Annabella

Raymond Cordy

Paul Ollivier

Michel André

Jean is a young cab driver. Anna, a flower-girl neighbour, is in love with him. But he is still thinking to Pola, who just left him. Jean asks her to the bal. Many events (Pola's come back, two villains...) will disturb this arising love.—Yepok

July 14

July 14 (1933)

Isabel Jewell

Lee Tracy

Jean Harlow

Louise Beavers

Lola Burns is at the top of the pile in Hollywood. But life ain't easy, what with her father and brother always hanging around for handouts, and devious studio publicity honcho Space Hanlon cooking up endless lurid newspaper stories. Makes a girl want to give up pictures.—Jeremy Perkins {J-26}

Bombshell

Bombshell (1933)

Cora Sue Collins

Zita Johann

Rolfe Sedan

Joseph W. Girard

Nora Moran, a young woman with a difficult and tragic past, is sentenced to die for a murder that she did not commit. She could easily reveal the truth and save her own life, but it might damage the lives, careers, and reputations of people she loves.—Kieran Kenney

The Sin of Nora Moran

The Sin of Nora Moran (1933)

Ludwig Stössel

Adolf E. Licho

Rudolf Schündler

Rudolf Klein-Rogge

Berlin police inspector Lohmann investigates a case, in which all clues lead to a man, who's in a hospital for mental illnesses for since many years - Dr. Mabuse.—Stephan Eichenberg

The Testament of Dr. Mabuse

The Testament of Dr. Mabuse (1933)

Charles Brinley

Art Mix

Bill Patton

William Dyer

Ken Masters and his two musical pals, Shanty and Curley, are idiling around when ranch owner Big Jim Edwards, his daughter Alice, and his foreman Bart Hawkins, come to town with the news that the Strawberry Roan, a wild stallion, is on the rampage again and luring Big Jim's mares to join his wild herd. He offers any cowboy a job who will help him round-up the wild herd and Ken, Shanty and Curley sign up. Cattleman Colonel Brownlee also offers his prize ranch to the man who is good enough to ride the Strawberry Roan and Ken resolves to try for the prize.(The Colonel either had more ranches than he knew what to do with or was counting on the horse not being caught or not being rode when and if caught.Anyway it moved the plot along). After being chased all over by Ken and his horse Tarzan, Alice is the one who ropes the horse. Well, so much for being uncatchable. They bring him to the corral, where Bart warns Ken to stay away from Alice. The riding contest the next day is a complete victory for the Roan who throws all comers and is about to kill Curley before Tarzan leaps into the corral and fights off the savage stallion. Bart and his henchmen plan to steal the ranch herd, and wear down the Roan with torture so that Bart can ride him, and win the ranch.But Ken interferes and the Roan gets away, only to return and lead the herd in a destructive raid on the ranch.Colonel Brownlee, possibly in an attempt to hedge his bet, and Edwards decide that the Roan must be captured and killed. Ken thinks otherwise. The Realart reissue through Film Classics has a couple of cast errors in the re-done credit frames.But one of them is not listing Leon Schlesinger as a producer of the film, which some vastly uninformed source says he was. Mercy, where do they come up with such misinformation, and why do they put it in print?—Les Adams

Strawberry Roan

Strawberry Roan (1933)

Myrna Loy

John Barrymore

Enrique Acosta

An honest and naive schoolteacher gets a lesson in how the world works outside the classroom, when a rich Baron and his mistress use the teacher's name and outstanding reputation in a crooked business scheme.

Topaze

Topaze (1933)

George Burns

Gracie Allen

Chester Clute

Street-sweeper George flirts with a pretty, but dizzy, nursemaid in the park. Incorporates Burns & Allen's vaudeville "dizzy" routine.

Walking the Baby

Walking the Baby (1933)

W.C. Fields

Elise Cavanna

Lorena Carr

Julia Griffith

A hard-working, hen-pecked pharmacist, harried by a shrewish spouse, dysfunctional family, and demanding clientele, maintains his patience and a stoic optimism by imbibing frequent martinis. His termagant wife and self-absorbed daughters show little appreciation of his efforts to keep his precarious business profitable by selling bootleg liquor under the counter despite the suspicions of the local sheriff.—Gabe Taverney (duke1029@aol.com0

The Pharmacist

The Pharmacist (1933)

Dagmar Oakland

Barber O'Hair has a vegetarian wife at home a pretty manicurist at work. A dog sits in the barbershop which O'Hair explains: "One day I was shaving a man and cut his ear off. And the dog got it. Been back here ever since." Oh, and he captures a bank robber.—Ed Stephan

The Barber Shop

The Barber Shop (1933)

Harry C. Bradley

Glenda Farrell

Lionel Atwill

Fay Wray

In London, sculptor Ivan Igor struggles in vain to prevent his partner Worth from burning his wax museum...and his 'children.' Years later, Igor starts a new museum in New York, but his maimed hands confine him to directing lesser artists. People begin disappearing (including a corpse from the morgue); Igor takes a sinister interest in Charlotte Duncan, fiancée of his assistant Ralph, but arouses the suspicions of Charlotte's roommate, wisecracking reporter Florence.—Rod Crawford

Mystery of the Wax Museum

Mystery of the Wax Museum (1933)

Gordon Douglas

Junior Fuller

Ted Stroback

Mr. Snavely, a Yukon prospector, lost his only son years ago to the temptations of the big city; now the prodigal Chester, released from prison, comes home to Ma and Pa. A parody of Yukon melodrama; includes the famous looking-out-the-door routine.—Rod Crawford

The Fatal Glass of Beer

The Fatal Glass of Beer (1933)

Théo Tony

Vivian Grey

Marc Dantzer

Pierre Sergeol

A film actress falls for an extra on her set, he turns out to be a prince.

Château de rêve

Château de rêve (1933)

Fredi Washington

Harold Nicholas

James P. Johnson

Brandon Evans

At a Baptist prayer meeting, the preacher leads a prayer for Brutus Jones, who is leaving to become a railway porter. Jones joins the congregation in a spiritual. Once on the train, Jeff, a porter, shows Jones the ropes. Jones secretly takes up with Jeff's girl, Undine. He makes some money in a deal with a rich businessman on the train. Jones proves to be a cunning manipulator and a good liar. In a crap game, Jones stabs Jeff over a pair of loaded dice. Now doing hard labour, Jones kills a white prison guard and escapes. Shovelling coal on a ship in the Caribbean, Jones swims to an island. He is brought before the island's ruler, where Smithers, a crooked white trader, buys his freedom. Jones schemes his way into a partnership in Smithers' business, then finally control of the entire island through a touch of witchcraft, or so it seems. Brutus declares himself to be The Emperor Jones... Smithers reports on the unrest that Jones' rule is causing. One morning, the palace is empty of servants. As rebel drums beat, Jones flees into the forest where he is haunted by visions from his past...—David Steele

The Emperor Jones

The Emperor Jones (1933)

Friedrich Haak

Hildegarde Watson

Dorthea House

Lewis Whitbeck

Lot in Sodom is a sensual depiction of the Sodom and Gomorrah story filled with sinewy and semi-clad bodies, delirious bacchanales devoted to physical pleasure, and a searing, cataclysmic finale depicting the fall of a city devoted to sins of the flesh. Digitally mastered from excellent 35mm elements. Lot In Sodom has its original experimental soundtrack by Alec Wilder.—Anonymous

Lot in Sodom

Lot in Sodom (1933)

Edward G. Robinson

Mary Astor

Prohibition is ending so bootlegger Bugs Ahearn decides to crack California society. He leases a house from down-on-her-luck Ruth and hires her as social secretary. He rescues Polly Cass from a horsefall and goes home to meet her dad who sells him some phony stock certificates. When he learns about this he sends to Chicago for mob help.—Ed Stephan

The Little Giant

The Little Giant (1933)

Jean Dasté

Léon Larive

Pierre Blanchar

Louis Lefebvre

Bruel, Caussat, and Colin are three students at a boarding school. There is a continual battle between the school's authority figures and the students. The teachers and monitors are always giving the three in particular "zero for conduct" and Sunday detention for their behavior. Conversely, most of the students believe the headmaster, teachers and monitors are a combination of authoritarian, inept, and/or corrupt. The one exception among the teachers is Huguet, newly arrived to the school; he has a penchant for imitating Charles Chaplin as the Little Tramp, and doing handstands whenever the mood suits him, which includes in class. The boys are always doing whatever it takes to amuse themselves, and if it causes the teachers grief, so much the better. The three are the masterminds of a plot to overtake the school's Commemoration Day celebrations. The one student not involved is Tabard, who is seen as a sissy among the student body. Bruel believes Tabard should be involved, to show them he's truly "one of them."—Huggo

Zero for Conduct

Zero for Conduct (1933)

Elizabeth Patterson

Miriam Hopkins

Florence Eldridge

Temple Drake is a Southern belle who leads men on with her sexuality but usually leaves them wanting. She's loved by lawyer Stephen Benbow, whom she likes but doesn't love. While out carousing with one of her beaux, she finds herself stranded with a gang of bootleggers, one of whom, Trigger, rapes her and makes her his sex slave. When another man is accused of a murder Trigger committed, Stephen defends him and sets out to find Trigger. But he isn't prepared for whom he finds with Trigger, or what she's become.—Jim Beaver

The Story of Temple Drake

The Story of Temple Drake (1933)

Thelma Todd

Gerald Rawlinson

James Carew

Stanley Lupino

In London, songwriter Tom Daly falls in love at first sight with a beautiful blonde he spies while at a traffic stop, she the inspiration for his latest song, what would become his and his father's music publishing company's most popular. He has no idea that she is Pamela Berne, the sister of an old friend, Harry Berne, and the daughter of Oliver Berne, the New York businessman who was planning on a merger with Mr. Daly, that is until the unfortunate first encounter he had with Tom. He also has no idea that she is a spoiled and temperamental brat, throwing violent tantrums whenever she doesn't get her way, which is often. In finding Pamela and learning all these things about her, Tom still wants to marry her and write more songs for which she is the inspiration. Conversely, Mr. Berne and Harry want Pamela to marry Tom if only to get her out of their hair, while Pamela will have no part of a life with this stranger. As such, Harry, with Mr. Berne and Tom's blessing, comes up with a plan for Pamela to agree to marry Tom: they will pretend that Tom has been financing their life and is threatening to foreclose on their property, something that wouldn't be required if Pamela became Mrs. Daly. Pamela has no choice but to agree to marry Tom if only to maintain the lifestyle to which she is accustomed. The marriage and honeymoon become a battle of the wills between Tom and Pamela, the former who only wants a loving wife, and the latter who wants to get as far away from her husband as possible, she unaware that Tom truly does love her, and that she may truly love him in return.—Huggo

You Made Me Love You

You Made Me Love You (1933)

Dick Powell

Ruby Keeler

Bebe Daniels

Renowned Broadway producer/director Julian Marsh is hired to put together a new musical revue. It's being financed by Abner Dillon to provide a starring vehicle for his girlfriend, songstress Dorothy Brock. Marsh, who is quite ill, is a difficult taskmaster who works long hours and continually pushes the cast to do better. When Brock breaks her ankle one of the chorus girls, Peggy Sawyer, gets her big chance to be the star. She also finds romance along the way.—garykmcd

42nd Street

42nd Street (1933)

Gary Cooper

Jane Darwell

Two Americans sharing a flat in Paris, playwright Tom Chambers and painter George Curtis, fall for free-spirited Gilda Farrell. When she can't make up her mind which one of them she prefers, she proposes a "gentleman's agreement": She will move in with them as a friend and critic of their work, but they will never have sex. But when Tom goes to London to supervise a production of one of his plays, leaving Gilda alone with George, how long will their gentleman's agreement last?—Capel Cleggs

Design for Living

Design for Living (1933)

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