MOTHER DIDN'T TELL ME

Dorothy McGuire and William Lundigan

MOTHER DIDN'T TELL ME (1950). Written and directed by Claude Binyon. 

Jane Morgan (Dorothy McGuire), who writes commercial jingles, sets her cap for the very handsome Dr. William Wright (William Lundigan) when she goes to him for a weird cough. Fortunately Bill is equally attracted to Jane, and it isn't long before they start dating. Jane refuses to believe that she will become a typical lonely doctor's wife, even when Bill's mother  (Jessie Royce Landis) tries to warn her off. But even if Jane can deal with Bill's frequent absences due to the demands of his patients, she may find stiffer competition from Bill's attractive new associate, Helen (Joyce MacKenzie of Destination Murder). 

Leif Erickson and June Havoc

Two very charming and adept lead performances are what put over this engaging comedy-drama (with an emphasis on comedy). The sensitive and talented McGuire proves that she is no slouch when it comes to comic roles and her co-star Lundigan proves he is more than just a good-lookin' fella. These two performers help gloss over some odd moments in the script. On the train during their honeymoon, the conductor tells Bill that a woman passenger is unconscious and may have had a heart attack. Instead of showing the slightest concern, Jane is only annoyed. "I can't ignore an unconscious woman," Bill says. "But you can ignore a conscious one?" his wife responds. If it weren't for McGuire's sympathetic playing, Jane would be completely unlikable. In fact, after this exchange you begin to think that the mother-in-law has the right idea. 

Gary Merrill and June Havoc are another  doctor and his wife, friends of Bill's, and Leif Erickson [Arabian Nights] really makes an amusing impression as a headshrinker who really knows how to pitch the woo to the ladies. Then there are those adorable twins! Lundigan made Pinky the previous year. Claude Binyon also wrote and directed The Saxon Charm. 

Verdict: Two imperfect people in an imperfect but engaging romance. ***. 

I'LL GET BY

William Lundigan and June Haver

I'LL GET BY (1950), Director: Richard Sale.

Aspiring songwriter William Spencer (William Lundigan of Pinky) meets another composer named Freddy Lee (Dennis Day) and the completely fictional team of Spencer and Lee is born. The two men have romances with the singing team, the Martin Sisters: Liza (June Haver of The Dolly Sisters) and Terry (Gloria DeHaven of So This is Paris). Thelma Ritter cracks wise now and then as their secretary; Steve Allen appears as a radio DJ; and Harry James occasionally blows on his trumpet.

Gloria DeHaven and Dennis Day

I'll Get By apparently ran out of real-life songwriting teams when it came up with this concoction, but the soundtrack contains such memorable standards as the title tune, "You Make Me Feel So Young," and "Deep in the Heart of Texas," as well as a host of other songs written by a variety of composers and lyricists including Vernon Duke and Jules Styne. The story, alas, is not up to the music. It begins in 1939 and goes up to the end of WW2, which is almost literally tossed off with a gag. Dennis Day has a nice voice and likable manner, the two leading ladies are pleasing, Lundigan is smoothly handsome and professional, and Ritter probably makes the best impression with her deadpan delivery. Danny Davenport plays the initially naive songwriter Chester Dooley. When he asks Lundigan how much he will have to pay to have his song published, Ritter says "Who let you off the farm?" There are cameos by Jeanne Crain, Victor Mature, Dan Daily (doing a soft shoe routine) and Reginald Gardiner.  The film is fun at first, but the silly misunderstandings that keep the two couples apart eventually become irritating.

Verdict: Some good songs and talented performers can't quite save a tired screenplay. **1/4. 

PINKY

Jeanne Crain, William Lundigan

PINKY (1949). Director: Elia Kazan,

"Of course I'm in pain! Do you think I'll die in ease and ecstasy? -- Miss Em

You can't live without pride." -- Pinky

Patricia (Jeanne Crain of In the Meantime, Darling), who has been affectionately known as "Pinky" all of her life, looks like a white woman but is actually a "Negro." After being educated, getting a nursing degree, and becoming engaged to the white Dr. Adams (William Lundigan), she has returned home to see her grandmother, Dicey (Ethel Waters).

Ethel Barrymore as ailing Miss Em

Dicey is good friends with Miss Em (Ethel Barrymore), a once-wealthy woman who lives in a mansion not far from Dicey's much more humble dwelling. Pinky is resentful of Miss Em, and at first resists her grandmother's insistence that she temporarily become a nurse for the ailing old lady. But as the two women take measure of each other, they each earn the other one's respect. Pinky's fiancee shows up and learns the truth, and it all leads to a court battle over an estate that Pinky feels is rightfully hers. But will a "Negro" ever have the same rights accorded to a white person, and can Pinky and Dr. Adams have a real future together?

Ethel Waters, Frederick O'Neal, Crain

For 1949, Pinky was certainly ahead of its time. Although any other type of ending may well have been impossible given attitudes at the time toward interracial relationships, the movie takes a woman who tries to live as white and ultimately gives her true strength, pride and dignity. One could quibble about some aspects of the story and some of the negative if human black characters, but the fact that Pinky still manages to say what it does in the late forties is remarkable. There is also first-class cinematography from Joe MacDonald, and a nice score from Alfred Newman. And then there are the performances.

Ethel Waters and Ethel Barrymore were both nominated for a supporting actress Oscar and they deserved to be; they are both superb. Jeanne Crain was also nominated for Best Actress, but I found her performance to be uneven. She has some terrific moments, true, but in other sequences she just seems to be speaking lines with little true feeling behind them. Frederick O'Neal makes his mark as Jake, as does Nina Mae McKinney [Dark Waters] as his girlfriend, Rozelia. Evelyn Varden [Hilda Crane] is a stand-out as Melba, the nasty and racist cousin of Miss Em's, and there is notable work from Griff Barnett, Basil Ruysdael., and Kenny Washington in smaller but important roles. William Lundigan is fine in a thankless part that doesn't give him enough to do.

Pinky is a contrast to Band of Angels, which came out eight years later and also has a black heroine passing for white. Angels has an entirely different ending that is more "romantic" but also takes a giant step backwards when it comes to black pride.

Verdict: Superior drama with something to say. ***1/2. 

WIVES UNDER SUSPICION

Warren William and Gail Patrick

WIVES UNDER SUSPICION (1938). Director: James Whale.

James Stowell (Warren William) is a tough district attorney who rarely sees any side but his own. Ambitious and dedicated, he generally neglects his lovely wife, Lucy (Gail Patrick), going so far as to cancel a vacation at the last minute so that he can prosecute Dr. MacAllen (Ralph Morgan), who has murdered his wife. Stowell is convinced that the murder was premeditated while MacAllen's attorney argues that it was a sudden crime of passion. Stowell is unconvinced, until he thinks that Lucy is carrying on with her handsome friend, Phil (William Lundigan) ... The performances are zesty enough to keep this rather creaky old melodrama entertaining, although the script is fairly obvious and generally superficial. Ralph Morgan [Sleep, My Love] has a great scene when he confesses to Stowell, and the pic benefits from two comic performances from Cecil Cunningham [Daughter of Shanghai] as Stowell's secretary, "Sharpy," and Lillian Yarbo [Presenting Lily Mars] as the maid Creola, although the character is handled in the usual racist fashion of the period. Constance Moore is Phil's girlfriend, Elizabeth, and Milburn Stone is Stowell's assistant. This is a remake of the 1933 A Kiss Before the Mirror, which was also directed by James Whale and is considered to be superior.

Verdict: William performs with his usual flair and the others are fine. **1/2.

THE HOUSE ON TELEGRAPH HILL

THE HOUSE ON TELEGRAPH HILL (1951). Director: Robert Wise.

Hoping to have a chance at a new life in America, a woman who calls herself Karin (Valentina Cortese) has taken the identity of a deceased lady whom she befriended in a concentration camp. The real Karin has not seen her little boy, Chris (Gordon Gebert), in many years, and the false Karin winds up married to his guardian, Alan Spender (Richard Basehart), and playing mother to the child. The fourth member of the San Francisco household is the housekeeper and nanny, Margaret (Fay Baker), who seems to resent the other woman's intrusion. Taking another person's identity always has bad consequences in movies -- think No Man of Her Own -- and House on Telegraph Hill is no exception, as Karin finds herself embroiled in sinister events and terrified that someone is out to kill her -- or the boy. The best scene in the movie has Karin driving to the store when her brakes fail. Cortese [Thieves' Highway] is fine, as is William Lundigan as a major who takes an interest in Karin, but Richard Basehart [Voyage to the Bottom of the Sea] underplays way too much in key sequences, and the climactic scenes don't quite work, in part because of this. Arguably Baker gives the most vivid performance in this, even if she also seems a bit perfunctory at important moments. This is not one of Robert Wise's more memorable directorial jobs. Little Gordon Gebert gave a superb performance in Chicago Calling that same year, and is charming in this.

Verdict: Not quite satisfying suspense film. **1/2.

THREE SMART GIRLS GROW UP

Bob Cummings with the three smart girls.

THREE SMART GIRLS GROW UP (1939). Director: Henry Koster.

In this inferior sequel to Three Smart Girls, the "girls" are now young ladies with romantic problems. Their parents (Charles Winninger; Nella Walker) are back together and Joan (Nan Grey) is happily affianced to Richard (William Lundigan of Andy Hardy's Double Life). Unfortunately sister Kay (Helen Parrish) has fallen in love with Richard herself, a rather interesting situation that, unfortunately, never becomes entertainingly melodramatic. Sister Penny (Deanna Durbin) keeps throwing Harry Loren (Robert Cummings) in Kay's direction, to take her mind off Richard, but Harry rather rudely makes it clear that his interest is strictly in Penny. Durbin [It Started with Eve], the sole name to appear above the title, showing how her status had grown, gives a good performance, as does Winninger, and the rest are all more than competent.

Verdict: Pleasant if forgettable. **1/2.

THE COURTSHIP OF ANDY HARDY

Mickey Rooney and "droopy" Donna Reed

THE COURTSHIP OF ANDY HARDY (1942). Director: George B. Seitz.

"Andrew! I do not go back to the American Revolution!" -- Judge Hardy

While Andy (Mickey Rooney) is having problems operating his car towing service, Judge Hardy (Lewis Stone) intervenes in the case of a divorcing couple (Freida Inescort; Harvey Stephens) whose daughter, Melodie (Donna Reed) is being adversely affected by their behavior. The judge asks Andy to take Melodie to a dance, and he agrees, even though he thinks she's kind of "droopy." However, he gets to like the girl when he actually get to know her,  although he's worried when she develops a crush on him -- this in spite of the fact that Melodie eventually turns herself into quite a dish. And what about the returning Polly Benedict (Ann Rutherford)? In the meantime, Marian (Cecelia Parker) meets a brash young man named Jefferson (William Lundigan), and Mother Hardy (Fay Holden) has to deal with dishonest bill collectors. There seemed to be a decision with this film to focus a little more on the other members of the Hardy family, although Andy still gets the lion's share of the footage. The Courtship of Andy Hardy features the usual fine performances, but while it's quite pleasant in spots, it's not one of the more memorable entries. Todd Karnes reappears as Harry Land [Andy Hardy's Private Secretary], who falls for Melodie even before her makeover.

Verdict: One of the weaker Hardy pictures. **1/2.

ANDY HARDY'S DOUBLE LIFE

William Lundigan, Mantan Moreland, Mickey Rooney

ANDY HARDY'S DOUBLE LIFE (1942). Director: George B. Seitz.

"You're really the stuff, dad!"

Andy Hardy (Mickey Rooney) is leaving for Wainwright college in just a few days, and he finds himself with two dilemmas. First, his father, Judge Hardy (Lewis Stone), wants to accompany Andy to Wainwright, his old alma mater, where he will introduce him around, and stay for two weeks, a prospect which leaves Andy feeling like a little kid going to kindergarten. Then Andy finds himself supposedly engaged to two women, Polly Benedict (Ann Rutherford), and her friend, Sheila (Esther Williams), a psych major. As for the judge, he's dealing with a little boy (Bobby Blake) hit by a truck, while an ever-touchy Marian (Cecilia Parker) has high hopes for her blossoming romance with Jeff Willis (William Lundigan) from The Courtship of Andy Hardy. Both Rooney and Parker were getting older -- Rooney was 22 playing 18 and Parker was 28, starting to look a bit chubby and matronly  --  but the series still had a lot of life in it judging by this superior installment. Lewis Stone and Fay Holden as his wife really have a chance to shine with their expert performances -- Stone is particularly affecting -- and more cannot possibly be said about the simply wonderful Rooney. Parker, Sara Haden as Aunt Millie, and Lundigan are also fine, and there's a funny bit with that excellent comic character Mantan Moreland as Prentiss, the butler for the Benedict family. Addison Richards [The Royal Mounted Rides Again] also makes his mark as Polly's father, as does Robert Pittard as Andy's friend (?), Botsy. There are also brief appearances by Arthur Space as a lawyer, and Junior Coghlan as another of Andy's so-called buddies. Esther Williams [Raw Wind in Eden] was "introduced" in this movie -- it really was her first picture -- and she's quite good in fact, playing the role in just the right note. Andy Hardy's Double Life has an excellent, often touching script with equal parts humor and drama, and despite some silly moments, all of it works.

Verdict: One of the very best of the Hardy pictures. ***1/2.

DISHONORED LADY

DISHONORED LADY (1947). Director: Robert Stevenson.

"You're a voluptuous pain in the neck."

"I'm mad about you -- in my own foul way."

Beautiful New York City magazine editor Madeleine Damian (Hedy Lamarr) tries to kill herself out of what seems to be ennui and is counseled by a rather patronizing psychiatrist (Morris Carnovsky), who encourages her to start a brand new life for herself. She meets a handsome scientist, David (Dennis O'Keefe), who lives upstairs and falls in love, but then her past intrudes, in the form of sleazy lover boy Felix Courtland (John Loder) and even sleazier former co-worker Jack Garet (William Lundigan). When Madeleine is accused of murder, David turns against her in the snap of a finger! [Why anyone would expect such a beautiful woman not to have admirers and previous boyfriends ... !] Lamarr [Crossroads] and the other actors are perfectly fine in this, but the screenplay is a load of rot. Paul Cavanagh and Natalie Schafer [Female on the Beach] are their usual adept selves as Madeleine's former associates, and there are appearances by Margaret Hamilton as a landlady, and Douglass Dumbrille as a prosecutor; both are swell. (Ms. Damian is quite a woman: it's not that she doesn't scream at the sight of a mouse, but that she's actually able to grab and pick up one of the little vermin without trouble! Faster than a mouse? Sure!)  It's fun to watch those two blond Hollywood pretty boys, O'Keefe and Lundigan [The White Orchid], having a knockdown, drag-out battle -- guess who wins? Lundigan is effective in an unusual bad boy role for him.

Verdict: An attractive, competent cast doesn't hurt, but oh that story! **.

THE WHITE ORCHID

THE WHITE ORCHID (1954). Director: Reginald Le Borg.

Archaeologist Robert Burton (William Lundigan, in a Richard Denning-type role) plans to hunt for the remains of a lost Mexican civilization. His magazine sends him a female photographer,  Kathryn Williams (Peggie Castle), which brings out his not-so-latent chauvinism. Kathryn is not above using her sex appeal to get the very handsome rancher Juan Cervantes (Armando Silvestre) to guide them to the ruins. Cervantes owns a vanilla bean plantation that also boasts white orchids, and it isn't long before he's forsaking his lady love Lupita (Rosenda Monteros) and declaring undying devotion to Kathryn as an annoyed Burton looks on. During a fiesta scene, there's some business with men flying around a tall pole on ropes that is cleverly-edited, but the movie doesn't lead to anything too exciting, and doesn't amount to much, despite the heavy breathing. Silvestre was born in San Diego, and was a busy actor, mostly in Mexican productions. Lundigan was also in The Case of the Black Parrot and many others, and Castle starred in Beginning of the End. Le Borg also directed Voodoo Island, which was more interesting than this.

Verdict: Good-looking cast with little to do. **.

THE CASE OF THE BLACK PARROT

Eddie Foy Jr., William Lundigan and Maris Wrixon

THE CASE OF THE BLACK PARROT (1941). Director: Noel M. Smith.

Jim Moore (William Lundigan of Riders to the Stars) is a reporter who works with a photographer named "Tripod" (Eddie Foy Jr.) and has a girlfriend named Sandy (Maris Wrixon). Sandy's Uncle Paul (Charles Waldron) has returned from Europe with an antique cabinet that seems to have a lot of secrets surrounding it. For one thing, it has hidden drawers containing all sorts of surprises, and for another, anyone who touches the thing drops dead right afterward, with what appears to be a strange bite mark on their hands. Then there's the master criminal, the Black Parrot, suspected of stealing the Mona Lisa and substituting a fake -- like a parrot, he imitates, get it? Now he seems to be after this cabinet, which itself may be only a copy. Others involved in this intrigue include Max Armand (Paul Cavanagh of Son of Dr. Jekyll); Madame de Charrier (Luli Deste); an anxious lady named Julia (Phyllis Barry); and of course Rogers the butler (Cyril Thornton). Inspector Grady (Joseph Crehan) tries to solve the case, but he's not quick enough for Moore. This is a pleasant enough but unremarkable programmer with little to recommend it, although the cast has some appeal, and there are a couple of mildly clever touches. Barry, who gave a fine performance nine years earlier in Cynara with Ronald Colman, is utterly wasted in this, and the oddly-named Wrixon makes a somewhat odd leading lady by Hollywood standards.

Verdict: At least it's only about an hour long. **.

ELOPEMENT

Clifton Webb takes charge of little Tommy Rettig

ELOPEMENT (1951). Director: Henry Koster.

"What does she see in that creature? I'd sooner be related to a ring-tailed baboon."

"Jake" (Anne Francis of Forbidden Planet and Honey West) plans to study abroad after graduating college, but instead she decides to elope with one of her professors, Matt Reagan (William Lundigan) -- this despite the fact that the two have never actually been out on a date! Naturally their parents (Clifton Webb, Margalo Gillmore, Charles Bickford and Evelyn Varden) take off in pursuit to try to stop them before they can get hitched. But considering all the misunderstandings that are cropping up between Jake and Matt, the parents may find that their interference is unnecessary ... Elopement must be taken with a grain of salt. First, the idea of a professor having the hots for one of his students (granted, she's an adult), while hardly without precedent, is still a little creepy. Second, there's no good reason for the couple not to wait and have a "normal" wedding. Third -- they hardly know one another! That being said, Elopement still has its amusing moments and situations, and the performances are all very good, with Webb simply outstanding. Although Webb never married, was deeply attached to his mother, and may or may not have been gay, he can play husbands and fathers with absolute conviction and aplomb, as he does here. Whether Webb is dealing with his friend Roger (Reginald Gardner) or little Daniel (Tommy Rettig), Matt's youngest brother, he is very sharp and funny. Webb and Francis also teamed up for Dreamboat the following year.

Verdict: Cute picture despite obvious flaws. ***.

RIDERS TO THE STARS

RIDERS TO THE STARS (1954). Director: Richard Carlson.

"Gordon's d-d-disintegrated!"

We're a far cry from Queen of Outer Space with this picture. A scientific team which includes Dr. Stanton (Herbert Marshall) and Dr. Flynn (Martha Hyer) assembles a group of bachelors for physical and psychological tests. Turns out they are looking for men who can fly a spaceship in order to see if man can survive in space; their assignment will be to catch a meteor in flight. James Best of Killer Shrews is one of the candidates, and Michael Fox (not to be confused with Michael J. Fox), who appeared in everything from The Beast from 20,000 Fathoms to The Bold and the Beautiful, is the psychiatrist. Three men played by Richard Carlson (who also directed), pretty-boy William Lundigan, and busy actor Robert Karnes are chosen for the mission. For the most part Riders to the Stars is dry but reasonably interesting, although even such a "serious" sci fi flick is not above some exploitation elements. After one spaceship disintegrates, Carlson sees the corpse of the pilot floating by, only a skeleton (inexplicably) inside the space suit; an early "shock" scene to be sure. Carlson is very good, and the rest of the cast, Hyer included, are more than efficient.

Verdict: A somewhat interesting curiosity. **1/2.