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In his final film before entering war service, Gene Autry joins the World Wide Wild West Show, a faltering enterprise about to be taken over by the more powerful Johnson Bros. Rodeo, and his success as the Singing Bronco Buster allows the show to open at San Capistrano instead of the rival outfit. Stag Johnson (Morgan Conway), who is sweet on World Wide's owner Jennifer Benton (Virginia Grey), is inclined to leave things as they are but brother Jed (Tristram Coffin) and jealous show girl Jackie Laval (Marla Shelton) do what they can to sabotage the competition, including forcing Mom (Claire DuBrey) and Pop McCracken (Lucien Littlefield), Jennifer's foster-parents, off the road. Gene at first blames himself for all the troubles but then joins sidekicks Frog Millhouse (Smiley Burnette) and Tadpole (Joe Stracuh, Jr.) in battling the increasingly desperate Johnson brothers. When not rescuing the heroine from runaway buckboards and other such Wild West shenanigans, Gene Autry, Smiley Burnette, Joe Strauch, Jr. and company perform "In Old Capistrano", "At Sundown", "Forgive Me", "Don't Bite the Hand That's Feeding You", and "Fort Worth Jail". According to some reports, Bells of Capistrano), which was produced on an impressive budget of $500,000, employed two camera crews in order to finish principal photography prior to Autry's induction into the Army Air Force. Gene Autry Entertainment restored the film to its original length in 2001.

The true story of Anna Leonowens' experiences as a governess to the children of an eccentric Asian king has been adapted into a book of memoirs, a biography, a stage play called Anna and the King of Siam -- which was adapted into a 1946 film, a stage musical called The King and I -- made into both the live-action The King and I (1956)) and the animated The King and I (1999) feature films, and a short-lived 1972 TV series. Now the story is brought to the screen yet again, as Jodie Foster stars as Leonowens, hired by the king of Thailand (Chow Yun-Fat) in the 19th century to help care for his children. The king wants the best for his children, but Anna soon discovers that he is a strong-willed but quixotic leader, and her stay in Thailand becomes a struggle for power with romantic overtones, as they decide who will have authority over the royal youngsters. Anna and the King was directed by Andy Tennant, best known for his 1998 variation on the Cinderella story, Ever After.

If ever there was a role that Anthony Quinn was born to play, it was the lusty, life-affirming title character in Zorba the Greek. The scene is the isle of Crete, where English writer Alan Bates arrives in the hopes of realigning his own values and outlook on life. He is "adopted" by the flamboyant Zorba, who determines to educate Bates in the ways of the world-or, to be more precise, Zorba's world. Along the way, Bates is introduced to widow Irene Papas, the unrequited love object of everyone on the island, who comes to a tragic end when she is accused of adultery. The writer is also a spectator to the equally benighted romance between Zorba and venerable courtesan Lila Kedrova. Other disasters follow, but Zorba is able to convince Bates that failure is an inescapable part of life, and that only by constantly tasting defeat can one truly enjoy life's victories. Based on the novel by Nikos Kazantzakis, Zorba the Greek earned Oscars for actress Lila Kedrova, cinematographer Walter Lassally and art director Vassilis Fotopoulos.

The romantic adventures of Connie Peters, a salesgirl in the Gracious Living department of Cooksin's Department Store, and her secret lover Eddie Rockwell, the floor manager of Gracious Living. Store police forbids employees dating each other.

A posse ventures into Black Paw Indian territory in search of a missing boy, and finds that getting scalped is the least of their worries after crossing through an ancient burial ground, and being torn apart by their own greed. Michael Biehn and James Russo star.

Fitzjohn (Peter Sellers) is a retired general who is miserable at home with his shrewish wife Emily (Margaret Leighton). He dreams of younger days when he enjoyed the platonic company of the beautiful Ghislaine (Dany Robin). After many years, she shows up at his door and expresses her desire to take their relationship beyond the platonic level. When his plans are temporarily postponed, he leaves her in care of his right hand man. His aid and Ghislaine fall in love, prompting Fitzjohn to begin court-martial proceedings against his unfaithful aide. When the lineage of his aide is discovered, he tries to halt the trial in this ironic comedy taken from the play by Jean Anouilh.

A veteran suffering from post traumatic stress syndrome finds it difficult to go back to his old life. Larry Morris decides to attend a reunion of the squadron, he deserted under fire during World War II.

To escape arrest, small-time bookie Steve Boland (Charles Bronson) joins the army. Soon he figures that he'd have been better off in jail: an unrepentant foul-up, Boland just can't seem to get in step with military protocol. All this changes when Steve falls in love with level-headed Ilsa (Violet Rensing). In a thoroughly out-of-left-field plot development, Steve becomes a hero when acting upon Ilsa's warning that there's a communist plot afoot to assassinate President Eisenhower! The trade magazine Variety observed that the banality of When Hell Broke Loose could be gauged by the fact that two of the characters are named "Brooklyn" and "Jonesey."

This spoof of the Airport series of disaster movies relies on ridiculous sight gags, groan-inducing dialogue, and deadpan acting -- a comedy style that would be imitated for the next 20 years. Airplane! pulls out all the clichés as alcoholic pilot Ted Striker (Robert Hays), who's developed a fear of flying due to wartime trauma, boards a jumbo jet in an attempt to woo back his stewardess girlfriend (Julie Hagerty). Food poisoning decimates the passengers and crew, leaving it up to Striker to land the plane, with the help of a glue-sniffing air traffic controller (Lloyd Bridges) and Striker's vengeful former captain (Robert Stack), who must both talk him down. Along the way, we meet a clutch of stock disaster movie passengers like the guitar-strumming nun, a sick little girl, a frightened old lady, and two African-American travelers whose "jive" has to be subtitled. Leslie Nielsen portrays the plane's doctor, launching a new phase of the actor's career that carried him through the next two decades in several similarly comedic roles. The trio of directors Jim Abrahams, Jerry Zucker, and David Zucker responsible for the film would eventually go on to solo careers, but not before making Top Secret! and Ruthless People.

The misadventures of Augie Adams, a toy salesman. In the pilot show, broadcast as a segment of "Alcoa Theater," Augie risks losing a big client in order to attend his son's art show at school. See also "How's Business?," the sequel pilot show.

Bold and the Brave traces the destinies of three American soldiers stationed in Italy during World War II. Wendell Corey is top-billed as an idealistic soul who doesn't believe in killing. Don Taylor portrays a religious bigot, who can't see anything in terms other than Good and Evil. The most intriguing (and entertaining) member of the trio is Mickey Rooney, an inveterate gambler who runs a floating crap game up and down the Italian front. Since Rooney frequently declares that he's building up enough money to open a fancy New York restaurant, it's a foregone conclusion that he's not going to get out of the war alive. The title song for Bold and the Brave was cowritten by Mickey Rooney and Ross Bagdasarian, the latter best known as the creator of Alvin and the Chipmunks.

An obviously ailing Humphrey Bogart made his final screen appearance in The Harder They Fall. Adapted from a novel by Budd Schulberg, the film is a thinly disguised a clef account of the Primo Carnera boxing scandal. Bogart is cast as unemployed newspaperman Eddie Willis, who sells his soul down the river when he signs on as press agent for slimy fight manager Nick Benko (Rod Steiger). It is Willis' job to stir up publicity for Benko's newest protégé, Argentinian boxer Toro Moreno (Mike Lane). Benko's boy quickly rises to the top of his profession, though everybody but Toro knows that all the fights have been fixed. Upon learning that Benko intends to bilk Toro of his earnings, Willis regains his integrity, tells the wide-eyed young pugilist the truth, then sits down to write a searing expose of the fight racket. Jan Sterling costars as Willis' estranged wife, while real-life boxers Jersey Joe Walcott and Max Baer are suitably cast as Toro's trainer and ring opponent, respectively. There is also a heartbreaking cameo appearance by ex-fighter Joe Greb, cast as a punchdrunk skid row bum. The Harder They Fall originally went out with two different endings: in one, Eddie Willis demanded that boxing be banned altogether, while in the other, Willis merely insisted that there be a federal investigation of the prizefighting business. The videotape version contains the "harder" denouement, while most TV prints end with the "softer" message.

An uptight chef (Joseph Cross) who believes he doesn't have any extended family is approached by a young woman (Adelaide Clemens) claiming to be his long-lost cousin. When he travels to a farm in Upstate New York to meet her parents and two sisters, he is forced to confront the shocking secret that torn their clan apart. Deborah Ann Woll, Richard Schiff, Ricky Jay, Yvonne Zima, Vanessa Zima, and Catherine Carlen co-star. Directed by Justin Lerner.

The Get-Away is a remake of 1935's Public Hero Number One, using generous amounts of stock footage from the earlier film. Robert Sterling, Donna Reed and Dan Dailey (billed as Dan Dailey Jr.) fill the roles originally played by Chester Morris, Jean Arthur and Joseph Calleia. In order to get the goods on mobster Sonny Black (Dailey), G-man Jeff Crane (Sterling) has himself thrown into prison, where Black is currently doing time on a lesser charge. The FBI's plan is to arrange a jailbreak for Crane and Black, then lie in wait as Black makes his way back to his old gang, the better to capture the whole bunch. Complicating this scheme is the fact that Crane has fallen in love with Black's sister Maria (Reed). In an attempt to update this 1935-vintage yarn, it is emphasized that Black's crimes include the robbing of US defense payrolls.

This Gay-90s musical interweaves a number of fictional characters with real-life theatrical impresario Tony Pastor (played by Gordon MacRae, who resembles the real Pastor not at all). The plot involves a roisterous Irish papa (James Barton) who, when not on a drunk, tries to keep his two daughters (June Haver and Debbie Reynolds) from the clutches of predatory men. The older daughter (Haver), who entertains notions of a stage career, meets Tony Pastor during an audition, and promptly falls in love. She becomes a star singing such turn-of-the-century hits as the title song, while Pastor tries to suppress his own warm feelings towards the girl. Warner Bros. stalwart S.Z. Sakall shows up in Daughter of Rosie O'Grady, fully justifying his nickname "Cuddles."

Bull Meechum (Robert Duvall) loves fighting almost as much as he loves the Marine Corps. Profane, cocky, and arrogant, he's a great fighter pilot -- and he knows it. His boss hates his guts, but knows that if he's going to straighten out his lagging squadron, Meechum is the man to do it. The story and irony of The Great Santini is in Meechum's total intolerance of family life and fatherhood. Meechum has a lovely, supportive wife, Lillian (Blythe Danner), an earnest, likeable son, Ben (Michael O'Keefe), three smaller children, and a good home, but Meechum finds the pastoral nature of peacetime totally incompatible with his gung-ho nature. So he begins to drink. He drills his family unmercifully, like recruits. He hammers his son relentlessly until, in a basketball game, his son fights back, and the family cheers Ben's efforts. Tension builds in the household until, during one drunken night, Meechum breaks down. Based on a best-selling novel by Pat Conroy, The Great Santini earned critical raves but fared poorly at the box office. Duvall's performance as Meechum is generally regarded as one of his greatest.

This breezy and unpretentious film noir from director Don Siegel starts off with fireworks. Duke Holliday (Robert Mitchum), an American army lieutenant, is on his way to Mexico by boat when he's confronted in his cabin by Blake (William Bendix), gun in hand, who plans on taking him back to the United States. Holliday gets away, pummeling Blake pretty hard in the bargain and stealing his identification, and crosses paths with Joan Graham (Jane Greer). It turns out that she's looking for the same man he is, a smooth-talking hood and grifter named Fiske (Patric Knowles), who took Holliday at gunpoint for 300,000 dollars in army payroll money and Graham for 2,000 dollars, in addition to her hand in marriage. They spend a lot of their time sizing each other up, not knowing how much to believe about the other while trying to catch up with Fiske, while Blake -- an army captain who's after Holliday for his alleged part in the robbery -- stumbles along a step or two behind them. These four end up playing cat-and-mouse across Veracruz, with Fiske always a half-step ahead, while police Inspector General Ortega (Ramon Novarro) calmly keeps tabs on all of them, trying to figure out (along with the rest of us) exactly who is on the level (in those days, especially after Out of the Past, there was no built-in assurance for audiences that Mitchum and Greer played characters with clean hands, and Mitchum is almost too good with the rough stuff here to be an obvious hero). Holliday and Graham engage in some surprisingly playful and suggestive banter during their travels, in between her keeping Holliday -- whose command of Spanish is less than minimal -- from adding too many new permutations to the phrase "the ugly American" in his dealings with the Mexicans. The mood is decidedly brisk and light-hearted at times, given the gunplay and violence that explodes at key intervals. The addition of John Qualen -- in one of the strangest roles of his career -- as a decidedly fidgety and neurotic presence in the last quarter of the story only adds to the undertone of quirkiness in this superb film noir.

Lucille Ball landed her first starring comedy role in the mile-a-minute farce The Affairs of Annabel. Lucy of course plays the title character, a screwball movie actress who indulges in one wacky publicity stunt after another at the behest of her press agent Morgan (Jack Oakie). To promote an upcoming prison picture, Annabel gets herself arrested-and has quite a time extricating herself from behind bars. The limit comes when she gathers research for her next film by hiring on as a housemaid, culminating in a fake kidnapping that turns out to be the real thing. Matching Ball and Oakie laugh for laugh is Fritz Feld as a bombastic foreign director. Cowritten by future Desilu Studios executive Bert Grant, The Affairs of Annabel was popular enough to inspire an equally hilarious sequel, Annabel Takes a Tour.

It's said that most American men think about sex once every two or three minutes, but this statistic would seriously underestimate the horniness of Jim (Jason Biggs), a high school senior in suburban Michigan. Jim is thoroughly obsessed with sex, a fact of which his parents become aware when they discover him performing the sin of Onan with a gym sock while watching scrambled pay-per-view porn. Jim's buddies Kevin (Thomas Ian Nicholas), Finch (Eddie Kaye Thomas), and Oz (Chris Klein) are no less anxious to relieve themselves of their virginity, so they all make a pledge: they will go to bed with a woman in the three weeks before senior prom or die trying. Kevin appears to have the advantage, since he already has a girlfriend, Vicky (Tara Reid), but before he ventures into the Final Frontier, Kevin is urged to consult "The Bible," a hand-written how-to manual possessing erotic wisdom passed down through the ages. Oz is a good-looking jock who is actually a nice guy -- which is part of the problem, since he has his heart set on a nice girl, Heather (Mena Suvari), who does not seem the type to leap into bed within 21 days. Finch has no immediate prospects, though Jessica (Natasha Lyonne) is in a position to know if those rumors about him are true. And Jim is a truly hopeless case -- after his attempted seduction of beautiful Czech exchange student Nadia (Shannon Elizabeth) turns out to be a disaster, he ends up going to the prom with Michelle (Alyson Hannigan), an annoyingly chatty band geek who does, however, have a fascinating story about a flute. American Pie was the directorial debut of Paul Weitz, who, along with his brother Chris Weitz (who served as producer), previously wrote several screenplays, including Antz and Madeline (where they presumably worked all their wholesome ideas out of their system).

Tony Curtis stars as The Great Leslie, a hero among heroes whose purity of heart is manifested by his spotlessly white wardrobe. Leslie's great rival, played by Jack Lemmon, is Professor Fate, a scowling, mustachioed, top-hatted, black-garbed villain. Long envious of Leslie's record-setting accomplishments with airships and sea craft, Professor Fate schemes to win a 22,000-mile auto race from New York City to Paris by whatever insidious means possible. The problem is that Fate is his own worst enemy: each of his plans to remove Leslie from the running (and from the face of the earth) backfires. Leslie's own cross to bear is suffragette Maggie Dubois (Natalie Wood), who also hopes to win the contest and thus strike a blow for feminism. The race takes all three contestants to the Wild West, the frozen wastes of Alaska, and, in the longest sequence, the mythical European kingdom of Carpania. This last-named country is the setting for a wild Prisoner of Zenda spoof involving Professor Fate and his look-alike, the foppish Carpanian king. When Leslie and Fate approach the finish line at the Eiffel Tower, Leslie deliberately loses to prove his love for Maggie. Professor Fate cannot stand winning under these circumstances, thus he demands that he and Leslie race back to New York. The supporting cast includes Peter Falk as Fate's long-suffering flunkey Max, Keenan Wynn as Leslie's faithful general factotum, Dorothy Provine as a brassy saloon singer, Larry Storch as ill-tempered bandit Texas Jack, and Ross Martin as Baron Von Stuppe. The film also yielded a hit song, Henry Mancini and Johnny Mercer's The Sweetheart Tree. The Great Race was dedicated to "Mr. Laurel and Mr. Hardy".

This gritty, fast-paced, and innovative police drama earned five Academy Awards, including Best Picture, Best Adapted Screenplay (written by Ernest Tidyman), and Best Actor (Gene Hackman). Jimmy "Popeye" Doyle (Hackman) and his partner, Buddy Russo (Roy Scheider), are New York City police detectives on narcotics detail, trying to track down the source of heroin from Europe into the United States. Suave Alain Charnier (Fernando Rey) is the French drug kingpin who provides a large percentage of New York City's dope, and Pierre Nicoli (Marcel Bozzuffi) is a hired killer and Charnier's right-hand man. Acting on a hunch, Popeye and Buddy start tailing Sal Boca (Tony Lo Bianco) and his wife, Angie (Arlene Faber), who live pretty high for a couple whose corner store brings in about 7,000 dollars a year. It turns out Popeye's suspicions are right -- Sal and Angie are the New York agents for Charnier, who will be smuggling 32 million dollars' worth of heroin into the city in a car shipped over from France. The French Connection broke plenty of new ground for screen thrillers; Popeye Doyle was a highly unusual "hero," an often violent, racist, and mean-spirited cop whose dedication to his job fell just short of dangerous obsession. The film's high point, a high-speed car chase with Popeye tailing an elevated train, was one of the most viscerally exciting screen moments of its day and set the stage for dozens of action sequences to follow. And the film's grimy realism (and downbeat ending) was a big change from the buff-and-shine gloss and good-guys-always-win heroics of most police dramas that preceded it. The French Connection was inspired by a true story, and Eddie Egan and Sonny Grosso, Popeye and Buddy's real life counterparts, both have small roles in the film. A sequel followed four years later.

Less a parody of the early James Bond film than a parody of the films that parodied the early James Bond films, Austin Powers: International Man of Mystery stars Mike Myers as Austin Powers, by day a hipster fashion photographer in mid-'60s swingin' London and by night a crime-fighting secret agent. Austin's wardrobe is pure Carnaby Street at its most outrageous, his vocabulary is crowded by the cool lingo of the day ("Groovy, baby! Yeah!!"), and he's irresistible to women, despite the fact that he can be charitably described as "stocky" and has teeth that strike fear into any practicing dentist. When his nemesis, the arch-enemy Dr. Evil (also played by Myers), has himself cryogenically frozen and sent into space, Powers also has himself put on ice so he can be thawed out when Dr. Evil returns. Come 1997, Dr. Evil returns to Earth and is back to his old tricks, so Austin is thawed out and returned to active service -- though he soon discovers his style doesn't play so well 30 years on. The supporting cast includes Elizabeth Hurley as Austin's sidekick, Vanessa Kensington; Michael York as his boss, Basil Exposition; Robert Wagner as Dr. Evil's assistant, Number Two; and Seth Green as Dr. Evil's troubled son, Scott Evil. Ming Tea, the swingin' pop band that periodically backs up Austin, includes real life pop-rockers Matthew Sweet and Susanna Hoffs. Austin Powers: International Man of Mystery was a mild box-office hit but an even bigger success on home video, which led to the 1999 sequel, Austin Powers: The Spy Who Shagged Me.

Previously filmed as a so-so Marx Brothers vehicle in 1938, the John Murray-Alan Boretz Broadway hit Room Service was effectively musicalized in 1944 as Step Lively. The plot remains intact: Fly-by-night theatrical producer Gordon Miller (Groucho Marx in the 1938 film, George Murphy in the remake) struggles to keep his production and cast together, despite severe deficiencies in the money department. Hotel-chain supervisor Wagner (Adolphe Menjou) threatens to throw Miller and his actors off the premises, an eventuality Miller hopes to forestall until he can obtain $50,000 from a wealthy backer. Meanwhile, Glen Davis (Frank Sinatra), the author of Miller's play, shows up to see how things are going. Before long, Glen is swept up in a desperate plot hatched by Miller and his underlings Binion (Wally Brown) and Harry (Alan Carney) to stay in the hotel despite Wagner's efforts to oust them. Caught in the middle are hapless hotel manager Gribble (Walter Slezak), potential backer Jenkins (Eugene Pallette), Glen's sweetheart Miss Abboli (Anne Jeffreys) and Miller's leading lady Christine (Gloria DeHaven). This being a musical, the outcome hinges on Glen's hitherto untapped singing ability, which might save the day if he overcomes a bout of psychosomatic laryngitis.

In this musical comedy, an oddball wife fears that her husband's rich uncle will not like her and therefore disinherit her spouse, so she engages another woman to play her when the uncle comes to call. Songs include: "One Sweet Little Yes," "Clowning," "Beauty Shop," "Am I Blue?," "Let Me Have My Dreams," "My Strongest Weakness is You," (by Grant Clarke, Harry Akst), "Down Among the Sugar Cane" (by Clarke, Charles Tobias), and "So Long Letty" (Earl Carroll).

Like Disney's earlier Song of the South, So Dear to My Heart peppers its live action with animated sequences. In this film, however, it is the "live" story that lingers longest in the memory. Set in 1903, the film takes place on the small Kincaid farm. Twin sheep are born in the barn: one white, one black. When the mother sheep rejects the black lamb, young Jeremiah Kincaid (Bobby Driscoll) adopts the animal, naming it Danny, after the great trotting horse Dan Patch. Danny grows up to be quite troublesome, and Jeremiah's grandmother (Beulah Bondi) wishes that the boy would get rid of his pet. Jeremiah's only ally is kindly blacksmith Uncle Hiram (Burl Ives), who encourages the boy to enter Danny in blue-ribbon competition at the county fair. Granny is against this notion, so Jeremiah sets about to pay his own way. On a stormy night, Danny runs away; Jeremiah is kept from searching for the lost sheep by Granny, who now believes that the boy wants to enter the state fair contest for selfish reasons rather than out of love for his pet. She further warns that the Lord may not let Danny survive the night. The next day, however, Danny returns. Remembering Granny's remonstrations, Jeremiah now states that he won't attend the county fair, having promised the Lord that he'd forget about the competition if Danny was spared. Moved by this unselfishness, Granny softens her own stance, claiming that she'd promised the Lord that Jeremiah could go to the fair if the lamb returned alive. The story reaches a warm-hearted climax at the fair; Danny doesn't win, but his ultimate prize is far more meaningful than any blue ribbon. The isolated animated sequences spring from Jeremiah's scrapbook, illustrating such homespun philosophies as "stick-to-it-tivity" and "it's whatcha do with whatcha got." So Dear to My Heart yielded a hit song, "Lavender Blue," which co-star Burl Ives retained in his repertoire until his dying day.

Handsome aerial footage highlights this rousing RKO adventure tale that combines a frozen-North survival drama with a romantic-triangle love story. Hard-bitten Col. Stockton (Harry Carey) trains young pilots for cargo flights, and forces W.R. "Stag" Cahill (Richard Dix) back into service to assist him. Stockton tries to drop his son Ken (Chester Morris) from the program, believing him unequal to the task, while tensions grow between Cahill and Ken when they both fall in love with Meg (Joan Fontaine). Everyone is put to the test when the plane with Cahill, Ken, and Meg crash lands and the trio are stranded in the icy Arctic, and Stockton and his trainees try to save them.

After a year's absence, entertainer Eddie Cantor returned to the screen in the self-produced Show Business. The plot is loosely based on Cantor's own rise to fame, from vaudeville to Broadway. Covering the years 1914 to 1929, the film reflects the changing tastes in entertainment, though Cantor (as in real life) steadfastly remains the same. Co-stars George Murphy and Joan Davis likewise borrow from their own showbiz experience in playing their characters, while Constance Moore, who was still in her playpen when Cantor was at the height of his Ziegfeld Follies fame, provides the standard love interest. Highlights include such Cantor standards as "Curse of an Aching Heart," "Whoopee," and "Dinah," the latter performed in blackface. The best ensemble number is a devastating satire of Grand Opera, with Joan Davis particularly amusing as a Wagnerian soprano. A few excerpts from Show Business were reused as "flashbacks" in the subsequent Cantor-Davis starrer If You Knew Susie (1948).

This musical drama stars Dick Powell as the son of an admiral (Lewis Stone), who'd rather sing than go to sea. Through the genteel pressures of Powell's girlfriend and nightclub partner Ruby Keeler, Powell dons Navy garb and becomes a hero. Busby Berkeley had nothing to do with this one; the direction was in the capable hands of sentimentalist supreme Frank Borzage. The Borzage touch was particularly noticeable in a heartrending--but non-maudlin--scene in which Ross Alexander is "washed out" as an Annapolis cadet. Shipmates Forever proved to be a treasure trove of background music for the Warner Bros. cartoon department.

Virginia Mayo stars in this unofficial follow-up to her 1952 musical hit She's Working Her Way Through College. Mayo plays movie star Catherine Terris, who after three box-office flops in a row, returns to the Broadway stage whence she came. Her co-star in this endeavor is Rich Sommers (Steve Cochran), who still harbors a grudge against Catherine because of her walkout during her last Broadway appearance. Predictably, Rich and Catherine bury the hatchet by midfilm, and when fadeout time rolls around they're in each other's arms.

Bryan Singer directed this Brandon Boyce adaptation of Stephen King's novella about teenager Todd Bowden (Brad Renfro), who discovers Nazi war criminal Kurt Dussander (Ian McKellen) living in his California hometown. Fascinated with Dussender's wartime atrocities, Bowden blackmails the former death-camp commandant by promising to keep his identity a secret in exchange for Holocaust horror tales, or, as Todd puts it, "everything they're afraid to show us in school." Dussander complies, and as the weeks pass, their tense confrontations become increasingly malevolent. This is the third film to derive from King's 1982 book of four novellas, Different Season. The others are Stand By Me (1986, from "The Body") and The Shawshank Redemption (1994, from Rita Hayworth and the Shawshank Redemption, leaving only one remaining unfilmed tale in the book ("The Breathing Method"). Signet felt King's "Apt Pupil" to be so intense and horrifying that editors asked him to leave it out of the 1983 paperback. A 1987 attempt to film "Apt Pupil" (with Rick Schroder and Nicol Williamson) ended when funding ran out. Shown at numerous 1998 film festivals (Venice, Toronto, Chicago, Sitges, Tokyo).

A submarine commander is determined to use guided missiles on his sub in this war drama. To do so, he defies the edict of the navel bureaucracy and begins testing the prototypes. This results in personal injury and the death of a crewman. So guilty does the commander feel, that he begins to suffer a mental breakdown and becomes hysterically paralyzed. Fortunately, he recovers, sincerely apologizes to the Navy and is allowed to proceed with the testing.

This cute film is Doris Day's film debut and in it she plays Georgia Garrett, a substitute traveller on an ocean cruise. Her friend Elvira Kent (Janis Paige) had scheduled the cruise but at the last minute cancels when she suspects that her husband is cheating on her and she decides to stay at home to check up on him. So she gets her friend Georgia to go on the cruise in her stead. Meanwhile the husband hires a detective to watch Elvira while on the cruise, because, he too, suspects cheating. Of course, the detective falls for the substitute Elvira (Doris Day), making a somewhat complicated scenario with many possibilities. This is a fun-filled spoof with lots of good tunes by Doris Day.

Every so often, RKO Radio got the notion to launch a series of annual musical extravaganzas a la MGM's Broadway Melody and Paramount's Big Broadcast films. Despite the disappointing results of such earlier efforts as Radio City Revels and New Faces of 1937, RKO gamely tried again with 1945's Radio Stars on Parade. The film's ostensible leading actors are played by Abbott & Costello wannabes Wally Brown and Alan Carney, who play a couple of agents attempting to bestow radio stardom upon singer Sally Baker (Frances Langford). Along the way, our heroes stumble into a broadcast of Ralph Edwards' popular comedy quiz show Truth or Consequences, easily the film's highlight. With no budget for new songs, RKO dug up several compositions heard in previous films, notably McHugh-Loesser's "Can't Get Out of This Mood" and McHugh-Adamson's "Don't Believe Everything You Dream" and "I Couldn't Sleep a Wink Last Night."

Painting the Clouds with Sunshine was a remake of the 1929 musical Gold Diggers of Broadway, which no longer exists for comparison (though its first remake, Gold Diggers of 1933, has been safely preserved). Carol (Virginia Mayo), Abby (Lucille Norman) and June (Virginia Gibson) arrive in Las Vegas for the express purpose of landing millionaire husbands. Securing work as a singing trio, the girls do their best to cozy up to potential wealthy mates, but always seem to end up with the "wrong" kind of guy. Abby falls for impecunious gambler Vince Nichols (Dennis Morgan). The girls decide to use Vince's resources to save hotelier Felix Hoff (S.Z. Sakall) from bankruptcy. Enter Vince's tight-lipped Boston-banker cousin Bennington (Tom Conway), determined to rescue his relative from gold-diggers, and on and on the plot rolls, occasionally interrupted by splashy, Technicolorful musical numbers emphasizing the physical attributes of the three heroines. Like MGM's Singin' in the Rain, Painting the Clouds with Sunshine was designed primarily to showcase Warner Bros' backlog of songs from its early-talkie musicals.

The first of actor Burt Lancaster's filmic associations with partner Harold Hecht, The Flame and the Arrow finds Lancaster cast as Dardo, an Italian Robin Hood battling the occupying Hessian troops. Dardo's stake in the matter becomes personal when his former wife Francesca (Lynne Baggett) moves in with Hessian leader Allenby (Robert Douglas). Francesca demands that the Hessians reclaim her son from Dardo; in retaliation, Dardo kidnaps Anne (Virginia Mayo), Allenby's niece. Allenby responds to this by taking several locals as hostages. This can't go on forever, so Dardo surrenders to Allenby and resigns himself to be hanged. Dardo's cronies, an acrobatic troupe headed by Nick Cravat (Lancaster's former circus partner and lifelong crony), rescue all the good people and wipe out the bad.

Out of the Fog is the film version of the Irwin Shaw play The Gentle People, refashioned to mollify the Hollywood censors by expert wordsmiths Robert Rossen, Jerry Wald, and Richard Macaulay. Humphrey Bogart lobbied strenuously to play the leading role of charming but ruthless waterfront loan shark Harold Goff, but in the end Warners chose the more "bankable" John Garfield. The terror of Sheepshead Bay in Brooklyn, Goff is able to extort five dollars per week from people like tailor Jonah Goodwin (Thomas Mitchell) and short-order cook Olaf Johnson (John Qualen), knowing full well that his victims are too good-hearted to fight back. Making matters worse for Goodwin is the fact that his restless daughter, Stella (Ida Lupino), seeking to escape her humdrum existence, has fallen in love with the fascinating Goff, leaving her mild-mannered sweetheart George Watkins (Eddie Albert) in the cold. The Irwin Shaw play was a symbolic plea for a united front against European fascism, suggesting that the only way that dictatorial bullies like Goff can be destroyed is for good men to forget such edicts as "turn the other cheek" and "love thy neighbors." Originally, The Gentle People ended with Jonah and Olaf, pushed to the brink when Goff seduces Stella and then demands all their money, conspiring to murder the villain-and getting away with it. Hollywood's Hays Office, however, would never approve of an unpunished murder, no matter what the justification, so the screenplay contrives to have Goff killed by accident. This still doesn't resolve the moral guilt suffered by the two elderly conspirators, so the screenplay takes several dizzying twists and turns before it can arrive at a censor-proof happy ending. Atmospherically photographed by James Wong Howe, Out of the Fog was film noir before the term was even invented.

Booth Tarkington's Alice Adams, coupled with his Penrod stories, were incorporated in the script of the 1951 Warner Bros. musical On Moonlight Bay. The role of the incorrigible Penrod is played by future Father Knows Best regular Billy Gray, but his is a strictly secondary part herein. The emphasis is on Penrod's hoydenish older sister, played by Doris Day. She falls in love with Gordon MacRae, whose mildly anti-capitalist sentiments sit not at all well with Doris' banker dad (Leon Ames). Once a subplot involving Penrod's prevarications concerning his father's drinking habits is out of the way, we are treated to several romantic scenes involving Doris and Gordon, and a steady stream of early-20th-century standards like "Till We Meet Again," "I'm Forever Blowing Bubbles," "Cuddle Up a Little Closer," and the title song. On Moonlight Bay ends with MacRae marching off to World War I and Doris promising she'll wait for him; she did, as was proven in the 1953 sequel By the Light of the Silvery Moon.

Rodgers and Hammerstein's 1943 Broadway musical was considered revolutionary for a multitude of reasons, not least of which were the play's intricate integration of song and storyline, and the simplicity and austerity of its production design. The 1955 film version of Oklahoma! retains the songs (except for Lonely Room and It's a Scandal!, which are usually cut from most stage presentations anyway) and the story, but the simplicity is sacrificed to the spectacle of Technicolor, Todd-AO, and Stereophonic Sound. The story can be boiled down to a single sentence: a girl must decide between the two suitors who want to take her to a social. In her movie debut, 19-year-old Shirley Jones plays Laurie, an Oklahoma farm gal who is courted by boisterous cowboy Curley (Gordon MacRae) and by menacing, obsessive farm hand Jud Frye (Rod Steiger). Fearing that Jud will do something terrible to Curley, Laurie accepts Jud's invitation to the box social. But it's Curley who rescues Laurie from Jud's unwanted advances, and in so doing wins her hand. On the eve of their wedding, Laurie and Curley are menaced by the drunken Jud. During a fight with Curley, Jud falls on his own knife and is killed (this sudden-death motif was curiously commonplace in the Rodgers and Hammerstein ouevre). The local deputy insists that Curley be arrested and stand trial, but he is outvoted by Curley's friends, and the newlyweds are permitted to ride off on their honeymoon. Counterpointing the serious elements of the story is a comic subplot involving innocently promiscuous Ado Annie (Gloria Grahame), her erstwhile sweetheart Will Parker (Gene Nelson) and lascivious travelling salesman Ali Hakim (Eddie Albert). None of the Broadway cast of Oklahoma! was engaged for the film version, though Charlotte Greenwood is finally able to essay the role of Auntie Eller that had been written for her but she'd been unable to play back in 1943. The evergreen songs include Oh, What a Beautiful Mornin', Surrey with the Fringe on Top, People Will Say We're In Love, I Cain't Say No, and the rousing title song. Two versions of Oklahoma! currently exist: the Todd-AO version, filmed on 65-millimeter stock, and the simultaneously shot CinemaScope version, shipped out to the theaters not equipped for the wider-screen Todd-AO process. Both versions have been issued in "letterbox" form on laser disc, and the subtle differences in performance style and camera angles in each and every scene are quite fascinating.

In this musical comedy, based on a failed Broadway play, two American sailors are stationed in Naples to find a wooden legged thief. Songs include: "Love Comes in the Moonlight," "Leave a Little Smile," "Tell Us Which One Do You Love," "Highway to Heaven," and "The Laughing Song."