The killing 1956 - A lastingly influential early Kubrick movie

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IMDB Rating: 8,1

Director: Stanley Kubrick
Main Cast: Sterling Hayden, Coleen Gray, Vince Edwards, Jay C. Flippen, Ted de Corsia, Marie Windsor, Elisha Cook Jr.

"Stanley Kubrick's third feature showed that he was no ordinary director, as he dispensed with traditional time structure to detail the planning and execution of a racetrack heist gone wrong. Combining a non-linear story with a unifying, matter-of-fact voice-over narration, Kubrick constructed an intricate yet lucid cinematic puzzle that shifted back and forth both in time and among the central characters, revealing the personal stakes for each participant by following their individual actions leading up to the fateful seventh race. Johnny the leader thinks he has it all under control, but, in true Kubrick fashion, his plan is not immune to human failure. While the fractured time frame and use of long takes and tracking shots signaled Kubrick's stylistic break from classical form, the sharp black-and-white photography, Marie Windsor's insidious femme fatale, and Sterling Hayden's doomed Johnny place The Killing in the mode of 1940s/1950s film noir. His first film made on a reasonable budget and with an established cast of pros, The Killing caught critics' attention and established Kubrick as a director to watch, especially for such future cinematic time-tricksters as Quentin Tarantino.  The Killing is based on the novel Clean Break by Lionel White." - www.allmovie.com

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Du rififi chez les hommes (Rififi) 1955 - An instant commercial success in Paris and worldwide

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IMDB Rating: 8,2

Director: Jules Dassin
Main Cast: Jean Servais, Carl Möhner, Robert Manuel, Janine Darcey

"Jules Dassin - in his second European film after being driven out of the United States during the years of the house Un-American Activities Committee hearings - directed this landmark caper film about the planning and execution of a nighttime robbery at a swanky English jewelry shop in the Rue de Rivoli. The pinnacle of heist movies, Dassin's Du Rififi Chez Les Hommes (1955) is not only one of the best French noirs, but one of the top movies in the genre. Crafting an archetypal noir story about how human weakness can sabotage the best-laid plans, Dassin masterfully emphasizes the skill and nerve-shredding delicacy that it takes for the central band of thieves to execute those intricate plans (without making a sound) in the classic half-hour heist sequence. The air of seediness and inevitable doom that lingers over the proceedings - shot on location in Paris - adds an existential weight to the suspense, turning Rififi into more than just a caper. Though Rififi's all-too-clear primer on how to rob a jewelry store and its then-excessive violence and decadence got the film in trouble in some countries, Rififi became an oft-imitated international hit and Cannes prizewinner for Dassin's direction. Barely seen in the U.S. since its original release, Rififi was restored to its full 35 mm visual glory in 2000, complete with new, more explicit subtitles (done in collaboration with Dassin) and a translation of the title song." - www.allmovie.com

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Les diaboliques 1955 - The greatest film that Alfred Hitchcock never made

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IMDB Rating: 8,2

Director: Henri-Georges Clouzot
Main Cast: Simone Signoret, Vera Clouzot, Paul Meurisse, Charles Vanel, Jean Brochard

"French filmmaker Henri-Georges Clouzot created enough pulse-racing suspense in just two movies to take his place in history next to Alfred Hitchcock as one of the finest thriller directors ever. Clouzot followed up his remarkable 1953 action film The Wages of Fear with the dark and mysterious Diabolique (Les Diaboliques). Wages has moments of almost preternatural tension and is arguably the more interesting film, but Diabolique most captured the popular imagination. That's probably due to the film's familiar yet strikingly fresh combination of chilling atmospherics, sexual intrigue, macabre pacing, and influential 'horror' plot construction. Typical of many French films of the 1950s, Clouzot's style was influenced by American film noir; unlike the French New Wave films which followed it, Diabolique also revealed the German expressionist roots of noir. The film has been remade three times, as Reflections of Murder, House of Secrets and the pitiful 1996 Diabolique, and many of its plot twists have been recycled in countless other thrillers." - www.allmovie.com

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The night of the hunter 1955 - Laughton created a masterpiece of horror

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IMDB Rating: 8,1

Director: Charles Laughton
Main Cast: Robert Mitchum, Shelley Winters, Lillian Gish, James Gleason, Peter Graves

"Actor Charles Laughton directed only one movie during his 36 years in show business, and he certainly made his lone effort memorable; The Night of the Hunter is a strange, chilling, and uniquely compelling work that resembles no other American film of its era. Superbly shot by ace cinematographer Stanley Cortez, the film was obviously influenced by the look of German expressionist cinema, but Cortez and Laughton took the style's visual devices and reshaped them for their own purposes. The result is a film that resembles a reflected dream of childhood, foreign and troubling yet also very beautiful. Laughton drew a stunning performance from Robert Mitchum, who drops his usual veneer of casual cool and becomes disquietingly psychotic man of the cloth Harry Powell; his rapt sermon about the battle between love and hatred, and his murder of his new bride (Shelley Winters), rank with the most powerful and deeply etched moments of Mitchum's career. Legend has it that Laughton, who didn't care for children, instructed Mitchum to direct Billy Chapin and Sally Jane Bruce as the luckless Harper siblings, and, if it's true, Mitchum coaxed a pair of unusually naturalistic and affecting performances from his youthful co-stars, who never play "cute." Lillian Gish is a tower of both strength and compassion as Rachel Cooper, the saintly flip side to Mitchum's dark perversity; in a world where even the most loving and honorable adults have gone astray, Rachel alone offers love and protection without judgment to young people who need it, and Powell's venal, misogynist brutality are no match for her spiritual courage. It's a pity that Laughton never followed up on this remarkable debut; many long and successful careers have been launched by movies not half as impressive as The Night of the Hunter. Overlooked on its first release, The Night of the Hunter is now regarded as a classic." - www.allmovie.com

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Le salaire de la peur (The wages of fear) 1953 - A powerful study of greed and failure

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IMDB Rating: 8,3

Director: Henri-Georges Clouzot
Main Cast: Yves Montand, Charles Vanel, Folco Lulli, Peter van Eyck, Vera Clouzot

"Together with Diabolique, The Wages of Fear (Le Salaire de la Peur) earned Henri-Georges Clouzot the reputation as a 'French Hitchcock'. Le Salaire de la Peur is among the most suspenseful films of the 1950s, notable for slowly building character development and atmosphere before its dramatic climax. The first half of the film slowly, methodically introduces the characters and their motivations. The second half - the drive itself - is a relentless, goosebump-inducing assault on the audience's senses. In its original 148-minute version, the story lags in spots as director Henri-Georges Clouzot indulges some anti-United States propaganda. Not surprisingly, the film was re-edited for release in the U.S., and many critics preferred the faster pacing and more focused narrative. International acclaim came quickly, including the Grand Prix at the Cannes Film Festival. Yves Montand gives one of his best performances, though current-day audiences may find his character's chauvinism and condescension toward women unappealing. The female lead is strikingly played by Véra Clouzot, the director's wife. She had only a brief film career but appeared in two classics, this film and Les Diaboliques, which was also directed by her husband.
The Wages of Fear was remade by William Friedkin as Sorcerer (1977)." - www.allmovie.com

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Rear window 1954 - Hitchcock's masterpiece in voyeurism

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IMDB Rating: 8,6

Director: Alfred Hitchcock
Main Cast: James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, Raymond Burr

"One of Alfred Hitchcock's very best efforts, Rear Window is a crackling suspense film that also ranks with Michael Powell's Peeping Tom (1960) as one of the movies' most trenchant dissections of voyeurism.
On the surface a comic thriller about a photographer and the crime he thinks took place across the courtyard, Alfred Hitchcock's Rear Window (1954) turns into an interrogation of voyeurism and movie-viewing. Keeping the camera in Jeff's apartment (except for a couple of shots near the climax), Hitchcock limits the audience's view to what Jeff can see and hear from his immobilized perch. He is free to take in the spectacle of the events in the apartments that he sees, but he is powerless to intervene. Why he looks, however, is the larger question; Hitchcock suggests not just that Jeff is channel-surfing among apartments for idle entertainment but also that the urge to peep is a more universal trait than we might care to acknowledge. What Jeff finds, moreover, becomes a fantasy projection of his own fears about his own relationship with Lisa. Jeff becomes a voyeur to escape, but his gaze is literally - and violently - turned back on him by the suspected wife-killer in his thriller narrative. Wryly entertaining as well as skillfully executed and thematically complex, the popular Rear Window earned Hitchcock an Oscar nomination for Best Director and inspired such later films as Francis Ford Coppola's The Conversation (1974) and Brian De Palma's Sisters (1973). It was remade in 1998 as a TV movie with Christopher Reeve in the James Stewart role." - www.allmovie.com

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The big heat 1953 - Intense and powerful film noir classic

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IMDB Rating: 8,0

Director: Fritz Lang
Main Cast: Glenn Ford, Gloria Grahame, Jocelyn Brando, Alexander Scourby, Lee Marvin, Jeanette Nolan

"One of the later examples of American film noir, The Big Heat is also one of the genre's most underrated films. Director Fritz Lang utilized many of the elements typical to his other films: unseen yet gruesome violence, relentless pacing, and a hardboiled view of justice and revenge. The sad, realist film has an oppressive feeling of malignity. Glenn Ford is a perfect everyman cop, out for revenge against criminals as well as other cops. In this way, The Big Heat marks a significant transition between the crime movies of two different eras. Prior to the early 1970s, police dramas tended to pit police in very clear opposition to the men in the black hats, with the notable exceptions of On Dangerous Ground or The Big Combo. After the culture shock of the late 1960s and early 1970s, however, films like Dirty Harry, The French Connection and Serpico began an obsession with the ambivalent emotions that make a policeman and his department tick. In many ways, The Big Heat was a precursor for these films, both in theme and tone." - www.allmovie.com

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Strangers on a train 1951 - Compelling and stunning thriller masterpiece

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IMDB rating: 8,1

Director: Alfred Hitchcock
Main Cast: Farley Granger, Ruth Roman, Robert Walker, Leo G. Carroll, Patricia Hitchcock

"From the opening shots of two pairs of shoes walking, two train tracks crisscrossing, and those shoes accidentally bumping toes, Alfred Hitchcock's Strangers on a Train explores one of his signature concerns: the coexistence of good and evil in one person. In a story adapted from Patricia Highsmith's novel and structured through a series of doublings, Robert Walker's Bruno becomes the flamboyant homicidal id to Farley Granger's stiff arriviste Guy, obliging Guy's desire to eliminate his wife and expecting Guy to return the favor with Bruno's father. After the murder, dreamily reflected in a pair of eyeglasses, Bruno haunts Guy, menacingly popping into Guy's life in Washington and on the tennis court. Yet, with Walker's charisma and Granger's weakness, Bruno is the more charming figure, revealing the appeal of moral chaos even as that chaos must be punished. Hitchcock's persistent pairs - shoes, train tracks, crossed tennis racquets on Guy's lighter, two fateful carnival trips, two bespectacled women - point to the ineffable connection between Bruno and Guy, and the (literally) dark psychosis that lurks beneath everyone's bright, well-ordered surface. A popular success, Strangers on a Train was Hitchcock's return to form after several failures." - www.allmovie.com

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Nora inu (Stray dog) 1949 - A stunning piece of international film noir

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IMDB rating: 7,8

Director: Akira Kurosawa
Main Cast: Toshiro Mifune, Takashi Shimura, Keiko Awaji, Eiko Miyoshi

"In his third film with Kurosawa, Toshiro Mifune plays young police detective Murakami. One summer day on a crowded bus in Tokyo, his gun is stolen by a pickpocket. Rather than face the shame of reporting his gun missing, he chooses to go out and find it himself (there were not many weapons on the streets of Tokyo immediately following WWII). While trying to locate the gun, he discovers an entire criminal underworld. He is eventually helped on his journey by superior officer Sato (Takashi Shimura), who seems to suggest that the young detective is indulging in his own criminal desires. The search becomes even more desperate when Murakami finds out that his gun has been used in several crimes, including murder. He then develops an obsession with finding both the gun and the killer." - www.allmovie.com

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http://uploaded.net/file/or5xsabo/Str.Dg.1949.BRRip.480p.TBD.part1.rar 
http://uploaded.net/file/fs4tgy9h/Str.Dg.1949.BRRip.480p.TBD.part2.rar 
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http://uploaded.net/file/arxp7ccm/Str.Dg.1949.BRRip.480p.TBD.part4.rar

Out of the past 1947 - The definitive example of the noir genre

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IMDB rating: 8,1

Director: Jacques Tourneur
Main Cast: Robert Mitchum, Jane Greer, Kirk Douglas, Rhonda Fleming

"With its doomed anti-hero, conniving villain, sardonic script, moody black-and-white photography, and icy femme fatale, Jacques Tourneur's Out of the Past is essential film noir. Opening in an idyllic small town, the movie literalizes down-and-out detective Jeff Bailey's confrontation with his past through an extended flashback depicting his moral downfall. Jeff's past exists in cities and exotic hideouts swathed in expressionistic shadows; Kathie (Jane Greer) may first appear as a beautiful vision in white, but, as she steps through a darkened doorway, momentarily blacking out her face, Jeff knows she's bad news. The past becomes the present as Jeff is inexorably drawn into a violent series of double-crossings that exemplify the noir universe's tangled amorality. The bad may be punished, but Out of the Past's downbeat ending draws the ultra-pessimistic conclusion that past mistakes are impossible to overcome, and redemption is not available even to those who want it. Robert Mitchum and Kirk Douglas were praised for their early starring turns as Jeff and Whit, as was Jane Greer for her lethal femme fatale. The film was remade in 1984 as Against All Odds." - www.allmovie.com

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Green for danger 1946 - Atmospheric British medical thriller

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IMDB rating: 7,7

Director: Sidney Gilliat
Main Cast: Leo Genn, Trevor Howard, Alastair Sim

"Sidney Gilliat's Green for Danger was the most inventive murder mystery to come out of England in the eight years since Alfred Hitchcock left the country - and in a sense, it's no surprise that this would be the case as it was co-written, produced, and directed by the team of Frank Launder and Sidney Gilliat, the two authors of the screenplay for Hitchcock's last great English thriller, The Lady Vanishes. Based on Christianna Brand's novel, the 1946 movie is a fascinating variation on that venerable English creation, the drawing room thriller - in this case, the drawing room is replaced by a hospital operating theater, and instead of family members, the suspects are comprised of the surgical team, doctors and surgeons (two separate professional classes in England), and the nurses with whom they may (or may not) be involved. The movie featured one of the niftiest murders seen in a movie in years: the victim is killed on an operating table, in front of two doctors and a team of nurses who are unable to discern what has happened or why. World War II and Germany's V-1 bombings of England also figure into the plot and add to the atmosphere of uncertainty and suspense surrounding the events taking place in the hospital." - www.allmovie.com

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Notorious 1946 - Hitchcock's visual masterpiece

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IMDB rating: 8,1

Director: Alfred Hitchcock
Main Cast: Cary Grant, Ingrid Bergman, Claude Rains, Louis Calhern

"One of Alfred Hitchcock's greatest films, Notorious features the director at his devilishly elegant, self-assured best. The film's smooth veneer largely creates its visceral impact; lurking beneath the gloss are dealings of the most grotesque sort, their execution made all the more insidious by their sophisticated guise. Aside from containing one of Hitchcock's most famous MacGuffins, the uranium ore, Notorious boasts some of his most famous camerawork, most notably the gorgeous tracking shot during Sebastian's party that takes the viewer from the top of a staircase to Alicia's hand, clenched around the key that will lead her to the uranium ore. The camera moves with the quiet intimacy of an unobserved party guest, almost serpentine in its journey. Similarly ingenious is Hitchcock's use of point-of-view shots, particularly that of Alicia's waking up with a hangover and watching Devlin walk toward her as the camera spins 180 degrees. Seeing through Alicia's eyes, the audience sympathizes with her, making the character one of Hitchcock's most full-blooded and enduring heroines. It goes without saying that the success of Alicia's characterization is in no small part due to Ingrid Bergman's performance; tragic, lovelorn, and marked by logical cynicism, her portrayal of Alicia was one of the best of Bergman's career. She was ably supported by Cary Grant and Claude Rains, the former going against his likeable, effortlessly charismatic persona to play an initially charmless man with morals as questionable as the heroine's are supposed to be. Rains, paired with Bergman again after Casablanca, makes Sebastian into one of the film's more sympathetic characters; it is a mark of Rains' ability that when Sebastian turns to climb the stairs in the film's closing scene, we feel real terror for him. That Sebastian's fate is the result of both his own manipulations of others and his heart's manipulations of himself is at the center of the film's true MacGuffin: masquerading as a Cold War thriller, Notorious is one of the screen's classic black romances." - www.allmovie.com

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Gaslight 1944 - A chilling psychological thriller

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IMDB rating: 7,9

Director: George Cukor
Main Cast: Charles Boyer, Ingrid Bergman, Joseph Cotten, Dame May Whitty, Angela Lansbury

"With three very talented stars (Ingrid Bergman, Charles Boyer and Joseph Cotten) at the peak of their popularity, 1944's Gaslight is another wonderful, must-see addition to the Cukor filmography. It is a multi-leveled, ceaselessly entertaining film that stands the test of time. Based on Patrick Hamilton's play Angel Street, the script plumbs such ripe topics as manipulation, compulsion, madness and marital relations. Bergman deservedly won an Academy Award for her role as the 'insane' wife who trusts her husband, even if it means she may be going insane; she holds the story together with one of her most impressive performances. It's a difficult character to make believable, but the actress brings such a tethered vulnerability to the part that it gives the film an air of truth and sadness. Gaslight was nominated for seven Oscars - including one for Angela Lansbury's first film role - but Bergman's was the only victory." - www.allmovie.com

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Shadow of a doubt 1943 - Hitchcock's personal favorite

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IMDB rating: 8,0

Director: Alfred Hitchcock
Main Cast: Teresa Wright, Joseph Cotten, Macdonald Carey, Henry Travers, Patricia Collinge, Hume Cronyn

"One of Hitchcock's best films of the 1940s, Shadow of a Doubt is both a fascinating psychological case study and a scathing portrait of the American middle-class family. The film is often considered one of Hitchcock's darkest, and the director himself reportedly claimed it as his favorite. Cynicism underlies all the proceedings, from young Charlie's 'miraculous' summoning of her Uncle Charlie (tantamount to calling up the Angel of Death) to Uncle Charlie's chilling exposition of his view on life, relayed to his niece: 'You live in a dream. Do you know the world is a foul sty? Do you know if you ripped the fronts off houses you'd find swine? The world's a hell. What does it matter what happens in it?' This is one of Hitchcock's most unsettling films, preoccupied like many other Hitchcock works with good vs. evil, and the capacity for evil that lurks within us all; and it is also one of his most stylized, gorgeously shot by Joseph Valentine. Featuring stellar performances from Teresa Wright and Joseph Cotten (as well as Hume Cronyn's comical debut as a dim-witted, self-appointed murder 'expert'), Shadow of a Doubt is a memorable experience as both a major Hitchcock film and an enduringly creepy commentary on human nature." - www.allmovie.com

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Cat people 1942 - A hugely influential, psychological horror classic

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IMDB rating: 7,5

Director: Jacques Tourneur
Main Cast: Simone Simon, Kent Smith, Tom Conway, Jane Randolph, Jack Holt

"In just a three-year period in the 1940s, producer Val Lewton created some of the most influential and intelligent psychological horror films ever made, bringing a depth to the 'B' movie that would influence any number of independent-minded Hollywood filmmakers in later years. Lewton's first, and probably best, effort was Cat People, a psychological mood piece, more reliant on suspense and suggestion than overt 'scare stuff'. Simone Simon plays an enigmatic young fashion artist who is curiously affected by the panther cage at the central park zoo. She falls in love with handsome Kent Smith, but loses him to Jane Randolph. After a chance confrontation with a bizarre stranger at a restaurant, Simon becomes obsessed with the notion that she's a Cat Woman - a member of an ancient Serbian tribe that metamorphoses into panthers whenever aroused by jealousy. She begins stalking her rival Randolph, terrifying the latter in the film's most memorable scene, set in an indoor swimming pool at midnight. Psychiatrist Tom Conway scoffs at the Cat Woman legend - until he recoils in horror after kissing Simon. If the film's main set looks familiar, it is because it was built for Orson Welles' The Magnificent Ambersons (Lewton later used the same set for his The Seventh Victim). Cat People was remade by director Paul Schrader in 1982." - www.allmovie.com

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Rebecca 1940 - Hitchcock's hauntingly atmospheric masterpiece

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IMDB rating: 8,3

Director: Alfred Hitchcock
Main Cast: Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson, Nigel Bruce, Reginald Denny, C. Aubrey Smith, Gladys Cooper

"Producer David O. Selznick's 's second consecutive Best Picture (after the previous year's Gone With the Wind) and another enormously popular adaptation of a bestseller, this adaptation of Daphne du Maurier's novel was also the first American film directed by Alfred Hitchcock. Screenwriters Robert E. Sherwood and Joan Harrison recreated du Maurier's novel precisely, complete with the ideal casting of new star Laurence Olivier as brooding Maxim de Winter and insecure neophyte Joan Fontaine as his timid new bride. Rebecca displayed Hitchcock's unparalleled talent for ominous atmosphere, as he derived suspense from the clash between Fontaine and Judith Anderson's coldly sadistic, Rebecca-obsessed Mrs. Danvers. The elaborately appointed Manderley mansion became a character in itself, with Rebecca's expressively lit, diaphanously curtained bedroom, overlooking a suitably wild ocean, evoking her all-consuming absent presence.
Selznick's and Hitchcock's attention to detail paid off with eleven Oscar nominations, including Best Director, Best Actor, Best Actress, and Best Supporting Actress, and it won the top prize as well as an award for George Barnes's cinematography. David O. Selznick had the final cut of the picture, which was drastically altered from Hitchcock's original vision." - www.allmovie.com

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Doctor X 1932 - Beware the full moon!

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IMDB rating: 6,5

Director: Michael Curtiz
Main Cast: Lionel Atwill, Fay Wray, Lee Tracy, Preston Foster, John Wray

"Michael Curtis's Doctor X is a strange movie by any definition, both in its content and its execution. Based on a mystery/melodrama by Howard Warren Comstock and Allen C. Miller, which ran for 80 performances (a marginally respectable, if not profitable run, in those days) on Broadway in the winter/spring of 1931, the play was mostly set in the offices of a New York newspaper and in East Orange, New Jersey - screenwriter Earl W. Baldwin moved the action entirely to New York and Long Island, effectively creating an old dark house mystery; and Curtiz transposed it all into an eerily stylized mode, shot in two-color Technicolor that gives the whole movie a strangely mixed look of not-quite-verisimilitude and unearthly eeriness. Actually, the main element of New York verisimilitude resides in the presence and performance of Lee Tracy's fast-talking reporter, who propels a lot of the action forward in what is otherwise a surprisingly talkie script; Tracy makes an unconventional but likable hero, and is well matched to Fay Wray as the daughter of Dr. Xavier (Lionel Atwill), the pathologist called in on the case of the 'Moon Killer'. His casting, and the deliberately overstated performances by his colleagues at the Academy of Surgical Research, fill the movie with potential suspects (some of whom are obvious red herrings). The resolution, such as it is, and the logic of the story, coupled with the talkie nature of the picture, make Doctor X more of a curio than a truly great, or even very good movie. For decades the movie was only available in murky black-and-white prints, which further reduced its value, apart from the eeriness of the plot and resolution, but the renewed availability of Technicolor prints has restored much of its original value. (The movie was successful enough in its time to justify the creation of a low-budget (black-and-white) faux sequel, The Return of Dr. X, seven years later, with a pre-stardom Humphrey Bogart in the title role)." - www.allmovie.com

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The finger points 1931 - Depression era gangster story with a dominating Gable

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IMDB rating: 6,1

Director: John Francis Dillon
Main Cast: Richard Barthelmess, Fay Wray, Regis Toomey, Robert Elliott, Clark Gable, Oscar Apfel

"The names have all been changed, but this hard-hitting gangster tale is based on an actual newspaper headline story involving the brutal slaying of corrupt crime reporter Alfred 'Jake' Lingle, who had been suspected of betraying his boss Al Capone. Naive Southern boy Breckinridge Lee comes to the big city for fame and fortune. He starts out honest, but is unable to the resist hefty payoffs offered by crime lord Louis Blanco to suppress certain stories. Time passes and Lee does a great job for Blanco. Lee's girl friend tries to get him to go straight, but he has become too accustomed to the money and besides is too deeply mired in corruption to ever escape. In the end, he loses his life when a story about Blanco's latest shenanigans escapes his watchful eye and gets printed. Believing Lee was behind the double-cross, Blanco orders him executed and tragedy ensues.
After talkies came in, Warner Brothers didn't really seem to know what to do with Richard Barthelmess, but he hung around in starring roles quite a bit longer than most of his silent counterparts - from 1929 to 1934. Of course, most notable here is Clark Gable, sitting in the palm of Jack Warner's hand, and not being recognized by him as a star in the making. Gable is impressive here as a spats-wearing charming sinner, the gangster who sees Lee as a useful idiot - for awhile anyways." - www.allmovie.com

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The Finger Points 1931 Mp4