Subject: Frances Langford and Edward Norris on sale for limited time


Career Girl (1944)
Starring Frances Langford and Edward Norris

Beautiful print and will play in all DVD players.
Director: Wallace Fox
Writers: David Silverstein, Stanley Rauh (story)

Stars: Frances Langford, Edward Norris, Iris Adrian, Craig Woods, Linda Brent, Alec Craig, Ariel Heath, Lorraine Krueger, Gladys Blake, Judy Clark
Songs include:

That's How the Rhumba Began
by Morey Amsterdam and Tony Romano
Sung by Frances Langford

by Morey Amsterdam and Tony Romano
Sung by Frances Langford

Blue in Love Again
Written by Michael Breen and Sam Neuman
Sung by Frances Langford

A Dream Came True
Written by Michael Breen and Sam Neuman
Sung by Frances Langford

Buck Dance
(traditional stop-time tune for tap dance)
Tap danced to by Lorraine Krueger, in imitation of Bill Robinson's style
It was PRC's answer to Columbia's Cover Girl.
Nothing that Frances Langford sang is forgettable. Oh how I wish she had gotten that big movie that she had hoped for! A lavish MGM musical! Sadly, that never happened. In the hands, or should I say the vocal cords, of Frances Langford these songs are most memorable.
Career Girl is what it is...a delightful 1940's musical that entertains. The voice and beauty of Frances Langford will remain with you after seeing this film and you will return to see it over and over again.
The final clumsy dance number is worth seeing for the hilarious costume design: halter tops which are OK but.... white short pants with a black maple leaf patch on the crotch which makes the chorus girls look as though they are nude and are sporting the biggest bush of lower body pubic hair you have ever seen in a step line of high kicking girls.
Order this rarely-seen and hard-to-find classic today for the low price of $5.99.
New Additions At Zeus:
The Vampire Lovers (1970)

Stars: Ingrid Pitt, Pippa Steel, Madeline Smith

This sexy horror story from Britain's Hammer Films finds Ingrid Pitt playing three roles, the most notable being a lesbian vampire who will resort to biting a man only when it is absolutely necessary. A doctor and a manservant are victims, but only after she has exhausted all attempts to sink her fangs into the bosoms of young women. The General (Peter Cushing) finds his daughter Laura (Pippa Steel) is victimized by the bite of the vampiress. With the help of Baron Hartog (Douglas Wilmer), they try to end the horror brought by the blood-sucking beauty. Blood, gore and a few decapitations are depicted before the wooden stakes and crosses are brought out.
Beyond The Time Barrier (1960)

Stars: Robert Clarke, Darlene Tompkins, Arianne Ulmer

Edgar G. Ulmer, the phenomenally fast director of many a quickie horror effort, lensed Beyond the Time Barrier in Texas. Test pilot Maj. William Allison (Robert Clarke) is hideously disfigured by a mishap in space. In flashback, we learn that Clarke had earlier returned to his base, only to discover that he'd passed through a time warp and that the Earth has been decimated by some disaster or other. He crosses the path of the ruling class, led by the Supreme, and a tribe of mutants, left over from a plague caused by extraterrestrial radiation. Only by returning to his own time can Clarke save the world from this fate (sound familiar?). Augmented with footage from Fritz Lang's 1959 Journey to the Lost City (aka The Indian Tomb), Beyond the Time Barrier tries hard, but is ultimately defeated by its almost-nonexistent budget.
And So Died Riabouchinska (1956)

Stars: Claude Rains, Charles Bronson, Claire Carleton

A dead man is found in the basement of a theater, and a detective comes to investigate. He learn that the deceased had been seen near the theater asking for Fabian, the ventriloquist. As the detective questions Fabian in his dressing room, a voice comes from the box in which Fabian's female dummy is stored. When the dummy, Riabouchinska, continues to talk, the detective is annoyed, thinking that the ventriloquist is trying to be funny. But the detective humors him and 'talks' to the dummy, and he soon learns about a web of tensions involving Fabian, his wife, and his manager. Much of the tension concerns the dummy - and there is also a connection with the dead man.
The Common Law (1931)

Stars: Constance Bennett, Joel McCrea, Lew Cody

A wealthy man's mistress abandons her luxurious life as a kept woman to be with the struggling Paris artist she has come to love in this third version of Robert W. Chambers' novel. It all began when she agreed to be his model. Soon they fall in love, and she decides to dump her rich old sugar daddy. Unfortunately, her relationship with the artist is tempestuous, and matters aren't helped by her former lover who tries to sabotage them at every turn. Though the artist wants to marry her, the woman isn't interested because he is too Bohemian and irresponsible. Fortunately, it all turns out to be an act and thanks to pressure from his conservative American family, marital bliss ensues.
Jezebel (1938)

Stars: Bette Davis, Henry Fonda, George Brent

In 1938, Jezebel was widely regarded as Warner Bros.' "compensation" to Bette Davis for her losing the opportunity to play Scarlett O'Hara in Gone With the Wind. Resemblances between the two properties are inescapable: Jezebel heroine Julie Marsden (Davis) is a headstrong Southern belle not unlike Scarlett (Julie lives in New Orleans rather than Georgia); she loves fiancé Preston Dillard (played by Henry Fonda) but loses him when she makes a public spectacle of herself (to provoke envy in him) by wearing an inappropriate red dress at a ball, just as Scarlett O'Hara brazenly danced with Rhett Butler while still garbed in widow's weeds. There are several other similarities between the works, but it is important to note that Jezebel is set in the 1850s, several years before Gone With the Wind's Civil War milieu; and we must observe that, unlike Scarlett O'Hara, Julie Marsden is humbled by her experiences and ends up giving of her time, energy, and health during a deadly yellow jack outbreak. Bette Davis won an Academy Award for her portrayal of Julie; an additional Oscar went to Fay Bainter for her portrayal of the remonstrative Aunt Belle (she's the one who labels Julie a "jezebel" at a crucial plot point). The offscreen intrigues of Jezebel, including Bette Davis' romantic attachment to director William Wyler and co-star George Brent, have been fully documented elsewhere. Jezebel was based on an old and oft-produced play by Owen Davis Sr.
Black Sunday (1960)

Stars: Barbara Steele, John Richardson, Andrea Checchi

Generally considered to be the foremost example of Italian Gothic horror, this darkly atmospheric black-and-white chiller put director Mario Bava on the international map and made the bewitching Barbara Steele a star. Steele plays Princess Asa, a high priestess of Satan who is gruesomely executed in 1600s Moldavia by having a spiked mask hammered into her face. Before she dies, Asa vows revenge on the family who killed her and returns from the grave two centuries later to keep her promise. In a striking resurrection scene replete with bats, scorpions and fog, Asa rises from the tomb to claim her bloody vengeance. With vampires, bubbling flesh, dank crypts, undead servants and torch-bearing mobs, the plot is a little ripe, but the visuals are Bava's primary consideration. The atmosphere is so heavy and the imagery so dense that the film becomes nearly too rich in texture, but the sheer, ghastly beauty of it all is entrancing. Although this was only the second of Bava's twenty-six films as director, it is undoubtedly his best and the one upon which most of his considerable reputation rests.
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