Ein Nachtclub für Sarah Jane

Elderly friends Nora Taylor and Maggie Ryan own a weird boarding house full of wacky characters but the bank is threatening to take it away. Maggie's daughter Sarah Jane (Ann Sheridan) is trying to be a showgirl while still being a good girl. Nora's aspiring songwriter son Tommy Taylor (Jeffrey Lynn) plays the piano at a nightclub owned by gangster Chips Maguire (Humphrey Bogart). Tommy is tired of Chips' empty promises. When Chips kills a police snitch, he blackmails Tommy into getting him a room at the boarding house.

The problem with this movie is that Tommy is a complete stiff. Bogie has more charisma in his little pinky finger than that man's whole body. For a cinematic romantic pairing, Sheridan needs to get together with Bogie but the story requires that Sarah gets together with Tommy. That's the rub with this movie. Bogie is the most compelling actor and his character has the most compelling redemption arc. In a certain light, this should be his movie and this should be a character study of Chips.

Fun WB comedy with Humphrey Bogart playing a gangster who blackmails piano player Jeffrey Lynn into hiding him out at his mother's boarding house. The boarding house is full of colorful characters such as Zasu Pitts, Felix Bressart, Grant Mitchell, and Una O'Connor. Not to mention beautiful Ann Sheridan. Before long Bogie gets the bright idea to turn the place into a night club, in part out of boredom and in part to impress Sheridan.

Bogie seems to be having a great time in a lighter role. He was really good with comedy. Sheridan is the real star of the picture. Her brassy character has all the best lines and even gets to sing some songs. The assorted kooks at the boarding house are lots of fun to watch. Great comedic character actors all. Even Jeffrey Lynn shines in this one. If you like WB gangster movies you'll surely like this. Lots of snappy dialogue and plenty of laughs too.

"It All Came True" is a delightful 1940 film starring Humphrey Bogart, Ann Sheridan, Jeffrey Lynn, and Zasu Pitts. Sheridan and Lynn are the adult children of business partners in a boarding house (Jessie Busley and Una O'Connor). The women are about to lose the house because of back taxes. Lynn is Tommy, a composer, and Sheridan is Sarah Jane, a nightclub entertainer. Both move back home, but Lynn brings his boss, Chips Maguire (Bogart) with him, who is hiding from the police. He's blackmailing Tommy into hiding him because the gun that killed the victim is in Tommy's name.

Chips can't leave his room, of course, and eventually grows bored with the entire arrangement. He recognizes the very attractive Sarah Jane as having been on the circuit, and decides to help her out by making the boarding house into a nightclub. He finances it and bails the women out of their financial troubles at the same time. Sarah Jane isn't interested in Chips - she's re-connected with Tommy - but naturally plays along. Tommy is uneasy; if Chips is caught, he'll tell the cops that Tommy committed the murder.

The plot may sound serious, but the film is filled with music and a lightheartedness that's hard to describe. Ann Sheridan was sort of the working man's Rita Hayworth. She was at Warner's, which put her low, sultry voice, mane of red hair and other assets to good use in a variety of roles. She wasn't as beautiful as Hayworth or as exotic, but she was more versatile as an actress. Here she's at the top of her game, singing and dancing up a storm and looking sensational. She really carries the film. Lynn, whose career lost its momentum after World War II, was a nice-looking, boy next door type of leading man, and does an able job here. Bogart is a riot; the man could do anything. Though his character is ruthless and dangerous, he comes off as extremely likable. The striking Zasu Pitts is wonderful as a boarder who sees men following her everywhere and can't handle her liquor. At all.

There's a charming sentiment about this film - it'll leave you smiling.

Humphrey Bogart plays 'Mr. Grasselli'--a man who is sick and living in a rooming house while supposedly recuperating. In reality, he's Chips Maguire-a wanted thug who is hiding from the law. This sort of role is hardly surprising for Bogart in 1940, as he'd been playing gangsters in a variety of Warner Brothers films during the last few years. What is surprising, though, is that this film is a light comedy--with Bogie playing a less menacing sort of thug. While it's not a great film, considering that he'd been playing so many mobsters , it was nice to see a bit of a change.

Despite Maguire wanting to remain alone in his room all the time, the two nice old ladies who run the place urge him to come out and meet the other tenants. Eventually, he slowly emerges and begins socializing--and makes friends with the harmless residents and vice-versa. One of them, Ann Sheridan, however, knows who he is and you'd expect her to turn him in to the police. However, she doesn't and what she and this thug have in mind is something you'll need to see for yourself. It's all a little ridiculous, but also great fun.

With such residents as Felix Bressart, Una O'Connor (in one of her more restrained roles)and Zasu Pitts, the movie has a lot of colorful characters and give the film a certain charm and likability. This, combined with an unusual script make this film well worth seeing--especially people who love classic Hollywood or the films of Bogart.

In this comedy-drama directed by Lewis Seiler, Bogart was a fugitive killer who hid out in a rundown boarding house harboring a collection of talented amateur performers and maternally oriented older women…

Bogart convinces them to convert the place into a night club and on opening night he is caught by the police, clearing an innocent man (Jeffrey Lynn) of suspicion in the murder he had actually committed…

Bogart was evidently having a good time as he delivered such lines as: "I hate mothers: all this silver threads among the gold stuff!" and had a very funny scene where he is "mothered" by Una O'Connor and Jessie Busley… However, The New York Times' critic, B. R. Crisler, summed up the film correct1y when he said that "It All Came True went from simple to simple-minded."