Walter Byron Movies

This Irving Asher production was that rarity, a genuine B-movie from posh MGM. Set in a pre-Pearl Harbor United States, Nazi Agent starred real-life Hitler refugee Conrad Veidt as identical twins, one a timid stamp collector and rare book store owner, the other the Nazi consul. The evil Veidt is killed during an argument between the two and the good Veidt shaves his beard in order to take his brother's place as head of a Nazi spy ring. He manages to quell the group's attempts to sabotage allied shipping routes before being exposed by, of all things, a pet canary. In order to save the life of a defecting fifth columnist (Ann Ayars), Veidt agrees to return to Germany, gaining strength for the upcoming ordeal in the Vaterland as his ship passes the Statue of Liberty. Relatively fast-paced and engrossing most of the way, Nazi Agent was the feature-film debut of director Jules Dassin, formerly of MGM's short subject department. Dassin went on to direct several groundbreaking crime dramas for Universal before finding himself blacklisted during the Hollywood "witch hunts." He continued his career in Europe, helming such genuine classics as Never on Sunday (1959). A lyric soprano, Ann Ayars spent the mostly unrewarding years between 1941 and 1943 in MGM potboilers before leaving films in favor of the New York City Opera. ~ Hans J. Wollstein, Rovi

One Night in Lisbon is one of several pre-1942 films which used the screwball-comedy form to comment upon the raging war in Europe. While transporting American warplanes to the beleagured RAF, Texas flyboy Dwight Houston (Fred MacMurray) is caught in a London air raid. Scurrying to a shelter, Dwight meets icy, well-bred Briton Leonora Pettycote (Madeleine Carroll), with whom he falls in love--a feeling that is far from mutual at first. Eventually responding to Dwight's charms, Leonora agrees to join him for a night's revelries (as soon as the Nazi bombers head home, that is), but their budding relationship is complicated by the unexpected presence of Dwight's ex-wife Gerry Houston (Patricia Morrison and Leonora's erstwhile sweetheart, Cmdr. Peter Walmsley (John Loder). Escaping their respective suitors, Dwight and Leonara end up in neutral Lisbon, only to land in the middle of a Nazi spy ring. Although poor Leonora gets the worst of it at the hands of the villains, she is game enough to realize that she wants to spend the rest of her life with the footloose Dwight. The film is filled to overflowing with familiar character faces, including Britishers Edmund Gwenn and Dame May Whitty, French émigré Marcel Dalio and even perennial Laurel and Hardy foil James Finlayson. One Night in Lisbon was based on There's Always Juliet, a pre-WW2 play by John Van Druten. ~ Hal Erickson, Rovi

This adventure is the last entry in the "Renfrew of the Mounties" series. This time the tuneful Mountie travels to the north woods where he must thwart an American mobster's plot to swipe a large gold shipment. Interspersed amongst the action are two songs: "You're Easy on the Eyes," and "Crimson Sunset." ~ Sandra Brennan, Rovi

Joan Bennett plays a young woman who believes she's killed bigtime crook Sidney Blackmer. She changes her hair color from blonde to brunette and escapes from San Francisco to parts unknown. Police detective Fredric March is hired to track down Bennett, which he does in the company of two assistants, wisecracking Ann Sothern and dimwitted Ralph Bellamy. March's chase takes him all over the world (courtesy of back-projected shots of Tay Garnett's recent worldwide vacation); when he catches up with Bennett, he falls in love with her. Still, when they reach Frisco again, March turns Bennett in to the authorities, convincing Bellamy and Sothern that their boss is a no-good rat. But it's actually a clever ploy by March to bring the real murderer out in the open. Trade Winds was produced by Joan Bennett's future husband Walter Wanger, who noted the popularity of Bennett's new brunette status and advised her to stay that way...which she did. ~ Hal Erickson, Rovi

Former musical comedy star Edward N. Buzzell called the shots on the Universal programmer As Good as Married. John Boles plays a wealthy businessman whose inability to keep his love life in order threatens both his financial and emotional well-being. Faithful secretary Doris Nolan is determined to save Boles from himself. She marries him "in name only" to keep him away from his arduous lady friends, and to provide him with an income tax deduction. Love, of course, isn't supposed to enter into the picture, but you know how these things turn out. As Boles' architect friend, Walter Pidgeon plays the "Ralph Bellamy" part of the guy who loses the girl. For an essentially minor comedy, As Good as Married boasts an impressive behind-the-camera talent lineup: F. Hugh Herbert co-adapted the screenplay from "an idea" by Norman Krasna. ~ Hal Erickson, Rovi

Maxwell Anderson's blank-verse play Mary of Scotland was adapted for the screen by Dudley Nichols and directed with a surprising paucity of verve by John Ford. Katharine Hepburn, in one of the "icy" roles that would later earn her the onus of "box office poison", stars as Mary Stuart, who serves as the Queen of Scotland until she is jealously put out of the way by her British cousin, Queen Elizabeth I (Florence Eldredge). Sold out by the Scots nobles, Mary is sentenced to the chopping block for treason. Elizabeth is willing to pardon Mary if only the latter will renounce all claims to the British throne, but Mary refuses, marching to her death with head held high (the Mary/Elizabeth confrontation scene was purely the product of Maxwell Anderson's imagination; in real life, the two women never met). RKO contractee Ginger Rogers dearly coveted the role of Queen Elizabeth, but the studio refused to allow her to play so secondary a role. To prove to the RKO executives that she would be ideal for the part, Ginger secretly arranged for a screen test, in which she was convincingly made up as Elizabeth (even to the point of cutting her hair into a high-foreheaded widow's peak). Contemporary reports indicate that Ginger's audition was brilliant; still, RKO would not consider casting her in the part, so the role of Elizabeth went to Florence Eldridge, the wife of Fredric March, who was cast in Mary of Scotland as Mary's fearless protector the Earl of Bothwell. On the whole, Mary of Scotland is a snoozefest, save for the scenes featuring Douglas Walton as Mary's cowardly husband Darnley. ~ Hal Erickson, Rovi

High-rolling gambler "Odds" Owen (Warren William) establishes an American insurance agency created along the lines of Lloyd's of London. Owen insures Kentucky colonel Jefferson Davis Youngblood (Guy Kibbee) against the possibility that Youngblood's actress daughter Marilyn (Claire Dodd) might get married, thereby cutting off the Colonel's allowance. After scaring away several prospective suitors, Owen messes things up by falling in love with Marilyn himself. Odds are that the 60-minute Don't Bet on Blondes would be completely forgotten were it not for the presence of new Warner Bros. contractee Errol Flynn, who appears in two brief scenes as one of Marilyn's boyfriends. It was Flynn's first speaking role at Warners, and he carried it off with class if not distinction. ~ Hal Erickson, Rovi

Columbia's Once to Every Woman was the first of A. J. Cronin's medical novels to be adapted for the screen. The drama of the piece hinges on the conflict between brilliant young surgeon Barclay (Ralph Bellamy) and crusty hospital head Dr. Selby (Walter Connolly). On another, less-crucial front, Barclay and playboy physician Preston (Walter Byron) vie for the attentions of pretty nurse Miss Farnshawe (Fay Wray). The story comes to a tension-laden climax as Barclay prepares for a delicate brain operation -- a revolutionary procedure which has been opposed by Dr. Selby throughout the picture. Once to Every Woman was scripted by frequent Frank Capra collaborator Jo Swerling. ~ Hal Erickson, Rovi

Before World War I, free-spirited Englishman Tony Clarendon (Hugh Williams) meets Austrian Katha (Helen Twelvetrees) on the island of Capri, and they fall deeply in love. When war breaks out, however, Tony has to return to England, where old friend Margaret Scrope (Mona Barrie) reveals she wants to marry him; Tony has to leave for the war before he can explain to Margaret about Katha. Meanwhile, Katha's letters to Tony result in her father being jailed as a traitor. After the war, Katha heads for England to find Tony, while he arrives in Vienna in search of Katha. Failing to do so, he resignedly marries Margaret, and sinks into the boring, everyday life he'd hoped to avoid. ~ Bill Warren, Rovi

This drama, set within a boarding house, centers around a pregnant show girl abandoned by her boyfriend, a married man who conveniently returns to his wife. The despairing young woman considers ending her life, but is talked out of it by an aged couple. They themselves end up committing suicide. ~ Sandra Brennan, Rovi

Paul Lukas plays a nightclub headwaiter who rises to fame as a bridge expert. He marries hat check girl Loretta Young, likewise a card fanatic. Lukas and Young find themselves vying for the national bridge championship, which results in the expected frictions. All is forgiven in the climactic scenes, in which silver-tongued radio commentator Roscoe Karns gives a play-by-play of the "big game" while director William Dieterle uses freeze frames and slow motion to beef up the tension. Grand Slam is quite an eye-opener for fans of Loretta Young, who displays an unusually generous amount of thigh in her nightclub outfit. ~ Hal Erickson, Rovi

In this drama, a beautiful woman boards a ship with a brutish fellow who kidnaps her and forces her to stow away. Later he proposes to her and tells her she will lead a luxurious life in a tropical chateau. She accepts and a "wedding" is performed on board. When they arrive to their equatorial home, she is shocked to find it nothing but a leaky, ramshackle shack. She then discovers that her "husband" is nothing but a pearl trader with a penchant for abusing the natives. He makes the girl his slave until a handsome young man arrives. Just before the cad leaves her, he jeeringly tells her that they were never really married. The woman blows a gasket and beats him with a leather thong and blinds him. She then tells all to her new lover. He accepts this and they leave the island on their way towards sunnier climes. ~ Sandra Brennan, Rovi

Paramount Pictures seldom fully utilized the talents of contract player Carole Lombard, as witness such tedious programmers as Sinners in the Sun. Lombard plays Doris Blake, an elegant fashion model who spurns her auto-mechanic suitor Jimmy Martin (Chester Morris) in favor of married millionaire Eric Nelson (Walter Byron). Securing a job as a chauffeur, Jimmy marries his employer, wealthy heiress Claire (Adrienne Ames), on the rebound. Ultimately, both hero and heroine realize that (here comes the message) MONEY ISN'T EVERYTHING, whereupon both turn their backs on money and creature comforts to find happiness with each other. Somewhere near the bottom of the cast list is Cary Grant, who would later co-star with Carole Lombard in the infinitely better romantic drama In Name Only. ~ Hal Erickson, Rovi