Reviews

The Hays code instituted in 1930 didn't go into effect until 34. This 1933 movie profited from no Hays censorship. No Man Of Her Own is a wonderful picture. It's sexy, classy and has a touch of humor that had me rooting for a happy ending. Gable, without mustache, plays well with Lombard who is really beautiful and a first rate actress.

Gable shows all of the suave persona that carried him thru his entire career. It's been written that at this time he and Lombard had no personal relationship which developed years later. They were natural here and it is a shame that this is the only film they made together.

A must see film.

Let us assume that television became a popular home medium in 1950. It became affordable at that time. This 1955 B/W version of Victor Herberts music with book and lyrics by Rida Johnson Young comes off well and points the way to what television here in the 21st century could have been. Less a vehicle for total commercialism and more for art. This 75 minute kinoscope is a delight. Max Liebman, producer of many early NBC extravaganzas gave us this gem. Starring Patrice Munsel and Alfred Drake, it comes off well compared to Hollywoods 1935 MacDonald/Eddy version. Just sit back and watch it for what it was intended: pure enjoyment.

Laughs, cheers and tears

This 1936 MGM production has much going for it. Again Harlow rules. Harlow’s performance featuring her unparalleled comedic timing, dancing, and most of all pathos sets the pace for excellent support from the ever smooth Bill Powell. This winner was directed by Victor Fleming (Wizard of Oz, Gone With The Wind etc), and written by David O Selznick (Portrait of Jenny, Duel in the Sun etc). A very young 15 year old Mickey Rooney has an unbilled 2 walk-ons and shows what will come as he progresses up his ladder to stardom. Supporting these are a glib Nat Pendleton, and Ted Healy as Powell’s pals. Healy by the way gave a start to the 3 Stooges in his vaudeville act. But that’s another story. Allan Jones has a singing number here. MGM thought well enough of him to give him a staring roll to Irene Dunne in the following years great production of Show Boat, another must see extravaganza. This film is not a comedy though it starts out as one. Developing quickly into a drama, and eventually a tragedy. Reckless is lavish and is not to be missed. Bring some Kleenex. Again Harlow rules.

There are so many things wrong with this 1934 MGM production. This is a semi-operetta, whose weak script and totally miscast stars drags this lavishly produced love story to yawnsville. The 31 year old perky MacDonald, who has noticeable dark rings under her eyes, plays the part of an 18 year old, to a weak voiced, and obviously effeminate 34 year old Ramon Novarro. The story is just plain silly. All but the final number where the boy gets the girl is B/W. Then like magic MGM pulls off their switch to color routine. The boy is holding the girl and singing of love when a tree in back of them suddenly sprouts and grows upward. It’s embarrassing and non too subtle. The supporting cast that includes Jean Hersholt, who went on to become famous playing Dr Christian on radio and in films, is wasted as an old man with too few lines. Leonid Kinskey is his same old silly self. The direction was nothing special, but can be forgiven due to the fact that color and sound was still being perfected. The script by Bella Spewack cannot be forgiven. It was just weak and unbelievable.

What’s positive here? Words by Otto Harback and music by Jerome Kern. What little music there is shines. A lot more would have been a big plus. The best role was played by Frank Morgan, who later played Professor Marvel the Wizard of Oz. He was the much older rejected lover, and he played the part quite believably.

Saying this, I would recommend this to students of ancient movie making. I often wondered about Novarro. I heard and read so much about him. To me he just doesn’t come across well. But, that’s just me.

There are so many good things to say about this “B” movie.

“B’ maybe in connections, but not in commission. This is about the best of its genre that I have ever seen. A grade A effort by Universal. The script is well done, imaginative, and without fault. Writing credits: Howard Higgin original story & Douglas Hodges story, John Colton (screenplay). Director Lambert Hillyer handled the complex story and story locations very well. No skimping on the loads of extras and locations. I loved Beulah Bondy (Jimmy Stewarts mother in “It’s A Wonderful Life”. The fem lead, Frances Drake is a beauty and handled her part with grace and pathos for her Karloff husband. Lugosi likewise was correctly underplayed. I think this is the best part I remember seeing him in. As I said there were so many good things: the African discovery of the Radium “X”, the melting of the stone statues ((somewhat reminiscent of the Ten Little Indians in And Then There Were None (Agatha Christie) (the Barry Fitzgerald version)), the glowing of Karlof in the dark. Karloff’s mother played by Violet Kemble Cooper with elegance. And because of all these virtues, I found myself believing in the science it portrayed. I guess that’s the mark of a good piece of art.

This 66 minute 1933 movie starring the 22 year old Ginger Rogers and Lyle Talbot is an excellent representation of pre-film noire of its era. This was Rogers' 20+ film, but the wise cracking/endearing personality that she eventually developed for the Astaire movies had not yet appeared. She comes off stiff and unsure. Leading man Lyle Talbot, a veteran of almost 200 movies plays as Ginger's rival reporter, and a romance that started before this movie began blossoms despite some back-stabbing by each of the other. Talbot is excellent and carries the show. Notable performances are given by Pernell Pratt as the police detective and Harvey Clark as the janitor. Actress Louise Beavers who went on to make more than 160 films, many notable, plays the stereotypical "negro". The roll can be excused as it is a benchmark of the Hollywood problems of the times. The story, an excellent whodunnit written by Francis Hyland and Kurt Kempler, is good but gets muddled at the end. Even so it does not interfere with the understanding of the plot. There is a scene at the end that has gruesome implications but is not gratuitous and therefore adds to the depth of the story. One gaff I noticed: about 5 minutes into the picture Rogers is talking to the detective. She is smoking a cigarette (there's a lot of smoking going on through out the film) and he is smoking a cigar. While holding the smoking butt she leaves the room only to enter another room sans cigarette. It is very interesting to see the styles of dress and automobiles of the times. Many of the shots were outdoors. The camera work is some what stilted and has only a few pans. It is almost like a theater play. I saw this film from the 50 Movie Pack Horror Classics box. Well worth buying and this film is not-to-be-missed.

Karloff tops a first class cast supported by the beautiful Marg Reynolds, who was at the beginning of her climb up the ladder after years of bit parts. (She was the fem lead in the best of all Abbott and Costello films, Time of Their Lives (A must see)). Grant Withers as the top cop works with the oriental Karloff character to solve a couple of murders. Others who shine are Frank Puglia as a shifty crime boss and Lita Chavret as the second fem banana. Script by Scott Darling and George Waggner holds well. This is a typical 1940's classic that is fun to watch. Directed by the very professional William Nigh who has more than 100 notches on his directorial gun. Made by Monogram studio. This is one of 50 films in the Horror Movie DVD pack that's well worth investigating. This film is well worth the time.