47% OFF

• Director
• Rudolph Maté
• Writers
• Harry Kleiner(screenplay)
• Donald Hamilton(based upon a novel by)
• Stars
• Glenn Ford
• Barbara Stanwyck
• Edward G. Robinson

Rudolphe Maté directs the western The Violent Men, based on the novel Rough Company by Donald Hamilton. Edward G. Robinson plays Lee Wilkison, the bad-guy owner of Anchor Ranch with a plan to buy out all the smaller ranches to gain control of the valley. Barbara Stanwyck plays his wife Martha, who secretly has an affair with his brother, Cole (Brian Keith). Meanwhile, Cole hangs out with hired gun Wade Matlock (Richard Jaeckel) and his other girlfriend, Elena (Lita Milan). Glenn Ford plays ex-military man John Parrish, the good-guy small ranch owner who is willing to sell until one of his ranch hands turns up dead. He fights back with a vengance using his military training and sets his eyes on Wilkison's daughter, Judith (Dianne Foster).

• Director
• Andrew V. McLaglen
• Writers
• Ben Maddow(screenplay)
• Mitch Lindemann(screenplay)
• A.B. Guthrie Jr.(novel "The Way West")
• Stars
• Kirk Douglas
• Robert Mitchum
• Richard Widmark

Senator William J. Tadlock (Kirk Douglas) enlists the help of veteran scout Dick Summers (Robert Mitchum) to lead a wagon train of settlers from Missouri to Oregon in this plodding, routine western. A scared settler accidently shoots an Indian boy who is mistaken for a wolf, prompting Summers to order newlywed triggerman Johnny Mack (Michael Witney) to be hanged to avoid an Indian attack. Sally Field appears in her first big-screen role as the slatternly Mercy McBee.

• Director
• Fred F. Sears
• Writers
• Robert E. Kent(story)
• James B. Gordon(story)
• Stars
• Don Megowan
• Joyce Holden
• Eleanore Tanin

Columbia's The Werewolf is not nearly as generic as its title would suggest: in fact, it is one of the better films of its kind. Steven Ritch plays Duncan Marsh, who after being seriously injured in a car wreck is used as a guinea pig by a pair of none too scrupulous scientists (S. John Launer and George M. Lynn). Seeking a cure for radiation poisoning, the scientists inject Marsh with wolf serum (what this has to do with radiation poisioning is never fully explained). Before long, Marsh is a full-fledged lycanthrope, wreaking havoc in the Big Bear Lake region. Some truly startling vignettes--including one lulu of a sequence in a jail cell--lift this Sam Katzman production well above the norm.

• Director
• Jack Hively
• Writers
• John Twist(screen play)
• Lester Cohen(novel "Sweepings")
• Stars
• Edward Ellis
• William Gargan
• Kent Taylor

In this drama, a department store owner is deeply saddened to learn that none of his grown sons are interested in taking over the business he has worked so hard to build. To coerce them, he even tries giving them shares of company stock. In the end, only the youngest son shows any interest at all.

• Director
• Ray Enright
• Writer
• Delmer Daves(original screenplay)
• Stars
• Dick Powell
• Doris Weston
• Lee Dixon

It was from this military musical that the US Marine Corps got it's signature anthem, "The Song of the Marines." The story chronicles the exploits of a young recruit who wins a radio contest and becomes an overnight singing sensation. Unfortunately, the sudden fame has caused a bad case of ego edema in the man and his Corps buddies begin to avoid him. Even his girl friend grows tired of his swaggering. Busby Berkeley staged the musical numbers. The songs include: "I Know Now," "'Cause My Baby Says It's So," "Night Over Shanghai," "The Lady Who Couldn't Be Kissed," "You Can't Run Away from Love Tonight."

• Director
• Nicholas Meyer
• Writers
• Karl Alexander(story)
• Steve Hayes(story)
• Nicholas Meyer(screenplay)
• Stars
• Malcolm McDowell
• Mary Steenburgen
• David Warner

It's H.G. Wells (Malcolm McDowell) versus Jack the Ripper (David Warner) in the fanciful Time After Time -- and, per the film's title, the chase extends from the 19th century to the 20th. Wells has built a time machine in his cellar, which the Ripper uses as a means of escape. Both men find themselves in 20th century San Francisco, and, after a period of adjustment, they make themselves at home. The plot takes a dark turn when the Ripper, disappointed that Wells' dreams of a Utopian future have not come to fruition, resumes his murderous activities.

• Director
• Ray Enright
• Writers
• Warren Duff(screen play)
• Harry Sauber(screen play)
• Paul Finder Moss(based on story "Hot Air' by)
• Stars
• Dick Powell
• Pat O'Brien
• Ginger Rogers

A satire on radio crooners, Twenty Million Sweethearts stars Dick Powell as a singing waiter--fake handlebar mustache and all. Publicity man Pat O'Brien discovers Powell and gets him a radio gig, leading to nationwide adulation for the nonplused tenor. All of this jeopardizes Powell's happy marriage to Ginger Rogers, but he proves faithful to her despite the twenty million sweethearts (i.e. female radio fans) referred to in the title. Twenty Million Sweethearts is fitfully amusing, with some of the best moments concentrated at the beginning wherein the Radio Rogues imitate several popular personalities of the airwaves. This film was remade in 1949 as My Dream Is Yours, with Doris Day (!) in the Dick Powell role but with the same "signature" tune, "I'll String Along with You."

• Director
• Leigh Jason
• Writers
• Allan Scott(story)
• Charles Norman(story)
• Stars
• Miriam Hopkins
• Ray Milland
• Walter Abel

Wise Girl is a medium-level screwball comedy with faintly serious undertones. Miriam Hopkins plays an heiress whose millions can't help her gain custody of her two nieces from their stubborn widowed father (Ray Milland), an impoverished Greenwich Village artist. Hoping to win the widower over without revealing her identity, the heiress disguises herself as a penniless "Bohemian" and infiltrates the Village's artists' colony. When he finds out he's been duped, the man stubbornly insists upon remaining in jail rather than hand over custody of his daughters to the headstrong heiress (yes, that's perennial Laurel & Hardy foil James Finlayson as the friendly jailer). It all turns out for the best when hero and heroine realize they're in love with each other.

• Director
• Irving Pichel
• Writers
• Gwen Bristow(by)
• Lenore J. Coffee(screen play)
• Stars
• Claudette Colbert
• Orson Welles
• George Brent

Elizabeth MacDonald (Claudette Colbert) is a newly married corporate librarian in 1918 Baltimore working for a chemical company owned by the Hamilton family and managed by Larry Hamilton (George Brent). Just as she is celebrating the armistice and anticipating the return of her husband John (Orson Welles), she learns he was killed in action, just days before the cease fire. Pregnant with their child and alone in the world, she is taken in by Larry Hamilton, who has loved her from afar and is driven by sympathy for her plight. She has her baby, a boy named Drew, and she and Larry marry, raising the child as his own and never telling the boy of his real father. Meanwhile, in an Austrian hospital, a horribly wounded and disfigured American officer (Welles) without any identification insists to the doctor treating him (John Wengraf) that he be allowed to die. The doctor saves his life, but the shock of his injuries and the strain of his recovery causes him to lose his memory, and he ends up adopting a new identity. Cut to 1939, and the outbreak of the Second World War in Europe. Drew (Richard Long) is about to graduate from college and wants to join his fraternity brothers, who are planning on going to Canada, signing up with the Royal Canadian Air Force, and heading to England to fly against the Germans. Drew is not yet 21, however, and needs the permission of his parents, but Elizabeth is appalled by the notion of losing Drew to war the same way that she lost John. Into their family comes a visitor, Erich Kessler (Welles), a crippled, ailing Austrian refugee and chemical expert hired by Hamilton's company, who arrives in Baltimore with his young daughter Margaret (Natalie Wood). Kessler starts to recognize places in the city, including the home where Elizabeth lived, and when they meet, despite her discomfort at having an Austrian army veteran in the house, she does her best to welcome him. Elizabeth also starts to notice little aspects of Kessler that remind her vaguely of John. But much as she is haunted by these strange similarities, she is appalled when Kessler seems to encourage Drew to pursue his goal of fighting the Nazis. Even Kessler's presence in their home, despite his genial and deferential manner, is a vexation to Elizabeth, bringing the horror of the war and what the Nazis represent into their midst and making Drew even more fervent in his desire to join up and fight. When Margaret displays terrible fears and nightmares, it comes out that she isn't really Kessler's child at all, but the daughter of the doctor who saved his life (he and his wife had been executed by the Nazis). Larry, meanwhile, must watch from the sidelines, not aware of Kessler's real identity and unable to resolve the conflict between his admiration for Drew's intentions and his love for his wife. When Drew decides to ignore his parents' wishes and go to Canada and enlist without their permission, Kessler follows and stops him (despite his own weakened condition), and brings the young man home. A confrontation ensues upon their return, and Kessler explains to her that, whomever she thinks he might have been, the past has passed. Elizabeth finds the strength and courage to face the future, and the coming of the new war and what it may bring.

• Director
• Alfred Hitchcock
• Writers
• John Steinbeck(by)
• Jo Swerling(screen play)
• Alfred Hitchcock(story idea)
• Stars
• Tallulah Bankhead
• John Hodiak
• Walter Slezak

Seeking a creative challenge after several years' worth of fairly elaborate melodramas, director Alfred Hitchcock stages all of the action in Lifeboat in one tiny boat, adrift in the North Atlantic. The boat holds eight survivors of a Nazi torpedo attack: sophisticated magazine writer/photographer Constance Porter (Tallulah Bankhead), Communist seaman John Kovac (John Hodiak), nurse Alice MacKenzie (Mary Anderson), mild-mannered radio-operator Stan (Hume Cronyn), seriously wounded Brooklynese stoker Gus Smith (William Bendix), insufferable-capitalist Charles Rittenhouse (Henry Hull), black-steward George Spencer (Canada Lee) and half-mad passenger Mrs. Higgins (Heather Angel), who carries the body of her dead baby. This adroitly calculated cross-section of humanity is reduced by one when Mrs. Higgins kills herself. After a day or so of floating aimlessly about, the castaways pick up another passenger, Willy (Walter Slezak), who is a survivor from the German U-boat. At first everyone assumes that Willy cannot speak English, but when the necessity arises he reveals himself to be conversant in several languages and highly intelligent; in fact, he was the U-boat's captain. As the only one on board with any sense of seamanship, Willy steers a course to his mother ship, while the others resign themselves to being prisoners of war. After it becomes necessary to amputate Gus's leg, Willy decides that the burly stoker is excess weight; while the others sleep, he tosses Gus overboard, watching dispassionately as the poor man drowns. When the rest of the passengers discover what he's done, all of them (with one significant exception) violently gang up on Gus, and once more, the lifeboat drifts about sans navigation.

• Director
• Mark Sandrich
• Writers
• Allan Scott
• Eunice Hatchitt(contributor to story)
• Stars
• Claudette Colbert
• Paulette Goddard
• Veronica Lake

Paramount's So Proudly We Hail, like MGM's Cry Havoc, is a tribute to the Red Cross nurses trapped behind enemy lines in the early days of the Pacific war. Claudette Colbert is the self-sacrificing head nurse, struggling to minister to the wounded and to keep her staff (including Paulette Goddard, Veronica Lake and Barbara Britton, all of them giving better than usual performances) from buckling under the pressure. Taking into consideration the regular fans of the film's female cast, the producers thoughtfully include several scenes in which the ladies pursue their romantic lives. The story culminates with the fall of Bataan, ending on a resigned but optimistic note; this finale was designed to lift the spirits of the audience, which in 1943 wasn't so certain as Hollywood of final victory. So Proudly We Hail was not only effective propaganda (though not as effective as Cry Havoc), but it also enabled Paramount to introduce its new crop of male hunks--including the estimable Sonny Tufts.

• Director
• Billy Wilder
• Writers
• Charles Brackett
• Billy Wilder
• Edward Childs Carpenter(suggested by a play by)
• Stars
• Ginger Rogers
• Ray Milland
• Rita Johnson

A woman's attempt to disguise herself as an underage girl mushrooms into a series of humorous deceptions in this romantic comedy. Ginger Rogers stars as Susan Applegate, a young woman living in New York who, nearly broke and sick of the city, decides to head home to Iowa. Lacking the money for a regular ticket, she pretends to be an unusually tall 11-year old girl named Sue-Sue in order to pay half-price. The train conductors catch on to her scheme, however, forcing her to take refuge in the car of Major Philip Kirby (Ray Milland). The kindly major virtually adopts the "lost little girl," and circumstances force Susan to play along and accompany him to the local military academy. There the fun begins, as she struggles to deal with the unwelcome romantic attentions of countless young cadets and her own increasing attraction to the engaged Major Kirby. The Major and the Minor was the first Hollywood feature helmed by the legendary Billy Wilder.

• Director
• Jack Conway
• Writers
• Maurine Dallas Watkins(screen play)
• Howard Emmett Rogers(screen play)
• George Oppenheimer(screen play)
• Stars
• Jean Harlow
• William Powell
• Myrna Loy

Spencer Tracy, Myrna Loy, and William Powell star in this crackling screwball comedy about a cut-throat newspaper editor's scheme to prevent a libel suit that ends up exploding in everybody's face. Tracy plays Warren Haggerty, the managing editor of a newspaper that mistakenly prints a story declaring the rich Connie Allenbury (Myrna Loy) has stolen away another woman's husband. Connie retaliates by suing the paper for $5 million. This happens right before Warren is about to marry his fiancee Gladys (Jean Harlow). As he has done several times in the past, Warren delays the wedding in order to stop the libel suit. Warren hires Bill Chandler (William Powell), a former employer who is desperate for a job, to marry Gladys in name only and then court Connie. That way, Gladys can sue Connie for alienation of affections and get Connie to agree to drop her lawsuit if Gladys will drop hers. Bill hops an ocean liner to accompany Connie and her father (Walter Connolly) back to the United States, but along the way Bill and Connie fall in love and Bill tries to convince Gladys to drop her suit so it won't hinder his relationship with Connie.

• Directors
• James Flood
• Elliott Nugent
• Writers
• Frank J. Collins(play)
• Joseph Jackson(screenplay)
• Earl Baldwin(adaptation)
• Stars
• Warren William
• Sidney Fox
• Aline MacMahon

In this crime drama, an assistant DA must scramble to save the life of an innocent man he mistakenly sent to the chair. Unfortunately, he is too late and turns to alcoholism to soothe his throbbing conscience. It is only down from there and soon the attorney begins working for the mob until he falls in love. Some of the story was based on the life of William J. Fallon, a New York City attorney.

• Director
• Alfred E. Green
• Writers
• Gene Markey(story)
• Kathryn Scola(story)
• Stars
• Aline MacMahon
• Guy Kibbee
• Hugh Herbert

In this odd-ball comedy, a self-sacrificing but eccentric mother attempts to guide her equally eccentric family. She has two sons and a daughter. One son is a communist and the other is a struggling prizefighter. Her daughter is trying to snag a married booking agent to help her break into radio. In addition to watching over her children, the mother must also help her husband find a full-time job. Real trouble comes when her husband's brother dies of indigestion following a big Chinese dinner and leaves her with $500,000 provided that she leave her family. She decides to take the money and run. Fortunately, she eventually decides to come back home.

• Director
• Vincent Sherman
• Writers
• Walter DeLeon(screenplay)
• Earl Baldwin(screenplay)
• Frank J. Collins(play "The Mouthpiece")
• Stars
• George Brent
• Virginia Bruce
• Brenda Marshall

This slightly laundered remake of the 1932 courtroom classic The Mouthpiece stars George Brent as brilliant but unprincipled DA Steve Forbes, a character based on legendary lawyer William Fallon. After railroading an innocent boy into the electric chair, Forbes goes on a bender, then cynically builds up a new practice as a criminal attorney. His underhanded legal tactics cause a rift between Forbes and his idealistic younger brother Johnny (William Lundigan), despite the fact that it was Steve's income that enabled Johnny to finish law school. Angered that his brother has enabled big-time gangster J.B. Roscoe (Richard Barthelmess) to continually elude the law, Johnny turns in damning evidence to the FBI. On Roscoe's orders, Steve frames Johnny on a murder charge, but reforms his ways in the nick of time. Based on a play by Frank J. Collins, The Man Who Talked too Much was remade in 1955 as Illegal, with Edward G. Robinson in the lead.

• Director
• Lew Landers
• Writers
• J. Robert Bren(screenplay)
• Edmund L. Hartmann(screenplay)
• G.V. Atwater(screenplay)
• Stars
• John Beal
• Joan Fontaine
• Phillip Huston

A doctor (John Beal) who loses faith in his skills renounces his profession and hides himself in a variety of jobs. He takes a minor job at an airfield, where he meets nurse Joan Fontaine, who works on a "flying hospital". On board the aircraft, Beal finds he is the only person who can perform a delicate operation; worse luck, the plane is about to crash! Beal finds himself, per the title, but nearly loses his life in the process. Watch for Dwight Frye, the immortal "Renfield" in Bela Lugosi's Dracula, as an hysterical patient--and seven-year-old Dwight Frye Jr. as a child rescued from a train wreck.

• Director
• Elliott Nugent
• Writers
• Walter DeLeon(screenplay)
• Lynn Starling(screenplay)
• John Willard(based on the stage play by)
• Stars
• Bob Hope
• Paulette Goddard
• John Beal

The classic "old dark house" motif is given sterling treatment in this second filmed version of the hit play. Bob Hope's status as a star was assured with his role as Wallie Campbell, the cowardly protector of Joyce Norman (Paulette Goddard), who must spend one night in the eerie mansion of her late, eccentric, millionaire uncle. If she can make it through the night without losing her mind, Joyce stands to inherit her uncle's entire fortune. Of course, all the other potential heirs now have a motive to drive her insane. The frights are nonstop as hands reach out from nowhere, people disappear between trap doors, the halls echo with terrifying sounds, and secret doorways lead to hidden passageways. Three people are murdered before Wallie solves the mystery and sees Goddard through the night. Hope integrates his wiseacre comedic style into a essentially straight role, with the humor well-placed in the otherwise moody material. Creepy lighting and music also aid director Elliott Nugent in crafting an effective and fun version of one the genre's archetypal stories.

• Director
• John Sturges
• Writers
• Les Crutchfield(story "Showdown")
• James Poe(screenplay)
• Stars
• Kirk Douglas
• Anthony Quinn
• Carolyn Jones

Just outside the small town of Pauley, a Native American woman is attacked by two riders on horseback, raped, and killed. Her husband, Matt Morgan (Kirk Douglas), the town marshal, has only two clues to their identity, a fancy saddle with the initials "C.B." that one of the men left behind, and the fact that his wife cut one of the two men deep across the cheek with a buggy whip. Morgan traces the saddle to Craig Belden (Anthony Quinn), an old friend and now a wealthy rancher in the town of Gun Hill, but he knows Belden well enough to know that he couldn't have had anything to do with attacking his wife. Morgan's arrival with Belden's saddle sets off ugly rumblings in Gun Hill, and when he confronts the rancher, he discovers that it was his son Rick (Earl Holliman) who had his horse and the saddle, and rode out with a cowhand friend of his, Lee (Brian G. Hutton) -- but they claim their horses were stolen. Belden tries to convince Morgan, and wants to believe himself that whoever stole the horses must have killed his wife, but when Morgan mentions the cut that one of the killers will have on his face, they both know the truth. He vows to take Rick and Lee back to Pauley to stand trial, while Belden swears he'll do anything it takes to protect his son. Belden is virtually all the law there is in Gun Hill -- the sheriff (Walter Sande) won't help Morgan serve his arrest warrants on the two men, or even let him use the jail to hold them until the last train that night; there's not a working man, a shopkeeper, or even a prostitute in the whole town that will go against the rancher, and Belden's foreman Beero (Brad Dexter) and his men will strongarm anyone who might start feeling brave. Only Linda (Carolyn Jones), a woman who has been both romanced and abused by Belden, will lift a finger on Morgan's behalf. The marshal is nothing if not resourceful, however, and Rick Belden is also too stupid for his own good, and manages to fall into Morgan's hands in short order. Very quickly, a standoff ensues, with Morgan holding Rick in one of Belden's buildings against virtually the entire town, while the deadline -- the last train out of Gun Hill that night -- approaches. People die and a chunk of Belden's holdings are destroyed, but Morgan is about to get Rick onto the train and off to trial when suddenly, one sudden act of violence destroys father and son in a matter of seconds.

• Director
• Robert Florey
• Writers
• Wallace Irwin(novel "North Shore")
• Mary C. McCall Jr.
• Peter Milne
• Stars
• Barbara Stanwyck
• Gene Raymond
• Genevieve Tobin

In this romantic drama, a horsewoman is forced to work in a society dame's stable. There she meets and falls in love with a destitute polo-player who has curried the favor of his lovely employer. The matron gets jealous of the budding relationship between the horsewoman and the player. A wealthy man, who wants the stable girl, also gets jealous. Fortunately, the young lovers are able to withstand the ensuing turmoil and they elope. A while later, the other man attends a lively party aboard a yacht. There a drunken chorine falls overboard and drowns. One of the ship's officers blames the wealthy man and says he saw him leaving with a mysterious "woman in red." During the ensuing trial, the horsewoman clears his name by admitting that he was with her. It is a difficult admission because she knows she is risking her marriage. Fortunately, her husband and his family support her all the way and the marriage is strengthened.

• Director
• Nathan Juran
• Writers
• Jesse Lasky Jr.(story)
• Ken Pettus(screenplay)
• Pat Silver(story)
• Stars
• Telly Savalas
• George Maharis
• Arlene Dahl

Vince Carden (Telly Savalas) is the violent Apache-hating landowner obsessed with driving the Indians from the region in this action-packed western. Cavalry troops are sent in to try and bring peace to the troubled area. Vince soon discovers the government plans to donate land for an Indian reservation, causing him to redouble his murderous efforts against the tribe. He and his thugs rob a stagecoach and make it look like an Indian attack. Vince's brother Paul (George Maharis) returns and the brothers resume a long-standing battle over a deceased former flame. As the Indians lay to waste the Forge River settlement, the two brothers face each other in a showdown where only one will ride away.

• Director
• Lewis Seiler
• Writers
• Michael Fessier(uncredited)
• Ring Lardner Jr.(uncredited)
• Richard Macaulay
• Stars
• Pat O'Brien
• Wayne Morris
• Joan Blondell

Banking on the popularity of the Warner Bros.' boxing saga Kid Galahad (37), the studio rushed into production with another, similarly titled prizefight picture. In Kid from Kokomo, Wayne Morris once more plays a small-town rube who's good with his fists. The "kid" becomes convinced that a drunken harridan (May Robson) is his mother, and invites her to move in with him. Since the old lady is a kleptomaniac, it doesn't take long for the law to breathe down Morris' neck. Pat O'Brien hangs around as Morris' manager, while Joan Blondell and Jane Wyman supply the feminine interest.

• Director
• Alan Crosland
• Writers
• Samson Raphaelson(play)
• Alfred A. Cohn(adaptation)
• Jack Jarmuth(titles)
• Stars
• Al Jolson
• May McAvoy
• Warner Oland

On the verge of receivership in 1926, Warner Bros. studio decides to risk its future by investing in the Vitaphone sound system. Warners' first Vitaphone release, Don Juan, was a silent film accompanied by music and sound effects. The studio took the Vitaphone process one step farther in its 1927 adaptation of the Samson Raphaelson Broadway hit The Jazz Singer, incorporating vocal musical numbers in what was essentially a non-talking film. Al Jolson stars as Jakie Rabinowitz, the son of Jewish cantor Warner Oland. Turning his back on family tradition, Jakie transforms himself into cabaret-entertainer Jack Robin. When Jack comes home to visit his parents, he is warmly greeted by his mother (Eugenie Besserer), but is cold-shouldered by his father, who feels that Jack is a traitor to his heritage by singing jazz music. Several subsequent opportunities for a reconciliation are muffed by the stubborn Jack and his equally stubborn father. On the eve of his biggest show-business triumph, Jack receives word that his father is dying. Out of respect, Jack foregoes his opening night to attend Atonement services at the temple and sing the Kol Nidre in his father's place. Through a superimposed image, we are assured that the spirit of Jack's father has at long last forgiven his son. Only twenty minutes or so of Jazz Singer is in any way a "talkie;" all of the Vitaphone sequences are built around Jolson's musical numbers. What thrilled the opening night crowds attending Jazz Singer were not so much the songs themselves but Jolson's adlibbed comments, notably in the scene where he sings "Blue Skies" to his mother. Previous short-subject experiments with sound had failed because the on-screen talent had come off stilted and unnatural; but when Jolson began chattering away in a naturalistic, conversational fashion, the delighted audiences suddenly realized that talking pictures did indeed have the capacity to entertain. Despite its many shortcomings (the storyline goes beyond mawkish, while Jolson's acting in the silent scenes is downright amateurish), The Jazz Singer was a box-office success the like of which no one had previously witnessed. The film did turn-away business for months, propelling Warner Bros. from a shoestring operation into Hollywood's leading film factory. Proof that The Jazz Singer is best viewed within its historical context is provided by the 1953 and 1980 remakes, both interminable wallows in sentimental goo. Worse still, neither one of those films had Al Jolson--who, in spite of his inadequacies as an actor, was inarguably the greatest musical entertainer of his era.

• Director
• Vincent Sherman
• Writers
• Daniel Fuchs(screen play)
• Peter Viertel(screen play)
• Jerry Wald(story)
• Stars
• Ida Lupino
• Joan Leslie
• Dennis Morgan

In this dark drama an iron-willed older sister forcibly thrusts her only modestly talented younger sister into a Broadway career. She does this to desperately try to keep her little sis from falling into the same small-town trap of marriage to a dull working-stiff and endless hours of taking care of babies and household drudgery. The bigger sister gets her chance when two handsome vaudevillians come to town. Seeing that one of the fellows eyes her younger sibling, the elder connives to get the two together. The scheme works and the smitten performer dumps his long-time partner in exchange for a career with his new love. That might have been hunky dory, but the ambitious big sister wants more for her sister and convinces her to become a solo act. So upset is the jilted partner that he commits suicide. Still the big sister refuses to stop pushing until finally the younger girl gets fed up and rebels in a bitter confrontation that only results in more tragedy.

• Director
• Sam Wood
• Writers
• Casey Robinson(screen play)
• Henry Bellamann(from the novel by)
• Stars
• Ann Sheridan
• Robert Cummings
• Ronald Reagan

A seemingly quiet Midwestern town is the hiding place for a number of sordid secrets in this melodrama based on Henry Bellamann's best-selling novel. Parris Mitchell (Scotty Beckett) is a young boy growing up in the town of King's Row, where he becomes close friends with Cassandra (Mary Thomas), a quiet girl who isn't popular with the other children. Parris is also friends with Louise (Joan Duvalle), a rich girl who looks down on others; Drake (Douglas Croft), a good-natured but self-centered type; and Randy (Ann Todd), a girl with a wild tomboy streak. It's a testimony to Parris' character when Cassandra and Louise both invite him to parties on the same day and he decides to go to Cassandra's, because he's not sure who else might be there for her. However, his friendship with her begins to fade after her father, local psychiatrist Dr. Tower (Claude Rains), decides to withdraw her from public school and tutor her at home instead. Years later, Parris (now played by Robert Cummings) is a promising medical student studying psychiatry with Dr. Tower, and while he's stayed in contact with Cassandra (now played by Betty Field), she remains at a curious emotional distance from those around her. Randy (now played by Ann Sheridan) romances Drake (now played by Ronald Reagan), who has inherited a fortune and is living the high life to the fullest. However, Drake is also involved with Louise (Nancy Coleman), who is not allowed much of a social life by her father, Dr. Gordon (Charles Coburn), and she fears that the more outgoing Randy will steal Drake away from her. When Parris decides to travel to Europe to further his studies, Cassandra asks if she can join him; he's not keen on the idea, but he considers it. He is then shocked to learn that Cassandra has been killed by her father after he learned that she was with child, shortly before taking his own life. Drake, meanwhile, loses his money through a series of unfortunate circumstances and is forced to take a job with the railroad; when he is injured at work, he's taken to Dr. Gordon for treatment. However, the doctor never approved of Drake's romance with Louise and was even more upset when he decided to leave her for Randy; in retaliation, Dr. Gordon amputates Drake's legs, even though his condition in no way justified it. Meanwhile, Parris comes back from Europe and makes the acquaintance of a local resident, Dr. Sandor (Erwin Kalser), while becoming infatuated with his daughter, Elise (Kaaren Verne). He also learns of Dr. Gordon's shocking mutilation of Drake, who is determined to somehow live a normal life despite it all, with Randy by his side. Kings Row was nominated for three Academy Awards (including Best Picture of 1943), and is generally conceded to feature the best performance of Ronald Reagan's Hollywood career; he titled his autobiography Where's the Rest of Me?, after the key line of his most memorable (and challenging) scene in the picture.

• Director
• Dorothy Arzner
• Writers
• Austin Parker(screenplay)
• Gertrude Purcell
• Stars
• Claudette Colbert
• Fredric March
• Monroe Owsley

Trailblazing female director Dorothy Arzner helmed this well-crafted romantic drama. Julia Traynor (Claudette Colbert) is a secretary working for Jerry Stafford (Frederic March), a successful stock broker. Jerry has taken a decidedly non-professional interest in Julia, and when he asks her to join him on an ocean cruise, she firmly declines the offer. Hoping to throw Jerry off her trail, Julia accepts a hasty marriage proposal from Philip Craig (Monroe Owsley), a young and struggling securities broker. When Jerry learns that Julia has tied the knot, he rashly fires her and predicts that the marriage won't last six months. Jerry soon regrets his outburst and not only gives Julia her job back but hires Philip as well. However, Jerry's prediction proves to be not far from the mark; Julia is not happy with Philip, and Jerry learns that Philip has been embezzling company funds to play the market on his own. After a downturn in the market wipes out Philip's investments, Julia discovers that he owes $100,000 as a result of his bad investments. Desperate to raise money, Julia offers herself to Jerry in exchange for a loan; he refuses to take advantage of her, but he agrees to front her the money anyway. Philip, however, cannot believe that Jerry would give Julia the money without demanding her favors in return, and he goes after Jerry in a jealous rage. Ginger Rogers, Charles Ruggles, and Pat O'Brien lend sparkle to the supporting cast.

• Director
• William Dieterle
• Writers
• Milton Krims(screen play)
• Tom Reed(screen play)
• Gerald Beaumont(based on story by)
• Stars
• Pat O'Brien
• Humphrey Bogart
• Sybil Jason

In this drama, Pat O'Brien plays James O'Malley, a tough, by-the-book policeman who is so unbending on any minor infraction of the law that he even gives his own mother a ticket for jaywalking. When newspaper reporter Pinky Holden (Hobart Cavanaugh) writes an article making fun of O'Malley's obsession with order, Capt. Cromwell (Donald Crisp), the Chief of Police, demotes the officer to a crossing guard. In his first day on the job, O'Malley, true to form, gives John Phillips (Humphrey Bogart) a ticket for the broken muffler on his rattletrap car. Phillips is in dire financial straits; he's been out of work for some time, and has both a wife (Frieda Inescort) and a handicapped daughter, Barbara (Sybil Jason), to support. O'Malley takes so long writing out his ticket for Phillips that when he finally arrives at work, he's fired. Desperate for cash, Phillips tries to hock his war medals, but a disagreement with the pawnbroker leads to a fight, and after knocking him out, Phillips takes all his money. Phillips is arrested by O'Malley for his faulty muffler around the same time that Barbara wanders into traffic and is seriously injured by a motorist. Eventually, O'Malley puts the pieces together and realizes the terrible toll his unwillingness to compromise has taken on Phillips and his family.

• Director
• Jack Cardiff
• Writers
• André Pieyre de Mandiargues(novel "La Motocyclette")
• Ronald Duncan(screenplay)
• Jack Cardiff(adaptation)
• Stars
• Marianne Faithfull
• Alain Delon
• Roger Mutton

Director Jack Cardiff also served as scripter and cinematographer of the Anglo-French co-production Girl on a Motorcycle (La Motocyclette) The girl in question is played by leather-clad Marianne Faithfull, who speeds through Alsace on her cycle, en route to a tryst in Heidelberg with her ex-lover (Alain Delon). In a series of flashbacks, she recalls the events leading up to the present critical moment, including her desultory marriage. Based on a novel by Andre de Pieyre, the R-rated Girl on a Motorcycle was originally released in English-speaking countries in an X-rated version titled Naked Under Leather. Based on the stage play by Walter Melville.

• Director
• Cliff Robertson
• Writers
• Cliff Robertson
• Gary Cartwright
• Bud Shrake
• Stars
• Cliff Robertson
• Geraldine Page
• Cristina Ferrare

Cliff Robertson wrote, produced, directed and acted the lead in this film about a rodeo performer. The rodeo footage in this film was shot at actual rodeo competitions. Rodeo rider J.W. Coop (Robertson) has just spent ten years in jail for passing bad checks. He comes out and discovers that everything except his crazy mother (Geraldine Page) has changed. Riders don't compete in all-around events anymore, but fly all over the country in private planes to compete in the same event in several rodeos a day. Furthermore, the sexual liberation movement has changed the way women relate to men. He is nonplused to discover a hippyish woman (Cristina Ferrare) who wants a no-strings relationship with him. The idea of health food catches him by surprise, too. Coop wants and needs to win a national rodeo championship, despite all the new challenges he faces.

• Director
• Peter Yates
• Writers
• John Mortimer(screenplay)
• Mervyn Jones(novel)
• Stars
• Dustin Hoffman
• Mia Farrow
• Michael Tolan

John and Mary attracted a great deal of press coverage in 1969 for being the one of the first American films in which the male and female leads (Dustin Hoffman and Mia Farrow) start out the film by spending the night together, rather than holding off until the end. The morning after, the boy and girl wander about New York, wondering if they'll truly commit themselves to one another. Both characters are haunted by unsuccessful earlier affairs, and both have enough hang-ups to fill volumes of psychological textbooks. Come nightfall, John and Mary end up back in bed...and learn each other's names for the first time. John and Mary was considered "beautiful," "progressive" and "significant" in the permissive 1960s; nowadays it's about as controversial as The CBS Morning News.

• Director
• Frank Lloyd
• Writers
• E. Barrington(story)
• Forrest Halsey(adaptation)
• Harry Carr(titles)
• Stars
• Corinne Griffith
• Victor Varconi
• H.B. Warner

Frank Lloyd both produced and directed The Divine Lady, a Hollywood slant on the 19th century romance of Lord Horatio Nelson and Lady Emma Hamilton. American film star Corinne Griffith, decked out in a blonde wig, is decorative but otherwise unconvincing as Lady Emma, while Hungarian-born Victor Varconi brings an inappropriate continental air to the veddy British Lord Nelson. Both stars found themselves playing second fiddle to Marie Dressler, mugging to her heart's content as Lady Emma's ambitious mother. The scandal surrounding the leading characters' illicit affair is secondary to the film's exciting reconstructions of Nelson's celebrated sea battles. Technically a silent, Divine Lady was released with a Vitaphone musical score and sound effects. Lost in the shuffle during the switch over to talkies in 1929, Divine Lady is forgotten today, totally eclipsed by the immensely successful 1941 film Lady Hamilton, starring Laurence Olivier and Vivien Leigh.

• Director
• Bobby Connolly
• Writer
• Ed Earl Repp(story "Hell's Saddle Legion")
• Stars
• Dick Foran
• Anne Nagel
• Smoke

Returning to his home spread in the Red River border area between Texas and Oklahoma, Tal Holladay (Dick Foran) is falsely accused of murdering a young family friend (Carlyle Moore, Jr.) in this frequently entertaining Western directed, incongruously, by dance director Bobby Connolly. Imprisoned, Holladay later makes his escape while breaking Karen Ordley's (Anne Nagel) wild stallion. Forming a vigilante of fellow (innocent) prisoners, Holladay quickly learns that his own father was murdered in an attempt to prevent the building of a dam and that Karen's foster-brother Hub Ordley (Willard Parker) is the brain behind the scheme. In an attempt to plead his case to the visiting Secretary of the Interior (Walter Young), Tal is once again arrested by Sheriff Gorman (Raphael Bennett) and is nearly lynched. He is saved in the nick of time by the vigilantes, and with the help of newly elected U.S. Marshal Chris Madden (Granville Owens), he manages to disarm the evil Hub Ordley and save his ancestral ranch. Rather violent for a B-Western, The Devil's Saddle Legion incorporated three songs -- "When Moonlight Is Riding the Range," "My Texas Home," and "God's Country" -- all performed by leading man Foran, a pleasant baritone. Warner Bros.' answer to Gene Autry, Foran looked good on a horse but was rather obviously doubled in several fight sequences. Although surrounded by the studio's sumptuous production values (sumptuous for a B-Western), the former Academy Award nominee (The Petrified Forest, 1936) was perhaps a bit too "operatic" for B-Western stardom, and his 1936-1937 Warner Bros. series was never a threat to the supremacy of Autry, Rogers, et al.

• Director
• Alfred E. Green
• Writers
• Joseph Jackson
• Wilson Mizner
• Courtney Terrett(story)
• Stars
• Warren William
• Bette Davis
• Guy Kibbee

Alfred E. Green directs the political satire The Dark Horse, starring Bette Davis early in her career. The progressive party nominates moronic candidate Zachary Hicks (Guy Kibbee) for governor. Party secretary Kay Russell (Davis) wants to hire her sweetheart, Hal Blake (Warren William), for campaign manager, even though he is in jail for not paying his alimony. Impressed with his slick behavior, the campaign committee bails him out of jail and he goes to work. He teaches Hicks to give cryptic answers to journalists and makes him memorize a speech by Abraham Lincoln. During the big debate, conservative opponent William A. Underwood (Berton Churchill) quotes Lincoln and Hicks calls him a plagiarist. Eventually, Blake's ex-wife, Maybelle (Vivienne Osborne) shows up demanding her alimony payments. The climactic scene involves a set-up at a rural mountain cabin and confusing marital arrangements. Also starring Frank McHugh as aide Joe and Sam Hardy as the conservative manager Mr. Black. Hollywood mogul Darryl F. Zanuck received co-writing credits for the screenplay under the pseudonymn Melville Crossman.

• Director
• Delbert Mann
• Writers
• Harriet Frank Jr.(screenplay)
• Irving Ravetch(screenplay)
• William Inge(based on the play by)
• Stars
• Robert Preston
• Dorothy McGuire
• Eve Arden

Robert Preston plays the flip side of his eternally ebullient Professor Harold Hill in Dark at the Top of the Stairs. Preston portrays an early 20th-century harness salesman, fully aware that his product is rapidly becoming obsolete. He tries to compensate for his own lack of self-esteem by cheating on his patient wife Dorothy McGuire; Preston's "other woman" is played by Angela Lansbury. Meanwhile, daughter Shirley Knight falls in love with Jewish boy Lee Kinsolving, who kills himself in the face of relentless bigotry. And McGuire's sister Eve Arden is stuck in a loveless marriage with spineless Frank Overton. Robert Eyer plays the young alter-ego of William Inge, who wrote the Pulitzer Prize-winning play on which this film is based. Eyer's fear of the "dark at the top of the stairs" is meant to be symbolic of the other characters' inner demons, a fact that Inge drives home every three minutes or so. In typical Inge fashion, an unlikely happy ending is reached just before "The End."

• Director
• Roy Ward Baker
• Writer
• Francis M. Cockrell
• Stars
• Robert Ryan
• Rhonda Fleming
• William Lundigan

Brief and very much to the point, Inferno is a grim, fascinating tale of survival. Breaking his leg on a vacation trip, millionaire Carson (Robert Ryan) is left in the middle of the desert by his wife Geraldine (Rhonda Fleming) and his business partner Joseph Duncan (William Lundigan). Ostensibly, they have driven off to seek medical aid for Carson; in fact, they intend to leave him in the desert to die of thirst and exposure. When the truth of his dilemma is made clear, Carson vows to live long enough to exact revenge against his wife and partner. Virtually a one-man show for the most part, Inferno maintains its level of taut suspense from start to finish -- and what a finish. The first 3D effort from 20th Century-Fox, Inferno was remade for television in 1973 as Ordeal, with Arthur Hill in the Robert Ryan part and Diana Muldaur and James Stacy as his would-be murderers.

• Director
• Jean Negulesco
• Writers
• Nunnally Johnson(screen play)
• Zoe Akins(plays)
• Dale Eunson(plays)
• Stars
• Marilyn Monroe
• Betty Grable
• Lauren Bacall

A remake of 1933's The Greeks Had a Word for Them, as well as a retread of 20th Century-Fox's favorite plotline, How to Marry a Millionaire was the first Hollywood comedy to be lensed in Cinemascope. Lauren Bacall, Betty Grable and Marilyn Monroe play three models of modest means who rent an expensive Manhattan penthouse apartment and pose as women of wealth. It's all part of a scheme hatched by Bacall to snare rich husbands for herself and her roommates. The near-sighted Monroe is wooed by an international playboy, but ends up settling for the tax-dodging fugitive (David Wayne) who owns the girls' apartment. The knuckle-headed Grable goes off on an illicit weekend in the mountains with a grouchy married executive (Fred Clark), but falls instead for a comparatively poor--but very handsome--forest ranger (Rory Calhoun). And Bacall very nearly lands an aging millionaire (William Powell), but has a sudden attack of conscience and opts instead for the supposedly poverty-stricken chap (Cameron Mitchell) who has been pursuing her since reel one. It turns out that she has actually landed one of the richest men in New York--and upon learning this, our three luscious heroines faint dead away. Before the opening credits roll in How to Marry a Millionaire, we are treated to a "live" orchestral rendition of Alfred Newman's "Street Scene" overture, conducted by Newman himself. In addition to its being the first wide-screen comedy, Millionaire was also the first-ever presentation of the weekly NBC series Saturday Night at the Movies, premiering on the small screen on September 23, 1961.

• Director
• Ray Nazarro
• Writer
• Barry Shipman
• Stars
• Roy Acuff
• The Smoky Mountain Boys
• The Modernaires

Posing as unemployed musicians,Roy Acuff (Roy Acuff) and his Smoky Mountain Boys (The Smoky Mountain Boys), are being helped by Ted Gibson (Bill Edwards), owner of the Harmony Inn in San Antonio, Texas. Gibson is impoverished because he keeps buying his kleptomaniac Uncle Zeke (Lloyd Corrigan)out of trouble, supports his Ma (Dorothy Vaughan), and Grandpa ('George Cleveland'). He wants to marry Jean Wallace (Lyn Thomas) , and doesn't know that Acuff and his musicians are traveling incognito for the radio show "Who Am I Helping?" If he guesses their identity, he wins $100,000.

• Director
• Russell Mulcahy
• Writers
• Gregory Widen(story)
• Peter Bellwood(screenplay)
• Larry Ferguson(screenplay)
• Stars
• Christopher Lambert
• Sean Connery
• Clancy Brown

With the ultimate throw-down -- "There can be only one" -- Highlander captured the imaginations of fantasy fans seeking a well-executed swordplay epic, becoming a cult classic in the process. Connor MacLeod (Christopher Lambert) is one of a waning few survivors of a clan of immortals. The breed have been dueling each other for centuries in the quest to be the last one remaining, and hence achieve a supreme enlightenment that would be dangerous in the wrong hands. The immortals can only die by decapitation, so they hunt each other over the centuries and across continents to meet for each decisive duel, which will bring one of them a step closer to ultimate power. In present-day America, the troubled hero MacLeod lives a brooding and lonely existence, having lost his true love centuries ago. The evil Kurgan (Clancy Brown), an immortal who plans to use his power toward unspeakable ends, has fought MacLeod before but is still trying to finish him off. After emerging victorious from a parking garage skirmish with the third-to-last immortal, MacLeod knows that only Kurgan is left, and the two are on a collision path toward the inevitable. In the film's numerous flashbacks to the past, Sean Connery plays Ramirez, the immortal who first tutors MacLeod after the hero survives a mortal battle wound, prompting his fearful village to banish him. Roxanne Hart plays MacLeod's modern-day love interest, who tries to help him while struggling to believe his incredible story.

• Director
• Andrew V. McLaglen
• Writers
• Burt Kennedy(screenplay)
• Sam Freedle(story)
• Stars
• James Arness
• Angie Dickinson
• Robert J. Wilke

Two years into Gunsmoke, James Arness took time out of his busy schedule to star in the medium-budget western Arizona Mission. Trading in his white hat for a black one, Arness plays a bandit. He and partners Robert J. Wilke and Don Megowan pull off a robbery; the partners then vamoose with the loot, leaving Big Jim empty-handed and seriously wounded. He is also betrayed by his lady friend Angie Dickinson. When Arness finally catches up with his former chums, he decides to "psych" them out rather than fill them full of lead right off the bat. Written by future director Burt Kennedy, who'd penned many a "Mexican standoff" picture for Randolph Scott and Budd Boetticher, Arizona Mission represented the first big-screen directorial effort for Andrew McLaglen. The film was originally released as Gun the Man Down.

• Director
• Noel M. Smith
• Writers
• Fred Niblo Jr.(screen play)
• Ring Lardner(from a play by)
• George M. Cohan(from a play by)
• Stars
• Bert Wheeler
• Marie Wilson
• Gloria Dickson

A tough football scout thinks he has finally found a potential star quarterback when he sees a burly country-store stock boy casually unloading huge sacks of potatoes. Then and there the talent scout signs the boy to play for the Green Bay Packers. This comedy examines what happens when the naive lad's sudden stardom goes to his head and he gets involved with some potentially dangerous gamblers. The story was adapted from the 1929 baseball film Fast Company, which was later remade as Elmer the Great in 1933.

• Director
• Michael Curtiz
• Writers
• Alfred Lord Tennyson(poem "The Charge of the Light Brigade")
• Michael Jacoby(original story)
• Rowland Leigh(screen play)
• Stars
• Errol Flynn
• Olivia de Havilland
• Patric Knowles

During the ill-fated charge of British troops at Balaclava in the Crimean War, loyal soldiers who blindly followed orders were led to certain death. This is the fifth time the story has been told on film, but the actual event is an afterthought to the main plot. Snobbish aristocrats and ineffectual politicos combine with pompous blue-bloods to make decisions affecting 600 men thousands of miles away. A decidedly anti-war and satirical slant is presented, as inept generals stand knee-deep in bodies, each blaming the other for the fiasco. Vividly underscored here is the fanaticism, dedication, and blind loyalty which caused the total annihilation of hundreds of soldiers. This 5-million-dollar epic film recouped only 1 million after the initial release, leaving critics to compare the real-life disaster with the financial one suffered by the producers. Trevor Howard, John Gielgud and Vanessa Redgrave head the excellent cast.