An intoxicating blend of wartime romance and brightly colored musical, the film depicts an original world "where Bresson meets the Beatles" (Variety).

One of Hollywood's earliest -- and most peculiar -- musicals, The Great Gabbo stars von Stroheim as an egotistical ventriloquist who casts a Svengali-like spell upon an ingenue (Betty Compson), against a backdrop of singularly strange numbers (including "Icky" and the spider-and-fly-themed "Caught in a Web"). Director James Cruze (The Covered Wagon) allowed von Stroheim to endow the character with his signature flourishes, resulting in a wicked cocktail of garish stage shows and Austro-Hungarian villainy that is a diabolical delight.

Legendary director Douglas Sirk's (Written on the wind, Imitation of life) La Habanera is a lushly poetic and boldly modern musical drama decades ahead of its time. Working at Germany's famed UFA Studios (Metropolis), under the very noses of the Nazi authorities that would later force him into Hollywood exile and eminence, Sirk transformed a glossy musical vehicle for UFA's "new Garbo" Zarah Leander into a dark and intimate anti-colonial melodrama. Desperate to escape the "cold Swedish minds" of her homeland, beautiful Astree (Leander) falls under the enchanting spell of the Caribbean love serenade "La Habanera" and into the arms of Puerto Rican land baron Don Pedro de Avila (Ferdinand Marian). But ten years later, when Astree's old flame Dr. Sven Nagel (Karl Martell) arrives in Puerto Rico on an errand of mercy, all is far from heavenly. Astree is trapped in a loveless marriage to Don Pedro and the island wind that once conveyed the music of romance now carries death in the form of an outbreak of airborne tropical fever. While racing to find a cure for Astree's fever stricken son, Dr. Nagel must elude both the island authorities that would have him jailed for revealing their fatal cover-up and a psychotically jealous Don Pedro who would rather see Astree dead than reunited with her lost love. Douglas Sirk gilds La Habanera with all the dazzling compositions, swooping camera work, and ravishing but doomed characters that distinguish his revered 1950s Universal melodramas. Coolly precise yet extravagantly emotional, La Habanera is the work of an assured cinematic poet and compelling tragedian already at the peak of his skill.

A live recording of Cream's final concert at the Royal Albert Hall on November 26, 1968.

A vibrant chronicle of one of today's most notorious and revered live bands, this film follows Eugene Hutz's gypsy-punk brigade around the world as they spread their liberating libertine musical gospel. Hutz fuses his gypsy heritage with a love of punk rock and burlesque.

Lost in the stars transforms Alan Paton's world famous novel of racial oppression, Cry the beloved country, into a tragic and beautiful film musical unlike any you've ever seen.

Before James Cameron's 1997 blockbuster Titanic, the Hollywood Titanic of 1953, the 1958 British film A night to remember, and the 1997 Broadway musical Titanic, there was the Nazi German film Titanic. A Tobis production begun in 1942, this production nearly sank as decisively as the doomed ocean liner. The film's director, Herbert Selpin, infuriated with the slow second-unit shooting in the port of Gdynia, was overheard making remarks damning the German army. Reported to the Gestapo, Selpin was arrested and later found hanging in his prison cell, the victim of an arranged "suicide. "In April, 1943, the film was banned by the Berlin censors for German release because of its terrifying scenes of panic, all too familiar to German civilians undergoing nightly Allied bombing raids. After extensive cutting, Titanic was released in occupied Paris and a few army installations. The film was seen in Germany finally in late 1949, but banned a few months later in the Western sectors (though not in the Soviet zone, because of its unmistakable anti-British-capitalist theme). Technically, this Titanic is an excellent catastrophe film; its shots of the ship sinking were later used by the 1958 British film without credit. Somewhat true to the facts, though peppered with fictional good Germans both on and below deck, in steerage, the film ends with a trial scene that aquits the White Star Line management, followed by a final slide denouncing England's "eternal quest for profit." These packed a powerful propaganda punch; cut from the postwar prints, they have been restored for this version.