Paul Malvern Movies

Rock Island Trail is proof enough that Republic could turn out an "A" western as well as any of the "majors." This saga of pioneer railroading stars Forrest Tucker as Reed Loomis, a visionary railman who dreams of the day that trains will run from coast to coast. During his own efforts to make this dream come true, Loomis must face the formidable opposition of steamboat operator Kirby Morrow (Bruce Cabot). Another ongoing problem is lack of funds: fortunately, Loomis is in love with Constance Strong (Adele Mara), who happens to be a banker's daughter. Longtime Republic leading-lady Adrian Booth plays Aleeta, an Indian princess who has a yen for Loomis -- meaning, of course, that she probably won't survive to the end of the film. The film's climax is an all-out action orgy in the grand Republic tradition. ~ Hal Erickson, All Movie Guide

A rare black-and-white Maria Montez vehicle, Tangier can be described as a second-echelon Casablanca. Montez plays a Spanish dancer named Rita, who is determined to bring Nazi collaborator Colonel Jose Artiego (Preston Foster) to justice. Artiego is at presently working incognito, as military governor of the North African city of Tangier. Maria finds an unexpected ally in the form of Artiego's discarded mistress Dolores (Louise Allbritton). Dominating the film's hotel-lobby set is an old-fashioned "open" elevator, which will obviously figure prominently in the climax. A camp classic, Tangier is distinguished by supporting actor Sabu's offkey renditions of such American standards as "Polly Wolly Doodle" and "She'll be Comin' Round the Mountain"! ~ Hal Erickson, All Movie Guide

In another of her series of romantic desert adventures, popular actress Maria Montez is this time Naila, the newly crowned queen of an ancient Egyptian land. Her father the king has just been assassinated and she intends to make those responsible pay for their crime. She sets out into the desert to find the killer herself -- little does Naila know that her "loyal" assistant Horadef (George Zucco) may be working against her, for he has designs on the throne for himself. John Hall plays a secondary role as Merab, an adventurer who shows up in the titular region with his comic-relief pal Nebka (Andy Devine), and the two help Naila, totally unaware that she is the queen. The romantic lead this time out is Herua (Turhan Bey), a rebel leader opposed to the despotic Horadef. The villain has Naila under his evil influence, but this state of affairs comes to an end when she falls in love with the charismatic rebel. The climax, wherein Horadef and his invading hordes are caught in a cleverly rigged death trap, is the film's highlight. As usual, Maria Montez plays her rather ridiculous role in Sudan with the determined seriousness of a Lady Macbeth, which only adds to the giddy fun. ~ Hal Erickson, All Movie Guide

The general perception of the Technicolor costume adventure movies that Maria Montez and Jon Hall made for Universal in the early 1940's is that they were pure escapist entertainment, intended to make people forget for an hour or so about the Second World War and the general world situation. And generally that is true about them -- they were mostly no "about" much more than having fun for 90 minutes or so amid pretty sets with lots of action and some pretty women in exotic outfits. But watching Ali Baba and the Forty Thieves, one has to wonder if even here the screenwriter, Edmund L. Hartmann, was able to totally get away from the day-to-day reality around him. The opening Mongol invasion of Bagdad and the murder of the old Caliph (Moroni Olsen) while trying to set up a government-in-exile without thinking of the German and Japanese conquests and occupations of various nations that would have been going on at the time; additionally, the fact that the old Caliph is murdered with the help of a traitor in his own noble ranks -- a "quisling" in the term coined during World War II -- wouldn't have been missed by audiences at the time. Further, the screenplay very specifically paints the forty thieves as heroes who have gone from being criminals to an active resistance force against the occupying Mongols -- indeed, at the denouement, their invasion of the palace is greeted as a day of liberation by the people of Bagdad. The movie walks a strange tightrope, casting about veiled topical references of that sort, even as is otherwise sufficiently tongue-in-cheek to cast Andy Devine as a desert bandit. Obviously, Ali Baba And The Forty Thieves was sold as -- and mostly intended as -- light entertainment, but just below that glitzy Technicolor surface were some fascinating allusions to the real world. None of this stops Ali Baba And The Forty Thieves from being immense fun -- it is, even if the "fun" isn't totally escapist in nature -- and it's great to look at as well, even 60 years on; Universal has apparently kept preservation-quality source materials on this and Hall and Montez's other Technicolor costume romps. And this particular entry in that group of movies also contains one very instructive clue to the morays and censorship of the time in one scene, in which the hero meets the heroine bathing at an oasis -- the makers seem to have been forced to insert a particular shot that is there for no other reason then to make it clear that she is not totally naked when he sees her. ~ Bruce Eder, All Movie Guide

Robert Paige plays a struggling songwriter who poses as a millionaire cowboy. It's all part of a zany, wacky and nutty scheme to win the hand and heart of Broadway star Frances Langford. Apparently Paige is a fast worker, since the film runs only 54 minutes. If one looks closely, one might deduce that Cowboy in Manhattan has traces of an earlier Universal musical. That it does; the film is a remake of 1937's You're A Sweetheart, which starred Alice Faye and George Murphy. ~ Hal Erickson, All Movie Guide

This 67-minute farce stars Dennis O'Keefe as a music publisher sued for plagiarism by a pair of scraggly songwriters. Louise Allbritton is the lady lawyer bringing litigation against O'Keefe, who has promoted the song in question into a hit for his tempestuous singer girlfriend (Mary Beth Hughes). Just as in the much-later George Harrison/ "My Sweet Lord" case, it seems that O'Keefe had rejected the song when it was first offered him, remembered the tune subconsciously, and commissioned it to be written by one of his staffers. As O'Keefe simultaneously battles and woos Allbritton, he and the other cast members repeatedly become embroiled in public brawls, and end up day after day in court, facing the same long-suffering judge (Oscar O'Shea). In fact, the plot never does completely resolve itself, and in the last scene the poor judge is once again wearily passing sentence on the leading characters. ~ Hal Erickson, All Movie Guide

This espionage drama, a remake of the 1935 original, set in WW II, follows the exploits of an Englishman who kills his German look-alike, a Nazi master spy, and begins impersonating him after he returns to Great Britain. As the spy, he begins smuggling bogus secrets to the German agents. As he again returns to Germany, those spies are captured. After suffering a close call, the phony spy is able to convince Rudolph Hess to fly to Scotland to meet with British Nazis. It is a trap, and the prominent Nazi is captured and held in the Tower of London. ~ Sandra Brennan, All Movie Guide

Considering the fact that it was the only Universal horror film directed by cult favorite Joseph H. Lewis, it's a shame that Mad Doctor of Market Street isn't better than it is. Lionel Atwill dominates the proceedings as Dr. Benson, an addlepated medico obsessed with the notion of restoring the dead to life. After his experiment on the unfortunate William Saunders (Hardie Albright) goes awry, Benson escapes from the authorities by boarding a passenger ship. When the vessel sinks during a storm at sea, Benson and several survivors manage to pull ashore on a remote tropical island. Here the mad doctor wows the natives with his scientific knowhow, and before long he is appointed king of the tribe. In this capacity, he hopes to marry helpless heroine Patricia (Claire Dodd) and to use the rest of the shipwreck survivors as guinea pigs for his experiments. The main problem with Mad Doctor of Market Street is the inclusion of youthful Una Merkel as the heroine's aunt, a role obviously intended for an older, less prominent actress. Obliged to radically alter and "beef up" Merkel's part, the screenwriters were forced to shortchange the rest of the picture, and as a result Mad Doctor of Market Street is nowhere near as frightening or atmospheric as it should have been. Still, the film is worth the price of admission for its chilling closing sequence alone. ~ Hal Erickson, All Movie Guide

Universal's standing Show Boat sets get another workout in the 60-minute B-picture Mississippi Gambler. On the trail of mob hitman Mathews (Douglas Fowley), reporter Johnny Forbes (Kent Taylor) journeys from New York to Mississippi. Here he finds big-time gangster boss Carvel (John Litel), long thought dead but actually living pseudonymously as a respectable plantation owner. Despite his civilized veneer, Carvel continues mastermining his criminal empire, including a chain of gambling emporiums. With the help of leading ladies Beth (Frances Langford) and La Verne (Claire Dodd), Forbes manages to trap Carvel in his own den. Shemp Howard shows up as a zany taxi driver, doing a lot more for the film than it does for him. ~ Hal Erickson, All Movie Guide

Flying Cadets is basically a vehicle for William Gargan and Edmund Lowe, doing a Flagg-and-Quirt act as a pair of eternally bickering ex-WWI pilots. The "official" plot is carried along by Frank Albertson as Bob Ames, a young airplane fancier who hopes to create a school for aspiring aviators. He also wants to land a government contract for the development of a speedy new aircraft that he's designed in his spare time. Both of these goals are intertwined when Ames is able to establish his school, with grouchy-but-loveable Trip (Gargan) as his assistant and Trip's grouchier-but-more loveable brother Rocky (Lowe) as chief flying instructor. Flying Cadets has the "look" of one of Universal's Richard Arlen-Andy Devine adventure quickies, even down to its heavy reliance on stock footage. ~ Hal Erickson, All Movie Guide

In his final "Mr. Wong" mystery, Boris Karloff solves the case of who killed shipping magnate Cyrus P. Wentworth (Melvin Lang). Wentworth's flagship "The Wentworth Castle" had tragically caught on fire with a tremendous loss of life. Near suicidal, the shipping tycoon is helped into the next world by persons unknown but dunderhead police captain Bill Street (Grant Withers) points the finger at Dick Fleming (William Stelling), the son of a rival tycoon and in love with Wentworth's daughter Cynthia (Catherine Craig). Promising to eat his hat if young Fleming isn't the killer, Street can only watch as enterprising cub reporter Bobby Logan (Marjorie Reynolds) assigns Mr. Wong (Karloff) to solve the case. Which the eminent Oriental sleuth does to the point where Bobby can gleefully add salt to Street's less than edible headgear. The burning of the fictional "Wentworth Castle" was actual footage from the infamous 1934"Morro Castle" fire, a tragedy that took the lives of 137 passengers. ~ Hans J. Wollstein, All Movie Guide

This adventure is based on Jack London's tale of a Northwestern woman who owns a riverboat who sends her daughter to boarding school and then discovers that she cannot afford to be reunited with her. In desperation, she sells the boat to a wealthy mine owner. This results in the independent miners getting cheated until the woman's burly ex-partner intervenes and saves the day. ~ Sandra Brennan, All Movie Guide

With Phantom Stage, Universal called it quits on singing cowboy Bob Baker's western series. The plot involves a series of outlaw raids perpetrated upon the stagecoach line owned by heroine Mary (Marjorie Reynolds). The perpetrator is a pint-sized crook called The Runt (Tex Palmer), who hides in the cargo trunk of the stage, stealing the contents while the coach is en route to its destination. This plot element is handled in so ludicrous a manner that Bob Baker's musical interludes actually come as a relief! Phantom Stage was written by one Joseph West, actually the nom de plume of the film's director, George Waggner. ~ Hal Erickson, All Movie Guide