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Choose the title you think is the best film that has a character name in the title....that has at least 300,000 votes.
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http://www.imdb.com/list/I9GNNWZYMDg/
Choose your favorite film.
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http://www.imdb.com/list/ntezKIvo9MI/
No. 26 for None of the Above.
Choose your favorite.
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Nichelle Nichols gets two listings. I seriously doubt that her role (as a Dice Player) was a credited--as seen on the screen---role in "Mister Buddwing".
While not in the first 22 episodes, Majel Barratt was in the following 21 (or at least the site shows her in 21 of 22), so she gets a spot.
The odds are high that no Trekkie has seen all of these movies (and, in some instances, probably none of them) so:
http://www.imdb.com/list/xjOhlq024VY/
Choose the one that you find most intriguing.
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A list of movies with plot set in China.
http://www.imdb.com/list/tyuCqL7al7c/
Choose your favorite.
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http://www.imdb.com/list/nr69FRigJEQ/
Of these 12 films produced and released by Universal Pictures, all placing Holmes and Watson in 1940s settings, choose the one, if you have seen them, you like the most.
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[url]http://www.imdb.com/list/AptREW5oC1c/[url]
Chose the film you'd most like to be part of the cast.
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http://www.imdb.com/list/sZT98Brr_tI/
Choose the person you'd most like to be...or hang out with...or most admire.
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http://www.imdb.com/list/tTWH3Wsw3WY/
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Reviews
The Caravan Trail (1946)
Robert Tansey's Plot No 4 Rides Again
While Frances Kavanaugh received the only on-film writing credit, screenplay, this is yet another remake of Tanseys original story for "Stars Over Arizona (1937)", with Jack Randall, and "Blazing Guns (1943)", starring Ken Maynard and Hoot Gibson. This non-original by Miss Kavanaugh...follow this trail...to get to where this story had been before: Eddie Dean ('Eddie Dean (I)'(qv)) and his friend Ezra ('Emmett Lynn' (qv)), while acting as trail guides for a wagon-train for homesteaders, stop a hold-up attempt by a gang led by Cherokee ('Lash La Rue' (qv)). When the settlers reach their destination, Eddie learns that unscrupulous land-grabbers, led by a saloon-owner and a crooked judge, have killed the sheriff, Eddie's friend, and taken control of all the available land. Eddie is appointed Sheriff and persuades the outlaws, who attempted the holdup, to join him in his fight against the land-grabbers and they will get a pardon from the state governor.
Women in the Night (1948)
A quirky little Poverty Row diversion
"Women in the Night" begins by saying it is "based on case histories from the files of the United Nations Information Offices." It also promised to depict the heroism's and courage of the women of the countries occupied by the Nazis and Japanese during WW II. It takes place over a period of 36 hours, or 90 minutes that seems like 36 hours, in a German Officers' Club in Shanghai. It seems that these Nazis have developed a cosmic death ray that is 100 times more deadly than the Atomic bomb. But they evidently overlooked telling Hitler and the boys in Berlin about it, and Adolph and his henchmen are now history. But the Japanese want the secret to ensure they won't face the same fate as the Germans. The war in Europe is over but this group of Germans are not only hanging on in Shanghai, they have the funds to manage the upkeep of a club that would rival a Vegas night spot, or will in the future when Vegas begins to flower. Anyway, the Japanese guys want this secret real bad, and the Germans tell them to come on over to the Club and they will give it to them. But the German commandant of the Club has no intentions of demonstrating the "weapon" and has some distracting-diversion tactic planned for the Japanese honchos, and he has the club Maitre'd-slash-torture chamber guy bring in a group of captive women, and his instructions to them is to get out there and "entertain" the Japanese guys, and the way he says "entertain" it is real clear that he means total "entertainment". What his plans are when the Japanese recover from being "entertained" aren't real clear and aren't cleared up later either because one of his officers, (William Henry, the only male in the cast that isn't Asian or speaks with a German accent) is actually an American O.S.S. officer-slash-spy. And one of the "entertainers" is his wife (Tala Birell),a Shanghai version of Mata Hari. Then the plot gets kind of outlandish.
Arizona Days (1937)
To set the record straight
Per his M.O., one of the reviewers of this film fills the site with yet more of his incorrect, at best, assumptions and mis-statements. This one starts with his usual assertions that Grand National Pictures signed Tex Ritter to a contract to make a series of films produced by Grand National. Other than about four films (including two James Cagney films), Grand National was primarily a distribution company for the films of about a half-dozen independent producers. He also incorrectly states that...."they (Grand National) signed Tex Ritter from The Grand Old Opry (sic) as their singing cowboy. No, Bucky, Tex Ritter had never appeared on The Grand Ole Opry until after his singing-cowboy career was over. Tex Ritter, then working, on a radio station in New York City, was SIGNED to a film contract by producer Edward Finney, who, in turn, then signed a contract, with Grand National Pictures, to produce a series of westerns for Grand National distribution---GN did not produce any of the westerns that were distributed under the GN logo. And, by the way, quoting Booda-do---"As a studio Grand National Pictures only lasted for a couple of years..."; the last time I looked, a couple meant two...and the last time I looked, Grand National distributed films made by independent producers (in addition to actually producing two Cagney films)for over five years...which is a couple doubled plus one.
The reviewer who included the clap-trap misinformation in his review has been contacted by private message(s), over the past couple of years, regarding his error-statements,(on six of the ten reviews this contributor has read by this reviewing assumer) in which it was suggested that he might care to edit his review(s) and delete the highly-fabricated statements he made, but he seems to resent, rather than appreciate someone trying to help him not look foolish. Other than his opinion of the film(s) he writes about, his knowledge of vintage films seems to be somewhat, at best, lacking.
Champagne Waltz (1937)
What another much-missed film historian wrote
The review by F.Gwynplaine MacIntyre, not his real name and he wasn't from North Wales but his life story would make one intriguing movie, brings to mind what one of the great film historians, Don Miller, had to say about the background of "Champagne Waltz", in the January 22, 1982 edition of "Captain George's Penny Dreadful." a weekly review published in Toronto. To quote: "Champage Waltz" began as a collaboration between playwright H. S. Kraft, then in Hollywood, and Billy Wilder, a recent émigré from Europe. Lester Cowan bought the original story and thereupon sold it to Paramount, and since Cowan still owed Wilder a piece of change from the transaction persuaded Paramount to hire Wilder as a scriptwriter in lieu of payment, to which Wilder agreed. The property was developed by Wilder; the screenplay was eventually turned in by Don Hartman and Frank Butler, with Kraft and Wilder retaining screen credit for the original. What is important is that it was Wilder's initial Paramount writer's credit, and contained what is apparently the nucleus of a familiar Wilder screen character---the wiseacre, semi-heel with redeeming qualities, played by Fred MacMurray six years prior to "Double Indemnity." Here, he's Buzzy Bellew, a band leader. The comparison with MacMurray's Walter Neff, and the later J. J. Sheldrake of "The Apartment"; the Charles Tatum of Kirk Douglas in "Ace in the Hole"' the Joe Gillis of William Holden in "Sunset Boulevard" and other Wilderian dark-shaded "heores" is apt. Otherwise, the plot's about the difference between a Strauss waltz conductor and a brash Americam jazz-man, with of course the two orchestras melding together for a happy conclusion. Subsequent German and Austrian musicals found this twist appealing, although Wilder never got credit. It would turn up in one form or another in films of Willy Forst and others."
If I Forget You (1940)
The plot is an appeal to donate money
Starting in 1936, most of the the major film studios in Hollywood, on a rotating basis,and at no charge, would make an annual theatrical short to be shown country-wide and, following the showing, the lights would come up and ushers, employees and owners would then pass buckets (mostly) from front-to-back and down each aisle for the patrons to drop money in for the support of the Will Rogers Memorial Hospital (tuberculosis sanatorium) located at Saranac Lake in Essex County, New York.
It was not a let's-make-a-salute short to Will Rogers per se (albeit archive footage of Wil Rogers was used in every one of these)...it was a funds appeal to support the hospital.
The studio that produced it would primarily use performers under contract to that studio, but the film itself was distributed through the hundreds of film exchanges throughout America of all of the major studios(and not just that year's producing studio), plus it was distributed via National Screen Service.
THe suggestion here is before so-called "reviewers" start their "expert" critiques of the Will Rogers Memorial Funds annual shorts, they should at least have a bit of film knowledge in their Critics Kit and know exactly why the short was made.
Zorro Rides Again (1937)
To set the record straight again
Somebody didn't like this under Review/Comments (evidently incorrectly thinking it violated correcting cast errors in this space.) I wasn't correcting cast errors when I wrote it originally and I'm still not. I'm pointing out the facts regarding the unique way the credits were presented on the first chapter. The name of actor John Carroll is not shown on the original-release, Chapter 1 film credits until it appears on a sixth-page of actor credits; the first page is a full-body image of ZORRO. The second page is split between head-shots of HELEN Christian and REED HOWES; the third-fourth-fifth actor credits page features singular shots of DUNCAN RENALDO, NOAH BEERY and RICHARD Alexander. That is followed by an "And" page that lists: John Carroll, Nigel de Brulier, Robert Kortman, Jack Ingram, Roger Williams, Edmund Cobb, Mona Rico, Tom London, Harry Strang and Jerry Frank. None of the role names are shown. Additionally, a feature version, running 68 minutes and with an-intended title of "Mysterious Don Miguel", was edited from this serial and released theatrically on September 22, 1938, and this feature version was re-released theatrically again on January 16, 1959 in order to take advantage of and cash in on the popularity of the Zorro television series produced by Disney and starring Guy Williams. . The 1950s syndicated television version of the serial consisted of six twenty-six and one half-minutes chapters running exactly 156 minutes, leaving the television version 56 minutes short of the 212 minutes of the theatrical version. This Comment reference the hstory of this serial contains no spoilers and no data corrections.
The El Paso Kid (1946)
Maybe the connections can remain here.
At one point in time, the site displayed three movie connections showing this 1946 film was a remake of: "The Lone Rider(1930)", with Buck Jones, and "The Pocatello Kid (1931)" with Ken Maynard, and "The Thundering West (1939)" with Charles Starrett. Evidently, some misinformed contributor, who most likely has never seen the other films, sent the site a vastly-incorrect deletion request of those three connections. Same plot in all four films...same incidents...different character names. I've resubmitted those connections. But that won't keep the uninformed deleter from deleting them again. But he sure can't delete them from here.
Bait (1954)
Hugo and Cleo
Another in the long line of the Trials-and-Tribulations (compounded by Misery and Irony) offerings from Hugo Haas. This time out his character, Marko, is searching for a lost gold mine with his young partner Ray Brighton and, despite the fact that Haas appears no more at home playing a prospector than Raymond Hatton would playing a Bulgarian diplomat, they find the mine. But Marko decides he doesn't want to share with his partner and figures out a devious and complicated scheme to get rid of him. (Shooting him in the head and burying him in the desert is far too simple a solution in a Haas film.) So, Marko ups and marries buxom young Peggy as a marriage of convenience, even though past experience would indicate any involvement with a character played by Cleo Moore would not be described as anything close to convenience. Rikor figures that after the three of them spend the winter together in a shack far from civilization, he will sooner or later catch them in adultery, and he can use the "unwritten law" to kill Brighton and thus escape punishment from the law. But "Murphy's Law" rears its ugly head.
Kentucky Jubilee (1951)
Florida-type talent on display
A Hollywood film-director has been sent to Hickory Kentucky to find material and acts for a hill-billy picture.He is kidnapped by henchmen of a big-town city slicker who has taken over the operation of the town's annual jubilee..mostly using bottom-of-the-barrel acts from the swamps of Florida. A Hollywood trade-paper reporter, sent to cover the event, finally thwarts the gang's plans to loot the civic coffers and the local bank. Jerry Colonna, between the 15 stagings of acts, from it appears Florida, of the type that killed vaudeville, flits in and out as a hired emcee, who also gets kidnapped. As for the singers, there are LOTS of them--as if you were watching a no-talent talent-show in Florida...and the losers were cast in this film. The exception is a former winner of a Texas talent show, Jean Porter from Cisco Texas.