LET 'EM HAVE IT

Richard Arlen with Bruce Cabot in the background

LET 'EM HAVE IT (1935). Director: Sam Wood.

Federal agents Mal Stevens (Richard Arlen), Van Rensseler (Harvey Stephens), and Tex Logan (Gordon Jones of The Green Hornet) are up against a formidable foe in Joe Keefer (Bruce Cabot), who has organized a gang of ex-cons, many of which he sprung from a prison farm, to engineer a series of bank robberies. Joe was originally a chauffeur for Eleanor Spencer (Virginia Bruce), who was once very close to Van but now has feelings for Mal. Unfortunately, Eleanor gets angry with Mal when he is unable to prevent her kid brother, Buddy (Eric Linden), from becoming a G-Man, with tragic results.

Eric Linden and Richard Arlen

Under the direction of Sam Wood, Let 'Em Have It is a fast-paced, well-acted, and entertaining cops vs robbers movie. Although mostly forgotten today, even by film buffs, Richard Arlen (Island of Lost Souls) was a handsome and charismatic leading man for most of his career, which comprised nearly 200 credits. Other players in this flick include Alice Brady [When Ladies Meet], as Eleanor's man-hungry Aunt Ethel, and Barbara Pepper as one of Cabot's blond molls, Milly. Pepper later gained a lot of weight and appeared more than once on I Love Lucy. Sam Wood also directed Goodbye, Mr. Chips in 1939 and a great many others.

Verdict: Snappy picture hasn't a dull moment. ***. 

BLACK SPURS

Rory Calhoun and Linda Darnell

BLACK SPURS (1965). Director: R. G. Springsteen.

In Texas in 1885 Santee (Rory Calhoun of Night of the Lepus) is engaged to pretty Anna (Terry Moore) but he wants to wait to marry until he's made his fortune. He bids adieu to Anna and sets off to capture or kill the notorious bandit, El Pescadore (Robert Carricart), something he succeeds at. After this Santee becomes a full-time bounty hunter with many kills to his credit. Many. many months later he returns to his lady love only to learn that she has understandably married another, Sheriff Ralph Elkins (James Best) of Lash, Kansas. An embittered Santee decides to help a certain entrepreneur named Gus Kile (Lon Chaney Jr.) bring gambling and loose ladies to Lash no matter who gets hurt, but does the man have a chance at redemption?

Lon Chaney Jr. and Rory Calhoun

Black Spurs certainly has an interesting cast. Although Calhoun mostly shows the emotion of a rock, his co-players tend to be better, and this includes Linda Darnell in a small role as a madame. Darnell is a bit zaftig but not unattractive. She died in a fire before the film was released. Scott Brady plays, of all things, a priest, Richard Arlen owns the local saloon, and Bruce Cabot is an enforcer who zestily throws people out of town with a sneer or a heave. Patricia Owens and Jerome Courtland [Kiss and Tell] play lovers who aren't really married, and there is a brief appearance by pre-Star Trek DeForest Kelley as another sheriff.  Handsome Joseph Hoover has a rare (if small) speaking role as another one of Arlen's associates. Manuel Padilla Jr. [Tarzan and the Valley of Gold[ is cute as the little boy, Manuel, who loves to sing and eventually becomes disenchanted with his hero, Santee.

Black Spurs is by no means a great western but it features a basically sound storyline (albeit probably one that has been used in different variations many, many times over) and has some flavorful performances. Courtland and Owens each had one more theatrical film before doing some TV work; Courtland became a director. Calhoun and Moore had a great many more credits, and the latter is still acting today. Director R. G. Springsteen amassed nearly 100 film and TV credits, mostly working on westerns.

Verdict: Okay western for devotees. **1/2. 

LOVE TAKES FLIGHT

LOVE TAKES FLIGHT (1937). Director: Conrad Nagel.

"Colossalific -- that's what it is!"

During a flight across the country, stewardess Joan Lawson (Beatrice Roberts) catches the attention of movie producer Dave Miller (Edwin Maxwell), who wants to make her a star to replace the difficult Diane Audre (Astrid Allwyn). Joan turns down the offer, but it is accepted by the pilot, Brad Bradshaw (Bruce Cabot), who goes to Hollywood in her stead. Brad begins hanging around with Diane, which causes consternation for Joan, who is in love with Brad. She gains much attention herself by taking well-publicized solo flights, but will Brad interfere ...? Bruce Cabot [Fallen Angel] is good as Brad, Allwyn isn't bad as the bitchy movie star, and Roberts is appealing enough as Joan but not special. Grady Sutton [Hot Saturday] plays a poor sap who keeps asking Diane for a date and getting turned down, and Bill Elliott is a man who dates Joan while she hopes to forget Brad. The movie has a somewhat feminist perspective due to Joan's independent stance, but of course the movie has to cop out at the end with the patronizing Brad taking over her flight. Otherwise, this is not a bad comedy-drama. This was the only film directed by actor Conrad Nagel [All That Heaven Allows], who amassed dozens of credits from the silent era until the late sixties. This was one of Roberts' few leading roles, as in most of her films she had very small parts.

Verdict: Pleasant trifle with some good acting. **1/2.

FALLEN ANGEL

Alice Faye and Dana Andrews

FALLEN ANGEL (1945). Producer/director: Otto Preminger.

" ... and love alone can make the fallen angel rise,  for only two together can enter paradise."

In a small coastal town not far from San Francisco, ex-publicity man Eric Stanton (Dana Andrews) has set his sights on the wealthy June Mills (Alice Faye), whose sister, Clara (Anne Revere), may be a tougher nut to crack. Then there's sexy waitress, Stella (Linda Darnell), who may throw a monkey wrench into Eric's schemes if he's not careful. A murder investigation ensues, which brings in tough detective Mark Judd (Charles Bickford), and a suspect named Dave Atkins (Bruce Cabot). Fallen Angel can be looked upon as a mystery, film noir, or whatever you want to call it, but it's full of such good performances and nice moments that it emerges as a strong (if flawed) and compelling drama. In a different role for her, Faye [On The Avenue] is excellent as a woman who loves someone unconditionally -- she has a particularly good moment telling Eric how she feels about him  --  Darnell [Day-Time Wife] is vivid and vital as the saucy waitress, and Andrews [Boomerang] gives another sharp and solid performance, playing a man who is more complex than he first appears. Revere, Cabot, Bickford, as well as John Carradine as a professor and Percy Kilbride as a cafe owner with feelings for Stella, are all on the mark. The story is, perhaps, wrapped up a bit too neatly, but this is an engrossing and interesting movie.

Verdict: One of Preminger's better efforts. ***.

THE FLAME OF NEW ORLEANS

Marlene Dietrich and Theresa Harris

THE FLAME OF NEW ORLEANS (1941). Director: Rene Clair.

In old New Orleans lady of leisure Countess Claire (Marlene Dietrich) has set her cap for the wealthy older banker Charles Giraud (Roland Young). But Claire has left behind quite a reputation in St. Petersburg, and to deflect Giraud's suspicion she also pretends to be another notorious woman from Russia, Claire's lookalike and [kind of] cousin, Lily. Complicating matters is a lusty sailor named Robert Latour (Bruce Cabot), who has an eye for Claire (and Lili)  and vice versa. One could say that Flame of New Orleans is Dietrich's Two-Faced Woman [in which Greta Garbo pretended to be two different women] not just because of the plot but because Flame is similarly mediocre. However, the actors, especially a surprising Cabot, all do a good job, and they are backed by such stalwarts as Franklin Pangborn, Mischa Auer, Anne Revere, Laura Hope Crews, Andy Devine, and a host of talented black actors, including Theresa Harris [Baby Face] as Clarie's saucy, sexy maid Clementine. However, the film is predictable and not as much fun as it sounds. Clair also directed It Happened Tomorrow.

Verdict: Pleasant in many ways but minor. **1/2.  

KING KONG (1933)

KING KONG (1933). Directed by Cooper and Schoedsack. 

Nearly 90 years after its initial release, King Kong remains an outstanding film and one of the most exciting motion pictures ever made. While some may consider them "crude" today, the fact is that many of the stop-motion effects by Willis O'Brien and company are still eye-popping and extremely effective, with Kong himself being a wonderful creation -- both playful [flapping the cracked jaw of a defeated T Rex with amusing curiosity] and extremely dangerous, to say the least. The picture is fast-paced, intense, and at times quite disturbing. (You can feel sorry for Kong if you want to; the one who gets my sympathy is that poor terrified woman who's grabbed out of her bed in the hotel and dashed to the ground -- not to mention all of the big ape's other victims]. Max Steiner's excellent score imbues the film with atmosphere, as do the elaborate sets, beautiful matte paintings, and other FX work. All in all, King Kong is a kind of epic tragedy for all concerned. This is still the best version of the story bar none. NOTE: You can read more about this and other monster movies in Creature Features: Nature Turned Nasty in the Movies. 

Verdict: Cinematic and magical. ****.

SINNERS IN PARADISE

SINNERS IN PARADISE (1938). Director: James Whale.

A motley group of individuals take off for China in a sea plane and wind up crash landing near an island deserted but for Dr. Jim Taylor (John Boles) and his manservant (Willie Fung). The passengers include a nurse, Anne (Madge Evans); an heiress, Iris (Marion Martin); a mobster, Robert (Bruce Cabot), who's running from hit men; a blithering senator (Gene Lockhart); and others. The doctor has a secret and refuses to let the stranded passengers use his boat to get to the mainland; he eventually relents but there's only room on the boat for six people and the bickering turns into fighting and murder. Alas, the movie is not as good as it sounds; with all that's going on it's still a colossal bore. Some of the performances aren't bad, however. Other cast members include Milburn Stone, Morgan Conway, and Don "Red" Barry.

Verdict: One of James Whale's least interesting pictures. **.

DIVORCE

DIVORCE (1945) Director: William Nigh.

Diane Carter (Kay Francis), an adventuress who has married and divorced four wealthy men, returns to her home town and discovers that her ex-beau Bob Phillips (Bruce Cabot) is happily married and has two adorable little boys. Diane and Bob go into business together, and it turns out that Diane is better at helping him realize his ambitions than his pretty wife Martha (Helen Mack) is. Martha soon realizes that she is right to be suspicious of their relationship.... This was one of three films Francis did for Monogram studios, the last of her career, and it's not very memorable. She gives a good performance but plays a character so unlikable that she practically sneers in Martha's face when Bob tells her he's in love with her, Diane. This is the kind of movie that wants us to believe it's a happy ending if the husband goes back to the wife, even though Bob not only shows bad taste in choosing Diane over Martha, but neglects his two little boys and proves all around a stinker. Cabot is fine as the heel of a husband, and Helen Mack is lovely as Martha. Despite some good dialogue, the script is superficial and the characters one-dimensional.

Verdict: Watchable for Kay but no great shakes. **.