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A Woman Rebels (1936)

Based on a novel by Netta Syrett, A Woman Rebels is the story of Pamela Thistlewaite (Katharine Hepburn), whose mission in life is to defy the restrictive and often hypocritical conventions of Victorian England. Refusing to conform to the status quo, Pamela lives alone, reads, and says whatever she wishes, and even -- horrors! -- takes a job. Her romantic dalliance with young Gerald (Van Heflin, in his film debut) results in an illegitimate daughter (Doris Dudley), whom Pamela raises as her niece until she decides it's high time to tell the truth in all matters. Faithful suitor Thomas Lane (Herbert Marshall) offers to make an "honest woman" of her, but Pamela refuses until she can stand on her own two feet financially. Fiercely independent to the last, she becomes the crusading editor of a pioneering pro-feminist magazine and an early champion of Women's Suffrage. It was hoped by RKO Radio that The Woman Rebels would restore the popularity of Katharine Hepburn, which thanks to a series of expensive failures had been flagging for the past two years. Though the film turned out to be a box-office loser (it posted a $220,000 deficit), in retrospect it can be regarded as an artistic triumph -- and a remarkably timely one at that.

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A Slight Case Of Murder (1938)

Slight Case of Murder is a breakneck-paced comedy starring Edward G. Robinson as a tough but good-hearted bootlegger. When Prohibition is repealed, Robinson faces a financial crisis: His beer tastes so awful that no one wants to drink it legally. As an additional headache, Robinson is under scrutiny from the Law, which is waiting to slip the cuffs on him for the slightest infraction. He arrives at his rented Saratoga mansion with his wife (Ruth Donnelly), daughter (Jane Bryan) and adopted son (Bobby Jordan), only to discover that a killer has left four corpses in his bedroom. Robinson and his stooges are forced to hide the bodies before his future son-in-law (Willard Parker), who happens to be a cop, tumbles to the dilemma. Based on a stage play by Howard Lindsay and Damon Runyon, A Slight Case of Murder a just as entertaining in the 1990s as it was fifty years ago (please ignore a tepid 1953 musical remake titled Stop, You're Killing Me). Surprisingly, this film was not a favorite of star Edward G. Robinson, who felt that director Lloyd Bacon rushed through the material without taking full advantage of its comic potential.

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A Midsummer Night's Dream (1935)

Max Reinhardt's legendary Hollywood Bowl production of Shakespeare's A Midsummer Night's Dream was transferred to the screen by Warner Bros. in 1935. Like most of Shakespeare's comedies, the story contains several seemingly unrelated plotlines, all tied together by a single unifying event, in this instance the impending wedding of Theseus and Hippolyta. One story thread concerns the mistaken-identity romances of four young Athenians; another involves a group of "rude mechanicals" who plan to stage a production of "Pyramus and Thisbe" in honor of the wedding; and third plot strand is motivated by the mischievous misbehavior of invisible fairies Oberon, Titania, and Puck. While one of the members of Reinhardt's original stage cast, Olivia De Havilland (Hermia) was retained for the film version, the remainder of the roles went to Warners' ever-reliable stock company. Some of the casting is inspired: James Cagney is brilliant as vainglorious amateur thespian Bottom, while Joe E. Brown is ideal as the reluctant female impersonator Flute. As the four lovers, De Havilland and Jean Muir far outshine the smirking and simpering Dick Powell and Ross Alexander. In the dominion of the fairies, Mickey Rooney is a bit too precious as Puck, but Anita Louise is a lovely Titania and Victor Jory a suitably menacing Oberon (his opening line "Ill met by moonlight, proud Titania!" still sends shivers down our spines). Cagney and Brown's fellow "mechanicals" are an odd mixture of the sublime (Frank McHugh) and the just plain silly (Hugh Herbert). While the performances and direction (by Reinhardt and William Dieterle) are uneven, the art direction and special effects (especially the nocturnal dance of the fairies) are breathtakingly beautiful. Mendelssohn's "Midsummer Night's Dream" incidental music is masterfully orchestrated by Erich Wolfgang Korngold, while the cinematography by Hal Mohr earned the first write-in Academy Award in Hollywood history (Mohr had not been nominated due to hostilities arising from a recent industry strike). Considered a brave failure at the time of its first release, on a purely visual level A Midsummer Night's Dream is one of the more satisfying Shakespearean cinemadaptations of Hollywood's golden age.

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A Lost Lady (1934)

This is the second movie version of Willa Cather's Pulitzer Prize winning novel that tells the story of a bride-to-be whose fiance is near-fatally injured by the jealous husband of a woman he had an affair with. The poor young woman is so upset by the situation that she swears she will never love another and takes off to live in an isolated mountain retreat. There she feels terribly sorry for herself. One day she is moping along a rough trail, falls and hurts herself. Fortunately, she is rescued by an elderly lawyer who helps her heal both physically and psychologically. The grateful girl ends up marrying him. Unfortunately she meets a handsome young man with whom she falls passionately, but chastely in love. Now she regrets marrying the old attorney. She decides to tell the lawyer her true feelings. When she is finished he promptly keels over with a heart attack. It might be noted that after Cather saw this film, she forbade the further sale of her works to Hollywood.

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A Likely Story (1947)

Soon to be married in real life, Barbara Hale and Bill Williams also played sweethearts on screen in the frantic farce A Likely Story. After a routine medical examination, ex-GI Bill Baker (Bill Williams) overhears a conversation between two doctors, leading him to the mistaken conclusion that he's doomed to die from a rare heart condition. Chancing to meet aspiring artist Vickie North (Barbara Hale), Baker resolves to help Vickie realize her dream by bankrolling her career. He takes out a huge life insurance policy, then talks a couple of gangsters (Sam Levene and Nestor Paiva) into bumping him off so that Vickie and her kid brother Jamie (Lanny Rees) can collect immediately. Things get complicated when Baker discovers that he's as hale and hearty as the next fellow, prompting him to try to weasel out of his bargain with the gangsters-who, having financed the insurance policy in the first place, aren't inclined to let our hero off the hook so easily. Curiously, what should have been a frothy comedy plays more like a film noir, complete with a brief, hallucinatory nightmare sequence!

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A Lady Without Passport (1950)

A Lady Without Passport stars Hedy Lamarr in the title role. Lamarr plays Marianne Lorress, a concentration-camp refugee who takes up residence in Cuba while waiting permission to enter the U.S. Immigration agent Pete Karczag (John Hodiak) decides to use Marianne as bait to entrap Palinov (George Macready), the brains of an alien-smuggling ring. Pete eventually falls in love with Marianne, but she despises him for using her--at least until fade-out time. Despite the tattoo on her arm, it is difficult to believe that Hedy Lamarr has survived a Nazi concentration camp; she appears instead to have staged a desperate escape from the MGM makeup department. This aside, A Lady without Passport is an acceptable (and commendably short) crime meller.

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A Girl, A Guy And A Gob (1941)

The girl is stenographer Dot Duncan (Lucille Ball); the guy is her boss, stuffy young shipping magnate Stephen Herrick (Edmond O'Brien); and the gob is a brash sailor known as Coffee Cup (George Murphy). Not surprisingly, the plot involves the efforts by the self-effacing Stephen and the self-confident Coffee Cup to woo and win the lovely Dot. And that's about all the "story" there is; the rest of the picture is jam-packed with round-robin comic misunderstandings and wild slapstick setpieces. A Girl, a Guy and a Gob was one of two RKO Radio films produced by silent-screen great Harold Lloyd, who reportedly dropped in on the set from time to time to offer a bit of sage comedy advice (note the "handkerchief" bit utlized by Edmond O'Brien; it had previously done service in Lloyd's own Welcome Danger). Not as big a moneymaker as Harold's starring features of the 1920s, the RKO film nonetheless turned a tidy profit for the studio.

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A Gift For Heidi (1958)

Based on the book Heidi, by Johanna Spyri, this children's film follows the beloved Heidi as her birthday gifts teach her some important lessons.

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A Game Of Death (1945)

RKO Radio's A Game of Death was the first official remake of Richard Connell's The Most Dangerous Game, given a contemporary WW2 twist. Novelist Rainsford (John Loder) and brother-and-sister shipwreck victims Ellen (Audrey Long) and Robert (Russell Wade) are among the innocents stranded on remote island at the mercy of Nazi madman Krieger (Edgar Barrier). Fancying himself a sportsman, Krieger offers his captives an hour's head start before he begins hunting them down like animals. The by-now-familiar plotline is not as compelling as in the original 1932 version of Most Dangerous Game or the 1956 Mexican-based remake (Run for the Sun), thanks to the pedestrian acting of everyone except Edgar Barrier. Still, Robert Wise imbues the story with plenty of tension, especially in the closing reels.

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A Fugitive From Justice (1940)

The 1940 Warner Bros. quickie A Fugitive From Justice is based on Leonard Neubauer's short story "Million Dollar Fugitive." Roger Pryor plays insurance investigator Don Miller, who endeavors to hide Lee Leslie (Donald Douglas), holder of a million-dollar policy, from both the police and the underworld. Miller's efforts are frequently stymied by Mark Rogers (John Gallaudet), a Winchellesque radio reporter in cahoots with the G-Men. Our hero's allies include his wisecracking assistant Ziggy (Eddie Foy Jr., brother of Bryan Foy, the film's producer) and all-purpose heroine Janet Leslie (Lucille Fairbanks, niece of Douglas Fairbanks Sr.) A Fugitive from Justice sure looks like a remake, but a remake of what remains a mystery.

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A Dog Of Flanders (1935)

Dog of Flanders, the durable novel written in 1872 by the author who signed herself Ouida, was filmed three times, first in 1924 with Jackie Coogan. The second filmization, produced in 1935, stars child actors Frankie Thomas, Helen Parrish and Richard Quine as three poor Flemish youths whose lives are interconnected by a handsome German shepherd (played by "Lightning"). The threesome nurse the abandoned dog back to health; soon afterward, the dog rekindles the creative spark of a reclusive artist, whose painting of the noble hound wins a hefty cash prize. Richard Quine, the third juvenile lead of Dog of Flanders, grew up to become an important Hollywood writer/director of the 1950s. Quine did not, however, work on the 1959 remake of Dog of Flanders--which starred another future filmmaker, David Ladd.

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A Dangerous Profession (1949)

The Dangerous Profession of the title is the bail-bond business. George Raft stars as Kane, a former cop turned professional bail-raiser. When one of his customers, robbery suspect Brackett (Bill Williams), is mysteriously murdered, Kane wants to know why. His reasons are twofold: he has an insatiable curiosity, and he's fallen in love with Brackett's widow Lucy (Ella Raines). As his business partner Farley (Pat O'Brien) looks on in mute bewilderment, Kane risks life and limb to solve the mystery. The plot doesn't always make sense, but in 1949 it was reassuring to see George Raft and Pat O'Brien harking back to their cinematic halcyon days of the 1930s.

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A Dandy In Aspic (1968)

Director Anthony Mann's final film (Mann died during the filming, and the production was completed by the film's star, Laurence Harvey) is a kitchen-sink espionage drama with Harvey as Eberlin, a Russian spy and double-agent, homesick and pining for the Russian steppes. It is in this risky mood that Eberlin falls in love with the emaciated Caroline (Mia Farrow). Complications arise when he is directed to kill a Russian spy -- but the Russian spy happens to be himself.

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A Damsel In Distress (1937)

Fred Astaire's first RKO musical without his longtime partner Ginger Rogers is one of his best from any period -- even though it's obvious that leading lady Joan Fontaine can't dance a step. Written by P. G. Wodehouse, Damsel in Distress casts Astaire as Jerry, an American entertainer appearing in London. Poor Jerry gets sucked into a wager conducted among servants of country squire Lord Mashmorton (Montague Love) He is "elected" to rescue his Lordship's daughter Lady Alyce (Joan Fontaine) from an arranged marriage with orchestra leader Reggie (Ray Noble), a likeable chap who steadfastly refuses to play the villain of the piece. Weaving in and out of all this are Jerry's business manager George (George Burns) and his daffy secretary Gracie (Gracie Allen). In addition to including such Gershwin standards as "A Foggy Day" and "Nice Work if You Can Get It," not to mention Fred Astaire's untoppable "drum dance," A Damsel in Distress affords George Burns and Gracie Allen their best-ever screen roles; the team is permitted to join Astaire in the elaborate "round-and-round" production number "Things are Looking Up," as well as a delightful whisk-broom dance (which, it is said, George and Gracie taught to Fred, rather than the other way around). As Lady Alyce's duplicitous butler, Reginald Gardiner enjoys his own comic highlight with an interesting variation on his "musical cop" routine in Born to Dance. As for 19-year-old Joan Fontaine, she's quite lovely and charming, and Astaire does his very best to camouflage her utter lack of terpsichorean ability. Amazingly, A Damsel in Distress lost money at the box office, compelling RKO Radio to play safe by quickly reteaming Fred Astaire and Ginger Rogers in Carefree.

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A Covenant With Death (1967)

In this courtroom drama, a Mexican American judge must preside over the case of the town ne'er-do-well, who is accused of killing his wife. The film is set during the 1920s in the Southwest. The murderer is convicted and sentenced to hang, but on execution day, he has a fight and kills the hangman. At the same time, another man confesses. While this gets the first man freed for the first killing, he must now stand trial for the hangman's death.

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You'll Find Out (1940)

This film contains the one and only cinematic group appearance by Boris Karloff, Peter Lorre and Bela Lugosi. Essentially a vehicle for bandleader Kay Kyser and his orchestra, the film finds Kyser hired to perform at the 21st birthday party of heiress Janis Bellacrest (Helen Parrish), the sweetheart of Kay's business manager Chuck Deems (Dennis O'Keefe). The party is held at Janis' family mansion, a spooky old joint dominated by astrology-happy Aunt Margo (Alma Kruger). Among the guests stranded in the mansion by inclement weather are mysterious mystic Prince Sallano (Bela Lugosi), family attorney Judge Mainwaring (Boris Karloff) and Professor Fenninger (Peter Lorre). Though advertised as a "mystery", the film throws the whodunit angle out the window at midway point by revealing that Saliano, Mainwaring and Fenninger are in cahoots, planning to kill Janis to get their hands on her inheritance. These sinister goings-on do not impede Kyser's ability to stage several musical numbers, including "The Bad Humor Man", which, according to studio publicity, was supposed to have been performed by Karloff, Lorre and Lugosi. Once the plot is resolved, Kyser utilizes several of Saliano's props-including the then-new "Sonovox" machine and an electronic zapping device-on his radio program, that leads to a closing gag.

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X The Unknown (1956

X the Unknown is a well-crafted imitation of the Quatermass British sci-fi pictures of the 1950s. A group of soldiers on maneuvers in Scotland stumble across a gravel pit which emanates an unusual amount of radiation. Several deaths occur before the radioactive material is mysteriously stolen. Researcher Dr. Adam Royston (Dean Jagger) speculates that the thief is some sort of inhuman monstrosity dwelling at the Earth's core. He points out that past radioactive disturbances have been occurring at 50-year intervals, each followed by sudden deaths and the disappearance of the material. Royston suggests that the unknown monster has been resuscitated by humankind's recent atomic experiments. Sure enough, the monster manifests itself as a huge slab of glowing radioactive mud (laugh now if you must -- you won't laugh when you see it). X the Unknown works well within its limited budget; unfortunately, many TV prints have been truncated, robbing some of the best horrific moments of their full impact.

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Without Orders (1936)

In this drama, a flamboyant womanizing airline pilot competes with another, rather dull, pilot for the love of a fetching flight attendant. At first she ignores her sister's advice and has a fling with the charming cad, who gets back at the meddlesome sister by hitting her on the head. The two lovers return to their jobs. During a flight, a terrible storm erupts and the cowardly pilot bails out, leaving the flight attendant to fly the passenger- filled plane by herself. Fortunately, the good pilot is in the tower and calmly guides her safely to the ground. Meanwhile the other pilot gets his just desserts when his parachute fails to open.

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White Banners (1938)

Based on another of Lloyd C. Douglas' "better living through faith" short stories, White Banners stars Claude Rains as a chemistry professor who invents an icebox that requires no ice. The invention is stolen, throwing Rains and his faithful young assistant Jackie Cooper into a deep depression. Rains' housekeeper Fay Bainter buoys the inventor's spirits with her happy demeanor, wise homilies and good cooking. Through her influence, Rains and Cooper return to the lab and create an even more advanced refrigeration device. And just what is Bainter's stake in all this? Why, she's Cooper's long-lost mother...but don't you dare tell him. Though Fay Bainter was nominated for an Oscar for her performance in White Banners, the film itself is so forgettable that it doesn't even rate a mention in most mass-market movie ratings books.

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Upperworld (1934)

Written by the prolific Ben Hecht, Upper World is a clash-of-class melodrama set in New York City. Railroad tycoon Alexander Stream (Warren William) is neglected by his social-climbing wife Mary Astor. Quite unintentionally, through a chance encounter, he strikes up a reasonably chaste friendship with good-hearted showgirl Lilly Linder (Ginger Rogers). Lilly's ex-boyfriend Lou Colima (J. Carroll Naish) sees an opportunity to blackmail Stream; Lilly tries to block him from doing so, and is murdered for her troubles. Stream shoots Colima in self-defense and manages to cover up his involvement so that the crime scene looks like a murder-suicide, protecting his good name and marriage in the process. But a vitriolic cop (Sidney Toler), whom Stream had earlier gotten demoted over a traffic stop -- and who was on patrol in the vicinity of the crime -- involves himself in the case and gathers enough evidence to point the detectives and the press toward the wary tycoon. Though he must stand trial for Colima's death, Stream is supported in his ordeal by his suddenly attentive and affectionate wife.

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Under 18 (1931)

A wealthy theatrical producer entices a desperately poor young woman to visit his penthouse. The innocent girl doesn't realize that the lecherous fellow is planning to do much more than have a drink with her. Fortunately, her friend the grocery boy isn't so naive and manages to arrive in the nick of time. Marian Marsh, Anita Page, Regis Toomey


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Two In Revolt (1936)

  • Director
  • Glenn Tryon
  • Writers
  • Ferdinand Reyher(screen play)
  • Frank Howard Clark(screen play)
  • Jerry Hutchinson(screen play)
  • Stars
  • John Arledge
  • Louise Latimer
  • Moroni Olsen

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A horse and a dog share the same birthday in this exciting children's drama. Both are born in captivity, but end up escaping to the wilderness where they become close friends. Later when wolves attack a herd of wild horses, both team up to save them. Later they return to domesticity where the horse is trained to race. A wicked gambler attempts to stop the horse from winning. Fortunately, his pal the dog intervenes and the horse proves himself a champion.

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Trailin' West (1936)

  • Director
  • Noel M. Smith
  • Writer
  • Anthony Coldeway(original and screen play)
  • Stars
  • Dick Foran
  • Smoke
  • Paula Stone


This Dick Foran "singing western" makes extensive use of stock footage from First National's Ken Maynard series of the silent era. Foran is cast as Northern officer Rod Colton, who goes undercover during the Civil War to flush out a gang of Confederate spies. It develops that the mercenary villains are planning to play one side against the other by fomenting an Indian uprising. Colton finds an unlikely but very attractive ally in the form of dance-hall hostess Lucy Blake (Paula Stone). Evidently Frank McGlynn Sr. was busy during shooting of Trailin' West, else why would the role of Abraham Lincoln be played by brawny Robert H. Barrat?

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Three Sons o' Guns (1941)

  • Director
  • Benjamin Stoloff
  • Writer
  • Fred Niblo Jr.(original screenplay)
  • Stars
  • Wayne Morris
  • Marjorie Rambeau
  • Irene Rich

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This Buck Privates knockoff concerns the misadventures of the three Patterson brothers: Charley (Wayne Morris), Eddie (Tom Brown) and Kenneth (William T. Orr). Pampered by their pacifistic mother Margaret (Irene Rich), the Patterson boys do everything they can to avoid being drafted into the Army. Once they've donned unifom, however, our heroes calmly and courageously do their patriotic duty, while their mother at last realizes it's all for the best. Before this happens, however, the audience is subjected to all manner of goofy slapstick setpieces, including a trained-seal bit right out of the Mack Sennett era. Incidentally, Three Sons O' Guns costar William T. Orr was the son-in-law of Jack L. Warner, whose studio produced the film.

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This Woman Is Dangerous (1952)

  • Director
  • Felix E. Feist
  • Writers
  • Daniel Mainwaring(screenplay)
  • George Worthing Yates(screenplay)
  • Bernard Girard(story "Stab of Pain")
  • Stars
  • Joan Crawford
  • Dennis Morgan
  • David Brian


Joan Crawford is appropriately cast as the title character in This Woman is Dangerous. Crawford plays master criminal Beth Austin, the lady friend of dangerous gangster Matt Jackson (David Brian). After being caught in the crossfire of a robbery engineered by Jackson, Beth recuperates in a hospital, hoping to keep her past a secret from the authorities. But the FBI wants Beth to lead them to Jackson, and to that end, her doctor Ben Halleck (Dennis Morgan) is strong-armed into inaugurating a romance with his gorgeous patient. Eventually, of course, Ben and Beth fall genuinely in love, thereby incurring the terrible wrath of the vengeful Jackson. And to think that Joan Crawford endures all this without a hair out of place on her lovely head! TV's future "Captain Midnight" Richard Webb co-stars as a diligent FBI agent.

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They Met In Argentina (1941)

  • Directors
  • Leslie Goodwins
  • Jack Hively
  • Writers
  • Jerome Cady(screen play)
  • Lou Brock(story)
  • Harold Daniels(story)
  • Stars
  • Maureen O'Hara
  • James Ellison
  • Alberto Vila


One of the less laudable results of the United States' wartime "good neighbor" policy with South America was the relentlessly unfunny comedy They Met in Argentina. Looking about as Latin as corned beef and cabbage, Maureen O'Hara stars as spoiled Argentine heiress Lolita, who meets her match in the form of stubborn Texan Tim Kelly (James Ellison). He has been instructed to purchase a champion race horse from Lolita's wealthy father at any price; she is determined not to allow the sale to go through. All sorts of "hilarious" hijinks take place before shrewish Lolita is tamed by the persistent Kelly. No one emerged from They Met in Argentina covered with glory, certainly not tunesmiths Rodgers and Hart, who contributed one of their least memorable scores ever. Losing twice as much money as it cost, the film was an ill-fated comeback effort by former RKO Radio production executive Lou Brock, who ended his days as a hotel night clerk.

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They Knew What They Wanted (1940)

  • Director
  • Garson Kanin
  • Writers
  • Robert Ardrey(screenplay)
  • Sidney Howard(from the Pulitzer Prize Play by)
  • Stars
  • Carole Lombard
  • Charles Laughton
  • William Gargan


Like its predecessors, this third cinema version of Sidney Hoiward's Pulitzer Prize-winning play They Knew What They Wanted suffers from Hollywood censorship. Still, this story of the grim consequence of a misbegotten mail-order marriage has much to offer. Carole Lombard is superb as the waitress who lies about herself while carrying on a romance by correspondence with the Italian-born owner of a Napa Valley vineyard. Equally fine (if a shade too effusively hammy) is Charles Laughton as the grape grower, who also misrepresents himself in his letters, going so far as to pass off a photograph of handsome hired hand William Gargan as a picture of himself. Vowing to be loyal to her new husband Laughton, despite her distaste for him, Lombard nonetheless enters into an affair with Gargan. For the most part, the film moves along harmoniously. It falters only in the censor-dictated alterations (why is Lombard crying at the end?) and the horrendous performance by Frank Fay as a sanctimonious priest. Keep an eye peeled during the engagement party for a young, unbilled Karl Malden and Tom Ewell. Previous versions of They Knew What They Wanted included The Secret Hour (1928) and A Lady in Love (1930).

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They Call It Sin (1932)

  • Director
  • Thornton Freeland
  • Writers
  • Alberta Stedman Eagan(based on a novel by)
  • Lillie Hayward(screen play)
  • Howard J. Green(screen play)
  • Stars
  • Loretta Young
  • George Brent
  • Una Merkel


Though only 19, Loretta Young was an established Hollywood star in 1932, appearing in six films in that year alone. In They Call It Sin, Young plays Marion, a church organist in a picturesque Kansas village. She falls in love with visiting city slicker Jimmy (David Manners) -- who, worse luck, is already married to Enid (Helen Vinson). Arriving in New York to try her luck as a songwriter, Marion continues to be strung along by Jimmy, while faithful Tony (George Brent), who has loved her all along, suffers in stoic silence. All the various plot strands are neatly tied up when Humphries (Louis Calhern), a cagey theatrical producer with evil designs on Marion, takes a headlong plunge from his penthouse apartment. They Call It Sin was based on a novel by Alberta Stedman Eagan.

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My Geisha (1962)

  • Director
  • Jack Cardiff
  • Writer
  • Norman Krasna(screenplay)
  • Stars
  • Shirley MacLaine
  • Yves Montand
  • Edward G. Robinson


In this romantic comedy, a popular actress disguises herself as a Japanese geisha to land a part in a film directed by her husband. Shirley MacLaine stars as Lucy Dell, a comic actress married to equally successful director Paul Robaix (Yves Montand). Though Paul has found success creating comic vehicles for Lucy, he wants to expand his range by making a lavish adaptation of Madame Butterfly on location in Japan, using a local actress as the star. Lucy feels she can play the part just as well as any Japanese woman, and, with the help of the film's producer (Edward G. Robinson), she hatches a plot to prove it. She poses as Yoko Mori, an innocent young geisha on her way to joining a convent, and her husband is immediately determined to cast her. Of course, the masquerade proves more difficult than imagined, and things become especially complicated when Lucy's Hollywood playboy co-star (Robert Cummings) falls in love with her demure Yoko persona. Opting for mild, character-driven humor over farce, My Geisha provides a few knowing jibes at Hollywood and comfortable performances from MacLaine and Montand, but the film's treatment of Japanese culture will likely seem dated to modern audiences.

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The Woman I Love (1937)

  • Director
  • Anatole Litvak
  • Writers
  • Mary Borden
  • Joseph Kessel(novel "L'Equipage")
  • Stars
  • Paul Muni
  • Miriam Hopkins
  • Louis Hayward


Director Anatole Litvak's first Hollywood film was a remake of his French success L'Equipage, itself based on a novel by Joseph Kessel. Paul Muni stars as Maury, an unorthodox, abrasive WWI fighter-pilot whose skill in the air is compromised by his inability to get along with his colleagues and subordinates. His wife Denise (Miriam Hopkins) loves Maury in her fashion but cheats on him in favor of younger, handsomer flyboy Jean (Louis Hayward). This romantic triangle is settled not in the boudoir but in the air, during a particularly tense "dogfight." Though The Woman I Love often copies L'Equipage scene for scene (even retaining the original musical score by Arthur Honegger and Maurice Thiriet), the ending of the remake is markedly different from that of the original, obviously to appease the more stringent Hollywood censors. The film's title was obviously chosen to cash in on a similar sentiment expressed by Britain's King Edward VII when he abdicated from his throne for the sake of his American wife; perhaps this was why The Woman I Love was retitled The Woman Between in Great Britain.

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The Witness Chair (1936)

  • Director
  • George Nichols Jr.
  • Writers
  • Rita Weiman(story)
  • Rian James(screenplay)
  • Gertrude Purcell(screenplay)
  • Stars
  • Ann Harding
  • Walter Abel
  • Douglass Dumbrille


With her RKO Radio contract nearing an end, Ann Harding had little choice but accept such trifles as The Witness Chair. Engaged to widower Trent (Walter Abel), Paula (Harding) discovers to her horror that Trent's daughter Connie (Frances Sage) intends to elope with no-good embezzler Whittaker (Douglass Dumbrille). Unable to talk Whittaker out of ruining Connie's life, Paula murders the cad then does her best to destroy all the evidence. Alas, she succeeds only in convincing the authorities that Trent is the guilty party! The courtroom finale, which should have been the film's highlight, is not, due to funereal pacing and unimaginative camera angles. The Witness Chair convinced Ann Harding that she was through in Hollywood, whereupon she packed her bags and headed to London, briefly retiring from films the following year upon her marriage to symphony conductor Werner Janssen.

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The Velvet Touch (1948)

  • Director
  • Jack Gage
  • Writers
  • Leo Rosten(screen play)
  • Walter Reilly(adaptation)
  • William Mercer(story)
  • Stars
  • Rosalind Russell
  • Leo Genn
  • Claire Trevor


Based upon a story by William Mercer, The Velvet Touch stars Rosalind Russell as Valerie Stanton, a celebrated Broadway actress whose latest smash comedy is coming to the end of its successful run. The play's producer, Gordon Dunning, has produced all of Stanton's hits for the last decade, and takes credit for making her the star she is today. He is therefore upset when she informs him that she wishes to make a break with him by both marrying Michael Morrell, a renowned architect, and by taking a stab at one of the classic roles -- namely Hedda Gabler -- under the auspices of another producer. Dunning has no intention of letting her move forward with her plans, and he tells her that if she refuses to continue working with him in light, profitable comedies, he will reveal unflattering information about her to Morrell. Frightened that this will destroy her relationship, Stanton picks up a statue from Dunning's desk and delivers a fatal blow. Fortunately, because she is wearing her trademark long black gloves, there are no fingerprints, and Stanton creates a plausible alibi. Suspicion therefore shifts to Marian Webster, a rival of Stanton's who finds the body and was once romantically involved with Dunning. Stanton seems to have gotten away with murder -- but can she avoid making any mistakes as police captain Danbury proceeds with the investigation?

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The Unsuspected (1947)

  • Director
  • Michael Curtiz
  • Writers
  • Ranald MacDougall(screen play)
  • Bess Meredyth(adaptation)
  • Charlotte Armstrong(story)
  • Stars
  • Claude Rains
  • Joan Caulfield
  • Audrey Totter


Director Michael Curtiz masterfully tells the fictional story of radio host Alexander Grandison (Claude Rains) as derived from a novel by Charlotte Armstrong. Grandison spookily recites murder mysteries on his radio show, with intimate and excruciating details. The reason he's so good and popular is that some of the murders he presents really are his own. He kills one of his female workers, but her fiancΓ©e, Steven Francis Howard (Michael North), threatens to take revenge for her death. Howard tries to convince Grandison's niece, Matilda Frazier (Joan Caulfield), that he is her long-lost husband. Much mystery and intrigue follows.

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Monsieur Verdoux (1947)

  • Director
  • Charles Chaplin
  • Writers
  • Charles Chaplin(an original story written by)
  • Orson Welles(based on an idea by)
  • Stars
  • Charles Chaplin
  • Mady Correll
  • Allison Roddan


"Von Clausewitz said that war is the logical extension of diplomacy; Monsieur Verdoux feels that murder is the logical extension of business." With his controversial "comedy of murders" Monsieur Verdoux, Charles Chaplin makes his final, definitive break with the Little Tramp character that had brought him fame and fortune. Verdoux (Chaplin), a mild-mannered family man of pre-war France, has hit upon a novel method of supporting his loved ones. He periodically heads out of town, assumes an alias, marries a foolish, wealthy woman, then murders her for the insurance money. He does this thirteen times with success, but wife #14, brassy Martha Raye, proves impossible to kill (nor does she ever suspect what Verdoux has in mind for her). A subplot develops when Verdoux, planning to test a new poison, chooses streetwalker Marilyn Nash as his guinea pig. She tells him so sad a life story that Verdoux takes pity on her, gives her some money, and sends her on her way. Years later, the widowed and impoverished Verdoux meets Nash once more; now she is the mistress of a munitions magnate. This ironic twist sets the stage for the finale, when Verdoux, finally arrested for his crimes and on trial for his life, gently argues in his own defense that he is an "amateur" by comparison to those profiteers who build weapons for war. "It's all business. One murder makes a villain. Millions, a hero. Numbers sanctify..." Sentenced to death, Verdoux remains calmly philosophical to the end. As the condemned man walks to the guillotine, a priest prays for God to have mercy on Verdoux's soul. "Why not?" replies Verdoux jauntily. "After all, it belongs to him." The original idea of Monsieur Verdoux originated with Orson Welles, who'd wanted to make a picture about notorious modern "Bluebeard" Landru. Welles wanted to cast Chaplin in the lead; Chaplin liked the idea, but preferred to direct himself, as he'd been doing since 1914. It is possible that Chaplin might have gotten away with the audacious notion of presenting a cold-blood murderer as a sympathetic, almost lovable figure. Alas, Monsieur Verdoux was released at a time when Chaplin was under a political cloud for his allegedly Communistic philosophy; too, it came out shortly after a well-publicized paternity suit involving Chaplin and Joan Barry. Picketed in several communities, banned outright in others, Monsieur Verdoux was Chaplin's first financial flop. Today, it can be seen to be years ahead of its time in terms of concept, even though the execution is old-fashioned and occasionally wearisome. Monsieur Verdoux doesn't always hit the bull's-eye, but it remains one of Charles Chaplin's most fascinating projects.

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Liberators Over Europe (1942)

B-24 Liberators are featured in this end-of-the-war Army Air Forces documentary that focuses on the wartime accomplishments of Second Air Division, Eighth Air Force, B-24 Liberator heavy bombers over Europe. Some interesting tales are told, along with captivating footage of Liberators in action. Purists will observe the occasional close-up B-17 image in what should be a Liberator film, but the film remains a solid tribute to the B-24s and their crews over Europe.

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The Silk Express (1933)

  • Director
  • Ray Enright
  • Writers
  • Houston Branch(story)
  • Ben Markson(screenplay)
  • Stars
  • Neil Hamilton
  • Sheila Terry
  • Arthur Byron


ο»ΏThis drama is set aboard a cross-country train bound for New York. Aboard this train is a silk manufacturer from Seattle who is going to the Big Apple to deliver a valuable shipment. Unfortunately, an avaricious rival is also on board. Fortunately, a railroad detective is also aboard the train as are a sickly professor and his daughter. The foursome join forces to stop the rival.

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The Secret Bride (1934)

  • Director
  • William Dieterle
  • Writers
  • Leonard Ide(play "Concealment")
  • Tom Buckingham(screenplay)
  • F. Hugh Herbert(screenplay)
  • Stars
  • Barbara Stanwyck
  • Warren William
  • Glenda Farrell


The Secret Bride is Ruth Vincent (Barbara Stanwyck), the daughter of Governor Vincent (Arthur Byron). Attorney general Robert Sheldon (Warren William) falls in love with Ruth and they marry, but Sheldon insists that their marriage be kept secret. It seems that the Governor has been accused of accepting $10,000 in bribes, and Sheldon doesn't want to be accused of complicity while he investigates the matter. In the course of events, two murders occur, and it's up to Ruth to straighten the mess out. But how will she be able to manage this without involving herself or her secret husband in the scandal?

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McCabe & Mrs. Miller (1971)

  • Director
  • Robert Altman
  • Writers
  • Edmund Naughton(novel "McCabe")
  • Robert Altman(screenplay)
  • Brian McKay(screenplay)
  • Stars
  • Warren Beatty
  • Julie Christie
  • Rene Auberjonois


Memorably described by Pauline Kael as "a beautiful pipe dream of a movie," Robert Altman's McCabe & Mrs. Miller reimagines the American West as a muddy frontier filled with hustlers, opportunists, and corporate sharks -- a turn-of-the-century model for a 1971 America mired in violence and lies. John McCabe (Warren Beatty) wanders into the turn-of-the-century wilderness village known as Presbyterian Church, with vague plans of parlaying his gambling winnings into establishing a fancy casino-brothel-bathhouse. McCabe's business partner is prostitute Mrs. Miller (Julie Christie), who despite her apparent distaste for McCabe helps him achieve his goal. Once McCabe and Mrs. Miller become successful, the town grows and prospers, incurring the jealousy of a local mining company that wants to buy McCabe out. Filmed on location in Canada, McCabe & Mrs. Miller makes use of such Altman "stock company" performers as Shelley Duvall, RenΓ© Auberjonois, John Schuck, and Keith Carradine. The seemingly improvised screenplay was based on a novel by Edmund Naughton and the movie features a soundtrack of songs by Leonard Cohen. McCabe & Mrs. Miller joined such other Altman efforts as M*A*S*H, The Long Goodbye, and Thieves Like Us in radically revising familiar movie genres for the disillusioned Vietnam era.

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The Naked Runner (1967)

  • Director
  • Sidney J. Furie
  • Writers
  • Francis Clifford(novel)
  • Stanley Mann(screenplay)
  • Stars
  • Frank Sinatra
  • Peter Vaughan
  • Derren Nesbitt


Frank Sinatra stars in this espionage thriller filmed at the height of the Cold War. Sam Laker (Sinatra) is an American industrial designer working in London. When Laker travels to East Germany on business, he brings along his ten-year-old son, and he ends up running into Martin Slattery (Peter Vaughn), an old Army buddy now working with British intelligence. Slattery tries to persuade Laker to put his wartime skills as a sniper to good use against a rogue agent now working with the communists. Laker refuses, but he reluctantly agrees to deliver a message to Karen Gisevius (Nadia Gray), who worked with the anti-Nazi resistance during the war. Laker returns from his errand to discover that his son has been kidnapped; Col. Hartmann (Derren Nesbitt), a communist operative, informs Laker that his boy will be held until he is willing to perform an assassination on their behalf. The Naked Runner was produced by Brad Dexter; Frank Sinatra, a man of fierce loyalties, often worked with Dexter after the producer saved Sinatra's life in a drowning incident.

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Macabre (1958)

  • Director
  • William Castle
  • Writers
  • Robb White(screenplay)
  • Anthony Boucher(novel "The Marble Forest")
  • Stars
  • William Prince
  • Jim Backus
  • Christine White


This first "gimmick" outing from horror producer William Castle is mainly distinguished by the clever ad campaign promising $1000 insurance for each patron (from Lloyds of London, no less!) against the possibility that they may die of fright during a screening of the film. (A similar gimmick would later be employed by the producers of the less imaginative thriller The Screaming Skull, who promised patrons an all-expense-paid funeral.) Castle certainly had nothing to worry about, since there is nary a moment of heart-stopping terror to be found in Macabre. That said, the plot is consistently entertaining, involving small-town doctor Rod Barrett (William Prince) racing the clock to locate his missing daughter after she is buried alive in the town cemetery by the same psychopathic killer who murdered his wife and her sister. It's clear that Castle had not yet honed his talents as a huckster of cheap thrills -- which reached their cheesy apex in The Tingler -- but there is definitely a spark of mischief here.

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My Favorite Brunette (1947)

  • Director
  • Elliott Nugent
  • Writers
  • Edmund Beloin(original screenplay)
  • Jack Rose(original screenplay)
  • Bob Hope(contributing writer to golf scenes)
  • Stars
  • Bob Hope
  • Dorothy Lamour
  • Peter Lorre


Just as Bob Hope's My Favorite Blonde (1942) was a takeoff on Alfred Hitchcock, Hope's My Favorite Brunette was a lampoon of the noirish "hard-boiled detective" school popularized by Raymond Chandler. Awaiting execution on death row, Hope tells the gathered reporters how he got into his present predicament. It seems that Hope was once a baby photographer, his office adjacent to the one leased by a private detective (played in an amusing unbilled cameo by Alan Ladd). While hanging around the p.i.'s office, Hope is mistaken for the detective by beautiful client Dorothy Lamour. She hires Hope to search for her missing uncle, and also entrusts him with a valuable map. Hope's diligent (if inept) sleuthing takes him to a shady rest sanitarium, where he runs afoul of lamebrained henchman Lon Chaney, Jr. and sinister, knife-throwing Peter Lorre. Both are in the employ of attorney Charles Dingle, who is responsible for the disappearance of Lamour's uncle. Escaping the sanitarium with Lamour in tow, Hope follows the trail of evidence to noted geologist Reginald Denny. The geologist is murdered, and Hope is accused of the crime.

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