On October 7, 1933, "20th Century Fox", released a historical drama about New York City entitled,"The Bowery". The feature film was directed by one-eyed Raul Walsh, set during the "Gay Nineties", and starring Wallace Beery, George Raft, and Jackie Cooper with Fay Wray.
In this feature film, the uncredited role of "A Blonde", was portrayed by Lucille Ball in her first on-screen appearance.
The story of Ball's blonde hair follows, but since May 27, 1930. When producer Howard Hughes's, First World War movie, "Hell's Angels", premiered. Every young woman wanted to be a "Platinum Blonde", like the motion picture's sex symbol, actress Jean Harlow, seen below in 1933's, "Bombshell".
What led Lucille Désirée Ball to that first motion picture is found in many biographies. Her journey started in 1925, at the age of 14. When she started dating a 21-year-old "Local Hoodlum", her mother's description. However, Lucille had expressed a desire to become an actress. So, in 1926, Lucille's now remarried mother, her father had died of thyroid fever ten-years earlier at the age 27, saw a possible way out of her daughter's romance. She enrolled her in the presage New York City based, "John Murray Anderson School for Dramatic Arts". As also noted in many biographies, one of Lucille Ball's classmates was Bette Davis. However, unlike Davis, her drama teachers believed there was no way the young Ball would succeed as an actress.
In 1928, Lucille Ball went to work as a model for major clothing designer, Hattie Carnegie. Who, made her young new model, bleach her dark brown hair, blonde.
After leaving modeling, "Diane", sometimes "Dianne Belmont", became the "Chesterfield Cigarette Girl". That career move was next followed by Lucille-Dianne succeeding on Broadway, to be fired from the prestigious "Earl Carroll Vanities" and "The Ziegfeld Follies". At which point Lucille Ball came to "Hollywood" to start a motion picture career with the uncredited roll in 1933's, "The Bowery", followed by 15 more uncredited roles in a variety of motion picture genres.
In the comedy-musical-romance, "Kid Millions", released on November 10, 1934, starring Eddie Cantor, Ann Sothern, and Ethel Merman, the audience saw Lucille Ball in the an uncredited role of one of the "Goldwyn Girls", seen below.
The above article appears to refer to "United Artists" loosing Lucille Ball, after she won a contract with "Columbia Pictures". Her last film for "United Artists", was "The Affairs of Cellini", released on August 24, 1934, Ball had the uncredited role of a "Lady in Waiting".
Then came Lucille Ball's first on-screen credited role, released on December 8, 1934:
Lucille Ball portrayed "Daisy Simms", in the above 20-minute short. Many biographers overlook this short, or just do not consider it as Ball's first credited role, because it's not a feature film.
Note:
The above poster does not say "The Three Stooges", because at this time they were not billed as such. In fact, "Curly", was billed by his actual name of Jerry Howard. The short would be re-released later, after the boys became "The Stooges", under their new name.
Lucille Ball was back to uncredited roles until the motion picture that the majority of biographers consider as Ball's first fully credited role premiered. The young actress had 8th-billing, portraying "Lillian Temple", in actress Anne Shirley's, "Chatterbox", released on January 17, 1936.
Above, Lucille Ball with 4th-billed "Erik Rhodes", portraying "Mr. Archie Fisher".
In 1936, Lucille Ball did something that would come back to hunt her on September 4, 1953, during the "McCarthy Era". Along with her mother and brother, she registered to vote as a member of the "Communist Party". Which, at the time, was a means of showing support for a candidate for the "57th District of the California State Assembly", who was a member of the "Communist Party U.S.A." During the Second World War, American's were encouraged to join the party as a means of showing support for our ally the Soviet Union. However, when the "House Committee on Un-American Activities" was established after the war, many "Hollywood" personalities found themselves brought before the committee, but that's another story.
In the 1936, crime-drama, "Winterset", starring Burgess Meredith and Margo, Lucille Ball had the uncredited role of "Girl".
Three more movies followed, but in one she was uncredited, in another, all her scenes were deleted, but in the "Jukebox musical", 1936's, "The Girl from Paris", Lucille Ball had 6th-billing portraying "Claire 'Clair' Williams".
Then came:
STAGE DOOR premiering in San Francisco on October 6, 1937
This was originally a Broadway play written by Pulitzer Prize winning American authoress Edna Ferber, and George S. Kaufman, the Marx Brothers stage plays and film versions of 1930's, "Animal Crackers", and 1935's, "A Night at the Opera". My article about Edna Ferber is:
"Edna Ferber and the Hollywood Interpretations: Featuring Elizabeth Taylor, Barbara Stanwyck, Katharine Hepburn, Ingrid Bergman, Ava Gardner, Jane Wyman, Irene Dunne, Kathryn Grayson, Carolyn Jones and Ginger Rodgers" that can be read at:
http://www.bewaretheblog.com/2016/12/edna-ferber-and-hollywood.html
This screenplay was written by two other writers, Morrie Ryskind, who adopted both Marx Brothers plays into screenplays, and Anthony Veiller, 1936's, "Winterset", the 1946 version of American author Ernest Hemingway's, "The Killers", 1952's "The Red Planet Mars", and 1961's, "The List of Adrian Messenger".
The motion picture was directed by Gregory LaCava, 1934's, "The Affairs of Cellini", and 1936's, "My Man Godfrey".
The Main Cast:
Katharine Hepburn portrayed "Terry Randall". Hepburn had just been seen in director George Stevens', 1937, "Quality Street", co-starring Franchot Tone. She would follow this motion picture with director Howard Hawks', comedy classic, 1938's, "Bringing Up Baby", co-starring Cary Grant.
Ginger Rodgers portrayed "Jean Maitland". Rodgers had just been seen in 1937's, "Shall We Dance", with her dancing partner Fred Astaire. She would follow this motion picture with director George Stevens' screwball comedy, 1938's, "Vivacious Lady", co-starring with James Stewart.
Above, Ginger Rodgers with Katharine Hepburn.
Adolphe Menjou portrayed "Anthony Powell". Menjou was just seen in Deanna Durbin's musical-comedy, 1937's, "One Hundred Men and a Girl". He would follow this motion picture with the musical, 1938's, "The Goldwyn Follies".
Above, Katharine Hepburn with Adolphe Menjou.
Gail Patrick portrayed "Linda Shaw". Patrick had just been seen in director Raul Walsh's, 1937, "Artist and Models", starring Jack Benny and Ida Lupino. She followed this motion picture with the musical 1938's, "Mad About Music", co-starring with Deanna Durbin and Herbert Marshall.
Above, Ginger Rodgers and Gail Patrick.
Andrea Leeds portrayed "Kay Hamilton". Leeds film career between 1933 and 1940, totaled 25 motion pictures. For her role in "Stage Door", she was nominated for the "Best Supporting Actress Academy Award" and after the awards show, her name was added to the posters for the re-release of the feature film. However, Butte, Montana, born Leeds, retired from acting in 1940, married, and became a successful horse breeder in her home state.
Lucille Ball, was shown on the official cast listing with 8th-billing, two-roles below Andrea Leeds. Ball portrayed "Judith Canfield".
Lucille Ball's name would appear on the United Kingdom and Australian posters, but it was only after the picture's initial release and the critics reviews started to appear. That Ball's name was added as last in small print, on some of the posters in the United States.
Above front row left to right, Lucille Ball, Ginger Rodgers, and future major motion picture dancer and musical supporting actress, 19th-billed, Ann Miller, 1948's, "Easter Parade", 1949's, "On the Town", and in the Third-Dimension, the 1953 musical, "Kiss Me Kate". Where Miller, literally seemed to come off the screen singing Cole Porter's, "Too Darn Hot".
For the 1963 re-release, the names of Ann Miller, and Eve Arden, who portrayed 16th-billed, "Eve", were added to the posters.
Above left to right, Lucille Ball, Andrea Leeds, and Eve Arden. Televisions, "Our Miss Brooks", 1952 through 1956, and "Principle McGee", in the 1978 musical, "Greece".
Below in a small role, was Frank Reicher portraying "The Stage Director" of the climatic stage production. My article "Frank Reicher: B4 'King Kong' 2 TV's 'Superman" will be found at:
http://www.bewaretheblog.com/2024/08/frank-reicher-b4-king-kong-2-tvs.html
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Above, the uncredited Jack Rice as "The Playwright" with Frank Reicher.
The Very Basic Screenplay:
From my above linked article about Edna Ferber, I wrote that:
The website "Bookrags" describes the plays premise as:
"Stage Door" by George S. Kaufman and Edna Ferber is the story of a group of young girls who live together in a big house in New York City called "The Floodlights Club." It is a house for young women from other cities and states who come to New York City with stars in their eyes. The women do not live in the best conditions. The big old house is run down and overly crowded. They each must put up with three girls per cramped bedroom while paying a relatively high rent for 1936. They sacrifice comfort and security just so they can be near enough to Broadway to audition for the opportunity to get a role, often just a walk on or a bit part.
The play follows the story of Terry Randall and Jean Maitland. Two roommates with the same goal in life, but as the play progresses their careers and lives change directions. You can read the entire description of the play at:
http://www.bookrags.com/studyguide-stage-door/#gsc.tab=0
The screenplay changed some of the character names and situations to fit into the running time of the motion picture, 92-minutes.
"Terry" and "Jean" are each other's competitor for roles in plays that will lead them, in their dreams, to stardom. To complicate matters, the two are roommates and their personalities are in conflict. When "Terry" arrived, her clothing as compared to every other young woman living there, indicated her wealth, and adding in her superior attitude, put "Terry Randall" at odds with everyone else. "Jean", on the other hand, comes from the opposite social status, and appears to have a flippant attitude and especially toward her "High Brow" roommate.
Another young woman, "Linda Shaw", is in a relationship with theatrical producer "Anthony Powell", and the two face their own obstacles.
While, the young woman with most of the actual legitimate stage background, "Kay Hamilton", had great reviews the previous year and talk of her going somewhere, but a reality check for "Kay" came. She can't find work this year. Such is the life of any of the young women of "The Footlights Club".
Then there's "Judith Canfield", who appears to the other members of the club, as more interested in men, than getting a job. She's the bright, if not somewhat sassy, light in the group. "Judith" tosses off one-liners that take the other girls by surprise and hits hard with some of them, because of the truth in her zinger. However, "Judith" knows when not to toss one, and can show real support and sympathy for any of the girls in need of a friend, when none of the other's see that truth in their situation.
Above, Miller, Rodgers, and Ball.
It is announced that "Anthony Powell" is casting for a new play, "Enchanted April", "Kay Hamilton" wants the lead in it. However, when she goes for her tryout, the fact she's not been eating to use her limited income to get her back and forth to other tryouts comes into play, and she collapses in the waiting room of "Powell's" office. "Terry" is there and berates "Anthony Powell" for his treatment of "Kay". Word of this reaches the women of "The Footlights Club" and they start to warm to "Terry Randall".
Meanwhile, without her knowledge, "Terry's" wealthy father tells "Anthony Powell" that he will completely finance the play, IF his daughter has the lead. When "Kay" hears about "Terry" getting the lead in "Enchanted April", it breaks her heart. While "Terry" discovers that the producer has been with other young starlets and has no real feelings for "Linda". So, she openly pretends to be having an affair with him to get "Linda" to break off her relationship. Once again making herself seem cruel to the others, but protecting her friend.
All of this builds to the climax on opening night, and there are websites that will give my readers "A Spoiler" about what happens next, but I will just advise them. That even though this motion picture, as of this writing, is 87-years-old, find it and enjoy an excellent ensemble cast.
Eight motion pictures followed with larger comedic roles for Lucille Ball, including two films portraying a character named "Annabel Allison". Which was hoped to become a series, but didn't work at the box office. However, Lucille Ball found herself directly billed behind Groucho, Chico, and Harpo Marx, in 1938's, "Room Service".
These eight-comedies led to four-dramatic roles in a row from "RKO Pictures". Illustrating that the studio was still trying to figure out what type of actress Lucille Ball was:
BEAUTY FOR THE ASKING premiered in New York City on February 10, 1939
There is a piece of trivia floating around about this motion picture and I relate it from the website:
cometoverhollywood.com at:
It is speculated that the film is about Helena Rubinstein, who emigrated to America after refusing an arranged marriage and became the world’s richest woman when she created a cosmetic entrepreneur.
The original story idea came from two writers, Grace Norton. Her career consisted of only five story ideas, four were romances and one was a western. Adele Buffington had been writing since 1919, starting in 1930, for the next 20-years, Buffington wrote mostly "B" Westerns.
Edmund L. Hartman up until this story, wrote ten-straight crime and mystery screenplays. He took the ladies story idea and turned it into a working story that could be turned into a screenplay.
The actual screenplay was written by two more writers.
Doris Anderson had been writing silent film scenario and sound screenplays since 1925. The majority were some form of dramatic romance. For Paul Jarrico, this was only his 3rd-screenplay. His previous two were love stories.
It should be noted that there is nothing in the films storyline that equates directly with Helena Rubinstein's life and I agree that the piece of "trivia" is speculation.
The motion picture was directed by Glenn Tryon. Tryon was an actor, turned writer, turned director and this was his 6th of only 11 directed motion pictures.
Lucille Ball portrayed "Jean Russell". Ball had just been seen in a slapstick comedy, 1938's, "Next Time I Mary", co-starring with "B" Cowboy actor, James Ellison. She would follow this picture with the next drama I will mention. According to film critic Leonard Maltin's, "1998 Movie and Video Guide", Lucille Ball:
delivered a strong performance
Patrick Knowles portrayed "Denny Williams". The British actor had just been seen in the comedy, "Torchy Blane in Chinatown", one of a series starring Glenda Farrell. He followed this movie with 1939's, "Five Came Back".
Donald Woods portrayed "Jeffrey Martin". Woods was just seen in 1938's, "Danger on the Air", and would follow this feature film with 1939's, "The Girl from Mexico". Science Fiction fans know the actor for stop-motion-animator Ray Harryhausen's, 1953, "The Beast from 20,000 Fathoms", and fans of director William Castle's horror-gimmick films, knew him for the original 1960, "13 Ghosts".
Above left to right, Patrick Knowles, Lucille Ball, and Donald Woods.
Frieda Inescort portrayed "Flora Barton-Williams". Inescort had just been seen in the 1939 feature film, "Woman Doctor", and followed this picture with 1939's, "Zero Hour".
Above Frieda Inescort and Patrick Knowles.
The Basic Story Line:
"Jean Russell" is a manicurist who is engaged to salesman "Denny Williams". Things seem to be going great, until "Denny", dumps "Jean" for an older woman and millionaire, "Flora Barton". The society pages are shocked over her marriage to a common salesman.
"Denny's" action pushes "Jean", to redouble her efforts to enter the beauty business. She meets ad-man "Jeff Martin", who will start to promoting her. "Jean's" path now recrosses with "Denny", because "Jeff" speaks to "Flora" about backing a start-up salon for her. This is just what "Flora Barton-Williams" needs for her now-restless husband, "Denny". The agreement is that he manages the salon, or salons. Meanwhile, "Jean" is working on perfecting her new facial cream and this leads to more financial backing by "Flora", because no other wealthy woman wants to back her and a friendship develops between the two. "Jean's" facial cream starts to take off and more beauty salons, promoted by "Jeff" and managed by "Denny", appear across the country. All leading to the manicurist becoming a millionaire cosmetic queen, and selling her own line of very popular cosmetics, but only at her salons. The only possible connection to Helena Rubinstein.
As all this was developing, "Jean", figures out a way to help "Flora" keep "Denny". She sends him to the West Coast Salon, much to "Jeff's" happiness, because he has fallen in love with "Jean", but not necessarily her for him. Next, "Flora" is drafted into a beauty school crash course to understand the business and heads west. However, all the maneuvering by "Jean" is because she still loves "Denny" and is hiding a very selfish heart that is buried in her business.
As many have mentioned, the screenplay is from a feminist point of view and Lucille Ball dominates this forgotten motion picture.
TWELVE CROWDED HOURS premiered in New York City on February 23, 1939
This should have been an excellent film, but it wasn't even close.
Lew Landers was the director and among his first films, using his birth name of Louis Friedlander,
were the Onslow Stevens, also seen in 1945's "The House of Dracula" and 1954's, "THEM!", 1934, science fiction cliff-hanger, "The Vanishing Shadow", and the Boris Karloff and Bela Lugosi, 1935, "The Raven". As Landers his work included both Lucille Ball's, "Annabel" comedies, and 1951's, "The Magic Carpet", starring Lucille Ball and John Agar, and featuring a villain portrayed by Raymond Burr.
The story was by Garrett Fort, both 1931's, "Dracula", and "Frankenstein". Director John Ford's, 1934, "The Lost Patrol", 1936's, "Dracula's Daughter", and director Tod Browning's, "The Devil Doll".
The screenplay was by John Twist, the Katharine Hepburn, 1933 version, of "Little Women", the Barbara Stanwyck, 1935, "Annie Oakley", the John Barrymore, 1939, "The Great Man Votes", and later, the Douglas Fairbanks, Jr. and Maureen O'Hara, 1947, "Sinbad the Sailor", and 1954's, "King Richard and the Crusaders", starring Rex Harrison and Virginia Mayo.
Richard Dix portrayed "Nick Green". Dix had been nominated for the "Best Actor Academy Award" for the 1931 version of Edna Ferber's, "Cimarron", co-starring Irene Dunne. The pairing were together again in director William A. Wellman's, 1934, "Stingaree". In 1935, Dix was in the excellent and forgotten British science fiction, "Transatlantic Tunnel", in 1939, Dix portrayed "Sam Houston", in "Man of Conquest", and in 1942, he was "Marshall Wyatt Earp", in "Tombstone: The Town to Tough to Die".
Lucille Ball portrayed "Paula Sanders".
Alan Lane portrayed "Dave Sanders". Lane bounced around in low budget, mostly crime films, starting in 1929, until he starred in the 1940 cliff-hanger, "King of the Royal Mounted". That led to appearing in "B" westerns and morphing into Allan "Rocky" Lane. Under that name he starred in seven movies about the Sunday comic strip cowboy hero, "Red Ryder" and then continued in his own western series as the character named "Rocky Lane".
Above left to right, Lucille Ball, Richard Dix, and Alan Lane
The Basic Screenplay:
In the "IMDb", description of this film's plot at:
Is the line about Richard Dix's character:
His quest is somewhat hampered by a romantic red head, - - -
The obvious problem here, is that Lucille Ball's hair was not red, but was still dark brown. The description on the site had to have been written by someone who had not seen the motion picture.
The plot is simple and so familiar, "Dave Sander's", the brother of newspaper reporter "Nick Green's" ex-girlfriend, "Paula", has been framed for murder by the crime boss of an unnamed city. Can "Nick" find the proof of "Dave's" innocence and prove that criminal mastermind, "George Costain", portrayed by scene stealing Cy Kendall, billed as Cyrus W. Kendall, was behind the murder and framing. This all takes place during "Twelve Crowded Hours".
Above a publicity still is of Cy Kendall with a cigarette and Richard Dix offering him a match.
The cast, including Donald MacBride portraying forgetful "Detective Sergeant Joe Keller", are excellent, but the screenplay is not!
Dix's newspaper reporter is written too overly smart. He's like nothing Raymond Chandler, or Dashiell Hammett ever dreamed up. Even Earle Stanley Gardner's, "Perry Mason", would loose against him, if he was the prosecutor. That is the real problem with this "RKO Picture's" screenplay.
As for the subject of this article, Lucille Ball's "Paula Sander's" is there, but that screenplay gets in her way. "Paula" appears as nothing more than a needed set piece to get "Nick Green" to investigate and the 2nd-billed actress just stands there without speaking in most of her scenes.
An example is in the above critical sequence, Lucille Ball is nowhere to be seen.
Following "Twelve Crowded Hours" was:
PANAMA LADY on May 12, 1939
Seven-years-earlier, "RKO Pictures" made, 1932's, "Panama Flo", starring Helen Twelvetrees. That motion picture was "Pre-Motion Picture Code".
Which means both language and nudity were acceptable. One of the most famous pre-code sequences, was the milk bath in producer and director Cecil B. DeMille's, 1935, "Cleopatra". Where the audience had no questions about actress Claudette Colbert, in the title role, being totally naked.
1939's, "Panama Lady", was the post code remake, referred to by the critics at the time, as "The Cleaned Up Version", without the language and nudity of the original. However, both versions come from the same story by the previously mentioned writer, Garrett Fort. This screenplay was written by Michael Kanin, his second.
The motion picture was directed by Jack Hively, his second motion picture.
Lucille Ball portrayed "Lucy".
Allan Lane portrayed "McTeague". Lane had just been in the 1939, crime drama, "They Made Her a Spy", and would follow this motion picture with the 1939, crime drama, "Spellbinder".
Above, Lucille Ball and Allan Lane.
Steffi Duna portrayed "Chema". Duna, an ex-Budapest, Hungary, Opera dancer, had just been in the 1938, Joe E. Brown, musical-comedy, "Flirting with Fate", she followed this motion picture co-starring with Leo Carrillo and Tim Holt in a movie that was described as a comedy-crime drama-musical-western, 1939's, "The Girl and the Gambler".
Evelyn Brent portrayed "Lenore". Brent just co-starred with Harry Carey, Sr. and Tim Holt, in the 1938 western, "The Law West of Tombstone", and followed this motion picture with 1939's, "Daughter of the Tong".
Above left to right, Lucille Ball, Evelyn Brent, and Allan Lane.
Donald Briggs portrayed "Roy". Briggs had just been seen in the Victor McLaglen movie, 1939, "Ex-Champ", and followed this feature film with a "Baby Sandy" series entry, 1939's, "Unexpected Father".
Above, Bernadine Hayes portraying "Pearl" and Donald Biggs.
The Cleaned-Up Screenplay:
"Lucy" is an American girl in the chorus at a bar in Panama. However, unusually bad weather forces the bar's owner, "Lenore" to cancel the floor show putting "Lucy" out of work. "Lucy" asks her American pilot boyfriend, "Roy", to marry her now, but his excuse is that he must take a business flight first. "Lucy" decides to stowaway on "Roy's" plane and this leads her to discover he's a smuggler. Next, "Lucy" needing an income, talks "Lenore" into making her one of the bar's, in this version, "Hostesses".
Enter handsome oil driller, "Teague", who goes on a drinking bender, and "Lenore" has one of the other "Hostesses" slip him a "Mickey" in his drink. "Teague" is robbed and "Lenore" puts the blame on "Lucy". She now faces jail, but "Teague" comes up with a counter offer. "Lucy" will become his maid, and the two leave for the jungles of Panama and the drilling site. The inevitable happens and the two will fall in love, but not before "Lucy" must come to terms with both "Teague" and the jungle.
Lucille Ball followed one jungle motion picture with a classic jungle motion picture. Although this is considered a "B-List" motion picture. It is recognized as the first feature film that started looking at Ball as a potential "A-List Actress".
FIVE CAME BACK released June 23, 1939
The screenplay was from a story by Richard Carroll. Carroll only wrote 12-stories for motion pictures, and this one would be remade as 1956's, "Back from Eternity", co-starring Robert Ryan, Anita Ekberg, and Rod Steiger.
The screenplay was written by three excellent "A-List" writers. Among Jerome "Jerry" Cady's screenplays were 1943's, "Guadalcanal Diary", 1944's, "The Purple Heart", and 1948's, "Call Northside 777".
Dalton Trumbo would become famously a victim of the "House Committee on Un-American Activities" during the McCarthy Era. His films prior to his "Black Listing" included both 1940's, "A Bill of Divorcement", and "Kitty Foyle", 1942's, "I Married a Witch", 1943's, "A Guy Named Joe", and 1944's, "Thirty Seconds Over Tokyo". Among his films after leaving the United States and under someone else's name are 1955's, "The Court-Martial of Billy Mitchell", and "The Brothers Rico". In 1960, it was producer and actor Kirk Douglas that brought back Dalton Trumbo with full name recognition credit by having him write the screenplay for "Spartacus".
Nathanel West was actually a satirical novelist and among his novels was his 1933 black comedy "Miss Lonely Hearts". That became the 1958, Montgomery Clift, Myrna Loy and Robert Ryan, "Lonely Hearts". While you knew who his Hollywood characters were in his hard hitting satirical
1939, "The Day of Locust". Which became a Donald Sutherland, Karen Black, and Burgess Meredith, 1975, motion picture.
The motion picture was directed by John Farrow. Farrow directed both Boris Karloff's, 1937's, "West of Shanghai", and 1938, "The Invisible Menace". His other work included the Maureen O'Hara and Adolph Menjou, 1940, "A Bill of Divorcement", and the classic 1946 version of author Richard Henry Dana, Jr.'s, "Two Years Before the Mast", starring Alan Ladd and Brian Donlevy.
This feature film had a very good cast for an "RKO Picture"of the time:
Chester Morris portrayed "Bill". The original "RKO Pictures" plan was to have the role go to Cary Grant, but that was dropped when it was decided that would require a more expensive "A-List" cast.
Chester Morris started on-screen acting in 1917, but during the late 1930's, he became a major "B" no nonsense leading man. His films include the 1936 version of the western classic "Three Godfathers", co-starring with Lewis Stone, and Walter Brennan. The 1936 musical-drama, "Frankie and Johnnie", starring the great torch singer, Helen Morgan. During the 1940's, he was in a series of movies about jewel thief turned detective, "Boston Blackie" and that led him to the 1950's television series. When speaking of "The Three Godfathers", most people think of director John Ford's film starring John Wayne. In truth there were three very good films before that feature and my article is "The Three Godfathers': A Christmas Allegory Interpreted By John Ford, William Wyler, Richard Boleslawski, and Edward Le Saint" to read at:
Lucille Ball portrayed "Peggy Nolan". She was a last minute replacement for actress Ann Sothern.
Ball followed this feature film by going back to a supporting comedy role in the Kay Kyser and Adolph Menjou, 1939, "That's Right - You're Wrong".
Above, Lucille Ball and Chester Morris.
Wendy Barrie portrayed "Alice Melhorne". Hong Kong born to an English-Irish father and a Russian Jewish mother, Barrie had just been seen in the first Basil Rathbone and Nigel Bruce, "Sherlock Holmes" mystery, the 1939 production of British author Sir Arthur Conan Doyle's, "The Hound of the Baskervilles". She would follow this motion picture with the film-noir, 1939's, "The Witness Vanishes".
Patrick Knowles portrayed "Judson Ellis". I've mentioned Knowles already, but while his name might not be familiar to some of my readers, three of his roles might be. In 1938, the actor portrayed "Will Scarlett" in the Errol Flynn, Olivia de Havilland, and Basil Rathbone, "The Adventures of Robin Hood", in 1941, he was "Frank Andrews" in the Lon Chaney Jr., "The Wolf Man", and in 1945, he once again joined Lon Chaney, Jr., by portraying "Dr. Frank Mannering" in "Frankenstein Meets the Wolfman".
Above, Patrick Knowles and Wendy Barrie.
John Carradine portrayed "Crimp". Carradine had portrayed "Barryman" in 1939's, "The Hound of the Baskervilles", and followed this feature film with 1939's, "Frontier Marshall", starring Randolph Scott as "Wyatt Earp" and Cesar Romero as "Doc Holliday". That movie and a look at the actual events is found in my article "The Gunfight at the O.K. Corral' as Reinvented by Hollywood" at:
Joseph Calleia portrayed "Vasquez". Joseph Alexander Caesar Herstall Vincent Calleja was born on the island of Malta, but became a recognizable face as a villain in many motion pictures. He was just in The Ritz Brother's comedy-horror picture, 1939's, "The Gorilla". He would follow this movie with the Barbara Stanwyck, Adolph Menju, and William Holden, 1939 "Golden Boy".
Above left to right, Chester Morris, John Carradine, Lucille Ball, and Joseph Calleia.
Kent Taylor portrayed "Joe Brooks". Taylor started acting in 1931and became a solid "B' actor in over 151-roles. Some of his roles included just being an uncredited spectator in director Cecil B. DeMille's, 1932, "Sign of the Cross", "Corrado" in Fredric March's, 1934, "Death Takes a Holiday", "Doc Holliday" to Richard Dix's, "Wyatt Earp", in 1942's, "Tombstone: The Town Too Tough to Die", and "Bob Dalton" in 1945's, "The Daltons Ride Again". However, it is that fans of low-budget science fiction that know Taylor for 1955's, "The Phantom from 10,000 Leagues", 1962's, "The Day Mars Invaded the Earth", and 1963's, "The Crawling Hand". Taylor kept acting into the 1970's, with even lower budget horror movies such as 1968's, "Brides of Blood", the "King Kong" rip-off, 1969's, "The Mighty Gorga", or 1970's, "Hell's Bloody Devils".
Above left to right, Kent Taylor, John Carradine, and Chester Morris.
Allen Jenkins portrayed "Pete". Jenkins parents performed musical-comedy and he became a familiar 1930's, early 1940's character actor. He was also part of "Hollywood's Irish Mafia", that included Spencer Tracy, James Cagney, and Pat O'Brien. Jenkins appeared in many of their films and was also a dancer and voice actor. My generation is familiar with the Hanna-Barbera cartoon show, "Top Cat", in which Allen Jenkins voiced "Officer Dribble". Look for Jenkins as Humphrey Bogart's sidekick, in the 1937 classic director William Wyler feature, "Dead End". In 1964, he portrayed "Vermin", in the Frank Sinatra "Rat Back" feature, "Robin and the 7 Hoods".
Elisabeth Risdon portrayed "Martha Spengler". British actress Risdon was first seen on-screen in 1913. Among her roles is "Mrs. Connell", in 1937's, "Dead End", "Margaret Fletcher" in Lucille Ball's, 1938, "The Affairs of Annabel", she would be seen as "Sarah Lincoln" in 1940's, "Abe Lincoln in Illinois", starring Raymond Massey, and "Ma", in the Humphrey Bogart, Ida Lupino, 1940, "High Sierra", directed by John Huston.
Casey Johnson portrayed "Tommy Mulvaney". Casey was 3-years-old when he made this motion picture. His acting career lasted into 1946, when 10-years-old, Casey appeared in "People Are Funny"
Above front left to right, Allen Jenkins, John Carradine, Elisabeth Risdon holding CaseyJohnson , and Lucille Ball. Straight behind John Carradine against the cabin wall appears to be Dick Hogan portraying "Larry".
Sir C. Aubrey Smith portrayed "Professor Henry Spengler". British actor Smith started his acting career in 1915 and among his motion picture are 1932's, "Tarzan the Ape Man", portraying "Jane's father", Jean Harlow's, 1933, "Bombshell", Cecil B. DeMille's, 1935, "Cleopatra", DeMille's, 1935, "The Crusades", director Alfred Hitchcock's, 1940 version of Daphne Du Maurier's "Rebecca", and the 1945, classic version of Agatha Christie's, "And Then There Were None".
Above left to right, Lucille Ball, Allen Jenkins, Joseph Caleia, Sir C. Aubrey Smith, and Chester Morris.
The Screenplay:
Nine passengers board the airliner, "The Silver Queen", for a routine flight to Panama City, Panama.
The passenger's are:
The wealthy "Judson Ellis" and "Alice Melhorne", who are eloping against both sets of parent's wishes.
"Professor Henry Spengler" and his wife "Martha", that after years of marriage are drifting apart.
"Tommy Mulvaney", the very young son of a gangster, and his guardian, the gunmen, "Pete".
"Peggy Nolan", a woman with what is described as a "shady past".
"Vasquez", is an anarchist being extradited for killing a high ranking Panamanian politician, and his guard, "Chimp".
The plane's three-man crew are:
"Bill", the pilot.
"Joe Brooks", his co-pilot and,
"Larry", the steward.
The screenplay's set up:
The flight starts out smoothly, but a fierce night time storm is encountered and a compressed gas cylinder is knocked loose. The cylinder hits against the passenger door and knocks it open. With the turbulence, "Tommy", who was walking in the cabin falls down near the door. "Larry" is able to get "Tommy" and gives him to one of the passengers, but the strong turbulence causes him to fall out of the door to his death. A passenger gets the door closed and "The Silver Queen" continues toward Panama City. Next, one of the engines fails on the plane, forcing "Bill" and "Joe" to make a forced crash-landing in the jungle
The main story line:
In the morning it is discovered that they are way off course and "Professor Spengler" realizes from some of the plants that they're in the Amazon Rainforest. "Bill" informs the passengers that there will be no search parties, because "The Silver Queen" should be on the other side of the mountains they see in the distance.
Weeks have passed with "Bill" and "Joe" attempting to repair their damaged plane.
Over this time, there have become changes to the lives of the passengers and the crew. The "Spengler's" have rediscovered their love for each other. "Bill" and "Peggy" have found each other and she reveals her sordid past to him. "Vasquez" has seen how the others have been coping with their situation and starts to reconsider his own life and reevaluate his beliefs. The most noticeable change comes with "Judson Ellis", he cannot cope with their situation and has become a drunk, spending every day drinking. This has caused "Alice" to reconsider her future with him, as she realizes she has become attracted to "Joe Brooks".
The Climax:
Twenty-three-days-have-passed and "Crimp" is missing from camp. "Tommy" discovers his body, while"Peggy" and "Pete" are looking for the boy. They find him, and "Tommy" leads the two to "Crimp's" body that has a poison dart in it. "Pete" orders "Peggy" to take "Tommy" back to their camp and he will cover them. On his own way back, "Pete" doesn't make it, and is killed by the cannibal natives.
The remaining passenger board the now repaired airplane, but as the engines turn over, one has an oil leak that must be repaired. "Bill" and "Joe" patch the leak, but "Bill" informs the passengers that the patch will fail sometime after take-off, leaving one engine running. As a result of the oil leak, "Bill" now informs the others that the airplane can only take four adults and "Tommy" across the mountains.
"Vazquez" suddenly grabs a pistol and informs everyone that as he has nothing to loose by either going back to Panama City, or staying in the Amazon Rainforest, he will choose who goes. "Professor Spengler" tells him that he and his wife will stay, because they're old and have lived their lives. While, "Judson" attempts to bribe "Vazquez", by offering to buy him the finest lawyer.
When "The Silver Queen" is ready for take-off, "Vazquez" announces that the pilots, "Bill" and "Joe", the two young women, "Peggy" and "Alice", and "Tommy" will go. "Judson" attacks "Vazquez" and is shot dead.
The airplane takes off and "Professor Spengler" informs "Vazquez" that the natives will capture and torture them. "Vazquez", checks the pistol and tells the "Professor" he has three bullets left. Knowing what the professor was implying. "Vasquez" kills both "Spengler's", and it is now revealed he lied to "Professor Spengler". He only had two bullets and sits down to await his fate.
The final over run budget for this "B" motion picture was $225,000, 1939 dollars, and to the surprise of everyone, and especially "RKO Pictures", "Five Came Back", had an initial run box office of $721,000, 1939 dollars. For the record, the average price of an Adult movie ticket, was 23-cents, or at the time of this writing $5.22. The average admission to 1939's, "Gone with the Wind", in its limited roadshow run was 90-cents, or at this writing, $20.42.
Lucille Ball started 1940 for the 3rd-time in another film set in a jungle.
THE MARINES FLY HIGH premiered in New York City on March 4, 1940
As to the screenplay, I let aviation film historian, James H. Farmer in his 1984, "Celluloid Wings: The Impact of Movies on Aviation", give my reader his viewpoint that the picture:
- - - the quick-paced roar of machine guns, rifles and airplane engines in this low-budget effort (that) fortunately leaves little time for a careful look at the lackluster plot.
Richard Dix portrayed "Lt. Danny Darrick". Dix had just starred in the 1939 drama, "Reno", and followed this film with 1940's, "Men Against the Sky", that co-starred Kent Taylor and Wendy Barrie.
Chester Morris portrayed "Lt. Jim Malone". Morris had just co-starred with Wallace Beery in 1939's, "Thunder Afloat", and followed this motion picture with the 1940 western, "Wagon's Westward".
Lucille Ball portrayed "Joan Grant". Ball would follow this picture with the romantic comedy, 1940's, "You Can't Fool Your Wife". I draw my reader's attention, above, to the tag line:
- - - But Couldn't Bluff a Blonde!
Above left to right, Chester Morris, Richard Dix, and still brown haired Lucille Ball.
Steffi Duna portrayed "Theresa". Duna had just been in the William Boyd, Russell Hayden, and Sidney Toler, "Hopalong Cassidy" western, 1939's, "Law of the Pampas", and followed this feature film with the Vivian Leigh and Robert Taylor, 1940 version of "Waterloo Bridge".
Above left to right, Lucille Ball, Steffi Duna, and Richard Dix.
John Eldredge portrayed "John Henderson". Eldredge had just been seen in the Jane Wyman and Dick Foran, 1939, "Private Detective", and followed this motion picture with 1940's, "Dr. Kildare's Strange Case", starring Lew Ayres and Lionel Barrymore.
Above front row, Lucille Ball, John Eldredge, and Ethan Laidlaw portraying "Barnes". My reader may seem to recognize the face of the man between Eldredge and Laidlaw. That is character actor, Nestor Pavia portraying "Pedro Fernandez". Pavia appeared in several classic 1950's science fiction films and my article is "NESTOR PAIVA: Skipper of the "Rita" vs The Creature from the Black Lagoon" for a swim at:
As to James H. Farmer's comment about this screenplay, an actor, or actress goes where their contract leads them. This is a very low budget and predictable movie.
"Joan Grant" owns a cocoa plantation in Central America, she has hired reliable "John Henderson" as her foreman and things had been going well. That is until bandits led by the unseen "El Vengador" keep robbing her shipments of cocoa.
"Joan" goes to "United States Marine Colonel Hill" for assistance in protecting her plantation and the shipments. "Hill" sends both Marine Corps flyers, "Lieutenant's Danny Darrick" and "Jim Malone" to fly over the plantation and assist "Miss Grant". The drama gets bogged down when both Marine's become each other's competitor for "Joan". However, "El Vengador" turns out to be, the predictable, "Henderson", who if any movie viewer was familiar with John Eldredge's film roles, would already have guessed this.
"Henderson" kidnaps "Joan" to lure the two Marine flyers into his trap. This action of course succeeds, but the two flyers are now forced to work together to save "Joan". The ending is very predictable.
Six comedies followed for Lucille Ball, one is of interest here, and went into production in June 1940. This was the motion picture version of the Broadway musical comedy by Lorenz Hart and Richard Rodgers, "Too Many Girls". It would be released on October 8, 1940, and starred Lucille Ball, Richard Carlson, and Ann Miller. However, it was the 8th-billed singer-dancer-actor portraying "Manuelito", that Ball first met during filming and is important here. His name was Desi Arnaz, and on November 30, 1940, he eloped with Lucille Ball.
Above, is the full cast publicity photo, left to right are Hal Le Roy, Ann Miller, Richard Carlson, Lucille Ball, Desi Arnaz, Francis Langford, and Eddie Bracken.
However, if anyone still thought Lucille Ball was not a dramatic actress, they never saw:
THE BIG STREET premiering in New York City on August 13, 1942
As the above poster indicates, this was a Damon Runyon tale, the 1940 serial story "Little Pinks", written for "Colliers Magazine". The motion picture was co-produced by Runyon and his co-screenplay writer, Leonard Spigelgass.
The motion picture was directed by Irving Reis. He had just directed the first three of sixteen films about "Guy Laurence" aka: "The Falcon", starring George Sanders. The first two co-starred Wendy Barrie, and Sanders had moved just from "RKO's" "The Saint" series to this one.
Damon Runyon's Characters:
Henry Fonda portrayed "Augustus Pinkerton II" aka: "Little Pinks". Fonda had just been seen in 1942's, "Tales of Manhattan", and followed this feature with director William A. Wellman's, 1942 western, "The Ox-Bow Incident".
Lucille Ball portrayed "Gloria Lyons". Ball had just been in director George Marshall's, 1942 western, "Valley of the Sun", and followed this drama with the slapstick-comedy-musical, 1942's, "Seven Days' Leave", co-starring Victor Mature.
Barton MacLane portrayed "Case Ables". Bad guy MacLane was last seen in the Humphrey Bogart, 1942, "All Through the Night", and followed this feature film with the Richard Carlson, 1942, "Highways by Night".
Eugene Pallette portrayed "Nicely Nicely Johnson". Pallette was just seen in 1942's, "Tales of Manhattan", and followed this movie with 1942's, "The Forest Rangers", starring Fred MacMurray, Paulette Goddard, and Susan Hayward.
Agnes Moorehead portrayed "Violette Shumberg". Moorehead, one of the original members of Orson Welles's, "Mercury Theatre of the Air", was just in Welles's, 1941's, "Citizen Kane", and his 1942, "The Magnificent Ambersons", and followed this feature film with his 1943, "Journey Into Fear".
Sam Levene portrayed "Horsethief". Levene had just been in the 1942, "Grand Central Murder", and followed this picture with 1942's, "Destination Unknown".
Ray Collins portrayed "Professor B". Collins was just in Orson Welles's, 1941's, "Citizen Kane", and 1942, "The Magnificent Ambersons", and followed this motion picture with 1942's, "Highways by Night". He was "Lt. Tragg" on televisions "Perry Mason".
Above on the left is Sam Levene with Ray Collins.
Marion Martin portrayed "Mimi Venus". Martin known as "The Most Beautiful Showgirl on Broadway", was also in 1942's, "Tales of Manhattan". She followed this feature film in an entry in the Lupe Velez's comedy series, with 1942's, the "Mexican Spitfire's Elephant".
William T. Orr portrayed "Decatur Reed". Orr was just seen in Barbara Stanwyck's, 1942's, "The Gay Sisters", and followed this movie with the 1943 comedy, "He's Hired the Boss".
Above left to right, William T. Orr, Lucille Ball, and Barton MacLane. Below, Lucille Ball dancing to Ozzie Nelson and his Orchestra in the nightclub.
The Damon Runyon Screenplay:
The story opens in New York City at a night club on "The Big Street". The nickname to journalist and short story writer, Alfred Damon Runyon, and others for "Broadway". Runyon's 1933 short story, "Idyll of Miss Sarah Brown", became the 1950 Broadway musical, "Guys and Dolls", and the classic 1950 motion picture of that title.
The viewing audience meets "cold-hearted" singer "Gloria Lyons", the current girlfriend of the club's owner, "Case Ables". The audience also meets the "kind-hearted" busboy "Little Pinks", who is in love with the singer, but his love is unrequited, as "Gloria" looks down upon him as far below her status. While this is occurring, the audience is also introduced to "Violette Shumberg", a regular at the night club, and "Nicely Nicely Johnston". Along with the assorted characters occupying the world that journalist Damon Runyon knew.
Finding out about "Gloria's" lover, "Decatur Reed", in a fit of jealousy, "Case" slaps "Gloria" very hard. As a result she is knocked down a flight of stairs and the singer finds herself paralyzed. All the money she had saved has disappeared in medical bills and because of the way she has treated people, no one will help her, except the busboy, "Little Pinks". Who offers to share his apartment with "Gloria" and assist in her care.
"Violette" and "Nicely Nicely" get married and move to Florida. "Gloria" still doesn't seem to appreciate "Little Pinks", but he would do anything for her. "Gloria" "orders" "Little Pinks" to take her to Florida, where the other two are at, so she can recuperate. "Little Pinks" takes "Gloria" to Miami, and pushes her around in a wheelchair. Others she knew, and dismissed, from the New York Club are there trying to help "Little Pinks" with "Gloria". He appreciates their kindness, but "Gloria" doesn't.
Next, "Decatur Reed" shows up to "Gloria's" joy, but once he discovers she's an invalid, leaves her for good. This causes "Gloria" to lash out at "Little Pinks" over her life and he leaves her to care for herself. He now goes to work once again as a bus boy, at a Miami nightclub owned by "Case Ables". "Violette" seeks him out and tells "Little Pinks" that "Gloria" is very ill.
Despondent, "Gloria" voices her dream of one last night in a gown bedecked with jewels. "Little Pinks" sees socialite "Mimi Venus" wearing one such gown and decides to get it for "Gloria". He breaks into her home to steal the gown, but has to hide in a closet. There, he overhears one of "Case's" thugs threatening to reveal "Mimi's" infidelity unless she gives him her jewelry. "Little Pinks" now disguises himself, confronts the thief, retrieves the jewelry, and confronts "Case Ables". Telling him that unless he gives a big party with "Gloria" as the guest of honor, he we tell the police about his dealings.
The party is given and many of "Gloria's" New York friends have come to Miami to see her. The police arrive to arrest "Little Pinks", because his social security card was found in "Mimi Venus's" closet. However, upon hearing why he was there, "Mimi's" husband drops all charges against the busboy.
It is now that "Gloria" realizes all the sacrifices "Little Pinks" had done for his unrequited love of her. He picks her up and carries "Gloria" onto the dance floor, and helping her, the two dance together.
"Gloria" tells "Little Pinks" she wants to see the ocean, but dies from her illness. "Little Pinks" lifts "Gloria" up and carries her upstairs for a view from the nightclub of the ocean.
I move forward two motion pictures to another film adaption of a successful Broadway play, and like "Too Many Girls" was a musical comedy. "Du Barry Was A Lady", premiered in New York City, on May 30, 1943, starring Red Skelton, Lucille Ball, and Gene Kelly.
Where "Too Many Girls" was not a dramatic role, but was where Lucy meet Desi. "Du Barry Was A Lady" was also not a dramatic role for Lucille Ball, but where her hair color changed from dark brown to green, oops, red. According to the "AARP Entertainment" website at:
- - - while preparing to star in her first MGM movie, Du Barry Was a Lady (1943), she found herself in the hands of famed hairstylist Sydney Guilaroff, who concocted her new color after an experimental mishap that turned her hair green. The redhead looked stunning in Technicolor, and it became her trademark; she never changed it.
Above, Lucille Ball in the non-dream-sequence from "Du Barry Was A Lady".
Six motion pictures later brought Lucille Ball to:
THE DARK CORNER released on May 8, 1946
The motion picture was based upon novelist and screenwriter Leo Rosten's, 1945 serial story for "Good Housekeeping" magazine.
Although the movie's credits list only two screenplay writers;
Jay Dratler, 1944's classic film-noir mystery "Laura", and the docudrama film-noir, 1948's, "Call Northside 777".
Bernard C. Schoenfeld, the film-noir mystery, 1944's, "Phantom Lady", and the Eleanor Parker and Agnes Moorehead, unflinching look at a women's prison, the 1950 film-noir, "Caged".
There were two other uncredited names that indicated a problem screenplay.
Fred Kohlmar, the film's producer, did some revisions to the screenplay. This was only one of two he wrote, but as a producer, his films include both 1947's, "The Ghost and Mrs. Muir", and "Kiss of Death". Along with the 1952 version of French author Victor Hugo's, "Les Miserables", and 1955's, "Picnic".
Harry Kleiner, 1953's, "Miss Sadie Thompson", 1954's,"Carmen Jones", 1966's, "Fantastic Voyage", 1968's, "Bullitt", and 1971's, "Le Mans", was hired by Fred Kohlmar to rewrite the entire ending.
The motion picture was directed by Henry Hathaway, among his classic films is 1935's, "The Lives of a Bengal Lancer", 1940's, "Brigham Young", 1944's, "Wing and a Prayer", 1947's,"Kiss of Death", 1948's, "Call Northside 777", 1951's, "The Desert Fox: The Story of Rommel", 1957's, "Legend of the Lost", 1965's, "The Sons of Katie Elder", and 1969's, "True Grit".
The Cast:
Lucille Ball portrayed "Kathleen Stewart", the role was written for actress Ida Lupino, but her prior commitments at the time of production forced getting another actress. Lucille Ball had just been seen in an uncredited role as herself, in 1945's, "Abbott and Costello in Hollywood". Ball would follow this picture with the next one I will be mentioning.
Clifton Webb portrayed "Hardy Cathcart". Webb had just co-starred in the Otto Preminger, and Rouben Mamoulian directed classic film-noir, 1944's, "Laura". He would follow this feature film with another excellent film-noir, 1946's, "The Razor's Edge".
William Bendix portrayed "Stauffer aka Fred Foss". Bendix was just in the film-noir, 1946's, "The Blue Dahlia", and followed this picture with the 1946 comedy, "White Tie and Tails".
Mark Stevens portrayed "Bradford Galt", the role was designed for Fred MacMurray, but the studio had to settle for Stevens. Who had just been seen in the Joan Fontaine drama, 1946's, "From This Day Forward", and followed this motion picture, with his singing voice dubbed, in the musical "I Wonder Who's Kissing Her Now", starring June Haver.
Kurt Kreguer portrayed "Anthony 'Tony' Jardine". Kerguer was just in 1946's, "Sentimental Journey" and followed this feature with the "dark comedy", 1948's, "Unfaithfully Yours".
Cathy Downs portrayed "Mari Cathcart". Downs was the title role in director John Ford's, Wyatt Earp tale, 1946's, "My Darling Clementine", but had a later character who was engaged to 1957's, "The Amazing Colossal Man". My article is "CATHY DOWNS the Hollywood Rabbit Hole into 1950's Low Budget Science Fiction" at:
The following is from the above article on Cathy Downs.
The story is a typically complicated, or not, film-noir. Private Investigator "Bradford Galt" has reasons to leave Los Angeles and moves to New York City. However, L.A. follows him, or has it? "Galt" had blamed his partner "Tony Jardine" for whatever it was that drove him from Los Angeles and now he is being followed by a thug in a white suit named "Fred Foss". Is he tied to "Jardine", or is someone else after "Galt"?
Other questions the ex-Los Angeles private eye is asking himself, why is"New York Police Lieutenant Frank Reeves", portrayed by Reed Hadley, hounding him? What might be the connection of wealthy art gallery owner, "Hardy Cathcart"? Where does "Cathcart" play in what seems to be turning into a conspiracy to frame "Bradford Galt" for murder, but again the question is why?
Helping her boss figure out the why, is his street smart, sharp witted, secretary "Kathleen Stewart"
I leave my reader with the above questions and should they want the answer? The following link, at the time of this writing, will take them to the complete motion picture.
I'll add the following from "The New York Times" film critic, Thomas M. Pryor, May 9, 1946:
- - - tough-fibered, exciting entertainment. When a talented director and a resourceful company of players meet up with a solid story, say one such as 'The Dark Corner,' then movie-going becomes a particular pleasure. ... Henry Hathaway has drawn superior performances from most of the cast. ... His fine craftsmanship is very evident throughout 'The Dark Corner,' and it is regrettable that he had to mar the atmospheric realism by resorting to scene-faking in a few sequences. But this is a minor shortcoming in an otherwise sizzling piece of melodrama.
From 1946's, "The Dark Corner", Lucille Ball moved to another film-noir crime movie with a lighter touch.
TWO SMART PEOPLE released on June 4, 1946
The story was by two writers, the first was Ralph Wheelwright. Wheelwright only wrote five story lines, but beside this one was the James Cagney and Barbara Stanwyck's, 1956, "These Wilder Years", and the James Cagney and Dorothy Malone, 1957 biography of Lon Chaney, Sr., "The Man of a Thousand Faces".
Allan Kenward only wrote two storylines, the other was the 1943 play, "Cry Havoc".
There were also two screenplay writers, Ethel Hill started writing in 1914, in 1939, she wrote the Richard Dix and Fay Wray, "It Happened in Hollywood", in 1939, her screenplay was for the Shirley Temple movie, "The Little Princess", and in 1944, she contributed to John Wayne, Susan Hayward, and Dennis O'Keefe, "The Fighting Seabees".
The second screenplay writer was author Leslie Charteris. In 1928, Charteris published the novel "Meet the Tiger", that introduced his character "Simon Templar aka: The Saint".
The motion picture was directed by Jules Dassin. Dassin directed Charles Laughton as 1944's, "The Canterville Ghost", in 1948, he directed the film-noir based upon the popular radio series, "The Naked City". Facing the "House Committee on Un-American Activities" and Jules Dassin was black listed. He left the United States and in 1960, received the "Best Director Academy Award" for "Never on Sunday".
Lucille Ball portrayed "Ricki Woodner". Ball followed this picture with the 1946 comedy, "Lover Come Back".
John Hodiak portrayed "Ace Connors". Hodiak had just been seen in the crime film-noir, 1946, "Somewhere in the Night" with Lloyd Nolan. He followed this film-noir with the crime film-noir, 1947's, "The Arnelo Affair".
Lloyd Nolan portrayed "Bob Simms". Nolan had just appeared in the previously mentioned 1946, "Somewhere in the Night", and followed this film-noir with Raymond Chandler's, "Philip Marlowe", film-noir, 1946, "Lady in the Lake".
Above, Lloyd Nolan's detective finds himself between two con artists, John Hodiak, and Lucille Ball
Elisha Cook, Jr. portrayed the colorfully named "Fly Feletti". Cook, Jr. always seems to play sleazy guys, but the character actor gets a bigger role in this motion picture. My two favorite roles of his, are "Wilmer Cook" in director John Ford's, 1941, "The Maltese Falcon", and "Watson Pitchard", in producer and director William Castle's original, 1959, "The House on Haunted Hill". He was also in film-noir director, Robert Sidmak's, 1944, "Phantom Lady", and director Stanley Kubrick's, 1956, "The Killing".
Above partners in crime Elisha Cook, Jr. and con artist John Hodiak.
The Basic Screenplay:
Should my reader be familiar with screenplay writer Leslie Charteris's, "Robin Hood Jewel Thief",
"Simon Templar, The Saint". Then you will really pick-up on the clues that might turn Hodiak's "Ace Connors" into "Templar" in this screenplay.
For the record Charteris, himself, between 1928 and 1964, wrote 12-novels, and 129-short-stories about "The Saint". Then he worked with other writers, or others were authorized to write more stories. There were several "The Saint" radio programs between 1940 and 1995, in both the United States and Great Britain, but I could not locate the titles. However, from 1947 through 1951, "Simon Templar" was portrayed by Vincent Price on United States radio. "Templar" was also the main character in a motion picture series with either Louis Hayward, or George Sanders in the role, between 1938 and 1951. Not to forget the Roger Moore television series, 1962 through 1968, and with Ian Ogilvy, 1978 to 1979.
In California, con man "Ace Connors", has a half-million dollars in bonds hidden in a cookbook that he plans to eventually sell. While, detective "Bob Simms" has been tracking "Connors", in short, "Simms" is the cat chasing the mouse, "Connors".
However, fate enters, when "Ace" decides to sell to wealthy, "Dwight Chadwick", portrayed by Lloyd Corrigan, below, fake oil company stock. With "Chadwick" is "Ricki Woodner", who is actually another con artist working a scam on "Dwight", and is herself, on the lam from a charge in Arkansas. Neither con artist gets their desired result and part ways with each other and "Dwight Chadwick".
Meanwhile, "Simms" has caught up with "Ace" and wants the bonds, but has no idea they're in the cookbook. After hearing what "Simms" is offering, "Ace" makes a plea bargain for a reduced prison sentenced, if he turns over the bonds at the end of the train trip to Sing-Sing Prison. However, "Ace" knows the train will stop in New Orleans, where he plans to fence the bonds with "Jacques Dufour", portrayed by Vladimir Sokoloff, and escape.
Once on the train, two people show up, "Ricki", who has learned of the bonds and wants them, and "Ace's" partner, "Fly", a murderous, psycho, who wants the bonds and "Ace" dead, but "Fly" and "Ricki", like "Simms", have no idea the bonds are right before them in the cookbook.
Some reviewers criticize director Jules Dassin over both the pace of the film and the long slow passages in the screenplay. Better to blame writer Leslie Charteris, who before this movie was writing eight screenplays out of eleven, about his character "Simon Templar". This is a good "B" crime film with maybe a little of another writer, Dashiel Hammett's, "The Thin Man", tossed in for good measure.
It is obvious to "Simms" that "Ricki" is falling in love with "Ace", and he may be doing the same with her. The train stops in El Paso, Texas, and "Ricki" is able to get "Ace" off the train and across the border into Mexico and perceived safety, but to "Ricki's" disliking, "Simms" seems to lure "Ace" back to the train, neither still knowing of the other's plans for the bonds.
The train finally stops in New Orleans, "Fly" has been attempting to get "Ricki" on his side to split the money from the sale of the bonds.
It is Mardi Gras and "Ace", under the watchful eye of "Simms", takes "Ricki" out to enjoy the festivities, but when neither "Simms", or "Ricki" are watching him. He leaves the cookbook in a costume shop, knowing nobody will be looking for it there.
When "Ace" goes to meet the fence, "Fly" thinks that "Ricki's" on his side.
In the end, "Fly" gets his, "Simms" gets the bonds, "Ace" gets his shorten sentence, and "Ricki" will wait for his release.
http://www.bewaretheblog.com/2017/11/curt-and-robert-siodmak-horror-and-film.html
Robert Siodmak would make ten more motion pictures during his stay in France. It is the tenth of this group and his 11th motion picture, released December 16, 1939, that is of interest here. The film was entitled "Pieges (Trapped) and wasn't released in the United States as "Personal Column" until February 2, 1941. After being seen in nine other countries before reaching the States.
The motion picture starred French singer/actor Maurice Chevalier and featured Pierre Renior and Marie Dea. Deas and Chevalier are in the following photo.
American's had already seen Chevalier with popular operetta singing/dancing star Jeanette MacDonald. She was normally paired with Nelson Eddy in American made musicals. Chevalier and MacDonald were first paired in the American made musical/comedy 1932's "Love Me Tonight" and again in the 1934 adaptation of the operetta "The Merry Widow". Which was the English cast version of the film. The original version, also with MacDonald and Chevalier, was filmed in France in French.
By the time "Personal Column" finally arrived in the United States. Maurice Chevalier had a specific image with the American public. That image was only partly seen in the Robert Siodmak motion picture.
1939's "Pieges" was a try out by the director of a film style he would be identified with throughout his career, but would not be given the name,"Film Noir", until 1946 by French movie critic Nino Frank. For the record some critics consider Alfred Hitchcock's "Rebecca", March 21, 1940, or "They Drive By Night" directed by Raul Walsh, released July 26, 1940, as the first "Film Noir". However, the forgotten film "Stranger on the Third Floor". Which was directed by Boris Ingster and starring Peter Lorre, released August 16, 1940, has the title of "The First True Film Noir".
The plot of Robert Siodmak's"Pieges" was about a "Taxi Dancer" who is murdered by an Unknown Man. According to the French Police she met her murderer by answering an advertisement in a Newspaper's Personal Column. Hence the U.S. title. Another dancer, portrayed by Marie Dea, is recruited by the French Police to answer a similar advertisement to help them track down the murder.
LURED premiered in New York City on August 28, 1947
The following, slightly revised, comes from my article "Boris Karloff: There Was More Than Horror Movies (January 15, 1919 to July 20, 1958)" to discover at:
The motion picture screenplay writer was Leo Rosten, Humphrey Bogart's, 1942, "All Through the Night", and the Hedy Lamarr and Paul Henreid, 1944, "The Conspirators".
The motion picture was directed by Douglas Sirk, 1946's, "A Scandal in Paris", starring George Sanders and Carole Landis, and the film-noir mystery, 1948's, "Sleep, My Love", starring Claudette Colbert, Robert Cummings, and Don Ameche.
The Cast:
George Sanders portrayed "Robert Fleming". He had just co-starred with Gene Tierney and
Rex Harrison in 1947's, "The Ghost and Mrs. Muir", and followed this motion picture with the Linda Darnell, Cornel Wilde, and Richard Greene, 1947, "Forever Amber".
Lucille Ball portrayed "Sandra Carpenter".
Charles Colburn portrayed "Police Inspector Harley Temple". He had just starred with Tom Drake and Beverly Tyler in the 1946 version of Scottish author A.J. Cronin's, "The Green Years", and would follow this picture with director Alfred Hitchcock's, 1947, "The Paradine Case", starring Gregory Peck, Ann Todd, and Charles Laughton.
Boris Karloff portrayed "Charles van Druten". Karloff just appeared in the 1947, "The Secret Life of Walter Mitty", starring Danny Kaye, and Virginia Mayo.
Sir Cedric Hardwicke portrayed "Julian Wilde". Sir Cedric was just seen in the Joan Fontaine, Patric Knowles, and Herbert Marshall, 1947, "Ivy", and would follow this film co-starring with John Wayne and Laraine Day, in 1947's, "Tycoon".
Joseph Calleia portrayed "Dr. Nicholas Moryani". He had just portrayed "Dr. Enrico Fermi"
in the first motion picture about the creation of the atomic bomb, 1947's, "The Beginning or The End?". He followed this feature film with the Abbott and Costello comedy, 1948's, "The Noose Hangs High".
Alan Mowbray portrayed "Lyle Maxwell". He had co-starred with Lynne Roberts and Warren Douglas, in the 1947, forgotten adventure comedy, "The Pilgrim Lady". Alan Mowbray next appeared in comedian Red Skelton's, 1947, "Merton of the Movies".
George Zucco portrayed "Police Officer H.R. Barrett". Zucco was in the cast of the Peggy Cummins, Victor Mature, Ethel Barrymore, and Vincent Price, 1947's crime film-noir,
"Moss Rose". He followed this feature film by appearing in the Greer Garson, Robert Mitchum, and Richard Hart, war romance, 1947's, "Desire Me".
Alan Napier portrayed "Police Detective Gordon". From 1966 - 1968, Napier was televisions "Alfred, the Butler", on "Batman". Here he had just been seen in the Rory Calhoun and Rhonda Fleming, 1947, "Adventure Island", and followed this production with
1947's, "Driftwood", starring Ruth Warrick, Walter Brennan, and Dean Jagger.
The Basic Screenplay:
"Sandra Carpenter" is an American dancer who came to London to perform in a show. Now, with her friend "Lucy Barnard", portrayed by Tanis Chandler, they are taxi dancers.
"Sandra Carpenter" is an American dancer who came to London to perform in a show. Now, with her friend "Lucy Barnard", portrayed by Tanis Chandler, they are taxi dancers.
Scotland Yard receives another cryptic message from the killer they have dubbed the "Poet Killer". The killer claims his seventh victim will be a dancer. "Inspector Harley Temple", of the Criminal Investigative Department, orders a typewriter and fingerprint analysis, but as before, it comes up negative.
Meanwhile, "Sandra" and "Lucy" are offered auditions with producers "Robert Fleming" and "Julian Wilde" for their new stage show. "Sandra" accepts the offer, but "Lucy" declines. "Lucy"
tells "Sandra" that she is quitting dance hall dancing to travel with a handsome man she met through a newspaper personal advertisement. However, before "Sandra" can go to the audition.
"Lucy" disappears, and her disappearance fits as the victim of the "Poet Killer". Next, "Inspector Temple" tracks down "Sandra Carpenter", the last known person to see "Lucy Barnard" alive. He hirers her to act as a decoy to trap the unknown "Poet Killer".
tells "Sandra" that she is quitting dance hall dancing to travel with a handsome man she met through a newspaper personal advertisement. However, before "Sandra" can go to the audition.
"Lucy" disappears, and her disappearance fits as the victim of the "Poet Killer". Next, "Inspector Temple" tracks down "Sandra Carpenter", the last known person to see "Lucy Barnard" alive. He hirers her to act as a decoy to trap the unknown "Poet Killer".
The following first picture is a publicity photo for the motion picture and is also on the sheet of stills that follows it. It appears Boris Karloff and Lucile Ball where having fun with Karloff's "Horror persona".
"Sandra" answers an ad that leads to her becoming a parlor maid for aristocrat "Lyle Maxwell".
Meanwhile, playboy "Roger Fleming" becomes enchanted with the voice of "Sandra Carpenter", that he has only heard over the telephone. He orders his assistants to find her, but by accident the two meet at the same concert.
The playboy and the decoy immediately fall in love and become engaged, shortly afterwards, "Sandra" moves into "Roger's" house. "Sandra" now discovers evidence that "Roger" knew "Lucy", although he had denied that, and at Scotland Yard a new poem arrives.
In it, "Inspector Temple" finds a passage that points to "Roger Fleming" being the killer, and "Sandra" his next victim.
"Robert" is arrested and drilled.
At his trial, "Robert" feels betrayed by "Sandra" and doesn't defend himself. However, "Inspector Temple" is now believing that "Robert Fleming" is being framed. He gets "Sandra" to help with a trap and the real killer, "Julian Wilde", is taken and "Roger" cleared right before his execution takes place.
The story ends with "Sandra" and "Rodger" back together again.
There was one more dramatic film before Lucille Ball became a career comedian. This picture really was a waste of her talent in a role aimed more at a name to bring in box office receipts than a performance.
EASY LIVING premiered is San Francisco on August 31, 1949
American author and playwright Irwin Shaw, the novels, 1948's, "The Young Lions", and 1969's, "Rich Man, Poor Man", wrote a short story, "Education of the Heart", that became the basis for this screenplay.
The screenplay was written by Charles Schnee, director Howard Hawks's, 1948 western, "Red River", and 1952's, "The Bad and the Beautiful".
The motion picture was directed by Jacques Tourneur, horror producer Val Lewton's, 1942's, "Cat People", and the Curt Siodmak written classic, 1943's, "I Walked with a Zombie", and the Robert Mitchum and Kirk Douglas, 1947's, "Out of the Past".
Victor Mature portrayed "Pete Wilson". Mature had just been seen in director Robert Siodmak's, 1948 film-noir, "Cry of the City", and followed this movie with Cecil B. DeMile's, 1949, "Samson and Delilah".
Lucille Ball portrays "Anne, Lenahan's secretary". Lucille Ball followed this feature film with the 1949 comedy, "Miss Grant Takes Richmond".
Lizabeth Scott portrayed "Liza Wilson". Scott was just seen in director Bryon Haskins, 1949 film-noir, "Too Late for Tears", and followed this film with director William Dieterle's, 1950, "Paid in Full".
Sonny Tufts portrayed "Tim 'Pappy' McCarr". Tufts had just been seen in the film-noir, 1949's, "The Crooked Way" and followed this feature co-starring with Anne Baxter and William Holden in 1947's, "Blaze of Noon". The actor is best known for the 1953, 3-D science fiction picture, "Cat-Women of the Moon".
Lloyd Nolan portrayed "Lenahan". Noland had just co-starred with Audie Murphy, and Jane Wyatt, in the 1949 crime drama, "Bad Boy", his next feature film was co-starring in the Bob Hope and Marilyn Maxwell's, 1951 comedy, "The Lemon Drop Kid". I went through 175 Lloyd Nolan stills on IMDb, and looked for photos for this motion picture on other sites, including foreign titles for it, and found zero photos of the actor from this motion picture,
For football fans, the 1949 "Los Angeles Rams" were used in this football themed motion picture.
The Screenplay:
To the fans of the New York Chief's football team, "Pete Wilson" has a dream life, being at the top of his game. "Pete" has a beautiful wife who has her own interior design business.
However the title of the movie is ironic, there is no "Easy Living" in this drama as the story unfolds.
First, "Pete" has no plans for his future and can't see beyond football. The team secretary, "Anne", who's in love with him, has a standing instruction from the team's owner, "Lenahan", to give "Pete Wilson" advance after advance on his pay anytime he wants one. When "Pete" goes to a doctor over some pain he's been having, the doctor tell him about a severe heart condition that was caused by rheumatic fever as a child, if he continues playing football, he could suddenly die.
Before "Pete" can tell his wife about his heart condition, she has a potential rich client in "Gilbert Vollmer", portrayed by Michael St. Angel billed as Steven Flagg, and drags "Pete" to a party given by "Gilbert's" father, "Howard Vollmer", portrayed by Art Baker. "Howard" sees "Liza Wilson" as a replacement for his current girlfriend "Billy Duane", portrayed by June Bright, who will commit suicide over being replaced. "Liza" on the other hand will do anything to get her business going with wealthy clientele and knows what extras "Howard" wants for redecorating his apartment.
"Pete's" friend, retiring college coach "Virgil Ryan", portrayed by Everett Glass, informs "Pete" that he cannot recommend him as his replacement, because "Liza" is not a fit woman to be the wife of a college coach. Instead, the position goes to another friend and teammate, "Tim 'Pappy' McCarr". Who offers "Pete" the assistant coach position, but "Pete" turns him down.
Now afraid of physical contact, "Pete" loses the next game for the team, is benched, and replaced by "Tim". When "Pete" proposes taking the assistant coaches job, "Liza" breaks up with him and walks out. However, when "Howard" dumps her, she wants to go back to "Pete", but he won't take her back. "Tim" gets injured and the team want "Pete" to take over his old position, but he reveals his heart condition and walks out of the locker room.
Through all of this there has been "Anne" supporting "Pete", but when "Anne" tells him that she loves him. Instead, "Pete" takes "Liza" back, but on his own terms.
In 1948, Lucille Ball was cast in a "CBS Radio" program, "My Favorite Husband". Her husband was originally portrayed by actor Lee Bowman in the pilot episode. When the executives decided to make the show a regular program, Bowman was not available, and Lucy's husband would be portrayed by Richard Denning.
