Date Released : 28 December 1957
Genre : Action, Drama, Sci-Fi, Thriller, War
Stars : Kenji Sahara, Yumi Shirakawa, Momoko Kôchi, Akihiko Hirata. Aliens arrive on Earth and ask permission to be given a certain tract of land for their people to live on. But when they are discovered to be invaders, responsible for the giant robot that is destroying cities, the armed forces attempt to stop them with every weapon available." />
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Aliens arrive on Earth and ask permission to be given a certain tract of land for their people to live on. But when they are discovered to be invaders, responsible for the giant robot that is destroying cities, the armed forces attempt to stop them with every weapon available.
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Review :
Ifukube's score is the most action packed score ever.
The Japanese tape begins with an overture. The music with the overture is the greatest film score ever written by Akira Ifukube. So this film concerns hooded aliens who come to Earth with plans to capture and have sex with Earth women. So they release a huge bird-like robot named Mogera (it later returned renovated in Godzilla vs. Space Godzilla) to prove they mean buisness. The army manages to defeat it by booby trapping the bridge and blowing it up while the monster is using it. Then the battle for the cosmos begins with the Mysterians and their ray firing ships and the humans and their markalite lasers. This is another film I believe inspired the film Independence Day. It's certainly the most colorful of any of the fifties invasion flicks. A must. Eiji Tsuburaya also did an exellent job with his marvelous miniatures and special effects.
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Date Released : 14 July 1957
Genre : Comedy
Stars : Frankie Sakai, Sachiko Hidari, Yôko Minamida, Yûjirô Ishihara. Set in the last few years of the shogun's rule, this period/ensemble movie depicts the lives of the young and the restless at a whorehouse. The protagonist is Saheiji, a resourceful, witty free spirit. It's 1862, 6 years before the Shogun turned his political power over to the Emperor. Penniless Saheiji splashes out at a famous Shinagawa whorehouse. He's forced to stay on at the whorehouse to ..." />
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Set in the last few years of the shogun's rule, this period/ensemble movie depicts the lives of the young and the restless at a whorehouse. The protagonist is Saheiji, a resourceful, witty free spirit. It's 1862, 6 years before the Shogun turned his political power over to the Emperor. Penniless Saheiji splashes out at a famous Shinagawa whorehouse. He's forced to stay on at the whorehouse to repay his debt. At first Saheiji is regarded as an unwelcome guest who never leaves but it turns out he is not just a poor grifter. None of the whorehouse's guests, hosts, servants and attending ladies are innocent but they are pragmatic schemers. Saheiji soon endears himself to them all and solves many whorehouse disputes with his wit. But it is slowly revealed that the seemingly perfect Saheiji is suffering from tuberculosis and his future is uncertain...
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Review :
Movements
I have rarely had so toweringly high expectations for a film as I had for Kawashima Yûzô's "Bakumatsu taiyôden" (1957). So high that I knew this wouldn't be a good thing unless I exerted to utmost patience. Most often great films loaded with too much (false, misguided) expectation from the part of this particular viewer tend to disappoint on first viewing and only grow in the mind to be fully appreciated later, sometimes years after.
But what a hoot this film is! The first expository reel where Kawashima puts all the plates spinning is breathtakingly relentless. Doing comedy right so it's funny enough but doesn't lose steam is as difficult as it gets. The best comedy, in my mind, injects the whole world and how that world functions with a sense of the askew, after which basically anything can happen, even when on face value what is seen appears "normal". The comedy then arises spontaneously as the characters interact with the world, the narrative sometimes ebbing towards drama, sometimes flowing towards bursts of comedy.
This ebb and flow is acutely present in the film. It's a riotously funny film in dialogue, gesture and movement, and it has a free-flowing spirit. But why it works for me as well as it does is because it's full of fleshed out characters, much like Yamanaka's "Ninjô kami fûsen" (1938), which not only makes the comedy more bittersweet, but also gives it gravity. Not "gravity" in the sense of 'seriousness or solemnity of manner', really, but more like a central point from which it gushes. "Gravity" in the sense of purpose and home. For me the most effective form of comedy is the one that allows the viewer to see oneself in the characters' stead. It's us whom things are done to, and who get to experience that catharsis that might or might not come. I haven't seen any other films by Kawashima so I can't credit him as much as he probably deserves, but this sense of humanity is strong in Imamura's films, and it's here, too. It might sound like the mother of clichés (which in itself sounds awfully soppy) but when one cares about the characters, their comings and goings don't have to amount to much for the viewer to like and relate them, no matter how different in likeness, manner, ambition. In short, these characters feel like real people who are playing in constant role-play.
Of course it helps how cunningly Kawashima connects all this to then-modern times. The narrator towards the beginning says the film is not about modern Shinagawa and the changes to prostitution, then proceeding to tell us what we need to know about the period (it's set in the second year of the Bunkyu Era, in 1862, six years before the fall of the Shogun) but then keeps reminding us of the parallels constantly (Imamura's "Buta to gunkan", 1961, actually plays a similarly delicious game of irony with us in its opening credits). Kawashima even had in mind to have Frankie Sakai's Inokori, or the Grifter, to not only escape down the road in the very end, but to burst out of the studio. Without going to such lengths, the point is still very well taken. Kawashima uses visuals counterpoint (marching procession/praying to Buddha; "beautiful sea view"/dead dog in the water, people dumping their trash at the docks) to absolutely great effect.
There's a very interesting remark made by Fujimoto Giichi concerning Kawashima's working methods, quoted by Frederick Veith in the essay "Bakumatsu taiyô-den" (available in the booklet of the Region B Blu-ray released in the Masters of Cinema series): "First he would visualize everyone's movements in the film by drawing lines on a plan of the set. Only then did he think about their characters and situation. But it was more important to him to determine what kind of places people were moving in and out of, rather than what they actually did in them." I think you can see this in the film, and it's very enjoyable. I've now seen this twice, spending some time with this notion the second time.
At this writing there are only 143 votes for this film. Hopefully people get to see this now that it's available in a handsome edition.
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Date Released : 22 February 1957
Genre : Western
Stars : Fred MacMurray, Jeffrey Hunter, Janice Rule, Chill Wills. A young cowboy, whose dedication to the principles of peace and reason has earned him a reputation for cowardice, overcomes his psychological aversion to violence after his elder brother unjustly censures him for not joining in a foolhardy gunfight in which their youngest brother is killed." />
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A young cowboy, whose dedication to the principles of peace and reason has earned him a reputation for cowardice, overcomes his psychological aversion to violence after his elder brother unjustly censures him for not joining in a foolhardy gunfight in which their youngest brother is killed.
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Review :
At last a family-drama-psychological-western
The "western" movies are usually about solitary cowboys trying to find (or sometimes loose?) themselves. Brave, fearless men of little words who shed their failure to adjust and an ethics of their own on the screen. In two words, solitary heroes. But this film is maybe, just maybe, about a little more than that. It's about many things, possibly. About the beginning of one of those heroes (the older brother's destiny, at the end?) and about another kind of failure to adjust, the middle brother's one. And it gives us a hint of how everything starts: inside the family. Good acting, not so brilliant direction (but who needs one, when the contents and the dialogs are superb?). A final word to compliment the work of the actors in the 3 main roles (Will, Bless and Aud). And hey, how can John Ford's The Searchers be any better than this movie? Not in a million years.
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Date Released : 19 April 1957
Genre : Adventure, Drama, Romance
Stars : Alan Ladd, Clifton Webb, Sophia Loren, Alexis Minotis. Phaedra is a poor sponge diver on the lovely Greek isle of Hydra. While diving, she discovers an ancient brass and gold statue of a boy riding a dolphin, which is said to have the magical power to grant wishes. Her shiftless boyfriend wants to sell it to an unscrupulous art collector, but Phaedra wants to give it to anthropologist Jim Calder, who would return it to the Greek government." />
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Phaedra is a poor sponge diver on the lovely Greek isle of Hydra. While diving, she discovers an ancient brass and gold statue of a boy riding a dolphin, which is said to have the magical power to grant wishes. Her shiftless boyfriend wants to sell it to an unscrupulous art collector, but Phaedra wants to give it to anthropologist Jim Calder, who would return it to the Greek government.
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Review :
An exotic on-location underwater thriller!
This film was one of 1957's top grossers mainly due to the fact that in those years the public wanted exotic European location shooting and the film certainly does a good job of showing Greece and Sophia Loren who is ravishing.The story is a thriller.Alan Ladd plays a archaeologist ,Sophia a poor sponge diver and Clifton Webb an unscrupulous collector of art.The plot is not really that important.What counts is the scenery and Sophia.Alan Ladd whom I have always considered as a very good actor, but underrated by critics does a good job,like always(he always tried his best), all the more so that his partner was really very much taller than him and he suffered from that.I don't understand why everybody made so much fuss about Alan Ladd's size.He was just as short or tall as Humphrey Bogart or James Cagney or even George Raft.The film is very enjoyable.
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Date Released : 15 March 1957
Genre : Comedy, Crime
Stars : Henri Vidal, Barbara Laage, Jacques Dacqmine, Nicole Maurey." />
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Review :
Lacklustre spy thriller
Secret documents and a lump of experimental alloy have been stolen from the French government, and special agent Coplan (Henri Vidal) is dispatched to Zurich to recover them at all costs. If I mention that Coplan's contact in Zurich happens to be a gorgeous blonde (Barbara Laage) and that the woman he has to seduce to complete his mission is a ravishing brunette (Nicole Maurey) you'll understand that we're in Bond territory here - though in this case without the budget, the exotic locations or the talent.
Vidal was a matinée idol in his day, but his smarmy, wisecracking, ladykiller persona looks as dated as the blazer and cravat he wears through much of the film. You won't believe in the reality of this character for a moment, and the whimsical seduction scenes will make you want to throw a chair at him. The villains too (with one exception) are a bland bunch of stereotypes, barely more animated than the cheap-looking studio sets and the uninspired locations (please, not another shoot-out in a dockside warehouse!).
That exception I mentioned is Lino Ventura, who plays one of his most vicious screen characters here. The scene where he attempts to murder Barbara Laage is probably the highlight of the movie. Sadly he only gets about 10 minutes of screen time; it's a good performance, but to market this as a Ventura film, as the French DVD publisher is doing, is pushing it a bit.
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Date Released : 11 December 1957
Genre : Crime, Drama
Stars : Jeanne Ferguson, Jacqueline Park, Eve Brent, Timothy Farrell
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Teddy, the daughter of a very prominent family, is released to them by the juvenile authorities. Teddy is out to get revenge on the very bad community and starts her own girl gang, who seduce, waylay and rob male victims. Joe is a fence-and-receiver of stolen goods and provides the girls with guns and encouragement to rob a warehouse. The bad girls are very bad when doing it, fail it, and are forced to hide out. Joy Jenkins, who has been intimate with Joe, learns that he is two-timing her, with Trixie the Tricking Tart, and confronts him with the fact that she is pregnant. He brushes her off and she promptly shoots him fatally as Joy doesn't want to be an unwed mother. Meanwhile, Teddy and Dumb Dora Jones steal a car and make a break for a hideout in the country but they are spotted by the police. In the car chase, Teddy's car crashes, Teddy is killed outright and Dora dies in a hospital. City life goes on as normal.
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Review :
Pretty bad 50's potboiler
"Gun Girls" is a pretty sorry entry in the 50's juvenile delinquent potboiler parade. The story is pretty typical: teens girls ignore their probation officer's advice and pull burglaries and robberies, until they get in too far over their heads, and must pay the ultimate price. The acting, dialogue, sets, and even the editing are strictly amateurish (some scenes end too abruptly, others linger way past the point where the director should have yelled "cut!!"). But the film's biggest problem (or highlight, if you're into camp) are the gun girls themselves. To put it rather bluntly, these girls ain't girls. There isn't one of them who looks to be under 40. When the film opens with a shot of some pretty hard boiled looking gals in a police line-up, and the narrator starts talking about juvenile delinquency, you have to wonder who he's talking about. These "teenagers" look old enough to be the parents of teenagers!!
All this, plus a death scene at the film's end that goes on longer than Ali MacGraw's in "Love Story", make for pretty rough sledding, even for lovers of bad cinema.
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Date Released : 7 June 1957
Genre : Biography, Drama
Stars : Bob Hope, Vera Miles, Paul Douglas, Alexis Smith
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The story of Jimmy Walker who became mayor of New York in the '20s. Used by professional politicians and money-grabbers, Walker himself was "stupid but clean", although his open affair with Betty Compton cost him dear.
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Review :
Not meticulous history, maybe, but great Hollywood
Over all the many times I've seen this film, it never once occurred to me that it might actually be historically accurate. Nor did it occur to me that it would matter much either way. This is the perfect glossy 1950s Hollywood 'biopic'... a totally charming film, yet with more emotional depth and dramatic substance than most that were cranked out in this politically-delicate period.
For starters, there's a totally charming performance by Bob Hope. This was the perfect part for him: the chance to seriously play a character who was never quite serious. Hope makes the good times effervescent, and the sad times not quite so sad. He makes the central love affair between a man and a city seem completely believable. (Where in real life, obviously things could never be so simple.)
But the real star of this film is the City of New York itself. Not the 'real' city... the fabulous city of myth, as only Hollywood can spin that myth. Resonant with names that are familiar even to people who've never been within thousands of miles of New York, and evocative of a history that even New Yorkers probably recall only vaguely. Just as The Untouchables etched out a stark black-and-white portrait of 1920s Gangland Chicago, Beau James paints a fond, Technicolor memory of 1920s New York.
It's true that Bob Hope's performance, while perfect for the film, was perhaps not Oscar-worthy. (The question would be moot if the Academy had the brains to give out occasional Oscars for the great art of Comedy!) But no matter... Beau James is a well-polished gem of a movie for more reasons than just Hope. Yes, it's corny, and commercial, and formulaic... but in the best way. It romanticizes something that really deserves it.
I wish I was watching it right now...
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Date Released : 1 November 1957
Genre : Horror
Stars : Barbara Shelley, Robert Ayres, Kay Callard, Ernest Milton
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Size : 700 MB
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A young woman inherits a family curse that turns her into a murderous feline when she is angered.
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Review :
CAT GIRL (Alfred Shaughnessy, 1957) **
A disturbed young woman (future genre stalwart Barbara Shelley) grudgingly accepts her feline legacy. Imitation CAT PEOPLE (1942) that attempts to have its cake and eat it too: just as the preliminary backdrop of a creaky mansion is traded for an urban milieu during the film's second half, a tangible menace a pet leopard who feasts on its willing master (Shelley's batty uncle)! is offset throughout by bouts of cod psychology courtesy of neglected wife Shelley's long-suffering suitor of a medico. Not too badly done as these things go, but the lack of originality hurts the overall effort. While the running-time on IMDb is given at 76 minutes (and downloading websites seem to offer both 69 and 72-minute versions), the copy I watched acquired off "You Tube" ran for only 65 minutes, and even featured inordinately long transitions between scenes!
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Date Released : 26 June 1959
Genre : Drama, War
Stars : Joachim Hansen, Marianne Koch, Hansjörg Felmy, Horst Frank
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Biographic Movie of the German fighter ace, who was killed in a plane crash after over 150 kills in North Africa.
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Review :
As empty as the African sky
I watched this film right after a screening of Käutner's "Grosse Freiheit Nr 7", which premiered in December 1944. And suddenly I realized, what it is that makes Käutner's film a true masterpiece: "Star of Africa", even though a "war" film, lacks the atmosphere of war totally. It is a superfluous, totally empty film with nothing much in it to recommend it. "Grosse Feiheit", which doesn't show a single swastika (neither does "Star of Africa" to that matter) is nevertheless shrouded heavily into that special gloomy mood, which tells us that there is a REAL war out there, a war that is soon to be lost for good; and that's what makes one film tense and bitterly sad, while the other film, though heavy with air fights, battlefield situations and actual footage (thrown quite pointlessly here and there), is reminiscent of a fifties TV show.
This film (both English dubbed and subtitled version) can be ordered from International Historic Films.
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Date Released : 10 January 1957
Genre : Comedy, Musical
Stars : Germaine Damar, Walter Giller, Willy Fritsch, Gunther Philipp
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Topsy Müller wants to be a professional dancer, but her father thinks it's an improper profession for a respectable girl, so she works at a newspaper stall in a Berlin hotel. When a new revue opens in town, the Press Manager, Otto Schräge of the revue goes to the hotel to see the leading lady, and Topsy recognises him from a photograph in the newspaper, but both the impresario, Korty, and Otto are in the picture, and Topsy assumes Otto is the boss, Korty. Romantic interest develops until Topsy's father bursts in during a kiss, and he explodes. Nonetheless the revue is short of performers and they eventually reach Topsy by telephone, and persuade her to come in to see the boss to discuss a possible part; she arrives and thinks that Otto is Korty and the real Korty is someone else. After some song and dance numbers, Topsy's father arrives and his worst suspicions about Bohemian theatre life are confirmed; Korty's wife arrives and is told that her husband has an unknown son (Otto of ...
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Review :
Amusing light musical comedy from West Germany
An amusing musical set in Berlin in the 1950's, when jazz and other international influences had gained strength. The plot is plausible enough, involving several comic mistaken identity scenarios, but the film is really a vehicle for the song and dance numbers that dominate it.
Several strong performers are in the cast, and Walter Giller himself in the title role, although still in the early stages of his career, was to go on to perform a long series of major parts.
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Date Released : 28 October 2000
Genre : Drama, Romance
Stars : Susan Cabot, Brian G. Hutton, David J. Stewart, Dick Miller. Christy runs a rock and roll nightclub on a carnival pier with his righ-hand-man Benny. Christy has a crush on the club's star, Natalie Cook, but she has eyes for Stanley, a local business man, who wants to buy out the club. When the club is sold and Christy is asked to stay on, as a party clown, he plots to destroy the club and abduct Natalie away from Stanley." />
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Christy runs a rock and roll nightclub on a carnival pier with his righ-hand-man Benny. Christy has a crush on the club's star, Natalie Cook, but she has eyes for Stanley, a local business man, who wants to buy out the club. When the club is sold and Christy is asked to stay on, as a party clown, he plots to destroy the club and abduct Natalie away from Stanley.
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Review :
Simply bad
Some 1950's Z cheap movies are so bad that they becomes good! But not this one: this is simply bad, despite the good intentions. Actors are awful. David J. Stewart is abominable! The story, very simple, had a bit of Blue Angel (of Marlene Dietrich's fame) in it. Corman wants to reach the teenagers of the time, but the artists he hired were not much known to them. Bob Luman is doing two fine numbers. Not really David Houston. The two of them will reach a certain popularity in the more conservative field of country music in the 1960's.
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Date Released : 3 August 1957
Genre : Drama, History, Romance
Stars : Clark Gable, Yvonne De Carlo, Sidney Poitier, Efrem Zimbalist Jr.
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Living in Kentucky prior to the Civil War, Amantha Starr is a privileged young woman. Her widower father, a wealthy plantation owner, dotes on her and he sends her to the best schools. When he dies suddenly however, Amantha's world is turned upside down. She learns that her father had been living on borrowed money and that her mother was actually a slave and her father's mistress. The plantation is to be sold to pay off her father's debts and as the daughter of slave, Amantha is also to be sold as property. She is bought by a Louisiana plantation owner, Hamish Bond and over time she grows to love him until she learns he was a slave-trader. She tries again to become part of white society but realizes that her future lies elsewhere.
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Review :
Great popcorn flick!
I don't know how many times I've seen this movie--I've lost count. It's not a classic like Gone with the Wind, but it's got that kind of "soapy" feel--like Imitation of Life, Madame Bovary, or Madame X. What is enjoyable about the film is the fact that it tries like hell to be politically correct in some areas (e.g. Sidney Poitier prancing about as if he were Hamish Bond's son, yet he has this love-hate relationship with him), but doesn't bother to be politically correct in others, with slaves singing happily (why do slaves always sing in these stupid movies?) & Dolly (like Prissy from GWTW). It's obvious that the beginnings of the Civil Rights movement impacted this film to a degree. Sydney's character has so much attitude that there's no way he would have really survived in those days, but who cares? He's definitely sexy in this movie.
Still, with all of its faults, it's an enjoyable movie--just don't take any of it too seriously or as a piece of history in any way. It's just great to see up & coming Sydney the actor with the Clark Gable the legend playing a character similar to Rhett Butler, and for the last time. Yvonne's great, too (who knew she would eventually become Lily Munster?) and the rest of the movie is well-cast. I like the scene when Hamish's old sea buddy comes by, gets drunk, and while the wind & rain is swirling about him he holds up his finger and says "I think there's a wee breeze..." or something to that effect. Clark is just looking at him, smiling, and I just crack up over that part.
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Date Released : 4 April 1958
Genre : Crime, Drama, Film-Noir
Stars : Mickey Rooney, Carolyn Jones, Cedric Hardwicke, Leo Gordon. George "Babyface" Nelson becomes one of the most important gangsters of 1930's Chicago by making brutal robberies. In order to compete with Al Capone he allies himself with John Dillinger..." />
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George "Babyface" Nelson becomes one of the most important gangsters of 1920s Chicago by making brutal robberies. In order to compete with Al Capone he allies himself with John Dillinger...
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Review :
Great Movie, Please Help me find a copy
I saw this movie several years ago and really liked it a lot. I'm currently trying to find a copy. If anyone could help me get a copy please contact me at muffinheuer2003@yahoo.com I really loved Mickey Rooney's performance in this film. He was and STILL IS a great star. He is my all time favorite. I like all of his movies I have seen and that is almost 100. I loved him in the Andy Hardy Films, Young Tom Edison, Killer McCoy, The Judy Garland and Mickey Rooney musicals. He was and is so talented. Hollywood will never know another Mickey Roooney. Please help me locate a copy and if you have a copy would you please contact me? I would greatly appreciate it!