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Taxi (1953)
New York City taxicab driver/owner Ed Nielson has to make a payment on his cab by nightfall, but a passenger he has just picked up, Mary Turner, just off the ship from Ireland, becomes a very deterring factor. She is looking for her husband, an American who visited Ireland, romanced and married her, and then returned alone to the United States. They cover a large portion of the city in their search but when they finally locate him, Mary learns it wasn’t worth it. And Ed still has a payment to make.
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My Daughter Joy (1950)
A financier (Edward G. Robinson) plots to become the richest man in the world by marrying off his daughter (Peggy Cummins) to the son of an Arab sheik.
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Paris Underground (1945)
Constance Bennett both produced and starred in the espionager Paris Underground. Bennett and Gracie Fields play, respectively, an American and an English citizen trapped in Paris when the Nazis invade. The women team up to help Allied aviators escape from the occupied city into Free French territory. The screenplay was based on the true wartime activities of Etta Shiber, who engineered the escape of nearly 300 Allied pilots. British fans of comedienne Gracie Fields were put off by the scenes in which she is tortured by the Gestapo, while Constance Bennett’s following had been rapidly dwindling since the 1930s; as a result, the heartfelt but tiresome Paris Underground failed to make a dent at the box-office. It would be Constance Bennett’s last starring film–and Gracie Fields’ last film, period.
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Where Do We Go from Here? (1945)
Bill wants to join the Army, but he’s 4F so he asks a wizard to help him, but the wizard has slight problems with his history knowlege, so he sends Bill everywhere in history, but not to WWII.
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The Heat’s On (1943)
After an absence of three years, Mae West returned to the screen in the musical comedy The Heat’s On. La West is cast as Fay Lawrence, a famous Broadway actress who is loved intensely by her producer Tony Ferris (William Gaxton). Rival producer Forrest Stanton (Alan Dinehart) steals Fay away from Ferris by convincing her that she’s been blacklisted from Broadway by blue-nosed moralist Hannah Bainbridge (Almira Sessions). Meanwhile, Hannah’s puckish brother Hubert (Victor Moore) syphons money from his sister’s “clean up show business” committee to produce a musical show for his actress niece Janey (Mary Roche). Somehow, all these characters converge for a spectacular closing production number spotlighting the formidable Fay. Part of the reason for the failure of The Heat’s On is the fact that Mae West didn’t write her own dialogue, as was usually her custom. The film performed so poorly that it would be 27 years before West would again appear on the Big Screen.
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Adam Had Four Sons (1941)
Emilie has been hired to care for the four sons of wealthy Adam Stoddard and his wife, Molly. After Molly dies, Adam and the boys grow to depend on Emilie even more. At the same time, Emilie falls in love with Adam. The boys grow up, but Adam insists that Emilie stay on as part of the family. Her relationships with both the boys and Adam become strained after one son marries a gold-digging viper named Hester. Written by Daniel Bubbeo
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Rose of Washington Square (1939)
A Roaring ’20s singer (Alice Faye) becomes a Ziegfeld Follies star as her criminal husband (Tyrone Power) gets deeper in trouble.
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Lancer Spy (1937)
An Englishman impersonates an imprisoned German officer and “returns” to Germany to become a national hero. A female German spy is assigned to check him out but falls in love with him.
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Seventh Heaven (1937)
A Parisian sewer worker longs for a rise in status and a beautiful wife. He rescues a girl from the police, lives with her in a barren flat on the seventh floor, and then marches away to war.
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