An industrialist (Joseph Cotton) and a pianist (Joan Fontaine) meet on a trip and fall in love. Through a quirk of fate, they are reported dead in a crash though they weren't on the plane. This gives them the opportunity to live together free from their previous lives. Unfortunately, this artificial arrangement leads to greater and greater stress. Eventually the situation collapses when they come to pursue their original, individual interests without choosing a common path.

A U.N. space expedition to the planet Uranus discovers a bizarrely familiar world right out of their own heads, featuring places and people the crew members recall from their past. It's all part of a fantasy created by the planet's master, a giant, pulsating brain that can also turn their worst thoughts into reality.

This early Gainsborough flick is truly a lost treasure, and easily one of the most daring and risque films ever made. At least half a dozen different tales seem to be going on at once, all finally meeting in the end. The story starts in the Lido hotel where our "Pickles" remarks upon the fact that everyone in the register is called Smith. He's trying to chat up Mimi so she'll split up with her boyfriend as her boyfriend's uncle has other plans for his nephew - alas what no one knows is that he and Mimi have already been married for a few months, on the sly! The best scenes in the movie were Mimi's, if you like Anne Crawford you'll like this actress, she's a real gem.

Based on an incredible true story of one man's fight for survival and freedom. In the pre-Civil War United States

A prominent neurosurgeon relates to his students in medical school a story about an affair he had with a married woman and how, after the affair was over, the woman one day fell out a window and died. The surgeon, suspecting that she was murdered, set out to find her killer–but, instead of turning the suspect over to the police, he planned to take his own revenge on the murderer.

Although short in duration this is distinctly a cut above a "quota quicky" in quality. Hay Petrie, who seems to have later been consigned to many small but distinctive supporting roles, here is centre stage in the court-room scene, gives a very spirited and dominating performance and makes the most of, for once for him, a very good role. Opposite him is a worthy foil both in terms of script and actor in the shape of (and here is a very rare thing) a comic Coroner with only too obvious human failings. The quotations in the opening credits questioning the purpose of a Coroner suggest that someone might have been grinding an axe in this intelligent and entertaining legal/crime-comedy.

After the local council he works for decides to replace its horse-drawn services with motor vehicles, one of the drivers spends his savings to buy the horse. Together they search the countryside looking for work, and meeting an assorted group of characters on the way.