A girl brings home her latest boyfriend to meet her parents. This is done against the background of random shootings that had just begun in NYC at the time the play was written. How the ... See full summary »
Abraham is a Puerto Rican single parent with two boys. He is becoming very worried about them living in their run down neighborhood when one day he notices that Cubans who escape are ... See full summary »
In preparation for his daughter's wedding, dentist Sheldon Kornpett meets Vince Ricardo, the groom's father. Vince, a manic fellow who claims to be a government agent, then proceeds to drag... See full summary »
Lewis Tater writes Wild West dime novels and dreams of actually becoming a cowboy. When he goes west to find his dream he finds himself in possession of the loot box of two crooks who tried... See full summary »
As Maya Angelou narrates this powerful documentary, she reveals the story of a brave group of people who fought Hitler with the only weapons they had: charcoal, pencil stubs, shreds of paper and memories etched in their minds.
Aaron Simon Gross
The scenes in the Disco Records studio showing records being made depict the recordings being done direct to acetate or lacquer master discs. By 1957 all records were being made with tape recorders; the tapes were later mastered to discs in labs set up for that purpose. See more »
Where "THE END" would normally appear, we are treated to "DAT'S ALL, MON!" See more »
Another Sam Katzman Special which somehow manages to work. A mobbed-up jukebox operator goes into the song production business and turns out to have a knack for finding talent.
A large part of the movie's success is due to the effective and subtle camera work of Benjamin Kline, a man who worked as cinematographer for fifty years, for talents as diverse as Tom Mix and the Three Stooges. In this one he gives you a lot of long, leisurely takes with a slowly moving camera during the story scenes and then switches tempo effectively for the musical numbers.
A kind word should also be reserved for director Fred Sears, who averaged five movies a year and had a busy acting career going -- and died in his mid-forties the year he made this. The decent performances he gets out of poor actors indicates, as few others of his cheapjack movies do, that had he lived longer, he might have turned into a very good director.
There's also a chance to play 'spot the talent'. Try to find Joel Grey a decade before his Broadway breakout in CABARET and even Maya Angelou. It's amazing the talent that Katzman could pick up on the cheap -- even when he couldn't think of what to do with it.
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