Florence Eldridge

Based on the historical play by Maxwell Anderson, this screen biopic chronicles Mary Queen of Scots' return to her homeland from France to rule fairly and justly.

Bitterness, affairs, rumors, and deceit offer amateur sleuth Philo Vance clues-a-plenty when members of a wealthy family get picked off one by one.

Jealousy, infidelity, hypocrisy, and bad timing leads two married couples of Manhattan’s high society in and out of love, alcoholism, and depression.

"Oh, it's Adolphe! It must be!" Lovely Juliet Corton (Florence Eldridge) is sure the dashing coiffeur who just arrived to style her hair is her husband, presumed dead in a railway crash five years earlier. The dashing stylist (vaudeville star Frank Fay) is sure she's nuts. But what if Juliet is right? What if a hypnotist could restore Adolphe's memory of their marriage, lost after the crash? Who could possibly object to such a happy ending? Perhaps Juliet's new husband (James Gleason), who is not eager to vacate the matrimonial bed. Complications abound in this racy Pre-Code farce that also includes a wacky set of friends and servants, a second case of amnesia, a nice hot bath, the wife Adolphe acquired after the accident and two sets of twins, all spinning merrily along under the expert hand of one of cinema's greatest directors, Michael Curtiz ("Casablanca," "Yankee Doodle Dandy").

Shortly before shedding her snakeskin vamp persona for good by wrapping herself in the ermine confines of Nora Charles, Myrna Loy terrified and terrorized as the murderous mesmerist Ursula Georgi in the pre-Code horror show Thirteen Women. Following a racist sorority's cruel rebuff, half-caste Ursula embarks on a blood-thirsty trail of deceit and murder until only one woman (Irene Dunne) is left to face her. Aside from the allure and interest of its two leading ladies – each on the cusp of their ascension into cinema legend – Thirteen Women's delights are rather more diabolical and devastating than the more domestic concerns of a traditional "Women's Picture." From its breathless and terrifying (and arrestingly staged) opening aerial atrocity through its stabbings, suicides and hidden bombs, Thirteen Women's relentless pace startles and astonishes, ever driven by Loy's portrayal of Ursula's unalloyed and unapologetic evil.