THANKS FOR THE MEMORY

Shirley Ross and Bob Hope

THANKS FOR THE MEMORY (1938). Director: George Archainbaud.

Steve (Bob Hope) and Anne (Shirley Ross) are a married couple with a few annoying friends. Steve is working on a novel, and Anne goes back to work as a model so he can finish the book and keep house. Naturally the latter part offends his manhood, and instead of being grateful he winds up acting like a complete jerk. This is only one of several problems with this comedy, which also features Patricia Wilder as a sexy, "helpless" neighbor; Roscoe Karns as a kept man; Laura Hope Crews [Confession] as his battle ax of a wife; Charles Butterworth [The Mad Genius] and Hedda Hopper as two more friends; Eddie Anderson as the building's super; and Otto Kruger [Beauty for Sale] as a publisher and Anne's former flame. Based on a play by Hackett and Goodrich, the film is merciless towards Crews' character, when it is her gigolo husband who should be the object of contempt. This may have worked on the stage, but it's not a good fit for Hopes' brand of comedy, and while Ross is quite pretty and capable, one can't help but miss the much-more-amusing Martha Raye. Ross and Hope originally sang the Rainger and Robin tune "Thanks for the Memory" in The Big Broadcast of 1938, and they were reunited for this movie. They also sing the memorable "Two Sleepy People," co-written by Frank Loesser.

 Verdict: Very contrived, with an unsympathetic lead character -- and Hopper can make your flesh crawl. **.

MAGNIFICENT OBSESSION (1935)

MAGNIFICENT OBSESSION (1935). Director: John M. Stahl.

"Through one, all may be reached."

Because a wealthy playboy, Bob Merrick (Robert Taylor), goes sailing while drunk, special equipment is used to save his life, meaning it isn't available elsewhere when a beloved doctor has a stroke while swimming. The doctor dies and the useless playboy lives, infuriating the doctor's widow, Helen (Irene Dunne). But these two individuals are nevertheless drawn to each other, but tragedy strikes when Helen is the victim of a hit and run and loses her sight. This gives Bob a new purpose in life, as does the dead doctor's philosophy of helping people while asking for nothing in return, creating a spiritual connection. This is the first film adaptation of Lloyd C. Douglas' novel; a remake was done in 1954. The trouble with the movie isn't its religiosity, which never becomes too overpowering, but the fact that it's contrived from beginning to end. Fine performances from the leads are some compensation, but Magnificent Obsession is pretty predictable and tedious. Sara Haden, Ralph Morgan, and Betty Furness are good in supporting roles, but dippy Charles Butterworth is merely an irritation.

Verdict: Not exactly a classic but the stars are excellent. **.

THE MAD GENIUS

THE MAD GENIUS (1931). Director: Michael Curtiz.

In a variation on Svengali, in which he also starred, John Barrymore (pictured) plays a puppeteer whom fate brings into contact with a boy through which he can live out his frustrated dreams of becoming a dancer. Years later Barrymore is an impresario with a German ballet company and the lad, Fedor (Donald Cook), is its principal male dancer. Ivan Tsarakov (Barrymore) is an old lech who thinks women are strictly for lovin' and leavin', and he's angry when Fedor falls for Nana (Marian Marsh), a pretty, talented dancer in the company, because he's afraid she'll somehow prevent him from fulfilling his genius. When Tsarakov cruelly tries to break the two up, Fedor strikes out on his own -- but Tsarakov does his best to stymie his ambitions. This is a handsome, well-photographed production with interesting aspects and some uneven acting -- even from the great Barrymore -- but ultimately it's a very minor effort. Charles Butterworth offers some comedy relief as Ivan's put-upon assistant (his idea for a ballet is hilarious). Marsh proves an able and expressive actress. Luis Alberni is also quite effective as Sergei, the drug-addicted ballet director who figures in a somewhat bravura and grotesque finale.

Verdict: Intriguing but disappointing. **1/2.