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Hollywood’s brightest stars and movies from the Golden Age of Hollywood.
Where Angels Go, Trouble Follows
In this uproarious comedy, tradition faces off against modernity when a young, hip nun, Sister George (Stella Stevens), challenges the ideas of her conservative Mother Superior (Rosalind Russell). Though the two nuns think they will never see eye to eye, a bus trip across the country -- during which they encounter many wacky characters, including a movie producer (Milton Berle) and a millionaire (Robert Taylor) -- helps them find some common ground.
No Sad Songs for Me
Upon being diagnosed with terminal cancer, selfless suburban housewife Mary Scott (Margaret Sullavan) makes the ultimate sacrifice: she decides to keep the unpleasant news from her husband, Brad (Wendell Corey), and daughter, Polly, to avoid devastating her loved ones. Instead, Mary encourages Brad's affair with a co-worker (Viveca Lindfors), and even grooms the other woman to take her place. But as Mary's illness progresses, keeping it a secret presents a considerable challenge.
The Chase
When "Bubber" Reeves (Robert Redford) escapes from prison, it upsets the folks in the nearby town of Tarl, Texas. Sheriff Calder (Marlon Brando) wants to capture Reeves alive, which puts him in opposition to many of the townspeople who have resorted to mob justice. Businessman Val Rogers (E.G. Marshall) wants Calder to apprehend Reeves quickly, through any means, since he fears the criminal will come after Val's son, Jake, who is sleeping with Reeves' wife (Jane Fonda).
American Madness
During the Depression, the bank owned by generous Dickson (Walter Huston) is barely staying afloat, and things get worse when $100,000 is lifted from the vault. Fingers are pointed at reformed crook Matt (Pat O'Brien), who got a job and a fresh start from Dickson. The innocent Matt can clear his name by admitting that on the night of the robbery he was breaking up a tryst between Dickson's wife and another teller. But this revelation may crush Dickson, and Matt's conscience plays tug-of-war.
Divorce American Style
Suburban couple Richard Harmon (Dick Van Dyke) and his wife, Barbara (Debbie Reynolds), have exhausted their patience in their marriage. Bored and no closer to fixing their problems through counseling, the couple opts to divorce, and the proceeding tug-of-war over children, money and possessions reveals that maintaining their marriage was far easier than ending it. Along the way are attempts for both at new relationships, with the subject of alimony playing a hidden role in matters.
The Fuller Brush Girl
Milquetoast Humphrey Briggs (Eddie Albert) and his impetuous girlfriend, Sally Elliot (Lucille Ball), are office workers at a shipping firm whose corrupt owner, Harvey Simpson (Jerome Cowan), uses his company as a front for a massive smuggling operation. When an accident causes Simpson's rich and jealous wife (Lee Patrick) to assume he's cheating on her, the lovebirds get unwillingly drawn into a murder investigation involving a stripper (Gale Robbins) and a hired killer (Fred Graham).
Theodora Goes Wild
Theodora Lynn (Irene Dunne) is secretly the author of a salacious novel written under a pen name. She must hide her identity from the residents of her small, conservative Connecticut town, who disapprove of the book. When Theodora goes to New York to visit her publisher (Thurston Hall), she meets the book's cover artist, Michael Grant (Melvyn Douglas), who tries to convince her to reveal herself as the real author. When Theodora falls for Michael, she soon finds that he has secrets of his own.
Mr. Deeds Goes to Town
Longfellow Deeds (Gary Cooper), a resident of small-town Vermont, leads a simple life until he inherits a vast fortune from a late uncle. Soon, unscrupulous lawyer John Cedar (Douglas Dumbrille) brings Deeds to New York City, where the unassuming heir is the object of much media attention. When wily reporter Babe Bennett (Jean Arthur) gains the trust and affection of Deeds, she uses her position to publish condescending articles about him -- but are her feelings for him really that shallow?