23% OFF

The Moss Hart-George S. Kaufman Broadway hit George Washington Slept Here has herein been tailored to the unique talents of Jack Benny. In the original play, city dweller Bill Fuller, fired up with the spirit of "back to the soil," purchases a ramshackle Colonial-era farmhouse in upstate New York, dragging his reluctant wife, Connie, along for the ride. Everett Freeman's screenplay retains the basic set-up with one important difference: in the film, it is Connie Fuller (Ann Sheridan), an inveterate antique collector, who is all hopped up about buying and renovating the old farmhouse, while husband Bill (Jack Benny), with visions of abject poverty dancing in his head, hates the whole idea. This slight character alteration allows Jack Benny to indulge in the frustrated, put-upon slow-burn comedy he does so well, while still leaving Hart and Kaufman's dextrous plot twists and punch lines intact. Most of the humor derives from the thousand-and-one "little" flaws in the drafty old house -- collapsing walls and ceilings, antiquated plumbing, et al. -- all duly categorized by laconic caretaker Mr. Kimber (Percy Kilbride, in a brilliant performance). Also thickening the plot are the efforts by the near-bankrupt Bill and Connie to curry favor with their wealthy uncle Stanley (Charles Coburn), who turns out to be a cheerful old fraud. The resolution of the plotline is inherent in the title, but there's still one last indignity left to be dumped on poor Bill Fuller's head at fade-out time.

Producer-director David Butler once listed Glory as among his favorite films. Margaret O'Brien plays her first grown-up role as the owner of the eponymous racing filly. Despite the fact that the horse seems to be a dud, Margaret insists upon entering Glory in race after race. This proves financially draining to Margaret and her grandmother Charlotte Greenwood, but Walter Brennan, trainer for handsome horse breeder John Lupton, helps to raise the necessary funds to enter Glory in--what else?--the Kentucky Derby. The inevitable romance between Margaret and Lupton is less interesting than the combative (but basically affectionate) relationship between ageing ex-sweethearts Greenwood and Brennan. With the uncredited aid of Lawrence Welk Show costar Norma Zimmer, Margaret O'Brien warbles three songs.

This meticulous re-creation of the sinking of the Titanic was adapted by Eric Ambler from the best-selling book by Walter Lord, and it preceded the blockbuster Titanic by almost 40 years. The film covers the life and death of the huge vessel from its launching celebration to that fateful night of April 14, 1912, when the "unsinkable" ship struck an iceberg in the North Atlantic. Of the 2224 passengers on board, 1513 were drowned as a result of the bad planning of lifeboats and escape routes. Kenneth More heads a huge and stellar cast, with 200 speaking parts, as second officer Herbert Lightoller, from whose point-of-view the story unfolds. Also in the cast are Laurence Naismith as the ill-fated Captain Smith; Michael Goodliffe as conscience-stricken ship's designer Thomas Andrews; Tucker McGuire as feisty American millionaire Molly Brown, whose courage and tenacity saved many lives; and Anthony Bushell as the captain of the Carpathia, who launched a noble but vain rescue mission once he was apprised of the disaster. Also appearing are two future TV favorites: The Avengers' Honor Blackman as a woman who believes that she has nothing to live for, and The Man From UNCLE's David McCallum as a wireless operator. The climactic sinking of the vessel is re-created with painstaking accuracy; filmed in "real time," it is a mere 37 minutes shorter than the actual tragedy. Two years before the film's release, an American TV adaptation of A Night to Remember set a precedent as the most elaborate and technically complex "live" broadcast of its time. Some viewers will find this movie a more accurate and gripping representation of this sea disaster than the romance-heavy Titanic.

From Lippert Studios, the same company responsible for I Shot Jesse James, comes I Shot Billy the Kid. Those who know their western history will recall that Billy the kid was gunned down by his friendly enemy Pat Garrett. This time around, Garrett is played by Robert Lowery, while the larger part of Billy is essayed by Don Barry (a bit too old for the part, though physically perfect). The film recounts Garrett and Billy's volatile relationship, and the events leading up to their final, fatal confrontation. Brooklynese supporting actor Sid Melton seems a bit out of place as the film's nominal comedy relief.

During the American Civil War, two brothers fighting on opposite sides of the conflict.

I Was an American Spy is a true story, based on a series of autobiographical Reader's Digest articles written by Claire Phillips. Ann Dvorak stars as Ms. Phillips, an American nightclub singer trapped in Singapore when the Japanese march in. Having lost her husband to the Bataan death march, Phillips agrees to join an American secret agent (Gene Evans) in undermining the Japanese occupation troops. She is captured by the enemy, tortured, and sentenced to be shot, but is rescued at the last minute by her American contact. I Was an American Spy handles its more brutal scenes with a marked degree of tastefulness, thanks to the careful direction of Lesley Selander. Just as in their wartime movie appearances, Chinese actor Richard Loo and Korean actor Philip Ahn are eminently hissable as the Japanese villains.

The sparkling screwball comedy And So They Were Married was originally released as Johnny Doesn't Live Here Any More. French-Canadian girl Simone Simon leases a Washington DC apartment from Marine William Terry. Since the Nation's Capital is overcrowded (wartime, don't you know), Simon must put up with a steady parade of Terry's old cronies and girlfriends, all of whom have keys to the apartment. She also becomes the romantic bone of contention between Terry and his sailor pal James Ellison. The last half of the film is dominated by Robert Mitchum as a Chief Petty Officer, who wants to rent the apartment for himself and his wife. A whimsical touch is added by the presence of midget Jerry Maren as a Cupid-like gremlin, who takes great delight in complicating Simon's life. Blessed with a great cast, an above-average production values (especially for a Monogram release), this King Bros. production proved to be the last directorial effort of German expatriate Joe May. Watch for fleeting appearances by horror-film perennial Rondo Hatton as a well-dressed gentleman entering Simon's cab, and Our Gang's Mickey "Froggy" Laughlin as a ratchet-voiced kid.

Regarded by many critics as the ultimate film noir, and by many more as the finest movie adaptation of a book by Mickey Spillane, Kiss Me Deadly stars Ralph Meeker as Spillane's anti-social private eye Mike Hammer. While driving down a lonely road late one evening, Hammer picks up a beautiful blonde hitchhiker (Cloris Leachman), dressed in nothing but a raincoat. At first, Hammer assumes that the incoherent girl is an escaped lunatic; his mind is changed for him when he and the girl are abducted by two thugs. The men torture the girl to death as the semiconscious Hammer watches helplessly. He himself escapes extermination when the murderers' car topples off a cliff and he is thrown clear. Seeking vengeance, Hammer tries to discover the secret behind the girl's murder. Among those who cross his path in the film's tense, tingling 105 minutes are a slimy gangster (Paul Stewart), a turncoat scientist (Albert Dekker), and the dead woman's sexy roommate (Gaby Rodgers). All clues lead to a mysterious box -- the "Great Whatsit," as Hammer's secretary Velda (Maxine Cooper) describes it. Both the box and Velda are stolen by the villains, at which point Hammer discovers that the "Whatsit" contains radioactive material of awesome powers. The apocalyptic climax is doubly devastating because we're never quite certain if Hammer survives (he doesn't narrate the story, as was the case in most Mike Hammer films and TV shows). Director Robert Aldrich and scriptwriter Jack Moffit transcend Kiss Me Deadly's basic genre trappings to produce a one-of-a-kind melodrama for the nuclear age.

Robert Mulligan directed this Americanized re-make of the successful Brazilian comedy Dona Flor and Her Two Husbands. Sally Field stars as Kay Villano, a lonely widow of three years who can't forget the memory of her dead husband, Jolly (James Caan). Jolly was a selfish and unfaithful Broadway choreographer who still managed to win Kay over with his charm. But Kay has fallen in love again with Rupert Baines (Jeff Bridges), a stuffy professor of Egyptology. As her wedding day approaches, Kay receives a visit from Jolly's ghost, who taunts and harasses her, clearly upset that Kay is marrying someone so dull. Kay goes ahead with the marriage and Jolly refuses to disappear, resulting in a bizarre menage-a-tois.

Noz w Wodzie was not only Polanski's first feature-length film, but it also marked the first screen appearance of Polish actor Zygmunt Malanowicz who played a young student. In fact, the only experienced thespian in the featured trio is Leon Niemczyk as Andrzej, the self-important, somewhat arrogant husband of Kataryna. Andrzej and Kataryna pick up the student as he is hitchhiking and invite him to join them on their boat for an outing. As the threesome head out to open water, the husband and the student start a kind of jealous interaction that keeps Kataryna mildly amused. What began as a macho sparring ends up in a fight that has the student falling overboard and the husband swimming to shore for help. But appearances are deceiving, as the husband will soon discover.

Successful small-town attorney William Emory (John Litel) and his wife Ruth (Frieda Inescort) look forward to the return of their son Bill Jr. (Billy Dawson) from military school -- the elder Emory, in particular, hopes that the school's strict disciplinary regimen has curbed some of his son's wilder, more rambunctious tendencies. Instead, Bill Jr. can't wait to get out of uniform and start playing with his old neighborhood friends, and show them some of what he's learned, in building things, playing sports and, yes, fighting. The younger Emory, who can't seem to hold a thought (or an instruction from his parents) in his head for more than 30 seconds, is soon upsetting his father's life at every turn, while Ruth looks on with increasing concern -- not for her son, but her husband's rigid disapproval, openly expressed, about everything their son is about. Bill Jr. decides to run away from home and nearly falls into the hands of a pair of larcenous tramps, only to be rescued by fisherman Lunk Nelson (Christian Rub). This near-disaster causes the couple to split up, with Ruth taking her son away to live in considerably reduced circumstances. And he benefits for a time from going to work for Lunk, learning responsibility and acquiring some slivers of maturity in the process. But he wants his parents to get back together, and decides that faking his own kidnapping might be just the crisis to do it.

Silent screen queen Gloria Swanson returned to films after a seven-year absence in RKO Radio's Father Takes a Wife. Adolphe Menjou costars as a middle-aged widowed shipping magnate known as Senior, who falls in love with celebrated actress Leslie Collier (Gloria Swanson) and marries her after a whirlwind courtship. Now Senior must break the news to his strait-laced son Junior (John Howard), who disapproves of show people. Junior is convinced that Leslie will leave his father the moment a younger, handsomer man enters the scene-a prediction that seems to come true when the honeymooning couple make the acquaintance of South American singing hearthrob Carlos (Desi Arnaz). Meanwhile, Leslie's jealousy is aroused when she sees Senior in the company of gorgeous young Enid (Florence Rice), unaware that the girl is Senior's daughter-in-law. All misunderstandings are forgotten when it turns out that both Leslie and Enid are about to become mothers-legitimately! Though Gloria Swanson was in fine fettle, Father Takes a Wife failed to draw a crowd, posting a loss of $104,000; eight years later, Swanson staged a real comeback in the classic Sunset Boulevard.

An unusually morbid film from producer Samuel Goldwyn, Edge of Doom stars Farley Granger as a sensitive young man trapped in an impoverished slum existence. Granger becomes unhinged when his beloved mother dies, and when an unfeeling elderly priest refuses to provide the woman with a lavish funeral, Granger savagely kills the priest. The boy's subsequent moody behavior is chalked down to grief over his mother, but a younger and more compassionate priest (Dana Andrews) suspects something is amiss. In as gentle a fashion as possible, the priest persuades Granger to confess to the crime and seek divine forgiveness. Joan Evans, a Goldwyn contractee for whom "big things" were predicted, plays the totally forgettable love interest for the tortured Granger.

Released in Great Britain as The ABC Murders, The Alphabet Murders stars a well-disguised Tony Randall as Agatha Christie's brilliant, insufferable Belgian detective Hercule Poirot. Unfortunately, director Frank Tashlin chooses to open the film with one of his Pirandelloian gimmicks by introducing Randall out of make-up as himself, then cutting to Randall as Poirot. This has the effect of taking the audience "out" of the picture, and it takes a while for the film to recover. On its own, the plot is a good one, as Poirot investigates a series of murders, with the victims arranged alphabetically. There's also a well staged mid-film sequence, in which leading lady Anita Ekberg, as Amanda Beatrice Cross, supposedly comes to a soggy demise. But in never deciding whether to play "straight" or for laughs, The Alphabet Murders ends up a wildly uneven experience. Best bit: Poirot inadvertently confronting another Agatha Christie creation, Miss Marple (played without screen credit by Margaret Rutherford).

Two childhood friends, Juan Pablo (Antonio Aguilar) and Ramiro (Manuel Capetillo) meet again, but when a difficult situation arises, the friends are slowly turned into rivals. Complicating matters is Juan Pablo's love for Lucía (Flor Silvestre).

RKO Radio's second 3D production, Devil's Canyon is a combination western and jail-break picture. The scene is Arizona Territorial Prison, wherein 500 desperate men are incarcerated. The inmates become even more desperate when female outlaw Abby Nixon (Virginia Mayo) is likewise locked up. As the prisoners draw up plans to escape, Abby is attracted to handsome but psychotic ringleader Jessie Gorman (Stephen McNally)--and to U.S. marshal Billy Reynolds (Dale Robertson), who is serving time for manslaughter. The climactic bust-out threatens to get out of hand until the marshal calms things down with a Gatling gun. Available for many years only in washed-out black-and-white prints, the original color version of Devil's Canyon was finally telecast over the American Movie Classics cable service in the late 1980s.

Producer-director Edward L. Cahn's Prominent Pictures produced this low-budget thriller-noir which was then sold outright to RKO. Joyce MacKenzie stars as Laura Mansfield whose father (Franklyn Farnum) is killed in cold blood by smalltime hoodlum turned messenger boy Jackie Wales (Stanley Clements). But the latter has a seemingly ironclad alibi and Laura goes undercover as a nightclub cigarette girl to trap him. Unbeknownst to the heroine, however, Wales is blackmailing Armitage (Albert Dekker), the ruthless nightclub operator who had hired him to murder Mansfield in the first place. But is Armitage the real "Mr. Big" or is someone else pulling the strings?

A contemptuous and self-serving immigrant, Clementi Sabourin (George Sanders) pulls himself up by his bootstraps by instrumenting a series of cons and seductions which bilk several very wealthy persons out of most of their money. Most of the action is related in a series of flashbacks after Sabourin's body is found dead in a Park Avenue apartment. Death of a Scoundrel is a fictionalized adaptation of the life and mysterious death of Serge Rubenstein.

Considered the greatest horror anthology film, the classic British chiller Dead of Night features five stories of supernatural terror from four different directors, yet it ultimately feels like a unified whole. The framing device is simple but unsettling, as a group of strangers find themselves inexplicably gathered at an isolated country estate, uncertain why they have come. The topic of conversation soon turns to the world of dreams and nightmares, and each guest shares a frightening event from his/her own past. Many of these tales have become famous, including Basil Dearden's opening vignette about a ghostly driver with "room for one more" in the back of his hearse. Equally eerie are Robert Hamer's look at a haunted antique mirror that gradually begins to possess its owner's soul, and Alberto Cavalcanti's ghost story about a mysterious young girl during a Christmas party. Legendary Ealing comedy director Charles Crichton lightens the mood with an amusing interlude about the spirit of a deceased golfer haunting his former partner, leaving viewers vulnerable to Cavalcanti's superb and much-imitated closing segment, about a ventriloquist (Michael Redgrave) slowly driven mad when his dummy appears to come to life. Deservedly acclaimed and highly influential, Dead of Night's episodic structure inspired an entire genre of lesser imitators.

In this addiction melodrama, Joe Clay (Jack Lemmon), a promising adman, meet his future wife Kirsten (Lee Remick) at a party. Once married, the pressures of his business lead Joe to seek solace in liquor. Kirsten joins him in his nocturnal drinking sessions, and before long both are confirmed alcoholics. After several frightening episodes, Joe is able to shake the habit thanks to AA, but Kirsten finds it impossible to get through the day without liquor. The two split up, although Joe clings to the hope that someday he and Kirsten will be reunited, if for no reason other than the sake of their young daughter. J.P. Miller adapted the screenplay from his own 1958 Playhouse 90 television script. Though nominated in several categories, Days of Wine and Roses won only the Best Song Oscar for Henry Mancini's title tune.

This family drama features the same cast and crew from the highly successful Four Daughters, but it isn't actually a sequel. Whereas the first film was a chronicle of the Lemp family, this one centers on the Masters family. This film is also characterized by a much happier ending than its predecessor. The story begins as a wandering husband finally returns home after a 20 year absence. He is alarmed to discover that his wife is planning to marry a nice stodgy fellow who yearns only to stay in the town of Carmel, California, the story's setting. Though the errant husband is still suave and charming, his two angry daughters reject and do all they can to get him to leave their hometown. But he is not so easily swayed and despite their protests, stays until he charms them into submission. The peace doesn't last long when he sees that one of his four girls is about to marry a younger version of himself. His wife is terribly upset not only by this development, but also by the fact that she must choose between her dull-but devoted fiance and her exciting, irresponsible husband (of whom she was legally freed after he was declared dead).

In this wartime drama, a doctor discovers that one of his patients isn't as crazy as he thought, with dangerous consequences for the whole world. Dr. Michael Lewis (John Garfield) is an intern at a hospital where a woman named Jane (Nancy Coleman) is admitted. Jane was injured in a car wreck, and she tells Michael a remarkable story. She claims that she is actually an espionage agent with top-secret information that could help the Allied war effort; the accident occurred while she was trying to escape from Axis spies who will do anything to get her documents. Michael, who is supposed to keep an eye on Jane, thinks she must be delusional, and when psychiatrist Dr. Ingersol (Raymond Massey) arrives with Jane's father, Mr. Goodwin (Moroni Olsen), he signs Jane out in their custody. However, Michael soon discovers that Mr. Goodwin isn't Jane's father at all; he and Ingersol are actually the Nazi spies Jane was fleeing in the accident, and someone must rescue her before it's too late, both for Jane and the Allied war effort. Dangerously They Live was scripted by Marion Parsonnet from her novel, Remember Tomorrow.

RKO Radio's ace short-subjects director Leslie Goodwins graduated to features with the economically produced Crime Ring. Allan Lane plays a hotshot newspaperman who takes on a phony spiritualist ring. The crooked soothsayers are in league with a band of stock swindlers, coercing the gullible into parting company with their life savings on the advice of the "dear departed." Teaming with unemployed actress Frances Mercer, Lane poses as a potential sucker to draw out the bad guys. Lane and Mercer prove to be too clever for their own good, however, and it's problematic as to whether or not they'll survive until the closing credits. Crime Ring was partially remade in 1950 as Bunco Squad.

Canadian WW II pilot Gerard (Dick Powell) intends to track down and kill collaborationist Marcel Jarne, the man responsible for the wartime death of Gerard's French wife. The trouble is, Jarne has never been effectively identified by the authorities -- and in fact could be just about anyone whom Gerard meets. Following the trail of evidence to Buenos Aires, Gerard's strongarm methods run afoul not only of the Argentine authorities, but also of a pro-French underground movement which also wants to bring the villain to justice. Weaselly Incza (Walter Slezak) plays all sides down the middle until he too is ruthlessly rubbed out by the bad guy. From start to finish, Cornered is a superb thriller, directed with graphic ingenuity and economy -- and with a dash of endearingly naïve left-leaning politicizing. (With Edward Dmytryk as director, how could it be otherwise?) Avoid at all costs the computer-colored version of this beautifully photographed black-and-white film.

German director Joe May brought a decidedly Teutonic ambience to his American film Confession--no surprise, since the film was based on the 1935 German production Mazurka. Kay Francis plays a onetime singer who confesses to the murder of her pianist, Basil Rathbone. In flashback, we learn that Rathbone had been responsible for the breakup of Francis's marriage. Years later, Rathbone came back into her life, this time with the intention of seducing Ms. Francis' grown daughter (Jane Bryan). In a variation of Madame X, Francis was stuck with the dilemma of deflecting Rathbone from his "mission"--and of keeping her true identity secret from her daughter. Prior to Mazurka, the Hans Rameau story upon which Confession was based had been filmed as a silent picture starring Gloria Swanson.

In this drama, a falsely convicted woman falls in love with the prison psychologist who tries to liberate her. She ended up in prison to protect her boyfriend who was just about to finish law school. The doctor and patient tryst in the prison furnace room. When he is not around, the woman must deal with the usual travails of a convict including a strict, domineering matron. A prison break occurs and violence erupts.

Although Monogram Pictures hadn't yet reorganized as a separate entity in 1936, a few of its releases still managed to make their way to the public through the auspices of Republic. One of these was The Cheers of the Crowd, in which character actor Russell Hopton heads the cast as public-relations expert Lee Adams. Our hero gets in on the ground floor of the chain-letter craze, all the while battling over ethics with pretty female reporter Mary (Irene Ware). Things take a sinister turn when the recipient of a chain letter is murdered, a crime tied in with the long-lost wife of the film's villain. Corpulent Harry Holman, best known to modern viewers as the high-school principal in Frank Capra's It's a Wonderful Life, steals the film as the misleadingly named "Honest John."

O.P. Heggie plays an ageing Parisian book collector who has spent four decades tracking down a rare volume. The trail leads to a small French village, where Heggie meets the daughter (Anne Shirley) of a woman he'd been in love with years earlier. He becomes the girl's guardian, smooths the path of her romance with a local boy (Trent Durkin), finds his precious book, and foils the machinations of villain Etienne Girardot. Chasing Yesterday represents the final screen appearance of Trent Durkin, formerly a child star named Junior Durkin; before 1935 was over, Durkin would be killed in a car accident.

Three college roommates vow to make their graduation an event to remember - and maybe even find lasting love - during a blow-out beach party in this coming of age sex comedy featuring music by Love and Rockets, Otis Redding, and George Lowell. On the eve of graduation, lonely California college student Molly (The Bangles' Susanna Hoffs) is depressed by the fact that, despite being surrounded by boys for four years, she's never had a lasting romance. Realizing that this may be her last chance to find the man of her dreams, Molly convinces her fun-loving roommates Gina (Joan Cusack) and Val (Dedee Pheiffer) that they should hit the beach for the wildest party of the year. Even if Molly doesn't manage to find Mr. Right, she's determined to have the time of her life trying.

Bright Leaf, a sprawling saga of the tobacco industry in North Carolina, began as a novel by Foster Fitzsimmons, a native Carolinian who for many years taught at the University of North Carolina-Chapel Hill's theatre department. The film version of Bright Leaf has been simplified and reshaped to serve as a traditional Gary Cooper vehicle. Cooper stars as tenant farmer Brant Royle, who after being driven from his home town by autocratic tobacco tycoon Major Singleton (Donald Crisp) returns in triumph with a revolutionary cigarette-making machine. Royle's streamlined techniques soon drive Singleton out of business. Margaret Singleton (Patricia Neal), Royle's old flame, agrees to marry him to save her father from ruin--whereupon the Major commits suicide. The vengeful Margaret then does everything she can to destroy Royle. The question remaining: can Brant Royle save himself and find ultimate happiness with his true love, Sonia Kovac (Lauren Bacall)? Also appearing in Bright Leaf are Jack Carson as Royle's flamboyant business partner Chris Malley and Jeff Corey as John Barton, the inventor of the "miracle" cigarette-making apparatus.

A major moneymaker for RKO Radio, Bombardier stars Pat O'Brien and Randolph Scott as trainers at a school for bomber pilots. O'Brien and Scott argue over teaching methods, while their students vie for the affections of Anne Shirley. O'Brien's methods prove sound during a bombing raid over Tokyo. Scott and his crew are captured and tortured by the Japanese, but the mortally wounded Scott manages to set fire to a gas truck, providing a perfect target for his fellow bombardiers. Stylistically, Bombardier is one of the most schizophrenic of war films, with moments of subtle poignancy (the death of trainee Eddie Albert) alternating with scenes of ludicrous "Yellow Peril" melodrama (the Japanese literally hiss through their teeth as they torture the helpless Americans). Though it can't help but seem dated today, Bombardier remains an entertaining propaganda effort (the film is sometimes erroneously listed as the debut of Robert Ryan, who'd actually been appearing before the cameras since 1940).

Guy Kibbee trots out his small-town blowhard routine in the title role of Big Hearted Herbert. He plays a former plumber who strikes it rich in the bathroom-fixture manufacturing business (guess which fixture we don't see in this Post-Code film). A stingy soul, Kibbee prefers the company of pinchpennies like himself. Though it's fun to see him tweak the noses of the local big spenders, Kibbee learns the error of his strict parsimony when his wife requires an emergency operation. Based on a play by Sophie Kerr and Anna Steese Richardson, Big Hearted Herbert was remade in 1940 as Father is a Prince.

A veritable honor roll of famed western heroes and villains appears in the fanciful oater Badman's Country. It all begins when Sheriff Pat Garrett (George Montgomery) draws up plans to lure the Hole-in-the-Wall Gang, headed by Butch Cassidy (Neville Brand) and the Sundance Kid (Russell Johnson) into a trap. To do this, he enlists the aid of fellow peacekeepers Wyatt Earp (Buster Crabbe), Bat Masterson (Gregory Walcott) and Buffalo Bill Cody (Malcolm Atterbury). By the time everyone is introduced, the film is half over. No matter: Badman's Country is redeemed by a truly impressive climactic gun duel.

A woman is forced to decide which of her dreams she'd like to come true in this musical-comedy drama. Billie Golden (Isabel Rose) is a young woman who dreams of being a successful cabaret singer and often imagines herself performing in a swank lounge or starring in a classic movie musical of the 1940s. At the moment, however, Billie is singing in a dingy cocktail lounge near an airport and lives in a ramshackle row house in Queens with her hard-drinking mother (Alix Korey). One day, Billie bumps into an old friend from high school, Greg Ellenbogen (Cameron Bancroft); as it happens, Greg is now a very successful lawyer, and he still carries a torch for Billie. While Greg loves Billie and can easily give her all the creature comforts of life, she's also infatuated with Elliot (Andrew McCarthy), a hipster piano player who believes in her abilities as a singer. When Greg asks Billie for her hand in marriage, she's forced to decide between love and security or the career in music for which she's always longed. Also screened under the title Standard Time, Anything but Love includes an appearance by legendary entertainer Eartha Kitt; leading lady Rose also wrote the film's screenplay.