Review: The Very Thought of You (1944)

World War II films are my favorite genre. This doesn’t just include films about battle—I love looking at life on the home front, the Army Nurse Corps, and how actors were involved in the war effort in real life.

Then there are the World War II romance films, which often can involve a quick love affair that leads to marriage. A girl and a soldier meet while he’s on leave, and they marry, hardly knowing each other. They often marry so they will have someone to write home to or the girl falls in love with the uniform (we see this in Best Years of Our Lives).

One of the best in this genre is “The Very Thought of You” (1944). Directed by Delmer Daves and starring Dennis Morgan and Eleanor Parker, “The Very Thought of You” looks at whirlwind wartime marriages, and the disapproval a girl might meet from her family. War era films often show families happily welcoming soldiers into their homes and feeding them sandwiches and milk. But not in “The Very Thought of You”—we see the opposite.

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Musical Monday: Painting the Clouds with Sunshine (1951)

It’s no secret that the Hollywood Comet loves musicals.
In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is over 500. To celebrate and share this musical love, here is my weekly feature about musicals.

paintingThis week’s musical:
Painting the Clouds with Sunshine (1951)– Musical #409

Studio:
Warner Brothers

Director:
David Butler

Starring:
Dennis Morgan, Virginia Mayo, Gene Nelson, Lucille Norman, S.Z. “Cuddles” Sakall, Virginia Gibson, Tom Conway, Wallace Ford

Plot:
Vince (Morgan) has a gambling problem and his girlfriend Abby (Norman) has had enough and leaves for Las Vegas with her two singing partners, Carol (Mayo) and June (Gibson). The three are in search for millionaires, but one follows him there: millionaire dancer Ted Lansing (Nelson). However, Ted’s family isn’t keen on him marrying a performer.

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A day in LIFE: Jan. 8, 1945

LIFE magazine, Jan. 8, 1945 (Photo/Comet Over Hollywood)

LIFE magazine, Jan. 8, 1945 (Photo/Comet Over Hollywood)

Comet Over Hollywood is starting a new LIFE magazine series. At the beginning of each post, I’ll feature the film article and provide a listing of other magazine highlights. Published weekly starting in November 1936 to December 1972, over 1,800 issues of LIFE magazine was printed. I collect the magazines and decided to share the film news and current events in each film, giving a snap shot of world news and pop culture.

LIFE magazine is different from People, US Weekly or other contemporary gossip rags. LIFE was a premiere photo journalism publication with cartoons, paintings and photographs detailing wars, fashion trends, life in the United States (campus dances, award winning dogs, snow storms in Wyoming) and entertainment news.

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Musical Monday: Blues in the Night (1941)

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It’s no secret that the Hollywood Comet loves musicals.
In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is over 500. To celebrate and share this musical love, here is my weekly feature about musicals.

Poster - Blues in the Night_01This week’s musical:
“Blues in the Night” (1941)– Musical #191

Studio:
Warner Brothers

Director:
Anatole Litvak

Starring:
Priscilla Lane, Jack Carson, Richard Whorf, Lloyd Nolan, Elia Kazan, Billy Halop, Betty Field, Wallace Ford, Joyce Compton, Howard Da Silva, Faith Domergue (uncredited), Faye Emerson (uncredited), William Hopper (uncredited)

Plot:
Jigger (Whorf), Leo (Carson), Peppi (Halop), Nickie (Kazan), and Pete (Whitney) have formed a jazz band and want to take it on the road. With Leo’s wife, “Character” (Lane) as the lead singer, the group rides the rails and hitchhikes to each gig. Character and Leo’s marriage is unstable, as he gambles a great deal, and she’s afraid to tell him when she gets pregnant, because she knows he doesn’t want to be tied down. The group runs into escaped convict Del Davis (Nolan) who steals their money and then offers them a job at a New Jersey road house since they didn’t turn him over to the police. The road house is a dump but they eventually build it into a swinging establishment. Even with more steady work, their problems haven’t ended. Kay Grant (Field) first has her sites set on Leo and then turns to Whorf, causing him to eventually have a nervous breakdown.

Trivia:
-Harold Arlen (music) and Johnny Mercer (lyrics) were nominated for an Academy Award for Best Music, Best Original song, “Blues in the Night”
-Faith Domergue first role in a film as an uncredited jitterbug dancer.
-Richard Whorf’s role of Jigger was offered to both James Cagney and John Garfield, according to Anatole Litvak: The Life and Films
By Michelangelo Capua
-The original title of the film was first “Hot Nocturne” and then “New Orleans Blues,” according to Anatole Litvak: The Life and Films
By Michelangelo Capua

priscilla

Notable Songs:
-Blues in the Night performed several times throughout the film
-Hang on to Your Lids, Kids performed by Priscilla Lane
-Says Who? Says You, Says I
-This Time the Dream’s on Me performed by Priscilla Lane

Hightlights:
-Blues in the Night performed in the jail
-The crazy montage of when Richard Whorf has a break down

My review:

Betty Field in "Blues in the Night"

Betty Field in “Blues in the Night”

While categorized as a musical, “Blue in the Night” is an interesting blend of crime, noir and music. This isn’t your typical upbeat musical and Priscilla Lane isn’t plucky and carefree.
The film depicts the struggles of an up and coming jazz band and the dynamics of an unstable marriage. Priscilla Lane and Jack Carson are married in the film, but it’s clear that while he married her, he really doesn’t want to be tied down and is constantly gambling and carousing. When Priscilla Lane’s character gets pregnant, she is afraid to tell her husband because it would ruin his care free lifestlye and she fears he would leave her.
The movie has crime and gangster film elements as well when the band gets involved with Lloyd Nolan, a gangster who is hiding out, and his ex-moll, played by Betty Field who has her eyes on most of the men in the band.
Added bonus is that you get to hear Johnny Mercer’s “Blues in the Night” a few times throughout the film.
If you’re looking for a rollicking musical, “Blues in the Night” isn’t really for you.
But if you are looking for a characteristic brooding Warner Brothers film, this could be for you.

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A Familiar Face: Character actor John Ridgely

Character actor John Ridgely

Character actor John Ridgely

They are the highlights of most of our favorite films; coming in with the most striking lines and comedic moments.

A character actor is often the best part of the film. Not the star and a little lower than the secondary lead, a character actor has something distinct that they carry from film to film; whether it’s a funny voice, a physical appearance or personality trait. Think S.Z. “Cuddles” Sakall’s chubby cheeks, Joyce Compton’s southern drawl or Una O’Connor’s fussy Irish habits.

But there are character actors who are just below these sidekick-like roles. The audience recognizes their face but may not know their name. These actors usually perform a role in the film that helps move the plot along, even if it is something as simple as being a police officer arresting the bad guy or a hotel clerk checking the lead actors into a hotel.

This role describes the versatile “every man” actor, John Ridgely (sometimes spelled Ridgeley). Born John Huntington Rea in Illinois, Ridgely was a graduate of Stanford University with plans to go into an industrial career. After performing in plays with the Pasadena Playhouse, Ridgely entered films in the 1930s.

If you have watched a Warner Brother’s film made between 1935 and 1948, chances are you have spotted Ridgley. The tall, dark haired vaguely attractive actor appeared in 145 feature films. His roles ranged from police officers, doctors, heavies, truck drivers, salesmen, orchestra leaders, part of a double date, cab drivers, hotel clerks, coroners and reporters.

John Ridgely as a hotel clerk in

John Ridgely as a hotel clerk in “Nancy Drew-Reporter.”

Some of his films include The Big Sleep (1946), Arsenic and Old Lace (1944), “They Died With Their Boots On (1941), The Letter (1940) and Dark Victory (1939), humorously listed as Man Making Crack About Judith.

Actress Lauren Bacall’s first screen test was with Ridgely for the film “To Have and Have Not” (1944), performing the famous “put your lips together and blow” scene. The scene was written without any real intention of keeping it in the film, but after seeing the screen test, director Howard Hawks changed his mind, according to Bacall’s autobiography “By Myself.”

But Ridgely received top billing in the 1943 World War II film “Air Force;” co-starring with John Garfield, Arthur Kennedy, Gig Young and Harry Carey.

John Ridgley had top billing in

John Ridgley had top billing in “Air Force.”

For his first (and last) time in a lead role, Ridgely does an excellent job. In the Feb. 4, 1943, New York Times film review, critic Bosely Crowther called Ridgely’s performance “refreshingly direct.”

“Mr. Hawks very wisely recruited a cast with no outstanding star, thus assuring himself the privilege of giving everyone a chance. And his actors have responded handsomely,” Crowther wrote.

Two years later, Ridgely acted with John Garfield in “Pride of the Marines” (1945). Though the role is not as large as “Air Force,” Ridgely has a sufficient amount of screen time as a next door neighbor and friend of Garfield and his wife, played by Eleanor Parker.

But regardless how much screen time he received in films, Ridgley garnered media attention, as most film stars in the classic era did. This included:

  • April 10, 1943: A humorous newspaper story in an April 10, 1943, article where Ridgely gave a few kids a ride. The kids asked to be let out of the car when they found out he was an actor.
  • July 20, 1943: “Theater Gossip” John Garfield and John Ridgley announced to be acting with Cary Grant in “Destination Tokyo.” The two Johns are both noted for just coming from the film “Air Force.”
  • Nov. 11, 1943:The Evening Independent, “Playhouse Film Provides Thrills, Flynn Stars in Hudson Bay Story of Nazi Spies”: Ridgley is noted for acting in the upcoming Errol Flynn film, “Northern Pursuit.”
  • Feb. 11, 1944: “Sign on Windshield Almost Ruins Actor,” an article tells how Ridgely almost was in a car accident due to his surprise of seeing an old woman driving a 1903 Baker Electric.
  • Oct. 27, 1944: “The Evening Independent” under “Theater Gossip”: John Ridgley is noted for playing a “heavy” in the upcoming film, “The Big Sleep.” “Assignment of Ridgely was announced at the same time it was disclosed Regis Toomey was signed for an important role as a fast talking muscle man…Ridgely portrayed a meteorologist in Destination Tokyo and a confused husband in The Doughgirls.”
  • April 6, 1945: Ridgely is mentioned in the sub-head of a review on “God is My Co-Pilot” starring Dennis Morgan.
  • May 27, 1951: article mentions Ridgely was celebrating his 19th anniversary in film and his next upcoming project, playing a doctor in the “The Blue Veil.”
Arthur Kennedy, Gig Young, John Ridgely and Charles Drake in

Arthur Kennedy, Gig Young, John Ridgely and Charles Drake in “Air Force.”

Ridgely left the industry in 1953 and died in Manhattan in 1968 of heart failure. Conflicting reports say he is buried in New York while other says Forest Lawn in Hollywood. Ridgley was married to Virginia Robinson and had a son, John Ridgely Rea.

While he wasn’t a huge star, Ridgely was still considered important enough to be noted by the press. Regardless of the role, Ridgely always adds something to the film and it’s fun to pick him out in his various roles.

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I love to sing-a, about the moon-a and the June-a

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Owl Jolson loves to sing-a.

You may see me dancing around the office, shaking my finger and singing the tune from this Warner Brothers cartoon.

The 1936 cartoon “I Love to Singa” is one of those cartoons I saw as a child that has always stuck with me.

Every night before bed, I watched Warner Brother and MGM cartoons on Cartoon Network and TBS while I was growing up.

One of my favorite was the Merrie Melodies cartoon directed by Tex Avery that features Owl Jolson. This was Avery’s ninth animated short.

In the cartoon, Mama Owl is sitting on her eggs as Papa Owl paces. They are waiting on their new children to be born in their home inside a tree.

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Owl Jolson’s brothers are already classically trained!

When they hatch: one owl pops out singing “Chi mi frena in tal momento” from the opera Lucia di Lammermoor,  another is playing “Traumerei” on the violin and a third is playing Mendelssohn’s “Spring Song” on the flute.

Yet when the fourth owl hatches, he’s dancing and singing “I love to singa, ‘bout the moon-a and the June-a and the spring-a.”

Papa Owl covers his ears and calls him a crooner and a jazz singer.

To correct his son’s love for contemporary music, Papa tries to teach him the classics and we see Owl Jolson unhappily singing “Drink to Me Only with Thine Eyes.”

Owl Jolson runs away from home and is on a radio talent show hosted by Jack Bunny-a spoof of Jack Benny.

When his family hears little Owl on the radio, they rush down to the station, encourage his jazz music and he wins the talent show.

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Jack Bunny holds an amateur hour contest.

“I Love to Singa” is a small tribute to Al Jolson’s film “The Jazz Singer” (1927). The song comes from the Jolson film “The Singing Kid” (1936).

The voice of Owl Jolson is child actor Tommy Bond who played Butch in the “Our Gang” series.

The cartoon demonstrates Tex Avery’s talents while paying homage to an early sound film.

One of my favorite parts of the eight minute cartoon is when all the different animals are trying out for the talent show, and all are so bad they fall through a trap door.

Owl Jolson's family accepts his love for jazz.

Owl Jolson’s family accepts his love for jazz.

My other favorite is when all the little owls hatch, already equipped with instruments and excellent musical prowess! Mama owl must be quite talented!

There isn’t one thing I don’t love about “I Love to Singa.” The title song is catchy, the jokes are witty and the name “Owl Jolson”-spoofing Al Jolson’s name- doesn’t fail to make me chuckle.

bloggiversary

This is part of True Classics Fourth Anniversary Celebration contest

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Musical Monday: “She’s Back on Broadway” (1953)

It’s no secret that the Hollywood Comet loves musicals.
In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is over 500. To celebrate and share this musical love, here is my weekly feature about musicals.

This week’s musical:
She’s Back on Broadway” (1953) — Musical #450

broadway

Studio:
Warner Brothers Pictures

Director:
Gordon Douglas

Starring:
Virginia Mayo, Gene Nelson, Frank Lovejoy, Steve Cochran, Patrice Wymore

Plot:
Hollywood actress Catherine Terris (Mayo) finds her film career is declining. She decides to return to Broadway where she started out to get a fresh start. The director of the musical play is Rick Sommers (Cochran), who Catherine had a relationship with during her stage days. However, he has been bitter ever since she left six years before to go to Hollywood. The two clash during rehearsal and nearly ruin the play.

Cochran and Mayo in a publicity photo for "She's Back on Broadway"

Cochran and Mayo in a publicity photo for “She’s Back on Broadway”

Trivia:
-Virginia Mayo is dubbed by Bonnie Lou Williams
-Though the two films have no plot connection, She’s Back on Broadway is supposedly a sequel to “She’s Working Her Way Through College” (1952), which is a remake of “The Male Animal” (1942). The only connection is the Mayo and Nelson re-teaming.

Notable Songs:
I’m not left humming any of the songs from this film but I would say “I’ll Take You” performed by Gene Nelson and Virginia Mayo is the most memorable.

Highlights:
-The audition montage at the beginning of the film for the play including dancer and goofy male singers.

My Review:
Musical films about musical theater are interesting. The play being performed in “She’s Back on Broadway” is called “Breakfast in Bed.” There is one song called “Breakfast in Bed” but other songs include a Latin dance vibe, a song about Mardi Gras and then a few romantic ballads. Numbers within the musical play don’t make sense to have an actual story line, so I guess we are supposed to assume it’s a musical revue.
She’s Back on Broadway” is a run of the mill, early 1950s Warner Brothers musical-several songs mixed with some melodrama and filmed in Warnercolor.
Whether it’s Doris Day in “Lullaby of Broadway” or Virginia Mayo on this, they are all relatively similar with Gene Nelson dancing somewhere in the background. Steve Cochran plays his usual moody role in this as well.
Not to say that these colorful musicals aren’t mildly entertaining, but they are rather forgettable.

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Musical Mondays: “Thank Your Lucky Stars” (1943)

It’s no secret that the Hollywood Comet loves musicals.
In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is over 500.
To celebrate and share this musical love, I’m starting a weekly feature about musicals.

Poster - Thank Your Lucky Stars_01

This week’s musical:
Thank Your Lucky Stars (1943) –Musical Number 470

Starring:
All top Warner Brothers stars: Eddie Cantor, Humphrey Bogart, Bette Davis, Olivia De Havilland, Ida Lupino, Errol Flynn, Ann Sheridan, John Garfield, George Tobias, Dennis Morgan, Jack Carson, Dinah Shore, Alexis Smith, Joan Leslie, Alan Hale, S.Z. Sakall, Edward Everett Horton,

Director:
David Butler

Studio:
Warner Brothers Studios

Plot:
Thank Your Lucky Stars” is a movie with less of a plot and more musical numbers from the top stars of the 1940s.
The plot that runs between the musical numbers is about producers (played by S.Z Sakall and Edward Everett Horton) who want to put on a wartime charity event for soldiers. Egotistical Eddie Cantor, playing himself, takes over the production. Singer Tommy Randolph, played by Dennis Morgan, and his girlfriend Pat, played by Joan Leslie, try to get into the show and replace the real Cantor with a bus driver who looks just like Cantor (also played by Eddie Cantor). Zany comedic moments and confusion ensue as Eddie Cantor has to prove he is the real Eddie Cantor.
Stars who usually don’t appear in musicals perform in the film such as Bette Davis, Ida Lupino and Errol Flynn.

Dennis Morgan and Joan Leslie are one of the few stars in "Thank Your Lucky Stars" who don't play themselves.

Dennis Morgan and Joan Leslie are one of the few stars in “Thank Your Lucky Stars” who don’t play themselves.

Trivia:
-This is one of the few movies where Bette Davis sings- another film where she sings is “What Ever Happened to Baby Jane.” She performs the musical number “They’re Either Too Young or Too Old.”

-During Bette Davis’s musical number, she jitterbugs with champion jitterbugger Conrad Wiedell. Davis never rehearsed the dance with Wiedell, because she was afraid she could only get through the dance once, according to the book “The Girl Who Walked Home Alone” by Charlotte Chandler.
 “Look, I’m not a movie star. I’m just some dame you picked up at the dance hall,” she told him.
She hurt her leg during the dance, and you can see she is limping at the end of the dance and rubs her leg but completes the number. Davis didn’t want to spoil the take, because she didn’t think she could do the dance again, according to Chandler’s book.
-This is the last of nine movies Errol Flynn and Olivia De Havilland star in together.
-Though not dubbed in every movie, Joan Leslie is dubbed by Sally Sweetland.
-Olivia De Havilland is dubbed by Lynn Martin.
-All of the stars were paid $50,000 for the film which was donated to the Hollywood Canteen, according to “Errol Flynn: The Life and Career” by Thomas McNulty.
-Errol Flynn proposed singing as the cockney bar patron, because he wanted to do something different, according to McNulty’s book.

Notable Songs and Highlights:
Almost every song in the movie is worth noting because so many unique performances from stars you usually don’t get to hear singing:
-Errol Flynn sings “That’s What You Jolly Well Get” as a braggart Cockney. Flynn does an EXCELLENT job. He dances and sings with ease and sells the song well, while being humorous at the same time.

-John Garfield sings “Blues in the Night.” Garfield is no crooner and the song is a bit rough. However, he gives it his all-while telling a story between the lyrics-and is very entertaining.
-Ida Lupino, George Tobias and Olivia de Havilland sing “The Dreamer.” Lupino and De Havilland sings as gum chomping, jitterbugging dames and make a hilarious trio with Tobias.
My only disappointment is that de Havilland is dubbed and it’s obvious. Tobias and Lupino sing well but their unpolished voices don’t mix well with the de Havilland’s dubbed voice.

-Hattie McDaniel belts out sings “Ice Cold Katie
-Bette Davis sings “They’re Either Too Young or Too Old” and jitterbugs. The song was nominated for an Academy Award and became a hit because of Davis.
-Ann Sheridan sings “Love Isn’t Born” with a group of Warner Brothers starlets, including Joyce Reynolds. Her song is one of the best in the movie. Sheridan is a great singer was in a few musicals, though that isn’t what she’s known for.

My Review:
This movie is a delight!
If you are expecting a movie with a firm plot and a moral, this may not be for you. But if you want to laugh and smile, “Thank Your Lucky Stars” will do the trick. Every single musical performance brings a smile to my face, especially those performed by Errol Flynn, Bette Davis, Ann Sheridan and John Garfield.
Movies that were basically musical reviews were not rare in the 1940s. Several World War II films took on a canteen-style approach with thin plots and dominate musical numbers such as Hollywood Canteen (1944), Stage Door Canteen (1943), Two Girls and A Sailor (1944) and Thousands Cheer (1943). Warner Brothers made a similar, but less appealing, musical review in the 1950s for the Korean War called “Starlift.”
Thank Your Lucky Stars ” also gives you an education of who the top actors and actresses were at Warner Brothers Studios during the 1940s.
I own this movie via the Warner Brothers Homefront Collection which includes “This is the Army” and “Hollywood Canteen” released in 2008. If you don’t own it, I highly suggest it.

Eddie Cantor in the "Thank Your Lucky Stars" finale

Eddie Cantor in the “Thank Your Lucky Stars” finale

Check back next week for Musical Monday.

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The Mystery of the Murdered Movie

I love Nancy Drew.

I have played and solved 21 of the HerInteractive PC games and read most of the original yellow bound novels. I even own a Nancy Drew cookbook, a “Nancy Drew’s Guide to Life” book and a large Nancy Drew cut out.

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Nancy Drew has played a pivotal role for the past 80 years in literature for young girls, as well as in pop culture.

Everyone knows who she is and is fairly respected as a literary character. However, why is there not a flattering movie adaptation depicting everyone’s this important literary character and symbol for American women?

Eight years after the first Nancy Drew novel, “The Secret of the Old Clock,” was published in 1930, the first Nancy Drew film adaptation was released.

Nancy Drew, Reporter,” the first film adaptation of the series, was released in 1938, three more movies were released all in 1939. These movies included “Nancy Drew  Troubleshooter,” “Nancy Drew Detective ” and “Nancy Drew and the Hidden Staircase).”

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Film series were not rare in the 1930’s and 1940’s. In fact many studios made a great deal of money off of series such as “Andy Hardy,” “Dr. Kildaire,” “Maisie” and “Boston Blackie just to name a few of many.

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I imagine that is what Warner Brothers was trying to do with Nancy Drew. But none of the films followed or resembled any of the Nancy Drew books, except for snippets of “Nancy Drew and the Hidden Staircase” which I think is modeling itself after the book “The Hidden Staircase.”

In novels Miss Drew is level-headed, fearless and intelligent. She doesn’t goof off and there isn’t much time for romance in her life. Yes there is her boyfriend, Ned Nickerson, but I can count on one hand the amount of times they kissed or flirted in the novels. She was also very talented and fashionable. She could tap dance the Morris code while wearing a freshly pressed tailored suit.

Also in the novels, Ned was concerned about Nancy but never hindered her sleuthing. Carson Drew, Nancy’s father, was a distinguished lawyer. He teased his daughter for her appetite for mysteries and trusted her good sense.

However, the characters in the 1930s Nancy Drew series didn’t resemble Carolyn Keene’s intelligent teens.

Nancy Drew, played by Bonita Granville, was bumbling, scatter-brained and frightened for most of the films. She set out to solve a mystery but would run home before finding any actual clues.

Nancy and Frank
Bonita Granville as Nancy Drew and Frankie Thomas as Ted Nickerson

Ned Nickerson, played by Frankie Thomas, was named TED in the movies for some reason. He was maybe the most tolerable character in the movies, but I wouldn’t run to him to protect me.

John Litel was a very irritating Carson Drew. He forbid Nancy from sleuthing and worried about her constantly. Even Hannah Gruen, the housekeeper, ran away in terror when someone broke into their home. Hannah in the books would have knocked them on their ear.

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John Litel as Carson Drew in “Nancy Drew…Reporter” (1938)

The films involve very little mystery solving and an over abundance of silly slap-stick. I’m not asking for a whole detailed novel to be played out in the 68 minute films, but Warner Brothers could have at least been accurate with their character depictions.

Bonita Granville, who was 16 when she played Nancy Drew, was in top-notch films such as “These Three”(1936), which she received her only Oscar nomination, and “Now, Voyager” (1941), giving excellent performances in both but clearly Nancy Drew was not the role for her.

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I made a list of who, with some tweaks to the script, could have been the perfect Nancy Drew casting in the 1930s or 1940s.

Nancy Drew: Deanna Durbin (19 at this time) would be my first pick. She sometimes plays silly characters, but also plays serious roles beautifully. Nancy Drew was also supposed to be very attractive. Miss Granville wasn’t ugly, but Deanna Durbin is decidedly prettier. I’m sure they would have to fit in a song or two for Deanna. She would have been old enough by this time, because “First Love,” the film that she received her first on-screen kiss came out the same year as the series.

Carson Drew: John Litel is generally a character actor with small roles. I’m not sure why they chose him to play the distinguished lawyer, Carson Drew. I can’t think of anyone else who could play this role more perfectly than Walter Pidgeon. Mr. Pidgeon is the definition of distinguished and sophistication. With his fatherly and friendly acting style, along with his pipe, I can picture him now giving Nancy advice.

Ned Nickerson: I would either say a teen-aged Jackie Cooper (17 at the time) or Robert Stack (20 at this time). Both boys were attractive and would have seemed more protective of Nancy Drew than Frankie Thomas. Stack was also in the 1939 film “First Love” with Miss Durbin and would have been of a suitable age.

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