HOLLYWOOD HOTEL

Dick Powell and Rosemary Lane

HOLLYWOOD HOTEL (1937). Director: Busby Berkeley. 

Saxophonist Ronnie Bowers (Dick Powell of Susan Slept Here), who has somehow been given a movie contract, is tapped to accompany movie star Mona Marshall (Lola Lane of The Woman Condemned) to a big premiere. He is unaware that an angry Mona has refused to attend and his date is actually a lookalike named Virginia (Rosemary Lane). When the studio drops Ronnie's contract due to the complaints of Mona, Ronnie and Virginia cook up schemes to get him back in the business. Meanwhile Benny Goodman and his band play a couple of snappy numbers, Dick and the Lane sisters sing some pleasant if forgettable songs, and three comparative freaks of nature -- supremely homely columnist Luella Parsons, "singer" Johnnie Davis, and buck-toothed Mabel Todd as Mona's sister -- nearly shatter the camera lens. 

Freaks: Johnnie Davis and Louella Parsons

Hollywood Hotel is an amiable bit of nonsense with a slender plot and some lively musical moments. Fritz Feld has a very funny bit as a Russian customer in a coffee shop, Ronald Reagan appears for a few seconds as an emcee at the premiere, Harry James -- still playing for Benny Goodman at this point -- makes smooth music with his trumpet, and Raymond Paige and his orchestra play an exciting Russian-style number. Others in the cast include Ted Healey (who put the Three Stooges together before being ousted) as "Fuzzy," Ronnie's alleged manager; Frances Langford; Glenda Farrell as Mona's secretary; Alan Mowbray (of Becky Sharp) as Mona's leading man; Perc Westmore as himself; Grant Mitchell as the head of the studio; Allyn Joslyn as his assistant; and others. Goodman's integrated band includes drummer Gene Krupa and vibraphonist Lionel Hampton. A gay fashion designer is named "Butch" -- oy vey!

Verdict: Some fun but perhaps not enough. **1/2. 

SPLIT SECOND

Alexis Smith, Paul Kelly, Stephen McNally 

SPLIT SECOND (1953). Director: Dick Powell. Colorized version. 

Sam Hurley (Stephen McNally) has broken out of prison with his buddies, Bart (Paul Kelly) and Dummy (Frank DeKova), and are hoping to retrieve some loot from an armored car robbery. Hurley commandeers a car driven by Ashton (Robert Paige) and his lover, Kay (Alexis Smith), and when that runs out of gas, takes over a vehicle driven by reporter Larry (Keith Andes) and hitchhiker Dottie (Jan Sterling). Sam takes the whole group to a ghost town in the desert, even though everyone knows that the following morning an atom bomb being tested will go off and decimate the place! Before they can get out of there, Hurley calls Kay's estranged husband, Dr. Garven (Richard Egan), and tells him to fly down and take a bullet out of Bart or else Kay will die. 

Richard Egan comforts Alexis Smith

Now right there you can see the problem. Even if Garven is still in love with the wife who is divorcing him, it seems ridiculous and unreasonable for him to take so much time getting to Bart instead of telling the police exactly where he is! Surely the cops would have a better chance of rescuing Kay and the others than Garven! Split Second  may be fast-paced, but it's not so fast that the audience won't be scratching their heads over this ludicrous plot hole. Garven has hours during which he can contact the authorities. Frankly, things get a little tiresome in that ghost town before things heat up for the climax. Another weird scene is when Ashton practically seems to be begging Sam to shoot him, and Bart's sudden character reversal is senseless as well, even though it's made clear early on that Bart is not the mad killer type like his friend Hurley..

Stephen McNally

Stephen McNally gives another sharp and dynamic performance as Sam, always convincing whether he's snarling at his captors, shouting orders, or romancing the ladies, one of whom goes along with his addressals for her own protection. The other performances are all good as well, with Smith having the showiest role. The climax is terrific, although the writers seem not to have considered the possible effects of radiation poisoning. Dick Powell directed this and generally keeps things moving, although Hitchcock had nothing to worry about. 

Verdict: Interesting idea that doesn't quite work. **1/2. 

IN THE NAVY

Bud Abbott, Dick Foran, Lou Costello

IN THE NAVY (1941). Director: Arthur Lubin. Colorized version. 

Russ Raymond (Dick Powell), singing star, wants to get away from his adoring fans and become anonymous in the Navy. Reporter Dorothy Roberts (Claire Dodd of Babbitt) is determined to get a photo of him for her magazine, somehow thinking this will be a big story. (Even Elvis getting a haircut for the Army wasn't that big a story!) Russ in his new identity encounters the film's true stars, Abbott and Costello, as sailors Smoky and Pomeroy. Chubby Pomeroy thinks of Patti of the Andrews Sisters as his girlfriend, but she may not be so inclined. Everyone sings! 

The Andrews Sisters

In the Navy is an amiable if minor A&C comedy with some amusing moments and pleasant tunes that are not that memorable all told. Bud and Lou do their usual schtick and do it well. Dick Foran is fine as their slightly grouchy superior officer and Powell does his best as straight man for the boys. Claire Dodd is professional but comparatively bland as the persistent reporter. Patti Andrews displays personality to spare, and she and her two sisters sing up a harmonizing storm. The highlight of the movie is actually some splendid tap-dancing from the Condos Brothers duo. Foran and the Andrews trio also appeared together in Private Buckeroo, where Foran gets to do a lot more singing. The Andrews Sisters did a pilot for a TV sitcom in 1951 but no network picked it up. 

Verdict: The boys have done better but this has its moments. **1/2. 

42ND STREET

Is this really a star? Ruby Keeler

42ND STREET (1933). Director: Lloyd Bacon. 

Julian Marsh (Warner Baxter), who has already had one nervous breakdown, is directing his new show, "Pretty Lady." His leading lady, Dorothy (Bebe Daniels), is carrying on with her former dance partner Pat (George Brent) behind the back of her supposed swain and chief angel, the ugly Abner, (Guy Kibbee). Peggy (Ruby Keeler), a show biz hopeful, is taken under the wing of both Pat, and hoofer Billy (Dick Powell). Tormented by her love for Pat, Dorothy drinks too much and has an accident -- but will Peggy be able to carry the whole show on her shoulders?

George Brent and Debe Daniels

The answer is no, judging from the final moments of 42nd Street. Although I got a favorable impression of Keeler in another film she did that year, Gold Diggers of 1933, and she is perfectly okay in the straight dramatic scenes, when she takes over from Dorothy in "Pretty Lady" she seems leaden-footed and the fact that she has a poor voice -- to put in mildly -- is even inserted into the script. Therefore these sequences are unintentionally comical, as it makes you wonder if, say, Al Capone made Baxter an offer he couldn't refuse. As for Baxter, he gives a fine, old-fashioned-type performance as a man who today we would deem bipolar. Brent is his usual charming self. Former silent movie star Bebe Daniels, who is effective as Dorothy, had only a few more credits after this film. Guy Kibbee is typically excellent, Powell is boyishly sweet, and Ed Nugent makes an impression as another handsome hoofer. 

The production numbers were put together by Busby Berkeley, and of these the most inventive is the title tune. Some of the songs have become standards: "You're Getting to Be a Habit" and "Shuffle Off to Buffalo;" in particular. "Young and Healthy" makes use of a Berkeley invention: creating a kaleidoscope effect of the dancers shot from high overhead. Ginger Rogers has a small role in this and is not photographed flatteringly. It's easy to see why Keeler never really became a major star. 

Verdict: Some great tunes, generally pleasant, but not really a classic. **1/2.

GOLD DIGGERS OF 1933

Ruby Keeler and Dick Powell

GOLD DIGGERS OF 1933 (1933). Director: Mervyn LeRoy. 

Carol (Joan Blondell), Trixie (Aline MacMahon) and Polly (Ruby Keeler) are roommates and struggling chorus girls. They are excited to learn that Barney Hopkins (Ned Sparks) is putting on another show, but disappointed when they discover he has no financial backer. But neighbor Brad (Dick Powell), an aspiring songwriter, says he has dough and wants to invest. Polly, who has a crush on Brad, is convinced that he is a infamous bank robber, but he's actually the wealthy scion of a stuffy Boston family. When Brad's brother Larry (Warren William) mistakes Carol for Polly and tries to buy her off, she decides to string him along while ruthless Trixie -- the oldest and least attractive of the trio -- sets her cap for Larry's lawyer Peabody (Guy Kibbee). Will true love conquer all? On yes, there are songs and dance numbers as well. 

Ginger Rogers and chorus cuties

The production numbers were put together by Busby Berkeley, and they are inventive and engaging (I especially loved the roller-skating baby!). The songs, by Warren and Dubin, include "We're In the Money" (warbled by Ginger Rogers, who plays a friend of the aforementioned trio); "Torch Song," well-sung by the very likable Powell; "Pettin' in the Park;" "In the Shadows;" and "The Forgotten Man." This last number, which is a poignant salute to forgotten and homeless WW1 veterans, adds some depth to an otherwise frothy, mindless movie and wisely ends the film without the usual clinch or upbeat finale. Trixie is a kind of sleazy character but the movie glosses over that. The cast is good and enthusiastic, putting over the material with aplomb. 

Verdict: All this and Powell, too! ***. 

SUSAN SLEPT HERE

Dick Powell

SUSAN SLEPT HERE (1954). Director: Frank Tashlin.

Screenwriter and bachelor Mark Christopher (Dick Powell of Pitfall) finds himself with an unusual Christmas "present." Two cops of his acquaintance want him to babysit a 17-year-old girl, Susan (Debbie Reynolds), over the holiday so they won't have to actually book her for some minor offense on Christmas Day. Mark reluctantly agrees but this causes problems for his sort of fiancee Isabella (Anne Francis), and upsets his household, which consists of secretary Maude (Glenda Farrell) and his old Navy buddy, Virgil (Alvy Moore). But is the middle-aged author more drawn to lovely, very young Susan than he would care to admit?

Farrell, Moore and Reynolds

One thing this comedy has going for it is some excellent performances. Debbie Reynolds, who was actually twenty-two at the time, is simply outstanding. Powell --fifty playing thirty-five but not getting away with it -- is no slouch, either. Farrell uses all she learned about acting since the thirties to make a distinct impression, and Moore manages to emerge an almost poignant figure, although his chief function is to get more laughs. Anne Francis also scores in the thankless role of the fiancee who is treated rather badly but whom Mark apparently never took seriously to begin with. Maidie Norman [What Ever Happened to Baby Jane?] and Les Tremayne [The Monolith Monsters] are also good as, respectively, Mark's maid and lawyer.

The characters at least seem a little more dimensional than in most comedies of this type, but that may be due to the performances. The picture goes on about twenty minutes too long, and there is a very tedious dream sequence in which Susan imagines Annabella literally snaring Mark in her web. (You would think that Powell and Reynolds would actually dance together, but they never really do.) Red Skelton has a funny cameo. This was Dick Powell's last theatrical film; he appeared strictly on television thereafter.

Verdict: Strangely appealing May-December romantic comedy that shouldn't work but does. ***. 

STAGE STRUCK (1936)

STAGE STRUCK (1936). Director: Busby Berkeley.

Dance director George Randall (Dick Powell of Star Spangled Rhythm) is working on a new production when he is told that there is a new financial backer who just happens to want to star in the show as well. Peggy Revere (Joan Blondell of Good Girls Go to Paris) has absolutely no experience and no talent, but she is famous for shooting her husband -- a mere "flesh wound" -- in France and getting acquitted. Now the producers figure Peggy's notoriety will sell lots of tickets. The trouble is that she and George can't stand each other. At the same time George becomes a little struck on young hopeful Ruth Williams (Jeanne Madden), who is talented but is told by George in a rather patronizing way that she should just go home. Obviously thinking show girls are some kind of lesser breed of female, he is afraid she will become just like "all the rest." (His condescending and negative attitudes towards these gals goes basically unremarked upon and unresolved, but that's show biz.) So which of these two ladies will walk out on stage on opening night? Stage Struck is an entertaining and well-played musical with a couple of very nice song numbers by Harburg and Arlen: "This Can't Be True" and "In Your Own Quiet Way." Powell is terrific as both actor and singer, but the cute Jeanne Madden only made two more pictures after this more than satisfactory debut. Other notable cast members include Frank McHugh as George's assistant; Warren William [The Man in the Iron Mask] as his nervous and excitable producer; the eternally old Spring Byington; Jane Wyman, charming in a bit part; two adorable dachshunds and a bigger pooch who loves to rough house with George; and the Yacht Club Boys, a quartet who figure prominently in a clever and funny number called "The Body Beautiful," which has decided Marx Brothers overtones.

Verdict: Fun minor musical with nice songs and excellent performances. **3/4. 

STAR SPANGLED RHYTHM

Dick Powell and Mary Martin

STAR SPANGLED RHYTHM (1942). Director: George Marshall.

"I just can't make it tonight -- Veronica Lake is going to show me her other eye. " -- Bob Hope.

In this all-star Paramount wartime picture, the main plot has to do with Johnny Webster (Eddie Bracken), a sailor on leave who comes to Hollywood with his buddies. Eddie's father was once "Bronco Billy" Webster (Victor Moore of Carolina Blues), star of silent pictures, but is now reduced to being a guard at the studio gate. Ashamed of this comedown, Billy has lied to his son and told him that he is head of the studio! Eddie's girlfriend, Polly (Betty Hutton of the "craptastic" Betty Hutton Show), helps "Pop" put over the deception but needs some big help from the stars when Pop foolishly promises that his Paramount stars will put on a show for the sailor boys ... Star Spangled Rhythm has some slow stretches -- the whole second half consists almost entirely of acts, including one stop-the-movie-dead skit where four men play poker as if they were women -- but it also has its share of delights, including a hilarious bit when Polly enlists the aid of two men to help her get over the wall of the Paramount studio. Dick Powell and Mary Martin and an uncredited black group (the Mills Brothers?) do an excellent "Dreamtime" number on a train; there's a splendid and rather sexy production number called "Swing Shift" in a factory; and Eddie "Rochester" Anderson stars in another vibrant and all-Black dance number called "Sharp as a Tack." Dorothy Lamour, Veronica Lake, and Paulette Goddard spoof their images in "Sweater, Sarong, and Peekaboo Bang," and Sterling Holloway [Shake, Rattle & Rock], Walter Catlett and Arthur Treacher play the same ladies in drag. William Bendix has a funny shower scene with Bob Hope. Bracken, Hutton, and Moore are all on the money; Walter Abel scores as the real studio head, as does Anne Revere as his secretary; and Cecil B. Demille proves a perfectly adept actor playing himself. Cass Daley does her weird shtick, buck teeth and all. George Marshall keeps the pace fast and makes things visually interesting as well.

Verdict: Enjoyable romp. ***.

JOAN IN THE WILD WEST

Joan in "Rebel Ranger" on Zane Grey Theater

JOAN CRAWFORD IN THE WILD WEST.

Joan Crawford appeared in one famous movie western, Johnny Guitar, Some of the TV series Joan appeared in included such westerns as The Virginian and two episodes of Zane Grey Theater.

Joan appeared on Zane Grey Theater, which was hosted by Dick Powell, in 1959 and 1961. In the first story, "Rebel Ranger," she plays Stella Faring, who has lost her rebel husband in the Civil War, and only wants to return with her son, Rob (Don Grady), to the home they once shared. Unfortunately, the house was taken by the Yankees and sold to Case Taggart (Scott Forbes), who says that he is the legal owner and she and the boy cannot stay. Stella moves in anyway, and soon others are interfering in this mini-war until someone gets shot. This is a very interesting story with a fine performance from Crawford and from handsome Forbes [Adventures of Jim Bowie], who appeared mostly on television in the US and England where he was born. Young Grady and John Anderson as a friend of Stella's are also notable. ***.

Joan in "One Must Die" on  Zane Grey Theater

On the other end of the spectrum is "One Must Die," in which John Baylor (Philip Carey) comes to a house in Texas to arrange a will for a dying man, Hobbes (Carl Benton Reid). Hobbes has two daughters, Sarah and Melanie, both played by Crawford, but it is obvious from the first that this is a lame split personality story that was hackneyed long before 1961. Joan is good, if a bit too old, for the part, but at least she gets to spit out the line: "You call yourself a man -- wanting someone as drab and sexless as Sarah!" The woman's mental problems are resolved so quickly at the end that it's comical. *1/2.

Joan appeared on The Virginian in 1970 in an episode entitled "Nightmare." In this Stephanie White (Crawford) marries John White (Michael Conrad), but he is crippled in an accident and dies in a fire. After she inherits his business, to his brother's consternation, it is discovered that her first husband died under similar circumstances. When Stephanie is accused of murder, the Virginian (James Drury), is one of the few who believe in her innocence. Joan has some very good moments in this.**1/2.

PITFALL

Endangered family: Jane Wyatt, Dick Powell and Jimmy Hunt

PITFALL (1948). Director: Andre de Toth.

Insurance man John Forbes (Dick Powell) has a loving wife, Sue (Jane Wyatt) and an adorable little boy (Jimmy Hunt), but he's restless and bored, and feels he's in a rut. He goes to see Mona Stevens (Lizabeth Scott) in hopes of getting back some of the gifts her embezzling boyfriend Bill (Byron Barr) bought her with stolen loot, and the two are attracted to one another. This infuriates the bulky private eye "Mac" (Raymond Burr), who has an unrequited -- and dangerous -- infatuation with Mona, leading to melodramatic complications. The acting from all is fine in the movie -- Raymond Burr pretty much walks off with the picture -- but the trouble is its completely unimaginative presentation. The only really memorable scene is when the menacing Mac comes to the dress shop where Mona is a model and forces her to show off some sexy numbers for him. Speaking of which, this is directed by the numbers. Barr had a supporting role in Double Indemnity and was also in Follow That Woman and others.

Verdict: Good performances but still kind of blah. **1/2.

CORNERED

CORNERED (1945). Director: Edward Dmytryk. 

Laurence Gerard (Dick Powell), a Canadian shot down over France and helped by the underground, learns that the resistance fighter he married and hardly knew was murdered along with many others under the orders of a collaborationist named Jarnac -- who is supposedly dead. Gerard travels to Buenos Aires to find Jarnac, even though he doesn't know what he looks like or what name he might be using. Helping and hindering along the way are Jarnac's widow (Micheline Cheirel), the hostess Mrs. Camargo (Nina Vale), her mousy husband (Steven Geray), a shady tourist guide (Walter Slezak of Lifeboat), and the sinister Dr. Satana (Morris Carnovsky). Even Edgar Barrier and Nestor Paiva get into the act as, respectively, an insurance agent and a police official. Powell and Slezak give terrific performances, with a sharp assist from Luthor Adler and the rest of the supporting cast. The movie is unpredictable and basically absorbing, though it has no great Hitchcock-like set-pieces and is rather talky at times. Still, it is undeniably intriguing and has an exciting climax. NOTE: Cornered is one of the eight films on Warner brothers' Film Noir Classic Collection Volume 5. 

Verdict: Powell proves again that he's not just a song and dance man. ***.

CRY DANGER

CRY DANGER (1951). Director: Robert Parrish. 

Rocky Mulloy (Dick Powell) has received a pardon after being convicted of bank robbery, but Detective Cobb (Regis Toomey) still thinks Mulloy knows where the money is. Mulloy hooks up with Nancy (Rhonda Fleming), the wife of his supposed partner-in-crime, who is still in prison, as well as a heavy-drinking character named Delong (the effective Richard Erdman), with whom he shares a trailer. Meanwhile operator Louie Castro (William Conrad) has ideas of his own. Jean Porter is fun as the somewhat shifty Darlene LaVonne, who also lives at the trailer park, but Joan Banks nearly steals the picture in her brief but vivid turn as Alice Fletcher, wife of the man who identified Mulloy during his trial. The clipped speech patterns of some of the players almost make this come off like a hard-boiled parody at times. This holds the attention, but little else. 

Verdict: Noir Lite. **.

IT HAPPENED TOMORROW

IT HAPPENED TOMORROW (1944). Director: Rene Clair.

A strange old man gives reporter Larry Stevens (Dick Powell) newspapers with tomorrows news before it happens. Stevens uses this to advance his career by being in the right place at the right time -- but it makes the police and others suspicious. Finally he sees a headline that has a very personal impact on his life. This is a light-hearted, superficial treatment of an interesting idea, although it has its amusing moments and there's some genuine suspense at the close. Dick Powell is okay playing a character who is not entirely admirable; Linda Darnell is pretty and pretty swell as his sweetheart, and Jack Oakie; with facial hair that somewhat softens his repulsive, potato-faced countenance, does a fine job as Darnell's father.

Verdict: Minor-league fantasy has its moments. **1/2.

ON THE AVENUE

ON THE AVENUE (1937). Directed by Roy Del Ruth.

A charming and genuinely amusing musical with some pleasant (if unspectacular) Irving Berlin songs. Gary Blake (Dick Powell) is the star of a hit Broadway revue, and his co-star, Mona Merrick (Alice Faye), seems a bit smitten with him. In one of the show’s most popular sketches, Mona plays a well-known heiress, Mimi Carraway (Madeleine Carroll), and Blake is her very stuffy father, the Commodore (George Barbier). Father and daughter Carraway are outraged by the sketch and Mimi contacts Gary in an attempt to gain revenge. The two wind up falling in love with each other, naturally, and Blake agrees to make the sketch less offensive. However, a jealous Mona decides she’s not going to take all the juice out of the sketch, and ... well, let’s just say it leads to the funniest sequence in the movie. All three leads and the supporting cast are in top form. Especially notable is Cora Witherspoon as Mimi’s free-spirited aunt, who thinks the aforementioned sketch is hilarious and seems to be the only person in the family with a sense of humor. The Ritz Brothers do some funny routines but one of them goes on forever and nearly stops the picture dead. Otherwise, this fast-moving musical comedy is a pip.

Verdict: Lots of fun. ***.