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Director Frank Capra's last feature film, Pocketful of Miracles is a Technicolor remake of his 1933 film Lady for a Day. A barely recognizable Bette Davis plays Apple Annie, the besotted, unkempt, rag-clad street vendor who controls the activities of all the beggars on Broadway. Apple Annie is the pet of Dave the Dude (Glenn Ford), a tough but basically kind-hearted gangster who believes that Annie's apples bring him luck. One morning, Annie fails to show up at her usual corner. That's because she is sitting disconsolate in her squalid shack, contemplating suicide. The reason: Annie has received a letter from her daughter Louise (Ann-Margret, in her screen debut). Annie has been supporting Louise's high-priced European education, leading the girl to believe that she, Annie, is a high-society dowager. Now Louise is returning home with her wealthy fiance Carlos Romero (Peter Mann) in tow, and it looks as though Annie's cover will be blown to bits. Partly out of sympathy, but mostly because of his superstitious belief in the power of Annie's apples, Dave the Dude arranges with his Broadway cohorts to "doll up" Annie so that she can pass as a woman of means, then stage-manages a huge, expensive reception for Louise and her beau. The complications that ensued in the original 1933 version of Lady for a Day exercise their prerogative once more, with a few added plot twists to pad out Glenn Ford's screen time. Cutting through the sentimental goo like a machete is Peter Falk, who is hilarious as Dave the Dude's sarcastic bodyguard. Evidently, Falk was one of the few actors on the set of Pocketful of Miracles with which Capra remained sympatico throughout shooting. In his autobiography (a not altogether reliable tome), Capra insisted that Pocketful of Miracles was ruined by Glenn Ford's autocratic and self-serving on-set behavior, and by Ford's demand that his current lady friend Hope Lange be (mis)cast as brash nightclub chirp Queenie Martin. As usual, Capra was not telling the whole story: at 63, he was beginning to lose his grip on his movie-making skills, allowing every scene to run well past its value and concentrating on cute isolated "bits" rather than the story at hand. Way too long at 136 minutes (Lady for a Day ran but 90), Pocketful of Miracles still has a lot going for it, especially the glowing performance of Bette Davis and the basic, foolproof Damon Runyon story on which it is based. While it disappointed at the box office, Miracles has since its release become a Christmastime TV perennial, seldom failing to draw big ratings numbers.

René Clément's thriller Purple Noon stars Alain Delon as Tom Ripley, an American who travels to Europe on an all-expenses-paid mission to convince his friend, the errant playboy Philippe Greenleaf (Maurice Ronet), to travel to San Francisco at the request of the wealthy Greenleaf family. Initially, the pair enjoy the good life in Italy, often to the anger and dismay of Philippe's much put-upon fiancee Marge (Marie Laforet). However, as Tom's funds begin to run dry, it becomes more and more apparent that Philippe has no intentions of returning to the U.S., forcing Tom to consider more nefarious means of maintaining his extravagant lifestyle. Purple Noon is adapted from Patricia Highsmith's novel The Talented Mr. Ripley, and like Alfred Hitchcock's classic Strangers on a Train, also based on Highsmith's work, the theme of identity transference is dominant. The subject even extends to the homoerotic undercurrents which simmer below the surface of Tom and Philippe's relationship, setting into motion a love/hate tension which explodes during a high seas journey.

Sir Walter Scott's medieval take on the "John Alden" story formed the basis of Quentin Durward. Robert Taylor dons armor in the title role, playing the son of an aging Scottish nobleman. He has been dispatched to propose to a high-born Frenchwoman (Kay Kendall) on his uncle's behalf, but one look at the lady and Quentin Durward falls head over heels. But there are villains to vanquish in several sword fight setpieces, the best of which is the climactic battle in which the hero and the head bad guy (Duncan Lamont) dangle on bell ropes. Quentin Durward was the fifth MGM Robert Taylor picture filmed in whole or in part in England; the others were Conspirator, Quo Vadis, Ivanhoe and Knights of the Round Table.

Lightning steadfastly refused to strike twice for the director/actor team of Alexander Korda and Charles Laughton. Though the pair had scored an international success with the 1933 quasi-biopic The Private Life of Henry VIII, they couldn't make the magic happen again with 1936's Rembrandt. Laughton's performance is solid throughout, and Korda's recreation of Rembrandt's Holland is meticulous, but the film suffers from a lack of overall dramatic tension. Except for his artistic achievements and the deaths of his two wives, nothing really "happens" to Rembrandt--at least nothing as colorful as the escapades of Henry VIII. The best element of the film is the successful effort by cinematographer Georges Perinal to recreate the famous "Rembrandt lighting" effect in each scene. Laughton is given fine support by Elsa Lanchester (his real-life wife), and by legendary stage star Gertrude Lawrence in a rare film role.

Delmer Daves directs this cross between a travelog and a routine romantic drama set in Italy. The story begins when beautiful librarian Prudence (a misnomer, played by Suzanne Pleshette) decides to take off for Italy. She works in a women's college and was brought up short for recommending a racy book to one of the students. In a huff, she opts to go to the land of opera and find out if Italian men are as romantic as legend maintains. Once there, she runs into Roberto (Rossano Brazzi), who is likely to prove the legend true, and meets Don (Troy Donahue), an American running away from the love of his life, Lyda (Angie Dickinson). Between the glamour and the setting, Daves has geared this fluffy tale for the more innocent-minded teen set.

Made in 1942 but released early in 1943, Secret Enemies is a Warner Bros. espionage quickie, putting the studio's second-echelon contractees to good use. Craig Stevens, Faye Emerson and John Ridgely are the leads in this hour-long meller about a Nazi spy ring operating covertly in America. The FBI sniffs out the "secret enemies," striking another blow against Uncle Adolf. Secret Enemies enabled Faye Emerson to step up into "A" pictures and secured a contract extension for reliable utility player John Ridgely. But Craig Stevens was drafted almost immediately after the film's release; unable to regain his lost footing after the war, it would take Stevens until 1958 to establish himself as a full-fledged star on the TV series Peter Gunn.

The year is 1863. Wealthy Virginia landowner Charlie Anderson (James Stewart), a man of peace despite his autocratic behavior, steadfastly refuses to take sides in the Civil War. Bit by bit, Anderson's isolationism--and his way of living--is torn apart. Charlie's daughter, Jannie Anderson (Rosemary Forsyth) falls in love with Confederate soldier Sam (Doug McClure). His youngest son, Boy Anderson (Philip Alford) is captured by the Confederate army and taken prisoner. Meanwhile, another son, James (Patrick Wayne) and his wife, Ann (Katherine Ross), are murdered by looters. And his oldest son, Jacob Glenn Corbett, is accidentally killed. How all of these personal tragedies culminate in a successfully sentimental finale is the peculiar charm of Shenandoah, which proved to be a hit with audiences on both sides of the Mason-Dixon line. James Lee Barrett's screenplay was later adapted into a successful Broadway musical, starring Northern Exposure's John Cullum in the Stewart role.

In this musical comedy, an arrogant war journalist is sailing back to the Big Apple after the end of WW II. En route, he has been assigned to watch over a band of teenagers who were trapped in Europe four years ago while entertaining the troops. Their entrapment has done nothing to dim their enthusiasm for performing and while waiting for passage the crews entertain everyone at every opportunity. Songs include: "I'll Buy That Dream" (sung by Anne Jeffreys), "Heaven Is a Place Called Home," "Seven O'Clock in the Morning (Waking up Boogie)," "Somebody Stole My Poor Little Heart" (Herb Magidson, Allie Wrubel), and "The Lord's Prayer" (arranged by Albert Hay Malotte).

Sky Terror is the reissue title for Skyjacked, a 1972 MGM all-star adventure based on a novel by David Harper. Charlton Heston mans the controls of a Los Angeles-bound commercial airliner which is hijacked to Russia by an unknown miscreant. Even when the skyjacker, revealed to be passenger James Brolin, is subsequently subdued, the crew must contend with a hidden time bomb. The film is graced with a who's who of MGM contractees past and present, including Yvette Mimieux, Walter Pidgeon and Mike Henry. A flashback sequence contains one of the first examples of an American film coming to grips with how rudely our Vietnam veterans were ignored upon returning home; alas, this compassion quickly degenerates into the odious "crazed Vietnam vet" cliche. Footnote: The first network showing of Skyjacked was boycotted by TV stations owned by the Storer Corporation, which had a hard and fast rule against screening any film concerning a hijacked plane.

Originally released in England by British Consolidated, Sons of the Sea was the last film to be distributed in America by Grand National Pictures. Generally cast in villainous roles, Leslie Banks plays the film's true-blue hero Captain Hyde. Alas, Hyde's young son Philip (Simon Lack), though a graduate of the Royal Naval College at Dartmouth, does not possess the noble purpose of his father, and soon finds himself inadvertently involved with a foreign spy. But with the British Secret Service involved, the villains don't stand a chance.

Springfield Rifle was Gary Cooper's third western in a row, released not long after the classic High Noon. Cooper plays Union army officer Lex Kearney, who undertakes a covert investigation to find out why the North's supply of horses has suddenly diminished. Because of the top-secret nature of his mission, Kearney is forced to distance himself from everyone he knows, including his wife Erin (Phyllis Thaxter) and son Jamie (Michael Chapin). Heading to a remote cavalry post, he discovers that renegade soldiers have been stealing horses and selling them to the South. Someone at the post has been operating as the thieves' "inside man," and Lex, posing as a dishonorably discharged soldier, aims to ferret out the traitor. Had it not followed directly on the heels of the critical and financial success of High Noon, Springfield Rifle might have fared better with audiences and reviewers.

Scotty (Sterling Hayden), a charter pilot operating out of Mexico, is forced to join up with a criminal gang when his son is kidnapped. Cesar (Rodolfo Hoyos), the leader of the gang, wants Scotty to help the crooks escape to freedom with $250,000 in stolen money. The plane crashes, forcing Scotty and the gang to make the rest of their getaway on foot and in hijacked cars. Along the way, Scotty falls in love with Cesar's semi-honest daughter Teresa (Grace Raynor). From the looks of things, Ten Days to Tulara began as a documentary of Mexican native ceremonials and dances, with the plotline tacked on to keep the audience from nodding off. In any event, it's curious that the ABC network chose this very modest programmer as one of the entries in their 1962-63 Hollywood Special movie package, along with Inherit the Wind, The Magnificent Seven and On the Beach.

This near-legendary western stars Sterling Hayden as George Hanson, the son of a Swedish seaman-turned-farmer (Ted Stanhope). When he runs afoul of town boss Ed McNeil (Sebastian Cabot), Hanson's father is gunned down by McNeil's henchman Johnny Crale (Ned Young). Knowing full well that he can expect no help from the town's corrupt sheriff (Tyler McVey), Hanson takes matters in his own hands. Tension mounts steadily until the unforgettable climactic showdown, wherein Hanson arms himself with a harpoon! Extremely well written by Ben L. Perry, Terror in a Texas Town was one of the last directorial efforts of cult favorite Joseph H. Lewis.

TV-movie perennial Ted Post served as director for the low-budget theatrical feature The Baby. Ruth Roman plays a boozy nutcase who, out of hatred for the husband who ran out on her years earlier, forces her teenaged son (David Manzy) to dress and behave like an infant. Social worker Ann Gentry (Anjanette Comer), understandably put off by the sight of a fully grown boy chewing on his toes in a playpen, sets about to rescue him. When sinister forces try to claim the "baby" from Ann, she resorts to murder.

Can evil be inherited? That's the question posed by Maxwell Anderson in his stage play The Bad Seed. This 1956 film adaptation stars many actors from the Broadway version, including Nancy Kelly, Patty McCormack, Henry Jones and Eileen Heckart. Young McCormack plays Rhoda, a too-good-to-be-true grade schooler who occasionally exhibits a vicious streak whenever things don't turn out her way. During a picnic, one of Rhoda's schoolmates is drowned; the victim is a boy who'd won a penmanship medal that Rhoda had coveted. Nancy Kelly, the girl's mother, slowly comes to the horrible conclusion that Rhoda was responsible for the boy's death--a suspicion fueled by the discovery that Kelly, who was adopted as an infant, is the daughter of a convicted murderess. Meanwhile, a moronic handyman (Henry Jones) accidentally tumbles to Rhoda's secret, whereupon he is "accidentally" burned to death. Realizing that Rhoda must be stopped before she can kill again, and reasoning that the authorities would never believe the truth, Kelly tries to put the girl to sleep permanently with barbituates, then shoots herself. The play's ironic ending--the mother dies, while the unsuspected Rhoda lives on--is sacrificed for a "divine retribution" finale in the film, with Rhoda being punished by a convenient bolt of lightning. This alteration is acceptable, but director Mervin LeRoy further gilds the lily with an asinine closing-credits sequence wherein Nancy Kelly throws Patty McCormack over her knee and administers a spanking! The 1985 TV movie remake of The Bad Seed retains the play's original ending, but all in all is not half as entertaining as the 1956 version (its hokey denouement notwithstanding). McCormack later starred in Max Allan Collins' unofficial 1995 sequel Mommy.

One of the first recognizable "vigilante" films in American cinema, The Born Losers tells the story of Billy Jack (writer-director Tom Laughlin), a half-breed ex-Green Beret and Vietnam veteran who makes it his business to rescue a cute mod girl from a crew of vicious bikers. Much to his chagrin, however, he finds his lethal training gets him in as much trouble with the racist cops as with the bikers, and he soon becomes embroiled in a violent struggle against all parties involved. There is blood-letting and bone-breaking to burn in The Born Losers, not to mention lots of preaching on the part of Laughlin. However, it still tops the more famous sequel, Billy Jack, and it qualifies writer-director-star Laughlin for the status of true auteur.

A fictionalized account of the life of legendary Wild West sharpshooter Annie Oakley. Set in the quiet Western town of Diablo, Annie and her little brother Tagg made sure that outlaws who moseyed into town kept on going. Often at her side was her friend and suitor, Deputy Sheriff Lofty Craig, with whom she often showed up off her shooting prowess.

Actor Lawrence Harvey made his debut as a writer and director with this downbeat drama. Sean McKenna (Harvey) is awaiting execution in a prison in Tangiers after being convicted of murder. McKenna was trying to prevent the crime in question but was instead made the scapegoat. With his life hanging in the balance, McKenna's girlfriend Catherine (Sarah Miles) and his brother Dominic (Robert Walker Jr.) engineer an escape plan, and McKenna is able to beat his date with the hangman. However, McKenna's reunion with Dominic and Catherine proves not to be as joyous as he had expected when he discovers that they have been having an affair. Harvey was to direct only two more films, the second of which, Welcome to Arrow Beach, would prove to be his final work.

In one of John Wayne's more interesting late Westerns, "The Duke" plays Will Anderson, a crusty veteran cattleman preparing a 400-mile drive to get a herd of steers to market. Shortly before the trip is scheduled to begin, Will's crew quits when they get word of a nearby gold strike. With little time and few alternatives, Will recruits eleven boys, ages nine through 13, and teaches them the basics of herding cattle and riding the range. Bruce Dern plays a memorably foul villain and cattle rustler named Long Hair, while Roscoe Lee Browne portrays Jebediah, the cattle drive cook, and Colleen Dewhurst is Kate, a madam.

It takes a fierce three-day bicycle race up in the mountains to reunite two formerly feuding brothers in this film written by Steve Tesich, the creator of another cycle movie, 1979's Breaking Away. This film will please the cycling lovers out there, as it includes actual footage taken from the famous Coors International Bicycle Classic, held in the Colorado Rockies. The plot revolves around the suspicion that one of the two brothers -- either the pragmatic sports doctor Marcus (Kevin Costner) or the impudent, driven David (David Marshall Grant) -- is likely afflicted with an inherited tendency toward cerebral aneurysms.

In 1969, The Damned (La caduta degli dei) was director Luchino Visconti's most controversial film to date. Set in the 1930s, the film zeroes in on a Krupp-like family of German munition manufacturers. The Essenbeck clan is headed by the Baron (Rene Kolldehoff), but daughter Sophie (Ingrid Thulin) wants her Nazi boyfriend to take over the business. Soon the Baron is dead and Bruckman (Dirk Bogarde) becomes company president. Son Martin (Helmut Berger) is the dope-addicted teenager who sleeps with his mother and drags her into her own dependence on drugs. Ever in pursuit of more millions to add to their already bulging coffers, the family plays along with the Nazis, descending into corruption, betrayal and murder all along the way. The film was originally released in the U.S. with an X rating.

Bernard Malamud seldom saw his works faithfully transferred to the screen (take a look at The Natural sometime), but he issued no complaints over the cinemazation of his Angel Levine. Zero Mostel plays an elderly Jew named Morris Mishkin, whose life experiences have left him an embittered agnostic. Into Mostel's life floats Alexander Levine (Harry Belafonte), who must convince the old man that life has value, else he'll never earn his wings. The Angel Levine was lovingly adapted for the screen by Bill Gunn and Ronald Ribman.

One of the most entertaining of the Western movies to come out of the 1950s, this is a Stewart vehicle in which he must take on the ruthlessness of the frontier. Set in the Yukon, Stewart and his friends are driving cattle to market from Wyoming to Canada, where the boom towns pay top dollar for beef. When they arrive in Skagway, the corrupt sheriff of the town (John McIntire) steals the cattle and Stewart et al are forced to fight for their herd. Together with the female saloon keeper of another town (Ruth Roman), they find themselves up against an evil they were not prepared for. When Stewart's friend (portrayed by Walter Brennan) is killed, he is forced to go up against the evil sheriff. Good versus evil in incredible Yukon settings makes this an above average Western.

Based on Aurania Rouveyrol's Broadway play Skidding, A Family Affair is a gentle comedy/drama centering around the Hardy family of Carvel (a small, idealized American town). Judge Hardy (Lionel Barrymore) hopes to be re-elected, but his campaign is put in jeopardy by his opposition of a wasteful public works program. The Judge's position is also threatened by his daughter's (Julie Haydon) unexplained separation from her husband. In the supporting cast, incidental to the plotline, was Mickey Rooney as Judge Hardy's teenage son Andy, Spring Byington as the Judge's wife, and Cecilia Parker as his younger daughter Marian. MGM head Louis B. Mayer sensed series potential in A Family Affair, and the result was the long-running and profitable "Hardy Family" series. Julie Haydon's character was written out of all subsequent "Hardy" films, Lewis Stone and Fay Holden replaced Lionel Barrymore and Spring Byington as Judge and Mrs. Hardy, and Mickey Rooney was elevated from the supporting cast to full leading man status as the effervescent Andy Hardy.

A Hitchcockian drama about a quiet old-fashioned farmer trying to convince his estranged wife not to run off with their farmhand.

French peasant Sarrail poses as a saint in order to learn German war secrets.

The Girl Most Likely owns the distinction of being the last RKO Radio picture ever produced at the studio's Hollywood facilities; shortly afterward, RKO moved out and Desilu moved in. A musical remake of the 1941 Ginger Rogers comedy Tom, Dick and Harry, the film stars Jane Powell as Dodie, an eligible bachelorette who must choose between three suitors. Wealthy Neil (Keith Andes) offers her a life of luxury and ease; salesman Buzz (Tommy Noonan) offers stability; and roughneck mechanic Pete (Cliff Robertson) can offer nothing but love. In a series of elaborate dream sequences, Dodie imagines what life would be like with her three beaus. Though Paul Jarrico wrote the original script upon which The Girl Most Likely was based, he was refused screen credit thanks to the insidious Hollywood blacklist. When the RKO Radio distribution chain collapsed in 1958, The Girl Most Likely was distributed by Universal-International.

In this drama, a remake of Hat, Coat and Glove (1934), a hard working attorney is upset when he learns that his long-suffering, neglected wife is having an affair with an accused murderer. This does not prevent the highly principled lawyer from representing the man and his wife in court. Not only does he get them acquitted, he also manages to keep the whole mess out of the newspaper.

There's nary a serious moment in the loopy Warner Bros. programmer A Night at the Ritz. William Gargan stars as Duke Regan, a hot-shot hotel publicity agent. Fired from several jobs, Duke is given one last chance by the Ritz-Carlton. Improvising quickly, he promotes his future brother-in-law Leopold (Erik Rhodes) as a master chef, landing the hapless fellow a choice spot in the Ritz kitchen. But there's a hitch: Not only has Leopold never cooked anything in his life, but the mere mention of food makes him extremely nauseous. As Duke desperately seeks a way out of the web he's woven around himself, a banker's convention shows up at the Ritz, and they're as hungry as hunters. This is one of the few pictures of the 1930s in which a mother-in-law (Bodil Rosing) comes to the rescue.

Wings for the Eagle is an overbaked but sincere tribute to the wartime defense workers at the Lockheed Aircraft Plant, where a good portion of the film was made. Hoping to dodge the draft, Corky Jones (Dennis Morgan) lands an "essential" job at Lockheed, eventually realizing the importance of his work and thereby renewing his own patriotism. Along the way, Corky and his pal Brad Maples (Jack Carson) bicker over the affections of Brad's former wife Roma (Ann Sheridan). A note of pathos is introduced in the form of Lockheed supervisor Jake Hanso (George Tobias), who loses his job when it is learned that he never became a US citizen but who demonstrates his loyalty to the United States in a variety of ways. When Jake's fighter-pilot son Pete (Russell Arms) is killed in the Philippines, a reformed Corky Jones joins the Air Force himself, single-handedly shooting down a Japanese Zero "For Jake and Pete." This incredible flag-waving coda aside, Wings for the Eagle is a reasonably believable yarn, definitely a product of its times yet perfectly capable of entertaining an audience of the 1990s.

This film was developed by personnel at the Army Air Corps top secret Wright Field flight test facility during World War 2 to give pilots the low down on what to expect if they joined their aircraft testing program. As such, the film is both very informative and interesting, with plenty of info about flight testing at that time, including climb, level flight, take off and landing, test instruments, and pilot responsabilities. But, there is much more. You also get a look behind the curtain at Wright Field at some of the rarest and most bizarre aircraft produced during World War II, including one-off prototypes. You'll see a Bell P-63 Kingcobra doing aerobatic spin & stall tests, a Bell P-59 Airacomet jet fighter, a Plat-LePage XR-1A twin rotor helicopter, a tiny Bell XP-77 fighter, a Curtiss XP-60C with contra-rotating props, a weird hybrid B24/B-17, a beautiful 20-mm canon equipped test P-51A from the first Mustang production run, captured enemy aircraft,and more. This film is a real gem and beautifully preserved.

Stereotypes abound in this drama that follows the attempts of a Scottish lad to marry a pretty Irish lassie and join the police force. The girl's father, a New York policeman who was forcibly retired, is not happy that his daughter desires to marry a highlander. Still, amidst the turmoil, the heavy consumption of alcohol and Gaelic witticisms, romance ensues.

Popular film lore has it that The Jazz Singer was the film that established the talkie as the pre-eminent film medium in 1927. But it was Al Jolson's follow-up film, The Singing Fool that actually introduced the sound film to the general film-going population of the United States and it was the popularity of The Singing Fool that paved the way for the wide-acceptance of sound features. Jolson plays Al Stone, a singing waiter at Blackie Joe's cafe, who writes a hit song and sky-rockets to success as a Broadway headliner. Looking ahead to unlimited success, Al falls in love with scheming golddigger Molly Winton (Josephine Dunn), whom he marries. When Molly gives him a son, Sonny Boy (Davey Lee), Al is beside himself with love for his cutey-pie offspring. But when Molly deserts him for small-time gangster John Perry (Reed Howes) and takes Sonny Boy with her, Al is heartbroken. His spirit shattered, Al becomes a bum and, after a time, regains his singing waiter job at Blackie Joe's. Back at the dive, Grace (Betty Bronson), a cigarette girl secretly in love with Al, convinces him to make a comeback. Al struggles and regains his confidence and hits the stage like a trouper -- even when he hears that his beloved Sonny Boy has died in a hospital ward.

Originally titled Upper Underworld, The Ruling Voice stars Walter Huston as a powerful underworld chieftain who covers his crooked activities in a cloak of respectability. Cold-blooded in all business matters, Huston cares only for the welfare of his beloved daughter Loretta Young, whom he has been careful to shield from his criminal cohorts. When she learns the truth, Young angrily walks out of her father's life, a blow compounded when his "trusted" henchman Dudley Digges betrays him. In a last-ditch effort at redemption, Huston puts his own life on the line to rescue his daughter from her rival-gangster kidnappers. The final shot in The Ruling Voice is a gem, with the newspaper bearing the headline of Huston's downfall being used to wrap a dead fish.

Ernest Hemingway's short novel The Old Man and the Sea was probably unfilmable to begin with, but this didn't stop John Sturges from trying to cinematize Hemingway's tight little character study. Spencer Tracy is the Old Man, a Cuban fisherman who tries to haul in a huge fish that he catches far from shore. Tracy's tiny boat is besieged by sharks and by natural elements, but the Old Man stubbornly sticks to his job. In the end, the fish is nothing more than a skeleton, and the Old Man returns to his tiny hovel to "dream about the lions." Spencer Tracy may have been dreaming about the Oscar when he agreed to make this film, but Old Man and the Sea is defeated by pretentiousness and by several unconvincing "sea" scenes shot in a studio tank (even though both Tracy and director Sturges underwent incredible hardships filming in a real boat on the real ocean). Old Man and the Sea was remade as a 1990 made-for-TV movie starring Anthony Quinn, which compounded the mistakes made in the Tracy version by grafting on a pointless love story.

This is one of several solid B-grade Westerns produced at the height of the genre's popularity in the '50s by the partnership of director Budd Boetticher, star Randolph Scott, and writer Burt Kennedy. Scott stars as Ben Brigade, a taciturn bounty hunter who captures wanted murderer Billy John (James Best) and heads for Santa Cruz, where a reward awaits Brigade and a rope most likely awaits the killer. There's more to Brigade than meets the eye, however; his actual quarry is Frank (Lee Van Cleef), his prisoner's brother and the man who killed Brigade's wife. At a trading post where Brigade and his prisoner have stopped, Indians attack. The bounty hunter saves the life of Mrs. Lane (Karen Steele), wife of the post's deceased manager. Lane decides to accompany her rescuer to Santa Cruz, so Brigade, counting on a showdown with Frank, hires outlaws Sam and Whit (Pernell Roberts and James Coburn) for protection on the duration of the journey. During the trip, Sam and Whit discuss betraying Brigade and turning in Billy John themselves for a reward and pardon. Coburn made his screen debut with the film.

Meredith Wilson's hit 1957 Broadway musical was transferred to the screen in larger-than-life fashion in 1962. Robert Preston repeats his legendary stage performance as fast-talking con man Harold Hill, who goes from town to town selling citizens on starting a "boy's band," then extracts money from them by ordering instruments and uniforms, with the promise that he'll teach the kids how to be musicians. Once he's collected his bankroll, Hill skips town, leaving the kids in the lurch. Looking for new suckers in Iowa, Hill arrives in River City, where he declares that the only way to save the youth of River City from the lure of the poolroom is to organize a boy's band. He charms the mayor's wife Eulalie (Hermione Gingold) into forming a "ladies' dance committee" and sets his sights on winning over local music teacher Marian Paroo (Shirley Jones). Marian rightly considers Hill a fraud, especially when he espouses the "Think System" of learning music: if you think a tune, he claims, you can play it. But Marian becomes Hill's staunchest ally when her young brother Winthrop (Ronny Howard), sullen and withdrawn since the death of his father, exuberantly comes out of his shell at the prospect of joining Hill's band; and Marian's budding romance with the charming but unreliable Hill ultimately brings her out of her own shell as well. Marion Hargrove's script uses most of the original play, with a handful of amusing expansions, especially in the roles played by Gingold and by Buddy Hackett as Hill's comic sidekick.

In this drama, an ex-vaudevillian dancer opens up a dance band agency and help street kids at the same time by hiring them to help out. Unfortunately, the local gang of hood's leader resists his attempts. More trouble ensues when the dancer helps a convict gain parole by hiring him. It later turns out that the ex-con is only interested in trying to use the agency as a front for extortion. Songs include the Oscar nominated "When There's a Breeze on Lake Louise," "Your Face Looks Familiar," "Heavenly, Isn't He?" "Let's Forget It," "You're Bad For Me," and "A Million Miles From Manhattan."

Groucho Marx received co-writer credit (along with his old friend Norman Krasna) for King and the Chorus Girl, though very little Marxian wit is in evidence. What remains is a fun but forgettable comedy about a European monarch (Fernand Gravet) who woos and wins a down-to-earth American chorine (Joan Blondell) who works at the Folies Bergere. Edward Everett Horton and Jane Wyman (fifth-billed) provide comic relief as the respective best friends and severest critics of the leading players. The film had a topical edge in that it was released the year after Britain's King Edward renounced his throne for American divorcee Wallis Warfield Simpson. Significantly, King and the Chorus Girl was released in England as Romance is Sacred, effectively downplaying the touchy "royal" angle.

When the film rights to its "Saint" series proved too expensive to renew, RKO Radio came up with a lookalike property in the form of "The Falcon", even engaging George Sanders, the best of the "Saint" impersonators, to play the studio's newest gentleman detective. The Gay Falcon opens as Gay Lawrence (Sanders) -- aka the Falcon -- is hired to guard a priceless diamond. When the owner of the gem is murdered, suspicious immediately falls upon Lawrence's ex-con chauffeur Goldie (Allen Jenkins). Two more killings occur before Lawrence is able to uncover the insurance scam behind it all. Along the way, he romance a pair of toothsome leading ladies, Helen (played by series regular Wendy Barrie) and Elinor (Anne Hunter). Hans Conried contributes a sparkling bit as a snide police sketch artist.