1930s

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A story of two sisters, the older being more traditional, the younger a “moga” (“modern girl”). Their widowed father runs the family sake shop — but is running into financial trouble (causing him to make some bad decisions). Meanwhile, his long-time mistress’s little business is also on the rocks. Amidst this, the older sister is introduced to a well-off suitor (a university boy who is much more intrigued by the less traditional “little sister”). Add a dotty grandfather, an officious uncle and busy body neighbors.Read More »

Westward Ho begins as hero John Wyatt (John Wayne) vows to avenge the death of his parents at the hands of cattle rustlers. Years later, Wyatt is put in charge of a band of vigilantes, bent on rounding up a gang of outlaws. He discovers to his chagrin that one of the bandits is his own long-lost brother (Frank McGlynn Jr.) This revelation eventually leads our hero to the men responsible for the slaughter of his family. Gorgeous location photography by Archie J. Stout is the film’s main asset. Though released by Republic, Westward Ho is closer in spirit to John Wayne’s previous “Lone Star” series for Monogram — and small wonder, since it was originally intended to be part of that series.Read More »

The Grim Reaper (Frederic March) takes the form of a Prince in an attempt to relate to humans and, along the way, also learns what it is to love.Read More »

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During Mexican Revolution, Rosalio Mendoza (Del Diestro) survives by making and winning favors from both factions, the governmental forces and Zapata’s Army. His hacienda welcomes everybody, and Mendoza is considered a good friend of his guests. Eventually, the situation becomes unsustainable and he has to take sides. Betrayal and deception overcome and Mendoza’s dark side surfaces.Read More »

A thriller set in turn-of-the-century Helsinki, Stolen Death uses elements of German expressionism to tell the story of Finnish resistance fighters smuggling arms to overthrow the Tsarist occupiers of Finland. Tapiovaara stresses the divided loyalties of the Finnish bourgeoisie, torn between preserving their privileged economic position and taking a risky stand for an independent Finland.Read More »

Synopsis:
Man about town and First Class cricketer A.J. Raffles keeps himself solvent with daring robberies. Meeting Gwen from his schooldays and falling in love all over again, he spends the weekend with her parents, Lord and Lady Melrose. A necklace presents an irresistible temptation, but also in attendance is Scotland Yard’s finest, finally on the trail.Read More »

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While musical revue “The Vanities” captivates audience on its opening night, a murder investigation secretly takes place backstage. a lavish backstage extravaganza that’s half musical and half who-dunnit. As the mystery is downright silly, the appeal is all in the attempts at comedy and the staging of a half-dozen song and dance numbers.Read More »

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“Der Herr auf Bestellung – the gentleman who can be booked” has the Weimar dream team of Walter Reisch as scriptwriter, Geza von Bolvary as director and most importantly, the incomparable Willi Forst as main actor.

This ‘musical burlesque’ tells about a stylish young gentleman (Willi Forst) who works as a so-called ‘Festredner’; an untranslatable term, it indicates a person who makes speeches at important events like marriages etc. for people who don’t feel able to do it themselves. Willi lends his voice to a speech-impaired professor (Paul Hörbiger), but the baroness (Trude Lieske) who falls in love with Hörbiger only does so because of Willi’s voice, and you can guess that this leads to all sorts of complications…Read More »

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I don’t hesitate to call “Das Lied ist aus” one of the great masterpieces of early German cinema. It is one of the best and most stylish of all the Weimar musical sound films, and it’s unusual for its strongly melancholic undertone and unhappy ending. It can also be regarded as one of the defining films for the team of actor Willi Forst, director Geza von Bolváry and scriptwriter Walter Reisch. Forst fully established his screen persona here: the witty, elegant, but also fragile and thoughtful gentleman, although he was a much too versatile actor to be pinned-down to such keywords. Forst is paired here with the equally stunning Liane Haid, very charming and womanly, and the chemistry these two have has rarely been achieved again in later films with Forst (but check out “Der Prinz von Arkadien” with the same team!).Read More »