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Gene Autry was clearly tiring of the rigors of moviemaking by the time he starred in The Old West. Even so, Autry gives his all to this story of frontier religiosity. Left for dead in an outlaw ambush, Gene is nursed back to health by a travelling parson (House Peters Sr.) Our hero decides to help the parson build a church in the wide-open town of Saddlerock, which does not sit well with local crime kingpin Doc Lockwood (Lyle Talbot). The villain not only tries to drive the parson out of town, but also does his best to ruin Autry's reputation. The good guys emerge triumphant, but it isn't easy. Featured in the cast of The Old West are Autry "regulars" Gail Davis and Pat Buttrum; also appearing is the ubiquitous Louis-Jean Heydt, delivering a superb performance as a stagecoach driver plagued by encroaching blindness, and House Peters Sr's namesake son House Peters Jr. as one of the outlaws.

Despite an effort by the Warner Bros. publicity mills to turn The Rain People into an instant cult film upon its first release (the ad campaign stressed the intimacy and humanity of the story), this early Francis Ford Coppola effort would have to wait several years to find its audience. Shirley Knight stars as Natalie, a housewife who, unable to cope with being "trapped" by impending pregnancy, deserts her husband and takes to the road. Eager to start life over, Natalie attaches herself to hitchhiker Kilgannon (James Caan). She is fully aware that Kilgannon, a former football pro, has incurred so much brain damage that he's practically a child but insists upon sticking with him. Along the way, she has a variety of offbeat experiences with such eccentrics as a snake-farmer (Tom Aldredge) and a widowed traffic-cop (Robert Duvall). An unexpectedly violent turn of events, triggered by the traffic cop's troubled daughter (Marya Zimmet), leaves Natalie virtually back where she started. Director Coppola was still laboring under the influence of the French New Wave in The Rain People; there are so many flashbacks and flashforwards that soon even the actors don't know where they stand. Yes, it's an example of youthful cinematic excess, but there's a streak of genius in The Rain People that is impossible to miss. Coppola based his screenplay on his own short story "Echoes."

Filmed some 18 months before its release, Conflict is one of two melodramas in which Humphrey Bogart self-consciously portrayed a wife murderer (the other was The Two Mrs. Carrolls). Bogie plays unhappily married Richard Mason, who concocts a meticulous scheme to kill his shrewish wife, Kathryn (Rose Hobart), so that he'll be free to marry her sister, Evelyn (Alexis Smith). Alas, Mason inadvertently tips his hand to family friend Dr. Mark Hamilton (Sydney Greenstreet).

Vivien Leigh plays Karen Stone, a middle-aged actress whose career is in a tailspin. To assuage her hurt feelings, Karen goes on a vacation to Rome with her husband, who dies en route. Her best friend (Coral Browne) compassionately arranges for a young Italian escort (read: gigolo) to keep Karen from wallowing in her grief in Rome. The man hired for the task is sneering, contemptuous Pablo di Leo, played by Warren Beatty. Despite Pablo's rude behavior, the lonely Karen throws herself at him, showering him with expensive gifts and demanding his undivided attention. This being an adaptation of a Tennessee Williams novel, Blanche Dubois --er, Karen Stone must pay the piper for her eleventh-hour surfeit of passion; she is dispensed with by an "Angel of Death" in the form of psycho Jeremy Spencer. More operatic than dramatic, The Roman Spring of Mrs. Stone represents the only feature-film directorial effort of experimental-theatre maven Jose Quintero; his assistant was future Bullitt helmer Peter Yates.

As shown by the clock face that opens and closes the film, The Set-Up takes place within a compact 72 minutes, with the action played out in "real time." Robert Ryan plays Bill "Stoker" Thompson, a washed-up boxer who refuses to give up his career despite the pleas of his wife Julie (Audrey Totter). There's little chance that he's going to win this evening's bout; still, Stoker's manager Tiny (George Tobias) has secretly made a deal with a crooked gambler (Alan Baxter). Stoker is to take a dive, a fact withheld from him until the fight is well under way. His last vestige of pride is aroused in the ring, but the story doesn't end there. The fight sequence is one of the most brutal ever filmed, with close ups of Ryan's pummeled face intercut with shots of screaming spectators in the throes of bloodlust. Adapted by Art Cohn from a narrative poem by Joseph Moncure March, The Set-Up is arguably Robert Ryan's finest starring film.

The Son of the Sheik, Rudolph Valentino's last film, may well be his best. A sequel to (and vast improvement upon) Valentino's 1922 blockbuster The Sheik, the 1926 film casts the legendary Latin Lover in the dual role of the now-older Sheik and his son Ahmed. The latter falls in love with bejeweled dancing girl Yasmin (Vilma Banky), the daughter of a scurrilous thief, who in turn is in cahoots with Ghabah (Montagu Love), "whose crimes outnumber the desert sands." Captured, held for ransom and tortured by Ghabah, Ahmed escapes, seething with revenge. Believing that Yasmin has betrayed him, he kidnaps the girl, spirits her away to his desert tent, and rapes her (not shown, of course, but brilliantly suggested by a series of wide-eyed, soft-focus close ups). Bitterly chastised by his father, Ahmed begins feeling pangs of remorse for his treatment of Yasmin, even more so when he learns that she is innocent of all wrongdoing. He follows Yasmin to her father's den of thieves, where he vanquishes all the bad guys, saving the unspeakable Ghabah for last. Son of the Sheik was partially filmed on location in the deserts of Yuma, Arizona, under intolerable conditions that caused virtually the entire cast and crew to fall seriously ill. The finished film manages to convey a tongue-in-cheek, larger-than-life approach to its melodramatic material without ever actually making fun of that material or condescending to Valentino's legions of fans. Rudolph Valentino had made Son of the Sheik in hopes of boosting his slightly flagging career; while it succeeded beyond anyone's wildest dreams, Valentino, alas, had died just before the film was released.

Future "Master of Disaster" Irwin Allen produced this curious but inarguably fascinating adaptation of Henrik Willem Van Loon's best- selling historical volume. A Celestial Tribunal has been convened to decide the fate of the Earth after the invention of nuclear weapons, with The Devil (Vincent Price) and The Spirit of Man (Ronald Colman) debating if humankind should be allowed to continue or be exterminated once and for all. Both men present examples of human behavior at its best and worst, including Dennis Hopper as Napoleon, Hedy Lamarr as Joan of Arc, Virginia Mayo as Cleopatra, Peter Lorre as Nero, Edward Everett Horton as Sir Walter Raleigh, and Groucho Marx, Harpo Marx, and Chico Marx as, respectively, Peter Minuit, Sir Isaac Newton, and a monk (yes, the producers had the daring and vision to cast the Marx Brothers without having them play any scenes together). The Story of Mankind proved to be the last film for both Ronald Colman and Hedy Lamarr; it was also the last time the three Marx Brothers appeared in the same film, though the individual Marxes appeared in a few films following this.

Randolph Scott makes his 3-D debut in the stereoscopic western Stranger Wore a Gun. This time, Scott plays Jeff Travis, a former spy for Quantrill's Raiders. When he heads to Arizona to start life anew, Travis finds that his reputation has preceded him: crooked Jules Mourret (George Macready) hires him to monitor a series of gold shipments, in preparation for a major robbery. Eventually, Travis falls in love with Shelby Conroy (Joan Weldon), daughter of freight-line operator Jason Conroy (Pierre Watkin), and decides to turn honest. That won't be easy: in addition to the surly Mourret, Travis must deal with such formidable movie heavies as Alfonso Bedoya, Lee Marvin and Ernest Borgnine. Also on hand is Claire Trevor, in a soft-pedalled variation of her role in John Ford's Stagecoach. Stranger Wore a Gun was directed by Andre DeToth, whose previous foray into 3D had been the box-office smash House of Wax.

Con man Harvey Otis and juvenile delinquent Steve Komak are paroled in each other's custody and told that if one breaks the law both will be held responsible. An old acquaintance of Harvey's attempts to involve him in a robbery.

A lowly artist, given the chance to restore an old aristocrat's collection of masterpieces, makes a forgery of an important work to deceive Nazi art thieves. The old woman is also fooled, and so he keeps and sells the original, but though he prospers greatly, his conscience bothers him.

Up and coming Hollywood star Damon Phillips is about to be married to another star, and big offers are on the way, yet he has one nagging worry- that his first wife that he ran out on will blackmail him. When she shows up, she insists she's forgiven him, but events lead Phillips to believe otherwise and that he must stop her.

A grouchy small town oilman is forced by the chamber of commerce to participate in a program to spend time with local boys without fathers. The boy has an equally disagreeable personality, yet they try to make a go of it by going fishing together. Later,the boy causes trouble by allowing one of the man's prize purebred dogs out of the kennel without permission.

Reporter Joe Kane does a story on a recently deceased rock and roll singer, and finds a mysterious bouquet with a message in Japanese at his grave site. Investigating the source, he interviews people who knew him, including a studio executive and his agent, finally finding he had secretly married a Japanese girl in Tokyo.

Eddie prides himself on his wheeling-dealing skills, but he has to raise an awful lot of money in a very short time - or else.

Undoubtedly having second thoughts after turning down Dirty Harry, John Wayne showed up in 1974 in his own "maverick cop" adventure, McQ. Wayne, playing McQ, a veteran detective, turns in his badge when he's officially denied the opportunity of clearing the name of his late best friend, who has been posthumously accused of drug pushing. Investigating on his own, McQ becomes romantically involved with his friend's widow (Diana Muldaur), who unbeknownst to him is up to her neck in police corruption. Considering the usual flag-waving content of John Wayne's 1970s films, it is rather startling to discover that the real villains in McQ are a coterie of crooked cops!

Maybe It's Love is one of the many college football musicals which bred like minks in the early talkie era. A very young Joan Bennett tops the cast as Nan Sheffield, the daughter of a college president (George Irving). The nominal leading man is Tommy Nelson (James Hall), the black-sheep son of a wealthy alumnus (Anders Randolph). Though Nelson is an ace football player, President Sheffield refuses to enroll the boy because of his bad reputation, whereupon Tommy's father withdraws his financial backing and bars his son from ever setting foot on Sheffield's campus. Falling in love with Nan, Tommy signs up with the college under an assumed name, giving up his wastrel ways to lead the football team to victory. Joe E. Brown steals the show as Speed Hanson, a goofy gridiron star who emits a loud and long yell whenever scoring a touchdown (this was, in fact, the first film in which Brown's famous "Yeeeeowww" was heard -- but certainly not the last). The remaining footballers are played by the members of the real-life 1929 All-American team. Incidentally, screenwriter "Mark Canfield" was actually a pseudonymous Darryl F. Zanuck. To avoid confusion with a later, unrelated film of the same title, Maybe It's Love was rechristened Eleven Men and a Girl for television showings.

MGM's Ricardo Montalban and Cyd Charisse were loaned to Universal for the Technicolor period piece Mark of the Renegade. Set in 19th-century California, the film stars Montalban as Marcos, in league with a band of pirates. Marcos falls into the hands of Don Pedro Garcia (Gilbert Roland), a despot who hopes to become dictator of California. Planning to force the cooperation of benevolent politico Jose De Vasquez (Antonio Moreno), Garcia orders Marcos to court De Vasquez' comely daughter Anita (Cyd Charisse). It soon develops that Marcos is not the criminal he appears to be, and that he is dedicated to the vanquishing of the evil Garcia. Somehow, Mark of the Renegade finds an excuse for Cyd Charisse to perform a bewitching dance number.

Warner Bros. made good use of its backlog of Harry Warren/Al Dubin tunes in its 1951 Doris Day musical Lullaby of Broadway. Day plays an American musical comedy star who comes back from a successful London engagement to visit her mother Gladys George. A once-great Broadway star herself, George is now living in drunken poverty, but this fact has been carefully hidden from Day by lovable millionaire S.Z. Sakall, who lives in the mansion once owned by Ms. George. Sakall arranges for George to pretend to still be the lady of the manor and to host a party in Day's honor. During the reception, love blooms between Day and Broadway hoofer Gene Nelson. There are several breakups and reconciliations involving a number of characters before the big-money finale. While the musical highlights in Lullaby of Broadway are consummately produced, the script (based on a story by Earl Baldwin) occasionally falls flat, especially when striving for laughs. The best comic bit is a throwaway: Sakall enjoys a nocturnal bottle of beer, which in closeup is advertised as "The Beer That Made Cincinnati Famous" -- Cincinnati being, of course, Doris Day's home town.

Billy Wilder's future partner I.A.L. Diamond concocted the storyline for this Dennis Morgan/Jack Carson/Doris Day tunefest. Morgan and Carson, Warner Bros.' answer to Bing Crosby and Bob Hope, appear as themselves. Attempting to line up a director for their next picture, the boys find themselves unable to do so due to Carson's gigantic ego. Carson decides to direct their next vehicle himself; the next problem is locating a leading lady who'll be willing to put up with Carson. The boys discover Doris Day, a waitress in the Warner Bros. commissary. Carson and Morgan spend their entire shooting schedule vying over Day's affections; she gets fed up with this, and heads back to her home town in Wisconsin, there to marry her childhood sweetheart Jeffrey Bushdinkel--who is revealed in the final shot to be none other than Errol Flynn! Other guest stars popping in and out of It's a Great Feeling include Gary Cooper, Joan Crawford, Sidney Greenstreet, Danny Kaye, Patricia Neal, Eleanor Parker, Ronald Reagan, Edward G. Robinson and Jane Wyman. Also appearing as themselves are such Warner Bros. directors as David Butler (the real director of It's a Great Feeling), Michael Curtiz, King Vidor and Raoul Walsh.

Released in Great Britain as Sealed Lips, this WWI melodrama stars Constance Bennett as Carla, aka Russian spy "K-14." Though there's no room for romance in her line of work, Carla falls in love all the same with Austrian captain Rudi (Gilbert Roland). When he discovers that she's working for the enemy, Rudi is forced to arrest Carla, a turn of events which she takes in stride as the fortunes of war. Though slated for a firing squad, Carla manages to escape and after the war is reunited with Rudi at the train station where they first met. One of the screenwriters was Worthington Miner, later a leading light of the TV anthology series Studio One. Coming at the tail end of the early-1930s "spy cycle," After Tonight lost $100,000 at the box office, forcing RKO Radio to rethink the studio's contract with Constance Bennett.

Fannie Hurst's novel Humoresque is the lachrymose tale of a famed Jewish-American violinist who forgets all about his friends and family in his rise to fame. Screenwriters Clifford Odets and Zachary Gold refashioned this timeworn material into a first-class, big-budget soap opera, completely dominated by the high-octane talents of Joan Crawford and John Garfield. A gifted musician, Garfield rises from the slums to the upper echelons of society, thanks to the patronage of wealthy, alcoholic Crawford. Virtually ignored by her husband Paul Cavanaugh, Crawford adopts Garfield as her lover as well as her protégé. He is only mildly offended by the setup; she, on the other hand, becomes jealous and possessive. It is not a woman who comes between Crawford and Garfield: it the intensity of his talent, not to mention the spectre of the great composers whose works he interprets so brilliantly. Garfield's virago of a mother (Ruth Nelson) feeds upon Crawford's jealousy, planting the seeds of guilt for (allegedly) holding her son back. The ultrastylish suffering of Joan Crawford and the street-punk insouciance of John Garfield (who looks like a "Dead End Kid" even while wearing a tux) is counterpointed by the phlegmatic comedy relief of Oscar Levant.

Ohio businessman Jack Lemmon is offered a golden job opportunity; all he has to do is relocate himself and wife Sandy Dennis to New York City. What follows has led some critics to complain that playwright Neil Simon has written a "hate letter" to Manhattan. Within a 36 hour period, the couple (a) loses their airplane luggage; (b) are forced to travel from Boston to New York in a greasy old train; ( c ) can't get any sort of service because virtually everyone in Fun City is on strike; (d) are mugged twice, once while they're asleep; (e) are reduced to sleeping on Central Park benches in their day clothes.....and so it goes, until the shabby, disheveled Lemmon tells his prospective bosses off, and he and his wife head back to Ohio---- almost. Punctuated by Sandy Dennis' plaintive "Oh, my Gawwwwd", The Out of Towners tightens the screws and ups the ante on the classic "comedy of errors" formula. Filmed on location, the picture features a who's who of character actors (Milt Kamen, Anne Meara, Phil Bruns, Dolph Sweet, Richard Libertini, Paul Dooley, Robert Walden, Ron Carey etc. etc. etc.) When first shown on network television, the film was shorn of its closing punchline because of an eccentric censorship rule.

Czechoslovakian director Gutav Machaty's experimental romantic idyll, replete with soggy symbolism, was a cause celebre upon its release in 1932 due to a lyrical -- and nude-- midnight swim by a young Hedy Lamarr. Lamarr plays Eva, a child bride whose husband shows a singular lack of interest in physical intimacy on their wedding night. Frustrated and searching for a quick roll in the hay to alleviate her sexual tension, Eva offers herself to a roadway engineer. Taking off her clothes, she engages in a leisurely swim. But when a horse bolts with her duds, she gives chase, running smack into the engineer, who calmly hands her clothes to her. The two plan to run away together, but when her husband commits suicide in despair, she decides not to leave. Some time afterward, Eva is seen with a happy and contented look upon her face, the result of her secret liaison being the little baby in her arms.

One man's good luck leaves a very bad impression in this comedy. Johnny Dalton (Frank Sinatra) and Mildred Goodhug (Jane Russell) are two tellers working at the same bank who have fallen in love and want to get married. However, neither is making much money, and Johnny doesn't want to set a date until he has some savings in the bank. Emil J. Keck (Groucho Marx), a pal of Johnny's who waits tables at a diner, suggests that it can't be that difficult to "find" some money in a bank, but Johnny prefers to stay on the straight and narrow. However, Johnny enjoys a sudden windfall after he happens upon "Hot Horse" Harris (Nestor Paiva), a racetrack tout being beaten up by ne'er-do-wells, and breaks up the fight. Grateful Harris places a bet on a "can't lose" horse in Johnny's name, and suddenly Johnny is $60,000 richer. But before Johnny and Mildred can enjoy their good fortune, word leaks out that someone has embezzled $70,000 from the bank, and the suddenly prosperous Johnny seems a likely suspect. Double Dynamite was produced under Howard Hughes' supervision at RKO, but bad blood between Hughes and Sinatra led to "Ol' Blue Eyes" receiving third billing for the film's leading role; the film also spent over a year on the shelf before finally hitting theaters.

The titular colleen is Ruby Keeler, hired to manage a dress shop by wealthy Dick Powell. Keeler is the replacement for slatternly Joan Blondell, who'd been assigned the job by Powell's philandering father (Hugh Herbert). With Powell and Keeler at the helm, it's no time at all before the musical numbers proliferate, though none of the songs have the staying power of those in such earlier Warners musicals as 42nd Street and Golddiggers of 1933. The best number, "Boulevardier from the Bronx", is familiar to modern viewers thanks to its constant use in Warner Bros. cartoons. A lesser Powell/Keeler outing, Colleen contains what many film buffs regard as the definitive performance of character comedian Hugh "Woo Woo" Herbert.

Though not based on a Zane Grey story, The Cherokee Strip fits in thematically with producer Harry Sherman's Grey series. Richard Dix stars as Dave Morrell, the new marshal of Goliath, Oklahoma. Immediately upon arrival, Morrell finds himself at odds with banker Coy Barrett (Victor Jory), who is actually the leader of all local criminal activities. Cagily playing a game of cat and mouse, Morrell strongly and silently gathers evidence against Barrett, leading to an outsized climactic shootout-just in time, since the film was beginning to drag a bit. Critical comparisons to Dix's 1931 starrer Cimarron could not be avoided, but Cherokee Strip was more straightforward adventure fare than the earlier film. Florence Rice is the pretty but hardly necessary romantic interest.

Reno "Ingo" Lawin (Dante Varona) will leave his family to join a movement that aims to suppress the evils in society. But his beliefs will also destroy his life.

Audrey Hepburn stars in The Nun's Story as Sister Luke, postulant of a Belgian order of nuns. Though frequently disillusioned in her efforts to spread good will -- at one point she is nearly killed by a mental patient (Colleen Dewhurst) -- Sister Luke perseveres. Sent as a nurse to the Belgian Congo, an assignment she'd been hoping for, Sister Luke is disappointed to learn that she will not be ministering to the natives but to European patients. Through the example of no-nonsense chief surgeon Peter Finch, the nun sheds her idealism and becomes a diligent worker -- so much so that she contracts tuberculosis. Upon the outbreak of World War II, Sister Luke tries to honor the edicts of her order and not take sides, but this becomes impossible when her father (Dean Jagger) is killed by the Nazis. Realizing that she cannot remain true to her vows, Sister Luke leaves the order and returns to "civilian" life. The Nun's Story ends with a long, silent sequence in which Sister Luke divests herself of her religious robes, dons street garb, and walks out to an uncertain future. There is no background music: director Fred Zinnemann decided that "triumphant" music would indicate that Sister Luke's decision was the right one, while "tragic" music would suggest that she is doing wrong. Rather than make an editorial comment, the director decided against music, allowing the audience members to fill in the blanks themselves. The Nun's Story is based on the book by Kathryn Hulme, whose depiction of convent life was a lot harsher and more judgmental than anything seen in the film.

Owen Davis Jr. plays Bunker Bean, a meek and mild office worker who loves the boss' daughter (Louise Latimer) from afar. Bunker impulsively visits a mystic, who gazes into a crystal ball and determines that Mr. Bean is the reincarnation of such past leaders of men as Napoleon and an Egyptian Pharaoh. Armed with new confidence, Bunker charges back into his office, gives his boss (Robert McWade) a piece of his mind, and becomes a hotshot businessman. Several reverses later, Bunker Bean realizes that he doesn't need to rely on his imaginary "past lives" to make good and to win the girl. Based on the novel by Harry Leon Wilson (and its stage adaptation by Lee Wilson Dodd), Bunker Bean was the third film version of this enjoyable "worm turns" fable.

This musicalized remake of the 1939 comedy Bachelor Mother stars Debbie Reynolds and Eddie Fisher (then Mr. and Mrs.) in the roles originated by Ginger Rogers and David Niven. Reynolds plays a department store salesgirl whose life is turned topsy-turvy when she finds an abandoned baby. Despite her protestations, everyone assumes that she's the mother of the child, including Fisher, the son of store owner Adolphe Menjou. Meanwhile, Menjou convinced that his son is the baby's father, is determined that his boy will "do right" by the innocent Reynolds. Much of the comic zest of the original film is diluted by the lackluster performance of Eddie Fisher, though Debbie Reynolds and the rest of the cast are in fine form.

The Bashful Bachelor was the second of six 1940s B films inspired by the popular radio series Lum 'N' Abner. The two principal characters are the proprietors of the Jot 'Em Down Store in Pine Bluff, Arkansas. Lum (Chester Lauck) endeavors to impress a marriageable middle-aged lady (ZaSu Pitts) by becoming a hero. Lum's partner Abner (Norris Goff) reluctantly agrees to pretend to be the victim of several staged accidents, so that Lum can come to the rescue and prove his courage. Somehow this ends with a slapstick horse race. Director Mal St. Clair reaps better results from Lum 'N' Abner than he would in his subsequent Laurel & Hardy comedies at 20th Century-Fox. The Bashful Bachelor was put together by independent Voco Productions, and released by RKO Radio.

When he's discharged from a military hospital, ex-GI Bob Corey (Gordon MacRae) goes on a search for his army buddy Steve Connolly (Edmond O'Brien). A reformed crook, Connolly is on the lam from a trumped-up murder rap, and Corey hopes to clear his pal. Tagging along is Army nurse Julie Benson (Virginia Mayo), who has fallen for Corey. The rest of the film emulates the 1946 noir exercise The Killers, with Julie and Corey interviewing various people with whom Connolly has come in contact. One of those people, of course, is the actual killer, who now adds the GI and the nurse to the "hit list." Warner Bros. used Backfire to test the dramatic potential of singing star Gordon MacRae, who passes that test with flying colors.

Baby Face is a good example of the kind of spitfire lead female characters that appeared in the cinema of pre-code Hollywood. Lily Powers (Barbara Stanwyck) works as a barmaid in her father's factory-town saloon where she learns to deal with the unwanted advances of male customers. When her father dies, she moves to New York City with her maid, Chico (Theresa Harris), to become a ruthless gold digger. First she meets office boy Jimmy McCoy (a young John Wayne in an uncharacteristically clean-cut role) who helps her get a job at the Gotham Trust Company. From there, she seduces and discards various men (George Brent, Donald Cook, Henry Kolker) as she sleeps her way to the top of the company. Jealously between the men causes a murder scene, so Lily takes her furs and jewels and moves to Paris with Chico. The production code censors tacked on an ending that featured Lily giving away her money and returning to her home town with Brent.

Actor-turned-director Tim Reid follows up the success of his 1996 opus Once Upon a Time...When We Were Colored with this tense psychological thriller. The film opens with two upwardly mobile couples having a ball at a fairground. Chance (Blair Underwood) and his very pregnant wife Roberta happily board a Ferris wheel with their best friends Michael (Michael Beach) and his fashion designer wife Lauren (Debbi Morgan) when a freak accident strikes, and Roberta and the baby are killed. Michael and Lauren let Chance grieve at their luxurious abode. Soon Lauren reveals that she recently had a secret abortion because she did not know if the child was Michael's or Chance's. Grief-stricken and jealous, Chance starts stalking Lauren and doing everything in his power to wreck her marriage. This film was screened at the 1999 Chicago Film Festival.

Guy Green's social drama stars Stuart Whitman as the title character, a man whose unhealthy childhood has left him bewildered by sex. After an affair with a woman his own age ends badly, Mark finds himself increasingly drawn to young girls, who he feels do not pose the same threat of emasculation that adult women do. When he is charged with kidnapping a ten-year-old girl in order to molest her, his conviction results in a three-year prison sentence. With the help of Dr. Edmund McNally (Rod Steiger), a prison psychiatrist, Mark comes to terms with his urges and is released from prison a changed man. Soon after, he gets engaged to Ruth Leighton (Maria Schell), a widow with a ten-year-old daughter of her own. After Mark is seen in the vicinity of a recent molestation incident, a journalist digs into his background and his past is brought to light, destroying not only his relationship with Ruth but his fledgling career as well.

A lively espionage drama that reunited the stars and director of the previous year's The Maltese Falcon, Across the Pacific was originally envisioned as the story of a Japanese invasion of Hawaii. Real-life events of December of 1941, however, precluded such a scenario and the location was changed to the Panama Canal. For reasons known only to Warner Bros., the title was retained despite the fact that none of the action takes place in the Pacific. Humphrey Bogart plays Rick Leland, a disgraced ex-army man, who, after being turned down by the Canadian military, jumps a Japanese steamer bound for the Panama Canal Zone. Also onboard are Alberta Marlow (Mary Astor), a small-town girl claiming to be en route to Los Angeles; Dr. Lorenz (Sydney Greenstreet), a corpulent sociologist with a suspiciously friendly regard for all things Japanese; and Joe Totsuiko (Victor Sen Yung), a happy-go-lucky second generation Japanese-American on his way to visit the old country. But no one is exactly who he or she claims to be and the voyage from Halifax via New York City to Panama becomes a matter of life and death for the passengers in general, and for the future of the United States in particular. Director John Huston was forced to leave the film three weeks into the four-week shooting schedule when summoned to report to the Department of Special Services. According to Huston, he purposefully placed Humphrey Bogart's character in a highly precarious situation and left it up to his replacement, Vincent Sherman, to come up with the solution -- which Sherman did in an especially fiery climax.

The Man Who Would Be King opens with author Rudyard Kipling (Christopher Plummer) working in his study. His solitude is broken by the arrival of a tattered, half-mad derelict, who is soon revealed to be his old acquaintance Peachy Carnahan (Michael Caine). As Kipling listens in rapt fascination, Peachy relates the incredible adventures of himself and his partner-in-chicanery Daniel Dravot (Sean Connery). Con men Carnahan and Dravot have masterminded all sorts of underhanded money-making schemes, the most elaborate of which takes them to a remote city in the hills of eastern Afghanistan. Here, through methods both foul and fair, Daniel passes himself off as the incarnation of Alexander the Great, the better to lay his hands on the vast riches all around him. Unfortunately, Daniel begins to believe his own lies, and the results are disastrous for both himself and Peachy. Inadvertently exposing Daniel's scheme is his native wife, played by Shakira Caine (Michael Caine's real-life wife).

The third remake of the 1932 drama What Price Hollywood?, this adaptation of A Star Is Born moved the story into the mid-1970's and changed the milieu from the movie business to pop music. John Norman Howard (Kris Kristofferson) is a rock star whose career has peaked; he is numbed by booze and cocaine, his music has lost its edge, and his performances have become painfully haphazard. One night, after a concert, he stumbles into a club where he sees a singing group fronted by Esther Hoffman (Barbra Streisand). John likes what he hears and loves what he sees; he tries picking her up, but soon realizes if he wants to see her, he'll have to ask her out on an actual date. He does, and before long the two become involved, although Esther has trouble with John's rock star lifestyle. One night, a typically burned-out John lets Esther sing a few songs at one of his shows; before long she's the talk of the record business. While Esther's star begins to rise, John's continues to sink, and while she desperately tries get John to clean up and focus on his music, it may be too late to save him. The song "Evergreen" earned this film an Academy Award for Best Song; the credits contain the amusing notice, "Ms. Streisand's Clothes from ... Her Closet."

A Song is Born is a musical remake of the 1941 comedy Ball of Fire, with the same producer (Sam Goldwyn) and director (Howard Hawks) at the helm. It will be recalled that the original film, co-scripted by Billy Wilder, was an amusing spin on "Snow White and the Seven Dwarfs," wherein seven pedantic professors, working on a dictionary of slang, "adopted" an authority on the subject, breezy burlesque dancer Sugarpuss O'Shea. In the remake, the septet of scholars are working on an encyclopedia of music, but they're held up on the subject of "swing." When nightclub singer Honey Swanson (Virginia Mayo), escaping from her gangster suitor Tony Crow (Steve Cochran), takes refuge in the professors' home, she offers to introduce them to the world of popular music. This proves to be quite a tuneful undertaking, since two of the professors are played by Danny Kaye and Benny Goodman! The tang and zest of original plotline has been muted to the point of harmlessness, but the film is saved by the presence of Goodman, his fellow bandleaders Charlie Barnet, Tommy Dorsey and Mel Powell, and specialty performers Louis Armstrong, Lionel Hampton and Buck & Bubbles. A Song is Born was Danny Kaye's final starring vehicle for Sam Goldwyn.