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Your Last Act (1941) More at IMDbPro »


Overview

User Rating:
6.7/10   43 votes
MOVIEmeter: ?
Up 61% in popularity this week. See why on IMDbPro.
Director:
Writers:
Norman Rose (idea)
Doane R. Hoag (writer)
Contact:
View company contact information for Your Last Act on IMDbPro.
Release Date:
12 July 1941 (USA) more
Genre:
Plot:
This short looks at the odd bequests that people have made in their wills over the years. They include... more | add synopsis
User Reviews:
From Beyond The Grave more (3 total)

Cast

  (Cast)
Vince Barnett ... Alexander Hartley, the Second Husband (uncredited)
Edward Hearn ... Policeman (uncredited)
Claire McDowell ... Old Lady with Memories (uncredited)
John Nesbitt ... Narrator (voice) (uncredited)
Pat O'Malley ... Policeman (uncredited)
Grant Withers ... Train Detective (uncredited)
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Additional Details

Also Known As:
Passing Parade No. 25: Your Last Act (USA) (series title)
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Runtime:
11 min
Country:
Language:
Aspect Ratio:
1.37 : 1 more
Sound Mix:
Mono (Western Electric Sound System)
Certification:

Fun Stuff

Movie Connections:
Follows XXX Medico (1940) more
Soundtrack:
Symphony No.5 in E Minor, Op.64 more

FAQ

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5 out of 5 people found the following review useful.
From Beyond The Grave, 16 April 2004
10/10
Author: Ron Oliver (revilorest@juno.com) from Forest Ranch, CA

Whether foolish, spiteful, wise or sentimental, a person's Last Will and Testament can have far-reaching consequences.

This short film memorably illustrates some unusual final bequeaths & depositions. The viewer will meet a modest goldfish, a most fortunate spaniel, a surprised wife and a tenderhearted killer. The film ends with the beautiful & poignant will of Charles Lounsberry, a hobo who left to the world the joy of life.

Directed by Fred Zinnemann, this was part of the MGM series John Nesbitt's Passing Parade, and was narrated by Mr. Nesbitt. Movie mavens will recognize a snippet from DAVID COPPERFIELD (1935), featuring an unbilled Fay Chaldecott as a joyous Little Em'ly.

Often overlooked or neglected today, the one and two-reel short subjects were useful to the Studios as important training grounds for new or burgeoning talents, both in front & behind the camera. The dynamics for creating a successful short subject was completely different from that of a feature length film, something akin to writing a topnotch short story rather than a novel. Economical to produce in terms of both budget & schedule and capable of portraying a wide range of material, short subjects were the perfect complement to the Studios' feature films.

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