The Redhead and the Cowboy

In his last film, silent star William Russell plays the motorcycle policeman father of one of the restless and reckless new generation of late 1920s youth. The film was controversial as an early example of the rising tide of violence and disrespect for the law that would become key themes in the 1930s.

Two young Chicago hoodlums, Tom Powers and Matt Doyle, rise up from their poverty-stricken slum life to become petty thieves, bootleggers and cold-blooded killers. But with street notoriety and newfound wealth, the duo feels the heat from the cops and rival gangsters both. Despite his ruthless criminal reputation, Tom tries to remain connected to his family, however, gang warfare and the need for revenge eventually pull him away.

An ex-gang member tries to resist his old cohorts' criminal influence after he suddenly becomes a Hollywood movie star.

Devout but iron-willed Father Flanagan leads a community called Boys Town, a different sort of juvenile detention facility where, instead of being treated as underage criminals, the boys are shepherded into making themselves better people. But hard-nosed petty thief and pool shark Whitey Marsh, the impulsive and violent younger brother of an imprisoned murderer, might be too much for the good father's tough-love system.

Smith is an iron-willed railroad detective. When his friend Murray is fired from the railroad and begins helping Rebstock wreck trains, Smith must go after him. He also seems to have an interest in Murray's wife (and vice versa).

A foreword warns against the peril of yellow journalism, and the story illustrates it by following events in the upstate New York town of Cornwall after prominant financier George Ferguson is killed. Two types of New York City journalists descend on Cornwall, one interested in facts, the other in getting sensational "news". Mrs. Ferguson is known to have been friendly with a local banker. The Fergusons quarrel the evening he is killed (by "burglars", his wife tells the police later), and she is arrested, spurred on by the "bad" journalists, who also manage to badger the banker's wife into the hospital. Meanwhile, young Bruce Foster runs the Cornwall Courier, and shows the big city reporters how to dig out real news while they attempt to subvert justice for their own ends.

U.S. Marine sergeants Quirt and Flagg are inveterate romantic rivals on peacetime assignments in China and the Philippines. In 1917, W.W. I brings them to France, where Flagg, now a captain, takes up with flirtatious Charmaine, inn-keeper's daughter. Of course, Quirt has to arrive and spoil his fun. But the harsh realities of war and the threat of a shotgun marriage give the two men a common cause...

Love with a clerk and a robbery by gangsters preoccupy a department store's new owner.

A fast-talking reporter befriends a young woman and her male companion who are wanted for a policeman's shooting.

When Mr. X wakes up in the city park with amnesia, bloody and apparently connected to a murder of a well-known producer, fast talking Marie Smith takes pity on him. They solve the case and discover his identity.

Texas, 1878: cheerful outlaw-buddies Jim, Lorn and Wahoo rescue spunky orphan Rannie Carter from rustling racketeers, then are forced to separate. Lorn goes on to bigger and better robberies, while Jim and Wahoo are (at first reluctantly) maneuvered into joining the Texas Rangers. For friendship's sake, the three try to keep out of direct conflict, but a showdown begins to look inevitable. And Rannie, now grown into lovely young womanhood, must choose between Lorn and Jim

After World War II Larry learns that his flying buddy Mike will only live a short time despite the efforts of the doctors. He takes on a profitable flying job for profiteers Maris to finance a good time for his buddy. As the plane takes off he shoves Maris' secretary Susan on board. When Mike falls for her, Larry tells her to play along for Mike's sake. She, of course, falls for Larry.

A mild-mannered insurance salesman gets mixed up with gangsters.

While on vacation, the Saint discovers a much-sought-after music box.

A law student poses as a fight promoter to catch a notorious gangster.

Oliver Pease gets a dose of courage from his wife Martha and tricks the editor of the paper (where he writes lost pet notices) into assigning him the day's roving question. Martha suggests, "Has a little child ever changed your life?" Oliver gets answers from two slow-talking musicians, an actress whose roles usually feature a sarong, and an itinerant cardsharp. In each case the "little child" is hardly innocent: in the first, a local auto mechanic's "baby" turns out to be fully developed as a woman and a musician; in the second, a spoiled child star learns kindness; in the third, the family of a lost brat doesn't want him returned. And Oliver, what becomes of him?