Spring Byington Movies

Based on Aurania Rouveyrol's Broadway play Skidding, A Family Affair is a gentle comedy/drama centering around the Hardy family of Carvel (a small, idealized American town). Judge Hardy (Lionel Barrymore) hopes to be re-elected, but his campaign is put in jeopardy by his opposition of a wasteful public works program. The Judge's position is also threatened by his daughter's (Julie Haydon) unexplained separation from her husband. In the supporting cast, incidental to the plotline, was Mickey Rooney as Judge Hardy's teenage son Andy, Spring Byington as the Judge's wife, and Cecilia Parker as his younger daughter Marian. MGM head Louis B. Mayer sensed series potential in A Family Affair, and the result was the long-running and profitable "Hardy Family" series. Julie Haydon's character was written out of all subsequent "Hardy" films, Lewis Stone and Fay Holden replaced Lionel Barrymore and Spring Byington as Judge and Mrs. Hardy, and Mickey Rooney was elevated from the supporting cast to full leading man status as the effervescent Andy Hardy. ~ Hal Erickson, All Movie Guide

The Jones Family heads to Gay Paree in celebration of the 25th wedding anniversary of Pa (Jed Prouty) and Ma (Spring Byington). It doesn't take long for the Joneses to be victimized by clever Parisian con artists. Nor do Jones kids Jack (Ken Howell) and Lucy (June Carlson) have time to unpack before they're both pursued by amorous predators. Somehow or other, everyone gets involved in an espionage plot, much to the dismay of apoplectic hotel detective Emile (Leonid Kinskey). All things considered, the Joneses' married daughter Bonnie (Shirley Deane) is probably grateful that she elected to stay home with her husband Herb (Russell Gleason). ~ Hal Erickson, All Movie Guide

Playwright Eugene O'Neill's only comedy, Ah, Wilderness! was filmed by MGM in 1935. Impressionable turn-of-the-century lad Eric Linden, whose knowledge of the ways of the world has come from French novels, is anxious to taste life to the fullest. Linden's father Lionel Barrymore sternly advises the boy to be good and be careful, while Barrymore's shiftless, bibulous brother-in-law Wallace Beery (replacing MGM's first choice, W.C. Fields) encourages Linden to get out, get drunk and get...you know what. After a frightening encounter with lady of the evening Helen Flint (a surprisingly frank characterization for a Production Code film), Linden runs home, nursing a monster hangover the next day. The boy eventually accepts the sedate affections of his childhood sweetheart Jean Parker, while a chastened Beery promises to mend his ways--and Barrymore decides to be more of a father and less of an autocrat to his son. Ah, Wilderness would be musicalized (and bowdlerized) by MGM as the 1947 film Summer Holiday. ~ Hal Erickson, All Movie Guide

Though not the most profitable baseball comedy ever made, Angels in the Outfield is one of the most likeable and enduring. Paul Douglas stars as Guffy McGovern, the combative, foul-mouthed manager of the Pittsburgh Pirates. With his team in the basement once more, McGovern has plenty to complain about. All this changes when, while wandering through Forbes Field at night, Guffy is accosted by the voice of the Archangel Gabriel (courtesy of an unbilled James Whitmore). As the spokesman for the Heavenly Choir Nine, a celestial ballclub, Gabriel begins bestowing "miracles" upon the Pirates--but only on the condition that McGovern put a moratorium on swearing and fighting. With the help of the invisible ghosts of past baseball greats, the Pirates make it into the Pennant race. During one crucial game, orphan girl Bridget White (Donna Corcoran) insists that she can see the angels helping out the "live" ballplayers--understandably so, since it was Bridget's prayers that prompted Gabriel to visit McGovern in the first place. Newspaperwoman Jennifer Page (Janet Leigh) transforms Bridget's angelic visions into a nationwide news story, causing no end of trouble for McGovern. When Guffy himself confirms Bridget's claims, he falls right into the hands of vengeful sportscaster Fred Bayles (Keenan Wynn), who's been scheming all along to have McGovern thrown out of baseball. Complication piles upon complication until the Big Game, wherein Guffy is forced to rely exclusively upon the talents of his ballplayers--notably "over the hill" Saul Hellman (Bruce Bennett)--to win the pennant. Unlike the spell-it-all-out 1995 remake of Angels in the Outfield, the original film never shows the angels, permitting the audience to draw its own conclusions regarding Divine Intervention. The film is an unqualified delight, never descending into sloppy sentiment or boggy bathos. Understandably, Angels in the Outfield was Paul Douglas' favorite film (though he'd never admit it after President Dwight D. Eisenhower, hardly Douglas' favorite politician, insisted that it was his favorite as well). ~ Hal Erickson, All Movie Guide

Barbara Stanwyck plays Polly Fulton, rebellious daughter of a wealthy industrialist (Charles Coburn). Polly marries a conservative economist professor (Richard Hart), but she chafes at his values and leaves him for socialist professor Van Heflin. Polly nearly ruins both her father's reputation and her own by embracing Heflin's radicalism. Based on a novel by J. P. Marquand, B.F.'s Daughter emerges as an unsubtle swipe at the policies of the late president Franklin Roosevelt; perhaps this was at the behest of MGM's arch-Republican head man Louis B. Mayer. In England, where the letters "B. F." comprise a euphemism for "bloody fool", the film was retitled Polly Fulton. ~ Hal Erickson, All Movie Guide

Bannerline was Don Weis' first solo directorial credit for MGM. Keefe Brasselle stars as cub reporter Mike Perrivale, who devises a heart-tugging promotional stunt. Upon learning that crusty old history teacher Hugo Trimble (Lionel Barrymore) is dying, Mike writes up a glowing tribute, ascribing all sorts of fabricated accomplishments to the venerable Trimble. The stunt backfires when crime boss Frankie Scarbino (J. Carroll Naish), angered that some of the civic reforms credited to Trimble may put the kibosh on his own operation, threatens to make trouble for Mike. As it turns out, it is the impulsiveness of Scarbino's hired thugs which sets the wheels of reform in motion--simply by beating Mike to a pulp. ~ Hal Erickson, All Movie Guide

Not a remake of the classic Laurel and Hardy 2-reel silent of the same name, Big Business was an early entry in 20th Century-Fox's Jones Family series. Mr. Jones (Jed Prouty) invests his life savings in an oil business, at the behest of football star Allan Lane. Neither Jones nor Lane are aware that the oil stock is worthless, and that their money has ended up in the pockets of racketeers. Awareness dawns when the oil wells yield only muddy water. Jones' oldest son (Kenny Howell) comes to the rescue of the hapless investors, while Mrs. Jones (Spring Byington) dispenses the "I told you so"s. ~ Hal Erickson, All Movie Guide

An aspiring singer learns the bitter price of stardom in this musical drama. She starts out a small-town girl and soon becomes a big star. Unfortunately, she still cannot find true love and so must lead a successful but lonely life. Songs include: "He Was Her Man", "Let It Be Me", "Weary", and ""Who But You"". ~ Sandra Brennan, All Movie Guide

Previously filmed in 1921 with Wallace Reid, Booth Tarkington's stage comedy Clarence proved a worthwhile screen vehicle for Roscoe Karns. The title character is a resourceful young man who knows a whole little about a whole lot of things, and who concentrates by playing his saxophone. Clarence ingratiates himself with the wealthy and eccentric Wheeler family, though daughter Cora can't stand the boy. Ultimately, of course, she realizes that the feckless but likeable Clarence would be a far better catch than her fortune-hunting fiance Tobins (Theodore Von Eltz). As the flustered patriarch of the zany Wheeler clan, Eugene Pallette offers a virtual reprise of his role in My Man Godfrey. ~ Hal Erickson, All Movie Guide

Devil's Doorway was the first of many top-rank westerns directed by Anthony Mann. RobertTaylor is cast against type as a Native American named Lance Poole. Returning to his people's land after the Civil War, Poole discovers that the Indians are being victimized and persecuted--and, thanks to machinations of crooked lawyer Verne Coolan (Louis Calhern), it's all legal. Unable to turn to the Law to protect his tribesmen, Lance becomes what white men call a "renegade." Devil's Doorway was the vanguard of a new western cycle of the early 1950s, wherein the Indians were the good guys and the whites the villains. Had it been made 30 years later, it is likely that the star would have been a genuine Native American, rather than a white matinee idol in "redface." ~ Hal Erickson, All Movie Guide

Down on the Farm was yet another entry in the seemingly endless saga of the Jones Family. The plot is set in motion when the Joneses' Aunt Ida (Louise Fazenda) invites the family to spend the summer on her farm while their house is undergoing repairs (thanks to an unfortunate encouter with a fire hose). Patriarch John Jones wins a cornhusking contest, whereupon he is invited to run for a local political office. The usual complications ensue, culminating in a ribtickling "drunk" scene and the ultimate exposure of the community's crooked politicians. Many of the biggest laughs are provided by Eddie Collins as Aunt Ida's moon-faced husband. Elements of several earlier Will Rogers vehicles managed to work their way into the screenplay of Down on the Farm. ~ Hal Erickson, All Movie Guide

This second entry in the "Jones Family" series finds Pa Jones (Jed Prouty) once again at loggerheads with his oldest son Jack (Kenneth Howell). Sonny boy wants to become a pilot, but dad wants the boy to follow in his own footsteps as a druggist. But when Jones Senior is flown back by Jones Junior from a fishing trip just in time to renew the lease on his drugstore, Pa sees things in a different light. "Guest star" Dixie Dunbar plays Jack's girlfriend, who finds herself along for the ride when the boy solos for the first time (a slapstick highlight). Sharp-eyed filmgoers noticed that the planes seen in the aerial footage weren't always well matched (one was white, the other black), but no one really cared. ~ Hal Erickson, All Movie Guide