Bess Meredyth Movies

That Night in Rio is a musical remake of 1934's Folies Bergère. Don Ameche plays a dual role as a middle-aged Brazilian industrialist, and a young Rio de Janeiro cabaret performer who looks just like him. The highlight of the entertainer's act is an imitation of the industrialist, which impresses the latter's associates. When the industrialist is unable to attend an important business conference, his lieutenants persuade the entertainer to take his place. The entertainer falls in love with the industrialist's wife (Alice Faye), treating her so gallantly that when the real husband returns, he decides to be more attentive to and appreciative of his spouse. Carmen Miranda is supposed to be playing the entertainer's jealous girlfriend, but she's really around just to let loose with such below-the-Equator hits as "Chica, Chica, Boom Chic." The Rudolph Lothar/Hans Adler play on which That Night in Rio was based was given a third go round in 1951 as the Danny Kaye vehicle On the Riviera. ~ Hal Erickson, Rovi

The Great Hospital Mystery is based on one of Mignon Eberhardt's "Nurse Sarah Keate" whodunits. Physically and temperamentally, Jane Darwell at least approximates the middle-aged Sarah (here renamed Miss Keats), but otherwise the film runs far afield from Eberhardt's original concept. As the night superintendent of a metropolitan hospital, Miss Keats does her best to handle the personal problems of her staff -- especially nurse Ann (Sally Blane), whose brother Tracy (George Walcott) is being victimized by mobsters. To save Tracy from assassination, Keats and Ann make it appear as though he has died in the hospital while a patient there. Their plan is compromised when another patient is murdered -- or is he? Joan Davis provides gratuitous comic relief as a klutzy "girl in white." ~ Hal Erickson, Rovi

"Warner Oland vs. Boris Karloff" read the billing on the opening credits of Charlie Chan at the Opera. Karloff plays a once-famous opera star who has long been confined to an insane asylum. He escapes, ostensibly to seek revenge on the diva wife (Nedda Harrigan) who'd betrayed him years earlier. Karloff shows up during the performance of a new opera, and within minutes the murders start. Detective William Demarest figures the case is open and shut, but oriental sleuth Charlie Chan (Oland) is not thoroughly convinced of Karloff's guilt--nor is he certain that Boris is genuinely insane. To give away the ending would be churlish, but we can note that Charlotte Henry plays Karloff's daughter, who has been raised to believe that her father was dead. Considered by some Charlie Chan fans to be the best of the Warner Oland efforts, Charlie Chan at the Opera is distinguished by excellent production values, and by an original opera composed by Oscar Levant--who allegedly agreed to this assignment provided he could include the word "Silencio!" in his lyrics. ~ Hal Erickson, Rovi

In this lively musical, debonair Maurice Chevalier plays a popular performer at Paris' most notorious hotspot. One reason he is much loved is that he bears an uncanny resemblance to the prominent Baron Cassini, a person the performer frequently mocks. The Baron is having severe financial difficulties and may lose his fortune if he cannot make two simultaneous appointments. But of course, he hires the performer to impersonate him at a grand ball. Unfortunately, the Baron neglects to tell the Baroness and the performer does not tell his girl and such is the beginning of many merry romantic mix-ups. This film was shot in two simultaneous versions, one French and one in English. In the former, the women were portrayed by different women, and the Folies Bergere dancers performed topless. The final production number "Straw Hat" earned choreographer Dave Gould an Academy Award. ~ Sandra Brennan, Rovi

The Affairs of Cellini is based on Edwin Justus Mayer's popular stage play The Firebrand, which in turn was based on the life and times of Renaissance artist/political reactionary Benvenuto Cellini. Fredric March plays the tempestuous, amorous Cellini, who spends as much time in swordplay with jealous husbands as he does in his artist's loft. When the duke of Florence (Frank Morgan) falls for Cellini's beautiful model (Fay Wray), Cellini is presented in court, whereupon he revives an ongoing affair with the duchess of Florence (Constance Bennett). Though a bumbling buffoon, the duke nonetheless holds the power of life and death over everyone in his domain, including Cellini. Thanks to his political activities and his overactive libido, Cellini is nearly executed, but a series of farce-like complications allows the plotline to turn out to the artist's advantage. Though hardly reliable as history, The Affairs of Cellini scores on its comic content, including the hilarious performances of Frank Morgan as the cuckolded duke and Fay Wray as the monumentally stupid artist's model. ~ Hal Erickson, Rovi

Wallace Beery plays P.T. Barnum in this comic biography of the renowned showman. As the story opens, Phineas Taylor Barnum is operating a dry goods store in New York City with his friend Bailey Walsh (Adolphe Menjou), and he is looking for a way to boost business. He strikes upon the idea of adding a sideshow of human oddities and curious individuals, much to the annoyance of his wife Nancy (Janet Beecher). But the sideshow brings in a large audience, and soon it begins to overtake the retail store; however, Barnum's venture comes to a halt when it is revealed that Zorro The Bearded Lady (May Boley) has fake facial hair,and that Joyce Heth (Lucille LaVerne) wasn't really George Washington's nursemaid, as she claims. Despite this setback, Barnum has developed a taste for show business, and he brings noted English singer Jenny Lind (Virginia Bruce) to the U.S. for a concert tour, where she becomes the toast of New York. Barnum soon becomes infatuated with Lind, and while his attempts to woo her are often fumblingly inept, they're effective enough to alienate Nancy, who leaves him and New York City for good. Between his attempts to romance Lind and his shameless ballyhoo for performing midget General Tom Thumb (George Brasno), Barnum finds himself on Walsh's bad side, who has taken to drinking to ease his anger. After his budding romance with Lind fails, Barnum suffers an even greater indignity when his museum, featuring his sideshow freaks and other wonders and oddities, is burned to the ground by angry rivals. However, Barnum's performers show their loyalty by offering their savings to Barnum to help him rebuild, and Nancy returns to Barnum's side in his moment of need. Walsh also appears, ready to bury the hatchet and show off his latest acquisition -- an elephant named Jumbo who could be used in a traveling act, or perhaps even a circus.... The Mighty Barnum was based on the play by Gene Fowler and Bess Meredyth, who also wrote the screenplay. ~ Mark Deming, Rovi

A remarkably smooth 110-minute adaptation of Eugene O'Neill's marathon eight-hour play, Strange Interlude was advertised as "the picture in which you hear the characters think," a nod to O'Neill's technique of having the characters speak their innermost thoughts out loud between dialogue passages (on-stage, the actors stood stock still while delivering their soliloquies; in the film, their thoughts are heard on the soundtrack). Norma Shearer plays Nina Leeds, who during WWI is talked out of marrying her soldier sweetheart, Gordon Shaw (Robert Young), by her professor father (Henry B. Walthall). When Gordon dies two days before the Armistice, the embittered Nina rebels against her father, escaping his dominance by marrying faithful Sam Evans (Alexander Kirkland). Upon discovering that there is a strain of insanity in the Evans family, Nina, desperate to have children, enters into a romance with Dr. Ned Darrell (Clark Gable). She bears his child, a son named Gordon (Tad Alexander as a child, Robert Young as an adult), assuring Evans that the baby is his. Gordon grows up idolizing Evans and despising Darrell, even though the boy is unaware of the circumstances of his birth or his true parentage. Her love for her son bordering on the obsessive, Nina does everything she can to dominate the boy even into adulthood, trying to scare away her son's fiancée, Madeline (Maureen O'Sullivan), by bringing up the insanity issue. Hoping to make up for past misdeeds, Darrell orders Nina to stop poisoning Madeline's mind against Gordon. By the time Evans suffers a fatal heart attack, Nina and Darrell have lost whatever love they shared between them. Through it all, Charlie Marsden (Ralph Morgan), a family friend who has long harbored an unrequited love for Nina, stands on the sidelines vicariously living his life through Nina and Darrell. Of necessity severely cut due to time and censorial constrictions, Strange Interlude still manages to distill the essence of the O'Neill play in its comparatively brief running time. The film's major flaw can also be found in the original play: though the characters age only 25 years or so in the course of the story, by the film's end they are seen doddering around like nonagenarians. The "speaking one's thoughts" gimmick in Strange Interlude was parodied in such comedy films as Animal Crackers, Me and My Gal, So This Is Africa, and even the Walter Catlett two-reeler Get Along Little Hubby. ~ Hal Erickson, Rovi

Though silent star John Gilbert's talking pictures were habitual money-losers, the stubborn actor insisted that MGM honor his $250,000-per-picture contract, signed just before talkies came on. West of Broadway wasn't a bad Gilbert vehicle by any means, but the star's previous failures worked against its success. Gilbert is cast as cynical millionaire Jerry, who, after being snubbed by his sweetheart Anne (Madge Evans), marries Dot (Lois Moran) on the rebound -- and while blind stinking drunk. Sobering up, Jerry treats Dot atrociously, letting her know that he's not in love with her. By the time he realizes that he is, she has had enough of his oafish behavior and has walked out on him. The scene then shifts to Jerry's Arizona ranch, where after much verbal dueling, the reluctant husband is tenderly reunited with his now-forgiving wife. El Brendel, borrowed from Fox Studios, enlivens the picture with his trademarked Swedish-dialect humor. ~ Hal Erickson, Rovi

In this melodrama, a magician finds himself accused of murdering his lover's father. He flees and the lover marries her other boyfriend--the real killer. When her husband dies, the magician gets plastic surgery until he resembles the killer and assumes his former position as husband to the girl. He then begins gathering the necessary evidence to clear his name. ~ Sandra Brennan, Rovi

Originally filmed under the title The House of Troy, In Gay Madrid was one of four 1930 MGM operettas designed to show off the singing talents of silent-screen idol Ramon Novarro. The star is cast as Ricardo, a young, headstrong student in love with cabaret girl Goyita (Lottice Howell). Trouble is, he already has a sweetheart, the demure Carmina (Dorothy Jordan). This being an essentially lighthearted frolic, Ricardo eventually goes back to his true love, while Goyita philosophically moves on to her next conquest. ~ Hal Erickson, Rovi

Having starred in Our Dancing Daughters (28) and Our Modern Maidens (30), the next logical step for Joan Crawford was Our Blushing Brides (30). Crawford is featured with her Dancing Daughters costars Dorothy Sebastian and Anita Page in this tale of three roommates trying to make good in the Big City. Crawford works as a department store mannequin, while Sebastian and Page have jobs as clerks. Robert Montgomery, son of the store's owner, marries Crawford, having failed to "score" any other way; Sebastian weds a thief (John Miljan) whom she mistakes as a millionaire; and Robert Montgomery's younger brother Raymond Hackett takes Page as his mistress, which results in her suicide after he drops her. Our Blushing Brides has plenty to blush about. ~ Hal Erickson, Rovi

Intended as a follow-up to the fabulously successful Broadway Melody, Chasing Rainbows reunites several of the leading players of MGM's Hollywood Revue of 1929. The story concerns a troupe of travelling entertainers, all of whom would like to escape their peripatetic existence but none of whom have the guts to do so. Song-and-dance man Terry (Charles King), the unofficial star of the troupe, is a swell-headed jerk, who ignores his ever-loving partner Carlie (Bessie Love) in favor of predatory leading lady Daphne (Nina Martan). He finally realizes what a fool he's been when Daphne walks out on the show and faithful Carlie takes her place. Marie Dressler and Polly Moran provide their usual comedy relief (including the by-now-obligatory drunk scene), while Jack Benny is surprisingly cast in a dramatic role as the troupe's master of ceremonies. Even so, Benny rises to the occasion whenever a laugh is called for: Playing for time when Daphne storms out of the show, he turns to the audience and quips "Sorry, folks, but the leading lady broke her leg and we had to shoot her." Of the songs heard in Chasing Rainbows, the most memorable is "Happy Days are Here Again," which two years later was selected as the signature tune for Franklin D. Roosevelt's presidential campaign. ~ Hal Erickson, Rovi