Robert Riskin Movies

You Can't Run Away From It is a musical remake of Frank Capra's Oscar-winning classic It Happened One Night, complete with same-named characters and word-for-word scene reconstructions. It all begins when spoiled heiress Ellie Andrews (June Allyson) is literally kidnapped from the altar by her wealthy father (Charles Bickford). Escaping from her daddy's yacht with only a handful of clothes and minimal finances, Ellie hops a bus, intending to travel cross-country to be reunited with her fortune-hunting husband. Reporter Peter Warne (Jack Lemmon), sensing a swell newspaper story, tags along. Though Peter and Ellie aren't terribly fond of one another (that's putting it mildly!), by the end of their journey they've fallen in love -- but there are still several last-minute complications before a happy ending can be reached. Most of the musical numbers in the remake are awkwardly inserted during the more famous scenes from the Capra original: the "Walls of Jericho," the impromptu singalong on the bus, the hitchhiking bit, etc. Benefiting from the breezy performances of Jack Lemmon and June Allyson, You Can't Run Away From It is easy to take, but hardly within shouting distance of the original film's brilliance. ~ Hal Erickson, Rovi

Here Comes the Groom was the second collaboration between director Frank Capra and star Bing Crosby. Though not as "socially relevant" as previous Capra productions, the film is a thoroughly likeable yarn about a happy-go-lucky newspaperman named Pete (Bing Crosby). In order to legally adopt a brace of war orphans, Pete must marry within a week. His plans to wed his longtime sweetheart Emmadel (Jane Wyman) come acropper when she, tired of waiting for him to pop the question, becomes engaged to wealthy Wilbur Stanley (Franchot Tone). Conspiring with Wilbur's cousin Winifred (Alexis Smith), Pete spends the balance of the film trying to win Emmadel back. From all accounts, the set of Here Comes the Groom was a happy one, the conviviality extending to Alexis Smith's willingness to be on the receiving end of several jokes concerning her height (she seems nearly a head taller than Crosby!). The film's best scene is the Bing Crosby-Jane Wyman duet "In the Cool, Cool, Cool of the Evening," reportedly filmed in one take without post-dubbing. As a bonus, Here Comes the Groom introduces a bright new singing talent, Anna Maria Alberghetti, and is festooned with uncredited guest stars, ranging from Dorothy Lamour to Louis Armstrong. ~ Hal Erickson, Rovi

Based on a true story, Mister 880 is the whimsical tale of an elderly gentleman (Edmund Gwenn) who dabbles in counterfeiting. He makes only enough "funny money" to support himself, but the fact that his work is so amateurish (he can't even spell "Washington") arouses the indignation of the treasury department. Burt Lancaster, the hard-nosed treasury agent put on the case, is determined to prosecute the miscreant to the full extent of the law. In tracking down a lead, Lancaster falls in love with Dorothy McGuire, a recipient of one of the phony bills. Lancaster discovers that McGuire lives in the same building as Gwenn, and after piecing together the clues arrests the old fellow. Softened by Gwenn's naivete, Lancaster and Ms. McGuire arrange for a compassionate lawyer to lessen what would otherwise be a stiff prison sentence. Mister 880 was to have starred Walter Huston as the ingenuous counterfeiter, but Huston died just before filming started. ~ Hal Erickson, Rovi

In The Strange Love of Martha Ivers, relationships formed in childhood lead to murder and obsessive love. The wealthy Martha Ivers (Barbara Stanwyck) is the prime mover of the small Pennsylvania town of Iverston. Martha lives in a huge mansion with her DA husband, Walter O'Neil (Kirk Douglas), an alcoholic weakling. No one knows just why Martha and Walter tolerate one another....but Sam Masterson (Van Heflin), an Iverstown boy who returns to town, may just have a clue. At least that's what Martha thinks when Sam asks Walter to intervene in the case of Toni Marachek (Lizabeth Scott), who has been unjustly imprisoned. It seems that, as a young boy, Sam was in the vicinity when Martha's rich aunt (Judith Anderson) met with her untimely demise. What does Sam know? And what dark, horrible secret binds Martha and Walter together? Directed by Lewis Milestone, and based on John Patrick's Oscar-nominated original story, Love Lies Bleeding, The Strange Love of Martha Ivers creates in Martha a unique and interesting, driven, obsessed, and spoiled character, but one not without sympathy. Barbara Stanwyck is outstanding as Martha, with her predatory smile and sharp, manicured nails. Kirk Douglas is surprisingly convincing as a lost, sad, weak man, who loves his wife, but is unable to gain her respect. The Strange Love of Martha Ivers eventually lapsed into public domain and became a ubiquitous presence on cable television. ~ Hal Erickson, Rovi

The first of director Frank Capra's independent productions (in partnership with Robert Riskin), Meet John Doe begins with the end of reporter Ann Mitchell's (Barbara Stanwyck) job. Fired as part of a downsizing move, she ends her last column with an imaginary letter written by "John Doe." Angered at the ill treatment of America's little people, the fabricated Doe announces that he's going to jump off City Hall on Christmas Eve. When the phony letter goes to press, it causes a public sensation. Seeking to secure her job, Mitchell talks her managing editor (James Gleason) into playing up the John Doe letter for all it's worth; but to ward off accusations from rival papers that the letter was bogus, they decide to hire someone to pose as John Doe: a ballplayer-turned-hobo (Gary Cooper), who'll do anything for three squares and a place to sleep. "John Doe" and his traveling companion The Colonel (Walter Brennan) are ensconced in a luxury hotel while Mitchell continues churning out chunks of John Doe philosophy. When newspaper publisher D.B. Norton (Edward Arnold), a fascistic type with presidential aspirations, decides to use Doe as his ticket to the White House, he puts Doe on the radio to deliver inspirational speeches to the masses -- ghost-written by Mitchell, who, it is implied, has become the publisher's mistress. The central message of the Doe speeches is "Love Thy Neighbor," though, conceived in cynicism, the speeches strike so responsive a chord with the public that John Doe clubs pop up all over the country. Believing he is working for the good of America, Cooper agrees to front the National John Doe Movement -- until he discovers that Norton plans to exploit Doe in order to create a third political party and impose a virtual dictatorship on the country. The last of Capra's "social statement" films, Meet John Doe posted a profit, although Capra and Riskin were forced to dissolve their corporation due to excessive taxes. ~ Hal Erickson, Rovi

This musical drama follows a young ghetto kid who dreams of being a classical musician like his idol Jascha Heifetz. He first hears the renowned violinist after finding a ticket to Carnegie Hall on the sidewalk one day. The young man is so inspired by what he hears that he enrolls in Professor Lawson's inner-city music school. Unfortunately, the school teeters on the brink of bankruptcy. Fortunately the determined young boy convinces his street buddies to help him plead with Heifetz to help them save the school by doing a benefit concert. The master violinist agrees and saves the day. ~ Sandra Brennan, Rovi

It took British author James Hilton six weeks to write his visionary novel Lost Horizon. It took director Frank Capra two years-and half of his home studio Columbia's annual budget-to bring it to the screen. After a lengthy preamble, inviting audiences to imagine their own ideas of Utopia, the film opens on a chaotic scene at a Chinese airfield. As hordes of bandits approach, hundreds of refugees scramble to board the last plane out. Only five people make it: Mildly disenchanted Far Eastern diplomat Robert Conway (Ronald Colman), his hotheaded younger brother George (John Howard), embezzler Barnard (Thomas Mitchell), dithery fossil expert Lovett (Edward Everett Horton) and consumptive prostitute Gloria Stone (Isabel Jewell). As the plane flies off towards the Himalayas, Robert realizes that he and his fellow passengers are heading in the wrong direction. They are, in fact, being kidnapped-but why? And where to? The plane crash-lands in the snowy Tibetan interior. The pilot is killed, but the passengers are safe. By and by, a strange caravan approaches, led by an enigmatic Chinese named Chang (H. B. Warner). Joining the caravan, Conway and his party are led through a treacherous mountain pass and into a land of temperate weather and dazzling beauty. This is Shangri-La, the idyllic lamasery presided over by the aged, wizened High Lama (Sam Jaffe). In this fertile valley, people are not encumbered by such exigencies as crime, dictators and hatred; instead, everyone is devoted to the pursuit of wisdom and self-improvement-and best of all, the aging process has been slowed to a walk, allowing people to live well past the two-century mark. Though he still does not know why he was brought here, Conway is quicker to adapt to Shangri-La than his wary fellow passengers. He even falls in love with Sondra (Jane Wyatt), an attractive, intelligent young woman. Finally granted an audience with the High Lama, Conway discovers that the old man is actually Father Perrault, the Belgian missionary who founded Shangri-La-over two hundred years earlier. Dying, the High Lama has selected Conway, whose idealism and even-handedness is world famous, to succeed him-and hopefully spread the "love thy neighbor" edict of Shangri-La to the rest of the war-torn world. Conway is willing to assume leadership, but younger brother George, his mind poisoned by spiteful Shangri-La resident Maria (Margo), insists upon escaping to the outside world. The older Conway warns that, despite her youthful appearance, Maria is well past sixty and will surely perish once she leaves Shangri-La; but Maria retorts that the high lama is insane, and that everything he has told Conway is a lie. Disillusioned, Conway agrees to leave with Jack and Maria. The trek back to civilization is a grueling one, especially for Maria, who-true to Conway's prediction-shrivels from age and dies. Appalled that he has been misled, George kills himself. Weeks later, and amnesiac Conway stumbles into a Tibetan mission, where he is rescued and brought back to England. When his memory is restored, however, Conway runs back to Shangri-La, and into the arms of Sondra. When Lost Horizon was shown to preview audiences, it ran nearly three hours-and it was a disaster. In his autobiography, Capra claims to have rescued his pet project by merely burning the first two reels and opening the film with the evacuation scene; In fact, while Capra did remove the film's "flashback" framework, he made most of his cuts in the body of the picture. The release length of Lost Horizon was 132 minutes, pared down to 119 when it when into general distribution. When it was reissued in the 1940s and 1950s, it was rather clumsily pared down to anywhere from 95 to 100 minutes. Only in the mid-1980s was Lost Horizon restored to its original length, with stills used to illustrate certain scenes for which only the soundtrack existed. While not the enormous hit Capra and Columbia had hoped it would be, Lost Horizon was popular enough to allow the name "Shangri-La" enter the household-word category. In 1973, producer Ross Hunter felt the urge to inflict a wretched musical remake onto an unsuspecting public. ~ Hal Erickson, Rovi

When a car crash ends the life of a fabulously wealthy patron of the arts, the decedent's $20,000,000 fortune is inherited by one Longfellow Deeds (Gary Cooper) of Mandrake Falls, Vermont. Already a reasonably successful local businessman, Deeds doesn't really feel the need for anything extra in his life: he just wants enough time to practice his tuba and compose greeting-card doggerel. When Deeds is convinced to move to New York, hard-boiled newspaper reporter Babe Bennett (Jean Arthur) is dispatched to get the inside scoop on "The Cinderella Man." Babe's stories of Deeds' eccentricities and no-nonsense dealings with phonies and poseurs provide excellent headline fodder; but she begins to regret her actions, having fallen in love with the big lug. Deeds ultimately sets up a foundation to dispense his fortune to the country's neediest souls, on the proviso that the recipients do their best to get back on their feet, a turn of events that leads his lawyer John Cedar (Douglas Dumbrille) to try to have him declared insane. By the end of the sanity hearing, the judge (H. B. Walker) declares: "Not only are you sane, but you're the sanest man who ever walked in this courtroom!" A joyously unadulterated hunk of Frank Capra-corn, Mr. Deeds Goes to Town was adapted by Robert Riskin from Clarence Buddington Kelland's short story "Opera Hat." In addition to the pleasure of watching the country bumpkin outwit city slickers, the movie is a film buff's dream, boasting one of the best character-actor casts ever assembled for a single film. Nominated for four Academy Awards, the film won Frank Capra his second Oscar (out of three) as Best Director. ~ Hal Erickson, Rovi

The film that revived Edward G. Robinson's career after a string of flops, along with A Slight Case of Murder (1938), it was one of the few comedies on his lengthy list of credits. The gangster-comedy was unusual in the composition of its writing staff, which included frequent Frank Capra collaborators Robert Riskin and Jo Swerling, as well as tough-guy scribe W.R. Burnett, who wrote Little Caesar (1931) and High Sierra (1941). The plot centers on the confusion surrounding the uncanny resemblance of a mild-mannered advertising clerk, Arthur Jones (Robinson), to escaped convict "Killer" Mannion. After the police mistakenly arrest the clerk, they give him a passport to avoid repeating the error. As a novelty, newspaper man Healy (Wallace Ford) hires the clerk, an aspiring writer, to do a series on his impressions of Mannion. But later, the convict appears at Jones' apartment and demands the passport for his own protection, threatening the fearful clerk if he reveals anything about his visit. The criminal also orders Jones to write the series of articles based on his reminiscences, which alerts the police that something strange is going on. Although the district attorney finally places Jones in jail under protective custody, for his safety, Mannion switches places with him in order to kill another inmate. ~ Michael Costello, Rovi

Just after completing It Happened One Night, director Frank Capra churned out a bread-and-butter picture titled Broadway Bill. Warner Baxter plays the carefree scion of a wealthy, highly-respected family. Baxter's cold but socially correct wife Helen Vinson forces her husband into the family business, but Baxter would rather spend his time at the racetrack. He buys a nag named Broadway Bill and tries to build the horse into a winner--if he doesn't bankrupt himself first. Only Baxter's sister-in-law Myrna Loy and black stable hand Clarence Muse have faith in Broadway Bill. The horse wins a crucial race, but dies suddenly at the finish line. Baxter is comforted and given encouragement by Loy, who is now his sweetheart, Vinson having long since washed her hands of her "irresponsible" husband. Broadway Bill was remade by Capra as Riding High (1950), utilizing generous portions of stock footage and even going so far as to rehire several of the original film's cast members (Douglass Dumbrille, Clarence Muse, Charles Lane, Raymond Walburn, Margaret Hamilton, Frankie Darro) to recreate their roles and match up their scenes from the earlier production. Long withheld from distribution due to Riding High, Broadway Bill was made available for videocassette in the mid-1980s. Keep an eye out for Lucille Ball as a blonde telephone operator and Alan Hale Sr. as a racetrack announcer. ~ Hal Erickson, Rovi

In this romantic sex-comedy from director Robert Florey, Bette Davis stars as Helen Bauer, a free-spirited, self-sufficient feminist who would rather pursue her career as a graphic artist than settle down and marry Don Peterson (Gene Raymond), the advertising writer she loves, out of fear that marriage will destroy the romance. Eventually, Don wears Helen down and the couple marry. But when the flame quickly burns out, Don begins an affair with a female client. Not to be outdone and without missing a beat, Helen takes up with Nick Malvyn (Monroe Owsley), another ad writer, who by no coincidence also happens to be Don's biggest rival. In light of their respective bouts of infidelity, the couple must consider whether or not they want to give the marriage another shot. ~ Matthew Tobey, Rovi

Bank president Thomas Dickson (Walter Huston) has instituted a lending policy that shows great faith in ordinary people but which also irritates his board of directors, as does his claim that an increased money supply will help end the Depression. Elsewhere in the bank, criminal Dude Finlay (Robert Ellis) has coerced head cashier Cluett (Gavin Gordon) into cooperating with a robbery by threatening to reveal Cluett as a habitual gambler. Dickson's neglected wife Phyllis (Kay Johnson), upset that Thomas has forgotten their anniversary, agrees to go out with Cluett, but they're spotted by head teller Matt Brown (Pat O'Brien). Matt goes to Cluett's apartment and convinces Phyllis to leave with him just as the robbery takes place back at the bank. Because he was responsible for locking the vault, Matt is assumed to be in league with the robbers, and he's arrested. News of the robbery leads to frantic depositors demanding their money back from the bank; Dickson cannot talk them out of it, and the bank is running out of money. This gives the board of directors the leverage over Dickson that they've been seeking, and they try to force his resignation. ~ Bill Warren, Rovi

A night club owner under heavy police protection is murdered anyway, and a clever police commissioner figures out that it was her mother, who used a scorpion as the murder weapon. ~ Steve Huey, Rovi