At the West Point Academy in 1854, cadet Carl Rader, a disciple of the fanatic John Brown, is dishonorably discharged for conspiracy. His classmates, Jeb Stuart and George Custer, graduate and are assigned to duty at Fort Leavenworth, Kansas, the most dangerous post in the army. On the way to Kansas, Custer and Stuart meet Cyrus Halliday, the man in charge of building the railroad to Santa Fe, and his daughter Kit Carson, with whom both soldiers fall in love. Arriving at the fort, they find the state bloodstained and war-torn, a victim of John Brown’s relentless crusade against slavery. Meanwhile, Rader has enlisted as a mercenary in Brown’s army, which has been terrorizing the countryside with their bloody raids. During Brown’s raid on a freight wagon under the protection of the U.S. Army, Stuart and Custer capture Brown’s injured son Jason, and before dying, the troubled boy informs them about his father’s hideout at Shubel Morgan’s ranch in Palmyra. In disguise, Stuart rides into Palmyra, the center of the underground slave railroad, but is recognized by Rader, who takes him at gunpoint to Brown. While trying to escape, Stuart is trapped in a burning barn but is saved as Custer leads the troops to the rescue and drives Brown into seclusion. Believing that Brown’s force has been broken, Stuart and Custer are sent back to Washington, where Stuart proposes to Kit. However, far from being a broken man, Brown is planning to ignite war by raiding the arsenal at Harper’s Ferry. When Brown refuses to pay Rader for his services, Rader rides to Washington to inform Stuart of Brown’s plans, and the troops arrive just in time to crush the rebellion and hang Brown.
After two Oregon newlyweds are robbed and murdered in their car by a hitchhiker, police release a photograph of their prime suspect, ex-convict Emmett Myers. The hitchhiker then kills and robs a salesman in central California. Soon after, two Arizona men, draughtsman Gilbert Bowen and garage owner Roy Collins, drive across the California-Mexico border on their way to a fishing vacation in Baja. Once past Mexicali, Roy and Gil offer a lift to a stranded stranger. Almost immediately, the man, Myers, pulls out a gun and forces them to stop on a side road. Myers, who freely admits his identity, confiscates Gil’s rifle and ammunition, then orders them back on the highway. After warning Roy and Gil not to “get smart” like his previous victims, the excitable Myers demands to know when their wives expect them home. To keep Myers calm, Roy responds that they are not due back anytime soon. Later, while stopped for gas, Gil starts conversing in Spanish with the non-English speaking attendant, and Myers, who does not understand Spanish, flashes his gun at Gil to keep him quiet. At the next deserted side road, Myers studies a map and decides he is going to catch a ferry in Santa Rosalia, 500 miles away. Myers then shows off his shooting skills and forces Gil to fire his rifle at a tin can that Roy is holding hundreds of feet away. Gil’s shot hits the can, but both men are shaken by the incident. Pushing on, Continue reading
The Great Train Robbery is a 1903 American silent short Western film written, produced, and directed by Edwin S. Porter. At ten minutes long, it is considered a milestone in film making, expanding on Porter’s previous work Life of an American Fireman. The film used a number of innovative techniques including composite editing, camera movement and on location shooting. The film is one of the earliest to use the technique of cross cutting, in which two scenes appear to occur simultaneously but in different locations. Some prints were also hand colored in certain scenes. However, none of these techniques were original to The Great Train Robbery, and it is now considered that it was heavily influenced by Frank Mottershaw’s earlier British film A Daring Daylight Burglary.
Santa Fe Trail is a 1940 American western film directed by Michael Curtiz and starring Errol Flynn, Olivia de Havilland, Raymond Massey and Ronald Reagan. Written by Robert Buckner, the film is about the abolitionist John Brown and his fanatical attacks on slavery as a prelude to the Civil War. Subthemes include J.E.B. Stuart and George Armstrong Custer as they duel for the hand of Kit Carson Holliday.
In this sequel to Father of the Bride (1950), newly married Kay Dunstan announces that she and her husband are going to have a baby, leaving her father, Stanley Banks, having to come to grips with becoming a grandfather.
Middle class family man Stanley Banks reminisces on events of the past year: One afternoon, returning from the office feeling happy and energetic, Stanley’s routine is interrupted when his wife Ellie tells him that they are having dinner with their daughter Kay and her husband, Buckley Dunstan, to hear some important news. Although Stanley is certain that it concerns Buckley’s business, the newlyweds reveal that Kay is expecting a baby. Buckley’s parents, Doris and Herbert, are delighted, as is Ellie, but Stanley broods that he is too young and vibrant to be a grandfather. Soon Ellie, flush with excitement, throws Kay a baby shower, something Stanley thinks is highway robbery not punishable by law. Later, Ellie suggests that they remodel their house to enable Kay, Buckley and the baby to move in with them, but Stanley puts his foot down. Ellie is near tears when the wealthy Dunstons announce that they are planning to add a wing to their home for the couple, but is overjoyed when Kay and Buckley reveal that they have just bought their own little house, enabling Ellie to have free rein helping Kay decorate.
In 1642 in Leyden, Holland, Rembrandt van Rijn, a painter and miller’s son, experiences the death of his beloved wife Saskia and, during her funeral, finishes her portrait before her face fades for him forever. Later, while working on a painting commissioned by Captain Banning Cocq, Rembrandt depicts the sixteen gentlemen of the civic guard as disfigured. After humiliating them at a public unveiling of the painting, Rembrandt refuses to apologize and loses the portrait commissions that had assured his income. Still racked with grief about Saskia’s death, Rembrandt longs for another wife and marries the cold and shrewish Geertje Dirx. Ten years following Saskia’s death, Rembrandt has become bankrupt, and his house and its furnishing are sold at auction. He then paints a beggar and tells him the Biblical story of David and Saul. Geertje harangues Rembrandt about their poverty, and he learns that Govaert Flinck, an old student of his, is now making a handsome living painting aristocrats. Rembrandt, however, refuses to compromise his art for money. Because the king was once Rembrandt’s patron, Rembrandt finally agrees to see the prince, but goes instead to his father’s mill in Leyden and reads from the Bible at dinner. When he returns to Amsterdam, he meets his new housemaid, Hendrickje Stoffels, and paints her portrait. Jealous of Rembrandt’s attentions toward the kind and beautiful maid, Geertje threatens her. Rembrandt is intent on marrying her, but knows that half of Geertje’s money will go to Rembrandt’s son Titus if he remarries. When Hendrickje becomes pregnant, Geertje charges her with “unchastity, concubinage and immoral conduct.” Hendrickje is tried before a jury of Lutheran elders and is ex-communicated from the church. A forced sale of Rembrandt’s property drives him and Hendrickje into the country. When he sells a painting of the Blessed Virgin to an art buyer for the cardinal in Paris, the court purloins his paintings for his creditors, claiming that he has no right to sell his own work. Hendrickje cunningly becomes Rembrandt’s art dealer and the official owner of his paintings and is able to sell them. Hendrickje then gets sick from nursing their baby and sends the child to her mother.
In light of Hendrickje’s failing health, Rembrandt decides to marry her and, as Titus arrives with his bride, Rembrandt sends for the baby and Hendrickje’s mother. He then paints Hendrickje’s portrait as he did when they met, and she falls dead while posing. Years later, in 1669, Rembrandt has become a beggar and recites profound words to a group of young painters, who finally recognize him. He then begins a self-portrait, muttering the Biblical words of King Solomon, “vanity of vanities, all is vanity.”
The Flying Deuces, also known as Flying Aces, is a 1939 comedy film starring Laurel and Hardy, in which the duo join the French Foreign Legion. It is a partial remake of their 1931 short film Beau Hunks.