Girls On Probation (1938, directed by William C. McGann)


Eager to get away from her abusive father (Sig Ruman), Connie Heath (Jane Bryan) keeps making the mistake of hanging out with the ultimate bad friend, Hilda Engstrom (Sheila Bromley).  Hilda steals a dress from where they work and when the dress is torn, Hilda lets Connie take the blame.  When the dress’s owner (Susan Hayward, making her film debut) insists on pressing charges, insurance investigator Neil Dillon (Ronald Reagan) helps Connie get off the hook and out of jail.

Having not learned her lesson, Connie continues to hang out with Hilda and her new boyfriend, Tony Rand (Anthony Averill).  This time, Connie gets caught up in a bank robbery.  Will Neil be able to get her out of another jam?

63-minutes long, Girl on Probation is a Warner Bros. B-movie.  Ronald Reagan is surprisingly mellow as someone falling in love with a woman who keeps getting framed for his crimes she didn’t commit.  Sheila Bromley steals the show as the out-of-control dangerous blonde who tells a priest, “I’m about to meet your boss.”  The main problem with the film is that Connie is incredibly stupid.  How many times can one person be framed?  Jane Bryan, who played Connie, ended her acting career when she got married but she and her millionaire husband later helped to bankroll Reagan’s first political campaign and both of them were members of his unofficial “kitchen cabinet” when he was governor of California.

The movie has never been released on DVD and is hard to find.  It plays on TCM occasionally, which is where I saw it.  Online, the only place it appears to be streaming, ironically enough, is on a Russian site.

The Fabulous Forties #34: This Is The Army (dir by Michael Curtiz)


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The 34th film in Mill Creek’s Fabulous Forties box set is the 1943 musical, This is The Army.

This Is The Army is based on a Broadway musical that was specifically conceived and written by Irving Berlin as a way to boost wartime morale.  The show, which was a collection of patriotic songs and comedic skits, was performed by members of the U.S. Army.  The film version starts with dancer Jerry Jones (George Murphy) being drafted at the start of World War I and putting together an all-army revue called Yip Yip Yaphank.  (Interestingly enough, this was also the name of a real-life show that Irving Berlin put together during World War I.)  The show is a big hit and, when the soldiers in the cast receive their orders to head to France, they literally march off the stage and out the theater.  It’s actually a pretty rousing scene but it’s almost immediately followed by a very sad one, in which we learn that only three members of the cast survived the war.  Jerry Jones is shot in the leg and when he returns home, the former dancer now walks with a cane.

Twenty-five years later, another world war has broken out.  Jerry’s son, Johnny (Ronald Reagan), has joined the army.  Johnny is ordered to put together another revue, in the style of Yip Yip Yaphank.  At first, Johnny is reluctant but orders are orders.  Soon, Johnny and the cast of This Is The Army are touring the U.S. and even performing in front of President Roosevelt (played by Jack Young, though, from a historical perspective, wouldn’t it be neat if President Roosevelt had appeared as himself in a film with Ronald Reagan?).  Along the way, Eileen (Joan Leslie) tries to convince Johnny to marry her even though Johnny wants to wait until the war is over.

It’s really not much of a plot but then again, the film is about showcasing the musical performances.  The soldiers sing.  The soldiers dance.  The soldiers tell jokes and imitate people who were famous in 1943.  There are several scenes that attempt to wring laughs from soldiers dressed up like women.  What’s interesting is that, at a time when the army was still segregated, the performances in This Is The Army feature both white and black soldiers.  Irving Berlin apparently demanded that black soldiers be allowed to appear in both the stage show and the film and, as a result, the unit that performed This Is The Army was, for a time, the only integrated unit in the U.S. Army.

Of course, that makes it even odder that there’s an extended sequence in which white soldiers perform while wearing blackface and standing on a set that’s been designed to resemble a pre-Civil War plantation.  It’s a scene that pops out of nowhere and then it keeps going and going and going and I could only stare at the screen in shocked horror as it played out.  It’s an odd contradiction that the same Irving Berlin who demanded that black soldiers be honored on stage and screen was also apparently the same Irving Berlin was put a minstrel show sketch into the middle of This Is The Army. 

Interestingly enough, George Murphy later retired from acting and was elected to the U.S. Senate in 1964.  Murphy’s success inspired his co-star, Ronald Reagan, to run for governor.  If Murphy had never been a senator, Reagan would probably never have been a president.  Both Reagan and Murphy give likable performances in This Is The Army and it’s easy to see how that likability, while it may not have often translated into great acting, did eventually lead to political success.

This Is The Army is a time capsule film, one that is mostly interesting as a view into the psyche of 1940s America.  The humor is often corny and the storyline is predictable but there’s also a very sad subtext to the film.  Since both the film and the stage show were performed by actual enlisted men, you watch with the knowledge that some of the men singing and joking on stage won’t return from the war.  Often times, during the performances, we see random people in the audience crying as they realize the same thing.  Even in an otherwise light-hearted film, the sobering realities of life during wartime are right beneath the surface.

The Fabulous Forties #30: Cheers for Miss Bishop (dir by Tay Garnett)


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The 30th film in Mill Creek’s Fabulous Forties box set is the 1941 melodrama, Cheers For Miss Bishop.  Cheers For Miss Bishop is a bit like an Americanized version of Goodbye, Mr. Chips.  The story of Cheers For Miss Bishop, largely told via flashback, deals with a retired teacher who never quite got what she wanted out of life but still had a profound impact on all of her students.

The film opens with elderly Miss Bishop (played by Martha Scott) alone in her house.  The time is the 1930s and Miss Bishop is nearing retirement and somewhat bitter over ending her years having never married.  Prominent businessman Sam Peters (William Gargan) comes to the house and they start to recollect.  We flashback to the 1880s, when Miss Bishop was preparing to go to college and Sam was just the local grocery boy.  Sam was in love with Miss Bishop and, it’s suggested, that she loved him as well.  But she was determined to go to college whereas Sam was determined to go straight into business.

With the support of the kindly Prof. Corcoran (Edmund Gwenn, giving a performance that pretty much epitomizes what we mean when we call someone a kindly professor), Miss Bishop got a job teaching English at Midwestern College.  She was a popular teacher, one who not only inspired her students but who was also willing to stand up for them.  Eventually she met and became engaged to a local lawyer, Delbert Thompson (Don Douglas).  However, her heart was broken when Delbert ran off with another woman.  Years later, she fell in love with another professor (Sidney Blackmer), with the only problem being that he happened to be married.

But that’s not all that Miss Bishop had to deal with.  She also ended up adopting and raising Hope (Marsha Hunt) after Hope’s mother died in childbirth.  As she got older, she became frustrated when the younger college administrators demanded that she adapt with the times.  Miss Bishop also had to deal with her frequent romantic rival and cousin, the impulsive Amy (Mary Anderson).

Amy, I should mention, was my favorite character in Cheers For Miss Bishop, even though I don’t think that was the film’s intention.  Some of that is because Mary Anderson totally embraced the melodramatic potential of her character, often going totally over-the-top in a way that still seemed perfectly natural.  But there’s also the fact that Amy, as opposed to the often painfully inhibited Miss Bishop, had no boundaries.  She knew what she wanted and she went for it, without apology.  Amy may not have been a big role but she still dominated every scene that she appeared in.  Amy demanded attention and good for her!

That said, the title of the film is Cheers For Miss Bishop and not Cheers For Amy.  Ultimately, it’s a tribute to Miss Bishop and to teachers everywhere.  It’s an extremely predictable and sentimental film but it does what it does fairly well.  Occasionally, I got frustrated with Miss Bishop as a character (she was always so prim, proper, and respectable!  Plus, there’s a scene where she gives a student from North Carolina some trouble about his accent, saying that he needs to take her English class and, if you know how I feel about actors from up north trying too hard to sound like they’re from the South, you can imagine how I felt about that scene) but Martha Scott gave a good performance.  In the end, it’s a sweet little movie.  And you can watch it below!