THE MAD MONSTER

George Zucco

THE MAD MONSTER (1942). Director: Sam Newfield.

"I'm not interested in your imbecilic mouthings."

Dr. Cameron (George Zucco) wants revenge on the scientific colleagues who mocked him, so he uses a formula created from wolf's blood to turn his handy man Petro (Glenn Strange) into a voracious monster complete with two fangs, a shaggy beard, and lipstick! Petro goes out to take care of Cameron's alleged enemies. Anne Nagel of The Secret Code is the doctor's daughter, Lenora, and Johnny Downs [Adventures of the Flying Cadets] plays a reporter named Tom Gregory. The film has its share of foggy atmosphere, but there's an awful lot of talking about things we already know. But the performances are good: Nagel [Black Friday] is always a pleasure, and Zucco is fun to watch no matter what the vehicle.

Verdict: Low-grade wolf man film with some limited appeal -- and Zucco! **.

FRECKLES COMES HOME

Mantan Moreland and Laurence Criner

FRECKLES COMES HOME (1942). Director: Jean Yarbrough.

Summoned by his old pal Danny (Marvin Stephens of Borrowing Trouble), "Freckles" Winslow (Johnny Downs) comes back to Fairfield, Indiana, accompanied on the bus by a stranger named Muggsy Dolan (Water Sande of Blonde Ice). Muggsy pulled off a bank robbery in which a guard was killed, and has taken it on the lam, figuring quiet, isolated Fairfield is as good a place to hide out as any. He gets it into his head to rob the bank and brings in an associate, Quigley (Bradley Page). Danny lost money that he needed to pay bills for his hotel by buying an alleged gold-finding machine, and wants Freckles' help in using old girlfriend Jane Potter (Gale Storm) to convince her banker father, Hiram Potter (John Ince), to build a new highway into town, increasing business. Freckles is irritated because Jane seems to go for Quigley's oily charm. Meanwhile hotel porter Jeff (Mantan Moreland) has fun trying to convince Quigley's chauffeur, Roxbury (Lawrence Criner), to buy his phony machine. Freckles Comes Home has an amiable cast, including Betty Blythe [The Spanish Cape Mystery] as Hiram's wife and Irving Bacon as the ditsy town constable, but the picture is completely stolen by Moreland and Criner, especially in a very funny sequence when the two argue over which of them is to get the more comfortable bed in their hotel room. These are two great comic actors in their prime. Otherwise this is a typical Monogram quickie. Apparently this has nothing to do with the old Freckles newspaper comic strip.

Verdict: Short Monogram flick is fairly easy to take. **3/4.

BAD BOY

Johnny Downs

BAD BOY (1939). Director: Herbert Meyer.

"I don't care if your business is shipping fat missionaries to cannibal island, I want a job!"

John Fraser (Johnny Downs) kisses his sweet mother (Helen MacKellar) goodbye and heads for the big city full of hope and promise. Although he lands a good job and impresses his boss, McNeil (Holmes Herbert of The Curtain Falls), he falls in with a co-worker, Steve (Archie Robbins), who introduces him to gambling and a singer named Madelon (Rosalind Keith). Although Madelon is about as sexy as a hat rack, John falls hard for her and spends all of his money on her instead of sending it to his mother. Then he decides to "borrow" a couple of hundred dollars in petty cash so he can pay off his gambling debts, and things get worse from there. Bad Boy presents boyishly handsome Johnny Downs [Adventures of the Flying Cadets]  in an atypical role of a supposedly "nice guy" who becomes a gangster in a stereotypical boy-goes-wrong storyline. He is hardly perfect casting for the latter half of the film but he still manages to acquit himself nicely. MacKellar is excellent as his devoted mother, and the pic is nearly stolen by Spencer Williams as Terry, the black super in Mrs. Fraser's apartment who becomes a good friend to both mother and son and winds up working for John -- Terry has a much better head on his shoulders than John does. Saddled with a hairdo that has to be seen to be believed, Rosalind Keith is okay as a miserable bitch but is simply too homely to be that believable as a femme fatale. She retired after one more film.

Verdict: Entertaining minor melodrama with good performances. **1/2.

ALGIERS

Charles Boyer and Hedy Lamarr

ALGIERS (1938). Director: John Cromwell.

Hiding out in the Casbah, jewel thief Pepe le Moko (Charles Boyer) falls for Gaby (Hedy Lamarr), the fiancee of a wealthy tourist. But will the woman who adores him, Ines (Sigrid Gurie), be indirectly responsible for his destruction? Algiers is the first American remake of the French film Pepe le Moko, which had only come out one year earlier. Algiers is virtually a scene for scene remake of Pepe -- sometimes even a shot for shot remake -- but it still has the edge on the French original. For one thing, we have Charles Boyer [Gaslight] in the title role, and he is not only much more "romantic"-looking than the rather potato-faced Jean Gabin, but offers a much more nuanced and emotional performance. Although most of her dialogue is virtually the same as in Pepe, Hedy Lamarr  [Crossroads] gives a much warmer and more human delivery, making her character much more likable. Gurie is fine as Ines, although this version is less compassionate toward her than the original, which cuts her out of the ending and has Slimane, the inspector, telling her off for betraying Pepe. Slimane is portrayed by Joseph Calleia [Five Came Back], and it is one of the actor's most memorable performances. Others in the cast include Johnny Downs as Pierrot, Joan Woodbury as his girlfriend, and Leonid Kinskey as L'Arbi. Boyer sings a song (C'est la vie) as Gabin did in the original, but the sequence where Tania sings has been omitted. Another plus for this version is an effective musical score by Mohamed Ygerbuchen and Vincent Scotto. James Wong Howe was cinematographer. Of course in neither version of the story does the romanticized criminal Moko seem that much like a real person. Incidentally, Boyer never says the line "Come with me to the Casbah; we will make beautiful music together"--  more's the pity! Samuel Goldwyn discovery Sigrid Guris, a "Norwegian" actress born in Flatbush, only made a few movies. Remade as Casbah with Tony Martin.

Verdict: More fun in the Casbah! ***.

REDHEAD (1941)

REDHEAD (1941). Director: Edward L. Cahn.

"Somebody must have been fond of children to let you grow up."

T. H. Brown (Frank Jaquet of Meeting at Midnight) wants his son Ted (Johnny Downs) to make his own way in the world, which not only doesn't agree with him but angers a woman he only married in hopes they could get daddy's loot. Instead of getting paid off by her stepfather, however, bride Dale (June Lang) finds herself living with Ted in a hovel, and struggling to make a living as a short order cook while he heads off to a factory. Servant Digby (Eric Blore) went off with the two on their alleged honeymoon and sticks around. Downs [So Red the Rose] is a likable lead, Lang has a lovely moment when she tells Ted she loves him, and Blore and an adorable St. Bernard almost steal the picture. Overall Redhead just doesn't amount to much, though. The very prolific Cahn is probably best known for It, the Terror from Beyond Space. June Lang played oldest daughter Bonnie in what is considered the first Jones Family film, Every Saturday Night. NOTE: This is a remake of a 1934 film of the same title that is believed to be lost.

Verdict: If you like big dogs ... **.

COLLEGE HOLIDAY

Jack Benny and Jed Prouty

COLLEGE HOLIDAY (1936). Director: Frank Tuttle.

J. Davis Bowster (Jack Benny) somehow winds up in business with Mr. Smith (Harry Hayden), whose daughter Sylvia (Marsha Hunt), has just encountered a young man, Dick (Lief Erickson), whose name she doesn't know. In the meantime, Carola B. Gaye (Mary Boland) and Professor Hercules Dove (Etienne Girardot) are looking for perfect physical specimens for their eugenics experiments at Cornucopia college and the hotel co-owned by Smith. However, the boys and girls must be kept apart. After appearances by the likes of George Burns and Gracie Allen, Martha Raye, Johnny Downs [Trocadero], and Jed Prouty (of The Jones Family films), as well as a host of male and female dancers, there is a climactic show to save the hotel which involves putting half of the cast in a freezer. Could this movie get any worse? Well, there are blackface numbers as well. For the most part, this is just plain awful. Benny [George Washington Slept Here] seems lost and somewhat disinterested throughout the movie. Marsha Hunt and Lief Erickson make an unlikely musical comedy team.

Verdict: A mish mosh with just a few funny moments. *1/2.

CAMPUS RHYTHM

Reaction to a kiss: Gale Storm and Johnny Downs

CAMPUS RHYTHM (1943). Director: Arthur Dreifuss.

Joan Abbott (Gale Storm) sings on the radio for her sponsor, Crunchy Wunchy cereal, but she'd really rather go off to college. When her guardian, Uncle Willie (Douglas Leavitt), renews her contract without her knowledge, she takes off for Raleigh College by assuming the name of the sponsor's high-spirited secretary, Suzie Smith (Marie Blake). There she encounters the oh-so-serious editor of the campus paper, "Scoop" Davis (Johnny Downs); the dreamy, likable lover boy, Buzz (Robert Lowery); the weird if lovable Harold (Candy Candido); saucy, singing Babs (GeGe Pearson); and the venomous Cynthia (Claudia Drake of The Face of Marble), who's out to get her because she caught the eye of Buzz. In an attempt to find their wayward songstress, the sponsor holds a contest, and the funniest scene has to do with Uncle Willie traveling to Raleigh to find his niece and winding up in the hands of the law. The cast, led by a sparkling-as-ever Storm, is more than capable, and the film is pleasant. Babs sings "Oh, you character!" while Joan warbles "But Not You" to Buzz. GeGe Pearson has a nice voice and a lot of personality to go with her horse face; Candy Candido is the weirdest of novelty singers (and speakers) as his voice can go from falsetto to bass all within the same sentence. Both of them later did a lot of voice-over work for television and movies. John Duncan plays one of the fraternity boys; six years later he would team with Robert Lowery for the serial Batman and Robin, wherein he played the latter. The strange thing about this movie is that there's no fade out clinch between Storm and Downs, although it's intimated that they've gotten together again, but considering Scoop's behavior it's even more likely that they didn't. Downs [The Mad Monster] also starred in a movie called All-American Co-Ed, which is also known as Campus Rhythm, but it is not the same picture.

Verdict: Easy to take. **1/2.

SO RED THE ROSE

Randolph Scott and Margaret Sullavan; guess who loves whom

SO RED THE ROSE (1935). Director: King Vidor.

When the Civil War breaks out it deeply affects the Southern Bedford family, run by patriarch, Malcolm (Walter Connolly), who is married to Sally (Janet Beecher), with whom he has two sons (Harry Ellerbe; Dickie Moore) and a daughter, Val (Margaret Sullavan). Val is in love with a distant cousin, Duncan (Randolph Scott), but he seems completely unaware of her feelings whereas George Pendleton (Robert Cummings) has affection for Val. At first Duncan tries to be neutral, which prompts Val to accuse him of cowardice, not exactly the right way to get a romance off to a good start. But then Duncan joins up with the confederacy and off to war he goes ... This is a more or less forgotten Civil War epic made four years before Gone With the Wind, but it's a creditable film, bolstered by fine performances by Sullavan [The Good Fairy], Connolly, and others; Elizabeth Patterson [Lady on a Train] overacts a bit as old Mary Cherry but is also good. On the debit side is a lot of phony glory and the depiction of rebellious slaves as being both lazy and criminal. Johnny Downs [Trocadero] plays a Yankee soldier, a mere boy, who is temporarily hidden by the Bedfords. The film is well-photographed by Victor Milner -- one especially striking shot shows Sullavan running past a tree into the sun.

Verdict: Anything with Sullavan in it is of interest, but this is not a bad movie despite flaws. ***.

ADVENTURES OF THE FLYING CADETS

ADVENTURES OF THE FLYING CADETS (1943). 13 chapter Universal serial. Directed by Ray Taylor and Lewis D. Collins.

Johnny Downs is a troubled cadet [of the L.A. Air School]. Danny Collins, who, with some buddies, is accused of being responsible for a series of murders actually committed by The Black Hangman. The victims belonged to a group of seven men who traveled to Africa to find a cave which supposedly holds valuable elements coveted by the Germans. We learn early on that the Black Hand is actually Arthur Galt (Robert Armstrong) who feigns friendship with the boys while trying to trip them up or kill them at every turn. Although there are some exciting moments in the serial – such as an aerial descent and near-crash into a flaming crater – Adventures of the Flying Cadets is rather leisurely-paced. It was also a major mishap to reveal the villain's identity so early in the serial.

Verdict: As cliffhanger serials go, this one is pretty minor. **.