Takashi Shimura

Isuzu Yamada

Kensaku Hara

Hulusi Kentmen

Ayako becomes the mistress of her boss, Mr. Asai, so she can pay her father's debt, and prevent him from going to prison for embezzlement. She also sends money for her brother, Hiroshi, to pay his university tuition, but asks her father not to tell him that it is from her. She tricks Mr. Fujino into giving her money so that she can marry her boyfriend Nishimura, but Fujino calls in the police.—Will Gilbert

Osaka Elegy

Osaka Elegy (1936)

David Niven

Mary Astor

William Wyler

John Payne

A bittersweet tale of the increasing estrangement of a retired automobile tycoon and his wife. Increasingly obsessed with maintaining an appearance of youth, she falls in with a crowd of frivolous socialites during their "second honeymoon" European vacation. He, in turn, meets a woman who is everything she is not: self-assured, self-confident, and able to take care of herself.—Sonya Roberts

Dodsworth

Dodsworth (1936)

Humphrey Bogart

Bette Davis

Leslie Howard

Charley Grapewin

Gabby lives and works at her dads small diner out in the desert. She can't stand it and wants to go and live with her mother in France. Along comes Alan, a broke man with no will to live, who is traveling to see the pacific, and maybe to drown in it. Meanwhile Duke Mantee a notorious killer and his gang is heading towards the diner where Mantee plan on meeting up with his girl.—MarlicOne {imdb@motechnet.com}

The Petrified Forest

The Petrified Forest (1936)

Paulette Goddard

Charles Chaplin

Bess Flowers

Richard Alexander

Chaplin's last 'silent' film, filled with sound effects, was made when everyone else was making talkies. Charlie turns against modern society, the machine age, (The use of sound in films ?) and progress. Firstly we see him frantically trying to keep up with a production line, tightening bolts. He is selected for an experiment with an automatic feeding machine, but various mishaps leads his boss to believe he has gone mad, and Charlie is sent to a mental hospital - When he gets out, he is mistaken for a communist while waving a red flag, sent to jail, foils a jailbreak, and is let out again. We follow Charlie through many more escapades before the film is out.—Colin Tinto

Modern Times

Modern Times (1936)

Sylvia Sidney

Alfred Hitchcock

Oskar Homolka

Martita Hunt

Mr. Verloc is part of a gang of foreign saboteurs operating out of London. He manages a small cinema with his wife and her teenage brother as a cover, but they know nothing of his secret. Scotland Yard assign an undercover detective to work at the shop next to the cinema in order to observe the gang.—Col Needham

Sabotage

Sabotage (1936)

Robert Seller

Arletty

Marcel Lévesque

Marguerite Moreno

A husband who has just cheated on his wife returns home in the early morning, in a daze. Another man is there, and the dazed man confesses his infidelity to this stranger--who turns out to be his wife's lover.

Let's Make a Dream

Let's Make a Dream (1936)

Harry C. Bradley

Lionel Stander

Gary Cooper

Ann Doran

Longfellow Deeds lives in a small town and leads a small-town kind of life, including playing the tuba in the town band. When a relative dies and leaves Deeds a fortune, Longfellow picks up his tuba and moves to the big city, where he becomes an instant target for everyone from the greedy opera committee to the sensationalist daily newspaper. Deeds outwits them all until Babe Bennett comes along. Babe is a hot-shot reporter who figures that the best way to get close to Deeds is to pose as a damsel in distress. When small-town boy meets big-city girl, anything can, and does, happen.—A.L.Beneteau

Mr. Deeds Goes to Town

Mr. Deeds Goes to Town (1936)

Maurice Baquet

Jean Dasté

René Lefèvre

A man and a woman arrive in a cafe-hotel near the Belgian frontier. The customers recognize the man from the police description. His name is Amedee Lange, and he murdered Batala in Paris. His ladyfriend Valentine tells the whole story: Lange was an employee in Batala's little printing works. Batala was a real bastard, swindling everyone, seducing female workers of Valentine's laundry - One day, he fled to avoid facing his creditors, and the workers set up a cooperative to go on working. But the plot is less important that the description of the atmosphere just before the Popular Front.—Yepok

The Crime of Monsieur Lange

The Crime of Monsieur Lange (1936)

William Powell

Gail Patrick

Mischa Auer

In the depths of the Depression, a party game brings dizzy socialite Irene Bullock to the city dump where she meets Godfrey, a derelict, and ends by hiring him as family butler. He finds the Bullocks to be the epitome of idle rich, and nutty as the proverbial fruitcake. Soon, the dramatizing Irene is in love with her 'protege'...who feels strongly that a romance between servant and employer is out of place, regardless of that servant's mysterious past...—Rod Crawford

My Man Godfrey

My Man Godfrey (1936)

Ginger Rogers

Victor Moore

Dennis O'Keefe

Lucky is tricked into missing his wedding to Margaret by the other members of Pop's magic and dance act, and has to make $25000 to be allowed to marry her. He and Pop go to New York where they run into Penny, a dancing instructor. She and Lucky form a successful dance partnership, but romance is blighted (till the end of the film at least!) by his old attachment to Margaret and hers for Ricardo, the band leader who won't play for them to dance together.—Sebastian Gibbs

Swing Time

Swing Time (1936)

Randolph Scott

Tony Martin

When the fleet puts in at San Francisco, sailor Bake Baker tries to rekindle the flame with his old dancing partner, Sherry Martin, while Bake's buddy Bilge Smith romances Sherry's sister Connie. But it's not all smooth sailing: Bake has a habit of losing Sherry's jobs for her; and despite Connie's dreams, Bilge is not ready to settle down.—Diana Hamilton

Follow the Fleet

Follow the Fleet (1936)

Alan Hale

Oliver Hardy

Iris Adrian

Virginia Grey

Unbeknownst to Stanley and Oliver, their long-lost twin brothers, sailors Alfie and Bert are in town on shore leave carrying a valuable pearl ring entrusted to them by their ship's captain. All four get involved in multiple cases of mistaken identity as a gang of hoodlums try to steal the ring Stanley and Oliver wind up with their feet in cement, about to be dumped into the harbor.—Paul Penna

Our Relations

Our Relations (1936)

Reginald Owen

Sarah Edwards

This version of the Tolstoy classic lingers longer in Moscow during the weeks that follow the initial meeting of the starstruck lovers-to-be Vronsky and Anna Karenina. The story -- as it unfolds -- also focuses on Kitty, a young woman who is related to Anna's sister-in-law whose marital rift has brought Anna to Moscow. Until Anna shows up, Kitty had hopes of getting Vronsky, who is single and well connected, to propose to her. Ignored by Vronsky, Kitty turns her attention to another suitor, a man who seems to have a lot in common with Tolstoy.—Dale O'Connor

Anna Karenina

Anna Karenina (1935)

Leila Hyams

Zasu Pitts

Charles Laughton

While visiting Paris in 1908, upper class Lord Burnstead loses his butler playing poker. Egbert and Effie Floud bring Ruggles back to Red Gap, Washington. Effie wants to take advantage of Ruggles' upper class background to influence Egbert's hick lifestyle. However, Egbert is more interested in partying and he takes Ruggles to the local 'beer bust'. When word gets out that "Colonel Ruggles is staying with his close friends" in the local paper, the butler becomes a town celebrity. After befriending Mrs. Judson, a widow who he impresses with his culinary skills, Ruggles decides to strike out on his own and open a restaurant. His transition from servant to independent man will depend on its success.—Gary Jackson

Ruggles of Red Gap

Ruggles of Red Gap (1935)

Ward Bond

Una O'Connor

Preston Foster

Victor McLaglen

Dublin, 1920. Gypo Nolan, strong but none too bright, has been ousted from the rebel organization and is starving. When he finds that his equally destitute sweetheart Katie has been reduced to prostitution, he succumbs to temptation and betrays his former comrade Frankie to the British authorities for a 20 pound reward. In the course of one gloomy, foggy night, guilt and retribution inexorably close in...—Rod Crawford

The Informer

The Informer (1935)

Fred Astaire

Lucille Ball

Showman Jerry Travers is working for producer Horace Hardwick in London. Jerry demonstrates his new dance steps late one night in Horace's hotel, much to the annoyance of sleeping Dale Tremont below. She goes upstairs to complain and the two are immediately attracted to each other. Complications arise when Dale mistakes Jerry for Horace.—Anonymous

Top Hat

Top Hat (1935)

Walter Brennan

W.C. Fields

Ambrose Wolfinger wants the afternoon off (his first in twenty-five years) to go to a wrestling match. He tells his boss that he must attend his mother-in-law's funeral. The afternoon is no joy. He tries to please a policeman, assist a chauffeur, chase a tire, and ends up getting hit by the body of a wrestler thrown from the ring. A series of mishaps leads his boss to send floral tributes to the house and notify the papers of the death (due to poisoned liquor). His shrewish wife, judgmental mother-in-law, and good-for-nothing brother-in-law add to his burdens. In the end he enjoys their fawning loyalty, a raise in pay, and his first vacation.—Ed Stephan

Man on the Flying Trapeze

Man on the Flying Trapeze (1935)

Isabel Jewell

Keye Luke

Edward Norris

Colin Clive

In Paris, great surgeon Dr. Gogol falls madly in love with stage actress Yvonne Orlac, and his ardor disturbs her quite a bit when he discovers to his horror that she is married to concert pianist Stephen Orlac. Shortly thereafter, Stephen's hands are badly crushed in a train accident--beyond the power of standard medicine. Knowing that his hands are his life, Yvonne overcomes her fear and goes to Dr. Gogol to beg him to help. Gogol decides to surgically graft the hands of executed murderer Rollo onto Stephen Orlac, the surgery is successful but has terrible side effects.—Ken Yousten

Mad Love

Mad Love (1935)

Eddie Holden

Alyce Ardell

Vance Colvig Jr.

Ned Norton

Max Hare and Toby Tortoise are having a foot race. Max has much more style, and is generally cocky. He pauses for a short nap, to chat up the bunnies outside a girl's school (and show off in several sports). When he hears the crowd roar for Toby approaching the finish line, he takes off, but a last-minute sprint, and a long neck, give Toby the inevitable victory.—Jon Reeves

The Tortoise and the Hare

The Tortoise and the Hare (1935)

Beulah Bondi

Jane Withers

Young, naive, fairy-tale-loving Luisa Ginglebusher leaves the Budapest orphanage to become a movie usherette. Soon she befriends paternal waiter Detlaff and not-so-paternal Konrad, a meat-packing millionaire. Uninterested in Konrad's rich gifts, Luisa schemes to be a "good fairy" and divert some of this wealth to poor stranger Dr. Sporum. But it's not that simple.—Rod Crawford

The Good Fairy

The Good Fairy (1935)

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