Showing posts with label 1933. Show all posts
Showing posts with label 1933. Show all posts
A masked murderer who calls himself the Black Ace is stalking people in an old mansion. Neil Broderick (Chester Morris of The She-Creature) investigates, alternately helped and hindered by two cops played by Allan Jenkins and Frank McHugh. Vivienne Osborn is the heroine [a scene on a train when she tells a man she doesn't like the work of a certain author, unaware that he's the writer in question, was repeated in Leave Her to Heaven]. The suspects include Grant Mitchell and Charles Middleton [Daredevils of the Red Circle]. Tomorrow at Seven is unexceptional, but it does boast good performances from Morris, Jenkins, McHugh and Middleton, as well as from Virginia Howell as the housekeeper, and Henry Stephenson as Thornton Drake. As Old Dark House movies go, this one is no better nor worse than most of them, although it could be argued that this one just doesn't make a hell of a lot of sense.
Verdict: Creaky but engaging. **1/2.
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| Sherwood (Otto Kruger) is in love with Letty (Madge Evans) |
BEAUTY FOR SALE (1933). Director: Richard Boleslawski.
"If he gives you a hat in only an hour imagine what he can do in three weeks."
Letty (Madge Evans) takes a room with the Merrick family, which consists of the mother (May Robson), her daughter Carol (Una Merkel), and son Bill (Eddie Nugent), who's stuck on Letty. Carol helps Letty get a job at the beauty parlor where she works, which is lorded over by the dragon-like Sonia (Hedda Hopper). Unlucky in love, Carol is keeping company with a wealthy, much older man named Freddy (Charley Grapewin). Their fellow employee, Jane (Florine McKinney), is having a secret relationship with Sonia's son, Burt (Phillips Holmes). Letty falls in love with a Mr. Sherwood (Otto Kruger), who happens to be married to one of the beauty spa's customers, the flighty and affected Henrietta (Alice Brady). Will any of these women find happiness? Well, maybe ... Beauty for Sale is a highly engaging comedy-drama with a very appealing lead performance by the luminescent Evans and excellent supporting performances from Merkel, McKinney, Brady and Kruger; the others, such as Hopper, are also well-cast. The movie blends its laughs [all the funny gossiping that goes on at the beauty parlor] and tragic moments expertly, and is well-directed by Boleslawski, who often favors extreme close-ups at tilted angles. There's a nice bit when a bathroom door slowly closes on the huddled figure of Jane after she gets some shattering news. Isabel Jewell [The Seventh Victim] is very sharp and saucy as the receptionist, Hortense, and Nugent scores as the likable but sadly immature Bill, who nearly drives Letty crazy [his mistreatment at her hands is sort of glossed over]. Boleslawski also directed the interesting Storm at Daybreak and Les Miserables.
Verdict: Minor classic is well worth the watching. ***.
SECRET OF THE BLUE ROOM (1933). Director: Kurt Neumann."It must be terrible to be a man and have to pretend to be brave."
At a birthday party for his beautiful daughter, Irene (Gloria Stuart), Robert von Helldorf (Lionel Atwill) tells his guests -- Walter (Paul Lukas), Frank (Onslow Stevens) and Thomas (William Janney) -- the story of the blue room in the old castle in which he resides: over the years more than one person has been found dead in the locked room, including his own sister. Thomas suggests that each man (all of whom are in love with the quite lovely Irene) spend the night in the room to prove their bravery. Of course it's no surprise when the first of them turns up missing in the morning, the room still locked. [Without giving anything away, everyone assumes he's gone out the window into the moat twenty feet below, yet he had a key which worked on either side of the door and could easily have exited the room and locked the door behind him.] Then another of the suitors spends the night in the room and ... A police commissioner (Edward Arnold) is called in to find out what's up, and the suspects include the butler, Paul (Robert Barrat of Lily Turner), the maid, Betty (Muriel Kirkland), the chauffeur, Max (Russell Hopton), and the very nervous cook, Mary (Elizabeth Patterson). There's also a weird stranger on the loose scaring the wits out of Irene. The secret of the Blue Room doesn't come as that big of a surprise, but the climactic chase in long-forgotten tunnels beneath the castle is exciting. Secret of the Blue Room is entertaining, atmospheric, and reasonably well-acted by all. Neumann also directed Kronos and many others.
Verdict: A bit creaky but fun. **1/2.
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| Lowe and McLaglen |
In this sequel to the silent What Price, Glory?, friendly enemies Harry Quirt (Edmund Lowe) and Jim Flagg (Victor McLaglen) are out of the Army and still maintaining their rivalry over women and everything else. Harry uses phony badges to get money from Jim and other victims. Jim, who's in the nightclub business during prohibition, discovers that one of his ships has a stowaway, Pepper (Lupe Velez), who has come from South America to be a star in New York. Harry opens his own club and makes Pepper the starring attraction. and the pursuit for her is on. [Alas, the spirited Velez offers energy and little else in her number, and her legs and especially knees are nothing to crow about.] You want to like Hot Pepper, for the performers if nothing else, but it just isn't that funny, even though the trio of lead actors give their all. Velez also arrived from a boat to be a performer in Manhattan in Redhead from Manhattan ten years later. Lowe was also in Honeymoon Deferred, while McLaglen was in The Quiet Man. Blystone also directed the vastly superior Swiss Miss with Laurel and Hardy. Some funny moments, but not enough.
Verdict: Disappointing. comedy with leads who deserve a better script. **.
Dick Wallace (John Wayne) is a good-natured, girl-happy playboy addicted to gals, parties and late nights. His grumpy father (Reginald Barlow) takes him into his firm but fires him on the first day when he fails to collect money owed by a minister. It seems the cleric uses his funds to help the poor -- and he happens to have a pretty daughter, Marion (Evalyn Knapp). Dick and Marion get married, but the elder Wallace wants nothing to do with them. Marion gets a job as the old man's private secretary and uses it to ingratiate herself with him, but a bigger problem may be Dick's old girlfriend, the slinky and conniving Polly (Natalie Kingston). His Private Secretary isn't as interesting as it sounds, but the likable characters and players help a lot. There's a nice scene when kindly Marion intercedes when Wallace fires dyspeptic employee, Mr. Little (Arthur Hoyt), even though he wasn't all that nice to her. Wayne [Legend of the Lost], Knapp and the others all give very good performances. Knapp starred in the sound-remake of the serial The Perils of Pauline the same year.
Verdict: Minor comedy-drama with very pleasant cast. **.
ONLY YESTERDAY (1933). Director: John M. Stahl.
"This sort of thing is no longer a tragedy. It isn't even a melodrama. It's just ... something that happened."
A man receives a letter from a woman that he has completely forgotten, but who tells him that she has given him a son he has never known. No, it's not Letter from an Unknown Woman, but a variation that takes place in New York at the time of the stock market crash. Mary Lane (Margaret Sullavan) had shared a night of passion with Jim Emerson (John Boles) some years before, but when she goes to see him when he returns from WW1 he doesn't even remember her. She is determined to raise their son and stick it out until he does remember her, but instead Emerson marries another woman. Years go by, and Mary resists romantic overtures from others [reminding one of Back Street, which both Sullavan and Boles appeared in, albeit in different versions]. This was Sullavan's first movie and she delivers, and Boles is also fine as the object of her affections. Jimmy Butler scores as their young son, as does Billie Burke as Mary's sympathetic and up-to-date Aunt Julia, who sings "Tiptoe through the Tulips." Bramwell Fletcher and Reginald Denny are also in the cast. It all builds to an undeniably moving conclusion. Stahl also directed the Boles-Irene Dunne version of Back Street, as well as Leave Her to Heaven.
Verdict: Good acting helps put this over. ***.
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| Impossibly young Three Stooges in a party scene |
Joe Gimlet (Lee Tracy of Dinner at Eight) owns a drug store with his wife, Mary (Mae Clarke of Waterloo Bridge), and the two are getting by, but Joe reviews his status in life when he meets up with old friend, Ted (Otto Kruger), who married wealthy Elvina (Peggy Shannon). Ted wants to invest the Gimlets' life savings for them, but Mary is understandably wary. Getting drunk, Joe wanders off, gets hit by a car, and wakes up twenty years in the past. Now he can do his life over and marry Elvina instead of Mary, giving him all of Ted's wealth and power. Nice guy, huh? The fact that Joe is a jerk (although he does do some nice things) is one of the movie's main problems, as is the fact that Joe is played by borderline shrill Lee Tracy, who gives a good performance but is also as slick and somehow irritating as ever. Turn Back the Clock has a great idea but it becomes increasingly ridiculous, with a predictable wind-up. The Three Stooges appear as wedding singers in one scene and almost look like children. Clarke, Shannon and Kruger give very good performances, and the film is fast-paced and has a few directorial flourishes as well. Because of a similar time travel element, Repeat Performance has always been seen as a remake of this picture, but the plots are so different that that really isn't the case. Oddly, when Turn Back the Clock was remade as a telefilm with Connie Selleca, it used the plot of Repeat Performance instead.
Verdict: Nice idea; mediocre execution. **1/2.