Sophie Tucker

Steve Raleight wants to produce a show on Broadway. He finds a backer, Herman Whipple and a leading lady, Sally Lee. But Caroline Whipple forces Steve to use a known star, not a newcomer. Sally purchases a horse, she used to train when her parents had a farm before the depression and with to ex-vaudevillians, Sonny Ledford and Peter Trott she trains it to win a race, providing the money Steve needs for his show.

Out-takes (mostly from Warner Bros.), promotional shorts, movie premieres, public service pleas, wardrobe tests, documentary material, and archival footage make up this star-studded voyeuristic look at the Golden age of Hollywood during the 30s, 40, and 50.

A Prohibition-era nightclub crooner has his career is cut short when his throat is slashed by a mob boss.

Sisters are music-hall performers. One loves the other's fiancé and decides to quit the show, but the other runs into an old flame and new relations develop.

During World War II, all the studios put out "all-star" vehicles which featured virtually every star on the lot--often playing themselves--in musical numbers and comedy skits, and were meant as morale-boosters to both the troops overseas and the civilians at home. This was Universal Pictures' effort. It features everyone from Donald O'Connor to the Andrews Sisters to Orson Welles to W.C. Fields to George Raft to Marlene Dietrich, and dozens of other Universal players.

The rags to riches story of Sophie Tucker, an iconic superstar who ruled the worlds of vaudeville, Broadway, radio, television, and Hollywood throughout the 20th century. Before Beyoncé, Lady Gaga, Madonna, Bette Midler, Marilyn Monroe, and Mae West, Sophie Tucker was the first woman to infatuate her audiences with a bold, bawdy and brassy style unlike any other. Using all of "The Last of the Red Hot Mamas" 400-plus recently rediscovered personal scrapbooks, authors Susan and Lloyd Ecker take you on their seven-year journey retracing Tucker's sixty-year career in show business.`

Cricket West is a hopeful actress with a plan and a pair of vocal chords that bring down the house. Along with her eccentric aunt, she plays host to the local jockeys, whose leader is the cocky but highly skilled Timmie Donovan. A young English gentleman comes to town convincing Donovan to ride his horse in a high stakes race.

As dancer Ginny Walker performs on stage, a veiled woman in the audience stands up, accuses Ginny of stealing her husband and then fires a gun at her. After Ginny collapses and is taken to her dressing room, the woman, Julia Westcolt, a friend of Ginny's, dashes backstage, discards her veil, and then congratulates her friend on their successful publicity stunt. When Ginny's press agents, Gus Crane and his son Junior, visit their client backstage, she brags about her feat and chides them for not being more creative in promoting her. Horrified at Ginny's brashness, Junior, a conservative Harvard graduate, chastises her and leaves the room.

Compilation of extracts from 'blue' movies from 1900 to the 1940s intercut with clips of popular music and dancing, and excerpts from newsreels and shorts, mostly 'topical' features involving women. Includes glimpses of Fats Waller, George Formby, Nat 'King' Cole and other performers.

A documentary film about three generations of female Jewish comedians and the complexity and challenges of their relationship to comedy, Judaism, and gender. The film profiles Molly Picon, Fanny Brice, Sophie Tucker, Joan Rivers, Gilda Radner, and Wendy Wasserstein, as well as contemporary comedians Judy Gold and Jackie Hoffman.

Nightclub hostess Sophie Leonard educates her daughter Beth abroad and keeps her life secret for her. But suddenly the daughter shows up.