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Lost Command (1966)

In this wartime melodrama, Lieutenant Colonel Raspeguy (Anthony Quinn) is a French peasant who has worked his way up the military ladder during the French involvement in Indochina. Sent to Algeria, Raspeguy must mold a group of raw recruits into a competent fighting unit. He calls on Esclavier (Alain Delon), his sensitive assistant who eventually deserts the military out of frustration over the pointlessness of war. Raspeguy's other assistant is Boisfeuras (Maurice Ronet), the affable officer whose outside demeanor hides the heart of a vicious killer who loves the bloodlust of battle. Raspeguy takes up with Countess De Clairefons (Michele Morgan), the widow of a respected general. She promises Raspeguy she will marry him if he comes back from the conflict as a general.

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Loving (1970)

Irvin Kershner directed this comedy-drama about one man's struggle with relationships and himself. Brooks (George Segal) is a middle-aged commercial artist who is at a personal and professional crossroads; he wants to take a stab at a career in fine art, but he can barely land enough assignments to support himself as it is. And while his marriage to Selma (Eva Marie Saint) is starting to collapse, his mistress Grace (Janis Young) suggests that she would like a relationship of greater permanence with him. Hoping to land an important commission from Lepridon (Sterling Hayden), a powerful business mogul, Brooks attends a party at an exclusive private club, but after a few cocktails too many, Brooks gets into a screaming match with one of the club's leaders. Brooks is depressed, figuring that he's blown what could have been a major career opportunity, when word travels through the grapevine that Lepridon was amused and impressed by Brooks' dressing-down of the club's topkick and is ready to give him the job. Brooks is elated, but he wants to keep his good news a secret for the time being; in a celebratory mood, he goes to a party where Selma, Grace, and a number of his friends are also in attendance. Brooks is approached by Nelly (Nancy Phillips), the wife of his neighbor Will (David F. Doyle); Nelly wants Brooks to join her for a quickie, and he eagerly agrees, not realizing that the children's playroom where they've chosen to meet is monitored by a closed-circuit TV camera, with the other party-goers an audience for their lovemaking. Loving garnered many enthusiastic reviews and became something of a cult item among film buffs in the 1970s; Sherry Lansing, who would later become a powerful producer and studio president, appears in a small role as Susan.

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AVP Requiem (2007)

Visual effects specialists Greg and Colin Strause both make their feature directorial debut with this no-holds-barred monster mash that attempts to set itself apart from the 2004 Paul W.S. Anderson original by serving as a straight-up sci-fi horror scarefest. The aliens (and a predator) have landed on planet Earth, and small-town America is about to become the scene of an epic interstellar showdown. As these two breeds of cosmic killers clash in the small-town streets Gunnison, CO, the locals are sent running for their lives. From the murky sewers to the rain-soaked streets, Gunnison has become a total bloodbath. Nowhere is safe, especially from the unstoppable new hybrid known as the "predalien." Now, as the once-quiet community of Gunnison is overrun by Aliens, the only hope for humankind is a fierce hunter from the deepest reaches of space. But this predator is far from a benevolent savior of the human race, because he'll kill any man, woman, or child who gets in the way of his mission to destroy every last alien under these stormy Colorado skies.

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Mackenna's Gold (1969)

Mackenna's Gold is a colorful, action-packed western feature with an all-star cast. Mackenna (Gregory Peck) has committed to memory the map that leads to some hidden Apache gold. The Indians now want the gold to finance their fight against the white men who invade their territory. Mexican bandit Colorado (Omar Sharif) wants the gold for himself, and the local preacher (Raymond Massey) and the editor of the newspaper (Lee J. Cobb) also get gold fever. Burgess Meredith plays the storekeeper and Edward G. Robinson is long-time town resident Old Adams. Everyone goes looking for the hidden treasure as the Indians dwindle their numbers with violent attacks. The search is monitored by U.S. calvary Sergeant Tibbs (Telly Savalas). Colorado captures Mackenna to lead him to the gold as death comes to those who show the most avarice. Music is provided by Quincy Jones.

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Made For Each Other (1939)

James Stewart and Carole Lombard star in this comedy-drama about the struggles of a young married couple directed by John Cromwell. Stewart and Lombard play a recently married couple, Jane and John Mason. John works as an attorney for the law firm of skinflint Judge Doolittle (Charles Coburn). Doolittle calls John back to work immediately after the wedding ceremony, forcing the couple to abandon their honeymoon. But John is ready to do Doolittle's bidding, since he hopes to become a partner in the firm. Doolittle is openly disappointed at the marriage, hoping John would have instead married his daughter Eunice (Ruth Weston). Eunice eventually marries another lawyer in the firm, Carter (Donald Briggs). John and Jane try to make ends meet and invite Doolittle, Eunice, and Carter to dinner. The dinner turns into a disaster, climaxing with Doolittle informing John he has decided to make Carter a partner in the firm. Crushed, John and Jane work hard but to no avail, sinking deeper and deeper into debt. Jane has a baby, but when the child becomes seriously ill, the only way to save the baby is to have a special serum flown in through a blizzard from Salt Lake City. John needs $5000 to hire a pilot and get the medicine, and his only hope is to beg Judge Doolittle for the money.

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Married Bachelor (1941)

Married Bachelor is a cute little MGM situation comedy, designed for the bottom half of the studio's double bills. Robert Young plays an married author who has penned several books on how to stay single. Naturally, he has to pose as a bachelor for publicity purposes...but wife Ruth Hussey is expecting. The only other leading-man material in the cast is the feckless Lee Bowman, so it is he who must pose as Hussey's husband. Married Bachelor was adapted by future MGM head man Dore Schary from a story by Manuel Seff (we don't know if Seff was married or not).

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Midway (1976)

An expensive war epic, Midway emulates The Longest Day and Tora! Tora! Tora! in attempting to re-create a famous World War II battle from both the American and Japanese viewpoints. The 1942 battle of Midway was the turning point of the War in the Pacific; the Japanese invasion fleet was destroyed, and America's string of humiliating defeats was finally broken. Though the battle itself was sufficiently dramatic to fill two films, Midway also has plotline involving the mixed-race relationship between Ensign Garth (Edward Albert), son of Navy Captain Matt Garth (Charlton Heston), and Haruko Sakura (Christina Kokubo), a Hawaiian girl of Japanese descent. The real-life personages depicted herein include American Admirals Nimitz (Henry Fonda), Halsey (Robert Mitchum) and Spruance (Glenn Ford), and Japanese Admiral Yamamoto (Toshiro Mifune, his voice once again dubbed by Paul Frees, whom Mifune personally selected for the job). For its original road show release, Midway was offered in the "Sensurround" process, which electronically shook and vibrated the audience's chairs during the battle sequences.

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The Kid From Brooklyn (1946)

Danny Kaye's The Kid From Brooklyn is a virtual scene-for-scene remake of Harold Lloyd's The Milky Way (1936), with music and Technicolor added to the proceedings. Kaye is cast as timid milkman Burleigh Sullivan, who through a fluke knocks out prizefighting champion Speed McFarlane (Steve Cochran). Sensing a swell publicity angle, McFarlane's manager Gabby Sloan (Walter Abel) promotes Burleigh as the next middleweight champ-and to insure this victory, Gabby fixes several pre-title bouts. Unaware that his fighting prowess is a sham, Burleigh develops a swelled head, which alienates him from everyone he cares about, including his sweetheart Polly Pringle (Virginia Mayo). The truth comes out during the climactic title fight, but a chastened Burleigh emerges victorious thanks to a series of incredible plot twists. The strong supporting cast includes Vera-Ellen as Burleigh's sister Susie, Eve Arden as Gabby's wisecracking girl friday Ann Westley, and, repeating his role from Milky Way, Lionel Stander as Speed's lamebrained trainer Spider Schultz. Danny Kaye does his best to play Burleigh Sullivan rather than Danny Kaye, though his efforts are undermined by the interpolated "specialty" number "Pavlova," which just plain doesn't belong in this picture. Like The Milky Way, The Kid From Brooklyn was adapted from the Broadway play by Lynn Root.

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The Fox (1967)

Based on a novella by D.H. Lawrence, this drama concerns Jill (Sandy Dennis) and Ellen (Anne Heywood), a lesbian couple who live in a remote, snowbound cabin. While Ellen dominates the relationship, she has also grown dissatisfied and is no longer sure she wants to stay with Jill. When Paul (Keir Dullea), a handsome stranger, happens by, the women invite him in. Soon Paul and Ellen are having an affair, which leads to an ugly confrontation among all three. The Fox won a Golden Globe Award as Best English Language Foreign Film of 1968 (it was made in Canada).

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The Farmer's Daughter (1947)

When Loretta Young stepped up to accept her Academy Award for The Farmer's Daughter, the ever-youthful leading lady, who'd been in films since 1928, sighed "At long last!" Young is cast as Katie Holstrum, an independently-minded Swedish girl who leaves her family's Minnesota farm to take a domestic job at the Washington DC home of congressman Glenn Morley Joseph Cotten. Katie's outspokeness and Scandanavian common sense immediately endears her to Morley, his mother Ethel Barrymore, and the family's crusty-but-kindly butler Clancy Charles Bickford. Sensing that the political machine backing Morley isn't thoroughly honest, Katie takes an active hand in Washington politics, leading to her own nomination for a congressional seat. The machine-boss villains (depicted rather provocatively as right-wing reactionaries) try to discredit Katie on the eve of the election, but she is rescued by Morley, who of course has fallen in love with her. Adapted from Juurakon Hulda (Hulda, Daughter of Parliament), a Finnish play written by Hella Wuolijoki (using the pen name Juhani TervapÀÀ), which had originally been optioned as a potential vehicle for Ingrid Bergman, The Farmer's Daughter later matriculated into a weekly TV series, with Inger Stevens as Katie and William Windom as Morley.

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The Eddie Cantor Story (1953)

Eddie Cantor, beloved "banjo eyed" entertainer who conquered stage, films, radio and television, is given the Hollywood biopic treatment in this largely uninvolving film. Cantor is portrayed by Keefe Brasselle, a minor nightclub performer of the 1950s who couldn't hope to come within shouting distance of Cantor's appeal. The storyline charts Cantor's professional progress, from the lower East Side boyhood to his ascendancy as star of The Ziegfeld Follies. It also chronicles his enduring marriage to wife Ida (Marilyn Erskine). Surprisingly shortchanged in the film was Cantor's humanitarian work (primarily on behalf of the March of Dimes and various Jewish causes); instead, screen time is wasted on Aline MacMahon, as lachrymose as possible in the role of Eddie's grandmother, and Jackie Barnett, giving a gosh-awful performance as Jimmy Durante. At the beginning and end of the film, the real Eddie and Ida Cantor appear, ostensibly to watch the unspooling of The Eddie Cantor Story in a Warner Bros. screening room. At the fade-out, Eddie turns to Ida and says "I've never been so happy in my life." Now that was great acting!

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The Desert Song (1929)

After literally inventing the movie musical with The Jazz Singer, Warner Bros. purchased the motion picture rights to the evergreen Sigmund Romberg/Oscar Hammerstein II 2nd operetta The Desert Song. Although the results looked like a photographed stage play (a common failing of early-talkie songfests), the unforgettable Romberg-Hammerstein tunes (The Riff Song, One Alone, the title number) more than carried the day. John Boles stars as The Red Shadow, the Robin Hood-like leader of the Riffs and the bane of the existence of General Bierbieu (Edward Martindel). The good General has another cross to bear in the form of his nerdish, lily-livered son Pierre, who is likewise despised by heroine Margot (Carlotta King). Little does anyone suspect that the wimpy Pierre and the dashing Red Shadow are one in the same! Myrna Loy is exotica personified as the Red Shadow's native sweetheart Azuri (her navel-exposing harem outfits must be seen to be believed), while comedy relief is supplied by "nance" comedian Johnny Arthur as effeminate reporter Benny Kidd, and Louise Fazenda as Benny's rambunctious assistant Susan. Partially filmed in Technicolor, this version of The Desert Song, and its 1943 remake, were long withheld from distribution due to the rather lukewarm 1953 version, likewise produced by Warner Bros., which starred Gordon MacRae and Kathryn Grayson. A "pocket" version of The Desert Song, the 2-reel musical The Red Shadow, was released by Warners' short-subject subsidiary Vitaphone in 1933, with Alexander Gray and Bernice Claire in the leading roles.

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The Big Land (1957)

Produced by Alan Ladd's own Jaguar company, The Big Land stars Ladd as Texas cattleman Morgan. As a means to expedite shipment of his stock to Missouri, Morgan convinces several Kansas farmers to build a small town as a railroad link between the Rio Grande and Kansas City. He is opposed in this by crooked cattle buyer Brog (Anthony Caruso), who realizes that any speed-up of Morgan's shipments will increase livestock prices. Surprisingly, Alan Ladd seems tired and listless throughout the proceedings; in fact, Virginia Mayo, cast as a saloon hall gal, delivers the film's liveliest performance. Still, the Ladd name brought in plenty of business, encouraging the star to stick with westerns well into the next decade.

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The Arrangement (1969)

Kirk Douglas has an extreme case of mid-life crisis in Elia Kazan's turgid melodrama (adapted from his best-selling novel). Douglas plays successful advertising executive Eddie Anderson, who cracks under the strain of the morning rush hour in Los Angeles and plows his sports car into a truck. Landing in a convalescent home, Eddie remains mute to everyone except his boss Finnegan (Charles Drake). In his recovery room, Eddie dreams about co-worker Gwen (Faye Dunaway), a sexy research assistant at his agency. Meanwhile, the psychiatrist Dr. Liebman (Harold Gould) talks to Eddie's wife, Florence (Deborah Kerr), who reveals that at one time Eddie and Gwen had an affair, but they broke it off. Unfortunately, after that escapade, Eddie's interest in sex vanished completely. Then after the interview with Dr. Liebman, following a terrible nightmare, Eddie breaks out of his self-imposed silence and declares to Florence that he is tired of his unfulfilling life of "arrangements." Eddie returns to work, but the return is marked by Eddie insulting a major client, alienating his co-workers, and then taking off in a private plane in which he flies madly over the skies of L.A. His lawyer Arthur (Hume Cronyn) keeps Eddie from being thrown in jail and also talks Eddie into giving Florence the power of attorney. Eddie proceeds to travel to New York, where he runs into Gwen, who now has a child. Eddie is in New York to visit his senile father, Sam (Richard Boone), but when his family attempts to put Sam in a nursing home, Eddie takes him away with him to their old family estate on Long Island. Eddie calls up Gwen, and she travels to Long Island to resume their affair. Meanwhile, Eddie's loved ones search for Sam, and they are closing in on Eddie's Long Island sanctuary.

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Tear Gas Squad (1940)

Warner Bros. Tear Gas Squad manages to pack thrills, comedy, romance and songs into a neat 55-minute package. Dennis Morgan plays cocky nightclub entertainer Tommy McCabe, who gets his jollies out of making fun of the local police force. This does not prove amusing to pretty Jerry Sullivan (Gloria Dickson), the daughter of a police lieutenant (Harry Shannon), nor to Jerry's flatfoot boyfriend Bill Morrissey (John Payne). Falling in love with Jerry himself, Tommy tries to prove his worth by joining the Boys in Blue, where he is subject to the rigorous training program applied by Morrissey. Thrown off the force because of his insouciance, Tommy gets back into everyone's good graces by saving Morrisey's life. Fans of TV's Superman series will get a special kick out of seeing George (Clark Kent) Reeves and John (Perry White) Hamilton in key supporting roles.

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Swiss Family Robinson (1940)

Johan David Wyss' novel Swiss Family Robinson had been in print for nearly fifty years before the first film version was made by RKO in 1940. Thomas Mitchell is top-billed as the patriarch of the Robinson family, who, as in the book, are shipwrecked on a tropical island and compelled to bring the edicts and values of civilization to their tiny patch of the world. To give the story a bit of topicality, screenwriters Walter Ferris, Gene Towne and Graham Baker contrive to depict the Robinsons as refugees from a foreign war (Napoleonic rather than Hitler-inspired). Produced independently by The Play's the Thing Productions and released by RKO, Swiss Family Robinson was completely withdrawn from circulation on the occasion of the 1960 Disney remake. Side note: The 1940 version represented the feature film debut of Orson Welles, who functioned as offscreen narrator.

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Silver Lode (1954)

Next to Slightly Scarlet, Silver Lode is the best of the many 1950s collaborations between producer Benedict Bogaeus and director Allan Dwan. Clearly inspired by High Noon, the story covers three hours in the lives of a group of westerners. As the townsfolk prepare for the Fourth of July celebration, stranger Dan Duryea rides into view, followed by three tough-looking hombres. Duryea claims to be as US marshal, and further claims that he has a warrant for the arrest of the town popular sheriff, John Payne. A few hours away from his marriage to Lizabeth Scott, Payne assumes that no one will believe the troublemaking Duryea, and that his spotless record will speak for itself. But since it is impossible to confirm or deny Duryea's allegations, the seeds of doubt are planted in the minds of the townspeople, and before long virtually all of Payne's "friends" have turned against him. It soon becomes clear to the movie audience that Duryea is lying, especially after he guns down one of his own men. But Duryea is able to pin the blame of the killing on Payne, and in a twinkling the sheriff is a hunted man. The only person willing to give Payne the benefit of the doubt is town trollop Dolores Moran (Mrs. Benedict Bogeaus), who hides the sheriff while telegrapher Frank Sully tries to find out if Duryea is telling the truth. Building slowly and methodically to a slam-bang climax, Silver Lode is an above-average psychological western--and, like many "guilt by supsicion" films of the 1950s, a thinly veiled attack on McCarthyism. Best line: when Duryea bursts into Dolores' boudoir to see if Payne is hiding under the bed, she moans "Oh, what is this? A French farce?"

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Roberta (1935)

Alice Duer Miller's novel Gowns by Roberta was adapted into the 1933 Broadway musical Roberta, with music by Jerome Kern and Otto Harbach. The 1935 filmization of Roberta was slightly adapted to accommodate the dancing talents of Fred Astaire and Ginger Rogers, though their roles are secondary to the characters portrayed by Irene Dunne and Randolph Scott. Dunne plays a deposed White Russian princess who has become a famed Parisian couturier. Dunne is the partner of "Roberta" (Helen Westley), who passes away, leaving her half of the business to American football player Randolph Scott--who of course knows next to nothing about the gown business, and couldn't care less anyway. Astaire co-stars as bandleader Huck Haines, the character played by Bob Hope in the original Broadway production of Roberta. Rogers rounds out the cast as a phony Polish countess who happens to be Astaire's former girlfriend. Many of the songs written for Roberta were retained for the film version, including "Lovely to Look At," "Smoke Gets in Your Eyes" and "I Won't Dance;" other tunes are heard as background music. Keep an eye out for a blond Lucille Ball as a fashion model. Withdrawn from circulation for many years due to the 1952 MGM remake (titled Lovely to Look At), Roberta began making the public-domain rounds in the early 1980s.

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Pillow To Post (1945)

Yes, even Ida Lupino occasionally starred in screwball comedies during the 1930s and 1940s. Pillow to Post casts Lupino as free-spirited travelling saleswoman Jane Howard, who has trouble finding suitable lodgings during the wartime housing shortage. In order to secure a room at a motor camp catering exclusively to married servicemen, Jane pretends to be the wife of hapless young lieutenant Don Mallory (William Prince). Misunderstanding piles upon misunderstanding, and before long poor Mallory is facing a general court-martial. While Lupino pushes the envelope a bit in the leading role, the film's comedy content is also in the capable hands of Sidney Greenstreet, Stu Erwin and Willie Best. Pillow to Post is adapted from a stage play by Rose Simon Kohn.

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Naughty But Nice (1939)

It's Swing Music vs. the Classics in the easy-to-take Warners tunefest Naughty But Nice. Dick Powell dons the obligatory spectacles as a staid music professor Hardwick, who harbors a desire to become a songwriter. With the help of aspiring lyricist Linda McKay (Gale Page), Hardwick pens a little ditty that, through a fluke, becomes a smash hit. Not entirely prepared for show-business success, Hardwick falls into the clutches of predatory vocalist Zelda Manion (Ann Sheridan), leaving poor Linda in the lurch-at least until the last reel. Ronald Reagan breezes through one of his then-typical wiseguy supporting roles, while ZaSu Pitts, Vera Lewis and Elizabeth Dunne are likewise typecast as Hardwick's maiden aunts (conversely, the Professor's other aunt, played by Helen Broderick, is a real hep-cat). Virtually all the Harry Warren/Johnny Mercer songs in Naughty but Nice have been adapted from the works of such past masters as Mozart, Bach and Wagner-and old device, but one which works beautifully here.

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Kisses For Breakfast (1941)

Kisses for Breakfast is a dumbed-down remake of the 1930 marital comedy The Matrimonial Bed, itself based on a British stage play by Seymour Hicks-which in turn was adapted from a French farce by Yves Mirande and Andre Mouzey-Eon. With that pedigree, it's amazing that this frenetic 1941 slapsticker isn't better than it is, but it just isn't, that's all. Knocked out during a fight, Rodney Trask (Dennis Morgan) awakens with amnesia, totally unaware that he's just married Juliet Marsden (Shirley Ross). His only clue to his identity is an address found in his coat pocket, which leads him to the South Carolina home of Juliet's cousin Laura Anders (Janet Wyatt). A year passes, during which Rodney straightens out Laura's financial problems and wins her love. After their marriage, Rodney and Laura decide to visit her northern relatives-including, naturally, wife number one, Juliet, who has come to believe that Rodney is dead and is about to take a new husband. What follows is a endless series of silly slapstick gags, with poor Juliet receiving a great deal of unwarranted punishment at the hands of the capricious Laura. The mess eventually straightens itself out, by which time both heroines have thorougly alienated the audience.

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In Person (1935)

After suffering a nervous breakdown (at least that's what she calls it), imperious movie star Carol Corliss (Ginger Rogers) retreats to a small mountain resort community to recuperate. Carol proceeds to adopt a series of ridiculous disguises so she won't be bothered by her fans, only to realize that she misses being bothered. She also tangles with chauvinistic local sportsman Emory Muir (George Brent), who's convinced that Carol is one shrew who is worth taming. In Person was released after the Fred Astaire-Ginger Rogers vehicle Top Hat, but filmed earlier; even so, Rogers performs a pair of dance routines choreographed by future Top Hat associate Hermes Pan, and as a bonus sings a trio of songs co-written by Oscar Levant and Dorothy Fields. Fans of the Three Stooges will recognize comedy-foil Bud Jamison as a disgruntled (and non-speaking) elevator passenger in the film's opening scene.

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In Our Time (1944)

More a romantic melodrama than the uplifting propaganda piece the producers perhaps envisioned, In Our Time stars Ida Lupino as Jennifer Whittredge, a young antique buyer marrying a Polish count, Stephan Orvid (Paul Henried), after a whirlwind romance in a Warsaw at the brink of World War II. The count's old-fashioned family in general and his aristocratic uncle (Victor Francen) in particular resist the union, but Jennifer brings a breath of fresh air and a sense of good Anglo-Saxon values into the stagnant rooms of the Orvid estate and soon the farm is prosperous once again. When the German military might finally enters Poland, Jennifer and Stephan join the country's scorched earth defense by burning both their property and are soon among the refugees waiting for the day when Poland is once again free from Fascism.

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Hooray For Love (1935)

Obviously filmed on a tight budget, RKO Radio's Hooray for Love nevertheless has as much sheer entertainment value as any high-priced Busby Berkeley spectacular. Gene Raymond plays Doug, a college boy who aspires to become a Broadway producer. With reluctant songstress Pat (Ann Sothern) as his star, Doug stages a big-time revue, financed by Pat's father, a seedy con artist known as the Commodore (Thurston Hall). When it turns out that The Commoder hasn't a cent to his name, Doug is tossed into jail, but salvation is at hand in the form of a wealthy widow (Georgia Caine) who's set her cap for Pat's reprobate father. Lionel Stander has several choice moments as a temperamental Russian orchestra leader, as does Pert Kelton as a talentless soubrette, but the film's strongest selling card is the presence of the matchless Bill "Bojangles" Robinson and Fats Waller. The musical highlight is Robinson's "I'm Living in a Great Big Way," accompanied by Waller and Jeni Le Gon.

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Hondo (1953)

Hondo is so "perfect" a John Ford western that many people assume it was directed by John Ford--or at the very least, Andrew McLaglen. Actually the director was suspense expert John Farrow, who worked with the "Duke" only twice in his career (the second film was an oddball war drama, The Sea Chase [55]). In Hondo, John Wayne plays a hard-bitten cavalry scout who is humanized by frontierswoman Geraldine Page and her young son (Lee Aaker, star of TV's Rin Tin Tin). Try as he might, Wayne can't convince Page to move off her land in anticipation of an Apache attack. He leaves her ranch, only to be ambushed by desperado Leo Gordon--who happens to be Page's long-absent husband. Having killed Gordon, Hondo returns to the ranch to protect Page from the Indians, and to rekindle the woman's hesitant love for him. The climactic attack sequence is enhanced by Hondo's 3-D photography, one of the few truly effective utilizations of this much-maligned process. Long unavailable thanks to the labyrinthine legal tangles of the John Wayne estate, Hondo was finally released to videotape in the early 1990s.

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Hollywood Hotel (1937)

In this lighthearted musical comedy from legendary director Busby Berkeley, Henry Bowers (Dick Powell) is a saxophonist in a jazz band who wins a talent contest. His prize is a ten-week contract with a movie studio, Miracle Pictures (whose slogan is "If it's a good picture, it's a Miracle"). One of his first "assignments" is to escort lovely starlet Mona Marshall (Lola Lane) to a movie premiere, but while Henry is looking forward to his date with a movie star, he's disappointed to discover that Virginia has opted not to go at the last minute, instead sending her lookalike stand-in, Virginia Stanton (Rosemary Lane). Henry is more than a bit miffed at this, but when he appears on Louella Parsons' radio show, he's a big hit and rockets to stardom. Ronald Reagan has a bit part as a radio announcer (which he did full time before acting and politics began paying the rent for him), and keep an eye peeled for Susan Hayward and Carole Landis in minor roles. By the way, Rosemary Lane and Lola Lane look a great deal alike for a good reason -- they're sisters.

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Hitting A New High (1937)

In this musical, a nightclub singer (Lily Pons) secretly aspires to sing at the Met. To help her, her agent (Jack Oakie) decides to dress her up as "Ooga-Hunga, the Bird Girl" and send her off on a merry chase of an influential opera lover (Eric Blore) who has gone on an African safari. When he sees her, he is truly agog and at last she fulfills her lifelong goal. Songs include: "You're Like a Song," "I Hit a New High," "Let's Give Love Another Chance," and "This Never Happened Before." Excerpts from operas include: "Lucia Di Lammermoor," "Mignon," "Je Suis Titania," and "Le Rossignol Et La Rose."

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Happiness Ahead (1934)

Josephine Hutchinson is a beautiful heiress bored by her stifling lifestyle. She bolts her family mansion on New Years' Eve and heads for a boisterous nightclub, where she meets blue-collar worker Dick Powell. Hutchinson pretends to be poor, and soon she and Powell are pitching woo. Powell has ambitions to go into business for himself, so Josephine secretly pulls strings to help him get ahead. But when Powell finds out, he renounces the girl and breaks up the relationship. Hutchinson returns to a loveless engagement with a society type, but her father has grown fond of Powell and arranges a reconciliation. Happiness Ahead isn't exactly a musical, though Dick Powell does sing the title song during the opening credits and later introduces the Warner Bros. cartoon perennial "Pop Goes Your Heart."

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Halfway To Shanghai (1932)

Half Way to Shanghai is Burma, according to this Universal B-grade actioner. The film takes place almost in its entirety on a train bound from Lashio to Rangoon in the days just prior to the Japanese invasion. Passenger Alexander Barton (Kent Taylor) becomes the reluctant hero of the piece when he comes into possession of a map showing Chinese defense sites. When he's not trying to elude Nazi agents Zerta (George Zucco) and Van Simet (Lionel Royce), Barton is dealing as best he can with the film's two heroines, Vicki Nelson (Irene Hervey) and Caroline Wrallins (Charlotte Wynters). Half Way to Shanghai bears traces of the earlier Universal suspenser Bombay Clipper, which took place on a cramped passenger plane.

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Golden Dawn (1930)

A failure of near epic proportions when first released and an unintentionally funny disaster today, this bizarre operetta almost single-handedly destroyed the musical genre for years to come. Vivienne Segal stars as Dawn, a white girl presumed to be born among the natives in what was once Dutch East Africa. Set in a German prisoner of war camp during World War I, Golden Dawn presents a truce between captors and captives who are facing a common danger: the threat of an uprising among the native African population. The threat becomes almost a certainty when young rubber planter Tom Allen (Walter Woolf King) spends a romantic night with Dawn. That doesn't sit well with Shep Keyes (Noah Beery), a native brute who covets Dawn, despite the fact that she is promised to the god Mulunghu. To quell an almost certain riot among the natives, Tom is sent home to England. The British soon recapture the area and Keyes demands that Dawn be sacrificed to the god Mulunghu to ward off a potentially calamitous drought. Tom, meanwhile, having learned that Dawn is indeed Caucasian, kidnapped by Mooda (Alice Gentle) in childhood and raised as her own, rushes back to the camp just in time to rescue the girl from the evil Keyes.

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Gold Diggers Of 1937 (1937)

Those beautiful Busby Berkeley babes are back at work, seeking financial backing for a Broadway show. Salvation comes from a meek hypochondriac (Victor Moore) who'd rather the girls get his insurance money than his murderous business partners. Dick Powell isn't the male star of the show, but does show up as a glib insurance agent. A lesser but still enjoyable entry in Warners' Gold Diggers musical series, Gold Diggers of 1937 is very much a mixed bag. For every topnotch number like "With Plenty of Money and You," there's an excruciating experience like the "military" finale "All's Fair in Love and War."

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Gold Diggers Of 1935 (1935)

With little plot but incredible photography and choreography, Gold Diggers of 1935 was exactly what you would expect a Busby Berkeley movie to be--visually stimulating, awe-inspiring and almost Freudian in its obsession toward perfection. The Titanic scale of Berkeleian choreography was especially apparent in the "Lullaby on Broadway" number, showing the last day in the life of a "Broadway Baby" before she kills herself. This scene has some of the most precise choreography ever filmed. This was the second of the Gold Diggers films and it remains a classic for the startling technological display found in all Berkeley efforts.

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Gold Diggers In Paris (1938)

The last and least of Warner Bros.' Gold Diggers musicals, Gold Diggers in Paris at least has the novelty of a Gallic setting. The stars this time are Rudy Vallee, Rosemary Lane, and Warners musical perennial Hugh Herbert. There aren't really any "gold diggers" (i.e. young ladies on the prowl for rich husbands), merely a troupe of stranded nightclub chorines whom Vallee passes off as a ballet troupe in order to win an international prize. Busby Berkeley's choreography is far from his best, especially since he's dealing with real dancers this time instead of geometrically arranged nonmoving bodies. The one song of note is "The Latin Quarter," later put to excellent use in countless Bugs Bunny and Pepe Le Pew cartoons.

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Garden Of The Moon (1938)

The Garden of the Moon is a fancy New York nightclub owned by Pat O'Brien. Margaret Lindsay (replacing a recalcitrant Bette Davis) is the girl who comes between O'Brien and his bandleader, John Payne. The duplicitous O'Brien spends most of his screen time figuring out various underhanded means to keep Payne from breaking his contract--and to keep Ms. Lindsay for himself. Though directed by Busby Berkeley, Garden of the Moon is surprisingly shy of dance numbers. Its musical highlight is that Looney Tunes standard "The Girlfriend of the Whirling Dervish," with vocal solos by John Payne, Johnnie "Scat" Davis, and Jerry Colonna.

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Female (1933)

Ruth Chatterton tears up the screen in this fast-paced, lusty comedy. Alison Drake is an automobile magnate, a hard-nosed, hardboiled business woman making dozens of important decisions a day. In her private life, however, she is passionate and bold in her pursuit of male companionship, which she frequently finds among the ranks of her own employees and executives; the problem is that these men can't abide the fact that back at work, she's all business again; and she keeps having to get their long, mopey faces out of her presence by transferring them elsewhere. Then she meets Jim Thorne (George Brent), a gifted engineer who is attracted to Drake but isn't a callow, kowtowing yes-man, and isn't awed by her millions. After a few awkward encounters, they find a balance in their lives together, or so she thinks, until he proposes marriage.

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Enchanted Island (1958)

Enchanted Island bears only the faintest traces of its source material, the Herman Melville novel, Typee. 19th century-whalers Abner Dana Andrews and Tom Don Dubbins jump ship, finding refuge on a tropical island inhabited by cannibals. When Tom disappears, Abner jumps to the logical conclusion and vows not to end up in the pot himself. Returning to his ship, Abner is drawn back to the island by Fayaway (a miscast Jane Powell), the tribal chief's daughter, with whom he has fallen in love. The film's "official" synopsis suggests that the story is unresolved at the end; in fact, the film comes to a satisfying if not altogether believable conclusion. Produced in Mexico by Benedict Bogeaus, Enchanted Island was to have been released by RKO Radio, but the collapse of that studio forced Bogeaus to distribute the film through Warner Bros.

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Deception (1946)

Deception is an operatic rehash of the 1929 film Jealousy. Music teacher Bette Davis--who evidently has a large student pool, judging by the size of her penthouse apartment--is reunited with her cellist lover Paul Henreid, whom she believed to have been killed in the war. Henreid wants to marry Davis, but he is unaware that she has, for the past several years, been the "protege" of composer Claude Rains. Rains agrees to keep quiet about his affair with Davis, but takes sadistic delight in tormenting the woman and working behind the scenes to sabotage Henreid's career. When Rains tells Bette of his plans to publicly humiliate Henreid, she shoots her ex-lover dead. Henreid agrees to stand by Davis no matter what is in store for her. Director Irving Rapper had originally wanted to treat the hoary plot twists of Deception comically, with the three principals walking off together at the end with a "what the hell?" attitude. He was tersely told to stick to the script; after all, people didn't pay to see Bette Davis but to see her suffer. Like the 1929 version of Jealousy, Deception was based on a play by Louis Verneuil.

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Danger - Love At Work (1937)

An airy screwball comedy, Danger--Love at Work explores the lives of a wealthy but wacky family. Ann Sothern plays the daughter, the only remotely "normal" member of the clan. Poor Jack Haley enters the scene as a feckless attorney who tries to get the family to finalize an important land deal. Sothern falls for Haley, and through the machinations of her looney parents the timorous lawyer winds up the object of a "shotgun wedding." The amusing but inconsequential Danger--Love at Work was the second American film of director Otto Preminger.

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Damn Yankees (1958)

Damn Yankees is a frothy, faithful adaptation of the 1956 Broadway hit. In an amusing slant on the "Faust" legend, aging baseball fan Joe Boyd (Robert Schafer) is given an opportunity to lead his beloved Washington Senators to victory by a devilish gent named Applegate (Ray Walston). Boyd is transformed into handsome young "Shoeless" Joe Hardy from Hannibal, Mo. (and in the process, the part is taken over by Tab Hunter, who's better than everyone said he was back in 1958). Joe becomes the Senators' star player, but at the price of his immortal soul; he isn't terribly worried, however, since he's built an escape clause into his contract with Applegate. To see that Joe doesn't get a chance to exercise that clause, Applegate sends his luscious assistant Lola (Gwen Verdon) to seduce the ballplayer. This effort doesn't work, but Applegate still manages to cause Joe to lose his chance at salvation. But there is still a ray of hope--if Hardy can win the deciding pennant game, he'll be able to foil Applegate's master plan of causing the Senators to lose. With Lola's aid, Joe gives the devil more than his due. The principal selling angle of Damn Yankees, beyond the presence of Gwen Verdon and Ray Walston delightfully recreating their stage roles, are the wonderful Richard Adler/Jerry Ross songs, including "You've Gotta Have Heart" and "What Lola Wants, Lola Gets." Based on the novel The Year the Yankees Lost the Pennant, the film (like the play before it) unfortunately throws away Wallop's wryly ironic climax; as a result, the last scenes appear rushed and haphazard. But why quibble? Damn Yankees is and always was a rock-solid piece of entertainment, as proven by its recent S.R.O. Broadway revival.

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