Brian Sheridan
One Too Many
- Messages
- 1,456
- Location
- Erie, PA
Some really good ones on this list:
QUALITY STREET (1937, d. George Stevens) - A woman can change a lot in 10 years. Or, in the case of Phoebe, change even more in a day. After her beau Dr. Gray returns home from a decade in the Napoleonic Wars, he’s disappointed that faithful Phoebe appears worn and unattractive. So Phoebe transforms her looks and poses as carefree, younger Livvy. Dr. Gray, unaware of the ruse, is smitten. And about to discover that the person he truly loves is Phoebe. Katharine Hepburn, her voice a youthful flutter and her hair a mass of ringlets, teams with her Alice Adams director George Stevens for this droll screen version of James M. Barrie’s play. Also among the denizens of Quality Street: Franchot Tone, Fay Bainter, Eric Blore and unbilled Joan Fontaine.
SPITFIRE (1934, d. John Cromwell) - Katharine Hepburn portrayed everything from queens to a Chinese peasant in her splendid career, but her most unusual role may just be Trigger Hicks in Spitfire. The elegant, cultured Hepburn plays an ornery, rock-chuckin’ mountain gal who finds God – and a knack for faith healing – in a pack of stolen Bible cards. But when she exercises her self-declared miraculous powers on a sick baby, the local folks figure Trigger is a force of supernatural evil. Two fine leading men, Robert Young and Ralph Bellamy, lend skilled support in a picture that’s Hepburn’s all the way: “After the story of Spitfire is forgotten, memories of Miss Hepburn’s performance will remain” (The Times (London)).
CHRISTOPHER STRONG (1933, d. Dorothy Arzner) - Katharine Hepburn made her stunning screen debut as John Barrymore’s daughter in 1932’s A Bill of Divorcement. In Christopher Strong, Hepburn’s second film and first star vehicle, the intelligent, liberated and unconventionally beautiful actress chose to play an intelligent, liberated and unconventionally beautiful aviatrix who soars into a torrid affair (with Colin Clive as a fellow aristocrat)…and crashes into unendurable heartbreak. The melodramatic story is as much keen-edged steel as tears, thanks to Hepburn’s gutsy performance and to the taut direction of Dorothy Arzner, classic Hollywood’s only major female director. Among the film’s highlights: Hepburn simply astonishing in silvery lamé heading to a costume ball as the world’s most glamorous moth.
BREAK OF HEARTS (1935, d. Philip Moeller) - Aspiring composer Constance Dane never imagined she would someday meet celebrated New York conductor Franz Roberti. Yet a love of music brings them together, and romantic love soon follows. So, too, do jealousies, human misunderstandings and artistic flareups that will test their devotion. Break of Hearts is a triple-hankie romance to swoon by, swelling with music by Bach, Brahms and other immortals and featuring two box-office legends at their most luminous. Charles Boyer essays the man-of-the-world role of Franz. And Katharine Hepburn, the camera framing and adoring her as only classic Hollywood can, offers a much-acclaimed performance that captures Constance’s freshness and fire.
A WOMAN REBELS (1936, d. Mark Sandrich) - As women, the first thing of importance is to be content to be inferior to men. Rubbish, young Pamela Thistlewaite (Katharine Hepburn) thinks, embarking on an independent life no proper Victorian would approve of, a life that includes love affairs, a child born out of wedlock, a career and national fame. An enthralling personal drama and a forceful plea for women’s rights, A Woman Rebels showcases a Hepburn radiant with beauty and youth, as natural with battle-of-the-sexes banter as with courage in the face of heartbreak.
THE LITTLE MINISTER (1934, d. Richard Wallace) - In 1840, young Gavin Dishart (John Beal) is welcomed to a Scottish village as the new minister. Eager to be a proper shepherd to his flock, Gavin cuts a stern, stiff-necked figure. Then he meets Babbie (Katharine Hepburn), a gypsy girl who champions the poor. Soon Gavin is hopelessly in love with the headstrong, flirtatious lass who, unknown to him, is really a grand lady betrothed to an aristocrat she does not love. Based on a novel and play by James M. Barrie (Peter Pan), this endearing film showcases Hepburn’s irresistible femininity as she conquers the heart of the little minister. “Can a man like a woman against his will?” he asks. “Of course he can,” Babbie replies. “That’s the very nicest way to be liked.”
TRAIL STREET (1947, d. Ray Enright) - Billy Burns (George “Gabby” Hayes) is prone to tall tales. He can tell you about the sprawling ranch of Brandyhead Jones. Or about grasshoppers so big and tough they pick their teeth with barbed wire. But one thing Billy can never overstate is his friendship with Bat Masterson – and how he’s sure Bat will honor his request to come to Liberal, Kansas, and stop the festering range war between wheat farmers and cattlemen.
RETURN OF THE BAD MEN (1948, d. Ray Enright) - The Oklahoma Land Rush means free land – and a cadre of outlaws amassed to prey on the newly prosperous territory. Perhaps the vilest of these lurking bad men is the shoot-first Sundance Kid (Robert Ryan). Vance knows there’s no room in the wide-open spaces for cold-blooded killers like the Kid, and he’ll shoot holes in any contrary notion. He’ll bring peace and justice to the prairie.
CARSON CITY (1952, d. Andre De Toth) - Randolph Scott is a man with a mission in this classic tale, as he endeavors to build a railroad through the lawless land between Carson City and Virginia City, Nevada. It won’t be easy. It might be deadly. Citizens are riled over this new era of steel-and-steam progress. And the man goading the populace just happens to be a furtive thief who knows stagecoach lines are easy targets. Andre Detoth ("House of Wax") directs.
THE MAD MISS MANTON (1938, d. Leigh Jason) - Dizzy heiress Melsa Manton and her manicured band of Park Avenue pranksters think Manhattan is an amusement park built just for them. So when Melsa stumbles across a murder victim, the pranksters decide to play detective. The only trouble is that the murderer is playing too – for keeps.
JOY OF LIVING (1938, d. Tay Garnett) - Broadway star Maggie Garret sings for her supper. And for everybody else’s. She’s the meal ticket for relatives who sap her of money and time, rob her of the joy of living. But Maggie’s workaday world changes when she meets a carefree millionaire who thinks Maggie is a peach. And her family is the pits.
HAVING WONDERFUL TIME (1938, Alfred Santell) - Ginger Rogers also stars alongside Douglas Fairbanks Jr. in this screen adaptation of the Broadway play about young Romeos and Juliets who escape the grit and grind of Depression-era New York City for the canoeing and canoodling of Camp Kare-Free. The stars shine brightly at the resort: Lucille Ball, Eve Arden, Grady Sutton and Jack Carson among them. And Red Skelton makes his film debut, dunking donuts and pratfalling down stairs as the camp social director.
LUXURY LINER (1948, d. Richard Whorf) - Perky Jane Powell (Seven Brides for Seven Brothers) plays the golden-voiced teen daughter of an ocean liner captain (George Brent) who stows away on dad’s ship in hopes of showcasing her singing skills to a voyaging opera star (played by real-life Wagnerian Lauritz Melchior). Many more musical talents set sail too: Xavier Cugat swings with Con Maracas, the Pied Pipers add silken harmonies and operatic soprano Marina Koshetz trills and spoofs the Cole Porter standard I’ve Got You Under My Skin. Bon voyage!
MEET THE PEOPLE (1944, d. Charles Reisner) - Julie Hampton (Lucille Ball) can tote a lunch pail and carry a tune. She’s a Broadway star who’s joined the Rosie the Riveters at Morgan Shipyards. Working with her is aspiring playwright “Swanee” Swanson, who insists Julie toil among the yard workers before she stars in the play he’s written about them.
THOUSANDS CHEER (1943, d. George Sidney) - The story concerns aerialist-turned-G.I. Gene Kelly (mopping up the dance floor with a mop for a partner) romancing colonel’s daughter Kathryn Grayson. But the real story is the most spectacular camp show in military history, featuring skits and songs with Judy Garland, Mickey Rooney, Red Skelton, Lucille Ball, Lena Horne, Eleanor Powell, José Iturbi and just about everybody else in Hollywood. Start cheering!!
QUALITY STREET (1937, d. George Stevens) - A woman can change a lot in 10 years. Or, in the case of Phoebe, change even more in a day. After her beau Dr. Gray returns home from a decade in the Napoleonic Wars, he’s disappointed that faithful Phoebe appears worn and unattractive. So Phoebe transforms her looks and poses as carefree, younger Livvy. Dr. Gray, unaware of the ruse, is smitten. And about to discover that the person he truly loves is Phoebe. Katharine Hepburn, her voice a youthful flutter and her hair a mass of ringlets, teams with her Alice Adams director George Stevens for this droll screen version of James M. Barrie’s play. Also among the denizens of Quality Street: Franchot Tone, Fay Bainter, Eric Blore and unbilled Joan Fontaine.
SPITFIRE (1934, d. John Cromwell) - Katharine Hepburn portrayed everything from queens to a Chinese peasant in her splendid career, but her most unusual role may just be Trigger Hicks in Spitfire. The elegant, cultured Hepburn plays an ornery, rock-chuckin’ mountain gal who finds God – and a knack for faith healing – in a pack of stolen Bible cards. But when she exercises her self-declared miraculous powers on a sick baby, the local folks figure Trigger is a force of supernatural evil. Two fine leading men, Robert Young and Ralph Bellamy, lend skilled support in a picture that’s Hepburn’s all the way: “After the story of Spitfire is forgotten, memories of Miss Hepburn’s performance will remain” (The Times (London)).
CHRISTOPHER STRONG (1933, d. Dorothy Arzner) - Katharine Hepburn made her stunning screen debut as John Barrymore’s daughter in 1932’s A Bill of Divorcement. In Christopher Strong, Hepburn’s second film and first star vehicle, the intelligent, liberated and unconventionally beautiful actress chose to play an intelligent, liberated and unconventionally beautiful aviatrix who soars into a torrid affair (with Colin Clive as a fellow aristocrat)…and crashes into unendurable heartbreak. The melodramatic story is as much keen-edged steel as tears, thanks to Hepburn’s gutsy performance and to the taut direction of Dorothy Arzner, classic Hollywood’s only major female director. Among the film’s highlights: Hepburn simply astonishing in silvery lamé heading to a costume ball as the world’s most glamorous moth.
BREAK OF HEARTS (1935, d. Philip Moeller) - Aspiring composer Constance Dane never imagined she would someday meet celebrated New York conductor Franz Roberti. Yet a love of music brings them together, and romantic love soon follows. So, too, do jealousies, human misunderstandings and artistic flareups that will test their devotion. Break of Hearts is a triple-hankie romance to swoon by, swelling with music by Bach, Brahms and other immortals and featuring two box-office legends at their most luminous. Charles Boyer essays the man-of-the-world role of Franz. And Katharine Hepburn, the camera framing and adoring her as only classic Hollywood can, offers a much-acclaimed performance that captures Constance’s freshness and fire.
A WOMAN REBELS (1936, d. Mark Sandrich) - As women, the first thing of importance is to be content to be inferior to men. Rubbish, young Pamela Thistlewaite (Katharine Hepburn) thinks, embarking on an independent life no proper Victorian would approve of, a life that includes love affairs, a child born out of wedlock, a career and national fame. An enthralling personal drama and a forceful plea for women’s rights, A Woman Rebels showcases a Hepburn radiant with beauty and youth, as natural with battle-of-the-sexes banter as with courage in the face of heartbreak.
THE LITTLE MINISTER (1934, d. Richard Wallace) - In 1840, young Gavin Dishart (John Beal) is welcomed to a Scottish village as the new minister. Eager to be a proper shepherd to his flock, Gavin cuts a stern, stiff-necked figure. Then he meets Babbie (Katharine Hepburn), a gypsy girl who champions the poor. Soon Gavin is hopelessly in love with the headstrong, flirtatious lass who, unknown to him, is really a grand lady betrothed to an aristocrat she does not love. Based on a novel and play by James M. Barrie (Peter Pan), this endearing film showcases Hepburn’s irresistible femininity as she conquers the heart of the little minister. “Can a man like a woman against his will?” he asks. “Of course he can,” Babbie replies. “That’s the very nicest way to be liked.”
TRAIL STREET (1947, d. Ray Enright) - Billy Burns (George “Gabby” Hayes) is prone to tall tales. He can tell you about the sprawling ranch of Brandyhead Jones. Or about grasshoppers so big and tough they pick their teeth with barbed wire. But one thing Billy can never overstate is his friendship with Bat Masterson – and how he’s sure Bat will honor his request to come to Liberal, Kansas, and stop the festering range war between wheat farmers and cattlemen.
RETURN OF THE BAD MEN (1948, d. Ray Enright) - The Oklahoma Land Rush means free land – and a cadre of outlaws amassed to prey on the newly prosperous territory. Perhaps the vilest of these lurking bad men is the shoot-first Sundance Kid (Robert Ryan). Vance knows there’s no room in the wide-open spaces for cold-blooded killers like the Kid, and he’ll shoot holes in any contrary notion. He’ll bring peace and justice to the prairie.
CARSON CITY (1952, d. Andre De Toth) - Randolph Scott is a man with a mission in this classic tale, as he endeavors to build a railroad through the lawless land between Carson City and Virginia City, Nevada. It won’t be easy. It might be deadly. Citizens are riled over this new era of steel-and-steam progress. And the man goading the populace just happens to be a furtive thief who knows stagecoach lines are easy targets. Andre Detoth ("House of Wax") directs.
THE MAD MISS MANTON (1938, d. Leigh Jason) - Dizzy heiress Melsa Manton and her manicured band of Park Avenue pranksters think Manhattan is an amusement park built just for them. So when Melsa stumbles across a murder victim, the pranksters decide to play detective. The only trouble is that the murderer is playing too – for keeps.
JOY OF LIVING (1938, d. Tay Garnett) - Broadway star Maggie Garret sings for her supper. And for everybody else’s. She’s the meal ticket for relatives who sap her of money and time, rob her of the joy of living. But Maggie’s workaday world changes when she meets a carefree millionaire who thinks Maggie is a peach. And her family is the pits.
HAVING WONDERFUL TIME (1938, Alfred Santell) - Ginger Rogers also stars alongside Douglas Fairbanks Jr. in this screen adaptation of the Broadway play about young Romeos and Juliets who escape the grit and grind of Depression-era New York City for the canoeing and canoodling of Camp Kare-Free. The stars shine brightly at the resort: Lucille Ball, Eve Arden, Grady Sutton and Jack Carson among them. And Red Skelton makes his film debut, dunking donuts and pratfalling down stairs as the camp social director.
LUXURY LINER (1948, d. Richard Whorf) - Perky Jane Powell (Seven Brides for Seven Brothers) plays the golden-voiced teen daughter of an ocean liner captain (George Brent) who stows away on dad’s ship in hopes of showcasing her singing skills to a voyaging opera star (played by real-life Wagnerian Lauritz Melchior). Many more musical talents set sail too: Xavier Cugat swings with Con Maracas, the Pied Pipers add silken harmonies and operatic soprano Marina Koshetz trills and spoofs the Cole Porter standard I’ve Got You Under My Skin. Bon voyage!
MEET THE PEOPLE (1944, d. Charles Reisner) - Julie Hampton (Lucille Ball) can tote a lunch pail and carry a tune. She’s a Broadway star who’s joined the Rosie the Riveters at Morgan Shipyards. Working with her is aspiring playwright “Swanee” Swanson, who insists Julie toil among the yard workers before she stars in the play he’s written about them.
THOUSANDS CHEER (1943, d. George Sidney) - The story concerns aerialist-turned-G.I. Gene Kelly (mopping up the dance floor with a mop for a partner) romancing colonel’s daughter Kathryn Grayson. But the real story is the most spectacular camp show in military history, featuring skits and songs with Judy Garland, Mickey Rooney, Red Skelton, Lucille Ball, Lena Horne, Eleanor Powell, José Iturbi and just about everybody else in Hollywood. Start cheering!!
