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Spencer Tracy plays a hard-driving newsman with a special instinct for solving sensational murders before the police can. This earns him the grudging respect of his peers, but his editor always puts him in his place. Tracy spends most of his time solving cases and almost never sleeps at home. This worries his lovely colleague Virginia Bruce who secretly loves him and wants him to settle down. Trouble comes after Tracy's estranged wife commits suicide and con-artists destroy the life of Tracy's dad. Vengefully, Tracy begins plotting the perfect murder of these larcenous crooks. This was Tracy's first film for MGM. He would remain with the studio for the next twenty years. Murder Man also marks the debut of Jimmy Stewart who appears as a cub reporter jokingly named "Shorty."

Rest assured that this Buried Treasure is not the notorious animated porn film of the same name. Marion Davies plays a dual role: a dizzy modern debutante and a 17th century Spanish lass. After dreaming about pirate gold, the modern Davies convinces her boy friend Norman Kerry to go on a perilous treasure hunt. Meanwhile, Davies's father Anders Randolf also searches for buried treasure, albeit in the wrong direction thanks to his daughter's chicanery. It's all in fun, of course, as Marion Davies' best vehicles usually were.

In the bush country of South Africa in the late 19th century, chauvinistic hunter Gert vanDen Bergh calculatedly offends a local tribal chief. Given several opportunities, he refuses to apologize. As consequence, vanDen Bergh and the rest of his hunting party are captured by the tribesmen and grotesquely tortured to death. The only white man spared is safari-guide Cornel Wilde, whom the natives respect and vice versa. The tribesmen offer Wilde a chance to survive; stripping him naked and giving him a knife to defend himself, they set Wilde free in the jungle, in preparation of hunting him down like a lion. Given a head start equal to the distance one of the tribesman can fire an arrow, Wilde is pursued by the tribe's six most accomplished warriors. The rest of this thrill-a-minute film follows Wilde into the underbrush in his desperate, resourceful flight for life. Cornel Wilde's The Naked Prey was filmed entirely on location under circumstances nearly as dangerous as the plight of its protagonist.

Mattocks, Fost and Ackroyd are Britain's first three astronauts. They must live in small, cramped space station orbiting the earth. Naturally, these conditions make coexistence difficult for them, but funny to us.

Based on a novel by Louis L'Amour, this made-for-HBO western stars Sam Elliott, an enigmatic gunslinger who comes to the aid of a family traveling through the wilderness.

A less-stylish variant on Franju's classic Les Yeux Sans Visage, this low-budget Italian production borrows heavily from that film's plot to tell the tale of a scientist who employs a radical new procedure to restore the beauty of a young hoochie-koochie dancer disfigured in a car accident. All goes well after the bandages come off... but after all, this is a horror film, and it's only a matter of time before the young lass begins transforming into a monster -- which, despite the title, is not really a vampire, but more like something resembling an overcooked pizza roll with eyes. In order to return her to normal, the loony doc sets out to "borrow" the faces of other young women without their permission. Released in its native country (where the dubbing might have been a bit less painful) as Seddock, L'Ereda de Satana or Seddock, Heir of Satan.

Frustrated with the Walt Disney studio's reluctance to produce full-length animated films, Don Bluth and a number of animators left the studio in the early '80s with the intent of creating movies in the style of Disney's classics. The Secret of NIMH is the first film Bluth produced after leaving the studio. Adapted from Robert C. O'Brien's acclaimed children's book Mrs. Frisby and the Rats of N.I.M.H., the film is about a widowed mouse whose home is threatened; also, one of her children is gravely ill. On her way to find help, she discovers NIMH, a secret society of highly-intelligent rats who have escaped from a nearby science lab. The rats help the widow to protect her family and home.

Roy Rowland directs the musical Arrivederci Roma (The Seven Hills of Rome), intended as a showcase for the talents of famous operatic tenor Mario Lanza. American singer Marc (Lanza) gets into a fight with his girlfriend, Carol (Peggie Castle). He follows her to Rome in an attempt to win back her affections. On the train, he meets an Italian woman named Rafaella Marini (Marisa Allasio), who is supposed to be moving in with her uncle. Marc gives her a ride and they discover that the uncle has left for South America. With nowhere to go, Rafaella stays with Marc and his cousin Pepe Bonelli (Renato Rascel), which leads to eventual romance. The narrative allows for Lanza to do his serviceable impressions of popular singers like Perry Como, Dean Martin, Louis Armstrong, and many others.

Taciturn marshal-turned-bounty hunter Henry Fonda rides into a small town where greenhorn deputy Anthony Perkins is sole representative of the law. Sensing that the boy could use some seasoning, Fonda makes it his mission to teach Perkins how to protect himself against the criminal element. Though diametrically opposed in personality, the older Fonda and the younger Perkins find they are kindred spirits in their dedication to their work. Using the lessons taught him by Fonda, Perkins is able to prove his worth by taking on town hothead Neville Brand. Directed with a minimum of slack and flab by Anthony Mann, The Tin Star was later spun off into the TV series The Deputy, which starred Henry Fonda and Allen Case.

An aspiring singer learns the bitter price of stardom in this musical drama. She starts out a small-town girl and soon becomes a big star. Unfortunately, she still cannot find true love and so must lead a successful but lonely life. Songs include: "He Was Her Man", "Let It Be Me", "Weary", and ""Who But You"".

A tuneful taxi driver secretly works to achieve his dream of becoming a radio singer in this musical comedy. One day he gives a radio station secretary a lift. She prattles on about a sponsor's new contest. The sponsor, a prominent cheese company, is looking for a singing gondolier to participate in their newest campaign. Later the secretary and the head cheese go to Venice to look for the real McCoy, unaware that the determined cabbie is already there waiting for them. Sure enough, they are fooled and he is hired. Things go really well until he feels compelled to tell the truth during a major broadcast. Songs include: "Lulu's Back in Town", "The Rose in Her Hair", "Lonely Gondolier", and ""You Can Be Kissed"".

The popularity of the Universal musical Broadway resulted in a whole slew of minor films with similar titles. In First National's Broadway Babies, the eponymous "babies," Delight Foster, Navarre King and Florine Chandler, are portrayed respectively by Alice White,Sally Eilers and Marion Byron. Like most chorus girls of the late 1920s, Delight hopes to marry a millionaire but settles instead for "hundredaire" Billy Buvanney (Charles Delaney). Alas, Delight is also attracted to charismatic bootlegger Perc Gessant (Fred Kohler Sr.), who involves the girl in his crooked activities. She tries to keep this a secret from Billy, but he finds out and threatens dire consequences for Perc. The latter decides to rub out Billy, a consequence averted when Perc is himself killed by one of his own henchmen. Several songs and plenty of bare female legs were the principal attractions of this formula backstage drama.

Though set during WW1, British Intelligence was obviously thrown together to capitalize on the outbreak of WW2. A remake of the 1930 espionager Three Faces East, the film stars Boris Karloff as Valder, the sinister butler of a British cabinet minister. It is quite possible that Valder is a German spy, and equally likely that the mysterious Helene von Lorbeer (Margaret Lindsay) is likewise working for the enemy. In fact, the audience is never quite certain who the good guys and bad guys really are until the climax, which takes place during a German zeppelin raid of London. As a balm to 1940 audiences, the film includes an early comedy scene in which German military protocol is upset by a clumsy corporal (Willy Kaufman) who bears a startling resemblance to a certain Nazi dictator.

Katharine Hepburn and Cary Grant star in this inspired comedy about a madcap heiress with a pet leopard who meets an absent-minded paleontologist and unwittingly makes a fiasco of both their lives. David Huxley (Grant) is the stuffy paleontologist who needs to finish an exhibit on dinosaurs and thus land a $1 million grant for his museum. At a golf outing with his potential benefactors, Huxley is spotted by Susan Vance (Hepburn) who decides that she must have the reserved scientist at all costs. She uses her pet leopard, Baby, to trick him into driving to her Connecticut home, where a dog wanders into Huxley's room and steals the vital last bone that he needs to complete his project. The real trouble begins when another leopard escapes from the local zoo and Baby is mistaken for it, leading Huxley and Susan into a series of harebrained and increasingly more insane schemes to save the cat from the authorities. Inevitably, the two end up in the local jail, where things get even more out of hand: Susan pretends to be the gun moll to David's diabolical, supposedly wanted criminal. Naturally, the mismatched pair falls in love through all the lunacy. Director Howard Hawks delivers a funny, fast-paced, and offbeat story, enlivened by animated performances from the two leads, in what has become a definitive screwball comedy.

Ross Alexander, whom Warner Bros. was obviously grooming for big-time stardom, is cast as Bill McAllister, the ne'er-do-well nephew of wealthy apple merchant Fred Schultz (Joe Cawthorn). Cut off without a cent, Bill soon finds out who his real friends are and wins the hand of Hazel Robinson (Anita Louise), who isn't at all interested in money. Since the film is based on a 1925 stage comedy, it should come as no surprise that our hero makes good and strikes it rich sometime during the third act. Alas, the promising career of Ross Alexander was cut tragically short by his suicide at the age of 29.

Bride by Mistake is a remake of the 1934 Miriam Hopkins vehicle The Richest Girl in the World, with a wartime angle providing topicality. Tired of being romanced by fortune hunters and being rejected by poor-but-proud suitors, fabulously wealthy Norah (Laraine Day) decides to pose as her own secretary Sylvia (Marsha Hunt), and vice versa. The plot thickens when Norah falls in love with convalescing fighter pilot Tony (Alan Marshall)-while he in turn falls for the very married Sylvia. All sorts of manic complications ensue, with Sylvia's hapless husband (Allyn Joslin) the "odd man out". RKO Radio revived Richest Girl in the World for a third time in 1954 as the Jane Russell musical The French Line.

Boy soprano Bobby Breen dons a pair of skates in the oddball musical Breaking the Ice. Escaping his super-strict Mennonite relatives, our hero gets a job singing at a Philadelphia ice-skating rink. Here he tries to earn enough money to help his beloved widowed mother (Dolores Costello) wrest herself free of those selfsame relatives. The plot requires canary-voiced Breen to share the spotlight with six-year-old skating sensation Irene Dare. Within a year, Breaking the Ice producer Sol Lesser attempted to launch another series of family musicals built around the talents of little Ms. Dare, but the first entry in this project--Everything's on Ice--was also the last.

Boy Slaves is an effective indictment of the exploitation of reform school labor. Several troublesome boys are offered an opportunity to work on a turpentine farm run by the seemingly benign Charles Lane, with the promise that their good behavior will ensure their early release from the reformatory. But the kids soon learn that they're little more than slaves, toiling at a dangerous job for free while Lane grows rich on their labors. After numerous tragedies, the boys are finally able to relay the facts to the outside world, and Lane is brought to justice. Based on several true accounts of Southern work farms, Boy Slaves managed to overcome the lurid nature of its title with the sincerity of its storytelling.

Constance Bennett, Hollywood's favorite "wronged" heroine, is the star of the misleadingly titled Bought. Thing of it is, Bennett can't be bought by wealthy playboy Ray Milland. Despite dangling all sorts of expensive temptations in front of her, Milland never gets any farther than a one-night stand with the girl. Turning her back on high society, our heroine returns to her tenement apartment and her poverty-stricken sweetheart, author Ben Lyon. One of the attractions of Bought was the rare on-screen teaming of leading-lady Constance Bennett and her father, legendary Broadway star Richard Bennett.

Robert Newton exhibits absolutely no shame in his portrayal of the title character in Blackbeard the Pirate. If you thought that Newton's "Arr, matey"s got out of hand in Treasure Island, wait til you see this one. The plot concerns the efforts of the British admiralty to bring Blackbeard to justice. To that end, officer Keith Andes allows himself to be abducted by the pirate's minions. Also captured by Blackbeard is luscious Linda Darnell, the adopted daughter of Andes' superior Torin Thatcher. When it turns out that everyone is being double-crossed by the insidious Thatcher, all Technicolor hell breaks loose. William Bendix costars as Blackbeard's chief henchman, appearing to be a model of subtlety when compared to his costar. Future "Beverly Hillbilly" Irene Ryan has some nice moments as Linda Darnell's lady-in-waiting

Loretta Young briefly contemplates using her sexual allure to get ahead in business in this sometimes frank but ultimately old-fashioned comedy-drama from Warner Bros. Packing her new husband, bandleader Johnny Saunders (Frank Albertson), off to Paris, Claire McIntyre (Young) sets her sight on her boss, wolfish advertising maven Robert J. Clayton (Ricardo Cortez). The latter's clumsy attempt to seduce the girl is interrupted by an enraged Johnny, however, and Claire comes to her senses. But Clayton doesn't take no for an answer and concocts a plan to sabotage the union. Big Business Girl was based on a College Humor magazine story by Patricia Reilly and H.N. Swanson.

One of the few failures for RKO Radio's resident "prestige programmer" producer Val Lewton, Mademoiselle Fifi is based on two Guy De Maupassant tales, with emphasis on Boule de Suif. The story takes place during the Franco-Prussian war of 1870, though it is clearly an allegorical representation of the German mindset of WW2. "Mademoiselle Fifi" is the derisive nickname of a brutal Prussian officer (Kurt Krueger) who rules the roost in a tiny French village. When a stagecoach rides into the village, the passengers are detained by the Prussian tyrant, who threatens to kill them all at any given moment. Desperately, the passengers demand that one of their own, a laundress of dubious morals named Elizabeth (Simone Simon), surrender herself sexually to the Prussian to secure their freedom. Previously the object of scorn and ridicule from her fellow passengers, Elizabeth is bitterly amused by their change of heart, but she's too loyal to France to refuse their request. How she completes her "mission" and eliminates "Mademoiselle Fifi" in the process is the film's dramatic core. Though superbly directed by Robert Wise, Mademoiselle Fifi is laid low by its pretentiousness-not to mention the uneveness of the performances, none more uneven than Jason Robards Sr., who at one point declaims in his flat midwestern tones "We must not forget that we're all Frenchmen!"

"What a dump!" That's the classic line delivered by Bette Davis at the halfway point of Beyond the Forest, her final Warner Bros. effort of the 1940s. Some Davis devotees feel as though this vituperative utterance is the high point of an otherwise turgid melodrama; others consider the line a succinct assessment of the entire film. Based on a best-selling novel by Stuart Engstrand, the film stars Davis as Rosa Moline, a small-town girl with big-city ambitions. Trapped in a dull marriage to just-getting-by lawyer Lewis Moline (Joseph Cotten), Rosa plots and plans to sexually entrap millionaire industrialist Neil Latimer (David Brian). That Rosa's scheme is doomed from the start is telegraphed at every juncture by Max Steiner's sledgehammer musical score (few will ever want to hear the song "Chicago" again after this). Hampered by the censorship standards of the era, the film is prevented from being as frank as the novel; in one scene, for example, Rosa is obviously visiting an abortionist, but the sign on the door reads "Psychiatrist." A standard entry in most film historians' "Worst Movies" lists (even Davis herself hated it), Beyond the Forest is rather entertaining in its own schlocky fashion.

Adapted from the stage thriller The Man (itself based upon a half-hour radio drama), Beware My Lovely is a taut suspenser tailor-made for the talents of Ida Lupino and Robert Ryan. Lupino plays a pretty widow who impulsively hires handyman Ryan to look after her house. She soon learns Ryan is a dangerous schizophrenic, but by the time she comes to this realization she is unable to escape her house. The tension mounts apace, leading to an unexpected but quite logical finale. Produced by Lupino's then-husband Collier Young, Beware My Lovely was released by RKO Radio.

Though RKO Radio Pictures was, in 1951, still faithful to the concept of "B" westerns starring Tim Holt, the studio was more than capable of turning out an "A" oater from time to time. Best of the Badmen stars Robert Ryan as a former Union officer who persuades a fictional vigilante group which closely resembles Quantrill's Raiders to lay down their arms and seek out new and honest lives. Ryan is undercut by shifty Pinkerton man Robert Preston, who wants to collect the rewards on the heads of the ex-vigilantes; to that end, he frames Ryan for murder. With the help of Preston's embittered wife Claire Trevor, Ryan escapes and turns outlaw with the men whom he'd earlier convinced to turn honest. Best of the Badmen was produced in Technicolor, enhancing its already potent box-office appeal.

On a trip from France to Allied-occupied Berlin, a group of travelers -- a mysterious and very secretive European woman (Merle Oberon), an American agricultural expert (Robert Ryan), a British educator (Robert Coote), a Soviet Army officer (Roman Toporow), and a French official (Charles Korvin) -- all cross paths in the cramped quarters of a military train. They discover that the notion of the "Allied forces" is breaking down amid their victory in the war; they neither like nor trust each other, nor each other's countries, except where the Germans are concerned, where they share a distrust. And then they cross paths with a German VIP who makes them wonder if they've got all of the Germans pegged right. A bomb goes off, killing their newfound acquaintance, and the suspicions start anew. The mystery surrounding the victim only deepens when they discover that he wasn't who he claimed to be -- and that the army isn't saying who he was. Ryan, Oberon, et al. soon find themselves up to their necks in unrepentant Nazis and militant German nationalists who have banded together against the occupiers to destroy any chance of success for a peace plan being put forward by a visionary German (Paul Lukas). They find Frankfurt a hotbed of sabotage and armed underground resistance, with the occupying armies seemingly caught flat-footed by the plotting in their midst, which includes murder and blackmail. Berlin Express is a spellbinding mix of action, suspense, and topical political intrigue, laced with idealism and a surprising degree of sophistication, a level a wit almost worthy of Graham Greene, and an eye for suspense worthy of Hitchcock. Indeed, the film could almost be considered director Jacques Tourneur's postwar equivalent to Hitchcock's Foreign Correspondent (1940). It also represents a fascinating cultural snapshot, depicting the very last moments of hope for peaceful relations with the Soviets that could be seen in American movies for decades.

The old reliable Paul Frank/Ladislaus Fodor stage play The Church Mouse was streamlined for the movies in the form of Beauty and the Boss. The "beauty" is fetching Marian Marsh, a stenographer in a staid Viennese financial institution. The "boss" is Warren William, a wealthy baron with a habit of dallying with pretty girls, then letting them down gently. But Marsh, who has a Cinderella complex, isn't about to be cast aside. The diffident Charles Butterworth injects a few genuine laughs into the pat and predictable proceedings.

After a debut on Broadway in 1951, Paramount spent an estimated 17 to 20 million dollars in production costs for this Lerner and Loewe musical. With Loewe's permission, Lerner wrote five additional tunes for the film with Andre Previn. Ben Rumson (Lee Marvin) is the grizzled prospector trying his luck panning for gold in California. Pardner (Clint Eastwood) is his companion. When Ben buys a woman from a Mormon, Elizabeth (Jean Seberg) expects equal rights for her gender and chooses to live with both men. Ben and Pardner tunnel under the boomtown to gather the fallen gold dust that has filtered through the cracks of the saloon and other places. The musical comedy features 13 songs, the most recognizable being "They Call The Wind Maria". The Nitty Gritty Dirt Band helps out on the song "Hand Me Down That Can O' Beans". Both Clint Eastwood and Lee Marvin are given a chance to show their vocal ability (or lack of it) in several songs. The initial release fell far short of regaining the millions put into the production, and most critics dipped their pens in poison to pan the picture -- though the film plays better than the critics would lead anyone to believe. Many jumped on the Paint Your Wagon smear campaign after the film proved to be not nearly as successful as other musicals.

This is an uneven modern remake of A Yank at Oxford (1938) from writer-director Robert Boris, the man behind such diverse earlier productions as Some Kind of Hero (1981) and Doctor Detroit (1983). Rob Lowe stars as Nick Di Angelo, an American hustler and parking attendant in Las Vegas who falls in love at first sight with a beautiful, classy British woman, Lady Victoria (Amanda Pays). He follows her back to England and learns that she is a student at the prestigious Oxford University. Intent on wooing the object of his affection despite their obviously different locations in the social strata, Nick manages to finagle his way into an admission at the school by paying a computer hacker for some illegal tampering. With his arrogant manner and self-centered worldview, Nick quickly offends nearly everyone he encounters, except fellow American expatriate Rona (Ally Sheedy), who becomes his only friend. Nick also secures a spot on the rowing team, an experience that builds his character. A typical example of the mid-'80s "Rat Pack" film, Oxford Blues featured a soundtrack with several forgettable rock songs written expressly for the movie, interjected at intervals into the narrative through music video-style sequences.

Arsenic and Old Lace is director Frank Capra's spin on the classic Joseph Kesselring stage comedy, which concerns the sweet old Brewster sisters (Josephine Hull, Jean Adair), beloved in their genteel Brooklyn neighborhood for their many charitable acts. One charity which the ladies don't advertise is their ongoing effort to permit lonely bachelors to die with smiles on their faces--by serving said bachelors elderberry wine spiked with arsenic. When the sisters' drama-critic nephew Mortimer (Cary Grant) stumbles onto their secret, he is understandably put out--especially since he has just married the lovely Elaine Harper (Priscilla Lane). Given the homicidal tendencies of his aunts, the sinister activities of his escaped-convict older brother Jonathan (Raymond Massey) and the disruptive behavior of younger brother Teddy (John Alexander)--who is convinced that he's really Theodore Roosevelt, and runs around the house yelling "CHAAAAARGGGE"--Mortimer isn't keen on starting a family with his new bride. "Insanity runs in my family," he explains. "It practically gallops." Further complications ensue when the murderous Jonathan Brewster arrives home, with his snivelling accomplice Dr. Einstein (Peter Lorre) in tow. When Jonathan learns that his darling aunts have killed twelve men, he is incensed--they're challenging his own record of murders. Though the movie rights for Arsenic and Old Lace were set up so that the film could not be released until 1944, director Capra shot the film quickly and inexpensively in 1941, so that his family could subsist on his $100,000 salary while he was serving in World War II.

The gestation of Arctic Fury is more interesting than the film itself. In 1936, pioneer cinematographer Norman Dawn joined forces with Universal head Carl Laemmle to produce Tundra, a semidocumentary account of the life of Alaska's "flying doctor," Thomas Barlow. When the Laemmle regime collapsed at Universal, cameraman/co-director Dawn received funding from Burrough-Tarzan productions, an independent firm set up by Tarzan creator Edgar Rice Burroughs. After seven months' location filming in the Yukon and Arctic Ocean region, Dawn filled the gaps in the film's continuity with snippets from SOS Iceberg (1933) and newly-shot scenes of former football coach Del Cambre (as Dr. Barlow) and trained bears Tom and Jerry. In 1949, 13 years after the release of Tundra, the film was purchased by Plymouth Productions. Most of the location footage and the Del Cambre re-enactments were retained, but a new subplot, directed by Dan Riss and featuring Eve Miller and Gloria Petroff as Dr. Barlow's wife and daughter, was grafted onto the proceedings. Merrill McCormick, who'd played a crusty old trapper in Tundra, was rehired to repeat his role and provide linking narration. This "new" film, retitled Arctic Fury, was distributed by RKO Radio Pictures.

Filmed on location in Florida's Everglades, Distant Drums stars Gary Cooper as Indian fighter Quincy Wyatt. At the height of the Seminole wars, Wyatt leads a small group of soldiers into the Everglades to offer resistance. Along the way, they rescue Judy Beckett (Mari Aldon), one of several white prisoners of the Seminoles. Judy proves to be as worthy a "soldier" as Wyatt and his men during the final Seminole attack. Prominent among the supporting players is Robert Barrat as General Zachary Taylor. Distant Drums was produced independently by Milton Sperling's United States Productions, and distributed by Warner Bros.

In this frothy, star-studded Warner Brothers outing, tightwad tycoon Jonathan Turner, believing himself at death's door, gives star-struck movie buff Jane Barker a million bucks. Problems begin when Jane's hubby, an aspiring writer, finds out about her new fortune. Marital turmoil ensues causing Jane to launch divorce proceedings. He in turn begins demanding alimony. The situation seems at a permanent impasse until the Turner miraculously recovers and decides he wants the money back.

Gary Cooper added "producer" alongside "star" on his resume with this light-hearted Western about a mild-mannered cowboy (Cooper) who drifts into a small town with his sidekick (William Demarest). Naturally, he's mistaken for a notorious highway robber (Dan Duryea), although he can barely handle a gun. His impersonation of the menacing gunman falls apart when his skills are put to the test, and he faces certain doom when challenged by the returning gunman himself. In the end, however, our hero defeats the villain and even ends up with his girl (Loretta Young). A send-up of both Western clichés and Cooper's own heroic persona, Along Came Jones is brisk, amusing entertainment.

Paramount Pictures decided in 1935 to create a new romantic team, thus cast singing stars Carl Brisson and Mary Ellis in the frothy operetta All the King's Horses. Brisson does the "Prisoner of Zenda" bit as a movie star who is forced by circumstances to impersonate a look-alike king. Ms. Ellis is the highborn lady who seems to be fooled by the ruse. The plots roll merrily onward while various and sundry musical-comedy character actors (including Edward Everett Horton and Eugene Pallette) fuss and fume in the background. Danish singer Carl Brisson had created a minor sensation by introducing "Cocktails for Two" in Paramount's Murder at the Vanities (34), but the studio's attempts to turn him into a Scandinavian Maurice Chevalier were unsuccessful.

In this rollicking adaptation of Ring Lardner's short story, Joe E. Brown plays an ace baseball player whose insistence upon making up excuses earns him the nickname "Alibi Ike." In the course of his first season with the Chicago Cubs, Brown also falls in love with Olivia De Havilland, sister-in-law of the team's manager. Brown's "alibi" habit prompts De Havilland to walk out on him, whereupon he goes into a slump-- which coincides with attempts by gamblers to get Brown to throw the World Series. The plot weaves its way towards a climax in which Brown escapes the gamblers by commandeering an ambulance and driving onto the ball field during the final Series game. Alibi Ike was the most successful of Joe E. Brown's "baseball trilogy" (which included Elmer the Great and Fireman Save My Child), and one the best baseball comedies of all time.

On December 6, 1941, a squadron of nine B-17 bombers takes off for Hickam Field, HI. The crew of the Mary Ann, including two new men, assistant radio man Private Chester (Ray Montgomery) and gunner Sergeant Joe Winocki (John Garfield), assembles for the flight, and in the first 20 minutes, the movie reveals certain things about the crew: the shadowy past of one, the mother of another, and the wife of a third; two of them are good friends with the sister of McMartin (Arthur Kennedy), the bombardier, who lives in Honolulu; the son of the senior member of the crew, Sgt. White (Harry Carey Sr.), is a pilot stationed at Clark Field in the Philippines. Then more characters make entrances: the aircraft commander Quincannon (John Ridgely); Weinberg (George Tobias), a Jewish mechanic from New York; and a man from a farm in the upper Midwest -- they all represent a broad cross-section of America as it saw itself, and the "regular guys" in the Army Air Force as it existed in 1941. The flight proceeds without incident. Winocki, an embittered, washed-out flight school candidate who accidentally killed another pilot, is about to leave the service when the weather report from Hickam Field is interrupted, and the radio man begins picking up transmissions in Japanese. The Mary Ann and the rest of the squadron fly right into the middle of the Japanese attack on Pearl Harbor unarmed and out of gas, and nearly crack up landing on an emergency field; no sooner do they make repairs than the crew comes under attack, and the plane takes off and makes for Hickam Field, which they find a flaming shambles. They fly on to the Philippines, stopping at Wake Island just long enough to meet a few members of the doomed Marine garrison, taking their company mascot, a dog, with them. At Clark Field, the Mary Ann and her crew finally go into action against the enemy, flying in alone against a Japanese invasion force; Quincannon is mortally wounded in the brief action, which leaves the plane damaged seemingly beyond repair. The remaining crew won't give up the plane, however, even when ordered to abandon and destroy her; they get the bomber off just ahead of the advancing Japanese, and survive to help bring retribution to the invading fleet and the Japanese empire.

Mercenary taxi driver Joe Tracy (Barry Nelson) is the Yank on the Burma Road in this MGM second feature. For strictly monetary reasons, Joe agrees to shepherd a caravan of medical supplies through Burma and into China. Going along for the ride is Gail Farwood (Laraine Day), who'd been stranded in Burma without passport when the Japanese invaded the country. Ultimately, Joe's patriotism takes precedence over his greed, and he begins striking back at any and all enemy soldiers with a vengeance. The hero's conversion takes place in a scene obviously added after the film's completion: hastily reading a letter from home, Joe mutters "So they bombed Pearl Harbor, did they?" Shoehorned in though it may have been, this little scene turned out to be the very first mention of Pearl Harbor in any American feature film, earning A Yank on the Burma Road a niche in the overall history of the cinema.

Taciturn Faye Dunaway insists upon drilling for oil in her small, unpromising patch of Oklahoma land. Drifter George C. Scott signs on to work the derrick, but only after Dunaway, who for unspecified reasons hates all men, warns him to stay at arm's length. Jack Palance, the strong-arm representative for a huge oil firm, dearly covets Dunaway's land, and when she refuses to sell he sends his hooligans to beat both her and Scott to bloody pulps. Driven from her land, Dunaway can't expect help from the "bought" courtrooms, so she fights fire with fire: together with Scott and her ne'er do well father John Mills, she takes back the land by force of arms. As they sit guarding the derrick, Dunaway and Scott draw closer, and when Mills is killed by a fall, Dunaway turns to Scott as her one last pillar of strength. Just as Palance and his goons are about to rush the land, the long-awaited gusher comes in. The oil surge lasts just long enough for every oil company within two hundred miles to bid for pumping rights. Once the well runs dry, however, Dunaway and Scott are left standing alone in their grimy field.

This 1939 film version of John Steinbeck's classic novel was a surprising choice for comedy producer Hal Roach; in fact, Roach had no intention of filming the property until forced to do so as a result of a lawsuit brought by director Lewis Milestone. Burgess Meredith stars as itinerant farm worker George, who travels in with his cousin and best friend Lennie (Lon Chaney, Jr.). George dreams of saving enough money for a farm of his own, a dream shared by the retarded giant Lennie, who merely wants to "tend the rabbits." Unfortunately, George has never been able to stay at a job very long, thanks to the trouble often caused by Lennie's feeble-mindedness. Still, George is fiercely loyal to Lennie and would never think of deserting him. Hired by rancher Oscar O'Shea, George and Lennie run afoul of the boss' belligerent son Curley (Bob Steele); his bored wife Mae (Betty Field) starts flirting with poor Lennie, who, not knowing his own strength, accidentally strangles the girl, leading to even more tragic consequences. Despite being endlessly parodied in Warner Bros. and MGM cartoons ("Which way did he, go George? Which way did he go?") Of Mice and Men retains its raw dramatic power. On its initial release, however, it proved a bit too powerful for many filmgoers, and it lost money. The highly acclaimed American composer Aaron Copland wrote the musical score. The 1981 TV remake of Of Mice and Men starring Robert Blake and Randy Quaid, was a virtual scene-for-scene remake of the 1939 version. The 1993 theatrical remake, starring Gary Sinise (who also directed) and John Malkovich, is perhaps closer to the source than its predecessors, but only time will tell if it attains the classic status of the Lewis Milestone version.

Based on a novel by Netta Syrett, A Woman Rebels is the story of Pamela Thistlewaite (Katharine Hepburn), whose mission in life is to defy the restrictive and often hypocritical conventions of Victorian England. Refusing to conform to the status quo, Pamela lives alone, reads, and says whatever she wishes, and even -- horrors! -- takes a job. Her romantic dalliance with young Gerald (Van Heflin, in his film debut) results in an illegitimate daughter (Doris Dudley), whom Pamela raises as her niece until she decides it's high time to tell the truth in all matters. Faithful suitor Thomas Lane (Herbert Marshall) offers to make an "honest woman" of her, but Pamela refuses until she can stand on her own two feet financially. Fiercely independent to the last, she becomes the crusading editor of a pioneering pro-feminist magazine and an early champion of Women's Suffrage. It was hoped by RKO Radio that The Woman Rebels would restore the popularity of Katharine Hepburn, which thanks to a series of expensive failures had been flagging for the past two years. Though the film turned out to be a box-office loser (it posted a $220,000 deficit), in retrospect it can be regarded as an artistic triumph -- and a remarkably timely one at that.