Tag Archives: 1930s films

Four Frightened People (1934)


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Four Frightened People (1934)

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Director: Cecil B DeMille

Cast: Claudette Colbert, Herbert Marshall, Mary Boland, William Gargan, Leo Carillo, Nella Walker, Tetsu Komai, Delmar Costello

78 min

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Four Frightened People is a 1934 American Pre-Code adventure film directed by Cecil B. DeMille and starring Claudette ColbertHerbert MarshallMary Boland, and William Gargan. It is based on the novel by E. Arnot Robertson.

Plot

The film tells the story of two men (Marshall and Gargan) and two women (Colbert and Boland), who leave from a plague-ridden ship and reach the Malayan jungle. The relationships between the four people before they enter the jungle are examined and are transformed as they interact with natural phenomena and the natives who populate the jungle. The film also relates how each of the four people carried on in life after they emerged from the jungle.

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Cast

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Filming locations

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Production crew

  • Executive producer (uncredited) – Emanuel Cohen
  • Art Direction – Roland Anderson
  • Production Manager (uncredited) – Roy Burns
  • Assistant Director (uncredited) – Cullen Tate, James Dugan
  • Sound Mixer (uncredited) – Harry Lindgren
  • Double (uncredited) – Mildred Mernie as Claudette Colbert, Bruce Warren as Herbert Marshall, Leota Lorraine as Mary Boland, Carl Mudge as William Gargan, Curley Dresden as Leo Carrillo

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Reception

The film was a box office disappointment for Paramount.[1]

Home Video Release

This film, along with The Sign of the CrossCleopatraThe Crusades and Union Pacific, was released on DVD in 2006 by Universal Studios as part of The Cecil B. DeMille Collection.

References

  1. Jump up^ By, D. W. (1934, Nov 25). TAKING A LOOK AT THE RECORD. New York Times (1923-Current File) Retrieved from https://search-proquest-com.ezproxy.sl.nsw.gov.au/docview/101193306?accountid=13902

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I Cover the Waterfront (1933)


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I Cover the Waterfront (1933)

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Director: James Cruze

Cast: Ben Lyon, Claudette Colbert, Ernest Torrence, Hobart Cavanaugh, Maurice Black, Purnell Platt, Harry Beresford, Wilfred Lucas,  Rosita Marstini

75 min

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I Cover the Waterfront is a 1933 American Pre-Code romantic drama film directed by James Cruze and starring Ben LyonClaudette ColbertErnest Torrence, and Hobart Cavanaugh.

Based on the book of the same name by Max Miller, the film is about a reporter who investigates a waterfront smuggling operation, and becomes romantically involved with the daughter of the man he is investigating.

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Plot

San Diego Standard reporter H. Joseph Miller (Ben Lyon) has been covering the city’s waterfront for the past five years and is fed up with the work. He longs to escape the waterfront life and land a newspaper job back East so he can marry his Vermont sweetheart. Miller is frustrated by the lack of progress of his current assignment investigating the smuggling of Chinese people into the country by a fisherman named Eli Kirk (Ernest Torrence). One morning after wasting a night tracking down bad leads, his editor at the Standard orders him to investigate a report of a girl swimming naked at the beach. There he meets Julie Kirk (Claudette Colbert), the daughter of the man he’s been investigating.

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Meanwhile, Eli Kirk and his crew are returning to San Diego with a Chinese passenger when the Coast Guard approaches. Not wanting to be caught with evidence of his smuggling operation, Kirk orders his men to weigh down the Chinaman and lower him overboard to his death. The Coast Guard, accompanied by Miller, board the boat but find nothing. The next day, Miller discovers the Chinaman’s body which was carried in with the tide, and takes it as evidence to his editor, who still remains skeptical of Kirk’s guilt. To get conclusive evidence, Miller tells him he plans to romance Kirk’s daughter Julie in order to break the smuggling operation.

When Kirk returns, he informs Julie that they will need to move on soon—maybe to Singapore—as soon as he can put together enough money for the voyage. One night, Julie discovers her father drunk at a boarding house. Miller, who was there investigating Kirk, helps Julie take her father home. Julie does not discourage Miller’s flirtations, and during the next few weeks they fall in love. She is able to help Miller see the beauty of the waterfront, and inspires him to improve the novel he’s been working for the past five years. While visiting an old Spanish galleon on a date, he playfully restrains her in a torture rack and kisses her passionately—and she returns his passion.

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Julie and Miller spend a romantic evening together on the beach, where she reveals that she and her father will be sailing away in the next few days. After spending the night in Miller’s apartment, Julie announces the next morning that she’s decided to stay, hoping that he will stay with her. When Miller learns from her that her father is due to dock at the Chinese settlement that night, he notifies the Coast Guard. At the dock, while the Coast Guard searches the vessel, Miller discovers a Chinaman hidden inside a large shark. When the Coast Guard attempt to arrest Kirk, he flees the scene but is wounded during his escape.

The next morning, Miller’s breaking story is published on the Standard’s front page. When a wounded Kirk makes his way back home, Julie learns that it was Miller who helped the Coast Guard uncover her father’s smuggling operation (of which she was unaware), and that she unknowingly revealed to him his landing location. Soon after, Miller, feeling guilty over the story’s impact to Julie’s life, arrives at her home and apologizes for the hurt he’s caused her, and announces that he loves her. Feeling used by his actions, an angry Julie sends him away.

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Later that night, Miller locates Kirk, who shoots him in the arm. Julie arrives to help her father escape, and seeing Miller wounded, she tells her father she cannot leave Miller to die. Seeing that she loves him, Kirk helps her take Miller to safety, after which Kirk dies. Later from his hospital bed, Miller acknowledges in his newspaper column that Kirk saved his life before he died. Sometime later, Miller returns to his apartment, where Julie is waiting to greet him. Noticing that she cleaned and transformed his place into a cozy home, he tells her he finally wrote the ending to his novel, “He marries the girl”. Julie acknowledges, “That’s a swell finish”, and the two embrace.

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Cast

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Production

Screenplay

Rights to the novel were bought by Edward Small and his partner Harry Goets in 1932. They made it through the Reliance Picture Corporation as the first of a six-film deal with United Artists.[2] Reliance co-produced the film with Joseph Schenck’s Art Cinema Corporation.[1]

Filming

I Cover the Waterfront was filmed from mid-February to early March 1933.[1]

Soundtrack

The film’s title song, “I Cover the Waterfront“, appears in the film only as an instrumental.[3] Written by Johnny Green and Edward Heyman, the song went on to become a jazz standard recorded by many artists, including Billie HolidayLouis ArmstrongFrank SinatraThe Ink Spots, and Ella Fitzgerald, among others.[4]

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Critical response

In his review for The New York Times, film critic Mordaunt Hall called the film “a stolid and often grim picture”.[5] While Hall felt the drama was not as good as some of director James Cruze’s previous work, the “clever acting of the principals”—especially that of Ernest Torrence—offset some of the film’s shortcomings.[5]

Hall found some of the scenes “more shocking than suspenseful” and felt a broader adaptation of Max Miller’s book may have been more interesting than the focus on the melodramatic series of incidents related to a sinister fisherman.[5]

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While acknowledging that “Colbert does well as Julie”, Hall did not find her convincing as a fisherman’s daughter because she does not look the type.[5] Hall reserved his highest praise for Ernest Torrence in his final screen performance.[5] Torrence died on May 15, 1933, shortly after the film was completed.

John Mosher of The New Yorker described the adaptation as a “commonplace screen romance,” but also praised the performance of the late Torrence, writing that he “was at the height of his power … One can foresee that many pictures will be empty things for lack of him.”[6] Variety called it “a moderately entertaining picture … The late Ernest Torrence has the meat part and his performance is in keeping with the standard he had set for himself. A pretty tough assignment they gave him, one in which it was necessary to capture sympathy in face of the worst sort of opposition from the script. He’ll be sorely missed on the screen.”[7]

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Remakes

I Cover the Waterfront was remade in 1961 by Edward Small as Secret of Deep Harbor.[3]

See also

References[edit]

  1. Jump up to:a b c “I Cover the Waterfront”American Film Institute. Retrieved June 10, 2016.
  2. Jump up^ Babcock, Muriel (September 24, 1932). “Notable Novel to be Filmed”. The New York Times. p. A7.
  3. Jump up to:a b “I Cover the Waterfront: Notes”. Turner Classic Movies. Retrieved May 18, 2014.
  4. Jump up^ “I Cover the Waterfront”. Discogs. Retrieved May 18, 2014.
  5. Jump up to:a b c d e Hall, Mordaunt (May 18, 1933). “The Late Ernest Torrence in His Last Picture…”The New York Times. Retrieved May 18, 2014.
  6. Jump up^ Mosher, John (May 27, 1933). “The Current Cinema”. The New Yorker. New York: F-R Publishing Corp. p. 49.
  7. Jump up^ “I Cover the Waterfront”. Variety. New York: Variety, Inc. May 23, 1933. p. 15.

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Big Pond, The (1930)


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The Big Pond (1930)

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Director: Hobart Henley

Cast: Maurice Chevalier, Claudette Colbert, George Barbier, Marion Ballou, Andree Corday, Frank Lyon, Nat Pendleton, Elaine Koch

72 min

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The Big Pond is a 1930 American Pre-Code romantic comedy film based on a 1928 play of the same name by George Middleton and A.E. Thomas.[1] The film was written by Garrett Fort, Robert Presnell Sr. and Preston Sturges, who provided the dialogue in his first Hollywood assignment, and was directed by Hobart Henley.

The film stars Maurice Chevalier and Claudette Colbert, and features George Barbier, Marion Ballou, and Andrée Corday, and was released by Paramount Pictures.

The Big Pond was nominated for the Academy Award for Best Actor for Maurice Chevalier, and also provided Chevalier with his first American hit song “Livin’ in the Sunlight, Lovin’ in the Moonlight” written by Al Sherman and Al Lewis.[2]

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Plot

Pierre Mirande (Maurice Chevalier), is a Venetian tour guide from a poor French family who falls in love with Barbara Billings (Claudette Colbert), a wealthy American tourist whose father (George Barbier). Although Barbara loves Pierre as well, her suitor, Ronnie (Frank Lyon) and her father see him as a fortune-hunter. Barbara’s mother (Marion Ballou) persuades her husband to give Pierre a job in his chewing-gum factory in the States. Despite living in a dingy boardinghouse and being given the hardest job in the plant, he manages to captivate his landlady (Andrée Corday) and the maid (Elaine Koch) with his humorous songs. Unfortunately, he falls asleep on the night he is to attend Barbara’s party, and is then fired when he is wrongly accused of spilling rum on some chewing gum samples. He wins back his job, and is promoted as well, when he sells liquor-coated chewing gum as a sales gimmick. Barbara disapproves, and plans to marry Ronnie, but Pierre whisks her away in a speedboat.

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Cast

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Songs

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Production

The Big Pond and its French language version La grande mare[6] were shot simultaneously at the Paramount Astoria Studios in AstoriaQueensNew York City.[7][8]Maurice Chevalier, Claudette Colbert, Andrée Corday and Nat Pendelton played the same roles in both versions.[6]

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Awards

Maurice Chevalier was nominated for a 1930 Academy Award for “Best Actor in a Leading Role” for his performance in The Big Pond as well as his performance in The Love Parade (1929).[8]

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French version

The French language version of The Big Pond, which was filmed simultaneously with the English version, was called La grande mare. The cast was:

  • Maurice Chevalier as Pierre Mirande
  • Claudette Colbert as Barbara Billings
  • Henry Mortimer as Mr. Billings
  • Maude Allen as Mrs. Billings
  • Andrée Corday as Toinette
  • William B. Williams as Ronnie
  • Nat Pendleton as Pat O’Day
  • Loraine Jaillet as Jennie

Writer Preston Sturges was fluent in French, but additional dialogue was provided by Jacques Bataille-Henri. The technical credits for the two versions are the same, except the editing for the French version was done by Barney Rogan.[6]

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Notes

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Safety In Numbers (1930)


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Safety In Numbers (1930)

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Director: Victor Schertzinger

Cast: Charles Buddy Rogers, Kathryn Crawford, Josephine Dunn, Carole Lombard, Roscoe Karns, Richard Tucker, Francis McDonald, Raoul Paoli, Virginia Bruce, Tom London

80 min

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Safety in Numbers is a 1930 American Pre-Code musical comedy film. Directed by Victor Schertzinger, it stars Buddy Rogers, and features Kathryn CrawfordJosephine Dunn, and Carole Lombard (in one of her early roles).

Plot

William Butler Reynolds, a 20-year-old San Franciscan with a penchant for dancing and song-writing, is about to inherit a sizable fortune.

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His guardian uncle decides to send him to New York to be educated in the “ways of the world” by three lady friends–Jacqueline, Maxine, and Pauline, Follies girls, who agree not to vamp him though he falls for Jacqueline and is jealous of her admirer, Phil Kempton.

Bill’s inept attempt to promote a song with a producer results in the firing of all three girls; and when Jacqueline then resists his advances, he picks up Alma, a telephone operator, and becomes attentive to Cleo, a Follies vamp, but the girls save him from her wiles. Luckily, the producer accepts the song and rehires the girls; Jacqueline, realizing the sincerity of the boy’s love for her, embarks for Europe with Phil; but Phil realizes the appropriateness of the match and sees to it that the lovers are united.

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Cast

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Reception

The reviewer for the Motion Picture Herald wrote, “Here’s that rare combination of intelligent direction, brilliant dialogue, and rich humor. The result is a picture that is entertainment plus.” Mordaunt Hall of The New York Times was less enthusiastic, but praised the musical numbers.[1]

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References

  1. Jump up to:a b Ott, Frederick W. (1972). The Films of Carole Lombard. Secaucus, New Jersey: Citadel Press. pp. 75–77. ISBN 978-0806502786.

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White Woman (1933)


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White Woman (1933)

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Director: Stuart Walker

Cast: Carole Lombard, Charles Laughton, Charles Bickford, Kent Taylor,  Percy Kilbride, James Bell, Charles Middleton, Claude King, Ethel Griffies

68 min

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White Woman is a 1933 American pre-Code drama film directed by Stuart Walker and starring Carole LombardCharles Laughton, and Charles Bickford.[1] A young widow remarries and accompanies her husband to his remote jungle rubber plantation. The film was based on the Broadway play Hangman’s Whip by Norman Reilly Raine and Frank Butler.[2]

One of hundreds of Paramount films held in limbo by Universal Studios. Universal gained ownership of Paramount features produced between 1929 and 1949. Paramount remade the film in 1939 as Island of Lost Men, with Anna May WongJ. Carrol Naish and Broderick Crawford in the roles originated by Lombard, Laughton and Bickford. It was directed by Kurt Neumann.[3]

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Plot

Judith Denning, a beautiful cafe singer in Malay, has been forced to leave town after town because of gossip that says her husband’s suicide was on account of her infidelity. Upright British lawyer C. M. Chisholm accuses Judith of being a “loose white woman” who is tempting the natives and forces her to leave town by getting her fired.

Horace H. Prin, “King of the Jungle,” then offers to marry her. Prin takes Judith to his jungle home on the river, where he has been running a trading outfit for twenty years. Prin’s white management crew consists largely of criminal exiles whose secret pasts he uses as leverage to get them to remain under his ruthless tyranny.

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When Hambly, who runs a station up the river, insists that the poor diet Prin has been feeding the native workers is breeding insurrection among them, Prin has him killed. Overseer David von Elst, who has not seen a white woman in ten years, quickly falls in love with Judith. A month after Judith’s arrival, she and David decide to run away, but when they confront Prin, he refuses to give them a boat and sends David up the river to take Hambly’s place at Gubar.

David, meanwhile, has told Judith he deserted his regiment after natives decapitated his partner and threw his head through David’s window. Since then he has lacked the courage to fight Prin and return to society. Ballister, the new tough overseer, then arrives and immediately asks Judith for a “tumble,” undaunted by Prin’s eccentric tyranny. When two tribal chiefs request the right to deal with other traders, Prin foolishly refuses them, and they prepare for war against him.

The natives kill Connors, one of Prin’s men, and throw his head through David’s window, after which David finally regains his nerve and travels through the dangerous jungle to warn Judith. David and Judith prepare to leave, but Prin drains their boat of gas. Ballister, sympathetic to the lovers, warns them to take another boat. When Prin shoots his pet baby ape, “Duke,” Jakey, Prin’s most faithful white servant, throws his machine guns in the river and leaves with David and Judith. Ballister and Prin play poker and drink as the natives approach, armed with spears. After Ballister is killed, Prin declares he is forever king of the jungle and walks out into the onslaught of spears.

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Cast

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References

  1. Jump up^ The American Film Institute Catalog Feature Films: 1931-40 published by The American Film Institute c.1993
  2. Jump up^ Hangman’s Whip, St. James Theatre, February 24, 1933, IBDb.com; accessed August 5, 2015.
  3. Jump up^ The American Film Institute Catalog Feature Films: 1931-40 published by The American Film Institute, c. 1993

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Before Morning (1933)


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Before Morning (1933)

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Director: Arthur Hoerl

Cast: Leo Carillo, Lora Baxter, Taylor Holmes, Blaine Cordner, Louise Prussing, Russell Hicks, Louis Jean Heydt, Jules Epailly

56 min

Before Morning is a 1933 American Pre-Code crime drama directed by Arthur Hoerl, and starring Leo Carrillo, Lora Baxter, and Taylor Holmes. The film was adapted for the screen by Arthur Hoerl, from the 1933 Broadway play of the same name by Edward and Edna Riley.[1]

Synopsis

Actress Elsie Manning (Lora Baxter) is engaged to Horace Baker (Blaine Cordner), but has also been in a romantic relationship with James Nichols (Russell Hicks) who has named her as the beneficiary in his will. Not knowing about her engagement, Nichols asks his wife for a divorce and is refused. Nichols dies in Manning’s apartment after she tells him she’s engaged to Baker. When Baker arrives on the scene, he agrees to help her dispose of the body by having Nichols moved to a sanitarium. The owner, Dr. Gruelle (Leo Carrillo), tells them Nichols was murdered by poison and attempts to extort money from Manning for his statement that the death was of natural causes. Gruell tries the same scam on the widow of Nichols (Louise Prussing), who eventually agrees when the poison is found in her purse. It is revealed that Gruell is really a corrupt police inspector named Mr. Maitland.[2]

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Cast

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References

  1. Before Morning at the Internet Broadway Database
  2. Jump up^ “Before Morning”AFI Catalog of Feature Films. AFI. Retrieved July 20, 2015.

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Millie (1931)


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Millie (1931)

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Director: John Francis Dillon

Cast: Helen Twelvetrees, Lilyan Tashman, Robert Ames, James Hall, John Halliday, Joan Blondell, Anita Louise, Edmund Breese, Frank McHugh, Charlote Walker, Franklin Parker, Marie Astaire, Carmelita Geraghty

85 min

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Millie (1931) is a pre-Code drama film directed by John Francis Dillon from a screenplay by Charles Kenyon and Ralph Morgan, based on a novel of the same name by Donald Henderson Clarke. The film was an independent production by Charles R. Rogers, distributed by RKO Radio Pictures, after their acquisition of Pathé Exchange. It starred Helen Twelvetrees in one of her best roles, with a supporting cast which included Lilyan TashmanJames HallJoan BlondellJohn Halliday and Anita Louise.

Plot

Millie (Helen Twelvetrees) is a naive young woman who marries a wealthy man from New York, Jack Maitland (James Hall). Three years later, unhappy in her marriage due to her husband’s continued infidelity, she asks for and receives a divorce. Because of her pride, she does not want his money, but she also does not want to deprive her daughter of a comfortable lifestyle. She allows Jack and his mother (Charlotte Walker) to retain custody of Millie’s daughter Connie (Anita Louise).

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Focusing on her career, she rises through the hierarchy of the hotel where she is employed, shunning the attention of the rich banker Jimmy Damier (John Halliday), preferring the attentions of the reporter Tommy Rock (Robert Ames), although, due to her prior sour relationship, she refuses to marry him. Eventually, Millie is promoted to the head of operations for the hotel.

At the same time, Tommy is offered a lucrative position at the bank by Damier as a favor to Millie. However, at the celebration party, Millie discovers that Tommy, just like Maitland, is cheating on her.

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Betrayed a second time, Millie becomes very bitter. With her female cohorts, Helen and Angie (Lilyan Tashman and Joan Blondell, respectively), she becomes a woman who loves a good time, floating from man to man. This goes on for several years, until she hears that Damier has taken an interest in her teen-age daughter, Connie, who bears a striking resemblance to her.

Millie warns Damier to leave her daughter alone, but, although he promises to stay away from Connie, he ignores Millie’s warning and takes Connie to a remote lodge to seduce her. Millie is tipped off, goes to the lodge with a gun, confronts Jimmy and kills him.

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In the ensuing murder trial, Millie tries to keep her daughter’s name out of the press and claims not to remember why she shot Jimmy. She says that another woman ran out of the lodge after the shot, but claims that she did not see who the woman was and has no idea as to her identity.

The prosecution thus claims that Millie’s motive was jealousy of Jimmy’s romantic relationship with this unknown other woman. Millie’s friends, however, help to bring out the truth, and when the jury finds out that Millie’s true motive was to protect her daughter from Jimmy’s lascivious intentions, they acquit her. In the end, Millie is reunited with her daughter and her estranged husband’s family.

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Cast

(Cast as per AFI‘s database)[2]

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Production

Donald Henderson Clarke finished his novel, Millie, during summer 1930.[4] The novel was first offered to Metro-Goldwyn-Mayer, who passed on it due to its racy content.[5] In August of that year, it was reported that Charles R. Rogers had purchased the film rights to the novel, and had signed Charles Kenyon to adapt it into a screenplay, as well as selecting John Francis Dillon to direct.[6]

Although Rogers had signed an agreement to distribute his independent films through RKO, it was reported that he would be overseeing the production on the Universal lot.[7] Even though he was incorrectly identified as “Ralph Murphy”, Ralph Morgan was signed to collaborate with Kenyon on the screenplay adaptation in September.[8]

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Less than a week later, Helen Twelvetrees signed on for the titular role;[9] and it was reported that the screenplay adaptation had been completed.[5] Rogers would choose Ernest Haller to shoot the film and sign him for the project in the beginning of October.[10]

In January RKO announced the film would be released in February,[11] and it was released on February 8, 1931.[2]

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Notes

The film was an independent production by Charles Rogers, but became the property of RKO when he agreed to become their production chief.[12]

The theme song, “Millie”, had words and music by Nacio Herb Brown.[2]

In 1959, the film entered the public domain in the USA due to the copyright claimants failure to renew the copyright registration in the 28th year after publication.[13]

The film’s tagline was “Torn From Her Arms … Child Of Love A Woman Can Give But Once.”[1]

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References

  1. Jump up to:a b “Millie: Technical Details”. theiapolis.com. Retrieved August 11, 2014.
  2. Jump up to:a b c d e f g “Millie: Detail View”. American Film Institute. Archived from the original on September 20, 2015. Retrieved December 30, 2016.
  3. Jump up to:a b “Millie, Credits”. Turner Classic Movies. Archived from the original on August 11, 2014. Retrieved August 11, 2014.
  4. Jump up^ Daly, Phil M. (April 17, 1930). “Along the Rialto”The Film Daily. p. 5.
  5. Jump up to:a b “Rogers Chances “Millie””Variety. September 24, 1930. p. 5.
  6. Jump up^ “Hollywood Flashes”The Film Daily. August 30, 1930. p. 3.
  7. Jump up^ “Don Clarke’s Story To Be First Rogers Film”Motion Picture News. August 23, 1930. p. 26.
  8. Jump up^ “Hollywood Activities”The Film Daily. September 21, 1930. p. 29.
  9. Jump up^ “Hollywood Happenings”The Film Daily. September 24, 1930. p. 6.
  10. Jump up^ Wilk, Ralph (October 12, 1930). “A Little from “Lots””The Film Daily. p. 4.
  11. Jump up^ “”Cimarron” and “Millie” Releases”The Film Daily. January 22, 1931. p. 3.
  12. Jump up^ Jewell, Richard B.; Harbin, Vernon (1982). The RKO Story. New York: Arlington House. p. 32. ISBN 0-517-546566.
  13. Jump up^ Pierce, David (June 2007). “Forgotten Faces: Why Some of Our Cinema Heritage Is Part of the Public Domain”. Film History: An International Journal19 (2): 125–43. ISSN 0892-2160JSTOR 25165419OCLC 15122313doi:10.2979/FIL.2007.19.2.125. See Note #60, pg. 143.

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Topaze (1933)


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Topaze (1933)

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Director: Harry D’Abbadie D’Arrast

Cast: John Barrymore, Myrna Loy, Reginald Mason, Jobyna Howland, Jackie Searl, Albert Conti, Frank Reicher, Luis Alberini, Lowden Adams

78 min

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Topaze is a 1933 American Pre-Code film based on the French play of the same name by Marcel Pagnol. Another film version of Topaze, this one made in the original French was also released that year, starring Louis Jouvet in the title role. Subsequently Pagnol himself directed a 1936 adaptation.

Plot

Prof. Auguste A. Topaze (John Barrymore), an honest, naive chemist and schoolteacher at the –  Stegg Academy in Paris, loses his job when he refuses to accede to a demand by the Baroness de La Tour-La Tour to alter the grades of her bratty son, Charlemagne.

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On the same day, Friday the 13th, Topaze calls on the Baron de La Tour-La Tour’s mistress, Coco (Myrna Loy), who is looking for a tutor for her sister’s son, Alphonse, and had gotten Topaze’s name from La Tour. Upon meeting and listening to the sincere remarks of Topaze, the baron, head of the La Tour Chemical Works, decides to employ him as a scientific front for his phony curative water.

After an encounter at a cafe, where the Baron narrowly avoids a scene with his wife by calling Coco “Madame Topaze”, Coco reveals the true nature of her relation to the Baron to the naive Professor. When they arrive late back to Coco’s apartment, the Baron is jealous, but soon realizes Topaze is entirely innocent.

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Unaware that the water, “Sparkling Topaze,” which is being sold all over Paris, does not contain the medicinal formula he invented for it, Topaze is shocked when Dr. Bomb (who had turned down the “honor” of having the fradulent water named for him) shows up, demanding 100,000 francs from the Baron or he will expose the fradulent product. But the Baron blackmails him in return with information about his previous identity, and Bomb is dragged out.

After confirming for himself, in the lab and in a local restaurant, that “Sparkling Topaze” is in fact phony, a dazed Topaze returns to Coco’s apartment the next morning, where Coco fusses over him. At first, he is ready to be arrested, but the men who are shown in are instead a delegation from the Bureau of Awards and Merits, who award him the Academic Palms. All are friends and business associates of the Baron, and the scales begin to fall from Professor Topaze’s eyes.

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His naivete thoroughly destroyed, declaring “Topaze lies dead in an alley”, Topaze decides to fight back by becoming more corrupt than his mentors. He remakes his image and, with Bomb as his assistant, he opens his own office, where he makes dignitaries wait to see him. One is Dr. Stegg, who now wants Topaze to preside at the graduation at the school. Topaze succeeds in blackmailing the Baron into a partnership in his company with a complete account of his relationship with Coco, which he threatens to show to the Baroness, whose name the shares in the company are in.

At the Stegg Academy graduation, Topaze, who has also garnered the romantic attention of Coco, is to distribute the prize, which he is told is to go to his former nemesis, Charlemagne de La Tour-La Tour. He gives a little speech about his experiences in the great world, that honesty isn’t always rewarded and that villainy often receives more applause than virtue. Declaring that he will not reward wrongdoers, he shows up Charlemagne’s ignorance relative to all his classmates, then awards the prize to them instead.

He is last seen escorting Coco into the cinema.

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Cast

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Reception

Topaze won the 1933 National Board of Review Award for Best Film.

Mordaunt Hall said “[I]t is an agreeable and effective film, and Mr. Barrymore lends no little artistry to the rôle of the benign Professor Auguste Topaze, a part played with rare skill on the stage by Frank Morgan.”[1]

In 1935, a planned reissue was rejected by Joseph Breen as the Production Code was now being strictly enforced and the relationship between Coco and Philippe lacked compensating moral values.[2]

 

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References

  1. Jump up^ New York Times review by Mordaunt Hall
  2. Jump up^ The Dame in the Kimono by Leonard Leff and Jerold Simmons (Weidenfeld and Nicolson: 1990)

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Borrowed Wives (1930)


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Borrowed Wives (1930)

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Director:  Frank R Strayer

Cast: Rex Lease, Vera Reynolds, Nita Martan, Paul Hurst, Robert Livingston, Charles Sellon, Dorothea Wolbert, Sam Hardy, Harry Todd, Tom London

62 min

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Borrowed Wives is a 1930 American Pre-Code film directed by Frank R. Strayer.

Plot summary

Peter Foley (Rex Lease) is a beneficiary of his grandfather, who leaves him $800,000 in his will. The condition for Peter getting the money is that he gets married. Peter is very interested in getting the money, especially since he has debts, and plans to marry Alice Blake (Vera Reynolds) as soon as she arrives from Kansas City.

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He plans to take her to his Uncle Henry’s (Charles Sellon) home before midnight to actually get the inheritance. The uncle needs to see the girl whom Peter is about to marry before he releases the money.

Alice’s airplane is delayed, though. The man to whom Peter is in debt, Parker (Sam Hardy), insists that his own girl friend, Julia (Nita Martan), pose as Peter’s wife in the meantime. Alice is informed by Joe Blair (Robert Livingston), a man who is secretly interested in marrying Alice himself, that Peter is actually married to Julia. Alice agrees to marry Joe if this is true.

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Peter and Julia are pursued by Bull (Paul Hurst), a motorcycle policeman who loves Julia. Further complications arise at Uncle Henry’s, when Lawyer Winstead (Harry Todd), who is found bound and gagged, agrees to marry them. The uncle, revealed to be posing as a paralytic, is exposed as a villain, but Peter and Alice are ultimately married before the last hour appointed in the will.[1]

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Cast

  • Borrowed Wives 9

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Sensation Hunters (1933)


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Sensation Hunters (1933)

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Director: Charles Vidor

Cast: Arline Judge, Preston Foster, Marion Burns, Kenneth MacKenna, Juanita Hansen, Creighton Hale, Cyril Chadwick, Nella Walker, Harold Minjir, Finis Barton, Zoila Conan

73 min

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Sensation Hunters is a 1933 American Pre-Code B-movie directed by Charles Vidor and released by Monogram Pictures.

Plot

Dale Jordon is on her way to Panama with Trixie Snell and Her Hotcha Girls to be a cabaret singer at the Bull Ring Cafe. Traveling by ship, Dale meets and falls in love with Tom Baylor, who owns copper interests near Panama. Baylor is concerned about Dale and they quarrel after he asks her to promise not to start drinking. Baylor sends Dale a bracelet with a note saying that they should part.

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After three months, Dale, who is rooming with friend and fellow singer Jerry Royal, is tired and frustrated with her job. She attracts the attention of a wealthy flier, Jimmy Crosby, who wants a more permanent relationship, but Dale is still in love with Baylor and refuses. After a fight with Trixie, Dale asks Crosby to take her away and promises to marry him. Crosby agrees and Dale spends her savings on a hotel room and clothes.

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Baylor returns to Panama and, meeting Dale in the hotel lobby, assumes that she is Crosby’s mistress. Dale, angered by his assumption, pretends it is true and Baylor leaves for San Francisco. Before they can leave for New York, Crosby makes a last test run. His wife has refused to give him a divorce to marry Dale, and, distraught, he commits suicide in a plane crash.

Trixie refuses to give Dale her old job back and also fires Jerry when she tries to intercede. The girls go to work in a seedy saloon to earn enough money for passage home. They almost have enough when Jerry is stabbed in a barfight. Dale spends all their money for Jerry’s medical expenses but still desperately short, prepares to become a prostitute; instead, Baylor arrives, summoned by a telegram from Jerry, and he and Dale reconcile.

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Cast

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Soundtrack

  • Arline Judge and chorus – “If It Ain’t One Man” (Written by Bernie Grossman and Harold Lewis)
  • Marion Burns – “There’s Something In the Air” (Written by Bernie Grossman and Harold Lewis)

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Trouble in Paradise (1932)


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Trouble in Paradise (1931)

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Director: Ernst Lubitsch

Cast: Miriam Hopkins, Kay Francis, Herbert Marshall, Charles Ruggles, Edward Everett Horton, C Aubrey Smith, Robert Greig, Luis Alberini

83 min

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Kay Francis & Miriam Hopkins-The Trouble in Paradise 1932

Trouble in Paradise is a 1932 American Pre-Code romantic comedy film directed by Ernst Lubitsch, starring Miriam HopkinsKay Francis, and Herbert Marshall and featuring Charles Ruggles and Edward Everett Horton.

Based on the 1931 play The Honest Finder (A Becsületes Megtaláló) by Hungarian playwright László Aladár,[2] the film is about a gentleman thief and a lady pickpocket who join forces to con a beautiful perfume company owner.

In 1991, Trouble in Paradise was selected for preservation by the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”.[3]

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Plot

In Venice, Gaston Monescu (Herbert Marshall), a master thief masquerading as a baron, meets Lily (Miriam Hopkins), a beautiful thief and pickpocket also pretending to be of the nobility, and the two fall in love and decide to team up.

They leave Venice for Paris, and go to work for the famous perfume manufacturer Madame Mariette Colet (Kay Francis), with the intention of stealing a great sum of money from her safe, which Monescu, as her secretary, arranges to be diverted there. In the course of things, Colet begins to flirt with Monescu, and he begins to have feelings for her.

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Unfortunately, the plan develops a hitch when François Filiba (Edward Everett Horton), one of Colet’s suitors, sees Monescu at a garden party. He is unable to remember where he knows him from, but when another of Colet’s suitors, The Major (Charles Ruggles), tells Filiba that he once mistook Monescu for a doctor, Filiba suddenly remembers that he knows Monescu from Venice, where the thief robbed him, pretending to be a doctor. Monescu and Lily plan an immediate getaway that night, after they take all the money in the safe.

Colet prepares to leave for a dinner party given by the Major, but cannot decide whether to go or to stay and have sex with Monescu. Eventually she goes, but not before Lily catches on that Monescu has fallen for her rival, and wants to back out of the plan – so she robs the safe herself after confronting her partner.

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At the Major’s, Filiba tells Colet about Monescu, but she refuses to believe it’s true. She returns home and suggestively probes Monescu, who admits that the safe has been cleaned out, but claims that he himself took the cash. He also tells her that the manager of her business, Adolph J. Giron (C. Aubrey Smith), who has been suspicious of Monescu all along, has stolen millions of dollars from the firm over the years.

Lily then confronts Colet and Monescu, reporting that it was she who stole the money from the safe. An argument ensues, in which, eventually, Colet allows the two thieves to leave together. As a parting shot, Monescu steals a necklace from Colet that Lily had her eye on, and, in turn, Lily steals it from him, displaying it to him as the taxi takes them away, hugging each other.

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Cast

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Production

Working titles for Trouble in Paradise included “The Honest Finder,” “Thieves and Lovers,” and “The Golden Widow”; the latter was publicly announced to be the intended release title.[4] As with all the Lubitsch-Raphaelson collaborations, Lubitsch contributed to the writing and Raphaelson contributed ideas to the directing.[5]

Lubitsch did not receive screen credit for his writing, and Grover Jones, who was credited with the adaptation, did not contribute significantly:[5] although he was in the room, his credit was based on a contractual obligation, and he did little more than tell stories.[5][6]

Further, although supposedly based on László Aladár’s 1931 play The Honest Finder, Lubitsch suggested that Raphaelson not read the play, and instead the main character, Herbert Marshall’s master thief, was based on the exploits of a real person, George Manolescu, a Romanian con man whose memoir was published in 1905, and became the basis for two silent films.[5]

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Made before effective enforcement of the Production Code, the film is an example of pre-code cinema containing adult themes and sexual innuendo that was not permitted under the Code. In 1935, when the Production Code was being enforced, the film was not approved for reissue[4] and was not seen again until 1968.[7]Paramount was again rejected in 1943, when the studio wanted to make a musical version of the film.[4]

The Art Deco sets for Trouble in Paradise were designed by the head of Paramount’s art department, Hans Dreier, and the gowns were designed by Travis Banton.[5]

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Reception

Trouble in Paradise was the film that first had people talking about “the Lubitsch touch,” and it was, in fact, one of the director’s favorites.[5] Critic Dwight Macdonaldsaid of the film that it was “as close to perfection as anything I have ever seen in the movies.”[5]

The New York Times named the film as one of the ten best films of 1932. In 1998, Roger Ebert added it to his Great Movies collection.[8] Wes Anderson and Ralph Fiennes both said the movie was an inspiration for The Grand Budapest Hotel (2014). Review aggregation site Rotten Tomatoes reports 91% approval based on 23 critics.[9]

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Awards and honors

Trouble in Paradise was named by the National Board of Review as one of the top ten films of 1932.[3][10]

References

  1. Jump up to:a b “Trouble in Paradise” at Kay Francis Films. Accessed 16 March 2014
  2. Jump up^ “Screenplay info” on TCM.com. Accessed=August 24, 2012
  3. Jump up to:a b “Awards”Allmovie.com. Retrieved August 24, 2012.
  4. Jump up to:a b c “Notes”TCM.com. Retrieved August 24, 2012.
  5. Jump up to:a b c d e f g Nixon, Rob. “Trouble in Paradise (article)”TCM.com. Retrieved August 24, 2012.
  6. Jump up^ Raphaelson, Samson. Three Screen Comedies Madison, Wisconsin: University of Wisconsin Press, 1983. ISBN 0-299-08780-8
  7. Jump up^ Osborne, Robert. Outro to the Turner Classic Movies showing of Trouble in Paradise (March 31, 2011)
  8. Jump up^ Ebert, Roger“Trouble in Paradise”. Retrieved July 30, 2013.
  9. Jump up^ Trouble in Paradise (1932)”. Rotten Tomatoes. Retrieved April 23, 2016.
  10. Jump up^ “Awards”Internet Movie Database. Retrieved August 24, 2012.

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Dr Jekyll and Mr Hyde (1931)


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Dr Jekyll and Mr Hyde (1931)

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Director: Rouben Mamoulian

Cast: Fredric March, Miriam Hopkins, Rose Hobart, Holmes Herbert, Halliwell Hobbes, Edgar Norton, Tempe Pigott

98 min

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Dr. Jekyll and Mr. Hyde is a 1931 American pre-Code horror film, directed by Rouben Mamoulian and starring Fredric March, who plays a possessed doctor who tests his new formula that can unleash people’s inner demons.

The film is an adaptation of The Strange Case of Dr Jekyll and Mr Hyde, the 1886 Robert Louis Stevenson tale of a man who takes a potion which turns him from a mild-mannered man of science into a homicidal maniac. March’s performance has been much lauded, and earned him his first Academy Award.

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Plot

The film tells the story of Dr. Henry Jekyll (Fredric March), a kind English doctor in Victorian London, who is certain that within each man lurks impulses for both good and evil. One evening, Jekyll attends a party at the home of his fiancée Muriel Carew (Rose Hobart), the daughter of Brigadier General Sir Danvers Carew (Halliwell Hobbes). After the other guests have left, Jekyll informs Sir Danvers that, after speaking to Muriel, he wants Carew’s permission to push up their wedding date.

Sir Danvers sternly refuses Jekyll’s request. Later, while walking home with his colleague, Dr. John Lanyon (Holmes Herbert), Jekyll spots a bar singer, Ivy Pierson (Miriam Hopkins), being attacked by a man outside her boarding house. Jekyll drives the man away and carries Ivy up to her room to attend to her. Ivy begins flirting with Jekyll and feigning injury, but Jekyll fights temptation and leaves with Lanyon.

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Muriel and Sir Danvers leave London for a few months. In the meantime, Jekyll develops a drug that releases the evil side in himself, thus becoming the violent Edward Hyde. Along with his behavior, Dr. Jekyll’s appearance changes as well. He transforms into something more menacing and primitive looking. Unlike Dr. Jekyll, Hyde has no conscience, no restrictions, no boundaries; he is free to do what he pleases. Hyde returns to the music hall where Ivy works, and offers to tend to her financial needs in return for her company.

Hyde manipulates Ivy into accompanying him by terrorizing her, being violent, controlling and torturing her psychologically. He remains at her boarding house until he finds out that Muriel and her father are returning to London, and leaves Ivy but threatens her that he’ll be back.

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On advice from her landlady Mrs. Hawkins (Tempe Pigott), Ivy goes to see Dr. Jekyll, hoping that he can free her of the abusive Hyde. When she arrives, Ivy sees that the celebrated Dr. Jekyll was the same man who saved her from abuse just months before. She breaks down in tears over her situation with Hyde. Jekyll is extremely distraught over the pain that he (Hyde) has caused her and promises Ivy that she will never have to worry about Hyde again.

While on his way to a party at the Carews’ home to celebrate their return and the announcement of a new wedding date to Muriel, Jekyll, without the use of his drugs, suddenly changes into Hyde. Ivy, who thought she was free of Hyde forever, is terrified when Hyde appears before her. Hyde angrily confronts her about seeing Jekyll and, just before murdering her, reveals that he and Jekyll are one and the same.

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Hyde escapes and heads back to Jekyll’s house but his servant Poole refuses to open the door. Desperate, Hyde writes a letter to Lanyon from Jekyll instructing Lanyon to get certain chemicals and have them waiting for him at Lanyon’s home. When Hyde arrives, Lanyon pulls a gun on him and demands that Hyde take him to Jekyll. Hyde tells Lanyon that Jekyll is safe, but Lanyon doesn’t believe him and refuses to let him leave. Realizing there is not much time, Hyde drinks the formula in front of Lanyon.

Lanyon is shocked to witness the transformation and tells his friend that he has practically damned his soul for tampering with the laws of God. Lanyon also advises Jekyll that the transformation that happened that night will happen again eventually.

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With Ivy’s murder, Sir Danvers’ anger towards him for missing the party, and Hyde’s persona beginning to dominate his own, Henry Jekyll’s life continues to spiral out of control. He later goes to the Carews’ where Sir Danvers coldly rejects his visit but Muriel welcomes him. Jekyll, realizing the monster he really is, tells Muriel that he cannot be with her anymore. He feels that he is already damned and fears that he will harm her. He decides to leave. Standing out on the terrace and tearfully watching Muriel cry, Jekyll begins to change into Hyde once again.

He then reenters the Carew house through the terrace door and assaults Muriel. Her screams bring her father and their butler, Hobson. Hyde then viciously murders Sir Danvers out in the garden by striking him repeatedly with Jekyll’s cane until it breaks, then runs off into the night towards Jekyll’s home and the lab to mix a new formula to change himself back.

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The police and Lanyon are standing over Carew’s body in the garden. Recognizing the broken cane found next to the body, Lanyon tells them that he knows whose cane that is and agrees to take them to its owner. The police later arrive at Jekyll’s lab looking for Hyde and find only Jekyll, who lies that Hyde has escaped. They begin to leave when Lanyon arrives and tells them that Jekyll is the man they’re searching for (because the man they are looking for is hiding inside him).

Just then a nervous Jekyll begins changing into Hyde before their shocked eyes. Outraged at Lanyon for betraying him, Hyde leaps from behind the table and attacks him. Hyde then tries to escape from the police but is fatally shot before he can again hurt Lanyon. As Hyde lies dead on the table full of Dr. Jekyll’s experiments and potions, he transforms one last time back into Henry Jekyll.

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Cast

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Production

The film was made prior to the full enforcement of the Production Code and is remembered today for its strong sexual content, embodied mostly in the character of the bar singer, Ivy Pierson, played by Miriam Hopkins. When it was re-released in 1936, the Code required 8 minutes to be removed before the film could be distributed to theaters. This footage was restored for the VHS and DVD releases.[3]

The secret of the transformation scenes was not revealed for decades (Mamoulian himself revealed it in a volume of interviews with Hollywood directors published under the title The Celluloid Muse). Make-up was applied in contrasting colors. A series of colored filters that matched the make-up was then used which enabled the make-up to be gradually exposed or made invisible. The change in color was not visible on the black-and-white film.[4]

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Wally Westmore‘s make-up for Hyde — simian and hairy with large canine teeth — influenced greatly the popular image of Hyde in media and comic books. In part this reflected the novella’s implication of Hyde as embodying repressed evil, and hence being semi-evolved or simian in appearance. The characters of Muriel Carew and Ivy Pierson do not appear in Stevenson’s original story but do appear in the 1887 stage version by playwright Thomas Russell Sullivan.[citation needed]

John Barrymore was originally asked by Paramount to play the lead role, in an attempt to recreate his role from the 1920 version of Jekyll and Hyde, but he was already under a new contract with Metro-Goldwyn-Mayer. Paramount then gave the part to March, who was under contract and who strongly resembled Barrymore. March had played a John Barrymore-like character in the Paramount film The Royal Family of Broadway (1930), a story about an acting family like the Barrymores. March would go on to win the Academy Award for Best Actor for his performance of the role.[4]

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When Metro-Goldwyn-Mayer remade the film 10 years later with Spencer Tracy in the lead, the studio bought the negative and the rights to both the Mamoulian version and the earlier 1920 version, paying $1,250,000. They then recalled every print of the film that they could locate and for decades most of the film was believed lost.[5]Ironically, the Tracy version was much less well received and March jokingly sent Tracy a telegram thanking him for the greatest boost to his reputation of his entire career.

The opening credits use Toccata and Fugue in D minor, BWV 565 by Johann Sebastian Bach.[6]

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Theatrical release

The film was the first film to be screened at the first edition of the Venice International Film Festival.[7]

Reception

Box office

Grossing $1.25 million,[2] the film was a box office hit on par with the Universal monster films of the era, even considering that its $535,000 budget was high for a horror film at the time.[1]

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Critical reception

Dr. Jekyll and Mr. Hyde was received mostly positive reviews upon its release. Mordaunt Hall of The New York Times wrote an enthusiastic review, comparing it favorably to the John Barrymore version as a “far more tense and shuddering affair” than that film. Hall called March “the stellar performer” in the title role while praising the acting of the entire supporting cast as well, and called the old-fashioned atmosphere created by the costumes and set designs “quite pleasing”.[8]

Film critic Leonard Maltin gave the film 3 out of a possible 4 stars, calling it “exciting”, and “floridly cinematic”, also praising March’s and Hopkins performances.[9]

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Variety ran a somewhat less favorable but still positive review. Alfred Rushford Greason wrote that “the picture doesn’t build to an effective climax” because it was too slow and labored in getting there, and that while the initial transformation sequence “carries a terrific punch”, its effect became lessened with successive uses. However, Greason credited March with “an outstanding bit of theatrical acting”, declared the makeup “a triumph”, and said that the sets and lighting alone made the film worth seeing “as models of atmospheric surroundings.”[10]

John Mosher of The New Yorker reported that the film “has its full storage of horror” and was “well acted”. March, he wrote, “gives us a Mr. Hyde as athletic and exuberant as might have been that of Douglas Fairbanks, Senior.”[11] Film Daily declared: “Gripping performance by Fredric March is highlight of strong drama, ace supporting cast and direction”.[12]

Film review aggregator Rotten Tomatoes reported an approval rating of 93%, based on 27 reviews, with a rating average of 8.3/10. The site’s critical consensus reads, “A classic. The definitive version of the Robert Louis Stevenson novella from 1931, with innovative special effects, atmospheric cinematography and deranged overacting.”[13]

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Awards and honors

Wins

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Nominations

  • Academy Awards: Oscar; Best Cinematography, Karl Struss; Best Adaptation Writing, Percy Heath and Samuel Hoffenstein; 1932.

Other honors

The film is recognized by American Film Institute in these lists:

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See also

Dr Jekyll and Mr Hyde 33

References

  1. Jump up to:a b Hall, Sheldon; Neale, Steve (2010). Epics, Spectacles and Blockbusters. Detroit: Wayne State University Press. p. 100. ISBN 978-0-8143-3008-1.
  2. Jump up to:a b “FILM WORLD.”The West Australian. Perth: National Library of Australia. 19 October 1934. p. 2. Retrieved 19 April 2014.
  3. Jump up^ Alternate versions for Dr. Jekyll and Mr. Hyde (1931)
  4. Jump up to:a b Miller, Frank “Dr. Jekyll and Mr. Hyde (1931)” (article) TCM.com
  5. Jump up^ McElwee, John (February 200y7) “More on Jekyll and Hyde” Greenbriar Picture Shows
  6. Jump up^ Reiter, Gershon (2014). The Shadow Self in Film: Projecting the Unconscious Other. p. 11.
  7. Jump up^ “Dr. Jekyll and Mr. Hyde”Film Affinity. Retrieved March 23, 2016.
  8. Jump up^ Hall, Mordaunt (January 2, 1932). “Movie Review – Dr. Jekyll and Mr. Hyde”The New York Times. Retrieved December 7, 2014.
  9. Jump up^ Maltin, Leonard; Sader, Luke; Carson, Darwyn. Leonard Maltin’s 2014 Movie Guide. Penguin Press. p. 390. ISBN 978-0-451-41810-4.
  10. Jump up^ Greason, Aldred Rushford (January 5, 1932). “Jekyll and Hyde”. Variety. New York. p. 19.
  11. Jump up^ Mosher, John (January 9, 1932). “The Current Cinema”. The New Yorker. p. 75.
  12. Jump up^ “Dr Jekyll and Hr. Hyde”. Film Daily. New York. January 3, 1932. p. 9.
  13. Jump up^ “Dr. Jekyll and Mr. Hyde (1931) – Rotten Tomatoes”Rotten Tomatoes.com. Rotten Tomatoes. Retrieved 24 October 2016.
  14. Jump up^ “Awards” All Movie Guide
  15. Jump up^ “AFI’s 100 Years…100 Thrills Nominees” (PDF). Retrieved August 20, 2016.
  16. Jump up^ “AFI’s 100 Years…100 Heroes & Villains Nominees” (PDF). Retrieved August 20, 2016.

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Phantom Broadcast, The (1933)


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Phantom Broadcast, The (1933)

Phantom Broadcast The 1

Phantom Broadcast The 2

Director: Phil Rosen

Cast: Ralph Forbes, Vivienne Osborne, Arnold Gray, Gail Patrick, Paul Page, Pauline Garon, Guinn Big Boy Williams, Rockliffe Fellowes

72 minutes

Phantom Broadcast The 4

Plot

As a delivery boy bestows flowers to girls about town, singer Grant Murdock states on his radio show that “Tonight I’m singing to you!” Joe Masetro, a gangster type, has set his sights on signing Grant to a big contract at the end of the week. Grant signs a new contract, however, with his old manager and conductor, Norman Wilder, a hunchback. Joe is upset with siren Elsa Evans, who was supposed to seduce Grant into signing with him. When Joe threatens to cut her out of the action, Elsa tells him she plans to marry Grant.

After the broadcast, Grant makes dates with a number of the girls and heads for Elsa, telling Wilder’s driver, Sandy Higgins, that he will not be rehearsing tonight. Lefty, Joe’s chief henchman and Elsa’s ex-lover, arrives with his gang to kill Norman. Norman meets Laura Hamilton, a young singer, and offers to test her the next day. Getting into his car, Sandy warns Norman about Lefty’s presence and the danger from Joe. Norman laughs off Sandy’s concern, but agrees to take a taxi, after which his car is shot up by Lefty and company. Joe calls Elsa at Grant’s apartment and tells her that Norman was “killed in a gang fight.” Norman, using his key, enters Grant’s apartment, frightening Elsa.

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Told of the attack, Grant assumes the murderers were after him, and after refusing to rehearse, he and Elsa leave. While Laura washes dishes with her fiancée, Dr. Robert Brooks, Norman calls and offers to test her in his studio that night. After the tryout, Norman tells Laura that she has real talent, but insists that a singing career and marriage do not mix. After she leaves, Norman looks in the mirror and imagines what he might have been like if he had not been born a hunchback. The next day, Grant and Norman rehearse. It turns out that Norman is the real singer and that Grant is no more than a ventriloquist’s dummy, mouthing the words and accepting the praise and glory.

When Grant leaves, he bumps into Laura and breaks her compact. Impressed by her looks, he promises to sing “My Good Bye to You” just for her, but Norman warns Laura about Grant, then refuses to sing the song on the broadcast. After the radio show, Norman tells Grant to stay away from Laura, but Grant calls her and makes a date for five o’clock to “hear him sing.” Grant strikes Norman and leaves. Norman tries to call Laura but she has already left. Back at his apartment, Elsa finds Laura’s compact and confronts Grant.

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She talks about marriage, but Grant strikes her and throws her out. While Elsa takes out her gun, Norman buys one of his own. Arriving at Grant’s, Norman finds the performer dead, with Laura’s compact next to him. Thinking Laura killed Grant, Norman switches guns, calls the police and confesses to the murder. Laura arrives, and realizing his mistake, Norman orders her to leave. When the police arrive, Norman escapes through the roof, but is mortally wounded.

Elsa calls Joe seeking help, but it is Lefty, who is still in love with her, who agrees to give her money. At the radio station, word of Grant’s murder arrives. At seven o’clock, right on schedule, the “voice” of Grant Murdock is heard on the air. The studio curtain is pulled back to show Norman singing “My Good Bye to You.” As he dies in her arms, Norman tells Laura that “love and music do mix.” On a ship, Laura honeymoons with Robert, as nearby Elsa wonders aloud to Lefty why Norman took the “rap” for her.

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Cast

Ralph Forbes Ralph Forbes
Vivienne Osborne Vivienne Osborne
Elsa Evans
Arnold Gray Arnold Gray
Grant Murdock
Gail Patrick Gail Patrick
Laura Hamilton
Paul Page Paul Page
Dr. Robert Brooks
Pauline Garon Pauline Garon
Nancy
Guinn 'Big Boy' Williams Guinn ‘Big Boy’ Williams
Sandy Higgins (as Big Boy Williams)
Rockliffe Fellowes Rockliffe Fellowes
Joe Maestro
Harland Tucker Harland Tucker
Program Manager (as Harlan Tucker)
Carl Miller Carl Miller
Lefty
Mary MacLaren Mary MacLaren
Beth
George Nash George Nash
Artist
Althea Henley Althea Henley
Model
George 'Gabby' Hayes George ‘Gabby’ Hayes
Police Lieutenant (as George Hayes)
Rest of cast listed alphabetically:
Louise Beavers Louise Beavers
Penny (uncredited)
Kit Guard Kit Guard
Thug (uncredited)
Henry Hall Henry Hall
Thornton–Radio Station Manager (uncredited)
Dick Rush Dick Rush
Policeman (uncredited)

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X Marks The Spot (1931)


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X Marks The Spot (1931)

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Director: Erle C Kenton

Cast: Lew Cody, Sally Blane, Wallace Ford, Mary Nolan, Fred Kohler, Charles Middleton, Virginial Lee Corbin, Joyce Coad, Richard Tucker, Hank Mann, Helen Parrish

72 minutes

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X Marks the Spot is a 1931 American pre-Code crime drama film, directed by Erle C. Kenton and released by Tiffany Pictures, which operated from 1921 to 1932.

The story concerns a newspaper reporter indebted to a gangster for raising the money to save his little girl’s life. The source material was remade into a 1942 film of the same name. Helen Parrish appeared in both versions.

Plot

Ted Lloyd, a reporter for a small-town newspaper, follows an ambulance to the scene of an accident where he discovers that his young sister Gloria is the victim. Gloria’s doctor tells Ted that if she is ever to walk again, Ted must find the money to send her to Germany for an operation.

Ted asks all his friends, including his editor George Howard, for help, but although they are sympathetic, none has the necessary money. Desperately, Ted approaches Riggs, a local gangster. At first, Riggs flatly refuses to make the loan. Ted then offers to exchange secret information about the District Attorney for the money. Riggs angrily denounces Ted as an informer, then unexpectedly decides to give him the money for the operation. Ted promises never to forget Riggs’ kindness.

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Eight years later, George has become the editor of the New York Gazette and Ted works as the Broadway gossip columnist. When Ted writes an item about showgirl Vivyan Parker, implying that she is being kept by a wealthy man, she sues the paper for libel. Eager to avoid the suit, George sends Ted to Vivyan’s apartment to obtain a release. Ted sneaks into her apartment with the help of the doorman, but Vivyan refuses to sign the release and orders him out of her apartment. When she is later found murdered, Ted is the primary suspect.

In order to clear his name, Ted, who believes that robbery was the motive for Vivyan’s murder, obtains a list of her jewelry from her lover, E. T. Barnes. He contacts several fences and, with the help of one of them, discovers that the murderer is Riggs. Remembering that Riggs once did him a favor, Ted does not reveal his name, but George, suspecting that Ted knows who committed the murder, follows him to his meeting with Riggs and Riggs is arrested.

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Believing that Ted betrayed him, Riggs swears vengeance. During the trial, one of Riggs’ cronies tapes a gun beneath the table where Riggs waits for sentencing. When a guilty verdict is returned, Riggs uses the gun to shoot a guard and abduct one of the jurors. Riggs holds the man hostage, insisting that he will release him in exchange for Ted. Ted agrees, entering the room where Riggs waits at the same time the police release a smoke bomb. In the following gun battle, Riggs is killed and Ted is wounded. While Ted is in the hospital, George takes over his column. His final effort announces Ted’s engagement to his secretary, Sue.

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Cast

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Vampire Bat, The (1933)


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The Vampire Bat (1933)

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The Vampire Bat is a 1933 American pre-Code horror film starring Lionel AtwillFay WrayMelvyn Douglas, and Dwight Frye.

Plot outline

When the villagers of Kleinschloss start dying of blood loss, the town fathers suspect a resurgence of vampirism, but police inspector Karl Breettschneider remains skeptical. Scientist Dr. Otto von Niemann, who cares for the victims, visits a patient who was attacked by a bat, Martha Mueller.

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Martha is visited by a mentally challenged man named Herman, who claims he likes bats because they are “soft like cat” and “nice”. On the doctor’s journey home, he meets Kringen, one of the townsfolk, who claims to have been attacked by the vampire in the form of a bat, but withheld his story from the town to not spread fear. Dr. von Niemann encourages Kringen to tell the townsfolk of his story.

Kringen becomes suspicious that Herman Glieb may be the vampire due to his obsession with bats. Herman lives with bats and collects them off the street.

Dr. von Niemann returns to his home, which also houses Breettschneider’s love Ruth Bertin, Ruth’s hypochondriac aunt Gussie Schnappmann, and servants Emil Borst and Gorgiana. Fear of the vampire and suspicion of Glieb quickly spread around the town, and people start fearing him.

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Ms Mueller is killed that night. The analyses of Dr. von Niemann and another doctor, Dr. Haupt, conclude that the death is the same as all of the previous deaths – blood loss, with two punctures in the neck caused by needle-sharp teeth. Gleib enters the examination, and upon seeing the dead body, runs away screaming.

Next morning, Glieb enters Dr. von Niemann’s garden, where Dr. von Niemann, Breettschneider, and Bertin are discussing vampires inside the house. The town fathers enter the house and announce that Kringen is dead and Gleib is missing. An angry mob hunts down Gleib and chases him through the countryside and into a cave, where he falls to his death.

That night, Dr. von Niemann is seen telepathically controlling Emil Borst, as he picks up sleeping Gorgiana and takes her down to Dr. von Niemann’s laboratory, where a strange organism is seen. They then drain her blood from her neck.

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Schnappmann then discovers Gorgiana’s body in her bed. Dr. von Niemann and Breettschneider investigate and find Ms Mueller’s crucifix, which Glieb handled the night Dr. von Niemann visited her. Breettschneider is becoming more convinced of the presence of vampires in the village as no other plausible explanations for the deaths can be found. As Glieb was seen in the garden that morning, the two conclude he is guilty.

Upon hearing of Glieb’s death, however, Breettschneider’s conviction is erased. Dr. von Niemann tells Breettschneider to go home and take sleeping pills, but gives him poison instead, intent on draining his blood. Bertin discovers Dr. von Niemann telepathically controlling Borst, who is at Breettschneider’s house.

It is revealed that Dr. von Niemann has created life, and is using the blood to fuel his organism. He ties Bertin up in his lab. Borst supposedly enters with Breettschneider’s body on a trolley. Dr. von Niemann walks over to Borst, who is revealed to be Breettschneider (who did not take the pills) in costume, with the real Borst on the trolley. Breettschneider pulls a gun on Dr. von Niemann, and walks over to untie Bertin. Dr. von Niemann then wrestles Breettschneider, who drops the gun. As the two fight, Borst picks up the gun and shoots Dr. von Niemann.

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Production

Fay Wray and Lionel Atwill had been in the successful film Doctor X the previous year, and had already wrapped up work on Mystery of the Wax Museum for Warner Bros. This was quite a large-scale release and would have a lengthy post-production process. Seeing a chance to exploit all the advance press, poverty row studio Majestic Pictures Inc. contracted Wray and Atwill for their own “quickie” horror film, rushing The Vampire Bat into production and releasing it in January 1933.

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Majestic Pictures had lower overheads than the larger studios, which were struggling at the time during the Great Depression. Part of the reason that The Vampire Batlooked almost as good as any Universal Pictures horror film is because Majestic leased James Whale‘s castoffs, the “German Village” backlot sets left over from Frankenstein (1931) and the interior sets from his film The Old Dark House (1932), plus some location shooting at Bronson Caves.

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Completing the illusion that this was a film from a much bigger studio, Majestic hired actor Dwight Frye to populate scenes with Wray and Atwill. A stock musical theme by Charles Dunworth, “Stealthy Footsteps”, was used to accompany the opening credits.[1]

The Vampire Bat ruse worked well for Majestic, which was able to rush the quickie film into theaters less than a month before Warner’s release of Mystery of the Wax Museum. According to The Film Daily (January 10, 1933), the film’s running time was 63 minutes, like most extant prints.

Cast

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See also

References

  1. Jump up^ Larson, Randall D. (1985). Musique fantastique: a survey of film music in the fantastic cinema. Scarecrow Press. p. 32; ISBN 0810817284.
  2. Jump up^ “Scientific Horror”. New York Times. January 23, 1933. Retrieved 2013-05-14

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Sin Takes a Holiday (1930)


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Sin Takes a Holiday (1930)

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Director: Paul L Stein

Cast: Constance Bennett, Kenneth McKenna, Basil Rathbone, Rita La Roy, Louis John Bartels, John Roche, Zasu Pitts, Kendall Lee, Muriel Finley, Judith Wood

81 min

 Sin Takes a Holiday 5

Sin Takes a Holiday is a 1930 American pre-Code romantic comedy film, directed by Paul L. Stein, from a screenplay by Horace Jackson, based on a story by Robert Milton and Dorothy Cairns. It starred Constance BennettKenneth MacKenna, and Basil Rathbone. Originally produced by Pathé Exchange and released in 1930, it was part of the takeover package when RKO Pictures acquired Pathe that year; it was re-released by RKO in 1931.

Sin Takes a Holiday 4

Plot

Basil Rathbone and Constance Bennett in a screen capture from the film

Sylvia Brenner (Constance Bennett) is a plain secretary sharing an apartment with two other girls, one of whom is her friend Annie (ZaSu Pitts). Her economic condition is meager, but she makes do with what she has.

She works for a womanizing divorce attorney, Gaylord Stanton (Kenneth MacKenna), who only dates married women; he has no intention of ever getting married and sees wives as safe, since they already have husbands. But Sylvia is secretly in love with Gaylord. When the woman he is fooling around with, Grace Lawrence (Rita La Roy), decides to leave her husband in order to marry Gaylord, he panics.

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In order to avoid having to deal with the matrimonial pursuits of any of his potential dalliances, he offers a business proposal to Sylvia whereby he will provide her with financial remuneration if she will marry him in name only. She agrees.

After the sham wedding, Sylvia is sent off to Paris by Gaylord, to get her out of the way so he can continue his nightly debauchery. In Paris, she uses her money to do a serious makeover of herself. While there, she also meets her boss’s old friend, Reggie Durant (Basil Rathbone), who falls in love with her. Reggie is a sophisticated European, who introduces Sylvia to the enticements of the European lifestyle, to which she is attracted. When Reggie asks Sylvia to divorce Gaylord so that she can marry him, she is tempted, but confused, and returns home. Returning to the States, everyone takes notice of the transformed Sylvia.

Although there is a brief hiccup, as Grace puts forth a full-court offensive to win over Gaylord, Gaylord and Sylvia end up realizing that they are in love with each other.

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Cast

(Cast list as per the AFI database)[1]

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Notes

On its original release, the movie recorded a loss of $40,000.[2]

In 1958, the film entered the public domain in the USA due to the copyright claimants failure to renew the copyright registration in the 28th year after publication.[3]

The film was recorded using the RCA Photophone System.[4]

Tag line for the film, was, “Oh lady – what clothes!”[5]

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References

  1. Jump up to:a b “Sin Takes a Holiday: Detail View”. American Film Institute. Retrieved April 16, 2014.
  2. Jump up to:a b c Richard Jewel, ‘RKO Film Grosses: 1931-1951’, Historical Journal of Film Radio and Television, Vol 14 No 1, 1994 p57
  3. Jump up^ Pierce, David (June 2007). “Forgotten Faces: Why Some of Our Cinema Heritage Is Part of the Public Domain”. Film History: An International Journal19 (2): 125–43. ISSN 0892-2160JSTOR 25165419OCLC 15122313doi:10.2979/FIL.2007.19.2.125. See Note #60, pg. 143
  4. Jump up^ “Theiapolis: Technical Details”. theiapolis.com. Retrieved August 5, 2014.
  5. Jump up^ “Sin Takes a Holiday, Articles”. Turner Classic Movies. Retrieved August 5, 2014.

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Gay Nighties, The (1933)


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The Gay Nighties (1933)

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Director: Mark Sandrich

Cast: Bobby Clark, Paul McCullough, James Finlayson, Dorothy Granger, John Sheehan, Monte Collins

20 min 

The Gay Nighties is a 1933 American Pre-Code comedy film featuring Clark & McCullough and directed by Mark Sandrich.

Plot summary

Clark & McCullough, as Hives and Blodgett, are campaign managers for political candidate Oliver Beezley. They plan to defeat Beezley’s political rival, Commodore Amos Pipp (James Finlayson), by exploiting his weakness for women.

Blodgett is to be disguised as a beautiful woman to entrap Pipp, but with his moustache he proves unconvincing in drag—Hives declares, “Even the Commodore wouldn’t fall for a buzzard like you!”—and Hives instead enlists the help of Mrs. Beezley (Dorothy Granger) to carry out the scheme.

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First, though, they have to stay out of the line of fire, and ahead of the police, the nearsighted house detective (Monte Collins), a sleepy man with a cot (Charles Williams), and a somnambulist Countess (Sandra Shaw) with her afghan hound.

Gay Nighties The 3

Cast

Gay Nighties The 1

External links

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Woman Between, The (1931)


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The Woman Between (1931)

Woman Between The 1

Director: Victor Schertzinger

Cast: Lilli Damita, Lester Vail, O P Heggie, Miriam Seegar, Anita Louise, Ruth Weston, Lincoln Steadman, Blanche Friderici, William Morris, Halliwell Hobbes, Ellinor Vanderveer

73 min 

Woman Between The 2

The Woman Between is a 1931 American pre-Code drama film directed by Victor Schertzinger and written by Howard Estabrook. The film stars Lili DamitaLester VailO.P. HeggieMiriam Seegar and Anita Louise.[1][2] The film was released on August 8, 1931, by RKO Pictures.

Woman Between The 8

Plot

A young man returns from Europe after several years’ estrangement from his family caused by his disapproval of his father’s remarrying after his mother’s death. At the family reunion he learns that his stepmother is the woman with whom he had a shipboard romance on the voyage home.

Cast

Woman Between The 5

References

  1. Jump up^ “The Woman Between (1931) – Overview”Turner Classic Movies. Retrieved September 9, 2014.
  2. Jump up^ “Woman Between – Rotten Tomatoes”. Retrieved September 9, 2014.

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East of Borneo (1931)


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East of Borneo (1931)

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Director: George Melford

Cast: Rose Hobart, Charles Bickford, Georges Renavent, Lupita Tovar, Noble Johnson, Tom London

77 min

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East of Borneo (1931) is an American Pre-Code adventure film directed by George Melford, co-written by Edwin H. Knopf and Dale Van Every, starring Rose HobartCharles BickfordGeorges RenaventLupita Tovar, and Noble Johnson, and released by Universal Studios.

In 1936, artist Joseph Cornell edited this feature film into his short experimental film Rose Hobart which runs about 19 minutes.

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Plot

Linda Randolph (Hobart) looks for her husband on the island of Marado just east of Borneo. Although Linda is warned that Marado’s jungles are “entirely too dangerous” for a woman, she persists through dangerous raft rides and wild crocodiles. She discovers that her husband is now the personal physician to the island’s enigmatic prince. The prince lusts for Linda, and a love triangle ensues.

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Production

The film was shot largely at Universal Studios. Despite being essentially a b-picture, East of Borneo featured elaborate sets. Props and set dressing used in the film were reportedly valued at $100,000; this figure includes a large $25,000 Buddha statue, a very rare small white Buddha and a long mother-of-pearl inlaid bench, silver dinner utensils and Oriental rugs and drapery.[1]

References

  1. Jump up^ “East of Borneo” Set Cost $100,000. The Florence Times Vol VIII. Number 252. 29 April 1932. p 6. Retrieved 29 February 2016

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Reckoning, The (1932)


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The Reckoning (1932)

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Director: Harry L Fraser

Cast: Sally Blane, James Murray, Edmund Breese, Bryant Washburn, Pat O’Malley, Thomas E Jackson,  Mildred Golden, Douglas Scott

63 min

The Reckoning (also known as Crooked Streets) is a 1932 Pre-code talking film crime-drama directed by Harry L. Fraser and starring Sally Blane and James Murray. It was released on state rights and through a company called Peerless.[1]

Preserved by the Library of Congress.[2]

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Cast

References

  1. Jump up^ The AFI Catalog of Feature Films:..The Reckoning
  2. Jump up^ Catalog of Holdings The American Film Institute Collection and The United Artists Collection at The Library of Congress, (<-book title) p.150 c.1978 the American Film Institute

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Other Men’s Women (1931)


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Other Men’s Women (1931)

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Director: William A Wellman

Cast: Grant Withers, Mary Astor, Regis Toomey, James Cagney, Fred Kohler, J Farrell Macdonald, Joan Blondell, Lillian Worth, Walter Long, Pat Harmon, Lucille Ward

71 min

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Other Men’s Women is a 1931 American pre-Code drama film directed by William A. Wellman and written by Maude Fulton. The film stars Regis Toomey, Grant Withers, and Mary Astor and features Joan Blondell. It was produced and distributed by Warner Bros.

It was first previewed, released and reviewed in 1930 under the title The Steel Highway. By the time of the film’s release in New York City the title had been changed to Other Men’s Women.[1]

Plot

In 1929, Bill White (Grant Withers), is a railroad engineer and boozing womanizer who is evicted from his boarding house for excessive drinking and late rental payments.

Needing a new place to live, he accepts the invitation from his longtime friend and fellow engineer, Jack Kulper (Regis Toomey), to move into his home, where he resides happily with his wife Lily (Mary Astor). This new living arrangement brings changes to relationships as the months pass.

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Bill and Lily’s own friendship, which at first is playful and innocent, evolves into a passionate love between them. Hesitant to hurt Jack, they try to keep their feelings secret, at least for a while; but Jack begins to notice differences in his wife’s demeanor and becomes suspicious when he finds that Bill has suddenly moved out of their house. Jack initially thinks Lily and his friend have had a quarrel, but he later confronts Bill inside the cab of the coal-fired

Bill and Lily’s own friendship, which at first is playful and innocent, evolves into a passionate love between them. Hesitant to hurt Jack, they try to keep their feelings secret, at least for a while; but Jack begins to notice differences in his wife’s demeanor and becomes suspicious when he finds that Bill has suddenly moved out of their house.

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Jack initially thinks Lily and his friend have had a quarrel, but he later confronts Bill inside the cab of the coal-fired steam locomotive that the two men operate together at the nearby rail yard. There Bill finally admits to Jack that Lily and he have fallen in love. In the fistfight that ensues, Jack falls during the struggle, strikes his head, and is permanently blinded by the injury.

During his convalescence at home, Lily tries to rededicate herself to her marriage; however, Jack resents his dependency on his wife. Increasingly frustrated by his situation, he insists that Lily leave town for a few weeks to visit her parents, explaining that he needs emotional space and that he also wants her away from the dangers of expected floods due to rainstorms in the area.

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Shortly after Lily’s departure, Jack learns from rail workers that Bill plans to drive a train of flatcars stacked with bags of cement onto a vital river bridge, the desperate hope being that the combined weight of the train and its load will bolster the bridge and prevent it from being swept away by the rising floodwaters. Stumbling that night through a heavy downpour and literally feeling his way to the rail line, sightless Jack manages to locate Bill and knock him unconscious before he begins what everyone deems a suicidal mission.

Jack then takes charge of the engine’s controls, but before moving onto the wavering bridge, he pushes Bill off the locomotive to safety. Once on the bridge, the entire train plummets into the river as the structure collapses, and Jack drowns in the raging river.

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Months after the tragedy, Bill, still as an engineer, goes into the depot’s diner for some quick food before returning to his train. Nearby, Lily arrives on another train and enters the same restaurant carrying her luggage. The two see one another and engage in some awkward small talk before Lily remarks that she intends to remain in the community, fix up her house and yard, and plant a new spring garden.

Then, with a warm smile, she invites Bill to drop by to help her with the work. Bill runs out of the diner to re-board his moving train. Lily stands in the restaurant’s doorway watching Bill climb to the top of a long line of freight cars and then running forward toward the engine. As he jumps from one car’s roof to the next he raises his arms skyward.

Then, with a warm smile, she invites Bill to drop by to help her with the work. Bill runs out of the diner to re-board his moving train. Lily stands in the restaurant’s doorway watching Bill climb to the top of a long line of freight cars and then running forward toward the engine. As he jumps from one car’s roof to the next he raises his arms skyward.

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Cast

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Cast notes

  • Other Men’s Women was James Cagney’s third film, although Cagney does not mention it in his autobiography, Cagney by Cagney. He and Joan Blondell went on to sign long-term contracts with Warners.[2]
  • Mary Astor dismissed the film as “a piece of cheese”, although praising Cagney and Blondell.[2]

Songs

  • “Leave A Little Smile” – sung by Grant Withers, J. Farrell MacDonald and Mary Astor (from the Warner Bros. musical Oh Sailor Behave)
  • “The Kiss Waltz” – played on the phonograph (from the Warner Bros. musical Dancing Sweeties)
  • “Tomorrow Is Another Day” – played at the restaurant/dance hall (from the Warner Bros. musical Big Boy)

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Release and reception

According to Film Daily, the film’s original title was “The Steel Highway”, under which title it was reviewed by Motion Picture Herald, but by the time of its New York City premiere, the current title had been adopted.[1]

The name change was announced around December 1930.[3] According to an article in The New York Times published in 1936, film studio employees were routinely asked to submit the best possible name for each of the studio’s releases, and one employee had submitted “Other Men’s Women”, along with nine others, for every film, until it was finally chosen as the new name for The Steel Highway. The employees whose titles were chosen generally received $25 or $50 as a reward.

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The employees whose titles were chosen generally received $25 or $50 as a reward.[4]

Variety called it “a good program picture,” but The New York Times described the film on its release as “an unimportant little drama of the railroad yards”.[2] Years later, in a review of a DVD of Wellman’s films, Dave Kehr wrote in the Times that “freed from the constraints of studio-bound early-sound technology, Wellman seems almost giddy with the possibilities of location shooting, moving his camera with abandon, staging dialogue scenes atop moving trains, constructing at least one live sound set … in the middle of a busy switchyard, where freight trains rumble past,” although he did comment that Wellman’s major flaw of “a simplistic, often inconsistent sense of character” was present in the film.[5]

In 1937, a remake of the film under the title “The Steel Highway” was announced, to be directed by Reeves Eason, but there is no indication that the film was made.[6]

Other Men's Women 14

Home media

Other Men’s Women was released on DVD by the Warner Archive in 2010.

References

Other Men's Women 16

Other Men's Women 17

Other Men's Women 18

Other Men's Women 19

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DVD

Flaming Signal, The (1933)


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Pre Code Hollywood Season: FD Cinematheque

The Flaming Signal (1933)

Flaming Signal The 3

Flaming Signal The 2

Flaming Signal The 7

Director: George Jeske, Charles E Roberts

Cast: Marceline Day, John David Horsley, Noah Beery, Henry B Walthall, Carmelita Geraghty, Mischa Auer, Francisco Alonso, Anya Gramina

64 min

Flaming Signal The 15

A pilot and his dog crash-land on an island run by a psycho who owns a motel–and most of the locals. With Marceline Day and John David Horsley.

Plot

While aviator Lieutenant James Robbins signs his autograph on the leg of an attractive, admiring French girl at a crowded airfield as he prepares to fly from Los Angeles to Hawaii, Flash, his German shepherd, grabs a parachute and sneaks into the plane.

Thirty hours later, Jim survives a fierce lightning storm, but afterward his engine catches fire. Flash parachutes to Tabu Island, just south of Hawaii, and Jim crashes in the ocean. The dog finds Jim unconscious hanging onto a broken wing and pushes him to shore.

Flaming Signal The 6

After Flash finds Sally James, daughter of a missionary, swimming nude in a lake, she and her father take Jim and Flash to the trading post and bar run by drunken Otto Von Krantz, who exploits the natives and, with his blonde barmaid Molly, encourages them to drink and spend the money that he pays them for the pearls they find. Jim and Flash wait for the weekly boat to come, and three days later, while Sally and Jim hold hands and watch the natives dance, Von Krantz rapes chief Manu’s daughter Rari.

When Manu orders Von Krantz to leave the island, Von Krantz shoots him. The natives hold a ritual to bring Manu back to life and keep the white people captive in Von Krantz’s bar, but Flash sneaks out with a torch and lights a pyre to signal search planes. Manu rises and Reverend James goes to speak with him, but Von Krantz shoots Manu and a native knifes the reverend.

Flaming Signal The 8

After Jim knocks out Von Krantz and escapes from the bar with Sally, Flash bites Von Krantz to death as Molly watches. After Jim and Sally bury her father, Flash attacks a native about to spear them from above and falls with the native over a cliff. A plane lands in the water, and as natives approach, Jim, Sally and a limping Flash escape to the plane.

Flaming Signal The 5

Cast

Flash the Dog Flash the Dog
Flash (as Flash)
John David Horsley John David Horsley
Lt. Jim Robbins (as John Horsley)
Marceline Day Marceline Day
Molly James
Noah Beery Noah Beery
Otto Von Krantz
Henry B. Walthall Henry B. Walthall
Rev. Mr. James
Carmelita Geraghty Carmelita Geraghty
Molly
Mischa Auer Mischa Auer
Manu–High Priest
Francisco Alonso Francisco Alonso
Taku
Jane'e Olmes Jane’e Olmes
Rari
Anya Gramina Anya Gramina
French Girl

Flaming Signal The 9

Flaming Signal The 4

Flaming Signal The 12

Flaming Signal The 14

Flaming Signal The 11

Flaming Signal The 13

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Morals for Women (1931)


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Pre Code Hollywood Season: FD Cinematheque

Morals for Women (1931)

Morals for Women 1

Morals for Women 2

Director: Mort Blumenstock

Cast: Bessie Love, Conway Tearle, John Holland, Natalie Moorhead, Emma Dunn, June Clyde, Edmund Breese, David Rollins, Lina Basquette, Virginia Lee Corbin, Otis Harlan

65 min

Morals for Women 5

Plot

Helen Hutson, the secretary and mistress of New York businessman Van Dyne, is initially upset when her childhood sweetheart, Paul Cooper, comes to her office to visit. However, she agrees to have dinner with him after he says he is leaving town that night and, feigning a headache, breaks a date with Van.

They go dancing, and Paul, whom Helen once told not to come back into her life until he made good, proposes by the end of the evening. Helen avoids giving an answer, and at the train

They go dancing, and Paul, whom Helen once told not to come back into her life until he made good, proposes by the end of the evening. Helen avoids giving an answer, and at the train station before he leaves, she tries but fails to confess her involvement with Van.

Morals for Women 6

Despite advice from her friend Katherine, Helen, now in love with Paul, plans to return to her hometown of Greenfield, New York and tell him everything before they marry. In Greenfield, Helen finds that her younger sister Lorraine is infatuated with a wealthy boy from the southern school she is attending.

Her father, who has lost his job as a newspaperman, comes in drunk with friends, one of whom asks Helen to repay $200 that her father borrowed. When a boy in town makes insulting innuendos about Helen, her brother Bud defends her reputation, breaking a bottle over the boy’s head. After the sheriff tells Helen that the injured boy’s father will not press charges if he is paid for the hospital expenses, Helen reveals to Bud that the rumors are true.

He embraces her nonetheless, and Helen returns to New York where she placates Van by saying that Paul means nothing to her, and gets the money to bail Bud out of jail. Sometime later, on the night of a party Van demands she hold for some drunken business associates, Helen’s mother and father visit her apartment. That same day, Paul, who has come back from his trip, looks for her at the office, and meets Van instead.

Morals for Women 7

When Paul announces their impending marriage, Van maliciously brings Paul to the party. Meanwhile, Helen’s mother has made lemonade for the surprised guests, while her father gets drunk with two of Van’s associates. When Van, in front of Paul, orders Helen to get him handkerchiefs from his drawer, Paul leaves in disgust. Helen leaves town the next day with her parents. They receive a telegram from Lorraine announcing her marriage, and Helen is happy that her sister is “safe.” Paul comes to the house, and as Bud and his mother watch from the window, Helen and Paul embrace and reconcile.

Morals for Women 4

 

Cast 

Bessie Love Bessie Love
Helen Huston
Conway Tearle Conway Tearle
Van Dyne
John Holland John Holland
Natalie Moorhead Natalie Moorhead
Flora
Emma Dunn Emma Dunn
Mrs. Huston
June Clyde June Clyde
Lorraine Huston
Edmund Breese Edmund Breese
Mr. Huston
David Rollins David Rollins
Bill Huston
Lina Basquette Lina Basquette
Claudia
Virginia Lee Corbin Virginia Lee Corbin
Maybelle
Crauford Kent Crauford Kent
Mr. Marston
Otis Harlan Otis Harlan
Mr. Johnston
Rest of cast listed alphabetically:
George Olsen George Olsen
Orchestra Leader (archive footage)
Ethan Allen Ethan Allen
(uncredited)
Norman Budd Norman Budd
(uncredited)
Wilbur Higby Wilbur Higby
(uncredited)
John Hyams John Hyams
(uncredited)
Walter Perry Walter Perry
(uncredited)
Lillian Rich Lillian Rich
(uncredited)

Morals for Women 8

circa 1920: Bessie Love (1898 - 1986), the Hollywood film actress.

Morals for Women 10

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Man of Sentiment, A (1933)


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Pre Code Hollywood Season: FD Cinematheque

A Man of Sentiment (1933)

Man of Sentiment A 1

Director: Richard Thorpe

Cast: Marian Marsh, Owen Moore, Christian Rub, William Bakewell, Emma Dunn, Edmund Breese, Geneve Mitchell, Pat O’Malley, Syd Saylor

62 min

Plot

Herman Heupelkossel, a kindhearted orderly at a New York hospital, is teased by his fellow workers for the sympathy he gives patients. An unconscious, badly bleeding girl under twenty, the victim of a speeding, drunk driver, is brought in by the driver, twenty-four-year-old John Russell, who wants to be punished for his offense.

Herman sees that the girl, Julia Wilkins, will be alright in a few days and convinces John to hide his drunkenness so that he will be able to help Julia, rather than go to jail. With the aid of Limburger cheese, black coffee and Herman’s old pipe, John reluctantly covers up his alcoholic breath.

Man of Sentiment A 2

As Julia gets better, she and John fall in love, and when he brings her home to her roominghouse, he proposes. When the accident occurred, Julia had been on her way to meet her former suitor Stanley Colton, a wealthy playboy, and accept his offer to become his mistress in exchange for luxurious rooms, a piano, musical instruction and eventually a trip to Europe to study.

She now tells Colton, who is waiting at her room, that she only kidded herself into believing that she was a musical genius. Colton still extends an offer to help her, which John rebuffs. John, who has hidden from Julia the fact that he is the black sheep son of wealthy parents, takes her to his home, where his family, especially his snooty sister Doris, make the meeting unpleasant because they think she is after his money. As a result, Julia breaks off the engagement, which leads John to go on a drinking binge. When Herman learns of this, he calls Julia, who brings John to her room.

Man of Sentiment A 7

They plan to marry without financial help from his family, and this time, Julia, anxious to leave before anything else goes wrong, calls Colton to ask him for money. She goes to have dinner at his apartment, and after she refuses his entreaties that she break with John, he has her wait in his bedroom while he answers the door. John, whom Colton craftily had called and asked to visit after he heard from Julia, enters and accuses Julia of selling herself to Colton.

Their engagement broken again, Julia soon is kicked out of her room for non-payment of rent. After two weeks, she is taken to the hospital, suffering from pneumonia. Herman, thinking that John’s presence when she regains consciousness could determine whether she lives or dies, leaves the hospital to find him, at the risk of losing his job, but arrives at John’s house just after John has left to take a steamer to Europe.

Herman convinces John’s father of the urgency of the situation and they find John. As Mr. Russell is the hospital’s heaviest donor, Herman is not fired. Julia recovers and the couple are reconciled.

Man of Sentiment A 4

Cast

Marian Marsh Marian Marsh
Julia Wilkens
Owen Moore Owen Moore
Stanley Colton
Christian Rub Christian Rub
Herman Heupelkossel
William Bakewell William Bakewell
John Russell
Emma Dunn Emma Dunn
Mrs. John Russell Sr.
Edmund Breese Edmund Breese
John Russell Sr.
Geneva Mitchell Geneva Mitchell
Doris Russell
Pat O'Malley Pat O’Malley
Officer Ryan
Syd Saylor Syd Saylor
Swede – Orderly
Lucille Ward Lucille Ward
Miss Tracy
Cornelius Keefe Cornelius Keefe
Dr. Jordan
Otto Hoffman Otto Hoffman
Landlord
Matt McHugh Matt McHugh
Alex (Willie) Moran – Orderly
William Bailey William Bailey
Doctor
Mildred Washington Mildred Washington
Mildred – the Maid
Rest of cast listed alphabetically:
Lionel Backus Lionel Backus
Superintendent Orderly (uncredited)
John Beck John Beck
Beck – the Butler (uncredited)
Almeda Fowler Almeda Fowler
Nurse (uncredited)
Frank LaRue Frank LaRue
Sergeant Muldoon (uncredited)
Arthur Millett Arthur Millett
Bill Collector (uncredited)
Dick Rush Dick Rush
Barney – Ambulance Driver (uncredited)

 

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