Subject: Constance Moore and Stanley Brown on sale for limited time




TODAY'S SPECIAL

Atlantic City (1944)
Starring Constance Moore and Stanley Brown

Beautiful print and will play in all DVD players.
Definitely no relation to the 1980 Louis Malle film of the same name, 1944's Atlantic City is a tuneful Republic musical, not quite an "A" picture but certainly not a "B". Brad Taylor (who formerly acted at Columbia under the name of Stanley Brown) stars as Brad, an early-20th-century entrepreneur who decides to transform the sleepy ocean-side community of Atlantic City, New Jersey into a mecca for vacationers and thrill-seekers. One of Taylor's visionary notions is the creation of a bathing-beauty contest, and that's where prim-and-proper heroine Marilyn Whitaker (Constance Moore) comes in. The plot is essentially an excuse to trot out several venerable entertainers doing their tried-and-true specialties. Guest stars include Belle Baker, Paul Whiteman, Louis Armstrong, Buck & Bubbles, and Joe Frisco, not to mention Al Shean (of Gallegher and Shean) and Gus Van (of Van and Schenck). Also adding to the general frivolity are Jerry "Ahhh, Yes!" Colonna and up-and-coming Dorothy Dandridge. Atlantic City demonstrated that Republic could make a 20th Century-Fox style musical even without Betty Grable.
Director: Ray McCarey
Writers: Arthur Caesar (story), Doris Gilbert (screenplay)

Stars: Constance Moore, Stanley Brown, Charley Grapewin, Jerry Colonna, Paul Whiteman, Louis Armstrong and His Orchestra, Robert Castaine, Adele Mara, Buck and Bubbles
Songs include:

THE BIRD ON NELLIE'S HAT
Written by Arthur J. Lamb and Alfred Sloman
Performed by Robert B. Castaine, Constance Moore & quartet

AFTER YOU'VE GONE
Written by Turner Layton
Lyrics Henry Creamer
Sung by Constance Moore
(used instrumentally as theme)

BY THE BEAUTIFUL SEA
Written by Harry Carroll
Lyrics Harold Atteridge
Performed by Constance Moore, Robert B. Castaine and Jerry Colonna with chorus

ON A SUNDAY AFTERNOON
Written by Harry von Tilzer
Lyrics by Andrew B. Sterling
Performed by Constance Moore
Reprised by Robert B. Castaine, Constance Moore, Paul Whiteman & chorus

THAT'S HOW YOU CAN TELL THEY'RE IRISH
Written by Thomas J. Gray and Clarence Gaskill
Performed by Gus Van and Charles Marsh

I AIN'T GOT NOBODY MUCH (AND NOBODY CARES FOR ME)
Music by Spencer Williams
Lyrics by Roger Graham
Performed by Constance Moore with Paul Whiteman & orchestra

HARLEM ON PARADE
Sung by Dorothy Dandridge with Louis Armstrong & orchestra

AIN'T MISBEHAVIN'
Written by Fats Waller and Harry Brooks
Lyrics Andy Razaf
Performed by Louis Armstrong with his band

MR. GALLAGHER AND MR. SHEAN
Written by Edward Gallagher and Al Shean
Performed by Jack Kenny and Al Shean

NOBODY'S SWEETHEART
Music by Billy Meyers and Elmer Schoebel
Lyrics by Gus Kahn and Ernie Erdman
Sung by Belle Baker
There is a segment of the film marking the Miss America Pageant, which reflects its early start as "Inter-City Beauties", where candidates from around the United States competed at the local level. Thus there are entrants fading past like Miss New Orleans, Miss Boston, Miss Washington D.C., Miss Salt Lake City, Miss Los Angeles, Miss Seattle, intermixed with state entrants Miss Kentucky, Miss Indiana, Miss Texas, Miss Nevada, Miss Georgia, Miss Florida, and Miss California.
Bobby Connolly, who was originally set as the film's dance director, suffered a fatal heart attack in March 1944 and was replaced by Seymour Felix. As noted in the onscreen credits, the film features recreations of two famous vaudeville teams: Gallagher and Shean (for which Jack Kenny replaced the late Ed Gallagher) and Van & Schenck (for which Charles Marsh replaced the late Joe Schenck). Although information in the copyright records credits Gallagher and Shean as the writers of their signature patter song, "Absolutely Mr. Gallagher, Postively Mr. Shean," Gallagher's Variety obituary reported that Bryan Foy had sued them over the song, which he claimed to have written. The patter song's lyrics were initially rejected by the Breen office "by reason of extreme sex suggestiveness." The lyrics were revised and later accepted, but the song "Get Out and Get Under," for which Belle Baker wrote special lyrics, was dropped from the film after the lyrics were rejected due to "obvious sex suggestive double meaning."
Producer Albert J. Cohen had written to Al Jolson, Eddie Cantor and George Jessel, asking for their permission to "use actors portraying them" in the film. Although Cohen did receive permission from Jessel, who offered to coach the actor playing him, none of the celebrities appear as characters in the finished picture.
Order this rarely-seen and hard-to-find classic today for the low price of $5.99.
New Additions At Zeus:
The Good Earth (1937)

Stars: Paul Muni, Luise Rainer, Walter Connolly

Based on Donald Davis and Owen Davis' stage-adaptation of Pearl S. Buck's sprawling novel, Sidney Franklin's The Good Earth is the story of a Chinese farming couple whose lives are torn apart by poverty, greed, and nature. Paul Muni stars as Wang Lung a hardworking, but poor, farmer who weds freed-slave O-Lan (Luise Rainer). They struggle to build a life together, but after finally finding success, a plague of locusts descends upon their land, bringing a true test of the couple's perseverance. For her performance, Luise Rainer won the second of back-to-back Best Actress Oscars, while cinematographer Karl Freund took home an Academy Award for his photography work. The Good Earth was the final film production of Irving Thalberg, who died before the film was completed.
Horror Of Dracula (1958)

Stars: Peter Cushing, Christopher Lee, Michael Gough

This Hammer Studios classic is far closer to the letter (and spirit) of the Bram Stoker novel than the Bela Lugosi version of Dracula. The premise finds the infamous count journeying from his native Transylvania to England, where he takes a headfirst plunge into the London nightlife, and begins to rack up victim after victim. In the process, Dracula also runs into his arch-nemesis, Van Helsing (Peter Cushing), which ignites a battle of wills between the two. Heavily censored in Britain when released (with the goriest moments truncated), this outing was restored by the BFI in the mid-late 2000s. It put Lee and Cushing on the map and paved the way for many sequels starring the two, and for many non-Dracula follow-ups with these actors as well.
The Idle Class (1921)

Stars: Charles Chaplin, Edna Purviance, Charles Aber

Charlie Chaplin's eighth film under his million dollar contract with First National is a return to the two reel form, and to the lightness of the Mutual style. Chaplin plays dual role, that of a vacationing Tramp, and a high society inebriate husband. Arriving in Miami on the same train are Edna Purviance, a neglected and lonely wife, who descends from the coach, and Chaplin, who emerges from the baggage compartment under a train car, complete with baggage and golf clubs. Chaplin hitches a ride on the back of Purviance's limousine. Purviance's forgetful, alcoholic husband is a natty double for Chaplin. A telegram tells us he was supposed to meet Purviance at the train. Already late, he leaves the hotel room without his pants. Escaping notice of the other guests in the lobby causes him to delay his departure, to the point where newly arrived Purviance finds him hiding in bed. That afternoon he receives a note telling him that his wife has moved to other lodgings until he stops drinking. He gazes longingly at Purviance's picture and, his back turned to the camera, appears to be sobbing. As he turns, however, we see the cocktail shaker he is expertly manipulating. Purviance, meanwhile, is out for a horseback ride, and Chaplin has found the nearby golf links. His hilarious golf game, highlighted by his run-ins with Mack Swain and John Rand pauses when he sees Purviance pass by on horseback. After looking longingly at her, he fantasizes rescuing her from her runaway horse (in another of Chaplin's dream sequences), imagining their lives all the way through marriage and children. But the dream ends and Chaplin returns to his golf game, in which his drive breaks Swain's whisky bottle causing him to burst into tears, and in which he again runs afoul of Rand. The inebriate husband has received a note from his wife, saying that she will forgive him if he attends her costume ball. Dressed in a suit of armor, his visor jams closed, preventing him from taking a drink, and he spends great effort trying to open it. Meanwhile Chaplin has got himself in trouble with the law - while sitting on a park bench his neighbor has been pickpocketed and Chaplin is the suspect. Pursued by a cop, he sneaks his way through an arriving limo and into Purviance's costume ball. Purviance, naturally mistaking him for her husband, makes moves toward reconciliation, which Chaplin welcomes as affection. When greeted by Swain, who turns out to be Purviance's father, Chaplin expects trouble from their golfing encounter, but is amazed that Swain thinks he's Purviance's husband. Chaplin denies that thy are married, which gets him knocked down several times. Caught together by the still visored husband, Chaplin is attacked but the unknown assailant is subdued by the other guests. Eventually he frees himself and identifies himself to Swain, who tries to remove the helmet. Eventually Chaplin uses a can opener to peel back the visor (revealing an unknown actor double), and the confusion is explained. Told unceremoniously to leave, Chaplin departs, but Purviance decides they've treated him shabbily and sends Swain after him to apologize. Chaplin accepts his hand, but points to Swain's shoelace. When Swain bends over to tie it, Chaplin delivers a swift kick to the derriere, before sprinting off into the distance. The golf sequences in The Idle Class were inspired by an earlier, unfinished Mutual called The Golf Links, featuring Eric Campbell and Albert Austin, portions of which were included in Chaplin's 1918, How to Make Movies. A still, showing Campbell and Chaplin teeing off on the same ball made its way into Chaplin's autobiography, labeled as being from The Idle Class (made four years after Campbell's death) and was a source of confusion to Chaplin aficiandos, until How to Make Movies was assembled by Kevin Brownlow and David Gill. Chaplin's lovely score for The Idle Class was composed for its reissue in 1971.
Beyond The Poseidon Adventure (1979)

Stars: Michael Caine, Sally Field, Telly Savalas

Irwin Allen's second water-logged disaster film picks up where The Poseidon Adventure left off; Salvagers Michael Caine, Karl Malden and Sally Field enter the Poseidon to take what they can, unaware that evil salvager Telly Savalas and his henchmen lie in wait. When an explosion rocks the ship, the enemies find themselves trapped inside in a battle for survival both against nature and themselves. The good guys pick up some survivors along the way, including Peter Boyle as a stereotypically hot-headed Italian, Mark Harmon as the All-American boy next door, and Slim Pickens as the ship's wine steward in what may be one of the most poorly-written parts of all time. Field looks good in the water, and Caine is charming despite a lack of material.
America's Got Talent (2006)

Stars: Nick Cannon, Sharon Osbourne, David Hasselhoff

A weekly talent competition where an array of performers -- from singers and dancers, to comedians and novelty acts -- vie for a $1 million cash prize.
Clearing The Range (1931)

Stars: Hoot Gibson, Sally Eilers, Hooper Atchley

In the first of eight Hoot Gibson Westerns produced by poverty row company Allied, The Hooter sets out to avenge the murder of his brother (Edward Hearn), the town banker. Pretending to have no interest in revenge, Gibson is derided for cowardice. Unbeknownst to the townsfolk, however, the young man masquerades as "El Capitan," a notorious Mexican bandit at night, righting the wrongs done by Hooper Atchley, the man he suspects of killing his brother in the first place. Like in Gibson Westerns of yore, none of the derring-do was meant to be taken too seriously. And although cheap-looking compared to The Hooter's silent Universal Westerns, the Allied series at least gave the star more autonomy. Gibson main demand was that his then-wife, Sally Eilers, be cast in the female lead, a decision producer M.H. Hoffman had good reason to celebrate when the beautiful starlet became an overnight sensation in the Fox melodrama Bad Girl (1931).
Keir Dullea

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Burt Lancaster

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Arlene Dahl

Marlon Brando

Jean Simmons

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Dick Clark

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