Cicely Paget-Bowman

A newlywed suspects her husband of being a Communist spy.

England, 1890s. The brutal and embittered Marquis of Queensberry, who believes that his youngest son, Bosie, has an inappropriate relationship with the famous Irish writer Oscar Wilde, maintains an ongoing feud with the latter in order to ruin his reputation and cause his fall from grace.

The Second World War is over, and the Miniver family is trying to keep themselves together in post-War Britain, among continuing shortages and growing tensions within the family.

Around the turn of the century, in England, alcoholic Uncle Willie is the bane of his family, of which his brother-in-law is the family spokesman. It is decided to let Uncle Willie buy a bicycle shop in order to impress Virginia van Stuyden, an American heiress in love with Frank. This pleases Uncle Willie's young nephew, Charles. Complications arise when stuffy lord, Sir George Probus, at whose home Virginia is staying, becomes shocked when she attends a carnival.

A Scotland Yard detective is investigating a string of robberies and a murder, and the information he uncovers leads him to the estate of a wealthy but strange English family, who share their mansion with a group of nuns. The detective comes to suspect that neither the family nor the nuns is quite what they seem to be.

The tragic story of Lady Jane Grey, the young queen who reigned in England for nine days before she was executed.

As the threat of Napoleonic invasion looms ever closer, a German duke and potential ally of England falls for a pretty ballerina.

The Loves of Madame du Barry was the American title of the 1935 British operetta I Give My Heart, based on the stage musical The Du Barry. German actress Gitta Alpar stars as Jeanne, the young 18th century Parisian milliner who sleeps her way to the uppermost rungs of French aristocracy, emerging at last as the glamorous Madame du Barry, mistress of Louis XV (Owen Nares). Refusing to gloss over du Barry's sexual peccadilloes (as previous films with Norma Talmadge and Dolores del Rio had done), the film presents the "heroine" as a whore, pure and simple-or, on second thought, not so pure and simple! Particularly troublesome for American censors was a scene in which du Barry is depicted as a resident of a bawdy house. Otherwise, The Loves of Madame du Barry is standard historical-drama fare, allowing dozens of top European actors to play "dress-up" for 90 minutes.