You Can't Buy Luck
You Can't Buy Luck is a 1937 murder mystery film directed by Lew Landers. Superstitious New York gambler Joe Baldwin, owner of the thoroughbred racing horse Sarcasm, believes that luck can be bought with charitable deeds. Before the Kentucky Derby, to "buy luck," he finances an expensive trip to Europe for gold-digger Jean Jason, his "good luck charm," not knowing she is taking her lover with her and sometime artist Paul Vinette, he gives his old friend Frank Brent cash to save his cab business and visits an orphanage in Louisville with his sister, where he meets Betty McKay, a pretty teacher who scoffs at his philosophy. She scolds him for wishing for rain on the day of the Derby to aid his horse, who runs best on a muddy track, because the orphans plan an outdoor party. Although it rains as wished, Sarcasm loses the Derby, Joe is convinced that it was because the orphans were pulling against him. In an attempt to repair the damage before the Preakness, Joe throws the orphans a lavish party, hiring clowns and other entertainment.
To Betty's surprise, Joe is as excited as the children, they fall in love. After Sarcasm wins the Preakness, Joe returns to New York. Joe tells her that he will not be seeing her any more because he is going to marry Betty, she cajoles $50,000 from him as a final "luck insurance" payment. Before Joe shows up with the check, Paul arrives at Jean's apartment, they argue. Jean threatens him with a gun, during a scuffle, kills her. Joe arrives at Jean's building, he lights the unsuspecting Joe's cigarette and gives him the matchbook telephones the police and, posing as Joe, "confesses" that he just murdered Jean. Joe is tried for Jean's murder and convicted on circumstantial evidence, but escapes before his final lockup. Using Frank's cab to get around, with the help of Betty to question the many possible suspects, Joe tracks down Paul using the passenger lists of Jean's voyage. Paul has Joe apprehended. Joe convinces the police to question Paul. By matching partial fingerprints from the crime scene to those left by Paul at the police station, Paul is implicated in the murder and confesses.
Sure now that luck cannot be bought, Joe embraces Betty. Onslow Stevens as Joe Baldwin Helen Mack as Betty McKay Vinton Hayworth as Paul Vinette Paul Guilfoyle as Frank Bent Frank M. Thomas as Police Lt. Bond Richard Lane as Detective Mac McGrath Murray Alper as Chauffeur Spike Connors Hedda Hopper as Mrs. Agnes White According to RKO records the film made a profit of $24,000. You Can't Buy Luck on IMDb You Can't Buy Luck at the TCM Movie Database
Twelve Crowded Hours
Twelve Crowded Hours is a 1939 film directed by Lew Landers and starring Richard Dix and Lucille Ball. When the brother of his girlfriend Paula Sanders is accused of murder, reporter Nick Green tries to clear him, he suspects gangster George Costain of the crime. Nick steals a satchel of Costain's policy racket receipts, placing his life and Paula's in great danger. Richard Dix as Nick Green Lucille Ball as Paula Sanders Allan Lane as Dave Sanders Donald MacBride as Det. Sgt. Joe Keller Cy Kendall as George Costain John Arledge as Red Emory Parnell as Doorkeeper Twelve Crowded Hours on IMDb Twelve Crowded Hours is available for free download at the Internet Archive
The Red Rider
The Red Rider is a 1934 Universal movie serial based on the story "The Redhead from Sun Dog" by W. C. Tuttle, it is a remake of the 1931 Buck Jones movie The Range Feud. Buck Jones as "Red" Davidson Grant Withers as "Silent" Slade Marion Shilling as Marie Maxwell Walter Miller as Jim Breen Richard Cramer as Joe Portos Silver as Silver, Red's Horse Charles K. French as Robert Maxwell Margaret La Marr as Joan McKee Edmund Cobb as Johnny Snow Monte Montague as Bill Abel, one of Portos' henchmen Jim Thorpe as Al Abel, one of Portos' henchmen William Desmond as Sheriff Campbell Lee Beggs as Mayor "Soapy" Caswell Robert McGowan as Hubert Sund J. Frank Glendon as an Attorney The Red Rider was based on "Redhead from Sun Dog" by W. C. Tuttle. Cliff Lyons Tom Steele Sentenced to Die A Leap for Life The Night Attack A Treacherous Ambush Trapped The Brink of Death The Fatal Plunge The Stampede The Posse Rider The Avenging Trail The Lost Diamonds Double Trouble The Night Raiders In the Enemies' Hideout Brought to JusticeSource: List of film serials List of film serials by studio The Red Rider on IMDb
Film noir is a cinematic term used to describe stylish Hollywood crime dramas those that emphasize cynical attitudes and sexual motivations. Hollywood's classical film noir period is regarded as extending from the early 1920s to the late 1950s. Film noir of this era is associated with a low-key, black-and-white visual style that has roots in German Expressionist cinematography. Many of the prototypical stories and much of the attitude of classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Great Depression; the term film noir, French for "black film" or "dark film", was first applied to Hollywood films by French critic Nino Frank in 1946, but was unrecognized by most American film industry professionals of that era. Cinema historians and critics defined the category retrospectively. Before the notion was adopted in the 1970s, many of the classic film noir were referred to as "melodramas". Whether film noir qualifies as a distinct genre is a matter of ongoing debate among scholars.
Film noir encompasses a range of plots: the central figure may be a private investigator, a plainclothes policeman, an aging boxer, a hapless grifter, a law-abiding citizen lured into a life of crime, or a victim of circumstance. Although film noir was associated with American productions, the term has been used to describe films from around the world. Many films released from the 1960s onward share attributes with film noirs of the classical period, treat its conventions self-referentially; some refer to such latter-day works as neo-noir. The clichés of film noir have inspired parody since the mid-1940s; the questions of what defines film noir, what sort of category it is, provoke continuing debate. "We'd be oversimplifying things in calling film noir oneiric, erotic and cruel..."—this set of attributes constitutes the first of many attempts to define film noir made by French critics Raymond Borde and Étienne Chaumeton in their 1955 book Panorama du film noir américain 1941–1953, the original and seminal extended treatment of the subject.
They emphasize that not every film noir embodies all five attributes in equal measure—one might be more dreamlike. The authors' caveats and repeated efforts at alternative definition have been echoed in subsequent scholarship: in the more than five decades since, there have been innumerable further attempts at definition, yet in the words of cinema historian Mark Bould, film noir remains an "elusive phenomenon... always just out of reach". Though film noir is identified with a visual style, unconventional within a Hollywood context, that emphasizes low-key lighting and unbalanced compositions, films identified as noir evidence a variety of visual approaches, including ones that fit comfortably within the Hollywood mainstream. Film noir embraces a variety of genres, from the gangster film to the police procedural to the gothic romance to the social problem picture—any example of which from the 1940s and 1950s, now seen as noir's classical era, was to be described as a melodrama at the time.
While many critics refer to film noir as a genre itself, others argue. Foster Hirsch defines a genre as determined by "conventions of narrative structure, characterization and visual design". Hirsch, as one who has taken the position that film noir is a genre, argues that these elements are present "in abundance". Hirsch notes that there are unifying features of tone, visual style and narrative sufficient to classify noir as a distinct genre. Others argue. Film noir is associated with an urban setting, but many classic noirs take place in small towns, rural areas, or on the open road. While the private eye and the femme fatale are character types conventionally identified with noir, the majority of film noirs feature neither. Nor does film noir rely on anything as evident as the monstrous or supernatural elements of the horror film, the speculative leaps of the science fiction film, or the song-and-dance routines of the musical. An analogous case is that of the screwball comedy accepted by film historians as constituting a "genre": the screwball is defined not by a fundamental attribute, but by a general disposition and a group of elements, some—but and never all—of which are found in each of the genre's films.
Because of the diversity of noir, certain scholars in the field, such as film historian Thomas Schatz, treat it as not a genre but a "style". Alain Silver, the most published American critic specializing in film noir studies, refers to film noir as a "cycle" and a "phenomenon" as he argues that it has—like certain genres—a consistent set of visual and thematic codes. Other critics treat film noir as a "mood", characterize it as a "series", or address a chosen set of films they regard as belonging to the noir "canon". There is no consensus on the matter; the aesthetics of film noir are influenced by German Expressionism, an artistic movement of the 1910s and 1920s that involved theater, painting and architecture, as well as cinema. The opportunities offered by the booming Hollywood film industry and the threat of Nazism, led to the emigration of many film artists working in Germany, involved in the Expressionist movement or studied wit
Danger Patrol is a 1937 American drama film directed by Lew Landers from a screenplay by Sy Bartlett based on a story by Helen Vreeland and Hilda Vincent. Produced and distributed by RKO Radio Pictures, it was released on December 3, 1937 and stars Sally Eilers, John Beal, Harry Carey. Dan Loring does not have the money for it, he takes a job as an apprentice with the Goliath Explosives Corp. transporting nitroglycerin—or as they like to call it, "soup"—to oil fields. He is trained by Sam "Easy" Street, a veteran nitro handler, soon promoted to a full-time nitro truck driver. Meanwhile Dan begins to develop a romantic relationship with Cathy; because the explosive is so set off, the families of all the "soup handlers" live in fear that they will die. For years Cathy has been asking her father to leave the job, he has been replying that he just needs to get some money saved up first, but he spends it too for this to happen; when Dan asks Cathy to marry him, she refuses to take that step though he too promises to quit as soon as he can afford medical school.
One day another driver, John "Gabby" Donovan, tells his long-suffering wife Nancy that he has been given $1,000, a month off, to take a delayed honeymoon with her. But he has one more delivery to make first, dies in an explosion. Sam has favored Cathy and Dan's romance, but reconsiders in view of Nancy's grief and tries to break them up. Cathy accepts the proposal of a rich suitor, Eric Trumble; as the wedding date approaches, she is distressed: her heart still belongs to Dan. When an oil-well emergency near Tampico, requires a shipment of nitro by airplane, Goliath boss "Rocky" Sanders offers $1,000 to any employee who will travel with the nitro. Dan volunteers, much to Sam's dismay; when Dan will not be dissuaded, Sam takes over the job. As the small plane approaches Tampico, fog closes in on the airport and the pilot cannot see where to land safely, he declares the intention to climb so they can parachute out, but Sam will not risk it crashing into the city. He demands the nitro be dropped safely into the sea or else he will set it off and there.
It does not matter anyway: just the plane runs out of fuel. Sam grabs the radio microphone to leave a final message for Cathy, telling her to reunite with Dan "for me", they hear this themselves. The plane explodes, killing Sam and the pilot; as Dan turns to Cathy to console her, she begs him, "Please don't let anything happen to us". Sally Eilers as Cathie Street John Beal as Dan Loring Harry Carey as Sam "Easy" Street Frank M. Thomas as Rocky Sanders Crawford Weaver as Eric Trumble Lee Patrick as Nancy Donovan Edward Gargan as Gabby Donovan Paul Guilfoyle as Tim Solly Ward as Stale Joke Julius Ann Hovey as Ada Richard Lane as Bill Walter Miller as Smokey Nelson George Shelley as Tommy Hayes Jack Arnold as Ed Novak Herman Brix as Joe In May 1937, two secretaries who worked at 20th Century Fox, Helen Vreeland and Hilda Vincent sold their story entitled Highway to Hell to RKO Radio Pictures. Shortly after, RKO assigned Sy Bartlett to turn the story into a screenplay. In September, Lew Landers was tagged to direct the film, while Maury Cohen was selected to handle the production.
In mid-September, it was announced that John Beal and Sally Eilers would join the cast, followed shortly by the addition of Harry Carey, Lee Patrick, Frank Thomas, Ed Gargan, Paul Guilfoyle, Herman Brix. The picture was filmed during September, by the 22nd was being edited. At the beginning of October RKO changed the title of the film from Highway to Hell to Danger Patrol. In early November it was announced that RKO would be releasing Danger Patrol on December 3, 1937; the National Legion of Decency gave the film an A-1 grade. The Film Daily gave the film a good review, calling it a "neatly done picture with suspense and excitement." They appreciated the acting of both Beal and Eilers, highlighted the supporting performances of Frank Thomas, Ed Gargan and Paul Guilfoyle. They felt. However, Harrison's Reports did not enjoy the film, saying it was only "moderately entertaining". Unlike The Film Daily, they felt the movie was paced, had too much dialogue and not enough action. Danger Patrol on IMDb
Smashing the Rackets
Smashing the Rackets is a 1938 American drama film directed by Lew Landers, written by Lionel Houser, starring Chester Morris, Frances Mercer, Rita Johnson, Bruce Cabot and Edward Pawley. It was released on August 1938, by RKO Pictures. Jim'Sock' Conway, former boxer and FBI hero, is maneuvered for political reasons into a do-nothing job in the district attorney's office. Meanwhile, he meets girlfriend of mob mouthpiece Steve Lawrence. Now the slot machine gang brutally beats Jim's friends Otto, and Jim finds a way to use his nominal position to go into the racket- busting business. But his success puts Letty in deadly peril... Chester Morris as Jim'Sock' Conway Frances Mercer as Susan'Pat' Lane Rita Johnson as Letty Lane Bruce Cabot as Steve Lawrence Edward Pawley as Chin Martin Joe De Stefani as Franz Don Douglas as Harry Spaulding Kay Sutton as Peggy Ben Welden as Whitey Clark Paul Fix as Maxie Eddie Acuff as Joe George Irving as District Attorney Edward Greer Smashing the Rackets on IMDb
Blind Alibi is a 1938 American drama film directed by Lew Landers and written by Lionel Houser, Harry Segall and Ron Ferguson. The film stars Whitney Bourne, Eduardo Ciannelli, Frances Mercer and Paul Guilfoyle; the film was released on May 20, 1938, by RKO Pictures. Richard Dix as Paul Dover Whitney Bourne as Julia Fraser Eduardo Ciannelli as Mitch Frances Mercer as Ellen Paul Guilfoyle as Taggart Richard Lane as Bowers Vinton Hayworth as Dirk Walter Miller as Maitland Frank M. Thomas as Larson Solly Ward as Al George Irving as Curator Ace the Wonder Dog as Ace Blind Alibi on IMDb