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The Adventures Of Kit Carson (1951)

Kit and his pal El Toro go all over the west securing justice for all (absolutely no connection with the historical character).

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The Breaking Point (1950)

This second screen version of Ernest Hemingway's To Have and Have Not is closer in spirit to the original than the first version, though it still is far from faithful to its source. John Garfield stars as Harry Morgan, who has metamorphosed from Hemingway's gun-runner to an ex-PT boat captain, now running a charter boat service in Southern California. Deeply in debt, Morgan agrees to smuggle aliens and later tries to sneak a bunch of gangsters out of the country. By the time he's been given a wake-up call by his conscience, Morgan has caused the death of a close friend. Patricia Neal and Phyllis Thaxter make the most of their limited footage as, respectively Harry Morgan's casual mistress and faithful spouse. Many critics feel that The Breaking Point represents Michael Curtiz' finest directing job--no small praise for a man who helmed such classics as Casablanca and Yankee Doodle Dandy.

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A vy lyubili kogda-nibud?

OK, So, the film wasn't exactly bad. I mean alright, we had to watch the whole film, all 1hr and 17mins in Russian, with no subtitles, which meant having to decipher most of the story for ourselves, and occasionally talking over the top of the actors and making up or own story-lines and song lyrics.

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Goodbye Johnny (1959)

A boxer's last chance to finally hit the big time is short lived. Stars Cliff Robertson.

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Acrimony (2018)

Writer/director Tyler Perry's thriller Acrimony considers whether a woman scorned is always validated in her anger. Taraji P. Henson plays Melinda, whose unfaithful husband (Lyriq Bent) of 18 years seemingly replaces her with a new fiancΓ©e (Crystle Steward) just as he finally finds success as an inventor. Enraged and unhinged, Melinda plots her elaborate, violent revenge.

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Ashby (2015)

In this quirky comedy-drama, a teen adjusting to a new school befriends his next-door neighbor, a retired CIA hit man who wants to atone for his sins before dying of a brain tumor. In time, the young man learns life lessons from his new mentor, while he also tries to make his school's football team and win over a cute classmate who's studying to be a neurologist. Mickey Rourke, Nat Wolff, Emma Roberts and Sarah Silverman co-star. Directed by Tony McNamara.

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Polo Joe (1936)

At the time of its release, Polo Joe was critically lambasted as the worst Joe E. Brown starrer to date. Compared to his later non-Warners efforts, however, it's not so bad: the biggest criticism that can be levelled against it is that it's virtually indistinguishable from Brown's other 1930s vehicles. The plot and comedy of the film can be summed up in a single sentence: Joe Bolton (Brown) is terrified of horses, but joins a polo team to impress his sweetheart Mary (Carol Hughes). The climax borrows a page from Brown's 1935 baseball flick Alibi Ike, with the villains holding Joe prisoner so that he can't ride in a polo championship. As always, Brown does all his own stunts in Polo Joe, a fact that is more impressive than amusing.

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Son Of Paleface (1952)

A sequel to Bob Hope's 1948 box-office success The Paleface, 1952's Son of Paleface is a superior product in every way, thanks largely to the spirited, creative direction of Frank Tashlin. Hope is cast as Junior Potter, a Harvard-educated dude who heads West to claim the inheritance left him by his gunslinger father. Much to his chagrin, Junior discovers that his dad has left him nothing but debts. To stave off Potter Sr.'s angry creditors, Junior pretends that his father has salted away a fortune somewhere in the hills. This arouses the attention of curvaceous saloon owner Mike (Jane Russell), who doubles as a mysterious masked bandit known as The Torch. Meanwhile, Roy Rogers (playing a federal agent named Roy Rogers) keeps tabs on Junior, hoping that he'll lead him to The Torch and her gang. True to form, ex-cartoonist Tashlin fills the screen with a wealth of inventive sight gags and inside jokes: Cecil B. DeMille shows up as a photographer in one scene, while in another, Hope, about to embark on the film's wild climactic chase sequence, shoos away a couple of vultures wearing bibs, warning them that "You'll make the whole thing look impossible." Our favorite scenes: Hope's Wile E. Coyote-like reaction to a particularly potent drink, and his bedroom scene with Roy Rogers' wonder horse Trigger. And don't forget the film's slightly risque punch line "Let's see them top that on television," (you have to be there). Songs in Son of Paleface include "You Are My Valley of Sunshine," "Four-Legged Friend," "Wing Ding Tonight," "What A Dirty Shame," and a reprise of The Paleface's Oscar-winning "Buttons and Bows," performed by Hope, Russell and Rogers.

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Other Men's Women (1931)

William A. Wellman's triangle melodrama "The Steel Highway" -- a title referring to the film's railroad setting -- was changed to the more suggestive Other Men's Women shortly before it's April 19, 1931 New York premiere. Grant Withers and Regis Toomey played lifelong friends and co-workers in love with the same woman, Mary Astor). She, unfortunately, is also Toomey's wife and the two friends have a blow-out on the job. The train derails and Toomey is blinded for life. When the river floods, the repentant Withers concocts a scheme to save an important railroad bridge by driving his engine across, thus stabilizing the construction. Believing his blindness makes him a burden to Astor, Toomey sacrifices himself instead. The ploy fails and Toomey is killed. Toomey and Astor, who had replaced James Hall and Marian Nixon, and Grant Withers were all fine under Wellman's crisp direction but the film was stolen outright by supporting players James Cagney and Joan Blondell, the latter as Wither's former girlfriend. With typical pre-production code frankness, Blondell's tough-talking waitress advises a fresh customer that she is "A.P.O." What does this "A.P.O. means?" the customer asks. Blondell: "Ain't puttin' out!" Blondell and Cagney, who had appeared together in the Broadway play Penny Arcade and its subsequent film version, Sinner's Holiday (1930), would reach stardom in their third film together, the gangster classic The Public Enemy (1931). Overly static at times, Other Men's Women was livened considerably by the climactic bridge collapse, a successful use of miniatures.

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One Sunday Afternoon (1933)

Gary Cooper is a small town dentist dissatisfied with his lot. Though married to the lovely and affectionate Frances Fuller, Cooper still carries a torch for his former sweetheart, Fay Wray. Years earlier, Cooper had lost Wray to his old friend Neil Hamilton, and is consumed with the desire to get even with his rival. The now-wealthy Hamilton comes to visit Cooper, with Wray in tow. Cooper then seeks to rekindle his old romance. Based on the stage play by James Hagan (which starred Lloyd Nolan on Broadway), One Sunday Afternoon was remade with James Cagney as Strawberry Blonde (41), then reworked as a musical with Dennis Morgan under its original title in 1948.

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One Night At Susie's (1930)

In this comedy, a boarding house owner becomes the confidant and advisor to a number of troubled gangsters and racketeers. She has troubles of her own, when her foster son takes the rap for a murder his girlfriend committed. As the young man was an aspiring playwright, his girlfriend tries to get his play produced. She does everything she can to get it done. When her love is finally freed, their happiness is obstructed by a scheming interloper. Fortunately, one of his mother's gangster pals decides to quietly take the double-crosser out of the picture.

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On The Loose (1931)

In this classic two-reel comedy from the Hal Roach Studio, blonde Thelma Todd and plain-Jane ZaSu Pitts are depressed because their cheapskate boyfriends (Billy Gilbert and Charlie Hall) refuse to take them anywhere other than the amusement park at Coney Island. Things brighten considerably when they meet a couple of sophisticated Englishmen (John Loder and Claud Allister), who invite them to -- Coney Island. Finally able to spend an evening at home, the girls answer the doorbell, only to find Laurel and Hardy inquiring if they would like to accompany them to -- Coney Island. Thelma and ZaSu respond by hurling kewpie dolls after the unlucky suitors. Stan and Ollie appeared in this comedy as a favor to their boss, Hal Roach, who sat in the director's chair.

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Oil For The Lamps Of China (1935)

This drama about corporate treachery was based on the best-selling novel by Alice Tisdale Hobart. Stephen Chase (Pat O'Brien) is a salesman and inventor with an American oil company who is sent to China to reach that nation's untapped market. While Stephen is often told that his company looks after their own and he's selflessly devoted to his job, it becomes evident with time that they're treating him with disrespect. After his fiancΓ©e leaves him, Stephen marries a woman he's only just met, Hester (Josephine Hutchinson), because he's already arranged to bring a wife to China. Stephen has designed a new kerosene lamp for the Chinese market, but his rival Swaley (William B. Davidson) is given credit for the product. When Stephen is transferred to another part of China, he accepts even though his wife is expecting a baby; the physical toll of the journey causes Hester to lose the child. Stephen and Hester become close to another American couple, Don and Alice Wellman (John Eldredge and Jean Muir), but when Stephen is ordered to fire Don, he unhesitatingly agrees. After communist forces nationalize the oil firm's holdings, Stephen risks his life to protect $15,000 in company funds. But when he is released from the hospital, Stephen learns that instead of being rewarded, he's been demoted -- and another man was promoted in his place.

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The Accountant (2016)

Christian Wolff (Ben Affleck) is a mathematical genius who works as a financial consultant for criminal organizations eager to hide their dirty money. While being investigated by the Treasury Department, Wolff agrees to help an accounting clerk at a robotics firm (Anna Kendrick) look into fraud at her company, but the assignment will prove far more dangerous than he could have ever anticipated. J.K. Simmons, Jon Bernthal, Jeffrey Tambor, and John Lithgow co-star in this thriller directed by Gavin O'Connor (Warrior, Pride and Glory).

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Araby (2017)

Brazilian co-directors and co-writers Affonso UchΓ΄a and JoΓ£o Dumans’s film is built around an immersive road trip that is experienced vicariously. A teenager (Murilo Caliari) living in an industrial neighbourhood in Ouro Preto comes across a journal that belongs to Cristiano ($$Aristides de Sousa}), an injured factory worker. Like the viewer, he loses himself in Cristiano’s poetic musings on his life’s journey, his romantic relationships, and his existential ennui.

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Night Nurse (1931)

William Wellman's Night Nurse survives as a potentially interesting but ultimately unsatisfying melodrama about a nurse discovering evildoings in the household where she is caring for a couple of sick children. Based on a 1930 novel by Dora Macy, Wellman's probe into medical corruption is one of the director's more cynical looks on Depression-era America, but most of the characters are weakly drawn and the denouement a cheat, cinematically. Barbara Stanwyck plays Lora Hart, an ambitious student nurse whose first assignment after graduation is tending to a couple of deathly ill little girls, Nanny (Marcia Mae Jones) and Desney (Betty Jane Graham). Despite their posh surroundings, the girls are apparently suffering from malnutrition; their mother, Mrs. Ritchey (Charlotte Merriam), is hopped-up on bootleg booze ("I'm a dipsomaniac! A dipsomaniac I tell ya! And I like it!"), and the girls' physician (Ralf Harolde) is a society quack with a facial tick. Lora soon realizes that the good doctor is deliberately starving the children to death in order to gain access to their trust fund and that Mrs. Ritchey is kept in line by Nick (Clark Gable), a black-clad gangster posing as the family chauffeur. A desperate Lora proposes to contact the authorities, but her medical sponsor (Charles Winninger) deems that unethical and instead suggests that she find a solution from inside the family. Nearly at the end of her ropes -- and having accepted one too many blows to the chin from Nick -- Lora is saved by an admirer, good-natured bootlegger Mortie (Ben Lyon), whose "friends" take the evil chauffeur on a final "ride." None of this makes much sense, and the film appears to have been tampered with along the way. One of the children disappears without any explanation halfway through, and the hospital establishment's reticence is never properly explained. Instead of a coherent plot, Night Nurse, in typical pre-Production Code style, offers quite a few scenes of Barbara Stanwyck and fellow nurse Joan Blondell dressing and undressing and a rather brutal portrayal by a very young Clark Gable on the threshold to fame. Warner Bros. had borrowed Gable from MGM to play the despicable chauffeur when the original choice, James Cagney, suddenly proved too valuable a commodity for what was actually a supporting role.

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Arabian Nights: Vol. 2- The Desolate One (2015)

A murderer on the run from authorities becomes a folk hero in the second installment of this surreal epic about the lives of ordinary people in austerity-stricken, contemporary Portugal. Elsewhere, a trial involving stolen cows turns farcical and a dog is passed from owner to owner in an apartment complex. Directed by Miguel Gomes.

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Arabian Nights: Vol. 1- The Restless One (2015)

This unconventional blend of documentary and fantasy uses the stories-within-stories structure of the classic Arabian Nights to explore the lives of ordinary people in austerity-stricken, contemporary Portugal. Among the tales: A group of bankers discover a cure for impotence, a rooster is put on trial for crowing too early in the morning, and a group of jobless citizens go swimming on New Year's Day. Directed by Miguel Gomes.

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Mummy's Boys (1936)

Were it not for the deplorable Silly Billies, Mummy's Boys might well have been the weakest of the Bert Wheeler-Robert Woolsey comedies. The boys are cast as ditch diggers Stanley Wright and Aloysius Whittaker, who sign on as "excavators" for an archaeological expedition into Egypt. What our heroes don't know is that their destination, the tomb of King Pharantine, carries a deadly curse which has apparently claimed the lives of nine previous explorers. It turns out that the deaths have actually been caused by a member of the first Pharantine expedition, who has systematically poisoned his colleagues so that he can lay claim to all the tomb's treasures. The film wraps up with a slapstick chase through the surprisingly well-illuminated tomb, with Stanley and Aloysius doing their best to protect heroine Mary Browning (Barbara Pepper) from harm. Many of the best gags have nothing to do with the wearisome plotline, but even these lack the zip and spark of Wheeler & Woolsey's earlier routines. The film's best performance is rendered by Moroni Olsen as the maniacal, bug-eyed murderer (whose guilt is obvious the moment he's introduced to the audience!)

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Mr. Lucky (1943)

One of Cary Grant's most financially successful 1940s vehicles, Mr. Lucky finds Grant atypically cast as a shifty, out-for-number-one gambler. Having dodged the draft by adopting the identity of a dead man, Grant sets his sights on purchasing a fancy gambling ship. To raise the necessary funds, he pretends to be working hand in glove with the American War Relief society. Once he meets Laraine Day, however, Grant is seized by an uncontrollable bout of honesty. It takes him awhile, but he finally does the right thing. The film is framed in flashback, as old seaman Charles Bickford explains why a tearful Laraine Day waits at the dock each evening for a certain ship to come in. Also in the cast is Paul Stewart as a cold-eyed but nonetheless semi-comic hoodlum, and Kay Johnson and Gladys Cooper as elegant but gullible society women. The best aspect of this breezy comedy-drama is Grant's cockney propensity for "rhyming slang," a running gag better heard than described. Mr. Lucky was later adapted into a TV series in 1959, with John Vivyan in the Cary Grant part and with Blake Edwards at the production controls.

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Mr. Doodle Kicks Off (1938)

Another of RKO's movie vehicles for radio comic Joe Penner ("You na-a-a-asty man!"), Mr. Doodle Kicks Off stars Penner as the son of a wealthy and influential businessman. Penner's dad is disappointed at how sonny has turned out (we can't blame him), but is bound and determined to enroll Joe in his alma mater and turn him into a college football hero. Penner falls for June Travis, daughter of the college president, and sets his mind (what there is of it) to make good. Incredibly, Joe makes it into the Big Game, where he pulls a "Roy Riegels" and runs the wrong way. The best moment in Mr. Doodle Kicks Off, if indeed there is one, features Joe Penner conducting a college orchestra while strapped in a straitjacket.

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Meyer Lansky: Mob Tycoon (1996)

In depth biography of Meyer Lansky.

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Men Against The Sky (1940)

Richard Dix is his usual strong, silent self in RKO Radio's Men Against the Sky. Dix plays a washed-up pilot who designs a revolutionary new plane. Realizing that he is persona non grata in the aviation industry due to his irresponsibility and alcoholism, Dix allows his sister Wendy Barrie to take credit for the "wonder" plane. Preliminary tests of the aircraft prove disastrous, but Dix establishes the viablity of his design by flying the plane himself, a spectacular act of self-sacrifice that has the salutary effect of restoring his tattered reputation. Among the aircraft seen in Men Against the Sky is the plane used by Howard Huges to establish a new transcontinental record when he flew from California to New Jersey in less than 7 1/2 hours. The film was scripted by Nathaniel West, better known for his trenchant Hollywood novel Day of the Locust.

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Mary Of Scotland (1936)

Maxwell Anderson's blank-verse play Mary of Scotland was adapted for the screen by Dudley Nichols and directed with a surprising paucity of verve by John Ford. Katharine Hepburn, in one of the "icy" roles that would later earn her the onus of "box office poison", stars as Mary Stuart, who serves as the Queen of Scotland until she is jealously put out of the way by her British cousin, Queen Elizabeth I (Florence Eldredge). Sold out by the Scots nobles, Mary is sentenced to the chopping block for treason. Elizabeth is willing to pardon Mary if only the latter will renounce all claims to the British throne, but Mary refuses, marching to her death with head held high (the Mary/Elizabeth confrontation scene was purely the product of Maxwell Anderson's imagination; in real life, the two women never met). RKO contractee Ginger Rogers dearly coveted the role of Queen Elizabeth, but the studio refused to allow her to play so secondary a role. To prove to the RKO executives that she would be ideal for the part, Ginger secretly arranged for a screen test, in which she was convincingly made up as Elizabeth (even to the point of cutting her hair into a high-foreheaded widow's peak). Contemporary reports indicate that Ginger's audition was brilliant; still, RKO would not consider casting her in the part, so the role of Elizabeth went to Florence Eldridge, the wife of Fredric March, who was cast in Mary of Scotland as Mary's fearless protector the Earl of Bothwell. On the whole, Mary of Scotland is a snoozefest, save for the scenes featuring Douglas Walton as Mary's cowardly husband Darnley.

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Marriage On The Rocks (1965)

A couple's marriage is nearly destroyed by their attempts to save it in this farcical comedy. Dan and Valerie Edwards (Frank Sinatra and Deborah Kerr) are a couple who have been married for close to 20 years. Dan, a busy but successful advertising executive, believes they have a happy relationship, but Valerie feels stifled and thinks her once fun-loving husband has become a bore. Valerie consults a lawyer, Shad Nathan (John McGiver), about a divorce, but Nathan suggests she give things one more try, and recommends a romantic second honeymoon to put the spark back in their relationship. Following his advice, Valerie books a vacation in Mexico; Dan agrees to join her, but once they arrive south of the border, they encounter Miguel Santos (Cesar Romero), an overzealous shyster lawyer who grants them a divorce before they're entirely aware of what's happening. Dan and Valerie take the matter in stride and decide to use it as an opportunity to renew their vows, but just prior to their ceremony, Dan is called away on business. Dan asks his best friend, Ernie Brewer (Dean Martin), a devil-may-care ladies' man, to keep Valerie company until he gets back; however, as Ernie tries to explain to Valerie and Miguel that the wedding is off, he finds he's just become Valerie's new husband. Valerie, angry at Dan's sudden disappearance, decides not to divorce Ernie right away, while Ernie, who has long been infatuated with Valerie, is torn between his feelings for her and his loyalty to Dan. Marriage on the Rocks also features guest appearances by Nancy Sinatra and Trini Lopez; keep an eye peeled for DeForest Kelley in a bit part.

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Alias (2002)

Not to be confused with the popular Jennifer Garner television series of the same name, director Jan Verheyen's dark thriller tells the tale of a suicide caught on camera. When Eva (Hilde de Baerdemaeker) and Patti (Veerle Dobbelaere) unwittingly videotape a young girl as she leaps to her death from the window of a nearby building, their shock turns to utter horror when a thief attempts to make off with their camcorder. Though a handsome and mysterious stranger named Dieter (Geert Hunaerts) manages to chase off the would-be thief, Eva and Patti grow increasingly disturbed upon realizing that there may be a connection between the suicide and the seeming chance encounter with Dieter.

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Look Back In Anger (1959)

Archetypal British "angry young man" Jimmy Porter (Richard Burton) is a college-educated bloke who can't seem to get any better job than working in a candy store. Jimmy's relationship with his wife Alison (Mary Ure) alternates between hugs and kisses when he's feeling good and verbal abuse when he's down on himself, which is often. Alison's best friend Helena Charles (Claire Bloom) advises Alison to escape her injurious marriage. Left with no one for a punching bag, Jimmy romances Helena. Having suffered a miscarriage, Alison returns, and Helena walks out of Jimmy's life. In keeping with its depiction of the dead-end existence of most of England's working poor in the late 1950s, nothing is truly resolved in Look Back in Anger. Playwright John Osborne (at that time married to Mary Ure) uses Jimmy Porter as a spokesman for Osborne's own spleen-venting harangues against the British government and class system. Not only did Look Back in Anger spawn a new genre of British social-protest films, but it also inspired two remakes, both filmed for television.

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Lon Chaney: A Thousand Faces (2000)

Lon Chaney, the silent movie star and makeup artist, renowned for his various characterizations and celebrated for his horror films, becomes the subject of this documentary.

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Lady Gangster (1942)

The direction of Warner Bros.' Lady Gangster is credited to one "Florian Roberts," who on closer examination turns out to be veteran helmsman Robert Florey, working pseudonymously. Faye Emerson plays the title character, aspiring actress Dot Burton, whose chance association with a gang of bank robbers leads inexorably to a life of crime. She eventually ends up in prison, where she participates in a break-out. Her regeneration comes about when she rescues Kenneth Phillips (Frank Wilcox), the only man who has ever shown her any kindness, from being rubbed out by the mob. The supporting cast includes Julie Bishop (who only a year earlier had been billing herself as Jacqueline Wells), and Jackie "C." Gleason, wasted in the role of a rotund henchman. Lady Gangter bears some traces of the 1932 Warner Bros. drama The Life of Vergie Winters.

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I Was Framed (1942)

I Was Framed was a heavily disguised remake of Dust Be My Destiny, filmed only three years earlier. Michael Ames stars in the old John Garfield role, originally a drifter named Joe Bell but here a crusading reporter named Ken Marshall. Framed by a corrupt politician for a crime he dind't commit, Marshall escapes from jail with the help of his pregnant wife Ruth (Julie Bishop). They migrate to a small town where Ken is given a newpaper job by Dr. Phillip Black (Aldrich Bowker), the kindly general practitioner who delivered Ruth's baby. Five years later, the Marshalls' new life is threatened when Mike's old cellmate shows up in town, threatening blackmail. The ending is considerably more upbeat and less "meaningful" than in the original Dust be My Destiny.

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I Sell Anything (1934)

"I Sell Anything" is the boast of penny-ante auctioneer Spot Cash Cutler (Pat O'Brien), and he more than makes good his boast in this brisk Warner Bros. programmer. When Cutler accidentally sells a rare antique to clever Millicent Clark (Claire Dodd) for a mere 50 bucks, he demands a cut when Millicent resells the item to a museum for $5000. Instead, she talks him into utilizing his talents at a high-class Broadway auction house. This leads to a series of double- and triple-crosses as Millicent maneuvers Cutler into selling the worthless items cluttering the home of her boyfriend Smiley Thompson (Russell Hopton), leaving our hero empty-handed except for the love of his ever-patient sweetheart Barbara (Ann Dvorak). The cast of I Sell Anything lists "three stooges," but they're played by Hobart Cavanaugh, Gus Shy and Harry Tyler rather than Curly, Larry and Moe.

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I Remember Mama (1948)

George Stevens's charming film version of Kathryn Forbes' collection of short stories entitled Mama's Bank Account features Irene Dunne as Mama in one of her finest and most ingratiating performances. The film is narrated by Mama's daughter Katrin (Barbara Bel Geddes), recalling the trials and tribulations of her family in turn-of-the-century San Francisco. Mama tries to keep her house in order and her family on their toes as a motley assortment of eccentric relatives, boarders, and friends -- including Uncle Chris (Oscar Homolka), Mr. Hyde (Cedric Hardwicke), Dr. Johnson (Rudy Vallee), Mr. Thorkelson (Edgar Bergen) -- weave in and out of their lives.

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High Flyers (1937)

Bert Wheeler and Robert Woolsey's final film is far from their best, but at least it never plunges to the depths reached by their earlier Silly Billies and Mummy's Boys. Adapted from an unproduced stage play called The Kangaroos, High Flyers casts Bert and Bob as Jerry Lane and Pierre Potkins, operators of an amusement park kiddie-airplane concession. Newspaperman Dave Hanlon (Jack Carson) persuades the boys to fly out to sea to pick up a life preserver which purportedly contains precious photos taken by Hanlon of the British Royal Family. What our heroes don't know is that Hanlon is head of a gang of smugglers, and that the preserver contains stolen jewels and a cache of drugs. But what Hanlon doesn't know is that, despite their boasts, Jerry and Pierre have never flown a real plane in their lives. Upon scooping up the preserver, the boys accidentally open a package of cocaine powder, whereupon they become really high flyers (how this scene got past the censors is astonishing). They crash-land in the backyard of wealthy Horace Arlington (Paul Harvey), who fears that there's a sneak thief at large on his property (actually the "crook" is Arlington's pet dog). Assuming that Jerry and Pierre are the private eyes, he's summoned to his estate to protect the priceless Markoff Diamonds. Arlington gives the boys full reign over the household, allowing Jerry to romance Arlington's daughter Arlene (Marjorie Lord) and Pierre to spoon with household maid Maria (Lupe Velez). Things get really hectic when Hanlon and his fellow thieves converge on the Arlington household, demanding that Jerry and Pierre help them steal the Markoff gems -- or else. The whole mess is viewed with alarm by Arlington's eccentric wife Martha (Margaret Dumont), who fancies herself a fortune-teller. There are isolated moments in High Flyers that rank with Wheeler and Woolsey's best, notably Bert Wheeler's imitation of Charlie Chaplin and Bob Woolsey's song-and-dance duet with Lupe Velez. Also fascinating in a bizarre sort of way are Velez's impressions of Simone Simon, Dolores Del Rio, and Shirley Temple! All in all, however, High Flyers is a stilted, mechanical effort, garnering the team some of their worst reviews. Whether or not Wheeler and Woolsey would have been retained by RKO after the lukewarm box-office reception to this film is a moot point: Gravely ill with kidney disease, Robert Woolsey was confined to his bed after the film wrapped, where he remained until his death 14 months later.

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Hi Gaucho (1935)

In this Argentine western, a South American gaucho saves a beautiful girl from a shady bandido who masquerades as the Spanish don to whom she is betrothed. Songs include: "Little White Rose," "Song of the Open Road," "Bandit Song," and "Panchita."

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The Man Who Knew Too Much (1934)

The first film version of The Man Who Knew too Much proved to be the international "breakthrough" film for British director Alfred Hitchcock, transforming him from merely a talented domestic filmmaker to a worldwide household name. While vacationing in Switzerland, Britons Leslie Banks and Edna Best befriend jovial Frenchman Pierre Fresnay. Not long afterward, Fresnay is murdered. He whispers a secret in Banks' ear before expiring. This is witnessed by several sinister foreign agents, who kidnap Banks' daughter Nova Pilbeam to keep him from revealing what he knows: That a diplomat will be assassinated during a concert at London's Albert Hall. Unable to turn to the police, Banks desperately attempts to rescue his child himself, still hoping to prevent the assassination. The film's now-famous setpieces include the "Siege of Sidney Street" re-creation and the climactic clash of cymbals at Albert Hall, followed by the crucial scream of Edna Best. German film star Peter Lorre made his English-speaking debut in The Man Who Knew Too Much, though he was still monolingual in 1934 and had to learn his lines phonetically. Written by A. R. Rawlinson, Charles Bennett, D.B. Wyndham Lewis, Emlyn Williams and Edwin Greenwood (an impressive lineup for a 75-minute film!), Man Who Knew Too Much was remade by Hitchcock himself in 1956.

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Heroes For Sale (1933)

What isn't Heroes for Sale about? Within its 71-minute time frame, this film (co-written by "professional cynic" Wilson Mizner) tackles such issues as disenfranchised war veterans, misguided hero worship, drug addiction, the Depression, capitalism, labor relations and communism. Richard Barthelmess plays a wounded war hero whose hospital stay has turned him into a morphine junkie. He wanders from town to town looking for work during the Depression, only to be turned away with a "we've got our own to watch out for!" Eventually, Barthelmess befriends millionaire-in-the-making Robert H. Barrat, who has invented a revolutionary washing machine. Becoming Barrat's partner, Barthelmess attempts to quell a strike by workers who've been stirred up by Red agitators. With all this going on, Barthelmess still finds time to romance Loretta Young. Heroes for Sale is very much a product of its time, though its entertainment value has remained solid for well over six decades.

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