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f'\1vien Leigh
in the lI LOst
lIwgn ifi·cent love
story ever
tvrittcn!
with
KIERON MOORE· SALLY ANN HOWES
JULIEN DUVIVIER . A london Film Production·
:J.>iM.dd Iuf
2
Released by 20th Century-Fall
DRAMA - ROMANCE MOVIES
From TVAI
ALG IERS
(Program #3)
1938 -- 96 minutes. Black and white. United Artists; Walter Wanger Production.
Charles Boyer, Hedy Lamarr, Sigrid Gurie, Joseph Calleia, Gene Lockhart.
A classic love story combining adventure and intrigue. Boyer plays Pepe Ie Moko,
a romantic underworld rogue, international jewel thief and king of the Casbah.
Hedy Lamarr is the exotic beauty he falls in love with, and who causes his downfall.
Calleia as police official, Lockhart as informer, stand out in well-cast, classic film.
• Academy Award Nominee for Best Supporting Actress
• Academy Award Nominee for Interior Decoration
• Academy Award Nominee for Cinematography
• "John Cromwell, who has directed this film, has wound the drama's
mainspring tight. Its seconds tick off like a pulsebeat in an accelerating rhythm of
destiny -- hopeless, inexorable, tragic destiny ."
AND GOD CREATED WOMAN
(Program #372 )
1957 -- 92 minutes. Color. Brigitte Bardot, Curt Jurgens. This is the film
that made Bardot famous. With her fantastic figure displayed as often as possible,
Bardot plays a sexy young French woman who just can't say no. Other scenery includes
great location shots of St. Tropez and the Riviera.
SIGRID
GU R IE
ANGEL AND THE BADMAN
(Program #4)
1947 -- 100 minutes. Black & white. Republic. John Wayne, Gail Russell, Bruce
Cabot, Harry Carey. First-rate Western with Quaker girl humanizing a gunfighter.
• "Pleasantly un-slick minor Western, with John Wayne as Quirt, the
gunfighter who reforms, malched against Bruce Cabot as the villainous Laredo.
It's easily distinguishable from other Wayne Westerns ... .. - The New Yorker
HEDY
LAMARR
" "' .. .... 41 Ihr u
I'll
t"
,HII ... T '"
ANGEL ON MY SHOULDER
'HUlU I I OC;(l5,,,,.. 1I
PAUL
MUNI
ANNA KARENINA
(Program #5)
1946 -- 101 minutes. Black and white. United Artists; Charles Rogers Production.
Claude Rains, Paul Muni, Anne Baxter, Onslow Stevens. Paul Muni plays
Eddie Kagle, a murdered convict who must return to earth under orders from the devil
himself, masterfully played by Claude Rains, in order to carry out the evil plans he
started when still alive. To the devil's chagrin, Muni falls in love with a virtuous
woman instead, and finds himself doing more good than evil. Entertaining fantasy;
one of Paul Muni's most interesting roles .
• "Anne Baxter also appealing as the girl who twists the devil's tail, and
several other actors are competent in bright and shady roles."
- New York Times
(Program #409)
1948 -- 110 minutes. Black & white. 20th Century-Fox (British). Vivien Leigh, Ralph Richardson, Kieron Moore, Hugh
Dempster, Sally Ann Howes, Michael Gough . Based on the novel by Leo Tolstoy. A Russian lady of the Imperial Court falls
in love with a dashing .army officer -- but she already has a husband, and tragedy ensues.
(Drama/Romance)
AS YOU LIKE IT
(Program #125)
1936 -- 96 minutes. Black and white. La ure nce Olivie r, Elisabeth Bergner. Directed by Paul Czinner.
Olivier is solid (and handsome) as Orlando in his first-ever attempt at Shakespeare on film. Sumptuous production.
• "A curious but thoroughly delightful blend of womanly tenderness and gamine impishness, Miss Bergner is
perfectly adjusted to the part ... can be all inconstancy with the poised and effortless balance that only a great actress
commands." - New York Times
• "A pretty comedy, always tinkling on the edge of farce, but restrained f rom toppling by the wit and beauty of its
language. In sum, we have a gay and congenial production of Shakespeare . You'll like it if you liked the play ."
- New York Times
BABY AND THE BATTLESHIP
(Program #251)
1957 -- 94 minutes. Color . John Mills, Richard Attenborough, Lionel Jeffries . Directed by Jay Lewis . A story of two
sailors who smuggle an Italian baby aboard ship, and their antics as they try to keep it hidden from the top brass . A great
cast and some very funny moments.
BACHELOR OF HEARTS
(Program #115)
1958 -- 94 minutes. Black and whi te. J. Arthur Rank Production. Hardy Kruger, Silvia Syms. A young foreign exchange
student's romantic adventures with college girls. Life becomes complicated when his difficulty with the English language
causes him to date several women in one evening. This is the movie debut of horror film favorite Barbara Steele.
THE BEACHCOMBER
(Program 513)
1938 -- 87 minutes . Black and white. Paramount (British) . C ha rles L a ughton, Elsa Lanchester. Directed by Erich
Pommer. Disheveled bum Laughton, living on island paradise, is reformed by missionary Lanchester. The two stars (married
in real life) are delightful in this filmization of a Somerset Maugham story .
BEAT THE DEVIL
(Program #121)
1954 -- 89 minutes. Black and white. United Artists . Humphrey Boga rt, Pe ter Lorre, Gi n a Loll obri gid a,
J enn ifer J ones, Robert Morley . Directed by J ohn Huston . Huston and Trum a n Ca p ot e concocted this offbeat, witty
satire, filmed on location in Italy . A low-key, ahead-of-its-time comedy which has become a cult favorite.
• "Hugely entertaining . .. wild lunacy." - New Yorker
• "A fast and disciplined comedy with a richness of invention which even now, after fifteen or twew y viewings,
I find astonishing ." - Charles Champlin, Movie Comedy
BECKY SHARP
(Program #10)
1935 -- 83 minutes. Tec hnicolor . Radio Pictures . Miriam Hopkins, Billie Burke, Sir Cedric Hardwicke, Alli son
Skipworth. T hackeray's comedy of morals and fashion is th e firs t a ll -Tec hn ico lor mov ie.
• Aca dem y Awa rd Nominee for Best Actress
BENEATH THE TWELVE-MILE REEF
(Program #293)
1953 -- 102 minutes. Color . 20th Century-Fox . Ro bert Wag ner , Gilbert Roland, Terry Moore . Directed by Robert D.
Webb. A wild nautical adventure about the rich sponge beds off the Florida coast and the fierce, sometimes murderous
competition that arises between two groups of divers who want the area for themselves . Shot on location in Tarpon
Springs, Florida; notable for underwater photography and Terry Moore in a swimsuit.
• Academ y Awa rd Nominee for Best Cinematography
BEYOND TOMORROW
(Program #185)
1940 -- 84 minutes. Black and white. United Artists . Richard Carlson, C. Aubrey Smith, Jean Parker, Harry Carey, Charles
Winninger, Rod LaRocque. Sensitive fantasy-drama of three wealthy men who are killed in an airplane cras h. They come
back to life at Christmas and share the holiday with down -and-out Carlson and Parker, who fall in love.
(Drama/Romance)
THE BIG LIFT
(Program #319)
1950 -- 120 minutes . Black and white. 20th CenturyFox. Montgomery Clift, Paul Douglas, Cornell
Borchers, O.E. Hasse. Directed by George Seaton.
Two G.1.'s assigned to the WWII Berlin airlift ally
themselves in counter-intelligence when they discover
their mutual girlfiend is a spy. On-location
photography adds authenticity to gripping story.
THE BIG TREES
(Program #124)
1952 -- 89 minutes. Technicolor. Warner Bros .
Kirk Douglas, Eve Miller, Patrice Wymore, Edgar
Buchanan, John Archer. Directed by Felix Feist.
A classic tale of early homesteaders and their
struggle to establish the timber industry in
California's redwood country.
• "/I's all as virile as a crowd of studio
lumberjacks can make it. Kirk Douglas, as flinty a
boss as any, is a paragon of virtue as he switches from
dirty deeds to clean ideals and a good woman."
- New York Times
THE BIG WHEEL
(Program #6)
1949 -- 92 minutes . Black and white. United Artists .
Mickey Rooney, Thomas Mitchell , Spring
Byington. Rooney is a determined race car driver
following in his father's footsteps despite dad's death
on the track . Well done!
• "America's gift to the world of movies."
- The Motion Picture Guide
• "Familiar plot well done. "
- Leonard Maltin, film critic.
Dolores Del Rio as Luana
BIRD OF PARADISE
(Program #7)
1932 -- 80 minutes. Black and white. Radio Pictures. Delores Del Rio, Joel McCrea. Directed by King Vidor. Exotic South
Seas romance with beautiful native girl, Dolores Del Rio, falling in love with handsome adventurer Joel McCrea.
THE BLACK BOOK
(Program #296)
1949 -- 89 minutes. Black and white. Eagle-Lion Films. Robert Cummings, Arlene Dahl, Richard Basehart, Beulah Bondi.
Directed by Anthony Mann. British-made adventure set during the French Revolution, with everyone after the black book
containing the names of the people whom arch-fiend Robespierre plans to guillotine in his ruthless bid for power.
Well-mounted adventure; a vivid, entertaining costume drama.
BORDERLINE (Program
#501)
1950 -- 90 minutes. Black and white. Universal-International. Fred MacMurray, Claire Trevor, Raymond Burr.
¥acMurray and Trevor are narcotics agents who go undercover to investigate a drug ring operating out of Los Angeles and
smuggling its wares via the Mexican border. They find they can't trust one another; neither knows the other isn't a crook.
THE BOY WITH GREEN HAIR
(Program #397)
1948 -- 82 minutes. Technicolor. RKO Radio Pictures. Dean Stockwell, Pat 0' Brien, Robert Ryan, Barbara
Hale. Directed by Joseph Losey. When he hears that his parents were killed in an air raid, a boy's hair turns green. The
narrow-minded members of his community suddenly want nothing to do with him and he becomes an outcast. Thoughtprovoking, social commentary.
(Drama/Romance)
BREAD, LOVE AND DREAMS (Program #198)
1953 -- 90 minutes. Black and white. Italian, dubbed in English. Vittorio De Sica, Gina Lollobrigida. Directed by Luigi
Comencini. Peppery comedy with spicy Gina vying for the attention of town official De Sica.
THE CAPTIVE HEART
(Program #9)
1948 -- 108 minutes . Black and white. Ealing Pictures. Michael Redgrave, Rachel Kempson. Directed by Basil Dearden.
An archetypal World War II POW drama with a poetic treatment laced with humor and melodrama. The story focuses on a
Czech POW (Michael Redgrave), who assumes the identity of a dead British officer to evade the Nazis .
• "Flawless performances by Redgrave and supporting cast." - Leonard Maltin
THE CAPTURE (Program
# 504)
1950 -- 87 minutes. Black and white. Republic Pictures. Teresa Wright, Lew Ayres, Victor Jory. Lew Ayres plays an
American oil company executive headquartered in Mexico City, who shoots a man he suspects of robbing his company's
payroll. He finds himself falsely accused of the robbery and has to clear his name. Teresa Wright plays the dead man's
widow, with whom Ayres falls in love,
CARNIVAL STORY
(Program #411)
1954 -- 94 minutes. Color. Anne Baxter, Steve Cochran, George Nader, Lyle Bettger. Directed by Kurt Neumann.
Hardened Baxter is involved with sleazy Cochran. "Nice guy" high diver Bettger takes her on as a protegee, and there are
romantic complications. Unusual, interesting melodrama set in Germany.
CAROLINE AN D TH E REBELS
(Program #451)
1950 -- 107 minutes. Black and white. Brigitte Bardot, Jean Claude Pascal, Jaques Macomine. Directed and produced by
Jean Devaivre. A girl teams up with a band of rebels determined to overthrow a cruel monarch. Young Bardot is lovely.
CATHERINE THE GREAT
(Program #309)
1934 -- 92 minutes. Black and white. London Films.
Douglas Fairbanks Jr., Elisabeth Bergner, Flora Robson.
Directed by Paul Czirmer. Lavish historical drama of
Russian czarina whose life is spoiled by rigidly planned
marriage. A brilliantly-staged film of the old Russian
Imperial Court, in which Catherine emerges as a vivid figure
in a period of intrigue. Engrossing dramatization of a
doomed love affair.
• "British cinema takes another notable step forward with the production of Catherine the Great . .. handsome,
lavish, dramatically impressive and beautifully acted drama of striking skill and power . .. one of the distinguished
dramas of the year." - New York Herald Tribune
• One of the Five Best Foreign Films of the Year - National Board of Review
" Should I han loved the way I
did? I oHered my hurt to him
whell he knew 10 much of love
and I knew 10 little . Why did
that one moment cost me .a life
time: of h.ppineu7"
timERS FOR
MISS BISHOP
CHARADE
(Program #108)
1963 -- 114 minutes . Technicolor. Universal.
C ary Grant, Audrey Hepburn, Walter Matthau, James
Coburn. Directed by Stanley Donen. Suave comedy-mystery in the
Hitchcock vein, with Grant aiding widow Hepburn to recover fortune
stashed by her dead husband, and being sought by a trio of sinister crooks .
• Academ y Award Nominee for Best Song
WlUIAM
CHEERS FOR MISS BISHOP
(Program #412)
1941 -- 94 minutes. Black & white. Uni ted Ar tis ts. M artha Scott, Edmund
Gwenn, William Gargan, Marsha Hunt. Ella Bishop, an unusually viv id and
vital woman for her era (1879-1923), finds that marriage is not for her and
devotes herself to teaching English at a Midwes tern Un iversity. A female
Mr. Chips ; nicely done.
Edmund Cwenn
Sidney Biockme,
Do,!'thy Peterson
The most yttal~ Oreal
heroine since ·Stella
Dallas" and "The Old
Maid" ... in a great
motion picture that
emotion·
UnIlll ... 1
na . . . ..
(Drama/Romance)
CHILDREN OF SANCHEZ
(Program #497)
1975 -- 116 minutes. Color. Anthony Quinn,
Dolores Del Rio, Katy Jurado. Directed by Hall Bartlett. Music
score by Chuck Mangione. Poignant, touching and memorable
account of a man's attempt to maintain his family when all he
has to give them is faith and love after the death of his wife.
JOSE
1FERRER
Academy
Award
Winner
. .. because ...
CITY WITHOUT MEN (Program # 503)
1943 -- 75 minutes. Black and white. Columbia Pictures.
Linda Darnell, Glenda Farrell, Margaret Hamilton, Sheldon
Leonard, Edgar Buchanan. An emotional melodrama about a
wife trying to save her husband, who is falsely imprisoned for
smuggling, from the electric chair. The story takes place in a
boardinghouse next to the prison, where the inmates' wives and
lovers anxiously await their return.
;
.~
musketeers in one
.. . and one lover
in a mil/ion!
,
"
j
'(
(
COURAGEOUS MR. PENN
(Program #442)
1941 -- 78 minutes. Black and white. British. Deborah Kerr,
Clifford Evans . Directed by Lance Comfort. An intelligent
biography of Quaker William Penn, focusing on his trial for
religious freedom and the founding of the Pennsylvania colony.
COURTNEYS OF CURZON STREET
(Program #444) 1947 -- 112 minutes. Black and white.
British. Anna Neagle, Michael Wilding. Story of a musical
theatrical family at the tum of the century. Excellent film .
CYRANO DE BERGERAC
(Program #11)
1950 -- 112 minutes. Black and white. United Artists.
Jose Ferrer, Mala Powers, William Prince. Stanley Kramer's lavish super-production of the classic play by Edmund
Rostand. Jose Ferrer's outstanding performance won him the Academy Award for Best Actor. Cyrano, the romantic
swordsman with the long nose, falls in love with the most beautiful woman he's ever known, the enchanting Roxanne.
Great swashbuckling fun and heart-stopping romance .
• Academy Award Winner for Best Actor
• One of the Ten Best ArOerican Films of the Year: National Board of Review
DANGER LIGHTS
(Program #12)
1930 -- 74 minutes. Black and white. Radio Pictures. Louis Wolheim, Robert Armstrong, Hugh Herbert. Robert Armstrong
plays a man down on his luck, a bum riding the rails . After helping dig a train out of a landslide, he's befriended by gruff old
railroad boss Louis Wolheim, who not only gives him a job, but puts him up in his own house. They become the best of
friends -- but Wolheim's much younger sweetheart, Jean Parker, finds herself falling in love with the handsome stranger.
A gripping melodrama with many interesting and unexpected plot twists, including a race-against-the-c1ock finale .
DARK JOURNEY
(Program #13)
1937 -- 82 minutes. Black and white. Victor Saville Production; London Films. Vivien Leigh, Conrad Veidt, Joan
Gardner. Engrossing love story set in wwn about a dress shop owner and double agent (Leigh), who becomes involved with
a baron (Veidt), the head of German Intelligence.
DA VID AND LISA
(Program #131)
1962 -- 94 minutes. Black and white. Keir Dullea, Janet Margolin, Howard da Silva. An exquisitely compassionate film
reveals two emotionally disturbed adolescents who develop a mutually constructive, deeply felt relationship which guides
them toward recovery. This sensitively etched drama is a touching, human story about the beauty and power of love .
• "A miIWr'Tnasterpiece, easily the best U.S. movie released in 1962." - ~
(Drama/Romance)
THE DEVIL'S PARTY
(Program #435)
1938 -- 65 minutes. Black and white. Victor McLaglen. William Gargan. Beatrice Roberts. Directed by Ray McCarey.
Interesting melodrama about a reunion of pals from Hell's Kitchen which turns into a night of tragedy involving gangsters
and murder.
DINNER AT THE RITZ
(program #414)
1937 -- 77 minutes. Black & white. 20th Century Fox . David Niven, Paul Lukas. Annabella. Romney Brent. Directed by
Harold Schuster. Diverting murder whodunit with Annabella seeking the killer of her father. a Parisian banker. Classy
settings add spice to this nicely made film .
DISHONORED LADY
(Program #415)
1947 -- 81 minutes. Black & white. United Artists. Hedy Lamarr, Dennis O'Keefe. Paul Cavanaugh. Directed by Robert
Stevenson. Lamarr is glamorous, as always, as a magazine art director accused of her ex-boyfriend's murder.
THE DIVORCE OF LADY X
(Program #17)
1938 -- 91 minutes . Technicolor. United Artists; Alexander Korda Production. Merle Oberon, Laurence Olivier,
Ralph Richardson. Binnie Bames. Directed by Tim Whalen. The locale is fog -shrouded London. Checking in at the Royal
Parks Hotel is dashing Larry Olivier. Because of the fog, the place is overcrowded with tourists . Among them. glamorous
Merle Oberon (real-life wife of the producer) who also needs a room for the night. She hopes to share a sitting room
occupied by one of the registered guests. prevailing on Olivier to do the honors. but he won't budge. and refuses to give up
the room for anybody. not even for Merle. Poor man! He hasn't got a chance in this wonderfully droll sex comedy.
DOCTOR KILDARE'S STRANGE CASE
(Program #307)
1940 -- 76 minutes. Black and white. Metro-Goldwyn-Mayer. Lew Ayres. Lionel Barrymore. Laraine Day. Directed by
Harold S. Bucquet. From the Dr. Kildare series set in Blair General Hospital. with equal doses of comedy and drama.
DRUMS IN THE DEEP SOUTH
(Program #313)
1951 -- 87 minutes. Color. James Craig, Barbara Payton, Guy Madison. Craig Stevens. Directed by William
Cameron Menzies. Civil War story of West Pointers who fmd themselves fighting for opposite causes.
EAGLE IN A CAGE (Program
#507)
1971 -- 98 minutes. Color. John Gielgud. Ralph Richardson, Billie Whitelaw . Fine drama of Napoleon in exile on the
island of St. Helena, still thinking and behaving as though he were emperor.
THE EMPEROR JONES (Program
#492)
1933 -- 72 minutes. Black and white. Paul Robeson, Dudley Digges, Frank Wilson. The rise and fall of an ambitious
Pullman porter who becomes King of Haiti. Eugene O'Neill's play is faithfully rendered, with a Roaring Twenties sequence
by Dubose Heyward recreating Black America from the Cotton Club in Harlem to a chain gang in Georgia.
THE ENTERTAINER
(Program #104)
1960 -- 97 minutes . Black and white. Laurence Olivier. Daniel Massey, Alan Bates, Albert Finney. Shirley Anne
Field. Directed by Tony Richardson. Splendid drama of a down-and-out vaudevillian who tries vainly to gain the fame his
dying father once possessed. His blatant disregard for his alcoholic wife and superficial sons brings his world crashing
down around him. and he discovers how self-destructive his life has been. Olivier is brilliant in this film. adapted from the
play by John Osborne.
SheW
al Ihe edge of
life-with oulstretched arms
,.. loa short 10
reach il!
Romancea baffling
reality,
(DramaIRomance)
(Program #21)
1939 .. 95 minutes . Black and white. United Artists.
Loretta Young, David Niven, Billie Burke . Directed by Tay
Garnett. A magician can't make lipstick stains vanish before they break
up his marriage ... but intends winning his wife back at any cost. before
she carries out plans for a second husband. Way-out idea comes off well.
• Academy Award Nominee for Best Original Music Score
• " .. . it's a gratifyingly high-toned affair in which chinchilla
coats, de luxe world tours, champagne hangovers and lodges in the
Adirondacks are tossed about as freely and familiarly as the average
person tosses off a blue-plate lunch." - New York Times
ETERNALL Y YOURS
EYE WITNESS
(Program #285)
1950 .. 104 min. Black and white. Eagle-Lion (British).
Robert Montgomery. Leslie Banks. Directed by Robert Montgomery.
American attorney Montgomery is in London trying to defend a friend
accused of homicide and coping with an unfamiliar legal system while
hunting for the eyewitness.
THE FALLEN IDOL
(Program #439)
1948 -- 95 minutes. Black and white. Selznick Releasing Organization.
Ralph Richardson, Jack Hawkins, Bernard Lee. Michele Morgan.
Sonja Dresdel, Bobby Herney. Screenplay by Graham Greene .
Directed by Carol Reed. The young son of a wealthy British family is
befriended by the butler (Richardson). who has a nagging wife and a
beautiful ladyfriend. When the butler is suspected of murdering his wife,
things come to a head. Well written and acted; suspenseful.
FANNY BY GASLIGHT
(Program #408)
1948 .. 106 minutes. Black & white. James Mason. Phyllis Calvert.
Stewart Granger. Wilfred Lawson. Directed by Anthony Asquith.
A wealthy and powerful man is determined to have for himself the lady of
his choice. and it doesn't matter to him what anyone else desires. Talk
about a control freak!
A FAREWELL TO ARMS
(Program #24)
1932 .. 78 minutes. Black and white. Paramount; re-issued by Warner
Bros. Gary Cooper, Helen Hayes. Adolphe Menjou. Directed by
Frank Borzage. Lushly romantic adaptation of the Hemingway novel
about an ill-fated wwn romance between an American soldier and a
British nurse. Riveting performances by Helen Hayes and Gary Cooper
as the sweet English nurse and the cynical American ambulance driver
who fall in love on the Italian front and are separated by combat and
another man's jealousy. A huge boxoffice success in its day.
• Academy Award Winner for Best Cinematography
• Academy Award Winner for Best Sound Recording
• Academy Award Nominee for Best Picture
• "Borzage has invested the war scenes with a strange,
brooding expressionist quality ... indeed, the overall visual
style is most impressive." - The New Fj!m Times
FIRE OVER ENGLAND
(Program #301)
1937 .. 89 minutes. Black and white. British. Laurence Olivier, Vivien Leigh, Raymond Massey, Flora Robson.
Directed by William K. Howard. Historical drama of the British-Spanish conflict in the 1500s with a flawless performance
by Robson as Queen Elizabeth. fine villainy by Massey. and romantic support from Olivier and Leigh. Watch for newcomer
James Mason in a small. unbilled role.
(DramaIRomance)
FLAME OVER INDIA
(Program #453)
1960 -- 130 minutes. Technicolor. Lauren Bacall, Kenneth More, Herbert Lom, Wilfrid Hyde-White. Directed by
J. Lee-Thompson. During a Muslim uprising in India, a professional soldier spirits a Hindu prince and his American
governess to safety aboard a rusty old train. Fast-paced actioner packed with adventure, love, treason.
GO FOR BROKE
(Program #441)
1951 -- 92 minutes. Black and white. M-G-M. Van Johnson, Lane Nakano, Henry Nakamura, Warner Anderson, Gianna
Maria Canale. Produced by Dore Schary. Directed by Robert Pirosh. "Go for broke!" was the battle cry of the 442nd
Regimental Combat Team composed of Japanese-American volunteers from the U.S . and Hawaii in World War II.
Van Johnson is cast as a second lieutenant who is initially disappointed to be made leader of the 442nd platoon, but comes
to appreciate his fighting men during the campaigns in Italy and France that made the Nisei unit the most decorated group in
the Army. Uncompromising in its point of view reflecting the Nisei's collectively heroic war record.
THE GREAT FLAMARION
(Program #27)
1945 -- 78 minutes. Black and white. Republic Pictures. Erich Yon Stroheim, Mary Beth Hughes, Dan Duryea. Directed
by Anthony Mann. A circus story with Yon Stroheim as the Great Flamarion, an older man double-crossed by femme
fatale Mary Beth Hughes, to make way for Dan Duryea.
THE GREEN GLOVE
(Program #28)
1952 -- 88 minutes. Black and white. United Artists; Benagoss Production. Glenn Ford, Geraldine Brooks, George
Macready. Directed by Rudolph Mate. This is the story of a legend: a medieval green glove, revered as a sacred religious
relic and enshrined in a little Basque church in the south of France. Highly regarded for its miraculous powers, this jewelencrusted relic had been stolen during the Second World War, and became highly sought-after by an unscrupulous art dealer
(George Macready). Glenn Ford plays the handsome ex-paratrooper who returns to Europe after the war to retrieve the Green
Glove from a spot only he knows about. Along the way he meets a beautiful girl and many desperate glove-lusting
criminals. He decides to return the glove to its rightful owners, but the villain is hot on his trail. A film full of chases,
mysterious murders and a heart-stopping mountain climbing pursuit through the rugged Pyrenees.
THE HAIRY APE
(Program #30)
1944 -- 88 minutes . Black and white. United Artists. William Bendix, Susan Hayward, Roman Bohnen, Dorothy
Comingore, John Loder. Directed by Alfred Santel. Great confrontations are rare in the cinema. This film contains one of
the best, between grimy, sweaty William Bendix and glamorous Susan Hayward. She meets him, stoking coal in the belly of
a tramp steamer, and to her, he's about the most disgusting, ugly, and brutal creature she's ever seen. When she calls him a
"hairy ape" he's devastated, deflated and depressed. He must see her again. Their final scene together, done without a single
line of spoken dialogue, is one of Hollywood's most eloquent moments.
HEARTBEAT
(Program #419)
1946 -- 96 minutes. Black & white. RKO. Ginger Rogers, Basil Rathbone, Adolphe Menjou. Directed by Sam Wood .
In this entertaining lighthearted comedy, Ginger Rogers enrolls in Basil Rathbone's pickpocket school in Paris and
emerges the star pupil. Excellent cast in an elaborate production.
HEIDI
(Program #269)
1954 -- 98 minutes. Black and white. Elisabeth Sigmund, Heinrich Gretler. Directed by Luigi Comencini. One of the best
renditions of the classic children's tale about a young girl living with her grumpy, hard-to-get-along-with grandfather.
HIS GIRL FRIDAY
(Program #102)
1940 -- 92 minutes. Black and white. Columbia Pictures. Cary Grant, Rosalind Russell, Ralph Bellamy, Gene
Lockhart. Directed by Howard Hawks. Successful reporter Hildy Johnson (Rosalind Russell) wants to leave journalism for a
normal life. Her editor Walter Bums (Cary Grant) tries to persuade her to stay. Running parallel to their conflict is a series
of complicated events revolving around a convicted murderer's escape from jail on the eve of his execution. The drama
hinges on whether Hildy will give in to her instinct for a great story or leave town as planned. Screwball, fast-paced
re-make of the hit comedy "Front Page." Terrific character actors, hilarious script make this a must-see film .
• 'The complete Hollywood movie, which succeeds on every level. One of the finest casts of characters ever
assembled for one film ." - Leonard Maltin
(DramaIRomance)
HOLLOW TRIUMPH
(Program #32)
1948 -- 83 minutes. Black and white. Eagle-Lion Pictures. Paul Henreid, Joan Bennett, John Qualen, Eduard Franz. A killer
assumes the identity of a doctor. Tense melodrama.
" I'VE SEEN sharks getting
:nen at sea! Women get ting men on land! Fatheads getting tight! Red heads getting loose! Hell
popping and nobody stopping ••• at anything .. . to
' get ' the ir woman •• • and
' get ' their man !"
RTHE
ERFROMT
~~
~
t •
HOME OF THE BRAVE
(Program #463)
1949 -- 88 minutes. Black and white. United Artists.
Lloyd Bridges, Frank Lovejoy, Steve Brodie,
James Edwards. Directed by Mark Robson. Produced
by Stanley Kramer. Screenplay by Carl Foreman.
One of the flrst Hollywood films to deal seriously
with racial bigotry among Americans. A black
soldier (James Edwards) stationed on a South Pacific
island, suffers a breakdown as a result of the
resentment and mistreatment he receives from his
white comrades. The film presents a believable
portrait of a man who finds that his real enemies are
fighting alongside him as well as against him .
• "... the subject makes for a drama offorce
and consequence - a film of emotional impact as
well as strong intellectual appeal."
- Bosley Crowther, New York Times
HOOSIER SCHOOLBOY
(Program #514)
1937 -- 62 minutes. Black and white. Monogram
Pictures. Mickey Rooney, Ann Nagel, Frank
Shields. An impoverished lad must fight for his
self-respect because of his shell-shocked alcoholic
father.
I COVER THE WATERF RONT
1933 -- 72 minutes. Black & white. Edward Small Prod. Claudette Colbert, Ben Lyon, Ernest Torrence, Maurice Black.
Produced by Howard Hughes. Directed by James Cruze. Then-popular Ben Lyon plays the real-life role of San Diego
reporter H. Joseph Miller, whose unique and personal experiences covering the waterfront make up the plot of this gritty
and realistic drama, obviously made before the production code crackdown. The film employs tough, hard-boiled dialogue
and situations with a lot of newspaper humor. Claudette Colbert plays Julie, the daughter of an unscrupulous but likeable
waterfont smuggler (Ernest TOITence) who spends most of his off-hours in San Diego's red light district, getting drunk and
playing the piano. Claudette's penchant for swimming nude in the ocean gets Ben's attention. In order to learn more about
her father's smuggling operation, he plans to make love to her, with all expenses paid by his newspaper. But then, as you
might expect, they fall in love! Considered pretty racy in its day, and still enjoyable.
I DREAM OF JEANNIE
(Program #464)
1952 -- 90 minutes . Black and white. Ray Middleton, Bill
Shirley, Lynn Bari. Directed by Allan Dwan. The story of
Stephen Foster, 19th Century American composer.
IMP A CT
(Program #35)
1949 -- 111 minutes. Black and white. United Artists.
Brian Donlevy, Ella Raines, Charles Coburn, Helen Walker,
Anna Mae Wong. Donlevy plays Walter Williams, a captain of
industry married to a haughty socialite (Helen Walker) who is
no longer in love with him. Her plans to bump him off go awry _
when her boyfriend is accidentally killed instead of her
husband. When he realizes that his wife wants him dead,
Williams contin\les the deception, planning revenge!
Entertaining drama keeps you guessing at every tum.
INNI MAl WONG
SUDDENLY THE WHOLE WORLD KNEW HER SECRET!
(Drama/Romance)
INDISCRETION OF AN
AMERICAN WIFE (Program #34)
1954 -- 63 minutes. Black and white. Columbia;
David O. Selznick Production. Jennifer Jones,
Montgomery Clift, Gino Cervi. Directed by
Vittorio De Sica. An American housewife (Jennifer
Jones) lingers in a Rome railroad station, trying to
decide whether to stay with her Italian suitor or
return to her husband in Philadelphia. Director
De Sica makes rich use of this colorful locale to
reflect the heroine's agitated emotional state; and
with equally sharp dramatic irony, he develops the
unexpected crisis which leads to her final decision .
• Academy Award Nominee for Best
Costume Design.
ISADORA
(Program #363)
1969 -- 153 minutes. Color.
Vanessa Redgrave, James Fox, Jason Robards.
A loose, im aginative biography of Isadora
Duncan , the cause celebre dancer in the 1920s
who became famous for her scandalous
~ am,
W~f.
performances, outrageous behavior, public love
affairs, and bizarre early death. Redgrave is
~ •• ' _0 ~.O'" o . \'lTTOR!':> D. SICA
exceptional in the lead and Fox provides fine
support.
• "One of the 10 best films of the year." - National Board of Review Awards
• Best Actress Nomination - 1968 Academy Awards
• Best Film - 1969 Cannes Film Festival
• Best Actress - 1969 Cannes Film Festival
:jENNIFERJONES ~ MONTGOMERY CLIFT ,
.. IT~]m~~@illL;lrlID~]
Gnnvucam
.,
JANE EYRE
(Program #172)
1970 -- 110 minutes . Color. George C. Scott,
Susannah York . Sumptuous Gothic settings and
Scott's tremendous performance bring to life Charlotte
Bronte's monumental novel of Victorian romance in this
haunting production. Susannah York plays the title role
of the orphaned daughter of an impoverished clergyman
who leaves her bitter life at an orphanage to become
governess at Thornfield Hall . The strange screams and
laughter that echo within the mansion, the menacing
woman lurking in its darkened corridors, the mysterious
fire and the climactic revelation, all are part of the eerie
mood and substance of this unforgettable film .
JOHNNY NOBODY
(Program #320)
1961 -- 88 minutes. Black and white. British.
Nigel Patrick, Aldo Ray, William Bendix. Directed by
Nigel Patrick. An Irish priest suspects murder when a
drunken author is killed. Unusual plot twists with
religious overtones .
\~'\"\ESS.-\
REDGR.\VE
" ISADORA"
JA\IES FOX
lr·\..\" TCHE..\"KO
.....: J-\SO..\" ROBARDS
II
'.~ Lj~ JRICiJl q ~ [ ~
.. ·:)o·. ,:~.,· .. ~p ~ CL)"=C:I . : !:10' 'u,..., ~, L~ Hvv ~ eR J GC
D"Hld by K~R [ L ?[,SZ >:.:,c ~\ ~: S [ ~T 31C RAY/,Wrm H ~.KI'\l
1Il(Y.)'.":!:' •• :=..."':'.:.,....... -
~;.'~ f\"''''~
r'- '
~MCO.OA·
(Drama/Romance)
THE KENNEL MURDER CASE
(Program #116) 1933 -- 73 minutes. Black and white.
Warner Bros. William Powell, Mary Astor, Eugene
Pallette, Jack LaRue, Ralph Morgan. Directed by
Michael Curtiz. Debonair detective Philo Vance
solved murders in a number of movies. Powell made the
best Vance, and this is the best film of the series. The
case is fascinatingly complex; Curtiz does a brilliant
directing job. A top-notch film by any standard .
• "Players are cast so inevitably to type that the
film is like a demonstration of the principles of
running a stock company." The New Yorker
KISS ME, KILL ME (Program #454)
1968 -- 80 minutes. Color. Carroll Baker,
George Eastman. A SUltry woman is involved in
various sexual encounters.
LADY OF BURLESQUE
(Program #40)
1943 -- 91 minutes. Black and white. United Artists;
Hunt Stromberg Production. Barbara Stanwyck,
Michael O'Shea, 1. Edward Bromberg, Pinky Lee.
Directed by William A. Wellman.
Based on 'The G-String Murders" by Gypsy Rose Lee. Music and lyrics by Sammy Kahn and Harry Akst. Costumes by Edith
Head. This clever. amusing "whodunit," reminiscent of the Charlie Chan and Sherlock Holmes films of the '40s. takes place
in an old burlesque theatre in New York. A dancer is found strangled with her own G-string. and there's a whole gallery of
suspicious characters at which to point the fmger. An unusual and entertaining mystery-thriller. with several big musical
numbers as well.
• Academy Award Nominee for Best Scoring of a Dramatic Picture
• "Miss Stanwyck takes to scanty gowns like a fish to water and proves in the dance numbers that she hasn't forgot
her early chorus training on Broadway." - New York Times
• "Entertaining and boisterous mystery. Stanwyck is well cast and William Wellman has the right directing style
for this kind of racy potboiler." - Steven H. Scheuer. film critic
THE LADY VANISHES
(Program #170)
1938 -- 97 minutes. Black and white. Gaumont-British. Michael Redgrave. Margaret Lockwood. Paul Lukas. Dame May
Whitty. Cecil Parker. Directed by Alfred Hitchcock. An old woman's disappearance during a train ride leads a baffled
young woman into a dizzying web of intrigue. Delightful mystery-comedy; one of Hitchcok's best.
• "Directed with such skill and velocity that it has come to represent the quintessence of screen suspense."
- Pauline Kael. Kjss Kiss Ban~ Ban~
THE LAST TIME I SAW PARIS
(Program #292)
1954 -- 116 minutes. Technlcolor. M-G-M. Van Johnson, Elizabeth Taylor. Eva Gabor. Walter Pidgeon.
Directed by Richard Brooks. An American WWII veteran relives his memories of the dazzle. romance. and hard times in
the post-war City of Lights. Glossy M-G-M update of F. Scott Fitzgerald's story.
LET'S LIVE A LITTLE
(Program #182)
1948 -- 83 minutes. Black and white. Eagle-Lion Films. Hedy Lamarr, Robert Cummings, Anna Sten.
An amusing comedy that has Lamarr and Cummings falling in love.
(DramaIRomance)
A LETTER OF INTRODUCTION
(Program #41) 1938 -- 104 minutes. Black & white.
Universal. Andrea Leeds, Adolphe Menjou, Edgar Bergen,
George Murphy. Smoothly done account of an aspiring
actress (Leeds) trying to make it without the help of her
famous father (Menjou). Excellent supporting cast.
• "A rambling narrative is unpardonable in a bad
writer and frequently the greatest charm of a good one. The
auJhors ofLFITER OF INTRODUCTION have done figure
eights with their story of a matinee idol's daughter, but have
executed them so cleverly that the script holds interest even
when it lacks direction . . . it is a surprisingly fresh ,
uncommonly diverting , remarkably well-done fiction."
- New York Times
"l",
"
'-
.
NEVER FORGET M'< O\.l'
----
-- -. ~ ~~
... even if they do
make me on EnglISh
lord I'll alway, re o
member the fun we 've
hod togothor - ond
if you ever
- I'll come
LIFE WITH FATHER
need me
(Program #162)
runn ing"
1947 -- 118 minutes. Technicolor. Warner Bros.
William Powell, Irene Dunne, Edmund Gwenn, ZaSu Pitts,
Elizabeth Taylor. Directed by Michael Curtiz.
Rich adaptation of the long-running Broadway play by
Howard Lindsay and Russell Crouse based on Clarence Day's
story of growing up in turn-of-the-century New York City
FREDDIE
BARTHOLOMEW
with his loving but eccentric father. This handsome
DOlORES COSTELLO BARRYMORE
.-,.1.
production is utterly delightful.
C. AU8REY SMITH· GUY KI&&EE. MICKEY ROONEY
• Academy Award Nominee for Best Actor
HENRY STEPHENSON· E E CLIVE. UNA O'CONNOR
• Academy Award Nominee for Best Set Decoration
• Academy Award Nominee for Best Cinematography
• "A classic slice of Americana has been preserved intact . All the charm, comedy, humor and gentle pathos are
beautifully realized in the handsomely Technicolored production . .. a film to be seen again and again." - New York Times
" •• " . . .·0.·0/1. • ••• .0; .... .
I f ' , .. . . . . " • .,. . . . h . . ...
LITTLE LORD FAUNTLEROY
(Program #308)
1936 -- 98 minutes. Black and white. United Artists; David O. Selznick Production. Dolores Costello, Freddie
Bartholomew, C. Aubrey Smith, Mickey Rooney, Guy Kibbee, Jessie Ralph. Directed by John Cromwell.
A young New Yorker suddenly finds himself a British lord in this charming film. Excellent production with a fme cast.
The14l4 _.~
PaEunt of yoar
favorite youth·hood
'.~.'
~\\)~/
~\1.\~\-
LITTLE MEN
(Program #42)
1940 -- 84 minutes. Black and white. RKO Radio Pictures. Kay Francis,
Jack Oakie, Jimmy Lydon, George Bancroft, Elsie the Cow. Wonderful
adaptation of the Louisa May Alcott novel. Focusing on rough adolescent
Lydon learning the ways of a gentleman at Francis' school.
THE LITTLE PRINCESS
(Program #43)
1939 -- 91 minutes. Technicolor. 20th Century-Fox. Shirley
Temple, Richard Greene, Anita Louise, Ian Hunter, Cesar Romero,
Arthur Treacher. Directed by Walter Lang. Shirley Temple is charming in
this lavish Technicolor costume melodrama set in 1899 Victorian
England. Shirley's the pampered daughter of a wealthy army captain (Ian
Hunter) and spends her days in an exclusive and expensive boarding
school. When daddy is reported killed in action during the Boer War, poor
Shirley is left penniless and alone. However, she never gives up hope
that her daddy is still alive. Big-budget, impressive Technicolor
production values and first-rate acting abound, topped by a musical dream
fantasy sequence which lets Shirley show off her balletic talents.
A woman of the world and a
bachelor by choicEr . . • swept
away by an a ll.embracing
emotion.
LOVE AFFAIR
IRENE
CHARLES
DUNNE BOYER
,lftfwz~
WAIIIA OUIPIHSUTA
UI l OWMAN . ASTIIID ALLWTH
WAUIUCI WOSCOVICH
o
o
o
o
Academy
Academy
Academy
Academy
Award
Award
Award
Award
Nominee
Nominee
Nominee
Nominee
for
for
for
for
(Drama/Romance)
(Program #284)
1939 -- 87 minutes. Black & white. RKO Radio
Pictures. I rene Dunne, Charles Boyer.
Directed by Leo McCarey. Wonderful comedydrama about a shipboard romance whose
continuation on shore is interrupted by
unforeseen circumstances. The superior
predecessor to An Affair to Remember.
o Academy Award Nominee for
Best Picture
o Academy A ward Nominee for
Best Actress
Best Supporting Actress
Best Writing
Best Interior Decoration
Best Song
LOVE LAUGHS AT ANDY HARDY
(Program #314) 1946 -- 93 minutes. Black and white. M-G-M.
Mickey Rooney, Lewis Stone, Sara Haden, Bonita Granville.
Directed by Willis Goldbeck. College boy Andy Hardy (Rooney) is in
love and in trouble. Financial and romantic problems come to a head
when Andy is paired with a six-foot tall blind date. From one of the
most popular movie series of all time.
LOVE ON THE DOLE
(Program #44)
1941 -- 89 minutes. Black and white. British. Four Continents Films.
Deborah Kerr, Clifford Evans, George Carney.
A British family struggles to get ahead in Depression-tom London.
o "A thoughtful and earnest allempt to throw some light on a
problem that concerns us all in varying degrees." - New York Times
o .... • vividly characterized, old-fashioned social melodrama,
well made on a low budget." - Leslie Halliwell, film critic
MADE FOR EACH OTHER
(Program #45)
1939 -- 93 minutes. Black and white. United Artists; Selznick
International. James Stewart, Carole Lombard, Charles Coburn,
Ward Bond. Directed by John Cromwell. Struggling young newlyweds
John and Jane Mason (James Stewart and Carole Lombard) get married
after only a few hours' acquaintance and move in with his mother. John
is turned down for a junior partnership in his law fIrm, and after Jane has
a baby, the debts begin to mount up. However, the couple manage
adequately until one day when the baby becomes critically ill. John and
Jane must obtain a rare serum - their only hope to save the child.
o " • • • a richly human picture . .. comic, sentimental, and
poignant by turns." - Frank Nugent, New York Times
THE MAGNIFICENT MATADOR
(Program#107)
1955 -- 94 minutes. Technlcolor. Edward J. Alperson Production. Anthony Quinn, Maureen O'Hara. Quinn plays
a matador who backs out of a show at the last minute. When he retreats to the country, he is suspected of cowardice by his
girlfriend O'Hara and many fans. He is not afraid for himself, however, but for his illegitimate son, who has just become a
bullfIghter. In the end, both father and son return to the ring.
o " • •• ve,ry prelly and exciting . .. {the bullfighting scenes] of this ambitious film . .. look appropriately
spectacular." - Bosley Crowther, New York Times
(DramaIRomance)
THE MAN WITH THE GOLDEN ARM
(Program # 417)
1955 -- 119 minutes. Black & white. United Artists.
Frank Sinatra, Eleanor Parker, Kim Novak,
Darren McGavin, Arnold Stang. Directed and produced by
Otto Premlnger. Nelson Aigren's powerful novel of
drug addiction was the basis for this controversial
Preminger film. Frank Sinatra gives what is probably the
finest perfomance of his career as an aspiring jazz drummer
who becomes implicated in a murder while trying to beat a
narcotics addiction against great odds. Features Elmer
Bernstein's famed jazz score.
I_I ~ ~"A FINE MOVIE ...
says:
PROVES AHIT!"
THE
MAN
ifH
THE
MARTIN LUTHER (Program # 183)
1953 -- 105 minutes. Black and white. Niall MacGinnis,
John Roddock. Directed by Irving Piche!.
Distinguished, reverent biography of history's most
prominent Protestant. Excellent direction, costuming,
script. Produced for the Lutheran Church by Louis De
Rochmont. Stunning performance by Abbey Theatre star
MacGinnis as Luther.
• Academy A ward nominee for Best
Cinematography
• Academy A ward nominee for Best Art and
Set Director
MEET JOHN DOE
(Program #47)
1941 -- 123 minutes. Black and white. Warner Bros.
Directed by Frank Capra. Gary Cooper, Barbara
Stanwyck, James Gleason, Walter Brennan.
Capra's classic ode to the common man. This socialcommentary comedy/drama stars Cooper as one of the
millions of unemployed Depression-era workers. He's
picked as the "typical American." John Doe, by a
newspaper publisher, and is soon molded into the
symbol of the average man by the high-pressure
campaign of attractive reporter Stanwyck.
• Academy Award Nominee for Best Original
Story
• "Many of his (Capra) camera devices are magnificent
in the scope of their suggestion and always he tells his story well
with his customary expert spacing of comedy and serious drama."
- New York Tjmes
• 'The hardest hilling and most trenchant picture on the
theme of democracy that Capra and (screenwriter) Riskin have yet
made -- and a glowing tribute to the anonymous citizen.
Eloquent with love for gentle people ... it marks a distinct
progression in Mr. Capra's -- and the screen's -- political
thinking . .. " - Bosley Crowther, New York Times
THE AWARD·\'! IN NING GemS OF CA PRA!
ilil
-it
***
~~.
Jf You me' 'M: o-a"
when he wee: to tcwu.'
10
You met 'V..: S:ruth"
W uhlnqtoa!
rvlow
",ee' Frw
Capra. mo.1 6mU.1DQ
""'"
John Doe'"
GARY
MINE OWN EXECUTIONER
(Program #48)
1947 -- 102 minutes. Black and white. Burgess Meredith, Dulcie
Gray, Kieron Moore. A determined but unstable psychologist in
postwar London struggles to treat the schizophrenia of a WWII
prisoner who was tortured by the Japanese. Realistic drama;
a strong, visually engrossing film.
COOPER
mWA
STANWYCK
EDWARD ARNOLD
WALTER BRENNAN
SPRlNG BYlNGTON
JAMES GUASON
ZAROFF,
mighty hunter ..
The beasts he killed were Men
Startlillg, strange :luci
terrifyillg is tbe story of
this fascillillillg fieml ...
who lured ships to doom
011 the rocks, theu drove
the mule survivors illto
his island jungle to be
trailed like animals!
Wi'" JOEL McCREA, Foy Wroy
leslie Bonk., Robert Arm.trong
Oi,,,'.d h, 'n';";
S,hou1lod ',om
,It.'ic"'.' Dnd
Eu,."
I.
,fO'1 b, 'i,hn,d
Co",..II, Oo",id O . S.hnick. f .. r. P'od""u,
A COOPER·SCHO[OSACK Production
DATE
LINE
(Drama/Romance)
THE MOST DANGEROUS GAME
(Program #509) 1932 -- 63 minutes. Black and
white. Radio Pictures. Fay Wray, Joel McCrea,
Leslie Banks. Directed by Ernest B. Schoedsack and
Irving Piche!. Acclaimed by critic Georges Sadoul as
"one of the most taut American horror films of the
Thirties," The Most Dangerous Game is adapted
from Richard Connell's famous, frequently
anthologized short story. The tale centers around
Count Zaroff, a former explorer who lives on an
isolated tropical island. Having lost his taste for
hunting big game, he has turned to hunting men and
women - shipwrecking them off his island, setting
them loose on his estate after arming them with
knives, then going after them with bow and arrow
and high-powered rifle. Joel McCrea and Fay Wray
are his quarry on this occasion. The film uses many
of King Kong's sets and talent - - including Max
Steiner's music and Fay Wray's performance as
everyone's favorite victim.
THE NIGHT HAS EYES
(Program #51)
1942 -- 79 minutes. Black and white. Associated British. James Mason, Joyce Howard, Mary Clare, Tucker McGuire.
Mystery of school teacher Howard discovering why a friend disappeared in the Yorkshire Moors; Mason is the shellshocked composer she loves.
• 'There is some ingenuity and not a little cinematic skill in this British film which shows by the quality of its
dialogue that it aims at giving something more than an ordinary thriller." The London Times
THE NORTH STAR
(Program #53)
1943 -- 105 minutes. Black and white. RKO. Dana Andrews, Anne Baxter, Farley Granger, Walter Huston, Walter
Brennan, Erich Von Stroheim, Jane Withers. Directed by Lewis Milestone. Music by Aaron Copland. Gripping war
tale of Nazis overrunning an eastern Russian city, with courageous villagers fighting back. Dramatic battle sequences in
WWII Russia spice this filin. Fascinating climax when Nazi Stroheim matches wits with village leader Huston.
• Academy Award Nominee for Best Cinematography
• Academy Award Nominee for Best Screenplay
• Academy Award Nominee for Best Interior Decoration
• Academy Award Nominee for Best Music Score
• Academy Award Nominee for Best Special Effects
OF HUMAN BONDAGE
(Program #54)
1934 -- 83 minutes. Black and white. Radio Pictures.
Bette Davis, Leslie Howard, Francis Dee, Reginald Denny.
Directed by John Cromwell. A Pandro S. Berman production.
This is the most succesful and fmest of the three film versions of
Somerset Maugham's semi-autobiographical novel,
concerning a young London medical student and the willful tramp he
loves. At her ''bitchiest,'' Bette time-after-time cruelly and
unmercifully hurts and takes advantage of her sincere admirer, who
keeps coming back for more punishment.
• 'The very life-like quality of the story and the marked
authenticity of its atmosphere cause the spectators to hang on every
word uttered." - The New York Times
(Drama/Romance)
ONE OF OUR AIRCRAFT IS MISSING
(Program #261)
1942 -- 106 minutes. Black and white. United Artists (British). Godfrey Tearle, Eric Portman, Bernard Miles, Googie
Withers, Peter Ustinov, Roland Culver. Directed by Michael Powell and Emerlc Pressburger. Thoughtful, gripping
study of RAF pilots who crash-land in the Netherlands, struggle to evade Nazi capture and return to England. Suspenseful.
• Academy Award Nominee for Best Screenplay
• Academy Award Nominee for Best Special Effects
• "A 1TUlSterpiece of understated drama . .. a closely knit, finely drawn melodrama that almost literally holds its
breath. It never slackens its taut line of suspense for an instant . .. the director and producer have created a succession of
wrenching incidents in which the suspense is so delicately balanced that a single misstep could destroy them."
- New York Times
SOL LESSER p.." ••
®1Mn
OUR TOWN
(Program #142)
1940 -- 90 minutes. Black and white. United Artists; Sol Lesser
Production. William Holden, Martha Scott, Thomas
Mitchell, Guy Kibbee. Music by Aaron Copland. Thornton
Wilder's prize-winning play about a small New England town is
sensitively brought to the screen.
• Academy Award Nominee for Best Picture
• Academy Award Nominee for Best Actress
• Academy Award Nominee for Interior Decoration
• Academy Award Nominee for Sound Recording
• Academy Award Nominee for Music Score
• "OUR TOWN. ..captures on film the simple beauties
and truths of hwnble folks as very few pictures do."
- New York Times
• "A comprehensive penetration of the hearts of these
good people, an external glance at the toils and rumors of their
humdrum lives and an internal revelation of their sorrows. A
finer original screenplay could scarcely have been written."
- Bosley Crowther, New York Times
• "One of the 10 best pictures of the year."
- Film Daily Poll
~
'MOlNtON WIlDIl ' S
.,o"ing'tltll111 'Ill( PlAT
fi..:-.: .
WILLIAM HOLDEN" MARTHA SCOTT
CibbJ
"!I's Ihe dream of my life to stc
l
~
FAY BAINTER
... .. "--i
0 1 Mil
Paris. Fr.nc•. "
[~) ~,E~,L !~b B N"~lh my childrtn gol good rtalur.s.
0
M'..J
I'd bt lshamtd ir Ih.y h.dn"L"
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much monty you hiVe. Never!"
~:f
' -"' i~'".
,
.
01
Howi. N,w.ome
"Cantt kttp
no
seatts from. nul!.:..
min. I know whll's loin, on."
STUART IRWIN
PARIS EXPRESS
(aka 'The Man Who Watched Trains Go By") (Program #189)
1953 -- 80 minutes. Color. 1. Arthur Rank Production. Claude Rains, Marta Toren, Herbert Lorn, Anouk Aimee.
Directed by Harold French. When a clerk embezzles money from his employer, he boards the Paris Express to escape from
police, but gets into more of an adventure than he bargained for. Well acted, based on the George Simenon novel.
PENNY SERENADE
(Program #324)
1941 -- 125 minutes. Black and white. Columbia Pictures. Irene Dunne,
Cary Grant, Beulah Bondi. Directed by George Stevens. Built around a series
of memories; Julie (Irene Dunne) plays phonograph records just before she is
about to break up with her husband Roger (Cary Grant). Each song reminds her of
an important event in their relationship: their meeting and engagement; her
miscarriage and subsequent inability to bear children; their adoption of a baby
girl who dies after a brief illness at the age of six; Roger'S inability to cope with
this, precipitating their separation. At the end they reconcile, adopting a new
baby and starting a new life together. The film is especially memorable for two
sequences: Julie's unsuccessful attempt to bathe the baby, shown in an extremely
long take; and Roger's successful plea before a judge to allow the couple to keep
their baby despite temporary poverty. The tearful courtroom speech is one of the
fmest moments in Cary Grant's career. A soap opera which piles one tragedy on
top of another. Written and directed with such honesty and sophistication, and
acted with such brilliance, that it transcends its genre .
• Academy Award Nominee for Best Actor
IIUl AH 10 NOI
[ DC .... eUCHA"'A'"
ANN DO .... ,.,
.. _ _ • • • • OO . .. ...... D
• _ _ •• ~IM C; latl"'~
. _ co . .. ... , .. , ." "',,
(DramaIRomance)
PORT OF NEW YORK
(Program #94)
1949 -- 86 minutes. Black and white. Eagle-Lion Films; Samba Productions. Directed by Laslo Benedek. Produced by
Aubrey Schenk. Scott Brady, Richard Rober, Yul Brynner, Lynne Carter. The Port of New York is not only the biggest
seaport in the world, it's also a battleground in the United States' war on narcotics. In this action-packed docu-drama, we
follow customs agent Mike Waters (Scott Brady) and his friend from the Bureau of Narcotics, Jim Flannery (Richard Rober),
as they track down a smuggled cargo of heroin destined for drug kingpin Paul Stasser (Yul Brynner with a full head of hair!).
What Stasser doesn't know is that this illegal cargo of drugs has been infected with bubonic plague, which means death to
all who use it. Yul Brynner, in his film debut, is outsanding as the wacko psychopath who listens to wild classical music
while he strangles his victims!
• "Brynner stands out as a cultured heavy, exploiting a good voice and unusual look to register as a novel
personality." Variety
QUICKSAND
(Program #418)
1950 -- 79 minutes. Black & white. United Artists. Mickey Rooney, Peter Lone, Jeanne Cagney, Barbara Bates.
Directed by Irving Piche!. Atmospheric film about auto mechanic Rooney, who is hot for trampy Cagney, and what happens
when he "borrows" $20 from his boss' cash register. Lorre is wonderfully menacing as a sleazy penny arcade owner.
RAIN
(Program #63)
1932 -- 93 minutes. Black and white. United Artists. Joan Crawford, Walter Huston, William Gargan, Guy Kibbee,
Beulah Bondi. Directed by Lewis Milestone. W. Somerset Maugham's story of Sadie Thompson is a classic of
stage, screen and literature. This version features brilliant perfomances by Joan Crawford as the cynical prostitute, and
Walter Huston as the minister who tries to reform her.
• "[Crawford is] sensitive, raucous, bawdy, and yet when embracing Huston's fever-pitched religion, genuinely
touching ." - The Motion Picture Guide
RED FURY
(Program #384)
1973 -- 105 minutes . Color. William Jordan, Katherine Cannon, Calvin Bartlett. The wonderful story of Frankie, a
young Native American boy, and his love for a majestic stallion, Red Fury, that only he can tame. Separated from his
family, rejected by the white community, falsely accused of stealing, this heroic lad is helped by a sensitive young school
teacher and an old rancher, who believe in him. Lots of scenery, suspense, and a touch of comedy. A great family film.
THE RED HOUSE
(Program #65)
1947 -- 100 minutes. Black and white. United Artists.
Edward G. Robinson, Lon McCallister, Agnes
Moorehead, Aline Roberts . A strange old house hides
many mysteries in this story of madness, murder and
tangled relationships .
• Best Performance Juvenile Actor and Actress
(Lon McCallister, Aline Roberts) - Nation's Critics Poll
• "An excellent suspense thriller."
- Steven Scheuer, film critic
RUTHLESS
(Program #163)
1948 -- 104 minutes. Black and white. Eagle-Lion Films .
Zachary Scott, Diana Lynn, Sydney Greenstreet,
Louis Hayward. Directed by Edgar G. Ulmer.
Scott stops at nothing to claw his way to the top!
Engrossing drama with Greenstreet especially good as
Southern tycoon.
(DramaIRomance)
SARABAND
(Program #304)
1949 -- 96 minutes. Color. J. Arthur Rank Productions. Stewart Granger, Joan Greenwood. Directed by Basil Dearden.
A lush period piece garnished with lavish costumes and luxurious settings that tells the story of Greenwood tom between
royal responsibility and love for a young rogue (Granger) .
• Academy Award Nominee for Best Art Direction Color
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THE SCARLET PIMPERNEL
(Program #69)
1934 -- 95 minutes. Black and white. London Films;
Alexander Korda Productions. Leslie Howard,
Raymond Massey, Merle Oberon. The daring
exploits of the Scarlet Pimpernel in rescuing French
aristocrats from the guillotine is material for an exciting
tale of court intrigue, daring adventure, romance and a
thrilling chapter of history. Leslie Howard plays Sir Percy,
the English gentleman who masquerades as a vain and
fatuous dandy to hide his exploits as the real Pimpernel.
A lavish production and an entertaining script by
S. N. Behrman and Robert Sherwood .
• "Mr. Howard is the Pimpernel himself, gallant and
resourceful on his perilous missions across the Channel,
downright superb when he is playing the simpering poseur
in the English drawing rooms."
- The New York Times Film Review
• "Jf anything, this is one of the few examples of the film
being beller than the novel, and certainly this film is one of
the ones that keeps Leslie Howard forever in the mind while
the Baroness Drczy is all but forgollen."
- The Motion Picture Guide
SCARLET STREET
(Program #70)
1945 -- 103 minutes. Black and white. Universal; Walter Wanger Production. Joan Bennett, Edward G. Robinson,
Dan Duryea, Margaret Lindsay. Directed by Fritz Lang. An atmospheric film that builds slowly to a haunting
conclusion. Christopher Cross (Robinson) is a henpecked middle-aged cashier who becomes infatuated with Bennett, a
young woman whose boyfriend encourages her to seduce Chris so they can get at his money. Chris' passion ends up ruining
his life, and eventually drives him to murder. In one devastating shot, Lang dissolves to a close-up of Chris' painting depicting a snake whose body coils throughout the canvas and which strikingly suggests the young woman's hold on Chris .
The sequence of Chris haunted by guilt in his darkened room is also especially chilling .
• "(Lang's) is a cinema of shadow and darkness, its chief selling the nocturnal city, the work of an oppressive,
remarkably single-minded genius." -The Celluloid Muse
SCROOG E
(Program #190)
1935 -- 61 minutes. Black and white. Paramount (British). Sir Seymour Hicks, Maurice Evans, Robert Cochran, Donald
Calthrop, Oscar Ashe. Directed by Henry Edwards. Dickens' "A Christmas Carol" brought to life, with Hicks
impressive as Scrooge.
THE SECOND WOMAN
(Program #71)
1951 -- 91 minutes. Black and white. United Artists; Cardinal Productions. Robert Young, Betsy Drake, John Sutton,
Florence Bates. The music of Tchaikovsky dominates this Gothic romance, which takes place in brooding old mansions
perched on seaside cliffs. An architect, suffering from blackouts and depression, believes himself responsible for the death
of his fiancee the night before they were to have been married .
• "Young is a very quiet psychotic, underplaying almost to the point of somnambulism. This actually works in the
context of the film, as it is highly suspenseful and any emoting on Young's part would have destroyed the moody
believability slowly built by Smith's screenplay and Kern's direction." - The Motion Picture Guide
(Drama/Romance)
SMASH-UP, THE STORY OF A WOMAN
(Program #75) 1947 -- 103 minutes. Black and white.
Universal-International; Walter Wanger Production.
Susan Hayward, Lee Bowman, Marsha Hunt, Eddie Albert.
One of Susan Hayward's juiciest roles . She plays the wife of a
nationally famous crooner in the early days of radio . To cope
with her feelings of inadequacy, she hits the bottle regularly.
Sinking lower and lower into alcoholic depression, she betrays
her friends, alienates her husband and neglects her little girl.
She suffers beautifully, though -- through a multitude of
tragedies, including divorce, separation from the child she loves
and disfigurement in a fire started by her own cigarette. At this
point, only Susan Hayward could still make us feel sorry for this
character! Will she be able to quit drinking and put her life back
together in spite of all? See this great movie and find out.
• Academ y Award Nominee for Best Actress
• Academy Award Nominee for Best Screenplay
The greatest love story you have ever seen!
Gregory
Susan
Ava
PECK·HAYWARD·GARDNER
THE SNOWS OF KILIM ANJ ARO
(Program #76)
1952 -- 114 minutes . Tec hnico lor. 20th Cen tury-Fox.
G r egor y Peck , Susan H aywa rd , A va Ga rdn er .
The adventurous life of a successful writer (Peck) is recalled
through a series of flashbacks as he and his wife (Hayward),
while on safari, await a doctor to save his gangrenous leg.
An entertaining story well told in this lavish production.
• Academ y Award Nominee for Best Set Decoration
• Academ y Award Nominee for Best
Cinematography
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TH E SO UTHERNER
(Program #178)
1945 .. 91 minutes . Black and white. United Artists.
Zacha r y Scott , Bett y Field , 1. Carrol Naish, Beulah Bondi ,
Bunny Sunshine, Estelle Taylor, Percy Kilbride. Directed by
J ean Renoir. A poetic account of a Texas tenant farm famil y
struggling against poverty, natural disaster, and local hostility
in order to raise a crop of cotton on their own. Renoir's film is in
many ways reminiscent of John Ford's contemporary classic The
Grapes of Wrath, particularly in its reverence for the land; spare,
realistic camera style; episodic structure; and the depiction of
characters in a heroic mode. The superb cast includes Zachary
Scott as the determined cotton farmer, 1. Carroll Naish as a
malicious neighbor, and Beulah Bondi as the cantankerous
grandmother.
• Academy Award Nominee for Best Director
• Academy Award Nominee for Best Musical Score of
a Dramatic Picture
• Aca dem y Award Nominee for Best Sound Recording
• Best Film, Venice Film Festival
• One of the T en Best English Language Films of the
Year, National Board of Review
(Drama/Romance)
SPITFIRE
(Program #151)
1942 -- 117 minutes. Black and white. RKO. David Niven, Leslie Howard, Rosamund John, Roland Culver, Anne
Firth, David Home. Directed by Leslie Howard. True story of Reginald J. Mitchell (Howard), who designed the ace fighting
plane Spitfire and saw it become one of the Allies' most valuable WWlI assets. Fine biographical drama. Howard's last
film .
THE SPY IN BLACK
(Program #310)
1939 -- 82 minutes. Black and white. British. Conrad Veidt, Sebastian Shaw, Valerie Hobson, June Duprez, Helen Haye.
Directed by Michael Powell. A German submarine captain who returns from duty at sea during World War One is
assigned to infiltrate one of the Orkney Islands and obtain confidential British information. Intriguing espionage
melodrama with Veidt as a German naval officer/spy and Hobson as a charming double agent. Nice surprise twists in the
plot, with bittersweet romance worked in. Based on J. Stover Clouston's novel.
A STAR IS BORN (Program #79)
1937 -- 111 minutes . Technicolor. United Artists.
Janet Gaynor, Fredric March, Adolphe Menjou, Andy
Devine. Directed by William A. Wellman. Produced by David O.
Selznick. The original classic about a self-destructive actor and the
young movie hopeful he marries.
• Academy Award Winner for Best Original Story
• Academy Award Nominee for Best Director
• Academy Award Nominee for Best Actress
• Academy A ward Nominee for Best Actor
• Academy Award Nominee for Best Assistant
Director
• Academy Award Nominee for Best Cinematography
THE STRANGER
(Program #81)
1946 -- 95 minutes . Black and white. International
Pictures. Orson Welles, Loretta Young,
Edward G. Robinson. Directed by Orson Welles.
One of Welles' least known, least appreciated films, yet it
works very well on the thriller level. Welles plays Franz
Kindler, a notorious Nazi living in a small Connecticut
town and posing as a schoolteacher. Inspector Wilson
(Edward G. Robinson) of the War Crimes Commission is
sent to unmask the fugitive. Wilson eventually persuades
the Nazi's newlywed wife (Loretta Young) of her husband's
identity, in order to have her assist in the capture .
• Academy A ward Nominee for Best Original Story
• "Welles' Franz Kindler is not a cartoon character in
uniform spouting propaganda. grinning evilly and clicking
his heels. He is a smug. arrogant. cynical. amoral and
wholly self-confident creature who believes that he is
superior to anyone he meets -- he is evil incarnate. He is
not a snarling. flamboyant evil. but a quiet. calm. cold.
evil/hat can infiltrate any community and destroy it. It is a
chilling portrayal." - The Motion Picture Guide
(Drama/Romance)
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A Pua_ouo' PI' lou'" (.~
(Program #80)
1946 -- 117 minutes. Black and white. Paramount Pictures. Barbara Stanwyck, Kirk Douglas, Van Heflin. An
epic "film noir" drama of love and betrayal. A haunting musical score by Miklos Rosza highlights this downbeat talc of
childhood friends trying to survive in a dog-eat-dog world. Kirk Douglas' first starring role .
• Academy Award Nominee for Best Original Story
(DramaIRomance)
SUBTERFUGE
(Program #448)
1969 -- 89 minutes. Color. Gene Barry, Michael
Rennie, Joan Collins, Richard Todd. An American CIA
operative joins forces with British Intelligence, finding
intrigue and romance while encountering international
espionage, shady double-crosses, and murky political
dealings in this dramatic, fast-moving suspense drama.
SVENGALI
(Program #83)
1931 -- 81 minutes. Black and white. Warner Bros.
John Barrymore, Marian Marsh, Reginald Owen,
Donald Crisp. Barrymore plays a voice teacher with
hypnotic powers. Marsh is a famous opera singer under his
spell who can perform only with his direction.
• Academy Award Nominee for Best Cinematography
• Academy Award Nominee for Interior Decoration
• .... .there is Mr. Barrymore's fine performance which
surpasses anything he has done for the screen .....
- New York Times Film Reviews
• ..... Barrymore's Svengalj is like nothing you've ever
seen." - Steven H. Scheuer, Movies on TV
• "Some of the sequences are startling: Svengali, his eyes
a blank white, stands at the window and casts his spell
over the rooftops . .. and there are affecting moments, like
the failure of Trilby's voice when Svengali's influence
wanes." - Pauline Kael, Kiss Kiss Bang Bang
SWING HIGH, SWING LOW
(Program #352) 1937 -- 95 minutes. Black and white.
Paramount Pictures. Fred MacMurray, Carole
Lombard , Charles Butterworth, Jean Dixon, Dorothy
Lamour, Anthony Quinn . Directed by Mitchell
Leisen. Musical drama about musician MacMurray's
rise and fall.
THEY MADE ME A CRIMINAL
(Program #85)
1939 -- 92 minutes. Black and white.
Warner Bros. John Garfield, Gloria Dickson, Claude
Rains, Ann Sheridan, Huntz Hall, Billy Halop. A champion
prizefighter takes it on the lam after he's led to believe he
murdered a man in a drunken brawl.
THREE CAME HOME
(Program #157)
1950 -- 106 minutes. Black and white. 20th Century-Fox. Claudette Colbert, Patrie Knowles, Sessue Hayakawa.
Produced and written by Nunnally Johnson, from the book by Agnes Newton Keith. Directed by Jean Negulesco.
The harrowing experiences undergone by men, women and children captured by the Japanese in British North Borneo in
1940 and imprisoned until the end of World War II. Claudette Colbert plays Mrs. Keith, the American wife of a British
official, who wrote of her experiences under the Japanese occupation. A moving and factual account; stunning
performances .
• Star Rating from the Protestant Motion Picture Council
THURSDA Y'S CHILD
(Program #423)
1943 -- 81 minutes. Black and white. Sally Ann How;;s, Stewart Granger. A 12-year-old girl from an ordinary
family becomes a film star, to the detriment of everyone around her. An incisive drama of inLer-family relationships .
(Drama/Romance)
TOBY MCTEAGUE
(Program #385)
1987 -- 94 minutes. Color. Winston Rekert, Wannick
Bisson, Timothy Webber. Directed by Jean-Claude Lord.
An action-packed drama set in the beautiful frozen north of
thll Alaskan wilderness. Toby, the teenage son of a bush
pilot, is a champion dogsled racer and Siberian Husky
breeder. Toby's dad crashes his plane in a remote area, and
Toby and his dogs confront the elements and a pack of
hungry wolves to save him. He then takes his father's place
in a big dogsled race. Lots of thrilling action and a socko
fmish to a great family film .
TOM BROWN'S SCHOOL DAYS
(Program #424) 1940 -- 86 minutes . Black & white. RKO.
Cedric Hardwlcke, Freddie Bartholomew, Gale
Storm. Directed by Robert Stevenson. Entertaining,
fast-paced account of life at a Victorian boys' school.
Based on Thomas Hughes' classic novel.
A WALK IN THE SUN
(Program #148)
1945 -- 117 minutes. Black and white. United Artists. Dana Andrews, Lloyd Bridges, Richard Conte, Sterling
Holloway. Directed by Lewis Milestone. Milestone, director of "All Quiet on the Western Front," creates another
wartime masterpiece, depicting the trials of a group of infantrymen in WWII from the time they land in Italy to the time
they capture their objective, a farmhouse occupied by Germans. Fine ensemble acting shows the variety of civilians who
make up any fighting force, as the excellent script explores their fears, motivations, and weaknesses.
WE DIVE AT DAWN
(Program #358)
1943 -- 98 minutes. Black and white. Gaumont-British. John MlIIs, Eric Portman. Directed by Anthony Asquith.
This first-rate World War II submarine saga follows a British crew on their first assignment -- to sink a German battleship.
• "Above-average submarine movie manages to avoid most of the cliches of the genre and
generates quite a lot of tension. The performances are all good, and Mills prepared for his role
by actually riding a submarine down the river Clyde." - The Motion Picture Guide
WINTERSET
(Program #93)
1936 -- 78 minutes. Black and white. Radio Pictures. Burgess Meredith, Margo, Edward Cianelli, John Carradine.
A son seeks to clear his father's name of a falsely-accused crime 15 years after his electrocution. Loosely based on the trial
of Sacco and Vanzetti and adapted from Maxwell Anderson's Broadway play. Meredith, in his film debut, recreates the
role he made famous on Broadway with other members of the original cast.
• Academy Award Nominee for Best Music Score
• Academy Award Nominee for Interior Decoration
SOL LESSER presents
EDWARD G.ROBINSON
and
LON MCCALLISTER
in
with JUDITH
Straight from the page. of The
Saturday Evening Po.t .erial and the
rovel that thrilled aver7millian reade,.!
ANDERSON · RORY CALHOUN . ALLENE ROBERTS . JULIE LONDON
ONA MUNSON· HARRY SHANNON· ~::-::"~~:;~ •
In:::.s;- DELMER DAVES
Copyright by Thalia Productions. Inc. • Released thru United Artists
69
Drama/Romance
Feature Films from TVAI
THE AFFAIR (Program 241)
1973 -- 74 minutes. Color.
Natalie Wood, Robert Wagner, Bruce Davison, Kent Smith, Pat Harrington.
Well-handled, sensitive story of a 30-ish songwriter with polio (Wood) falling in love for
the first time with attorney Wagner. The excellent cast makes the most of a fine script.
AFFAIR IN MONTE CARLO (Program 572)
1953 -- 75 minutes. Black and white. (British).
Merle Oberon, Richard Todd, Leo Genn.
Love story set in glamorous gaming capital of Monte Carlo. A rich widow (Oberon) tries to
convince a dashing gambler (Todd) that romance is more rewarding than roulette.
THE ANIMAL KINGDOM (liTHE WOMAN IN HIS HOUSE") (Program 159)
1932 -- 85 minutes. Black and white. Radio Pictures.
Ann Harding, Leslie Howard, Myrna Loy , William Gargan, Neil Hamilton, Ilka Chase.
Suave publisher Howard finds himself in a complicated romantic triangle. He's married to
middle-class Loy and has an affair with free-spirited Harding. The catch: his mistress acts
more like a wife and his wife more like a mistress. Sophisticated, intelligent story that still
holds up today.
THE BARON (Program 601)
1977 -- 96 minutes. Color.
Richard Lynch, Calvin Lockhart, Joan Blondell, Raymond St. Jacques.
Vengeance is the name of the game when a ruthless underworld boss demands payment on
a debt - in blood. Fast-paced street drama with Lynch outstandingly malevolent.
BEWARE OF PITY (Program 201)
1946 -- 102 minutes. Black and white. (British).
Lilli Palmer, Albert Lieven, Cedric Hardwicke, Gladys Cooper.
Well-made historical drama about a crippled baroness who thinks she has found true love
with a military officer, but discovers his marriage proposal was motivated by pity, not
paSSIOn.
THE BOY IN THE PLASTIC BUBBLE (Program 248)
1976 -- 100 minutes. Color.
John Travolta, Glynnis O' Connor, Robert Reed,
Diana Hyland, Ralph Bellamy.
Travolta is excellent as an adolescent coming of age under
unusual circumstances: being forced to live in an isolation
bubble because he was born without immunities to disease.
This well-made, engrossing drama shows him learning about
life and discovering love.
John Travolta
as
"The Boy in the
Plastic Bubble"
(DramaiRomance)
CALLIE AND SON ("RAGS TO RICHES")
(Program 587)
1981 -- 140 minutes. Color.
Lindsay Wagner, Jameson Parker,
Dabney Coleman, Michelle Pfeiffer.
A poverty-stricken Texas girl is forced to give up her
illegitimate child for adoption. Years later, now a
wealthy woman in Dallas society, she sets out to
locate her son when she learns she can never have
another child. Gripping family saga with an excellent
cast.
THE CASE OF CHARLES PEACE
(Program 520)
1950 -- 86 minutes. Black and white.
Monarch (British).
Michelle Pfeiffer
Michael Harve, Chili Boncjier.
"Callie and Son"
British detective drama set in the Victorian era about
a series of burglaries that result in murder, leading to the trial of Charles Peace.
CASSANDRA CAT ("THE CAT") (Program 611)
1963 -- 87 minutes. Color. (Czechoslovakian; dubbed in English.)
Offbeat fantasy mixing whimsy and social commentary in a story about a magician whose
pet cat sees people in their true colors - literally. Cheats appear gray, adulterers are yellow
and honest people are unchanged. Winner of the Cannes Special Jury Prize.
CAUSE FOR ALARM (Program 379)
1951 -- 74 min. Black and white.
Loretta Young, Barry Sullivan, Bruce Cowling,
Margalo Gilmore. A wife is in danger when her
psychotic husband accuses her of infidelity and tries
to frame her for his own murder. Fast-moving,
.
suspenseful film with a neat s u '
Barry Sullivan, Loretta Young, Bruce Cowling
(Drama/Romance)
CHAINED FOR LIFE (Program 608)
1950 -- 75 minutes. Black and white.
The leading characters in this oddball melodrama are played by Violet and Daisy Hiltonand you can ' t mention one without the other because they're Siamese twins in real life.
Veterans of vaudeville and the cult film "Freaks," they sing, dance and emote their way
through a bizarre story about betrayal and murder. Since they're together in every scene,
how did they decide which twin would get first billing?
THE CHASE (Program 359)
1946 -- 86 min . Black and white.
Robert Cummings, Michele Morgan,
Peter Lorre, Steve Cochran, Jack Holt.
Cummings fall s in love with a
gangster's wife (Morgan) and they head
for Havana, pursued by the angry
husband (Cochran) and his evil
henchman (Lorre). A good cast delivers
excellent performances in this tense
"noir" thriller.
CHILDREN OF THE NIGHT
(Program 588)
1985 -- 104 minutes. Color.
Kathleen Quinlan, Mario Van Peebles,
Nicholas Campbell.
True story of sociology student Lois Lee (Quinlan), who opens a halfway house for the
homeless children and youthful prostitutes of Hollywood. Trouble ensues when a ruthless
pimp tries to thwart her efforts.
COCKFIGHTER (Program 602)
1974 -- 84 minutes. Color (AKA: "BORN TO KILL," "GAMBLIN' MAN")
Warren Oates, Harry Dean Stanton, Troy Donahue, Millie Perkins.
Oates delivers a compelling performance as a loner who trains fighting birds and loses his
money, possessions and girlfriend because of his passion for cockfighting. Monte Hellman
directed this moody, offbeat Roger Corman production filmed in Georgia.
CUL-DE-SAC (Program 523)
1966 -- 111 minutes . Black and white.
Donald Pleasence, Francois Dorieac, Lionel Stander, Jacqueline Bisset.
Director Roman Polanski has a field day with this macabre story about a middle-aged man
and his beautiful young wife who live in an old castle on an isolated island. When their
home is invaded by two wounded gangsters, the luscious wife (Dorleac) finds her fun
where she can. Considered one of Polanski's best films.
FASTER... FASTER ... FASTER ... FASTER .
(DramaIRomance)
DANNY BOY (Program 610)
1946 -- 53 minutes. Black and white.
Robert "Buzzy" Henry, Ralph Lewis,
Ace the dog.
Danny, a heroic dog who served in
the Marines during World War II,
returns to America and is kidnaped by
a group of crooks. He escapes, later
attacks them on the street, and is put
in the pound as a "killer dog." Will his young master be able to save him in time?
Fast-moving, entertaining family adventure has special appeal for younger viewers and dog
lovers.
DEA TH OF A PROPHET (Program 242)
1991 -- 60 minutes. Color.
Morgan Freeman, Yolanda King, Ossie Davis.
Freeman is outstanding in this gritty drama about the last day in the life of black American
leader Malcolm X. Newsreel footage and interviews are combined with dramatic
re-creations to bring history to life. Yolanda King, daughter of Martin Luther King, Jr. ,
plays Malcolm's wife.
ELIZABETH OF LADYMEAD
(Program 516)
1948 -- 97 minutes. Color.
Herbert Wilcox Prod.
Anna Neagle, Hugh Williams.
British comedy-drama about four wives, all
named Elizabeth, portraying "the girl he left
behind" in four different wars. Returning
husbands are shocked to learn of their
wartime affairs .
EYES IN THE NIGHT (Program 527)
1942 -- 80 minutes. Black and white.
M-G-M.
Ann Harding, Edward Arnold, Donna Reed,
Stephen McNally, Reginald Denny,
Rosemary DeCamp, Mantan Moreland,
Barry Nelson.
Morgan Freeman in "Death of a Prophet"
Excellent cast in an above-par mystery about
a blind detective (Arnold) helping a young
woman and her stepmother who are both involved in an actor's murder. Director Fred
Zinneman's feature debut.
FAKE OUT ("NEVADA HEAT") (Program 581)
1982 -- 96 minutes. Color.
Pia Zadora, Telly Savalas, Desi Arnaz, Jr.
Zadora turns in a convincing performance as a Las Vegas nightclub singer who finds
herself a target for death when the police get her to testify against her mobster boyfriend.
(OramaiRomance)
FORBIDDEN (Program 530)
1947 -- 87 minutes. Black and white.
London Films.
Douglass Montgomery,
Patricia Burke.
British drama about an unhappily
married scientist who plans his wife's
death, then tries to warn her -- but too
late.
FROM HELL TO VICTORY
(Program 605)
1979 -- 103 minutes. Color.
George Peppard, George Hamilton,
Capucine, Horst Buchholz,
Sam Wanamaker.
A group of friends of different
nationalities meets in Paris just before
World War Two and agrees to a
reunion every year at the same time
and place. The story follows their
lives as the War pits them against one
another. This gripping, heartfelt war
drama is highlighted by good
performances and impressive battle
scenes.
THE GREEN PROMISE
(Program 540)
1949 -- 93 minutes. Black and white.
Marguerite Chapman, Walter
Brennan, Natalie Wood,
Robert Paige.
When a domineeJ;"ing farmer is laid
up, his eldest daughter takes over,
tries modem methods and equipment,
and makes the farm a success.
GUEST IN THE HOUSE
(Program 165)
1944 -- 94 minutes. Black and white.
Anne Baxter, Ralph Bellamy, Ruth
Warrick, Margaret Hamilton,
Percy Kilbride, Jerome Cowan.
Suspenseful, atmospheric story of a
neurotic young woman who moves into
the home of her fiance's family and
turns their lives inside-out. Excellent
acting, particularly from Baxter and
Bellamy, who is very effective in a rare
romantic lead.
WALTER BRENNAN gets a loving hug from NATALIE WOOD in this
scene from "THE GREEN PROMISE;' an RKO release.
(Drama/Romance)
GUILTY CONSCIENCE (Program 31)
1985 -- 100 minutes. Color.
Anthony Hopkins, Blythe Danner, Swoosie Kurtz.
Tense psychological drama about a self-centered attorney
who debates with his alter ego about various ways of
murdering his haughty wife for his sexy mistress. Many
interesting plot twists.
HARVEST (Program 579)
1953 -- 53 minutes. Black and white.
James Dean, Dorothy Gish, Ed Begley.
A pre-fame James Dean shows early promise in this episode
of the TV anthology series "Robert Montgomery Presents."
He stars as a restless young man trying to find a direction for
his life in 1950s America.
Anthony Hopkins
"Guilty Conscience"
HEARTACHES (Program 624)
1947 --71 minutes. Black and white.
Edward Norris, Sheila Ryan, Chill Wills.
Offbeat story about an investigative reporter's probe of a
double homicide, with clues leading to secrets in the life of a
well-known singer. The popular song "Heartaches" is
featured.
HE FOUND A STAR (Program 542)
1941 -- 89 minutes. Black and white.
Eros Films.
Vic Oliver, Sarah Churchill,
Evelyn Dall.
British drama about the rise and
romances of a young theatrical producer
who's searching for the next big star.
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HE WALKED BY NIGHT (Program 244
1948 -- 80 minutes. Black and white.
Richard Basehart, Scott Brady, Jack Webb,
Roy Roberts, Whit Bissell.
Exciting true story of Los Angeles homicide
investigators tracking down a cop killer. This
first-rate production reportedly inspired Jack
Webb to create "Dragnet."
HEIDI (Program 223)
1968 -- 110 minutes. Color.
Maximilian Schell, Jean Simmons, Michael
Redgrave, Walter Slezak, Jennifer Edwards.
A good cast sparks Johanna Spyri's beloved children's story about an orphaned girl
(Edwards) who goes to the Swiss Alps to live with her kindly grandfather (Slezak).
Intelligent script by Earl Hamner Jr. of "The Waltons."
(DramaJRomance)
HIS PRIVATE SECRETARY
(Program 6 18)
1933 -- 60 minutes. Black and white.
John Wayne, Evalyn Knapp,
Alec B. Francis, Al St. John ,
Natalie Kingston .
The Duke made this modern-day drama
between Westerns. He stars as a rich
man 's son who can ' t take his mind off
women long enough to start in his
father 's business. He finally meets the
right girl , who straightens him out and
reunites him with his father.
INTERMEZZO (Program 544)
1936 -- 88 minutes. Black and white.
Swedish, with English subtitles.
Gosta Ekman, Ingrid Bergman.
Bergman is radiant as a young pianist
who falls in love with a renowned,
married violinist. They have an affair,
and he ultimately decides to return to
his wife and children. Poignant love story,
remade three years later by David O. Selznick
as Bergman's American film debut.
John Wayne. Evalyn Knapp
"His Private Secretary "
INTIMA TE AGONY ("DOCTOR IN DISTRESS") (Program 607)
1983 -- 104 minutes. Color.
Anthony Geary, Judith Light, Robert Vaughn, Mark Harmon, Arthur Hill .
At a fashionable resort community, a doctor battles a herpes outbreak over the objections of
the owner, who wants the news hushed up before the scandal ruins him. TV soap stars
Gearv and Light have the leading roles as the doctor and a community resident.
JAMES DEAN - LIVE! (Program 621)
Two live television dramas . 55 minutes total.
Black and white.
James Dean made his mark as an actor in network television
before his rise to movie stardom, as evidenced by these two
live dramas preserved on kinescope.
0.) "I'm A Fool," an episode of "The General Electric
Theatre," was broadcast on November 14, 1954, and
features James Dean, Eddie Albert, Natalie Wood and host
Ronald Reagan .
(2.) In another live broadcast, Dean stars in "The Bells of
Cockaigne," which aired November 17, 1953 on
"Armstrong Circle Theatre."
(DramaIRomance)
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JULIUS CAESAR (Program 548)
1970 -- 117 minutes. Color.
Charlton Heston, Jason Robards, John
Gielgud, Richard Chamberlain,
Diana Rigg.
An all-star cast in Shakespeare's classic
drama about political greed and
corruption in the Roman Empire.
LADY CHATTERLY'S LOVER
(Program 256
1955 -- 102 minutes. Black and white.
(French, dubbed in English.)
Danielle Darrieux, Leo Genn,
Erno Crisa.
Intriguing French film version of D.H.
Lawrence's celebrated novel about an
aristocratic wife who has a passionate
affair with her gamekeeper. Even though
the subject matter was treated discreetly,
the film was considered controversial in
its time, and was banned by New York
censors until the U.S . Supreme Court
declared their ruling unconstitutional.
LILLI MARLENE (Program 552)
1950 -- 75 minutes. Black and white. RKO (British).
Lisa Daniely, Stanley Baker, Hugh McDermott.
During World War IT, a beautiful French girl (Daniely) is forced by the Nazis to broadcast
demoralizing propaganda to British troops.
THE LIMPING MAN (Program 553)
1953 -- 76 minutes. Black and white. Lippert.
Lloyd Bridges, Moira Lister, Rachel Roberts, Jean Marsh.
Returning to London to resume a romance with an actress, ex-GJ. Bridges gets involved
in solving a murder.
LOLA (Program 554)
1969 -- 88 minutes. Color.
Charles Bronson, Susan George, Trevor Howard, Honor Blackman, Lionel Jeffries,
Robert Morley, Jack Hawkins, Orson Bean.
Impressive cast in the story of a 16-year-old nymphet who strikes up a romance with a
much older American writer of porno books.
A LONG TIME TILL DAWN (Program 586)
1953 -- 53 minutes. Black and white.
James Dean, Robert Simon, Naomi Riordan.
Released from prison, a young ex-con tries to make something of himself. Originally
broadcast on the "Kraft TV Theatre" series.
(DramaIRomance)
LORNA DOONE (Program 555)
1935 -- 89 minutes. Black and white.
John Loder, Margaret Lockwood.
A romance set in the 17th century, with the daughter of an outlaw hiding the secret of her
true identity from a farmer with whom she's in love. Well acted and beautifully
photographed in authentic British locations.
THE MARK OF THE HAWK (Program 560)
1957 -- 83 minutes. Color.
Sidney Poitier, Eartha Kitt, John McIntire, Juano Hernandez.
Well-done tale of African nations struggling to achieve racial equality after gaining
independence.
THE MELODY MASTER ("NEW WINE") (Program 227)
1941 -- 80 minutes. Black and white.
Alan Curtis, Ilona Massey, Binnie Barnes, Albert Basserman, Billy Gilbert,
Sterling Holloway.
The music of composer Franz Schubert highlights this romantic biography detailing his life
and loves.
MESMERIZED (Program 377)
1986 -- 97 min. Color.
Jodie Foster, John Lithgow, Michael Murphy,
Harry Andrews.
Oscar-winner Foster plays an innocent orphan who
marries a stem older man. After years of abuse, she
decides to kill him through hypnosis. Based on the
notorious Victoria Thompson murder case in 19th
century New Zealand.
MONSOON (Program 561)
1953 -- 79 minutes. Black and white. United Artists.
Ursula Thiess, Diana Douglas, George Nader,
Ellen Corby.
Set in India, this is the story of how ill-fated love
drives four people to ruin and tragedy.
MR. ARKADIN ("CONFIDENTIAL REPORT")
(Program 563
1955 -- 99 minutes. Black and white.
Orson Welles, Michael Redgrave, Patricia Medina,
Mischa Auer. Written and directed by Orson Welles.
Adapting from his own novel, Welles stars as a
ruthless millionaire who is threatened with blackmail
by his daughter's suitor.
John Lithgow, Jodie Foster
"Mesmerized"
OLIVER TWIST (Program 167)
1933 -- 77 minutes. Black and white.
Dickie Moore, Irving Pichel, William "Stage" Boyd.
Early version of Dickens' classic about the London waif who falls into the hands of the
villainous Fagin and his youthful gang of thieves.
(DramaiRomance)
NICHOLAS NICKLEBY
(Program 569)
1947 -- 87 minutes.
Black and white.
J. Arthur Rank Prod.
Derek Bond, Cedric Hardwicke,
Sally Ann Howes,
Sybil Thorndike.
A talented ensemble cast of
British actors brings Charles
Dickens' classic tale to life in this
highly entertaining film. Young
Nicholas struggles to protect his
impoverished family from a
scheming uncle and a cruel 19th
century world.
"Nicholas Nickleby"
POWER, PASSION AND MURDER (Program 380)
1987 -- 104 min. Color.
Michelle Pfeiffer, Darren McGavin, Stella Stevens, Hector Elizondo. Early Pfeiffer role
has her as a glamorous 1930s movie star who's having an affair with a powerful studio
head, and is discovered by his jealous wife. A behind-the-scenes look at the all-consuming
lust for success fame and love that drives the denizens of tinseltown.
PRINCE JACK (Program 575)
1983 -- 100 minutes. Color.
Lloyd Nolan, Dana Andrews, Robert Hogan,
Cameron Mitchell, Robert Guillaume,
Jim Backus.
Absorbing behind-the-scenes account of John F.
Kennedy's tumultuous political career and scandalous
romantic escapades. He had power, money and good looks
- but who and what really controlled JFK? A candid look
inside the Kennedy mystique.
THE PRIZE (Program 550)
1978 -- 73 minutes. Color.
Gary Grimes, Chuck Woolery, Duncan Gamble.
The competitive world of freestyle skiing forms the
background for this uplifting tale of a man's search for the
deeper values of life.
SHE WAITS (Program 626)
1971 --74 minutes. Color.
Patty Duke, David McCallum, Dorothy McGuire, Lew Ayres.
Well-acted suspense tale about a young woman possessed by the spirit of her handsome
fiance's first wife, who returns from the grave to avenge her murder. A superior cast lends
credence to their roles in this moody melodrama.
(DramaIRomance)
TIM (Program 427)
1979 -- 108 min. Color.
Mel Gibson, Piper Laurie, Alwyn Kurts.
A young Mel Gibson plays a mentally retarded man finding love with an attractive older
woman who teaches him to read. Based on a novel by Colleen McCullough, author of "The
Thorn Birds," with sensitive performances from a talented cast.
THE TORCH (Program 568)
1950 -- 90 minutes. Black and white.
Paulette Goddard, Pedro Armendariz,
Gilbert Roland.
Romantic drama about a Mexican town controlled by
a revolutionary who falls in love with a nobleman 's
daughter and must prove his love to her.
Beautifully photographed by Gabriel Figueroa.
(DramaJRomance)
A Great Star Of Toda
Thrills Of A G
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Brings You The Life, Loves and
Star Of Yesterda?,.,.:As Betty Hutton
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