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Lillian Lashin - NOT AVAILABLE
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COMPLETE FILMOGRAPHY WITH SYNOPSIS
Make-Up (feature film)
A young white boy, raised by Native Americans, is forced to return to white society following the signing of a peace treaty.
Educated but hot-headed Mitch Baker travels to the border town of Mission intent on avenging the death of his secret service father at the hand of contraband gang leader Newton.
When a Boston artist is commissioned to paint landscapes, he gets caught up in a land war between settlers and the Mohawks.
To escape the edict of Egypt's Pharoah, Rameses I, condemning all first-born Hebrew males, the infant Moses is set adrift on the Nile in a reed basket. Saved by the pharaoh's daughter Bithiah, he is adopted by her and brought up in the court of her brother, Pharaoh Seti. Moses gains Seti's favor and the love of the throne princess Nefertiri, as well as the hatred of Seti's son, Rameses. When his Hebrew heritage is revealed, Moses is cast out of Egypt, and makes his way across the desert where he marries, has a son and is commanded by God to return to Egypt to free the Hebrews from slavery. In Egypt Moses's fiercest enemy proves to be not Rameses, but someone near to him who can 'harden his heart'.
Thrill-seeking teens in hot rods terrorize the quiet streets of 50s suburbia. The question is whether or not a city-sponsored racetrack will restore order to the streets, or simply push the pedal to the metal.
A Victorian gentleman bets that he can beat the world's record for circling the globe.
Tigri (Laurette Luez, working her way up to Bomba and Bowery Boys films) and her stone-age girl friends hate all men, but realizing they are a necessary evil, capture some for potential (strictly business, no recreation allowed) husbands. Engor (Allan Nixon, working his way down to the Mesa of Lost Women) escapes and, in his travels, discovers fire. This comes in handy later, after he has been recaptured by the women, when he drives off a dragon, or something, with his new discovery. This little feat has the effect of making the women realize their rightful subservient position, and he and Tigri have a primitive (non-catered) wedding, and go off to start a new tribe of fur-wearers.
A crooked lawyer tries to protect his numbers running brother from a ruthless crime boss.
In winter of 1938, Paris is crowded with refugees from the Nazis, who live in the black shadows of night, trying to evade deportation. One such is Dr. Ravic, who practices medicine illegally and stalks his old Nazi enemy Haake with murder in mind. One rainy night, Ravic meets Joan Madou, a kept woman cast adrift by her lover's sudden death. Against Ravic's better judgement, they become involved in a doomed affair; matters come to a crisis on the day war is declared.
Cowboy Ross McEwen arrives in town. He asks the banker for a loan of $2000. When the banker asks about securing a loan that large, McEwen shows him his six-gun collateral. The banker hands over the money in exchange for an I.O.U., signed "Jefferson Davis". McEwen rides out of town and catches a train, but not before being bitten by a rattler. On the train, a nurse, Miss Hollister, tends to his wound. A posse searches the train, but McEwen manages to escape notice. However a mysterious Mexican has taken note of the cowboy, and that loudmouthed brat is still nosing around. Who will be the first to claim the reward for the robber's capture?
The life and campaigns of the Maid of Orleans.
Perry Ashwell is a self-satisfied child psychologist who takes his colleagues and wife somewhat for granted. So confident is he of his position that he introduces rich attractive painter Octavio Quaglini to his office and home. Quaglini is no respecter of convention, and April Ashwell is extremely attractive.
Writer Georges Duroy (George Sanders) is one social-climbing S.O.B. who does most of his climbing over the warm (and cold) bodies of women. He begins with Rachel (Marie Wilson), a hanger-on in the cafes and Folies Bergere crowd, and then moves on to dally with Clotilde de Morelle (Angela Lansbury.) Always striving to move upward on the social scale, he ditches her to marry Madeleine Forestier (Ann Dvorak). Now he gets on the fast track. He persuades Madame Walter (Katherine Emery), the wife of his publisher, to fall in love with him, and then compromises Madeleine to frame a divorce, so he can pursue Madame Walter's daughter, Suzanne (Susan Douglas, before somebody decided her later-married name was her most-often used screen name.) He moves along so well that ere long he is in legal position to usurp the title of one of France's most noble houses. The moral, at the end, is it is okay to mess with French women, but triffling with French titles is going too far.
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