Sing and Like It William A. Seiter
Written by Marion Dix and Laird Doyle from a story by Aben Kandel
1934/US
RKO Radio Pictures IMDb page
First viewing/Criterion Channel
T. Fenny Sylvester: Go on! Scram out of here before I run a temperature. I got an appointment to see some gentlemen.
Ruby: You’ve only seen 12 gentlemen in your life – they was on a jury.
I eased back into movie watching with something from the June Criterion Channel Screwball Comedy collection, William A Seiter, “Sing and Like It (1934). It’s a bargain budget B-movie from RKO featuring a wonderful cast made up of character actors.
Nat Pendleton is a very wealthy mob boss. He is married to Pert Kelton who is bored out of her mind and wants to go on the stage. Nat is a homebody and forbids this.
Zasu Pitts has the same aims without Kelton’s beauty or possible talent. Zasu’s speciality is a sentimental song titled “Your Mother”. This brings to tears and he uses his muscle to get Zasu a Broadway gig. With Ned Sparks, Edward Everett Horton and John Qualen.
This certainly was not a laugh riot. My favorite parts were with Zasu Pitts. The deadpan way she sings that song is absolutely priceless.
Riptide Directed by Edmund Goulding Written by Edmund Goulding and several uncredited writers 1934/US Metro-Goldwyn-Mayer IMDb page
First viewing/Amazon Prime rental
Mary: No man’s gonna let me or not let me do anything ever again.
Mary (Norma Shearer) plays a freethinking woman with a “wild past”. She meets aristocrat Lord Rexford (Herbert Marshall, falls in love, and marries him. She tells him about her wicked ways and he swears he can forgive and forget. Three years later, they have a happy marriage and live in style with their adorable little daughter. He must travel to New York without her.
Mary takes the opportunity stay with her aunt Hettie (Mrs. Patrick Campbell) in her Riviera home. There she meets Tommy (Robert Montgomery), with whom she shares a past. He now drunkenly attempts to woo her but Norma stands strong. A paparazzi gets a photo of an innocent kiss and Herbert refuses to believe it was innocent and files for divorce. The couple separates and Tommy arrives in New York to continue his seduction campaign. Can a happy ending be pulled out of this situation? Do you have to ask?
Shearer seems to have made the same movie over and over. She reforms her wild ways through love. But her husband doesn’t understand her. There’s always Robert Montgomery around to get dumped. This is not the best of the films with this plot but it is quite watchable. As always, Shearer looks fabulous in her gowns by Adrian.
The Girl from Missouri Directed by Jack Conway Written by Anita Loos and Jack Emerson 1934/US Metro-Goldwyn-Mayer IMDb page
First viewing/Amazon Prime rental
Eadie Chapman: [At an elegant party] Will you try for once in your life to be a lady?
Kitty Lennihan: If they wanted ladies, they’d be home with their wives.
An entertaining comic romp showcasing Jean Harlow as a good girl for a change.
Jean Harlow plays Eadie Chapman, the title character. She has been raised in the backrooms of a saloon by an abusive father and a slatternly mother. She runs away with friend Kitty Lennihan (Patsy Kelly) to the big city determined to marry a rich man without losing her virtue. Patsy is more interested in anything in pants.
Eadie starts in the chorus line. Being Jean Harlow, she attracts a lot of attention. First broke millionaire Frank Cousins (Louis Stone) asks her to marry him on sight and gifts her a priceless Cellini and a ruby before shooting himself in the head. Then she meets T.R. Paige (Lionel Barrymore), a big shot who is about to depart for a disarmament conference. Paige protects her from the police who suspect her of stealing the jewels and Eadie sets her cap for him.
Jean follows T.R. to Palm Beach, where she knocks the socks off his son, Franchot Tone. Nobody really believes she is a good girl. Will Eadie win the day?
This is another one I found on a list of pre-Code movies that was released after the enforcement of the Hays Code. Nevertheless we do get to see Jean in some pretty darn skimpy attire. Patsy Kelly is also great in this movie. She didn’t make nearly enough movies IMO. Very entertaining.
I Sell Anything Directed by Robert Florey Written by Brown Holmes and Sidney Sutherland; story by Albert J. Cohen and Robert T. Shannon 1934/US First National Pictures (Warner Bros.) IMDb page
First viewing/Forbidden Hollywood Vol. 9
Barouche: [speaking of furniture] You know, of course, what Louis the Fourteenth was responsible for?
‘Spot Cash’ Cutler: Sure, Louis the Fifthteenth!
Despite a strong cast I thought this was just OK.
‘Spot Cash’ Cutler (Pat O’Brien) and his cohorts in crime (including Roscoe Karns and Russell Hopton) run a crooked auctioneering racket. Spot Cash is the fast-talking auctioneer. One day he sells a “diamond bracelet” to Millicent (Claire Dodd). She is on to him way before he is on to her, knowing how easy it is to cheat a cheat. Spot falls for the phony socialite in a big way and she lures him in with the opportunity to auction a large estate. In the meantime, starving Barbara (Ann Dvorak) shows up at an auction and is adopted by the gang. She’s in love with Spot but he is oblivious.
So I broke out the next disc in the “Forbidden Hollywood Collection”. Imagine my surprise when the first title said the movie had been passed by the Production Code Administration! WTH?
No media for movie so here’s a tribute to Ann Dvorak
Dark Hazard Directed by Alfred E. Green Written by Ralph Block and Brown Holmes from a novel by W.R. Burnett 1934/US First National Pictures (Warner Bros.) IMDb page
First viewing/Forbidden Hollywood Vol. 8
Valerie ‘Val’ Wilson: Oh, boy, oh, boy, what times we used to have. Say, Buck, remember that afternoon in Louisville when my nightgown caught on fire?
Joe: Yeah and I almost didn’t get it off ya in time. Remember that?
Fine cast cannot save lackluster gambling flick.
Jim ‘Buck’ Turner (Edward G. Robinson) is a professional gambler with a mixed track record. During a low point he marries Marge (Genevieve Tobin) and attempts to go straight. No such luck and soon Robinson has fallen in love with a greyhound named ‘Dark Hazard’, is playing footsie with old flame Val Wilson (Glenda Farrell), and is betting on dog races. He makes his fortune on the dogs and tries to return to Marge. But a fool and his money are soon parted as the old saying goes.
I’m counting this as a pre-Code movie since it is included in Forbidden Hollywood. It’s not too risque. It’s not too anything, really. Quite missable in my book despite the presence of Eddie Robinson who never gave a bad performance.
Hi, Nellie Directed by Mervyn LeRoy Written by Abem Finkel and Sidney Sutherland, story by Roy Chanslor 1934/US Warner Bros. IMDb page
First viewing/Forbidden Hollywood Vol. 8
Samuel N. Bradshaw aka Brad: Miss Krale, when you have less time and can’t stay so long, come in and see me. But, don’t make it too often! I’m a busy man.
Gerry Krale: Man?
Samuel N. Bradshaw aka Brad: You heard me.
Gerry Krale: Okay, Nellie.
One of many newspaper dramas of the early thirties and a pretty good one at that.
Samuel N. (‘Brad’) Bradshaw (Paul Muni) is the hard hitting managing editor of a big city paper. There is a scandal about the failure of a bank from which $500,000 had been stolen. This was blamed on embezzlement by Frank Canfield who has since disappeared. Not believing the embezzlement story, Muni plays this in his paper as a mystery. All the other papers come out with huge headlines blaming Canfield.
The newspaper’s owner is not pleased but Muni has a contract and cannot be fired. Instead he is demoted to write an advice to the lovelorn column under the name Nellie. Fellow reporter Gerry Krale (Glenda Farrell) who had been Nellie gets moved backed to the newsroom. In the end, the advice column leads Muni to the solution of his mystery.
This is a solid newspaper picture with such Warner Bros. character actors as Ned Sparrks, Douglass Dumbrille, and John Qualen adding to the fun. An entertaining film. Since this was included in the Forbidden Hollywood collection I’m going to consider it pre-Code though there is nothing naughty about it.
Massacre Directed by Alan Crosland Written by Ralph Block and Sheridan Gibney 1934/US First National Pictures (Warner Bros.) IMDb page
First viewing/Forbidden Hollywood Vol. 6
Chief Joe Thunderhorse: You used to shoot the Indian down. Now you cheat him and starve him and kill him off by dirt and disease. It’s a massacre, any way you take it!
I enjoyed this social justice film about the plight of Native Americans.
Chief Joe Thunderhorse (Richard Barthelmess) is a Sioux who was sent off the reservation to college. Thereafter he became the headliner in a Wild West Show. He is wealthy and has white girlfriend Norma (Claire Dodd). She appears to be collecting novelty sex partners and has her bedroom filled with Native American artifacts for the moment. Joe has not been back to the reservation in 15 years and Norma is disappointed when he can’t explain the meaning of some objects in her collection.
Joe’s family writes to say that his father is dying. So he sets off in his luxury automobile to the reservation for a couple of weeks. One of the first people he meets is Lydia (Ann Dvorak) and he is immediately attracted to her. Lydia is not impressed and says Joe should go away because he will never understand the oppressive conditions the Sioux suffer.
Ann Dvorak does not appreciate Richard Barthelmess’s get up or citified ways.
Joe does begin to understand when the corrupt Federal overseer of the reservation Elihu P. Quissenberry (Dudley Digges – was there ever a more nasty villain?) and his cronies attempt to milk his father’s estate and his sister gets raped by the tribe’s greedy white undertaker (Sidney Toler). The officials see Joe only as a Sioux and a second class citizen. Joe is then out for revenge. He also becomes a fighter for justice and wins Norma as a friend and ally. Can he overcome the massive odds against him?
I thought this was very good. The acting and pacing are excellent and it tells a story that had been ignored by Hollywood’s portrayal of Native Americans.
It’s not particularly pre-Code except for the bedroom scene with Claire Dodd and the theme of the sister’s rape.
Most non-PC trailer I’ve seen in a while. Claire Dodd’s description of the plot is a scream!
Mandalay Directed by Michael Curtiz Written by Austin Parker and Charles Kenyon; story by Paul Hervy Fox 1934/US First National Pictures (Warner Bros.) IMDb page
First viewing/Forbidden Hollywood Vol. 6
Madame Lacalles: Well, I don’t suppose it’s any use in my telling you. You’ll have to find out for yourself. But if you’ve got any sense, you’ll make the best of it. You’ll go on living. And before you get through, you’ll find out that it’s easier to make men do what you want them to, than it is to fall in love, and have *them* make a fool of *you.* Anyway, you’re pretty enough to go a long way – if you use your head.
Director Curtiz managed to fit a complex plot in a 60 minute film and to do it well.
The setting is Rangoon, Burma. Gun runner Tony Evans (Ricardo Cortez) has pulled into port on his yacht. He is accompanied by beautiful Russian refugee Tanya Bodoroff (Kay Francis), who is madly in love with him. Tony needs capital to make his next gun purchase. He turns to Nick (Warner Oland), the owner of a luxurious nightclub/brothel, for a loan. Nick refuses to make a loan but he will give Tony the money in exchange for Kay Francis, whom he expects to be the main draw at the club. The unscrupulous Tony agrees.
Tanya takes awhile to adapt to her new job as “hostess”/entertainer. Once she does though she learns the art of seduction and blackmail. This skill finally allows her to escape from her life of degradation and head off by riverboat to Mandalay where she hopes to make a fresh start.
She meets alcoholic doctor Dr. Gregory Burton on the boat. He also has a past he is trying to escape. They become confidants and then Gregory declares his love. While this is going on fugitive scumbag Tony boards the boat and tries to take up again with Tanya, who is now using the name Marjorie Lang. I’ll stop here. Rest assured the drama only amps up.
I thought this was good in all aspects. Most of these short movies try to cram in too much plot. This also has a complex plot but the film tells its story well. I think this was the first time I saw Lyle Talbot play anything other than a thug and he did quite well as did all the actors. I must say I prefer Kay Francis in her flirtatious, comedic mode, though. Her Orry-Kelly gowns are to die for.
When the Hays Code came into effect Joe Breen declared that the film could not be fixed or reissued because the central character was an immoral woman.
Support Your Local Sheriff Directed by Burt Kennedy Written by William Bowers 1969/US IMDb link
First viewing/Netflix rental
Joe Danby: [about his father] He’s got a heart as big as the whole outdoors, but he don’t have one brain in his poor old head.
The charisma of James Garner and the superb cast of supporting actors made me think I might be in for good Lockdown viewing. I was right.
In the Old West, a town springs up around a gold discovery by Prudy Perkins (Joan Hackett). Prudy’s father Ollie (Harry Morgan) becomes mayor. The town has not had a sheriff for years. The result is rampant lawlessness. In addition, Pa Danby (Walter Brennan) and his brood of boys control the only road into or out of town and extort an exorbitant toll.
Then Jason McCullough (Garner) rides in to town. He says he’s from Back East and is en route to Australia. The town fathers don’t have to twist his arm too hard to get him to accept the sheriff’s star. He soon deputizes local stable cleaner Jake (Jack Elam) and settles into board with Ollie and Prudy. Prudy is smitten at first sight and there is a romcom sub-theme throughout.
The Sheriff doesn’t waste much time before arresting Joe Danby (Bruce Dern) for killing a man. A combination of the Sheriff’s smarts and Joe’s dimwittedness keeps him confined in a cell without bars. Eventually, Pa Danby comes to get his boy out of Dodge.
I was so thrilled to see Walter Brennan again. He just takes everything he is in up a notch! Everybody else does what they do best. The cast makes the movie fun and several of the jokes make it genuinely funny. A feel-good film for the Lockdown.
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Yesterday, I also watched The Gay Divorcee (1934) which I have previously reviewed on this blog. I’ve seen the film several times over the years and it never fails to enchant.
The Barretts of Wimpole Street Directed by Sidney Franklin Written by Ernest Vajda, Colleen West, and Donald Ogden Stewart from a play by Rudolph Besler 1934/USA Metro-Goldwyn-Mayer
First viewing/FilmStruck
[box] Robert Browning: I am prepared to risk your life, much more my own, to get you out of that dreadful house and into the sun and to have you for my wife.[/box]
This rather pedestrian story of the romance between two poets is enlivened by the performance of Charles Laughton as a tyrannical father.
Widower Edward Moulton-Barrett (Laughton) runs his household of twelve children like Captain Bligh ruled the Bounty. His eldest daughter Elizabeth (Norma Shearer) is bedridden by some mysterious malady aided by the overprotective father. All the children live in fear of Edward. In particular, the three girls are not allowed to keep company with men. An exception is made for Elizabeth’s correspondence and meetings with fellow poet Robert Browning (Fredric March). Sister Henrietta (Maureen O’Sullivan) must see her beloved from a distance or in secret.
The relationship between Robert and Elizabeth blossoms into love and the formerly placid Elizabeth somehow finds the courage to defy her father. With Una O’Connor as Elizabeth’s maid.
The acting of the two lovers is overearnest and involves a lot of wistful posing especially on the part of Shearer. Whenever Laughton enters the scene, however, his icy hauteur causes viewers to take notice. The production values are excellent, as can always be expected from an MGM costume drama of this era.
The Barretts of Wimpole Street was nominated for Academy Awards in the categories of Best Picture and Best Actress.
