Greatest Films of the 1930s
Greatest Films of the 1930s

Greatest Films of the 1930s
1930 | 1931 | 1932 | 1933 | 1934 | 1935 | 1936 | 1937 | 1938 | 1939


Title Screen Film Genre(s), Title, Year, (Country), Length, Director, Description
L'Atalante (1934, Fr.)

L'Atalante (1934, Fr.), 89 minutes, D: Jean Vigo
L'Atalante was the last film from director Vigo (his second feature) before his untimely death at age 29, a few months after the film's premiere. Recommendations are to see the 89 minute restored version, rather than the studio-cut, butchered version, renamed The Passing Barge. This poetically-told, visually-rich, sometimes playful drama told the down-to-earth and simple story of French provincial girl Juliette (Dita Parlo) who married young river barge captain Jean (Jean Dasté), and then lived aboard his dingy vessel, named the Atalante. Two others, besides the crew, included grizzly, burly sea dog-sailor Père Jules (Michel Simon) with many strange mementos, a cabin boy, and Jules' six stray cats. Their new marriage as honeymooners disrupted the routines and the harmony of everyone on-board the cramped and dirty vessel. When the barge arrived in Paris, a bored Juliette left to see the nightlife and to escape from her husband's harsh ways. When she returned to the port, her broken-hearted and depressed husband had left without her. Pere Jules went to find Juliette - and they were reunited together. Noted for a beautiful underwater sequence and an exquisite love scene of the super-imposed husband and wife on separate beds.

The Barretts of Wimpole Street (1934)

The Barretts of Wimpole Street (1934), 110 minutes, D: Sidney Franklin
MGM's beautifully produced, prestige piece of work was adapted from Rudolf Besier's 1930 stage play. The film was unnecessarily remade in Cinemascopic Metrocolor as The Barretts of Wimpole Street (1957), awkwardly starring Jennifer Jones as the only American performer in the British cast. The historical, emotional, soap-operaish heart-felt tale was set in 1845 in London, at the home of the Barrett family (at 50 Wimpole Street). The household (of three daughters and six sons) was dominated by the tyrannical, villainous and dictatorial control of the widowed and patriarchal Edward Moulton-Barrett (Charles Laughton), who believed that romantic love was sinful. The only child that he showed any preference for was his mostly bed-ridden, invalid eldest daughter Elizabeth Barrett (Norma Shearer), nicknamed "Ba," who could only manage sitting in a chaise lounge during the day. The nearly 40 year-old daughter occupied her time by reading and enjoying her pet cocker spaniel Flush. She also corresponded with Victorian literary poet Robert Browning (Fredric March), who came to her personally after one of her letters to pay a visit. The charming and handsome poet arrived and they happily discussed poetry, the arts, philosophy of life, and other engaging subjects (Browning: "We've known each other a mere half hour, and yet we've talked intimately of art and life and death and love"). Although overwhelmed by Browning's immediate ardent love for her, Elizabeth found herself also falling in love with Browning, and with newly-found vitality, health and happiness, was even able to struggle to the window to watch his departure. Her jealous, stern and over-protective father vigilantly observed the couple, and although he reluctantly allowed further visits, he strictly forbade Elizabeth from becoming romantically involved. As Elizabeth's romantic interest in Browning grew, so did her physical strength and ability to walk. Mr. Barrett also possessively ruled over the romantic couplings of his other children, mostly his youngest daughter Henrietta (Maureen O'Sullivan) and her military beau Captain Surtees Cook (Ralph Forbes). He brashly disallowed their illicit relationship (he called it a "filthiness"). He caught her in his company, viciously seized her wrists, forced her to confess to having sex with Cook, and harshly made her swear on a Bible that if she ever saw him again, he would disown her. Barrett's unreasonable stranglehold grew even tighter after he dismissed Elizabeth's doctor-recommended therapeutic retreat to the warmer climate of Italy, and threatened to have the family move to the countryside of Surrey to further curtail Browning's visits. To protest her devoted father's crushing control ("You're like a shadow over our lives"), Elizabeth sent word to Browning that she would meet him and runaway together. He responded that he wanted to marry her that very evening. To dissuade his disobedient eldest daughter after she denounced him, the abusive and obsessed Barrett claimed that only Elizabeth, out of all of his children, was conceived in love (not hateful rape), and insinuated that he had more than a fatherly love for her. He confessed that he wanted her all for himself: ("Nothing and no one can come between us, my child, my darling! You want me to be happy. The only happiness I shall ever know is all yours to give or take. You must look up to me and depend on me and lean on me. You must share your thoughts with me, your hopes, your fears, your prayers..."). [Note: The morals code of the 1930s tamped down the implications of his unnatural and incestuous interest in her, but allowed his admission that he exhibited "dragon" behavior.] Repulsed by his clingy, perverse sexual advances, Elizabeth decided to leave her home immediately to meet up and elope with Browning, get married, and move with him to Italy: ("He can't stop me. I don't belong to him anymore. He could kill me, but he can't stop me....I must go. To Robert....Until today I've never really known my father. I've even hoped I might confide in him, but now I know it would be hopeless. He'd crush me as he crushed my mother....He's cruel - cruel and pitiless and I'm afraid"); she left a note for her father that she was leaving to be married before taking one last look around with her dog Flush in her arms before departing. In the final scene, they were married, and would go on to live in Italy and become two of England's most beloved poets, writing sonnets and poems.

The Black Cat (1934)

The Black Cat (1934), 65 minutes, D: Edgar G. Ulmer
Edgar Ulmer's classic, enigmatically disturbing horror film was from the 1930s Universal Studios, famed for its horror output. It featured spooky, moody cinematography and bizarre Expressionistic sets and became Universal's top-grossing film of the year. The visually intriguing, austere, landmark horror film masterpiece - a tale of European post-war anguish and death, was expressionistically directed. Its theme of the horrors of war would be echoed in his later films. It is considered by some to be the first American psychological horror film, with dark sexual repression, twisted relationships, and aberrant behavior (Satanism (devil worship), black mass orgies, necrophilia, pedophilia, sadistic revenge, murder and incest). Its fantastic architectural settings, expressionistic lighting, interesting geometric patterns and designs, and bizarre sets all added a richness to the strange tale. The film teamed two masters of the horror genre together: Dr. Vitus Verdegast (Bela Lugosi) who sought revenge against devil-cult worshipping Hjalmar Poelzig (Boris Karloff).

Cleopatra (1934)

Cleopatra (1934), 102 minutes, D: Cecil B. DeMille
DeMille's extravagant production was a spectacular historical epic of the Egyptian Queen of the Nile. It was a modernistic 1930s costume spectacle that reshaped the Cleopatra story. The Paramount Studios film was campy, grandiose, unreal and ludicrous historically - filled with DeMille's usual mixture of sin and sex. Sexually-suggestive costumes adorned most of the female characters. Seductive, mysterious, and voluptuous Cleopatra (Claudette Colbert) flirted openly with Roman lovers. After the death of Julius Caesar (Warren William), she focused her attention on Marc Antony (Henry Wilcoxon). This kitsch film was well-known for three scenes: the infamous barge scene, an elaborately-staged sea battle (seen in montage), and Cleopatra's suicidal death scene from the bite of an asp.

The Gay Divorcee (1934)

The Gay Divorcee (1934), 107 minutes, D: Mark Sandrich
This was notable as the film containing the first teaming of Astaire and Rogers in a starring role, although it was their second film together (earlier, they had appeared in Flying Down to Rio (1933)). It was based on the 1932 Broadway musical Gay Divorce.
In a Brighton seaside hotel, Mimi Glossop (Ginger Rogers) (the film's 'gay divorcee') sought a way to acquire a divorce from her long-absent geologist husband Cyril Glossop (William Austin), by claiming he was adulterous. She was working with an incompetent lawyer Egbert Fitzgerald (Edward Everett Horton), her Aunt Hortense's (Alice Brady) ex-fiance, to create a fictitious set-up to prove infidelity for her divorce suit. In this amusing case of mistaken identity, dancer Guy Holden (Fred Astaire) was mistaken for writer/correspondent Rodolfo Tonetti (Erik Rhodes), who had been hired to be caught in a compromising position with her. Holden became interested in and infatuated by her, flirted with her and pursued her - becoming involved in her messy divorce scheme, and thought to be the 'hired' adulterer. Ultimately, when Guy romanced her and confessed his real love for Mimi, she finally was able to have Cyril admit that he was the true adulterer. Guy finally won Mimi when she agreed to marry him after obtaining a divorce. It included great music and dancing with Cole Porter's "Night and Day," "A Needle in a Haystack." and the Oscar-winning "The Continental" (the first time an Academy Award was given for Best Song).

The Goddess (1934, China) (aka Shen nu)

The Goddess (1934, China) (aka Shen nu), 73 minutes, D: Yonggang Wu
This melodramatic, heart-wrenching silent film about shame and social injustice told of a self-sacrificing mother-son relationship, between the un-named major character known as 'The Goddess' (Lingyu Ruan, an actress who committed suicide the following year at age 24), a street-walker in Shanghai, and her infant son (Keng Li as grown-up). [Note: Ruan's life was showcased in Stanley Kwan's biopic The Actress (1992) starring Maggie Cheung.] Her pimp was brutish, low-life gambler nicknamed 'the Boss' (Zhizhi Zhang). She fled from him, although he pursued her and forced her back to a life of prostitution. She used her hidden cash earnings to save for his schooling tuition, and provide him with a better life when he grew up. Her reputation as a hooker caused others to ostracize and shun her and her son, resulting in his expulsion by the school board, although she was championed by a kindly and sympathetic school principal. In the film's conclusion, once 'the Boss' located and misspent all of her cash, the anguished 'Goddess' killed him in self-defense (a broken bottle striking his head), but was sentenced to twelve years in prison. The principal personally adopted the son to give him a proper upbringing.

Imitation of Life (1934)

Imitation of Life (1934), 106 minutes, D: John M. Stahl
The first film adaptation of Fannie Hurst's melodramatic novel was about two hard-working women and their daughters. The sentimental soap opera told about an ambitious widow/working girl Beatrice Pullman (Claudette Colbert), her daughter Jessie (Rochelle Hudson at age 18), her black housekeeper/maid Delilah Johnson (Louise Beavers), and her maid's daughter Peola (Fredi Washington at age 19) whose light complexion enabled her to pass for white. Beatrice went into a successful pancake restaurant business with Delilah. The film dealt with disappointments in personal relationships and questions of identity and racial confusion.

It Happened One Night (1934)

It Happened One Night (1934), 105 minutes, D: Frank Capra
Director Frank Capra's major Academy Award winning blockbuster film was a delightful, sparkling romantic comedy. Spoiled young heiress Ellie Andrews (Claudette Colbert) ran away from her disapproving millionaire father Alexander (Walter Connolly). She disguised herself for her travels to rendezvous with her boyfriend King Westley (Jameson Thomas), and took a cross-country bus trip from Florida to New York. On the bus, she ran into a recently-fired, out-of-work, no-nonsense newspaper reporter Peter Warne (Clark Gable), who agreed to help her when she lost all her money. He played along in order to get the exclusive story so he could acquire his job back. By film's end, they fell in love, almost against their wills. The film included a number of memorable scenes together, including the "Walls of Jericho" sequence and their competitive hitch-hiking scene.

It's A Gift (1934)

It's A Gift (1934), 68 minutes, D: Norman McLeod
W. C. Fields' classic comedy was one of his best. Small-town grocery clerk, long-suffering Harold Bissonette (W. C. Fields) (pronounced 'Bee-soh-nay') was beset by harrassments from his children, his hen-pecking, nagging wife Amelia (Kathleen Howard), and his customers. Exasperated, he packed his family and belongings into their car for a trip out West to California to his "orange grove." It included classic slapstick scenes and routines, including: (1) the continual requests of customer Jasper Fitchmueller (Morgan Wallace) for Kumquats, (2) the ruination of his store by blind customer Mr. Muckle (Charles Sellon), and (3) the back porch swing scene when he attempted to take a nap and was continually interrupted by Baby Dunk (Baby LeRoy) and an insurance salesman (T. Roy Barnes) who asked: "Do you know a man by the name of LaFong? Carl LaFong? Capital L, small a, Capital F, small o, small n, small g. LaFong. Carl LaFong." Harold was able to prove everyone wrong when the shack on his piece of dried-up 'orange grove' land turned out to be valuable and lucrative as the location for a race-track.

Judge Priest (1934)

Judge Priest (1934), 80 minutes, D: John Ford
Popular humorist Will Rogers starred as long-time, small-town, justice-dispensing Judge William Priest, based upon the stories of Irvin S. Cobb. This sentimental story (criticized for some racist stereotypical characters) was later remade by director John Ford as The Sun Shines Bright (1953). The widowed judge, a Confederate veteran, used common-sense, plain-speaking and lack of pretense in his small-town legal dealings - in the post-bellum South (1890s Kentucky). Meanwhile, he also was a matchmaker for his nephew Jerome or "Rome" (Tom Brown), newly-educated as a lawyer, to romance next-door neighbor schoolteacher Ellie May Gillespie (Anita Louise), an unwed mother. Priest's high-society sister-in-law Caroline (Brenda Fowler) objected to the matchup, because she had an unknown lowly heritage (her poor mother died in childbirth and her father was unknown). Later, it was discovered that the town's blacksmith Bob Gillis (David Landau) was Ellie's missing father who had changed his name. Although charged for assault during a one-sided trial, Gillis was actually found to be defending his daughter's honor, and he was a Civil War Confederate hero who had secretly supported his daughter for years.

The Lost Patrol (1934)

The Lost Patrol (1934), 74 minutes, D: John Ford
John Ford's adventure-war film featured an Oscar-winning score for oft-nominated Max Steiner. It provided the template for many future films about men during wartime surrounded by the enemy and awaiting death. During World War I in the year 1917, a small band of British cavalrymen were lost, cut off, and under siege in the hot Mesopotamian desert by Arab fanatics. They were doomed and suffering, struggling to survive against harsh odds in the waterless desert. One by one, the Arab enemy (hardly ever seen) mercilessly killed off the British soldiers with sniper fire until only their leader, the resolute Sergeant (Victor McLaglen), was left as the sole survivor.

Manhattan Melodrama (1934)

Manhattan Melodrama (1934), 93 minutes, D: W.S. Van Dyke II
MGM's crime drama was notable for the first film teaming of William Powell and Myrna Loy (who later would become famous with The Thin Man series), and were coupled together during their careers in a total of 14 films. A trivia item was that it was the only film that starred both Clark Gable and William Powell. It was also notorious for being the film that fugitive bank robber John Dillinger watched (for its similarity to his own life), prior to being killed by the FBI outside Chicago's Biograph Theatre, accompanied by a "Lady in Red" after a matinee showing in July of 1934. Its screenplay by Arthur Caesar won the Oscar for Best Original Story. In the plot beginning in 1904, two NYC boyhood friends were introduced: Blackie Gallagher (Mickey Rooney as 12 year-old boy, Clark Gable as a tough-guy adult), and Jim Wade (Jimmy Butler as boy, William Powell as a responsible adult). As a result of drownings in the East River during a holiday steamboat accident (General Slocum) that killed their parents, Blackie and Jim were rescued by Father Joe Patrick (Leo Carrillo). The two were raised as orphans together, and grew up to choose very divergent and opposite sides of the law. Blackie became a slick underworld gangster and shady racketeer who managed an illegal gambling casino (by paying off the authorities), while the studious Jim went to law school and chose to be a noble, honest, incorruptible and aggressive Ass't District Attorney, and ultimately was elected NY state governor. Blackie - and then Jim, both fell in love with the same charming woman Eleanor (Myrna Loy), who eventually married Jim when Blackie refused to choose a different, less dangerous life's path and commit to her. Blackie's involvement in gangland murders, including the killing of indebted gambler Manny Arnold (Noel Madison), brought him to the attention of his friend Jim, but without evidence, the case went unsolved. Their paths again crossed when Jim (as governor) fired his chief assistant Snow (Thomas Jackson) for corruption, and for making the false accusation that he had ignored Blackie's guilt in the Arnold case. When Blackie learned of Snow's scheming, he shot and killed Snow during an argument in a Madison Square Garden restroom during a hockey game, and was arrested, convicted, and imprisoned by his boyhood pal Jim. As governor, Jim refused to commute Blackie's scheduled execution for murder, until Eleanor informed him that Blackie had selflessly done it for the sake of Wade's future. Jim rushed to Sing Sing Prison to meet with Blackie, who turned down his offer (arguing that it would corrupt Jim's principles), and then went on to accept his electric-chair death without bitterness, attended by Father Joe - the prison's chaplain. As a result, Jim resigned his governorship when he acknowledged his willingness to compromise his principles, and reconciled with Eleanor who had briefly left him.

The Merry Widow (1934)

The Merry Widow (1934), 99 minutes, D: Ernst Lubitsch
Director Ernst Lubitsch's lavish, unique, stylistic musical was the definitive (and parody) version of Franz Lehar's 1905 operetta, set during the time of the downfall of the Hapsburg Empire. It was a remake of Erich von Stroheim's 1925 silent film (starring Mae Murray and John Gilbert), and would be re-envisioned by director Curtis Bernhardt as an extravagant Technicolored version starring Lana Turner (with dubbed singing by Trudy Erwin) and Fernando Lamas. It was notable that the 1934 version reunited its two stars for the last time: Jeanette MacDonald (in her second MGM film, before her many pairings with Nelson Eddy beginning with Naughty Marietta (1935)), and Maurice Chevalier. Lubitsch had already filmed MacDonald on three previous occasions, for The Love Parade (1929), Monte Carlo (1930), and One Hour With You (1932). In this film's plot set in 1885, King Achmed II (George Barbier) ineptly ruled the small Ruritanian country of Marshovia. His wife Queen Dolores (Una Merkel) was known to be involved in many extra-marital affairs. The King was determined to keep the kingdom's wealth at home, in order to prevent economic collapse. One of the country's rich widows, Madame Sonia (Jeanette MacDonald), owned 52% of everything in Marshovia, causing him worry if she should marry someone outside his domain. Therefore, he ordered womanizing and dashing playboy Prince Danilo (Maurice Chevalier) to pursue Madame Sonia to Paris, in order to romance, marry, and bring her back to Marshovia. The flustered Marshovian Ambassador Popoff (Edward Everett Horton) point-blankedly asked Prince Danilo: "Have you ever had diplomatic relations with a woman?" Later, the Ambassador called the scheme "cold blooded patriotism." Luckily, Danilo had already met the widow singing on her mansion's balcony, although she appeared solemn and forlorn (wearing all black and a veil). Along the way toward romancing her, Madame Sonia adopted a disguise as Fifi, and was at first thought by Danilo to be one of the ladies of Maxim's in Paris. After a case of mistaken identity, all was thought to end happily as they danced to the magical sound of "The Merry Widow Waltz" at an elegant Embassy ball. However, the widow rejected Danilo, and Danilo was subjected to a trial back in Marshovia for being a traitor: ("I'm guilty. Guilty of treason, failing in duty, of everything you want. But, most of all, I'm guilty of being a fool. Once in my life, I lost both my heart and my head. Therefore, I should be punished. Without mercy! Let my fate be a warning to every man"). In the film's ending plot twist, surprisingly, the widow testified on his behalf that he had truly tried to win her affection. In his prison cell, the couple were again entranced by the waltz tune, and exchanged wedding vows!

Of Human Bondage (1934)

Of Human Bondage (1934), 83 minutes, D: John Cromwell
Director John Cromwell's first and best film version of Somerset Maugham's tragic, classic literary novel marked the earliest critically-acclaimed role of Bette Davis. It became a turning point in her career, but Davis failed to win the Best Actress Academy Award in 1934.
The story entailed the development of an emotionally-compulsive infatuation and "human bondage" victimization between a sensitive, but lame (club-footed) young Englishman medical student Philip Carey (Leslie Howard) and a blonde vulgar, trampy, selfish waitress/barmaid Mildred Rogers (Bette Davis).

One Night of Love (1934)

One Night of Love (1934), 84 minutes, D: Victor Schertzinger
Director Schertzinger's delightful musical (which won Best Musical Score, the first time this Academy Award Oscar was given) followed an American girl on a trip to Italy. Aspiring soprano opera singer Mary Barrett (Grace Moore, an actual opera star of the 1930s) hoped to achieve stardom in Europe. She fell in love with her demanding singing teacher Giulio Monteverdi (Tullio Carminati), and then almost gave up her career for Bill Houston (Lyle Talbot), but then she triumphed at the New York Metropolitan Opera House.

The Scarlet Empress (1934)

The Scarlet Empress (1934)
, 110 minutes, D: Josef von Sternberg
Josef von Sternberg's startling, dark, visually opulent, hauntingly expressionistic, and mostly fictional biopic was about Prussian-born Princess Sophia Frederica (Marlene Dietrich as adult, Maria Riva as child). This semi-erotic tale of 18th century Russia was one of the most daring films of the Hays Production Code era, featuring, among other things, immorality, nudity and open sexual decadence. The film also featured extravagant sets and von Sternberg's trademark stylization, as well as great performances. For a six-year period, Marlene Dietrich was Svengali von Sternberg's favorite leading lady - this was their sixth film together (and last great collaboration). In the film's main plot, the young, naive, tremulous bride-to-be was brought on a seven-week journey to Moscow, Russia for an arranged marriage to Grand Duke Peter III (Sam Jaffe), nephew of domineering Empress Elizabeth (Louise Dresser). He renamed her Catherine. She hoped to improve the royal blood line, but Catherine was revulsed by her bumbling, idiotic, and childlike husband-to-be, and instead became romantically involved with opportunistic womanizer Count Alexei (John Lodge) and other military figures. Eventually, she engineered a coup d'etat with the aid of the military, orchestrated the assassination of Peter III, and became Catherine the Great, Tsarina of Russia.

The Scarlet Pimpernel (1934, UK)

The Scarlet Pimpernel (1934, UK), 85 minutes, D: Harold Young
This UK film was one of the greatest adventure swashbucklers ever made. Sir Percy Blakeney (Leslie Howard) posed as a mild-mannered English aristocrat, but in reality, he was disguised for his activities as The Scarlet Pimpernel. He was a dashing, mysterious hero who rescued innocent but condemned French noblemen who faced the guillotine, during France's 18th century Reign of Terror. The Pimpernel's trademark was to leave behind a small red flower - a pimpernel. Blakeney lost the respect of his wife Lady Marguerite (Merle Oberon), who fell in love with the romantic, charming hero. However, in league with the devious Chauvelin (Raymond Massey), she set a trap for the Pimpernel in return for the lives of her arrested friends, and was astounded to learn that the Pimpernel was her own husband.

Tarzan and His Mate (1934)

Tarzan and His Mate (1934), 93 minutes, D: Cedric Gibbons, Jack Conway
This second MGM/Weissmuller Tarzan film, probably the best of the series, was a sequel to Tarzan the Ape Man (1932). This was the second of five films in which Maureen O'Sullivan played the part of Tarzan's mate. It was a sexy adult version, with Jane swimming nude and wearing revealing animal-skin outfits. There were also great action sequences including a climactic rescue.
Jane Parker (Maureen O'Sullivan) had left civilization and joined Tarzan (Johnny Weissmuller) in the jungle treetops. Her ex-fiancee Harry Holt (Neil Hamilton) had returned to Africa with greedy ivory hunter/poacher Martin Arlington (Paul Cavanagh) to search for the hidden elephant burial grounds and to bring Jane back. Tarzan was tricked into leading them to the burial grounds.

The Thin Man (1934)

The Thin Man (1934), 93 minutes, D: W.S. Van Dyke
Van Dyke's mystery-detective film was based on writer Dashiell Hammett's 1934 detective story. It was the first (and considered the best) in the entertaining series of six films. It featured the debut of the charismatic, beloved team of Powell/Loy as the suave, sophisticated, happy, leisure-class and fun-loving detective couple. There was witty dialogue, clever bantering between the two, wisecracks, sophisticated humor, romance, and an intriguing plot. In the story, retired police detective Nick Charles (William Powell) and his wealthy wife Nora Charles (Myrna Loy), with the help of their dog Asta, were asked to investigate the disappearance/murder of Dorothy Wynant's (Maureen O'Sullivan) missing father - screwball inventor Clyde Wynant (Edward Ellis).

Viva Villa! (1934)

Viva Villa! (1934), 115 minutes, D: Jack Conway, Howard Hawks (uncredited)
This action-packed western drama was a loose-historical account of Mexico's legendary bandit/hero, featuring probably Wallace Beery's best screen performance ever. Pancho Villa (Wallace Beery) began as a bandit leader in the Mexican hills who stole from the rich and assisted the poor. He later battled with the Federales in the revolutionary struggle for the Mexican Republic. After his victory, he reverted to banditry, but then returned again in triumph to declare himself President of the country, after which he soon retired to his ranch. Additional characters included an aristocratic woman Teresa (Fay Wray) who fell in love with him, and an American journalist Johnny Sykes (Stuart Erwin) who helped to create the Villa legend.

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