TARZAN'S REVENGE

Glenn Morris and pal

TARZAN'S REVENGE (1938). Director: D. Ross Lederman.

Roger Reed (George Barbier of The Man Who Came to Dinner), his daughter Eleanor (Eleanor Holm), and her fiance, Nevin (George Meeker of Omoo-Omoo The Shark God), are in Africa to capture specimens for zoos. Along the way Eleanor offends nasty potentate, Ben Alleu Bey (C. Henry Gordon of Thirteen Women), who has her kidnapped for his harem. Tarzan (Glenn Morris) isn't crazy about animals being caged up and is even less crazy that his crush, Eleanor, has been captured by natives under the direction of Bey. Then there's the fact that the jealous and creepy Nevin has his own dastardly plans for the Ape Man. Tarzan's Revenge was 20th Century-Fox's answer to MGM's Tarzan films with Johnny Weissmuller, but this film, in addition to having lower production values, is much, much less entertaining, with slow pacing and a weak story line that hardly gives our hero any action. On the plus side, there is plenty of "local" color and a surprisingly elaborate Arabic city that may have been borrowed from an earlier picture. Olympic champion Glenn Morris speaks not one word as Tarzan -- although he does give out with a credible "yell" --  but he is appealing, unconventionally handsome, and plays a child-like version of the Ape Man. Scandalous Olympic swimming star Eleanor Holm exhibits genuine acting ability as the equally appealing, feisty, and likable Eleanor -- she and Tarzan meet cute when he pulls her out of a muddy river and winds up dumping her back in. The two have a sexy underwater swim later on. Morris and Holm both got such bad reviews (as did the film) that neither ever made another movie. Others in the cast include Joe Sawyer, and Hedda Hopper, who is little more than irritating as Eleanor's ever-complaining mother. A nice upbeat ending and a pleasant score by Hugo Riesenfeld.

Verdict: Lesser Tarzan produced by Sol Lesser. **1/2.

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. **.

BEAUTY FOR SALE

Sherwood (Otto Kruger) is in love with Letty (Madge Evans)

BEAUTY FOR SALE (1933). Director: Richard Boleslawski.

 "If he gives you a hat in only an hour imagine what he can do in three weeks."

Letty (Madge Evans) takes a room with the Merrick family, which consists of the mother (May Robson), her daughter Carol (Una Merkel), and son Bill (Eddie Nugent), who's stuck on Letty. Carol helps Letty get a job at the beauty parlor where she works, which is lorded over by the dragon-like Sonia (Hedda Hopper). Unlucky in love, Carol is keeping company with a wealthy, much older man named Freddy (Charley Grapewin). Their fellow employee, Jane (Florine McKinney), is having a secret relationship with Sonia's son, Burt (Phillips Holmes). Letty falls in love with a Mr. Sherwood (Otto Kruger), who happens to be married to one of the beauty spa's customers, the flighty and affected Henrietta (Alice Brady). Will any of these women find happiness? Well, maybe ... Beauty for Sale is a highly engaging comedy-drama with a very appealing lead performance by the luminescent Evans and excellent supporting performances from Merkel, McKinney, Brady and Kruger; the others, such as Hopper, are also well-cast. The movie blends its laughs [all the funny gossiping that goes on at the beauty parlor] and tragic moments expertly, and is well-directed by Boleslawski, who often favors extreme close-ups at tilted angles. There's a nice bit when a bathroom door slowly closes on the huddled figure of Jane after she gets some shattering news. Isabel Jewell [The Seventh Victim] is very sharp and saucy as the receptionist, Hortense, and Nugent scores as the likable but sadly immature Bill, who nearly drives Letty crazy [his mistreatment at her hands is sort of glossed over]. Boleslawski also directed the interesting Storm at Daybreak and Les Miserables.

Verdict: Minor classic is well worth the watching. ***.

LIFE WITH HENRY

LIFE WITH HENRY (1941). Producer/director: Jay Theodore Reed.

"Ever since I was a kid everybody discouraged everything I wanted to do."

Jackie Cooper returns as high school student Henry Aldrich in this sequel to What a Life. At the end of the previous film Henry was planning to go to art school, and his girlfriend was Barbara, but the art school business has been dropped and Barbara is nowhere to be seen. Instead Henry has special feelings for Kathleen (Leila Ernst) and now has both a sister, Mary (Kay Stewart), an Aunt Harriet (possibly Mary Akin?), a best pal Dizzy (Eddie Bracken), and for the first time we see his father, played by Fred Niblo. [Hedda Hopper is back as his mother.] Rod Cameron is cast as an older man who befriends Henry and gives him advice, and Pierre Watkin is the aforementioned Kathleen's disapproving father. The storyline has Henry desiring to go on a trip to Alaska that is being put together by a wealthy businessman, Sattherwaite (Moroni Olsen) looking for boys with initiative who can raise a hundred dollars. Mr. Aldrich fears the whole thing is a scam, but Henry cooks up a scheme to raise the cash by selling a soap that's so toxic it destroys most of the buyers' clothing! While the opening title presents the film as an "Aldrich Family" adventure, Henry is still very much the star. Life with Henry is well-acted and amusing, and is in some ways a paean to an independent spirit and unconventionality. Edith Evanson, who plays the Aldrich maid, also appeared in Journey to the Center of the Earth as an inkeeper, was another maid in Woman of the Year, and Joan Crawford's mother in The Damned Don't Cry.

Verdict: More fun with Henry. ***

WHAT A LIFE

WHAT A LIFE (1939). Producer/director: Jay Theodore Reed.

Based on a play by Clifford Goldsmith, this film introduced the character of Henry Aldrich -- in this played by Jackie Cooper -- who appeared in several more films in the forties. High school student Henry has trouble living up to the standards set by his [unseen] father, a Princeton graduate, as he isn't doing so well academically and gets into even worse hot water when his cheating leads him to being accused of the theft of musical instruments. In the meantime fellow student Barbara (Betty Field), who has a big crush on Henry, finally gets her braces removed and after a makeover at the beauty parlor has Henry eating out of her hand -- as well as his handsome nemesis, nasty George Bigelow (James Corner). [George gets competition in nastiness from a couple of 1939-style "mean girls" who make fun of Barbara's braces.] Cooper and the others are fine, and Hedda Hopper scores as Henry's mother, as does Vaughan Glaser as the principal Mr. Bradley. Dorothy Stickney, Janice Logan and John Howard also give notable performances as some sympathetic teachers. The screenplay for this was by Billy Wilder and Charles Brackett!

Verdict: Amiable and essentially warm-hearted. ***.

SUNSET BOULEVARD

"I'm ready for my close-up."

SUNSET BOULEVARD (1950). Director: Billy Wilder.

A down-on-his-luck screenwriter, Joe Gillis (William Holden), meets and moves into a mansion with silent screen star, Norma Desmond (Gloria Swanson). Together the pair intend to fashion a major screenplay that will give Norma an opportunity for her comeback. But Joe eventually feels trapped by Norma and her cobwebs, and figures her project is utterly hopeless in any case. But will Norma let Joe go before she's through with him ...? So how well does Sunset Boulevard hold up after 58 years? Pretty well. Okay, maybe it's not an out and out masterpiece, but it undeniably exudes a certain fascination. If I had one problem with the movie it's that I feel there's way too much narration. Although Joe's narration is well-written, it's describing (albeit poetically) things that we can already see. Swanson gives a terrific performance (her "over-acting" at times is appropriate given the flamboyant, emotionally disturbed nature of Norma Desmond) and Holden isn't bad as Joe, although there's no doubt that the first actor cast in the part, Montgomery Clift. would have brought a lot more to the role. Better than Holden is Nancy Olsen, who gives a lovely and often passionate performance as the young lady who falls in love with him. The scene when Norma returns to her studio to see DeMille is touching. Hedda Hopper and Buster Keaton are among the more interesting bit players, as well as an uncredited Yvette Vickers of Attack of the Fifty Foot Woman and Attack of the Giant Leeches fame -- yes, that's her as the girl on the telephone during the New Year's Eve party scene. Less a drama than a weird black comedy, Sunset Boulevard always threatens to go over the top but never quite gets there.

Verdict: Certainly unique. ***.

DRACULA'S DAUGHTER

DRACULA'S DAUGHTER (1936). Director: Lambert Hillyer.

This first sequel to the Bela Lugosi Dracula has Van Helsing (Edward Van Sloane) trying to explain why he drove a stake through Count Dracula's heart and in danger of either being put on trial for murder or institutionalized as insane. [A similar situation occurred in Columbia's entry into the vampire sweepstakes, Return of the Vampire.] Otto Kruger plays Jeffrey Garth, a psychiatrist who tries to help his friend Van Helsing, and Marguerite Churchill is his busy-body secretary. But the main attraction is Countess Marya Zaleska, who claims to be Dracula's daughter, and is played by one of the most fascinating screen presences of the period, Gloria Holden. Holden is very effective as a tormented woman who hopes that Dracula's death means she is free from his curse of vampirism, which turns out (luckily for the audience) not to be the case. Irving Pichel, who also directed many films, plays Sandor, the countess' major domo. Nan Grey is effective as a pretty young would-be suicide, Lily, who becomes a victim of the she-vampire, and Hedda Hopper appears as a high society acquaintance of Garth's.

(Some have seen a supposedly "sapphic" tone to Dracula's Daughter because of the scene in which she hypnotizes Lily and then drinks her blood. But she also hunts and attacks a man earlier in the film, and wants to turn Otto Kruger into one of the undead so that he can spend eternity with her. Besides, in the Lugosi Dracula his victim Lucy, once undead, stalks children, which doesn't necessarily make her a pedophile.) The film doesn't quite make it clear if Holden is actually Dracula's daughter (can the undead impregnate?) or simply someone he turned into a vampire via his curse of blood. In any case, it seems clear that the countess wants to be cured so that she can enter the world of light and laughter, not because she cares about her victims, making her selfish and ultimately unsympathetic. Dracula's Daughter is an entertaining picture, but there's too much comedy and romance in the film, and not enough horror. Even so, it's better than the original. Although Holden appeared in quite a few films after Dracula's Daughter, and played the wife of Emile Zola, her promise was never fulfilled.

Verdict: Flawed but fascinating. ***.