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Footlight Parade is sheer cinematic joy. In this Depression-era romp, a timid stenographer (Ruby Keeler) removes her glasses and wow! she's a star. A gee-whiz tenor (Dick Powell) asserts his independence. Plucky chorines tap, greedy hangers-on get their comeuppances, and an indefatigable producer/dancer (James Cagney) and his Girl Friday (Joan Blondell) work showbiz miracles to stage live prologues for talkie houses to keep their company afloat during hard times. Honeymoon Hotel, By a Waterfall and Shanghai Lil are the shows, directed by Busby Berkeley and filled with imagination-bending sets, startling camera angles, kaleidoscopic pageantry and a 20,000-gallon-per-minute waterfall. Curtain up!

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A Broadway producer has the talent, the tunes, the theater and everything else he needs to put on a show -- except the dough. Not to worry, say Ginger Rogers and the other leggy chorines decked out in giant coins. Everyone will soon be singing "We're in the Money." Soon after 42nd Street, the brothers Warner again kicked the Depression blues out the stage door and into a back alley. Mervyn Le Roy directs the snappy non-musical portions involving three wonderfully silly love matches (including Dick Powell and Ruby Keeler). And Busby Berkeley brings his peerless magic to the production numbers, his camera swooping and gliding to showstoppers that are naughty ("Pettin' in the Park"), neon-lit ("The Shadow Waltz") and soul-searing ("Remember My Forgotten Man"). Solid cinema gold!

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The unlikely combination of John Wayne and Joan Blondell adds a bit of vinegar and spice to this wonderful costume comedy-drama. Jenny Blake (Blondell) is the beautiful owner of a riverboat casino, but she aspires to a life in high society. Jack Morgan (Wayne) is her business partner and influential political boss - the two are in love, but Jenny decides to leave him and the business so she could marry socialite Alan Alderson (Ray Middleton) for prestige and in return she forgives Alan's gambling debts and pays off the back taxes of his family's once-grand mansion and plantation. Her new in-laws are infuriated by this marriage of convenience, and do everything in their power to ruin Jenny in the eyes of society. Directed by Leigh Jason (The Mad Miss Manton).

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From visionary filmmaker Guillermo del Toro comes this noir-style psychological thriller starring Bradley Cooper and Cate Blanchett. When a manipulative carnival man (Cooper) teams with an equally deceptive psychiatrist (Blanchett) to grift the wealthy in 1940s New York society, he learns that his new partner in crime might be his most formidable opponent yet. NIGHTMARE ALLEY is directed by del Toro, who co-wrote the film with Kim Morgan, based on William Lindsay Gresham's novel.

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Darkness lurks behind the bright lights of a traveling carnival in one of the most haunting and perverse film noirs of the 1940s. Adapted from the scandalous best seller by William Lindsay Gresham, Nightmare Alley gave Tyrone Power a chance to subvert his matinee-idol image with a ruthless performance as Stan Carlisle, a small-time carny whose unctuous charm propels him to fame as a charlatan spiritualist, but whose unchecked ambition leads him down a path of moral degradation and self-destruction. Although its strange, sordid atmosphere shocked contemporary audiences, this long difficult-to-see reflection of postwar angst has now taken its place as one of the defining noirs of its era—a fate-fueled downward slide into existential oblivion. BLU-RAY SPECIAL EDITION FEATURES • New 4K digital restoration, with uncompressed monaural soundtrack • Audio commentary from 2005 featuring film historians James Ursini and Alain Silver • New interview with critic Imogen Sara Smith • New interview with performer and historian Todd Robbins • Interview from 2007 with actor Coleen Gray • Audio excerpt of a 1971 interview with Henry King in which the filmmaker discusses actor Tyrone Power • Trailer • English subtitles for the deaf and hard of hearing • PLUS: An essay by film critic and screenwriter Kim Morgan

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An actress approaching middle age unravels during rehearsals for a new play after being shaken by the death of a young fan.

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Humphrey Bogart… as a film producer cradling an ever-present Scottish Terrier? Don’t let the dog fool you as the famed tough guy also shows his flair for comedy in Stand-In (1937), a riotous, lacerating satire on the motion picture industry. New York bank Pettypacker and Sons has a problem, a colossal problem, in the form of their investment in Colossal Studios in Hollywood. Prior to selling the failing film factory to scheming financier Ivor Nassau (C. Henry Gordon) for half its worth, the board asks their top number cruncher Atterbury Dodd (Leslie Howard) for his assessment, and he ardently recommends the bank retain ownership of the studio. At an impasse, the firm sends Dodd out west to investigate the situation at Colossal, where he quickly enlists the help of producer Douglas Quintain (Bogart) and Lester Plum (Joan Blondell), a former child star now working in the occupation of the film’s title. Resistance to Dodd’s scrutiny, however, comes not only from Nassau, but from everyone who stands to benefit from the studio’s sale: temperamental “Russian” director Koslofski (Alan Mowbray), studio diva Thelma Cheri (Marla Shelton) and PR flack Tom Potts (Jack Carson at his obnoxious best). Directed by Tay Garnett (The Postman Always Rings Twice) and produced by Walter Wanger (You Only Live Once), Stand-In leaves no Tinseltown target untouched while serving up a sprightly mix of slapstick, send-up and sentiment… with screwball-inspired romance for seasoning! BONUS FEATURES: Restoration Comparison ClassicFlix Trailers

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Thorne Smith's famous character turns amateur detective as the ghost of a beautiful, murdered girl (played by Joan Blondell) enlists him to try and find her killer in an eerie old house, filled with trap doors, secret passages and plenty of eccentric characters. Top Similar From the Brand Reviews Topper Returns

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A mild-mannered clerk who looks exactly like a notorious bank robber becomes the target of police and criminals alike in this fast-paced John Ford comedy-crime tale.

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A timid advertising executive becomes a media sensation when he strikes a deal with a glamorous movie star, setting off a wild satire of celebrity and Madison Avenue.