Starring Lupe Velez, Leon Errol, Charles "Buddy" Rogers, Elisabeth Risdon, Donald MacBride
Directed by Leslie Goodwins
(actor & director credits courtesy IMDB.com)
The Lindsays try to get an old mansion into shape for a visit from a refined couple, but underneath it, a gang of criminals tries to keep their operations a secret.
One of the many "Mexican Spitfire" movies, which starred Latina actress Lupe Velez in a series of comic misadventures as her temper often got her into trouble, but this installment is strangely bereft of that formula, with Errol taking center stage, not only playing his role as Velez' uncle by marriage, but also that of a comical British lord. So much focus is spent on him playing Lord Epping, and playing Matt Lindsay impersonating Lord Epping, there's not much time for Velez to play anything but Errol's partner in deception. The humor's a bit over the top throughout with Errol and MacBride in particular emoting wildly, but it's a fun diverting B-movie, even if the "ghost" of the title isn't a real one.
Showing posts with label Leslie Goodwins. Show all posts
Showing posts with label Leslie Goodwins. Show all posts
Sunday, July 24, 2016
Monday, May 16, 2016
The Lone Wolf In London (1947)
Starring Gerald Mohr, Nancy Saunders, Eric Blore, Evelyn Ankers, Richard Fraser
Directed by Leslie Goodwins
(actor & director credits courtesy IMDB.com)
The Lone Wolf travels to London to view an exclusive pair of gems he plans to include in a book he's writing, but their disappearance after his arrival prompts Scotland Yard to follow him closely.
Another fun Lone Wolf adventure well constructed around Gerald Mohr's talented voice and Eric Blore's comic timing, the film's a very enjoyable lark, but there's not much thought expended in the screenplay towards using the British flavor of the setting to add color to the film. I still enjoyed the production, and after seeing two of his Lone Wolf outings now, it's a shame that Mohr's run on the series didn't last longer.
Directed by Leslie Goodwins
(actor & director credits courtesy IMDB.com)
The Lone Wolf travels to London to view an exclusive pair of gems he plans to include in a book he's writing, but their disappearance after his arrival prompts Scotland Yard to follow him closely.
Another fun Lone Wolf adventure well constructed around Gerald Mohr's talented voice and Eric Blore's comic timing, the film's a very enjoyable lark, but there's not much thought expended in the screenplay towards using the British flavor of the setting to add color to the film. I still enjoyed the production, and after seeing two of his Lone Wolf outings now, it's a shame that Mohr's run on the series didn't last longer.
Thursday, April 7, 2016
The Mummy's Curse (1944)
Starring Lon Chaney, Jr., Peter Coe, Virginia Christine, Kay Harding, Dennis Moore
Directed by Leslie Goodwins
(actor & director credits courtesy IMDB.com)
Twenty-five years after disappearing in the swamp, Kharis the mummy is uncovered and returned to life, and sets upon searching for the reincarnation of his Egyptian princess.
The final film in the 1940s Mummy series from Universal, it's an improvement over its predecessor, The Mummy's Ghost, taking good advantage of the bayou setting, although the cast is populated with actors playing unfortunate stereotypes. Nonetheless, the picture has the fun feeling that permeated Universal's monster movies during the decade, and uses the Mummy more sparingly, making his stalking scenes more effective. None of the actors from the previous film, save Chaney, return, but Virginia Christine fills in well for Ramsay Ames and has an effective sequence emerging from the muddy bed of the swamp. Although Coe doesn't stand out well as the film's token high priest, the underappreciated Martin Kosleck fares better as his sinister assistant.
Directed by Leslie Goodwins
(actor & director credits courtesy IMDB.com)
Twenty-five years after disappearing in the swamp, Kharis the mummy is uncovered and returned to life, and sets upon searching for the reincarnation of his Egyptian princess.
The final film in the 1940s Mummy series from Universal, it's an improvement over its predecessor, The Mummy's Ghost, taking good advantage of the bayou setting, although the cast is populated with actors playing unfortunate stereotypes. Nonetheless, the picture has the fun feeling that permeated Universal's monster movies during the decade, and uses the Mummy more sparingly, making his stalking scenes more effective. None of the actors from the previous film, save Chaney, return, but Virginia Christine fills in well for Ramsay Ames and has an effective sequence emerging from the muddy bed of the swamp. Although Coe doesn't stand out well as the film's token high priest, the underappreciated Martin Kosleck fares better as his sinister assistant.
Thursday, June 4, 2015
Genius At Work (1946)
Starring Wally Brown, Alan Carney, Anne Jeffreys, Lionel Atwill, Bela Lugosi
Directed by Leslie Goodwins
(actor & director credits courtesy IMDB.com)
Radio stars Miles & Strager report on the crimes of the mysterious Cobra, not realizing the villain is planning to eliminate them and their clever writer/producer.
We have here one of a series of movies starring the comedy team of Brown and Carney, whose delivery and material aren't all that funny, but this is still an amiable production and entertaining time-passer. This has been one of the more difficult films on Bela Lugosi's resume to see, and although his role is nothing special, as Atwill's loyal henchman, it's on par with his other appearances in comic mysteries in the 1940s. This is probably also the only film that affords us a look at Atwill in drag, in keeping with the silly nonsense that characterizes Brown and Carney's work.
Directed by Leslie Goodwins
(actor & director credits courtesy IMDB.com)
Radio stars Miles & Strager report on the crimes of the mysterious Cobra, not realizing the villain is planning to eliminate them and their clever writer/producer.
We have here one of a series of movies starring the comedy team of Brown and Carney, whose delivery and material aren't all that funny, but this is still an amiable production and entertaining time-passer. This has been one of the more difficult films on Bela Lugosi's resume to see, and although his role is nothing special, as Atwill's loyal henchman, it's on par with his other appearances in comic mysteries in the 1940s. This is probably also the only film that affords us a look at Atwill in drag, in keeping with the silly nonsense that characterizes Brown and Carney's work.
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