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• Director
• Jason Liquori
• Writer
• Jason Liquori
• Stars
• Debbie Rochon
• Colin Bowman
• Shade Burnett

A young girl hunts an evil alien that she believes is the reincarnation of her abusive father.

• Director
• Budd Boetticher
• Writers
• Berne Giler(screenplay)
• Albert S. Le Vino(story)
• Stars
• Randolph Scott
• Virginia Mayo
• Karen Steele

A fast-paced western with a romantic twist, this was one of the last films pairing director Budd Boetticher and popular cowboy hero Randolph Scott before Scott's retirement. John Hayes (Scott) left the Civil War behind him when he took on the job of managing the Overland Stage Lines out of a small Colorado town. Clay Putnam has not forgotten that the Confederacy lost and he plans on robbing Hayes' Overland Stage of one of its gold shipments from California to the North. He wants the gold to stay in the South to revive the Confederate cause. Meanwhile, his wife Norma (Virginia Mayo) complicates matters since she was Hayes' old flame, and Putnam's cronies want the gold for themselves.

• Director
• Otto Preminger
• Writers
• Ben Hecht(screen play)
• Victor Trivas(adaptation)
• Frank P. Rosenberg(adaptation)
• Stars
• Dana Andrews
• Gene Tierney
• Gary Merrill

Dana Andrews is brutal metropolitan police detective Dixon, who despises all criminals because his father had been one. When the cops pick up two-bit gambler Ken Paine (Craig Stevens) as a murder suspect, Dixon subjects Paine to the third degree -- and accidentally kills him. In disposing of the body, Dixon inadvertently places the blame for the killing on cab driver Jiggs Taylor (Tom Tully). Having fallen in love with Jigg's daughter, Morgan (Gene Tierney), Dixon tries to clear the cabbie without implicating himself, but ultimately he becomes trapped in a web of his own making; luckily Morgan promises to stand by him. Where the Sidewalk Ends was adapted from a novel by William L. Stuart; its director was Otto Preminger, who'd previously put Andrews and Tierney through their paces in Laura (1944).

• Director
• Maury Dexter
• Writers
• Harry Spalding
• Hank Tani(original story)
• Stars
• Frankie Randall
• Sherry Jackson
• Gayle Caldwell

It's mayhem on the sand in this tuneful beach romp that centers on a coed and a frat boy who battle it out for possession of the same beach house. Both had scheduled parties there on the same weekend. Fortunately, the arrive at a fun compromise and music, dancing, wild parties and love ensues. Sonny and Cher make cameo appearances and sing a song.

• Director
• Hall Bartlett
• Writers
• Arthur Hailey(screenplay)
• Hall Bartlett(screenplay)
• John C. Champion(screenplay)
• Stars
• Dana Andrews
• Linda Darnell
• Sterling Hayden

Fans of Zucker and Abrahams' blockbuster parody Airplane! who are curious to see the film's source of inspiration should check out this earnest 1957 thriller. The comedy writers practically lifted entire scenes and passages of dialogue from the original, yet carried everything to an absurd level to get belly laughs. Contemporary viewers who manage to push that spoof out of their minds may be surprised to discover that the inital picture works on its own terms; it has a neat, satisfying central arc, with Dana Andrews as an Air Force Veteran still scarred by memories of his slip-ups during the war. He gets a startling opportunity to redeem himself and his reputation (and repair his crumbling marriage) by assuming the controls on a doomed commercial flight. If he succeeds, it will mean saving the lives of two dozen ill passengers including his young son. The suspense in the picture is satisfactory; until the final scenes, we're entirely uncertain of the outcome. This film lacks the degree of psychological depth present in a few other nail-biters of the period, such as Alex March's Ransom, and the picture cuts out several minutes before it should, without letting us watch the events that follow the crisis itself and experience more satisfying character wrap-ups. But it's miles ahead of most of the elephantine disaster pictures that emerged in the 1970s. It's far from a great picture, but nonetheless a fun and competently made programmer that plays best on late night cable or in Saturday afternoon matinees.

• Director
• John Francis Dillon
• Writers
• Guy Bolton(author of Ziegfeld's musical comedy)
• Waldemar Young(screen version)
• P.G. Wodehouse(play)
• Stars
• Marilyn Miller
• Alexander Gray
• Joe E. Brown

Recreating her famous Broadway role from 1920, former Ziegfeld star Marilyn Miller took to the Warner Bros. soundstages with the energy that had made her a household name. Miller is Sally Bowling Green, an orphan named after a telephone exchange. Slaving away in a New York coffee shop, she dreams of becoming a famous dancer, a dream that keeps interrupting business. After accidentally dumping a plate of food on booking agent Otis Hooper (T. Roy Barnes), Sally finds herself once more in the employment line. She obtains yet another waitress job at the Balkan beer garden owned by amiable "Pops" Schendorff (Ford Sterling) where Connie (Joe E. Brown), the down-on-his-luck former Grand Duke of Czekoslovonia, also works. She also makes the acquaintance of socialite Blair Farquar (Alexander Gray), who has long loved her from afar. With Farquar's help, Sally proves her nimbleness on the dance floor and is hired by Hooper to impersonate Madame Noskorova, a famous Russian dancer who has eloped despite pressing engagements. Arriving at a party given by influential Mrs. Ten Brock (Maude Turner Gordon, Sally keeps up the masquerade until the hostess announces the engagement of her daughter Marcia (Nora Lane) to Blair. Hurt by the latter's duplicity, she leaves with Connie and Hooper, with Hooper arranging for her to star in the Ziegfeld Follies. On her opening night, a hugely successful Sally is reunited with Blair, who has refused to marry Marcia.

• Director
• Ray Enright
• Writers
• Jerry Wald(screen play)
• Sig Herzig(screen play)
• Warren Duff(screen play)
• Stars
• Ruby Keeler
• Lee Dixon
• Allen Jenkins

The Warner Bros. musicals began running out of gas in the late 1930s, yielding such lukewarm efforts as Ready, Willing and Able. Ruby Keeler, as charmingly ingenuous as ever, plays Jane, a college student with show-biz aspirations. In order to land a role in an upcoming Broadway spectacular, Jane impersonates famous British stage luminary Jane Clarke (and never mind that her British accent is as transparent as a plastic bag). On the strength of Jane's supposed reputation, fly-by-night producers Pinky Blair (Lee Dixon) and Barry Granville (Ross Alexander) convince a movie studio to pony up the money for their Broadway show. The trouble begins when the real Jane Clarke shows up, threatening lawsuits left and right. Somehow, Pinky and Barry are able to make both of their leading ladies happy, and the show goes on. The film's solitary musical highlight is "Too Marvelous For Words," performed by a battalion of leggy chorines on a huge typewriter; curiously, this very famous sequence was barely mentioned at all in the original reviews for Ready, Willing and Able. Sadly, co-star Ross Alexander died before the film was released nationally.

• Director
• Lloyd Bacon
• Writers
• Robert Rossen(original screen play)
• Leonardo Bercovici(original screen play)
• Warren Duff(contributor to screenplay construction)
• Stars
• Humphrey Bogart
• George Brent
• Gloria Dickson

In this gangster movie set in the Big Apple, a crime lord strong arms teamsters into paying him protection money. One young trucker with a very pregnant wife, stands up to the thug. His partner also refuses to pay in the hopes that they will help the other truck drivers. Naturally this enrages the king-pin and his mob. Simultaneously an idealistic young attorney is chosen by the DA to do all he can to get that crime boss convicted and off the streets for good. Back on the streets, the mobster manages to force the young trucker into paying up; this causes the man to quit and begin selling tomatoes. The lawyer finds him and offers him a chance to help the government and prosecute the gangster. He accepts and together the two do just that.

• Director
• Michael Curtiz
• Writers
• Rian James(screen play)
• Raoul Whitfield(based on a story by)
• Stars
• William Powell
• Margaret Lindsay
• Ruth Donnelly

Romance throws a spanner into the works of a con game in this light drama. Donald Free (William Powell) is a private detective whose career in on the skids. Dan Hogan (Arthur Holh) is another, less scrupulous shamus who persuades Free to help him frame Janet Reynolds (Margaret Lindsay), a wealthy woman with a taste for gambling living in Paris. Free goes along with the scheme, but things become complicated when he begins falling in love with her.

• Director
• David Butler
• Writers
• James V. Kern(story)
• M.M. Musselman(story)
• Arthur Phillips(additional dialogue)
• Stars
• Kay Kyser
• John Barrymore
• Lupe Velez

The much-maligned Playmates callously offers the appalling spectacle of a thoroughly dissolute John Barrymore in his final screen performance, but the film isn't quite as bad as it's supposed to be. Barrymore plays himself, a washed-up ham actor up to his ears in debts. When the IRS demands payment for back taxes, Barrymore's press agent Pete Lindsey (Peter Lynd Hayes) and manager Lulu Monohan (Patsy Kelly) suggest a sure-fire moneymaking scheme: the venerable thespian will transform bucolic bandleader Kay Kyser (also playing himself) into a Shakespearean actor, in exchange for a fat radio contract. Neither Kyser nor Barrymore are keen on this set-up, but while Kyser is willing to go through with the plan, Barrymore seeks various devious methods of wriggling out of the committment. Barrymore goes so far as to sic his peppery girlfriend Carmen del Toro (Lupe Velez) on poor Kyser, hoping to dissuade the bandleader from showing up at the climactic Long Island Shakespeare Festival peformance. When this fails, Barrymore spikes Kyser's throat spray with alum, only to be rendered speechless himself when the spray bottles are switched. Suffice to say that all ends happily, with Kay Kyser and his aggregation (Ginny Simms, Harry Babbitt, Ish Kabibble et. al.) performing a rather pleasant "swing" version of Romeo and Juliet. Admittedly, it's rather hard to watch Playmates knowing that John Barrymore had once been regarded as the greatest actor of his generation. Even so, a few bright moments shrine through, notably a poignant scene in which Barrymore briefly recaptures the old magic by reciting a few passages from Hamlet's soliloquy.

• Directors
• William Clemens
• Noel M. Smith(uncredited)
• Writers
• Tom Reed(original screenplay)
• Charles Belden(uncredited)
• Stars
• Billy Halop
• Bobby Jordan
• Huntz Hall

In this entry in the long-running series, one of the Kids goes to military school and learns, with the help of his late father's friend who promised to watch over the lad, to be a real man. The kid is initially, quite rebellious. One boy tries to help him, but the kid throws him out a second story window. Eventually the kid grows up and becomes a hero by saving another boy's life during a dangerous fire. This was the final entry in the series.

• Director
• Edmund Goulding
• Writers
• W. Somerset Maugham(novel)
• Catherine Turney
• Stars
• Paul Henreid
• Eleanor Parker
• Alexis Smith

This second film version of Somerset Maugham's classic novel stars Paul Henreid as a clubfooted, introverted medical student--an Englishman in the novel, but not in the hands of the mittel-European Mr. Henried. Eleanor Parker is featured as Mildred, the vulgar, brassy cockney waitress in whom Henreid is foolishly enamored. The role of Mildred had made Bette Davis a star in the 1934 version of Bondage; the magic didn't happen for poor Ms. Parker, who'd spend several years in variable parts before achieving full stardom. The subject matter of the original Maugham novel, which explored how sexual obsession can ruin an otherwise rational man, was missing in the 1946 version thanks to timorous studio censors. To quote Alexis Smith, who played the second female lead, "The remake of Of Human Bondage shouldn't have been made." This 1946 version would disappear completely from view upon the occasion of the third filmization of Of Human Bondage in 1964, wherein Kim Novak was pathetically miscast as Mildred.

• Director
• Robert Fuest
• Writers
• Emily Brontë(novel "Wuthering Heights")
• Patrick Tilley(screenplay)
• Stars
• Anna Calder-Marshall
• Timothy Dalton
• Harry Andrews

This romantic drama concerns two star-crossed lovers who are half-brother and sister to each other. Catherine (Anna Calder-Marshall) is the daughter of the lord of the manor who falls for the brooding stable boy Heathcliff (Timothy Dalton). When Heathcliff leaves to seek his fortune, he returns to find Catherine has married the local magistrate Edgar (Ian Ogilvy). The story is told by the beautiful blonde servant girl Nellie (Judy Cornwell), who narrates at the beginning to set the stage for the picture. Hindley (Julian Glover) is Catherine's older brother who tries to take over the house and land after the death of their father (Harry Andrews). When his own wife and child dies, a drunken Hindley gambles away the family holdings to the opportunistic Heathcliffe. Filmed in England, the scenery is spectacular but this version lacks the foreboding, shadowy drama of the 1939 original starring Merle Oberon and Laurence Olivier.

• Director
• A. Edward Sutherland
• Writers
• Fred Niblo Jr.(screenplay)
• Jerome Odlum(from the novel by)
• Stars
• Ronald Reagan
• Joan Perry
• James Gleason

Perhaps nine lives weren't enough, but 63 minutes was plenty of time to relate the plot of this Ronald Reagan vehicle. Reagan plays a newspaper reporter who has a story "that'll break this town wide open!" The story involves a mysterious, unsolved boarding house murder. The suspects include the seductive Faye Emerson, wide-eyed Joan Perry, and brainless Peter Whitney. Wanna bet none of them did it? Reagan solves the case, wins the girl, and doesn't retire to politics...yet.

• Director
• Garson Kanin
• Writers
• John Twist(screen play)
• Helen Meinardi(screen play)
• Thames Williamson(story)
• Stars
• Lucille Ball
• James Ellison
• Lee Bowman

The Next Time I Marry stars actress Lucille Ball as an heiress who can only receive her 20 million dollar inheritance by marrying an American citizen. In love with a handsome foreigner, the young heiress marries the first man she comes across--a ditch-digger (James Ellison) whom she intends to divorce immediately after collecting the money. While on their way to Reno for a quickie divorce, however, the bickersome newlyweds realize that they've fallen in love despite themselves. The Next Time I Marry was directed by Garson Kanin and originally aired in 1938. Also featured within the film are actors Lee Bowman, Nancy Fleming, Tony Anthony and Mantan Moreland.

• Director
• Jonathan Kaplan
• Writers
• Ken Friedman
• Jonathan Kaplan
• Stars
• Jan-Michael Vincent
• Kay Lenz
• Slim Pickens

Trucker Carrol Jo Hummer (Jan-Michael Vincent) borrows money to purchase a truck of his own, only to discover that part of his "payment plan" includes smuggling goods on his trips. When Carrol refuses to participate in the underhanded scheme, a group of thugs threaten his wife (Kay Lenz), leading Carrol to fight back with a vengeance. This special release marks the 40th anniversary of this cult action film.

• Director
• David Butler
• Writers
• Peter Milne(screen play)
• Rita Olcott(based upon a book by)
• Sid Fields(additional dialogue)
• Stars
• Dennis Morgan
• Andrea King
• Arlene Dahl

The Warner Bros. musical My Wild Irish Rose purports to tell the life story of popular 19th century balladeer Chauncey Olcott-or at least, the version set down by Olcott's daughter Rita. Starting his career in minstrel shows, Olcott (Dennis Morgan) is given his first break by stage luminary Lillian Russell (Andrea King), who casts him as her Broadway leading man. Though their relationship is platonic so far as Russell is concerned, the newspapers have a field day concocting an imaginary romance, driving a wedge between Olcott and his hometown sweetheart Rose Donovan (Arlene Dahl). No matter what his personal problems, Olcott rises to heretofore unimagined show-biz heights with his sentimental Irish ballads, including "A Little Bit of Heaven", "Mother Macree" and, of course, the title tune. I Love Lucy fans will be amused by the casting of a generously toupeed William Frawley as famed Irish tenor William Scanlan, who after his voice fails him generously passes the torch of celebrity to Olcott.

• Director
• Tay Garnett
• Writers
• M. Coates Webster(story)
• Sig Herzig(screenplay)
• William Bowers(screenplay)
• Stars
• Kay Kyser
• Ellen Drew
• Jane Wyman

Produced by silent-film comedian Harold Lloyd, My Favorite Spy is a vehicle for bespectacled bandleader Kay Kyser, who resembles Lloyd more than somewhat. Just before embarking on his honeymoon with new bride Terry (Ellen Drew), Kyser is drafted into the Army. Proving to be a monumentally inefficient soldier, our hero is nonetheless pressed into service by US intelligence officer Major Allen (Moroni Olsen). It seems that Nazi agents have been passing secrets in the nightclub where Kyser's band performs, and Allen wants Kay to act as a counter-espionage agent. To maintain his cover, Kay is discharged from the army in disgrace, and is ordered to noisily make himself a "security risk", so that Nazi chieftan Robinson (Robert Armstrong) will invite Kay to join his spy operation. Trouble is, Kyser must keep his espionage activities secret from everyone-even his wife Terry, who is growing ever more impatient over Kay's unexplained absences from her boudoir. Making matters worse, Kyser is teamed with glamorous blonde secret agent Connie (Jane Wyman), whom Terry understandably suspects of being Kay's clandestine sweetheart. A multitude of slapstick situations follow, culminating in a wild chase through an abandoned theater, with Kay Kyser making like Harold Lloyd to rescue his wife from the Nazis. As directed by Tay Garnett, Kyser's ongoing marital woes seem more pathetic than funny; in addition, his Secret Service cohorts come off as the most sadistic bunch of "good guys" in screen history, bursting with laughter every time Kay's wife throws him out of their apartment. Even so, My Favorite Spy has a few genuine laughs, especially in the final reels.

• Director
• John H. Auer
• Writers
• Lawrence Kimble
• Jack Scholl(story)
• Harold Jacob Smith(story)
• Stars
• Anne Shirley
• Dennis Day
• Phillip Terry

In this musical comedy, a pair of small-potatoes performers try to make it to the big-time after winning an amateur talent contest. Though this leads them to a few professional gigs, something is missing from their act and they are not popular. Believing a little cash will boost their career, the girl heads for Washington, D.C. to see if her wealthy daddy will help them. En route she is mistaken for the wife of a well-known pilot and ends up in his suite having to pretend she is his spouse. When the pilot meets her, romantic sparks fly.

• Director
• Harold D. Schuster
• Writers
• Warren Duff(screenplay)
• Martin Rackin(original story)
• Jerome Odlum(contributor to screenplay construction)
• Stars
• Pat O'Brien
• Robert Ryan
• Ruth Hussey

In this wartime propaganda film, two Marine officers and their company go on leave when the Army takes over during the Guadalcanal invasion. Their leave is spent in Australia where one of the officers falls in love with a woman. His pal, afraid that there will be no turning back for his buddy, receives orders that send them both back to the US to train recruits. Naturally, his enamored friend is quite upset by this sudden turn and refuses to talk to his pal until a subsequent mission gives them the chance to stop briefly in Australia. There the lovers are finally wed, just before he goes to battle.

• Director
• Ray Enright
• Writers
• John Tucker Battle(story)
• Edwin Blum(screenplay)
• Jerome Cady(story)
• Stars
• Pat O'Brien
• Adolphe Menjou
• Ellen Drew

Man Alive is an inventive and consistently amusing farce dominated by stars Pat O'Brien and Adolphe Menjou. The former plays Speed, a moderately successful garage owner. Wrongly convinced that his wife Connie (Ellen Drew) has fallen in love with his old friend Gordon (Rudy Vallee), Speed goes off on a toot. During a long and drunken night, he gives his clothes and his car to an old tramp named Willie the Wino (Jack Norton). With Speed as his passenger, Willie piles the car into a river; he is drowned, but Speed is rescued by showboat entrepreneur Kismet (Menjou). When the car is recovered, it is assumed that the body inside is Speed's. At first determined to prove to his grieving "widow" that he's still alive, Speed is convinced by Kismet to test Connie's loyalty, leading to a series of zany consequences. Former "Our Gang" member Carl "Alfalfa" Switzer figures prominently in the hectic closing scenes. Alas, Man Alive failed to make back its cost when first released, convincing RKO Radio to lay off such whimsical fare in the future.

• Director
• Henry Levin
• Writers
• George Wells(screen play)
• Glendon Swarthout(novel "Where The Boys Are")
• Stars
• Dolores Hart
• George Hamilton
• Yvette Mimieux

Yvette Mimieux, Paula Prentiss, Connie Francis, and Dolores Hart star in this frothy teen romance-drama as attractive co-eds who take off from Midwest colleges on the annual spring break to land in Ft. Lauderdale, Florida -- where the boys are. There are plenty of parties, booze, and sex to keep minds off calculus for awhile. Merritt Andrews (Hart) and Ryder Smith (George Hamilton) manage to get together, Tuggle Carpenter (Paula Prentiss) manages to let her comedic talents shine, Angie (Connie Francis) sings the hit title song, but Melanie (Yvette Mimeux) becomes a casualty of too many good times. She will recover, and all the leads will go on to good, even great careers in some cases. Dolores Hart was the only featured player here to leave Hollywood behind -- she became a Benedictine nun in 1963.

• Director
• Nick Grinde
• Writers
• Morton Grant(screen play)
• Roy Chanslor(from a story "Hi, Nellie"" by)
• George Bricker(screenplay)
• Stars
• Ronald Reagan
• June Travis
• Eddie Acuff

The first of three remakes of the 1933 Paul Muni picture Hi, Nellie, Love is on the Air is historically important as the screen debut of Ronald Reagan. In the original Hi, Nellie, a Winchellesque newspaper reporter is demoted to writing the "advice to the lovelorn" column when he steps on too many important toes. In the remake, reckless radio commentator Andy McLeod (Reagan) gets into hot water when he attacks a corrupt city government (a portent for the future, perhaps?), whereupon his boss disciplines McLeod by forcing him to host an innocuous kiddie program. While advising his youthful audience to eat their spinach and drink their milk, our hero manages to dig up enough dirt to expose the crooks once and for all. In his maiden film effort, Ronald Reagan is pretty good, though some distance removed from The Great Communicator.

• Director
• Frederick De Cordova
• Writers
• Harry Sauber(story)
• Eugene Conrad(screenplay)
• Francis Swann(screenplay)
• Stars
• Jack Carson
• Robert Hutton
• Martha Vickers

Jack Carson and Robert Hutton make a curious but copacetic comedy duo in the Warner Bros. musical Love and Learn. The stars are cast as Jingles and Bob, a pair of would-be songwriters hoping to get a break on Broadway. Along comes Barbara Wyngate (Martha Vickers), a wealthy young woman who hopes to make it on her own in the Big Apple. Hiding her true identity, Barbara helps the boys behind the scenes without their knowing it. Inevitably, Jingles and Bob clash over Barbara's affections, a problem that isn't resolved until the last possible moment. Craig Stevens, TV's future Peter Gunn, is featured in another of those "stuffed shirt" characterizations in which he was then specializing at Warners.

• Director
• Clive Donner
• Writer
• Woody Allen(original screenplay)
• Stars
• Peter Sellers
• Peter O'Toole
• Romy Schneider

A notorious womanizer, fashion editor Michael James (Peter O'Toole) decides to seek the help of a psychiatrist when he begins to feel that his inability to commit to a relationship is adversely affecting his personal life. Desperate to remain faithful to his fiancée Carole (Romy Schneider), Michael enlists the help of Dr. Fassbinder (Peter Sellers), blissfully unaware that as Dr. Fassbinder is making the moves on a patient who secretly longs for the seemingly irresistible Michael. As Michael and Carole check into the Chateau Chantelle in hopes of patching up their relationship, Dr. Fassbinder has also arrived at the Chateau in hopes of finally cementing his relationship with the comely patient. As the two couples check into the hotel, disaster looms just beyond the bend in a series of hilarious mishaps that will test both Michael's faithfulness and Dr. Fassbinder's sanity.

• Director
• William Clemens
• Writers
• M. Coates Webster(screenplay)
• Michael Fessier(from a story by)
• Stars
• Arthur Kennedy
• Olympe Bradna
• Virginia Field

In this boxing drama, champion fighter Johnny Rocket decides to leave the ring to please his new bride. Unfortunately, his greedy manager, unwilling to get off the gravy train engineers things so that the fighter cannot find work and must return to the squared circle to make a living. His ploy works, and the fighter resumes his career. He also begins falling in love with a sexy female sports writer. This causes his marriage to disintegrate. The avaricious manager decides to make a lot of money fast and so sets his fighter up to take a dive and betting against him. The doped up fighter loses the fight. He also loses the sportswriter. Fortunately his true love is around to pick him up and help him start anew.

• Director
• Sam Wood
• Writers
• Christopher Morley(A novel by)
• Dalton Trumbo(screen play)
• Donald Ogden Stewart(additional dialogue)
• Stars
• Ginger Rogers
• Dennis Morgan
• James Craig

Though Ginger Rogers' starring vehicles always turned a profit for RKO Radio, many filmgoers thought of Rogers only in terms of "Fred Astaire's partner." Others considered her a delightful comedienne, but no great shakes as a dramatic actress. Thus it was both a personal and professional triumph when Ms. Rogers walked home with an Oscar for her performance in Kitty Foyle. Based on Christopher Morley's Story of an American Girl, the film, told in flashback, relates the progress of working-girl Kitty Foyle (Ginger Rogers) as she pursues her Cinderella dreams. While employed at a department store, Kitty is wooed by Dennis Morgan, scion of a wealthy Philadelphia family. She flirts with the notion of marrying Morgan for his money, but decides that he's a bit too weak-willed for her tastes. Kitty enters into a romance with poor-but-dedicated doctor James Craig, then does an about-face by accepting Morgan's proposal. She quickly runs afoul of Morgan's snobbish family, who are so tightly bound by centuries-old tradition that Kitty is moved to exclaim "You mean to say you let all those dead people tell you what do?" She walks out on Morgan, then discovers that she's pregnant. Even after the trauma of delivering a stillborn child, Kitty is too proud to go back to Morgan. When true-blue Craig comes back into her life, Kitty, repeating her favorite phrase "By Judas Priest!", decides to forego money for love. Though successful to the tune of an $860,000 profit in 1940, Kitty Foyle seems stilted and over-rehearsed when seen today, save for the refreshing spontaneity of Ginger Rogers' performance. The film's best scene is the opening montage of the American Woman's "progress" once she enters the workplace (an uncredited Heather Angel is the central character in this delightful pantomimic vignette). Featured in the cast of Kitty Foyle is director Sam Wood's daughter Katherine Stevens, better known as K.T. Stevens.

• Director
• William Clemens
• Writers
• Robert E. Kent(story)
• Crane Wilbur(screenplay)
• Stars
• John Payne
• Gloria Dickson
• Stanley Fields

A lumber camp provides the setting for this romantic drama that chronicles the love between a nightclub singer, her new husband, a lumberjack, and her old flame, who also happens to be working in the same camp. When the singer spies her former love, the affair is rekindled. Unfortunately, neither wants to hurt her gentle new husband. When he spies them embracing, he gets angry and sets them on a runaway train. Fortunately, he reconsiders his actions before it is too late and unhitches their car before the train hurtles off a steep cliff into a deep gorge.

• Director
• Michael Curtiz
• Writers
• Bertram Millhauser(screen play)
• Laird Doyle(story "The Heir Chaser")
• Ray Nazarro(story "The Heir Chaser")
• Stars
• James Cagney
• Bette Davis
• Allen Jenkins

James Cagney runs a shady missing-heir tracing service, occasionally providing phony heirs in order to collect his fee. He suffers a tinge of jealousy when he takes a gander at the offices of a legitimate tracing firm, where his former girlfriend (Bette Davis) has taken a job. Jimmy soon learns that the reputable organization's boss (Alan Dinehart) is more crooked than Jimmy ever was, but he can't convince the girl of this fact. Using his own street smarts, Cagney exposes the "honest" heir tracer and agrees to go straight if his girl will come back to him. At the time Jimmy the Gent was filmed, James Cagney was getting tired of the formula pictures being handed him; rather than go on suspension, he expressed his displeasure by shaving his hair almost down to the bone, which is why he appears in this film with an uncharacteristic buzz-cut.

• Director
• Michael Curtiz
• Writers
• Agnes Christine Johnston(screenplay)
• Charles Hoffman(screenplay)
• Josephine Bentham(play)
• Stars
• Joyce Reynolds
• Robert Hutton
• Edward Arnold

Janie, adapted from the Broadway play by Josephine Bentham and Herschel Williams, was one of a 1940s cycle of stage-to-film comedies about teenagers. Joyce Reynolds stars as Janie, a typical teen whose life is turned topsy turvy by the installation of a military base near her home town. Edward Arnold and Ann Harding, exasperated and understanding respectively, play Janie's parents. Robert Hutton is the soldier and Richard Erdman the hometown boy who vie for Janie's attentions. The film is cloying at times, but survives as a reasonably accurate representation of teenage life in the war years, right down to the "coded slang" used to throw parents off the track. Janie ends with the Army marching out and the Marines marching in, leaving the door wide open for a sequel, which appeared in 1946 under the title Janie Gets Married.

• Director
• William Beaudine
• Writers
• William Beaudine(original screenplay)
• Beryl Sachs(original screenplay)
• Stars
• Johnny Downs
• Wanda McKay
• Robert Kent

In this romantic drama, an office clerk's quiet personal life is disrupted when a sick woman appears at his doorstep in desperate need of help. The kindly fellow takes her in and helps her to recover. He then discovers that she isn't sick at all; she was only trying to hide from the cops who pursue her. The fellow decides to let her stay anyway. Later, when the whole mess is straightened out, the two marry.

• Director
• Preston Sturges
• Writer
• Preston Sturges
• Stars
• Brian Donlevy
• Muriel Angelus
• Akim Tamiroff

The moral of Preston Sturges' first directorial effort The Great McGinty seems to be: If you're a crook, stay a crook, because honesty will get ya every time. Brian Donlevy plays Dan McGinty, a Chicago hobo who is hired by local political bosses as a "professional voter", casting ballots under a variety of assumed names in various districts. McGinty chalks up $74 worth of votes, and when local ward heeler William Demarest can't pony up, McGinty takes direct action by trying to beat up The Boss (Akim Tamiroff). Though the two men can't get through an entire day without trying to kill each other, McGinty and the Boss are impressed by each other's raw abilities and become political partners. Through the Boss' patronage, McGinty works his way up to the mayor's office, with his politically expedient bride (Muriel Angelus) at his side. Though he never goes so far as to fall in love with his "arranged" wife, Donlevy is fond of both her and her children by a previous marriage, and for their sake he begins to reform--much to the dismay of the Boss. With the Governor's mansion within his grasp, McGinty makes the fatal error of fessing up to a graft-ridden bridge contract. It is this impulsive moment of honesty, rather than any of his past crimes, that gets McGinty thrown in the slammer, sharing a cell with the blood-in-his-eye Boss. Demarest separates the two combative men long enough to arrange an escape to South America, but not before McGinty has assured the financial security of his wife and family. The story is told in flashback form in a seedy South American dive, where McGinty works as a bartender and the Boss is the manager. The film ends with the two friendly enemies duking it out over a minor infraction, while bouncer Demarest looks on in disgust. Sick to death of watching other directors mangle his screenplays, Preston Sturges sold this rollicking political satire to Paramount only on the condition that he be allowed to direct (for the princely sum of $10). Paramount hedged its bets by giving Sturges a slim budget and inexpensive stars; as a result, the film made back its cost several times over, and Preston Sturges' directorial career was off and running.

• Director
• George Archainbaud
• Writer
• Gerald Geraghty
• Stars
• Gene Autry
• Champion
• Gail Davis

Gene Autry goes undercover once again in this rather pedestrian western from Columbia Pictures. Suspecting jailed youth Dave Weldon (Dick Jones) of complicity in an army payroll heist, special investigator Autry has himself jailed. He quickly discovers that there is more to the case than meets the eye and helps Dave escape and rejoin his father's medicine show, which also includes Dave's sister Connie (Gail Davis) and the singing Cass Country Boys. Meanwhile, nasty Mike McClure (Henry Rowlands and his crew are also after the stolen money and to save young Dave's life, Gene convinces him to turn the loot over to Marshal Taplan (Gordon Jones). Among other selections, Autry and the Cass County Boys perform yet another version of Gene's signature tune, "Back in the Saddle Again".

• Director
• Raoul Walsh
• Writers
• Mae West(play)
• Marion Morgan(story)
• George B. Dowell(story)
• Stars
• Mae West
• Victor McLaglen
• Phillip Reed

Mae West butts heads with Victor McLaglen in Raoul Walsh's Klondike Annie, but the real victor was the Legion of Decency, whose censorship strictures transformed a saucy and spicy gumbo into something closer to chicken noodle soup. West plays Rose Carlton, the kept woman of Chan Lo (Harold Huber), who takes her from walking the streets to pacing the floors of her high rent apartment. Rose ends up killing Chan and beats it from San Francisco to the frozen north. She boards a ship where burly sea captain Bull Brackett (McLaglen) takes a shine to her; when he finds out she killed Chan, he blackmails her into coming up and seeing him sometime. Boarding the ship in Seattle is missionary Annie Alden (Helen Jerome Eddy), who dies on the way to Alaska. Rose assumes Annie's identity and, upon arrival in Alaska proceeds to preach the Good Book, saving sinners by unorthodox methods. Mountie Jack Forrest (Philip Reed) arrives in town searching for Chan's murderer and he falls in love with Rose, unaware that the woman he loves is the killer he seeks.

• Director
• Erich Pommer
• Writers
• W. Somerset Maugham(short story "Vessel of Wrath")
• Bartlett Cormack(written for the screen by)
• B. Van Thal(scenario)
• Stars
• Charles Laughton
• Elsa Lanchester
• Robert Newton

Based on a story by Somerset Maugham, The Beachcomber was originally released in Great Britain as Vessel of Wrath. This English version was much franker--and much more fun--than the abbreviated, watered-down US release prints. Even the American version, however, is successful in capturing the spirit of Maugham's tale of slovenly remittance man Charles Laughton drinking and wenching away his monthly allowance in the picturesque Dutch Islands. Elsa Lanchester (the real-life Mrs. Laughton) plays the prim sister of sanctimonious missionary Tyrone Guthrie, who slowly regenerates the wastrelly Laughton. Our hero redeems himself fully through his courageous behavior during a cholera epidemic. This version of The Beachcomber is based on the stage adaptation by Bartlett Cormick; the 1955 remake, which played faster and looser with the Maugham original than the Cormack version did, starred Robert Newton, who plays the local British authority in the 1938 film. The Beachcomber was the only film directed by producer Erich Pommer, who spent most of the 1930s as Charles Laughton's business partner.

• Director
• Norman Z. McLeod
• Writers
• S.J. Perelman(by)
• Will B. Johnstone(by)
• Arthur Sheekman(additional dialogue)
• Stars
• Groucho Marx
• Harpo Marx
• The Marx Brothers

The first Marx Brothers film to be written directly for the screen (its authors included S. J. Perelman, Arthur Sheekman and Will B. Johnstone), Monkey Business is also the merry Marxes' first Hollywood production. Groucho, Harpo, Chico and Zeppo are brilliantly cast as four stowaways on an ocean liner, bound for New York. As our heroes endeavor to elude dimwitted First Mate Gibson (Tom Kennedy), each of the brothers gets involved in an adventure of his own. Groucho finds himself in a menage a trois with gangster Alky Briggs (Harry Briggs) and Briggs' sexy wife Lucille (Thelma Todd); Harpo joins a "Punch and Judy" puppet show, driving the ship's crew into a frenzy of confusion; Chico hires himself out as bodyguard to retired bootlegger Joe Helton (Rockliffe Fellowes); and Zeppo romances Joe's pretty daughter Mary (Ruth Hall). Once they've arrived in New York, the Marx boys head to Helton's Long Island mansion, where, after the obligatory harp-and-piano musical interludes, the fearsome foursome team up to rescue Mary from her kidnappers. There are far too many wonderful moments in Monkey Business to detail here, but highlights include Groucho's initial confrontation with Alky Briggs ("With a little study, you'll go a long way, and I wish you'd start now!") and his romantic tete-a-tetes with Lucille ("Come with me, and we'll lodge with my fleas in the hills -- er, flee to my lodge in the hills"); Harpo and Chico's attempts to shave a sleeping barbershop customer ("You know what, partner? I think we give-a him one snoop too much"); and the classic setpiece, "borrowed" from the team's early Broadway hit I'll Say She Is, in which all Four Marx Brothers try to slip past the customs officials by posing as Maurice Chevalier! Though not the best of their Paramount features, Monkey Business is still among the funniest Marx Brothers comedies ever made -- and one of the funniest comedies, period.

• Director
• Josef von Sternberg
• Writers
• Jules Furthman(screen play)
• Harry Hervey(based on the story by)
• Stars
• Marlene Dietrich
• Clive Brook
• Anna May Wong

"It took more than one man to change my name to Shanghai Lily," purrs Marlene Dietrich in Shanghai Express. She certainly has her well-manicured hands full with more men than she can count in this exotic far-Eastern adventure. Among her fellow passengers on the Shanghai Express are her disillusioned former fiance, stalwart British medical corps officer Clive Brook; over-fervent missionary Lawrence Grant; dope smuggler Gustav von Seyffertitz; and mysterious Eurasian businessman Warner Oland. As the train chugs through the more treacherous passages of war-torn China, Oland reveals himself as the leader of a rebel group, who plans to hold the passengers hostage to secure the release of his imprisoned followers. In Boule de Suif fashion, Dietrich, who is a notorious "Chinese coaster" but who has remained sexually aloof throughout the trip, gives herself to Oland to save the life of Brook, the man she truly loves. Directed by Josef von Sternberg at his most orgiastic (love those long, lingering dissolves!), Shanghai Express is 80% style and 20% substance, as proven by two less stylish remakes, Night Plane to Chungking and Peking Express.

• Director
• Art Napoleon
• Writers
• Art Napoleon(screenplay)
• Jo Napoleon(screenplay)
• Diana Barrymore(book)
• Stars
• Dorothy Malone
• Errol Flynn
• Efrem Zimbalist Jr.

Too Much, Too Soon was adapted from the warts-and-all autobiography of actress Diana Barrymore, the troubled daughter of "great profile" John Barrymore. As played by Dorothy Malone, Diana is a basically decent young lady who suffers mightily from lack of parental love. Her famous father, played with boozy bravado by Errol Flynn, is the soul of graciousness and affection when sober, but a human monster when drunk -- which is often. Her poetess mother, Michael Strange (Neva Patterson), is too preoccupied by her bitterness against Barrymore to pay much attention to Diana. Striking out on her own as an actress, Diana vainly seeks personal happiness with several husbands: actor Vincent Bryant (actually Bramwell Fletcher), played by Efrem Zimbalist Jr.; jealous, possessive tennis player John Howard (Ray Danton); and another actor, alcoholic Robert Wilcox (Ed Kemmer). Unable to find satisfaction in her work or her private life, Diana follows family "tradition" by turning to liquor; this leads to extended sanitarium stays and innumerable suicide attempts. It is suggested at the end of the film that she is on the road to recovery, thanks in part to her biographer Gerold Frank (Robert Ellenstein); the sad truth is that two years after the release of Too Much, Too Soon, Diana Barrymore killed herself at the age of 39. This filmed version of Diana's tragic life seldom rises above soap-opera level, save for Errol Flynn's knowing performance of his old friend and drinking companion John Barrymore.

• Director
• John Cassavetes
• Writers
• Richard Carr
• John Cassavetes
• Stars
• Bobby Darin
• Stella Stevens
• Everett Chambers

After his pioneering independent film Shadows (1960), actor/writer/director John Cassavetes made his major studio directorial debut with this gritty, low-key drama about jazz musicians. Bobby Darin plays John "Ghost" Walefield, a pianist who scuffles from gig to gig with his band, trying to keep body and soul together without betraying his muse. Ghost's agent Benny (Everett Chambers) introduces him to Jess (Stella Stevens), a would-be singer who looks beautiful, even though her voice is fair at best. Ghost falls hard for her and agrees to put her in the band, though it's hard to say if he believes in her musical talent or just wants her companionship. Ghost and his band score a record deal thanks to Jess' presence, but after a humiliating fight in a pool hall and Ghost's discovery that Jess occasionally turns tricks to pay the rent, he puts his integrity up for sale, fires his band, and starts spending his time with a rich woman who likes to hang out with musicians -- and is willing to pay for the privilege. A number of real-life jazz greats appear onscreen and on the soundtrack, including Slim Gaillard, Benny Carter, and Shelly Manne; the role of Ghost was originally written for Montgomery Clift, who was forced to back out at the last minute, leading to Bobby Darin's casting.

• Director
• Harlan Thompson
• Writers
• István Békeffy(story)
• Harlan Thompson(screenplay)
• George Marion Jr.(screenplay)
• Stars
• Cary Grant
• Genevieve Tobin
• Helen Mack

One of the least known of Cary Grant's starring vehicles, Kiss and Make Up was based on a European play by Stephen Bekeffi. Grant stars as high-priced beautician Dr. Maurice Lamar, who does so spectacular a job on his plain-jane client Eve Caron (Genevieve Tobin) that Eve's jealous husband Marcel (Edward Everett Horton) divorces her. Eve marries Maurice on the rebound, but she drives him crazy with her shallow vanity. Maurice would prefer the company of his faithful secretary Anne (Helen Mack), but she has wed the vengeful Caron! But when Anne discovers that Caron is as self-involved as Eve, she goes back to Marcel, while Eve, who started it all, quickly finds comfort in the arms of gigolo Rolando (Rafael Storm). Highlights in Kiss and Make Up includes Cary Grant's musical numbers (yes, he can sing) and a hilarious bit involving Cecil Cunningham as one of Dr. Lamar's less successful "experiments." The film also serves as a showcase for the 1934 crop of Wampas Baby Stars, including George M. Cohan's pretty daughter Helen and Jean Gale of the singing Gale Sisters.

• Directors
• John Huston
• Raoul Walsh(uncredited)
• Writers
• Howard Koch(screenplay)
• Ellen Glasgow(novel "In This Our Life")
• Stars
• Bette Davis
• Olivia de Havilland
• George Brent

In This Our Life is not a "for the ages" classic of the Golden Age of Cinema, but as a highly effective and entertaining melodrama, it more than fits the bill. Howard Koch's screenplay is a trifle predictable, but it's well structured and provides the requisite juicy roles for its pair of female stars. It also provides a number of little surprises -- a sympathetic and (for the time) non-stereotypical portrayal of a black character and two characters living not only in sin but adulterously so -- that give it some distinction. The script's main drawback is its initial lack of focus; it doesn't seem to quite know exactly what its story is and where the real conflict will lie. Ultimately, this doesn't really matter, for John Huston knows where it's going, and he shepherds the story along very efficiently, throwing in a little social commentary here, heightening the atmosphere there, tossing in a hint of the unsavory elsewhere. Although he doesn't really know what to do with the male actors (save for Charles Coburn and Frank Craven, each of whom is just right in entirely different ways), he handles the women in exactly the right way, including Billie Burke as the coddling, neurotic mother. It's Bette Davis, of course, who gets the showiest role, and she sinks her teeth into it and plays it for all it's worth. It's a great Davis performance, but she's still outdone by Olivia de Havilland, whose quiet, understated work anchors the film and ultimately makes the greater impression. It's terribly fine film acting, and immensely satisfying.

• Director
• Irving Reis
• Writer
• Edmund H. North(story)
• Stars
• Kent Taylor
• Linda Hayes
• Howard Da Silva

This romance chronicles the relationship between a stuntman and his movie star wife. When a colleague of his is killed on a movie set, his wife becomes afraid for her husband. This creates marital tension and the two separate. Eventually his buddies conspire to reunite them.