THE FLAME

John Carroll and Vera Ralston

THE FLAME (1947). Director: John H. Auer. Colorized. 

George MacAllister (John Carroll of Zorro Rides Again) is in love with a nurse named Carlotta (Vera Ralston), who happens to be looking after George's supposedly dying brother, Barry (Robert Paige of Hellzapoppin). Carlotta marries Barry with the full approval of George, who is hoping to wrest his brother's fortune away from him. Complicating matters are another gal pal, Helena (Constance Dowling), and a guy with a big crush on her, Ernie (Broderick Crawford of All the King's Men). Then there's the termagant Aunt Margaret (Blanche Yurka), who casts a dim eye on Carlotta and Barry's marriage. Which of the two brothers will Carlotta ultimately wind up with, and which will be alive at the end? 

Robert Paige and Ralston

The Flame is an interesting if flawed bit of film noir from Republic Studios starring Ralston, the wife of the studio head. She seems to give a more convincing performance in this than in other films, although she'll never be seen as another Barbara Stanwyck. Carroll is excellent, however; Paige is somewhat less notable but good enough, Yurka scores as the aunt, and Crawford and Dowling nearly walk off with the movie. Crawford proves that there's much more to him than Highway Patrol, and Dowling does a snappy and sexy song and dance number in a nightclub. The generally unpredictable film keeps throwing curveballs at the viewer when it comes to the inter-relationships of the characters. Victor Sen Yung is a breath of fresh air and is very effective as George's manservant, Chang. There's also good work from Henry Travers as a doctor and Hattie McDaniel as a cheerful domestic. Reggie Lanning's cinematography and Heinz Roemheld's score are added attractions. It is never specified exactly what is wrong with Barry and he never seems to be "dying" or even ill. Much of the story takes place at Manhattan's tony Hampshire House on Central Park West, which is still standing today. 

Verdict: Some more character development might have helped, but this is intriguing enough in its own way. **3/4. 

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. 

HELLZAPOPPIN

Olsen and Johnson

HELLZAPOPPIN' (1941). Director: H. C. Potter 

Ole Olsen and Chic Johnson, playing themselves, are told that in the film version of their (real life) Broadway hit "Olsen and Johnson's Hellzapoppin'" they have to add a little romance to the mix. The screenwriter (Elisha Cook Jr.) concocts a triangle in which aspiring producer Jeff Hunter (Robert Paige) wants to star Kitty (Jane Frazee), the women he loves, in a musical -- only his best friend, Woody (Lewis Howard), is in love with her too. Then there are complications in the form of man-hungry but homely Betty (Martha Raye) and a possible prince named Pepi (Mischa Auer). For reasons not worth recounting Olsen and Johnson want the show to fail and try to sabotage it a la Night at the Opera (a much, much better movie) to somewhat comical results in the last twenty minutes of the film. Meanwhile Olsen and Johnson have a running dialogue with the film's projectionist (Shemp Howard) who keeps screwing things up. 

Mismatch: Martha Raye and Mischa Auer

Hellzapoppin' has its share of laughs (and quite a few groaners) but despite its amiable nature it never quite bursts into full-blown hilarity. Olsen and Johnson are such a comparatively dull comedy team that for much of the film's length I confused one of them with the much more distinctive Hugh Herbert, who plays the giggling Quimby. As the lovers, Paige and Frazee are appealing, and get to sing two lovely numbers entitled "Heaven for Two" and "And You Were There." Martha Raye is wonderful as Betty whether she's running after an aghast Pepi with lust in her heart or warbling the snappy "Watch the Birdie" in a production number. Auer is her match in every way.

Robert Paige and Jane Frazee

Hellzapoppin' breaks through the fourth wall numerous times throughout the movie (this was done in many films afterwards including Gremlins 2) and has a lot of sight gags, some of which succeed (the "coat of arms") and some of which land with a thud. A highlight of the film is a performance by the sensational Harlem Congeroo Dancers and an all-black band that is equally spectacular. Olsen and John had teamed for at least one movie before this one, All Over Town, then got together again for Crazy House and Ghost Catchers, pretty much doing the same shtick that they do in Hellzapoppin'. A little of them goes a long way! To compare them in any way to the Marx Brothers is utterly ludicrous.

Verdict: Silly, frequently stupid, but it earns some genuine chuckles as well. **3/4. 

CAN'T HELP SINGING

Deanna Durbin and some spectacular scenery

CAN'T HELP SINGING (1944). Director: Frank Ryan.

When Caroline (Deanna Durbin),  a senator's daughter, learns that he disapproves of the man she loves and hopes to marry -- the opportunistic Lt. Robert Latham (David Bruce) -- she runs off into the wild west after him. Along the way she runs into some colorful characters, as well as a new romantic interest in the form of Lawlor (Robert Paige). Can't Help Singing has some pleasant tunes by composer Jerome Kern (especially the title tune), and Durbin and Paige [Fired Wife] make a very good team. Durbin, whose voice seemed to get even better as she got older, also became a bit double-chinned and puffy, but was still attractive. The handsome production boasts beautiful photography [Elwood Bredell and W. Howard Greene], and some good performances from the leads, along with Ray Collins [Hideout] as Durbin's father; Akim  Tamiroff (out west!) and Olin Howlin/Howland as two likable scoundrels; Bruce as the lieutenant; and Jay Novello [Atlantis, the Lost Continent] as a "sucker."

Verdict: One of the better Deanna Durbin musicals. ***.

MEET THE BOYFRIEND

Pretty as a picture: Carol Hughes

MEET THE BOYFRIEND (1937). Director: Ralph Staub.

Radio crooner Tony Page (David Carlyle) is "America's boyfriend," but his manager, J. Ardmore Potts (Andrew Tombes), is horrified at the thought that he might marry aspiring Swedish actress Vilma Vlare (Gwili Andre). Potts wants an insurance firm to pay him a huge sum if Page gets married, so the daughter, June (Carol Hughes), of the firm's owner determines to break up the romance between Tony and Vilma. This all leads to the expected complications along with a kidnapping and certain romantic misadventures, none of which are especially amusing. "David Carlyle," who plays Tony, is actually Robert Paige, who appeared in plenty of these semi-musical movies as well as Flying G-Men, Son of Dracula, and Fired Wife. He has a nice voice. Pert Kelton almost steals the picture as Pott's wife and is the funniest thing in the movie. Hughes [Jungle Raiders] is pretty, charming, and adept -- she also played Dale Arden in Flash Gordon Conquers the Universe -- and Paige is fine as well. Cy Kendall is also in the film, as well as Warren Hymer,

Verdict: Ho-hum comedy with songs. **.

RHYTHM IN THE CLOUDS

RHYTHM IN THE CLOUDS (1937). Director: John H. Auer.

Aspiring and audacious (and hungry) songwriter Judy Walker (Patricia Ellis of Romance on the Run) uses the name of successful composer Phil Hale (Robert Paige), with whom she has only corresponded, to get entry into a studio, pretend to be his collaborator, and to even move into his apartment while he's out of town. There her next door neighbor, songwriter Bob McKay (Warren Hull of Mandrake the Magician), whom she comes to loathe, engages in a feud with her. Then Hale comes back to town ...  Ellis and Hull give good performances, but the movie is nearly stolen by Zeffie Tilbury [Werewolf of London] as the advertising "Duchess; William Newell also scores as the radio assistant, Lyons. Dorothy Day has a nice turn as the sexy singer, Suzanne. Some of the music is a neat combination of classical and jazz. It's all easy to take if quite minor.

Verdict: Perfectly amiable if nothing to crow about. **1/2.

FIRED WIFE

Abel, Allbritton, Paige and Barrymore all cut up

FIRED WIFE (1943). Director: Charles Lamont.

"You're so wonderfully repetitious."

In this largely forgettable and desperately frenetic farce, Hank Dunne (Robert Paige) has married career woman Tabitha (Louise Allbritton), who is keeping the marriage secret from her boss, Chris (Walter Abel). Besides the fact that Tabitha has to work on her honeymoon, and that Hank wants her to quit her job, another complication is Hank's friend and associate, radio hostess Eve (Diana Barrymore), who is carrying a torch for him. Hardly any cliche is left unturned in the mediocre screenplay, although the performers are certainly game; Allbritton and Paige are fine, Barrymore adds some zest in her lively portrayal of difficult Eve, and although Walter Abel gives a very good performance, as usual, his character is too loathsome to be funny -- the film's best moment comes when he finally gets his comeuppance. Walter Catlett [It Started with Eve] gives perhaps the funniest performance as Judge Allen, the bemused Justice of the Peace, and Rex Ingram [Anna Lucasta] is also notable as Hank's major domo, Charles. There are a few sporadic chuckles in the movie so it's not a complete waste of time. Paige also starred in Flying G-Men.

Verdict: With pictures like these no wonder Barrymore got disillusioned with Hollywood. **1/2.

FLYING G-MEN

The Black Falcon goes into action!

FLYING G-MEN (15 chapter Columbia serial/1939). Directors: James W. Horne; Ray Taylor.

Four famous sky hawks have now become G-Men, working for the Air Division of the FBI/Department of Justice. Their assignment is to track down the members of a deadly espionage ring and discover who its leader is. When their friend Ed McKay (William Lalley), who's invented a remote control pilot-less bomber, is killed, they vow to track down his murderer with the aid of his young son, Billy (Sammy McKim), and grown sister, Babs (Lorna Gray). The sky hawks decide that one of them should take on the costumed identity of the Black Falcon, so that he can sort of operate outside the law and really get the goods on the bad guys. One of the foursome is killed off in the first chapter, leaving Hal (Robert Paige), Bart (Richard Fiske), and John (James Craig) to become the Falcon. [Hiding the identity of the hero as opposed to the villain had been done the year before in The Lone Ranger, and later in The Masked Marvel.] It is hard not to notice the resemblance between the Black Falcon and comic books' Blackhawk, but the latter character did not actually appear until 1941 [Republic did a serial version of Blackhawk in 1952], meaning the Black Falcon came first. Although the individual cliffhangers tend to be nothing special, Flying G-Men is still a very fast-paced and highly entertaining serial, with lots of lively fist-fights and some exciting aerial action as well. Paige makes an appealing protagonist, and Fiske and Craig are stalwart enough as his colleagues. Lorna Gray would have to wait three years until Perils of Nyoka to make an impression as the evil Vultura; in this she isn't given enough to do. An uncredited Tom Steele has some dialogue passages early in the serial as a bad guy, and Nestor Paiva turns up as one of the saboteurs. Sidney Cutner's rousing music complements the action beautifully. Paige was in Blonde Ice and Son of Dracula; Fiske did The Spider's Web and Perils of the Royal Mounted; and James Craig was in everything from Winners of the West to The Cyclops. Young McKim was also in Dick Tracy's G-Men.

Verdict: Punch-fests and action galore! ***.

ABBOTT AND COSTELLO GO TO MARS

Mari Blanchard and Lou Costello

ABBOTT AND COSTELLO GO TO MARS (1953). Director: Charles Lamont.

"He looks worse standing up than he does lying down" -- Allura, referring to Lou

Orville (Lou Costello), a handyman at an orphanage, winds up at a missile base and is mistaken for a professor of aeronautical science, although janitor Lester (Bud Abbott) isn't fooled. The bumbling pair look around Dr. Wilson's (Robert Paige) rocket ship and accidentally take off, landing near New Orleans during Mardi Gras where they think the celebrants are Martians. Two ex-cons rob a bank and stowaway on the ship, hoping Orville and Lester, whom they think are Martians, will take them back to their planet and away from the law. This time the rocket ship winds up on Venus, where the man-hating Queen Allura (Mari Blanchard of Twice-Told Tales) makes Orville her king to please her man-hungry subjects. There's a giant dog, but otherwise a dearth of special effects, except for when the rocket is flying through the Lincoln Tunnel and making the Statue of Liberty dodge and duck. One Venusian vehicle seems to have been borrowed from Forbidden Planet but that movie was made three years later! After the queen puts a curse on Lou, who dares to be attracted to other women, his kiss turns one young lovely into a wrinkled old crone! Martha Hyer is Dr. Wilson's secretary and girlfriend, Jean Willes is one of the queen's entourage, and while Anita Ekberg of Screaming Mimi should certainly stand out even in a crowd of moonlighting beauty queens, her presence in the picture as a guard isn't immediately evident. Abbott and Costello Go to Mars may come off like a spoof of such space-babe movies as Queen of Outer Space, which also takes place on Venus, but it actually pre-dates all of them [the first, Cat-Women of the Moon, was released the same year]. Were A & C starting a trend instead of following one, as they did with Abbott and Costello Meet Frankenstein? Whatever the case, this is not in the league of that movie, but it does have its amusing moments and the cast has fun. There's too much of those ex-cons, however, and the boys never do wind up on Mars.

Verdict: Amiable nonsense. **1/2.

SON OF DRACULA (1943)

SON OF DRACULA (1943). Director: Robert Siodmak.

Imagine fearing death and oblivion so much that you would desire to become a vampire so that you could "live" eternally with your beloved. That is the premise of this fascinating, chilling, and ultimately poignant horror film, one of the best of the Universal Dracula/monster flicks. Lon Chaney (Jr.) plays Count Alucard, who comes to a sleepy Southern town at the invitation of Katherine Caldwell (Louise Allbritton), and who begins a reign of terror against those who figure out who he really is. Frank Craven is the kindly Dr. Brewster, who calls upon his friend Professor Lazlo (J. Edward Bromberg) for information on vampires. Robert Paige is Katherine's fiance, Frank, and Evelyn Ankers is her sister, Claire. Son of Dracula is well-acted (although Chaney can't compare to Lugosi and is rather disappointing), well-directed, and quite unpredictable, with a terrific conclusion. Lots of atmosphere. NOTE: There is no actual reference in the film to Chaney being the son of the original Dracula.

Verdict: Outstanding Universal horror film. ***1/2.

PARDON MY SARONG

PARDON MY SARONG (1942). Director: Erle C. Kenton.

Bud Abbott and Lou Costello are city bus drivers who wind up driving their bus out of town for a wealthy yachtsman (Robert Paige) in a hurry, then -- wanted by the police -- become his crew, only to become lost in a gale. Along for the ride is a pretty gal played by a snappy Virginia Bruce. On a small uncharted island the group runs into natives and comes afoul of Lionel Atwill, who is trying to get his hands on a sacred ruby and brooks no interference from anyone. Pardon My Sarong starts out promisingly, with some funny routines by the boys, but once they go to sea the story becomes uninvolving and the gags are silly even by A&C standards. Bruce tries to liven things up but hasn't enough to do, and Lionel Atwill is completely wasted in a nothing part. Leif Ericson does a fine job as a native who's in love with a gal who falls for Lou, and Irving Bacon (Ethel's father on the classic "Ethel's Hometown" episode of I Love Lucy) is great as an exasperated gas station attendant. William Demarest is also good as a detective who tries to nab Bud and Lou. A nightclub scene features some talented Black entertainers: The Four Inkspots and Tip, Tap and Toe. Nan Wynn is the native girl who inexplicably falls for Costello. The film ends with Costello acting heroically in a way that is somewhat out of character for him.

Verdict: Some amusing bits but painfully stupid at times. **.