Paul Lukas plays Martin Schulz, a German-American businessman who moves back to Germany during the early Nazi years. His Jewish business partner Max Eisenstein (Morris Carnovsky), meanwhile keeps their art gallery going in San Francisco along with Martin's son, Heinrich. Max's daughter, Griselle, is also going to Germany to seek out a career as an actress. The families are very close and Heinrich and Griselle have future plans to marry. Once settled in Germany, Martin is befriended and flattered by the silver-tongued Baron von Friesche (Carl Esmond), who indoctrinates him into the Nazi lifestyle. Friesche convinces Martin that he should cut off all communication with his old friend Max because he is Jewish.

The Lawless was director Joseph Losey's second feature-length film. The story concerns a group of Mexican-American migrant workers who are subjected to all sorts of abuse and intolerance by their California bosses. A violent clash between whites and Latinos at a dance results in a torrent of bigotry. Seemingly the only Californian willing to champion the workers' cause is crusading newspaperman Larry Wilder, and soon he too is the victim of senseless mob violence. The story boils to a manhunt for a fugitive fruit-picker who has been accused of fomenting the aforementioned riot.

In this '40s western a U.S. marshal chases a band of big-name bandits into no-man's territory (land outside of U.S. government jurisdiction) as he's trying to locate his little brother. He ends up facing off with none other than the James Boys, the Daltons and other notorious fellows.

Boris Karloff and Bela Lugosi were given top billing in the Val Lewton-produced The Body Snatcher, but the film's protagonist is played by Henry Daniell. A brilliant 18th century London surgeon, Daniell can only make his humanitarian medical advances by experimenting on cadavers, which is strictly illegal. Karloff plays a Uriah Heep-type cabman who is secretly a grave robber, providing corpses for Daniell's research.

This full-blooded saga of the 19th century whaling industry stars Lionel Barrymore as tough old salt Captain Bering Joy and Dean Stockwell as his grandson Jed. Anxious to embark upon a life on the sea, Jed aligns himself with Joy's first mate, Dan Lunceford (Richard Widmark). The captain disdainfully regards Dan as one of the "new breed" of whalers, who, in his mind, aren't completely up to the rigors of maritime life. Dan gains Joy's respect when he rescues Jed, even though the captain sticks to the book and relieves Dan of his duties for leaving his post.

A huge box office success and a key film in James Cagney's rise to stardom, this drama stars Cagney as Matt Nolan, a gritty New York City cab driver who is being squeezed by a monopolistic taxi trust which uses force to run him and other independent cabbies away from the most profitable locations. Nolan joins forces with Pop Riley (George Kibbee), whose cab is smashed by a truck when he refuses to cooperate with the syndicate. Kibbee is sent to prison for shooting at the truck driver. Nolan is dating his daughter, Sue (Loretta Young), and they enter a Peabody dance contest at a local nightclub. Cagney dances on screen for the first time, and so does George Raft as Willie Kenny, another dancing tough guy who was a friend of Cagney's, who pushed Warner Bros. to give Cagney the role.

A young punk hooks up with a mobster and helps him rob a gas station in this crime drama. From there the crimes become more serious and the boy is very happy until something goes wrong and the gangster shoots someone using the stolen gun of the boy's sister's lover. The innocent lover is given the death sentence. The guilt-plagued youth wants to take the rap, but the gangster threatens him and he remains quiet.

Officially a sequel to Val Lewton's psychological-horror classic Cat People (1942), Curse of the Cat People is in fact an engrossing and oftimes charming fantasy, told from a child's point of view. Six-year-old Ann Carter plays Amy Reed, the lonely daughter of eternally preoccupied Oliver Reed (Kent Smith). Amy's vivid imagination and inability to get along with her schoolmates leads Oliver to worry that the girl will start exhibiting the psychopathic tendencies of his long-deceased first wife Irena (Simone Simon), the obsessive "Cat Woman" in the earlier film.

Ambush is a tight, well-paced western, expertly assembled by veteran director Sam Wood, whose last film this was. Robert Taylor stars as an Indian scout, sent to rescue a woman who is somewhere deep in Apache territory. The woman's sister, naturally, goes along for the ride: she is played by Arlene Dahl, then in her considerable prime.

Heat Lightning takes place in a remote California-desert gas station-café. Several strange characters pass through the establishment's portals during one fateful 24-hour period, including cad-and-bounder George (Preston S. Foster). Resourceful proprietress Olga (Aline MacMahon) tries to remain detached throughout but is forced to take drastic action when George threatens to seduce and abandon her own sister Myra (Ann Dvorak).

Professional burglar Nat Harbin (Dan Duryea) and his two associates, Baylock (Peter Capell) and Dohmer (Mickey Shaughnessy), set their sights on wealthy spiritualist Sister Sarah (Phoebe Mackay), who has inherited a fortune from a Philadelphia financier. Using Nat's female ward, Gladden (Jayne Mansfield), to pose as an admirer and case the mansion where the woman lives, they set up what looks like a perfect break-in; even when Nat's car is spotted by a couple of cops, he bluffs his way through, gets the necklace, and makes the getaway.

Made with the full cooperation of the real-life Texas Rangers, this sprawling historical western stars Fred MacMurray as Jim Hawkins, one of three outlaws working the Lone Star State in the years following the Civil War.

Man to Man refers to the relationship between father John Bolton (Grant Mitchell) and son Michael (Phillips Holmes) -- or least, to the relationship as it should be. After serving a prison sentence for homicide, John starts life anew as a small-town barber. When Michael learns the truth about John's past, it causes a rift in the relationship between the two men. But when Michael is accused of embezzlement, John gallantly shoulders the blame, even though he believes his son to be guilty -- while Michael, convinced that his dad stole the money, refuses to recant his confession.

One of the grimmest depictions of relations between whites and Native Americans in the post-Civil War west, Devil's Doorway seems to have its feet planted in the sensibilities of several different decades -- and, most astonishingly, decades yet to come. On its surface, Devil's Doorway is an eerie stylistic exercise in western noir, similar in some respects to Raoul Walsh's Pursued (1947). But Anthony Mann's movie is imbued with a topical message that sets it distinctly apart from Pursued, in terms of its impact and, possibly, its intent as well.

Adapted by Robert Anderson from a story by James A. Michener, the Robert Wise-directed Until They Sail is set in World-War-II New Zealand. Paul Newman plays been-there-done-that U.S. marine captain Jack Harding, assigned to investigate servicemen's requests to marry local girls.