HotToastyRag's reviews
This page showcases all reviews HotToastyRag has written, sharing their detailed thoughts about movies, TV shows, and more.
4,219 reviews
The Story of Seabiscuit was Shirley Temple's last movie, and it's really too bad she didn't have a different trajectory in her adult years. She was a beautiful young woman with a lovely figure, and yet, she got stuck playing snotty brats (I'll Be Seeing You, Since You Went Away, Kiss and Tell, A Kiss for Corliss, etc.) or parts that no one could shine in. Seabiscuit and That Hagen Girl fall into the latter. This equine biopic is just a lousy movie. No one could save it. And poor Shirley had just had enough. Hollywood didn't want her to grow up, and when she finally did, they didn't know what to do with her. She could have done any Deanna Durbin film in the 1940s, and in the 1950s, she probably could have handled half of Doris Day's sweet comedies.
There's no reason to rent this one, unless you love Shirley so much you want to support her even in the low times. She plays Barry Fitzgerald's niece (with no trace of accent) who moves from America from Ireland to work alongside her uncle and his horses. She falls in love with Lon McCallister, but they might have hated each other for all the chemistry they had. They were practically gritting their teeth to get the lines out. The script was stinky, the acting painful, and the story not interesting in the slightest. Shirley must have known that she didn't want to do this anymore, and it's not hard to understand why.
There's no reason to rent this one, unless you love Shirley so much you want to support her even in the low times. She plays Barry Fitzgerald's niece (with no trace of accent) who moves from America from Ireland to work alongside her uncle and his horses. She falls in love with Lon McCallister, but they might have hated each other for all the chemistry they had. They were practically gritting their teeth to get the lines out. The script was stinky, the acting painful, and the story not interesting in the slightest. Shirley must have known that she didn't want to do this anymore, and it's not hard to understand why.
Back in the 1930s, divorce wasn't nearly as common as it is today. In fact, it wasn't common at all! So, even though a lot of Shirley Temple movies feature her as an orphan or motherless and needing care and comfort, Our Little Girl tackles the terrible subject of divorce. Her parents, Joel McCrea and Rosemary Ames, are having a lot of problems, and their happy home is being threatened on three fronts: Joel is tempted by his secretary, Erin O'Brien-Moore; Rosemary is tempted by an old friend, Lyle Talbot; and they both feel stale and unseen. So, while Shirley treasures their family picnics, she doesn't know that those rituals are about to be taken away.
Although this one isn't really as dark as Shirley's movies can sometimes be, because it doesn't involve death, it does have a dark cloud hanging over it. From a child's perspective, this probably won't be anyone's favorite. There are no "animal crackers" or jump rope tap dancing. But from an adult's point of view, it's a very thoughtful movie. The parents aren't just parents, they are people. They have feelings and frustrations, and even though they have the greatest little girl in the entire world in their family, it sometimes isn't enough. When Lyle treats Rosemary like a woman, it's really refreshing for her. She has to weigh the importance of her own life versus giving up everything for her child. Of course, making the decision to become a parent means that you agree to come second for the rest of your life. But sometimes in movies, and in life, parents forget about that bargain. What will Rosemary and Joel decide? Will Shirley come first, or will she do something terrible and extremely dangerous, like run away from home? You'll have to watch Our Little Girl to find out.
Although this one isn't really as dark as Shirley's movies can sometimes be, because it doesn't involve death, it does have a dark cloud hanging over it. From a child's perspective, this probably won't be anyone's favorite. There are no "animal crackers" or jump rope tap dancing. But from an adult's point of view, it's a very thoughtful movie. The parents aren't just parents, they are people. They have feelings and frustrations, and even though they have the greatest little girl in the entire world in their family, it sometimes isn't enough. When Lyle treats Rosemary like a woman, it's really refreshing for her. She has to weigh the importance of her own life versus giving up everything for her child. Of course, making the decision to become a parent means that you agree to come second for the rest of your life. But sometimes in movies, and in life, parents forget about that bargain. What will Rosemary and Joel decide? Will Shirley come first, or will she do something terrible and extremely dangerous, like run away from home? You'll have to watch Our Little Girl to find out.
Shirley Temple as part of the Confederacy? How can we bear it? Because she's adorable, and because we know she'll never do anything wrong. She may sing "Dixie" and put on blackface, but that's just "liberal" Hollywood for you. If you really need your movies to be politically correct, you'll want to skip this one. But if you just love Shirley Temple, and you understand that she (and most likely the screenwriters) didn't mean to offend anyone, you can add it to your list. It's still included in most Shirley Temple DVD collections, so there are a lot of people who love it.
In this one, John Boles plays her father, a Confederate soldier. He's called to serve when the war breaks out, and Shirley and her mother, Karen Morley, have to hold down the fort while he's away. This is a far cry from Gone With the Wind; instead, Shirley doesn't understand why there is a war, what the end game is, and why there are different attitudes toward her family's slaves. So, imagine her confusion when her father just tries to visit his family, and he nearly gets arrested for it! The plantation has been commandeered by the Yankees, so Shirley and Karen aren't really safe there anymore. Together, with their favorite slave (played by Bill Robinson - remember this is 1935 and it was the only way Hollywood could justify him having a sizable role), they escape to safer territory. Even though this is a sweet Shirley Temple movie, there are definitely some darker moments. Surprisingly, she doesn't sing too much in this one, and John Boles doesn't sing at all! Stick with Curly Top if you want something that's entirely light and fluffy.
In this one, John Boles plays her father, a Confederate soldier. He's called to serve when the war breaks out, and Shirley and her mother, Karen Morley, have to hold down the fort while he's away. This is a far cry from Gone With the Wind; instead, Shirley doesn't understand why there is a war, what the end game is, and why there are different attitudes toward her family's slaves. So, imagine her confusion when her father just tries to visit his family, and he nearly gets arrested for it! The plantation has been commandeered by the Yankees, so Shirley and Karen aren't really safe there anymore. Together, with their favorite slave (played by Bill Robinson - remember this is 1935 and it was the only way Hollywood could justify him having a sizable role), they escape to safer territory. Even though this is a sweet Shirley Temple movie, there are definitely some darker moments. Surprisingly, she doesn't sing too much in this one, and John Boles doesn't sing at all! Stick with Curly Top if you want something that's entirely light and fluffy.
One of my all-time favorite Shirley Temple moments comes from Just Around the Corner. Her father, Charles Farrell, works in a hotel, and he doesn't have much money. He used to be well-to-do, but he's been ruined by the Great Depression. To help "pull her weight", Shirley cleans the house and cooks the meals. She bundles her hair in a little kerchief and dusts and polishes until their little place gleams. It's the cutest little thing! Back in 1938, it wasn't considered exploitative child labor or neglectful for him to leave her alone without a sitter. It was just cute.
Shirley also has lots of cute little episodes with the rest of the hotel staff, as well as some of the guests. She gets a spoiled brat to cut off his curls, she puts on a talent show, and she dances with Bill Robinson. There aren't too many songs in this one, and Bert Lahr's antics get a little long in the tooth, but this is definitely one worth watching if you're having a Shirley Temple marathon.
Shirley also has lots of cute little episodes with the rest of the hotel staff, as well as some of the guests. She gets a spoiled brat to cut off his curls, she puts on a talent show, and she dances with Bill Robinson. There aren't too many songs in this one, and Bert Lahr's antics get a little long in the tooth, but this is definitely one worth watching if you're having a Shirley Temple marathon.
Honeymoon wasn't the biggest hit, for one very simple reason: no one wanted to watch Shirley Temple get de-flowered. Ten years earlier, she was Heidi.
In 1947, she plays a young lady who gets swept away by her hormones and elopes with the ridiculously handsome Guy Madison. Guy is a soldier, and there's a bunch of red tape involving his transfer and Shirley's ability to come with him. So, they're not allowed to have a wedding night until their marriage is verified by the Powers That Be. So, as these two crazy kids try to ignore their raging hormones, they enlist an old fuddy duddy, Franchot Tone, to help them, since he's a diplomat. Do you see why this wasn't a good role for Shirley? By all means, put her in a romantic comedy. Just don't put her in a role where she spends eighty minutes trying to get de-flowered.
And, I'd be remiss if I didn't point out how insulting it was to put Franchot Tone in this role. He's handsome, charming, and elegant. He's not an old fuddy duddy. He shouldn't just be the chaperone to the young romantic couple. There's no reason why he couldn't have been the love interest himself! Oh well.
In 1947, she plays a young lady who gets swept away by her hormones and elopes with the ridiculously handsome Guy Madison. Guy is a soldier, and there's a bunch of red tape involving his transfer and Shirley's ability to come with him. So, they're not allowed to have a wedding night until their marriage is verified by the Powers That Be. So, as these two crazy kids try to ignore their raging hormones, they enlist an old fuddy duddy, Franchot Tone, to help them, since he's a diplomat. Do you see why this wasn't a good role for Shirley? By all means, put her in a romantic comedy. Just don't put her in a role where she spends eighty minutes trying to get de-flowered.
And, I'd be remiss if I didn't point out how insulting it was to put Franchot Tone in this role. He's handsome, charming, and elegant. He's not an old fuddy duddy. He shouldn't just be the chaperone to the young romantic couple. There's no reason why he couldn't have been the love interest himself! Oh well.
Given the fact that Shirley Temple made a career out of softening up curmudgeons, it was only a matter of time before she starred in the classic story Heidi. She's so adorable in her little German outfits, it's almost as if she's always dressed that way. It's hard to imagine her tap dancing on a piano when she's hauling logs and sleeping on a hay mattress. One of my favorite parts of the movie is when her grandfather chops wood for their fire (it's cold to live on the top of a mountain!) and hauls a load on his back. Shirley is determined to help, and her load of logs is actually a cute, little bundle of branches.
For lots of viewers, it's impossible to imagine Jean Hersholt without his bushy white wig and beard. He simply is The Grandfather. He's stern and foreboding, but deep, deep down, he still has faith and love; he just needed Shirley Temple to remind him they were there. With her sweet heart and belief in his goodness, he'll rediscover his faith, take his place in the community, and forgive his family. Shirley gave him back his life, so you can imagine how upset he gets when she gets taken away from him!
As usual, there's a bit of sadness in Shirley Temple movies. For some reason (okay, the reason is obvious), Hollywood likes making child actors sob in front of the camera, to tug on audience's heartstrings and get them to buy more tickets. Most of this movie is very pleasant, but there are a couple of sad parts, when I usually take a popcorn break. I guess I'll always be a kid at heart, because I can't stand to see kids cry or get their toys broken in front of them. If you're a bit tougher (or don't mind crying at Christmas), Heidi is probably something you watch every holiday season. It features one of the greatest gifts, and it's extremely heartwarming. There's only one song, though, which is unusual for Shirley. She's on her road to growing up, though, and in this drama, Hollywood didn't find the room for sparkling tap dances.
For lots of viewers, it's impossible to imagine Jean Hersholt without his bushy white wig and beard. He simply is The Grandfather. He's stern and foreboding, but deep, deep down, he still has faith and love; he just needed Shirley Temple to remind him they were there. With her sweet heart and belief in his goodness, he'll rediscover his faith, take his place in the community, and forgive his family. Shirley gave him back his life, so you can imagine how upset he gets when she gets taken away from him!
As usual, there's a bit of sadness in Shirley Temple movies. For some reason (okay, the reason is obvious), Hollywood likes making child actors sob in front of the camera, to tug on audience's heartstrings and get them to buy more tickets. Most of this movie is very pleasant, but there are a couple of sad parts, when I usually take a popcorn break. I guess I'll always be a kid at heart, because I can't stand to see kids cry or get their toys broken in front of them. If you're a bit tougher (or don't mind crying at Christmas), Heidi is probably something you watch every holiday season. It features one of the greatest gifts, and it's extremely heartwarming. There's only one song, though, which is unusual for Shirley. She's on her road to growing up, though, and in this drama, Hollywood didn't find the room for sparkling tap dances.
With a similar story to Now and Forever, little Shirley Temple plays an adorable bright light named 'Shirley' to lighten an otherwise dark story about a thief trying to go straight. James Dunn and Shirley sing the duet "On Account-a I Love You" during a performance, but that's really the only fluffy part of the movie. James plays an ex-con who marries Claire Trevor and hopes for a second chance. He has an honest job now and a sweet little girl, but there's a dark cloud looming overhead. There's a local robbery, and the police suspect him because of his record. Will everything turn out alright?
You might get this one confused with Stand Up and Cheer because the song "Baby Take a Bow" was in that other 1934 Shirley Temple and James Dunn flick. Obviously, the studio wanted to remind folks of how much they loved Stand Up and Cheer by creating this title, which has absolutely nothing to do with the story. But, it couldn't really be titled On Account-a I Love You, which is the one and only song in the film. It's understandable, but sometimes it's tough to tell Shirley's movies apart. When in doubt, just watch them all!
You might get this one confused with Stand Up and Cheer because the song "Baby Take a Bow" was in that other 1934 Shirley Temple and James Dunn flick. Obviously, the studio wanted to remind folks of how much they loved Stand Up and Cheer by creating this title, which has absolutely nothing to do with the story. But, it couldn't really be titled On Account-a I Love You, which is the one and only song in the film. It's understandable, but sometimes it's tough to tell Shirley's movies apart. When in doubt, just watch them all!
Is there any more iconic moment of Shirley Temple's career than John Boles singing "Curly Top" while little Shirley tap dances on the piano? Okay, there's her staircase dance with Bill Robinson in The Little Colonel. And her jump-rope-tap number in Curly Top. And "On the Good Ship Lollipop" from Bright Eyes. And "Animal Crackers in My Soup" from, also, Curly Top. So, I guess Curly Top wins in the iconic contest - but there are so many iconic moments to Shirley Temple's career.
Curly Top is adorable, delightful, charming, heartwarming, funny, sweet, and extremely fun. It's a very loose adaptation of Daddy Long Legs, but don't worry if you didn't catch the symbolism. (As a sideline, Shirley's older sister Rochelle Hudson falls for handsome John Boles while in an orphanage.) It's mostly a vehicle for Shirley Temple to look cute and sparkle. She sparkles her way through When I Grow Up, Curly Top, and Animal Crackers in My Soup. She tap dances, twirls, jump ropes, dresses like an old lady, struts around in suspenders, and all with her signature dimpled grin. There's just no way to watch Shirley Temple without smiling and feeling just a little bit better about things. That's why President Roosevelt credited Shirley with stopping the Great Depression. She's truly, truly irresistible. I'm surprised every single daughter born in the 1930s wasn't named Shirley. Ted Koehler's lyrics of the title song describe her so perfectly!
Curly Top is adorable, delightful, charming, heartwarming, funny, sweet, and extremely fun. It's a very loose adaptation of Daddy Long Legs, but don't worry if you didn't catch the symbolism. (As a sideline, Shirley's older sister Rochelle Hudson falls for handsome John Boles while in an orphanage.) It's mostly a vehicle for Shirley Temple to look cute and sparkle. She sparkles her way through When I Grow Up, Curly Top, and Animal Crackers in My Soup. She tap dances, twirls, jump ropes, dresses like an old lady, struts around in suspenders, and all with her signature dimpled grin. There's just no way to watch Shirley Temple without smiling and feeling just a little bit better about things. That's why President Roosevelt credited Shirley with stopping the Great Depression. She's truly, truly irresistible. I'm surprised every single daughter born in the 1930s wasn't named Shirley. Ted Koehler's lyrics of the title song describe her so perfectly!
Old movie buffs know the wonderful director Raoul Walsh, but you'll have to be even more of an aficionado than I am to know Walsh as an actor. I had no idea he started out in front of the camera as well as behind it. He was a good-looking fellow, and a fine actor, but a tragic accident took his eye and he stayed in his director's chair for the rest of his career. Sadie Thompson was his last film.
It's a classic story that's been remade a few times, and since it has such melodramatic themes, it's very easy to sink into it as a silent movie. It barely needs title cards, since the story is easy to understand and Gloria Swanson fills up the screen with her extremely expressive face and movements. She was nominated for an Oscar for this performance, playing the stereotypical "hooker with a heart of gold" title character. She walks with one hand on her hip, rolls her eyes, primps her hair, and shows in all her movements she's a common, fallen woman. She's "experienced" enough to entertain the entire Marine platoon in the little hotel in the South Pacific, much to the chagrin of a stern deacon, Lionel Barrymore. Raoul plays a soldier who wants to marry Gloria, and they make a very nice onscreen couple.
Gloria has wonderful energy, seeming to practically vibrate on the screen. Her teeth are blindingly white, and her beautiful eyes are always dancing. I'd only ever seen her in Sunset Blvd., and it was a real treat to finally see her "ready for her closeup, Mr. Walsh" in her heyday of silent pictures. I would imagine she was very bitter about the success of Joan Crawford during the rise of talking pictures, especially since Joan remade this film four years later and pretty much just did a Gloria Swanson impression. I don't know why Gloria didn't transition into talkies, but I'm looking forward to seeing more of her silent work.
It's a classic story that's been remade a few times, and since it has such melodramatic themes, it's very easy to sink into it as a silent movie. It barely needs title cards, since the story is easy to understand and Gloria Swanson fills up the screen with her extremely expressive face and movements. She was nominated for an Oscar for this performance, playing the stereotypical "hooker with a heart of gold" title character. She walks with one hand on her hip, rolls her eyes, primps her hair, and shows in all her movements she's a common, fallen woman. She's "experienced" enough to entertain the entire Marine platoon in the little hotel in the South Pacific, much to the chagrin of a stern deacon, Lionel Barrymore. Raoul plays a soldier who wants to marry Gloria, and they make a very nice onscreen couple.
Gloria has wonderful energy, seeming to practically vibrate on the screen. Her teeth are blindingly white, and her beautiful eyes are always dancing. I'd only ever seen her in Sunset Blvd., and it was a real treat to finally see her "ready for her closeup, Mr. Walsh" in her heyday of silent pictures. I would imagine she was very bitter about the success of Joan Crawford during the rise of talking pictures, especially since Joan remade this film four years later and pretty much just did a Gloria Swanson impression. I don't know why Gloria didn't transition into talkies, but I'm looking forward to seeing more of her silent work.
In what was easily Lionel Barrymore's audition for On Borrowed Time, this sad story follows a man's attempt to make amends in the afterlife. Lionel is a skeptic about ghosts and spiritual life, but when he dies and returns as a ghost (a blurred image on the film strip), his view obviously changes. His family and those dear to him are surprised by his Will, since he didn't give the money-grubbers what they wanted. He was able to see through most, but not all. He directed his beloved ward, Helen Mack, to marry his nephew, Allen Vincent, since he thought he was a wonderful man. But, as a ghost, he discovers that Allen is terrible! How will he reach Helen through his spirit, to release her from her deathbed promise and follow her heart? And in the saddest part of all, George Breakston is a sick, young kid who is so near to death, he's the only one who can communicate with Lionel's ghost.
If you're looking for light and fluffy silver screen pieces, stick with Bringing Up Baby or You Can't Take It with You. This one is heavy, and it definitely won't make you feel good in the end. It's good for Lionel fans, but I'd have a comedy on hand for afterwards.
If you're looking for light and fluffy silver screen pieces, stick with Bringing Up Baby or You Can't Take It with You. This one is heavy, and it definitely won't make you feel good in the end. It's good for Lionel fans, but I'd have a comedy on hand for afterwards.
You would think Elissa Landi would be the biggest silent star, whom audiences forgave when talkies came around. Her expressions are overdone, her gestures hammy, and her delivery in need of coaching. Imagine my surprise to learn she only made a handful of silent pictures - she was a trained actress from the stage and even acted with Laurence Olivier. Her acting style really doesn't translate well on the silver screen, and she threatens to ruin The Yellow Ticket. Stick with it though; it has such an interesting story that you'll be engrossed despite the leading lady.
Speaking of Laurence Olivier, he plays her love interest in this Russian-set drama. And he's gorgeous! The first movie - unfortunately - I saw him in was A Little Romance, and I would have never guessed he was this handsome in his youth. Also, his acting style in this movie is completely different. He's so contemporary, casual, and confident. Life hadn't beaten him down yet, and even the way he moves is more carefree. Lionel Barrymore, the lecherous villain, is not different from usual. He has his mustache-twirling, cackling, eye-bulging, hands-on-suspenders (even when he's not wearing any), waist-hinging mannerisms as he always has, but it all works. He's a real baddie in this one, and it's very easy to root against him (as it should be in a melodrama).
You might not have heard of The Yellow Ticket, but try to find a copy. It takes place in pre-WWI Russia, when Jewish citizens were being arrested, prevented from getting passports, and abused. When Elissa's father is imprisoned, beaten, and prevented from getting medical attention, she's anxious to visit him. She's not allowed to travel, however, and soon learns there's only one way for a Jewish girl to get a passport: by securing a yellow ticket, a prostitution license. Hooked already, right? That's only the beginning.
DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. After Elissa finds out about the yellow ticket and she's on her way to see the madam, the camera shows a montage of prostitutes in a kaleidoscope effect for a couple of minutes, and that will make you sick. In other words, "Don't Look, Mom!"
Speaking of Laurence Olivier, he plays her love interest in this Russian-set drama. And he's gorgeous! The first movie - unfortunately - I saw him in was A Little Romance, and I would have never guessed he was this handsome in his youth. Also, his acting style in this movie is completely different. He's so contemporary, casual, and confident. Life hadn't beaten him down yet, and even the way he moves is more carefree. Lionel Barrymore, the lecherous villain, is not different from usual. He has his mustache-twirling, cackling, eye-bulging, hands-on-suspenders (even when he's not wearing any), waist-hinging mannerisms as he always has, but it all works. He's a real baddie in this one, and it's very easy to root against him (as it should be in a melodrama).
You might not have heard of The Yellow Ticket, but try to find a copy. It takes place in pre-WWI Russia, when Jewish citizens were being arrested, prevented from getting passports, and abused. When Elissa's father is imprisoned, beaten, and prevented from getting medical attention, she's anxious to visit him. She's not allowed to travel, however, and soon learns there's only one way for a Jewish girl to get a passport: by securing a yellow ticket, a prostitution license. Hooked already, right? That's only the beginning.
DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. After Elissa finds out about the yellow ticket and she's on her way to see the madam, the camera shows a montage of prostitutes in a kaleidoscope effect for a couple of minutes, and that will make you sick. In other words, "Don't Look, Mom!"
You would think Elissa Landi would be the biggest silent star, whom audiences forgave when talkies came around. Her expressions are overdone, her gestures hammy, and her delivery in need of coaching. Imagine my surprise to learn she only made a handful of silent pictures - she was a trained actress from the stage and even acted with Laurence Olivier. Her acting style really doesn't translate well on the silver screen, and she threatens to ruin The Yellow Ticket. Stick with it though; it has such an interesting story that you'll be engrossed despite the leading lady.
Speaking of Laurence Olivier, he plays her love interest in this Russian-set drama. And he's gorgeous! The first movie - unfortunately - I saw him in was A Little Romance, and I would have never guessed he was this handsome in his youth. Also, his acting style in this movie is completely different. He's so contemporary, casual, and confident. Life hadn't beaten him down yet, and even the way he moves is more carefree. Lionel Barrymore, the lecherous villain, is not different from usual. He has his mustache-twirling, cackling, eye-bulging, hands-on-suspenders (even when he's not wearing any), waist-hinging mannerisms as he always has, but it all works. He's a real baddie in this one, and it's very easy to root against him (as it should be in a melodrama).
You might not have heard of The Yellow Ticket, but try to find a copy. It takes place in pre-WWI Russia, when Jewish citizens were being arrested, prevented from getting passports, and abused. When Elissa's father is imprisoned, beaten, and prevented from getting medical attention, she's anxious to visit him. She's not allowed to travel, however, and soon learns there's only one way for a Jewish girl to get a passport: by securing a yellow ticket, a prostitution license. Hooked already, right? That's only the beginning.
Speaking of Laurence Olivier, he plays her love interest in this Russian-set drama. And he's gorgeous! The first movie - unfortunately - I saw him in was A Little Romance, and I would have never guessed he was this handsome in his youth. Also, his acting style in this movie is completely different. He's so contemporary, casual, and confident. Life hadn't beaten him down yet, and even the way he moves is more carefree. Lionel Barrymore, the lecherous villain, is not different from usual. He has his mustache-twirling, cackling, eye-bulging, hands-on-suspenders (even when he's not wearing any), waist-hinging mannerisms as he always has, but it all works. He's a real baddie in this one, and it's very easy to root against him (as it should be in a melodrama).
You might not have heard of The Yellow Ticket, but try to find a copy. It takes place in pre-WWI Russia, when Jewish citizens were being arrested, prevented from getting passports, and abused. When Elissa's father is imprisoned, beaten, and prevented from getting medical attention, she's anxious to visit him. She's not allowed to travel, however, and soon learns there's only one way for a Jewish girl to get a passport: by securing a yellow ticket, a prostitution license. Hooked already, right? That's only the beginning.
Little Jackie Cooper is such a doll! He's the male version of Shirley Temple, with his pouty little face and particular way of talking. In fact, I wonder if Shirley's mother, or Fox Studios, told Shirley to talk like Jackie. If only they'd belonged to the same studio and made a movie where they played brother and sister - the cuteness would have debilitated the audience.
It's a good thing he's so cute, because Wallace Beery certainly isn't. They're reunited again after their turn in The Champ, playing Jim Hawkins and Long John Silver. I'm really not a Beery fan; in fact, I'll go out of my way to avoid his movies if I can. I only stuck with this one for Jackie. Treasure Island is an interesting story with tons of memorable moments, and I've seen the Robert Newton (Mr. Pirate himself) version at least twice. This one is definitely worth renting, though, even if you can't stand Beery's overdone expressions and his irritating speaking voice. Lewis Stone plays the stern captain, and you can imagine how frustrated he must have felt when the following year, the same studio filmed another seafaring flick with a stern captain - but without him. Stone could have been Captain Bligh, easily. And Lionel Barrymore has a small role, but he eats it up with gusto. He's extremely creepy, filthy, and menacing, just as the role calls for. Why wasn't he Long John Silver instead?
DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. When the boat comes ashore, the screen tilts and remains tilted for a minute or two, and that will make you sick. In other words, "Don't Look, Mom!"
It's a good thing he's so cute, because Wallace Beery certainly isn't. They're reunited again after their turn in The Champ, playing Jim Hawkins and Long John Silver. I'm really not a Beery fan; in fact, I'll go out of my way to avoid his movies if I can. I only stuck with this one for Jackie. Treasure Island is an interesting story with tons of memorable moments, and I've seen the Robert Newton (Mr. Pirate himself) version at least twice. This one is definitely worth renting, though, even if you can't stand Beery's overdone expressions and his irritating speaking voice. Lewis Stone plays the stern captain, and you can imagine how frustrated he must have felt when the following year, the same studio filmed another seafaring flick with a stern captain - but without him. Stone could have been Captain Bligh, easily. And Lionel Barrymore has a small role, but he eats it up with gusto. He's extremely creepy, filthy, and menacing, just as the role calls for. Why wasn't he Long John Silver instead?
DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. When the boat comes ashore, the screen tilts and remains tilted for a minute or two, and that will make you sick. In other words, "Don't Look, Mom!"
Shirley Temple was just as famous for being a darling child actress as she was for "losing her touch" when she grew up. If you watch The Story of Seabiscuit or Since You Went Away, you'll agree that her acting chops weren't as good as when she was little. However, in Kiss and Tell, she's fantastic! There's absolutely nothing wrong with her acting talents in this movie, and if all her adult roles were as cute as this one, I'm sure she would have enjoyed a much longer acting career.
In Kiss and Tell, Shirley plays a mischievous teenager who constantly gets into scrapes with her best friend, Virginia Welles. The boy next door, Jerome Courtland is crazy about her, and she loves teasing him and making him jealous. In the opening scene, Shirley and Virginia are selling guest towels in a booth at a fair for soldiers on leave. Shirley gets the bright idea to sell kisses instead of towels, and their profits skyrocket! The girls' mothers aren't too happy about it, and enforce an estrangement of the two families so their kids start behaving better. But Shirley's brother and Virginia are in love-how are they going to see each other during his leave?
F. Hugh Herbert's script is quick, clever, and hilarious. Everyone does a fantastic job keeping up the pace and delivering quips that keep the audience constantly entertained. It's easy to visualize this comedy in its original Broadway play, and even though the situations are unique to the 1940s, modern audiences will still find it hilarious. If you like snappy comedies, you'll love this one. And if you're of the opinion that Shirley Temple lost her talent with age, rent this movie to change your mind!
In Kiss and Tell, Shirley plays a mischievous teenager who constantly gets into scrapes with her best friend, Virginia Welles. The boy next door, Jerome Courtland is crazy about her, and she loves teasing him and making him jealous. In the opening scene, Shirley and Virginia are selling guest towels in a booth at a fair for soldiers on leave. Shirley gets the bright idea to sell kisses instead of towels, and their profits skyrocket! The girls' mothers aren't too happy about it, and enforce an estrangement of the two families so their kids start behaving better. But Shirley's brother and Virginia are in love-how are they going to see each other during his leave?
F. Hugh Herbert's script is quick, clever, and hilarious. Everyone does a fantastic job keeping up the pace and delivering quips that keep the audience constantly entertained. It's easy to visualize this comedy in its original Broadway play, and even though the situations are unique to the 1940s, modern audiences will still find it hilarious. If you like snappy comedies, you'll love this one. And if you're of the opinion that Shirley Temple lost her talent with age, rent this movie to change your mind!
Believe it or not, you can actually find Lionel Barrymore's first feature film on YouTube. It's over one hundred years old. It was made 111 years ago, in 1914, and it's still preserved for you to watch. So, although it's probably the hammiest silent movie I've ever seen in my life, I'm so glad I saw it. It has all the hair pulling, eye rolling, and arm waving that you'd expect to see in a classic "Pay the rent - I can't pay the rent!" melodramas. It also features Alan Hale as the young romantic lead; who would have thought?
Lionel is the bad guy (of course) and in the beginning, he "seduces" a young gypsy girl. I use that word in quotes because it's more rape than seduction. He grabs her hand, yanks her to an abandoned shed, slams the door, and in the next scene, he saunters out smoking a cigarette and she's sobbing into her hands. He offers her money for her trouble, but she throws the bills on the ground and vows to get revenge instead. Pretty heavy stuff for 1914, isn't it? It's no wonder early Hollywood considered a Censorship board, since there were such improper subject matters glorified on the big screen bewitching millions of people. Back in 1914, before women could even vote or show their ankles in public, they could attend a picture show and see a young girl get raped. It's no wonder Lionel Barrymore was typecast as a villain.
Lionel is the bad guy (of course) and in the beginning, he "seduces" a young gypsy girl. I use that word in quotes because it's more rape than seduction. He grabs her hand, yanks her to an abandoned shed, slams the door, and in the next scene, he saunters out smoking a cigarette and she's sobbing into her hands. He offers her money for her trouble, but she throws the bills on the ground and vows to get revenge instead. Pretty heavy stuff for 1914, isn't it? It's no wonder early Hollywood considered a Censorship board, since there were such improper subject matters glorified on the big screen bewitching millions of people. Back in 1914, before women could even vote or show their ankles in public, they could attend a picture show and see a young girl get raped. It's no wonder Lionel Barrymore was typecast as a villain.
With themes similar to Faust and Crime and Punishment, Lionel Barrymore stars as a poor innkeeper who has to weigh the price of wealth. He's married to Carolina Frances Cooke, who is a bit more of a miser. She understands that every time he gives away free beer to his friends, or those he hopes will become his friends, they don't earn any money. Lionel finds himself with two options: marry his daughter off to a wealthy suitor she doesn't love, or help a rich patron find an untimely demise. . .
Lionel makes his choice but becomes tormented with guilt. He has lots of melodramatic acting scenes where he can tear his hair out, find the weight of his head too heavy for his neck alone, and interact with hallucinations of his conscience. Obviously, this movie is 99 years old, so it's going to feel really dated. It's a cautionary tale that communicates a basic message without dialogue and with very few title cards. Only die-hard silent movie flicks will sit through this one, but it's truly fascinating to see the history of the performing arts in a film reel that was created nearly a century ago.
Lionel makes his choice but becomes tormented with guilt. He has lots of melodramatic acting scenes where he can tear his hair out, find the weight of his head too heavy for his neck alone, and interact with hallucinations of his conscience. Obviously, this movie is 99 years old, so it's going to feel really dated. It's a cautionary tale that communicates a basic message without dialogue and with very few title cards. Only die-hard silent movie flicks will sit through this one, but it's truly fascinating to see the history of the performing arts in a film reel that was created nearly a century ago.
I'd never even heard of Arsène Lupin, but don't let its anonymity stop you. It's a very cute, pre-Code comedy that could have easily been an Ernst Lubitsch flick. It's super naughty, with lines that make you howl with laughter even today, almost one hundred years later! John Barrymore flirts his tail off with Karen Morley, and you really can't blame him since he first sees her naked in his bed. The audience gets to see a lot, too! There are all sorts of innuendos, and a lot of blatant language, since there's no Production Code to censor the screenplay. "You can't ever relax, not even in bed," John quips. When Karen suggests joining the party downstairs, he tells her it won't be as much fun as if they stayed there. And, when questioned by a third party, Karen boldly admits that they spent the entire night together.
That's not the focus of the movie, though. John plays a respected count, but one whose creditors are knocking at the back door. Lionel Barrymore plays a dedicated detective who has caught all sorts of criminals, except the thief Arsène Lupin. Similar to Raffles, Lupin robs the ultra wealthy of their jewels and paintings. With clues and double-crosses around every corner, John and Lionel have a lot of fun sparring off each other. Lionel suspects John of the burglaries, and he recruits a special secret agent to help. Check out this clever, cute, and ultimately heartwarming French comedy that pits brother against brother.
That's not the focus of the movie, though. John plays a respected count, but one whose creditors are knocking at the back door. Lionel Barrymore plays a dedicated detective who has caught all sorts of criminals, except the thief Arsène Lupin. Similar to Raffles, Lupin robs the ultra wealthy of their jewels and paintings. With clues and double-crosses around every corner, John and Lionel have a lot of fun sparring off each other. Lionel suspects John of the burglaries, and he recruits a special secret agent to help. Check out this clever, cute, and ultimately heartwarming French comedy that pits brother against brother.
When you see Lionel Barrymore easily stand from his chair and address the paralyzed man to his left, it's very sad. Ten years later, Lionel himself would be confined to a wheelchair. The great silent star, Lon Chaney, would only live two more years before succumbing to cancer of the larynx; as talkies took off, perhaps psychologically he didn't want to be heard. Mary Nolan and Warner Baxter, the romantic ingenues, would both die far too young, from drugs and complications from a lobotomy, respectively. Rarely will you find a more tragic cast, but don't let that stop you from watching the silent drama West of Zanzibar.
Despite the silly title, it has an excellent story that feels like a cross between Sweeney Todd and The Mayor of Casterbridge. I've never seen a Lon Chaney movie before, and I was awed by his talent. Yes, this movie is 97 years old, so it feels a little over the top, but he wasn't nearly as "hammy" as I thought he'd be. He wasn't "hammy" at all. He had wonderful, deep expressions and an incredible star presence. It's no wonder he was so popular, and I look forward to seeing more of his work.
Lon plays a magician, whose wife has fallen in love with Lionel. When Lionel tells Lon he's been cuckold, they fight, and Lionel strikes a foul blow, paralyzing Lon from the waist down. Lon vows revenge, not only for his lost legs, but for being robbed of the wife and family he should have had. It takes him decades of plotting, but he's a patient man. . . Seriously, check this out. You can tell all four main actors are masters of their craft, and it'll make you want to watch more of their movies.
Despite the silly title, it has an excellent story that feels like a cross between Sweeney Todd and The Mayor of Casterbridge. I've never seen a Lon Chaney movie before, and I was awed by his talent. Yes, this movie is 97 years old, so it feels a little over the top, but he wasn't nearly as "hammy" as I thought he'd be. He wasn't "hammy" at all. He had wonderful, deep expressions and an incredible star presence. It's no wonder he was so popular, and I look forward to seeing more of his work.
Lon plays a magician, whose wife has fallen in love with Lionel. When Lionel tells Lon he's been cuckold, they fight, and Lionel strikes a foul blow, paralyzing Lon from the waist down. Lon vows revenge, not only for his lost legs, but for being robbed of the wife and family he should have had. It takes him decades of plotting, but he's a patient man. . . Seriously, check this out. You can tell all four main actors are masters of their craft, and it'll make you want to watch more of their movies.
Despite the word "bright" being in the title, Bright Eyes is a bit on the heavy side. Shirley Temple usually played orphan girls, but this one is pretty sad. Instead of just starting off as an orphan, like in Heidi or Stowaway, she has to be told her mother has died (after we see her get hit by a car). James Dunn is an airplane pilot, and he takes her for a trip to the clouds as he breaks the bad news. It's actually a beautiful scene, and it makes you wish that every child who has to face such heartache would get told in this way. James shows Shirley that they're very high up in the air, up above the clouds, near Heaven, and he tells her that when her father died and went to Heaven, her mother was so lonely for him, she decided to go up to Heaven to join him.
There's only one song in this movie, which might be why it feels darker than the rest. Shirley sings "On the Good Shop Lollipop" during another airplane flight, but besides that, the story revolves around a nasty custody battle and her adjustment to orphanhood. It's not my go-to for Shirley, but obviously, any fan of hers won't want to skip it.
There's only one song in this movie, which might be why it feels darker than the rest. Shirley sings "On the Good Shop Lollipop" during another airplane flight, but besides that, the story revolves around a nasty custody battle and her adjustment to orphanhood. It's not my go-to for Shirley, but obviously, any fan of hers won't want to skip it.
Fans of Brother Orchid and The Life of Jimmy Dolan might want to check out the lesser known The Penalty, starring Edward Arnold and Gene Reynolds. Edward's opening scene is incredible! It's no wonder he got typecast as a villain. He's a lumberjack and hires a dozen men in town for a week's work, and when one asks how they can trust he's good for the money, he comes up with a solution: they can all accompany him to the bank and watch him withdraw the funds. When he reaches the teller window, he hands over a piece of paper: "This is a stick-up. Don't start anything or my twelve men will finish it. Hand over all your cash and hurry!" Isn't that brilliant? He tells his hired hands he'll be right back, leaves the bank, changes his clothes, steals a different car, and escapes. You almost hope he gets away with it, with such a brilliant set-up!
Edward has a devoted young son, Gene, who idolizes him and obeys his every order. He also has a moll, Veda Ann Borg, with a penchant for fur coats. The Feds are on their tail, and the trio go on the lam. I've seen a lot of gangster movies, and I gasped three times during this movie. It's not one you would have heard of, but it's worth watching. Good acting, a solid story, and lessons that teach what's really important in life. Although he receives second billing, Lionel Barrymore doesn't show up until forty-nine minutes in. You'll also see Robert Sterling, Marsha Hunt, Emma Dunn, Richard Lane, Gloria DeHaven, Grant Mitchell, and a young Phil Silvers.
Edward has a devoted young son, Gene, who idolizes him and obeys his every order. He also has a moll, Veda Ann Borg, with a penchant for fur coats. The Feds are on their tail, and the trio go on the lam. I've seen a lot of gangster movies, and I gasped three times during this movie. It's not one you would have heard of, but it's worth watching. Good acting, a solid story, and lessons that teach what's really important in life. Although he receives second billing, Lionel Barrymore doesn't show up until forty-nine minutes in. You'll also see Robert Sterling, Marsha Hunt, Emma Dunn, Richard Lane, Gloria DeHaven, Grant Mitchell, and a young Phil Silvers.
If you're looking for a different take on Mr. Smith Goes to Washington, check out Lionel Barrymore's turn in The Washington Masquerade. It's very aptly titled, and unfortunately, over ninety years later, nothing much has changed. Washington D. C. is still a very corrupt place, and if you dare to challenge the status quo, you'll find yourself opposed at every turn. Lionel plays a man with integrity who is sickened by his state's senator, a corrupt man who spends his time rubbing elbows with bribing big-wigs instead of helping his constituents.
Lionel announces his intent to challenge the senator's reelection, and lo and behold, he wins! Off he goes to Washington with his devoted daughter, Diane Sinclair, in tow. They are innocent little lambs, and they don't know how anything works. They don't understand that trust shouldn't be freely given, and Lionel finds himself bewitched by a beautiful seductress, Karen Morley. Does Karen really love his ideals, or does she just want to get married to a senator? There are some twists you'll guess and some you won't, so if you like old political flicks, you can try this one. It definitely feels old, though, so don't expect anything as fast-paced as The West Wing. This movie was made only a few years after the advent of talkies, so keep that in mind. Lionel always has great energy on screen, and it's fun to see him in a romantic role - when's the last time he got so many smooches on screen?
Lionel announces his intent to challenge the senator's reelection, and lo and behold, he wins! Off he goes to Washington with his devoted daughter, Diane Sinclair, in tow. They are innocent little lambs, and they don't know how anything works. They don't understand that trust shouldn't be freely given, and Lionel finds himself bewitched by a beautiful seductress, Karen Morley. Does Karen really love his ideals, or does she just want to get married to a senator? There are some twists you'll guess and some you won't, so if you like old political flicks, you can try this one. It definitely feels old, though, so don't expect anything as fast-paced as The West Wing. This movie was made only a few years after the advent of talkies, so keep that in mind. Lionel always has great energy on screen, and it's fun to see him in a romantic role - when's the last time he got so many smooches on screen?
At the start of this movie, we see a beautiful woman pursued by three handsome suitors. They promise her wealth, success, and good standing, but instead she chooses love and flees with a high spirited Irishman. Before they leave, her boyfriend curses the three remaining, wishing that they get everything they say they want. Of course, the men think it's a blessing, but as we see, forty years later, their lives are empty. Elderly, wealthy, successful, and in good standing, they have never married or fallen in love again. They live together and complain about everything. Perfectly cast, they are Lionel Barrymore, Lewis Stone, and Edward Arnold.
When Margaret O'Brien shows up on their doorstep, with her faithful manservant Thomas Mitchell, they discover that they've been named her legal guardians. She's the granddaughter of the woman they loved and now has no living relatives. She also comes with the deed to a large chunk of land, so the three curmudgeons think if they pretend to love her, she'll surrender the land and let them sell it. Of course, since this is a sweet movie with fairies, magical trees, and Irish curses, you can bet that Margaret will soften all three hearts and teach them what's really important in life. It's not as charming as your average Shirley Temple flick, but it's along the same vein. You can try it for St. Patrick's Day, if you have young kids who still believe in fairies.
When Margaret O'Brien shows up on their doorstep, with her faithful manservant Thomas Mitchell, they discover that they've been named her legal guardians. She's the granddaughter of the woman they loved and now has no living relatives. She also comes with the deed to a large chunk of land, so the three curmudgeons think if they pretend to love her, she'll surrender the land and let them sell it. Of course, since this is a sweet movie with fairies, magical trees, and Irish curses, you can bet that Margaret will soften all three hearts and teach them what's really important in life. It's not as charming as your average Shirley Temple flick, but it's along the same vein. You can try it for St. Patrick's Day, if you have young kids who still believe in fairies.
I love Claudette Colbert, but The Secret Heart is not her finest hour. It was probably something she had to act in, to honor her studio contract lest she face suspension. All actors and actresses had to do that at some point during the silver screen, so it's really hard to hold the occasional bad movie against them.
This is an uninteresting thriller, costarring June Allyson, Walter Pidgeon, and Lionel Barrymore. Claudette jilts her fiancé for Pidge, and when he kills himself, their new marriage is tarnished with scandal. Not to mention, her would-be step-children hate her and hold her responsible for their father's death. The really strange part of the story is that Claudette is given custody of the two kids, even when she didn't marry their father. Why would this happen? It makes no sense, but that's the least of her problems. This is a cheap melodrama that probably won't hold anyone's interest, even if, like me, you normally like the cast.
This is an uninteresting thriller, costarring June Allyson, Walter Pidgeon, and Lionel Barrymore. Claudette jilts her fiancé for Pidge, and when he kills himself, their new marriage is tarnished with scandal. Not to mention, her would-be step-children hate her and hold her responsible for their father's death. The really strange part of the story is that Claudette is given custody of the two kids, even when she didn't marry their father. Why would this happen? It makes no sense, but that's the least of her problems. This is a cheap melodrama that probably won't hold anyone's interest, even if, like me, you normally like the cast.
The one and only time you'll be able to see all three Barrymore siblings together on the silver screen is in Rasputin and the Empress. Unfortunately, it's a terrible movie! I couldn't even get through all of it, and I have no idea why any of them signed their names to it. It's so melodramatic, it's like bad community theater. As you might guess, Lionel sinks his teeth into the villainous role of Rasputin, and Ethel plays the Empress. But who does John play? He plays a handsome prince who believes Rasputin is a bad guy and wants to kill him to save the royal family.
It pains me, but I really can't recommend this one. Yes, the Barrymores are famous, and it's a treat to see them all together. But it's just a terrible movie. It's as if everyone wanted to make a spoof and forgot to tell the audience. Unless you love really hammy, overdone acting, you'll probably cringe your way through this - if you make it through at all. Good luck. Or just pick something else with a Barrymore tonight.
It pains me, but I really can't recommend this one. Yes, the Barrymores are famous, and it's a treat to see them all together. But it's just a terrible movie. It's as if everyone wanted to make a spoof and forgot to tell the audience. Unless you love really hammy, overdone acting, you'll probably cringe your way through this - if you make it through at all. Good luck. Or just pick something else with a Barrymore tonight.
In this forgotten drama, Lionel Barrymore plays a hardworking, extremely caring doctor. He's so caring, that when a mother dies in childbirth and the new father abandons the baby in the doctor's office, Lionel raises the child as his own. He feels guilty, of course, but he also realizes that the little girl is completely blameless and shouldn't be punished. She should be raised in a loving environment by people who dote on her, and if her birth father refuses, Lionel will take up the mantle. Thankfully, Lionel's son, the adorable Buster Phelps, doesn't resent his new sister. They have a perfect family - except that this is a drama. Something's bound to happen, right?
If you love Lionel Barrymore (and who doesn't?) then try and find a copy of this hidden gem. He's mostly remembered today for playing crotchety old villains, but there are plenty of films that show him as a hero - including the Dr. Kildare series. You'll also see newlyweds Joel McCrea and Frances Dee in the supporting cast, as well as May Robson, Dorothy Jordan, and Samuel S. Hinds.
If you love Lionel Barrymore (and who doesn't?) then try and find a copy of this hidden gem. He's mostly remembered today for playing crotchety old villains, but there are plenty of films that show him as a hero - including the Dr. Kildare series. You'll also see newlyweds Joel McCrea and Frances Dee in the supporting cast, as well as May Robson, Dorothy Jordan, and Samuel S. Hinds.