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Sorrowful Jones (1949)
A young girl is left with the notoriously cheap Sorrowful Jones as a marker for a bet. When her father doesn’t return, he learns that taking care of a child interferes with his free-wheeling lifestyle. Sorrowful must also evade crooked gangsters and indulge in a bit of horse-thieving.
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Station West (1948)
Dick Powell is a stranger in town battling Raymond Burr… with only Jane Greer on his side.
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Where There’s Life (1947)
In a far off country, their king is critically wounded after an assassination attempt and the only heir is a timid New York radio personality, Michael Valentine (Bob Hope). After reluctantly traveling to his father’s homeland, Michael is not happy that he’s become the target of the same terrorist organization that attacked the king.
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Let’s Face It (1943)
A soldier stationed on an army base and his fiancé, who runs a women’s “fat farm” nearby, want to get married but don’t have enough money. Three customers of the “fat farm” scheme to get back at their philandering husbands by hiring the soldier and two of his buddies as “escorts” for the weekend. Complications ensue when the husbands show up unexpectedly.
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Second Fiddle (1939)
Studio publicist (Power) discovers Minnesota skating teacher (Henie) and takes her to Hollywood. She goes back to Minnesota but he follows her.
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Wake Up and Live (1937)
Satire on radio, built around the supposed feud between bandleader Ben Bernie and journalist Walter Winchell.
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Sing, Baby Sing (1936)
The “Caliban-Ariel” romance of fiftysomething John Barrymore and teenager Elaine Barrie is spoofed in this delightful 20th Century Fox musical. Adolphe Menjou plays the Barrymore counterpart, a loose-living movie star with a penchant for wine, women, and more wine. Alice Faye plays a nightclub singer hungry for publicity. Her agent (Gregory Ratoff) arranges a “romance” between Faye and Menjou. Eventually Faye winds up with Michael Whalen, allowing Menjou to continue his blissful, bibulous bachelorhood. Sing, Baby, Sing represented the feature-film debut of the Ritz Brothers, who are in top form in their specialty numbers–and who are awarded a final curtain call after the “The End” title, just so the audience won’t forget them (The same device was used to introduce British actor George Sanders in Fox’s Lancer Spy [37]).
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