Goodbye Again (1933)

Author Kenneth Bixby (Warren William) is one hot ticket. His sensational novels are titillating lady readers all over the country. Bixby and his secretary Anne (Joan Blondell) are on a nation wide book tour and have made a pit stop in Cleveland. Anne, who is a secretary by name but is practically his wife in all other respects, tends to Bixby's hectic schedule, his meals, his growing scrapbook and the multitude of calls for lectures and bookstore visits. But Bixby is more interested in attending prize fights than he is giving short informal talks or autographs to his adoring fans. And a possible distraction for this perennial playboy is just around the corner. Housewife Julie (Genevieve Tobin) is bored with her life and her mild mannered husband Harvey (Hugh Hubert). Her obsession with Bixby, with whom she once had a fling, has turned her into a crazed fan. Julie is convinced she's the inspiration for all his passionate novels. Julie and Bixby have an affair while Julie's uptight sister Elizabeth (Helen Chandler) and brother-in-law Arthur (Wallace Ford) try to separate them to save Julie's marriage. Caught in the middle is the long suffering Anne who sees her beloved Bixby slipping away from her and Bixby who wants nothing to do with outrageous situation. Can sensible Anne get Bixby out of this jam?

Goodbye Again (1933) is a ridiculous movie that has to be seen to be believed. This film is full of outrageous antics, zippy one-liners and a love triangle so twisted it will make your head spin. When does this guy have time to write his books? It's amazing how much comedy they tried to fit in only 66 minutes. And like many Pre-Codes, Goodbye Again is infused with sexual innuendos and scenarios. Bixby and Julie have a full on affair and Anne practically lives with Bixby while they're on the road. At one point Bixby pretends to have a son and he claims that he's not married, just "bohemian". Based on a successful play by Allan Scott and George Haight, Goodbye Again was directed by Michael Curtiz for First National picture after they had merged with Warner Bros.

Warren William and Joan Blondell were two of the most dynamic on screen personalities in the Pre-Code era. This is one of five feature films they appeared in together. The others were Three on a Match (1932), Gold Diggers of 1933, Smarty (1934) and Stage Struck (1936). William and Blondell are the two biggest reasons to watch this film. William fits the bill as the remorseful playboy and Blondell is at her best as the wise-cracking and sensible dame. Tobin was a bit too over-the-top for my taste but it's what her character called for. And there wasn't nearly enough for Hugh Hubert to do.

You have to be in the mood for a zany whackadoodle film to appreciate Goodbye Again. This short screwball comedy moves so quickly that you'll have to watch it a second time to catch what you missed. In Alan K. Rode's book Michael Curtiz: A Life, he says 

"Blondell was never better than in this film. She serves up smart-aleck palaver to William, who volleys it right back... Variety got it exactly right, 'Perfect for audiences of quick wit, but too slick for others.' Fortunately, there were enough clever theatergoers who appreciated this amusing picture."

Goodbye Again (1933) is available on DVD-MOD from the Warner Archive Collection and can be purchased at the WB Shop. You can hear George Feltenstein, Matt Patterson and D.W. Ferranti discuss this movie on the Warner Archive podcast. This movie makes its home video debut with this DVD release.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of Goodbye Again (1933) to review!

I Like Your Nerve (1931)

"Why must you always be so unsociable in motor cars?"

Rich people behaving badly always makes for good comedy. The Pre-Code I Like Your Nerve (1931) stars Douglas Fairbanks Jr. as Larry O'Brien, an American causing mayhem in Central America. He gets booted out by the local authorities but decides to stay when he spies the beautiful young Diane Forsythe (Loretta Young). They have a brief meet-cute moment before she's off. Once he finds out she's American and not a local, he sets his sights on her. Diane likes the look of Larry, and his nerve!, but she's already spoken for. Her step-father Areal Pacheco (Henry Kolker), is the Minister of Finance for the unnamed Central American country, he's set her up with middle-aged businessman Clive Lattimer (Edmund Breon). Pacheco has been dipping into government funds and Lattimer's $200k would help him avoid the fate of the previous Ministers of Finance which have all been killed for their corruption. Meanwhile, up-to-no-good Larry gets bailed out of jail by his "eternal bachelor" friend Archie Lester (Claud Allister) and sets off to break up Diane and her fiancee. Can he win Diane's affections and save her step-father from the firing squad? Not without some hilarious antics and trickery.

I Like Your Nerve was directed by William C. McGann for First National Pictures. That studio had been absorbed by Warner Bros. but was still making pictures under that name. McGann had a career directing B pictures and went on to work as a cinematographer and special effects technician. The story is based on an original idea by Roland Pertwee and adapted by Houston Branch. Boris Karloff is in the film but has a dreadfully small and rather useless role as Luigi, the butler for the Pacheco mansion.

I love really early talkies and can forgive some of the clunkiness of the final product. The film industry was still trying to work out the kinks of their transition from silents to talkies. Some people are turned off by this by I find it quite charming. I was even amused by the choice of music which often times didn't even match what was going on in the story.

Technically I Like Your Nerve is not complete. According to the AFI:

"Contemporary reviews describe an opening scene that was not in the viewed film. In this scene, Douglas Fairbanks Jr. is a spectacled bookworm with a straight-laced mother who goes to the tropics when a fortune-teller advises him to travel to Central America."

This may explain why the beginning of the film seems so abrupt. However, it also feels out of character for Larry who is more playboy than bookworm. Unless the fortune-teller encounter somehow transformed him.

I Like Your Nerve is more silly comedy than racy Pre-Code. The stars Loretta Young and Douglas Fairbanks Jr. are delightful in this frothy, cheesy romp. I generally don't care for Loretta Young except for in her early films. Cars play an important role in the film. They are harbingers of chaos but also a means for the couple to be together. I love vintage cars and enjoyed watching these early models zipping through different scenes.

The film is only 62 minutes long and if you want a palate cleanser after a long or difficult movie, this would be a good fit. It's a bit backwards, a bit sexist and the Central American setting (why couldn't they have picked a country?) is more a plot device than anything substantial. It's just a fun movie that you shouldn't take too seriously.

I Like Your Nerve (1931) is available on DVD-MOD from the Warner Archive Collection. You can listen to George Feltenstein, D.W. Ferranti and Matt Patterson of WAC discuss this film on their podcast. D.W. calls this film "bonkers" and Matt calls Fairbanks Jr. "anarchy in an automobile". Both are statements I heartily agree with.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of I Like Your Nerve (1931) to review!

What I learned from Gentleman Jim (1942)

Errol Flynn as James "Gentleman Jim" Corbett

Sometimes it takes a certain message delivered at just the right time to make a big impact. Gentleman Jim (1942) changed my life. And it really shouldn't have happened with this film. If you know me, you know that I avoid historical biopics like the plague, especially ones from the early days of film history. They are usually over-the-top, unrealistic and stretch the truth beyond what seems possible. I don't even know how I came across Gentleman Jim. Maybe I watched it on TCM one day? Maybe I was on an Errol Flynn kick? Maybe I watched it because I love sports movies? If you look at lists of the greatest films of all time, you won't find Gentleman Jim on it. It's a decent movie but it's not one of the best. But when I watched it years ago it taught me one of the most important life lessons that I've had at the forefront of my mind ever since: no one will hand you opportunities, if there is something you want in life you need to make it happen for yourself.

"There's only the lucky and the unlucky. Those that happened to grab the right moment and those that didn't." - Alexis Smith as Miss Ware

Directed by Raoul Walsh, Gentleman Jim is based on the life of heavyweight boxing champion James J. Corbett. The story starts in San Francisco 1887. Jim Corbett (Errol Flynn) lives on the south side of the city and grew up sparring with his older brothers. He and his best bud Walter (Jack Carson) are bank clerks by day and boxing enthusiasts by night. Corbett wants to train at the exclusive Olympic Club and finds a way to get in when wealthy socialite Miss Ware (Alexis Smith) needs help bringing gambling money to her dad. Corbett makes a name for himself quickly as a boxer with potential. Everyone calls him Gentleman Jim for his penchant for wearing finery, outside of the ring of course. His meteoric rise is supported by his boxing enthusiast and fun loving dad Pat (Alan Hale). All the bouts in the ring lead up to the big match with current heavyweight champion John L. Sullivan (Ward Bond) .

The story is based on Corbett's autobiography The Roar of the Crowd although it takes some artistic liberties. Three studios were interested in the rights for the movie but Warner Bros. won out. Sports editor for the Chicago Herald and Corbett expert Ed Cochrane was a technical advisor on the film. Errol Flynn was trained by junior welterweight champion Mushy Callahan who also doubled for him in some shots, especially those with the fancy footwork. Flynn did a lot of his own boxing. The work was strenuous enough that he suffered a mild heart attack while making the movie.

8 years ago I wrote a piece on this blog called Gentleman Jim and Opportunities. In it I wrote "He's an Irishman from humble origins and we want to see him rise to the very top. Why? Because we want the same for ourselves. We want those opportunities. We want to be the best. We want to overcome our circumstances and triumph." Flynn's Corbett is an opportunist in that he both finds opportunities and makes them when he has no other option.

Skeptics will say, oh you could have learned that lesson somewhere else. And it's not like the concept was new to me. But for some reason this movie really drove it home. Ever since I watched Gentleman Jim I have made opportunities for myself. I learned how to spot good opportunities and not to be scared to try something new, even if it makes me so nervous that I get sick to my stomach and have anxiety for days. I'm always stronger on the other side and I never regret taking the chance. I learned over the years that it's okay to ask. The worst you can hear is no. And now I'm never afraid to ask because it just increases your chances of getting an opportunity you wouldn't have had before.

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Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. I bought Gentleman Jim (1942) during one of WAC's 4 for $44 sales. I just had to have this one!

Guy Kibbee Triple Feature

Guy Kibbee. Photo source: Getty Images

Guy Kibbee is a beloved silver screen figure among many contemporary classic film fans, myself included. Just hearing his name brings me joy. I know whenever Guy Kibbee appears in the credits of a movie that I'm in for a real treat. Kibbee was a Warner Bros. contract player in the 1930s and 1940s. He played a variety of roles where he showcased his talents as a character actor. He's known for memorable characters in some of my favorite films including Union Depot (1931), The Crowd Roars (1931), 42nd Street (1933), Gold Diggers of 1933, and Mr. Smith Goes to Washington (1939). He held his own in smaller roles but had the chops and on screen charisma for leading roles too.

A new DVD release from the Warner Archive Collection showcases three Guy Kibbee movies in which the beloved character actor shines in leading roles. Each film is 60-70 minutes long making it easy to binge watch all three in a row.

The Big Noise (1936) stars Guy Kibbee as textile manufacturing president Julius Trent. Quality work and a good reputation over profits: that's what Julius believes in. Unfortunately he's in the minority and has been voted out as president. With too much time on his hands and a wife fussing over his health, he secretly buys 50% of a local laundry shop under the guise Tom Douglas. The joint comes with a new partner, the handsome and bright Ken (Warren Hull) who is enthusiastic for business and has a degree in chemistry. Not knowing Tom's true identity, he happens to fall in love with Julius' daughter Betty (Alma Lloyd).  The business also comes with air-headed assistant Daisy (Marie Wilson) and a talkative parrot. Little do Tom/Julius and Ken know but the previous owner owes money to the mob syndicate that terrorizes the laundry shops in the neighborhood. Tom/Julius must find a way to extricate them from the mob and save the business.

Directed by Frank McDonald and based on a story by Edward Hartman, is a light comedy with a darker side. I was surprised the turn the story took when the protagonist comes up with a plan to save the business. Kibbee is endearing as the business tycoon who refuses to take it easy. Henry O'Neill has a terribly small part as Tom/Julius' friend and former colleague. Warren Hull was absolutely charming as Ken but it was a bit unbelievable that a handsome, intelligent and business savvy man like him would want to own a small laundry shop.

Going Highbrow (1935) stars Guy Kibbee and Zasu Pitts as Matt and Cora Upshaws. These Kansas millionaires don't know what to do with their new-found wealth. They come to New York City after a trip to Europe, and as soon as Cora Upshaw steps off the ship she sets out to become the renowned socialite she believes herself to be. Cora is awkward yet eager and Matt just wants a simple life dining on ham and eggs instead of caviar and champagne. Members of New York society Augie (Edward Everett Horton) and Harley (Ross Alexander) set to drain the Upshaws of some of their money by hosting a soiree in their honor. Matt Upshaw hires his favorite waitress Sandy (June Martel) to play his socialite daughter and hilarity inevitably ensues.

Directed by Robert Florey, Going Highbrow based on the story Social Pirates by Ralph Spence. The film showcases the comedic talents of Kibbee, Pitts and Horton, three of the most. This is one of three films Pitts and Kibbee made together. They were well suited to their roles and a joy to watch on screen. Ross Alexander overdoes it in his role and it loses it's intended comedic effect. I was delighted by June Martel who is new to me. Pitts and Martels wear beautiful gowns designed by Orry-Kelly. Pitts steals the show a bit from Kibbee but he manages to hold his own as the lovable Matt Upshaw.

They saved the best for last...

Mary Jane's Pa (1935) stars Aline MacMahon as Ellen Preston. Her husband Sam (Guy Kibbee), a newspaper publisher, has abandoned the family and the business when the urge to travel becomes too strong for him to deny. His wanderlust takes him away for 10 years and Ellen must make a new life for herself with their two daughters Mary Jane (Betty Jean Hainey) and Lucille (Nan Grey). Ellen has taken over the newspaper business and moved the family away. Sam travels with a carnival as Jonah Barker, hoping to find his family along the way. At one stop, hevmeets Mary Jane and soon discovers she's his daughter. Sam/Jonah tries to get back in with Ellen who is having none of it. He takes a job as the Preston family housekeeper and helps bring to light a secret scandal involving a major election. Can Sam earn back the love of his family?

Directed by William Keighley, Mary Jane's Pa was based on the play of the same name by Edith Ellis Furness. This film stood out of the three not only because it was the only drama in a set with two comedies but because of the quality of the story telling and the connection I felt with the characters. Fathers abandoned families, this is a harsh truth of the era and also happens today. I was interested to see how it played out in this story. Aline MacMahon and Kibbee appeared in 10 films together and they have great chemistry. John Arledge has a small but charming role as Linc, Ellen's gossip columnist. Tom Brown, who I recognized from Anne of Green Gables (1934), plays Lucille's boyfriend King. Out of the three movies, Kibbee's role in Mary Jane's Pa had the most depth and was by far the most interesting.

Guy Kibbee Triple Feature with The Big Noise (1936), Going Highbrow (1935) and Mary Jane's Pa (1935) is available on DVD-MOD from the Warner Archive. This set is a must-have for anyone who loves Guy Kibbee. And those people are easy to find. You can buy the DVD at the WB Shop. Using my buy links helps support this site. Thanks!

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Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of the Guy Kibbee Triple Feature to review!


If you've read this far you are in for a special treat! I'm giving away an extra copy of the Guy Kibbee Triple Feature. This contest is exclusive to this post, available for participants ages 18+, US/CAN only.

Follow these instructions carefully: to enter, leave a comment below telling me about your favorite Guy Kibbee movie and use whisper code: "Thanks Warner Archive!" somewhere in your reply. For an extra entry, tweet my article (just click on the link for a pre-populated tweet), grab the tweet's direct URL and include it in your comment.

Contest ends Thursday December 21st at midnight. Winner will be announced on Friday. good luck!

Hell on Frisco Bay (1955)

Steve Rollins (Alan Ladd) is a man who's been wronged. After serving a 5 year sentence at San Quentin for a crime he didn't commit, the former cop is now free. Waiting for him at the gate is his old partner Dan (William Demarest) who sticks with him through thick and thin, and his wife Marcia (Joanne Dru), a lounge singer who gave into temptation while her husband was away. But Steve can't be bothered with dealing with his failed marriage. He's on a mission to track down the one man responsible for putting him in the slammer: Vic Damato (Edward G. Robinson). He got a hot tip from Frank Ragoni about who set him up and now Ragoni is missing. All fingers point to Damato who leads a mob syndicate that terrorizes the Italian fishing community of San Francisco. He's drunk with power and will kill anyone who gets in his way, even one of his own. He rules his team with an iron fist. First there's his number one man, Joe (Paul Stewart), who will do anything Damato tells him to but pulls away when he starts a romance with former screen star Kay (Fay Wray). Then there's Hammy (Stanley Adams), a blood thirsty mobster who is a little too eager to please, Damato's naive nephew Mario (Perry Lopez) and his man on the inside, dirty cop Detective Connors (Peter Hansen). Steve must make his way through web of shady characters to uncover the truth and to bring down Damato once and for all.

Hell on Frisco Bay (1955) is a fascinating noir, filmed in Cinemascope and Warner Color by with plenty of on-location shooting in the city by the bay. San Francisco serves as the beautiful backdrop for a dark tale of disturbed characters. Viewers will see shots of the Golden Gate Bridge, the Bay Bridge, Fisherman's Wharf and the San Francisco, Ghirardelli Square, the Embarcadero and the iconic hills of San Francisco. Anyone familiar with the city will find plenty of recognizable scenery.

Based on the novel The Darkest Hour by William P. McGivern, Hell on Frisco Bay was adapted by screenwriters Sydney Boehm and Martin Rackin for Warner Bros. McGivern also wrote The Big Heat which is one of my favorite Noirs and one of the best films Fritz Lang made during his time in Hollywood. It was directed by Frank Tuttle who worked with Alan Ladd on This Gun for Hire (1942). Ladd, who also served as an uncredited producer through his company Jaguar Productions, hired Tuttle and other colleagues from his Paramount days including William Demarest, Paul Stewart and Anthony Caruso.

This Noir boasts a cast of characters portrayed by some of the best in the business. Edward G. Robinson playing a heartless mobster is no stretch as he had been playing such characters for many years. Alan Ladd looks worse for wear but his performance as Steve begs for the audience's sympathy but also holds them at a distance. I was quite taken with Paul Stewart's nuanced performance as Damato's reluctant sidekick Joe. He's not an actor I'm all that familiar with but this film definitely brought him to my attention. Fay Wray has an important but small role as a former actress who tries to protect her gangster boyfriend. I wish Joanne Dru and William Demarest had more to do in the film. They really just serve as the protagonist's counter parts. Starlet Jayne Mansfield has a bit role as the girl Perry Lopez dances with at Damato's night club. A young Rod Taylor, billed as Rodney Taylor, has a small role as one of Damato's thugs. His fight seen with Alan Ladd isn't quite believable but it's still fun to see Taylor in what was his fourth movie. In fact Ladd and Robinson have a big action-packed scene in San Francisco Bay that is also not quite believable. But with the help of stunt men and some studio footage, it works.

Hell on Frisco Bay is a gorgeous movie. Where it lacks in story telling it makes up for in stunning visuals and dramatic music by Max Steiner. This movie makes me long for a time when you could dress up, go to a classy lounge, have a drink and hear a good song or two. I always forget how richly visual 1950s movies are until I watch a good one and am reminded of this fact. Because of the gorgeous color cinematography, the film felt less like a Noir and more like a 1950s drama. I don't think this hurts the film at all. It makes it more of a hybrid.

Hell on Frisco Bay is available on Blu-Ray and DVD-MOD from the Warner Archive Collection. According to their recent podcast Hard Lessons this is the first time this film has been available either on DVD or Blu-Ray format. The film has been remastered from the original camera negative at 4k. You can buy the DVD and Blu-Ray at the WB Shop. Using my buy links helps support this site. Thanks!

 Amazon - Barnes and Noble - Best Buy - WB Shop

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of Hell on Frisco Bay (1955) to review!

The Liquidator (1965)

Rod Taylor could have played James Bond. In the documentary Rod Taylor: Pulling No Punches, Taylor recalled meeting with Bond series producer Albert "Cubby Broccoli. When the part was offered to Taylor he responded saying, "Cubby it'll never work. That's TV. It'll never work on the big screen." Boy was Taylor wrong. In fact, he called it "the most stupidest remark I've ever made." However, Taylor got to play a James Bond-like character with Boysie Oakes/Agent L. in  The Liquidator. Taylor recalled the experience saying, "I had a ball. I played everything James Bond did tongue-in-cheek."

Trevor Howard as Colonel Mostyn

Rod Taylor as Agent L/Boysie Oakes

"He's a killer. He conceals it beautifully." - Colonel Mostyn

And The Liquidator (1965) was just that; a spy movie that didn't take itself too seriously. Rod Taylor stars as Boysie Oakes. During WWII, he saved Colonel Mostyn (Trevor Howard) completely by accident. Mostyn interprets the event very differently. Years later when the Colonel needs a trained assassin to eliminate enemies of the state, he knows just the man. Problem is Oakes isn't a killer, he's just really lucky. Oakes becomes Agent L (L for Liquidator) and is trained by Mostyn and his crew to take on the part. When Oakes fails his first task he quietly hires professional assassin Griffen (Eric Sykes) to do the dirty work while Oakes does what he does best, seduce beautiful women. Things are going well for Oakes. He's living the good life and secretly romancing Mostyn's secretary Iris Macintosh (Jill St. John), something that's strictly against Mostyn's rules. When the couple elopes to Monte Carlo, Oakes is captured by Russian operatives, including bumbling mastermind Sheriek (Akim Tamiroff), Oakes must escape and carry on Mostyn's new mission. But everything is not as it seems and Agent L's reality is about to do a complete 180 degree turn.

Eric Sykes and Rod Taylor

Jill St. John as Iris Macintosh

Jill St. John and Rod Taylor

Akim Tamiroff and Rod Taylor

The movie is based on the novel The Liquidator by John Gardner (not to be confused with the other John Gardner, author of Grendel). The book was released in 1964. MGM producer Jon Penington read the book on a plane and immediately sought to buy the film rights as soon as he landed in Los Angeles. He beat out a rival producer by just a few minutes. Penington hired writer Peter Yeldham to adapt Gardner's novel for the screen. MGM intended this to be a series and optioned two more films. However, MGM had just missed the spy movie fury. The release was delayed due to a rights issue which contributed to the eventual poor box office performance. The series was never meant to be.  Author John Gardner went on to write seven more novels in the Boysie Oakes series but none of them were ever adapted for the screen. Spy stories were Gardner's specialty and he even wrote some James Bond stories after Ian Fleming passed away.

Directed by cinematographer turned director Jack Cardiff, The Liquidator was filmed at MGM's British studios and on location in Monte Carlo, Nice and the Antibes. Trevor Howard and Rod Taylor were well suited to their roles and this is evident in their performances. Screenwriter Yeldham recalled that the two didn't get along well with each other on set because they had very different sensibilities.

Rod Taylor did all his own stunts for the film. Prior to filming the scene where Taylor fights another character as his car dangles on the edge of a cliff, it had rained. The crew dried off the car but the hood was still slick. In one shot you see Taylor almost slip off the hood. But luckily he grabbed on tightly and avoided falling 300+ feet to the rocky terrain below.

I don't care what anyone says, The Liquidator is a flat-out entertaining movie. It part comedy and part political thriller. These two conflicting elements makes the experience all that more enjoyable. While watching this, I couldn't help of the two Kingsman movies, Kingsman: The Secret Service and Kingsman: The Golden Circle. I wonder if The Liquidator at all influenced those stories. At one point Trevor Howard's Mostyn yells out "Remember your training!" to Rod Taylor's Oakes. That exact quote spoken in a similar situation is in The Golden Circle and delivered by Mark Strong's Merlin to Taron Egerton's Eggsy. Like The Liquidator, Kingsman has conflicting elements. On one level it's a serious action thriller with a lot of class and some excellent suits. On another level it can be quite ridiculous, in a fun way, and the class is toned down with a good dose of raunchiness.

Betty McDowall plays Rod Taylor's first target.

Rod Taylor checks out the bar in his swanky new pad.

Let's be honest I watched this movie for three reasons: Rod Taylor, Jill St. John, and Akim Tamiroff. And they did not disappoint. Taylor's character fit him like a glove. St. John is always a pleasure on screen and her story line allows her to give two very different performances. The female roles are seriously lacking in this film and St. John's had more potential than was achieved. I adore character actor Akim Tamiroff. He proves to be utterly enjoyable as the bumbling villain. I have a new found appreciation for Trevor Howard after watching his performance as Mostyn. Also notable is actor David Tomlinson who plays the conniving Quadrant who tricks Oakes into a mission. His life story proved to be rather interesting and I'd love to see more of his work. The film boasts some beautiful cinematography, no doubt thanks to Jack Cardiff's notable talent. There is also a lot to enjoy if you're like me and gravitate towards eye grabbing clothing and set design. Tying it more to the James Bond movies, singer Shirley Bassey sings the title song "My Liquidator" written by Lalo Schifrin and Peter Callender for the film.

The Liquidator is a thoroughly enjoyable movie that doesn't take itself too seriously, even if you sometimes want it too.

The Liquidator is available on DVD-MOD from the Warner Archive Collection. You can purchase the DVD from the WB Shop. Use my buy links to shop and you will help support this site. Thanks!

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of The Liquidator (1965) to review!

Sorority House (1939)

Alice Fisher (Anne Shirley) and her father Lew (J.M. Kerrigan) live simple lives. Mr. Fisher runs a humble grocery story and his bright daughter helps him with the ins and outs of the business. Attending Talbot University is a pipe dream for Alice until her father surprises her with a selfless gift. He sacrifices what little money he has for two years tuition so Alice can fulfill her dream. Once at college, Alice immediately gets caught up the social politics of sorority culture. Being part of a good sorority, like the Gamma House, ensures a proper standing in campus culture.

Anne Shirley and J.M. Kerrigan

"I'll miss your brains." - Mr. Fisher to his daughter Alice

Alice rooms with two very different coeds. First there is Dotty (Barbara Read), a wise-cracking dame who befriends Alice and rejects sorority culture because she's been rejected herself. She refers to fellow rejects as dreeps (a dreary college girls who weep). Then there is Merle (Adele Pearce, later known as Pamela Blake) who has drunk the sorority Kool-Aid and wants nothing more than to be a member of the Gamma House. Alice and Merle soon discover the downside of sorority rushes. Merle becomes the target of powerful Gamma sorority ice queen Neva (Doris Jordan, later known as Doris Davenport). Alice gets a boost from medical student Bill Loomis (James Ellison), a big man on campus who has a lot of sway with the Gamma girls. However, Alice starts to lose sight of her values and the simple lifestyle her father taught her, as she gets caught up in the tangle of campus life.

Anne Shirley, Barbara Read and Pamela Blake

"That doesn't sound very democratic to me." - Alice

"Whoever told you college was democratic? - Dotty

Directed by John Farrow, Sorority House (1939) is a collegiate drama released by RKO. Based on a story by Mary Coyle Chase, the script is injected with a poignant social message by screenwriter Dalton Trumbo. As I do with many of Dalton Trumbo's works, I had quite a strong reaction to the story line and characters. At one point I felt the urge to slap Alice across the face and burn the Gamma House down to the ground. The story hooks you from that initially emotionally heartwarming scene so when the kick in the butt comes at the story's climax you feel it. Sorority House isn't just your run-of-the-mill collegiate fluff. It's a story with an important social message. It warns against the dangers of groups like sororities that do a lot of damage when they exclude or try to control others behaviors. The moral of the story: "live and let live."

"The essence of success is a good start." - Mrs. Scott (Elizabeth Risdon)

I particularly enjoyed the performances by J.M. Kerrigan and Anne Shirley. Poor James Ellison has a rather weak role as Alice's boyfriend. He's really there for the plot and doesn't add much more to the movie which is unfortunate. Actresses Veronica Lake and Marge Champion have bit roles as coeds. I wasn't able to spot them but maybe someone with a sharp eye can. Chill Wills has a brief role at the start of the film.

Anne Shirley and James Ellison

The Gamma girls

I have absolutely no interest in modern collegiate life so I live vicariously through these old movies. Sorority House has it's silly and somewhat backwards moments (like Mr. Fisher telling Dotty she might not become an Abe Lincoln but she could be the mother of a future president). However, I loved it's overall message. If you're looking for a good double bill, I recommend Sorority House (1939) with RKO's Finishing School (1934), both available from the Warner Archive Collection.

Sorority House (1939) is available on DVD-MOD from Warner Archive. You can purchase the DVD from the WB Shop. Use my buy links to shop and you will help support this site. Thanks!

 Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of Sorority House (1939) to review!

Beauty for the Asking (1939)

Patric Knowles, Lucille Ball and Donald Woods in Beauty for the Asking (1939)

Beautician Jean Russell (Lucille Ball) has just mastered her formula for astringent cold cream. The business and financial prospects are enough that she can finally marry her live-in beau Denny (Patric Knowles). However, it turns out Denny has his higher aims and plans to marry wealthy yet homely socialite Flora Barton (Frieda Inescort). Settling into life without Denny, Jean and her straight-talking roommate Gwen (Inez Courtney) set out to make Jean's cold cream a success. Jean barges into the office of advertising executive Jeffrey Martin (Donald Woods) determined to get his help with her product. The cold cream evolves into a whole line of beauty products and salons. When Jean and Jeffrey get backing from Denny's new bride Flora, things get awful complicated especially when Denny and Jeffrey vie for Jean's romantic attentions.


RKO's Beauty for Asking (1939) was directed by Glenn Tryon who most will recognize as the male lead in two Pal Fejos films Lonesome (1928) and Broadway (1929). The story was based on an original idea by women screenwriters Grace Norton and Adele Buffington and would then be fleshed out by Edmund L. Hartmann, Doris Anderson and Paul Jarrico.

Adele Buffington, who would later write under the names Jesse Bowers and Colt Remington, championed original stories for film instead of adaptations of plays and novels which were the norm in Hollywood. She got her start as a teenager working at as a ticket cashier at a cinema. This job allowed her to watch as many silent movies as she wanted. At the tender age of 19 she wrote her first screenplay and her journey to Hollywood began. In 1924 she wrote an article for the Los Angeles Times called Beauty and Brains Go Together, in which she fought against the stereotype that intellectuals were ugly and beautiful women were dumb.

This idea, perhaps progressive for the time, made its way into Beauty for the Asking where socialites and business women alike are known for their smarts as well as their looks. In fact the weakest character, Flora Barton-Williams, blossoms when she achieves not only self-confidence and glamour but also grows wise to the motives of her husband. Flora gets help from Jean who is not just her romantic rival but also a role model. Jean who is still smarting from Denny's betrayal is also a diligent business woman who makes a career for herself with her own invention. She didn't intend to give up her aspirations even when marriage with Denny seemed likely. She tells him:

"Why should a woman stop using her brains just because she's caught her man?" - Jean Russell

The screenwriting team was also inspired by Helena Rubinstein, the cosmetics entrepreneur who became rich off of her business. She believed in packaging, up-pricing, endorsements and the perceived power of science.  According to an article on TCM.com, screenwriter Paul Jarrico did quite a bit of research hoping to reveal the shady tricks the beauty industry employs to fool customers. A little of this remains in the movie however the focus of the story is more about the main characters relationships with each other than the beauty industry that sustains them.

Beauty for the Asking is a darling little movie. Pair this in a double bill with The Women (1939) and it would serve as a nice little appetizer for that main course. As many classic movie lovers know, 1939 was a great year for the film industry. This doesn't only include the big pictures but for B-movies too.

Beauty for the Asking is available on DVD-MOD from Warner Archive.You can purchase the DVD from the WB Shop. Use my buy links to shop and you will help support this site. Thanks!

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of Beauty for the Asking (1939) to review!

Hotel (1967)

"I'm an old-fashioned innkeeper. I take care of my employees and they take care of my guests. That's the way I want it to be. I don't want it to change." - Melvyn Douglas as Warren Trent

Hotel (1967) follows the story of the fictitious New Orleans hotel the St. Gregory. Pete McDermott (Rod Taylor) is at the heart of the business. As the hotel manager he oversees all staff, attends to any urgent needs of the hotel guests and conducts business with the owner Warren Trent (Melvyn Douglas). Although the St. Gregory is the destination for many illustrious guests, it's in serious financial trouble. Pete convinces Mr. Trent to entertain an offer by wealthy hotelier Curtis O'Keefe (Kevin McCarthy). However, O'Keefe threatens to transform the place into a cold moneymaker rather than an inviting hotel with hospitality as it's main focus. O'Keefe brings with him his girl of the moment, a young Parisian beauty Jeanne Rochefort (Catherine Spaak). Jeanne is tired of O'Keefe and soon falls for the charming hotel manager. O'Keefe uses Jeanne and his co-horts to try to seal the deal for the hotel while Pete and Mr. Trent quickly try to find another buyer.

Rod Taylor as Pete McDermott

Melvyn Douglas as Warren Trent in Hotel (1967)

Kevin McCarthy as Curtis O'Keefe

Catherine Spaak as Jeanne Rochefort

Then there are the hotel guests who prove to be an interesting bunch of characters, each with their own agenda. Merle Oberon plays Duchess Caroline whose husband Duke Geoffrey (Michael Rennie) killed a child in a drunken hit-and-run accident. The Duchess tries to cover it up but the hotel detective Dupere (Richard Conte) is on to them and tries to extort them. Then there is Karl Malden as Keycase Milne, the resident hotel thief with an impressive collection of room keys. He has his eye on the Duke and Duchess's room and the possible treasures inside. When a black couple book a stay at the hotel and Pete is not around, the hotel turns them away causing a scandal that's splashed across the newspapers. A business deal gone sour, an extortion, theft, a civil rights dilemma, a forbidden romance and an elevator on the fritz, everything comes to a crashing climax. The ending is one that I didn't expect but one that left me immensely satisfied and feeling good about the story's overall message: stay true to yourself.

Michael Rennie and Merle Oberon as the Duke and Duchess

Karl Malden as Keycase Milne

Richard Conte as Detective Dupere

Hotel (1967) is a gratifying film to watch on a rainy day. If you don't have any high expectations you'll be pleasantly surprised. It has it's flaws. It's terribly old-fashioned but that's what I liked about it. Taylor and Spaak lacked chemistry and Spaak quite one note to me. Another actresses would have livened up the film. I found everyone to be delightful to watch including Taylor, Melvyn Douglas, Karl Malden, Richard Conte and even Merle Oberon who I don't particularly care for. Jazz singer Carmen MacRae has a small role as the hotel lounge singer. Clinton Sundberg, a regular in 1940s collegiate movies, plays hotelier O'Keefe's personal assistant.

One could see Hotel (1967) as the 1960s answer to Grand Hotel (1932). The film was directed by Richard Quine, someone I have a keen interest in. Some exteriors and interiors were shot in New Orleans most notably in the French Quarter and in the New Orleans International Airport. Everything else was shot on the Warner Bros. lot in Burbank, California. Gowns were designed by Edith Head and Merle Oberon wore her own jewelry including a piece that once belonged to Marie Antoinette. The story was based on the best-selling novel by Canadian writer Arthur Hailey. He's also known for his novel Airport which was adapted in 1970 and spawned a series and a spoof. Hotel became a TV series in the 1980s starring Anne Baxter and James Brolin.

I enjoyed Hotel (1967) for it's motley cast of characters, interesting plot lines and for that glorious ending. It also serves as a time capsule of the goings on of a 1960s era hotel. The movie makes me long for a time when morals and personal truths trump greed. I'm drawn to movies about workplaces and this one did not disappoint.

Hotel (1967) is available on DVD-MOD from the Warner Archive Collection. You can purchase the DVD from the WB Shop.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of Hotel (1967) to review!