Martin Scorsese Presents REPUBLIC REDISCOVERED—over 20 rarely seen films from the storied Republic Pictures library, restored and remastered by Paramount and personally curated by Martin Scorsese. In I’ve Always Loved You an orchestral conductor engages in a merciless professional rivalry with a piano student who adores him. Republic made a rare foray into high-budget filmmaking with this 1946 prestige production containing color by Technicolor, piano solos by Arthur Rubinstein, and direction by A-lister Frank Borzage.

Martin Scorsese Presents REPUBLIC REDISCOVERED—over 20 rarely seen films from the storied Republic Pictures library, restored and remastered by Paramount and personally curated by Martin Scorsese. In Moonrise locals shun the son of a murderer. Only one person defends him, but she happens to be the girlfriend of his chief tormentor. After a confrontation, he kills his bully in self-defense but becomes tormented that he may be following in his father's footsteps.

This film was a follow up to 1927's "7th Heaven." Featuring the potent chemistry between Farrell and Gaynor. A moody, atmospheric and exquisite film. Borzage at his best.

A man and woman who are both skeptical about romance fall in love and get married, but their lack of confidence about one another haunts their marriage in this engaging drama.

Robert Taylor stars as the rookie cadet assigned to a crack fighter squadron in Flight Command. The Hell Cats squadron members resent Ensign Alan Drake (Taylor), fresh out of the academy at Pensacola, who's been assigned to join their ranks. To make matters even worse, his constant attentions alienate Lorna Gray (Ruth Hussey), their commander's wife. But a lost plane, an air crash, an impenetrable fog and a surprising act of heroism give the rookie the chance to earn the squadron's respect.

Through impenetrable jungles, across perilous swamps, desperate for a second chance at life, a band of Devil's Island felons and a tough-as-nails prostitute struggle toward freedom. Among them is a mysterious, quiet-spoken visionary who may be literally the escapees' salvation. Film giants Clark Gable and Joan Crawford team for the eighth and last time in this gripping story that explores the lures of the flesh and the transcendence of the spirit. Gable is at his peak as a flinty convict who lusts after floozy Crawford from the moment he nabs her discarded cigarette. Fighting each other and the elements, the stars imbue this provocative adventure with audacity, power and passion.

One name strikes fear among Spanish ship captains plying the coastal Caribbean waters of the Spanish Main: Barracuda, the notorious scourge of the seas. Yet it was not always so. In this lavish swashbuckler, Casablanca's Paul Henreid stars in a change-of-pace role as Captain Laurent Van Horn, a Dutch trader in the Caribbean who is wrongly imprisoned by the Spanish governor (Walter Slezak) and sentenced to hang for trespassing. But Van Horn stages a breakout with other unjustly incarcerated prisoners, resurfacing as the rakish Barracuda to command the pirate waterways, rescue fair Francesca (lovely Maureen O'Hara, who also sailed the celluloid oceans in The Black Swan and Sinbad, the Sailor) from marriage to the governor and avenge the wrongs done to him. Filmed in Technicolor, the film received a 1945 Oscar nomination for Best Color Cinematography.

Elizabeth Cheney has a wealthy husband, social prominence and everything she could want in life . . . except Ted Lutton, the man she loves. Now, she must decide whether to give up everything and everyone to follow her heart in The Circle. 1925. At a time when divorce means a lifetime of banishment from family, friends and society--foregoing a life of ease for a life of hardship--Lady Elizabeth (Eleanor Boardman) wants to leave her husband, Arnold (Creighton Hale), for their friend Ted Lutton (Malcolm McGregor). To help convince herself to stay with her husband, she invites Arnold's mother, Lady Catherine (Eugenie Besserer), who left Arnold's father for Lord Porteous (George Fawcett). Everything that Elizabeth sees confirms her belief that she should forgo love and stay with her husband . . . until she witnesses the true love still shared by this couple living in social exile.

She's the screen's iconic working girl. He's the screen's legendary Everyman. And Mannequin is the only celluloid collaboration of film greats Joan Crawford and Spencer Tracy. Melodrama expert Frank Borzage directs, composing glamorous close-ups of his femme star in this heart-tuggger about a Hester Street girl (Crawford), her con-artist hubby (Alan Curtis) and the shipping magnate (Tracy) smitten by the slum girl. It's a rags-to-riches-to-love's-truer-riches tale, a quintessential example of what the Golden Era called a "woman's picture." And reigning throughout is Crawford, going from factory girl to showgirl to fashion model to woman of means - all in stunning haute couture.

World War I is over, let the living begin. So three German soldiers open a repair ship and get on with their lives. Erich (Robert Taylor) finds unexpected love with frail Patricia (Margaret Sullavan), Gottfried (Robert Young) falls in with a verboten anti-nationalist group, Otto (Franchot Tone) approaches each day with worldly cynicism. And through all that's to come, the men know they will remain Three Comrades. This lyrical adaptation of Erich Maria Remarque's novel is one of F. Scott Fitzgerald's rare screenwriting credits. Melodrama virtuoso Frank Borzage (Seventh Heaven) directs. And as Patricia, Sullavan remains the film's luminous soul, its cherished fourth comrade.

When Joan Crawford saw The Shining Hour on stage, she pleaded with the studio to let her spread her acting wings in the film version. She got her wish, playing a New York siren who marries a prosperous farmer (Melvyn Douglas) and moves to Wisconsin. There she is drawn to his handsome brother (Robert Young), even as she befriends the brother's selfless wife (Margaret Sullavan, Crawford's choice for the role). The passionate triangle plays out in the best tradition of classic screen melodrama: glossy and chic, but resonant with honest emotion. And the movie's heart-stopping climax with Crawford battling flames to rescue Sullavan from certain death in a house fire is, both literally and figuratively, incendiary filmmaking.