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Movie cover art if shown is for descriptive use only
 42ND STREET (1933)
The definitive backstage musical still has plenty of sass - along with its cliches. Ailing director Baxter puts everything into what may be his final show, then leading lady Daniels twists her ankle! Good thing Ruby Keeler's on hand. Harry Warren-Al Dubin songs include title tune, "Young and Healthy", "Shuffle off to Buffalo". Busby Berkeley's ground-breaking production numbers are still sensational. Scripted by Rian James and James Seymour from Bradford Rope's story. Adapted for the Broadway stage fifty years later. Warner Baxter, Ruby Keeler, George Brent, Bebe Daniels, Dick Powell, Guy Kibbee, Una Merkel, Ginger Rogers Dir. Lloyd Bacon 89 Min. | |
 ALICE ADAMS (1935)
Excellent small-town Americana with social-climbing girl finally finding love in person of unpretentious MacMurray. Booth Tarkington's Pulitzer Prize-winning novel becomes fine film, if not all together credible. The dinner-table scene is unforgettable. Katharine Hephurn, Fred MacMurray, Fred Stone Dir. George Stevens 99 Min. | |
 AN AFFAIR TO REMEMBER (1957)
Romantic affair about a shipboard encounter that weathers some heartaches and finally leads to true love. As the lovers who agree to rendezvous in six months' time but are separated by fate, Grant and Kerr make a captivating duo in this three-hanky soap opera. Cary Grant, Deborah Kerr Dir. Leo McCarey 115 Min. | |
 ANNA CHRISTIE (1930)
This is where Garbo first spoke, saying, "Gif me a viskey, ginger ale on the side, and don't be stingy baby." Based on play by Eugene O'Neill. Slow but well acted by Garbo and the rest. Greta Garbo, Charles Bickford, Marie Dressler Dir. Clarence Brown 90 Min. | |
 ANNA KARENINA (1935)
Tolstoy's story of an illicit romance in the imperial court of Russia is splendidly acted; a bit heavy in dialogue for modern tastes but Garbo compensates for many things. Greta Garbo, Fredric March, Basil Rathbone Dir. Clarence Brown 96 Min. | |
 AS YOU DESIRE ME (1932)
This complex '30s film is based upon a play by Pirandello which involved a hapless amnesiac. In As You Desire Me, the legendary Greta Garbo plays a down-in-the-dumps amnesiac (she can't recall who her husband is) who ends up singing in a low-life nightclub and putting up with the advances of a cruel and crude novelist (Eric von Stroheim). She'd have remained in this miserable state were it not for the fact that she's recognized and returned to her true husband, who's a nobleman loyally in love with her. Her former suitor von Stroheim shows up trying to expose her as a fraud and regain her as his captive. Greta Garbo, Melvyn Douglas, Erich von Stroheim, Hedda Hopper, Owen Moore Dir. George Fitzmaurice 71 Min. | |
 BACHELOR MOTHER (1939)
Ginger Rogers slipped off her dancing shoes to play one of her best comic roles as Polly Parish, a salesgirl at a large department store. Single and with no steady beau, Polly leads a quiet life until she discovers a baby left at her doorstep. While puzzled by this development, Polly feels for the child and decides to adopt the baby. However, most of her co-workers raise their eyebrows at Polly's new status as a single mother, believing that she's actually the mother. The owner of the store where Polly works, J.B. Merlin (Charles Coburn), is taken aback, and his son David (David Niven), who has a reputation as a ladies' man, is dispatched to lead Polly back to the straight-and-narrow. Ginger Rogers, David Niven, Charles Coburn, Frank Albertson Dir. Garson Kanin 82 Min. | |
![]() BACK STREET (1941)
Incandescent lead performances elevate this soap opera about a married man and his backstreet wife. Based on Fannie Hurst's novel. Charles Boyer, Margaret Sullivan Dir. Robert Stevenson 89 Min. | |
 BIG STREET, THE (1942)
Damon Runyon produced this treacly adaption of his own "Collier's" magazine story "Little Pinks", about a timid busboy (Fonda) who devotes himself to a self-centered nightclub singer (Ball). Odd (and oddly watchable) with very unconventional roles for both Fonda and Ball. Henry Fonda, Lucille Ball, Agnes Moorehead Dir. Irving Reis 88 Min. | |
 BISHOP'S WIFE, THE (1947)
Christmas fantasy of suave angel (Grant) coming to earth to help Bishop Niven and wife Young raise money for new church. Engaging performances by all - and fun to see children from It's A Wonderful Life, Karolyn Grimes and Bobby Anderson, appearing together. Cary Grant, Loretta Young, David Niven Dir. Henry Koster 109 Min. | |
 CAMILLE (1936)
Garbo shines as Marguerite Gautier, the courtesean who finds true love and then sacrifices it for the sake of her callow beloved. She is sublime as the bountiful free spirit who gives as generously of her purse as she does her heart. As the youthful swan Armand, Taylor is if anything more beautiful than Garbo (but not remotely in her league as an actor). Greta Garbo, Robert Taylor Dir. George Cukor 109 Min. | |
 CHRISTMAS IN CONNECTICUT (1945)
Occasionally funny farce about a newspaper columnist who is instructed by her boss to have a war hero as her family's guest for Christmas dinner. Of course, she has no family and by that thread the film hangs. Barbara Stanwick, Dennis Morgan Dir. Peter Godfrey 102 Min. | |
 CLOCK, THE (1945)
Glowing, loving film by Judy's then-husband Vincente Minnelli, has a slight plot about a soldier and a working girl who met, fall in love, and marry during his 24-hour leave. The performances are pure star quality. Robert Walker, Judy Garland, James Gleason Dir. Vincente Minnelli 90 Min. | |
 CONQUEST (1937)
Conquest was released in England as Marie Waleska, the name of the real-life historical personage portrayed by Greta Garbo. The film begins in 1807, when Marie, a Polish countess, is dispatched by her country to meet with Emperor Napoleon Bonaparte (Charles Boyer). Marie has been encouraged to press for Polish independence by whatever means possible—and though no one comes out and says as much, it is understood that she will offer herself sexually to the promiscuous Napoleon. She dutifully becomes Bonaparte's mistress, bears his child, and—almost as an afterthought—falls in love with him. Thanks to the political chicanery of Talleyrand (Reginald Owen), Napoleon is obliged to marry Hapsburg princess Marie Louise, and Marie is cast aside, her usefulness at an end. Only after Napoleon has been exiled to Elba in 1815 is he reunited with Marie and their son (Scotty Beckett). Though it stands up pretty well today, Conquest was a flop in 1937, and the beginning of the end of Garbo's screen career Greta Garbo, Charles Boyer, Reginald Owen, Leif Erickson, Maria Ouspenskaya Dir. Clarence Brown 112 Min. | |
![]() DAISY KENYON (1947)
A cinderella soaper in which career girl Crawford must choose either Andrews or Fonda. Otto Preminger's subtle direction empties the old weepy box of a few kleenex, as he presents a restrained love triangle. One of Crawford's last vulnerable roles, before her steady diet of aggressive, masculine looking portrayls in the 50"s. Joan Crawford, Dana Andrews Dir. Otto Preminger 99 Min. | |
![]() DAUGHTERS COURAGEOUS (1939)
This family drama features the same cast and crew from the highly successful Four Daughters, but it isn't actually a sequel. Whereas the first film was a chronicle of the Lemp family, this one centers on the Masters family. This film is also characterized by a much happier ending than its predecessor. The story begins as a wandering husband finally returns home after a 20 year absence. He is alarmed to discover that his wife is planning to marry a nice stodgy fellow who yearns only to stay in the town of Carmel, California, the story's setting. Though the errant husband is still suave and charming, his two angry daughters reject and do all they can to get him to leave their hometown. But he is not so easily swayed and despite their protests, stays until he charms them into submission. The peace doesn't last long when he sees that one of his four girls is about to marry a younger version of himself. His wife is terribly upset not only by this development, but also by the fact that she must choose between her dull-but devoted fiance and her exciting, irresponsible husband (of whom she was legally freed after he was declared dead). John Garfield, Claude Rains, Fay Bainter, Priscilla Lane, Rosemary Lane, Lola Lane, Gale Page Dir. Michael Curtiz 107 Min. | |
 DESIRE (1936)
Sparkling comic gem about an international jewel thief (Dietrich) who meets her match in an all-American car designer who believes that rehabilitating beautiful criminals is part of the American way. This deluxe escapism is graced with the comic sass of producer Ernst Lubitsch and the romantic tenderness that was the trademark of director Borzage. Perfection. Marlene Dietrich, Gary Cooper Dir. Frank Borzage 96 Min. | |
 DOUBLE WEDDING (1937)
Wackier than usual for Powell and Loy, as avant-garde painter and dress designer who want Loy's sister Rice to marry, but do it themselves. William Powell, Myrna Loy, Florence Rice, Sidney Toler Dir. Richard Thorpe 87 Min. | |
 FEMALE (1933)
Chatterton runs a major auto company with an iron hand - and tries to conduct her love life the same way - until independent minded Brent comes along. (The two stars were then married in real life.) Funny, fascinating role-reversal yarn with incredibly lavish set designs. Ruth Chatterton, George Brent, Johnny Mack Brown Dir. Michael Curtiz 65 Min. | |
![]() FEMININE TOUCH, THE (1941)
An expert cast of farceurs goes through its customary paces in MGM's The Feminine Touch. Don Ameche plays college professor-turned-author John Hathaway, who hits upon a potential best-seller with his book on marital jealousy. He heads to New York with his lovely wife Julie (Rosalind Russell), there to commisserate with publisher Elliot Morgan (Van Heflin), whose job it is to "popularize" Hathaway's scholarly tome. Instead, Morgan falls head over heels in love with Julie, forcing John to consult his own book as a balm to his own jealousy. Meanwhile, Morgan's sweetheart Nellie Woods (Kay Francis) tries to take drastic measures to win back her beau, leading Julie to conclude that Nellie is making a play for John! And that's the name of the tune for the remainder of the film's 97 minute. — Hal Erickson Rosalind Russell, Don Ameche, Kay Francis, Van Heflin Dir. W.S. Van Dyke 98 Min. | |
 FLAMINGO ROAD (1949)
Crawford is excellent as tough carnival dancer ditched in small town where she soon is loving Scott and Brian and matching wits with corrupt politician Greenstreet. Joan Crawford, Zachary Scott, Sydney Greenstreet Dir. Michael Curtiz 94 Min. | |
 FLESH AND THE DEVIL (1927)
Garbo at her most seductive as temptress who comes between old friends Gilbert and Hanson. Pulsatingly romantic, beautifully filmed, probably the best Garbo-Gilbert love match. But talk about surprise endings! Greta Garbo, John Gilbert, Lars Hanson, Barbara Kent Dir. Clarence Brown 109 Min. | |
![]() FRISCO JENNY (1933)
Chatterton's father and lover are killed in thr San Francisco earthquake, but her problems have only begun. Loose retelling of "Madame X" is a tailor-made Chatterton vehicle. Good atmosphere and smart dialog. Ruth Chatterton, Louis Calhern Dir. William Wellman 70 Min. | |
![]() FRONT PAGE WOMAN (1935)
Front Page Woman was one of those bread-and-butter vehicles that forced Bette Davis to go on strike against Warner Bros., demanding more worthwhile scripts. On its own terms, the film is a briskly entertaining newspaper yarn about two warring reporters (Davis and George Brent). In their efforts to out-scoop each other, Bette and George frequently land in hot water, especially after phoning in contradictory information concerning a murder trial. In the climax, Davis and Brent are both sent to cover a spectacular fire. While competing over interviews and evidence, the two newshounds discover that they're in love with each other. Front Page Woman was remade nearly scene-for-scene as the "Torchy Blaine" B picture Blondes at Work (37). — Hal Erickson Bette Davis, George Brent, June Martel, Roscoe Karns Dir. Michael Curtiz 83 Min. | |
 GAY DIVORCEE, THE (1934)
Based on Dwight Taylor and Cole Porter's play of the same name, The Gay Divorcee centers on Mimi (Ginger Rogers), a woman seeking a divorce from her husband. Mimi travels to an English seaside resort, pursued by the love-stricken Guy (Fred Astaire), whom she mistakes for the hired correspondent in her divorce case. Among the many musical numbers featured are "Night and Day," the only song from the original Broadway musical included in the film, and "The Continental," which won the first ever Academy Award for Best Song. Directed by Mark Sandrich, the film features supporting performances by Alice Brady and Edward Everett Horton. — Matthew Tobey Fred Astaire, Ginger Rogers, Alice Brady, Edward Everett Horton Dir. Mark Sandrich 105 Min. | |
![]() GIRL FROM 10TH AVENUE, THE (1935)
The fourth screen version of Hubert Henry Davies' 1914 play Outcast, this comedy-drama stars Bette Davis as Miriam Brady, a shop girl offered 100 dollars to keep drunken socialite Geoffrey Sherwood (Ian Hunter) out of trouble. The next morning, alas, Miriam discovers that she has become Mrs. Sherwood while under the influence. The couple move to an unfashionable neighborhood where Geoffrey starts his own business, but domestic bliss is soon rudely interrupted by Valentine French (Katherine Alexander), Geoffrey's former fiancée, who wants him back. According to some reports, Genevieve Tobin, originally cast as Valentine, left The Girl From Tenth Avenue in the last minute prior to production arguing that she was unsuited for the role. — Hans J. Wollstein Bette Davis, Ian Hunter, Colin Clive, Alison Skipworth Dir. Alfred E. Green 69 Min. | |
 GIRL FROM MISSOURI, THE (1934)
Originally titled Eadie was a Lady, this Jean Harlow vehicle was slated for release under the title Born to be Kissed, but the new Production Code vetoed this "suggestive" cognomen. After a brief and uncomfortable period as One Hundred Percent Pure, the film was finally shipped to theaters as The Girl From Missouri. Harlow plays Eadie, a sexy gold-digger who promises to remain chaste until she finds a wealthy husband. Travelling to New York in the company of her best friend Kitty (Patsy Kelly), Eadie manages to keep that promise, though for a while it looks as though she'll succumb to the charms of playboy T. R. Paige Jr. (Franchot Tone). Once Paige has proven that his intentions are basically honorable, Eadie must break down the resistance of T. R. Paige Sr. (Lionel Barrymore), who is dead-set against his son's romance and intends to frame the girl in a compromising position. She gets even with Paige Sr. by framing him, but there's still a couple of reels to go before the happy ending. Except for some provocative costuming, Jean Harlow's character is essentially decent, thereby "cleansing" some of the more risque elements of this enjoyable romantic comedy. The film's best line is delivered by Patsy Kelly who, when propositioned by an elderly roue, snarls "Look at this! Death takes a holiday!" Jean Harlow, Lionel Barrymore, Franchot Tone, Lewis Stone, Alan Mowbray Dir. Jack Conway 75 Min. | |
 GUY NAMED JOE, A (1943)
Good cast in meandering fantasy about WW2 pilot Tracy coming back to Earth to give young serviceman Johnson a hand in his romance with Tracy's girlfriend Dunne. Spencer Tracy, Irene Dunne, Van Johnson, Ward Bond, James Gleason, Lionel Barrymore Dir. Victor Fleming 120 Min. | |
 HEIRESS, THE (1949)
William Wyler's direction is careful and methodical in this version of the play adapted from Henry James's novella "Washington Square". De Havilland won a second Oscar for playing the homely girl who falls in love with a dashing fortune hunter Clift, but Richardson dominates the movie with his restrained portrayal of her ramrod father. Olivia de Havilland, Montgomery Clift Dir. William Wyler 115 Min. | |
 HOLD YOUR MAN (1933)
There's nothing wrong with Hold Your Man that a little editing wouldn't cure. Clark Gable plays a raffish young petty crook who hides out in hard-boiled Jean Harlow's apartment after he pulls off a robbery. Harlow enjoys Gable's company, and soon the two are living together. Gable puts his criminal career on hold for a while, but when Harlow, jealous of her boy friend's womanizing, fabricates a romance with "wealthy" laundry owner Paul Hurst, Gable decides to knock over Hurst's establishment. Hurst is accidentally killed, whereupon Gable runs off to parts unknown, leaving Harlow to take the rap. While in prison, Harlow discovers she's pregnant with Gable's baby. The conscience-stricken Gable tries to fix things by sneaking into prison and hastily marrying Harlow. By coming out of hiding, Gable allows himself to be arrested, but Harlow promises to wait for him. Hold Your Man starts out as an acerbic "sez you" comedy-drama, then bogs down into a big pile of sentimental goo (a common problem with MGM films of the early 1930). Still, the first few reels are infinitely entertaining, thanks to the chemistry between Clark Gable and Jean Harlow. — Hal Erickson Jean Harlow, Clark Gable, Stuart Erwin, Dorothy Burgess Dir. Sam Wood 87 Min. | |
 HOLIDAY (1938)
George Cukor was arguably the best and most consistent director of sophisticated romantic comedies in the golden age of the 1930s and 1940s. Literate, thoughtful, and refined, his efforts in the genre were blueprints for all who followed, and Holiday was no exception. Next to The Philadelphia Story, the film is perhaps his most-loved comedy. An enjoyable screen version of the same Philip Barry play had been produced just eight years earlier, starring Mary Astor and Robert Ames, but Cukor improved on it in just about every way. This is the second of three times that Cukor worked with Katharine Hepburn and Cary Grant. Hepburn was Cukor's favorite star, and he was instrumental in her success as an actress ever since her first leading role, in the director's 1932 film Bill of Divorcement. — Brendon Hanley Katharine Hepburn, Cary Grant, Doris Nolan, Lew Ayres Dir. George Cukor 96 Min. | |
 HOLIDAY AFFAIR (1949)
Well-done Christmas season story about widow Leigh, her small son, two contrasting men courting her. Robert Mitchum, Janet Leigh, Wendell Cory Dir. Don Hartman 87 Min. | |
 HUMORESQUE (1946)
Ambitious violinist Garfield gets involved with wealthy, unstable patroness Crawford. No cardboard soap opera this; superb performances, handsome production, hilarious support from Levant, and a knockout finale. Perhaps Crawford's finest hour. Young Robert Blake plays Garfield as a child, and that's Isaac Stern's violin on the soundtrack. Filmed before in 1920. Joan Crawford, John Garfield, Oscar Levant Dir. Jean Negulesco 125 Min. | |
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![]() I MARRIED A WITCH (1942)
Witch burned in Salem centuries ago (Lake) comes back to haunt descendants of Puritan (March) who sent her to death. Saucy comedy-fantasy based on a story by Thorne (Topper) Smith. Good special effects too. Fredric March, Veronica Lake, Robert Benchley, Susan Hayward Dir. Rene Clair 76 Min. | |
 INTERMEZZO: A LOVE STORY (1939)
One of the best love stories ever filmed, as married Howard, reknowned violinist, has an affair with musical protegee` Bergman (in her first English-speaking film). Short and sweet, highlighted by Robert Henning-Heinz Provost love theme. Leslie Howard, Ingrid Bergman, Edna Best, Cecil Kellaway Dir. Gregory Ratoff 70 Min. | |
 IT HAPPENED ONE NIGHT (1934)
Dizzy society girl flees from her father, finds romance with a reporter on a cross country bus. The granddaddy of all sophisticated comedy romances still packs a lot of entertainment. Great fun. Clark Gable, Claudette Colbert Dir. Frank Capra 105 Min. | |
 JEZEBEL (1938)
Jezebel was, in 1938, widely regarded as Warner Bros.' "compensation" to Bette Davis for her losing the opportunity to play Scarlett O'Hara in Gone with the Wind. Resemblances to the two properties are inescapable: Jezebel heroine Julie Morrison is a headstrong Southern belle not unlike Scarlett (Julie lives in New Orleans rather than Georgia); she foolishly loves a man (played by Henry Fonda) who is betrothed to another; and she makes a public spectacle of herself by wearing an inappropriate red dress at a ball, just as Scarlett O'Hara brazenly danced with Rhett Butler while still garbed in widow's weeds. There are several other resemblances between the two properties, but it's important to note that Jezebel is set in the 1850s, several years before Gone with the Wind's Civil War milieu; and we must observe that, unlike Scarlett O'Hara, Julie Morrison is humbled by her experiences and ends up giving of her time, energy and health during a deadly Yellow Jack outbreak. Bette Davis won an Academy Award for her portrayal of Julie Morrison; an additional Oscar went to Fay Bainter for her portrayal of the remonstrative Aunt Belle (she's the one who labels Julie a "Jezebel" at a crucial plot point). The offscreen intrigues of Jezebel, including Bette Davis' romantic attachment to director William Wyler and costar George Brent, have been fully documented elsewhere. Jezebel was based on an old and oft-produced play by Owen Davis Sr. — Hal Erickson Bette Davis, Henry Fonda, Margaret Lindsay, Donald Crisp Dir. William Wyler 104 Min. | |
 KITTY FOYLE (1940)
Tender love story won Rogers an Oscar as Christopher Morley's working-girl heroine Ginger Rogers, Dennis Morgan` Dir. Sam Wood 107 Min. | |
More Romance . . .
"I have been memorizing this room. In the future, in my memory, I shall live a great deal in this room." - Greta Garbo in "QUEEN CHRITINA"
“[In her letter to Alfred] : Oh, my Dear Friend, my heart was trembling as I walked into the post office, and there you were, lying in Box 237. I took you out of your envelope and read you, read you right there.” – Margaret Sullavan in “THE SHOP AROUND THE CORNER."
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Armand: Yes, you, well you did smile at me a moment ago, didn't you?
Marguerite: Well, you tell me first whether you smiled at me or my friend.
Armand: What friend?
Marguerite: You didn't even see her?
Armand: No.
Marguerite: It's hard to believe that there's such happiness in this world.
Armand: Marguerite. Now you've put tears on my hand. Why?
Marguerite: You will never love me thirty years. No one will.
Armand: I'll love you all my life. I know that now. All my life.
[They kiss]
Robert Taylor & Greta Garbo in “CAMILLE”
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