Cast: William Powell, Marion Shilling, Natalie Moorhead, Regis Toomey, Paul Hurst, George Irving, Frederick Burt, James Durkin, Richard Tucker, Walter James, Broderick O Farrell
A woman being pursued by an intoxicated man breaks into John Nelson’s apartment, imploring his help. Nelson, a young engineer, confronts the man, who accidentally topples through a window to his death.
Unable to prove the circumstances, Nelson is convicted of murder and sentenced to life imprisonment. With the aid of his cellmate, he escapes and under an assumed name becomes manager of a textile mill in North Carolina.
Later, his former cellmate, Pete, is commissioned to find Ethel Barry, the woman who can clear him so that he may marry Edith, the mill owner’s daughter; but Ethel forces his hand through blackmail.
Detective Mike Kearney tracks him down, but when Montgomery (Nelson) mutilates his hands in a machine to erase his fingerprint identity, Kearney decides to force Ethel to clear him.
Cast: Richard Arlen, Fay Wray, Clive Brook, William Powell, Theodore von Eltz, Noah Beery Sr., Zack Williams, Noble Johnson, Phillippe De Lacy, Harold Hightower, Rex Ingram
Cast: William Powell, William Stage Boyd, Eugene Pallette, Paul Lukas, Natalie Moorhead, Richard Tucker, May Beatty, E H Calvert, Mischa Auer, Guy Oliver
New York dilettante Philo Vance decides to assist the police in investigating the death of another man-about-town because he finds the psychological aspects of the crime of interest, and feels that they would be beyond the capacities of the police, even those of his friend District Attorney Markham.
Vance investigates the circumstances under which the body was found and reconstructs the crime sufficiently to determine that the murderer is five feet, ten and a half inches in height. Together, Vance and Markham investigate Benson’s business associates and romantic interests until Vance manages to pierce the murderer’s alibi for the time of the murder and force a confession.
Literary significance and criticism
The novel was very loosely based upon a real-life case that had made headlines, the unsolved 1920 murder of bridge expert Joseph Bowne Elwell.
It was considered a roman à clef because the circumstances under which Elwell’s body was found—he was shot to death in a room in his home which was found to be locked from the inside, and he was not wearing his toupee—are duplicated in the novel. Modern knowledge of ballistics reveals that one of the central premises of the novel is fanciful, because the reconstruction of the height of the murderer is impossible (Dashiell Hammett had said as much at the time, in a 1927 book review).
“The first and best, partly because Van Dine had the real-life model of the Joseph Elwell murder (1920) to hold his fancy in check.”[1]
“Vance spots the murderer almost immediately but doesn’t reveal him, allowing Markham and Sergeant Heath to fix the guilt on five successive persons by circumstantial evidence.”[2]
Film adaptations
Paramount Pictures released The Benson Murder Case (1930) a film version directed by Frank Tuttle and starring William Powell as Philo Vance. The film was moderately faithful to the plot of the novel. Paramount also released a Spanish-language version, El Cuerpo del Delito, written by Catalan writer Josep Carner Ribalta (1898–1988), and co-directed by Cyril Gardner and A. Washington Pezet.
References
Jump up^Barzun, Jacques and Taylor, Wendell Hertig. A Catalogue of Crime. New York: Harper & Row. 1971, revised and enlarged edition 1989. ISBN 0-06-015796-8
Directors: Dorothy Arzner, Otto Brower, Edmund Goulding, Victor Heerman, Edwin H Knopf, Rowland V Lee, Ernst Lubitsch, Lothar Mendes, Victor Schertzinger, A Edward Sutherland, Frank Tuttle
Cast: Maurice Chevalier, Richard Arlen, Jean Arthur, William Austin, George Bancroft, Clara Bow, Evelyn Brent, Mary Brian, Clive Brook, Nancy Carroll, Kay Francis, Richard Skeets Gallagher, Gary Cooper, Ruth Chatterton, Mitzi Green, Fredric March and many others
Paramount also produced a French-language version Paramount en Parade directed by Charles de Rochefort and a Romanian-language version Parada Paramount (Chevalier and Martini also starred in the French version, and Romanian actress Pola Illéry starred in the Romanian version. There was also a Dutch version, Paramount op Parade with Theo Frenkel. The Scandinavian version starred Ernst Rolf and his wife, Tutta Rolf.
Preservation status
Paramount on Parade featured in a 1930 advertisement for Technicolor
The film, including some of its Technicolor sequences, has been restored by the UCLA Film and Television Archive. The original title sequence and chorus girl number immediately following it, however, are still lost. The sound for two of the Technicolor sequences (“Gallows Song” and “Dream Girl”) are also missing.
According to Robert Gitt, film archivist now retired from UCLA, in a lecture at Pacific Film Archive at UC Berkeley, the film was also released with sound-on-disc for those theaters not equipped for sound-on-film. The archive had a report of the soundtrack for this film still existing on disc until the 1994 Northridge earthquake destroyed a set of discs that a collector was planning to donate.
In August 2010, CapitolFest in Rome, New York showed a 102-minute version restored by UCLA Film and Television Archive. Some sequences are still missing the sound, for some sequences only the soundtrack exists.
“The Schoolroom” Helen Kane, Mitzi Green. Kane sings “What Did Cleopatra Say?” to her class
“The Gallows Song” Skeets Gallagher and Dennis King (Technicolor footage survives; sound missing, current prints use King’s commercial vocal recording of the song.)[3]
“Rainbow Revels” finale Chevalier and girls’ chorus (including Iris Adrian and Virginia Bruce) sing “Sweeping the Clouds Away” (in Technicolor; survives only in black-and-white)[3]
Parada Paramount (Romanian) with Pola Illéry; directed by Rochefort
Paramount op Parade (Dutch) with Theo Frenkel Jr., Mien Duymaer van Twist, and Louis Davids; directed by Job Weening
At Paramount’s Hollywood studio, Ernst Rolf and his Norwegian wife, Tutta Rolf, filmed introductions and sequences for the Scandinavian version. Japanese comedian Suisei Matsui introduced the film in Japan. Mira Zimińska and Mariusz Maszynski appeared in the Polish version, and Dina Gralla and Eugen Rex appeared in the German version. Paramount filmed most of the above versions, along with Czech, Hungarian, Serbian, and Italian versions, at their Joinville Studios in Paris.
Joyce and Cliffe Wheater, a much-divorced American couple, leave their seven children to fend for themselves as they tour the smart resorts of Europe. Judith, the eldest, takes care of the group. Martin Boyne, an American tourist, meets Judith and the children at the Lido and remembers that he knew their father in America; attracted to Judith, he is quick to sympathize with the problems of the children.
Although he is the way to Switzerland to meet Rose Sellers, his fiancée, Martin delays the trip to help the children through a crisis that threatens to separate them. When he leaves, Judith despairs, feeling that he regards her as only a child, and she decides to take the children to Switzerland; there Martin realizes he loves her, and when Wheater, repenting of his neglect, telephones him to bring the children back, Martin declares that he is marrying Judith and will himself care for the children.
Gardoni, a down-on-his-luck vaudeville performer, is taken in by a fellow performer, a clown who has a bicycle riding act. Gardoni shows his appreciation by stealing the clown’s act and his girlfriend, whom he marries.
Mordaunt Hall, film critic of the New York Times, praised the performances of Powell (“excellent”), Wray (“pleasing”), Skelly (“goes about his part with earnestness and intelligence”), and Francis (“does nicely”), but noted “the story is rather limp and disappointing.”[1]
The Cocoanuts is set in the Hotel de Cocoanut, a resort hotel, during the Florida land boom of the 1920s. Mr. Hammer (Groucho Marx) runs the place, assisted by Jamison (Zeppo Marx), who would rather sleep at the front desk than actually help him run it. Chico and Harpo arrive with empty luggage, which they apparently plan to fill by robbing and conning the guests.
Mrs. Potter (Margaret Dumont, in the first of seven film appearances with the Marxes) is one of the few paying customers. Her daughter Polly (Mary Eaton) is in love with struggling young architect Bob Adams (Oscar Shaw).
He works to support himself as a clerk at the hotel, but has plans for the development of the entire area as Cocoanut Manor. Mrs. Potter wants her daughter to marry Harvey Yates (Cyril Ring), whom she believes to be of higher social standing than the clerk. This suitor is actually a con man out to steal the dowager’s diamond necklace with the help of his conniving partner Penelope (Kay Francis).
The plot is almost beside the point, and the story and setting are little more than an excuse for the brothers to run amok. The film is notable for its musical “production numbers”, including techniques which were soon to become standard, such as overhead shots of dancing girls imitating the patterns of a kaleidoscope.
The musical numbers were recorded live on the soundstage as they were shot, rather than pre-recorded, using an off-camera orchestra. The main titles are superimposed over a negative image of the “Monkey-Doodle-Do” number photographed from an angle that does not appear in the body of the film.
One of the more famous gags in the film has Groucho giving directions to Chico, who keeps misunderstanding “viaduct” as “why-a-duck“. In another sequence Groucho is the auctioneer for some land of possibly questionable value (“You can have any kind of a home you want to; you can even get stucco!
Oh, how you can get stuck-oh!”) He has hired Chico to inflate the sale prices by making phony bids. To Groucho’s frustration, Chico keeps outbidding everyone, even himself. During the auction, Mrs. Potter announces that her necklace has been stolen and offers a thousand dollar reward, whereupon Chico offers two thousand. Still another sequence has Groucho, Mrs. Potter and Harvey Yates (the necklace thief) make formal speeches. Harpo repeatedly walks off, with a grimace on his face, to the punch bowl. (His staggering implies that the fruit punch has been spiked with alcohol.) Another highlight is when the cast, already dressed in traditional Spanish garb for a theme party, erupts into an operatic treatment about a lost shirt to music from Carmen (specifically, Habanera and the song of the Toreador). An earlier scene shows Harpo and Chico abusing a cash register while whistling the Anvil Chorus from Il trovatore, a piece also referenced in several other Marx Brothers films.
Zeppo Marx, Groucho Marx, Chico Marx & Harpo Marx Film: The Cocoanuts (USA 1929) Character(s): Jamison, Hammer, Chico, Harpo Director: Robert Florey & Joseph Santley 03 May 1929 AFF20867 AF Archive Picture Library/PARAMOUNT PICTURES **Warning** This Photograph is for editorial use only and is the copyright of PARAMOUNT PICTURES and/or the Photographer assigned by the Film or Production Company & can only be reproduced by publications in conjunction with the promotion of the above Film. A Mandatory Credit To PARAMOUNT PICTURES is required. The Photographer should also be credited when known. No commercial use can be granted without written authority from the Film Company.
Production
Referring to directors Robert Florey and Joseph Santley, Groucho Marx remarked, “One of them didn’t understand English and the other didn’t understand comedy.”[2]
As was common in the early days of sound film, to eliminate the sound of the camera motors the cameras and the cameramen were enclosed in large soundproof booths with glass fronts to allow filming, hence the largely static camera work. For many years, Marxian legend had it that Florey, who had never seen the Marxes’ work before, was put in the soundproof booth because he could not contain his laughter at the brothers’ spontaneous antics.[3]
Every piece of paper in the movie is soaking wet, to keep crackling paper sounds from overloading the primitive recording equipment of the time. In fact, this did not occur to director Florey until 27 takes had been made (of the “Viaduct” scene) and disposed of because of the noise made by the paper. Florey finally got the idea to soak the paper in water; the 28th take of the “Viaduct” scene used soaked paper, and this take was quiet and used in the film.[4]
The “ink” that Harpo drank from the hotel lobby inkwell was actually Coca-Cola, and the “telephone mouthpiece” that he nibbled was made of chocolate, both inventions of Robert Florey.
“Florida by the Sea” (instrumental with brief vocal by chorus during opening montage)
“When My Dreams Come True” (theme song, Mary Eaton and Oscar Shaw variously, several reprises)
“The Bell-Hops” (instrumental, dance number)
“Monkey Doodle Doo” (vocal by Mary Eaton and dance number)
“Ballet Music” (instrumental, dance number)
“Tale of the Shirt” (vocal by Basil Ruysdael, words set to music from Carmen by Georges Bizet)
“Tango Melody” (vocal included in the stage production, used in the film as background music only)
“Gypsy Love Song” (by Victor Herbert, piano solo by Chico Marx)
The Cocoanuts is one of the few Irving Berlin vehicles that did not yield any particularly memorable songs. Several songs from the stage play were omitted from the film: “Lucky Boy”, sung by the chorus to congratulate Bob on his engagement to Polly and “A Little Bungalow”, a love duet sung by Bob and Polly that was replaced with “When My Dreams Come True” in the film.
Irving Berlin wrote two songs entitled “Monkey Doodle Doo”. The first was published in 1913, the second introduced in the 1925 stage production and featured in the film. They are very different songs.
Although legend claims Berlin wrote the song “Always” for The Cocoanuts, he never meant for the song to be included, writing it, instead, as a gift for his fiancee.[5]
Reception
When the Marx Brothers were shown the final cut of the film, they were so horrified they tried to buy the negative back and prevent its release.[6] Paramount wisely resisted — the movie turned out to be a big box office hit, with a $1,800,000 gross making it one of the most successful early talking films.[1]
It received mostly positive reviews from critics, with the Marx Brothers themselves earning most of the praise while other aspects of the film drew a more mixed reaction. Mordaunt Hall of The New York Times reported that the film “aroused considerable merriment” among the viewing audience, and that a sequence using an overhead shot was “so engaging that it elicited plaudits from many in the jammed theatre.”
However, he found the audio quality during some of the singing to be “none too good”, adding, “a deep-voiced bass’s tones almost fade into a whisper in a close-up. Mary Eaton is charming, but one obtains little impression of her real ability as a singer.”[7]
Variety called it “a comedy hit for the regular picture houses. That’s all it has – comedy – but that’s enough.” It reported the sound had “a bit of muffling now and then” and that the dancers weren’t always filmed well: “When the full 48 were at work only 40 could be seen and those behind the first line could be seen but dimly.”[8]
“It is as a funny picture and not as a musical comedy, not for its songs, pretty girls, or spectacular scenes, that The Cocoanuts succeeds”, wrote John Mosher in The New Yorker. “Neither Mary Eaton, nor Oscar Shaw, who contribute the “love interest”, is effective, nor are the chorus scenes in the least superior to others of the same sort in various musical-comedy-movies now running in town. To the Marxes belongs the success of the show, and their peculiar talents seem, surprisingly enough, even more manifest on the screen than on the stage.”[9]
Film Daily called it “a good amount of fun, although some of it proves tiresome. This is another case of a musical comedy transferred almost bodily to the screen and motion picture treatment forgotten. The result is a good many inconsistencies which perhaps may be overlooked provided the audience accepts the offering for what it is.”[10]
Jump up^Paul Zimmerman, The Marx Brothers At The Movies. Putnam, 1968.
Jump up^Paul D. Zimmerman and Burt Goldblatt The Marx Brothers at the Movies,[page needed]
Jump up^Bader, Robert S. (2016). Four of the Three Musketeers: The Marx Brothers on Stage. Evanston, IL: Northwestern University Press. p. 309. ISBN9780810134164.
Cast: Walter Huston, Kay Francis, Charles Ruggles, Betty Lawford, Norman Foster, Duncan Penwarden, Lawrence Leslie, Harry Lee, Brian Donlevy, Victor Killian
80 min
Gentlemen of the Press is a 1929 all-talking film starring Walter Huston in his first feature film role and Kay Francis in her first film role. The film still survives. This film’s copyright has expired and it is now in the public domain. It survives in a copy sold to MCA for television distribution.[1]
The film is based on Ward Morehouse’s 1928 Broadway play Gentlemen of the Press.[2]
Marya is the wife of medical student Victor Sablin, who finds it impossible to deal with military life when he is inducted into the Russian army during World War I. With her husband is sentenced to death by firing squad due to his insubordination, Marya offers herself to General Gregori Platoff in order to save him. When the two unexpectedly fall in love, Victor — not caring that his life has been spared — threatens to kill his rival. His determination to eliminate the general falters when Marya confesses she is not in love with her husband — and never was.
Mordaunt Hall of the New York Times called the film “a clever comedy with a splendid performance by Walter Huston” and added, “There is a constant fund of interest in this picture’s action. It is one of those rare offerings in which youth takes a back seat.[1]
George Cukor’s reflection in 1972
In the book On Cukor, director George Cukor confided to biographer Gavin Lambert: “It wasn’t much good. I’d be in great shock if they [film restorationists & historians] rescued this one. I remember that I enjoyed working with Kay Francis and Walter Huston, though.”[2]
Preservation status
A complete print of this film is held by the UCLA Film and Television Archive. However, the UCLA archive’s website says the print is too shrunken for projection.[3]
Jump up^Parish, James Robert; Mank, Gregory W.; Stanke, Don E. (1978), The Hollywood Beauties, New Rochelle, New York: Arlington House Publishers, p. 73, ISBN0-87000-412-3
Cast: Jack Oakie, Jeanette MacDonald, Kay Francis, Richard Skeets Gallagher, James Hall, William Austin, David Newell, Charles Sellon, Eugene Pallette, Virginia Bruce, John Elliott, Douglas Haig
Jerry comments on being the only man on an island populated by women, “It was one of the Virgin Islands, but it drifted.” The tagline was: “Paramount’s wild, merry, mad hilarious farce!”
John Marsden, a famed and powerful New York gambler who refuses to throw a game, is devoted to his wife, Alma, and his impressionistic younger brother, “Babe,” to whom he sends a wedding gift of $10,000, which Babe may keep on the condition that he does not indulge in gambling. Alma, dismayed by John’s ruthless tactics and his obsession with gambling, threatens to leave him unless he takes his winnings and leaves the city with her. He agrees.
However, that evening Babe, who has become a cardsharp, comes to town with his new wife, Judith. He goes to see his brother, whom he believes is a stockbroker, unaware of John’s true profession and the reality that he is trying to quit and rebuild his marriage. Babe insists on playing and tries to win a fortune with his savings in an organized gambling session. He wins remarkably. The professional gambler sees that his card-playing sibling is preparing to make the same mistakes he did.
John therefore decides to risk his life and gamble one more time, and to break the gambler’s code and cheat by throwing the game, in order to disillusion Babe, thereby teaching him an unforgettable lesson. However, John is caught cheating by Dorgan and becomes a marked man. John is later mortally wounded, in spite of his wife’s attempts to save him.
Cast: Kay Francis, William Powell, Scott Kolk, William B Davidson, Thomas E Jackson, Harry Walker, James Finlayson, Charles West, Bertram Marburgh, Billy Bevan, John Cromwell, Sidney D’Albrook
65 min
For the Defense is a 1930 Pre-Codecrimedrama film starring William Powell as a lawyer whose ethics are challenged when the woman he loves hits and kills a pedestrian while out driving with another suitor.
In New York City, William Foster (William Powell) is a criminal defense attorney so successful that prosecutors regard him as a menace. He holds himself to high ethical standards but is willing to mislead without actually lying.
Foster defends a man who planned a murder using explosives. District Attorney Stone (William B. Davidson) displays a vial and says chemical tests have shown that the liquid in it is sensitive nitroglycerin. Foster sniffs the liquid, questions him to verify the chain of custody, and then smashes the vial dramatically on the floor. When order is restored, he explains to the judge that he knew it was safe because nitro has a distinctive smell, and Stone says he had removed the actual nitro for safety after the chemical test. But Foster points out that only the liquid now in the bottle was entered into evidence, and wins his case.
Foster is in love with actress Irene Manners (Kay Francis), and she loves him, but she wants to be married and he does not. When another suitor, Jack Defoe (Scott Kolk), proposes to her, she says she needs to tell Foster about him before she can accept; but she finds she cannot do so. She stays out late enough at night with Defoe to leave only one implication of what they were doing, and while driving him home, she does agree to marry him. He suddenly hugs her and she loses control of the car, killing a bystander.
To protect Irene’s reputation, Defoe urges her to leave the scene, lying that the victim is not badly hurt. Presumed to have been driving while drunk, he is charged with manslaughter. They both still conceal her involvement, but she begs Foster to defend him. He asks why she cares enough about Defoe to insist; she says she and Defoe are just friends, but she had already promised him on Foster’s behalf, assuming Foster would be willing. Foster agrees, but finds that Defoe cannot tell a credible story at trial.
Then Foster finds out that Irene was at the accident scene and therefore must be much more than “just friends” with Defoe. Foster is crushed, but she still begs him to get Defoe acquitted, while Defoe fears Foster will throw the case and Irene will be charged and convicted as well. Foster eventually puts his love for Irene first and, for the first time in his life, bribes a juror to vote not guilty, hanging the jury.
Foster is quickly found out and arrested, and defends himself at trial. As he will not see Irene, she goes to Stone, admits what really happened at the accident, and says Foster was only trying to protect her. If Stone does not agree to recommend mercy, Irene says, she will tell her story in court. Stone says he will think about it.
Although his defense is going well, Foster then offers to plead guilty (and thus be disbarred, no doubt making life easier for prosecutors in future) if only Stone will agree not to retry Defoe; but Stone says he does not make deals. Back in court, Irene sends Foster a note pleading to let her testify and tell the truth. To protect her, Foster immediately changes his plea to guilty. Stone then tells Foster that neither Defoe nor Irene will be prosecuted.
As Foster arrives at Sing Sing to serve his sentence, Irene is there and says she will be waiting for him when he comes out. He says that if she does, then he will marry her.
Cast: Kay Francis, Joel McCrea, Lilyan Tashman, Eugene Palette, Alan Dinehart, Lucile Gleason, Anderson Lawler, Lucile Browne, George Barbier, Robert McWade, Louise Beavers, Judith Wood, Adrienne Ames
Wanda Howard (Kay Francis) and Marie Bailey (Lilyan Tashman) go out with two balding, middle-aged businessmen from out of town (for $500 apiece) to help Jerry Chase (Alan Dinehart) close a sale. However, the women, who share a luxurious suite in an apartment building, have their African-American maid Hattie (Louise Beavers) disguise herself as their mother, waiting at the window, to avoid having to invite the men inside.
Wanda is getting tired of how she makes a living, but she and Marie go aboard a yacht the next night to divert rich practical joker Benjamin Thomas (Eugene Pallette) and his handsome business associate Jim Baker (Joel McCrea).
Jim knows that the women are paid “entertainment”, but quickly finds himself falling for Wanda anyway, and vice versa. (When Jerry pays her for her efforts, Wanda tears up the check.) Once Jim realizes she genuinely loves him, he asks her to marry him. Although she is initially reluctant, she agrees. However, she informs Jim that there is one complication: her estranged husband Alex (Anderson Lawler). She asks him for a divorce, and he agrees.
Meanwhile, Benjamin’s wife, who is divorcing him because of his stinginess, shows up and asks Marie to stop making a fool of him. Marie realizes that Mrs Thomas (Lucille Gleason) is still in love with her husband, and comes up with a plan to cure him of his tightfisted ways. The next day, Marie steers Benjamin to the jewelry store where Mrs Thomas is waiting. Mrs Thomas, pretending not to see him, complains (in a loud voice) how cheap her husband is. Benjamin becomes so angry he buys Marie lots of expensive items for about $50,000.
That night, Alex crashes the birthday party Marie has arranged for Benjamin. He tells Jim that he wants $10,000 or he will name Jim as the co-respondent in the divorce. Alex insinuates that Wanda is part of the blackmail scheme. Believing the lie, Jim breaks up with Wanda.
Wanda visits Alex in Brooklyn and demands he give the money back. He introduces her (as “cousin Wanda”) to the ailing Mrs. Howard and their baby, the reasons he needs the money so desperately. He confesses that he got a divorce in Mexico 2 years before, and promises to pay her back once he is back on his feet financially. Touched, Wanda leaves without the check.
Wanda decides to auction off enough of her possessions to her friends to raise $10,000 and pay Jim back. She also asks Marie to return her jewelry. Wanda gives Jim the proceeds; even before that, however, he has come to his senses, and the couple reconcile. Marie gives Benjamin’s gifts to his wife and reunites that couple.
Mordaunt Hall, The New York Times film critic, gave Girls About Town a qualified favorable review, writing, “This handsomely staged and ably directed production is one that affords no little laughter, but unfortunately it is burdened in the latter stages by highly improbable serious sequences.”
Cast: Clive Brook, Kay Francis, Miriam Hopkins, Regis Toomey, George Barbier, Adrienne Ames, Minor Watson, Charlotte Granville, Lucille La Verne, Wade Boteler
66 min
24 Hours is a 1931 American pre-Code romantic drama film starring Clive Brook, Kay Francis, Miriam Hopkins and Regis Toomey. It was based on the novel Twenty-Four Hours by Louis Bromfield and the play Shattered Glass by Will D. Lengle and Lew Levenson. An alcoholic married man is accused of murdering the woman with whom he has been carrying on an affair. The title comes from the fact that the film takes place from 11 pm one night to the same time the following night.
At an evening party in New York City, the Towners mourn their failing marriage, then leave separately. The somewhat drunk Jim walks to a bar for some more liquor. Before he arrives, a man is shot to death outside the establishment; those inside hastily carry the body inside and surmise that someone named Tony is responsible. Meanwhile, Fanny is driven home by her lover, David Melbourn. On the way, she breaks up with him, telling him she realizes now that she still loves Jim. However, she plans to leave her husband, thinking she is not good enough for him.
Jim next heads to a nightclub to see his lover, star singer Rosie Duggan. He asks her if it is possible for a man to love two women, then remarks that the snow was red outside the bar. After he leaves, her ex-con husband Tony Bruzzi shows up. He wants her to take him back, but she has him thrown out, though she keeps his gun; she guesses from the red snow that Tony killed someone.
Later, she takes Jim home. He falls asleep on her chaise longue. Then Tony shows up, jealous and determined to kill Jim. She tells him that Jim is not there, but he does not believe her. When she refuses to open a locked door, they struggle and he accidentally kills her.
The next morning, Jim wakes up and finds Rosie’s body. Meanwhile, Tony hides out at Mrs. Dacklehorst’s place, but he is tracked down by Dave the Slapper and his gang; the man Tony shot was part of Dave’s mob. Tony demands Mrs. Dacklehorst deliver or mail a letter to his gang, but she betrays him instead, and he is shot dead.
Jim is charged with Rosie’s murder. When Fanny shows up at the police station, Jim tells her to divorce him so she will not get entangled in his troubles, but she refuses to do so. Fortunately, fingerprints on a liquor bottle at Rosie’s place match Tony’s, and Jim is released. The couple reconcile, and Jim promises to stop drinking.
The plot of the film is based on the 1922 play Rain by John Colton and Clemence Randolph, which in turn was based on the short story “Miss Thompson” (later retitled “Rain”) by W. Somerset Maugham.
A westbound ship en route to Apia, Samoa, is temporarily stranded at nearby Pago Pago due to a possible cholera outbreak on board. Among the passengers are Alfred Davidson, a self-righteous missionary, his wife, and Sadie Thompson, a prostitute. Thompson passes the time partying and drinking with the American Marines stationed on the island. Sergeant Tim O’Hara, nicknamed by Sadie as “Handsome”, falls in love with her.
Her wild behavior soon becomes more than the Davidsons can stand and Mr. Davidson confronts Sadie, resolving to save her soul. When she dismisses his offer, Davidson has the Governor order her deported to San Francisco, California, where she is wanted for an unspecified crime (for which she says she was framed).
She begs Davidson to allow her to remain on the island a few more days – her plan is to flee to Sydney, Australia. During a heated argument with Davidson, she experiences a religious conversion and agrees to return to San Francisco and the jail sentence awaiting her there.
The evening before she is to leave, Sergeant O’Hara asks Sadie to marry him and offers to hide her until the Sydney boat sails, but she refuses. Later, while native drums beat, the repressed Davidson satisfies his lust with Sadie. The next morning he is found dead on the beach – a suicide. Davidson’s hypocrisy and betrayal cause Thompson to return to her old self and she goes off to Sydney with O’Hara to start a new life.
Rain was not well received – either critically or financially – upon initial release. The unglamorous role for Crawford, and bold story (religious hypocrisy being its main theme), caught Depression-era audiences off guard.
Motion Picture Herald commented, “Because the producers have made such a strong attempt to establish the stern impressiveness of the story, it is rather slow. In its drive to become powerful, it appears to have lost the spark of spontaneity….Joan Crawford and Walter Huston are satisfactory.”
Variety noted, “It turns out to be a mistake to have assigned the Sadie Thompson role to Miss Crawford. It shows her off unfavorably. The dramatic significance of it all is beyond her range…. [Director] Milestone tried to achieve action with the camera, but wears the witnesses down with words.
Joan Crawford’s get-up as the light lady is extremely bizarre. Pavement pounders don’t quite trick themselves up as fantastically as all that. In commercial favor of Rain is the general repute of the theme and Miss Crawford’s personal following, but the finished product will not help either.”
Box office
The film earned $538,000 in the United States and Canada and $166,000 elsewhere, resulting in a loss of $198,000.
Cast: Lew Ayres, Mae Clarke, Boris Karloff, Dorothy Revier, Russell Hopton, Hedda Hopper, Clarence Ruse, Bert Roach, George Raft, Arleta Duncan, Jack La Rue
The movie was directed by Hobart Henley and features an early Busby Berkeley music number, “Who’s Your Little Who-Zis”.[2] Although Karloff is a villain, he plays a charming man, quite unlike most of the parts he was allowed to play at the time.
On a cold winter’s night outside Happy’s Nightclub, Irish-American police officer Ryan (Robert Emmett O’Connor) chats with African-American doorman Tim Washington (Clarence Muse), who is worried about his critically ill wife.
Inside, club owner Happy (Boris Karloff) is arguing with his shrewish but glamorous wife Jill (Dorothy Revier) and welcoming frequent customers Ed Powell (George Raft), a crooked gambler, and Michael Rand (Lew Ayres). Rand is a wealthy college boy who watched his mother kill his father after catching him with another woman, a case widely covered by the tabloids. Rand is now drinking heavily to deaden his pain.
Backstage, gambler Powell asks chorus girl Ruth Taylor (Mae Clarke) for a date and, after losing an impromptu bet, she agrees to go out with him. After the floor show, all the chorus girls are asked to stay late by their cruel dance master, Klauss (Russell Hopton), who is secretly having an affair with Happy’s wife Jill.
Edith Blair (Dorothy Petersen) spots a drunken Michael sitting alone at a table. Edith was the ‘other woman’ in the murder of Michael’s father. She tell Michael that she and his father were only good friends, and that his father loved him deeply.
She also tells Michael that his killer mother never loved his father, and cursed him as he was dying. An upset Michael creates an outburst and overturns a table at the nightclub. He passes out after being punched, and is taken to the back room of the club where Ruth cares for him.
Happy leaves to discuss bootleg liquor purchases with another gangster, Jim. (Huntley Gordon.) As he exits, doorman Tim asks if he can leave early to visit is ailing wife, but Happy refuses.
When Michael wakes up from his liquor-related nap, he and Ruth have a warm chat. Gambler Powell interrupts them and insists Ruth to come to his apartment immediately. Michael punches Powell and Tim takes the fallen gambler out to a taxi. Suddenly, Michael’s mother (Hedda Hopper) arrives at the nightclub. Michael confronts her about the way she treated his father.
The late-night dance rehearsal continues, but Klauss calls a break so he can spend more time with Jill. Happy returns, and Tim asks again if he can go see his wife in the hospital. Happy refuses. Happy catches Jill and Klauss together, and Klauss leaves in disgrace. Happy tells Jill that he will not divorce her, but remain married to her and do his best to make her miserable.
Michael and Ruth sit down for a meal together. Michael asks Ruth if she would be interested in running away to Bali with him, as his wife, even though they have only known each other for a few hours.
Their happy moment is interrupted by Tim, who has just learned that his wife is dead. As he leaves the club to finally go to her bedside, he is fatally shot by gangster Jim and a comrade, who have come for Happy. They shoot Happy and then his wife Jill. When they turn their guns towards Michael and Ruth, they are suddenly shot dead by the returning police officer Ryan. Michael and Ruth get into the police wagon together, and Ruth agrees to go Bali with Michael.
Cast: Mae Clarke, Ralph Bellamy, Marie Prevost, Hale Hamilton, Ferdinand Gottschalk, Ernest Wood, Sam Godfrey, Lucille Browne, Frank Fanning, Raul Freeman
When Sylvia Day (Mae Clarke) is caught trying to pull a scam on the Taylor Department Store in New York City, she pleads with the store manager to let her go, but his boss, Joe Smith (Ralph Bellamy), insists on following store policy, and she is handed over to the police, convicted and sentenced to a year in prison. Sylvia is consumed with the idea of getting revenge on Joe.
She becomes friends with chatty fellow inmate Jeanie Vance (Marie Prevost), who offers to team up with her (and commit more crimes) once they have served their time. When Sylvia learns that Jeanie has a surprising connection to Joe, she decides to get out early. She sets a fire, then passes out from the smoke while trying to put it out. For her “heroism”, she is granted parole.
Tony Gratton (Hale Hamilton), her partner in the failed con, tries to talk her into marrying him and going to Chicago to continue their life of crime, but she is determined to avenge herself. Besides, she knows that Tony is already married.
Sylvia stalks Joe, learning all she can about him. Then, she pretends to be an old acquaintance at a nightclub where Joe is celebrating his promotion to general manager by getting drunk. The next morning, Joe discovers her in his apartment. She informs him that they have gotten married. Joe laughs, then tells her that he already has a wife. She tells him she knows (it is Jeanie), then reveals her motives. Tony shows up, masquerading as the person who married them; he gives Joe the marriage license the couple supposedly left behind. Threatened with a charge of bigamy, Joe reluctantly agrees to support Sylvia for a year, the length of her parole.
Tony tries again to get Sylvia to be his partner in crime. When she refuses, he slips a counterfeit $20 bill in her purse. Sylvia goes on a shopping spree and pays for some of her purchases with the bill. It is traced back to her, but when a policeman shows up to take her back to jail, Joe pretends that she took the money out of his pants pocket. As a store manager, he deals with counterfeit money all the time. The ploy works, and Jeanie sends back her extravagant purchases.
Later, Joe calls her from the office and asks her for a favor. Mr. Taylor (Ferdinand Gottschalk), the store’s somewhat eccentric owner, has found out that Joe is married, so he is coming to dinner at their apartment. While Sylvia is cooking, Jeanie shows up. Her friend has been released early and intends to blackmail her husband (whom she married long ago while he was in college and then lost track of), once she can locate him, before heading to Florida with Sylvia. Sylvia gets her to leave before Joe and Mr. Taylor show up (early) by promising to give her a decision the next day. Taylor insists on doing the cooking; he is fed up with being waited on by servants. He becomes very fond of the couple and hints at a promotion to vice president if they were to have a baby.
The next day, Sylvia persuades Jeanie that it is too dangerous to try blackmail in New York because of her record and agrees to go with her to Florida. Sylvia leaves a letter for Joe explaining everything, ending with the admission “I love you”. On the train, however, Jeanie reveals that she divorced Joe without his knowledge. Sylvia gets off and rushes back to the apartment; Joe has already read the letter and takes her in his arms.
Cast
“The Players” as listed in the opening credits of Parole Girl:[1]
Mae Clarke is the same actress who two years before the release of Parole Girl had a grapefruit shoved into her face by James Cagney in the film The Public Enemy. That same year, in 1931, she also appeared in Universal Studios‘ horror classic Frankenstein, portraying the fiancee of the monster’s creator.
By the time of Parole Girl’s release in 1933, Ralph Bellamy had become a busy actor and a very popular one among American movie audiences. Bellamy appeared in eleven other films released that same year, including the Picture Snatcher, an action film in which he plays second-lead to James Cagney.[2]
Sam Godfrey, who plays “Walsh” in Parole Girl, rarely received an on-screen credit like the one he has in this film. Godfrey’s career as a peripheral or supporting character lasted only a few years, from 1932 until his death at the age of forty-three in 1935. He managed, however, during that brief period to appear in forty-one films. Of that total he received a screen credit in only seven of those productions.[3]
References
Jump up^A full copy (1:51) of Parole Girl is available for viewing on YouTube. Search by film title on YouTube’s homepage. Retrieved March 14, 2017.
A doctor (Frank Powell) leaves his sick daughter (Adele DeGarde) to assist a neighbor that is gravely ill, and ignores his wife’s requests to come home and take care of his own daughter who is getting worse.
Cast: Mary Pickford, Frank Powell, Kate Bruce, Robert Harron, Dell Henderson, Arthur V Johnson, James Kirkwood, Marion Leonard, Owen Moore, Lottie Pickford, Mack Sennett
George Peabody has a drinking habit. Ruth, his friend from childhood loves him, brings him back to the right path and makes him abandon the bad companions who contributed to his downfall. George decides to mend the tatters of his life. Sets out for the West; and before leaving, greets his beloved Ruth, then realising that he truly loved her. She, then, as a token of love, gives him one half of her precious medallion. He will bring together the two pieces when he comes back to her.
In the West, George follows a new life, achieving success in his work. But, one day, ends up succumbing to the desire for a nightcap. This will be the beginning of his end. He falls into the arms of a Mexican girl who pretends to love him, and then his descent becomes unstoppable. His mistress, to completely remove the memory of Ruth, writes a letter in which she says that George is dead.
Without a penny, now reduced to a filthy, tattered exisitence, George returns. One day in front of the girl who still loves him and who is still waiting to reassemble their medallion.
She, who is now blind, cannot see it. George ashamed of everything he did, escapes from her. The medallion will remain broken forever.
Production
The film was produced by the Biograph Company and was shot in Edgewater, New Jersey.
Distribution
Distributed by the Biograph Company, the film – was released in US cinemas on September 13, 1909. In the projections, was programmed with the split reel system, merged into a single coil with another short film produced by the Biograph and directed by Griffith,
It was screened with another short film produced by the Biograph and directed by Griffith, The Children’s Friend [1] .
In August 2006, the Grapevine has included this film in an anthology on DVD titled DW Griffith, Director, Volume 4 (1909) , containing eleven Griffith films [2] .
Cast: Mary Pickford, Marion Leonard, Kate Bruce, Frank Evans, Arthur V Johnson, James Kirkwood, George Nichols, Anthony O’Sullivan, Billy Quirk, Mack Sennett, Dorothy West
Cast: Mary Pickford, Gertrude Astor, Wilfred Lucas, Helen Raymond, C Norman Hammond, Elinor Fair, Adolphe Menjou, Peaches Jackson, Doreen Jackson, John Harron, George Dromgold, Kate Price
The movie starts in Belgium in the early 1900s. Jeanne (Mary Pickford) is the 10-year-old daughter of Louise (Gertrude Astor). Troubles start when Louise remarries a selfish but rich man named Elton Reeves (Wilfred Lucas). He convinces her to move to America and leave Jeanne behind in Belgium to live with the maid Marie (Helen Raymond). At first Louise refuses to, but eventually gives in and leaves Jeanne in the care of Marie.
Five years pass and Jeanne and Marie bonded. Meanwhile, Louise hated living in America and feels guilty having left her kid behind. She returns to Belgium to reunite with Jeanne, but Marie doesn’t want to give her up. When Louise finally arrives, Marie lies to her Jeanne drowned in a river nearby. Louise is devastated and collapses, before returning to America. This results in estranging from Elton.
World War I broke out and Belgium is occupied by Germany. Marie fears for Jeanne’s safety and brings her to America to live with her mother. After an emotional goodbye, Jeanne sets out for America to find her mother. Along the way she meets two orphan boys and decides to take care of them. When she finally arrives in America, she travels to Louise’s big mansion.
Too afraid to tell her she is her daughter, Jeanne applies to serve as her maid. While pretending to be someone else, she gets to know her mother. However, she has trouble keeping up the lie and wants nothing more but have a reconciliation. Waiting for the right time to tell the truth, Jeanne hopes everything will come to a right end. When guests of the mansion plot to fleece Elton, Jeanne is forced to reveal her true identity to save the day. A happy reunion follows.
Cast: Mary Pickford, Elmer Booth, Charles Hill Mailes, Jack Pickford, Christy Cabanne, Max Davidson, Grace Henderson, Adolph Lestina, Alfred Paget, Harry Hyde, Frank Evans
Jump up^Catalog of Holdings The American Film Institute Collection and The United Artists Collection at The Library of Congress p. 125 c.1978 by The American Film Institute
Cast: Mary Pickford, Alfred Paget, Kate Bruce, Charles Craig, Frank Evans, Edith Haldeman, Ruth Hart, Arthur V Johnson, James Kirkwood, Henry Lehrman, Owen Moore, George Nichols, Lottie Pickford, Mack Sennett, Dorothy West
According to the New York Dramatic Mirror, the film is about “the helpless Indian race as it has been forced to recede before the advancing white, and as such is full of poetic sentiment”.[2]
According to Scott Simon, “the film’s title works out to mean “The Red Man’s Point of View”, and for all the film’s difficulty in making drama from a long, passive march, there’s nothing like The Red Man’s View in Hollywood until John Ford’s Cheyenne Autumn more than fifty years later”.[3]
Cast: Mary Pickford, William Scott, Kate Price, Ida Waterman, Norman Kerry, Fred Goodwin, Margaret Landis, Tom Wilson, Gustav Von Seyffertitz, Leo White
67 min
Marshall Neilan
Amarilly of Clothes-Line Alley is a 1918 American silent comedy romance film starring Mary Pickford that was directed by Marshall Neilan and written by Frances Marion based upon a novel by Belle K. Maniates.[2]
Set in San Francisco during the early 1900s, the film revolves around Amarilly (Mary Pickford), the daughter of a widowed scrubwoman. Amarilly is proud of her hard-working Irish family, and takes care of her five roughhouse brothers. She is engaged to bartender Terry McGowan (William Scott), who gets her a job as a cigarette girl in his cafe after a fire unfairly causes her to lose her job as a theater scrubwoman. While working as a cigarette girl, she meets Gordon Phillips (Norman Kerry), a handsome and wealthy but frivolous young man, who is a society sculptor.
Terry becomes jealous when Amarilly starts hanging out with Gordon, and he breaks off the engagement. Gordon offers Amarilly a job with his wealthy and snobbish aunt, Mrs. Phillips (Ida Waterman). When the neighborhood is quarantined after a breakout of scarlet fever, Mrs. Phillips decides to take the time to teach Amarilly high class manners in a Pygmalion-like experiment. However, once she discovers her nephew has fallen in love with Amarilly, she turns against her. Mrs. Phillips tries to humiliate Amarilly by inviting her family over for a social party.
Amarilly is outraged and returns to her old home. She sees Terry and invites him for supper. He is delighted, and on the way to her house, he stops to buy expensive 50 cent violets, even though he had earlier passed up violets at 15 cents. He is shot by accident, and barely makes it to Amarilly’s house before collapsing. Fortunately, Terry survives. Amarilly visits him in the hospital and tells him that when he gets out, they have a date at City Hall.
The final scene is five years later. Amarilly is in a side car on Terry’s motor bike; they both are nicely dressed and seem to be doing well. Then it is revealed under the blanket she has a baby, and behind Terry is a little boy.
Like many American films of the time, Amarilly of Clothes-Line Alley was subject to cuts by city and state film censorship boards. For example, the Chicago Board of Censors required a cut, i Reel 1, of a closeup of money in a man’s hand and, Reel 4, maid opening door to alleged house of ill-fame and man entering.[3]
Mary Pickford plays Priscilla an unemployed maid who finds work at a farm. There she meets a no-good peddler who starts flirting with her and makes her fall in love with him. He runs up a gambling bill and asks her to help him pay his debts or he won’t be able to marry her.[1]
Film Dialogue 
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