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City For Conquest (1940)

There are three key characters in Anatole Litvak's filmization of Aben Kandel's novel City for Conquest, as opposed to the six or more in the book -- but the real star, to a large extent, is New York City and its entire population. For purposes of the movie, however, the dramatic arc is linked to James Cagney, as honest, unpretentious truck driver Danny Kenny, whose life is involved with two other people -- his kid brother, Ed (Arthur Kennedy), a gifted musician trying to survive in the rough-and-tumble world of New York's Lower East Side, and Peggy Nash (Ann Sheridan), the neighborhood girl from the Lower East Side whom he's loved, one way or another, since he was a kid. Danny is happy doing what he does, driving a truck, but when Ed's scholarship is cut in half, he reluctantly takes an offer of a boxing match to raise the cash he needs, going into the ring under the fighting name "Young Samson." At about the same time, Peggy -- who loves to dance -- has her head turned by Murray Burns (Anthony Quinn), an ambitious but sleazy aspiring professional dancer. Eventually Peggy goes into partnership with Murray and is ultimately driven by her own ambition to leave Danny after she accepts his marriage proposal. By now, he's getting up in the boxing world, and in his bitterness over losing Peggy he accepts a bout for the world's welterweight championship. He's not overmatched as a boxer, but the money involved in this fight is just too big for it to be honest, and Danny is left all but blinded when his opponent's handlers slip resin dust onto his gloves. Danny is left seemingly a shell of a man, though he's content with his lot in life as far as it goes. He doesn't want any special attention or favors from anyone; the only thing he would like, though he's too proud to admit it, would be for Peggy to come back. But by now her dancing career with Murray has fallen apart, and she's too tortured by guilt, over the sequence of events she helped start, to come near Danny. It falls to Ed, who has never given up composing, to express the inexpressibles that each of these characters feels through his music. His first major classical work is a symphony ostensibly about New York City, which he conducts in its premiere at Carnegie Hall; but it's also about Danny and his life, and his dreams.

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Coroner Creek (1948)

Randolph Scott is a single-minded gunman bent on tracking down and killing the white man responsible for an Indian raid on a stagecoach. Scott's fiancee was killed in the raid and a large army payroll was stolen. The villain is George Macready, a "solid citizen" with fingers in several dirty pies. The film's highlight is not the final confrontation with Macready but a brutal fistfight between Scott and minor heavy Forrest Tucker. Filmed in Cinecolor (a pleasing if limited two-color process), Coroner Creek was based on a novel by western specialist Luke Short.

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Dead Heat On A Merry-Go-Round (1966)

James Coburn stars in this comedy-melodrama as Eli Kotch, who uses his charm to obtain a parole from prison by having an affair with a female psychologist. Eli's plan upon getting out of jail is to rob a bank at the L.A. International Airport. The date of the bank robbery coincides with the arrival of the Russian premier, so that bank security will be minimal with the premier attracting most of the airport security forces. Harrison Ford appears in his film debut in the bit part of a bellhop.

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Dead On Course (1952)

This early Hammer Studios effort stars Zachary Scott as an airline pilot named Van. When Van's pal Nick Talbot (Robert Beatty) is strong-armed into aiding a gang of smugglers, it's time to take decisive action. Adventure-film veteran John Gilling adapted the screenplay from a novel by Elleston Trevor. Distributed in Great Britain by Exclusive Films, Ltd., Wings of Danger was released in the U.S. by Lippert Pictures. According to some sources, the U.S. version was trimmed by a couple of minutes.

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Bloodbrothers (1978)

Older brother Chubby (Paul Sorvino) is a combative, booze-swilling, rough-edged construction worker, following in the footsteps of his brother Tommy (Tony Lo Bianco). Macho in the extreme, these fellows have no time for the sensitive moral quandaries which are at the heart of the two younger brothers' lives. Stony (Richard Gere), has worked with his father in the construction business, but longs to work with children. Albert (Michael Hershewe), the youngest, is a sensitive lad, the butt of his father and oldest brother's rough manner, and is constantly being harassed by his stressed-out mother (Lelia Goldoni). After a few attempts to communicate with his insensitive older brother and his parents, Stony must decide for himself if the rejection he will experience from his family on leaving the construction business is worth it; and if it is, what can be done to protect his younger brother from the rest of the family?

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Early Spring (1956)

Like most of director Yasujiro Ozu's work, Early Spring is a deceptively simple family drama: a middle-aged office worker, bored with dreary routines of his job and his marriage, succumbs to a brief fling with the office flirt. His wife inevitably discovers his infidelity, but when he accepts a transfer to the country, she follows him to start their life anew. Ozu's depiction of marital difficulties is hardly depressing. Instead he employs his signature warmth, sensitivity, and humor to create a touching, thoughtful film.

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Hold That Line (1952)

The Bowery Boys go to college in Hold That Line. Things haven't changed much since the Marx Bros. went to college in Horse Feathers: academic achievement still takes second place to football. The story shifts into gear when Sach (Huntz Hall) swallows a chemical-lab mixture which turns him into a super-athlete. Sach's pal Slip (Leo Gorcey) parlays this metamorphosis into an unbroken winning streak for the university's gridiron team. Football star Biff Wallace (John Bromfield), who has bet heavily on the opposing team, arranges for Sach to be kidnapped just before the Big Game, but eventually sees the error of his ways and tells Slip where to locate his pal. The climax is right out of Harold Lloyd's The Freshman, but if one must steal, steal from the best. Most of Hold That Line was filmed on location at Los Angeles City College, not far from the Bowery Boys' headquarters at Monogram Studios.

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Elevator To The Gallows (1958)

The feature-film debut of famed director Louis Malle is an interesting, modern film noir with the classic theme of lovers plotting to kill the husband and make it look like suicide (reminiscent of The Postman Always Rings Twice). Jeanne Moreau, as Florence Carala, gives an astonishing performance, perverse but naive as she leads her young lover down a path that can only lead to doom for both of them. Malle and his cinematographer Henri Decae make extensive use of Paris at night, giving the film the feel of claustrophobia and desperation reminiscent of the classic noir films. The excellent score by Miles Davis adds to the entire effect of this mystery thriller.

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Executive Suite (1954)

Cameron Hawley's novel of corporate in-fighting and gamesmanship was brought to the screen by producer John Houseman and director Robert Wise, working successfully in the slickest MGM style. When Avery Bullard, the hard-charging president of Tredway, the third-largest furniture maker in the United States, dies suddenly at the end of a business week, it sets off a scramble among the surviving vice presidents to see which of them will succeed him. Among the latter, the best positioned to take the job is Loren Shaw (Fredric March), an ambitious bean-counter-type who is more concerned with the profits that the company generates than the quality of what it produces. Opposing him are Frederick Alderson (Walter Pidgeon), Bullard's longtime right-hand man, and McDonald Walling (William Holden), a forward-thinking idea man brought in by Bullard but never given a wholly free hand (mostly thanks to Shaw). But Alderson's age works against him, as does his seeming lack of leadership -- and Walling is not ready (or so he thinks) to take the president's job, nor does he really want it. Caught in the same dilemma are Walter Dudley (Paul Douglas), the head of sales, who is being quietly blackmailed by Shaw over an affair with his secretary; Jesse Grimm (Dean Jagger), a production man who has always been distrustful of Walling's new ideas; and George Caswell (Louis Calhern), a duplicitous corporate player who will do anything -- including compromise the future of the company -- to protect his own financial position. And possibly holding the balance of power between them is Julia Tredway (Barbara Stanwyck), the daughter of the company's founder (who committed suicide during the Great Depression) and a major shareholder, whose unrequited love for Bullard clouds all of her thinking about the company. And caught in the middle of their struggle -- which literally has a clock ticking, toward the opening of business on Monday morning -- are the thousands of employees of Tredway, represented by a handful of fine character actors, whose jobs and futures hang in the balance over who wins this fight.

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Full Confession (1939)

In this thriller, a man is brutally murdered and an innocent man takes the rap. The real murderer later confesses his crime to his priest. The priest strongly urges the killer to tell the police, but he steadfastly refuses. At the end, the killer attacks and mortally wounds the priest. The murderer feels guilty for his deed and gives the priest a lifesaving blood transfusion. He then admits his crime and saves the innocent man from execution.

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Angel Heart (1987)

The time is the 1950s: seedy Brooklyn private eye Harry Angel (Mickey Rourke) is hired by shady Louis Cyphre (Robert De Niro) to locate a pop singer who reneged on a debt. Harry ventures into Harlem, the first step of a Heart of Darkness-inspired odyssey. Each time Harry makes contact with someone who might know the singer's whereabouts, he or she is killed in a horrible, ritualistic fashion; a Satanic cult seems to be at the bottom of all the carnage. Harry solves the mystery, all right. He just didn't know that he had the answer all along -- even before Louis entered his office. Also available in the "unrated" video version, Angel Heart is best known as the film that nearly got an X-rating due to a no-holds-barred sex scene involving Mickey Rourke and Lisa Bonet.

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Gaby (1956)

The third film version of Robert E. Sherwood's play Waterloo Bridge, Gaby is also the most antiseptic of the three. In the original 1931 film, Mae Clarke is cast as a British streetwalker who falls despearately and tragically in love with aristocratic military officer Douglass Montgomery. In the cleaned-up 1940 version, Vivien Leigh plays a ballerina who becomes a prostitute only after being informed that her lover, British "landed gentry" officer Robert Taylor, was killed in battle. In the 1956 edition, Leslie Caron is once again a ballerina at the outset, who once again turns to the World's Oldest Profession when she believes that her sweetheart, American GI John Kerr, has been killed during the D-Day invasion. The source material has been dry-cleaned to the extent that the heroine is permitted a happy ending, something she was flatly denied in the first two versions.

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She Couldn't Say No (1953)

Lloyd Bacon wrapped up his lengthy directorial career with the innocuous comedy She Couldn't Say No. "She" is a young heiress named Corby (Jean Simmons), who visits the small town of Progress, Arkansas, hoping to repay a good deed. It seems that, when Corby was a child, the villagers had all donated money to pay for her life-saving operation. Now she intends to reward the villagers by anonymously donating all sorts of financial boons and civic improvements. This serves only to stir up resentment against our well-intentioned heroine. Particularly offended is local doctor Robert Mitchum, who rightly sees Corby's beneficence as an invitation for every hustler and con-artist on earth to descend upon Progress. What Doc Mitchum can't foresee (though the audience can) is that he'll fall head over heels in love with Corby before fadeout time. With She Couldn't Say No, Jean Simmons fulfilled her contractual obligations to RKO, freeing her for more prestigious assignments like Desiree and Guys and Dolls.

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The Hanging Tree (1959)

Gary Cooper plays a frontier doctor with a checkered past who works in a rowdy Montana mining camp. Cooper falls in love with Maria Schell, a young Swiss girl whom he has treated for shock after she was the victim of a holdup. He finances Schell's grubstake, which makes her rich. When Schell's unscrupulous partner Karl Malden tries to have his way with the girl, Cooper kills Malden. Sentenced to an immediate hanging, Cooper is saved when Schell offers to give the town her valuable mine. A surprise hit in 1959, The Hanging Tree was based on an award-winning novel by Dorothy M. Johnson. The film not only yielded a hit theme song by Mack David and Jerry Livingston, but also served as the film debut of George C. Scott, who plays Cooper's doctor predecessor.

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The Green Promise (1949)

A mule-stubborn farmer is determined to avoid modern technology and nearly destroys what is left of his family in this moving drama. The farmer is saddled with raising his four kids alone and insists on being ruler of the roost in every way. He steadfastly refuses any talk of modern technology when it comes to farming. When his oldest daughter gets a suitor and his youngest tries to join the 4-H club, the father nearly goes on the rampage. He eventually is forced to change his tune when he is injured and unable to work. While recovering, his eldest daughter takes over and begins using some of the new techniques. Sure enough, the farm becomes a success and the father finally sees the light and mends his ways, bringing pastoral happiness to his home.

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The Great Mr. Nobody (1941)

The Great Mr. Nobody is an easygoing classified ad salesman, appropriately nicknamed Dreamy (Eddie Albert). All Dreamy wants out of life is to own a boat and drift aimlessly across the ocean in the company of his good pal Skipper (played by Alan Hale-ironically the father of Gilligan's Island's "Skipper" Alan Hale Jr.) Only one problem: Dreamy is bereft of cash, and is constantly in danger of losing his job because he continues to reserve the best of the classifieds which cross his desk for his unemployed friends. Our hero's saving grace is that he is a veritable fountain of surefire moneymaking ideas; now all he needs is someone to listen. 16-year-old Joan Leslie was obviously being groomed for bigger things when she costarred with Eddie Albert in this low-pressure B picture.

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The Girl From Mexico (1939)

The titular girl is Lupe Velez, a tempestuous cabaret entertainer. Donald Woods plays a staid American ad man who hires her for a New York nightclub. Woods is engaged to be married, but secretly harbors affection for Velez. The volatile Ms. Velez is less subtle, and actively campaigns for the affections of Woods, with the help of Donald's lovably larcenous Uncle Matt (Leon Errol). Though not intended as such, Girl From Mexico was the first of RKO's eight-film "Mexican Spitfire" series. The role of the Spitfire's husband was played by several different actors, but Lupe Velez and Leon Errol remained with the series throughout its four-year run.

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The Girl From Jones Beach (1949)

Ronald Reagan plays a George Petty-type magazine illustrator who creates a "perfect girl" from a composite of the features of several models. While relaxing at the beach, Reagan meets a lovely young schoolteacher (Virginia Mayo) who is the living image of his imaginary girl. Sensing a terrific promotional angle, Reagan ingratiates himself with the girl and attempts to secure her services for a series of cheesecake poses. The film leads to a courtroom conclusion wherein Mayo must strut around in a bathing suit to win her case. Girl from Jones Beach is worth the admission price alone just to hear Ronald Reagan pose as a Czechoslovakian immigrant--complete with accent.

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The French Line (1953)

Like so many other films that were once considered "lewd" and "scandalous", The French Line seems as harmless as Pollyanna when seen today. Essentially a remake of The Richest Girl in the World, the film stars Jane Russell as Mary Carson, an incredibly wealthy Texas oil heiress. Lucky in investments but unlucky in love, poor Mary can never keep a fiance: either they're fortune-hunters or they don't want to marry anyone so rich and powerful. Thus, while on an ocean voyage to France, Mary poses as the model of dress designer Annie Farrell (Mary McCarthy), hoping to attract a man who is interested in her for herself, and not her millions. That man turns out to be dashing stage star Pierre (Gilbert Roland), but there's many comic complications and misunderstandings before the happy ending. What shocked the censors in 1954 was Jane Russell's sizzling musical number "Lookin' for Trouble", in which she performed an uninhibited bump-and-grind while wearing nothing more than a seven-ounce glorified bikini. While Ms. Russell herself was offended by her skimpy costume, she saw nothing wrong with the dance itself, pointing out that she intended it as a parody of a "burleycue" number. The professional blue-noses disagreed, however: the film was condemned by the Catholic Legion of Decency and denied a Production Code Seal. Eventually, producer Howard Hughes got the Seal--along with a million dollars' worth of free publicity, which is what he intended all along. Filmed in 3D, The French Line is the film that was ballyhooed with the classically tasteless ad campaign "J.R. in 3D--It'll knock both your eyes out!"

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The Flying Irishman (1939)

It matters not at all that the famed "wrong way" flight of aviator Douglas Corrigan, who in 1938 tried to fly from New York to California by way of Ireland, was probably a carefully calculated publicity stunt. The end result was that Corrigan became a household name, and as such was an ideal candidate for film stardom. RKO Radio shelled out a considerable amount of money to purchase "Wrong Way" Corrigan's life story, enhancing the publicity value of the resultant The Flying Irishman by casting Corrigan himself in the leading role. It's too bad that the same amount of effort wasn't lavished on the film itself, which is a ponderous, perfunctory tale of a barnstorming flyer who, unable to get a legitmate pilot's job because he never went to college, resorts to a variety of colorful methods to make a living. Like many other non-showbiz celebrities, Corrigan was constitutionally unable to play himself convincingly, so it's up to such supporting actors as Eddie Quillan, Paul Kelly, Robert Armstrong, Donald MacBride and Joyce Compton to take up the slack.

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The Falcon's Brother (1942)

When George Sanders announced that he was leaving the "Falcon" series, RKO Radio came up with the perfect replacement: Sanders' own brother, Tom Conway. The transition was handled with style in The Falcon's Brother, with private detective Gay Lawrence (Sanders), aka The Falcon, incapacitated early in the proceedings. Anxious to break up an Axis spy ring, Gay calls upon his brother Tom (Tom Conway) to help out. The villains intend to foment a rift in the relationship between North and South America, which Tom, with the aid of intrepid heroine Marcia (Jane Randolph) and dopey sidekick Goldy (Don Barclay), hopes to prevent. By film's end, Tom Lawrence has assumed his brother's mantle as the Falcon, and the Falcon he would remain for the next eight entries in the series.

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The Falcon Takes Over (1942)

The plot of the RKO Radio programmer The Falcon Takes Over will be instantly recognizable to anyone who has seen the 1944 Philip Marlowe mystery Murder My Sweet: indeed, both films were based on the same Raymond Chandler novel, Farewell My Lovely. It all begins when brutish prison escapee Moose Malloy (Ward Bond) forces nervous Broadwayite Goldie Locke (Allen Jenkins) to drive him to a posh nightclub, where Moose hopes to be reunited with his old girlfriend. Unable to find his elusive sweetheart, Moose tears the joint apart, obliging Goldie to flee for his life. As it happens, Goldie is the assisant of private eye Gay Lawrence (George Sanders), aka The Falcon, who has been hired by foppish socialite Lindsey Marriot (Hans Conried) to ransom a necklace stolen from Marriot's lady friend Diane Kenyon (Helen Gilbert). Shortly afterward, Marriot is murdered, and the Falcon discovers that there's an inextricable link between the dead man and the inimitable Moose Malloy. The rest of the film follows the plot convolutions set down by Chandler in Farewell My Lovely, carefully retailed to suit the breezy urbanity of George Sanders as the Falcon. Though Murder My Sweet is the better of the two versions of the Chandler novel, The Falcon Takes Over has a few advantages of its own, notably the casting of future Oscar winner Ann Revere as blowzy murder suspect Jessie Florian.

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The Falcon Strikes Back (1943)

Tom Conway makes his second appearance as amateur sleuth Tom Lawrence, aka "The Falcon", in RKO Radio's The Falcon Strikes Back. Framed for the theft of valuable war bonds, Lawrence hides out at a country resort. Here he discovers that Mia Bruger (Rita Corday), who engineered the frame, has been murdered by persons unknown. Snooping around a bit, Lawrence uncovers an insidious and widespred war-bond racket. The revelation of the murderer's identity will come as a jolt to fans of old 2-reel comedies. Atmospherically directed by Edward Dmytryk (who obviously had his eye on bigger projects), The Falcon Strikes Back costars Harriet Hilliard, better known to TV fans as Mrs. Ozzie Nelson. As a bonus, there's a plug for Walt Disney, who was then releasing his product through RKO.

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The Falcon In San Francisco (1945)

Filmed extensively on location, The Falcon in San Francisco is one of the best of RKO Radio's "Falcon" series. This time around, amateur sleuth Tom Lawrence (Tom Conway), aka The Falcon, comes to the aid of 10-year-old Annie Marshall (Sharyn Moffet). While trying to solve the murder of Annie's nurse, Lawrence is accused of kidnapping the kid. Several beatings, warnings and murders later, Lawrence discovers that the solution of the mystery is tied in with a gang of silk smugglers, headed by none other than?.Oh, no! The surprise ending isn't going to be tipped off here! Director Joseph H. Lewis' occasional utilization of "cinema verite" techniques would later develop full-blown into such noir classics as Gun Crazy.

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The Falcon In Mexico (1944)

The Falcon in Mexico wastes no time getting started: within the first ten minutes, amateur sleuth Tom Lawrence (Tom Conway), aka The Falcon, gets mixed up with a damsel in distress, the murder of an art gallery owner, and a collection of valuable paintings attributed to a supposedly dead artist. Flying to Mexico, Lawrence gets in touch with Barbara (Martha MacVicar, later Vickers), the daughter of the allegedly deceased Humphrey Wade (Bryant Washburn). Before long, Lawrence has three more murders on his hands, not to mention an unknown assassin who's gunning for him. The film's most memorable performance is delivered by Nestor Paiva as a resourceful Mexican cabbie who's got a little more on the ball than is immediately apparent.

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The Falcon In Hollywood (1944)

This delightful entry in RKO Radio's "Falcon" series finds amateur Tom Lawrence (Tom Conway), aka The Falcon, tring to solve a series of Tinseltown murders. The killings all seem to be tied in with a "jinxed" movie production, supervised by neurotic studio executive Martin Dwyer (John Abbott). Accompanied by wisecracked lady cabbie Billie (Veda Ann Borg), Lawrence pokes around a studio backlot, gathering clues and grilling suspects all along the way. Could the murderer be pretty starlet Peggy Callahan (Barbara Hale), haughty prima donna Lili D'Alio (Rita Corday) or shady "businessman" Louie (Sheldon Leonard)? Filmed on such locations as the Hollywood Park race track and the Hollywood Bowl, The Falcon in Hollywood spends most of its time within the offices, sound stages, technical departments and walkways of the RKO Radio studio itself. The film was one of the most popular of RKO's "Falcon" efforts, posting a $115,000 profit.

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The Falcon In Danger (1943)

In this entry, the detective must find two missing industrialists. They and $100,000 suddenly vanished while flying in a passenger plane. It does not take long for the supersleuth to discover that their disappearance is part of a conspiracy against the government.

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The Falcon And The Co-Eds (1943)

When an instructor dies mysteriously at an exclusive girl's school, Tom Lawrence (Tom Conway), a devil-may-care sleuth known as "The Falcon," reluctantly agrees to investigate. The death appears to have been induced by a heart attack, but the instructor's roommate (Rita Corday) had predicted that the victim would be murdered. The school's dean (Barbara Brown) dies shortly afterward, and suspicion falls upon the fencing instructor (Jean Brooks), who'd been in line to inherit the school. Other suspects include a foreign psychology professor (George Givot), who'd once courted the fencing teacher, and a meek music teacher (Isabel Jewell), to whom the foreign prof is secretly married. The murderer is revealed in a heart-stopping climactic scene played out on a perilous cliff overlooking the ocean. The Falcon and the Co-Eds is the sixth film in RKO Radio's "Falcon" series.

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The Ex-Mrs. Bradford (1936)

The "ex" of the title is daffy mystery-writer Jean Arthur, former wife of urbane doctor William Powell. When Powell becomes the prime suspect in a murder case, Arthur endeavors to solve the case herself -- and to reclaim her ex-hubby in the process. After a well-directed semiclimax at a race track, the killer is revealed during one of those expository scenes in which all the suspects are gathered together in one room. The murderer attempts to escape, and Powell is knocked cold in the process. When he awakens, he discovers that Arthur has set up some projection equipment, and is running a film of a minister reciting the wedding vows. Curses! Trapped again! Like William Powell's previous RKO effort Star of Midnight, The Ex-Mrs. Bradford was an attempt to cash in on the popularity of Powell's Thin Man films.

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The Divided Heart (1954)

Based on a true story, The Divided Heart is an effective, high-gloss British soap opera. Cornell Borchers stars as Inga, a young German woman who disappears and is presumed killed during WW2. Inga's infant son is placed in an orphanage; years later, the boy is adopted by childless couple Sonja (Yvonne Mitchell) and Franz (Armin Dahmen). The adoptive parents' future happiness is shattered when Inga returns, insisting that the child be returned to her. The film is scrupulously fair to both Inga and Sonja, giving generous screen time to the wartime horrors experienced by the former and the eminent parental suitability of the latter. Of the supporting cast, Alexander Knox stands out as the judge presiding over the climactic custody battle.

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The Crowd Roars (1932)

Howard Hawks directed this fast-paced auto racing drama. Joe Greer (James Cagney) is a top-ranked race car driver; his younger brother Eddie (Eric Linden) wants to follow in Joe's footsteps, but Joe knows his brother's reckless side and tries to keep him away from the racer's life. Eddie, however, can't be dissuaded from a career on the track, and he turns out to like his women as fast as his cars when he gets involved with Ann (Joan Blondell). Joe's best friend Spud (Frank McHugh) tries to keep the feuding brothers apart, but his attempts to do so in the midst of a race leads to Spud's death. Joe is despondent after Spud's passing and gives up his career in racing, while Eddie becomes eligible for the Indianapolis 500. Joe grudgingly comes to the race to see his kid brother in action, but he gets the chance to redeem himself when Eddie is hurt and needs a driver to complete the race in his car. Racing legend Billy Arnold, who won the Indy 500 in 1930, advised the production.

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The Crash (1932)

In this drama, set in 1929 when the stock market crashed, a selfish, money-grubbing wife ruins her husband, an accountant after she feeds him a fake stock market tip. Prior to that, she had been having an affair with a wealthy fellow. She destroys her husband because she is bored with her lover and wants to start fresh in Bermuda. On the island, she meets a wealthy Australian who wants to get married. Her husband wants his fortune back. To get it, he blackmail's his wife's former lover. The capricious woman soon tires of the Australian and returns to her spouse. She then tears up the blackmail check.

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