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Resisting The Moon A Royal Shifters Novel LP Dover PDF Download

Resisting The Moon is a Royal Shifters novel centered around Tyla Rand, a member of a royal pack facing danger as wolves from her past go missing. With the help of Sebastian Lyall, a royal she despises, Tyla embarks on a perilous journey that reveals hidden desires and threats from her past. The story explores themes of love, loyalty, and the struggle for survival in a world where death looms ever closer.

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100% found this document useful (1 vote)
62 views51 pages

Resisting The Moon A Royal Shifters Novel LP Dover PDF Download

Resisting The Moon is a Royal Shifters novel centered around Tyla Rand, a member of a royal pack facing danger as wolves from her past go missing. With the help of Sebastian Lyall, a royal she despises, Tyla embarks on a perilous journey that reveals hidden desires and threats from her past. The story explores themes of love, loyalty, and the struggle for survival in a world where death looms ever closer.

Uploaded by

dirzoebarbbs
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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A Royal Shifters novel
FOREVER FAE SERIES
Forever Fae (Forever Fae #1)
Betrayals of Spring (Forever Fae #2)
Summer of Frost (Forever Fae #3)
Reign of Ice (Forever Fae #4)

SECOND CHANCES SERIES


Love’s Second Chance (Second Chances #1)
What He Wants (Second Chances #1.5)
Trusting You (Second Chances #2)
Meant for Me (Second Chances #3)
Fighting for Love (Second Chances #4)
Intercepting Love (Second Chances #5)
Catching Summer (Second Chances #6)

GLOVES OFF SERIES


A Fighter’s Desire: Part One (Gloves Off #0.5)
A Fighter’s Desire: Part Two (Gloves Off #0.6)
Tyler’s Undoing (Gloves Off #1)
Ryley’s Revenge (Gloves Off #2)
Paxton’s Promise (Gloves Off #3)
Winter Kiss: Ryley and Ash (Gloves Off #3.5)
Camden’s Redemption (Gloves Off #4)
Kyle’s Return (Gloves Off #5)

ARMED AND DANGEROUS SERIES


No Limit
Roped In
High-Sided (August 2016)

ROYAL SHIFTER SERIES


Turn of the Moon
Resisting the Moon

SOCIETY X SERIES
Dark Room (January 2016)
STANDALONE TITLE
Love, Lies, and Deception

If you want to see more of Tyla and the other wolves, you might want to check out ROPED IN. I
like to interweave my books and connect my characters in many different ways. Roped In is a
contemporary, romantic suspense with no paranormal aspect but I thought it would be funny for
the readers who know of Tyla’s background to see her in a different setting.
Read the first two chapters here.
The past was pain.
The present unclear.

For Tyla Rand, her future couldn't be bleaker. Death follows her everywhere, especially to those
she loves. Being a member of the royal pack, she believes her time of happiness will come. That is,
until wolves from her old pack show up missing. Her mission is to find them, but she won't be
going alone.

Sebastian Lyall, a true born royal and the one man Tyla loathes, has offered to help in her quest.
Their journey not only brings out their true desires, but attracts the attention of another, someone
from Tyla's past. However, nothing is as it seems. Death is not done with her and now he wants her
to pay. He won't be satisfied until he's taken everything away . . . including those she loves.
After writing twenty something books by this point, my list of acknowledgments have grown. It’d
take me a whole novel length book to thank each and every one of you who have helped me on my
journey. With that being said, I want to send a big THANK YOU to everyone out there! Without you,
my worlds wouldn’t be able to exist.
Tyla (Thirty Years Ago)
“Are you sure this is what you want?” my mother asked. For the past few months, she had asked me
the same question repeatedly. You’d think she’d get the point; my answer wasn’t going to change.
Looking into her gray gaze, I smiled.
“Yes, it’s what I want,” I said, ruffling her curly blonde hair. She may have been a hundred years
older than me, but we looked about the same age. I was twenty-three years old in human years, but it
was nice to know I could live to be five hundred and only have the appearance of a forty-year-old.
I’d gotten my looks and stubbornness from my mother, and my fighting skills from my father. He
was thrilled Finn and I were going to lead the pack together, but my mother didn’t share in his
enthusiasm.
Finn Olcan was our alpha, and currently standing just across the room, watching us. I guess you
could say we were having a party for our future union. In one week, we’d be mated and living happily
ever after. That was what I kept telling myself as least.
Grasping my elbow, my mom leaned in close, her voice a soft whisper. “He’s not your true mate,
sweetheart. You need to give it more time.”
I sighed in defeat. “That’s something I don’t have and you know it.”
“I know, but this isn’t the life I wanted for you. I want you to find your true mate, like your father
and I did. You won’t ever be fully happy with Finn, nor he with you.”
“It’s better than being dead,” I snapped.
Or worse, it could mean the lives of my family. If Finn and I didn’t mate by the next full moon, I’d
have a fight on my hands. Not to mention, it’d be a war amongst our kind.
Vincent Connery, alpha of the Sierra Pack, wanted a strong female to be his mate. It was rumored
he’d killed his last two after they gave birth to his children. Unfortunately, no one knew the absolute
truth. I, for one, didn’t want to get close enough to him to find out. What made it even more disgusting
was that he had a son the same age as me. Mating with Finn was the only way to keep me safe, as
well as making sure our pack was strong.
Finn was a good-looking man and someone I was very much attracted to, but the magic of true
mates never came for us. We’d taken each other’s blood the night before, hoping we’d be able to hear
each other’s thoughts. Unfortunately, it never happened; therefore, disappointing us even further. I
cared for him deeply, but I didn’t know what else to do.
My mother squeezed my arm. “Here he comes, my dear. I’ll give you some privacy.”
Finn acknowledged my mother with a nod and a smile. “Sophia,” he said warmly.
She nodded back. “Finn.”
Taking my hand, he led me outside and pressed me against the side of my parents’ house, our
bodies hidden by a set of bushes. “I love you, Tyla. I know you’re not happy about last night, but
there’s still time. We don’t need magic to tell us we’re meant to be mated.”
“No, but it’d help. I care about you Finn, and I do love you. I just wish it’d happen for us.” The
only truly mated couples in our pack were my parents, and my aunt and uncle, Sarah and Benjamin.
My parents were also the oldest. Everyone looked up to them, yet resented them for being complete.
To find your true mate was rare, but we kept praying for a time the magic would come back to us.
Sighing, he leaned down and kissed me, placing his forehead to mine. “Stay with me tonight,” he
murmured.
I sucked in a nervous breath. “You mean—”
“Yes, baby, all night.”
Was I ready for that? We’d messed around for the past couple of years, but we’d always ended it
before we got too far. The thought excited and terrified me all at once. I had never slept with a man
before.
His hands slid from my neck, down to my breasts; his arousal pressing into my leg. My heart
thundered in my chest. He could hear it and a smile splayed across his face.
“Sounds like you’re just as excited as I am,” he murmured low, kissing his way across my
collarbone.
Giving in, I tilted my neck to the side. “Just go slow with me, Finn. That’s all I ask.”

“Tyla, wake up!” Finn shouted. At first, I thought I was dreaming, but when I opened my eyes, I
was naked in his bed, my pulse spiking the moment I spotted him. Ripping the blankets off, he helped
me out of bed, pulling me into his arms.
“What’s going on?” The look on his face terrified me.
“Vincent’s wolves are closing in. They were spotted about fifteen miles out. I need to get you away
from here.” He grabbed my clothes off the floor. “Put these on.”
“I want to stay and fight,” I said, tossing the clothes onto the bed.
Eyes glowing, he growled. “If something happens to me, Vincent will lay claim to you. I need you
gone. As soon as it’s over, I’ll come for you.” A loud knock sounded on the door downstairs. “Please,
Tyla. I need you to do this for me.” He kissed me hard and raced out of the room. I threw on my
clothes and cringed when I heard my parents’ voices down below.
I raced downstairs and my mother’s look of disappointment was evident by the scowl on her face.
My father and Finn were already outside talking strategies. “We have to go,” she demanded. Grabbing
my hand, my mother pulled me outside to their waiting car. The guys were standing by the passenger
door, and it was filled with luggage and boxes.
“What the hell’s going on? Why aren’t we shifting?” I asked.
Finn clasped my face in his strong hands. “I had them be prepared, in case something like this
happened. I had a feeling Vincent would come for you. He’s done the same thing before with another
pack.”
“And what happened to them?”
He huffed and held me tighter. “He wiped them out. But I’m not going to let that happen here. Now
go.”
“Oh my God,” I gasped.
“Tyla, let’s go,” my father urged.
Finn kissed me one last time and stepped back when howling echoed through the trees. “Go,” he
commanded. “I’ll be with you soon.” He ripped off his clothes and shifted, racing into the trees. The
enemy pack drew closer and I could hear their snarls.
“Tyla!” my father shouted.
Turning on my heel, I ran to the car and jumped into the backseat. We took off out of the driveway,
tires spinning on the gravel. We were in the middle of nowhere. If we didn’t get out of the woods, the
wolves would catch us.
“We’re never going to get away from them,” I shouted.
My father pressed the gas and my body jerked back. “We will. We just need to get to the main
road.” The night was foggy and dark, leaving everything bathed in an ominous glow from the
moonlight.
The hair on the back of my neck stood on end, my pulse racing. Then, I saw a set of glowing eyes
in the distance. But they weren’t alone. “They’re here,” I growled.
After that, everything moved in slow motion. More eyes appeared and what sounded like a
thunderous gunshot rang out.
“Hold on,” my father shouted. He lost control of the car and we went sailing down a ravine. I was
jarred forward as we slammed into a tree; the car, nothing but a smoking pile of junk. My father
kicked his door open and ripped mine off its hinges so I could get out. He rushed over to the other
side of the car to help my mother, who had blood streaming down her face from a gash above her eye.
“Mom, are you okay?” I gasped, running over to her.
She hissed in pain when my father touched the wound. “I’ll be fine. We need to shift.” Growls
erupted all around us; they were close. I could hear fighting from a distance, the smell of blood
permeating the air.
“You wanna fight?” I shouted. Ripping off my clothes, I stared the wolves down before shifting.
Come and get me.
Tyla
“Can you believe the turn out?” Bailey shouted over the din of the bar. She was my friend, a royal,
alpha female and the mate of our pack leader, Ryker Whitemore. She practically glowed with her
whitish-blonde hair and bright blue eyes.
“Of course everyone would be here. How could they pass up the chance to celebrate the little
one?” Once news spread about their pregnancy, the party was set up the very next day. I looked
around; the bar was filled with nothing but wolves.
Smiling, Bailey turned her gaze to the crowd. “I can honestly say that everything seems to be right
for the first time in my life.” I wished I felt like that.
My focus landed on her younger sister, Faith, who threw her head back and laughed at something
Cedric said. She was beautiful, just like Bailey, with the classic whitish-blonde hair of the Arctic
wolf. Surely Cedric wasn’t that funny. He was Ryker’s second-in-command and a complete pain in
my ass. I loved him though, even if he did always find ways to get on my nerves.
Then there was Colin, Bailey’s older brother and a Royal Arctic wolf who couldn’t seem to take
his crystal blue eyes off of me. I tried ignoring him, but it was hard when I could feel his power
across the room. We seriously needed to get rid of all the testosterone. Having five alphas in one pack
was insanity.
“Tyla? You still in there?” Bailey laughed.
Clearing my throat, I pulled her into a hug. “Sorry about that. I am truly happy for you, Bailey. You
deserve all of this and more.”
She stepped back and smiled at something over my shoulder. “So do you,” she replied with a wink.
When she turned to leave, I felt him, the man I didn’t want to want. Who was I kidding? All of the
royal males in our pack had an advantage and I didn’t like it. Their power could draw you in like an
addict, salivating over your next fix. It sucked donkey ass.
“Can I help you?” I asked, turning to face Sebastian Lyall.
His whitish-blond hair was perfectly coifed in messy spikes, his light blue, button down shirt
matching the color of his eyes. The last thing I needed was to look into them. He’d had me tongue tied
several times in the past and it ended up making me look like an idiot.
Smirking, Sebastian stepped closer, holding out a hand. “Would you care to dance?”
Rolling my eyes, I nodded toward the group of women in the corner who watched his every move.
“Why don’t you ask one of your groupies? I’m sure they’d be more than willing.”
He and his brothers, Micah and Zayne, along with Colin, were hot commodities in our pack. They
were all royal wolves—the elite. No female could resist them, except me that is. I couldn’t complain
though; the royals helped make our pack invincible.
Sebastian leaned closer, his gaze serious. “I asked you, Tyla Rand. Besides, there’s something I
need to tell you.”
“Why do we have to dance in order for you to spill? Just say it now.”
Chuckling, he grabbed my hand and pulled me to the dance floor. “What’s the matter, afraid to be
close to me? I promise I won’t bite.”
Right. Huffing, I reluctantly walked onto the dance floor just when the tempo changed to a slower,
sensual beat. “You’ve got to be kidding me,” I growled. Other couples joined in and held each other,
swaying to the music, while I stood there like a fool.
Grabbing my other hand, Sebastian pulled my arms around his shoulders and put his around my
waist. “See? Not so bad.”
I glared up at him. “Just keep your hands from wandering. Now what do you want to talk about?”
His hands snaked lower and I growled. “Keep it up and see where your hands end up next.”
Chuckling, he lifted them higher. “I like watching your cheeks blush. It’s sexy as hell.”
“Will you stop already?” I snapped.
His smile faded, eyes darkening. “Why is it you can joke around with everyone else, but when I do
it you get pissed off?”
“Because they’re my friends.”
“And I’m not?” he countered, the muscles in his jaw ticking.
Sighing, I tried to pull out of his arms, but he held firm. “You are, but it’s not the same.” We used to
banter quite easily, until the night it all changed between us. I knew what caused the tension, but he’d
ignored it and decided it was best to spend his time with other females; at least, up until recently,
when I started being around other men. Now he wanted what he couldn’t have. Besides all of that, my
track record with men wasn’t exactly a good one. It was best if I stayed away from falling in love,
even if that included my true mate.
“What about my brother? You have no problems joking around with him.” For a split second, I
could’ve sworn there was a hint of jealousy in his tone.
My gaze landed on Micah, who paid us no attention, as he was too busy talking to a group of men
at the bar. He was Sebastian’s doppelganger, but they were nothing alike. For the past couple months,
he’d been my sparring partner. The draw to him wasn’t there though. “Micah and I train together,
Sebastian. That’s it.”
He nodded toward the door. “That’s what I want to talk to you about. Can we go outside?” His
gaze bore into mine and I gave in, giving him a nod.
“Fine, let’s go.”
“You’re not going anywhere,” a voice teasingly called out. With a wide grin, Colin sauntered up
and stood beside Sebastian, who fumed with impatience. I couldn’t help but enjoy the tension. I was
seeing a side of Sebastian I’d never seen before. “The only place she’s going is back on the dance
floor with me,” Colin said, holding out his hand.
Sebastian glared at him and grabbed my arm. “Maybe another time.”
Colin shook his head. “Now will do. You’re being summoned,” he said, pointing across the room
at Bailey and his brother, Micah. “Apparently, they have something important to discuss with you.”
Squeezing my hand, Sebastian caught Bailey and Micah’s gaze from across the room. He swore
under his breath, before he focused on me. “We’ll continue this later.” Glaring at Colin one more
time, he took off across the room.
Colin watched him leave in a huff, then turned to me, smiling devilishly. “Nothing ever changes,
does it? For as long as I’ve known him, he’s always been territorial. Now, how about that dance?” He
held out his hand and I reluctantly took it.
I could feel the heat of Sebastian’s gaze on us as Colin twirled me around the dance floor and
pulled me into his arms. He knew what he was doing. “Do you like pissing people off?” I asked.
“Only when they stand in the way of something I want. You don’t have feelings for him do you?” I
shook my head, hoping like hell he couldn’t tell it was a lie. Smiling, he held me closer. “Good. He’s
a little old for you.”
Laughing, I shook my head. “How old do you think I am?”
He studied me, narrowing his gaze in concentration as he looked into my eyes. “Well, I’ll be
damned. You’re just as old as him, aren’t you?”
“Maybe not over a hundred, but I’m up there. It’s nice being able to look like I’m in my twenties.
I’m not going to complain.”
His smile grew wider. “What can I say? I love older women.”
Sebastian’s eyes flashed at hearing this, but I paid him no mind. “What are you doing tomorrow
night?” I asked.
“Hopefully, spending time with you,” he replied smoothly. “Do you have something in mind?”
I did, but it was going to piss a certain wolf off. Maybe then he’d know what it felt like to be in my
position.
Sebastian
“Why in the fuck of all fucks did you have to call me over now?” I growled.
My brother tried to hide his chuckle, but Bailey slapped him on the arm and addressed me. “I knew
what you were going to tell her and I don’t think it’s the right time. She’ll get angry.”
I threw my hands in the air. “Why?” Tyla needed to know everything was about to change, whether
she liked it or not.
Bailey sighed. “Trust me, I’m a female and I know how Tyla’s going to take the news. Just leave
her alone for tonight.”
All I could see was red as I watched Colin touch her and swing her around the dance floor. She
had on a dress that showed off her long legs, and her blonde curls were pulled back away from her
face. I’d wanted to wrap my hands in those curls for months. If Colin wasn’t Bailey’s brother, I’d
have ripped off his hands by now.
“So I’m supposed to just let her go off with your brother and do whatever the hell she wants?” I
snapped.
Shrugging, she glanced at them quickly and then back to me. “Colin likes her, Sebastian. At least he
has enough sense to tell her. You can only blame yourself if she chooses him. Not to mention, she’s no
young pup. You can’t just go in demanding shit and expect her to accept it.”
Clenching my teeth, I stood there, blood boiling. Colin was not her mate. “Out of all the females in
this pack, why did he have to pick her?”
Micah slapped me on the arm. “Because we always want the ones we can’t have, brother. You
don’t seem to have problems fucking any of the other women you come across.”
I hadn’t had sex with anyone since I’d come to Wyoming. I couldn’t help it everyone assumed I
was fucking everyone under the sun. My guess was, Tyla thought the same thing as well. No wonder
she didn’t want to have anything to do with me. “You all don’t know shit,” I said, shaking my head.
Tyla and Colin left to go outside and I took a step forward, determined to catch her before she left
with him. There was no way in hell I was going to let them be alone.
“Seb, wait!” Micah called. I kept going and didn’t stop. What was it about her that drove me
absolutely insane? I could feel my control slipping the more she was around. I didn’t get to the door
in time before a set of arms wrapped around my waist from behind.
“Where you running off to so fast? You seem to have a habit of doing that.” Her name was Jana, a
gray wolf from the Northwestern pack. She’d been trying to get me into bed with her for months, but I
wasn’t interested. It’s a good thing she was great at playing poker, as it’s the only part of her company
I enjoyed from time to time.
Grasping her wrists, I tried to pry her away without hurting her, but she latched on tight. “Let me
go, Jana. I need to get out of here.”
“Why don’t I come with you? We could have some fun.” She was drunk, alcohol saturating her
breath.
Tyla chose then to come marching back into the bar, stopping cold when she saw us, her fiery gaze
staring at the woman’s arms around my waist. Jaw clenched, she turned and stormed out the door
again.
“Goddammit!” I growled, my anger slicing through the room like a knife.
Jana immediately let go and backed away, scared. I could smell her fear. Sighing, I turned around
and faced her. Her light brown hair was in one long braid down the side and her eyes tore right
through me.
“Shit, I’m sorry, Jana. I don’t know what came over me.” It was a lie. I knew what my problem
was.
She forced a smile and stepped back into Ian, alpha of her pack. Eyes narrowed, he studied me,
recognition flashing in his gaze. “You okay, Sebastian?” Ian knew what it felt like to have the
darkness inside of him. It was what us unmated males called ‘the rage,’ an unfortunate side effect of
not being mated early on in life.
“I just need some air.” By now everyone was watching me. Turning on my heel, I stormed outside
and took a deep breath. How long was I going to be able to fight it?
“Looking for me?” Tyla called out, her anger focused right on me. She crossed her arms and leaned
against the side of the building.
“Where’s Colin?”
“He left.” Luckily, it was without her. “Now what do you want?”
Bailey had warned me not to say anything tonight. As much as I wanted to protest, she was
probably right. “I don’t think tonight’s the right time,” I said. “What are you doing tomorrow night?”
A mischievous smile spread across her face. “Colin and I have a date. I’m sure Jana will be more
than happy to spend time with you if you’re lonely.”
I’d thought I had the rage inside of me tamped down, but I was wrong; it came back with a
vengeance. “There’s nothing going on between me and Jana. Are you pissed because you saw her
with me in there?” I nodded toward the bar.
She shrugged flippantly. “That’s your own business, Sebastian. I’m not your warden. I don’t give a
flying fuck who you sleep with.”
I stalked toward her and she stood firm. “That’s a lie and you know it.”
She scoffed. “I swear, you and the other royals think the world revolves around you.”
“Is that what you truly think?”
Her gaze focused on something over my shoulder and her expression softened. Sighing, she
stepped away from the wall, her steps slowly retreating. “No, not all of you, just certain ones. I’ve
gotta go.” She took off down the street and I started to go after her, but a hand to my shoulder stopped
me. I knew who it was.
“Leave me be, brother,” I warned.
Micah gripped harder. “Let her go, Seb. It’s not going to do you any good. Tyla’s extremely
stubborn. You’re only pushing her away.”
“Then what the hell am I supposed to do?”
“First,” he said, circling around to face me, “how long have you been feeling the rage? It has some
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© Vitaphone Corp.; 29Dec46; MP1733.

THE BATTLE OF EUROPE. National Film Board of Canada,


c1944. Presented by United Artists. 2 reels, sd. (The World in
Action)
Credits: Commentary, Stuart Legg.
© Warwick Pictures, Inc.; 5May44; MP14952.

BATTLE OF THE ATLANTIC. Twentieth Century-Fox Film Corp.


in cooperation with the Canadian and British Governments,
c1941. 1 reel, sd. (The World Today)
Credits: Producer, Truman Talley; continuity, Russ Sheilds;
narrator, Quentin Reynolds.
© Twentieth Century-Fox Film Corp.; 11Apr41; MP11073.

BATTLEGROUND. Loew's Inc., c1949. 118 min., sd., b&w, 35mm.


An MGM picture.
Summary: A war melodrama presenting a character study of
battle-wearied foot soldiers on the fighting front, depicting their
grumblings, disappointments, dreams, aspirations, and
extraordinary courage. Setting, the Battle of the Bulge, at
Bastogne, in 1944.
Credits: Producer, Dore Schary; director, William A. Wellman;
story and screenplay, Robert Pirosh; music score, Lennie
Hayton; film editor, John Dunning.
Cast: Van Johnson, John Hodiak, Ricardo Montalban, George
Murphy, the "Screaming Eagles" of the 101st Airborne Division.
© Loew's Inc.; 19Oct49; LP2594.

BATTY BASEBALL. Loew's Inc., c1944. 594 ft., sd., color. (A


Metro-Goldwyn-Mayer Cartoon)
Credits: Director, Tex Avery; animation, Ray Abrams, Preston
Blair, Ed Love; music, Scott Bradley. Technicolor.
© Loew's Inc.; 13Apr44; MP14919.

BE IT EVER SO HUMBLE. SEE Hi Beautiful.

BE ON YOUR GUARD FOR CARD CHEATERS.


© Louis Gertzweig; title & descr., 27Apr44; 5 prints, 8Feb44;
MU14770.

BE PATIENT, PATIENT. c1944. Presented by Columbia. 625 ft.,


sd., color. (A Fox and Crow)
Credits: Director, Bob Wickersham; story, Dun Roman;
animation, Chic Otterstrom, Phil Duncan; music, Eddie
Kilfeather. Technicolor.
© Screen Gems, Inc.; 30Nov44; LP13259.

BE YOUR AGE. Jam Handy Organization, Inc. Presented by


Metropolitan Life Insurance Co. in cooperation with the
American Heart Assn. 1 reel, sd., b&w, 35mm.
© Metropolitan Life Insurance Co.; title & descr., 13Feb47; 16
prints, 14Feb47; MU1656.

BEACH COMMAND. Paramount Pictures, Inc., c1943. 1 reel, sd.


(Grantland Rice Sportlight)
Credits: Narrator, Ted Husing.
© Paramount Pictures, Inc.; 9Apr43; MP13458.

BEACH DAYS. c1946. 10 min., sd., color, 35mm. (The Sports


Parade)
Credits: Director, Andre De La Varre; narration, Saul Elkins;
narrator, Knox Manning. Technicolor.
© The Vitaphone Corp.; 28Jun46; MP855.

THE BEACH NUT. c1944. Presented by Universal. 1 reel, sd., color.


(A Walt Lantz Swing Symphony) (A Walt Lantz Cartune)
Credits: Producer, Walt Lantz; director, James Culhane; story,
Ben Harlaway, Milt Schaffer; animation, Dick Lundy, Les Kline;
music, Darrell Calker. Technicolor.
© Universal Pictures Co., Inc. and Walter Lantz Productions;
31Aug44; MP15239.

BEACH POLKA. Soundies Distributing Corp. of America, Inc.,


c1945. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 16Apr45;
MP15842.

BEACHHEAD TO BERLIN. The Vitaphone Corp. in cooperation


with the United States Coast Guard, c1945, 20 min., sd., color.
Credits: Narration, Charles Linton Tedford; photographers,
the United States Coast Guard; film editor, Louis Hesse.
Technicolor.
© The Vitaphone Corp.; 18Jan45; LP13050.

BEANSTALK JACK. Terrytoons, Inc., c1946. 7 min., sd., color,


35mm. (Terrytoon)
Credits: Director, Eddie Donnelly; story, John Foster; music,
Philip A. Scheib.
© Terrytoons, Inc.; 20Dec46; LP885.

THE BEAR AND THE BEAN. Loew's Inc., c1948, 7 min., sd., color,
35mm. (An MGM Cartoon)
Credits: Producer, Fred Quimby; directors, Michael Lah,
Preston Blair; animation, Ray Abrams, Don Patterson, Ed Barge,
Gil Turner; music, Scott Bradley.
© Loew's Inc.; 13Jan48; LP1442.

THE BEAR AND THE BEAVERS. Loew's Inc., c1942. Presented by


Metro-Goldwyn-Mayer. 782 ft., sd., color. (An MGM Cartoon) A
Rudolph Ising production.
Credits: Technicolor.
© Loew's Inc.; 14Apr42; MP12444.

THE BEAR AND THE HARE. Loew's Inc., c1948. 1 reel, sd., color,
35mm. (An MGM Cartoon)
Credits: Producer, Fred Quimby; animation, Don Patterson,
Ray Abrams, Irving Levine, Gil Turner; music, Scott Bradley.
© Loew's Inc.; 17Jun48 (in notice: 1947); LP1671.

BEAR FACTS. SEE Variety Views, no. 141.

BEAR FEAT. Warner Bros. Cartoons, Inc., c1949. 7 min., sd., color,
35mm. (Merrie Melodies)
Credits: Director, Charles M. Jones; story, Michael Maltese;
animation, Ben Washam, Lloyd Vaughan, Ken Harris, Phil
Monroe.
© The Vitaphone Corp.; 13Dec49 (in notice: 1948); MP4841.

BEAR MOUNTAIN GAME. SEE Variety Views, no. 134.


BEAR RAID WARDEN. Loew's Inc., c1944. 614 ft., sd., color. (A
Metro-Goldwyn-Mayer Cartoon)
Credits: Animation, Arnold Gillespie, Michael Lah, Ed Barge,
Jack Carr; music, Scott Bradley. Technicolor.
© Loew's Inc.; 30Aug44; LP165.

BEARCAT MOUNTAIN GAL. Soundies Distributing Corp. of


America, Inc., c1942. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 2Mar42;
MP12278.

THE BEAR'S TALE. The Vitaphone Corp., c1940. 1 reel, sd.


(Merrie Melodies)
Credits: Story, J. B. Hardaway; animation, Rod Scribner.
© The Vitaphone Corp.; 13Apr40; MP10106.

THE BEAST WITH FIVE FINGERS. Warner Bros. Pictures, Inc.,


c1947. 88 min., sd., b&w, 35mm. A Warner Bros.-First National
picture. From the story by William Fryer Harvey.
Credits: Producer, William Jacobs; director, Robert Florey;
screenplay, Curt Siodmak; music, Max Steiner; music director,
Leo F. Forbstein; orchestral arrangements, Hugo Friedhofer;
film editor, Frank Magee.
Cast: Robert Alda, Andrea King, Peter Lorre, Victor Francen, J.
Carrol Naish.
© Warner Bros. Pictures, Inc.; 8Feb47; LP819.

BEAT ME DADDY. Soundies Distributing Corp. of America, Inc.,


c1943. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 29Dec43;
MP14414.
BEAT ME DADDY, EIGHT TO THE BAR. Soundies Distributing
Corp. of America, Inc., c1941. 1 reel, sd.
© Soundies Distributing Corp, of America, Inc.; 16Mar41;
MP10931.

BEAT ME, DADDY, EIGHT TO THE BAR! Universal Pictures Co.,


Inc., c1940. 2 reels, sd.
Credits: Associate producer, Will Cowan; director, Larry
Ceballos; music director, Charles Previn; orchestrations, Milton
Rosen; film editor, Paul Landres.
© Universal Pictures Co., Inc.; 27Dec40; LP10135.

BEAT THE BAND. RKO Radio Pictures, Inc., c1947. 67 min., sd.,
b&w, 35mm. Based on the musical stage play by George Abbott,
with music and lyrics by John Green and George Marion, Jr.
Credits: Producer, Michael Kraike; director, John H. Auer;
screenplay, Lawrence Kimble; adaptation, Arthur Ross,
Lawrence Kimble; music, Leigh Harline; music director, C.
Bakaleinikoff; film editor, Samuel E. Beetley.
Cast: Frances Langford, Ralph Edwards, Phillip Terry, Gene
Krupa.
© RKO Radio Pictures, Inc.; 14Feb47; LP921.

BEAU TIES. Paramount Pictures Inc., c1945. 1 reel, sd.


Credits: Director, Seymour Kneitel; story, Carl Meyer, Joe
Stultz.
© Paramount Pictures Inc.; 20Apr45; LP13431.

LA BEAUTÉ DU DIABLE (THE BEAUTY OF THE DEVIL).


Presented by Universalia Productions. 10 reels, sd.
Summary: A retelling of the old legend in which Faust, the
aging professor, sells his soul to the devil in exchange for youth
and love.
Credits: Producer, Salvo d'Angelo; screenplay, René Clair,
Armand Salacrou.
Cast: Michel Simon, Gerard Philipe, Nicole Besnard, Simone
Valere, Carlo Ninchi.
© Metropolitan Film Export Corp.; title, descr., & 5 prints,
13Dec49; LU2664.

BEAUTIFUL BALI. c1940. Presented by Metro-Goldwyn-Mayer.


772 ft., sd., color. (James A. FitzPatrick's Traveltalks)
Credits: Producer and narrator, James A. FitzPatrick; music
score, Nat Finston, C. Bakaleinikoff; photographer, Bob Carney.
Technicolor.
© Loew's Inc.; 26Sep40; MP10647.

BEAUTIFUL BALI. Vitaphone Corp., c1946. 1 reel, sd., color,


35mm. Warner Bros.
Credits: Directed and written by Deane Dickason; narrator,
Knox Manning.
© Vitaphone Corp.; 28Dec46; MP2468.

THE BEAUTIFUL BLONDE FROM BASHFUL BEND. Twentieth


Century-Fox Film Corp., c1949. 77 min., sd., color, 35mm. Based
on a story by Earl Felton.
Summary: A slapstick musical about a trigger-happy
gambling-hall queen. Setting, the West in 1885.
Credits: Produced, directed, and written by Preston Sturges;
music, Cyril Mockridge; film editor, Robert Fritch.
Cast: Betty Grable, Cesar Romero, Rudy Vallee, Olga San Juan,
Sterling Holloway.
© Twentieth Century-Fox Film Corp.; 24May49; LP2492.

BEAUTIFUL BRITISH COLUMBIA. Columbia Pictures Corp.,


c1940. 953 ft., sd., color. (Columbia Tour, s. 4, no. 6)
Credits: Producer, Leon C. Shelly; narration, Gayne Whitman;
music, James Dietrich; photographer, Ray Fernstrom; film
editor, Ed Taylor. Cinecolor.
© Columbia Pictures Corp.; 20Dec40; MP10746.

BEAUTIFUL BUT BROKE. Columbia Pictures Corp., c1944. 8


reels, sd. Based on a story by Arthur Housman.
Credits: Producer, Irving Briskin; director, Charles Barton;
screenplay, Monte Brice; adaptation, Manny Seff; music director,
M. W. Stoloff; film editor, Richard Fantl.
© Columbia Pictures Corp.; 24Feb44; LP12776.

THE BEAUTIFUL CAVERNS OF LURAY, VIRGINIA. c1941. 800


ft., color, 16mm.
Credits: Kodachrome.
Appl. author; Robert C. Harnsberger.
© Luray Caverns Corp.; 15Aug41; MP11469.

THE BEAUTIFUL CAVERNS OF LURAY, VIRGINIA. Luray


Caverns Corp., c1947. 1 reel, sd., color, 16mm.
Credits: Director, LeRoy Anderson; script, Kelli Williams;
narrator, Dan Donaldson.
© Luray Caverns Corp.; 8Aug47; MP2272.

THE BEAUTIFUL CHEAT. Universal Pictures Co., Inc., c1945. 59


min., sd.
Credits: Producer and director, Charles Barton; original story,
Manny Seff, Fritz Rotter; screenplay, Ben Markson; film editor,
Ray Synder.
© Universal Pictures Co., Inc.; 27Jul45; LP13404.
BEAUTIFUL CLOTHES (MAKE BEAUTIFUL GIRLS). Soundies
Distributing Corp. of America, Inc., c1941. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 24Nov41;
MP11770.

BEAUTIFUL MERMAID. Soundies Distributing Corp. of America,


Inc., c1944. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 19Jun44;
MP14973.

BEAUTIFUL OHIO IN ITS MAKING. si., color, 8mm.


Credits: Kodachrome.
© Chester Gregg Heffner; title & descr., 28May42; 14 prints,
20Mar42; MU12521.

BEAUTIFUL ONTARIO. Columbia Pictures Corp., c1941. 852 ft.,


sd. (Columbia Tour, no. 10)
Credit: Commentator, John Martin.
© Columbia Pictures Corp.; 15Jul41; MP12065.

BEAUTY AND THE BANDIT. Monogram Pictures Corp., c1946. 8


reels, sd., 35mm. Based on the character "Cisco Kid" created by
O. Henry [pseud. of Wm. Sydney Porter]
Credits: Producer, Scott R. Dunlap; director, William Nigh;
original story and screenplay, Charles S. Belden; music director,
Edward J. Kay; photographer, Harry Neuman; film editor, Fred
Maguire.
© Monogram Pictures Corp.; 28Oct46; LP654.

BEAUTY AND THE BEACH. Paramount Pictures Inc., c1941. 1


reel, sd. (A Paramount Headliner)
Credits: Producer and director, Leslie Roush; continuity,
Justin Herman; photographer, William Steiner.
© Paramount Pictures Inc.; 26Sep41; MP11611.

BEAUTY AND THE BEAST (LA BELLE ET LA BÊTE). André


Paulve, France, c1946. Released in the U.S. by Lopert Films, Inc.,
1947. 90 min., sd., b&w, 35mm. In French with English titles.
Based on the tale by Madame Leprince de Beaumont.
Summary: A fantasy in which a household drudge is delivered
into the hands of a monster who falls in love with her and is
eventually revealed as a handsome prince.
Credits: Director of production, Emile Darbon; director, story,
dialogue, Jean Cocteau; music, Georges Auric; editor, Claude
Iberia.
Cast: Jean Marais, Josette Day, Marcel André, Mila Parely,
Nane Germon.
© Lopert Films, Inc.; 1Dec46; LP1722.

BEAUTY AND THE BLADE. Twentieth Century-Fox Film Corp.,


c1949. 9 min., sd., b&w, 35mm. (Sports Review)
Summary: A demonstration of the ice-skating skill of the
Olympic champions, Barbara Ann Scott and Dick Button, in the
six types of School Figures and Figure Skating.
Credits: Producer, Edmund Reek; narrator, Ed Thorgersen;
music, Lucio Agostini; film editor, Arthur Lincer.
© Twentieth Century-Fox Film Corp.; 15Mar49 (in notice:
1948); MP4350.

BEAUTY AT THE WINDOW. Jam Handy Organization, Inc.


Presented by Kirsch Co. 1 min., b&w, 35mm.
Summary: Shows an interior decorator's study in which
women shoppers are watching a Kirsch SunAire venetian-blind
demonstration.
© Jam Handy Organization, Inc.; title & descr., 25May48; 4
prints, 26May48; MU3037.
BEAUTY FOR SALE. RKO Pathe, Inc., in collaboration with the
editors of This Week Magazine, c1946. 17 min., sd., b&w, 35mm.
(This Is America, no. 1)
Credits: Producer, Frederic Ullman, Jr.; director, Larry
O'Reilly; written by Phil Reisman, Jr., Jerome Brondfield;
narrator, Dwight Weist; music, Nathaniel Shilkret; editor, David
Cooper.
© RKO Pathe, Inc.; 15Nov46; MP1741.

BEAUTY HULA. Soundies Distributing Corp. of America, Inc.,


c1945. 1 reel, sd.
Credits: Director, William Forest Crouch.
© Soundies Distributing Corp. of America, Inc.; 30Dec45;
MP113.

BEAUTY IN FOCUS. Jam Handy Organization, Inc. Presented by


Chevrolet Motor Division, General Motors Corp. 1 min., b&w,
35mm.
Summary: After posing for her picture, a young girl is taken by
her escort for a ride in a Chevrolet convertible.
© Jam Handy Organization, Inc.; title & descr., 19Apr48; 9
prints, 23Apr48; MU3025.

BEAUTY IN THE ROOM. Jam Handy Organization, Inc. Presented


by Kirsch Co. 1 min., b&w, 35mm.
Summary: Women shoppers observe a Kirsch SunAire
venetian-blind demonstration in a decorator's studio.
© Jam Handy Organization, Inc.; title & descr., 25May48; 4
prints, 26May48; MU3038.

THE BEAUTY OF IT. Jam Handy Picture Service, Inc.


© Jam Handy Picture Service, Inc.; title & descr., 1Nov41; 506
prints, 3Nov41; MU11707.
THE BEAUTY OF THE DEVIL. SEE La Beauté du Diable.

BECAUSE I LOVE YOU. Soundies Distributing Corp. of America,


Inc., c1942. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 30Dec42;
MP13988.

BECAUSE OF HIM. Universal Pictures Co., Inc., c1946. 9 reels, sd.


Credits: Producer, Felix Jackson; director, Richard Wallace;
original story, Edmund Beloin, Sig Herzig; screenplay, Edmund
Beloin; music score, Miklos Roza; film editor, Ted J. Kent.
© Universal Pictures Co., Inc.; 10Jan46; LP24.

BEDELIA. John Corfield Productions, Ltd., England, c1947. 85


min., sd., b&w, 35mm. Based on Vera Caspary's novel.
Credits: Director, Lance Comfort; screenplay, Vera Caspary,
Herbert Victor, I. Goldsmith.
© Eagle-Lion Films, Inc.; 15Feb47; LP829.

BEDLAM. RKO Radio Pictures, Inc., c1946. 79 min., sd., 35mm.


Suggested by the William Hogarth painting "Bedlam," plate no.
8, "The Rake's Progress."
Credits: Producer, Val Lewton; director, Mark Robson;
screenplay, Carlos Keith, Mark Robson; music, Roy Webb; music
director, C. Bakaleinikoff; editor, Lyle Boyer.
© RKO Radio Pictures, Inc.; 19Apr46; LP367.

BEDS AND APPLIANCES. Presented by The Bureau of


Aeronautics for the Bureau of Medicine and Surgery. sd.
Appl. author: James P. Prindle.
© Chicago Film Laboratory, Inc.; title & descr., 26Jun43; 2
prints, 17Jul43; MU13769.
BEDSIDE MANNER. Released through United Artists, c1945.
Presented by Andrew Stone. 72 min., sd. From the Saturday
Evening Post story by Robert Carson.
Credits: Producer and director, Andrew Stone; screenplay,
Frederick Jackson, Malcolm Stuart Boylan; music director, Emil
Newman; film editor, James Smith.
© Lysander Productions, Inc.; 22Jun45; LP13332.

BEDTIME FOR SNIFFLES. The Vitaphone Corp., c1940. 1 reel, sd.


(Merrie Melodies)
Credits: Story, Rich Hogan; animation, Robert Cannon.
© The Vitaphone Corp; 9Nov40; MP10616.

BEDTIME STORY. Columbia Pictures Corp., c1941. 9 reels, sd.


Credits: Producer, B. P. Schulberg; director, Alexander Hall;
story, Horace Jackson, Grant Garrett; screenplay, Richard
Flournoy; music, Werner R. Heymann; music director, M. W.
Stoloff; film editor, Viola Lawrence.
© Columbia Pictures Corp.; 25Dec41; LP10998.

THE BEE-DEVILED BRUIN. Warner Bros. Cartoons, Inc., c1949. 7


min., sd., color, 35mm. (Merrie Melodies)
Credits: Director, Charles M. Jones; story, Michael Maltese;
animation, Ken Harris, Phil Monroe, Ben Washam, Lloyd
Vaughan.
© The Vitaphone Corp.; 17May49 (in notice: 1948); MP4071.

BEER BARREL POLECATS. Columbia Pictures Corp., c1946. 2


reels, sd.
Credits: Director, Jules White; story and screenplay, Gilbert
W. Pratt.
© Columbia Pictures Corp.; 10Jan46; LP552.
BEER BARREL POLKA. Soundies Distributing Corp. of America,
Inc., c1941. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 7Jul41;
MP11299.

BEES A' BUZZIN'. Warner Bros. Pictures, Inc., c1944. 10 min., sd.
(Vitaphone Variety)
Credits: Narrator, Lou Marcelle.
© Warner Bros. Pictures, Inc.; 25May44; MP14666.

BEES AND HONEY. 920 ft., color, 16mm.


Summary: Shows various stages in the life of a bee, and
explains how to raise honey successfully.
© Henry A. Schaefer; title, descr., & 9 prints, 11May49;
MU4062.

BEFORE I HANG. Columbia Pictures Corp., c1940. 6 reels, sd.


Credits: Producer, Wallace MacDonald; director, Nick Grinde;
story, Karl Brown, Robert D. Andrews; screenplay, Robert D.
Andrews; music director, M. W. Stoloff; photography, Benjamin
Kline; film editor, Charles Nelson.
© Columbia Pictures Corp.; 3Sep40; LP9876.

BEFORE THE DOCTOR COMES. Presented by The American Red


Cross. 4 reels, sd. A William J. Ganz production.
© American Red Cross; title, descr., & 696 prints, 6Feb42;
MU12153.

BEFORE THE FACT. SEE Suspicion.

BEGGARS ARE COMING TO TOWN. SEE I Walk Alone.


BEGIN THE BEGUINE. Soundies Distributing Corp. of America,
Inc., c1943. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 9Aug43;
MP13833.

THE BEGINNING OR THE END. Loew's Inc., c1947. 112 min., sd.,
b&w, 35mm. An MGM picture.
Credits: Producer, Samuel Marx; director, Norman Taurog;
original story, Robert Considine; screenplay, Frank Wead; music
score, Daniele Amfitheatrof; film editor, George Boemler.
Cast: Brian Donlevy, Robert Walker, Tom Drake.
© Loew's Inc.; 21Jan47; LP832.

BEGINNING TUMBLING. c1946. 1 reel, sd., b&w, 16mm. Revised


version.
Appl. authors: Karl W. Bookwalter, Otto Ryser.
© Esquire, Inc.; 2May46; MP1542.

BEHIND CITY LIGHTS. c1945. Presented by Republic Pictures. 7


reels, sd.
Credits: Associate producer, Joseph Bercholz; director, John
English; screenplay, Richard Weil; adaptation, Gertrude Walker;
music director, Richard Cherwin; photographer, William
Bradford; film editor, Fred Allen.
Appl. author: Republic Productions, Inc.
© Republic Pictures Corp.; 1Aug45; LP13485.

BEHIND GREEN LIGHTS. Twentieth Century-Fox Film Corp.,


c1946. 7 reels, sd.
Credits: Director, Otto Brower; original screenplay, W. Scott
Darling, Charles G. Booth; music direction, Emil Newman.
© Twentieth Century-Fox Film Corp.; 22Jan46; LP156.
BEHIND LOCKED DOORS. ARC Productions, Inc. Released by
Eagle Lion Films, Inc., c1948. 61 min., sd., b&w, 35mm.
Summary: A private detective is committed to a mental
hospital in order to apprehend an ex-judge who is hiding there.
Credits: Producer, Eugene Ling; director, Oscar Boetticher;
original story, Malvin Wald; screenplay, Malvin Wald and
Eugene Ling; film editor, Norman Colbert.
Cast: Lucille Bremer, Richard Carlson, Douglas Fowley; Ralf
Harolde; Tom Brown Henry.
© Pathe Industries, Inc.; 20Oct48; LP1874.

BEHIND PRISON WALLS. Producers Releasing Corp., c1943. 7


reels, sd. Based on an original story by W. A. Ullman, Jr.
Credits: Producer, Arthur Ripley; director, Steve Sekely;
screenplay, Van Norcross; music director, David Chudnow; film
editor, Holbrook N. Todd.
© Producers Releasing Corp.; 3Mar43; LP11887.

BEHIND THE BIG TOP. c1943. 20 min., sd., color.


Credits: Producers, Blumenthal, Heilner; director, Andre De
Lavarre; narrator, Art Gilmore. Technicolor.
© Warner Bros. Pictures, Inc.; 7Dec43; LP12387.

BEHIND THE 8–BALL. Soundies Distributing Corp. of America,


Inc., c1941. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 1Sep41;
MP11503.

BEHIND THE EIGHT BALL. Universal Pictures Co., Inc., c1942. 6


reels, sd.
Credits: Director, Edward F. Cline; original story, Stanley
Roberts; screenplay, Stanley Roberts, Mel Ronson.
© Universal Pictures Co., Inc.; 28Sep42; LP11622.
BEHIND THE FOOTLIGHTS. Twentieth Century-Fox Film Corp.,
c1946. 1 reel, sd., 35mm. (Movietone's Feminine World)
Credits: Producer, Edmund Reek; director, Vyvyan Donner;
narrator, Paul Douglas; music score, L. DeFrancesco;
photography, William Storz; film editor, Russ Sheilds.
© Twentieth Century-Fox Film Corp.; 5Apr46; MP573.

BEHIND THE LENS.


© Jam Handy Picture Service, Inc., d.b.a. The Jam Handy
Organization; title, descr., & 660 prints, 20Jul40; MU10360.

BEHIND THE MASK. Monogram Pictures Corp., c1946. 7 reels, sd.


Credits: Producer, Joe Kaufman; director, Phil Karlson;
original story, Arthur Hoerl; screenplay, George Callahan;
photographer, William A. Sickner; film editor, Ace Herman.
© Monogram Pictures Corp.; 1Apr46; LP300.

BEHIND THE MEAT BALL. Warner Bros. Cartoons, Inc., c1945. 7


min., sd., color. (Looney Tunes)
Credits: Story, Melvin Millar; music director, Carl W. Stalling.
Technicolor.
© The Vitaphone Corp.; 17Apr45; MP15895.

BEHIND THE NEWS. c1940. Presented by Republic Pictures. 8


reels, sd.
Credits: Associate producer, Robert North; director, Joseph
Santley; original story, Dore Schary, Allen Rivkin; screenplay,
Isabel Dawn, Boyce De Gaw; music director, Cy Feuer;
photography, Jack Marta; film editor, Ernest Nims.
Appl. author: Republic Productions, Inc.
© Republic Pictures Corp.; 20Dec40; LP10173.
BEHIND THE RISING SUN. RKO Radio Pictures, Inc., c1943, 88
min., sd. Based on the book by James R. Young.
Credits: Director, Edward Dmytryk; original screenplay,
Emmet Lavery; music, Roy Webb; music director, C.
Bakaleinikoff; editor, Joseph Noriega.
© RKO Radio Pictures, Inc.; 3Aug43; LP12251.

BEHIND THE SCENES AT THE AIRPORT. Teaching Films, Inc.,


c1947. 1 reel, sd., b&w, 16mm.
Credits: Writer, Hall.
© Teaching Films, Inc.; 16Apr47; MP2076.

BEHIND THE SCENES AT THE 29TH NATIONAL


PROFESSIONAL GOLF ASSOCIATION CHAMPIONSHIP.
Florez, Inc., c1948. Presented by the Michigan Section of the
Professional Golf Association of America, 22 min., sd., b&w and
color, 16mm.
Summary: At the Plum Hollow Golf Club, Detroit, crowds
gather for the 1947 national championship contest. Henry
Ransom defeats Bobby Locke, the South African champion; such
champions as Sammy Snead, Jimmy Demaret and Chick Harbert
show their skill.
Credits: Director, Al Bradish; script, John Kleene; narrator,
John Harrington.
© P.G.A. Film Committee (Michigan Section); 15Jan49;
MP2953.

BEHIND THE SHOP DRAWING.


© Jam Handy Organization, Inc.; title & descr., 18Jan43; 74
prints, 16Jan43; MU13198.

BEHOLD THE MAN. SEE Ecce Homo.


BEL AMI. sd., b&w, 16mm.
Appl. author: Tobis Zeigt.
© Levinson-Finney Enterprises, Inc.; title & descr., 5Dec45; 6
prints, 2Nov46; LU698.

BEL AMI. c1947. Presented by Levinson-Finney Enterprises, Inc.


10 reels, sd., b&w, 35mm. From the novel by Guy de Maupassant.
Credits: Director, Willi Forst; adapted for the screen by Willi
Forst and Axel Eggebrecht; music, Theo Mackeben.
Cast: Olga Tschechova, Ilse Werner, Hilde Hildebrand, Lizzi
Waldmueller, Willi Forst.
Appl. author: Tobis Zeigt.
© Levinson-Finney Enterprises, Inc.; 26Feb47; LP849.

BEL AMI. Released in Vienna, c1938. 10 reels, sd., b&w, 35mm. A


Willi Forst production. Based on the novel by Guy de
Maupassant. In German with English titles.
Credits: Director, Willi Forst; adapted for the screen by Willi
Forst, Axel Eggebrecht.
Cast: Olga Tschechowa, Ilse Werner, Hilde Hildebrandt, Lizzi
Waldmueller, Willi Forst.
© Casino Film Exchange, Inc.; 15Feb38; LP858.

BEL AMI. SEE The Private Affairs of Bel Ami.

BELL BOTTOM TROUSERS. Soundies Distributing Corp. of


America, Inc., c1945. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 19Mar45;
MP15730.

A BELL FOR ADANO. Twentieth Century-Fox Film Corp., c1945.


9,376 ft., sd. Based on the novel by John Hersey.
Credits: Director, Henry King; screenplay, Lamar Trotti,
Norman Reilly Raine; music director, Alfred Newman.
© Twentieth Century-Fox Film Corp.; 5Jul45; LP13530.

BELL HELICOPTER. Bell Aircraft Corp., Motion Picture Division.


17 min., sd., color, 16mm.
Credits: Directed and written by Norman Mathews, Julian
Townsend; cameramen, Julian Townsend, Edward Bollinger.
Kodachrome.
© Bell Aircraft Corp.; title, descr., & 16 prints, 14Nov45;
MU16504.

BELLA DONNA. SEE Temptation.

BELLBOY DONALD. Walt Disney Productions, c1942. 1 reel, sd. (A


Walt Disney Donald Duck)
© Walt Disney Productions; 30Mar42; LP11868.

LA BELLE ET LA BÊTE. SEE Beauty and the Beast.

BELLE OF THE YUKON. Released by RKO Radio Pictures, Inc.,


c1944. Presented by International Pictures, Inc. 84 min., sd.,
color.
Credits: Director, William A. Seiter; story, Houston Branch;
written for the screen by James Edward Grant; music direction,
Arthur Lang; film editor, Ernest Nims. Technicolor.
© International Pictures Inc.; 9Dec44; LP12985.

BELLE STARR. Twentieth Century-Fox Film Corp., c1941. 7,809


ft., sd.
Credits: Director, Irving Cummings; story, Niven Busch,
Cameron Rogers; screenplay, Lamar Trotti; music director,
Alfred Newman.
© Twentieth Century-Fox Film Corp.; 12Sep41; LP10790.

BELLE STARR'S DAUGHTER. Alson Productions, Inc. Released


through Twentieth Century-Fox Film Corp., c1948. 86 min., sd.,
b&w, 35mm.
Summary: A Western melodrama of the 1880's about a girl
who seeks to avenge the murder of her mother, the notorious
bandit queen, Belle Starr.
Credits: Producer, Edward L. Alperson; director, Lesley
Selander; original screenplay, W. R. Burnett; music, Edward
Kilenyi; film editor, Jason Bernie.
Cast: George Montgomery, Rod Cameron, Ruth Roman,
Wallace Ford, Charles Kemper.
© Twentieth Century-Fox Film Corp.; 3Nov48; LP2198.

BELLS OF CAPISTRANO, c1942. 7 reels, sd.


Credits: Associate producer, Harry Grey; director, William
Morgan; original screenplay, Lawrence Kimble; photographer,
Reggie Lanning; film editor, Edward Mann.
Appl. author: Republic Productions, Inc.
© Republic Pictures Corp.; 15Sep42; LP11621.

BELLS OF ROSARITA. c1945. Presented by Republic Pictures. 7


reels, sd.
Credits: Associate producer, Eddy White; director, Frank
McDonald; original screenplay, Jack Townley; music score,
Joseph Dubin; music director, Morton Scott; photographer,
Ernest Miller; film editor, Arthur Roberts.
Appl. author: Republic Productions, Inc.
© Republic Pictures Corp.; 13May45; LP13321.
THE BELLS OF ST. MARY'S. Rainbow Productions, Inc., c1945.
126 min., sd.
Credits: Direction and story, Leo McCarey; screenplay, Dudley
Nichols; music score, Robert Emmett Dolan; editor, Harry
Marker.
© Rainbow Productions, Inc.; 6Dec45; LP81.

BELLS OF SAN ANGELO. Republic Productions, Inc., c1947. 71


min., sd., color, 35mm.
Credits: Associate producer, Edward J. White; director,
William Witney; original story, Paul Gangelin; screenplay, Sloan
Nibley; music director, Morton Scott; orchestrations, Mort
Glickman; film editor, Les Orlebeck.
Cast: Roy Rogers, Trigger, Dale Evans, Andy Devine, Bob
Nolan.
© Republic Pictures Corp.; 7May47; LP1000.

BELLS OF SAN FERNANDO. Hillcrest Productions, Inc., c1947. 74


min., sd., b&w, 35mm.
Credits: Director, Terry Morse; original story and screenplay,
Jack De Witt, Renault Duncan.
© Screen Guild Productions, Inc.; 1Mar47; LP893.

THE BELLS OF SAN RAQUEL. Soundies Distributing Corp. of


America, Inc., c1942. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 16Feb42;
MP12213.

BELLUM PUNICUM SECUNDUM (THE SECOND PUNIC WAR).


Bald Eagle Film Productions, Inc., c1941. 1 reel, sd., 16mm.
Credits: Alfred E. Porter.
Appl. author: Joseph Einhorn.
© Bald Eagle Film Productions, Inc.; 25Feb41; MP12161.
BELOW THE BORDER. Monogram Pictures Corp., c1942. 6 reels,
sd.
Credits: Producer, Scott R. Dunlap; director, Howard P.
Bretherton; original screenplay, Jess Bowers; photography,
Harry Neumann; film editor, Carl Pierson.
© Monogram Pictures Corp.; 30Jan42; LP11177.

BELOW THE DEADLINE. Monogram Pictures Corp., c1946. 7


reels, sd., 35mm.
Credits: Producer, Lindsley Parsons; director, William
Beaudine; original story, Ivan Tors; screenplay, Harvey Gates,
Forrest Judd; music director, Edward J. Kay; photographer,
Harry Neumann; editor, Ace Herman.
© Monogram Pictures Corp.; 22Jul46; LP449.

BELVEDERE. SEE Mr. Belvedere Goes to College.

BEN HOGAN. RKO Pathe, Inc., c1946. 8 min., sd., 35mm.


(Sportscope, no. 11)
Credits: Producer, Jay Bonafield; director, Joseph Walsh;
written by Burton Benjamin; narrator, Red Barber; music,
Robert W. Stringer; photographer, Neil Sullivan; editor, David
Cooper.
© RKO Pathe, Inc.; 14Jun46; MP862.

BEND DOWN SISTER. Soundies Distributing Corp. of America,


Inc., c1941. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 26May41;
MP11176.

BENDING TO A CLEAT. Presented by United States Navy. sd.,


b&w.
© Jam Handy Organization, Inc.; title & descr., 25Feb44; 8
prints, 21Feb44; MU14517.

BENEATH WESTERN SKIES. c1944. Presented by Republic


Pictures. 6 reels, sd.
Credits: Associate producer, Louis Gray; director, Spencer
Bennet; original story, Albert DeMond; screenplay, Albert
DeMond, Bob Williams; music score, Mort Glickman; film editor,
Charles Craft.
Appl. author: Republic Productions, Inc.
© Republic Pictures Corp.; 7Feb44; LP12522.

BENJAMIN BLAKE. SEE Son of Fury.

BENJAMIN FRANKLIN. Emerson Film Corp. Released by


Encyclopaedia Britannica Films, Inc., c1949. 2 reels, sd., b&w,
16mm.
Summary: Portrays highlights in the life of Benjamin Franklin,
depicting his early struggles as an apprentice, his later successes
as publisher and author, his experiments in science, his growing
ability as a statesman and diplomat, and his experiences as
American representative to England and France. For junior and
senior high school and adult groups.
Credits: Collaborator, Carl Van Doren.
© Emerson Film Corp.; 27Sep49; MP4734.

BENJAMIN FRANKLIN, JR. Loew's Inc., c1943. Presented by


Metro-Goldwyn-Mayer. 996 ft., sd., b&w.
Credits: Director, Herbert Glazer; screenplay, Hal Law, Robert
McGowan; film editor, Leon Bourgeau.
© Loew's Inc.; 28Jan43; LP11862.
BERLIN. Eastman Kodak Co., Teaching Films Division, c1939. 1
reel.
Appl. author: Kenneth R. Edwards.
© Eastman Kodak Co., Teaching Films Division; 15Jun39;
MP9846.

BERLIN CORRESPONDENT. Twentieth Century-Fox Film Corp.,


c1942. 6,380 ft., sd.
Credits: Director, Eugene Forde; original screenplay, Steve
Fisher, Jack Andrews; music director, Emil Newman.
© Twentieth Century-Fox Film Corp.; 11Sep42; LP11673.

BERLIN EXPRESS. RKO Radio Pictures, Inc., c1948. 86 min., sd.,


b&w, 35mm.
Summary: On a Paris-Berlin express, a German on a mission
of peace is threatened by the Nazi underground. American,
French, and British citizens and a Soviet officer unite to save his
life. Actual scenes in Frankfurt and Berlin were filmed by
permission of armies of occupation.
Credits: In charge of production, Dore Schary; producer, Bert
Granet; director, Jacques Tourneur; story, Curt Siodmak;
screenplay, Harold Medford; music director, C. Bakaleinikoff;
music, Frederick Hollander; film editor, Sherman Todd.
Cast: Merle Oberon, Robert Ryan, Charles Korvin, Paul Lukas.
© RKO Radio Pictures, Inc.; 6May48; LP1651.

BERLIN POWDERKEG. RKO Pathe, Inc., c1949. 19 min., sd., b&w,


35mm. (This Is America, no. 3)
Summary: A documentary story of the Berlin airlift, the cold
war, and living conditions in post-war Berlin.
Credits: Producer, Jay Bonafield; director and photographer,
William Deeke; written by Richard Hanser; narrator, Dwight
Weist; editor, David Cooper.
© RKO Pathe, Inc.; 7Jan49; MP3977.
BERMUDA. Twentieth Century-Fox Film Corp., c1948. 8 min., sd.,
color, 35mm. (Movietone Adventures)
Summary: The scenery of Bermuda and the sports that are
enjoyed there. Includes views of the capitol city, Hamilton, and
the ancient town of St. George.
Credits: Producer, Edmund Reek; director, Leon Shelly;
narrator, Ed. Thorgersen; music, L. DeFrancesco; film editor,
Valeska Weidig.
© Twentieth Century-Fox Film Corp.; 2Nov48; MP3607.

BERMUDA MYSTERY. Twentieth Century-Fox Film Corp., c1944.


5,850 ft., sd. From a story by John Larkin.
Credits: Director, Benjamin Stoloff; screenplay, W. Scott
Darling; music director, Emil Newman.
© Twentieth Century-Fox Film Corp.; 4May44; LP12824.

THE BERTH OF A QUEEN. Columbia Pictures Corp., c1940. 975


ft., sd. (Cinescope)
Credits: Narration, Geoffrey Sumner; photography, Reginald
H. Wyer; editor, Ronald Haines.
© Columbia Pictures Corp.; 13Mar40; MP10043.

BESAME MUCHO. Soundies Distributing Corp. of America, Inc.,


c1944. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 8Mar44;
MP14577.

THE BEST DEFENSE. Presented by Chevrolet.


Appl. author: Jam Handy Picture Service, Inc.
© Chevrolet Motor Division, General Motors Sales Corp.; title
& descr., 21Feb42; 165 prints. 24Feb42; MU12194.
BEST FOOT FORWARD. Loew's Inc., c1943. Presented by Metro-
Goldwyn-Mayer. 10 reels, sd., color. Based on the book by John
Cecil Holm; music and lyrics by Hugh Martin and Ralph Blane,
and produced on the stage by George Abbott.
Credits: Producer, Arthur Freed; director, Edward Buzzell;
screenplay, Irving Brecher, Fred Finklehoffe; music direction,
Lennie Hayton; orchestration. Jack Matthias, Leroy Holmes,
Conrad Salinger, George Bassman, Leo Arnaud; film editor,
Blanche Sewell. Technicolor.
© Loew's Inc.; 14Jul43; LP12193.

BEST IN SHOW. Columbia Pictures Corp., c1946. 9 min., sd., b&w,


35mm. (The World of Sports, no. 124)
Credits: Director, Harry Foster; commentator, Bill Stern.
© Columbia Pictures Corp.; 12Dec46; MP1969.

THE BEST MAN WINS. Columbia Pictures Corp., c1948. 8 reels,


sd., b&w, 35mm.
Summary: A small Missouri town in 1853 is the setting for this
comedy about a footloose gambler and his estranged family.
Greyhound racing and frog-jumping contests provide an outlet
for the hero's talents.
Credits: Producer, Ted Richmond; director, John Sturgess;
screenplay, Edward Huebsch.
Cast: Edgar Buchanan, Anna Lee, Gary Gray, Bob Shayne,
Stanley Andrews.
© Columbia Pictures Corp.; 19Apr48; LP1560.

BEST OF BREED. Paramount Pictures Inc., c1949. 1 reel, sd., b&w,


35mm. (Grantland Rice Sportlight)
Summary: This film, which shows the champion, Liberation,
and other collies, emphasizes the high intelligence of the breed.
Credits: Narrator, Bill Slater.
© Paramount Pictures Inc; 8Apr49; MP3960.
THE BEST THINGS IN LIFE ARE FREE. Soundies Distributing
Corp. of America, Inc., c1942, 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 23Feb42;
MP12227.

THE BEST YEARS OF OUR LIVES. Samuel Goldwyn Productions,


Inc., c1946. 172 min., sd., b&w, 35mm. From the novel "Glory for
Me" by MacKinlay Kantor.
Credits: Producer, Samuel Goldwyn; director, William Wyler;
screenplay, Robert E. Sherwood; music, Hugo Friedhofer; music
director, Emil Newman; film editor, Daniel Mandell.
Cast: Myrna Loy, Fredric March, Dana Andrews, Teresa
Wright, Virginia Mayo.
© Samuel Goldwyn Productions, Inc.; 22Nov46; LP787.

BESTED BY A BEARD. RKO Radio Pictures, Inc., c1940, 20 min.,


sd.
Credits: Producer, Lou Brock; director, Charles E. Roberts;
story, Arthur S. Kane; screenplay, Charles E. Roberts, George
Jeske; film editor, John Lockert.
© RKO Radio Pictures, Inc.; 26Jul40; LP9817.

BET YOUR LIFE. RKO Radio Pictures, Inc., c1947. 18 min., sd.,
b&w, 35mm.
Summary: Leon finds himself in trouble when he bets on the
horses.
Credits: Producer, George Bilson; director, Hal Yates;
screenplay, Charles E. Roberts; film editor, Edward W. Williams.
Cast: Leon Errol, Dorothy Granger, Suzi Crandall, Charles
Halton, Phil Warren.
© RKO Radio Pictures, Inc.; 31Dec47; LP1494.
BETRAYAL FROM THE EAST. RKO Radio Pictures. Inc., c1945.
82 min., sd. Based on the novel by Alan Hynd.
Credits: Producer, Herman Schlom; director, William Berke;
screenplay, Kenneth Gamet, Aubrey Wisberg; adaptation, Aubrey
Wisberg; music, Roy Webb; music director, C. Bakaleinikoff;
editor, Duncan Mansfield.
© RKO Radio Pictures, Inc.; 22Mar45; LP13283.

BETTER BOWLING. Paramount Pictures Inc., c1942. 1 reel, sd.


(Grantland Rice Sportlight)
Credits: Narrator, Ted Husing.
© Paramount Pictures Inc.; 23Jan42; MP12092.

THE BETTER HALF. Soundies Distributing Corp. of America, Inc.,


c1942. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 31Dec42;
MP13230.

BETTER—LONGER. Presented by Sun Oil Co. 2 reels, sd., b&w.


Appl. author: Jam Handy Picture Service, Inc.
© Sun Oil Co.; title, descr., & 132 prints, 1Jun42; MU12531.

BETTER NOT ROLL THOSE EYES. Soundies Distributing Corp. of


America, Inc., c1942. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 9Nov42;
MP13099.

BETTER WORK METHODS. Ralph M. Barnes, c1949. 49 min., sd.,


b&w, 16mm.
Summary: Demonstrates procedures for performing simple
tasks efficiently.
© Ralph M. Barnes; 1Mar49 (in notice: 1944); MP3935.
BETTY CO-ED. Columbia Pictures Corp., c1946. 7 reels, sd., b&w,
35mm.
Credits: Producer, Sam Katzman; director, Arthur Dreifuss;
original screenplay, Arthur Dreifuss, George H. Plympton; music
director, Paul Mertz; film editor, Henry Batista.
Cast: Jean Porter, Shirley Mills, William Mason, Rosemary
LaPlanche, Jan Savitt.
© Columbia Pictures Corp.; 28Nov46; LP742.

BETWEEN THE DEVIL AND THE DEEP BLUE SEA. Soundies


Distributing Corp. of America, Inc., c1944. 1 reel, sd.
© Soundies Distributing Corp. of America, Inc.; 25Sep44;
MP15225.

BETWEEN TWO WOMEN. Loew's Inc., c1944. Presented by


Metro-Goldwyn-Mayer. 8 reels, sd., b&w. Based upon the
characters created by Max Brand [pseud. of Frederick Faust]
Credits: Director, Willis Goldbeck; original screenplay, Harry
Ruskin; music score, David Snell; film editor, Adrienne Fazan.
© Loew's Inc.; 19Dec44; LP13053.

BETWEEN TWO WORLDS. Warner Bros. Pictures, Inc., c1944. 112


min., sd. A Warner Bros.-First National picture. Based on a play
by Sutton Vane.
Credits: Producer, Mark Hellinger; director, Edward A. Blatt;
screenplay, Daniel Fuchs; music, Erich Wolfgang Korngold;
music director, Leo F. Forbstein; photographer, Carl Guthrie;
film editor, Rudi Fehr.
© Warner Bros. Pictures, Inc.; 20May44; LP12650.

BETWEEN US GIRLS. Universal Pictures Co., Inc., c1942. 9 reels,


sd. Based on "Le Fruit Vert" by Regis Gignoux and Jacques
Théry.
Credits: Producer-director, Henry Koster; screenplay, Myles
Connolly, True Boardman; adaptation, John Jacoby;
photography, Joseph Valentine; film editor, Frank Gross.
© Universal Pictures Co., Inc.; 8Sep42; LP11571.

BEWARE OF REDHEADS. RKO Radio Pictures, Inc., c1945. 17


min., sd.
Credits: Producer, George Bilson; direction and screenplay,
Hal Yates; film editor, Edward W. Williams.
© RKO Radio Pictures, Inc.; 14Sep45; LP13666.

BEWITCHED, Loew's Inc., c1945. Presented by Metro-Goldwyn-


Mayer. 7 reels, sd., b&w. From Arch Oboler's original story "Alter
Ego."
Credits: Producer, Jerry Bresler; direction and adaptation,
Arch Oboler; music score, Bronislau Kaper; film editor, Harry
Komer.
© Loew's Inc.; 19Jun45; LP13327.

BEYOND. SEE The Other Love.

BEYOND CIVILIZATION TO TEXAS. Impossible Pictures, Inc.,


c1949. 8 min., sd., color, 35mm. (Jerky Journeys)
Summary: Senator Claghorn presents a bill in Congress to
move the United States to Texas.
Credits: Produced, directed, and written by Leonard Louis
Levinson; designed by Art Heinemann; painted by Peter
Alvarado, Jr.
© Republic Pictures Corp.; 19Apr49 (in notice: 1948); LP2319.

BEYOND GLORY. Paramount Pictures Inc., c1948. 82 min., sd.,


b&w, 35mm.
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