Clipper ships taking the shortest route between the Mississippi and the Atlantic often end up on the shoals of Key West in the 1840s. Salvaging the ships' cargos has become a lucrative ... See full summary »
Helen Ferguson, pregnant, penniless and dumped by her boyfriend Steve Morley, takes the identity of the pregnant Patrice Harkness, when she and her husband are killed in a train crash. The ... See full summary »
During World War II, Lee Stevens travels to Washington D.C. with his secretary Jane Rogers in order to secure a government contract. Not thinking it through, Jane cancels their hotel ... See full summary »
Some dastardly criminals have stolen some top secret plans and tattoo them on the back of a woman so she can sell them to the highest bidder in Lisbon. This woman plans to take the place of... See full summary »
London, 1783: Kitty, a saucy wench of the slums, meets the painter Gainsborough by stealing his shoes. He paints her as an "anonymous lady" who excites the interest of his noble friends, notably penniless Sir Hugh Marcy, who schemes to pass Kitty off as a genuine lady (a formidable task) and marry her off for financial gain. But Kitty has her own ideas about the uses of matrimony. Lots of decolletage. Written by
Rod Crawford <firstname.lastname@example.org>
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. See more »
Other IMDb comments on this one tell all that ought to be said about this lavish feast, unaccountably mounted in black-and-white when Technicolor was obviously called for. I suspect that the iron control that Natalie Kalmus exercised on almost every Technicolor film made through at least the mid-Forties discouraged many a producer from adding the extra expense to the budget, burdening his crew with the cumbersome three-strip cameras and the hellishly hot lighting they required, and the high cost of the final prints. Now that virtually every film is made in color, we forget that making a film in color prior to the introduction of Technicolor's own single-strip process and its rivals (i.e., Metrocolor, Warnercolor, DeLuxe Color, etc.) was a very big deal, indeed. Which is not in the least meant to say that Hollywood's artisans did not achieve some memorably beautiful work using black-and-white cameras. "Kitty" is a prime example, with a luxurious production and a cast fully able to flesh out the script's frequently funny evocation of a very pre-modern England. Even on a TV broadcast which I caught many years ago, this one was a thoroughly entertaining and eye-filling treat, and it would certainly merit a VHS and/or DVD release in my estimation.
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