Hugh Allan
1903 - 1997Birds of Prey
William James Craft
Priscilla Dean, Hugh Allan
Helen Wayne and Archie Crossley, two clever pickpockets, rob J. Hamilton Smith, a well-known metropolitan banker, and he is later recognized by one of their gang as a former prisonmate; they demand a price for their silence, and he is forced to accede.
Birds of Prey
Annapolis
Christy Cabanne
Johnny Mack Brown, Jeanette Loff
Bill is a young man who arrives at the Naval Academy in Annapolis. He is an incorrigible know-all, and emerges a sober man. Meanwhile, Bill is accused of a crime committed by his friend, and because he doesn't squeal, he wins the heart and hand of the blond Betty. She is his friend's girl.
Annapolis
Wild Beauty
Henry MacRae
Rex, Hugh Allan
A soldier returns home from World War I with a beautiful black horse that he saved on the battlefield, and names Thunderhoof. He enters the horse in a local race, hoping to earn enough money to save the family ranch of the girl he loves. However, the crooks intent on taking the ranch manage to capture a notorious wild horse and enter it in the same race, believing that it can beat Thunderhoof and thereby ensure that they're able to take the ranch.
Wild Beauty
Good Time Charley
Michael Curtiz
Warner Oland, Helene Costello
Song-and-dance man Charles Edward Keene (Good Time Charley) is bereft when his wife, Elaine, dies as a result of a fall incurred trying to evade the advances of Hartwell, her manager. Years later, his daughter, Rosita, becomes an overnight sensation as a result of her cafe act under Hartwell's management, and Charley is given a bit part in the show at her request.
Good Time Charley
Beware of Married Men
Archie Mayo
Irene Rich, Clyde Cook
A press sheet printed in Exhibitors Herald and Moving Picture World in 1928 put forth the suggestion that “people in the need of a good hearty laugh should take this opportunity of getting it” by seeing a newly released comedy by Warner Bros., suggestively entitled Beware of Married Men. Since director Archie Mayo (The Petrified Forest) helmed this feature during the dying days of the silent era, the studio sought to enhance its commercial viability by embellishing the shot-silent picture with a synchronized music and effects soundtrack using the Vitaphone sound-on-disc system. Ultimately, these efforts went for naught, as the picture failed at the box office and quickly disappeared from theaters.
Beware of Married Men
