Movies with Alabama Connections: The Sin of Nora Moran

If I followed the Alabama connection in this film into other movies, I would never have to find other topics for this blog. Late in his career Henry B. Walthall, a major star in silent films, appeared in this 1933 crime drama. Walthall was a Shelby County native and made dozens and dozens--and dozens--of films between 1909 and 1936. But I'm getting ahead of myself. 

As The Sin of Nora Moran opens we learn that Nora, lover of a married Governor, sits on death row convicted of a murder that the District Attorney, the Governor's brother-in-law, helped her cover up. She has refused to tell the truth about the crime in order to save people she loves. We can sympathize because she had killed a man who raped her. We eventually learn she claimed to have murdered him to cover the accidental death actually caused by her lover--the Governor. Got that?

Early in the film we follow Nora as she unsuccessfully looks for a job until she's hired as the assistant to a circus lion tamer. He eventually rapes her, and Nora leaves the circus for New York City. Before that we get to see an incredible wrestling match between the tamer and one of the lions.

This film is a strange amalgam of scenes set in the present as Nora awaits her fate and flashbacks--and flash forwards within those flashbacks-- to various periods as we learn about her earlier life. There are visions of the dead and from the soon-to-be-dead. District Attorney John Grant narrates the tale to his sister, the wife of Governor Dick Crawford, who is Nora's lover. There are also interesting tracking shots,  montages, and at one point a rather lingering focus on the backsides of some young ladies in a chorus line.

Zita Johann who plays Nora was an Austrian-American actress with some credits in Broadway productions and a few films. In addition to this one, she's also remembered for her role in the classic 1932 horror film The Mummy. 

Walthall has a small role as Father Ryan, who has known Nora since her days as a little girl in his orphanage. By this time, three years before his death, Walthall was acting in smaller roles but many of them. He finished his final film only three weeks before he died of an intestinal illness at age 58.

We can find Walthall listed in the 1880 U.S. Census at age two. His parents, Junius L. and A.M. Walthall, were living on their farm near Harpersville with young Henry, an older sister, and his father's mother. By 1900 they were living in Columbiana, and Henry, then 22, was a deputy sheriff. He had been educated mostly at home, but attended Howard College for six months. Walthall served in the military during the Spanish-American War, but caught malaria and was not deployed overseas before the end of hostilities. 

At some point he left Alabama for New York and began a career on the stage. By 1909 he had made his first film for D.W. Griffiths' Biography Studios. His role in Griffith's infamous 1915 film Birth of a Nation made him a star. I'm planning a blog post on Walthall in the near future and will explore his career on the stage and in the movies.

You can read appreciations of the film here and here. Nora Moran was the product of Majestic Studios, a Poverty Row outfit that operated from 1930 until 1935. This crisp 65-minute film is a strange one, but well worth watching. You can find it online at the Internet Archive.

This film is known as a pre-code Hollywood film, meaning it was made before the implementation of strict content rules for motion pictures rigidly enforced from 1935 until the mid-1950's. The rules are widely known as the Hays code after the man who developed them. I've written about another pre-code film with Alabama connections, the very strange--and I mean very--1934 production, Murder at the Vanities. 

More comments are below some of the images. 

One of the film's original posters, designed by Alberto Vargas. This same image was used on the 2013 DVD release. 

Born in Peru, Vargas moved to the U.S. as a young man after art studies in Europe. He soon began poster designs for the Ziegfield Follies and then Hollywood studios. He is most famous for the many pin-up paintings he did for Esquire during World War II and later for Playboy. 

We learn that Nora was a resident at the orphanage run by Father Ryan. She was adopted by a couple who are soon killed in a car wreck.

In this fantasy sequence three men gather around Nora's casket to talk about her execution, which has not yet taken place. Father Ryan is there, along with the District Attorney and the Governor. Her former lover, on the right in the photo below, notes that he doesn't like the way they've fixed her hair. His companion the district attorney replies that they shaved part of it so the current would go through her body. Her lover insists that's not true....Father Ryan remains silent and stoic. 

In another of several fantasy sequences in the film, an adult Nora visits Father Ryan in his office at the orphanage. 

Walthall did make it into the main credit sequence, but his role is rather small. 

Henry B. Walthall [1878-1936]

Source: Wikipedia 

Movies with Alabama Connections: Odds Against Tomorrow

Released in 1959, Odds Against Tomorrow is often cited as one of the last entries of

film noir's classic period that began in the late 1930's. Harry Belafonte, Ed Begley,
Jr. and Robert Ryan star in this dark and gritty piece about a small town bank
robbery. Shelley Winters and Gloria Grahame are also in the cast. 

In addition to that great cast and a tight story, the film has a couple of other pluses.
There's a side conflict between Ryan's racist character and Belafonte that adds
even more tension as the plot unfolds. Odds also has a wonderful musical score
written by pianist John Lewis of the Modern Jazz Quartet. In addition to band mates
Percy Heath [bass], Milt Jackson [vibraphone], and Connie Kay [drums], the
orchestration includes the fabulous Bill Evans on piano and Jim Hall on guitar.

The MJQ released a soundtrack album the same year.

This film has a possible Alabama connection and another certain one. The novel
that started it all by William P. McGovern was first published in 1957. I've
explored McGivern's supposed Mobile connections in a blog post. 

The other Alabama connection appears about midway through the movie. Robert
Ryan goes into a bar for a drink, and a soldier and his girl are horsing around. Ryan
takes offense and the final result is a fight in which the soldier ends up on the floor.
The soldier is played by none other than Wayne Rogers. 

He was born in Birmingham on April 7, 1933. After graduating from Princeton and a
stint in the Navy, Rogers began appearing in small roles in Hollywood. His debut was
auspicious, although credited only as a main character's "tennis opponent" in the
Alfred Hitchcock classic 1951 Strangers on a Train. His IMDB credits show a gap until
1959, when he made appearances on the TV soap opera Search for Tomorrow and
as that guy in the bar in Odds. In the 1960's he had numerous roles in TV shows
ranging from Have Gun Will Travel to Gunsmoke and Honey West. He even appeared
with fellow Alabama native Jim Nabors on Gomer Pyle USMC. 

Of course, Rogers went on to great fame in the popular M*A*S*H TV show where 
he was a regular for three seasons 1972-1975. He continued acting in
films and TV movies and shows until 2003. In one of those roles he played Alabama
native and attorney Morris Dees in the 1996 film Ghosts of Mississippi. 

Rogers died on New Year's Eve 2015.

Here are the three leads: Harry Belafonte, Ed Begley, Sr., and Robert Ryan

Robert Ryan and Wayne Rogers are about to mix it up in the bar scene.

Movies with Alabama Connections: The Revolt of Mamie Stover

One of two films Jane Russell made in 1956 was The Revolt of Mamie Stover, which has an Alabama connection. Let's investigate.

In 1941 Leesburg Mississippi, native Mamie is working as a prostitute in San Francisco. Authorities tell her to leave the city, so she boards a freighter for Honolulu. The only other passenger is Jim Blair [Richard Egan], a writer. They fall in love, but part ways when the ship docks and Jim's sweetheart meets him. Mamie goes to work at The Bungalow, a dance hall, quickly becoming the star attraction. She and Jim renew their relationship until the attack on Pearl Harbor, and Jim joins the army. Meanwhile, Mamie begins buying up real estate from residents returning to the mainland and gets rich selling it to the military. She and Jim meet again, but things don't work out, and as the film ends Mamie is returning to Mississippi.

Marilyn Monroe was first choice to play Mamie Stover, but that didn't work out. She was in the midst of contract negotiations with the studio, 20th Century Fox, at the time and turning down many properties offered to her as a bargaining ploy. I enjoyed the film with Russell, but would have really like to see Monroe in the role. 

Russell handled the hard-bitten aspects of her role pretty well. Mamie tells her story of origins in abject poverty to Blair right away, and as we learn that drives her behavior. She wants to get rich, go back to Leesburg and lord it over all the people who looked down on her and her family. She does get rich, but loses Blair in the end. Apparently, if we go by the ending, she gives it all away before returning to her roots. 

The film is based on the 1951 novel of the same name by William Bradford Huie, born in Hartselle on November 13, 1910. Over his long career Huie wrote numerous novels, non-fiction books and short stories and articles for magazines. Among his best-known works of non-fiction is The Execution of Private Slovik about the only American soldier executed for desertion during the Second World War. By the time he died on November 20, 1986, he had been living back in Alabama for several decades. He is buried in Hartselle, where the public library was renamed in his honor.

Huie served in the U.S. Navy during World War II and his experiences influenced three of his novels. The first was Mamie Stover, followed by The Americanization of Emily in 1959 and then Hotel Mamie Stover in 1963. Americanization was filmed in 1964 with Julie Andrews and James Garner. All three novels have the same narrator.

Some changes were made in the first novel's story on its way to the screen. Mamie left Mississippi for Hollywood to become and actress, but ends up as a prostitute there before leaving for Hawaii. The location was probably changed to San Francisco because the screen version dropped Huie's criticisms of Hollywood. One thing unchanged is Mamie's relentless pursuit of war profiteering. Her poverty-stricken childhood in Mississippi left her with only one desire--to make money. 

Agnes Moorehead [almost unrecognizable as a bleached blonde!] plays Bertha Parchman, the crusty owner of The Bungalow. I've written about her 1973 visit to Birmingham here. 

Jonathan Yardley, long time book critic for The Washington Post, published an appreciation of Huie and his Mamie Stover novel in 2006. 

Sydney Boehm [1908-1990] was a screenwriter and producer whose career in Hollywood began in 1944 and extended until 1967. 

I think we can conclude Jane looks fabulous in the film, although she does spend most of it with red hair as "Flaming Mamie". 

Money comes between the lovers literally and figuratively. 

This paperback edition from Signet was published in 1964.

This first hardback edition had a somewhat less exciting cover than the paperback.

This inscription appears in my copy of the first edition. 

William Bradford Huie [1910-1986]

Johnny Mack Brown in "Flame of the West"

This post is another in what has become a series on this blog featuring Johnny Mack Brown. He first became known playing football at the University of Alabama where he was instrumental in the team's unexpected victory over the University of Washington in the 1926 Rose Bowl.  He returned to the west coast later that year, made his first film appearance in 1927 and built a long career in Hollywood ranging from silent films into the 1960's. He made dozens of western movies during that time.

I've posted a couple of times on this blog about Brown's movies. In a five-part series I took a deep dive into his 1928 film A Lady of Chance which was partially set in "Winthrop", Alabama. His leading lady was mega star Norma Shearer. A second item looked at Brown through the lens of a film he made, but was never released. Clark Gable replaced him in a new version.

Now it's time to examine one of those westerns. Flame of the West reached theaters on June 25, 1945, and was one of seven Brown films released that year. Here Brown plays an unusual character for western heroes--physician John Poole, who arrives in Trail Forks to set up a practice. He quickly meets Abbie Compton [Lynne Carver] who helps him unpack his office materials, and Add Youman [Raymond Hatton] who is the town's "horse doctor" but seems to spend the rest of the film as Poole's sidekick. 

Naturally, all is not well in Trail Forks. The wealthy saloon owner and his allies rule the town and are not concerned with the niceties of law and order. A group of citizens opposed to this situation, including Abbie, her father and Youman, have a meeting to decide a course of action. Poole is put on the spot, declares he'd like to wait and see what happens, and leaves. Everyone assumes he's a coward. The group decides to hire legendary lawman Tom Nightlander [Douglass Dumbrille], who just happens to be an old flame of Poppy Rand [Joan Woodbury], the madam at the saloon. 

Earlier in the film Poole tells Youman that he quit carrying his guns because he once killed the wrong man. He keeps the weapons in his medical bag and just uses them for target practice to improve his hand steadiness for surgery. We see an example in one scene when Poole is outside of town doing target practice, and Nightlander rides up on his way to accept his new post. The two engage in some friendly shooting competition and part on good terms. 

Nightlander quickly takes charge but cleaning up the town naturally creates some resistance. The saloon owner sets up a trap for Nightlander. Poppy begs him not to walk into it, and Abbie asks Poole to talk him out of it. Poole tells her he can do nothing, since Nightlander is only doing his job. 

Further comments are below many of the photos, including some about the film's conclusion. 

Being a lifelong fan of film and TV westerns, I found this one very enjoyable. Brown was no great actor, but he played this sort of role well and the 71-minute film moves at a rapid pace.

Under the credits we see a cattle herd, which we soon learn is heading to Trail Forks. 

Adele Buffington wrote screenplays in a long career that lasted from 1919 until 1958. She was also a founder of the Screen Writers Guild. She wrote many western scripts, including ten for Johnny Mack Brown's Nevada Mackenzie character that were filmed from 1943 until 1945. 

Bennett Foster [1897-1969] was a prolific author of western stories published in both slick and pulp magazines. The source for this film was "Trail Town Fever" that appeared in the February 1943 issue of Star Western. Interestingly, that issue also contains a story by even more prolific Alabama author Tom Roan, "War-Song of the Bullwhip."

Bennett Foster - Star Western  February 1943 - Trail Town Fever

Source: PulpFlakes

Most of the "unknowns" listed in the credits below Lynne Carter were busy actors for decades. Between 1932 and 1953 Tom Quinn [1903-1982] appeared in numerous small film roles, most of them uncredited. Harry Lewis Woods [1889-1968] made almost 250 films between 1923 and 1958, also in small, mostly uncredited roles usually as a villain. I didn't find Raphael Bennett on either Wikipedia or the IMDB. Riley Hill [1914-1993] made appearances in more than 70 films and a dozen television programs. Jack Ingram [1902]1969] made numerous serials and films between 1935 and 1966. Between 1927 and 1958 John Merton [1901-1969] made over 250 films, often as a villain. Jack Rockwell [1890-1947] also appeared in over 250 movies, mostly westerns.  

Pee Wee King [1914-2000] was a country music songwriter and musician [accordion, fiddle] who was born in Wisconsin. He is perhaps best remembered today as co-writer of "Tennessee Waltz." He was also an early union member in Nashville, and his band members were, too. His work introduced waltzes, polkas and cowboy songs into country. King was inducted into the Country Music Hall of Fame in 1974.

Source: Ad on page 336 of Billboard 1944 Music Yearbook via Wikipedia

Lambert Hillyer [1893-1969] was a prolific screenwriter and director from 1917 until 1949. Thus he was working on this film near the end of his career. He directed such genre gems as The Invisible Ray and Dracula's Daughter, as well as the first screen appearance of Batman in a 15-part serial in 1943. Hillyer also directed many silent and sound westerns and returned to direct some episodes of the TV western The Cisco Kid in the early 1950's. 

The calm before the storm in Trail Forks in the film's first scene. 

The real action begins in the saloon, where Pete and the gang are entertaining a few afternoon patrons.

Madam Poppy Rand hired the band in Center City where she also picked up some new ladies for the saloon. She tells Pete the song they're playing sounds like it came from the undertaker.

Rand was played by Joan Woodbury [1915-1989] who made some 80 films between 1934 and 1964. Most of the titles were B-movies. 

After scolding the band, Poppy entertains the saloon crowd with a song of her own.

For some reason Abbie is helping Poole unpack in his new office. Perhaps it's this film's version of "meeting cute". Doc Poole's first case turns out to be delivery of a baby.

I've discussed Lynne Carver in a recent blog post about her first marriage to Birmingham dentist Ralph McClung. A Kentucky native, her film career began with several uncredited roles in 1934 and 1935 and lasted until 1948. During that time she had significant roles in A Christmas Carol, The Adventures of Huckleberry Finn, Calling Dr. Kildare and others. She died of cancer in 1955 at age 38.

 Raymond Hatton played Add Youman the horse doctor in this film. Hatton appeared in almost 500 films and many television roles between 1908 and 1967, when he made a brief appearance as an elderly hitchhiker in In Cold Blood.

Poole is caught between the two female leads Poppy and 

Abbie here.

Halfway through the film there is a pause in the action to let King and his band entertain the saloon crowd. Each musician has a solo. 

I have been unable to identify this young lady, whose impressive yodeling is also featured in the band's number.

Poole shows Youman a few tricks with the gun he doesn't carry.

Poole is confronted at the citizens' committee meeting and does not impress the townspeople.

In the midst of all the trouble brewing in town, Nightlander and Poole have an interesting conversation. Nightlander asks him what he would do for a fella who has cancer. Poole declares he'd cut it out. Their talk doesn't go much further than that, but I guess we are to assume Nightlander has cancer. 

Nightlander was played by Douglass Dumbrille [1889-1974]. He was a Canadian actor who appeared in numerous secondary and minor roles in film and television. His first film role came in 1913, his final one in 1964. In his final television appearances he played a judge in two Perry Mason episodes in 1964 and a doctor in an episode of Batman in 1966. Dumbrille also did theatrical work early in his acting career. 

Poppy proves she has a heart of gold in this scene. A young cowboy is killed in the saloon, and she takes up a collection of $1000 for his pregnant widow. She asks Poole to give the money to the young woman, and he agrees.

A patient is being brought to Dr. Poole's office. No stretcher was available, I presume. Note the redundancy of "Dr." and "M.D." on the sign. 

Abbie and Poole are concerned about Nightlander's fate.

Poppy, who has changed from a Wild West version of the little black dress into this demure one, tries to prevent Nightlander from walking into the trap. Youman observes her technique.

Nightlander has tangled with the Bull Head saloon crowd since his arrival, and now takes an order to close them down. He is shot in the saloon and dies soon after Poole and others carry him to the doctor's office. 

After being shot, Nightlander has a few final words. 

Uh, oh, it looks like Dr. Poole will be on the payback case!

Abbie watches as the "coward" gets his gun.

Guns are blazing in the saloon where Poole takes care of business and no prisoners.

Now it's time to return to medical practice. 

Abbie apologizes for thinking he was a coward.

Once back in his office, Poole is informed by Youman that he's needed. A stagecoach has overturned and several people are injured. Abbie asks if she can go with him. He says, "Why not? You may as well get used to it."

We can assume the two got married and lived happily ever after. Or something. 

During the Golden Age of Hollywood Monogram Pictures Corporation made primarily low budget films and operated under that name from 1931 until 1953, when it became known as Allied Artists Pictures Corporation. Monogram was one of the small studios on "Poverty Row" cranking out numerous westerns, crime films comedies and adventure films during that period. You can see the massive list of Monogram/Allied Artist releases from 1931 until 1978 here.