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When the Bowery Boys go to visit a friend on an Air Force base, they are pulled into an investigation to discover why their friend is being accused of treason. Accidentally enlisting in the service, they continue their investigation and eventually stumble on a Nazi plot.

Directors David Greene and John-Michael Tebelak collaborate with composer Stephen Schwartz to bring his wildly successful Broadway musical, Godspell, to the big screen. Told almost entirely in song, Godspell presents the gospel of St. Matthew updated to New York City of the late '60s/early '70s, featuring Jesus Christ as a wandering minstrel dressed like a circus clown. By blowing on an instrument that reaches only the ears of a select few around the bustling city, John the Baptist (David Haskell) summons nine simpatico hippies to a fountain in Central Park, where they revel in the waters of their baptism. When Christ (Victor Garber) joins the group, the free-flowing fraternal love solidifies into a desire to spread the word of God around the city. Outfitting themselves in a nearby junkyard that bursts with color, the lively group makes its way around a sparsely populated fairy-tale version of the city, re-enacting Biblical parables with great enthusiasm and flamboyance. Opting for a lighter yet more devout approach than its thematically similar Jesus Christ Superstar, Godspell features an equivalent number of hummable hit songs, notably "Prepare Ye (The Way of the Lord)," "By My Side," and "Day by Day."

Though scheduled for production as early as 1950, the Bowery Boys' Loose in London didn't go before the cameras until 1953. In this outing, Sach (Huntz Hall) is told that he's a relative of Sir Percy, the Earl of Walsingham (Walter Kingsford). In short order, Sach, his pals Slip (Leo Gorcey), Chuck (David Condon) and Butch (Bennie Bartlett), and sweet-shop proprietor Louie (Bernard Gorcey) head to the Earl's estate in London. Immediately ingratiating themselves with the ailing nobleman, the boys give the old fellow a new lease on life--which doesn't sit well with the rest of the Earl's relatives, who are greedily awaiting his demise so that they may claim his inheritance. In desperation, the other relatives plan to kill the Earl, but they're foiled by Slip, Sach and company. This leaves Sach the sole heir to the Earl's fortune--at least that's what he thinks! Written by "Three Stooges" alumni, Elwood Ullman and Edward Bernds (who also directed), Loose in London is an enjoyable hour's worth of nonsense.

Part spoof and part "straight," Gumshoe comes off as an affectionate tribute to the hard-boiled detective films of yore. Albert Finney stars as Eddie Ginley, a Liverpool bingo-caller and erstwhile comedian who has been weaned on the novels of Raymond Chandler and Dashiel Hammett. Fancying himself an ace detective, Ginley quits his job to form his own agency. Before long, he is involved in a complex mystery with decided echoes of The Maltese Falcon and The Big Sleep, replete with femme fatale (Janice Rule) and sinister fat man (George Silver). Armed with little more than a slick line of patter, Ginley plunges into this baffling case, while his level-headed brother (Frank Finlay) and sister-in-law (Billie Whitelaw) try to talk him out of it. Despite its satirical content, Gumshoe turns out to be a fascinating mystery yarn on its own terms. Albert Finney also produced the film, while none other than Andrew Lloyd Webber supplied the musical score.

FEAF = FAR Eastern Air Force. This film focuses its sights on the planes used in the Southwest Pacific operation against Japanese air forces; specifically on the A-20 and B-25 planes. Scenes show how advanced engineering aimed at stretching the airplane's range, while piling on guns.

Documentary feature film depicting the training of young Lieutenant Jim Anthony as a pilot of the B-26 Marauder bomber. Dick, the captain charged with pilot instruction, leads Jim through every aspect of preparation to fly the bomber, going through a detailed checklist of pre-flight procedures, long before he allows Jim to turn an engine over. Once preparations are completed, Dick shows Jim the process of starting the engines, followed by take-off. In the air, further instruction helps Jim understand the various limits and capabilities of the aircraft. When one engine fails, Dick must simultaneously guide the limping plane back to a safe landing and explain to Jim each step of the procedure..

Police Lt. Leonard Diamond (Cornel Wilde) is criticized by his superior Capt. Peterson (Robert Middleton) for his obsessive but fruitless investigation of organized crime boss Mr. Brown (Richard Conte). Peterson calls it a waste of the taxpayers' money motivated by Diamond's love for Brown's girlfriend Susan Lowell (Jean Wallace). Watched at all times by henchmen Mingo (Earl Holliman) and Fante (Lee Van Cleef), and masochistically drawn to Brown, Susan is unable to walk away from him. She overdoses on pills in a suicide attempt and, in her delirium, utters the name "Alicia." Diamond follows up on that new lead, and as he gets closer to defeating his adversary, the arrogant and sadistic Brown retaliates by capturing and torturing Diamond. Meanwhile Brown's former boss but now humiliated underling, Joe McClure (Brian Donlevy), believing that Brown has gone too far in his personal vendetta against Diamond, tries to enlist Mingo and Fante in overthrowing him. However, they remain loyal, and, in a chillingly silent scene visually punctuated by flashes of gunfire, they shoot the deaf McClure after Brown removes his hearing aid. Though superficially a story of good vs. evil, Joseph H. Lewis's film noir presents a complex world, visually captured by John Alton's stark photography, in which the lines between good/evil and love/hate are not always clear.

This musical comedy is based on a modestly successful Broadway play and stars Humphrey Bogart as wrestling promoter Ed Hatch. Ed is in Kentucky with his dopey, muscle-bound client Joe "The Wrestling Hercules" Skopapoulous (Nat Pendleton). The two are further accompanied by Ed's assistant Shiner (Allen Jenkins), his girlfriend Cookie (Penny Singleton) and Joe's trainer Popeye Bronson (Frank McHugh). Unfortunately, the entourage has not had a decent gig since they entered Kentucky and end up stranded and broke on a lonely country rode. Fortunately, a hefty farm girl, who calls herself Sadie Horn, happens along and using her incredible strength, gets the travelers back on the road. Ed is impressed and suddenly inspired to hire the brawny lass as his newest grappler and stage fights between she and Joe. Future president Ronald Reagan has a small role as a sportscaster. Songs include: "Mountain Swingeroo," "Hillbilly from Tenth Avenue" and "Dig Me a Grave in Old Missouri."

Super Sleuth stars Jack Oakie as an egotistical movie actor who specializes in detective roles. Despite the gentle remonstrations of his girl friend (Ann Sothern), Oakie fancies himself a genuine master sleuth, and in this capacity offers his services to the law in helping to solve a recent series of "poison pen" murders. In truth, Oakie is so dense that he can't figure out that the seemingly benign criminologist (Eduardo Cianelli), who supplies him technical information on his film roles, is the actual murderer. Edgar Kennedy, the real detective on the case, solves the mystery himself, but not before Oakie is nearly bumped off in the criminologist's "chamber of horrors." Super Sleuth was ineptly remade in 1946 as Genius at Work, a vehicle for RKO's prefabricated comedy team of Wally Brown and Alan Carney.

So Well Remembered was the first of a proposed series of Anglo-American co-productions underwritten by Hollywood's RKO Radio Pictures and England's J. Arthur Rank. In one of his better postwar roles, John Mills stars as George Boswell, the editor of the newspaper in the small English mining town of Bowdley. Tirelessly fighting for fairer treatment and better working conditions for the miners, Boswell is sidetracked by his covetous, ambitious wife Olivia (Martha Scott), who hopes to maneuver her husband into Parliament. Eventually, Boswell gets his priorities in order, neglecting his campaign to help local doctor Whiteside (Trevor Howard) combat a diphtheria epidemic. When he loses his own child to the disease, a tragedy caused in part by his wife's selfishness, Boswell withdraws completely from his campaign -- and from life. Years pass before Boswell can find some purpose in his existence again, this time by preventing the still-unregenerate Olivia from destroying the happiness of her son (Richard Carlson), from a second marriage, and the son's sweetheart Julie (Patricia Roc), Dr. Whiteside's daughter. John Mills' 5-year-old daughter Juliet and infant daughter Hayley appear in bit parts. Though director Edward Dmytryk received plaudits from most critics for his work on So Well Remembered, there were those who insisted upon reading Dmytryk's perceived "pro-Red" sentiments in the screenplay -- which was actually adapted by John Paxton from a novel by James Hilton (who also narrates the picture).

Despite the film's title, socialite Linda Vickers (Virginia Mayo) isn't smart enough to steer clear of the gambling den operated by gangster Marty Fain (Bruce Bennett). Forced to join Fain's operation, Linda gets mixed up with duplicity and murder-not to mention a torrid romance with the gangster chief. Interestingly enough, Fain is the more sympathetic of the two leading characters. He seems like a basically nice guy stuck with not-so-nice associates, while Linda comes off as surfacey and selfish. In the end, however, it must be proven to the satisfaction of the censors that crime doesn't pay, especially when the life of Linda's brother "Doc" (Robert Hutton) is at stake.

At the height of his TV fame, flamboyant pianist Liberace starred in the lavish Warner Bros. production Sincerely Yours. A remake of the old George Arliss vehicle The Man Who Played God, the film casts "Mr. Showmanship" as famed concert pianist Anthony Warren, who at the height of his popularity is stricken with deafness. Learning to lip-read in record time, Warren sits in his luxurious New York penthouse apartment, using high-powered binoculars to spy on the various strollers in Central Park. Warren soon discovers that others have problems worse than his own and sets out to help those less fortunate souls.

The delightful Winnie Lightner was afforded her own movie vehicle in Side Show. Lightner stars as Pat, one of several members of a traveling carnival troupe managed by the eternally besotted Colonel Gowdy (Guy Kibbee). A Jill-of-all-trades, Pat does everything from high-diving to hula dancing, with time left over for a romance with meek-and-mild Sidney (Charles Butterworth), a man incapable of uttering an intelligent remark. There are moments of melodrama and pathos -- especially when Pat tries to save her younger sister, Irene (Evelyn Knapp), from a lecherous carny barker -- but comedy predominates throughout, culminating in a slapstick big-top finale. Unseen for many years, Side Show was resuscitated in the early '90s by the Turner Classic Movies cable service.

Shanks is not so much a movie as an hallucinatory experience. World-renowned mime Marcel Marceau plays a dual role as a mute puppeteer and an eccentric inventor. The inventor dies, passing along his secrets for reviving corpses to the puppeteer. With the help of an enigmatic little girl, Marceau activates several dead bodies and goes on a robbery spree. Costarring with Marceau are fellow mime artists Tsilla Chelton and Phillipe Clay. Shanks had cult potential, but was released with a surprisingly lackluster ad campaign--all the more surprising in that the film was directed by that master huckster William Castle (whose last film this was).

This third film version of Maxwell Anderson's play Saturday's Children stars Claude Rains as the impecunious but proud father of a large brood. Rains' daughter Anne Shirley marries idealistic John Garfield, a would-be inventor who works for Shirley's father. Feeling that he's been tricked into marriage, Garfield gives every indication of turning out to be as much "failure" as Rains. Only when Garfield and Shirley are on the verge of breaking up do they realize that material gain is not the only barometer of success in life. Previous filmizations of this story include Saturday's Children (29), starring Corinne Griffith, and Maybe It's Love (35), costarring Ross Alexander and Gloria Stuart.

Gaspard Manesse plays Julien, an 11-year-old Catholic boarding-school resident during the Nazi occupation of France. He is witness to the courage of his instructors, who defy the German's anti-Semitic policies and quietly enroll Jewish children into the school under assumed names. Manesse befriends Jean (Raphael Fejto), one of these "instant Catholics." The refugee children are betrayed by a hostile ex-employee of the school, forcing Julien once more to be a bystander to history as Jean and the teachers are arrested. For this return to the French film industry after several years in the US, Louis Malle purged himself of his own bitter memories of life under the thumbs of the Nazis.

Seasoned serial director Spencer Gordon Bennett helmed this story of a one-eyed, octopoidal space alien, wreaking havoc upon atomic subs at the North Pole. The monster is determined to take over the world, though it seems ill equipped for that purpose. Heroes Arthur Franz, Dick Foran, and Brett Halsey head underwater to neutralize the alien's submerged flying saucer. The cast is peopled with such veterans as Tom Conway, Bob Steele, Victor Varconi, Selmer Jackson, and Jack Mulhall. Movie buffs may wish to take note of the exterior scenes in Atomic Submarine; several of them are played out in front of the easily recognizable studios of Allied Artists, formerly Monogram and later the home of LA's PBS channel 28.

Previously filmed in 1920 and 1931, James Oliver Curwood's River's End was given a third go-round by Warner Bros. in 1940. Dennis Morgan plays a dual role as falsely accused murderer John Keith and stalwart Canadian mountie Sgt. Conniston. When Conniston is accidently killed, Keith takes his place, and while in Redcoat guise manages to solve the murder for which he was accused. George Tobias dominates the proceedings as French-Canadian Andy Dijon, who spends most of his time trying to get into trouble to get out of an unwanted marriage. The heroine is Elizabeth Earl, of whom little was heard after River's End ran its course; the same could not be said of supporting player James Stephenson, who would skyrocket to stardom in 1940 by virtue of his performance in William Wyler's The Letter.

In this sudsy hospital melodrama, a married nurse finds herself falling in love with one of two surgeons when her husband goes mad and needs an operation. One of the surgeons regards his pursuit a lark, while the other harbors genuine affections for the nurse. At first, she is attracted to the cad, but after her husband follows the suggestion of another insane patient and dives out of a window to his death, she seeks consolation in the arms of the other surgeon.

Set in New York City's famed music hall and featuring an all-star cast, this musical chronicles the desperate search of two bungling aspiring songwriters who are looking for the tune that will make them stars. They hear the sweet sound of opportunity's knock when they find a naive country boy who can literally come up with hit tunes in his sleep. Jack Oakie and Milton Berle play the songwriters.

Probably as a reward for her energetic performance in Torchy Plays with Dynamite, pert Jane Wyman was given another Glenda Farrell-like leading role in Private Detective. Wyman plays gorgeous P.I. Myrna Winslow, the principal rival of male gumshoe Jim Rickey (Dick Foran). The case at hand concerns the murder of a millionaire, with the dead man's wife and her boy friend as principal suspects. Also adding to the intrigue is an enormous trust fund, set up in the name of the millionaire's adopted son. A goodly portion of the film takes place in a deserted mansion at midnight, with Myrna snooping where she shouldn't. The finale finds Myrna and Jim joining forces to capture the real murderer in a well-staged donnybrook. Private Detective runs 57 minutes-and "runs" is the right word here.

In her third film for innovative director Gregory LaCava, Ginger Rogers briefly turns her back on her established screen image by playing the daughter and granddaughter of prostitutes. Determined not to pursue the "family business", Ellie May Adams (Rogers) opts for respectability, as personified by clean-limbed Ed Wallace (Joel McCrea, teamed with Rogers for the first time since 1933's Chance at Heaven). Alas, all of Ellie May's dreams of connubial bliss fly out the window when Ed is introduced to her alcoholic father Homer (Miles Mander), her round-heeled mother Mamie (Marjorie Rambeau) and her equally randy grandmother (Queenie Vassar). Briefly losing Ed's affections, Ellie May tearfully resigns herself to taking care of her family-but will she resort to the World's Oldest Profession to keep food on the table? Adapted from Victoria Lincoln's novel February Hill (Lincoln's name didn't appear on the credits due to legal entanglements), Primrose Path managed to retain a goodly portion of the novel's bite without unduly straining RKO Radio's relationship with Joe Breen's censorship office.

During the movement to repeal Prohibition, Oxidontal University student editor Elmer Brown is strongly in favor. He loves the daughter of an ardent prohibitionist; by chicanery, he tries to win Gloria and sell his bottle stopper invention. Musical short.

An outbreak of cholera threatens a luxury liner in this surprisingly low-budget melodrama from RKO. En route from Shanghai to San Francisco, chief engineer Crusher McKay (Victor McLaglen) and shipboard doctor Tony Craig (Chester Morris) become rivals for the attention of nurse Ann Grayson (Wendy Barrie). A Chinese stowaway, meanwhile, infects the stokehold with cholera and it is left to Crusher to keep the engines at full throttle until reaching harbor. But morale sinks to an all-time low when Crusher himself is stricken and the overworked men threaten with mutiny. Tony attempts to keep the stokers in check but the situation is growing more dangerous by the minute when a heroic Crusher rises from his sickbed. Leaving their previous petty squabbles behind, Tony and Crusher manage to guide the ship safely to harbor, where the doc and Ann rekindle their romance.

Author Hartzell Spence's popular biography of his preacher father was the source for One Foot in Heaven. Fredric March stars as Methodist cleric William Spence, whose calling requires him to move his family from parish to parish on a near-monthly basis. The children resent the fact that they're never able to sustain friendships, while Reverend Spence is equally upset by what he perceives to be encroaching immorality in the early 20th century. Spence's stubbornness loses him as many parishioners as he gains, but he is gradually humanized by a series of random events. In the best of these, the Reverend, who has railed against movies from the pulpit, attends a "scandalous" picture show--and as the picture reaches its climax, he finds himself cheering on the good guys as loudly as everyone else!

In this film noir with romantic overtones, con man and cardsharp Nick Blake (John Garfield) returns home after serving in WWII to discover that a rival syndicate now controls New York's gambling rackets -- and that his girlfriend Toni (Faye Emerson) has run off with his money. Looking for a fresh start, Nick heads for California, where he becomes reacquainted with Pop Grueber (Walter Brennan), who gave him his start in the underworld. Pop and his boss Doc Ganson (George Coulouris) tip Nick off to a scam they've brainstormed to separate young widow Gladys Halvorsen (Geraldine Fitzgerald) from her recently inherited fortune. Nick's job is to sweet talk Gladys out of her money and then make tracks, but he finds himself falling in love with her and wants out of the deal. Meanwhile, Toni comes back into the picture and tries to convince Doc that Nick is trying to cheat him, leading to a kidnapping. Incidentally, John Garfield won the leading role in Nobody Lives Forever after Humphrey Bogart turned it down.

Harrison Ford delivers one of his most-acclaimed performances in Peter Weir's adaptation of Paul Theroux's novel (scripted by Paul Schrader). Ford plays Allie Fox, an inventor embittered by the blighted landscape of the contemporary United States. As he tells his oldest son, Charlie (River Phoenix), "Look around you. It's a toilet." He moves his wife (Helen Mirren) and kids -- Charlie, Jerry (Jadrien Steele), April (Hilary Gordon), and Clover (Rebecca Gordon) -- to the rain forests of Central America, where he plans to create a new civilization starting with his own nuclear family. Allie's family compliantly goes along with his scheme to build a free society, but slowly notices that his obsession has turned him into a tyrannical fascist. Rather than create a utopia, Allie's driving egomania demands total subservience from his downtrodden brood.

Unlike his earlier Warner Bros. westerns, Errol Flynn's Montana was strictly a programmer, inexpensively produced and modestly promoted. Flynn plays Morgan Lane, an Australian sheepherder who arrives in the middle of Montana's cattle country. He faces opposition from wealthy cattle rancher Maria Singleton (Alexis Smith), not to mention several bigger, tougher galoots. It takes a few fistfights and gun battles to settle the sheepherders vs. cattlemen imbroglio peacefully. While the action highlights are so-so, Montana scores best during the scenes between stars Errol Flynn and Alexis Smith; they were good friends in real life, so much so that Flynn served as best man at Smith's wedding to actor Craig Stevens.

This film version of the Broadway play of the same name was produced and directed by Mervyn LeRoy. Bob (Barry Nelson) is a divorced book publisher with a pile tax receipts and facing an audit from the IRS. At the insistence of his accountant, he must get together with his ex-wife Mary (Debbie Reynolds) to find out just what the pieces of paper mean. Bob is engaged to marry Tiffany (Diane McBain), the daughter of a wealthy New England family. When a snowstorm traps Bob and Mary in his apartment, their all night discussions lead to an eventual reconciliation in this amusing comedy. Tifanny graciously bows out of the picture when she realizes the two are still in love.

Lewis Milestone directs the lightweight romantic comedy Lucky Partners, based on a story by Sacha Guitry. David Grant (Ronald Colman) is an artist in New York's Greenwich Village. After he wishes good luck to passing ingenue Jean Newton (Ginger Rogers), she is immediately offered a beautiful dress. Thinking that David is lucky, she agrees to go in with him on a ticket for the Irish Sweepstakes. Their horse wins the race, and he asks her to accompany her to Niagara Falls to celebrate their winnings. Jean's fiancé, Freddie Harper (Jack Carson), is not pleased about the arrangement, so he follows them. Eventually Jean and David fall for each other and they end up in the courthouse, where the judge ($Harry Davenport) sorts everything out in favor of the new couple. Lucky Partners was released in 1940, the same year Rogers gave her Oscar-winning performance in Kitty Foyle: The Natural History of a Woman.

In response to Republic's Gene Autry westerns of the late 1930s, Warner Bros. created its own singing cowboy, Dick Foran, for a brief series of second features. Land Beyond the Law wisely puts the priority on action rather than singing. Foran rides into a lawless territory, champions the cause of the oppressed homesteaders, and does battle with the baddies. The finale is an excellently staged gun battle, handled with virtuosity by B. Reeves Eason, whose second-unit work on Warners' historical spectacles (Charge of the Light Brigade et. al.) had made him a valuable studio commodity. Land Beyond the Law also features Wayne Morris, Warners' next major western star.

Lupe Velez is "The Mexican Spitfire" in everything but name in the frantic baseball farce Ladies Day. Eddie Albert plays Wacky Waters, star pitcher of the Sox, a league-leading contender for the World Series. Alas, whenever Wacky falls in love, his game suffers-and so do the wives of his teammates, who are counting on that Series bonus money. When Wacky marries vivacious movie star Pepita Zorita (Velez), the wives, led by Hazel Jones (Patsy Kelly), take drastic action, kidnapping Pepita and hiding her out in a hotel room. But Pepita manages to wriggle out of the hotel towels that bind and gag, disguise herself as a bellboy, and head to the ballpark during the Big Game. Fortunately, Pepita turns out to be Wacky's prime motivation for winning the Series, and there's a happy ending for one and all. Pretty lame as far as baseball films go, Ladies Day will be best appreciated by fans of Lupe Velez and Patsy Kelly, who never speak when shouting will do.

The city of the title is Los Alamos, where nuclear physicist Gene Barry lives and works. Terrorists kidnap Barry's son and demand that the physicist turn over the H-bomb formula. It's cat-and-mouse for a while, but when the FBI gets on the case, the criminals haven't got a chance. Outdated almost before its release, The Atomic City is still effective on a purely melodramatic level. There's a particularly tense climax played out along the mountain mesas surrounding Los Alamos.