Internes Can't Take Money

source: Internes Can't Take Money

I always found Barbara Stanwyck better in action films where she could assert her formidable personality on the proceedings more forcefully. She is much less imposing here as "Janet", a widow looking for her child. They became separated after her bank robber husband abducted her, then died whilst "Janet" ended up spending time in prison. Now free and desperate, she enlists the help of "Dr KIldare" (Joel McCrea); experiences a depressing encounter with the sleazy "Innes" (Stanley Ridges) who promises the earth if he can manoeuvre his way into her arms before, finally - after she and the doctor have a live saving meeting with mobster "Hanlon" (Lloyd Nolan), she might just find there is a glimmer of hope - albeit on his terms! It's fair to say that this, original, screen outing for "Kildare" bears no real resemblance to his subsequent appearances. In this film he is an established surgeon and his participation is tangential to the efforts from "Janet" to track down her kid. The writing isn't great and at times it does stretch the bounds of your imagination a bit as well as being pretty predictable at the end, but there is enough star quality on offer here to sustain it, it's short and still worth a look.

Barbara Stanwyck is a young widow working hard recently released from two years in prison. Her husband was a bank-robber, which she didn't know when she married him, and when she learned it she left him and kept a small daughter they had made. But he took the daughter away and got killed in a shootout, he came back to her to die in her shabby place, and she was sentenced and imprisoned for having kept him without squealing. Since her release she has desperately tried to locate the lost daughter, now three years old. She becomes a patient with doctor Kildare for having burnt her arm at the job, and he is alerted by her weak condition of malnutrition and her worries. Gradually he is dragged into a case way out of his routines, but this film and story is very interesting from a medical point of view. A colleague of his has been discharged from the hospital for having performed an experimental operation, which Kildare had worked out in theory. Kildare is warned not to try experimenting again, but destiny calls on him to do just that. It's a great story. Barbara Stanwyck was always superb, and Joel McRea makes a very credible young doctor with a pioneering mind prepared to take risks, even at the risk of his own career. I agree with another reviewer, that this film is a must.

A wildly improbable drama, the misspelled "Internes Can't Take Money" was the first in the "Dr.Kildare" movie series, which was subsequently recast with Lew Ayres in the title role and continued at the MGM studio, following this initial Paramount effort. Concocted by writer Max Brand, the story involves an honest young intern at a large hospital, who crosses paths with a widowed ex-con seeking to locate her three-year-old daughter, who was abducted by her deceased bank-robber husband. The recipe is an old one; toss in a couple of shady characters and a gangster with a heart of gold, who is embroiled in illegal betting, add a tolerant landlady and a kindly bartender, sprinkle with nuns, mix with unexpected twists, and bake until overdone. Despite an uninspired title and a routine script, director Alfred Santell maintains a steady pace that will distract viewers from the at-times laughable plot turns that lead to a teary fade-out, provoked either by laughter or sentiment. Beyond the script, the film's technical aspects are quite good, especially the black and white cinematography by Theodor Sparkuhl, who often dramatically captures Stanwyck garbed in deep black, contrasting with McCrea, dressed in his intern's whites. Barbara Stanwyck plays the widow, Janet Haley, and the actress, at her sudsy distraught-mother best, is convincing in an unconvincing role. Joel McCrea is the original Dr. Kildare, a straight-arrow intern, poorly paid and burdened by work and rules, who seeks solace at a nearby bar, where his life takes a sudden turn. Stanwyck and McCrea, in their third co-starring film, work well together, and Stanwyck seems genuinely taken with McCrea during their first scene together. Attesting to what makes a film star a star, Stanwyck and McCrea add dimension and interest to otherwise cardboard characters in credibility-stretching situations. In addition to the two stars, the capable cast also includes Lloyd Nolan, Stanley Ridges, and Charles Lane. However, if not for the professionalism and charisma of the leads and supporting players, "Internes Can't Take Money" would be 80 minutes of laughable coincidences and plot turns, memorable only as the first in the Dr. Kildare movie series.

This film appears to take place somewhere after the first "Dr. Kildare" movie at MGM which established James Kildare as a recently graduated medical student chosen by the gruff Dr. Gillespie (Lionel Barrymore) to be his assistant. The grumpy elderly doctor isn't there, neither is the stern but goodhearted nurse played by Alma Kruger, her assistant played by Laraine Day, and most missed, the wise-cracking receptionist played by Marie Blake. But, this is obviously New York City, late 30's, and Gillespie is already a hard-working intern, who is seen in an early scene defending a fellow intern about to be fired. He takes care of a burn victim (Barbara Stanwyck), and is drawn (as he would be in the MGM series as played by Lew Ayres) into her scandalous past which has her as the widow of a bank robber who had her baby taken away from her when she went to prison, wrongly accused of being a part of the dead husband's criminal activities. Now out of prison, Stanwyck needs $1000 to get information as to the whereabouts of her baby, and gets help from Kildare who is probably the biggest hearted intern ever to step foot into a New York City hospital. In the short 78 minutes that this medical drama takes to unravel, there is a lot of filler, but most of it is simple slice of life drama with dollops of humour. One intern is seen telling an overweight socialite to exercise, and suggests starting by pulling herself away from the dining table, while later, another matron is told when asked how to take care of sea sickness that when it happens, she'll know what to do. Kildare breaks medical laws by treating gangster Lloyd Nolan's stab wound, finds himself paid off, which leads to a dramatic scene where Stanwyck tries to get the money from him so she can pay the crooked lawyer to find her baby. Stanwyck, already a huge star by the time this came out, admirably took on this "B" picture and comes off quite nicely. She is more the focus than McCrea's noble Kildare is, although if anyone was going to play him other than Lew Ayres, McCrea would be it. Such other well-known character actors as Charles Lane and an eye-patched Irving Bacon have nice cameos, and "Ma Hardy" herself (Fay Holden) appears briefly as the kind-hearted nun whom Stanwyck consults to find her child. Overall, an entertaining "B" melodrama that may not be as remembered as the MGM series which followed (and the much later TV series), but is definitely worth including in the study of this series, and for the presence of its major stars who were an excellent on-screen team in several films.

The acting and plot were strong here, and a very enjoyable movie. There is great chemistry with Joel McCrea and Barbara Stanwyck. Stanwyck per norm does great, dramatic work here. The show stealer is Stanley Ridges. His creep who will help Stanwyck find her child -- only if she sleeps with him long-term and becomes his moll -- is chilling. It's one of the best performances I've ever see of a subtle, sinister gangster who alludes to dastardly deeds, without ever directly saying it. He doesn't ask her to sleep with him, he just munches popcorn, and offers her some. When she declines he says "At some point you should like popcorn." He is direct, firm and sleezy in a must-see performance. The other scene stealer is Lloyd Nolan. A phenomenal what you would typically like a from a gangster, but with more depth. Great pauses, thoughtfulness and facial expressions in his conversations with McCrea. He's your ideal tough gangster but also has a bit of compassion. Just a bit. MCrea is always a joy to watch - stable, sure performance. Internes Can't Take Money is a clear title about the dilemma, and points to the moral quandary to come. But a more compelling title can be found, which that alone, would have made this a more sophisticated movie and higher up in the ranks.

"Internes Can't Take Money" is the first Dr. Kildare movie and unlike the long string of Dr. Kildare/Dr. Gillespie movies from MGM, this Paramount film has an entirely different cast, style and, in some cases, characters. It's really odd when you've seen the MGM films...and I think it's best to see the movie without trying to compare it to the later series. While Joel MacCrea plays Dr. Kildare, in this case he's NOT a doctor right out of medical school but a full-fledged doctor at the hospital. And, there also is no cranky/avuncular Dr. Gillespie as his mentor. While Kildare is a major character, the story seem to revolve more around Janet (Barbara Stanwyck)...a woman just out of prison whose baby was stolen from her by her rat of a husband. The husband is now dead and she has no idea where to find the girl. So, she spends much of the film looking in vain for the kid...and nice Dr. Kildare eventually helps her with this task...along with some significant help from a mobster (Lloyd Nolan)! The style of this film is nothing like the later Kildare films and it's less a hospital movie and more a crime film. As such, it's enjoyable and well acted...though the story is, at times, a bit hard to believe. Still, it is worth seeing.

Barbara Stanwyck (Janet Haley), Joel McCrea (Jimmie Kildare), Lloyd Nolan (Hanlon), Stanley Ridges (Innes), Gaylord Pendleton (Interne Jones), Lee Bowman (Interne Weeks), Irving Bacon (Jeff), Barry Macollum (Stoolie Martin), Pierre Watkin (Dr Pearson), Harry Tyler (chief clerk), Charles Lane (Grote), James Bush (Haines), Fay Holden (Mother Teresa), Frank Bruno (Eddie), Anthony Nace (Dr Riley), Nick Lukats (interne), Jack Mulhall (mug), George Lynn (Joe), John "Skins" Miller (Weasel), Elmer Jerome (Wipey), Priscilla Lawson (nurse). Directed by ALFRED SANTELL (in the words of John T. McManus) "with a blend of Hitchcock-like suspense and typically American verve." Screenplay: Rian James, Theodore Reeves. Based on a short story by Max Brand. Photography: Theodor Sparkuhl. Art directors: Hans Dreier and Roland Anderson. Set decorator: A.E. Freudeman. Film editor: Doane Harrison. Costumes designed by Travis Banton. Music director: Boris Morros. Assistant director: Roland Asher. Sound recording: Harry Lindgren, Louis Mesenkop. Producer: Ben Glazer. Copyright 16 April 1937 by Paramount Pictures, Inc. New York opening at the Paramount: 5 May 1937. Sydney opening at the Prince Edward as a support to Go West, Young Man: 17 July 1937. 78 minutes. COMMENT: Believe it or not, this is actually the first of the Kildare films. Of course Kildare fans will miss all the regular characters at Blair General Hospital (called Mountview Hospital here), the only familiar figure being Kildare himself. There is no Dr Gillespie. The head of the hospital here is a Dr. Pearson who bears no relation at all to kindly Dr. Carew. Joel McCrea's Kildare, however, is the same character as that essayed by Lew Ayres; and the plot is the same kind of simplistic short story that tends to stretch mighty thin over a feature-length film which is long on dialogue and short on action. Nonetheless, Alfred Santell's inventive direction manages to stir up audience interest, particularly in the first half-hour. In fact he sets the tone for his subsequent technique right from the very opening shot — an extremely long take from a dolly in which the camera darts in and out of cubicles where patients are being treated. When Stanwyck enters, he uses a very low angle tracking shot and the menace inherent in her whispered and elliptic conversation with Stanley Ridges is effectively put across by using a variety of angles combined with atmospheric lighting. Stanwyck fits the role the screenplay requires like a glove. While her close-ups are attractive, however, her fans will be disappointed that her clothes are deliberately shabby. Combined with the large hat she wears to conceal her features, her wardrobe most successfully imparts an air of mystery and concealment. Other roles are capably cast. Lee Bowman makes some impression, despite the brevity of his part; and Lloyd Nolan does his best to make his unbelievable character more credible. However, Irving Bacon steals the also-ran acting honors with his portrayal of a shady, one-eyed bartender.

Aside from the archaic spelling of "interns", this Paramount feature is notable for Joel McCrea as an, er, intern in a New York City hospital. Well, not for that really, but for the fact that McCrea's doctor happens to be named "Kildare". Yes, this is where it all began for the series that would make so much money for MGM a couple of years later. There's no Dr. Gillespie here. A deskbound bureaucrat shows up early to lecture Kildare on trying a new surgical procedure without permission, even delivering the immortal line, "I'd remind you this is a hospital[, and not an experimental laboratory". (Was this the first appearance of that line? It would go on to a nice career in medical dramas, and Carl Reiner's delivery of it in a spoof on Sid Caesar's show in the '50s is one of the funniest things I've ever heard.) Of course we know before the picture is over Kildare will have to use that very procedure to save someone's life. Aside from no Gillespie-figure, ICTM is also missing the Hardy Family ambiance of the MGM Kildares. The atmosphere here is much closer to Dead End. In fact those expecting a typical Kildare will be surprised at how noirish Theodor Sparkuhl's cinematography is -- L.B. would never have allowed this many shadows. Especially eye-catching is Sparkuhl's lighting of Hans Dreier's art deco clinic set, although we really only see it at the beginning. I've never been terribly impressed by director Al Santell (though if you want to read a heartwarming story about him, check out Niven's The Moon's A Balloon), but he was clearly inspired by Dreier's clinic set, opening the film with some flowing tracking shots. There seems to be one more thing I wanted to mention... Oh yeah -- the female lead is played by no less a personage than Barbara Stanwyck. Indeed, despite the title most of this is not really a hospital drama, but a Stella Dallas soaper about Stanwyck trying to find her lost daughter. After the opening McCrea disappears for several reels as we follow Babs in her search (including a tearjerking scene at an orphanage). This being the '30s she naturally gets involved with gangsters, including Lloyd Nolan (despite his third billing he only really shows up in the last act) and sleazy Stanley Ridges, who steals all his scenes with Stanwyck -- she couldn't have been terribly happy about that -- as the scumbag who agrees to find the kid in exchange for certain favors from Babs. A B picture story curiously given A picture production and stars, Internes Can't Take Money (and who is responsible for that terrible title?) deserves to better known than as just Kildare The First. In fact, while watching the film with its shadowy photography, evocative sets, and moody prenoir atmosphere, the Kildare pedigree is one of the least interesting things about it.

The first appearance of young James Kildare, MD was in this Paramount feature that starred Joel McCrea as the young Intern at Blair General Hospital. Come to think of it, I don't recall if the name of the hospital is given in the film. Nor will you find any of the other regulars from the Kildare/Gillespie series from MGM. When Paramount saw no possibilities in a series of films, they didn't do film series with the exception of Hopalong Cassidy, MGM picked it up. Lew Ayres who was Kildare over at MGM was a bright idealistic getting his minting over at Blair General Hospital under the tutelage of gruff but kindly Lionel Barrymore. McCrea is a more stern type of Kildare, the most straight arrow of straight arrows. In fact Joel McCrea was quoted as saying he never felt comfortable being anything other than the straight arrow hero. But he was good in those parts. His patients include Barbara Stanwyck, a woman from the wrong side of the tracks who will do anything to get back the child she lost custody of and Lloyd Nolan who he patches up after a brawl in the bar they both frequent. Both of their stories intertwine and you see the film to learn how. In what was essentially a B programmer Paramount gave a lot of good production values to this film. I guess it was befitting the stars McCrea and Stanwyck who were definitely on their way up. I do sort of miss the Blair General Hospital regulars, but McCrea does right by the character of James Kildare, MD.