Need to raise money for your group or charitable event? Contact Fourth St. Theater about hosting a movie night! You choose your movie and night, then sell tickets. You set your own pricing for your fundraiser. Sell 50 tickets at $10 each and you get $500 in one fun night! We’ll man the concession stand and sell popcorn, hotdogs, nachos, pizza, candy and more (to cover our expenses). Fourth St. hosts your movie and you keep the profits!
Our Current Film List
(All movies include a newsreel and animated short from the same time period!)
ALICE OF WONDERLAND IN PARIS (1966)
After Wonderland, Alice dreams of going to Paris. A mouse named Francois, the grandson of Anatole, agrees to take her there if she will tell him her favorite cheese. Along the way they share several stories.
The film includes brief adaptations of five short stories:
- Eve Titus’ Anatole
- Ludwig Bemelmans’ Madeline and the Bad Hat
- Crockett Johnson’s The Frowning Prince
- James Thurber’s Many Moons
- Ludwig Bemelmans’ Madeline and the Gypsies.
Rated G – 52 minutes
ANGEL AND THE BADMAN (1947)
One of John Wayne’s most mystical films, Angel and the Badman is also the first production that Wayne personally produced. The star plays a wounded outlaw who is sheltered by a Quaker family. Attracted to the family’s angelic daughter Gail Russell, the hard-bitten Wayne undergoes a slow and subtle character transformation; still, he is obsessed with killing the man (Bruce Cabot) who murdered his foster father. The storyline traces not only the regeneration of Wayne, but of the single-minded sheriff (Harry Carey) who’d previously been determined to bring Wayne to justice.
Rated PG – 100 minutes
BABES IN TOYLAND (1934)
Two bumbling apprentices to the master toymaker of Toyland try to raise money to help Little Bo-Peep and her sweetheart Tom-Tom. Starring Stan Laurel and Oliver Hardy.
Although the 1934 film makes use of many of the characters in the original play, as well as several of the songs, the plot is almost completely unlike that of the original stage production. In contrast to the stage version, the film’s story takes place entirely in Toyland, which is inhabited by Mother Goose (Virginia Karns) and other well known fairy tale characters.
Not Rated – 77 minutes
THE BELLS (1926)
The play The Bells (based on the French Le Juif Polonais) was brought to the screen in 1926. Lionel Barrymore plays a merchant who murders a Jewish entrepreneur and appropriates the dead man’s fortune. Though no evidence exists to convict him, Barrymore cannot escape his own conscience due to the intervention of a mentalist. Whenever he hears the pealing of church bells, Barrymore is haunted by images of his crime and his victim. Of interest is the appearance of Boris Karloff, in Caligariesque makeup as the mesmerist.
Not Rated – 92 minutes long
THE BRAIN THAT WOULDN’T DIE (1962)
When a wild-eyed surgeon accidentally decapitates his pretty fiancee in a car accident, he rushes her head to his secret laboratory, where he connects it to a flimsy-looking life-support apparatus and sets out immediately to find a suitable body in various strip-clubs and girlie shows. Meanwhile, the revived head is busily conspiring telepathically with a grunting “thing” locked away in the closet, planning revenge on her mad-doctor boyfriend.
Rated PG – 92 minutes long
CARNIVAL OF SOULS (1962)
Mary Henry is enjoying the day by riding around in a car with two friends. When challenged to a drag, the women accept, but are forced off a bridge. It appears that all are drowned, until Mary, quite some time later, amazingly emerges from the river. After recovering, Mary accepts a job in a new town as a church organist, only to be dogged by a mysterious phantom figure that seems to reside in an old run-down pavilion. It is here that Mary must confront the personal demons of her spiritual insouciance.
Rated R – 80 minutes
Charade is a 1963 American romantic comedy mystery film directed by Stanley Donen, written by Peter Stone and Marc Behm, and starring Cary Grant and Audrey Hepburn. The cast also features Walter Matthau, James Coburn, George Kennedy, Dominique Minot, Ned Glass, and Jacques Marin. It spans three genres: suspense thriller, romance and comedy.
The film is notable for its screenplay, especially the repartee between Grant and Hepburn, for having been filmed on location in Paris, for Henry Mancini’s score and theme song, and for the animated titles by Maurice Binder. Charade has received generally positive reviews from critics, and was additionally noted to contain influences of genres such as whodunit, screwball and spy thriller. It has also been referred to as “the best Hitchcock movie that Hitchcock never made”.
Rated G – 1 hour 55 minutes
THE CURIOUS ADVENTURES OF MR. WONDERBIRD (1952)
Based on a story by Hans Christian Anderson (The Sheperdess & the chimney-Sweep), Mr. Wonderbird (Sir Peter Ustinov) tells the story of two lovers who flee their two dimensional painting and are then hunted by a mean-spirited King.
No Rating – 63 minutes
CYRANO DE BERGERAC (1950)
Recreating his stage role, Jose Ferrer stars as Edmond Rostand’s Cyrano, a 17th-century French cavalier, poet and swordsman whose prominent proboscis is the subject of many a duel. Cyrano is madly in love with the beautiful Roxanne (Mala Powers), but assumes that she’d never love him back due to his cathedral of a nose. Roxanne is also loved by the handsome Christian (William Prince), who unfortunately can’t put two consecutive words together when it comes to pitching woo. Cyrano agrees to help Christian win Roxanne by feeding him the right words for his midnight courtships and love letters; in this way, Cyrano can vicariously express his own ardor for the fair lady. Years later, Cyrano’s deception is revealed, and he dies happily in the arms of his beloved Roxanne, who realizes that she has really loved Cyrano all along–by way of Christian.
Not Rated – 112 minutes
DEMENTIA 13 (1963)
A series of axe murders is extinguishing the members of an Irish family one by one, and the motive turns out to be a large inheritance. The first quasi-mainstream film directed by Francis Ford Coppola, Dementia 13 was produced and financed by Roger Corman. Corman also allowed Coppola the use of several of the stars of Corman’s contemporary film The Young Racers.
No Rating – 75 minutes
A struggling New York nightclub pianist decides to hitchhike cross country to meet his aspiring actress girlfriend, but when the mysterious sleazy gambler he’s traveling with suddenly dies, he assumes the dead man’s identity and falls into a cavalcade of blackmail.
Detour is a 1945 American film noir directed by Edgar G. Ulmer starring Tom Neal and Ann Savage and released by the Producers Releasing Corporation, one of the so-called Poverty Row film studios in mid-twentieth century Hollywood.
In 1992, Detour was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.”
No Rating – 67 minutes
A FAREWELL TO ARMS (1932)
A tale of the love between ambulance driver Lt. Henry and Nurse Catherine Barkley during World War I. The action takes place in Italy and the two fall in love during the war and will stop at nothing to be together.
No Rating – 80 minutes
FATHER’S LITTLE DIVIDEND (1951)
This sequel to the 1950 comedy hit Father of the Bride finds Spencer Tracy and Joan Bennett returning as Stanley and Ellie Banks, the parents of newlywed Kay Dunstan (Elizabeth Taylor). In the first film, Stanley Banks was forced to endure the chaotic events leading up to the wedding. This time, he must comes to grips with the prospect of becoming a grandfather. Once he’s reconciled himself to this jolt of mortality, Stanley must contend with the little bundle of joy, who screams his head off every time Grandpa comes near him.
No Rating – 82 minutes
THE GENERAL (1926)
Buster Keaton plays Johnny Gray, a Southern railroad engineer who loves his train engine, The General, almost as much as he loves Annabelle Lee (Marion Mack). When the opening shots of the Civil War are fired at Fort Sumter, Johnny tries to enlist — and he is deemed too useful as an engineer to be a soldier. All Johnny knows is that he’s been rejected, and Annabelle, thinking him a coward, turns her back on him. When Northern spies steal the General (and, unwittingly, Annabelle), the story switches from drama and romance to adventure mixed with Keaton’s trademark deadpan humor as he uses every means possible to catch up to the General, thwart the Yankees, and rescue his darling Annabelle — for starters.
As always, Keaton performs his own stunts, combining his prodigious dexterity, impeccable comic timing, and expressive body language to convey more emotion than the stars of any of the talkies that were soon to dominate cinema.
No Rating – 79 minutes
THE GOLD RUSH (1925)
During the Gold Rush, prospectors brave Alaska’s dangerous Chilkoot Pass, hoping to strike it rich in the snowy mountains. Just as Big Jim McKay discovers gold on his claim, a storm arises, prompting a Lone Prospector to take refuge in a cabin. Unknown to him, the cabin’s occupant is desperado Black Larsen, who attempts to throw the vagabond Prospector out. Strong winds, however, repeatedly blow the little man back inside, and soon after, Jim is also swept into the cabin. Jim fights with Larsen over his shotgun, and after Jim prevails, the Prospector claims him as a close friend in order to remain safe. Over the next few days, the three men live together uneasily, their hunger growing as the storm rages on.
Rated G – 85 minutes
GULLIVER’S TRAVELS (1939)
1939 cel-animated Technicolor feature film directed by Dave Fleischer and produced by Max Fleischer for Fleischer Studios, based upon the Lilliputian adventures of Gulliver as depicted in Jonathan Swift’s 18th century novel. Produced as an answer to the success of Walt Disney’s box-office hit Snow White and the Seven Dwarfs of 1937, Gulliver was only the second cel-animated feature film ever released, and the first produced by an American studio other than Walt Disney Productions.
No Rating – 74 minutes
HIS GIRL FRIDAY (1940)
The second screen version of the Ben Hecht/Charles MacArthur play The Front Page, His Girl Friday changed hard-driving newspaper reporter Hildy Johnson from a man to a woman, transforming the story into a scintillating battle of the sexes. Rosalind Russell plays Hildy, about to foresake journalism for marriage to cloddish Bruce Baldwin (Ralph Bellamy). Cary Grant plays Walter Burns, Hildy’s editor and ex-husband, who feigns happiness about her impending marriage as a ploy to win her back. The ace up Walter’s sleeve is a late-breaking news story concerning the impending execution of anarchist Earl Williams (John Qualen), a blatant example of political chicanery that Hildy can’t pass up. The story gets hotter when Williams escapes and is hidden from the cops by Hildy and Walter–right in the prison pressroom. His Girl Friday may well be the fastest comedy of the 1930s, with kaleidoscope action, instantaneous plot twists, and overlapping dialogue. And if you listen closely, you’ll hear a couple of “in” jokes, one concerning Cary Grant’s real name (Archie Leach), and another poking fun at Ralph Bellamy’s patented “poor sap” screen image.
Rated PG – 92 minutes
THE HITCH-HIKER (1953)
The Hitch-Hiker is a 1953 film noir directed by Ida Lupino, about two fishing buddies who pick up a mysterious hitchhiker during a trip to Mexico. Inspired by the crime spree of the psychopathic murderer Billy Cook (1928–1952), the screenplay was written by Robert L. Joseph, Lupino, and her former husband Collier Young, based on a story by blacklisted Out of the Past screenwriter Daniel Mainwaring (who did not receive screen credit).
The Hitch-Hiker is regarded as the first American mainstream film noir directed by a woman and was selected in 1998 for preservation in the United States National Film Registry as being “culturally, historically or aesthetically significant.”
Rated PG-13 – 1 hour 11 minutes
THE HUNCHBACK OF NOTRE DAME (1923)
This second film version of the Victor Hugo novel Notre Dame de Paris (the first was a Theda Bara vehicle, The Dancer of Paris) was a super-duper-spectacular as only Hollywood of the 1920s could make them, but it is never so large that it dwarfs the contribution of its star, Lon Chaney. As the hunchbacked bellringer Quasimodo, Chaney adorned himself with a special device that made his cheeks jut out grotesquely; a contact lens that blanked out one of his eyes; and, most painfully, a huge rubber hump covered with coarse animal fur and weighing anywhere from 30 to 50 pounds. While Quasimodo is but one of many interconnecting characters in the original Hugo novel, he dominates the narrative of this expensive Universal production. Set in the walled city of Paris in the 16th century, the story is set in motion when the evil Jehan (Brandon Hurst), brother of saintly Notre Dame archdeacon Dom Claude (Nigel De Brulier), orders the dog-like Quasimodo to attempt to kidnap gypsy girl Esmeralda (Patsy Ruth Miller). Quasimodo is captured and flogged for his crime, whereupon Esmeralda shows him kindness by offering him water. He reciprocates when Esmeralda, framed on a murder charge by the obsessed Jehan (if he can’t have her, no one can), is sentenced to be hanged. Quasimodo grabs a rope and swings down from the towers of Notre Dame, rescues Esmeralda from the gallows, and carries her into the church, shouting “Sanctuary! Sanctuary!” Through a series of convoluted plot twists, Clopin (Ernest Torrence), the king of beggars, leads an army of the Parisian poor to storm the gates of the cathedral and reclaim Esmeralda. Quasimodo defends both the girl and his church by tossing heavy objects and pouring molten lead upon the invaders. This climactic scene was filmed at night, requiring the services of literally every arc light in Hollywood.
Rated PG – 100 minutes
THE KID (1921)
Chaplin’s first full-length feature is a silent masterpiece about a little tramp who discovers a little orphan and brings him up but is desolate when the orphanage reclaims him Chaplin directed, produced and starred in the film, as well as composed the score.
This was Chaplin’s first full-length film as a director. It was a huge success, and was the second-highest-grossing film in 1921, behind The Four Horsemen of the Apocalypse.
In 2011, The Kid was selected by preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.”
Innovative in its combination of comedic and dramatic elements, The Kid is widely considered one of the greatest films of the silent era.
No Rating – 60 minutes
THE LAST MAN ON EARTH (1964)
In a post-epidemic nightmare world, scientist Robert Morgan (Vincent Price) is the only man immune to the plague which has transformed the entire population of the Earth into vampire-like creatures. He becomes the monster slayer that vampire-society fears. Curing one of them, Ruth (Franca Bettoja), with a transfusion of his blood gives him hope for the future. It is a short future, however, since the other vampires quickly find and kill him. This dark tale, based on Richard Matheson’s even darker novel “I Am Legend,” was later remade as The Omega Man with Charlton Heston in the Vincent Price role.
Not Rated – 86 minutes
THE LAST TIME I SAW PARIS (1954)
Reporter Charles Wills (Van Johnson), in Paris to cover the end of World War II, falls for the beautiful Helen Ellswirth (Elizabeth Taylor) following a brief flirtation with her sister, Marion (Donna Reed). After he and Helen marry, Charles pursues his novelistic ambition while supporting his new bride with a deadening job at a newspaper wire service. But when an old investment suddenly makes the family wealthy, their marriage begins to unravel — until a sudden tragedy changes everything.
No Rating – 116 minutes
THE LITTLE PRINCESS (1917)
This adaptation of Frances Hodgson Burnett’s frequently filmed children’s classic stars Mary Pickford. When her wealthy father marches off to war, little Sarah is left in a girl’s boarding school. News arrives that Sarah’s daddy is killed, whereupon the school’s cruel headmistress forces Sarah to work as a servant.
No Rating – 50 minutes
THE LITTLE PRINCESS (1939)
A poor but proud girl searches army hospitals for her father, reported dead in the Boer War.
The Little Princess is a 1939 American drama film starring Shirley Temple. The film was her first movie to be filmed completely in Technicolor. It was also her last major success as a child star.
Although it maintains the novel’s Victorian London setting, the film introduces several new characters and storylines and uses the Second Boer War and the Siege of Mafeking as a backdrop to the action.
Temple and Arthur Treacher have a musical number together, performing the song “Knocked ‘Em in the Old Kent Road.” Temple also appears in an extended ballet sequence.
Rated G – 1 hour 33 minutes
THE LITTLE SHOP OF HORRORS (1960)
Seymour Krelboin works in the Skid Row flower shop owned by Mr. Mushnik. In his spare time, Seymour creates a new plan species he names Audrey Junior in honor of his girlfriend Audrey. Audrey Junior begins speaking and demands to be fed human blood and flesh, convincing Seymour to kill a railroad detective, a sadistic dentist and a trollop. Seymour’s guilt over the deaths forces him to face Audrey Junior in a final confrontation.
The film employs an original style of humor, combining black comedy with farce and incorporating Jewish humor and elements of spoor. The Little Shop of Horrors was shot on a budget of $28,000, with interiors being shot in two days utilizing sets that had been left standing from A Bucket of Blood.
The film slowly gained a cult following and was the basis for an an off Broadway musical, Little Shop of Horrors, which was made into a 1986 feature film and enjoyed a 2003 Broadway revival.
Rated R – 1 hour 12 minutes
THE LODGER: THE STORY OF THE LONDON FOG (1928)
While the silent The Lodger was not director Alfred Hitchcock’s first film, it was the first to truly deserve the designation “A Hitchcock Picture”. British matinee idol Ivor Novello plays Jonathan Drew, a quiet, secretive young man who rents a room in a London boarding house. Drew’s arrival coincides with the reign of Terror orchestrated by Jack the Ripper. As the film progresses, circumstantial evidence begins to mount, pointing to Drew as the selfsame Ripper.
No Rating – 91 minutes
This is the story of the cantankerous cattle baron whose wife has just returned from the east after a two-year separation. This refined lady wants a divorce and custody for their 17-year-old daughter, who has been away at school and holds her mother’s distaste for all things “Western.”
Loosely based on William Shakespeare’s The Taming of the Shrew, McLintock! was filmed in Technicolor and Panavision.
No Rating – 2 hours 7 minutes
MY FAVORITE BRUNETTE (1947)
Awaiting execution, Ronnie Jackson (Bob Hope) tells the gathered reporters how he got into his present predicament. It seems that Jackson was once a baby photographer, his office adjacent to the one leased by a private detective. Jackson’s trouble begins when he is mistaken for the detective by beautiful client Carlotta Montay (Dorothy Lamour).
Rated PG – 85 minutes long
NIGHT OF THE LIVING DEAD (1968)
Night of the Living Dead has been regarded as a cult classic by film scholars and critics, despite its being heavily criticized upon its release for its explicit gore. It eventually garnered critical acclaim and has been selected by the Library of Congress for preservation in the National Film Registry, as a film deemed “culturally, historically, or aesthetically significant.
Rated R (violence, language, nudity) – 90 minutes
THE PHANTOM OF THE OPERA (1926)
Lon Chaney stars as Erik, the Phantom, in what is probably his most famous and certainly his most horrifying role. Produced by Universal, the film shot in 1923 and shelved for nearly two years, and was subjected to intensive studio tinkering. While many expected a disaster, the film turned out to be a rousing success. It was both the stepping off point for Chaney’s run as a superstar at MGM and the prototype for the horror film cycle at Universal in the 1930s. The story concerns Erik, a much-feared fiend who haunts the Paris Opera House. Lurking around the damp, dank passages deep in the cellars of the theater, he secretly coaches understudy Christine Daae (Mary Philbin) to be an opera star. Through a startling sequence of terrors, including sending a giant chandelier crashing down on the opera patrons, the Phantom forces the lead soprano to withdraw from the opera, permitting Christine to step in. Luring Christine into his subterranean lair below the opera house, the Phantom confesses his love. But Christine is in love with Raoul de Chagny (Norman Kerry). The Phantom demands that Christine break off her relationship with Raoul before he’ll allow her to return to the opera house stage. She agrees, but immediately upon her release from the Phantom’s lair, she runs into the arms of Raoul and they plan to flee to England after her performance that night. The Phantom overhears their conversation and, during her performance, the Phantom kidnaps Christine, taking her to the depths of his dungeon. It is left to Raoul and Simon Buquet (Gibson Gowland), a secret service agent, to track down the Phantom and rescue Christine.
Not Rated – 79 minutes
ROAD TO BALI (1952)
The sixth of the “Road” series of films featuring Bob Hope and Bing Crosby, this film is loaded with guest stars. The two guys both fall for lovely Dorothy Lamour in this frolicking story, which finds them trying their hand at deep-sea diving, fighting cannibals, and dodging Amazonian women.
Rated G – 90 minutes
SANTA CLAUS CONQUERS THE MARTIANS (1964)
The biggest, most brightly-wrapped gift under the colorful Christmas tree is the unforgettable 1964 B-movie Santa Claus Conquers the Martians, best known as the screen debut of actress/singer Pia Zadora. Martians come to Earth to kidnap Santa Claus because there is no one on Mars to give their children presents. Earth kids Billy and Betty set out to save Santa and return him to Earth. The film is a baffling mixture of sci-fi, Christmas cheer and childish slapstick, all filmed in garish (or as the poster says, “Space-Blazing”) color.
Rated PG – 81 minutes
Starring Seymour Hicks as the title character, Scrooge is a faithful adaptation of the classic Charles Dickens’ novel A Christmas Carol about a heartless miser who discovers the true meaning of Christmas when three ghosts visit him on Christmas Eve. Hicks co-wrote the screenplay to this film, which is a thoroughly entertaining and effective retelling of a familiar story.
Not Rated – 61 minutes
THE STRANGE LOVE OF MARTHA IVERS (1946)
In The Strange Love of Martha Ivers, relationships formed in childhood lead to murder and obsessive love. The wealthy Martha Ivers (Barbara Stanwyck) is the prime mover of the small Pennsylvania town of Iverston. Martha lives in a huge mansion with her DA husband, Walter O’Neil (Kirk Douglas), an alcoholic weakling.
No one knows just why Martha and Walter tolerate one another….but Sam Masterson (Van Heflin), an Iverstown boy who returns to town, may just have a clue. At least that’s what Martha thinks when Sam asks Walter to intervene in the case of Toni Marachek (Lizabeth Scott), who has been unjustly imprisoned. It seems that, as a young boy, Sam was in the vicinity when Martha’s rich aunt (Judith Anderson) met with her untimely demise. What does Sam know? And what dark, horrible secret binds Martha and Walter together?
Rated PG – 116 minutes
TILL THE CLOUDS ROLL BY (1946)
Till The Clouds Roll By is a 1946 Technicolor American musical film produced by Metro-Goldwyn-Mayer. It is a fictionalized biopic of composer Jerome Kern, portrayed by Robert Walker. Kern was originally involved with the production, but died before it was completed.
It has a large cast of well-known musical stars of the day who appear performing Kern’s songs.
The film was the first in a series of MGM biopics about Broadway’s composers; it was followed by Words and Music (Rodgers and Hart, 1948), Three Little Words (Kalmar and Ruby, 1950), and Deep in My Heart (Sigmund Romberg, 1954).
Rated PG – 2 hours 17 minutes
TOPPER RETURNS (1941)
The third of producer Hal Roach’s Topper films, this entry stars Roland Young as banker Cosmo Topper, who gallantly offers a lift to pretty hitchhikers Joan Blondell and Carole Landis. Blondell and Landis are en route to a chilly old mansion, which is populated by all manner of sinister types.
Not Rated – 87 minutes
VENGEANCE VALLEY (1951)
The old “Cain and Abel” plot device is redefined within Western terms in MGM’s Vengeance Valley. Burt Lancaster stars as ranch-hand Owen Daybright, who has been raised as a son by rancher Arch Stroble (Ray Collins). Stroble’s natural son Lee (Robert Walker) has always been envious of Owen, who in turn has spent most of his life pulling Lee out of trouble and keeping the boy’s misdeeds a secret from the elder Stroble. When Lee fathers an illegitimate child, he tries to shift the responsibility on Owen, leading to a life-threatening confrontation with the vengeance-seeking brothers of the baby’s mother (Sally Forrest). There’s plenty more plot twists before virtue finally triumphs. Joanne Dru co-stars as Lee’s long-suffering wife Jen, who harbors a secret yen for Owen.
Rated PG – 82 minutes
WHITE ZOMBIE (1932)
The homicidal madman ruling over a tiny tropical island helps a wealthy fellow claim an unwilling girl by turning her into a living-dead zombie but ultimately decides to keep her for himself. This ghoulish, still-chilling low-budget classic is drenched in atmosphere and boasts one of Bela Lugosi’s finest performances.
Rated G – 73 minutes