Ernst Matray Movies

Writer/director Albert Lewin, ever on the lookout for esoteric story material that would accommodate his fascination with Egyptian sculpture and feline symbolism, managed to inject both into The Private Affairs of Bel Ami. Though based on a Guy de Maupassant story, Bel Ami seems to have been written by Oscar Wilde, another of Lewin's pets (e.g. The Picture of Dorian Gray). George Sanders plays an epigrammatic Parisian journalist, who rises to the top through the "kindnesses" of the various influential women that he's seduced and abandoned. This 19th-century rake's progress is ultimately halted by a duel, and somehow we're sorry that we don't get to see Sanders pull off at least one more caddish trick to save himself. Echoes from Lewin's previous works include his insertion of a Technicolor sequence (as he'd done in Dorian Gray and The Moon and Sixpence). George Sanders' stepping-stone ladies include Angela Lansbury, Frances Dee, Ann Dvorak, Marie Wilson, Katherine Emery and Susan Douglas. ~ Hal Erickson, Rovi

Higher and Higher was advertised by RKO Radio as "The Sinatra Show", and small wonder: In his first major film role, Frank Sinatra was easily the film's biggest box-office draw. Actually, Frankie was a last minute addition to the film, which began as a traditional adaptation of a popular Broadway musical. Repeating his original stage role, Jack Haley plays Mike, the head servant in the household of millionaire Mr. Drake (Leon Errol). When Drake faces bankruptcy, Mike rallies the servants together and cooks up a moneymaking scheme: they'll pass off pretty scullery maid Millie (Michele Morgan) as Drake's daughter, and marry her off to a wealthy bachelor. Complicating matters is Sir Bictor Fitzroy Victor (Victor Borge), an impoverished nobleman who is himself looking for a rich wife. Mike saves the day with a last-minute discovery in the wine cellar, but not before a series of hilarious and tuneful plot twists involving Millie, heiress Katherine (Barbara Hale), and hired help Mickey (Marcy McGuire) and Marty (Mel Torme). Hastily written into the proceedings as Drake's next door neighbor, Sinatra croons several standards-to-be, including "I Couldn't Sleep a Wink Last Night" and "This is a Lovely Way to Spend an Evening"; he also is arbitrarily permitted the film's closing shot, emerging from heavenly clouds like the Second Coming of Music. Thanks to the film's enormous box-office take, everybody was happy with Higher and Higher--except Jack Haley, understandably miffed that his onetime starring role was whittled down to a supporting part to allow more screen time for the estimable Mr. Sinatra. ~ Hal Erickson, Rovi

In most of his movie vehicles, bandleader Kay Kyser played a bandleader named Kay Kyser. In Swing Fever, however, Kyser is cast as aspiring songwriter Lowell Blackford. Though he isn't too successful at peddling his songs, Blackford does have one unique talent: The ability to hypnotize boxer Killer Kennedy (Nat Pendleton) into winning fights. Blackford is coerced into using his "whammy" on Kennedy by Ginger Gray (Marilyn Maxwell). On the night of the championship bout, Blackford finds out he's being used, but goes through with his hypnosis to save Ginger from gangsters. The whole thing ends rather incongruously with a patriotic floor show, a specialty of MGM films of the period. Several guest performers lift Swing Fever out of the ordinary, including Lena Horne and the Merrill Abbott Dancers. Also appearing is an uncredited Ava Gardner as a sarcastic receptionist. ~ Hal Erickson, Rovi

This MGM musical lifts the premise of Pride and Prejudice and plunks it down into the early 1900s. S.Z. Sakall is a restaurateur who has decreed that his seven daughters must marry in order of age -- the oldest one first. Kathryn Grayson isn't the oldest, but she has the sweetest singing voice, and it is she who bags the first husband (Van Heflin). For the record, the remaining six sisters are played by Marsha Hunt, Frances Rafferty, Cecilia Parker, Peggy Moran, Dorothy Morris and Frances Raeburn. Seven Sweethearts was produced by Joe Pasternak, who'd been doing much the same material when in charge of Universal's Deanna Durbin vehicles. ~ Hal Erickson, Rovi

The final pairing of Jeanette MacDonald and Nelson Eddy, an adaptation of a Rodgers & Hart musical, stars Eddy as a playboy who fantasizes that he is romancing an angel (MacDonald). ~ Jason Ankeny, Rovi

This remake of Ferenc Molnar's play The Guardsmen focuses on an opera star (Nelson Eddy) who tests the fidelity of his wife (Rise Stephens) by wooing her in disguise. The film was nominated for Best Cinematography, Best Sound and Best Score. ~ John Bush, Rovi

Given the omnipresence of the Motion Picture Production Code in 1940, the second film version of Robert E. Sherwood's Waterloo Bridge would have to be laundered and softened to pass muster. In the original, made in 1931, the heroine is nothing more or less than a streetwalker, patrolling London's Waterloo Bridge during World War I in hopes of picking up the occasional soldier. She falls in love with one of her clients, a young officer from an aristocratic family. Gently informed by the young man's mother that any marriage would be absolutely impossible, the streetwalker tearfully agrees, letting her beau down gently before ending her own life by walking directly into the path of an enemy bomb. In the remake, told in flashback as a means of "distancing" the audience from what few unsavory story elements were left, the heroine, Vivien Leigh, starts out as a virginal ballerina. Robert Taylor, a British officer from a wealthy family, falls in love with Vivien and brings her home to his folks. This time around, Taylor's uncle (C. Aubrey Smith), impressed by Vivien's sincerity, reluctantly agrees to the upcoming marriage. When Taylor marches off to war, Vivien abandons an important dance recital to bid her fiance goodbye, losing her job as a result. Later, she is led to believe that Taylor has been killed in battle. Thus impoverished and aggrieved, she is given a motivation for turning to prostitution, a plot element deemed unecessary in the original-which indeed it was. Now the stage is set for her final sacrifice, though the suicidal elements are carefully weeded out. Waterloo Bridge was remade for a second time in 1956 as Gaby, with Leslie Caron and John Kerr. ~ Hal Erickson, Rovi

Winfield Sheehan, former head of Fox studios, owned the only Austrian Lippizan horses in the U.S. In 1940, MGM bought the rights to the Felix Salten novel Florian, all about the Lippanzers. When the film was made, the producer was Winfield Sheehan. Coincidence? We don't think so. At any rate, the story, set in the 1880s, tells of how hero (Robert Young) and heroine (Helen Gilbert) are brought together through their love of horses. Just so we don't forget that Florian is set in Austria, Reginald Owen shows up as emperor Franz Josef. For another filmic treatment of the fabulous Lippanzer show horses, we refer you to Disney's The Miracle of the White Stallions (63). ~ Hal Erickson, Rovi

Based on a story by Vicki Baum (of Grand Hotel) fame, Dance, Girl Dance finds innocent young Judy (Maureen O'Hara) journeying to the Big Apple in hopes of gaining fame as a classical dancer. Instead she ends up as the "stooge" for raucous strip-tease artist Bubbles (Lucille Ball), who attempts to perform ballet before leering, catcalling, unappreciative burlesque audiences. Eventually, Judy and Bubbles both fall for playboy Jimmy Harris (Louis Hayward), a rivalry that culminates in a hair-pulling, eye-scratching cat fight. Eventually, Harris's ex-wife (Virginia Field) reels him back in, and Judy is hired by ballet producer and entrepreneur Steve Adams (Ralph Bellamy). In recent years, Dance, Girl, Dance has been canonized as a feminist manifesto, due to the fact that Dorothy Arzner was the director and because of Maureen O'Hara's climactic burlesque-house speech, in which she lambastes the male spectators for their puerile chauvinism. It should be noted, however, that Arzner became director only after Roy Del Ruth pulled out of the project. Uncertain how to promote the film, RKO Radio elected to sneak it into its first-run houses without fanfare, and the result was a $400,000 loss for the studio. ~ Hal Erickson, Rovi