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Kay Francis stars as Stella Parish, a London stage favorite who suddenly disappears without a trace. British news correspondent Keith Lockridge (Ian Hunter) girdles the globe in search of Stella, who has left her beloved daughter Gloria (Sybil Jason) in the care of an aunt (Jessie Ralph). Finally locating his quarry, Lockridge learns that Stella dropped from view to hide the fact that she once served a jail sentence as an accessory to murder. He promises to kill the story for Gloria's sake, but his dispatch is inadvertently published away, forcing Stella into a tawdry career as a "freak" stage attraction (not unlike Evelyn Nesbit Shaw). After hitting rock-bottom in a burlesque show, Stella is rescued by her old director Stephan Norman (Paul Lukas), who invites her to revive the show she was starring in at the time of her disappearance. Little does she know that this comeback has been arranged by Lockridge, who hopes to atone for betraying her trust. All roads lead to a tear-stained reunion between Stella and her daughter, a denouement as inevitable as death and taxes. For years, it was believed that Errol Flynn played an unbilled bit in I Found Stella Parish, but a researcher in the late 1960s discovered that the Flynn look-alike was actually Francis X. Bushman Jr.

In this drama, the owner of a Chicago meat-packing company falls in love with a beautiful opera singer. Unfortunately, his selfish, social climbing wife refuses to divorce him. He continues the affair on the sly. As his lover's career begins to ascend, so does his business when he becomes the leader of a meat packing trust that sends cured beef to the troops fighting in Cuba. Later, the newly elected president, Theodore Roosevelt indicts him, but then the charges are dropped. By this time, the opera singer has become a star. Her lover too tries to find success, but instead, his business ends up going bankrupt. He then leaves for Greece. When his lover finds out, she too drops everything and follows him.

This imitation-Lubitsch romantic comedy stars William Powell as an elegant jewel thief plying his trade in Vienna. Powell's latest victim is bored baroness Kay Francis, who is much taken by the gentleman crook's handsomeness and poise. Since Francis is casting about for a new lover and newer thrills, Powell meets her qualifications, criminal or no. But the lady's husband (Henry Kolker) is not so easily charmed, and he sets about to bring Powell to justice. Jewel Robbery was based on a play by Ladislas Fodor, previously filmed in an Austrian version.

James Hilton's beloved fantasy novel about the land of Shangri-La was given an awkward musical treatment in this extravagantly produced flop. Larry Kramer's screenplay stays close to the 1937 Frank Capra original, as a plane fleeing China crashes in the Himalayas and a mixed group of survivors discovers the magical, peaceful land of Shangri-La. Here the film becomes a full-fledged musical, with songs by Burt Bacharach and Hal David illustrating the distant realm's nature and the conflict that happiness causes amongst the survivors. Curiosity-seekers may be intrigued by the film's reputation as a notorious dud, but fans of the story would be better served by the classic original, despite a cast of well-respected names, including Peter Finch (in the Ronald Colman role), John Gielgud, Liv Ullmann, and Charles Boyer.

Dale Wasserman's long-running Broadway smash comes to the screen in this musical based on Miguel de Cervantes' classic satire Don Quixote de la Mancha. Cervantes (Peter O'Toole) is arrested and put in prison by the soldiers of the Spanish Inquisition after staging a comic performance which mocked the Spanish government. Cervantes' fellow inmates are eager to divvy up his belongings, but the author is desperate to save a manuscript of his latest work; in order to win the prisoners over, he stages, with their assistance, his latest comedy about the delusional knight Don Quixote (O'Toole). Don Quixote, with the help of his loyal manservant Sancho Panza (James Coco), is determined to battle evil, though he most often finds himself combating windmills. Don Quixote encounters the beautiful virgin Dulcinea -- personified by a jailed prostitute, Aldonza (Sophia Loren) -- and is certain he has found the love of his life. However, tragedy befalls Don Quixote when a band of savages rape Dulcinea as he sleeps, and he must decide where his greatest loyalty lies when his niece Antonia (Julie Gregg) arrives, asking Quixote to please return home to his family. In a move which was widely criticized at the time of the film's release, Peter O'Toole's singing voice was dubbed for most of his musical numbers, while Sophia Loren did all of her own vocal tracks.

Scheherazade (Crista Alfaiate) continues to tell stories in order to stay alive in the third and final film of Miguel Gomes' epic about the lives of ordinary people in contemporary, austerity-stricken Portugal. Among the tales: The Grand Vizier fears for Scheherazade's life, bird trappers train their pets for a singing competition, and a Chinese girl travels to Portugal.

Zany actress Annabel goes on a promotional tour in this lively comedy, the second in the Annabel series. During her tour, she allows her promoter to "leak" a story that she is having a romantic fling with a famous romance novelist. The ploy is successful, until she really does fall in love with the writer and decides to abandon her acting career to be with him. Unfortunately, he is already married.

Coming as it did on the heels of what many consider to be Mary Pickford's greatest triumph, Stella Maris (1918), this film seemed almost too lightweight in comparison. The situation -- a poor girl's introduction to High Society -- was already old hat in 1918, but luckily, the star and her director, Marshall Neilan, made what could have been a poor imitation of Pygmalion into one of the best social satires of the era. Amarilly Jenkins is a beloved Lower East Side urchin by day and no-nonsense cigarette girl at the tough Cyclone Café -- an establishment complete with prostitutes and leering "Johns" -- by night. She is in love with bartender Terry (William Scott), but when society sculptor Gordon Phillips (the grandly mustachioed Norman Kerry) is beaten up in a brawl, Amarilly brings the young man home to her mother, an Irish laundrywoman (Kate Price). Gordon's own mother, Mrs. Stuyvesant Phillips (Ida Waterman) of the Park Avenue Stuyvesant Phillipses, looks upon Amarilly as an interesting social experiment, inviting the girl to stay at their palatial home. The dowager, however, is alarmed when Gordon falls in love with Amarilly. To prove a point, Gordon's mother invites Mrs. Jenkins to tea with the Phillips family, and Amarilly's Irish immigrant mother doesn't disappoint, entertaining the assembly by dancing an impromptu jig with the family butler. The haughty Mrs. Phillips might have avoided this spectacle had she only known that both Amarilly and Gordon had long ago realized that they were wrong for each other. Having wryly observed how the other half lived, Amarilly returns happily to her bartender in Clothes-Line Alley.

France, 1920s: An affluent ladies' man finds himself in love with a homely married woman.

Without Reservations has to be the least typical John Wayne picture of the postwar era. Top billing is bestowed upon Claudette Colbert as Kit, a best-selling novelist heading westward to oversee the film version of her latest novel. Taking it upon herself to select the man who should portray the hero of her novel, Kit chooses war hero Rusty (John Wayne), whom she meets during her train trip to Hollywood. Unaware of Kit's true identity, Rusty and his pal Dink (Don DeFore) rail against the factual errors in her book. One thing leads to another, and before long Kit, Rusty and Dink have all been thrown off the train for annoying the other passengers. After a hectic stopover at a New Mexico farm, Kit reveals who she really is to Rusty and Dink, who are understandably put out. All is forgiven in the end, of course, with Kit and Rusty altar-bound at fadeout time. The Hollywood scenes feature such guest celebrities as Cary Grant, Louella Parsons and Jack Benny; and yes, that is an unbilled Raymond Burr as Claudette Colbert's dancing partner. Without Reservations was based on Jane Allen and May Livingston's novel Thanks, God, I'll Take it From Here (too bad they couldn't use that title!)

This earnest, socially-conscious road drama centers on two California teenagers who find their comfortable lives thrown into turmoil during the Great Depression. To find work for themselves, the adventurous lads sneak aboard a Chicago-bound train.

First filmed in 1926, the venerable stage melodrama Three Faces East was remade as a talkie in 1930. Set during WWI, most of the film takes place in the London home of Sir Winston Chamberlain (sic), First Lord of the Admiralty. What Sir Winston doesn't know is that his faithful butler Erich Von Stroheim is the head of a German espionage ring. What nobody knows are the true loyalties of heroine Constance Bennett, who might be a British agent, a German spy, an innocent bystander, or none of the above. The property would be filmed again in 1940 as British Intelligence, with Boris Karloff and Margaret Lindsay in the leading roles.

There's propaganda aplenty in RKO's I Married a Communist, the first of producer Howard R. Hughes's many anti-Red broadsides. Robert Ryan plays shipping executive Brad Collins, whose youthful flirtations with certain left-wing causes have made him ripe for plucking by Commie cell leader Vanning (Thomas Gomez). Threatening to reveal Collins' "pinko" past, Vanning orders the executive to deliberately sabotage the shipping industry in the Frisco Bay area. Other characters essential to the plotline are Collins' wife Nan (Laraine Day), who knows nothing of her husband's politics, and his idealistic brother-in-law Don (John Agar) who spouts Marxist dogma at the drop of a hat. Apparently at a loss as to how to depict communist villainy, the screenwriters hark back on the gangster films of the 1930s, notably in the scene where a hapless stoolie (the inevitable Paul Guilfoyle) is taken for a ride. When the title I Married a Communist proved an audience turn-off during previews, the film was rechristened The Woman on Pier 13.

George S. Kaufman's sturdy stage comedy The Butter and Egg Man was the inspiration for no fewer than four Warner Bros. talkie versions. The first of these was The Tenderfoot, starring Joe E. Brown as a wealthy but naive cowboy alone in the Big Apple. The producers of a down-and-out musical revue hope to convince Brown to put his money in their show, sending out cute chorine Ginger Rogers as the "convincer." After having his heart broken a few times and tangling with gangsters, Joe comes through and the show goes on. Warners followed The Tenderfoot with a 1937 musicalization of Butter and Egg Man, Dance Charlie Dance; this in turn was remade as An Angel From Texas in 1942. The final variation on this theme (so far!) was Three Sailors and a Girl (53).

James Thurber wasn't too happy with the Sam Goldwyn film adaptation of his 1939 short story The Secret Life of Walter Mitty, but the Technicolor musical comedy proved to be a cash cow at the box office. Danny Kaye stars as Walter, a milquetoast proofreader for a magazine publishing firm. Walter is constitutionally incapable of standing up for himself, which is why his mother (Fay Bainter) has been able to arrange a frightful marriage between her son and the beautiful but overbearing Gertrude Griswold (Ann Rutherford). As he muses over the lurid covers of the magazines put out by his firm, Walter retreats into his fantasy world, where he is heroic, poised, self-assured, and the master of his fate. Glancing at the cover of a western periodical, Walter fancies himself the two-gun "Perth Amboy Kid"; a war magazine prompts Walter to envision himself as a fearless RAF pilot; and so on. Throughout all his imaginary adventures, a gorgeous mystery woman weaves in an out of the proceedings. Imagine Walter's surprise when his dream girl shows up in the flesh in the person of Rosalind van Horn (Virginia Mayo). The girl is being pursued by a gang of jewel thieves headed by Dr. Hugo Hollingshead (Boris Karloff), a clever psychiatrist who manages to convince Walter that he's simply imagining things again, and that Rosalind never existed. At long last, Walter vows to live his life in the "now" rather than in the recesses of his mind: he rescues Rosalind from the gang's clutches, tells his mother and Gertrude where to get off, and fast-talks his way into a better position with the publishing firm. Substituting the usual Danny Kaye zaniness for James Thurber's whimsy, Secret Life of Walter Mitty works best during the production numbers, especially Kaye's signature tune "Anatole of Paris."

Barbara Stanwyck, displayed in all her pre-Code glory, once again plays "damaged goods" in Warner Bros.' The Purchase Price. Hard-boiled nightclub singer Joan Gordon (Stanwyck) gets fed up being the kept woman of her married boss, bootlegger Ed Fields (Lyle Talbot). Fleeing New York City, she ends up in North Dakota as the mail-order bride of wheat farmer Jim Gilson (George Brent).

A narrator claims that this film is a record of real people who were secretly filmed while auditioning for a movie called FAIRYTALES II. In reality, this was apparently a ploy that was used so the filmmakers wouldn't have to come up with an actual plot. The film consists mainly of nude women (and a few men) dancing, stripping, and talking (endlessly). Linnea Quigley does a nude dance in a dungeon as part of an S&M fantasy, and most of the other featured players are porn stars.

The Nitwits are Johnny (Bert Wheeler) and Newt (Robert Woolsey), cigar-counter proprietors in the building owned by music publisher Lake (Hale Hamilton). Johnny spends his spare time spooning with his sweetheart, Lake's secretary Mary (Betty Grable), while Newt tinkers with his inventions, the latest of which is an electric chair which compels the occupant to tell the truth. A none too lovable man, Lake has made enemies of several people, including his shifty assistant Lurch (Arthur Aylesworth) and disgruntled songwriter Clark (Erik Rhodes); he is also on the outs with Mrs. Lake (Evelyn Brent), who caught her husband "coming on" to the reluctant Mary. Thus it is that practically anyone could be the dreaded "Black Widow," a mysterious blackmailer-murderer who's been trying to extort money from Lake. Hired at a substantial fee to protect the publisher from the Black Widow is private detective Darrell (Fred Keating), but Lake is murdered in his office all the same. Suspicion immediately falls upon Mary, the last person to see Lake alive. Johnny gallantly takes the blame for the killing to protect Mary, while Newt, believing Johnny to be guilty, does his best to protect his pal from the cops. All of this seems rather heavy going for a Wheeler & Woolsey vehicle, but be assured that The Nitwits is definitely a comedy, with the stars at their peak under the direction of George Stevens. The beauty of the film is that it sustains its momentum even after Newt's "truth chair" reveals the identity of the killer to the audience (but not to our rather dense heroes); especially hilarious is a nocturnal chase through a costume warehouse, utilizing several gags lifted from Stevens' "Boy Friends" 2-reelers of the early 1930s. Nineteen-year-old Betty Grable doesn't have too much to do, though she proves a charming subject for the film's best song, Dorothy Fields and Jimmy McHugh's "Music in My Heart". Co-written by Stuart Palmer, of "Hildegarde Withers" fame, The Nitwits was the last of Wheeler & Woolsey's truly worthwhile films.

Wealthy socialite Melsa Manton (Barbara Stanwyck) is taking her pooches for a walk in the dead of the night when she stumbles upon a dead body and a car fleeing the scene of the crime. She alerts the police but the corpse has disappeared by the time they arrive, and the lieutenant, knowing of her madcap reputation, believes she was playing a practical joke. After newspaper editor Peter Ames (Henry Fonda) takes her to task in print, she sues him for libel and enlists the aid of her society friends in tracking down the body and finding the killer. Eventually, Ames comes around to believing Melsa's story and aids her in her search. It isn't long before the two antagonists find they're attracted to each other -- but they have to catch the murderer before they can settle down and live happily ever after. Fonda and Stanwyck would team up again in You Belong to Me and The Lady Eve.

A man of the cloth finds his faith challenged both by the death of one of his closest relatives and the aftermath of the crime in this thriller. When a man is murdered under mysterious circumstances, his brother, a Catholic priest (Richard Grieco), decides to start his own investigation with the help of his uncle, a detective, in hopes of tracking down the killer. His search for the truth leads him into a local artists' community, but the more he learns, the most he's troubled by what he finds. The Apostate also stars Dennis Hopper, Kristin Miller, and Efrain Figueroa.

Angela Lansbury stars in this romantic drama, where a secret love affair becomes the cause of a series of mysterious mishaps involving a philandering wife's hapless husband.

Adapted from the Cornell Woolrich novel Black Alibi, The Leopard Man is a lesser but still fascinating psychological-horror effort from producer Val Lewton. Someone has been killing off the citizens of a small New Mexico town, and the most likely suspect is a huge leopard, purchased for a local nightclub act by press agent Jerry Manning (Dennis O'Keefe), which has escaped from its cage. Neither Manning nor his star Clo-Clo (Margo) are totally convinced that the big cat is responsible.The haunting finale takes place during the annual "Day of the Dead" festivities. The opening sequence of Leopard Man, atmospherically detailing the last few moments of murder victim Teresa Delgado (Margaret Landry), is so powerful that the rest of the film seems anticlimactic. Long available only in its 59-minute reissue form, the film was restored to its original 65-minute running time in the mid-1980s.

In this western adventure, set in California just after the Spanish-American War, a Mexican rancher becomes a populist avenger battling injustice and corruption. Among his targets is the wicked gringo land commissioner. He also preserves the honor of a beautiful senorita. In addition to fighting for good, he must also deliver his cattle to the bad-guy American bureaucrat. He does so by stampeding them into his office.

In this thriller, an amorous attorney is appalled to realize that the lovely client (with whom he was smitten) he acquitted is indeed guilty of killing her husband. Now he too feels guilty for being so gullible and so arranges for the woman to murder him so she will get caught. The woman, now interested in a young artist, is more than happy to oblige him.

The seemingly ageless Eddie Quillan heads the cast of the Monogram musical Melody Parade. Eddie plays Jimmy Tracy, a nightclub busboy who hopes to become a big-time producer. Mary Beth Hughes costars as Anne O'Rourke, a hatcheck girl with singing aspirations. The arrival of supposed heriess Gloria Brewster (Irene Ryan) would seem to bode well for Jimmy and Anne's showbiz future-but alas, Gloria turns out to be a phony. Never mind: no matter how many complications and setbacks, it's a sure bet that Melody Parade will end with an elaborate, all-smiles production number. Providing extra chuckles are Irene Ryan's husband/vaudeville partner Tim Ryan, and the ineluctable Mantan Moreland.

"The Informer: Out of the Fog" is an exceptionally short special feature. It's only about 10 minutes long--and that's my biggest complaint about the featurette. Fortunately, it IS a good short despite this because it manages to draw attention and discuss the best part of the film--the great use of cheap sets and a minimal budget. Learning about Ford's cost-cutting measures was pretty interesting and it really made me appreciate his direction--even though I was NOT a huge fan of the original movie, as McLaglen's winning performance, when seen to day, seems VERY overwrought and a bit silly at times.

The Informer, Liam O'Flaherty's novel of the the Irish "troubles" of the early 1920s, was first filmed in England in 1929, with Cyril McLaglen in the lead. When director John Ford remade The Informer in 1935, the role of the tragic Irish roisterer Gypo Nolan went to Cyril's brother Victor McLaglen. The scene is Dublin, during the Sinn Fein rebellion. Gypo has tried to join the IRA, but has been bounced because he lacked full commitment to the cause. Gypo's best friend is Frankie McPhillip (Wallace Ford) a fugitive from the British "Black and Tans" with a price on his head. Hoping to start a new life with his streetwalker girlfriend Katie Madden (Margot Grahame), Gypo informs on Frankie, collecting the twenty-pound reward. Frankie is cornered and killed by the British troops; Gypo briefly suffers the pangs of conscience, but is too simple-minded to grasp the full impact of his betrayal. Suspecting that Gypo has turned in Frankie, IRA commander Gallegher (Preston Foster) orders his men to keep tabs on the big lout. As Gypo stupidly squanders his money on food, drink and entertainment, Gallegher's lieutenants keep tab of every penny spent. Finally dragged before the rebel court, Gypo tries to bluff his way out of trouble, fingering another man (Donald Meek) as the informer, but this subterfuge quickly falls apart. Sobbingly, Gypo confesses his treachery. Before his execution can be carried out, he escapes, but his hiding place is given away inadvertently by Katie. Regretfully, because they realize Gypo is too childish to be fully responsible for his actions, the IRA members shoot the man down. With his last ounce of strength, Gypo drags himself into the church where Frankie's mother (Una O'Connor) prays for his son's soul. "Twas I informed on your son, Mrs. McPhillip," Gypo weeps, "Forgive me." "Ah, Gypo, I forgive you," the grieving mother replies. "You didn't know what you were doing." Exultantly, Gypo looks heavenward, and, just before succumbing to his wounds, bellows "Frankie! Frankie! Your mother forgives me!" The Informer earned Victor McLaglen an Oscar, as well as several other nominations; the film did poorly at the box office, but John Ford had anticipated this reaction, reportedly waiving his considerable salary just to make certain that picture--a labor of love for the director, who was himself a native of Ireland--would be completed. The film was remade in 1968, relocated to the black ghetto of Los Angeles and retitled Uptight!.

Two men on a fishing trip pick up a psychopathic fugitive with an intense hatred of humanity in this relentlessly suspenseful thriller directed by Ida Lupino and written by Daniel Mainwaring (Invasion of the Body Snatchers). Ray Collins (Edmund O'Brien) and Gilbert Bowen (Frank Lovejoy) are on their way to a relaxing weekend on the lake when they make the fateful mistake of giving a ride to Emmett Myers (William Tallman), a ruthless killer on the run from the cops. As a young child Myers was severely abused, and now he's determined to make the world suffer for the atrocities committed against him. An unrepentant sadist, Myers repeatedly uses his faulty eye (which is permanently open) to trick his two terrified victims into believing they have gained the upper hand in the tense stand-off, only to turn the tables on them at the last second. Inspired by the horrific crimes of real life mass murderer William Cook, who was eventually executed in San Quentin.

Joe Smith and Charlie Dale, the Jewish-dialect comedy team famous for their "Dr. Kronkheit" sketch, provide comic relief in Heart of New York, a filmization of Smith and Dale's Broadway hit Mendel Inc. The team costars with another Hebraic comedian, George Sidney, who portrays good-natured plumber Mendel Maranta. Mendel goes into business for himself after inventing a revolutionary washing machine, accruing wealth beyond his wildest dreams. The ex-plumber learns all too soon that money and happiness are not necessarily hand-in-hand commodities, especially in dealing with the romantic misadventures of daughter Marion Byron. Smith and Dale portray Schnapps and Strudel, a pair of bickering professional matchmakers. The team never became full-fledged movie stars, but Heart of New York showcases their talents to excellent advantage.

In this bedroom farce, an ex-wife overhears her former hubby's new wife and her lover planning a tryst for the weekend while the husband is away on a business trip. Hoping that the husband will catch them in the act, the ex creates an elaborate scheme whereby the lovers' plans are foiled and they must spend the weekend at her house. She then arranges for her former husband to drop by so he can see for himself the kind of hussy he married. Unfortunately the whole plot goes terribly awry when two fugitive jewel thieves wind up stranded at the ex-wife's house too. Things get really mixed up when the ex-wife discovers that she is in love with the second-wife's lover. Meanwhile second wifey recovers the jewels from the thieves just as her hubby returns. He gets there just as his ex-wife and the lover are married.

In this crime drama, a junk dealer's son breaks his father's heart when his poor grades get him tossed out of Oxford. The boy then involves himself with the very jewel thieves that use his father, unknown to the boy, as a fence. The father tries to subtly keep his boy from becoming too involved, but it is to no avail and the lad is killed.

Anthony Quinn added Eskimo to the many ethnic types he portrayed on film with this drama about a clash of cultures from director Nicholas Ray. Inuk (Quinn) is a typical Eskimo hunter, living proudly as his ancestors did, eking out an existence on the frozen Canadian tundra. When Inuk takes his wife and mother-in-law to a trading post to exchange furs, the family meets a friendly priest (Marco Guglielmi). In time-honored Eskimo custom, Inuk offers the missionary his wife's sexual favors. Offended by the man's rejection, Inuk kills him. Having broken Western law, Inuk is pursued by two Mounties (Peter O'Toole and Carlo Giustini). Slowed down by his wife's elderly mother, he sends the woman out on the ice to perish, another of his people's ancient traditions. The police capture Inuk, but the lawmen and their prisoner encounter severe weather. The Savage Innocents (1959) was the feature debut of actor O'Toole, who objected to the overdubbing of his voice in the finished film.

Curse of Frankenstein was the "breakthrough" picture for the fabled Hammer Studios. Told in flashback, the story centers around Baron Victor Frankenstein (Peter Cushing), a dangerously arrogant scientist who takes it upon himself to play God. Using portions of dead bodies, Victor fashions a synthetic monster (Christopher Lee) with a bad attitude. In a radical departure from the Frankenstein canon, it is the imperious Victor who orchestrates the film's two murders by "borrowing" the brain of a learned professor, then leaving his next victim at the mercy of the monster. In 1958, the film spwaned the sequel Revenge of Frankenstein.

Half affectionate parody and half enthusiastic tribute to the swashbuckling pirate epics of the 1930's and 40's, The Crimson Pirate stars Burt Lancaster as Captain Vallo, the smiling leader of a pack of unscrupulous pirates. While on the high seas, Vallo and his men spy a well-stocked merchant ship, and waste no time in relieving it of its contents. One of the passengers on the cargo vessel, Baron Gruda (Leslie E. Bradley), informs Vallo that a political revolt is shaking a island nation in the Caribbean to its foundations. The pirates set their course to the island, hoping to sell the arms they've just stolen to rebel leader Sebastian (Frederick Leister), while planning to later double their profit by turning him in to the Government leaders who are offering a reward for his capture. Vallo's plans change when he meets Sebastian's daughter Consuelo (Eva Bartok) and falls in love, while she teaches the pirate the wisdom of her father's philosophies. Vallo and his faithful sidekick Ojo (Nick Cravat) soon join Sebastian's men, and fight with them in a valiant struggle for freedom. Burt Lancaster and Nick Cravat were once partners in their early days as circus acrobats, and they got to put their skills to good use in this picture; keep an eye peeled for an early performance by future horror movie great Christopher Lee.

John Loder plays a prominent London actor, lately starring in a play about a maniacal strangler. When the theatre is bombed by the Nazis, Loder suffers a head injury. Thereafter, he cannot separate fact from fiction, and periodically becomes the strangler that he is playing on stage. Loder's lady love June Duprez puts her own life on the line in attempting to save Loder from himself. The Brighton Strangler benefits from its brisk 67-minute running time, which allows the story to unfold without undue padding or muddled psychological overtones. Interestingly, John Loder's character is triggered into becoming a murderer whenever someone inadvertently recites one of the lines from his play--a dramatic device later utilized to fuller effect in Richard Condon's The Manchurian Candidate.