Everett J. Riskin Movies

After suffering nobly in several heavyweight MGM dramas, Greer Garson and Walter Pidgeon begged the studio to cast them together in a comedy. Though not an all-out laff riot, Julia Misbehaves strives hard to please. Garson plays an ever-in-debt British music-hall performer who relies on the largess of her friends to keep the wolf from the door. Pidgeon portrays Garson's ex-husband, who for the past 20 years has lived in Paris with their daughter Elizabeth Taylor. When Taylor becomes engaged, she sends Garson a wedding invitation. Broke again, Garson hastily joins an acrobatic act to earn steerage money, and charms British nobleman Nigel Bruce into giving her enough cash for a wedding present. Once she arrives in Paris, Garson sticks her nose into everyone's affairs, much to the dismay of the uptight Pidgeon. Garson even advises daughter Taylor to marry someone other than her betrothed. Despite her screwball behavior, Pidgeon can't help falling in love with Garson all over again--but it takes a zany sequence in and around a mountain chalet to knot together the many loose plotlines. Julia Misbehaves was adapted from The Nutmeg Tree, a novel by Margery Sharp. ~ Hal Erickson, Rovi

Oriental Dream is the TV title for the 1944 Technicolor version of Kismet. Ronald Colman plays Hadji, "king of beggars" in the days of the Arabian Nights. Posing as a prince, Colman woos Marlene Dietrich, the favorite wife of the evil Wazir (Edward Arnold). Meanwhile, Colman's daughter Joy Ann Page falls in love with handsome Caliph James Craig--while the Wazir connives to get Page into his own harem. Several plot convolutions later, Colman ends up with Dietrich, Page winds up with Craig, and the Wazir winds up six feet under. Kismet was based on the war-horse stage play by Edward Knoblock, previously filmed in 1920 and 1930 with the play's original star Otis Skinner. The title Oriental Dream was bestowed upon the 1944 Kismet when it was remade as a musical in 1955. The earlier version had its musical moments as well, notably a delicious dance number spotlighting Dietrich, painted gold head from head to toe; an additional dance sequence was cut, but later showed up in the Abbott and Costello comedy Lost in a Harem (1944). ~ Hal Erickson, Rovi

Opening in England during the middle of World War II, A Guy Named Joe tells the story of Pete Sandidge (Spencer Tracy), a tough, devil-may-care bomber pilot who's amassed an enviable record in combat, mostly by taking chances that give his C.O. (James Gleason) the shakes, much as he and the top brass appreciate the results. Pete lives to fly, but he also appreciates the fairer sex, which for the last couple of years means Dorinda Durston (Irene Dunne), herself a hot-shot air-ferry pilot. She's also worried about the chances he takes, even after Pete and his best friend, Al Yackey (Ward Bond), are transferred to Scotland and switched to flying reconnaissance missions. Pete finally agrees to take a training position back in the States, but he must fly one last mission, to locate a German force threatening an Allied convoy. He and Al do the job and have turned for home when the German fighter cover attacks; Pete's plane is damaged and he's wounded, and after his crew bails out he takes the burning ship down and drops his bomb-load on the main German attack ship (a carrier, which is totally inaccurate) at zero altitude. His plane is caught in the blast and destroyed, and that's where the main body of the movie begins.

Pete arrives in a hereafter that's a pilot's version of heaven, including a five-star general (Lionel Barrymore). He doesn't even appreciate what's happened to him until he meets Dick Rumney (Barry Nelson), a friend and fellow pilot who was previously killed in action. It seems that the powers of the hereafter are contributing to the war effort, sending departed pilots like Pete and Dick to Earth to help guide and help young pilots; Pete himself discovers that he benefited from these efforts in peacetime. Pete ends up at Luke Field near Phoenix, AZ, where he takes on helping Ted Randall (Van Johnson), a young pilot who lacks confidence. By the time he's done, riding along while Ted "solos," Ted is a natural in the air and ends up as the star of his squadron when he become operational in New Guinea -- in a group under the command of Al Yackey -- and ends up taking over command when their own leader is shot down. Pete's like a proud teacher, and also enjoys his unheard ribbing of Al and his ex-C.O. to Rumney, over their promotions, but then Dorinda shows up, and suddenly Pete finds all of his unresolved feelings about her recalled, even as he sees that she's never gotten over losing him. And when, with Al's help, she and Ted meet and seem to fall for each other, Pete's jealousy gets the better of him. It's only when he is made to realize just how important life was to him, and how important the future is for those still living, that he begins to understand that he has to let go of his feelings, and let Dorinda and Ted get on with their lives. But first he has to help Dorinda survive a suicide mission that she's taken over from Ted, attacking a huge and heavily defended Japanese ammo dump. ~ Bruce Eder, Rovi

One review of Columbia's The Amazing Mr. Williams referred to its private-detective hero as "slap happy". As played by Melvyn Douglas, the giddy Kenny Williams is all that and more. On the eve of his wedding to longtime fiance Maxine Carroll (Joan Blondell), Williams is obliged to solve three mysteries in a row. One of these finds him handcuffed to convicted criminal Moseby (Ed Brophy), causing no end of discomfort and embarrassment on the dance floor. Another requires Williams to disguise himself as a woman, mustache and all. Finally, our hero goes undercover to prove the innocence of accused murderer Stanley (John Wray). Through it all, Maxine gamely remains at Williams' side, determined to march him to the altar come what may-at least until she herself is deputized by the police force! ~ Hal Erickson, Rovi

I Am the Law is arguably the best of the late-1930s films inspired by the racket-busting career of New York district attorney Thomas E. Dewey. Edward G. Robinson switches to the right side of the law as the Dewey counterpart, here named John Lindsay (!) A feisty, no-nonsense law professor, Lindsay is approached by a group of concerned citizens to act as special prosecutor to rid up their (unnamed) state of big-time lawbreakers. He wastes no time taking charge, storming into the prosecutor's office and firing anyone whom he suspects of being "on the take." With the help of his dedicated law students, who work alongside him for free, Lindsay purges the local government of such corrupt influences as Eugene Ferguson (Otto Kruger), the outwardly respectable "brains" behind the rackets. Among the minor pleasures in I Am the Law is watching Robinson dancing the Big Apple with gun moll Wendy Barrie in an early scene, and his firing of suspicious-looking Charles Halton with a brusque "Don't like your face! Never have! You've got shifty eyes and a weak chin!" (which, indeed, were Halton's screen trademarks). Barbara O'Neil, who the following year played Scarlet O'Hara's mother in Gone with the Wind, is quietly effective as Robinson's supportive wife. ~ Hal Erickson, Rovi

In this tuneful, romantic drama, an Australian opera star (Grace Moore) wants to perform in a major U.S. festival but cannot enter the country unless she is married. To this end, she hires a handsome artist (Cary Grant) temporarily marry her. At first it is all strictly business, but in time, the artist starts falling in love. Songs include: "Our Song," "Minnie the Moocher" (this number is usually cut out in 98m televised version of the film), "Siboney," and "The Waltz Song." ~ Sandra Brennan, Rovi

Opera diva Grace Moore plays (what a stretch!) an opera diva in I'll Take Romance. Moore reneges on an agreement to open the opera season in Buenos Aires, opting instead for a better-paying job in Paris. Melvyn Douglas, acting on behalf of the Buenos Aires company, pretends to fall in love with Moore in order to win her back--but soon discovers to his surprise that he's not pretending at all. Ms. Moore sings selections from Manon Lescaut, Madama Butterfly and La Traviata. and also warbles the title song, which became a hit and subsequently popped up as background music in many a future Columbia production. I'll Take Romance barely has a plot at all, though fans of Grace Moore weren't complaining. ~ Hal Erickson, Rovi

Jim Buchanan (Herbert Marshall) is a wealthy, highly successful automobile company president, who is about to enter into a marriage-of-convenience with a socially-connected young woman (Frieda Inescort). When his board of directors votes down a new, revolutionary line of cars that he wants to adopt, Jim walks out on his company and his social obligations to re-think his future. He meets Joan Hawthorne (Jean Arthur), an unemployed and homeless young woman, in the park; she doesn't recognize him, and mistakes his uncertainty for desperation similar to her own. Joan persuades him to pose as her husband so can apply as the cook and butler in the home of Mike Rossini (Leo Carrillo), who turns out to be a gangster laying low in the wake of Prohibition's end. Rossini loves Joan's cooking and tolerates Jim's butling; but his henchman Flash (Lionel Stander), who is suspicious of everyone, is puzzled by the fact that the couple don't seem to be living as husband and wife, and also by Jim's nocturnal wanderings back to his corporate offices. Still hiding his identity from Joan, he passes himself off as a frustrated engineer (which he is), and impresses her with his ideas and drawings. A case of mistaken identity and mis-directed good intentions briefly lands Joan in jail, while Jim keeps trying to sort out his attraction to her, versus the loveless marriage he's about to enter into. When all seems lost for Joan, Rossini -- who likes her and her cooking -- comes through with his boys, kidnapping Jim out of his own wedding to try to get the couple back together. ~ Bruce Eder, Rovi

"She" is secretary Claudette Colbert and "Her Boss" is Melvyn Douglas. Once married, Colbert discovers that Douglas expects her to work as usual. She must also contend with his wealthy, snooty family, whose most hateful member is his spoiled brat of a daughter (Edith Fellows) by a previous marriage. Rebelling against her repressive existence, Colbert eventually puts her in-laws in their place and arouses the ardor of the "strictly business" Douglas. While consistently amusing throughout, the highlight of She Married Her Boss is a first-reel bit of pantomimic whimsy involving Claudette Colbert and a roomful of department store mannequins. ~ Hal Erickson, Rovi

The marital strife of a newlywed couple is chronicled in this drama. The couple, and engineer and a former actress, have just barely ended their honeymoon when the troubles begin. When she finds herself pregnant, the troubled wife keeps it to herself. At the same time, her husband has become a thief who quickly squanders his loot. He is then arrested and imprisoned. He lies to his wife telling her that he is on a long-term business trip to Russia. Eventually the two come back together when he is paroled. He then meets his baby son. ~ Sandra Brennan, Rovi