OUR VERY OWN

Ann Blyth and Joan Evans

OUR VERY OWN (1950). Director: David Miller.

Gail McCaulay (Ann Blyth) is just about to turn 18. Gail, who has two younger sisters, is practically engaged to her handsome beau, Chuck (Farley Granger). The elder of Gail's two siblings, Joan (Joan Evans of On the Loose), is attracted to Chuck and very jealous of their relationship, and during an argument she lets slip that Gail was adopted, something Joan only recently discovered by accident. Gail's world is upended by this revelation, and she decides to seek out her birth mother (Ann Dvorak), but will she be able to ultimately handle her feelings and accept that she is very much loved by her true and supportive family? And what will her "real" mother be like?

Ann Dvorak and Jane Wyatt

Our Very Own is an absorbing and pleasant movie with good performances from Blyth, Evans and Granger as well as from Jame Wyatt and Donald Cook as the girls' parents. Ann Dvorak also scores as the birth mother who is so afraid her husband will find out about her child, and you wish she was given  more screen time. Natalie Wood is adorable as the youngest of the three sisters, and she has a cute scene when she's driving a TV installer (Gus Schilling) to distraction with all of her questions. Phyllis Kirk also appears to advantage as Zaza, a very sympathetic friend of Gail's -- her wealthy father would rather go to a party than attend her graduation.  Martin Milner is Bert, who has a crush on Joan and is rather unkind to Gwen (Kipp Hamilton of The Unforgiven), a slightly chubby girl who has a crush on him. Those who hope the film might be a trash wallow along the lines of Three Bad Sisters will be disappointed, as there are no cat fights and no talk of genetic issues that may derail marriage plans and the like.

Verdict: Compelling romantic drama with a heartwarming conclusion. ***. 

THE NINTH GUEST

Genevieve Tobin and Hardie Albright

THE NINTH GUEST (1934). Director: Roy William Neill.

A group of people who know and who often vehemently dislike one another receive telegrams inviting them to a party in a penthouse. Once there, they wait to find out who the host is, but -- before you can say *Ten Little Indians or And Then There Were None -- they hear a strange voice on a recording telling of past misdeeds and warning that they are all going to die. The phone lines are cut, and the gate leading to the elevator is wired for electricity. The frantic arguing guests include Jean (Genevieve Tobin), who once was the lover of newspaper man, Jim (Donald Cook); Sylvia (Helen Flint), who has marital secrets; disgraced Mayoral candidate Burke (Charles C. Wilson); Henry Abbott (Hardie Albright), who was thrown out of school by Dr. Reid (Samuel S. Hinds); and several others. What's especially remarkable about The Ninth Guest is that it actually *pre-dates the publication  of Agatha Christie's Ten Little Indians by five years. The Ninth Guest boasts a very fast pace, not too much comedy relief to spoil the tense atmosphere, a very generous amount of suspense, some interesting psychological aspects, and good acting, especially from Flint [Give Me Your Heart] and Albright [The Crash]. Roy William Neill also directed a whole host of wonderful Sherlock Holmes films. NOTE: You can find this movie at Free Classic Movies.

Verdict: Worthwhile and quite entertaining suspense film -- possibly an influence on Christie -- with some "shocking" sequences. ***.

THE SPANISH CAPE MYSTERY

Helen Twelvetrees and Donald Cook

THE SPANISH CAPE MYSTERY (1935). Director: Lewis D. Collins.

"They're so rich and snooty that half the time they don't even talk to each other!"

Ellery Queen (Donald Cook) and his dyspeptic buddy Judge Macklin (Burton Churchill) arrive in Spanish Cape for some fishing and are instead embroiled in a mystery concerning the household of Walter Godfrey (Frank Sheridan). Some of Godfrey's relatives are gathered on his estate for a meeting to see if they can break an old aunt's will, while Godfrey just wishes they would get the hell out of his house. One by one the heirs start getting murdered, with the suspects including Godfrey; his wife (Betty Blythe of Charlie Chan and the Chinese Cat); his daughter, Stella (Helen Twelvetrees), with whom Ellery becomes involved; Stella's handsome alleged fiance, Leslie Court (Arnold Gray); and other heirs; as well as the butler, Teller (Frank Leigh) and other domestics. Sheriff Moley (Harry Stubbs) does his best to solve the case but is no match for the insouciant wit of Ellery Queen. There are so many murders that the grumpy, intense Judge says, "It's getting so the corpses are in the majority. If this keeps up, we won't have a quorum for the inquest!" The leads and supporting players are competent enough, and Katherine Morrow has a nice bit as the grief-stricken maid, Miss Pitts. A Republic production. Lewis D. CXollins also directed several serials, such as The Mysterious Mr. M  [Universal].

Verdict: Easy enough to figure this one out, but modestly entertaining. **1/2 out of 4.

THE PUBLIC ENEMY

James Cagney and Jean Harlow

THE PUBLIC ENEMY (1931). Director: William A. Wellman.

Tom Powers (James Cagney) and his pal, Matt (Edward Woods), grow up in a tough part of the city, and get in with a bad crowd. Tom becomes a gangster and killer during prohibition, earning the enmity of his brother, Mike (Donald Cook), who has little but contempt for him. Tom is such a creep that at one point he even shoots a horse! Tom and Matt work for Nails Nathan (Leslie Fenton) and Paddy Ryan (Robert Emmett O'Connor), and get involved with such "broads" as Gwen Allen (Jean Harlow), Mamie (Joan Blondell), Kitty (Mae Clarke), who gets a grapefruit in the face, and Nail's unnamed girlfriend (Dorothy Gee), who earns Tom's scorn by getting him drunk and going to bed with him. The Public Enemy is refreshingly frank and well-acted, with Cagney getting high marks, along with Fenton [The House of Secrets], O'Connor, and Beryl Mercer [Jane Eyre] as Ma Powers. Harlow was still considered a lousy actress this early in her career, but she's actually competent, if unexceptional, and her performance is satisfactory. Frankie Darro and "Junior" Coghlan (Frank Coghlan, Jr.) play Matt and Tom as boys and are both good. One of the best scenes is a dinner at the Powers house where ex-soldier Mike can no longer control his anger at his brother and bootleg beer goes flying, and the death of Putty Nose (Murray Kinnell of Charlie Chan in Paris) is also well-handled. That said, The Public Enemy has not really worn well with time -- especially when you take into account the many superior gangster films that came later --   but it still remains an interesting picture. The great final scene of the movie almost makes the whole movie! Handsome Edward Woods was supposed to play Tom Powers, the lead role, but it was given to Cagney instead,; he became a star and Wood's career eventually faded out after only 13 credits.

Verdict: Cagney holds the attention. *** out of 4.

MOTIVE FOR REVENGE

Irene Hervey and Donald Cook on the run

MOTIVE FOR REVENGE (1935). Director: Burt P. Lynwood.

Muriel (Irene Hervey) is a wealthy woman married to a comparably poor bank teller named Barry (Donald Cook) who apparently prefers that they live on his salary. Muriel's mother (Doris Lloyd) resents the hell out of this and nags him to make something more out of himself and for Muriel to get rid of him. The weak, stupid Barry robs a bank and is captured after a high-speed chase with police. Although Muriel promises to wait for him until he gets out of jail, she quite sensibly divorces him at the urging of her mother and marries the odious and insanely jealous older man, Bill (Edwin Maxwell). And then things get even more melodramatic when Barry gets out of jail ... There's a murder, a robbery plot, a chase on the river, all of it told in mostly unexceptional fashion, but the weird thing is that seven years in jail seems to have made Barry suave. The acting isn't bad, and the movie isn't terrible, just not very memorable. Although Muriel's mother is unpleasant and snobbish, some of her attitudes toward Barry are completely justified. Irene Hervey was in Manhandled in a very different sort of role years later, and appeared sporadically as Aunt Meg on Honey West. Cook was in Frisco Jenny and Lloyd was in the 1931 Waterloo Bridge.

Verdict: Women who love not wisely but well. **.

BABY FACE

BABY FACE (1933). Director: Alfred E. Green.

"Where would I go -- Paris? I got four bucks!"

"Are you really thinking or just pretending to?"

Lily Powers (Barbara Stanwyck) works in her unpleasant father's speakeasy, but an old customer named Adolph (Alphonse Ethier), suggests she take a cue from Nietzsche, of all people, and use men the way they all want to use her. So Lily takes off with her maid Chico (Theresa Harris), goes to the big city, and makes her way onward and upward through a bank by basically sleeping with one man after another [ not exactly what feminists today would consider female empowerment]. After casting aside both Ned Stevens (Donald Cook), who is engaged to Ann (Margaret Lindsay), as well as Ann's father (Henry Kolker), the now-notorious Lily has to deal with new president Courtland Trenholm (George Brent) -- and deal with him she does. Stanwyck is fine in a role that seems more tailored for Joan Crawford, Brent is satisfactory, and even John Wayne has a small role as another of Lily's early conquests. The main problem with the movie is that the characters are one-dimensional, and despite this being a "pre-code" movie, it's all rather dated; the ending may be unconvincing for many viewers as well. Still, it holds the attention.

Verdict: Stanwyck in man-eating mode. **1/2.

FRISCO JENNY

James Murray, Ruth Chatterton, and Harold Huber

FRISCO JENNY (1932). Director: William A. Wellman.

Jenny (Ruth Chatterton) works with her father (Robert Emmett O'Connor)  in his San Francisco saloon and is in love with the piano player Dan (James Murray of The Crowd), although her father objects to their union. The two men are both killed in the great 1906 earthquake and Jenny is left alone with child. This all happens in the first few minutes. Most of the film deals with Jenny's life of crime, with her stable of party girls [prostitutes] and bootlegging activities, as she keeps a scrapbook of her son (Donald Cook)  growing up after she gave him up for adoption. When she is arrested for murdering a colleague, Steve (Louis Calhern), guess who winds up prosecuting her? This is basically a variation of Madame X, which Chatterton starred in only three years before. One is tempted to say that the marvelous earthquake sequence with its still impressive FX work [and very little stock footage of buildings collapsing] is the only reason to watch the movie, but Frisco Jenny does build in power towards the end. As for Chatterton, her character is unsympathetic and her acting is pretty mediocre until the final sequences. This is the artificial Chatterton of The Crash and Journal of a Crime instead of the fine actress of Lily Turner and Dodsworth.

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.