Broadway Canteen"). Realizing how down to earth and genuine she is -- exactly the kind of girl who doesn't care about his money or social position -- Andy shows a bit of the boyish innocence he has hidden beneath the arrogance that comes from his background of wealth and privilege, and also some humility, hiding that background and his real name. Before the night and their "date" on the Staten Island Ferry are over, they're genuinely in love with each other, but that presents a problem -- since age 12, Andy has been unofficially "engaged" to Potter's daughter Vivian (Sheila Ryan), who expects to marry him, and he can't quite bring himself to hurt Vivian by telling her that he's met someone else.

Flash forward a few months, and Andy is on his way home on leave, a hero in the Pacific, and his father is so proud that he has to do something special to honor him, trying to rent out the Club New Yorker for a party but discovering that it's closed for rehearsals of a new production. Suddenly, his fatherly devotion, patriotism, and Wall Street experience all click together -- he brings the entire performing company, plus Benny Goodman's band, up to his and Potter's adjoining estates in Westchester to stage their act for his upscale neighbors and friends as part of the biggest War Bond rally ever seen (minimum admission a new 5,000-dollar War Bond), and in the process giving his son the biggest party he's ever seen. This leads to more comic turns for Horton's Potter, as a man who would make coffee nervous -- especially around show people -- but delights his ex-dancer wife (Charlotte Greenwood). That's also how Eadie and Vivian end up at the Potter mansion together, comparing notes on their remarkably similar respective fiancés. When the show's star, Dorita (Carmen Miranda), lets the cat out of the bag, it looks like Andy may lose Eadie, who can't bear to lose Andy but also won't even try to take him away from Vivian, who loves him too, but has loved him a lot longer. But while they sort out their romance, the show must go on, and go on it does. ~ Bruce Eder, All Movie Guide

Built around the premise of a Big Stage Show, Stormy Weather affords rare "mainstream" leading roles to some of the era's greatest African-American entertainers Lena Horne, Bill "Bojangles" Robinson, Dooley Wilson, Cab Calloway, Katherine Dunham, Fats Waller, and the Nicholas Brothers. The thinnish plotline -- dancer Robinson has an on-again-off-again romance with Horne -- is simply an excuse for lively, well-staged performances. Of the fourteen musical numbers, the most memorable is Lena Horne's rendition of the title song, artfully staged by director Andrew L. Stone. Keep an eye out for uncredited contributions by jazz greats Zutty Hamilton, Coleman Hawkins and Taps Miller. ~ Hal Erickson, All Movie Guide

When the US marines land in Iceland during WW2, camp lothario John Payne wastes no time scoping out the local female population. He makes a casual pass at skating champ Sonja Henie, only to discover that she has taken his attentions as a marriage proposal! Unable to weasel out of his situation thanks to the rigidity of Icelandic customs, Payne conspires with his buddy Jack Oakie to discourage Henie from making any further wedding plans. By the film's 70-minute mark, of course, our hero is madly in love with our heroine and wants to skate down the aisle with her. Curiously, given the fact that there is plenty of natural ice in Iceland, most of Sonja Henie's musical numbers take place in a lavish Reykjavik nightclub. The tuneful Harry Warren-Mack Gordon musical score includes the popular "There Will Never Be Another You". ~ Hal Erickson, All Movie Guide

Victor Mature plays an arrogant champion boxer who opts for an acting career on Broadway. He falls in love with his costar Betty Grable, who's secretly married to actor John Payne. Unwilling to make public her marriage lest it adversely affect her career, Grable is unsuccessful in fending off Mature's advance, which causes her hubby's blood to boil. As it happens, Payne is also in the show, cast as Mature's sparring partner, and it is within the bounds of this role that he gets his revenge on the pushy pugilist. With the three leading actors playing for laughs, one wonders why 20th Century-Fox put Phil Silvers in the picture. ~ Hal Erickson, All Movie Guide

The nationwide search for an actress to play Scarlett O'Hara in Gone With the Wind formed the basis of Claire Booth Luce's satirical Broadway comedy Kiss the Boys Goodbye. By the time the film version came out in 1941, Gone with the Wind was yesterday's news, but the picture still manage to elicit loud laughter from moviegoers bombarded by bad news from Europe. When Broadway producer Bert Fusher (Jerome Cowan) decides to produce a lavish musical version of a best-selling civil war novel, he dispatches director Lloyd Lloyd (Don Ameche) and composer Dick Rayburn (Oscar Levant) to the Deep South, in search of a genuine Southern-belle leading lady. Lloyd and Rayburn end up on the Georgia plantation of Tom Rumson (Raymond Walburn), where they are forced to sit through an impromptu audition by Rumson's niece Cindy Lou Bethany (Mary Martin). Lloyd can't stand the girl, but Rayburn is enchanted by her-never suspecting that Cindy Lou is a phony, who prior to this meeting had never stepped below the Mason-Dixon line. Eventually, Lloyd and Cindy Lou fall in love and the show goes on. Many of playwright Luce's more pointed barbs have been blunted by the Hollywood censors, with the more pungent gags replaced by lavish musical numbers. Still, Kiss the Boys Goodbye is a lot of fun, especially whenever the magnificent Elizabeth Patterson (cast as Mary Martin's unreconstructed-southerner aunt) takes center stage. ~ Hal Erickson, All Movie Guide

In this musical, the cruise that salesgirl Nan Spencer (Alice Faye) worked so hard to pay for is cut tragically short when the ship is damaged. In recompense for the failed cruise, Nan is treated to a tour of Havana, guided by a shipping company officer, Jay Williams (John Payne). Once in Havana, Nan becomes the center of attention when both Jay and a local man (Cesar Romero) fall for her. This film features a number of songs, including "Tropical Magic," "Romance and Rhumba," and "A Weekend in Havana." ~ Iotis Erlewine, All Movie Guide

Filmed with the full cooperation of the Golden Gloves Tournament Association, this Paramount programmer stars Richard Denning as promising pugilist Bill Crane. Though tempted to sign up with crooked Joe Taggerty (J. Carrol Naish) for a series of fixed bouts, Crane is saved from himself by sportswriter Wally Matson (Robert Paige), the organizer of the local Golden Gloves program. Taggerty tries to get even by pitting the amateur Crane against a seasoned professional, but to no avail. James Cagney's sister Jeanne Cagney is an appealing heroine, while Crane's duplicitious ring opponent is played by Robert Ryan in his first screen appearance. ~ Hal Erickson, All Movie Guide

Cecil B. DeMille takes us back to the 1860s, then rebuilds the first intercontinental railroad in Union Pacific. The real-life spectacle is occasionally interrupted by the fictional adventures of railroad overseer Joel McCrea, postmistress Barbara Stanwyck (with an incredible Irish brogue), and McCrea's best pal Robert Preston. Unfortunately Preston has fallen in with Brian Donlevy, who is dedicated to destroying the Union Pacific railroad on behalf of a crooked political cartel. During an Indian attack, McCrea and Preston fight side by side to save Stanwyck, prompting Preston to turn honest. On the day in 1869 that the "Golden Spike" is to be driven at Promontory Point, Preston is killed saving McCrea from Donlevy's bullets. Union Pacific owes a great deal to John Ford's 1924 film on the same subject, The Iron Horse, even restaging one or two major action sequences from the earlier film. This DeMille spectacular was a big hit with audiences of 1939, who craved a booster shot of flag-waving now and again. ~ Hal Erickson, All Movie Guide

Poppy is the film version of the Dorothy Donnelly musical comedy which made W.C. Fields a Broadway star back in 1923 (an earlier, less-faithful version, also starring Fields and retitled Sally of the Sawdust, was directed by D. W. Griffith in 1926). The Great Man is cast as Professor Eustace McGargle, a small-time carnival confidence trickster. Accompanied by his adopted daughter Poppy (Rochelle Hudson), McGargle joins a travelling sideshow, fleecing as many of the local yokels as time will permit. During one stopover, Poppy falls in love with Billy Farnsworth (Richard Cromwell), the son of the town's mayor (Granville Bates), while McGargle pitches woo at the faded but alluring Countess de Puizzi (Catherine Doucet). When he finds out that the "Countess" is a phony claimant to the valuable Putnam estate, McGargle conspires with local lawyer Whiffen (Lynne Overman) to pass off Poppy as the genuine, long-lost heir. As it turns out, Poppy really is the heir, a felicitous turn of events which enables McGargle to avoid being tarred and feathered by the angry townsfolk. Finishing Poppy on schedule was quite a trial for W.C. Fields, who, in addition to breaking a vertebra while filming a chase sequence, further damaged his spine in a household accident. As a result, he could barely stand up during shooting, and many of his scenes had to be completed by a stunt double. One would never know that Fields was in excruciating pain throughout the film, however: Comedy-wise, he's at the top of his form, especially when he sells a "talking dog" to a gullible rube and finagles a free lunch from an equally dense hot-dog vendor. Poppy is also the film in which Fields imparts a sage bit of advice to his screen daughter: "Never give a sucker an even break." ~ Hal Erickson, All Movie Guide

Charismatic Polish opera singer Jan Kiepura made his Hollywood debut in Give Us This Night. His thick Slavic accent notwithstanding, Kiepura is cast as Italian fisherman Antonio. In the habit of singing as he fishes, Antonio catches the attention of opera diva Maria (played by real-life operatic soprano Gladys Swarthout, in her second film appearance). Our hero ends up replacing Maria's burned-out leading man Forcellini (Alan Mowbray), leading to a series of duets and, naturally, romance. It was the same formula that MGM would later deploy for their Mario Lanza pictures of the 1950s, except that Lanza was a more persuasive screen presence than Kiepura. The highlight of Give Us This Night is the climactic operatic adaptation of Romeo and Juliet, composed by Erich Wolfgang Korngold. ~ Hal Erickson, All Movie Guide