Stuart Whitman

Guy Williams

Barbara Stanwyck

Richard Long

In 1900, Naomi Murdoch deserted her small-town family to go on the stage. Some ten years later, daughter Lily invites Naomi back to see her in the Riverdale high school play. Her arrival sets the whole town abuzz, wakes up old conflicts, and sets off new emotional storms.—Rod Crawford

All I Desire

All I Desire (1953)

Masayuki Mori

Kyôko Kagawa

Tôru Abe

Chishû Ryû

This valiant melodrama is the brilliant debut as a moviemaker of the great Japanese actress Kinuyo Tanaka, who also has a small role in the story. Based on a screenplay by Keinosuke Kinoshita, "Koibumi" explore the wounds of war, the limits of love and the need to forgive. A sad and troubled man, Reikichi Mayumi (Masayuki Mori), finds a new job five years after the end of WWII. He will write love letters for other people, which was not uncommon in post-war times (remember the starving poet Lope Veiga -Fernando Rey- in Spanish masterpiece "Cielo negro"). His ideas about love and his personal principles will be tested when he reconnects with his former girlfriend, Michiko (Yoshigo Kuga), a woman with a dark past marked by war and the further occupation of her country by the US military forces.—Anonymous

Love Letter

Love Letter (1953)

Chuck Hicks

Ralph Dumke

Zsa Zsa Gabor

Bess Flowers

Lili

Lili (1953)

Arturo de Córdova

Roberto Meyer

Manuel Dondé

Leonor Gómez

Francisco is rich, rather strict on principles, and still a bachelor. After meeting Gloria by accident, he is suddenly intent on her becoming his wife and courts her until she agrees to marry him. Francisco is a dedicated husband, but little by little his passion starts to exhibit disturbing traits. Nevertheless, Gloria meets with scepticism as she expresses her worries to their acquaintances.—Eduardo Casais

El (1953)

Lillian Randolph

James Stewart

Royal Dano

Harry Morgan

Two men with questionable pasts, Glyn McLyntock and his friend Cole, lead a wagon-train load of homesteaders from Missouri to the Oregon territory. They establish a settlement outside of Portland and as winter nears, it is necessary for McLyntock and Cole to rescue and deliver food and supplies being held in Portland by corrupt officials. On the trip back to the settlement, up river and over a mountain, Cole engineers a mutiny to divert the supplies to a gold mining camp for a handsome profit.—Herman Seifer

Bend of the River

Bend of the River (1952)

Geraldine Chaplin

Charles Chaplin

Josephine Chaplin

Nigel Bruce

Chaplin's final American film tells the story of a fading music hall comedian's effort to help a despondent ballet dancer learn both to walk and feel confident about life again. The highlight of the film is the classic duet with Chaplin's only real artistic film comedy rival, Buster Keaton.—Kenneth Chisholm

Limelight

Limelight (1952)

Maureen O'Hara

Sean McClory

Patrick Wayne

Mildred Natwick

Sean Thornton has returned from America to reclaim his homestead and escape his past. Sean's eye is caught by Mary Kate Danaher, a beautiful but poor maiden, and younger sister of ill-tempered "Red" Will Danaher. The riotous relationship that forms between Sean and Mary Kate, punctuated by Will's pugnacious attempts to keep them apart, form the main plot, with Sean's past as the dark undercurrent.—Steve Fenwick

The Quiet Man

The Quiet Man (1952)

King Donovan

Jeanne Gail

Cyd Charisse

Debbie Reynolds

1927 Hollywood. Monumental Pictures' biggest stars, glamorous on-screen couple Lina Lamont and Don Lockwood, are also an off-screen couple if the trade papers and gossip columns are to be believed. Both perpetuate the public perception if only to please their adoring fans and bring people into the movie theaters. In reality, Don barely tolerates her, while Lina, despite thinking Don beneath her, simplemindedly believes what she sees on screen in order to bolster her own stardom and sense of self-importance. R.F. Simpson, Monumental's head, dismisses what he thinks is a flash in the pan: talking pictures. It isn't until The Jazz Singer (1927) becomes a bona fide hit which results in all the movie theaters installing sound equipment that R.F. knows Monumental, most specifically in the form of Don and Lina, have to jump on the talking picture bandwagon, despite no one at the studio knowing anything about the technology. Musician Cosmo Brown, Don's best friend, gets hired as Monumental's ideas man and musical director. And by this time, Don has secretly started dating Kathy Selden, a chorus girl who is trying to make it big in pictures herself. Don and Kathy's relationship is despite their less than friendly initial meeting. Cosmo and Kathy help Don, who had worked his way up through the movie ranks to stardom, try make the leap to talking picture stardom, with Kathy following along the way. However, they have to overcome the technological issues. But the bigger problem is Lina, who will do anything to ensure she also makes the successful leap into talking pictures, despite her own inabilities and at anyone and everyone else's expense if they get in her way, especially Kathy as Don's off screen girlfriend and possibly his new talking picture leading lady.—Huggo

Singin' in the Rain

Singin' in the Rain (1952)

Anna Magnani

Robert Rietty

Gisella Mathews

Duncan Lamont

In Peru in the eighteenth century. Camilla, the star of a theater company, hesitates between three men. The Viceroy gives her his magnificent golden coach. A young Spanish officer suggests the two of them settle down together among Indians. Ramon, a torero, offers her a share of his glory.—Vincent Merlaud

The Golden Coach

The Golden Coach (1952)

Argentina Brunetti

Olivia de Havilland

Richard Burton

Audrey Dalton

When Philip Ashley's much-loved (and rich) cousin Ambrose dies, he is convinced that Ambrose was murdered by his new wife Rachel to inherit his wealth. But when he meets Rachel and falls in love with her, he knows that his suspicions must have been unfounded. But were they, or is Rachel just trying to use Philip to get at the estate Ambrose left to him instead of to her? And will she murder him next?—Ken Yousten

My Cousin Rachel

My Cousin Rachel (1952)

Simone Simon

Peter Ustinov

Anton Walbrook

René Hell

Three stories about pleasure. The first one is about a man hiding his age behind a mask to keep going to balls and fancying women, pleasure and youth. Then comes the long tale of Julia Tellier (Madeleine Renaud) taking her girls (whores) to the country for attending her niece's communion, pleasure and purity. And lastly, Jean (Daniel Gélin) the painter falling in love with his model, pleasure and death.—Yepok

Le Plaisir

Le Plaisir (1952)

Christopher Lee

Diane Cilento

Theodore Bikel

A fictionalized account of the latter part of the life of French artist Henri de Toulouse Lautrec (1864-1901) is presented, he who is arguably most renowned professionally for immortalizing the characters of the Paris can-can dance hall, the Moulin Rouge, on canvas. This phase of his story begins in 1890. Born into aristocracy, Toulouse-Lautrec moves to Paris to pursue his art as he hangs out at the Moulin Rouge where he feels like he fits in being a misfit among other misfits. His misfit status is due to his diminutive physical stature, his legs which were broken and stopped growing following a childhood fall down some stairs. Because of the way he looks, he believes he is never destined to experience the true love of a woman. That lack of love in his life may change as he meets two women. The first is prostitute Marie Charlet, who he saves from imprisonment in a white knight act. Their relationship ends up being a turbulent one, the downs where each feels the need to hurt the other with their core issues, namely Toulouse-Lautrec's disability and Marie's profession. The second is socialite Myriamme Hayam. In more indirect acts, Toulouse-Lautrec also ends up being her savior, one of those indirect acts being his painting, one which she has purchased, its subject making her reflect on what she sees as the troubles with her own life.—Huggo

Moulin Rouge

Moulin Rouge (1952)

Gloria Grahame

Ned Glass

Kirk Douglas

Kathleen Freeman

Told in flashback form, the film traces the rise and fall of a tough, ambitious Hollywood producer Jonathan Shields, as seen through the eyes of various acquaintances, including a writer James Lee Bartlow, a star Georgia Lorrison and a director Fred Amiel. He is a hard-driving, ambitious man who ruthlessly uses everyone - including the writer, star and director - on the way to becoming one of Hollywood's top movie makers.—alfiehitchie

The Bad and the Beautiful

The Bad and the Beautiful (1952)

Shirley Booth

Robert Fuller

Philip Ober

For two decades Doc and Lola Delaney avoided coming to terms with what Doc considered a "shot gun" marriage. Lola lost the baby and gives a lot of her affection to Sheba, a dog that disappeared a few months before the film opens. Doc blames Lola for having to drop out of medical school and not becoming a "real" doctor. Until joining AA a year ago, his escape was alcohol. Then college student Marie rents a room in their home. Doc feels passion for the first time in 20 years. But Marie has two suitors her age. Lola -- unaware of Doc's emotions --becomes as interested in Marie's future as if Marie were her daughter.—Dale O'Connor

Come Back, Little Sheba

Come Back, Little Sheba (1952)

Gina Lollobrigida

Geneviève Page

Gérard Buhr

Georgette Anys

Fanfan is a handsome young peasant. He joins the army to escape a forced marriage and because a gypsy girl predicted he will earn glory and the king's daughter as a wife. But the 'gypsy' girl was in fact Adeline, the daughter of the recruiting officer. Once he has discovered the stratagem, Fanfan refuses to forget this dream and decides to fulfill the destiny of the fake prediction. Fantastic swashbuckling adventures in a 18th Century setting, with a light criticism of the war and the mighty.—Yepok

Fanfan la Tulipe

Fanfan la Tulipe (1952)

Burt Lancaster

Dana Wynter

Torin Thatcher

Burt Lancaster plays a pirate with a taste for intrigue and acrobatics who involves himself in the goings on of a revolution in the Caribbean in the late 1700s. A light hearted adventure involving prison breaks, an oddball Scientist, sailing ships, naval fights, and tons of swordplay.—John Vogel

The Crimson Pirate

The Crimson Pirate (1952)

Robert Mitchum

Jean Simmons

Mona Freeman

When Mrs. Tremayne is mysteriously poisoned with gas, ambulance driver Frank Jessup meets her refined but sensuous stepdaughter Diane, who quickly pursues and infatuates him. Under Diane's seductive influence, Frank is soon the Tremayne chauffeur; but he begins to suspect danger under her surface sweetness. When he shows signs of pulling away, Diane schemes to get him in so deep he'll never get out.—Rod Crawford

Angel Face

Angel Face (1952)

Giulietta Masina

Leopoldo Trieste

Alberto Sordi

Lilia Landi

Incredibly, only moments after arriving in Rome for their honeymoon, pure young bride Wanda sneaks out of her room, leaving her fastidious groom Ivan all alone. Obsessed with the very masculine Fernando Rivoli--the hero of her favorite romantic photo-novel, The White Sheik--Wanda plucks up the courage to meet him in person, only to be seduced by the arrogant protagonist, so far away from the hotel and her husband. As a result--perplexed by Wanda's strange disappearance, and unable to disclose the news to his family--Ivan meanders through the ill-lit Roman streets in search of his wife, on pins and needles, waiting for their 11:00 appointment with his uncle and the Papal Audience at the Vatican. What does the new day have in store for the separated newlyweds?—Nick Riganas

The White Sheik

The White Sheik (1952)

Matt Willis

Strother Martin

Mel Blanc

The editor of a New York exploitation newspaper meets the wife he had abandoned years ago, while using another name, at a Lonely Hearts ball sponsored by his newspaper. She threatens to expose him as a wife-deserter, wife-beater and an impostor, and, in anger, he pushes her and accidentally kills her. Later, when her body is found, he assigns his protégé reporter to the story, as a good, exploitable follow-up story to the ball. And, then, he is forced to sit back and watch while the reporter slowly tracks down the killer.—Les Adams

Scandal Sheet

Scandal Sheet (1952)

Bette Davis

Paul Frees

Natalie Wood

Herb Vigran

Middle-aged Oscar winning actress Margaret Elliot - Maggie to those that know her - is a Hollywood has-been. Her life is in shambles. She clings to the hope of resurrecting her past movie stardom as a leading ingénue. No one will hire her, she's penniless with creditors selling off anything that she owns that is of monetary value, and she has no one to turn to that can see her through financially. She has in the past supported her sister and brother-in-law, who still want to use her as their meal ticket. Divorced from her actor husband, she shares joint custody of their teen-aged daughter Gretchen, from who Maggie tries to hide her problems. When it looks as if Maggie has hit rock bottom, Jim Johannsen re-enters her life. Jim, who once had the stage name Barry Lester, got his big break in Hollywood movies by Maggie. He came to the quick realization that he was neither good as an actor or that he wanted to do it as a profession. He now works as a boat parts supplier and mechanic. Jim tries to help her come to the realization of the stage of life that she is in to help her reinvent herself. But Maggie wants to regain her star status on her own terms, and does whatever she needs to for that great ingénue role that has eluded her for so many years.—Huggo

The Star

The Star (1952)

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