Prankster Bob is traveling to New York by ship with his girlfriend and he proposes to marry her. Along the trip, he plays pranks on the captain, passengers and his future father-in-law.
Under the watchful eye of his mentor, Captain Mike Kennedy, probationary firefighter Jack Morrison matures into a seasoned veteran at a Baltimore fire station.
Helen and Tom are desperate to get married. After a foiled elopement attempt, the couple hatches a “fake wedding” scheme to trick Helen’s protective parents into allowing their marriage.
It's based on a not-so-innocent practical joke. Two men and two women are chatting in a evening indoor setting, and although there are no intertitles in the film, one could suppose that the topic of the conversation is “the night”, or “fear”, as the film’s title suggests.
A college reunion goes awry when Pete suspects his friends may be out to get him... As their weekend getaway grows more and more uncomfortable, should Pete be worried about his safety, or is it all in his head?
Charley has in-laws that look down on him because he's not rich. So, to try to keep up, he rushes out to buy a car—but no matter, they still think he's a drip—as does his wife.
The vassals of the Asano clan, who surrendered the castle & became wanderers, deceive the enemy and the public, wait for an opportunity to avenge their master and his family.
Reflecting the filmmaker's passion for automobiles, who in his youth participated in car races, the film portrays the attempt to manufacture a new model in the Ford factory in the city of Porto.
In the village of Sableuse, the local manor has been bought out by a nouveau riche, Emile Cousinet. When his wife Lisette, a former music hall actress, flees to Paris with young Pierre de Sableuse, Cousinet asks Father Pellegrin, the village vicar, to bring the lost sheep back home.
Three mice run, cavort, sing and dance around in the stores and restaurants a big city at night. They wind up in a café for an early-morning snack and stocking up on food provisions before they return to the safety of their den beneath a man-hole cover in the street.
Anton Chekhov’s one-act comic play throws Elena Ivanonva Popova, a land-owning widow with dimples, on her cheeks up against Grigory Stepanovitch Smirnov, a middle-aged landowner.