Joyce Compton News & Notes

  After a time spent toiling in Hollywood’s margins, Joyce Compton finally arrived as a full-fledged actress in 1929. That year, she received one of her earliest substantial roles in Salute —a film also important in the career of its director, the legendary John Ford.   In Salute , Joyce is her usual delightful self as a saucy young temptress named Marian Wilson. As with Ford’s other movies, however, the predominant focus lay with the male characters and the strong camaraderie between them. This melodrama splashed with comedy follows the relationship of two brothers: confident, athletic John Randall (George O’Brien, a bit smarmy and reminding this viewer of Pre Code star Ricardo Cortez) and his more cerebral younger brother, Paul Randall (forgettable William Janney). Through a strange set of circumstances, they are raised by separate grandparents, and thus when they come of age they end up attending rival colleges. O’Brien stands out an Army cadet at West Point, while Janney b...

 I wanted to share some pages from a fun vintage book which was recently re-discovered in our library— Who Is That? The Late Late Viewer’s Guide to the Old Old Movie Players was Warren B. Meyers’ great attempt to catalogue most of the vivid supporting players seen in vintage movies of the 1930s, ’40s and ’50s. At the time of its publication (1967), old movies were primarily the domain of the off-hours on local television stations. That was it—unless one lived near a creatively programmed repertory house in a big city, or if you enjoyed watching 8MM films at home, were willing to spend the money to acquire them, and didn’t mind the sketchy quality.  It was kind of nice, then, that Meyers put so much effort into this book compiling endless head shots of forgotten actors, and organizing them by the “types” they were best known for. Joyce appears in the chapter entitled My, Isn’t She Cheap , which assembles just about every brassy blonde, cynical good time girl, or slightly used...

The ever-valuable Criterion Channel added some fantastic new films to stream in September—including a curated group of special interest to 1930s Hollywood buffs. Rebels at the Typewriter: Women Screenwriters of the 1930s looks at the contributions of Frances Marion, Anita Loos and many unsung women who wrote a multitude of entertaining and thought-provoking novels and movies of that era. I’ll let the folks at Criterion fill in the details:  The 1930s were a golden age for women writers, who penned some of the most outrageous provocations of the pre-Code era and created memorable, true-to-life female characters for the period’s reigning stars. While writers like renowned humorist Anita Loos (RED-HEADED WOMAN) and two-time Academy Award winner Frances Marion (DINNER AT EIGHT) have been justly celebrated, others like the prolific Jane Murfin (WHAT PRICE HOLLYWOOD?), best-selling novelist turned screenwriter Viña Delmar (MAKE WAY FOR TOMORROW), and pioneering writer-director Wanda T...

Picture it: Hollywood, California, sometime in 1997. I'm a tourist on my first trip to the iconic Walk of Fame on Hollywood Boulevard. Me and my boyfriend take a detour into a little autograph and memorabilia store called STARWORLD. Although they have an impressive array of signed, framed photos on the walls, my eye is drawn to a little box on the floor marked “Clearance.” I crouch down and leaf through the glossy 8 by 10s in the box, seeing a bunch of has-beens, never was-es and forgotten child actors from the ’70s and ’80s. Near the bottom, however, I spy a diamond in the rough—an autograph from my favorite “dumb blonde” of Hollywood’s Golden Era, Joyce Compton. In the photo, she is wearing a chiffon dress with a spray of fake lilacs on the bodice, a lacy negligee partically obscured by sheer layers of gown fabric. Joyce’s curly handwriting matches her blonde hair, and it matched the images I recalled from old movies—cute and bubbly. Priced at seven dollars, it became my first ...

Here's a fun old publicity photo I came across: in 1952, Joyce starred with Bob Paige and Ruth Warrick in an episode of NBC's drama anthology Fireside Theater entitled "The Gift Horse." As the press copy on the back of the photo states, the show was pre-filmed, which was unusual in the early days of television. Joyce was cast as a temptress coming between married couple Paige and Warrick. Note that this photo was put out by Compton Advertising Inc., an agency which otherwise had nothing to do with our Joyce. Although Fireside Theater ran for seven seasons in 1949-55, most of the episodes (including "The Gift Horse") are lost or unavailable for viewing due to copyright issues.

Here's a lovely circa 1936 portrait of Joyce Compton that has been sitting on my computer's desktop for the past year (!). As with many actresses who are often remembered for broad, daffy comedy roles, it's easy to overlook what a beauty she was.

Snapshot of Joyce vacationing at California's Lake Arrowhead in the 1940s, photographer unknown.

Here's how I described Ellis Island at my weblog, Scrubbles.net : Another cruddy 1930s b-movie which would have otherwise gone past my radar, had Joyce Compton not co-starred. This had something to do with gangsters and a dopey pair of Ellis Island employees who uncover their dirty deeds, but it didn’t hold my interest whenever Joyce (tiny role as the nurse girlfriend of one of the dopes) wasn’t on screen – which wasn’t too often! The dull, often incomprehensible Ellis Island found Joyce working at yet another poverty row studio (Invincible Pictures), playing yet another thankless part as the goofy sidekick's girlfriend. She doesn't appear in too many scenes (and looks rather distracted when she does). Probably the best thing about this incompetently made trifle is that it's very short - 67 minutes. Even at that brief length, this plodding flick still seems like it's about an hour too long! Like many of Joyce's other films, Ellis Island has slipped into ...

Joyce Compton's career in the mid- to late-1930s seemed to alternate between leads in poverty row productions and supporting parts in b-movies from the big studios (With a few bit parts thrown in. Why? Only Joyce herself could tell you.) Among the big studio efforts she appeared in was 1936's Murder with Pictures , a cliché-ridden comedy/mystery from Paramount starring a too-smirky Lew Ayres (above left) as a newspaper photographer who enjoys outpacing the police on various hot cases. He winds up becoming part of the story he’s covering when an alluring mystery lady (Gail Patrick, below left) enters his apartment seeking shelter from the pursuing authorities. The woman is a murder suspect, wrongly accused and desperate to clear her name. Ayres winds up helping her AND coming up with the incriminating photograph that proves who the real killer is. A rather silly, slight film that (at the very least) moves along at a brisk pace and has a glossy production unusual for a b-pictur...

Let 'Em Have It is a gritty little gangster pic made as the film industry was pressured to glorify the good, hard-working long arm of the law over the bad guys. The film follows three young FBI recruits, played by Richard Arlen, Henry Stephens and Gordon Jones, as they pursue an attempted extortion/kidnapping case involving the family of socialite Virginia Bruce. Produced by indie Edward Small Productions, this was a decent, faced-paced flick with more action and violence that what you’d normally expect from a ’30s-era picture. The story is very similar to the James Cagney vehicle G-Men , with all its straightforward and often unintentionally funny procedural scenes. Although it lacks the nuance of that film, it's a moderately interesting actioner. Joyce's appearance in Let 'Em Have It is a blink-and-you'll-miss-it turn the pretty girlfriend of an eager-beaver young agent played by actor Eric Linden (seen below in a publicity still with Joyce). Her inconsequen...

Here's a screen shot of Edward Everett Horton and Paul Kelly flanking a surprised-looking Joyce in 1941's Ziegfeld Girl . This luxe MGM musical stars Judy Garland, Lana Turner and Hedy Lamarr as a trio of 1920s lovelies who meet different fates on their way down the Giant Staircase of Fame, when they become the lucky few hired as chorus girls in Flo Ziegfeld's famous Follies. It's quite a fun movie, albeit overlong and campy at times (especially the scenes with a too-young Turner as the responsibility-chucking, alcoholic Ziegfeld Girl). Garland fares the best as the perky, ambitious one whose well-intentioned yet clueless vaudeville hoofer dad (Charles Winninger) is holding her back. She also gets a good ballad to sing in "I'm Always Chasing Rainbows." Stone-faced Lamarr is mesmerizing, but lacks a good storyline. First-billed Jimmy Stewart also appears as Turner's sensible trucker boyfriend, but he seems distracted - perhaps by Turner's embarras...

Blues in the Night ranks as one of the more enjoyable Warner Brothers melodramas of the 1940s. Silly and overblown at times, but engrossing nonetheless. Richard Whorf (above, left) heads a mid-level cast as jazz pianist Jigger Pine, a regular guy with a quartet that includes wormlike Elia Kazan, hulking Peter Whitney and young pup Billy Halop. The trio are at a crossroads. A scuffle with a belligerent customer at the dive where they’re playing lands them in jail, prompting them to stick with the noncommercial blues-influenced style they love. They travel to New Orleans to meet with trumpeter Jack Carson, who is married to lovely singer Priscilla Lane. The group form a swell combo, riding the rails and playing wherever they can to get a decent meal. Eventually they befriend gangster Lloyd Nolan, who leads them to a New Jersey dive where sad sack Wallace Ford and hard-bitten singer Betty Field (who is amazing in this) work. The story gets very complex from there, helped along by some ...

“Pre Code Shirley Tempe” might be the best description for the heated Southern drama Lena Rivers , which recently came out on DVD under its reissue title The Sin of Lena Rivers . The film focuses on elfin actress Charlotte Henry playing a girl from the wrong side of the tracks who bears the stigma of illegitimate parentage. Henry’s Lena Rivers is raised by her grandmother (Beryl Mercer doing her usual kindhearted mama thing) after he mother dies in childbirth. After the grandfather dies in a boating accident, the duo are invited to live with a rich uncle in their relatives’ plush Kentucky mansion. The girl doesn’t fit in with the hoi polloi, preferring the company of the servants, but one neighbor (James Kirkwood) has a strange bond with the girl — even gifting her with a wild horse that only she can tame. As it turns out, the neighbor is the girl’s father and her ability to turn the horse into a racing champion is what will endear her to the others. A rather sweet film that is marre...

Was it the blonde hair? Joyce got another chance to play a temptress in Sing, Sinner, Sing , a 1933 production from the budget-level studio Majestic. Sing, Sinner, Sing is a rather ordinary pre-Code drama based a the real life fraças between singer Libby Holman and her husband, tobacco heir Zachary Smith Reynolds, who was found shot to death under mysterious circumstances in their apartment. Actress Leila Hyams plays the Holman stand-in, a torch singer who shares a stormy romance with gambling ship captain Paul Lukas. She escapes his clutches with a wealthy playboy (Don Dillaway), but after they marry she finds that her new husband is carrying on with a hotsy-totsy blonde — and that's where Joyce Compton comes in. Probably the best reason to see this hoary drama would be Leila Hyams, who is attractive and somewhat fragile in a way that reminds me of the slightly later Virginia Bruce. She also sings a few numbers in an agreeable (apparently non-dubbed) low voice. The story is p...

Kid Galahad is something of a gangster/boxing/romantic melodrama mishmash that somehow works thanks to the assured direction of Michael Curtiz and a phalanx of regulars from the Warner Bros. acting stable. Edward G. Robinson stars as a tough boxing manager with Bette Davis as his longtime gal. The two take notice of a swift-handed hotel bellhop (Wayne Morris) and groom him into a boxing ring champ. Davis' character Fluff finds herself romantically drawn to Morris, but Morris winds up taking a shine to Robinson's kid sister (Jane Bryan). This angers the protective Robinson so much that he decides to engineer a fight sure to put the young pugilist in a body cast. While the script ventures into overly familiar territory, this film ends up being a winner due to great work by Robinson and Davis, along with several stirring, realistic fight scenes. Joyce Compton appears about 20 minutes into the film as a hanger-on at the huge party thrown in Edward G. Robinson's hotel suite....

Rhythm in the Clouds was another modest-budgeted musical that Joyce Compton briefly appeared in as comedy relief from all the (rather dull) singing and dancing. The story follows pretty blonde songwriter Patricia Ellis, who makes an impulsive decision to crash a well-known songwriter's apartment — submitting her own compositions as collaborations with the better-known but oblivious man. Neighbor William Hull is annoyed with the noisy Ellis living next door, but faster than you can say "unbelievable coincidence" he is selected to be the lyricist on her next would-be hit song (which gets a gala premiere on a popular local radio show). The song is a hit, and love blooms for the once-quarreling duo. Joyce contributes a small bright spot to this otherwise forgettable film as the secretary at the radio station where Ellis and Hull work. She played a lot of snappy steno gals around this time; Three Smart Girls (1936), Under Your Spell (1936), Rhythm in the Clouds (1937)...

The Edward G. Robinson actioner Manpower has a strangely magnetic pull on me; I first saw it in the early ’90s on one of my local UHF outlets’ pre- TCM version of the “Late Late Show,” then jumped when the film finally became available on DVD via the Warner Archive . Part of its appeal it that, although it’s not an especially standout film in any particular area, it has a bit of something for everything mashed together in a way that somehow comes together beautifully. Robinson plays a power line worker who shares his dangerous vocation with a bunch of rowdy buddies which include Alan Hale, Frank McHugh (who does his signature nasal laugh a few times), Ward Bond, and best friend George Raft. Robinson is something of a big brother to the crew and takes it upon himself to aid the daughter of an elderly co-worker who dies in an accident. The daughter is an exotic beauty and ex-con played by Marlene Dietrich, whom the earnest Robinson falls for despite cynical pal Raft’s knowledge that s...

Joyce Compton's exposure in the screwball classic The Awful Truth led to a series of supporting roles in big-budget films for the actress, often playing the leading lady's best friend. The splashy, nostalgic Fox musical Rose of Washington Square was one example: Joyce appears here as Peggy, the perky pal of Alice Faye's sorta-based-on-Fanny-Brice Broadway musical comedy star, Rose Sargent. Rose of Washington Square is a typically handsome Fox production, a frothy and historically suspect period vehicle for the warmly appealing Faye. As a singer rising to fame in 1910s New York, she gets wooed by Tyrone Power as a smooth cad with a passing resemblance to Fanny Brice's second husband, Nicky Arnstein. This was a lighthearted and fun movie first and foremost, one made momentarily uncomfortable by Al Jolson playing himself in blackface makeup. Fifth-billed Joyce appears sporadically throughout the picture whenever Faye needs a shoulder to cry on; she even gets to share a ...

1936's Sitting on the Moon is one of several "poverty row" genre films Joyce Compton made a small contribution to. A brief and airy musical, Sitting chronicles the star-crossed romance of songwriter Roger Pryor and appealing singer Grace Bradley. Bradley's career is on the outs when Pryor pens a jaunty melody for her (the title tune, repeated ad nauseam) which lands the woman a featured vocalist gig on a top radio hour. She becomes a star while he lands in obscurity, until another song and complications involving a gold-digging hussy (Joyce Compton!) change things around for the hapless guy. On the whole, slight and forgettable stuff which benefits from nice Art Deco production design and a pleasing title tune. It's interesting to note that this is one of the earliest productions for Republic Pictures. Along with sister companies Monogram and PRC, Republic would become the source for several eclectic parts Joyce would do throughout the '40s. Sitting on the M...

Melodramatic intrigue meets down 'n dirty truck driving in director Raoul Walsh's They Drive By Night , a typically energetic Warner Bros. production from 1940. The film follows truckers George Raft and Humphrey Bogart as they deal with punishing hours and low pay hauling produce on all-night drives. Ann Sheridan adds a salty cynicism as the waitress whom Raft takes a shine to. Although enjoyable, this is truly a movie with a split personality. It begins as a gritty working-class melodrama of the type Warners did so well, but then the latter half veers into overheated murder mystery with the arrival of Ida Lupino as the scheming wife of the trucking company boss (Alan Hale). Lupino's big courtroom scene is campy beyond belief, but it only detracts slightly from what is an exciting corker of a movie. Joyce Compton appears in They Drive By Night 's second half as the ditsy girlfriend of Raft and Bogart's fellow driver, played by Roscoe Ates (when Ates declares that sh...