Watch A Devil With Woman 1930

Cast: Victor McLaglen, Mona Maris, Humphrey Bogart, Luana Alcañiz
Directed By: Irving Cummings

Soldier of fortune Maxton is stranded in a Central American country. He and Tom, the nephew of the country's richest man, try to end Morloff's banditry but just barely escape a firing squad. They become rivals for Rosita.

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A Lady to Love 1930

Middle-aged Napa Valley grape-grower Tony posts a marriage proposal to San Francisco waitress Lena enclosing a photo of his handsome younger brother Buck. When she gets there she overlooks his duplicity and marries him. Then she falls in love with Buck.


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Pair O' Dice 1930

Norman Distributing Company
Comedy

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Watch free Abraham Lincoln 1930

Cast: Walter Huston, Una Merkel, Kay Hammond, E. Alyn Warren, Hobart Bosworth, Fred Warren, Henry B. Walthall, Russell Simpson, Ian Keith, Frank Campeau
Directed By: D.W. Griffith

Griffith's first talking movie takes Abraham Lincoln from his birth through his assassination. This restored version includes the original slavery sequences which were believed to be lost, but obviously were not. Musical score included.


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Watch free Africa Speaks! 1930

Hear the hoof-beats of the gnus and see a young boy chased down and killed by a lion (sans the screams)was what "Africa Speaks!" promised, and delivered. Filmed on the Colorado African Expedition of 1928, headed by Paul L. Hoefler, this film rose above the 'jungle-graph' films of the past---"Chang" excepted---because of the sound and not the views of the Dark Continent offered, albeit most of these were new views that some of the critics debated over whether or not some of them were staged. It contained: a locust swarm that devoured everything but the expedition camera; a visit to the duck-billed pygmy tribe in which the females of the tribe had discs inserted beneath their lips when very young and, as they grow older, larger discs replace the previous discs; an antelope---called and spelled illampa in the film---that jumps forty feet backward or forward when frightened and some slow-motion shots are used. "Africa Speaks!" showed Africa to be both dangerous and noisy.


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Watch Alias French Gertie 1930

Bebe Daniels plays a safecracker posing as a French maid in order to gain access to wealthy homes. In the midst of a nocturnal search for a cache of valuables, Daniels is interrupted by Ben Lyon, another safecracker. Narrowly escaping arrest, Bebe and Ben decide to pool their talents, but Bebe gets the urge to reform and encourages Ben to do the same. As it turns out, both thieves are swindled out of their own savings by a seemingly benign old couple. Alias French Gertie, based on the Bayard Veiller play The Chatterbox, represents the first screen teaming of future newlyweds Bebe Daniels and Ben Lyon.

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The Bad Man 1930

In this melodrama, a dancer works in a sleazy Marseilles portside dive that is really the front for a bordello. While dancing one night she meets a sailor and agrees to be his bride. Unfortunately, one of her former suitors suddenly shows up and a terrible fight ensues. The sailor kills his rival and ends up sentenced to Devil's Island. The only females allowed there are the wives of the guards, so, not wanting to be far from her beloved, the dancer marries the meanest guard in the prison. During a prison riot, the sailor proves his mettle and gets pardoned. The couple happily decide to return to the dancer's native Britain.

Bar L Ranch 1930

Bob Tyler (Buffalo Bill Jr.) has rustler trouble while driving a herd of cattle to the new owner, but he refuses to turn the herd over to Frank Kellogg (Wally Wales). He has a run-in with Jean Polk (Betty Baker), discovers she is the owner of the cattle, and is fired. With his friend, Barney McCool (Ben Corbett), Bob snoops around and discovers that Kellogg is behind the rustling.

Behind the Make-Up 1930

In this convoluted drama, the jolly painted face of a circus clown is but a mask for an avaricious, ruthlessly ambitious, and deceitful man. Hap is performing in small New Orleans clubs when he saves the life of the starving Gardino, a member of a distinguished family of European clowns. Though impoverished and unemployed, Gardino is determined to avoid the family slapstick and become a "serious" performer of high-class clowning. Hap suggests they team up, but thanks to Gardino's refusal to do slapstick, their act is a dud. Gardino leaves in a huff. Later Hap finds his former partner performing Hap's proposed act with a new partner. He is doing quite well, and when he sees Hap, Gardino apologizes and they again team up. This time Gardino insists on star billing. To make matters worse, he steals Hap's girl and they marry. The honeymoon is barely over before Gardino is playing around with other women and gambling away all of their money. After his latest affair goes bust, Gardino grows despondent and so walks into the sea, never looking back.

The Big Fight (1930)

Produced by Fox Studios, The Big Fight was ultimately released by a lesser firm, Sono-Art. Lola Lane stars as manicurist Shirley, who only has eyes for lovable prizefighter Tiger (Guinn "Big Boy" Williams). Unfortunately, Shirley's weakling brother Lester (James Eagle) is up to his snap-brimmed hat in debt to gangster Chuck (Ralph Ince). Tiger's crooked manager Steve (Wheeler Oakman) agrees to bail out Lester-but only if Shirley will sabotage Tiger's chances at winning a championship bout. Comic relief is supplied at regular intervals by stereotypical black comedian Stepin Fetchit. The Big Fight was adapted from a stage play by Milton Herbert Gropper and Max March; it was supervised by James Cruze, a major director of the 1920s who briefly headed his own production firm.

Billy the Kid (1930)

Billy the Kid (1930) is a film directed by King Vidor about the relationship between frontier outlaw Billy the Kid (Johnny Mack Brown, billed as "John Mack Brown") and Pat Garrett (Wallace Beery), the man who later killed him. The tall and virile Johnny Mack Brown portrays the short and dyspeptic outlaw William Bonney, a.k.a. Billy the Kid. Wallace Beery is more effectively cast as Pat Garrett, the sheriff who's sworn to bring in Billy dead or alive despite his grudging friendship for the young killer. Hardly the "homicidal moron" described by western historians, the movie's Billy has a certain amount of charm, though he's shown to be a cold-blooded killer when the opportunity arises. The film's ending was shot twice: One ending retained fidelity to the facts by having Garrett kill Billy, while the other denouement allowed Billy to ride into the sunset, as Garrett beatifically looked on. Over the protests of western purists, the second ending was used in the American release version, though the more tragic climax was seen by European audiences. Billy the Kid was originally released in a 70mm widescreen process called Realife; to avoid confusion with MGM's 1941 Billy the Kid, the earlier film has been retitled The Highwayman Rides for television.


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The Blue Angel (1930)

The Blue Angel (German: Der blaue Engel) is a film directed by Josef von Sternberg in 1930, based on Heinrich Mann's novel Professor Unrat. The film is considered to be the first major German sound film and it brought world fame to actress Marlene Dietrich.[1] In addition, it introduced her signature song, Friedrich Hollaender's "Falling in Love Again (Can't Help It)" The Blue Angel follows Emmanuel Rath (Emil Jannings) through a transformation from esteemed educator at the local Gymnasium (college preparatory high school) to a destitute vagrant in pre-World War II Weimar Germany. Rath’s descent begins when he punishes several of his students for circulating photographs of the beautiful Lola Lola (Marlene Dietrich) the headliner for the local cabaret, The Blue Angel. Hoping to catch the boys at the club itself, Professor Rath goes to the club later that evening and meets his eventual downfall: the lovely Lola herself.

Consumed with desire and determined to remain at Lola’s side, Rath returns to the night club the following evening (to return a pair of panties that were smuggled into his coat by one of his students) and stays the night with her. The next morning, reeling from his night of passion, Rath arrives late to school to find his classroom in chaos and the principal furious with his behavior.

Rath subsequently resigns his position at the academy to marry Lola, but their happiness is short-lived, as they soon fritter away the teacher's meager savings and Rath is forced to take a position as a clown in Lola’s cabaret troupe to pay the bills. His growing insecurities about Lola’s profession as a “shared woman” eventually reduce him to a mere shell of the man he used to be, consumed by his lust and jealousy. The troupe returns to his hometown, where he is ridiculed and berated by the Blue Angel patrons, the very people he himself used to deride. As Rath performs his last act, he witnesses his wife embrace, and kiss, one of her former lovers, and Rath is enraged to the point of insanity. He attempts to strangle Lola, but is beaten down by the other members of the troupe and locked in a straight jacket.

Later that night, Rath is set free, and makes his way towards his old classroom. Rejected, humiliated, and destitute, he passes away in remorse, clenching the desk from where he once taught

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Captain of the Guard (1930)

This French epic chronicles the French Revolution as seen by Rouget de Lisle, the man who composed the French national anthem. In addition to many scenes of angry peasants, the film also feature's many songs by Lisle. The film makes no claim for historical accuracy. Songs include: "Song of the Guard," "Maids on Parade", "For You," "Can It Be?" "It's a Sword," "You, You Alone," and "La Marseillaise.

Caught Short (1930)

Sparring landladies provide the focus of this comedy. The two women are constantly competing to take in the most boarders at their respective homes. Though outwardly jealous rivals, the women are actually best friends. The competition gets more intense when one woman's daughter falls for the other's son. Now the women, who have secretly made a killing playing the stock market, try to see which one can put on the fanciest wedding. In the end, the couple weds and the women renew their friendship.

Chasing Rainbows (1930)

The road-show troupe of a top Broadway show go cross-country while taking the audience along on the on-stage scenes as well as what happens and is happening back stage of the production. The spectacular dancing ensembles and colorful costumes and pulchritude on-stage offers a contrasting background to the drabness of the backstage, where joy, sorrow, tragedies, deception, and romance are intertwined.

Watch free Amos 'n' Andy, Check & Double Check (1930)

Check and Double Check is a 1930 comedy film made and released by RKO based on the then-popular Amos 'n' Andy radio show. The title was derived from a catch phrase associated with the show.

The making of the picture posed several problems. Perhaps foremost was the fact that the characters of the program were portrayed as blacks but were in fact entirely voiced by whites. This had posed no problem on the radio, but obviously would not be suitable for a movie where the actors could be seen as well as heard. Rather than hire black actors for the roles and instruct them to imitate to the maximum extent possible the very stereotypical voices used by the radio performers, program creators Freeman Gosden and Charles Correll performed the roles themselves in blackface.

Another problem was the attempt to base a full-length picture on a 15-minute long radio program. In order to do this, the movie's producers unwisely decided to flesh out the story with a love triangle involving white characters, essentially making Amos and Andy minor characters in what was marketed as a film about them.

The movie was quite profitable for RKO but critically panned and a disappointment to many moviegoers. Two animated short films were made following Check and Double Check: The Rasslin' Match and The Lion Tamer. However, no sequel was ever produced and there were no further attempts at live-action portrayals of Amos 'n' Andy until the advent of network television. Today, the film is in the public domain, and several DVD editions exist.

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Children of Pleasure (1930)

In this musical comedy, a Jewish songwriter pursues and conquers a society blonde. Unfortunately, the indecisive fellow realizes that he really loves his female partner and dumps the blonde on their wedding day. Songs include "Leave It That Way," "Dust," "Girl Trouble," "A Couple of Birds with the Same Thought in Mind," and "The Whole Darned Thing's for You.

Cohens and the Kellys in Scotland (1930)

The Cohens and the Kellys, those ever-feuding in-laws introduced in the 1925 play Two Blocks Away, are at large again in this fourth entry in the Cohen-Kelly series. Once again, George Sidney stars as Jewish shopkeeper Cohen, while Charlie Murray co-stars as Irish cop Kelly. On vacation with their wives (Vera Gordon and Kate Price) our heroes arrive in Scotland to buy up as much plaid fabric as possible, intending to sell the material at a handsome profit to a foreign prince, likewise in Scotland to participate in a national golfing tournament. It must needs be that Cohen and Kelly find themselves on the golf links, with hilarious results. Most of the gags arise from the ongoing comparison between Jewish and Scottish stinginess, the sort of exaggerated ethnic humor that would be purged from Hollywood films after the strengthening of the Production Code in 1933.

Concentratin' Kid (1930)

The Concentratin' Kid (Hoot Gibson) becomes enamoured of Betty Lou Vaughn (Kathryn Crawford), a radio singer whom he has never met nor seen, and bets his cowhand friends he can marry her. Moss Blaine (Duke R. Lee) and Art Campbell (James Mason) rustle the cattle while the Kid and his friends are attending Betty Lou's show. The Kid rides to head off Campbell, who has also kidnapped Betty Lou.

The Cuckoos (1930)

The Cuckoos was a 1930 musical comedy, released by RKO Radio Pictures and partially filmed in two-strip Technicolor. It features the comedy team Wheeler & Woolsey. A phony fortune teller, Professor Bird, and his partner, Sparrow, are in a Mexican resort near a gambling casino. During their trip, his partner falls in love with an American girl named Anita (who has lived with Gypsies her entire life). But Julius, the gyspy leader, is also in love with her. At the casino is Miss Furst and her niece Ruth who loves Billy, an aviator. Furst wants her to marry the Baron, and the Baron wants Ruth for her money. Miss Furst falls in love eith Bird after getting her wallet back. After finding out that Ruth is engaged to Billy, the Baron goes on the Gypsies' side to kidnap her. Anita, who was following Sparrow, was also kidnapped. Bird, Billy, and Sparrow go back to Mexico to save their loved ones from the Baron and the Gypsies, and succeed in doing so.

Czar of Broadway (1930)

Ostensibly based of the life and violent death of glamorous New York mobster Arnold Rothstein, this early talkie from Universal featured Broadway actor John Wray as Mort Bradstreet, a powerful but crooked political boss whose friendship with Jay Grant (John Harron) turns sour when Grant is revealed to be a muckraking newspaper reporter. Scheming to have the reporter "taken care of," Mort is himself gunned down by a rival gang. In the mistaken belief that the gangster will recover, Grant readies his exposé, but when Mort is pronounced dead, the reporter decides that their friendship would not permit him to submit the story. Instead, he leaves the paper and begins a new life with Mort's erstwhile moll, Connie (Betty Compson). Directed by William J. Craft, a longtime Universal hack who had helmed scores of inexpensive Westerns in the silent days, The Czar of Broadway proved an especially leaden entry in the first wave of "all-talking" gangster melodramas.

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