A Scoutmaster falls for a beautiful young carhop, but finds that a beefy traffic cop is also courting her--and he doesn't want any competition.

Jeff wants to get married to Virginia, but Virginia won't marry until her older, hard-to-please sister Angelica gets married off first. Jeff pretends that a shy, never-married nobody he has just met is really a great lover, in order to get Angelica interested in him.

Naval recruit Elmer is seemingly unable to discharge any of his duties without making life miserable for his irascible commanding officer, who winds up getting doused with paint, splattered with muck, and repeatedly tossed into the water due to Elmer's ineptitude. To make matters worse, Elmer takes a shine to the CO's girlfriend, which prompts her jealous boyfriend into several wrathful chases after Elmer. He eventually has Elmer locked in the brig -- but his girlfriend is in there too, so she can be together with her beloved Elmer.

Elmer Tuttle, a plumber in Paris, is enlisted by beautiful Patricia Alden to help her make her lover Tony Lagorce jealous. Tony, however, is two-timing Patricia with Nina Estrados. Elmer, with the help of his friend Julius, hopes to use the high-society contacts he's made with Patricia to find a market for his new invention, a pistol with a range-finding light. But Elmer's attempts to interest a military leader are mistaken for assassination attempts, and with Tony and half the male uppercrust of France challenging Elmer to duels, he is in hot water not even his plumbing skills can drain away. Written by Jim Beaver ---------imdb

A train known as the Iron Mule is loaded with passengers, and starts off on its trip. Along the way, the train faces numerous obstacles and delays. The engineer is prepared for most of them, but the real challenges come when the train is ambushed by Indians.

由马克吐温的作品改编的电影有七百多部，仅哈克芬就有五六个版本。这个1960年上映的版本来看。跟《汤姆索亚历险记》比起来，哈克芬明显背景浓厚的多。汤姆顶多需要对付一下唠叨的波利姨妈，翘课逃学离家出走追女孩，一个典型的叛逆期小孩； 而哈克则要受父亲打骂，带着一个逃跑的黑人奴隶跟几乎所有遇到的大人们斗智斗勇，要不是有点儿小聪明，早就小命呜呼了。那个时期美国奴隶解放运动的社会背景像是一块巨大的乌云随时笼罩着哈克的历险。 哈克在顺利帮助吉姆到达了已经废除奴隶制的州之后，又沿着密西西比河顺流而下了，去他的梦想之地，新奥尔良。也许，他会成为一个很出色的船长。

Comedy short produced by the Construction Safety Association of Ontario, Canada. It demonstrates the dos and don'ts of construction site safety. The film is the last professionally filmed footage of film legend Buster Keaton, shot months before his death from lung cancer on February 1, 1966. He recreates several routines from his youth, as well as some new material for the film. Most notable was his recreation of a gag from his 1918 film The Bell Boy in which he mops the floor using only the tip of the mop, little by little while sitting on the floor.

The brilliantly designed, one-of-a-kind film manages to create legitimate speaking parts for six dozen famous actors and actresses. The 1943 production, designed to boost British morale during the War, explores the experiences of a family through several generations. Also written and directed by teams of talented screenwriters and directors, the 106 minute film is remarkably coherent and engaging, and, of course, the steady parade of stars doing their thing (Buster Keaton as an inept plumber; Eric Blore as a smarmy butler, Charlie Ruggles as a concerned father, Claude Rains as a villainous suitor, and so on, and so on) is an utter delight. The black-and-white source material is somewhat worn down, with numerous scratches and other markings. The image is reasonably sharp most of the time and contrasts are fairly well defined, even when parts of the picture appear grainy. The film’s condition tends to reinforce its wartime origins and does not present an insurmountable detriment to the entertainment. The monophonic sound is adequate and the film is not captioned.

The film is a documentary about the filming of one of Buster Keaton's movies: "The Railrodder (1965)"

Elmer Butts is a contestant in a radio amateur hour show hoping to win the first price... by dancing and juggling!

Two co-workers in a music shop dislike one another during business hours but unwittingly carry on an anonymous romance through the mail.

A rare film from First National set a gala celebrity banquet and promoting the releases of several then upcoming films including The Pilgrim (1923), The Balloonatic (1923) and Day Dreams (1922).

In Paris, a stage-struck would-be actor is mistaken for an escaped convict.

If it distresses you to see an aging genius like Buster Keaton in beer commercials and beach party movies, The Awakening, an episode of Douglas Fairbanks Jr.'s Rheingold Theatre series, is a good antidote. In one of the few purely dramatic roles of his career, Keaton stars in a dark political allegory that, while verging on heavy-handedness, is handsomely produced, excellently acted, and genuinely moving. Based on Gogol's short story "The Overcoat" (translated here as "The Cloak") The Awakening is set in a dystopia strongly reminiscent of Orwell's 1984, a dreary threadbare world dominated by a smiling Chief pictured in ubiquitous posters trumpeting "He cares." Buster plays a clerk in the Office of Records, which assigns complex numbers to all human problems. His nameless character's decision to purchase a splendid new overcoat, which is then stolen, leads him to rebel against a system that has no genuine compassion. Buster Keaton was Fairbanks's first and only choice to play the lead, and his performance fully merits Fairbanks's praise of him as a "beautiful actor." While the drama is basically all talk and no action, Keaton has some extremely eloquent wordless moments. Watch the way he registers his hurt feelings when a pretty young woman laughs at his tattered overcoat. His development from a meek and unquestioning drone to a passionate rebel is subtly conveyed and as convincing as his transformation, in his great silent movies, from timid incompetent to dashing hero. The entire cast is flawless; Carl Jaffe is particularly good as the intense and slightly sinister tailor who talks Keaton's character into buying the new coat. Though Keaton's American accent stands out among the English and European actors, the effect isn't jarring; it works with his character's lowly status and with his lonely rebellion. His hoarse yet surprisingly forceful voice perfectly suits a humble everyman who is roused to defiance. At the end of the drama, Keaton delivers a harangue not unlike Chaplin's in The Great Dictator, against the heartlessness of a world that reduces people to numbers. Keaton delivers the speech with anger and desperation that save it from pomposity or sentimentality. Another actor playing his role might easily have become mawkish, but as in his own movies, Buster never appeals for pity. His weathered face, impassive at first glance but subtly conveying depths of feeling, is ideal for the part and deeply touching. The Awakening is included in Kino's "Keaton Plus" DVD, in a pristine print including Douglas Fairbanks Jr.'s introductory and concluding remarks. It reveals Keaton's versatility, and belies the notion that his later years were devoted to hackwork. In fact, his television work is often funnier than his films of the thirties and forties, and he looks a lot happier in it. Buster was always totally committed to every project he undertook, and this one is worthy of his participation.