Overman, Lynne

Shirley Temple - Little Darling Pack (Little Miss Marker/Now and Forever/The Runt Page)

Shirley Temple's superstardom in the 1930s was associated with Twentieth Century Fox, but before Fox locked her down she made the two films for Paramount bundled here. It was 1934, her breakthrough year, and these pictures are not quite yet the showcase vehicles Fox would assemble for their pint-sized meal ticket. In Little Miss Marker, Shirley comes under the wing of Sorrowful Jones (Adolphe Menjou in good form), as Damon Runyon's world of bookies and gamblers and soft-hearted gangsters comes to life around her. It's a heartstring-tugger of an expert kind; Shirley's final line, delivered in an operating room, should have grown men weeping on their knees.

Henry Hathaway's Now and Forever casts Gary Cooper and Carole Lombard as world-traveling con artists, suddenly forced to grow up when Coop decides to take charge of his daughter. The lure of diamonds and the easy life is never far away, but rely on Shirley to keep her Daddy on his toes. The dimpled Ms. Temple plays a distinctly supporting role in this one, and her singing and dancing is limited compared to the vehicles she would command within the year. Cooper is all charm, although Lombard is stuck in something of a nag role. Still, a solid enough studio picture of the era, and a logical launching pad for the greatest child star in film history. --Robert Horton

Reap the Wild Wind

John Wayne was in the early stages of superstardom when this lavish Cecil B. DeMille adventure was produced in 1942, so it's interesting to see the Duke in a heroic supporting role as opposed to the commanding one. Here he's on equal footing with Ray Milland in the romantic lead; they play a pair of dashing yet wildly different characters who've both fallen for a feisty Southern belle played by Paulette Goddard. It's 1840 on Florida's Key West, and while Wayne plays a daring seaman eager to command a brand-new steamship, his ambitions are hampered by his daredevil reputation and the ruthless profiteering of a salvager (Raymond Massey) who preys on ships that are routinely wrecked in the Key's rocky coastal waters. Milland plays the dapper gentleman who can decide Wayne's future, but Wayne's competitive edge leads to a progression of apparent betrayals and shifting allegiances. Ultimately, both men cast aside their differences to seek justice on the open sea, where an underwater encounter with a giant octopus threatens to bury them both in a watery grave. Providing spectacle and romance as only DeMille could serve it up, this blustery adventure has its share of corny dialogue and obligatory crowd-pleasing action, but that's all part of the movie's considerable charm. It's like Gone with the Wind on the open sea, with the high-spirited Goddard (who had been a candidate for the role of Scarlett O'Hara) holding her own with her chest-thumping costars. DeMille fills his frame with delightful characters and background business, spicing up the story with just enough humor and hokum to offset the movie's forgivable flaws. Presented in glorious Technicolor that's been flawlessly preserved on DVD, the film earned Oscar nominations for its cinematography and costumes, and its still-exciting climax earned an Oscar for Best Special Effects. All in all, this is rousing Hollywood entertainment from the peak years of the studio system that DeMille had dominated for decades. --Jeff Shannon.

The Big Broadcast of 1938 / College Swing Double Feature

Roxie Hart

This 1942 satirical comedy stars Ginger Rogers as the title character, who agrees to be accused of murder so the publicity will advance her dancing career. Whether she actually committed the crime is irrelevant to the reporters, who fall all over themselves to give Roxie her 15 minutes of fame (well, this compact movie is actually 75 minutes long). Adolphe Menjou costars as the blustery defense lawyer who sees no possibility of losing, and George Chandler plays the meek husband left in Roxie's dust. Among the highlights are the judge, lawyers, and client primping for every photo opportunity, and Rogers's nostalgic tap dance on a metal prison staircase. Roxie Hart was based on the play Chicago, which later became the basis for the Bob Fosse musical with Gwen Verdon (and then Ann Reinking in the 1997 revival) in the Rogers role. --David Horiuchi

After her husband shoots a burglar in their apartment, Roxie Hart (Ginger Rogers) is talked into pretending she did it by a newsman and a theatrical agent who promise to sign her for a vaudeville tour. Realizing she'll become a household name overnight, Roxie agrees and becomes the center of an outrageous trial.

Broadway Bill

Sick of Higgins' controlling nature, Dan finally decides to stand up for himself. Quitting his job as manager of a factory owned by J.L., Dan dedicates all of his time to his racing horse, Broadway Bill, in hopes that he can profit from his trusty steed. Arrested for not repaying a supplier he owed money to, Dan must rely on the success of Broadway Bill to bail him out.

Midnight

Call It Murder

Collector's Choice Double Feature: Humphrey Bogart

Hollywood Tough Guys

Call It Murder