Heavily indebted Charlie Raymond is hired to accompany a British visitor on a trip across the USA, and looks for a way to take advantage of his employer.

"Are you listening?" was the catchphrase of early-1930s radio personality Tony Wons. Though Wons does not appear in the 1932 MGM programmer Are You Listening?, the film is concerned with the burgeoning broadcast industry. William Haines plays a wise-cracking radio writer who is tricked into confessing on the air that he murdered his wife. Whenever an actor normally associated with comedy roles plays a murderer (either actual or implied) in a film, it's usually a sign that his studio contract has come to an end. Such was the case of Are You Listening?, which proved to be William Haines' swan song at MGM, where he'd been employed since 1925. Perhaps as a going-away present, J.P. McEvoy's script contrives to give Haines three leading ladies: Madge Evans, Anita Page and Karen Morley (nobody outside the industry knew that Haines was in fact a homosexual, and MGM was determined to keep it that way).

This "Theater of Life" series short focuses on a medical services ship that stops in the native village of Haines, Alaska. The natives are depicted as superstitious of modern medicine. At the end, however, youngster Ralph Sarlan (the only person identified by the narrator) is taken by airplane to get corrective surgery on his deformed foot.

A series of troubling incidents lead Mr. Pelham to believe that he has a double who is deliberately impersonating him.

This second filmization of Leo Tolstoy's novel is widely regarded as the best version. Greta Garbo plays the title character, the sheltered wife of Czarist official Rathbone. Intending to dissuade Rathbone's brother (Reginald Owen) from a life of debauchery, Garbo is sidetracked by her own fascination with dashing military officer Fredric March. This indiscreet liaison ruins Garbo's marriage and position in 19th century Russian society; she is even prohibited from seeing her own son (Freddie Bartholomew). In keeping with the censorial strictures of 1935 Hollywood, Anna Karenina is extremely careful in the staging of its final suicide sequence, allowing the audience to determine for itself whether or not Garbo's desperate act of throwing herself under wheels of a train is intentional. Outside of the expected superb performances of Garbo and March, the film's most fascinating characterization is offered by Basil Rathbone, whose cold cruelty in banishing his wife is shown to be the by-product of his own broken heart (though Rathbone never allows himself to descend into cheap sentiment). The first film version of Anna Karenina was the 1927 silent feature Love, also starring Garbo, which substituted an imbecilic happy ending for Tolstoy's bleak denouement (there would be an acceptable third version in 1948, starring Vivien Leigh. The 1935 Anna Karenina is arguably the finest accomplishment of the felicitous 1930s alliance between star Greta Garbo, director Clarence Brown and cinematographer William Daniels.

Albert and David Maysles, pioneers in the cinéma vérité movement of documentary filmmaking, chose for their subjects of this film a mother and daughter with celebrity connections. Edith Bouvier Beale and her daughter, Edie (or, as they are called by the brothers, Big Edie and Little Edie), are aunt and cousin to Jacqueline Kennedy Onassis. In the early '70s, their 28-room mansion in Long Island's tony community of East Hampton was found to be a health hazard, and the two women, in their seventies and fifties, were threatened with eviction. Jacqueline Onassis paid for the house to be put in good order, and two years later, the Maysles paid the ladies a series of follow-up visits. This is not fly-on-the-wall filmmaking; the brothers are sometimes shown on-camera, and both women talk directly to them. Big Edie reminisces about her husband (from whom she has long been separated) and her youthful singing career; Little Edie ruminates over memories of her thwarted romances and confides that she has to get out of Grey Gardens (the name of their estate), although she has been living there since 1952; and the two women pick at each other for transgressions past and present. The women share their home with at least five cats and several raccoons, for whom Little Edie leaves out food in the attic. They are not recluses; they host a modest 79th birthday party for Big Edie, they employ a gardener, and they are often visited by Jerry, a young handyman/lost soul whom Little Edie calls "the Marble Faun," after the Nathaniel Hawthorne story. "It's very difficult to keep the line between the past and the present," Little Edie says near the beginning of the film, and it becomes clear that both women are much more comfortable reliving their respective youths (in some ways, Little Edie has never left hers) than facing their rather bleak old and middle age.

Documentary short detailing the story of Clara Barton, founder of the Red Cross.

When Mr. and Mrs. Crane hear the Verbers having a violent argument in the apartment just above them, and then Mr. Verber disappears the next day, they can't help suspecting the worst.

While working as a department store 'Santa Claus', a paroled convict tries to help a troubled boy.

Based on a play by Fay Kanin, this comedy drama follows a successful congresswoman's emotional journey back to her alma mater. When Agatha Reed (Joan Crawford) is offered an honorary degree at her former college, she is forced to remember the reason she was expelled to begin with. Nearly twenty years prior, Agatha (Crawford) had an affair with Dr. James Merrill (Robert Young), one of her professors. After her departure, Dr. Merrill (Young) slowly rose through the ranks, eventually becoming the president of the school. Despite having left under less than desirable circumstances, Agatha is excited to see him and hopes to rekindle their relationship. Meanwhile, newspaper reporter Matt Cole (Frank Lovejoy), not only follow's Agatha to her former university, but unsucessfully proposes marriage. Unfortunately for him, the alumna's eyes are set firmly towards her old flame. However, once Matt (Lovejoy) and Agatha team up in a passionate attempt to update the school's outdated curriculum, she realizes who she truly loves.

When Lyle Endicott is fired from his job at an art museum, he comes up with a plan to take advantage of a trusting invalid whom he befriended at the museum.

When an office worker is fired from his job, he shoots his boss to death, but when he returns to the office his boss is alive, and has no recollection of the incident.

Consigned to the Warner Bros. "B" unit in the mid-1930s, director Robert Florey must have had a high old time trying to inject some visual dynamics into such unprepossessing projects as Going Highbrow. Guy Kibbee and ZaSu Pitts star as Mr. and Mrs. Matt Upshaw, a nouveau riche couple clearly inspired by Bringing Up Father's Jiggs and Maggie. While Matt prefers to live his life as simply as he'd done before striking it rich, Mrs. Upshaw is bound and determined to crash high society. To appease his wife, Matt hires dimwitted lunch-counter waitress Annie (Judy Canova) to pose as the Upshaw's daughter, thereby qualifying for the upcoming debutante ball. As things turn out, Annie reveals her true identity at the worst possible time, while the Upshaws are clipped for $50,000 by obsequious social "arranger" Augie (Edward Everett Horton). Though Going Highbrow represented Judy Canova's first major role at Warner Bros., the studio was unimpressed and dropped her option; in later years, Canova admitted that the picture was "not so hot."

Based on the novel by James Michener, this film stars William Holden as Harry Brubaker, a former military pilot who served in World War II. When he's called back into duty during the Korean conflict, Brubaker is angry, believing he's already served his country and needs to devote himself to his wife Nancy (Grace Kelly) and their children. However, he accepts his commission and is sent back into action as a pilot, with a special assignment to blow up five strategically crucial bridges in Korean territory. This drama, which focuses on the danger and futility of war, also features Frederic March as an admiral who respects the tremendous danger of Brubaker's assignment, and Mickey Rooney as an ill-fated helicopter pilot.

Another above-average entry in Paramount's Zane Grey series, Arizona Raiders was adapted from Grey's Riders of Spanish Peaks. Buster Crabbe, here billed under his given name of Larry, stars as outlaw Laramie Nelson, who at the beginning of the picture manages to escape a "necktie party." A sense of obligation which Laramie himself cannot explain leads him to rescue another miscreant, Tracks Williams (Raymond Hatton), from a similar demise. The two desert rats team up with a third, handsome young Lone Alonzo Mulhall (Johnny Downs), whereupon the threesome engage in numerous adventures, many of them humorous in nature. Marsha Hunt, as much of a "regular" in the Zane Grey series as Crabbe and Hatton, plays the self-reliant ingenue.

Adapted by Horton Foote from his own play The Travelling Lady, Baby the Rain Must Fall stars Steve McQueen as a troube-prone country singer and Lee Remick as his estranged wife. Released on parole after serving time for knifing a man, McQueen returns to Remick and their young daughter Kimberly Block. When he proves incapable of supporting his family, McQueen's violent nature erupts once more, with catastrophic results. Don Murray costars as a compassionate sheriff who tries to keep McQueen from straying off course. Though it seems to go on forever when seen today, Baby the Rain Must Fall was praised effusively by the critics in 1965 as a welcome change of pace for action star Steve McQueen; The film would make an interesting companion feature for the strikingly similar Horton Foote project Tender Mercies (1983).

Attack of the Puppet People is one of the few "mad scientist" opuses of the 1950s to be motivated by loneliness rather than megalomania. John Hoyt plays Franz, a seedy European doll-maker who harbors a crush on his secretary Sally (June Kenney). When Sally makes plans to marry Franz' top employee Bob (John Agar), strange things begin to happen. Before long, both Bob and Sally have been shrunken to doll-size by Franz, who keeps a retinue of living "puppet people" to avoid being left alone. Eventually, the little ones rebel against their addlepated but basically harmless keeper, though there's never any "attack" per se. Most of the acting is amateurish, with the exception of the always reliable John Hoyt; the special effects are somewhat better, but still nothing to write home about.

The Jorgensons are a wealthy family spending the summer on a resort island. Ken (Richard Egan), Helen (Constance Ford) and daughter Molly (Sandra Dee) settle in to a beach house on the island where Ken was a young lifeguard twenty years ago. He rediscovers Sylvia (Dorothy McGuire), with whom he had an earlier affair before she married Bart Hunter (Arthur Kennedy). The Hunter's son Johnny (Troy Donahue) and Molly fall in love, much to the objection of her mother, a cold and cynical woman. When Ken and Sylvia start another torrid affair, the exposure of the liaison leads to the divorce of both married couples. After Johnny and Molly are stranded overnight on a beach, Molly is forced by her heartless mistrusting mother to undergo a physical examination and a pregnancy test. Tests results are negative, but more negative is the mother-daughter relationship. Ken and Sylvia get married and Molly gets pregnant. The newlyweds then compassionately guide unwed couple to marriage.

In 1945, James Cagney, through his independent production company, bought the rights to a lurid novel by Adria Locke Langley, concerning the rise of a Southern demagogue, loosely based on the political career of Huey Long. By the time the film finally went into production and was released in 1953, the film became an also-ran, trailing behind Robert Rossen's Oscar-winning production All the King's Men, which concerned the same subject. The film, directed by Raoul Walsh, never escapes from the towering shadows of the Rossen film, so it becomes, in the end, a matter of preference for the lead character -- whether one prefers the looming intimidation of Broderick Crawford or the brisk pugnacity of James Cagney. Cagney plays swamp peddler Hank Martin, who tries to ride into the governor's mansion in a backroad Southern state by making a crusade out of the plight of the poor and impoverished majority of the state. He begins his political assent by leading a sharecropper's revolt against the rip-offs the sharecroppers are receiving at the local cotton mill. But things become more intense and Hank Martin sows the seeds of his own destruction when he makes a deal with a local, crooked political boss in order to get ahead in his political career.

The 1954 Martin-and-Lewis romp Living It Up is an amusing remake of the 1937 comedy classic Nothing Sacred. More specifically, it is the film version of the Broadway musical Hazel Flagg, which was based on Nothing Sacred. The heroine of the original undergoes a sex change to become feckless Homer Flagg (Jerry Lewis), who is led to believe that he's dying of radiation poisoning. Manhattan newspaperwoman Wally Cook (Janet Leigh), hoping to improve circulation of her paper, convinces her boss, Oliver Stone (Fred Clark), to fete Homer as a hero with an all-expenses-paid trip to the Big Apple. Meanwhile, Homer learns from local doctor Steve (Dean Martin) that he isn't dying at all. But Steve talks Homer into taking advantage of the celebrity treatment bestowed on him by Wally, and a good time is had by all -- until medical specialist Dr. Egelhofer (Sig Rumann) insists upon examining Homer. Highlights include a hilarious bit at Yankee Stadium, and an energetic jitterbug number featuring Jerry Lewis and Sheree North. The handful of songs retained from Hazel Flagg include "Every Street's a Boulevard in Old New York."

A French sculptor travels to LA and, with the help of Ace the Wonder Dog, pretends to be blind so he can sneak into a museum and reclaim some missing love letters. The amorous missives were written by his sister and could destroy her reputation. Someone has been using them to blackmail her, so her brother steals them. Unfortunately, they get mixed up in some shipping crates and get sent to California with a bunch of his latest creations. When the crooks learn that the letters are there, they too head for LA making the bulk of this crime drama a race to find those letters.

Behind the Rising Sun is a rarity: a WW2 film with a handful of sympathetic Japanese characters. His eyes slanted by the RKO makeup department, Tom Neal plays Taro, the Americanized son of a Japanese diplomat (J. Carroll Naish). During the Sino-Japanese war, Taro's father insists that the boy leave the US and join the Japanese army. Indoctrinated in the "Banzai" mentality of the empirical government, Taro is transformed into an enemy of the West, going so far as to betray his best friend ly inebriated millionaire.

Director John Farrow's Back From Eternity is a virtual scene-for-scene remake of Farrow's 1939 film Five Came Back. The earlier film is the better of the two, if only because it is 22 minutes shorter. The plot concerns a small passenger plane that crashlands in South America, square in the heart of headhunter country. Pilot Robert Ryan is able to get the plane back into flying condition; unfortunately he discovers that the plane will only be able to carry five of its eleven passengers to safety. Who will have to be left behind: condemned murderer Rod Steiger, socialite Phyllis Kirk, her weak-willed fiance Gene Barry, copilot Keith Andes, elderly married couple Beulah Bondi and Cameron Prud'homme, songstress Anita Ekberg, foul-tempered cop Fred Clark, soft-hearted crook Jesse White, or tousle-haired kid Jon Provost? Rod Steiger is just fine in the role orginally played by Joseph Calleia, but Ekberg is no match for the original's Lucille Ball.