Based on the HG Wells story. The world is delighted when a space craft containing a crew made up of the world's astronauts lands on the moon, they think for the first time. But the delight ... See full summary »
Thornton Sayre, a respected college professor, is plagued when his old movies are shown on TV and sets out with his daughter to stop it. However, his former co-star is the hostess of the TV show playing his films and she has other plans.
Peter, a WW II 'displaced person' about to be deported jumps ship in New York harbor in an effort to find an ex-G.I named Tom whom he helped during the war and can prove Peter's right to ... See full summary »
Lt. Faraday has two wagons full of guns that he and his men must deliver. He also must escort two young ladies through hostile Indian Country. It is up to Running Horse to sabotage the ... See full summary »
Fred F. Sears
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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