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First Men in the Moon is an H.G. Welles cinemadaptation from director Nathan Juran. When scientists in the year 1964 are confused by evidence of a long-ago space flight, nonagenarian Arnold Bedford (Edward Judd) explains all. Back in 1899, Bedford, eccentric scientist Joseph Cavor (Lionel Jeffries) and heroine Kate Callender (Martha Hyer) took a trip to the moon in a home-made space vehicle. Once on the lunar surface, they encountered an alien civilization resembling an ant colony, complete with "queen," soldiers and workers. How they returned, and the aftereffects of their journey, comprise the film's final third. Peter Finch appears briefly as a messenger; he happened to be visiting the set when the actor hired to play the bailiff's assistant failed to show up.

Elvis Presley hits the high seas in this musical comedy. Ted Jackson (Presley) is a former Navy frogman who divides his time between twin careers as a deep sea diver and nightclub singer. Ted discovers what he believes could be a fortune in Spanish gold aboard a sunken ship and sets out to rescue it with the help of go-go dancing yoga expert Jo Symington (Dodie Marshall). However, Gil Carey (Skip Ward) is also after the treasure and uses his girlfriend Dina Bishop (Pat Priest) to foil Ted's plans. Elvis sings six tunes in this picture, including the deathless "Yoga Is as Yoga Does" and "The Love Machine."

A moody but extremely talented clarinet playing band-leader is contracted to write a symphonic, bluesy soundtrack for an upcoming film. Unfortunately, he can neither read nor write music. Instead he simply plays whatever he feels. The comedy in this musical begins when two professional arrangers are hired to transcribe his playing. Unfortunately, every time the musician's mood changes so does his style, so they must figure out some way to get him in a blue mood and keep him there till the project is completed.

The true story of a B-47 that once fell apart at 32,000 feet, and the men in it who were moved to extraordinary action.

Profiles of four generations of the famed American family are featured in this Emmy-winning series recalling John, Samuel and John Quincy Adams, as well as other members of the clan, over 13 installments.

Big bad bikers butt heads with a small-town sheriff in this bargain-basement sleaze-fest.

The story of the Randalls, a once-wealthy family who must learn to live with poverty when their wealth is lost through bad investments.

Kathy Ferguson (Barbara Stanwyck) is a cynical newspaper columnist in San Francisco, handling women's advice -- by chance one day, the paper's city editor assigns her to cover the woman's angle on the arrival of a pair of L.A. police detectives, Capt. Manny Alidos (Royal Dano) and Lt. Bill Doyle (Sterling Hayden), on the hunt for a murder suspect known to be hiding somewhere in the city. They're both pretty button-down types and seem like fish-out-of-water in the more easy-going Frisco, and Kathy quickly clashes with them both, especially when her column appealing to the missing suspect as a woman yields serious dual results -- not only does Kathy boost her profile and readership, but the missing suspect makes contact and is ultimately brought in; in the process, Kathy goes from journalistic back-bencher to media star. That would be the end of the issue, except that Kathy and Bill have become attracted to each other amid their clashes, parries, and thrusts, and decide to get married -- she spurns the offer of a job in New York to move to Los Angeles and settle down to the life of a wife and homemaker. But that proves impossible -- Kathy quickly chafes at what she regards as the empty vacuous chatter of her fellow detective wives' lives and social interactions, and also her place in their pecking order as determined by their husbands' ranks and assignments (and Bill just doesn't rate high enough). Her own life suddenly cut off from career and ambition, and an ability to act on either, she becomes fixated on Bill's career and advancing it and him as a substitute. She contrives to cross paths socially with Alice Pope (Fay Wray), the wife of Inspector Tony Pope (Raymond Burr), who is both the head of an elite detective unit and the top man in her husband's division, and is soon not only getting Bill invited to parties with Pope and the police commissioner, but also cutting her husband's boss Manny Alidos and his wife Sara (Virginia Grey), to whom she's taken a special dislike, out of those same events. It's not quite enough, however, and Kathy starts socializing on her own with Tony Pope, on Bill's behalf, and the two soon have their own relationship. Bill is still too much of a nice guy, and not careerist enough or assertive enough -- until she feigns distress at receiving poison-pen letters accusing her of having an affair with Pope, and blames Manny and Sara. This drives Bill to confront and assault Alidos, leading to a hearing in Pope's office where the chief of the division -- now very much beholden to Bill for Kathy's sake -- comes down on Bill's side. When the smoke clears, Manny is bounced back into uniform and Bill is made acting captain and put in charge of the homicide unit that Alidos formerly headed. Bill is on his way, and so is Kathy and Pope's relationship. But Pope proves to be a distressingly honorable and loyal man -- when his wife's health takes a turn for the worse, he decides to put in for retirement, and Kathy wants him to recommend Bill as his replacement. He considers it but decides that regardless of what he's done outside of his marriage, the department is too important to compromise the detective division, and that Bill just doesn't have what it takes to head it. Kathy is too deep in her strategy to back off, and also feels betrayed by Pope; now pushed over the edge, she contrives to threaten him with a gun, and is prepared to make good on her threat. Ironically enough, Bill may get his shot yet at heading the division, as he's head of homicide and takes personal charge of the biggest case the department has seen in years -- bringing in Tony Pope's killer. The only question is if and how he can put together the clues and pieces of the puzzle leading back to Kathy.

This entertaining sequel to 1965's Dr. Who and the Daleks has been released under several titles: Invasion Earth 2150 AD, Daleks Invade Earth: 2150 AD, and Daleks-Invasion Earth 2150 AD. So guess when the story takes place? Peter Cushing returns as eccentric time-traveller Dr. Who, idol of millions of BBC viewers and PBS pledge drive fans. This time, Dr. Who, his niece Susan (Roberta Tovey) and a flustered London bobby (Bernard Cribbins) are whisked into the future via the Doc's TARDIS call box. In 2150, London is under siege from the extraterrestrial Daleks, with whom Dr. Who has crossed swords in the past. The Daleks intend to convert the earth into a huge spaceship by activating the planet's metallic core. Props essential to the action include flying saucers, death rays and robots, all of which look a lot more expensive than those silver-painted tinker toys seen on the Dr. Who TV series. Coproducer Milton Subotsky based his screenplay upon a Dr. Who television continuity written by Terry Nation.

An unstable actor who was once a child star (real life former child star Jackie Cooper) decides to show his worst critic exactly what kind of performance he's capable of.

Filmed entirely on location in New York, Close-Up affords a rare starring role for character actor Alan Baxter. While on assignment, newsreel photographer Phil Sparr (Baxter) happens to film a passerby named Beaumont (Richard Kollmar). Suddenly, everyone is interested in what Sparr has captured on film, none more so than girl reporter Peggy (Virginia Gilmore). It turns out that both Beaumont and Peggy are members of a secret neo-Nazi organization, headed by the very mean-spirited Mr. Gibbons (Philip Huston). Taking advantage of his newfound "hero" status (he was usually the bad guy), Alan Baxter shows off his athletic prowess in a pulse-pounding climactic chase involving two speeding ferryboats.

At a laboratory outside of a small village in the south of England, physicist Dr. Laird (Alec Mango), assisted by American scientist Gilbert Graham (Forrest Tucker), is performing a series of advanced experiments with magnetic fields -- dangerous experiments, using massive amounts of power in equipment which isn't designed to carry the load. An accident injures one of his assistants, and a request for a replacement to the Ministry of Defense brings Brigadier Cartwright (Windham Goldie) down to investigate, accompanied by a replacement for the injured man -- a woman computer expert, Michele Dupont (Gaby Andre), who helps to solve Laird's power problem, but not the larger risks inherent in his experiments. Cartwright is impressed when an interrupted experiment transforms several pieces of steel not in the test chamber into useless lumps of powder -- his report convinced the Deputy Defense Minister (Geoffrey Chater) to make Laird's project a top priority, and he sends a full security team, led by counter-espionage expert Jimmy Murray (Hugh Latimer), down to cover the laboratory. But it soon becomes clear that enemy agents are the least of the dangers manifesting themselves around Laird's project -- the hyper-magnetic fields that he has generated have been affecting the ionosphere, causing unnatural weather patterns, threatening ships at sea hundreds of miles away, and also weakening the magnetic layer that shields the surface of the earth from cosmic rays. The sudden burst of radiation from deep space causes brain damage in one man that turns him into into a homicidal maniac -- but it has also affected the insect life in the area, causing it to mutate. In the midst of this growing threat to the safety of the world, a mysterious Mr. Smith (Martin Benson) arrives in the village -- he's a well-spoken man with amazingly little knowledge of ordinary life, but a lot of awareness about magnetic fields and the work that Dr. Laird is doing. Murray is positive that he's a spy, but Gil and Michele decide that there's a lot less danger from him than from Dr. Laird, who has vowed to continue regardless of the risks. And even with Smith's warning, and Gil's and Michele's best efforts to alert the authorities and stop Laird, the forest adjacent to the town is soon swarming with gigantic beetles and other monsters.

On the whole, the MGM B product of the 1950s contained some of the studio's best-ever "small" pictures. Filmed on location in the Louisana swamplands, Cry of the Hunted boils down to an extended chase, with escaped convict Vittorio Gassman as the fox and sheriff Barry Sullivan as the hound. Sullivan's deputy William Conrad secretly hopes that Gassman will get away, so that he, Conrad, can step into his boss' job. Polly Bergen is the requisite love interest, effectively deglamourized to fit in with her soggy surroundings. Cry of the Hunted is directed with flair by Joseph H. Lewis, who always managed to rise above the slimmest of budgets and the barest of production values.

In this documentary-inspired thriller, P.J. McNeal (James Stewart) is a reporter who is asked by his editor to look into a potential story: their newspaper has been carrying an ad offering a substantial reward for information regarding the murder of a policeman that occurred eleven years ago. It turns out the ad was placed by a cleaning woman named Tillie Wiecek (Kasia Orzazewski); her son Frank (Richard Conte) was convicted of the crime, but she is thoroughly convinced her son had nothing to do with the killing. McNeal doesn't believe for a moment that Frank could be innocent, but he sees a good human interest story in Tillie and writes a piece that receives a great deal of favorable attention. Brian Kelly (Lee J. Cobb), McNeal's editor, thinks there might be more to this story and asks P.J. to look into the original murder case. To McNeal's surprise, Frank passes a lie detector test in which he proclaims his innocence, and the more he digs into records on the case, the more he finds wrong with the original investigation; some evidence is missing, much is inconclusive, and the reporter begins to wonder if Frank might have been railroaded after all, or if the police might be trying to keep something quiet. Call Northside 777 was based on a true story.

By the Light of the Silvery Moon was a sequel to Warner Bros' On Moonlight Bay (1951); both films were loosely based on the "Penrod" stories by Booth Tarkington. Penrod himself (played by Billy Gray) takes a back seat to the main plot, concerning the hot-and-cold romance between Doris Day and Gordon MacRae. Gordon will not marry Doris until he is financially able to do so, which results in several breakups and reunions before the final clinch at the local ice rink. A silly subplot involves Penrod's suspicions that an attractive French schoolteacher (Maria Palmer) is not only romancing his father (Leon Ames), but is also an enemy spy! Set shortly after the end of World War I, Silvery Moon takes full advantage of that era's popular songs. The film isn't quite as good as On Moonlight Bay, but fans of Day and MacRae went home happy. Also: watch closely, and you'll spot Merv Griffin in a minor role.

TV special featuring footage filmed throughout Wings' tour of 1975/76, following the band in England, Australia and America. It contains live concert performances featuring 15 of Wings' greatest hits and home movies of the McCartney family.

In this melodrama, a brilliant pianist is struck blind in an accident and stops working on his equally brilliant concerto. A wealthy woman pretends to be poor and blind to help him regain his confidence, and holds a contest with a large prize for the best musical composition. She, as the blind girl, encourages him to finish his work and enter it. He wins the prize, uses the money to have his sight restored, falls in love with the wealthy woman, and is thrilled to find that his two loves are one and the same.

The 1940 peacetime draft spawned a whole slew of military and naval comedies, the most successful of which was Abbott and Costello's Buck Privates. In this vein, Warners' Navy Blues features several studio contractees (including Ann Sheridan and Jack Carson), a few borrowed comedians (Jack Oakie, Jack Haley, Martha Raye) and a plethora of forgettable musical numbers. The plot: A ship's crew goes on leave in Honolulu, has a high old time, meets a few pretty girls, and heads back to sea. That's all. Modern viewers will get a kick out of spotting Navy Blues supporting actor Jackie Gleason, who must have relished the opportunity of working with his idol Jack Oakie.

My Dream Is Yours is a Technicolor remake of the jaunty 1934 Warner Bros. musical Twenty Million Sweethearts. But there's a significant difference here: whereas in the earlier film singing-waiter Dick Powell was turned into a crooning idol, in the remake it is Doris Day who is catapulted to stardom. Jack Carson (who was reportedly romantically involved with Day during filming) is the hot-shot promoter who makes a celebrity out of Day and lives to regret it, as does she, before the happy ending. The film's highlight is an animated dream sequence courtesy of Warners' cartoon division, directed by Friz Freleng and featuring cameos by Bugs Bunny and Tweety. Edgar Kennedy makes his final screen appearance in the role of Day's flustered uncle. The songs in My Dream Is Yours includes the big hit from Twenty Million Sweethearts, "I'll String Along With You."

In this upbeat drama, a lovely European heiress is disturbed to discover from her lawyer that her father made his fortune by cheating his own partner. This precipitates her hasty return to the US where she meets the partner's granddaughter. The heiress then moves into the girl's boarding house and gives her a million dollars. Unfortunately, her newfound wealth causes the girl, untold trouble as her lover, a proud musician, refuses to marry a woman with more money than he. The girl solves the problem by donating her fortune to charity.

That old reprobate George Cheseboro is at it again in this low-budget Western from the "new" PRC. This time, Cheseboro plays trading post owner Price Taylor, whose shipments are constantly intercepted by a group of vigilantes. But as undercover lawman Cheyenne Davis (Al "Lash" LaRue) and his sidekick Fuzzy Q. Jones (Al St. John) learn, the vigilantes are local homesteaders fighting against Taylor's exorbitant prices. When the leader of the vigilantes, Frank Jackson (Steve Clark), is murdered by the crooked sheriff (Lee Morgan), Cheyenne and Fuzzy go after Taylor, who is eventually whipped into submission.

Lucky Me is a mixed-bag musical from Warner Bros., adhering to a tried-and-true formula that was wearing just a bit thin in 1954. Candy (Doris Day), Hap (Phil Silvers), Duke (Eddie Foy Jr.) and Flo (Nancy Walker) are four small-time performers who find themselves stranded in Miami. Forced to take domestic jobs in a fancy hotel, the foursomes's spirits are lifted when songwriter Dick (Bob Cummings) checks in. On the verge of writing a big-time Broadway show, Dick invites the four entertainers to participate. The hitch: In order to bankroll the show, Dick must woo and win the daughter (Martha Hyer) of a Texas oil magnate. . .and Candy has fallen in love with Dick. Sharp-eyed viewers will spot Angie Dickinson making her uncredited feature-film debut.

The short but colorful life of American musical comedy star Marilyn Miller is given the standard prettified Hollywood treatment in Look for the Silver Lining. June Haver, an accomplished dancer-singer in her own right, is well-cast as Miller, who rises from an appendage in her parents' vaudeville act to the toast of Broadway. Along the way, she suffers such personal tragedies as the wartime death of her first husband, songwriter Frank Carter (Gordon Macrae), but manages to smile through the tears and go on to even loftier showbiz heights. The film ends in 1936, the year of Miller's death; we last see her "giving her all" to her audience, while an offstage observer makes ominous comments about her future. The Phoebe and Henry Ephron/Marian Spitzer screenplay (based on a story by Bert Kalmar and Harry Ruby) glosses over Marilyn Miller's notorious prima donna behavior; she is shown lording it over the "little people" in only one scene, whereupon she is gently put in her place by the remonstrative Frank Carter. Charles Ruggles and Rosemary DeCamp co-star as Miller's vaudevillian parents, while Ray Bolger is his usual ebullient self as Jack Donahue; also on hand are S.Z. Sakall and Walter Catlett, recreating a scene from Miller's 1925 Broadway triumph Sally (Catlett had appeared in the original production). Look for the Silver Lining was produced by Warner Bros., the same company that released the real Marilyn Miller's three starring films back in the early days of the talkies.

Jamboree adheres to the usual formula of late-1950s rock&roll films: A plethora of musical numbers linked together by the wispiest of plotlines. Kay Medford heads the cast as manipulative showbiz agent Grace Shaw. Hoping to land pop singer Pete Porter (Paul Carr), Grace connives to break up Pete's romance with female vocalist Honey Wynn (Freda Holloway). But who cares? The audience came to see such musical faves as Fats Domino, Count Basie, Jerry Lee Lewis, Jodie Sands, Ron Coby, Slim Whitman, Carl Perkins, Frankie Avalon, Charlie Gracie and the Four Coins. As a promotional tie-in, Jamboree also features appearances by 21 of North America's top rock-and-roll deejays.

It's a Pleasure was the third release from International Pictures, the feisty independent that would later merge with Universal. Skating sensation Sonja Henie does her usual as ice-show star Chris Linden, who falls in love with hockey champ Don Martin (Michael O'Shea). A combative, troublesome sort, Martin is barred from hockey for life thanks to his numerous brawls and drinking binges. Meanwhile, Chris rises ever higher in her chosen profession, driving a wedge between herself and Martin. Since there was never a Sonja Henie picture with an unhappy ending, audiences were assured that things would aright themselves shortly after the climactic music-and-ice ensemble number.

In this remake of the 1926 silent hit (which was in turn based on a hit musical from 1919), Anna Neagle stars as Irene O'Dare, an Irish girl of humble beginnings who comes to New York in search of work. She finds a place as a shopgirl at a fashionable and expensive boutique managed by Mr. Smith (Roland Young). Irene does well at her new job and soon finds that two wealthy men are vying for her affections. Don Marshall (Ray Milland), the owner of the store, is much attracted to Irene, but so is socialite Bob Vincent (Alan Marshal), which does not come as a pleasant surprise to Eleanor Worth (Marsha Hunt), Bob's sweetheart. Irene features several (but not all) of the songs from the original stage production, including "Castle of Dreams", "Worthy of You", "You've Got Me out on a Limb", and "There's Something in the Air". The "Alice Blue Gown" number was shot in Technicolor, while the remainder of the film is in black and white.

The ultra-sentimental I'll See You in My Dreams is based on the life and work of composer Gus Kahn. The story is told from the point of view of Kahn' wife Grace, who was still alive when the film was made (Kahn died some ten years earlier). Danny Thomas stars as the prolific tunesmith, whose fortunes take an upswing in 1908 when he meets and falls in love with Grace LeBoy (Doris Day, who receives top billing, not to mention most of the best musical numbers). Kahn's career ascends to spectacular heights via such hits as "Pretty Baby", "My Buddy", "Toot Toot Tootsie" and "Making Whoopee", only to go into eclipse when he loses his savings in the 1929 stock-market crash. Convinced that he's lost his touch and that he's sacrificed true happiness to the evil goddess success, Kahn is ultimately gratified by the love and recognition of his peers. Among the famous personages imitated in I'll See You In My Dreams are Kahn's writing partner Walter Donaldson (Frank Lovejoy) and producers Sam Harris (Jim Backus) and Flo Ziegfeld (William Forrest).

Set in England, The Executioner stars American actor George Peppard as John Shay, a British spy. Shay is convinced that there's a double agent at large, and he's further convinced that it's his former colleague Adam Booth (Keith Michell). Having set himself up as judge and jury, Shay now intends to act the part of executioner. Also figuring into the proceedings (and displaying various degrees of guilt and innocence) are Joan Collins, Judy Geeson and Oscar Homolka. The talky script isn't given much in the way of visual dynamics by director Sam Wanamaker, but The Executioner manages to sustain an acceptable level of tension.

Hell on Frisco Bay is a slam-bang return to the sort of gangster fare turned out by the yard at Warner Bros. in the 1930s. Alan Ladd plays ex-cop Steve Rollins, who serves five years on a manslaughter rap. Upon his release, Rollins dedicates himself to finding the real killer. He soon learns that the man responsible for the frame-up was Victor Amato (Edward G. Robinson), the crime kingpin who rules the roost on the docks of San Francisco. Hoping to keep the heat off his operation, Amato "invites" Rollins to join his gang. Had Rollins accepted at this point, the film would have been over; instead, he doggedly pursues the gang boss with the help of such allies as cast-off gangster moll Kay Stanley (Fay Wray) and police lieutenant Dan Bianco (William Demarest). Amato is so desperate at one point that he orders the murder of his own nephew; surely a man with this sort of temperament is doomed to a horrible demise, and that's just what happens. Joanne Dru costars as Rollins' estranged wife Marcia, who believes in her husband but doesn't relish the notion of his being shot full of holes by Amato's goons. At the time of the film's release, the critics went overboard in their approval of Edward G. Robinson's full-blooded reprisal of the sort of role which made him famous (Robinson himself hated the part, but needed the work).

First adapted for the screen in 1928, Carl Ed's popular comic strip Harold Teen was cinematized a second time in 1934. This time it's musical-comedy star Hal LeRoy as the titular high-schooler, with Rochelle Hudson as his sweetheart Lillums Lovell and Hobart Cavanaugh as sweet-shop owner Pop Jenks. Recently graduated from school, Harold lands a newspaper job as a cub reporter, and in this capacity befriends town banker Rathburn (Hugh Herbert). This bodes ill for Harold's relationship with Lillums, who may be forced to marry Rathburn to save her home from foreclosure. But Rathburn is no villain, and it is he who paves the way for a happy ending. Since Hal LeRoy's strong suit was eccentric dancing, it goes without saying that Harold Teen includes a few arbitrarily inserted musical numbers.

The Corsican Brothers is based on theDumas novel about "psychic" twins--one feels the pain and experiences the thoughts of the other. Douglas Fairbanks Jr. plays both Mario and Lucien, siblings separated at birth because of a long-standing feud between various factions of their family. One twin is raised to be evil, the other to be good. In adulthood, the brothers become bitter enemies, not only because of family and political pressures but also because they both fall in love with the beautiful Isabelle (Ruth Warrick). Eventually, however, one twin gives up his life for the sake of the other during a climactic battle with tyrannical Corsican ruler Colonna (Akim Tamiroff). Produced on a virtual shoestring by Edward Small, The Corsican Brothers cannot rely on clever optical effects to convey the idea that Douglas Fairbanks Jr. is two people (some of the process work is embarrassing); instead, Fairbanks carries the story on the strength of his acting, subtly differentiating the two characters so that the audience is seldom confused as to which is which. Incidentally, the actor doubling for Fairbanks in the two-shots, his face averted from the camera, is Peter Cushing.

This second of four film adaptations of Damon Runyon's Little Miss Marker is tailored to the talents of Bob Hope. A shifty Broadway bookie, Sorrowful Jones (Hope) becomes a reluctant foster parent when an anxious gambler leaves behind his little girl Martha Jane (Mary Jane Saunders) as a "marker," or IOU. When the father is killed by mobster Big Steve Holloway (Bruce Cabot), Sorrowful decides to hide Martha Jane from the authorities, lest the poor girl get tossed in an orphanage. Lucille Ball co-stars as Sorrowful's erstwhile girlfriend Gladys, who along with Mary Jane is instrumental in "reforming" the cynical Jones. The climactic scenes, wherein Sorrowful tries to smuggle a horse into a hospital in order to bring the little girl out of a coma, deftly combines slapstick with pathos. A remake of 1934's Little Miss Marker, which starred Shirley Temple in the title role, Sorrowful Jones was itself remade in 1962 as the Tony Curtis vehicle Who's Got the Action; it was filmed again in 1980, once more as Little Miss Marker, with Curtis as the villain and Walter Matthau in the Bob Hope role.

Edward Dmytryk brings Harold Robbins' trashy, dirt-dishing Hollywood best-seller to the screen with George Peppard starring as Jonas Cord, a rancidly-sketched portrait of Howard Hughes. In 1925, when his father dies of a stroke, Jonas inherits the Cord Chemical factory, a manufacturer of dynamite and other explosives. Jonas proceeds with several cut-throat transactions, making a settlement with his sexy stepmother Rina (Carroll Baker) and liquidating the stock owned by cowhand Nevada Smith (Alan Ladd, in his final American film role). With the help of Mac McAllister (Lew Ayres), his father's attorney, Jonas builds his father's company into a multi-million dollar business, expanding into plastics and aeronautics. Meanwhile, Rina has become a top fashion model and movie star and Nevada Smith has parlayed his laconic demeanor into a career as a popular silent film cowboy idol. Jonas then marries, then ignores, the well-meaning Monica Winthrop (Elizabeth Ashley), and ruins her father's company in the process. Then, with the advent of sound films, Jonas helps Nevada Smith through the sound film crisis by offering financial backing for a film to star both Nevada and his ex-mother-in-law Rina. Jonas decides to direct the film himself, hoping to seduce Rina. But Jonas's insensitive and egomaniacal behavior causes Monica to leave him. Jonas invests all his time in film production but the alcoholic Rina dies in a car accident. The owners of the film studio -- Bernard B. Norman (Martin Balsam) and Dan Pierce (Robert Cummings) -- want to sell the studio to Jonas but hide the fact that Rina, the studio's biggest star, has died. Jonas buys the studio and when he finds his biggest asset is gone, he goes on a drunken binge. But Jonas quickly meets call girl Jennie Denton (Martha Hyer), who he decides to turn into a superstar modeled upon Rina. Despite having made her a star, Jonas's vile treatment of Jennie repulses both her and his old friend Nevada Smith, and Smith decides it's time to beat some sense into Jonas's head.

As for the opening reels, the principal motivating factor is money. After a deliberately confusing pre-credit sequence (not explained until the film's punch line), Tom Jeffers (Joel McCrea) and Gerry Jeffers (Claudette Colbert) are married. "And so they lived happily ever after," exults a title card, "...or did they?" Well, they didn't. After five years of marriage, Tom hasn't raised a dime with his pie-in-the-sky inventions. Using the sort of logic common to Sturges heroines, Gerry decides that the only way to help her husband is to divorce him, marry a wealthy man, and use the second husband's money to finance Tom's schemes. Borrowing money from a generous self-made business mogul known only as the Wienie King (Robert Dudley), Gerry boards a train to Palm Beach, FL, where all the rich folk go. En route, she is "adopted" by the Ale & Quail Club, a group of perpetually drunken millionaires whose idea of a good time is to shoot their rifles at everything that moves (among the club members are such Sturges regulars as William Demarest, Robert Warwick, Jimmy Conlin, Robert Greig, Jack Norton, and Dewey Robinson). Taking refuge from this rowdy crew, Gerry makes the acquaintance of likeable stuffed shirt John D. Hackensacker III (Rudy Vallee), who happens to be one of the wealthiest men in the Western Hemisphere. While Gerry spoons with Hackensacker in Palm Beach, the confused Tom (remember him?) dallies with Hackensacker's man-crazy sister, Princess Centimillia (Mary Astor). How all this straightens itself out is better seen than described, which is pretty much the case whenever one discusses Sturges' singular work, and The Palm Beach Story is vintage Sturges with one side-splitting sequence after another.

Bob Hope plays a famous movie star who does his best to avoid the pre-war draft, but ends up in uniform all the same. Hope marries Dorothy Lamour, the daughter of Army colonel Clarence Kolb, in hopes that this union will help him sidestep military service. Stuck in boot camp, Hope is a class-A screw-up until redeeming himself during a sham battle--though his "heroic" commandeering of a tank began as yet another boo-boo. Still not entirely certain that Hope could carry a film by himself, Paramount teamed him with Eddie Bracken and Lynne Overman--a sort of Abbott and Costello plus One. Despite the efforts to make Bob Hope part of an ensemble, it is clear from the first frame to the last who is truly the star of Caught in the Draft.

Filmed in Flagstaff, Arizona, The Bravos top-bills George Peppard as a frontier cavalry commander. It is Peppard's job to protect his fort, and the wagon train passengers sheltered within, from the 2000 Kiowa Indian warriors who dot the surrounding hills. This being a 1972 TV movie, the Native Americans are "savage" only when provoked. When they abduct Peppard's son Vincent Van Patten, it is in retribution for the death of their own chief's son. The Bravos was the 90-minute pilot film for a never-sold western series.

The Brave One is a bull named Gitano (or Gypsy). Mexican lad Michael Ray "adopts" Gitano after saving the animal's life during a storm. The friendship between bull and boy is threatened when Gitano's legal owners claim the animal and ship it off to the bullring. Moved by the boy's plight, the President of Mexico signs a "pardon" for Gitano-but not soon enough to prevent the bull's appearance at the Plaze de Mexico at Mexico City, where he faces top matador Fermin Rivera. The Brave One was helmed by Irving Rapper, a man best known for his Bette Davis vehicles at Warner Bros. Based on a true incident, the film earned a "best story" Academy Award for one Robert Rich-who, much to the embarrassment of the Academy (and the delight of civil libertarians) turned out to be blacklisted screenwriter Dalton Trumbo. Long available only in its "flat", black and white TV version, The Brave One was recently restored to its Technicolor and CinemaScope glory by the American Movie Classics cable service.

The opening credits appearing over a turbulent ocean serve as a foreshadowing of things to come in this standard-issue love triangle that shifts into high drama thanks to taut direction by Fritz Lang and a sizzling performance by Barbara Stanwyck. Returning to live with her brother, Joe (Keith Andes), at her family's home in a small fishing village, Mae Doyle (Stanwyck) has reached rock bottom. Reeling from the pain of her previous romances, Mae slowly pieces things together and begins dating Jerry (Paul Douglas), a simple-minded fisherman. More along Mae's speed is Jerry's slick, boozy pal Earl Pfeiffer (Robert Ryan), a film projectionist who makes his feelings for her known right away despite the fact that he is married. Mae spurns his advances and decides to marry Jerry. Meanwhile, Joe has grown close to ditzy factory worker Peggy (Marilyn Monroe). Some time later, Mae and Jerry have had a baby, and things appear happy, but Mae is not in love with Jerry, and soon finds herself in Earl's arms. Jerry discovers the affair, and during a confrontation with the deceitful couple, Mae reveals that she is leaving to be with Earl. After some booze and a pep talk from his Uncle Vince (J. Carrol Naish), Jerry confronts Earl and proceeds to nearly strangle him until Mae arrives. Jerry storms off, but when Mae comes to their home to retrieve the baby, she discovers that Jerry has taken the child. Desperately upset, she explains the situation to Earl, but as they talk, she begins to arrive at a new realization about her life and what it takes to find happiness.

Two bored sisters from a typical suburban home discover that growing up doesn't necessarily require that they behave like their debauched parents in this drama starring Debbie Osborne and Nancy Ison. Cindy and Donna's parents are preoccupied with sex and booze, and as a result the young girls begin to believe that's what it means to be a "grown up." Disillusioned after dalliances with the opposite sex and a few rounds if drinking, however, the girls quickly begin to realize that they are perhaps more mature than the people who raised them.