A broke-down middle aged Texas troubadour yearns to be remembered like the southern bluesmen before him, but his failings and self-doubt forestall his musical dreams and blind him to the open road.

If Columbia could make an acceptable movie star out of opera-diva Grace Moore, then RKO Radio could do the same with Lily Pons. At least that was producer Pandro S. Berman’s reasoning when he cast Pons in the 1935 musical romance I Dream too Much. The actress plays Annette, a rural French musical student who marries struggling American composer Jonathan (Henry Fonda). Possessed of a splendid singing voice, our heroine rises to fame on the opera stage, while poor Jonathan continues struggling, supporting himself as a tour guide. Annette eventually saves her marriage by transforming her husband’s “masterpiece,” a rather turgid modernistic opera, into a light-hearted musical comedy. Lucille Ball, who’d later co-star with Henry Fonda in The Big Street and Yours, Mine and Ours, has a funny minor role as a gum-snapping tourist. Though Lily Pons was at least 10 years older than Fonda, they make an attractive and believable screen couple, adding credibility to this somewhat contrived yarn

Two sailors, Joe (Kelly) and Clarence (Sinatra) have four days shore leave in spend their shore leave trying to get a girl for Clarence. Clarence has his eye on a girl with musical aspirations, and before Joe can stop him, promises to get her an audition with José Iturbi. But the trouble really starts when Joe realizes he’s falling for his buddy’s girl.

Eve is a catastrophe—low on self-esteem but high on fantasy, especially when it comes to music. Over the course of one Glasgow summer, she meets two similarly rootless souls: posh Cass and fastidious James, and together they form a group.

In the South of the United States are taking place confrontations between two groups of students who have different ideas and are not able to accept the one of the oponent.

Three children evacuated from London during World War II are forced to stay with an eccentric spinster (Eglantine Price). The children’s initial fears disappear when they find out she is in fact a trainee witch.

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Molly (Martha O’Driscoll), her brother, Slats (Abbott), and his pal, Oliver (Costello), are taxi dancers at the Miramar Ballroom. As a publicity stunt, Slats plants an article about Molly claiming her ambition is to earn enough money to attend staid, all-girl Bixby College. Bixby’s progressive dean offers Molly a scholarship. Molly accepts on the condition that Slats and Oliver come along too as campus caretakers. But the pompous Chairman threatens to foreclose on the school’s mortgage if Molly isn’t expelled. Together, the trio, with the help of some new friends, concocts a scheme to raise enough money to save the school. The plan involves a bet on the Bixby basketball team, which is playing in a game rated at 20 to 1 by the local bookie. But the bookie has other plans for their dough and hires a group of ringers to step in for the opponents. All is not lost, at least while Oliver has the chance to turn things around for his friends-one way or another.

This joyous celebration of frontier life combines tender romance and violent passion in the Oklahoma Territory of the 1900’s, with a timeless score filled with unforgettable songs. Rodgers and Hammerstein’s hit Broadway musical.

TV-version of the classic fairy tale, set to a Rodgers and Hammerstein score.

Clara, a lonely nurse from the outskirts of São Paulo, is hired by mysterious and wealthy Ana as the nanny for her unborn child. The two women develop a strong bond, but a fateful night changes their plans.

Orphaned and homeless Ranbir Raj re-locates to a small town and orders a glass of milk in the RK Bar. He befriends a prostitute by the name of Gulabji, who invites him to spend the night with her, and when he refuses, she re-directs him to Lillian who rents out rooms. Ranbir meets with Lillian, who has been living alone for 37 years after her son, Vincent, left to join the army and did not return.