Five men trapped in an underground Research Center determine that their oxygen will run out before they can be rescued They decide to have a "lottery" to choose who will have to die so the rest can live.After being saved,the four survivors are charged with murder and find the outcome could be fatal.

The notoriously temperamental Miriam Hopkins is ideally cast as equally contentious theatrical prima donna Mrs. Leslie Carter in The Lady With Red Hair. As rapidly paced as any Warner Bros. gangster picture, the film charts Caroline Carter's rise to fame on Broadway through the auspices of impresario David Belasco (Claude Rains). The screenwriters take great pains to cast Carter in a sympathetic light, suggesting that she turned to the lucrative world of the theater to regain custody of her son (Johnnie Russell), won by her husband in their acrimonious 1889 divorce settlement. Though at first she meets with nothing but failure, our heroine perseveres, and by 1904 she is the idol of millions throughout the world. Along the way, she marries visionary producer Lou Payne (Richard Ainley), but by film's end she is reunited with her mentor Belasco. A young Cornel Wilde makes his screen debut as an aspiring actor in a boarding-house sequence.

The unusual amalgam of documentary maven Robert Flaherty and pure-entertainment producer Zoltan Korda resulted in the 1937 money-spinner Elephant Boy. In his screen debut, eleven-year-old Indian-born Sabu plays the title character, a mahout named Toomai. When his father is killed by a tiger, Toomal is left alone and unprotected and not long afterward loses his beloved elephant to a sadistic "driver." Stealing back the pachyderm and heading into the wilderness, Toomal stumbles across a herd of wild elephants, which the British government has long been seeking. With visions of a huge reward in his head, Toomal offers to lead the authorities to the elusive herd -- whereupon the "dramatic" portion of the story gracefully gives way to the "documentary" portion. More intriguing than entertaining, Elephant Boy was nonetheless one of the most successful films of its kind.

Upon beginning production on his Korean-war drama I Want You, producer Sam Goldwyn lamented "I've just brought those boys back from the war, and now I have to send them out again!" Goldwyn, of course, was referring to his Oscar-winning "homecoming" drama Best Years of Our Lives. He'd hoped that I Want You would be 1951's "answer" to that post-WW II classic, and while the later film falls short of that goal, it still has much to recommend it. The scene is a small town in the Eastern United States, where the outbreak of hostilities in Korea has a profound effect on several people. WW II veteran Martin Greer (Dana Andrews) wants to re-enlist, much to the dismay of his wife Nancy (Dorothy McGuire). Draftee Jack Greer (Farley Granger) fears that his military service will permanently shelve his plans to marry Carrie Turner (Peggy Dow). Jack's mother Sarah (Mildred Dunnock), having already lost one son in the war, resents the pro-American jingoism of her husband Thomas (Robert Keith). And George Kress, Jr. (Martin Milner) must contend with his possessive father George Kress, Sr. (Walter S. Baldwin), who'll do anything to keep his son out of uniform (Incidentally, both Dana Andrews and Walter S. Baldwin had previously appeared in Best Years of Our Lives). Screenwriter Irwin Shaw adapted I Want You from a series of human-interest articles by Edward Newhouse, which first appeared in The New Yorker.

The 1922 George S. Kaufman-Marc Connelly play Dulcy was based on a delightful character created by columnist Franklin P. Adams: Archetypal "dumb wife" Dulcinea, who continually spouted cliches like "There's never a policeman around when you need one" and "Don't take any wooden nickels." Lynn Fontanne created the role of Dulcy on stage, followed in 1923 by Constance Talmadge in the first screen version, then by Marion Davies in 1929's Not So Dumb, the first talkie version of the Kaufman-Connelly comedy. This 1940 remake stars Ann Sothern as dizzy Dulcy, who hopes to improve her aviator boyfriend Gordon Daly's (Ian Hunter) business prospects by holding a fancy dinner party. The result is a disaster, but the introduction into the plotline of a Chinese war orphan (intended as a timely touch) solves everyone's problems. Like the original play, the film is stolen by Dulcy's ex-con butler, here played by "Big Boy" Williams. A very young Hans Conried has a cute running gag as a saturnine author, whose ongoing efforts to find solitude in a canoe are continually (and literally) scuttled by the zany Dulcy.

Richard Gere plays Zack Mayo, an aloof, taciturn man who aspires to be a navy pilot. Once he's arrived at training camp for his 13-week officer's course, Mayo runs afoul of abrasive, no-nonsense drill sergeant Emil Foley (Louis Gossett Jr.). Mayo --or "Mayonnaise," as he is dubbed by the irascible Foley -- is an excellent cadet, but a little cold around the heart. Foley rides Mayo mercilessly, sensing that the young man would be prime officer material if he weren't so self-involved. Zack's affair with working girl Paula Pokrifi (Debra Winger) is likewise compromised by his unwillingness to give of himself. Only after Mayo's best friend Sid Worsley (David Keith) commits suicide over an unhappy romance does Zack come out of his shell and mature into a real human being. Take away the R-rated dialogue and the sex scenes, and Officer and a Gentleman could have been a 1937 MGM flick, maybe with Robert Taylor as Zack, Wallace Beery as Foley, and Jimmy Stewart as Sid. An Officer and a Gentleman was nominated for 7 Oscars, with wins to Gossett and to the hit song "Up Where We Belong." The closing scene has surely become a classic of movie romance.

When circus proprietor Matt Masters decides to take his show on a European tour, it is beset by problems, while he searches for Lili, the mother of his adopted daughter, who disappeared years before.

Gig Young was just beginning to toughen up his previously lightweight screen image when he starred in Hunt the Man Down. In a tense, tight, 68 minutes, public defender Paul Bennett (Young) dedicates himself to freeing an innocent man who has already spent 12 years in jail. Accused of murder, transient Richard Kinkaid (James Anderson) had been unable to afford proper legal representation at his first trial. With no new evidence, Bennett is obliged to solve the murder himself, and to do that he must track down the original witnesses to the crime. The cast is a film buff's paradise, ranging from leading ladies Lynne Roberts and Carla Balenda to featured players Harry Shannon, Iris Adrian, Mary Anderson, Gerald Mohr, Cleo Moore and prolific voiceover artist Paul Frees.

In this musical comedy, Fred Von Wellingen (Ben Lyon), the scion of a wealthy German family, has fallen in love with Lia Toerrek (Marilyn Miller), a poor but beautiful girl who has gladly agreed to marry him. However, when Fred's father Otmar (Ford Sterling) decides to hold a banquet to celebrate his son's imminent marriage, he's thoroughly appalled by Bela Toerrek (W.C. Fields), Lia's father and a man with a severe lack of good breeding. When Bela announces that he earns a living as a barber and that Lia is a barmaid, the assembled bluebloods are less than amused, and their ire turns to disgust when Bela grabs some of the dinnerware and uses it to demonstrate his juggling techniques. Otmar wants to call the wedding off and offers his son a high-paying job in the family business if he leaves Lia for good. Fred breaks off the engagement, and Lia meets another wealthy man, Baron von Schwarzdorf (Leon Errol), who offers to marry her. However, both Lia and Fred are miserable without each other, and when he learns that she is to wed, he leaps into action to win her back. Field's juggling routine provides the high point of this film, which marked his first appearance in a sound feature.

In this musical comedy, Fred Von Wellingen (Ben Lyon), the scion of a wealthy German family, has fallen in love with Lia Toerrek (Marilyn Miller), a poor but beautiful girl who has gladly agreed to marry him. However, when Fred's father Otmar (Ford Sterling) decides to hold a banquet to celebrate his son's imminent marriage, he's thoroughly appalled by Bela Toerrek (W.C. Fields), Lia's father and a man with a severe lack of good breeding. When Bela announces that he earns a living as a barber and that Lia is a barmaid, the assembled bluebloods are less than amused, and their ire turns to disgust when Bela grabs some of the dinnerware and uses it to demonstrate his juggling techniques. Otmar wants to call the wedding off and offers his son a high-paying job in the family business if he leaves Lia for good. Fred breaks off the engagement, and Lia meets another wealthy man, Baron von Schwarzdorf (Leon Errol), who offers to marry her. However, both Lia and Fred are miserable without each other, and when he learns that she is to wed, he leaps into action to win her back. Field's juggling routine provides the high point of this film, which marked his first appearance in a sound feature.

In this musical comedy, Fred Von Wellingen (Ben Lyon), the scion of a wealthy German family, has fallen in love with Lia Toerrek (Marilyn Miller), a poor but beautiful girl who has gladly agreed to marry him. However, when Fred's father Otmar (Ford Sterling) decides to hold a banquet to celebrate his son's imminent marriage, he's thoroughly appalled by Bela Toerrek (W.C. Fields), Lia's father and a man with a severe lack of good breeding. When Bela announces that he earns a living as a barber and that Lia is a barmaid, the assembled bluebloods are less than amused, and their ire turns to disgust when Bela grabs some of the dinnerware and uses it to demonstrate his juggling techniques. Otmar wants to call the wedding off and offers his son a high-paying job in the family business if he leaves Lia for good. Fred breaks off the engagement, and Lia meets another wealthy man, Baron von Schwarzdorf (Leon Errol), who offers to marry her. However, both Lia and Fred are miserable without each other, and when he learns that she is to wed, he leaps into action to win her back. Field's juggling routine provides the high point of this film, which marked his first appearance in a sound feature.

Dismissed when first released, later heralded as one of director Alfred Hitchcock's finest films (and, according to Hitchcock, his most personal one), this adaptation of the French novel D'entre les morts weaves an intricate web of obsession and deceit. It opens as Scottie Ferguson (James Stewart) realizes he has vertigo, a condition resulting in a fear of heights, when a police officer is killed trying to rescue him from falling off a building. Scottie then retires from his position as a private investigator, only to be lured into another case by his old college friend, Gavin Elster (Tom Helmore). Elster's wife, Madeleine (Kim Novak), has been possessed by a spirit, and Elster wants Scottie to follow her. He hesitantly agrees, and thus begins the film's wordless montage as Scottie follows the beautiful yet enigmatic Madeleine through 1950s San Francisco (accompanied by Bernard Herrmann's hypnotic score). After saving her from suicide, Scottie begins to fall in love with her, and she appears to feel the same way. Here tragedy strikes, and each twist in the movie's second half changes our preconceptions about the characters and events. In 1996 a new print of Vertigo was released, restoring the original grandeur of the colors and the San Francisco backdrop, as well as digitally enhancing the soundtrack.

When gold is discovered in the Colorado Territory at the start of the Civil War, Confederate Owen Pentecost (Robert Stack) and Union agent Stephen Kirby (Alex Nicol) battle with each other in a struggle to obtain the most gold to give to their respective armies.

In this drama, set at a WW II munitions plant, the lives of five workers are chronicled. Their stories are told via flashback. Though they all ride together to work everyday, and they think they know each other very well, the stories they tell show them otherwise. The group of workers is made up of: a fighter for the French underground who came to America to help her countrymen back home; a race-car driver who, while racing, sustained serious injuries that rendered him unfit for military service; a disillusioned "Miss America"; a prison warden who was ordered to execute his own brother; and a hobo who decided to do something to help his country.

Kameradschaft is set in a mining community on the French/German frontier, where several French miners are trapped in a cave-in. Their only hope for rescue lies in a long-abandoned underground tunnel, buried since the First World War. Ignoring the ethnic and political differences that have long separated the two countries, a group of German miners pick their way through the old tunnel to save the entombed Frenchmen. They do this despite the reluctance of the mine owners, who'd rather keep the nationalistic lines drawn, no matter how many lives it costs. When asked why they're willing to rescue the same people who'd forced their country into bankruptcy after the war, the German workmen reply "Miners are miners." Once the Frenchmen are brought to surface, however, the owners see to it that the borders knocked down by the Germans are quickly replaced; everything has changed, yet nothing has changed. Ironically, the German public, whose decency and humanity is celebrated in Kameradschaft, tended to avoid the film.

Kameradschaft is set in a mining community on the French/German frontier, where several French miners are trapped in a cave-in. Their only hope for rescue lies in a long-abandoned underground tunnel, buried since the First World War. Ignoring the ethnic and political differences that have long separated the two countries, a group of German miners pick their way through the old tunnel to save the entombed Frenchmen. They do this despite the reluctance of the mine owners, who'd rather keep the nationalistic lines drawn, no matter how many lives it costs. When asked why they're willing to rescue the same people who'd forced their country into bankruptcy after the war, the German workmen reply "Miners are miners." Once the Frenchmen are brought to surface, however, the owners see to it that the borders knocked down by the Germans are quickly replaced; everything has changed, yet nothing has changed. Ironically, the German public, whose decency and humanity is celebrated in Kameradschaft, tended to avoid the film.

Kameradschaft is set in a mining community on the French/German frontier, where several French miners are trapped in a cave-in. Their only hope for rescue lies in a long-abandoned underground tunnel, buried since the First World War. Ignoring the ethnic and political differences that have long separated the two countries, a group of German miners pick their way through the old tunnel to save the entombed Frenchmen. They do this despite the reluctance of the mine owners, who'd rather keep the nationalistic lines drawn, no matter how many lives it costs. When asked why they're willing to rescue the same people who'd forced their country into bankruptcy after the war, the German workmen reply "Miners are miners." Once the Frenchmen are brought to surface, however, the owners see to it that the borders knocked down by the Germans are quickly replaced; everything has changed, yet nothing has changed. Ironically, the German public, whose decency and humanity is celebrated in Kameradschaft, tended to avoid the film.

Adapted by Lillian Hellman from Sidney Kingsley's Broadway play, Dead End concerns itself with several denizens of New York's East River district. Here the elite and the slum-dwellers rub shoulders due to the close proximity of the riverfront tenements with the East Side luxury hotels. Slum girl Drina Gordon (Sylvia Sidney) tries to prevent her younger brother Tommy (Billy Halop) from wasting his life as a member of the local street gang. Tommy and the other kids idolize Baby Face Martin (Humphrey Bogart), a onetime East- sider who has hit the "big time" as a notorious gangster. Dodging the cops, Martin makes a sentimental journey to the neighborhood to visit his mother (Marjorie Main) and his old girlfriend Francie (Clare Trevor). But Martin's mother coldly tells him to get lost, while Francie reveals herself to be a consumptive prostitute. Despite his depressed state, Martin is still admired by the local kids; this displeases sign painter Dave Connell (Joel McCrea), who hopes to escape the slums via his romance with wealthy Kay Burton (Wendy Barrie). Attempting to kidnap a rich boy who'd earlier been beaten up by the street kids, Martin is prevented from making the snatch by Dave, who shoots Martin down. Receiving a large reward, Dave decides to give the money to Drina so that she can afford a lawyer to defend her brother Tommy, who has wrongfully been accused of masterminding the beating of the rich kid. His outlook on life altered by this unselfish act, Dave gives up his mercenary romance with Kay Burton, choosing instead the poverty-stricken Drina. The film introduces the Dead End Kids--Billy Halop, Leo Gorcey, Gabe Dell, Huntz Hall, Bernard Punsley and Bobby Jordan--all of whom were veterans of the Broadway version of Dead End and would be metamorphosed into the East Side Kids and The Bowery Boys.

Baby boomers who may not remember the plot particulars of Walt Disney's Darby O'Gill and the Little People nonetheless retain fond memories of Disney's publicity campaign, which included an episode of the producer's weekly TV series, wherein the actor playing leprechaun king Brian (Jimmy O'Dea) was passed off as a genuine little person. One look at Darby O'Gill itself and one is willing to believe Disney's subterfuge. The story, based on the writings of H.T. Kavanagh, involves one Darby O'Gill (Albert Sharpe) an Irish tall-tale spinner who works as a caretaker. On the night that he is replaced by a younger man (Sean Connery), Darby heads home to tell his daughter Katie (Janet Munro) that he has lost his job. En route, he stumbles into the underground leprechaun kingdom, thanks to the intervention of King Brian, who wants to save Darby the shame of telling his daughter about his job. Advised that he will never be able to leave the land of the leprechauns, Darby escapes, and Brian follows. Because he stays above ground until dawn, Brian loses his powers and becomes the property of Darby, who won't let the leprechaun go until he grants three wishes. Brian tricks Darby out of the first two wishes, but is honor-bound to grant the third: that Darby's daughter Katie be wed to the handsome new caretaker. Before this can happen, Katie is seriously injured. As she lies comatose, the Death Coach descends from the sky to gather her to the heavens. Darby rapidly alters his third wish and begs that he be taken in Katie's place. Brian saves Darby's life by tricking him into making a fourth wish, which immediately cancels the first three. The young caretaker wins Katie on his own merits, and Darby has a whole new slew of stories with which to regale the villagers. The principal drawing card of Darby O'Gill and the Little People is its special effects, the most famous of which finds a life-sized Darby O'Gill fiddling away as hundreds of tiny leprechauns dance about him. Even in this era of computerized "F/X," few films have been able to duplicate the sublimely convincing visual magic -- and the effortless charm -- of this 1959 Disney effort.

The Dangerous Number of the title is madcap showgirl Elinor (Ann Sothern). Notorious throughout Manhattan for her zany antics, Elinor is also quite a handful for her conservative husband Hank (Robert Young). In addition, Hank must contend with the heroine's flamboyant ex-burlesque queen mother Gypsey (Cora Witherspoon). Not that Hank's family is anything to write home about; the most eccentric member of his clan is cousin William (Reginald Owen), who has lost one girlfriend after another because he refuses to shave off his beard. Trying very, very hard to qualify as a "screwball" comedy, Dangerous Number succeeds about three-fourths of the time. PS: This was Ann Sothern's first starring assignment at MGM.