Young David, orphaned en route to California, falls into the hands of medicine-show rascal Baltimore Dan. Years later, now a trained thief, he's adopted by eccentric 'Doc' Brown, retired ... See full summary »
Prof. Andrew Gentling, in Los Angeles to help found a new college, is inveigled by old flame Catherine Sykes into a midnight drive. Next day Catherine is missing, believed killed; friend ... See full summary »
As told to a psychiatrist: Mr. Peabody, middle-aged Bostonian on vacation with his wife in the Caribbean, hears mysterious, wordless singing on an uninhabited rock in the bay. Fishing in ... See full summary »
The story, told in eight episodes, covers different facets of the American Spirit, from racial and religious tolerance to the dangers of self-centeredness and myopic reasoning. The parables... See full summary »
Unassuming planning engineer David Webb finds himself on the Queen Elizabeth to New York with instructions to negotiate a high-powered loan. His lack of confidence means he is completely ... See full summary »
A young working girl, trying to just find a way to get a seat on the subway takes a baby doll to insure a way. Only she get stuck in a thick plot to sell an ad to a rich client who thinks ... See full summary »
Conceited film star Emery Slade was on top in 1932; in 1949, he's broke and still insufferable. Fox producer Crossman enlists Slade's aid to persuade broadway star Rosalie Brooks to star in the film "Bandwagon." But when Slade meets Julie Clarke, his assistant's onetime girlfriend, he decides she, not Rosalie, should get the part. No one can fathom his motives for this apparently selfless act, but there are a few tricks in the old fox yet...and he'll need them all. Written by
Rod Crawford <firstname.lastname@example.org>
Adolphe Menjoy's character name, Melville Crossman, was a writing pseudonym used by Twentieth Century-Fox boss Darryl F. Zanuck. See more »
You! You! Just who do you think you are?
I know who I am, Mrs. Schlaghammer. What's more, I know who my father was. And that, around here, is a unique distinction.
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William Powell became exceedingly picky about roles late in his career, so it's a mystery why he chose this one. The guise of a conceited, self-centered has-been movie star gives him no chance to show off his finely honed light comedy style, and his character's conversion to a good sport taxes the talents of even this actor. One of several Hollywood-looks-at-Hollywood mid-budget musicals of the year, it's hampered by 20th Century Fox's relentless self-promotion and too few musical numbers. Even the ones that are there are exceedingly modest, perhaps because Betsy Drake is obviously dubbed and no great shakes as a dancer, either. The feeble screenplay presents her as the answer to the Hollywood musical's prayers, but she comes across as a nice kid who probably shouldn't be in movies. A great Schwartz-Dietz stage score gets trammeled; most of these songs were presented to far better effect a few years hence, in MGM's "The Band Wagon."
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