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Boots and Saddles is a 1937 American western film directed by Joseph Kane and starring Gene Autry, Smiley Burnette and Judith Allen. It was produced and distributed by Republic Pictures . Based on a story by Jack Natteford , the film is about a young Englishman who inherits a ranch that he wants to sell, but is turned into a real Westerner by a ...
Grass (1925). The film's producers were mainly concerned with documenting a way of life that was unknown to all those outside the Bakhtiari realm. The film highlights the extreme hardships faced by nomadic peoples, as well as the bravery and ingenuity of the Bakhtiari on their migration in search of grass, which meant abundant seasonal pasture for their animals.
Puss in Boots, sometimes also listed as Cannon Movie Tales: Puss in Boots, is a 1988 musical version of the story of Puss in Boots, starring Christopher Walken as "Puss" and Jason Connery as the youngest son who is assisted by Puss. [1] Carmela Marner stars as the Princess.
Puss in Boots serves as the narrator at the beginning of the film. He says that he used to belong to a poor miller and his three sons, the youngest being Gunther. Despite being the favorite, Gunther only inherits Puss after his father's passing while his older brothers, Zeek and Zak, inherit the mill and their father's donkey respectively.
In “The Freshly Cut Grass,” there’s a scene that captures how people who’ve been married for a while, and are in the thick of raising children, can snipe at each other in dog-whistle ways ...
Pages in category "Animated films based on Puss in Boots" The following 9 pages are in this category, out of 9 total. This list may not reflect recent changes .
Pride of the Blue Grass is a 1939 American drama film directed by William C. McGann and written by Vincent Sherman. The film stars Edith Fellows, James McCallion, Granville Bates, Aldrich Bowker, Arthur Loft and William Hopper. The film was based on an actual 15-year-old blind horse, Elmer Gantry, who was co-billed as a star and played himself.
The movie was received with mixed reviews, and it was much criticized for remaking the film scene for scene. The New York Times criticized the plot for having no conclusions. The critic praised the performances of both Gilbert and O'Reilly and called the direction of Richard C. Sarafian 'sensitively unobtrusive'.
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