Black and Tan (1929) is a short film directed and written by Dudley Murphy, and featuring Duke Ellington and His Orchestra, originally released by RKO on 8 December 1929.
The film includes Ellington and his orchestra playing his Black and Tan Fantasy, Black Beauty, and The Duke Steps Out.
On 13 February 2001, Black and Tan was reissued by Kino Video in the DVD collection Hollywood Rhythm Vol. 1.

Wealthy Cynthia is in love with not-so-wealthy Roger, who is married to Marcia. The threesome is terribly modern about the situation, and Marcia will gladly divorce Roger if Cynthia agrees to a financial settlement. But Cynthia's wealth is in jeopardy because her trust fund will expire if she is not married by a certain date. To satisfy that condition, Cynthia arranges to marry Hagon Derk, who is condemned to die for a crime he didn't commit. She pays him so he can provide for his little sister. But at the last minute, Derk is freed when the true criminal is discovered. Expecting to be a rich widow, Cynthia finds herself married to a man she doesn't know and doesn't want to.

这条总路线也被称为“新旧”（Staroye i Novoye），它在一首关于农业集体化进程的史诗般颂歌中阐明了列宁所说的国家从农业文化向工业文化转变的迫切性。

In a juke joint, sharecropper Zeke falls for a beautiful dancer, Chick, but she's only setting him up for a rigged craps game. He loses $100, the money he got for the sale of his family's entire cotton crop. His brother Spunk is mortally wounded in the shoot-out which follows. Zeke goes away but returns as Brother Zekiel the preacher. His forceful preaching draws the faithful in large numbers. Even Chick wants to be saved. Zekiel has asked the pretty Missy Rose to marry him, but Chick can still cast a spell over the preacher...
- Written by David Steele

本片描写希尔维尼亚女王露易斯被法国的雷纳德伯爵的幽默和情深意切打动而下嫁给他，深爱自已的丈夫的她处处迁就他，最后立他为王。整个影片充分调动电影手段并采用后期配音方法，成功地创造了“电影歌剧”这种新样式，在第二届学院（1928-1929）中得到最佳影片、最佳导演、最佳男演员、最佳摄影、最佳设计和最佳录音等六项提名。

The New Babylon is a metaphorical clash of glittering surfaces and deep social cynicism that marked the climax of Grigori Kozintsev and Leonid Trauberg's experimentations with the conventions of the Soviet silent cinema. Taking their thematic inspiration from the story of the Paris Commune of 1871, the two directors fashioned a highly conceptualized allegory of social strata under pressure that transcends its historical roots to form a sardonic comment on the human condition.
The music, by Dimitry Shostakovitch, is also integral to the film's narrative structure. Normally in film, the music serves to compliment or amplify the visual image. The relationship is one of conjunction. In The New Babylon, however, Shostakovitch creates a relationship through the opposition of sound and image. In the music hall scene, for example, the composer interfaces components of the "can-can" and the "Marseillaise" with the vulgar spectacle of the pageant to form a musical comment on the French middle class.
Although the avant-garde aspects of The New Babylon caused it to fall somewhat in disfavor during the regime of Josef Stalin, it is precisely those elements that cause it to remain of interest today. Although ranking somewhat below the pioneering efforts of Sergei Eisenstein and Vsevolod Pudovkin whose theories greatly influenced its creation, The New Babylon still represents an innovative use of the cinema and one of the highpoints of the Soviet silent cinema.

一个名叫霹雳的罪犯被监禁并面临处决。下一间牢房里被关进去的是鲍勃·摩根，一个被陷害的无辜男子，他爱上了霹雳的女友，却不知道他们的关系。霹雳希望能够延迟处决的时间，足够他杀死年轻的摩根，因为他和他的女孩有染。

A prostitute sees a friendly sailor as a way out of Havana's grimy underworld.

Peggy is a Follies dancer who forsakes her life of carefree attachments in order to meet her goal of marrying a millionaire. Alas, her elderly husband, broker C. Morton Gibson, is a well-meaning bore, and soon Peggy begins seeking entertainment elsewhere.
A year after their marriage, three significant events occur almost simultaneously. Peggy's former boyfriend, Paul Lockridge, a composer and pianist who is in love with her and seems to have a funny quip for every occasion, returns from Paris. She reunites with him as he offers her his companionship as a diversion from her stuffy life. Also, Ralph Le Saint, a young devil-may-care sculptor who is still in love with Peggy, plans his suicide in a mood of bitterness, and Gibson's daughter, Marjorie, returns from schooling abroad. Marjorie is soon paired with Ralph, and the romance that develops between them is paralleled by the adult affair between Peggy and Paul.

讲述了一个女伯爵维带着一万法郎拉逃离她的未婚夫奥托王子，来到蒙特卡罗的赌场遇到了一个自称为理发师的男人的故事。

桥爪周二是个穷画家，女儿道子染上重病，正值生死交关之际，却没钱看病，周二遂铤而走险抢钱，与警察们发生追逐。好不容易到家，却被香川刑事尾随而来。其妻真由美为了保护丈夫以及避免女儿受到惊吓，智夺警枪，两方僵持一夜…

The adventures of a cocky con man and his beautiful accomplice.

《舐犊情深》是由金·维多执导，华莱士·比里、Jackie Cooper主演的运动剧情片。
该片讲述了丁克·玻瑟尔的父亲赌马失败后打算重整旗鼓的故事。

一个关于顿巴斯煤矿工人生活的抒情纪录片，他们正在努力达成五年计划下的生产配额。

第一次世界大战中，一名年轻的法国士兵杀死了一名德国士兵，他感到非常内疚，而德国士兵和他一样，都是一名有音乐天赋的应征入伍军人，两人都曾在法国同一所音乐学院就读。 这一事件发生在战争中这一事实并不能减轻他的罪责。 他前往德国会见该男子的家人。

1931年，应苏联导演普多夫金的邀请赴苏联访问了3个月，伊文思在那里做了几十次演讲，并放映了自己的影片，也观看了杜甫仁科等苏联电影工作者的作品。回荷兰后，应“菲利浦电器公司”之请，拍摄了宣传片《工业交响曲》（又名《菲利浦收音机》）。他不顾厂方严格的限制，在影片中揭示了高度机械化劳动对工人的身体和精神造成的损害。

A young couple's marriage is jeopardized by the husband's descent into alcoholism.

昆西教授到贺胥黎大学新任校长，他对于教育的态度是绅士式的，但对自己的儿子弗兰科就不是这样了。弗兰科与学校里的一名寡妇康妮相好。为了在与竞争对手达尔文大学的足球比赛中获胜，弗兰科建议昆西到地下酒吧中招募两名足球好手。不幸的是，昆西认错了人，录用了不合适的巴拉维利和品奇。在得知达尔文大学将用“真正”的足球运动员来打败自己后，昆西让巴拉维利和品奇绑架对手，最终造成了一场无政府主义的足球赛。

Alexander Dovzhenko’s first sound film, revolving around the construction of a giant dam on the Dnieper River, is one of his greatest, though it was poorly received in the Soviet Union when it came out in 1932. It’s only one of the eccentricities of this lyrical and monumental feature that the title refers to three different characters, and it’s telling that the father of one of them, an illiterate peasant who proudly spends his time fishing and loafing while everyone else works, is treated with considerable warmth. (A sequence in which he’s frightened when addressed by an outdoor loudspeaker evokes Chaplin as well as Tati.) As in all of Dovzhenko’s best work, the style veers closer to lyrical poetry (its opening sequence about the river) and portraiture (a later segment introducing us to various workers) than to narrative, though it’s innovative in other respects as well: the final sequence includes some striking jump cuts almost 30 years before Jean-Luc Godard purportedly invented them in Breathless.

Like Fejos' LONESOME, this film shows a creative imagination combined with an undeveloped story sense and a finite talent. The events in the simple plot are telegraphed, repeated, and told very slowly. Poor Marie, hanging out clothes on the line in the front yard at midnight, is offered candy by the fiance of the lady of the house and, presto, comes the dawn. (Presumably the seduction or rape occurred right in the barren front yard, next to the road.) Marie is cast out, and can find little work. Finally, she finds herself at the door of a tavern frequented by prostitutes, facing the ferocious woman who runs the place. She is given a menial job and finds a family in the girls and a mother-figure in the manager. The character of this woman--strong, hard, inexpressive, but compassionate and just--and the actress who plays her, is by far the most complex and interesting aspect of the film. Marie suffers further at the hands of a group of do-gooders, cardboard figures as Fejos' villains tend to be. Finally she goes to a ridiculous, saccharine, kitschy heaven, where she again finds herself washing the floors. It's hard to know just how much Fejos has his tongue in his cheek with this final sequence. In fact, it's hard to pin Fejos down in general. Much of the time he seems simple-minded, even dull, but then he'll come up with an original visual idea or an unexpectedly well-observed moment or character that makes you think he has something after all.
17 November 2001 | by bensonj (New York, NY)