The killing of Mayor Palmer (Forrest Taylor) is being placed on Paul Moody (Richard Emory) by fingerprint expert Jim Stover (Richard Travis) as Moody's prints were found on the murder weapon. When reporter Brad Evans (Rory Mallison) places doubt in Stover's mind that the fingerprints were Moodys, he decides to investigate further with the help of the mayor's daughter Carolyn (Sheila Ryan).




Cast overview, first billed only:
Richard Travis .... James Stover
Sheila Ryan .... Carolyn Palmer
Sid Melton .... Hypo Dorton
Tom Neal .... The Prosecuting Attorney
Margia Dean .... Nadine Connell
Lyle Talbot .... Lt. Grayson
Michael Whalen .... Police Commissioner Frank Kelso
Richard Emory .... Paul Moody
Dee Tatum .... Connie Duval
George Eldredge .... King Sullivan
Rory Mallinson .... Brad Evans
Karl 'Killer' Davis .... Rod Barenger (as Karl Davis)
Zon Murray .... Defense Attorney
Syra Marty .... Syra, the Blonde Model (as Syra)
Forbes Murray .... Judge Edwin Monroe



http://www.filesonic.com/file/31072251/Fingerprints Don't Lie (1951).mkv

http://www.fileserve.com/file/vjtJmke/Fingerprints Don't Lie (1951).mkv

Screenplay: John Paxton
Based on the article The Man on the Ledge by Joel Sayre

Producer: Sol C. Siegel

Music: Alfred Newman
Cinematographer: Joseph MacDonald
Editor: Dorothy Spencer

Cast: Paul Douglas, Richard Basehart, Barbara Bel Geddes, Grace Kelly

Robert Cosick (Richard Basehart) threatens to jump from a ledge on the fifteenth floor of the Hotel Rodney. Traffic cop Charlie Dunnigan (Paul Douglas) remains the only person he's willing to talk to, even after the police bring in doctors, experts, and his mother Christine (Agnes Moorehead). The spectacle becomes a TV marathon as hundreds of people line the sidewalks ... including prospective sweethearts Ruth and Danny (Debra Paget and Jeffrey Hunter) and a young couple headed for divorce court, Mr. and Mrs. Fuller (Grace Kelly and Leif Erickson). Police tricks fail and Dunnigan only barely retains Cosick's confidence, until Cosick's ex-fiancée is located, Virginia Foster (Bel Geddes).

'FourteenHours,' Fox Film About Man on Ledge Ready to Jump, Telling Drama of Astor
New Yorkers who vividly remember the case of the man on the ledge-the poor chap who lodged himself grimly on a high cornice of a local hotel one summer day back in 1938 and stood there teetering while rescuers labored and the city held its breath-will tautly relive that curious drama in Twentieth Century-Fox's "Fourteen Hours," a remarkably compact motion picture that came to the Astor yesterday. And likewise, those who have no memory of that or any similar case will find gripping suspense, absorbing drama and stinging social comment in this film.

For Fox has taken the story of that poor, unbalanced young man, as it recently was recollected in The New Yorker magazine by Joel Sayre, and has staged it, with liberal alterations and some added atmospheric details, to put on display a hotly throbbing and brutally candid slice of metropolitan life. Fitly directed by Henry Hathaway in a crisp journalistic style and played to the hilt down to its "bit" parts, it makes a show of accelerating power.

To be sure, the precarious situation of a person perched upon a narrow ledge, high above the streets of a city, is a "natural" for dramatic suspense. All of the latent primitive phobias of falling and of dizzying heights may be played upon in this situation-and the most is made of them in this film. Less than three minutes after the picture opens, the young man is wobbling on the ledge, with the street far below, and there he teeters, in full and persistent view, with sudden and sickening slips and catches, until just before the end.

But John Paxton, who wrote the screen play, certainly did not rest with that. The man on the ledge is but the pivot upon which a tumbling drama builds. And it is this accumulating drama-of the traffic cop off the local beat; of the poor young man's mother and father, brought to plead with him; of the frantic, fumbling rescue efforts and of the morbid, cruel crowds in the street-that makes for the real emotional upsweep and the hard, staggering shocks in this film.

For the fact which has here been wisely realized and intelligently acted upon is that an incident of the sort set in this picture becomes a focus for the drama of man. Here, within the full view of millions, a person teeters between life and death, his will free to make his destruction, while the hypnotized observer speculates.

What Mr. Paxton has imagined, based loosely on Mr. Sayre's report, is a sad case of maladjustment, caused by unhappy parents and a broken home. And this little personal drama, pieced together in a crowded hotel room, near to the threatening "jumper," emerges most pathetically in the film. But alongside of it (and nigh as touching) is the day's experience of a simple New York cop who happens to be the individual who comes closest to the man on the ledge. And around and about swirls the drama of reporters and heartless radio men, the curious crowds looking on in breathless horror or with lust for a death-spectacle. Except for one minor street incident between a watching boy and girl and a banal episode in a lawyer's office, the tight tapestry of drama is superb.

In the role of the "jumper" Richard Basehart does a startling and poignant job within the limitations of one square foot of acting space. But Paul Douglas, with room to move around in, takes the honors as the good-natured cop who finds all his modest resources of intelligence and patience taxed by this queer case. Howard Da Silva is also excellent as a methodical, hard-headed deputy chief inspector of police, and Agnes Moorehead is brilliantly effective as the neurotic mother of the man on the ledge. Robert Keith as the father, Barbara Bel Geddes as the sweetheart and Martin Gabel as a psychiatrist are just a few of the many others who bring personality and credibility to this superior American film.
Bosely Crowther, NY Times, March 7, 1951




http://www.filesonic.com/file/31078587/14 Hours (1951).avi

http://www.fileserve.com/file/5nJSrQQ/14 Hours (1951).avi

Daisy and Violet Hilton were born in Brighton to a young, unwed barmaid, Kate Skinner and were "adopted" by their mother's boss and midwife, Mary Hilton. The sisters were conjoined at the hips and buttocks. They shared blood circulation and were fused at the pelvis but shared no major organs. Soon after acquiring the twins, Mary Hilton was exhibiting them all over the United States and Europe. They were required to call her "Auntie Lou" and her current husband "Sir".

When Mary died, her husband and daughter took over the sisters' act. It was not until 1931, when the sisters filed a lawsuit against their management, that they were awarded independence.

They left the sideshow circuit, which they hated, and joined Vaudeville. In 1932 the twins appeared as themselves in the movie Freaks, which dared to pose the question of whether or not conjoined twins can have a love life. In the case of the Hilton sisters, the answer was yes - they were notorious for their many affairs and allegedly had a strong desire to outdo one another in the area of dating. Each of the sisters was married separately, although they bore no children and each marriage lasted only a short time. After the public lost interest in Siamese twins, the sisters settled in Miami and ran a hamburger stand called the Hilton Sisters' Snack Bar.

When the business failed, they turned to Hollywood. And in 1950 the sisters appeared in the film Chained for Life. But their story did not end happily, penniless they were finally forced to take a job at a grocery store, with one working the register and the other bagging groceries. On January 6, 1969, the twins failed to report for work and were later found dead in their home, from the Hong Kong flu.





http://www.filesonic.com/file/30428733/Chained for Life (1951) .avi

http://www.fileserve.com/file/cU6H7gU/Chained for Life (1951) .avi

Captain Horatio Hornblower R.N. (released in the U.S. without the "R.N.") is a 1951 naval adventure film. It was directed by Raoul Walsh and stars Gregory Peck, Virginia Mayo, and Robert Beatty.

It was based upon three of C. S. Forester's Horatio Hornblower novels, The Happy Return (Beat to Quarters in the United States), A Ship of the Line, and Flying Colours. Forester is credited with the adaptation; as a result, the film is faithful to his novels and features an occasionally introspective tone unusual for an old-fashioned swashbuckler.

"In the year Eighteen Hundred and Seven, a small ship of the Royal Navy set sail from England for a secret destination. With five million French and Spanish soldiers poised on the Continent under Napolean, nothing could save England from invasion except her 300 ships. HMS Lydia was soon far beyond battle-charged Europe. Under the most secret of sealed orders, she sailed for southern waters, fought her way around the Horn..."

Peck's Horatio blows that elfish, pouting girly-boy's (Ioan Gruffudd's) late 1990s version of the famous midshipman right out of the water. Spla-boom!








http://www.filesonic.com/file/30434885/Captain Horatio Hornblower (Raoul Walsh, 1951) El Hidalgo de los Mares.DVDRip.AC3.Dual.English-Espa�ol.avi

Director
William Wyler

Release Date
November 1951

Synopsis
William Wyler directed this classic adaptation of Sidney Kingsley's Broadway play. The film follows a day in the lives of detectives at a Manhattan police precinct. Among the cops is hard-boiled James McLeod -- a lawman who sees everything in terms of black and white. His inability to empathize with others could wreck the life of a young man arrested for a minor offense as well as his own marriage...

Cast
Kirk Douglas    ... Det. James 'Jim' McLeod
Eleanor Parker    ... Mary McLeod
William Bendix    ... Det. Lou Brody
Cathy O'Donnell    ... Susan Carmichael
George Macready    ... Karl Schneider
Horace McMahon    ... Lt. Monaghan
Gladys George    ... Miss Hatch
Joseph Wiseman    ... Charley Gennini
Lee Grant    ... Shoplifter
Gerald Mohr    ... Tami Giacoppetti
Frank Faylen    ... Det. Gallagher
Craig Hill    ... Arthur Kindred
Michael Strong    ... Lewis Abbott
Luis Van Rooten    ... Joe Feinson
Bert Freed    ... Det. Dakis







http://www.filesonic.com/file/30432093/Brigada 21 (1951) [DvDrip.Dual].avi

http://www.fileserve.com/file/BJAMVfU/Brigada 21 (1951) [DvDrip.Dual].avi

Jerry Mulligan, a struggling American painter in Paris, is "discovered" by an influential heiress with an interest in more than Jerry's art. Jerry in turn falls for Lise, a young French girl already engaged to a cabaret singer. Jerry jokes, sings and dances with his best friend, an acerbic would-be concert pianist, while romantic complications abound.



An American in Paris (1951) is one of the greatest, most elegant, and most celebrated of MGM's 50's musicals, with Gershwin lyrics and musical score (lyrics by Ira and music by composer George from some of their compositions of the 20s and 30s), lavish sets and costumes, tremendous Technicolor cinematography, and a romantic love story set to music and dance. Gene Kelly served as the film's principal star, singer, athletically-exuberant dancer and energetic choreographer - he even directed the sequence surrounding "Embraceable You." The entire film glorifies the joie de vivre of Paris, but it was shot on MGM's sound stages in California, except for a few opening, establishing shots of the scenic city. Nonetheless, it remains one of the most optimistic American films of the post-war period - with Paris at its center.
The film brought eight Academy Award nominations and won six of them - none of which were for acting: Best Picture (Arthur Freed, producer), Best Story and Screenplay (Alan Jay Lerner), Best Color Cinematography, Best Color Art Direction/Set Decoration, Best Musical Score, and Best Color Costume Design. Its nominations for director (Vincente Minnelli) and Film Editing were unrewarded. Gene Kelly received an Honorary Award from the Academy the same year, presumably for his contributions to this film - it was presented "in appreciation of his versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography on film." Nineteen year-old Leslie Caron made her film debut as the young Parisian mademoiselle



An American in Paris - and Gigi (1958), were among Minnelli's most successful films, and two rare nuggets of gold among MGM's Golden Age of Musicals. [The Arthur Freed unit at MGM Studios was well known for its production of other wonderful films: Singin' in the Rain (1952) that re-invented the musical in the 1950s, and Minnelli's own Meet Me in St. Louis (1944), The Pirate (1948) and The Bandwagon (1953), among others.] It was one of the few musicals ever voted Best Picture in Oscar history, and one of only a few Best Picture winners with no acting nominations.

It is an integrated musical, meaning that the songs and dances blend perfectly with the story. As in many musicals, the plot of this film is not its most important element. One of the film's highlights is its impressive finale - an ambitious, colorful, imaginative, 13 minute avante-garde "dream ballet" costing a half million dollars to produce. The pretentious sequence, featuring an Impressionistic period daydream in the style of various painters, is one of the longest uninterrupted dance sequences of any Hollywood film, and features the music of George Gershwin. [The success of the balletic themes in Michael Powell and Emeric Pressburger's British film The Red Shoes (1948) inspired Minnelli to follow suit - he had experimented with shorter ballet sequences in his earlier films Yolanda and the Thief (1945) and Ziegfeld Follies (1946).]

http://www.filesonic.com/file/30430091/An.American.In.Paris.1951.XviD.AC3.CD1-WAF.avi

http://www.filesonic.com/file/30428909/An.American.In.Paris.1951.XviD.AC3.CD2-WAF.avi

http://www.fileserve.com/file/XHAXeKC/An.American.In.Paris.1951.XviD.AC3.CD1-WAF.avi

http://www.fileserve.com/file/sC9nmKq/An.American.In.Paris.1951.XviD.AC3.CD2-WAF.avi

Anna, a former sexy nightclub dancer who has become a hospital nurse, is on the verge of taking the veil. One day, She recognizes Andrea, her former fiancé, among the patients. Her troubled past suddenly comes back to her. Though engaged to Andrea, she was attracted to Vittorio, the owner of the nightclub where she performed as a singer and dancer. After Vittorio attempted to rape her, Andrea killed him. Following this tragedy. Anna decided to go into a convent. Andrea, who has been acquitted, now tries to persuade Anna to come back to him but at this very moment it is announced that a train has been derailed. Anna then understands that she must dedicate herself to her new vocation. (imdb)




http://www.filesonic.com/file/30432387/Anna.Alberto.Lattuada.1951-SMz.avi

http://www.fileserve.com/file/hevjmus/Anna.Alberto.Lattuada.1951-SMz.avi

Story

When William "Bill" Denny (Farley Granger) is followed home by a little dog one day, he is totally oblivious to the danger and mayhem he has let himself in for.


Cast

Farley Granger ... William Calhoun 'Bill' Denny
Shelley Winters ... Kate Denny
William Demarest ... Officer O'Ryan
Francis L. Sullivan ... Fat Freddy
Margalo Gillmore ... Mother
Lon Chaney Jr. ... Pinky (as Lon Chaney)
Hans Conried ... Gillie the Blade
Elisha Cook Jr. ... Albert Jonas
Glenn Anders ... Pete the Pusher
Allen Jenkins ... Plainclothesman
Sheldon Leonard ... Shortwave Bert
Marvin Kaplan ... Max the Umbrella
Archie ... Himself
Henry Corden ... Numi







http://www.filesonic.com/file/30430967/Behave Yourself! (1951) .avi

http://www.fileserve.com/file/vvE7qZE/Behave Yourself! (1951) .avi