Subject: Betty Hutton and Fred Astaire on sale for limited time


Let's Dance (1950)
Starring Betty Hutton and Fred Astaire

Beautiful print and will play in all DVD players.
Fred Astaire and Betty Hutton make a surprisingly copacetic screen team in Let's Dance. Hutton plays a more sedate role than usual as war widow Kitty McNeil. Not wishing to have her young son Richard (Gregory Moffatt) grow up in the stiff and stuffy environs of her Boston in-laws' mansion, Kitty sneaks off with the kid and resumes her prewar show-business career. She is reunited with her USO dancing partner Donald Elwood (Astaire), who hopes to give up performing in favor of the business world. Inevitably, Kitty and Donald resume their old act, while, equally inevitably, Kitty's Bostonite grandmother-in-law Serena Everett (Lucille Watson) sets the legal wheels in motion to gain custody of little Richard. Fred Astaire manages to match Betty Hutton's patented raucousness during the hillbilly musical number "Oh, Them Dudes", though he is given the opportunity to do the sort of dancing he does best--notably a brilliant routine atop and around a piano.
Director: Norman Z. McLeod

Writers: Dane Lussier, Allan Scott, Maurice Zolotow

Stars: Betty Hutton, Fred Astaire, Roland Young, Ruth Warrick, Lucile Watson, Gregory Moffett, Barton MacLane, Sheppard Strudwick, Melville Cooper, George Zucco
Songs include:

Can't Stop Talking About Him
Written by Frank Loesser
Performed by Betty Hutton and Fred Astaire

Piano Dance
Music by Tommy Chambers, Van Cleave, and Fred Astaire
Performed by Fred Astaire

Jack and the Beanstalk
Written by Frank Loesser
Performed by Fred Astaire

Oh Them Dudes
Written by Frank Loesser
Performed by Betty Hutton and Fred Astaire

Why Fight the Feeling
Written by Frank Loesser
Performed by Betty Hutton

The Hyacinth
Written by Frank Loesser
Performed by Lucile Watson and Fred Astaire

Tunnel of Love
Written by Frank Loesser
Performed by Betty Hutton and Fred Astaire

One of only four Fred Astaire musicals in which his female co-star received top billing above him, the others being Paulette Goddard in Second Chorus (1940), Judy Garland in Easter Parade (1948) and Audrey Hepburn in Funny Face (1957). In each case, the actress in question was at the peak of her box office drawing power and attached to a home studio where Astaire was not under contract (he came out of retirement for the Garland film and was soon after put back on contract at MGM). Astaire took second billing to only one other performer during his heyday, and that was Bing Crosby in their two teamings at Paramount, Crosby's home studio.
As this film was conceived as a star vehicle for Betty Hutton, there are less Astaire numbers than one expects from one of his musicals, and only one solo: the celebrated "Piano Dance," in which he jaunts on, in, above and under a grand piano, culminating in a series of effortless suspensions over a succession of high-back chairs.
Fred Astaire was borrowed from Metro-Goldwyn-Mayer for this film, as Paramount had no star dancers under contract.
Composer-lyricist Frank Loesser was an old hand at writing specialty material for Betty Hutton, which required songs that could be performed at her signature breakneck speed. For this occasion, Loesser provided the especially manic "Can't Stop Talking About Him," which opens the film. In a send-up of Hutton's clarion belt, the song begins with an air raid siren that merges into a sustained note from Hutton.
The film was hurried into production to take advantage of Fred Astaire's availability, part of the agreement MGM signed with Paramount to obtain Betty Hutton on loan-out for Annie Get Your Gun (1950) at Metro.
Frank Loesser wrote "Why Fight the Feeling?" as a love ballad, but there was no plot point to support its inclusion. In the end, the song was rendered by Betty Hutton in bizarrely comic fashion, going as far as to set her on fire, and climaxing with her high jump off a balcony and into a lake to douse the flames. Equally out of place is the ballroom dance reprise, in which Astaire fantasizes a romantic duet between himself and Hutton that is in no way linked to the plot.
Order this rarely-seen and hard-to-find classic today for the low price of $5.99.
New Additions At Zeus:
God's Country And The Man (1931)

Stars: Tom Tyler, Betty Mack, Al Bridge

Although dismissed in its day as just another cheap Western, God's Country and the Man proves to be a surprisingly well-made sagebrush thriller, whose fiddling master villain, Al Bridge, is a revelation. Bridge, who co-wrote the scenario with director J.P. McCarthy and Wellyn Totman, plays Livermore, the gun-running boss of De Vina, a border town inhabited by cutthroats. Strapping Tom Tyler, as Texas lawman Tex Malone, arrives in Da Vina with his latest bounty, Irish-brogued Stingaree Kelly (George Hayes, long before he earned the nickname "Gabby"), there to infiltrate Livermore's gang of smugglers. Malone, using the alias of Steve Rollins, falls for the villain's French mistress, Rose (Betty Mack), and together they set a trap for the bandits. Rose proves to be yet another investigator in disguise -- and not French at all -- and in the final shootout, Stingaree Kelly sacrifices himself so that she and Malone can plan a future together. The surprising demise of the comic relief, and a boss villain who initiates every one of his crimes by playing a sad dirge on his fiddle, are just a few of this strange Western's many breaks with tradition. Produced by Trem Carr for the low-rent Syndicate Pictures Corp., God's Country and the Man remains a startling, well-acted example of a near-Gothic B-Western.

Fort Dobbs (1958)

Stars: Clint Walker, Virginia Mayo, Brian Keith

In this western, an accused killer is able to escape lynchers by trading coats with a dead man he found lying beside the road with an arrow in his back. He soon happens upon a farm. As the farm is under Comanche attack when he arrives, the man immediately saves the life of a woman and her son. He then takes the pair to Fort Dobbs. En route the woman realizes that the coat her hero is wearing belonged to her husband. Thinking the arrow hole in the back was caused by a bullet, the woman immediately accuses the hero of murdering her man. They arrive at the fort only to find it busily preparing for another Comanche raid. The clever hero devises an ingenious plan to defend them using the fifteen-shot repeating rifles brought by a gun trader. His ploy works. The Comanches are thwarted, his innocence is proven, and the young mother's good name is preserved.

Maisie Goes To Reno (1944)

Stars: Ann Sothern, John Hodiak, Tom Drake

In this eighth film in MGM's "Maisie" series, Ann Sothern is back as ever-stranded chorus girl Maisie Revier. As the story opens, Maisie has a steady non-showbiz job as a defense plant riveter (it's wartime, of course); still, she utilizes a two-week vacation to take a singing job in a Reno night spot. This small Nevada town being the Divorce Capital of America, Maisie finds herself involved in the crumbling marriage between a GI (Tom Drake) and his wealthy wife (Ava Gardner). Meanwhile, Maisie's own well-being is threatened by a conniving businessman who has her committed to an asylum when she threatens to squeal about his crooked business practices. Like most "Maisie" pictures, Maisie Goes to Reno suffers from a surfeit of plotting, but is redeemed by the insouciant Ann Sothern.

Boo! A Madea Halloween (2016)

Boom Town (1940)

Stars: Clark Gable, Spencer Tracy, Claudette Colbert

Clark Gable is "Big John" and Spencer Tracy is "Square John"; both "Johns" seek their fortunes in the Texas oil fields. They simultaneously fall in love with Claudette Colbert, but it's "Big John" who wins out. When both Johns grow rich on oil, "Big John" lets money go to his head, and he begins neglecting wife Colbert for Hedy Lamarr, the "been around" companion of businessman Lionel Atwill. "Square John", who still carries a torch for Colbert but doesn't want to see her heart broken, tries to buy off Lamarr; when this fails, he decides to ruin "Big John" financially. But when "Big John" is charged with violating anti-trust rules by the crooked Atwill, "Square John" rushes to the side of his old pal. Both men end up where they started--broke but happy. "Big John" returns to faithful Colbert, while "Square John" stands by with an ear-to-ear grin. Boom Town was the last film to co-star Clark Gable and Spencer Tracy; though Tracy was fond of Gable, he resented playing "eunuch" in their on-screen romantic triangles. Claudette Colbert's scenes with Clark Gable are pleasant enough, but the sparks that had ignited their scenes in It Happened One Night are largely absent here.

Boomerang (1947)

Stars: Dana Andrews, Jane Wyatt, Lee J. Cobb

Boomerang, directed by Elia Kazan, is a chilling film noir, the true story about the murder of a priest, the subsequent arrest and trial of a jobless drifter, and the efforts of young state's attorney Henry Harvey (Dana Andrews) to uncover the truth. Closely based on the actual 1924 murder of Fr. Hubert Dahme in Bridgeport, Connecticut, the film was directed by the young Elia Kazan in a highly effective, semi-documentary style. Kazan shot most of the film on location, using high-contrast cinematography and an extremely mobile camera to create a palpable sense of urgency. The screenplay, expertly crafted by Richard Murphy received an Academy Award nomination.

James Garner

Alfred Adam

Ronald Adam

Edie Adams
(on falling in love with Ernie Kovacs) Here was this guy with the big moustache, the big cigar, and the silly hat. I thought, "I don't know what this is, but it's for me."

Ernie Adams

Gerald Drayson Adams

Jill Adams

Julie Adams

Zeus, 7860 West Commercial Blvd 734, Lauderhill, FL 33351, United States
You may unsubscribe or change your contact details at any time.