Parable about a woman who refuses to believe the world is no longer beautiful.

2 episodes, 2 tapes, 2 hours of original 1950's television broadcast from THE COLGATE COMEDY HOUR (1950-1955). The Colgate Comedy Hour was a big budget comedy spectacular featuring the top names in show business. It ran opposite THE ED SULLIVAN SHOW on Sunday nights. One of the first commercial series to originate from Hollywood, it also included the first network color telecast in November, 1953. Tape 1 features ABBOTT & COSTELLO, who were among the principal hosts of this program about once a month from 1951-1954. The boys are featured here in one of their most famous routines doing "WHO'S ON FIRST". Also featured is LON CHANEY, JR. playing Frankenstein in a haunted-house skit. TAPE 2 is hosted by EDDIE CANTOR who spoofs TV westerns. Guest star: FRANK SINATRA and EDDIE FISHER singing "Oh, My Papa".

This 10-video set contains the following Chaplin movies. Vol. 1: Charlot Garcon de Theatre The Musical Tramp Charlot et Mabel aux Courses Recreation Vol. 2: Cruel Cruel Love A Film Johnny Triple Trouble Vol. 3: The Good for Nothing Charlie's Recreation Work Vol. 4: A Busy Day Police The Bomb Vol. 5: Kid Auto Races in Venice The Rival Mashers A Night Out Vol. 6: Dough & Dynamite Jitney Elopement Vol. 7: Knock Out Beturen Showers A Day's Pleasure Vol. 8: Shoulder Arms Vol. [+]

In Leave 'Em Laughing, Stan Laurel has a late-night toothache, but Oliver Hardy seems to do all the suffering. In the morning the boys go to the dentist, a man who apparently ran a torture chamber in a prior lifetime. The pliers-wielding dentist finally gets his patient into the chair, except he takes Hardy's tooth and gives the boys a hearty dose of laughing gas.

As those who are old enough to have lived through the Great Depression disappear, the era seems more and more remote; it's nearly impossible for later generations to understand just how desperate things were in the United States in the 1930s. Brother, Can You Spare a Dime? captures not only the history but also the culture of the time in a rather unusual documentary format. Totally without the benefit of narration, the movie mixes newsreel footage with clips from Hollywood films to tell the story, from the stock market crash through Pearl Harbor. Movie-minded viewers will easily recognize footage from They Made Me a Criminal, Public Enemy, Golddiggers of 1933, Employee's Entrance, Little Caesar, Lady Killer, I Was a Fugitive from a Chain Gang, and countless other Hollywood films from the time-some classics, some more obscure. The scope of the film covers not only historical landmarks such as the Dust Bowl, FDR's election, and the New Deal, but dance marathons and the Louis-Schmeling heavyweight fight for a comprehensive look at the country's social climate. The formula works well, for the most part; especially before the imposition of the Hays Code chilled Hollywood's tone, the '30s saw the birth of the "social consciousness" picture that dealt with topical issues in straightforward ways. Brother only falls down when it attempts to wrap up the film by bringing it up to the present time (1975, anyway); its ending seems superfluous, tacked-on. Still, for history buffs and movie fans alike, this is an interesting account of a pivotal decade in American history. -Jerry Renshaw The chronicle of an unforgettable piece of American history-twelve crazy, painful see-saw years, from the Wall Street crash to Pearl Harbor. By juxtaposing contemporary news and documentary footage with extracts from Hollywood classics such as "Golddiggers," "Lady Killer" and "Wild Boys of the Road," director Philippe Mora offers an immediate, intricate and evocative scrapbook of the 1930s.