Robert E. Sherwood Movies

The third film version of Robert E. Sherwood's play Waterloo Bridge, Gaby is also the most antiseptic of the three. In the original 1931 film, Mae Clarke is cast as a British streetwalker who falls despearately and tragically in love with aristocratic military officer Douglass Montgomery. In the cleaned-up 1940 version, Vivien Leigh plays a ballerina who becomes a prostitute only after being informed that her lover, British "landed gentry" officer Robert Taylor, was killed in battle. In the 1956 edition, Leslie Caron is once again a ballerina at the outset, who once again turns to the World's Oldest Profession when she believes that her sweetheart, American GI John Kerr, has been killed during the D-Day invasion. The source material has been dry-cleaned to the extent that the heroine is permitted a happy ending, something she was flatly denied in the first two versions. ~ Hal Erickson, Rovi

Elia Kazan directed this drama inspired by a true story. Karel Cernik (Fredric March) is the leader of a troupe of Czechoslovakian circus performers who have been plying their trade in Eastern Europe for years. When Czechoslovakia falls under Communist rule, the proud and independent Cernik finds that he is no longer free to operate his circus as he sees fit. Many of his performers are conscripted into military service, and his equipment and possessions are declared government property, though the state fails to maintain it properly, or even to give him access to the material to fix it himself. Finally, when Cernik's remaining performers are ordered to insert pro-Communist messages into their acts, he decides that he can take no more and begins making plans to escape to Bavaria during an upcoming tour. Cernik's plans hit a snag, however, when he learns that one of his performers is a spy for the Czech communists, working in collusion with government factotum Fesker (Adolphe Menjou). While politics are making a mess of his professional life, his daughter Tereza (Terry Moore) is complicating matters at home because of her romance with the handsome but unreliable lion tamer Joe Vosdek (Cameron Mitchell), much to the chagrin of both Karel and his wife Zama (Gloria Grahame). The Birnbach Circus troupe, along with a variety of other European carnival performers, appear as themselves in this film, lending the performances a keen authenticity. ~ Mark Deming, Rovi

The postwar classic The Best Years of Our Lives, based on a novel in verse by MacKinlay Kantor about the difficult readjustments of returning World War II veterans, tells the intertwined homecoming stories of ex-sergeant Al Stephenson (Fredric March), former bombadier Fred Derry (Dana Andrews), and sailor Homer Parrish (Harold Russell). Having rubbed shoulders with blue-collar Joes for the first time in his life, Al finds it difficult to return to a banker's high-finance mindset, and he shocks his co-workers with a plan to provide no-collateral loans to veterans. Meanwhile, Al's children (Teresa Wright and Michael Hall) have virtually grown up in his absence. Fred discovers that his wartime heroics don't count for much in the postwar marketplace, and he finds himself unwillingly returning to his prewar job as a soda jerk. His wife (Virginia Mayo), expecting a thrilling marriage to a glamorous flyboy, is bored and embittered by her husband's inability to advance himself, and she begins living irresponsibly, like a showgirl. Homer has lost both of his hands in combat and has been fitted with hooks; although his family and his fiancée (Cathy O'Donnell) adjust to his wartime handicap, he finds it more difficult. Profoundly relevant in 1946, the film still offers a surprisingly intricate and ambivalent exploration of American daily life; and it features landmark deep-focus cinematography from Gregg Toland, who also shot Citizen Kane. The film won Oscars for, among others, Best Picture, Best Director for the legendary William Wyler, Best Actor for March, and Best Supporting Actor for Harold Russell, a real-life double amputee whose hands had been blown off in a training accident. ~ Hal Erickson, 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

Raymond Massey plays Abe Lincoln in this moving adaptation of Robert Sherwood's Pulitzer Prize-winning play. Expanded a bit for cinematic purposes, the film traces Lincoln's progress from his days of scrambling for a living as a woodsman, to his courtship of the tragic Ann Rutledge (Mary Howard) and then the mercurial Mary Todd (Ruth Gordon), to the formative years of his law practice, to his debates with Stephen Douglas (Gene Lockhart), and finally to his election as President of the soon-to-be-divided United States in 1860. Latter-day critics have complained about Massey's stolidity in his signature role, but even the most stone-hearted viewer will be moved by such scenes as Lincoln riding through the ruins of what once was the village of Salem; Abe's heated election-eve quarrel with his spiteful wife Mary; and his climactic speech from the observation car of the train that will carry him to Washington...and immortality. Abe Lincoln at Illinois turned out to be a succes d'estime for its producer Max Gordon and its studio (RKO), taking a bath to the tune of $750,000. Its failure moved one Hollywood wise-guy to collar Gordon at a party and say, "I can't understand it, Max. Lincoln was so kind to everybody but you." ~ Hal Erickson, Rovi

In this romantic comedy, a humble country girl lives her life in the ramshackle mansion of her aged uncle. Feeling sorry for her "poor" relation and selflessly keeping him company until he dies, she is later shocked to learn that he has left her an enormous fortune. One might think such a windfall a dream come true, but not for the girl. Things immediagely go wrong when her fiance, the town doctor, wanting to focus on his career, refuses to abandon his patients and go galavanting across Europe. Angrily, she goes anyway and finds herself surrounded by gigolos more interested in her assets than in her perosonality. This causes her to reasses her new values and return to the man who loves her for herself. ~ Sandra Brennan, Rovi

Gary Cooper stars in this lavish and often comic retelling of the life of the famed Italian explorer. Marco Polo (Cooper) crosses the sea in search of treasure and adventure, with the help of his loyal if cowardly sidekick Binguccio (Ernest Truex), and finds both in China, where as the nation's first European visitor he is introduced to several practical innovations, such as pasta and explosives. He is also introduced to Kublai Khan (George Barbier), China's wise and benevolent Emperor, and the Emperor's lovely daughter, Princess Kukuchin (Sigrid Gurie). Romance begins to bloom between Marco and the Princess, but Ahmed (Basil Rathbone), the Emperor's ill-tempered assistant, also has his eyes on the Princess, and he is determined to win her hand and usurp Kublai Khan as China's leader. The Adventures of Marco Polo was part of a major star build-up that producer Samuel Goldwyn had engineered for actress Sigrid Gurie, but much of Goldwyn's publicity eventually backfired when it was learned that his Norwegian discovery, "The Siren of the Fjords," was born in the less exotic locale of Brooklyn, New York. ~ Mark Deming, Rovi

Two members of the Russian monarchy pose as French servants while hiding the Czar's fortune. This unlikely plot is at the core of this successful 1937 Hollywood comedy-drama starring the French-born Charles Boyer as Prince Mikail Alexandrovitch Ouratieff. The prince and his wife, Grand Duchess Tatiana Petrovna (Claudette Colbert), are entrusted with a huge fortune by the Czar, which they take with them while fleeing the Bolshevik Revolution. They arrive in Paris and put all the money in a bank, not wanting to take any for themselves. To fend off poverty, they take a job as servants in the home of wealthy businessman Charles Dupont (Melville Cooper) and his wife Fernande (Isabel Jeans). At a dinner party, their secret is exposed by one of the invited guests, a top Soviet official named Gorotchenko (Basil Rathbone), who had tortured and interrogated Ouratieff before the prince left Russia. Gorotchenko now asks for the fortune to help Russia, which is in economic trouble. ~ Michael Betzold, Rovi

Wealthy American Joe Martin (Eugene Pallette) purchases an ancient Scottish castle and then has it dismantled and transferred to his Florida estate where he plans to reconstruct the castle brick by brick. Martin is unaware that his new acquisition comes equipped with an 18th-century ghost, played by Robert Donat. As the spectre, who feels as though his honor has been besmirched, flits around haunting one and all, Martin's daughter Peggy (Jean Parker) carries on a romance with the ghost's descendant, also played by Donat. It is only natural that the "live" and "dead" Donat will become mixed up, and this comedy of errors dominates the final scenes of The Ghost Goes West. The film was the first English-language production of French director René Clair -- and almost the last, due to producer Alexander Korda's insistence upon tampering with the original concept as laid down by Clair and screenwriter Robert E. Sherwood. ~ Hal Erickson, Rovi

Easily the best of Eddie Cantor's gargantuan musical comedies for producer Sam Goldwyn, Roman Scandals begins in the middle-America community of West Rome, where our hero Eddie (Cantor) is employed as a delivery boy. A self-styled authority of Ancient Roman history, Cantor bemoans the fact that the local shanty community is about to be wiped out by scheming politicians, certain that such an outrage could never have happened during Rome's Golden Days. After a blow on the head, Cantor wakes up in Imperial Rome, where he is sold on the slave auction block to good-natured tribune Josephus (David Manners). Cantor soon discovers that the evil emperor Valerius (Edward Arnold) is every bit a crook and grafter as the politicians in West Rome, and he intends to do something about it. He gets a job as food taster for Valerius -- a none-too-secure position, inasmuch as the emperor's wife Agrippa (Veree Teasdale) is constantly trying to poison her husband -- and does his best to smooth the path of romance for Josephus and recently captured princess Sylvia (Gloria Stuart). Cantor's well-intentioned interference earns him a session in the torture chamber, but he escapes and commandeers a chariot, setting the stage for a spectacular slapstick climax. On the verge of recapture, Cantor wakes to find himself in West Rome U.S.A. again, where he quickly foils the modern-day despots and brings about a happy ending for all his friends.

Co-written by George S. Kaufman, Robert E. Sherwood, George Oppenheimer and Arthur Sheekman (the soon-to-be husband of leading lady Gloria Stuart), Roman Scandals manages to get off a few clever satirical licks, but essentially it's a "lappy" lowbrow vehicle for Eddie Cantor, and in this it succeeds immensely. The Busby Berkeley-staged musical numbers, written by Harry Warren, Al Dubin and L. Wolfe Gilbert, must be seen to be believed: In "No More Love", Ruth Etting, playing the Emperor's cast-off mistress Olga, sings a plaintive torch song as dozens of enslaved Goldwyn Girls (including Lucille Ball and Barbara Pepper), wearing nothing but long, blonde wigs, are chained to a rotating pedestal; and in "Keep Young and Beautiful", these same maidens gleefully cavort around a Roman bathhouse in the near-altogether while Cantor, in blackface, hops about, rolls his eyes and claps his hands -- just before a jet of steam "shrinks" him, at which point he metamorphoses into midget Billy Barty! The quintessence of Depression-era escapism, Roman Scandals is must-see entertainment. ~ Hal Erickson, Rovi

In this romantic comedy a demanding French actress is upset because she has not recently received the proper adulation from WW I Allies. To calm her down, a meeting is arranged between the actress and a charming Army official in Italy. Initially both of them resist the artificially designed encounter, but soon the inevitable occurs and they fall in love. ~ Sandra Brennan, Rovi