Tag Archives: archive gems

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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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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Lena Rivers (1932)


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Lena Rivers AKA The Sin Of Lena Rivers (1932)

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Director: Phil Rosen

Cast: Charlotte Henry, Morgan Galloway, Beryl Mercer, James Kirkwood, John St Polis, Betty Blythe, Joyce Compton, Russell Simpson, Clarence Muse, The Kentucky Singers

67 min

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Lena Rivers, aka The Sin of Lena Rivers, is a 1932 American pre-Code drama film directed by Phil Rosen based on the 1856 novel by Mary Jane Holmes. Filmed on several occasions throughout the silent era.[1]

Plot

Lena Rivers’ mother dies in childbirth, and the child is left to be reared by her grandparents. Years later, her grandfather is reported lost at sea, and Lena and her grandmother go to live in Canterville, Kentucky with John Nichols, Lena’s uncle, despite the objections of John’s wife Mathilda and his daughter Caroline, who think that Lena is illegitimate.

Henry R. Graham, the owner of the plantation next to the Nichols’, seems bothered when he meets Lena. One day, Lena plays with a bunny on the Graham property, and she is horrified when Graham’s ward, Durrie Belmont, shoots it. Although she calls him a murderer, Durrie, who is courting Caroline, becomes attracted to Lena.

Graham takes a personal interest in Lena because she reminds him of a woman with whom he was in love, but who died while he was away, believing he had deserted her. When Lena shows a gift for calming the excitable horse Brimstone, Graham gives her the horse. After Graham introduces her to Durrie, the boy promises never to shoot another bunny and walks her home. Graham throws a party at his manor, but Lena does not come because she does not have a fancy dress, so Durrie goes to her house.

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They take a walk, and he kisses her before she goes in. Caroline sees them together and calls Lena an “ungrateful sneak,” then says she takes after her mother, who never married. Lana slaps her and runs crying to her grandmother, who assures her that her mother was married, but that her father left her to die. Graham enters Brimstone in the races for Lena because she has made astonishing progress with the previously unmanageable horse.

When Lena’s grandmother has an attack, Graham, worried about the effect her possible death might have on Lena, mentions to Durrie that he would like to adopt her. Durrie’s jealousy is aroused, as Caroline had earlier implied that Graham and Lena were having an illicit affair. In reality, Graham is Lena’s father. He had married her mother in secret because of his tyrant father, using his middle name “Rivers” as their surname.

His father “shanghaied” Graham to Europe, and when he returned, he learned that his wife had died. Until Lena recently appeared, he had been unaware that he had a daughter. Brimstone wins the race, and Lena is awarded $5,000, but Durrie discovers that Graham told the jockey of his competing horse to let Brimstone win.

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Still unaware of Graham’s real relationship to Lena, Durrie, jealous, angry and drunk, proposes to Caroline, who agrees to marry him. Lena’s grandmother dies after realizing that Lena now has enough money to support herself. Shaken by the death, Lena learns about Durrie and Caroline’s elopement and leaves town to make a new life for herself elsewhere after forgiving Graham, who has revealed his secret to her.

Meanwhile, Durrie drives recklessly and his car goes over an embankment. When Graham finds out that Durrie and Caroline are in the hospital, he sends for Lena. While Caroline flirts with a doctor, Durrie learns that Graham is Lena’s father and leaves the hospital to find her and marry her. He gets into a car to find Lena inside, and they hug and kiss.

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Cast

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References

  1. Jump up^ The AFI Catalog of Feature Films:..Lena Rivers

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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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Applause (1929)


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Applause (1929)

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Director: Rouben Mamoulian

Cast: Helen Morgan, Joan Peers, Fuller Mellish Jr., Jack Cameron, Henry Wadsworth, Billie Bernard, Phyllis Bolce, Lotta Burnell, Alice Clayton, Florence Dickinson

80 min

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Applause is a 1929 black-and-white backstage musical talkie, shot at Paramount’s Astoria Studios in Astoria, New York, during the early years of sound films. The film is notable as one of the few films of its time to break free from the restrictions of bulky sound technology equipment in order to shoot on location around Manhattan.

Production background

Based on a novel by Beth Brown, the film was staged and directed by Rouben Mamoulian,[1] and stars Helen Morgan, Joan Peers, Henry Wadsworth, and Fuller Mellish, Jr. Mae West was originally considered for the part of Kitty Darling, but Paramount decided West’s glamorous stage presence would undercut the tackier aspects of the storyline.

The National Board of Review named Applause one of the 10 best films of 1929.

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This was Morgan’s first all-talking film. She had previously appeared in the sound prologue to the part-talkie version of Show Boat, released by Universal Studios. In the same year, Morgan appeared in Applause, and Glorifying the American Girl.

In 2006, Applause was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”.[2]

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Plot

The first scene has a marching band playing Theodore Mentz‘s “A Hot Time in the Old Town“.

The film tells of Kitty Darling (Helen Morgan), a burlesque star, who sends her young daughter to a convent to get her away from the sleazy burlesque environment she is involved in.

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Many years later, Kitty is not doing so well and her best days are behind her. She’s now an alcoholic who lives in the past. She lives with a burlesque comic named Hitch (Fuller Mellish Jr.). Hitch cheats on her and only cares about spending what little money she has. When he finds out she has been paying for her daughter’s convent education for over a decade, he pushes her into bringing April back home.

Her grown, but naive daughter April (Joan Peers) returns. Kitty is embarrassed by her condition and marries Hitch so that April will not be ashamed of her.

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When April arrives, she is disgusted with her mother and her sad life. Hitch tries to force her into show business and repeatedly gropes her, at one point forcing a kiss on her.

April roams the city and meets a lonely young sailor named Tony (Henry Wadsworth). They fall in love and agree to marry and April will move to his home in Wisconsin. When April goes to tell her mother about their plans she overhears Hitch belittling Kitty, calling her a “has-been.”

April is upset and calls off her wedding. She decides to join the chorus line of a burlesque show. She says a reluctant goodbye to Tony at the subway. Meanwhile, Kitty takes an overdose of sleeping pills. The bottle clearly says “For insomnia one tablet only”. She goes downstairs to the show and collapses on a couch.

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Knowing that Kitty cannot perform in the show, the producer berates her, mistaking her reaction to the overdose for delirium tremens. April, also not realizing what is happening, and over Kitty’s objections, says she will take Kitty’s place. She tells Kitty she will take care of her now, like Kitty always did for April. As April goes onstage, Kitty passes away, her head hanging over the edge of the couch.

April is disgusted at herself and cannot complete the show. As she runs off the stage, none other than Tony is there to greet her. He says he had a feeling she did not mean what she was saying. She hugs him close and says she wants to go far away. Not realizing Kitty is dead, she says they will need to take care of her mother too, and Tony agrees.

The final shot is a close-up of the Kitty Darling poster on the wall, behind Tony and April.

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Cast

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Censors

The censor boards approved of the message and production values of the film, but were concerned about a scene in which Kitty told April that two of the chorus girls in the show were Catholic, “as good Catholics as anybody even if they do shake for a living.” The line was changed to “Christians”.

Censors in OhioBritish Columbia, and Worcester, Massachusetts banned the film outright. Many cuts were made for showings in cities such as Chicago, IllinoisProvidence, Rhode Island, and St. Louis, Missouri.

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Critical reception

The film opened to mixed reviews from film critics.

Critic Mordaunt Hall, writing for the New York Times, liked the acting but was troubled by some of Rouben Mamoulian’s direction. He said, “The opening chapters are none too interesting and subsequently one anticipates pretty much what’s going to happen…however, Mr. Mamoulian commits the unpardonable sin of being far too extravagant. He becomes tedious in his scenes of the convent and there is nothing but viciousness in his stage passages.”[3]

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Photoplay described the film as “a curious one,” however recommendable for the performances by Morgan and Joan Peers. The anonymous reviewer, however, thought the two leads, “and some nice camera work, help save a confusing job.”[4]

The Library of Congress says the following about the film:

Many have compared Mamoulian’s debut to that of Orson Welles‘ Citizen Kane because of his flamboyant use of cinematic innovation to test technical boundaries. The tear-jerking plot boasts top performances from Morgan as the fading burlesque queen, Fuller Mellish Jr. as her slimy paramour and Joan Peers as her cultured daughter. However, the film is remembered today chiefly for Mamoulian’s audacious style. While most films of the era were static and stage-bound, Mamoulian’s camera reinvigorated the melodramatic plot by prowling relentlessly through sordid backstage life.[2]

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A recent[when?] review by Manuel Cintra Ferreira highlights the innovative direction and influence on the productions to come:

It is well-known that the arrival of sound brought a revolution in film-making. But (…) the early times were marked by disorientation on how to master the new technique. The cinematographic idiom, having reached a splendorous high by those years, was made to regress almost to its early stages by the demands of the complicated sound machinery, still cameras restricted to the recording of long dialogue declamations in tedious closeups, such that some commentators did not anticipate a sustained future for the “talkies”. Mamoulian’s role in inverting the slippage was profound, eventually making sound and talk an essential element of the narrative in cinema. Applause, his first work in Hollywood, is from the outset an inescapable witness of this process of change, exploring voice off and sound overlay, which, at the time, technicians considered impossible. (…) Applause became (…) the true “first great sound picture in the world”.[citation needed]

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Premiere and box office reception

The film opened strongly on October 7, 1929 at New York City’s Criterion Theatre, which was celebrating its 35th anniversary. Also on hand was a short film in which Charles K. Harris sang his classic song “After the Ball“.

A combination of mixed reviews, misleading advertising (the publicity focused on glamour shots of Helen Morgan, not what she looked like in the film), downbeat subject matter, and the Stock Market Crash caused the movie to taper off significantly as soon as it left the Criterion.

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Revival, restoration, and home video release

  • In 1939, Henry Hathaway nearly remade the film with Marlene DietrichApplause was rediscovered in the early 1960s, and there was talk of a stage musical with Judy Garland as Kitty and Liza Minnelli as April. (The musical Applause, based on the 1950 movie All About Eve, and having absolutely no relation to the 1929 film, opened on March 30, 1970 starring Lauren Bacall.)[5]
  • The film was restored by the UCLA Film and Television Archive with the original Technicolor sequences.[6]
  • The film was released on DVD in 2003 through Kino Video (under license from current rightsholders Universal Studios). Special features included comments Rouben Mamoulian made for the 1986 50th anniversary of the Directors Guild of America, censorship notes, a 1929 interview with Mamoulian, rare photos and promotional materials, 1933 newsreel footage of Helen Morgan and her second husband, a clip of Morgan singing What Wouldn’t I Do For That Man? in the 1929 musical Glorifying the American Girl, excerpts from the Beth Brown novel, and essays on Morgan and the film, written by Christopher S. Connelly.

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See also

References

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Applause 11

Applause 5

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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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Ten Cents a Dance (1931)


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Ten Cents a Dance (1931)

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Directors: Lionel Barrymore, Edward Buzzell

Cast: Barbara Stanwyck, Ricardo Cortez, Monroe Owsley, Sally Blane, Blanche Friderici, Phyllis Crane, Olive Tell, Victor Potel, Al Hill, Jack Byron

75 min

Ten Cents a Dance 2

Ten Cents a Dance is a 1931 American pre-Code romance-drama film directed by Lionel Barrymore and starring Barbara Stanwyck as a married taxi dancer who falls in love with one of her customers. The film was inspired by the popular song of the same name, which is sung over the title sequence.[1]

Plot

A beautiful streetwise taxi dancer named Barbara O’Neill (Barbara Stanwyck) works at a New York City dance hall called Palais de Dance. One of the dance hall’s wealthy patrons, Bradley Carlton (Ricardo Cortez), comes to the hall and gives Barbara $100.

Concerned about her unemployed friend and neighbor Eddie Miller (Monroe Owsley), Barbara asks Bradley to give him a job, and he agrees. That night they have dinner together.

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When Barbara gets home, Eddie is in the process of packing his bags; he can no longer afford to pay his rent. Barbara gives him the $100 she received from Bradley and tells him about his new job. Later, Eddie and Barbara meet in the park and realize that they are in love.

The next night at the dance hall, Barbara receives a gift of a new dress, but is disappointed when she sees that it was sent by Bradley. Eddie arrives at the dance hall and asks Barbara to marry him. Barbara accepts his proposal and soon quits her job.

Five months later, Eddie meets an old friend Ralph Sheridan and his sister Nancy, and does not reveal that he is now married. They play cards together and Eddie loses $240, something he does not tell his wife.

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He claims to be at a convention, but in fact he meets a woman named Nancy. Later, Eddie returns to find the rent and utilities past due because he has spent his pay gambling. Meanwhile, Barbara returns to work at the dance hall, where she sees Bradley occasionally.

Later, Barbara returns home and discovers Eddie packing his bags. Admitting that he stole $5,000 from Bradley’s office safe, he tells her that he lost that money playing the stock market. Barbara is able to talk him into staying, and she visits Bradley and asks him for a $5,000 loan. Bradley agrees because he is in love with her.

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The next morning, Barbara presents the money to Eddie who accepts it immediately. When Eddie returns from work, he and Barbara engage in a jealous fight. Soon after, she packs her belongings and returns to the dance hall, where she is met by Bradley who has two tickets for the Ile de France, where Barbara can obtain a divorce and marry him.

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Cast

(Cast list as per AFI‘s database[2])

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References[edit]

  1. Jump up^ Hall, Mordaunt (March 7, 1931). “The $10,000 Kiss. Strange Temperaments. In a Dance Hall. Screen Notes.”The New York Times. Retrieved February 13, 2014.
  2. Jump up^ “Ten Cents a Dance: Detail View”. American Film Institute. Retrieved December 15, 2014.

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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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Sensation Hunters 7

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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]

Trouble in Paradise 4

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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Stolen Jools, The (1931)


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The Stolen Jools AKA The Slippery Pearls (1931)

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Directors: 

William C. McGannJohn G. Adolfi…(uncredited)Thomas Atkins…(uncredited)Harold S. Bucquet…(uncredited)Victor Heerman…(uncredited)Russell Mack…(uncredited)

Cast: 

Wallace Beery Wallace Beery
Police Sergeant
Buster Keaton Buster Keaton
Policeman
Jack Hill Jack Hill
Policeman
J. Farrell MacDonald J. Farrell MacDonald
Policeman
Edward G. Robinson Edward G. Robinson
Gangster (as Edward Robinson)
George E. Stone George E. Stone
Gangster
Eddie Kane Eddie Kane
Inspector Kane
Stan Laurel Stan Laurel
Policeman
Oliver Hardy Oliver Hardy
Police Driver
Allen 'Farina' Hoskins Allen ‘Farina’ Hoskins
Farina (as Farina)
Matthew 'Stymie' Beard Matthew ‘Stymie’ Beard
Stymie (as Stymie)
Norman 'Chubby' Chaney Norman ‘Chubby’ Chaney
Chubby (as Chubby)
Mary Ann Jackson Mary Ann Jackson
Shirley Jean Rickert Shirley Jean Rickert
Shirley Jean
Dorothy DeBorba Dorothy DeBorba
Echo (as Echo)
Bobby 'Wheezer' Hutchins Bobby ‘Wheezer’ Hutchins
Wheezer (as Wheezer)
Pete the Dog Pete the Dog
Pete (as Pete the Pup)
Polly Moran Polly Moran
Norma Shearer’s Maid
Norma Shearer Norma Shearer
Owner of Stolen Jewels
Hedda Hopper Hedda Hopper
Hedda – Norma’s Friend
Joan Crawford Joan Crawford
William Haines William Haines
Bill Haines
Dorothy Lee Dorothy Lee
Autograph Signer
Victor McLaglen Victor McLaglen
Edmund Lowe Edmund Lowe
El Brendel El Brendel
Swedish Waiter
Charles Murray Charles Murray
Kelly (as Charlie Murray)
George Sidney George Sidney
Cohen
Winnie Lightner Winnie Lightner
Winnie
Fifi D'Orsay Fifi D’Orsay
Fifi D’Orsay
Warner Baxter Warner Baxter
Irene Dunne Irene Dunne
Irene Dunne
Bert Wheeler Bert Wheeler
Bert Wheeler
Robert Woolsey Robert Woolsey
Robert Woolsey
Richard Dix Richard Dix
Richard Dix
Claudia Dell Claudia Dell
Claudia Dell
Lowell Sherman Lowell Sherman
Movie Director
Eugene Pallette Eugene Pallette
Reporter
Stuart Erwin Stuart Erwin
Reporter
Richard 'Skeets' Gallagher Richard ‘Skeets’ Gallagher
Reporter (as Skeets Gallagher)
Gary Cooper Gary Cooper
Newspaper Editor
Wynne Gibson Wynne Gibson
Reporter
Charles 'Buddy' Rogers Charles ‘Buddy’ Rogers
‘Buddy’ Rogers (as Buddy Rogers)
Maurice Chevalier Maurice Chevalier
Douglas Fairbanks Jr. Douglas Fairbanks Jr.
Douglas Fairbanks Jr.
Loretta Young Loretta Young
Loretta Young
Richard Barthelmess Richard Barthelmess
Richard Barthelmess
Charles Butterworth Charles Butterworth
Claiming to Be Louise Frazenda
Bebe Daniels Bebe Daniels
Mrs. Ben Lyon
Ben Lyon Ben Lyon
Ben Lyon
Barbara Stanwyck Barbara Stanwyck
Mrs. Frank Fay
Frank Fay Frank Fay
Frank Fay
Jack Oakie Jack Oakie
Jack Oakie
Fay Wray Fay Wray
Fay Wray
George 'Gabby' Hayes George ‘Gabby’ Hayes
Projectionist (as George Hayes)
'Little Billy' Rhodes ‘Little Billy’ Rhodes
Film Delivery Boy (as Little Billy)
Mitzi Green Mitzi Green
Little Mitzi – Mystery Solver
Rest of cast listed alphabetically:
Joe E. Brown Joe E. Brown
Robbery Suspect
Robert Ames Robert Ames
Robert Ames (uncredited)
Bert Lytell Bert Lytell
Bert Lytell (uncredited)

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The Stolen Jools (1931) is a short comedy film produced by the Masquers Club of Hollywood, featuring many cameo appearances by film stars of the day. The stars appeared in the film, distributed by Paramount Pictures, to raise funds for the National Vaudeville Artists Tuberculosis Sanitarium. The UCLA Film and Television Archive entry for this film says—as do the credits—that the film was co-sponsored by Chesterfield cigarettes to support the “fine work” of the NVA sanitarium.

When the film was shown in theaters in 1931, a person would appear after the film to ask the audience for donations. Because the film was made for charity, it has an unusually large cast of actors from various studios in addition to Paramount, such as Warner Bros.RKOMGM, and Hal Roach Studios.

This film was retitled The Slippery Pearls in the United Kingdom. It was thought to have been lost until a print was found in the UK in the 1990s. Another print was later found in the US under the alternative title.

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Plot

At the “Screen Stars Annual Ball”, Norma Shearer‘s jewels are stolen. The police must find them and return them to her.

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Cast, as listed in end credits

The Detective
Under the Tree
Couples at Home
In a Movie Scene
Projectionist
The Midget
(Uncredited)
 Stolen Jools 4

See also

References

1. Transcribed from the DVD Best of Laurel & Hardy, Volumes 2–3. Brentwood Home Video, 2004.
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Tangled Destinies (1932)


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Tangled Destinies AKA Who Killed Harry Forbes? (1932)

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Director: Frank R Strayer

Cast: Gene Morgan, Doris Hill, Glen Tryon, Vera Reynolds, Ethel Wales, Moanei Lindley, Syd Saylor, Sidney Bracey

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Tangled Destinies is a 1932 American film directed by Frank R. Strayer.

The film is also known as Who Killed Harvey Forbes? in the United Kingdom.

Plot summary

When a transcontinental airplane is forced to land in the desert in a thick fog, the crew and ten passengers find refuge in a deserted house, where they start up an electric generator and turn on the lights.

After the lights go out unexpectedly, one of the passengers is killed. Another passenger, a detective, claims he was guarding the deceased, who was carrying valuable diamonds, which are then discovered to be paste. Later, another person is murdered. Eventually, the murderer is found in the guise of a clergyman.

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Cast

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Framed (1930)


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Framed (1930)

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Director: George Archainbaud

Cast: Evelyn Brent, Regis Toomey, Ralf Harolde, William Holden, Maurice Black, Robert Emmet O’Connor, Eddie Kane

65 min

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Framed is an 1930 American pre-Code crime action film, directed by George Archainbaud, based on a screenplay by Paul Schofield and Wallace Smith. It starred Evelyn Brent, William Holden (no relation to the Oscar-winning actor, William Holden), Regis Toomey and Ralf Harolde.

Plot summary

When Rose Manning’s father is killed during a robbery by Inspector McArthur, Manning vows to avenge his death. Five years elapse, and Rose is now the owner of a nightclub, and her liquor supplier, the bootlegger Chuck Gaines is interested in her. Still plotting her revenge, she meets Jimmy McArthur, who she does not realize is the son of the inspector. Spurning Gaines’ advances, Rose becomes romantically involved with Jimmy. Her motivations waver as her emotional attachment to the young McArthur grows, until her relationship takes precedence over her revenge.

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Chuck, jealous of the growing relationship between Rose and Jimmy, plots with his cohort, Bing Murdock, to murder both the inspector and his son. Uncovering the plan, Rose is attempting to warn Jimmy, when his father raids her club. In the ensuing chaos, Jimmy kills Gaines in order to protect Rose, after Gaines attacked her in a fit of jealous rage. When the inspector finally realizes that what Rose and Jimmy have is real affection for one another, he removes any objections over their relationship.

Framed 1

Cast

Framed 3

References

  1. Jump up to:a b c Framed: Detail View”. American Film Institute. Retrieved June 7, 2014.

Framed 6

Framed 7

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Money Means Nothing (1934)


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Money Means Nothing (1934)

Money Means Nothing 1

Director: Christy Cabanne

Cast: Wallace Ford, Edgar Kennedy, Gloria Shea, Vivien Oakland, Maidel Turner, Betty Blythe, Eddie Tamblyn, Richard Tucker, Tenen Holtz, Ann Brody

70 min

Money Means Nothing 2

Plot

When Julie Ferris, a wealthy young woman searching for excitement, goes slumming at Joe’s Roadside Inn, she notices a group of shady men and follows them in her car. After trailing them for a distance, Julie crashes into their car as they are hijacking two trucks carrying tires. In the ensuing scuffle, the thieves shoot one of the trucks’ drivers, Red Miller, and threaten Julie. Ken McKay, the other driver, protects and rescues Julie, and she immediately falls in love with him. Although her sister Helen and rich brother-in-law George disapprove, Julie marries Ken and moves to Brooklyn.

While determined to make the marriage work, Julie is nonetheless unprepared for her new neighbors, the boorish, nosy Greens. After the Greens crash Julie’s birthday dinner, Herbert Green, who is Ken’s boss at the auto parts store, is told by his overbearing wife that Julie’s snobbish family insulted him. As revenge, Herbert lies to his district manager that Ken has been tipping off the still active hijackers.

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Fired, Ken has no luck in finding another job and contemplates making the now pregnant but devoted Julie return to her family when Red Miller, who has opened his own tire store, hires him. In cahoots with the hijackers, Red forces an unsuspecting Ken to help him steal more tire shipments, but Herbert, on a tip from Julie, figures out the plan and calls the police. In the end, the thieves are caught, and a repentant Herbert promises Ken a new job. Thus saved, the newlyweds reaffirm their belief that money means nothing.

Money Means Nothing 4

Cast 

Wallace Ford Wallace Ford
Gloria Shea Gloria Shea
Julie Ferris McKay
Edgar Kennedy Edgar Kennedy
Herbert Green
Vivien Oakland Vivien Oakland
Helen Whitney (as Vivian Oakland)
Maidel Turner Maidel Turner
Mrs. Kerry Green
Betty Blythe Betty Blythe
Mrs. Ferris
Eddie Tamblyn Eddie Tamblyn
Robert ‘Robby’ Ferris (as Edward Tamblyn)
Richard Tucker Richard Tucker
George Whitney
Tenen Holtz Tenen Holtz
Mr. Silverman
Ann Brody Ann Brody
Mrs. Silverman
Rest of cast listed alphabetically:
Irving Bacon Irving Bacon
Navy Secretary (scenes deleted)
Ernie Adams Ernie Adams
Lead Hijacker (uncredited)
Sam Flint Sam Flint
Police Sergeant (uncredited)
Douglas Fowley Douglas Fowley
Red Miller (uncredited)
Olaf Hytten Olaf Hytten
Parsons – the Butler (uncredited)
Jack Kenney Jack Kenney
Hijacker-Driver (uncredited)
Jack Norton Jack Norton
Jack – Hijacker (uncredited)
Lee Phelps Lee Phelps
Chauffeur (uncredited)
Harry Semels Harry Semels
Toy Vendor (uncredited)
Bert Young Bert Young
Jim – Driver Shot in Leg (uncredited)

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World Gone Mad, The (1933)


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The World Gone Mad AKA The Public Be Hanged (1933)

World Gone Mad The 1

Director: Christy Cabanne

Cast: Pat O’Brien, Evelyn Brent, Neil Hamilton, Mary Brian, Louis Calhern, J Carrol Naish, Buster Phelps, Richard Tucker, Edward Van Sloan

80 min

The World Gone Mad (also released as The Public Be Hanged) is a 1933 American Pre-Code crime film directed by Christy Cabanne and starring Pat O’BrienEvelyn Brent and Neil Hamilton.[1] It was made on a low-budget by the independent Majestic Pictures, a Poverty Row forerunner of Republic Pictures.[2]

World Gone Mad The 2

World Gone Mad The 3

Plot

When a district attorney who has been investigating a utility company’s directors for fraud is suddenly killed, his wisecracking newspaperman friend (Pat O’Brien) gets curious. He and the upstanding new district attorney (Neil Hamilton) separately pursue the case. Cultivated but sinister businessmen, a shady nightclub owner specializing in “import and export”, several beautiful young women always seen in evening gowns, a “Latin lover” type who reads Casanova and an abundance of suave men in evening dress provide eye-candy for the duration.

World Gone Mad The 4

Cast

World Gone Mad The 5

References

World Gone Mad The 6

World Gone Mad The 7

World Gone Mad The 8

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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.

Phantom Broadcast The 5

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.

Phantom Broadcast The 8

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)

Phantom Broadcast The 9

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X Marks The Spot (1931)


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X Marks The Spot (1931)

X Marks the Spot 1

X Marks the Spot 9

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

X Marks the Spot 7

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.

X Marks the Spot 4

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.

X Marks the Spot 5

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.

X Marks the Spot 6

Cast

X Marks the Spot 3

X Marks the Spot 8

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Vampire Bat, The (1933)


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The Vampire Bat (1933)

Vampire Bat The 1

Vampire Bat The 2

Vampire Bat The 3

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.

Vampire Bat The 5

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.

Vampire Bat The 4

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.

Vampire Bat The 6

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.

Vampire Bat The 7

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

Vampire Bat The 10

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

Vampire Bat The 12

Vampire Bat The 13

Vampire Bat The 14Vampire Bat The 15

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Twin Husbands (1933)


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Twin Husbands (1933)

Twin Husbands 3

Director: Frank R Strayer

Cast: John Miljan, Shirley Grey, Monroe Owsley, Hale Hamilton, Robert Elliott, Wilson Benge, Maurice Black, Robert Walker

68 min

Twin Husbands 9

 

Twin Husbands is a 1933 American Pre-Code film directed by Frank R. Strayer.

Plot summary

After he wakes from a deep sleep in a strange Long Island mansion, a dazed man finds a calendar dated 1938, four years later than his last recollection, and evidence that his name is Jerome “Jerry” Peyton Werrenden. Greyson, a butler, tells Jerry that he is the mansion’s owner and that he has been ailing mentally for months.

Jerry, however, quickly deduces that he has been kidnapped and drugged and that Greyson was hired to pose as a longtime servant as part of a scheme to convince him that he is suffering from amnesia.

Twin Husbands 5

Curious about the scheme, Jerry pays Greyson to continue his part, while he pretends to be Werrenden with Chloe, his supposed wife, and with Colton Drain, his supposed secretary. When Chloe and Colton realize that Jerry is wise to the plot, they offer him $10,000 to impersonate Werrenden, who is living in Europe, in a meeting with Colonel Gordon Lewis, the estate trustee, who has been asked to deliver $200,000 in bonds. Jerry accepts the offer and, while waiting for the colonel, overhears Chloe and Colton discussing plans to leave for South America.

After requesting a signed receipt, Lewis, apparently fooled by the impersonation, gives Jerry the bonds, which Jerry then places in a safe, the combination to which only the real Werrenden knows. Later that night, Colton and Chloe discover two thugs, Feets and Chuck, breaking into the safe.

Twin Husbands 2

When the thugs see Jerry, they identify him as The Sparrow, a master “cracksman,” and as a favor to his fellow crooks, Jerry allows them to escape before the police arrive. After a confused interrogation of Chloe, Colton, Lewis and Greyson about Jerry’s identity, Sergeant Kerrigan orders Jerry and Chloe to police headquarters. To Chloe’s surprise, however, Jerry takes her to his house, explaining that Greyson had telephoned his minion, Kerrigan, with orders to impersonate a police sergeant.

After Jerry determines that Chloe was actually trying to save her ne’er-do-well husband from the financial scheming of Colton, he confronts Lewis about the bonds. Cornered, Lewis confesses that he had hired Feets and Chuck to steal the bonds because he needed the money to cover his own overdraughts.

Twin Husbands 4

Jerry then breaks into Colton’s private vaults and unearths several documents that reveal that Colton had covered up news of Werrenden’s death and had stolen his securities. Jerry returns to the Werrenden mansion and shows Chloe, with whom he has fallen in love, his evidence. Supported by Chloe, a repentant Lewis and Greyson, Jerry convinces the police that he is Werrenden and that Colton is suffering a nervous breakdown.

Unable to expose Colton to the police because of his own criminal activities, Jerry nonetheless satisfies Chloe by forcing Colton to agree to leave immediately for South America. Chloe then convinces a reformed Jerry not to run away, but to stay with her indefinitely.

Twin Husbands 6

Cast

External links

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Gay Nighties, The (1933)


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The Gay Nighties (1933)

Gay Nighties The 2Gay Nighties The 2

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.

Woman Between The 4

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Lady Refuses, The (1931)


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The Lady Refuses (1931)

Lady Refuses The 1

Lady Refuses The 2

Director: George Archainbaud

Cast: Betty Compson, John Darrow, Gilbert Emery, Margaret Livingston, Ivan Lebedeff, Edgar Norton, Daphne Pollard

72 min

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The Lady Refuses is a 1931 American pre-Code melodrama film, directed by George Archainbaud, from a screenplay by Wallace Smith, based on an original story by Guy Bolton and Robert Milton. It stars Betty Compson as a destitute young woman on the verge of becoming a prostitute, who is hired by a wealthy man to woo his never-do-well son away from the clutches of a gold-digger (Margaret Livingston). The plot is regarded as risqué enough to appear in at least one collection of pre-Code Hollywood films.[3]

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Plot

Sir Gerald Courtney (Gilbert Emery) is an aristocrat whose son, Russell (John Darrow), prefers to spend his time partying with young women rather than focusing on the promising career he has in architecture. When Russell leaves one evening to revel with the gold-digging Berthine Waller (Margaret Livingston) rather than spending it dining with his father, Sir Gerald is a bit despondent. As he ponders what to do about his wayward son, providence takes a hand.

A beautiful destitute young woman, June (Betty Compson), on the verge of entering into the oldest of professions due to her desperation, is being pursued by the London police. Sir Gerald, who was at the window in the first floor watching his son leaving with Berthine Waller, observes how June leaves a taxi on the other side of the street, and is being cornered by the police.

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As she comes over to his house to knock, he opens the door and welcomes her as an old friend he was expecting, reassuring the Policemen that she is a respectable citizen. After they leave, Sir Gerald invites her to dinner, after she told him her situation. Then he proposes to hire June for a 1000 Pounds to prevent his son to fall into the clutches of Berthine.

June does her job beautifully, as Russell leaves Berthine and begins to concentrate on his architectural career, much to his father’s delight. There’s a slight hitch however: June has fallen in love with Sir Gerald, rather than Russell. Devastated, Russell calls Berthine to meet him at his apartment (which is upstairs in the same building where June lives). Seeing all of her work being unwound in a single evening, June lures Russell down to her apartment, where she gets him so drunk that he passes out and spends the night.

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When Berthine arrives at Russel’s apartment, she has been followed by an ex-lover, Nikolai Rabinoff (Ivan Lebedeff). In a jealous rage, Nikolai kills Berthine. The following morning Russell awakes to find June gone, having vowed to not come between the son and the father. He is also the main suspect in Berthine’s murder. Seeking shelter from his father, Russell refuses to invoke June as his alibi. In order to save him, June steps forward and admits that Russell spent the night in her apartment. Sir Gerald, thinking the worst, renounces his devotion for June, which devastates her, but confirmed what she always feared: that he would never rely on her. June leaves his house, but when Sir Gerald discovers the innocence of Russell’s night spent in her apartment short after, he understands his own mistake and vows to track her down and spend the rest of his life with her.

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Cast

(cast list as per AFI database)[3]

Notes

In 1959, the film entered the public domain in the United States due to the copyright claimants’ failure to renew the copyright registration in the 28th year after publication.[5]

During production, this film was known by several titles, including Children of the StreetsLadies for HireA Lady for Hire and Forgotten Women.[6] According to several sources at the time, the noted screenwriter, Jane Murfin was supposed to have done work in the adaptation of the Milton/Bolton story for the screen, however, no sources give her credit for any writing work on the film.[3]

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References

  1. Jump up^ “The Lady Refuses”. New York Times. Archived from the original on August 17, 2014. Retrieved August 16, 2014.
  2. Jump up to:a b “The Lady Refuses: Technical Details”. theiapolis.com. Retrieved August 16, 2014.
  3. Jump up to:a b c d e f g h “The Lady Refuses: Detail View”. American Film Institute. Archived from the original on March 29, 2014. Retrieved June 28, 2017.
  4. Jump up^ Jewell, Richard B.; Harbin, Vernon (1982). The RKO Story. New York: Arlington House. p. 34. ISBN 0-517-546566.
  5. 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.
  6. Jump up^ “The Lady Refuses, Notes”. Turner Classic Movies. Archived from the original on August 17, 2014. Retrieved August 16, 2014.

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Hearts of Humanity (1932)


Pre Code Logo 1

Pre Code Hollywood Season: FD Cinematheque

Hearts of Humanity (1932)

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Hearts of Humanity 2

Director: Christy Cabanne

Cast: Jean Hersholt, Jackie Searl, J Farrell Macdonald, Claudia Dell, Charles Delaney, Lucille LaVerne, Richard Vallace, George Humbert, Betty Jane Graham

56 min

Plot

Irish policeman Tom O’Hara is killed by a thief in Sol Bloom’s antique store, but before he dies, he asks widower Sol to take care of his son Shandy, who will be arriving soon from Europe.

Sol’s own son Joey is streetwise and uncontrollable, although Sol has reared him lovingly. Sol adopts Shandy and treats him like his own son, and Shandy reciprocates with love and helpfulness. Shandy looks after Joey, who is continually getting into trouble.

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When Joey steals a dollar from his father’s cash register, Shandy pawns the harp his mother gave him to replace the money so Joey will not get into trouble. When Joey breaks a neighbor’s window, Shandy offers to pay the owner ten dollars so he will not tell Sol, however he is unable to get his harp back because it has been sold.

Desperate, Shandy asks the new owner to lend it to him, and then steals it when the owner refuses. He wins a ten dollar prize performing in an amateur night contest, but is so guilt-ridden about having stolen the harp that he wanders aimlessly in the rain. Shandy takes ill and is brought home by a policeman. Joey reforms and prays for Shandy’s recovery. Joey’s improvement bolsters Shandy, who recovers, and the harp’s owner returns the harp to Shandy.

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Cast (in credits order)

Jean Hersholt Jean Hersholt
Jackie Searl Jackie Searl
Shandy O’Hara
J. Farrell MacDonald J. Farrell MacDonald
Tom O’Hara
Claudia Dell Claudia Dell
Ruth Sneider
Charles Delaney Charles Delaney
Tom Varney
Lucille La Verne Lucille La Verne
Mrs. Sneider
Richard Wallace Richard Wallace
Joey Bloom (as Dick Wallace)
George Humbert George Humbert
Tony
Betty Jane Graham Betty Jane Graham
Hilda
John Vosper John Vosper
Dave Haller (as John Vosburgh)
Tom McGuire Tom McGuire
Mr. Wells
Rest of cast listed alphabetically:
Suzanne Wood Suzanne Wood
(uncredited)

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