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In this football drama, a college gridiron star attempts to leave the game, at the request of his girl friend who does not want to see him injured. Unfortunately, it is not that simple for his college will win a large donation if they can win the Big Game. When he learns that his family is betting heavily on the other team, he makes his decision--he will play. But there is one thing he did not count on--the conniving lawyer that gets him thrown in jail right before the game.

Margaret Lindsay stars in the title role, playing a young woman imprisoned for a crime which she didn't commit. The real culprit is her jailbird husband (Cesar Romero), a smooth jewel thief with a jealous streak. Margaret hopes to put her past behind her by taking up with a society man (Dick Foran), keeping the affair secret lest her fugitive husband kill her lover. Released in England as G-Man's Wife (Lindsay ends up with government agent Pat O'Brien), Public Enemy's Wife was based on a story co-written by none other than David O. Selznick. The film was remade as a 50-minute "B," Bullets for O'Hara (41), with a young Anthony Quinn as the criminal and Joan Perry (later the wife of Columbia chieftain Harry Cohn) as his wife.

The rise of the popular Nevada city is chronicled in this epic drama that begins when Reno was a tiny silver-mining town and ends when it becomes a divorce center and garishly lit gambling town. The film also follows the exploits of a young attorney who comes to town to build a thriving divorce practice. He becomes so involved in his work, that he ignores his own loving wife who leaves him. As a result, the city fathers get on his case about his virtue. The lawyer is subsequently disbarred; he then opens a gambling casino. Years pass and his estranged daughter comes to Reno for a quickie divorce. Father and daughter do not recognize each other as he tries to talk her out of the divorce. When she realizes who he is, she leaves Reno.

Santa Fe Trail, Errol Flynn's third western, has precisely nothing to do with the titular trail. Instead, the film is a simplistic retelling of the John Brown legend, with Raymond Massey playing the famed abolitionist. The events leading up to the bloody confrontation between Brown and the US Army at Harper's Ferry, Virginia, are treated in a painstakingly even-handed fashion: Brown's desire to free the slaves is "right" but his methods are "wrong." Whenever the leading characters are asked about their own feelings towards slavery, the response is along the noncommittal lines of "A lot of people are asking those questions," "I don't have the answer to that," and so forth. Before we get to the meat of the story, we are treated to a great deal of byplay between West Point graduates Jeb Stuart (Flynn) and George Armstrong Custer (Ronald Reagan), who carry on a friendly rivalry over the affections of one Kit Carson Halliday (Olivia DeHavilland). Just so we know that the picture is meant to be a follow-up to Warners' Dodge City and Virginia City, Flynn is saddled with Alan Hale and "Big Boy" Williams, his comic sidekicks from those earlier films. Despite its muddled point of view, Santa Fe Trail is often breathtaking entertainment, excitingly staged by director Michael Curtiz. The film's public domain status has made Santa Fe Trail one of the most easily accessible of Errol Flynn's Warner Bros. vehicles.

Even without its 3D/stereophonic sound gimmickry, Second Chance is a crackling good suspenser. Robert Mitchum plays Russ Lambert, a prizefighter who heads to South America to forget a recent tragedy in the ring. Here he meets Clare Shepard (Linda Darnell), who is likewise running away -- not from her bitter memories, but from her boyfriend, a vicious gangster. Also newly arrived in South America is Cappy Gordon (Jack Palance), the cold-blooded triggerman for Clare's ex-beau. After several close calls and near-misses, the three main characters converge in a disabled cable car, high above a deep abyss. Filmed on location at RKO Radio's Mexican facilities, Second Chance takes a while getting started, then rapidly builds to a heart-pounding finale.

Skin Game was historically significant as the 2000th film produced by Warner Bros. studios. The film is a comedy western starring James Garner and Louis Gossett Jr. as a pair of clever Antebellum con men. Garner regularly "sells" the black Gossett into slavery for an exalted price, then "liberates" Gossett so that they can move on to the next sucker. Unfortunately, they outsmart themselves, and before long Gossett seems doomed to a lifetime of forced servitude. They are rescued by pretty pickpocket Susan Clark, who has a few surprises in store for them. Skin Game was supposed to be spun off into a TV series, but the project never got any farther than the 1974 pilot film Sidekicks.

The 1929 Jerome Kern-Oscar Hammerstein Broadway musical Sweet Adeline has generally been credited as the vanguard for the "Gay 90s" nostalgia fad of the early 1930s. By the time the film was adapted to the screen in 1935, that fad had pretty much played itself out, making the property seem more old-fashioned than ever. Irene Dunne takes over from Broadway's Helen Morgan as beer-hall entertainer Adeline Schmidt, whose romance with songwriter Sid Barnett (Donald Woods) undergoes an inordinate number of setbacks in the course of the film's 85 minutes. Much of the play's libretto has been scrapped in favor of an espionage angle, as Adeline tries to avoid assassination at the hands of a Spanish spy named Elysia (Wini Shaw). Contemporary critics carped that Irene Dunne was unable to match Helen Morgan's delivery of such torch songs as "Why Was I Born"; this is true enough, but Warner Bros. deserves credit for endeavoring to cast Dunne against type.

This musical chronicles the history of jazz music and features many of the most popular musical acts from the early 1940s, including Gene Krupa and Benny Goodman. The story centers on a trumpet player who falls for a young woman with an equal passion for music. Unfortunately, the girl is still grieving for her true-love whom she lost during the war. The trumpeter begins working to get the girl to trust her. He simultaneously tries to start a band. Songs include: "Goin' Up the River" (Dave Torbett, Leith Stevens), "You Made Me Love You" (Joseph McCarthy, James V. Monaco), "Only Worry for a Pillow," "Chicago Ragtime" (Stevens), "Under a Falling Star" (Rich Hall, Stevens, sung by Connie Boswell), and "Slave Market" (Hall Johnson).

Lucille Ball plays young starlet Sandra Sand in That's Right -- You're Wrong, the 1939 musical comedy directed by David Butler. Led by musician Kay (Kay Kyser), a popular band sets off for Hollywood in hopes of making their debut on the big screen. A series of misadventures follow, including a screen test with the studio's resident starlet Sandra (Ball). Song highlights include "I'm Fit to Be Tied," "Scatterbrain," "Little Red Fox," "The Answer Is Love," "Chatterbox," and "Happy Birthday to Love." That's Right -- You're Wrong also includes actors Adolphe Menjou, May Robson, Dennis O'Keefe, Edward Everett Horton, and Roscoe Karns.

Engine trouble forces an airplane to land with a trio of passengers in the mythical kingdom of Rukh. Major Crespin (Harry T. Morley), his wife Lucille (Alice Joyce), and Dr. Basil Traherne (David Powell) are taken to the Rajah (George Arliss), the educated and satirical ruler of Rukh. The three passengers are held while negotiations take place to release the Rajah's three brothers from an enemy camp. The Major takes solace in his liquor (in a supposedly Moslem country?) as the trio awaits their fate. The story is taken from the successful stage play by William Archer.

In this melodrama, the wife of a wealthy man abruptly leaves him and sets sail for Cuba leaving him to hire a gumshoe to find out why. The girl left because she was being blackmailed for $50,000 by her former ex-husband who claims that they were never legally divorced. Before heading to Cuba for a hasty divorce, the distraught wife tells all to her sister-in-law. Meanwhile the detective is aboard the same ship as the wife and as he gets to know her cannot help but fall in love with her. The detective doesn't realize that her ex-husband is also on board, but she does and is happy about it because she wants to see if she can get her ex (not a US citizen) barred from reentry. Back at home, the sister-in-law tells her increasingly suspicious brother the truth about the situation and he immediately flies to Cuba to get there just in time for the exciting conclusion.

After 25 years, notorious western outlaw Harry Carey is released from prison. He returns to his frontier home town, only to discover that the place has been streamlined and modernized beyond all recognition. Even worse, virtually everyone in town has forgotten Carey; most of the younger folk consider him a nuisance, addressing him derisively as "Pop" (Carey's double-take reaction to this familiarity is priceless). The ex-outlaw seeks out H.B. Walthall, the sheriff who sent him up, hoping for a fond reunion with his old friendly enemy. Alas, Walthall has been relegated to a do-nothing position by new sheriff Ray Mayer, a staunch advocate of "scientific" crime-fighting methods. But when bad guy Tom Tyler and his mob rob a bank and take Carey's daughter Margaret Callahan hostage, it is Carey and Walthall's "old fashioned" methods which save the day. Hoot Gibson co-stars as Callahan's boyfriend, while singing-cowboy Fred Scott appears in a marvelous sequence wherein Harry Carey reacts with disgust upon watching a musical western movie. The Last Outlaw was based on a story by John Ford, who directed a silent version in 1919.

In this biker flick, the leader of an LA gang rides out for revenge against the Las Vegas-based Hotdoggers, who beat him senseless, hospitalizing him. He becomes so violent and obsessed that his own gang kicks him out. In the end, they change their minds and readmit him. Then they all roar off to prove that the vicious Hotdoggers are nothing more than big weenies in black leather jackets. The sex and violence herein marks this as an exploitation feature destined to become a big hit with lowbrow scooter trash everywhere.

James Cagney stars in the humorous Western The Oklahoma Kid, set during the land rush of 1893. John Kincaid (Hugh Sothern) and his son, Ned (Harvey Stephens), try to settle on a plot of land, but they are met by the villainous Whip McCord (Humphrey Bogart) and his band of miscreants. McCord runs a saloon and ends up turning the town of Tulsa into a haven of gambling and drinking. Wanting to clean up the town, John runs for mayor and Ned runs for sheriff. McCord doesn't want to lose his power, so he has John framed, jailed, and eventually lynched. Soon, Jim Kincaid (James Cagney) shows up in town and joins his brother Ned in seeking revenge for his father's murder. They stage a big shoot-out in McCord's saloon in order to bring him to justice. Also starring Rosemary Lane as Ned's girlfriend Jane, the daughter of the good Judge Hardwick (Donald Crisp). This movie features James Cagney singing the tunes "Rockabye Baby" and "I Don't Want to Play in Your Yard."

In this crime thriller a young woman marries a wealthy vintner. Soon afterward, she falls in love with a handsome rodeo rider whom she sees every time her husband is away. One night, her mother-in-law spots a burglar outside the house and reports it to the police. The conniving wife sees a window of opportunity and plots the death of her husband, hoping to blame it on the burglar. Unfortunately, she accidentally murders her husband's friend. Fortunately, she is able to con her husband into taking the rap with the promise that he will be acquitted. During the trial, she lies and he is put away. Later she gets hers when her mother-in-law is poisoned and she is convicted of the crime. The irony of it all is that the wife is innocent of that crime.

Directed by Fritz Lang, The Woman in the Window, a sadly tragic film noir, is the story of the doomed love of married psychology-professor Wanley (Edward G. Robinson), who, with murderous results, meets and falls in love with another woman. Wanley first sees the portrait of a beautiful woman, Alice (Joan Bennett), and then meets the woman herself. After committing murder in self-defense, he finds himself blackmailed by Heidt (Dan Duryea). The script, written by Nunnally Johnson, is carefully structured with crisp dialogue and a convincing ending. Lang is at his best, getting excellent performances from Robinson, as the doomed, naive professor, and Bennett both. The Woman in the Window shows that good and evil are present in all, and that circumstances frequently dictate moral choices. Based on J.H. Wallis' novel Once Off Guard, the film gives viewers their money's worth with not one but two logical and satisfying surprise twists at the end.

Irving Pichel's They Won't Believe Me is the flashback unfolding of Larry Ballentine's (Robert Young) witness-stand testimony in his trial for the murder of girlfriend Verna Carlson (Susan Hayward). Larry is the first to admit he's a parasitic heel, cheating on his rich wife Gretta (Rita Johnson) first with magazine writer Janice Bell (Jane Greer) and then with Verna. Though aware of Larry's affairs, Gretta cannot manage to leave him; rather, she uses her money to keep him in tow. She foils his attempt to run off with Janice by buying him a partnership in a brokerage firm. When she discovers his plan to flee with Verna, she sells her interest, leaving Larry unemployed and penniless. The lovers run off nonetheless, but Verna is killed when a truck crashes into their car. When the authorities assume the charred victim is his wife, Larry gets a sinister idea. He returns home to kill Gretta, but she is already dead, so all he has to do is hide the body. Unfortunately for him, the police come looking for the missing Verna, who they suspect was blackmailing him. They find Gretta's unrecognizable corpse, think it's Verna's, and arrest Larry. The flashback structure of this suspenseful film noir effectively creates a foreboding tension that mounts to a powerful final scene.

MGM's popular Dr. Kildare series spanned 1938-47. Lew Ayres played the title character, but parted in 1942. Though crusty and craggly Lionel Barrymore, portrayed Dr. Gillespie (one of Kildare's contemporaries at Blair General Hospital) from the beginning of the series, he initially came second billed, and only received first billing in the six films that followed Ayres's departure, thus becoming the central character. 1944's Three Men and White marks the fourth such instance. As in prior entries, the premise of Three Men revolves around Gillespie solving medical mysteries and fixing romantic problems. Here, Gillespie is forced to decide between Keye Luke (as Dr. Lee Wong How) and Van Johnson (as Dr. Randall Adams) as his new assistant. To make the call, he assigns a medical case to each. Wong How must help a child overcome his allergy to sugar; Johnson must work a female patient through 'insurmountable' arthritis.

It is said that producer Sam Goldwyn had a habit of addressing his new star of the 1940s, Danny Kaye, as "Eddie", confusing Kaye with Eddie Cantor. If true, it may be because Kaye's first starring film for Goldwyn, Up in Arms, was a remake of Cantor's Whoopee--which in turn was a musical version of that old theatrical chestnut The Nervous Wreck. Kaye plays Danny Weems, a hopeless hypochondriac who finds himself drafted into the army. While a passenger on an overseas transport ship, Danny is obliged to hide his girl friend Mary Morgan (Constance Dowling), who has stowed away on board, from the authorities. The plot (what there is of it) contrives to have Danny and Mary, together with Virginia (Dinah Shore), who's in love with Danny, and Joe (Dana Andrews), who's in love with Mary, arrive simultaneously on the same South Sea island. After numerous comic and romantic complications, Danny emerges as the hero of the hour by capturing a whole bunch of Japanese soldiers. The film shows signs of post-production tampering-an offscreen narration, an abrupt ending-indicating that, as yet, Sam Goldwyn wasn't quite sure how to package Danny Kaye for the screen. Despite its erratic editing and uneven scenario, Up in Arms contains some priceless moments, including Kaye's rapid-patter songs "The Lobby Number" and "Melody in 4F", both written by Sylvia Fine (Mrs. Kaye) and Max Liebman. There are also a few cute "inside" jokes referring to the illogical nature of the plotline and such esoterica as the out-of-nowhere appearances of the Goldwyn Girls (one of whom was Kaye's future leading lady Virginia Mayo).

This autobiographical story traces the career of playwright Moss Hart. Moss (George Hamilton) struggles as a dramatic writer until he concentrates his efforts on writing comedy. He suffers through a series of professional and romantic failures before a meeting with George S. Kaufman (Jason Robards Jr.) changes his fortunes. Joe (Jack Klugman) is the faithful friend who stands by Hart in the lean times. Ruth Ford, Eli Wallach and George Segal also appear in this feature produced, directed and written by Dore Schary.

Eric Ambler's intriguing novel Uncommon Danger is brought down to a Republic serial level in Warner Bros.' Background to Danger. George Raft, who always seems miscast, plays an American undercover intelligence agent operating in Turkey. Sultry Osa Massen passes on some valuable secret papers to Raft just before she is killed. Our Hero then finds himself at the mercy of enemy agent Sidney Greenstreet, who knows that the papers contain Nazi plans to invade Turkey. Despite several brutal beatings, Raft and his cohorts Peter Lorre (a good guy for a change) and Brenda Marshall turn the tables on Greenstreet. Background to Danger was the first of many Warner Bros. follow-ups to the studio's megahit Casablanca; it's also the film wherein the prankish Peter Lorre stole George Raft's hat between takes--an affront that rankled the touchy Raft to his dying day.

Caged, considered the best woman's prison film ever made, represents a union between realistic socially conscious drama and the more stylized world of film noir. Marie, (Eleanor Parker), is sentenced to prison for helping her husband in a small robbery. The prison is run by the sadistic matron Evelyn (Hope Emerson) who is secure in her position due to corrupt political influence. The film shows Marie's slow disillusionment with society and her eventual decision to become a prostitute in order to gain parole after observing her friend and fellow inmate Kitty (Betty Garde) lose her sanity and murder their oppressor Evelyn. With this uncompromisingly pessimistic statement on human nature, John Cromwell reaches his peak as a director. Under his expert direction, Eleanor Parker gives the best performance of her career and creates a convincing metamorphosis from a innocent young girl to a hardened criminal. Her performance is nuanced, low-keyed and emotionally charged. Equally impressive is Cromwell's visual realization of the claustrophobia of prison life, aided by the high-contrast photography of Carl Guthrie. This excellent, grim drama is uncompromising in its refusal to sentimentalize the plight of Marie as a victim or to absolve her of her role in her fate, nor does it absolve society as it shows the results of desperation and brutalization on human dignity.

When British actor Robert Donat dropped out of Warner Bros. Captain Blood, the studio took a chance on its new contractee, Tasmania-born Errol Flynn. Adapted from the novel by Rafael Sabatini, the film is set during the oppressive reign of King James II. Irish physician Peter Blood (Errol Flynn), arrested for treating a wounded anti-crown rebel, is condemned to slavery in Jamaica. Here he earns several privileges after treating the governor (George Hassell) for gout; this does not rest well with Lionel Atwill, the wicked owner of the plantation on which Blood is forced to work. Nor is Atwill pleased with the growing relationship between his niece Arabella (Olivia DeHavilland) and the imprisoned doctor. An attack on Jamaica by Spanish pirates gives Blood and his fellow slaves the opportunity to become buccaneers themselves. After several months of fighting and plunder, Blood's men capture a merchant ship bearing Arabella. Blood fights a duel with a French pirate (Basil Rathbone) over the girl; having "won" her, Blood intends to have his way with her, but his more decent instincts prevail. When King James is overthrown by William of Orange, Blood is given a commission and lauded as a hero as a reward for his bravery against the Spanish galleons. He is appointed governor of Jamaica, wins the hand of the lovely Arabella, and genially forces Atwill to eat crow. This seemingly outsized swashbuckler was actually a very economical production, using stock footage from several silent films. Captain Blood transformed the 26-year-old Errol Flynn into a star; he's a little clumsy in the dialogue department at times, but cuts a dashing figure in the action scenes. The film also represented the cinematic debut of composer Erich Wolfgang Korngold, who wasn't completely happy with his hastily written score and asked that his on-screen credit be diminished to "musical director". Long available only in its 99 minute re-issue version, Captain Blood has been restored to its full, glorious 119 minute length.

James Cagney made his first Technicolor appearance in the morale-boosting aviation flick Captains of the Clouds. Cagney plays Brian MacLean, a hotshot Canadian bush pilot who delights in stealing jobs-and women-away from his competitors. Brian is forced to shape up in a hurry when he's assigned to train other pilots for the Royal Canadian Air Force. At the ending of the training period, he is given his first real RCAF assignment: The seemingly unimportant task of shepherding American bomber planes across the Atlantic to England. With startling suddenness, Brian comes to realize the true importance of his job when he is forced into a deadly confrontation with a fleet of Nazi raider planes. Real-life Canadian WW1 flying ace Billy Bishop plays a small but pivotal role in Captains of the Clouds, while the leading-lady duties were handled by Warner Bros. stock actress Brenda Marshall (aka Mrs. William Holden). Cinematographer Sol Polito earned an Oscar nomination for his vivid color photography, though aerial photographers Elmer Dyer, Charles Marshall and Winston Hoch were certainly just as deserving.

Pearl S. Buck's novel China Sky is boiled down to a wartime romantic triangle, courtesy of commercial-minded RKO. Randolph Scott and Ruth Warrick play American doctors in a remote Chinese village. The relationship is platonic, but Scott's spiteful wife Ellen Drew suspects hanky-panky. Despite these turgid soap-opera events, World War II has to be fought, and fought it is thanks to guerilla leader Anthony Quinn and insidious Japanese POW Richard Loo, who tries to win half-Japanese doctor Philip Ahn over to the Rising Sun. Halfway down the cast as "the goat" is Chinese juvenile actor Ducky Louie, who enjoyed a brief 1940s stardom in such films as China's Little Devils (1945) and Black Gold (1947), reteaming with Anthony Quinn in the latter film.

In the words of Hamlet, there's a plentiful lack of wit in Not with My Wife, You Don't! Korean war vet Tony Curtis is living in London, blissfully married (so he thinks) to Virna Lisi. In strolls old air force buddy George C. Scott, who has a history of stealing Curtis' ladies away from him. Unable to woo Lisi by fair means, Scott resorts to foul; he exercises his prerogative as Curtis' superior officer, shipping him out to a faraway post. George C. Scott may have been right to refuse his Oscar for Patton; he doesn't look like much of an award-winner in Not With My Wife, You Don't!

James Cagney stars as a popular prizefighter who loses his winnings through too much partying and too many women. Cagney's fans finance the boxer's regenerative stay at a New Mexico health resort. For the sake of pretty, poverty-stricken Marian Nixon, Cagney enters into a return bout. He splits his winnings with Nixon, then goes back to his old skirt-chasing pattern with fickle society girl Virginia Bruce. Having had his nose broken, Cagney fixes it up to please Bruce, and stops taking chances in the ring lest his beezer get smashed again. It doesn't take long for Cagney to plummet from popularity, but true-blue Nixon is there for him when he gets wise to himself. The beautifully staged fight scenes in Winner Take All, wherein James Cagney disdains the use of a double, were later excerpted in Cagney's last-ever film, 1985's Terrible Joe Moran.

In this musical comedy, a strong-willed young woman hires a student to impersonate a boorish French count and brings him home to meet her parents. She wants him to be as appalling as possible so they will hate him and allow her to date the man she really loves who has recently been divorced. Romantic mayhem ensues as she finds herself really falling for the student. Songs include: "Cabin on a Hilltop" (Bert Kalmar, Harry Ruby), "Let's Make a Wish," and "My Heart Wants to Dance" (Kalmar, Ruby, Sid Silvers).

Tugboat Annie Sails Again stars Marjorie Rambeau as the rambunctious female skipper created by Norman Reilly Raine. In this one, Tugboat Annie is threatened with the loss of her job as cap'n of the tacky tugboat Narcissus, much to the delight of Bullwinkle (Alan Hale), skipper of the rival Salamander. In order to raise $25000 in a hurry, Annie agrees to tow a drydock to Alaska, but this plan is scuttled when another, sleeker tug lands the contract. Annie saves the day-and her job-when the other tug gets into trouble on the high seas. The romantic subplot is handled by Jane Wyman and Ronald Reagan, both of whom are as cute as can be. Incidentally, outtake footage exists of Tugboat Annie Sails Again wherein pert Ms. Wyman cusses like a sailor while splashing around in a studio tank.

In this comedy, a grandmother decides to help her naive grandson get the money he needs to marry his girl by allowing him to get his inheritance, a mattress factory, before she dies. She suggests that he use it as collateral on a loan, but instead the young man sells the business to a crook who ends up charging another interested buyer an exorbitant interest rate for it. The angry buyer then tries to force the lad's father to buy back the factory. That doesn't work, so he ends up kidnapping the grandmother. This is not a wise move as the grandmother is far more clever than her captor and quickly turns the situation around to her advantage. Soon the kidnapper hands the factory back and gets nothing in return.

A civic leader with a wife & newborn child befriends a newcomer in town & helps his daughter by offering her a baby-sitting job & by getting her into gymnastics. Their friendship soon develops into a passionate love affair.

Paramount's first outdoor Technicolor feature, Trail of the Lonesome Pine was the third film version of John Fox Jr.'s novel. Inspired by the Hatfield-McCoy feud, the story is set in the Blue Ridge mountains of Virginia. Outsider Fred MacMurray arrives to clear the path for a new railroad. Mountain girl Sylvia Sidney falls in love with MacMurray, which incurs the enmity of Sidney's boyfriend Henry Fonda. It also plunks MacMurray in the middle of a long-standing feud between Sidney's family and another mountain clan. Hostilities alternately erupt and simmer until Sidney's youngest brother (Spanky McFarland) is killed by a feud-inspired dynamite blast. This tragic incident brings virtually everyone to their senses, and the feud is finally buried. Better in its individual setpieces than as a unified whole, Trail of the Lonesome Pine is still a worthwhile experience, especially when a pristine three-strip Technicolor print is available.

Grandpa and Grandma Kapoor live a wealthy life-style with their only widower son, Kailashnath and his daughter Ashi who is of marriage-able age. Kailashnath arranges his daughter's marriage with his friend, the equally wealthy Mr. Malhotra's son, Rohit. Ashi approve of this match but would like to evaluate Rohit's personality before marrying him; she finds out that Rohit is in Switzerland and travels there to meet with him. At the airport she does meet with a male and takes him for Rohit and thus both started to get acquainted with each other only to find out that he is not the one she is looking for. Her efforts to locate Rohit are frustrated since every male she thinks is Rohit turns out to be someone else. Her first acquittance whose name turn out to be Bobby Oberoi continues to pursue her until both fall in love. Back in India; Bobby is introduce to the Kapoor family who approve of the couple's marriage. But calamity destructs them when some personal problems crop up between Ashi's dad, Kailashnath and Bobby's bank manager mother, Gayetri forcing Kailashnath to cancel the marriage which changes lives forever.

"Every time Paul Muni parts his beard and looks through a microscope, we lose a million dollars." Producer Jack Warner's lament concerning Muni's historical dramas is cute enough, but hardly backed up by facts; the economically produced The Story of Louis Pasteur proved to be a surprise hit for the Brothers Warner. The Sheridan Gibney-Pierre Collings screenplay concentrates on Pasteur's tireless efforts to find a cure for anthrax and hydrophobia. The famed French scientist is continually challenged and thwarted by his principal rival, hidebound bacteriologist Dr. Charbonnet (Fritz Leiber). The film's climax, involving a desperate Pasteur, the immovable Charbonnet, Pasteur's ailing daughter (Anita Louise), and a hydrophobia-infected youngster (Dickie Moore), is straight out of the Curfew Shall Not Ring Tonight school of melodrama. Within the film's context, however, this contrivance works magnificently. Virtually thrown away by Warners upon its first release, The Story of Louis Pasteur was finally awarded class-A treatment when the picture proved to be favorite with audiences and critics alike; Paul Muni's Academy Award win was the mere icing on the cake. The film's success led to Warners' decision to go ahead with 1937's The Life of Emile Zola, also starring Muni. This time, the studio copped its first Best Picture Oscar.

This unusual western concerns the conflict between a priest and a Mexican bandito from A Night to Remember (1958) director Roy Baker. Father Keogh (John Mills) is a Catholic priest who arrives in the remote Mexican village of Quantano to build a congregation, unaware that the town is terrorized by the ruthless criminal Anacleto (Dirk Bogarde). An atheist, Anacleto has forbidden worship, so when Keogh holds services, Anacleto retaliates by murdering the locals in alphabetical order. Keogh refuses to back down. Impressed by his valor, Anacleto calls his men off and makes the priest an offer -- he'll spare him if he determines which inspires greater good, "the singer" (the priest) or "the song" (religion). Keogh doesn't answer. Meanwhile, one of the clergyman's followers, the young girl Locha (Mylene Demongeot), flees when her family, realizing that she's in love with Keogh, arranges a marriage with someone more suitable. Anacleto finds the girl and offers Keogh another deal. He'll let the girl live if the priest will admit his failure before his congregation.

In the 1580s, the Sea Hawks -- the name given to the bold privateers who prowl the oceans taking ships and treasure on behalf the British crown -- are the most dedicated defenders of British interests in the face of the expanding power of Philip of Spain. And Captain Geoffrey Thorpe (Errol Flynn) is the boldest of the Sea Hawks, responsible for capturing and destroying more than 50 Spanish ships and ten Spanish cities. His capture of a Spanish galleon, however, leads to more than he bargained for, in a romance with the ambassador's niece (Brenda Marshall) and the first whiff of a plan to put Spanish spies into the court of Elizabeth I (Flora Robson). Thorpe's boldness leads him to a daring raid on a treasure caravan in Panama which, thanks to treachery within Elizabeth's court, gets him captured and, with his crew, sentenced to the life of a slave aboard a Spanish ship. Meanwhile, Philip of Spain decides to wipe the threat posed by Elizabeth's independence from the sea by conquering the island nation with his armada. Thorpe, though chained to an oar, knows who the traitor at court is and plans to expose him and Philip's plans, but can he and his men break their bonds and get back to England alive in time to thwart the plans for conquest? The Sea Hawk was the last and most mature of Flynn's swashbuckling adventure films, played with brilliant stylistic flourishes by the star at his most charismatic, and most serious and studied when working with Flora Robson, whom he apparently genuinely respected. Boasting the handsomest, most opulent production values of a Warner Bros. period film to date, The Sea Hawk was made possible in part by a huge new floodable soundstage. Another highlight was the best adventure film score ever written by Erich Wolfgang Korngold; and the script's seriousness was nailed down by various not-so-veiled references not to 16th century Spain but 20th century Nazi Germany. The movie was cut by over 20 minutes for a reissue with The Sea Wolf, and the complete version was lost until a preservation-quality source was found at the British Film Institute. Since then, that 128-minute version -- which actually contains a one-minute patriotic speech by Robson as Elizabeth that was originally left out of U.S. prints, as well as amber tinting in all of the Panamanian sequences -- has become standard.

Two of the British film industry's most potent comic talents appear in One Wild Oat. Robertson Hare heads the cast as distinguished barrister Humphrey Proudfoot, whose daughter Cherrie (June Sylvaine) is about to marry. Unfortunately, Cherrie's fiancé is Fred Gilbey (Andrew Crawford), the son of notorious philanderer Alfred Gilbey (Stanley Holloway). Fearing that Fred intends to follow in Alfred's footsteps (so to speak), Proudfoot does his best to undermine the romance. Gilbey turns the tables by threatening to reveal Proudfoot's own past indiscretions (including one that Gilbey has completely fabricated). It is up to the wives of the two old antagonists to solve matters and pave the way for a happy ending. One Wild Oat was co-adapted by Vernon Sylvaine from his own stage farce.