Arch Oboler (1909–1987)

This beautiful rendering of Ethel Vance’s runaway bestseller has sensitive performances from Robert Taylor and Norma Shearer, and restrained direction from Mervyn LeRoy. Old-time radio fans will be surprised to see Arch Oboler’s name among the writing credits, as the man who took over “Lights Out” and thrilled radio audiences for years helped Marguerite Roberts retool Vance’s tense and exciting melodrama into Norma Shearer’s last great film. The role of Countess Ruby von Trek was show more beefed up by MGM, and while this remains overall Robert Taylor’s film, it is Shearer’s sacrifice for love the viewer will always remember. Having seen this many times over the years, it remains my favorite of the lovely Shearer’s films, sans her husband, Irving Thalberg. Legend has it she went around incoherently asking people if they were Irving when she was relegated to being cared for in her old age.

Robert Taylor is excellent as the American who travels to Germany to discover what has become of his mother, who had gone there to sell the family home. Silent film star Alla Nazimova hams it up a bit at times, but is effective nonetheless as his mother, Emily Ritter. Mark’s mother had helped refugees escape and would have been wiser to remain in America. Mark isn’t sure what has happened to his mother, and has only a letter and postmark to go by. Shearer is regal and luminous in fur from the very first frame, a glorious flower fronting the beautiful alps in the background. Ruby is an American by birth, a widow who remained in her adopted country when her German husband of title passed on. More worldly than the innocent Mark, she at first refuses to help him, urging him to return to the United States where it is safe.

But Taylor won’t give up, and once his questions have reached the ears of the Gestapo, he’s in real danger. A desperate and exciting plan to get his mother out once he locate her is hatched. Philip Dorn as a doctor and Felix Bressart as the old family friend lend help in a terribly dangerous scheme. In a kind gesture to her own silent screen past, Shearer afforded Nazimova a meaty role here, and she makes the most of her screen time after a long absence from the silver screen.

Norma Shearer is marvelous in her portrayal of a woman with conflicting loyalties. The mistress of General Kolb (Conrad Veidt), a man who has protected her from harm thus far, has developed true feelings are for Mark. A daring plan to escape with them so she and Mark can have their happiness plays out with tension and excitement in this glossy MGM melodrama. The ending might come as a great surprise to many viewers.

Tense and exciting at times, with restrained performances and a fine adaptation of Vance’s novel, this glossy production is MGM at their finest. This is the gorgeous and luminous Norma Shearer the way we’d like to remember her. Bonita Granville also gives a noteworthy performance as the nosy and misguided Ursula. This film released in 1940 offers classic film fans some glossy A+ entertainment. show less

I enjoyed the first collection of this influential radio horror series that I heard through Audible. I was disappointed by a few duds in this collection. Still, “Come to the Bank,” “Murder in the Script Department,” and “Prelude to Murder” were fine studies in psychological suspense; “The Flame,” and “Little Old Lady” had great monsters; “Heavenly Jeep” and “Visitor from Hades” were effective allegories as well as great stories, and “The Little People” and show more especially the classic “Murder Castle” were gleefully sadistic crime stories. show less

Not worth reading.

3