Patton follows the colorful general through World War II from being brought in as a "tank man" by General Omar Bradley (Karl Malden) after the humiliating American disaster at Kasserine Pass to becoming the American command's unchained pit bull as the brazen general barrels his way through El Gitar and Sicily. Then, after Patton's infamous slapping incident, he becomes a decoy man to fool the German high command as the Allies prepare to invade Europe. It all culminates with Patton's command of the Third Army and his army's brilliant race through Germany to end the European war.
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Baby Doll (as she's known) turns out to be a virgin, and Malden's Archie is due to change that on her 20th birthday, which is set to occur in two days. But things take a strange turn when one of Archie's competitors, Silva (Eli Wallach) -- both men are cotton gin owner/operators -- accuses Archie of burning down his gin. As payback, Silva figures he'll take the only thing of value that Archie has: His wife... if you could call her that.
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Dead Ringer is a classic good twin/bad twin murder mystery and identity swap that will keep you on your toes. Davis, directed her by her Now, Voyager co-star Paul Henreid, plays the twins: Edie Phillips, the down-on-her-luck twin who runs a seedy bar in downtown L.A., and Margaret Phillips DeLorca, the just-widowed wife of an outrageously rich Spanish nobleman who lives in an enormous mansion decorated to look like a 17th-century Andalusian monastery. It's ookey and it's spooky.
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Disney's Pollyanna is everything its name would imply, the story of an orphan (Hayley Mills) sent to live with her stern aunt (Jane Wyman) in a small town. Along the way, she cheers up everyone's lives, and Pollyanna's naive lessons on life change everyone, presumably for the better.
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Does Clift confess or does he maintain his vow of silence with respect to confessions of his parishioners? This issue has been studied at length in the Law & Orders of the world, and they all end the same: Priest/lawyer/psychiatrist keeps the vow of silence until the very end, when the accused either comes forward and confesses or is convicted by some other means at the very last second.
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McQueen is the Kid, a young card player who believes he is the best in the country. Edward G. Robinson is the Man, the aging veteran that McQueen must knock off his pedestal. McQueen is cocky, confident, appealing, and fundamentally decent; Robinson is complex and opaque, with one of the greatest poker faces in cinema. The inevitable showdown between the two is a battle of wills and nerve which lasts a night, most of the next day and another night.
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