Directed by: Gregory Ratoff

Writing Credits: Etta Shiber (story), Boris Ingster (screenplay) and Gertrude Purcell (screenplay)

Starring: Constance Bennett (as Kitty de Mornay), Gracie Fields (as Emmeline Quayle) and George Rigaud (as Andre de Mornay)

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Awards:

NOMINATED. Academy Awards, USA 1946. Best Music, Scoring of a Dramatic or Comedy Picture. Alexander Tansman.

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Directed by: Lewis Gilbert

Writing Credits: Paul Brickhill (book), Lewis Gilbert (screenplay)

Starring: Kenneth More (as Douglas Bader), Muriel Pavlow (as Thelma Bader), Lyndon Brook (as Johnny Sanderson), Lee Patterson (as Turner) and Alexander Knox (as Mr. Joyce)

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Awards:

WON. BAFTA Awards 1957. Best British Film.

NOMINATED. BAFTA Awards 1957. Best British Actor. Kenneth More.

NOMINATED. BAFTA Awards 1957. Best British Actress. Dorothy Alison.

NOMINATED. BAFTA Awards 1957. Best British Screenplay. Lewis Gilbert.

NOMINATED. BAFTA Awards 1957. Best Film from any Source. 

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Directed by: H. Bruce Humberstone

Writing Credits: Lamar Trotti (screenplay), Steve Fisher (story)

Starring: John Payne (as Chris Winters), Maureen O’Hara (as Lt. Mary Carter) and Randolph Scott (as Sgt. Dixie Smith)

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Awards:

NOMINATED. Academy Awards, USA 1943. Best Cinematography, Color. Edward Cronjager and William V. Skall.

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Directed by: Gordon Douglas

Writing Credits: Joseph Landon (screenplay) and Clair Huffaker (screenplay and novel)

Starring: Richard Boone (as Lassiter), Stuart Whitman (as Capt. Haven), Anthony Franciosa (as Rodriguez), Wende Wagner (as Sally), Warner Anderson (as Col.Wagner) and Jim Brown (as Franklyn)

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Awards:

NOMINATED. Golden Globes, USA 1965. Best Actor – Drama. Anthony Franciosa.

NOMINATED. Laurel Awards 1965. Action Drama. 5th Place.

NOMINATED. Laurel Awards 1965. Action Performance. Richard Boone.

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Directed by: George Seaton

Writing Credits: George Seaton (screenplay)

Starring: Montgomery Clift (as Danny MacCullough), Paul Douglas (as Hank Kowalski), Cornell Borchers (as Frederica Burkhardt), Bruni Löbel (as Gerda) and O.E. Hasse (as Stieber)

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Awards:

NOMINATED. Golden Globes, USA 1951. Best Film Promoting International Understanding.

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Directed by: Henry Hathaway

Writing Credits: John W. Hazard (magazine article), Richard Murphy (screenplay)

Starring: Gary Cooper (as Lt. John W. Harkness), Jane Greer (as Ellie C. Harkness) and Millard Mitchell (as George Larrabee)

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Awards:

NOMINATED. Writers Guild of America, USA 1952. Best Written American Comedy. Richard Murphy.

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Directed by: Edward Dmytryk

Writing Credits: Michael Blankfort (novel and screenplay)

Starring: Kirk Douglas (as Hans Muller), Milly Vitale (as Ya’El), Paul Stewart (as Detective Karni), Joey Walsh (as Yehoshua Bresler) and Oskar Karlweis (as Willy Schmidt).

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Awards:

WON. Sant Jordi Awards 1957. Special Award. Kirk Douglas.

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Directed by: Lewis Milestone

Writing Credits: Lillian Hellman (screenplay)

Starring: Anne Baxter (as Marina Pavlov), Dana Andrews (as Kolya Simonov), Walter Brennan (as Karp), Dean Jagger (as Rodion Pavlov), Farley Granger (as Damian Simonov) and Erich von Stroheim (as Dr. von Harden)

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Awards:

NOMINATED. Academy Awards, USA 1944. Best Writing, Original Screenplay. Lillian Hellman.

NOMINATED.  Academy Awards, USA 1944. Best Cinematography, Black-and-White. James Wong Howe.

NOMINATED. Academy Awards, USA 1944. Best Art Direction-Interior Decoration, Black-and-White. Perry Ferguson, Howard Bristol.

NOMINATED. Academy Awards, USA 1944. Best Sound, Recording. Thomas T. Moulton.

NOMINATED. Academy Awards, USA 1944. Best Effects, Special Effects. Clarence Slifer (photographic), Ray Binger (photographic) and Thomas T. Moulton (sound).

NOMINATED. Academy Awards, USA 1944. Best Music, Scoring of a Dramatic or Comedy Picture. Aaron Copland.

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Amy quickly becomes the sensation of a local cabaret, captivating the jaded expatriate crowd with her cool poise and androgynous allure. Onstage in a tuxedo and top hat, she toys with convention, crossing gender lines with a sly smile and a stolen kiss that leaves the room buzzing. In the audience, Tom watches her with a mixture of amusement and recognition, sensing in her the same emotional fatigue that haunts him.

Their paths intertwine in smoky nightclubs and moonlit streets, where flirtation gives way to a fragile, dangerous intimacy. Complicating matters is the presence of the wealthy, worldly Monsieur La Bessière, who offers Amy the one thing Tom cannot: security and a life free from the constant shadow of war. As the Legion is called back to the front and the political tensions of the Rif War close in, Amy is forced to choose between a comfortable future and a reckless, all-consuming love.

Amid swirling desert sands and baroque shadows, their story unfolds as a study in sacrifice and desire. The film builds to an unforgettable final image that crystallizes the central question: how far will a person go, and what will they surrender, for a love that may be doomed from the start?

Directed by: Josef von Sternberg

Writing Credits: Jules Furthman, Benno Vigny

Starring: Marlene Dietrich, Gary Cooper, Émile Chautard, Adolphe Menjou, Francis McDonald

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Awards:

WON. National Board of Review: Top Ten Films. Category. Morocco (1930).
Academy Awards. Nominated for Best Actress in a Leading Role (Marlene Dietrich), Best Director (Josef von Sternberg), Best Art Direction (Hans Dreier), and Best Cinematography (Lee Garmes).
United States National Film Registry. Selected for preservation by the Library of Congress as “culturally, historically, or aesthetically significant.”

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When the First World War erupts, the brothers are swept into the British Royal Flying Corps, trading campus pranks and drawing-room flirtations for the brutal reality of aerial combat. High above the trenches, they face not only enemy fire but the terrifying fragility of their own courage, as fragile biplanes become coffins in the sky. Monte’s instinct for self-preservation clashes with Roy’s sense of honor, and the tension between them deepens with every mission.

Their story reaches its peak in a daring, near-suicidal assignment behind enemy lines, where loyalty is tested in the starkest possible terms. The spectacle of massed dogfights and flaming aircraft is matched by the intimate drama of two men forced to decide what brotherhood, sacrifice, and duty actually mean. On the ground, Helen’s true nature is revealed, shattering Roy’s romantic ideals and underscoring how war strips away comforting illusions as ruthlessly in love as it does in battle.

Amid roaring engines and clouds lit by tracer fire, the film weaves together epic war spectacle with a deeply personal drama. The combination of pre-Code frankness, romantic disillusionment, and astonishing aerial photography creates a portrait of a generation hurled from youthful decadence into the crucible of modern warfare.

Directed by: Howard Hughes, Edmund Goulding, James Whale

Writing Credits: Howard Estabrook, Harry Behn, Joseph Moncure March

Starring: Jean Harlow, Marian Marsh, Jane Winton, James Hall, Lucy Doraine

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