Marshall Neilan Movies

Pinky Tomlin, the bespectacled crooner responsible for turning "The Object of My Affections" into a hit, is back again in Thanks for Listening. This time, Tomlin plays feckless Homer Tompkins, an easy target for confidence trickster Lulu (Aileen Pringle). Hired as a "professional listener," Homer sets up shop in Reno, inviting people with problems to cry on his shoulder -- for five dollars a session, most of which goes into the pockets of Lulu and her cronies. Homer's biggest challenge is to get the fabulously wealthy Utah Pete to unload his troubles -- and, Lulu hopes, to reveal the whereabouts of his secret gold mine. With the aid of heroine Maxine Doyle, Homer finally figures out that Lulu is up to no good, leading to the hilarious (and of necessity tuneful) finale. Thanks for Listening was the last of Tomlin's starring vehicles for low-budget Ambassador Pictures; it was also the final directorial effort for Marshall Neilan. ~ Hal Erickson, All Movie Guide

A Star is Born came into being when producer David O. Selznick decided to tell a "true behind-the-scenes" story of Hollywood. The truth, of course, was filtered a bit for box-office purposes, although Selznick and an army of screenwriters based much of their script on actual people and events. Janet Gaynor stars as Esther Blodgett, the small-town girl who dreams of Hollywood stardom, a role later played by both Judy Garland and Barbra Streisand in the 1954 and 1976 remakes. Jeered at by most of her family, Esther finds an ally in her crusty old grandma (May Robson), who admires the girl's "pioneer spirit" and bankrolls Esther's trip to Tinseltown. On arrival, Esther heads straight to Central Casting, where a world-weary receptionist (Peggy Wood), trying to let the girl down gently, tells her that her chances for stardom are about one in a thousand. "Maybe I'll be that one!" replies Esther defiantly. Months pass: through the intervention of her best friend, assistant director Danny McGuire (Andy Devine), Esther gets a waitressing job at an upscale Hollywood party. Her efforts to "audition" for the guests are met with quizzical stares, but she manages to impress Norman Maine (Fredric March), the alcoholic matinee idol later played by James Mason and Kris Kristofferson. Esther gets her first big break in Norman's next picture and a marriage proposal from the smitten Mr. Maine. It's a hit, but as Esther (now named Vicki)'s star ascends, Norman's popularity plummets due to a string of lousy pictures and an ongoing alcohol problem. The film won Academy Awards for director William Wellman and Robert Carson in the "original story" category and for W. Howard Greene's glistening Technicolor cinematography. ~ Hal Erickson, All Movie Guide

Marshall Neilan had fallen from the top ranks of directors by the time he helmed the Jane Withers vehicle This is the Life, but he still had it in him to deliver a first-rate job. Withers is cast as pint-sized vaudeville artiste Geraldine Revier. Tired of being professionally exploited by her parents (Gloria Roy and Gordon Westcott), Geraldine disguises herself as a boy and runs away from home. While on the road, she teams up with Michael Grant (John McGuire), a fugitive from justice. Naturally, Michael is innocent, and equally naturally, it is Geraldine who proves it. Future "Charlie Chan" Sidney Toler is a riot as blowhard medicine-show entrepreneur Professor Breckenridge. ~ Hal Erickson, All Movie Guide

This racist horror film from director Marshall Neilan was inspired by "Chloe -- Song of the Swamp," a minor hit for Eva Taylor. Silent film star Olive Borden is Chloe, a woman of mixed parentage who lives in the swamps with an elderly black voodoo practitioner named Mandy (Georgette Harvey), who hates whites because her husband was lynched. Romance is present in the form of Jim, who wrestles an alligator to rescue Chloe, and her true love Wade (Reed Howes), who works at the local turpentine factory. All the black characters despise white people, and even Mandy turns against the mulatto girl she raised, trying to cut her heart out in a voodoo ritual. As in many such efforts, "whiteness" wins out in the end. This is a sad spectacle to behold today, but was par for the course in 1934. ~ Robert Firsching, All Movie Guide

In this Thelma Todd-ZaSu Pitts two-reel comedy, the girls are wartime spies assigned to seduce a couple of German officers. Typically well cast, this Hal Roach Studios comedy featured veteran silent star Stuart Holmes, grande dame actress Carrie Daumery, and newcomer Allan Lane. The latter would later become a popular cowboy star under the name Allan "Rocky" Lane. ~ Hans J. Wollstein, All Movie Guide

No one was surprised in 1929 that aviation mogul Howard R. Hughes would produce a paean to World War I flying aces like Hell's Angels. Given Hughes' comparative inexperience as a moviemaker, however, everyone was taken slightly aback that the finished film was as good as it was. The very American Ben Lyon and James Hall play (respectively) Monte and Roy Rutledge, a couple of British brothers who drop out of Oxford to join the British Royal Flying Corps. Several early scenes establish Lyon and Hall's romantic rivalry over two-timing socialite Helen (Jean Harlow). While flying a dangerous bombing mission over Germany, the brothers are shot down. The commandant (Lucien Prival), who'd earlier been cuckolded by one of the brothers, savors his opportunity for revenge. He offers the boys their freedom if they'll reveal the time of the next British attack; if they don't cooperate, they face unspeakable consequences. Roy, driven mad by his combat experiences, is about to tell all when he is shot and killed by Monte. The latter is himself condemned to a firing squad by the disgruntled commandant -- who, it is implied, will soon meet his own doom at the hands of the British bombers. Nobody really cares about this hoary old plot, however; Hell's Angels culls most of its strength from its crackerjack aerial sequences. The highlight is a Zeppelin raid over London, one of the most hauntingly effective sequences ever put on film. From the first ghost-like appearance of the Zeppelin breaking through the clouds, to the self-sacrificing behavior of the German crew members as they jump to their deaths rather than provide "excess weight," this is a scene that lingers in the memory far longer than all that good-of-the-service nonsense in the finale. Also worth noting is the star-making appearance of Jean Harlow. When Hell's Angels was begun as a silent film, Norwegian actress Greta Nissen played the female lead. During the switchover to sound, producer Hughes decided that her accent was at odds with her characterization, so he reshot her scenes with his latest discovery, Harlow. While she appears awkward in some of her scenes, there's no clumsiness whatsoever in her delivery of the classic line about slipping into "something more comfortable." Originally, Marshall Neilan was signed to direct the film, but became so rattled by Howard Hughes' interference that he handed the reins to Hughes himself, who was in turn given an uncredited assist by Luther Reed. Also ignored in the film's credits are the dialogue contributions by future Frankenstein director James Whale, who'd been hired as the film's English-dialect coach. Modern audiences expecting a musty museum piece are generally surprised by Hell's Angels' high entertainment content: they are also startled by the pre-code frankness of the dialogue, with phrases like "The hell with you" bandied about with reckless abandon. In recent years, archivists have restored the film's two-color Technicolor sequence, providing us with our only color glimpses of the radiant Jean Harlow. ~ Hal Erickson, All Movie Guide

Produced in Hollywood by Herbert Wilcox, who had been unable to obtain sound equipment in London, this "haunted house" (actually "haunted houseboat") mystery-thriller was nevertheless Great Britain's first "all-talkie." John Loder, the only Englishman involved besides Wilcox, and Mary Brian find themselves invited on board a mysterious, fog-bound houseboat. Soon, several of their fellow passengers fall victim to a disguised madman, who proves to be none other than their host, the Reverend Eph Kelly (veteran matinee idol James Kirkwood). Written by John Willard, the author of the classic The Cat and the Canary, and featuring innovative dialogue scenes, Black Waters ultimately suffered in comparison with Alfred Hitchcock's Blackmail (1930), the first "all-talkie" filmed entirely in England. ~ Hans J. Wollstein, All Movie Guide

In his movie debut, Rudy Valley portrays the crooning saxophone player who falls in love with a beautiful young woman. Classic romantic tale is fun with Marie Dressler outstanding in her role as the wealthy eccentric. ~ Tana Hobart, All Movie Guide

One of the first sound releases from FBO pictures (no dialogue, but plenty of music), Taxi 13 stars Chester Conklin in his customary screen guise as an overworked cab driver. With a wife and ten kids to support, hackie Angus MacTavish (Conklin) needs $100 so that he can buy a new cab. When his old taxi is commandeered by a pair of escaping jewel thieves, MacTavish is left breathless but unharmed. What he doesn't know is that the crooks have stashed a valuable diamond necklace in the back seat of his cab. McTavish's daughter Flora (Martha Sleeper) accidentally finds out about the necklace when one of the crooks inadvertently spills the beans. She returns the valuable gems and collects a huge reward, enabling MacTavish to buy a whole fleet of taxicabs. The fact that director Marshall Neilan was working at cost-conscious FBO was proof enough that his career was beginning its long, downward slide. ~ Hal Erickson, All Movie Guide

Bubbly comedienne Constance Talmadge plays the title character in Venus of Venice. Talmadge is cast as Carlotta, a clever Italian thief with a heart of gold. Escaping from her latest caper, Carlotta takes refuge in the gondola owned by handsome Kenneth (Antonio Moreno). Taking it upon himself to reform Carlotta, Kenneth invites her to a fancy ball, where jewelry and temptation are aplenty. Apparently Kenneth has done his job well, since when Carlotta's partner-in-crime Marco (Michael Vavitch) swipes a necklace, our heroine swipes it back from him and returns it to its rightful owner. With Marco in hot pursuit, Carlotta dives into the canal and swims to the safety of Kenneth's arms. ~ Hal Erickson, All Movie Guide

This sentimental comedy begins when four middle-aged actors jointly adopt an orphaned baby girl, raising her in a backstage milieu. The girl grows up to become Doris Poole (Betty Bronson), and it is hoped by her foster daddies that she will become an actress herself. When Doris falls in love with wealthy Ted Potter (Lawrence Gray), her four surrogate parents stage an elaborate charade to convince Ted's snobbish mother Anastasia (Louise Dresser) that Doris is of good breeding. The girl wants no part of the hoax and confesses all to Ted's mom, whereupon Ted is bundled off to Europe "for his own good." But the four adoptive fathers arrange another little "drama" to get Doris on board Ted's ship. Ziegfeld Follies headliner Raymond Hitchcock steals the show (no small task in this ham-infested effort) as a phony butler. ~ Hal Erickson, All Movie Guide