| 1940 |
Three Cheers For The Irish. |
Lloyd Bacon |
10 reels |
|
B&W |
|
| 1941 |
Gay nineties live again |
Castle Films presents. |
11 |
16mm |
B&W |
silent |
| 1941 |
LOVE SONG OF RENALDO |
Mario Castegnaro presents. |
1:00 |
16mm |
B&W |
sound |
| 1941 |
Old Mother Riley's Circus |
Thomas Bentley |
|
|
|
|
| 1942 |
Don't Lie. |
Edward L. Cahn |
985 ft. |
16mm |
B&W |
sound |
| 1942 |
He Hired The Boss. |
Thomas Loring |
6 533 ft. |
|
Color & B&W |
|
| 1942 |
Ice-Capades Revue. |
Bernard Vorhaus |
8 reels |
|
Color |
|
| 1942 |
Menace Of The Rising Sun. |
Thomas Mead, Joseph O'Brien |
2 reels |
|
|
|
| 1942 |
THE PRICE OF VICTORY. |
Pine-Thomas Productions |
500 |
16mm |
|
sound |
| 1942 |
Thru Different Eyes. |
Thomas Z. Loring |
5 750 ft. |
|
Color |
|
| 1942 |
Unexpected Riches. |
Bert Glazer |
994 ft. |
|
B&W |
sound |
| 1943 |
Flesh And Fantasy. |
Universal-International |
94 min. |
16mm |
B&W |
Sound |
| 1943 |
THESE ARE THE MEN |
Dylan Thomas, Alan Osbiston |
|
|
|
|
| 1944 |
Dark Waters. |
André De Toth |
89 min. |
|
B&W |
|
| 1944 |
Phantom Lady |
Universal Pictures Company Inc |
1:27:00 |
16mm |
B&W |
sound |
| 1944 |
PHANTOM LADY. |
Universal Pictures |
3000 |
16mm |
B&W |
|
| 1944 |
Phantom Lady. |
Robert Siodmak |
9 reels |
|
B&W |
|
| 1944 |
Radio bugs. |
Cy Endfield |
4:00 |
16mm |
B&W |
sound |
| 1944 |
Take It Big. |
Pine-Thomas Productions |
8 reels |
16mm |
Color & B&W |
sound |
| 1944 |
Tale of a dog. |
Cy Endfield |
380 |
16mm |
B&W |
sound |
| 1944 |
The Climax. |
Universal Pictures |
9 reels |
16mm |
Color |
sound |
| 1944 |
The Keys Of The Kingdom. |
John M. Stahl |
2 375 ft. |
|
B&W |
|
| 1944 |
Wilson. |
Henry King |
3 861 ft. |
|
Color |
|
| 1945 |
Bandits Of The Badlands. |
Thomas Carr |
6 reels |
|
Color |
|
| 1945 |
Midnight Manhunt. |
William C. Thomas |
7 reels |
|
B&W |
|
| 1945 |
Oregon Trail. |
Thomas Carr |
6 reels |
|
Color |
|
| 1945 |
Rough Riders Of Cheyenne. |
Thomas Carr |
6 reels |
|
Color |
|
| 1945 |
The Cherokee Flash. |
Thomas Carr |
55 min. |
|
B&W |
|
| 1945 |
These Are The Men |
British Information Serv Film And Publication Division |
|
16mm |
|
sound |
| 1945 |
Within These Walls. |
H. Bruce Humberstone |
6406 ft. |
|
B&W |
|
| 1945 |
Your National Gallery |
Universal Pictures Inc |
0:11:00 |
16mm |
B&W |
sound |
| 1945 |
Your National Gallery |
Thomas Mead |
|
|
|
|
| 1946 |
Alias Billy The Kid. |
Thomas Carr |
6 reels |
|
Color |
|
| 1946 |
Days Of Buffalo Bill. |
Thomas Carr |
6 reels |
|
Color |
|
| 1946 |
INDIA NAUTCH DANCE |
Thomas Productions |
1:00 |
16mm |
|
silent |
| 1946 |
Melody Time. |
Clyde Geronimi, Jack Kinney, Hamilton Luske, Wilfred Jackson |
18 min. |
35mm |
B&W |
sound |
| 1946 |
Red River Renegades. |
Thomas Carr |
6 reels |
35mm |
Color |
|
| 1946 |
Rio Grande Raiders. |
Thomas Carr |
56 min. |
35mm |
Color |
sound |
| 1946 |
Stars Over Texas. |
Robert Emmett Tansey |
59 min. |
35mm |
B&W |
sound |
| 1946 |
The Dark Mirror. |
Robert Siodmak |
9 reels |
35mm |
B&W |
sound |
| 1946 |
The El Paso Kid. |
Thomas Carr |
6 reels |
35mm |
Color |
sound |
| 1946 |
THE MYSTERIOUS MR. VALENTINE. |
Philip Ford |
|
|
B&W |
|
| 1946 |
The Undercover Woman. |
Thomas Carr |
6 reels |
|
Color |
|
| 1946 |
They Made Me A Killer. |
William C. Thomas |
66 min. |
|
B&W |
|
| 1946 |
Three Wise Fools. |
Edward Buzzell |
9 reels |
35mm |
B&W |
sound |
| 1947 |
Big Town After Dark. |
William C. Thomas |
70 min. |
35mm |
B&W |
sound |
| 1947 |
Brooklyn, U.S.A |
Universal Pictures Company, Inc |
1 reel |
|
B&W |
|
| 1947 |
Code Of The Saddle. |
Thomas Carr |
53 min. |
35mm |
B&W |
sound |
| 1947 |
I Cover Big Town. |
William C. Thomas |
63 min. |
|
B&W |
sound |
| 1947 |
Jesse James Rides Again. |
Fred C. Brannon, Thomas Carr |
2 reels |
35mm |
B&W |
sound |