Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
Once three childhood friends. Now, a ruthless, domineering woman is married to an alcoholic D.A., and a returning companion who may have been the only witness to her murder of her rich aunt seventeen years earlier.
Nicole has no job and is several weeks behind with her rent. Her solution to her problem is to try and snare a rich husband. Enlisting the help of her friend Gloria and the maitre'd at a ... See full summary »
Douglas Fairbanks Jr.,
During the Great Depression, a wealthy banker throws away his wife's expensive fur coat; it lands on the head of a stenographer, leading to everyone assuming she is his mistress and has access to his millions.
Sassy Dixie Daisy is the hot new attraction at a former opera house that's been turned into a burlesque theater. She's popular with the customers, although not with Lolita La Verne, a stuck-up diva who was hoping she'd get the top spot. Also complicating matters is the return of the Princess Nirvena, the show's former star who once had a fling with the boss. When the Princess blackmails her way into the top spot, Dixie is none too pleased. When both Lolita and the Princess are murdered, Dixie becomes a prime suspect. She then sets up a trap to nail the real killer. Written by
Daniel Bubbeo <firstname.lastname@example.org>
The failure of the original copyright holder to renew the film's copyright resulted in it falling into public domain, meaning that virtually anyone could duplicate and sell a VHS/DVD copy of the film. Therefore, many of the versions of this film available on the market are either severely (and usually badly) edited and/or of extremely poor quality, having been duped from second- or third-generation (or more) copies of the film. See more »
Dixie comes off stage in one costume and goes to the dressing room where the body is found. When the performers are questioned by the police, Dixie is in an entirely different costume. See more »
Aren't you a teeny weeny bit glad to see me back?
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I'd never seen this film, and now I'm sorry it's taken me so long to catch up with it. It's a wonderfully rich look at life in a burlesque house, with Barbara Stanwyck as the star stripper and a great supporting cast of chorus girl types (including the incomparable Iris Adrian as her best friend). Stanwyck sings, I think for the only time on film, and dances with an impressive athleticism. And the scenes backstage and during the police interrogation, with the performers in a variety of outlandish costumes, have a wonderfully surreal quality reinforced by the films hermetic qualities (even the exteriors were shot on the sound stage).
But what's really wonderful about the film is the depiction of the burlesque people as an extended family who overcome their differences and pull together when the future of their theatre is threatened. With the preponderance of women in the dressing room, the film is also surprisingly ahead of its time in its depiction of female bonding. It really deserves the same cult status as Dorothy Arzner's "Dance, Girl, Dance."
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