Subject: Constance Moore and Bert Wheeler on sale for limited time




TODAY'S SPECIAL

Las Vegas Nights (1941)
Starring Constance Moore and Bert Wheeler

Beautiful print and will play in all DVD players.
For his first feature-film appearance in two years, comedian Bert Wheeler (of Wheeler & Woolsey fame) teamed up with bandleader Phil Regan. The story gets under way when a quartet of vaudevillians-Bill Stevens (Regan), Stu Grant (Wheeler) and Norma and Mildred Jennings (Constance Moore, Lillian Cornell) show up in Vegas with nary a cent between them. Norma manages to win big at a gambling joint, whereupon the money is put in Stu's care. Alas, Stu makes a beeline to the gaming tables, where he manages to lose all. The winsome foursome is saved from utter ruin by a real estate operator who happens to be the father of one of the protagonists. This is the film that introduced Frank Sinatra, here appearing as the uncredited vocalist for the Tommy Dorsey Orchestra.
Director: Ralph Murphy

Writers: Ernest Pagano, Harry Clork, Eddie Welch

Stars: Constance Moore, Bert Wheeler, Tommy Dorsey, Phil Regan, Lillian Cornell, Virginia Dale, Hank Ladd, Betty Brewer, Henry Kolker, Connie Haines, The Pied Pipers, James 'Buddy' Kelly, Frank Sinatra
Academy Awards, USA 1942

Nominee

Best Music, Original Song
Louis Alter (music)
Frank Loesser (lyrics)
For the song "Dolores".

Songs include:

Dolores
Music by Louis Alter
Lyrics by Frank Loesser
Performed in Spanish by "The Mexican Trio"
Performed by Bert Wheeler and the Tommy Dorsey & His Orchestra

I Gotta Ride
Music by Burton Lane
Lyrics by Frank Loesser
Performed by Phil Regan and cowboy chorus

Mary, Mary Quite Contrary
Music by Burton Lane
Lyrics by Frank Loesser
Performed by Lillian Cornell, Virginia Dale and Constance Moore,
accompanied on harmonica by Bert Wheeler

I'll Never Smile Again
Written by Ruth Lowe
Performed by Tommy Dorsey & His Orchestra with Frank Sinatra and The Pied Pipers

The Lamp on the Corner
Music by Agustín Lara
Lyrics by Ned Washington
Performed by Lillian Cornell

That's Southern Hospitality
Written by Sam Coslow
Performed by Virginia Dale and Bert Wheeler

Cocktails for Two
Written by Arthur Johnston
Performed by Tommy Dorsey & His Orchestra

On Miami Shore
Music by Victor Jacobi
Lyrics by William LeBaron
Performed by Lillian Cornell, accompanied by The Pied Pipers and Tommy Dorsey & His Orchestra

Shadow Waltz
Music by Harry Warren
Played by Tommy Dorsey & His Orchestra
Danced (the "Dove Dance") by Virginia Dale

The Trombone Man Is the Best Man in the Land
Performed by Tommy Dorsey & His Orchestra, with drum solo by Buddy Rich
Sung by The Pied Pipers and Connie Haines

Song of India
Music by Nikolai Rimsky-Korsakov
Performed by Tommy Dorsey & His Orchestra

Bert Wheeler's final feature film.
Richard Connell and Gladys Lehman were originally slated to write the original screenplay for this film, which was to star Allan Jones and Bert Wheeler.
Though many seem to view this now as a Dorsey/Sinatra effort, the top billed man in the film was Bert Wheeler, so he was the one the audiences were coming to see. The Wheeler/Woolsey partnership is now an acquired taste, though in the 30's they were one of the top ranked comedy duos. But their humor was more risqué than other teams of the times.
This was Bert Wheeler's second solo effort after the death of Woolsey. His role here has grown up a bit: he's now a married man instead of a young lover, but his charm still has the same boyish quality as in his previous films. But the interesting thing for those who have seen the previous films is to note how much the writers here must have had Woolsey still in mind. Hank Ladd serves as Bert's foil in this film and tries to put his own stamp on the part by being slick and oily, but one can easily imagine Woolsey delivering the lines, and his style and timing fitting them better. If you've seen many of the W/W films then you'll also notice the re-use of a number of their old routines, though Ladd isn't the partner in all of them. It's interesting to see them pop up, and note the alterations.
Order this rarely-seen and hard-to-find classic today for the low price of $5.99.
New Additions At Zeus:
Guilty Hands (1931)

Stars: Lionel Barrymore, Kay Francis, Madge Evans

The titular hands belong to Lionel Barrymore, who plays a prominent defense attorney. To save his daughter (Madge Evans) from a cad (Alan Mobray), Barrymore murders the man and arranges to make the deed look like suicide. The victim's mistress (Kay Francis) suspects foul play, but the lawyer has done his cover-up job too well. Barrymore very nearly pulls off his ruse--until the corpse itself has the "last word." The central gimmick of Guilty Hands, in which Barrymore establishes an alibi by positioning a revolving cardboard silhouette to create a continually moving shadow, was later appropriated for comic purposes in the Astaire-Rogers musical Gay Divorcee (34).

Love And Death: The Story of Bonnie and Clyde (1995)

Stars: Marie Barrow, Jimmy Ray Gillman, Michael Cox

Their lawless spree of robbing and killing took the lives of a dozen people. Yet something about them captured America's imagination; perhaps the glamorous ideal of the romantic outlaw had special appeal during the Depression. Archival news footage, newspaper accounts, and the recollections of observers relate the true picture of Bonnie and Cyde, including the dramatic ambush that ended their lives. An interview with Clyde's sister gives the viewer insight into the character of her brother and his girlfriend.

Graft (1931)

Stars: Regis Toomey, Sue Carol, Dorothy Revier

In this drama, an eager-beaver cub reporter looking for the big scoop that will give him his big break is sent to interview a building contractor. While awaiting his interview, he eavesdrops upon as heated argument between the contractor and his ex-mistress who is about to tell the D.A. about his shady deals. This will destroy his budding political career. The dishonest contractor retaliates by killing the district attorney and having the girl kidnapped. More trouble ensues when the reporter implicates the wrong person in the shenanigans. His mistake is discovered, and he is fired. He then investigates the case on his own to find the real guilty party and free the kidnapped girl.

Bonnie And Clyde (1967)

Stars: Warren Beatty, Faye Dunaway, Michael J. Pollard

Producer/star Warren Beatty had to convince Warner Bros. to finance this film, which went on to become the studio's second-highest grosser. It also caused major controversy by redefining violence in cinema and casting its criminal protagonists as sympathetic anti-heroes. Based loosely on the true exploits of Clyde Barrow and Bonnie Parker during the 30s, the film begins as Clyde (Beatty) tries to steal the car of Bonnie Parker (Faye Dunaway)'s mother. Bonnie is excited by Clyde's outlaw demeanor, and he further stimulates her by robbing a store in her presence. Clyde steals a car, with Bonnie in tow, and their legendary crime spree begins. The two move from town to town, pulling off small heists, until they join up with Clyde's brother Buck (Gene Hackman), his shrill wife Blanche (Estelle Parsons), and a slow-witted gas station attendant named C.W. Moss (Michael J. Pollard). The new gang robs a bank and Clyde is soon painted in the press as a Depression-era Robin Hood when he allows one bank customer to hold onto his money. Soon the police are on the gang's trail and they are constantly on the run, even kidnapping a Texas Ranger (Denver Pyle) and setting him adrift on a raft, handcuffed, after he spits in Bonnie's face when she kisses him. That same ranger leads a later raid on the gang that leaves Buck dying, Blanche captured, and both Clyde and Bonnie injured. The ever-loyal C.W. takes them to his father's house. C.W.'s father disaproves his son's affiliation with gangsters and enters a plea bargain with the Texas Rangers. A trap is set that ends in one of the bloodiest death scenes in cinematic history. The film made stars out of Beatty and Dunaway, and it also featured the screen debut of Gene Wilder as a mortician briefly captured by the gang. Its portrayal of Bonnie and Clyde as rebels who empathized with the poor working folks of the 1930s struck a chord with the counterculture of the 1960s and helped generate a new, young audience for American movies that carried over into Hollywood's renewal of the 1970s. Its combination of sex and violence with dynamic stars, social relevance, a traditional Hollywood genre, and an appeal to hip young audiences set the pace for many American movies to come.
God's Gift To Women (1931)

Stars: Frank Fay, Laura La Plante, Joan Blondell

God's Gift to Women demonstrated conclusively that Warner Bros. would never make a movie star out of Broadway comedian Frank Fay. Portraying a most unlikely Frenchman, Fay pitches woo at every beautiful woman in sight, but falls in love with none of them. When Cupid genuinely strikes him for the first time, Fay is compelled by the girl's father to prove that he's honestly in love with her and not just with her millions. Fay does just that, but it takes ever so long. God's Gift to Women is injured beyond repair by the obnoxious, mannered performance of Frank Fay, and by the fact that Fay and director Michael Curtiz detested each other at first sight.

Boo! (1986)

Stars: Eddie Bracken, Evelyn Keyes, Bruce Davison

Sweet, old-fashioned ghosts Nelson and Evelyn Chumsky are aghast when a porn queen and her sleazy husband move into their home, and try to scare the raunchy new residents away.

James Garner

Alfred Adam

Ken Adam
As a production designer, you offer a form of escapism that is often more exciting than reality.

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

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