John Carroll

Surrounded by fans and sceptics, grizzled director J.J. "Jake" Hannaford returns from years abroad in Europe to a changed Hollywood, where he attempts to make his innovative comeback film. This film was started in 1970 by Orson Welles but never completed during his lifetime.

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 man, thought to be dead, returns to his hometown in Florida. He finds his wife re-married and the town now ruled by corrupt forces.

A boy doesn’t find the life he expects out West when he leaves Chicago to find his uncle. The West has changed–it is no longer “cowboys and Indians.” He finds his uncle living in a shack, and in trying to be accepted and help out, the boy gets himself into all sorts of trouble, causing his uncle to refer to him as “good for nuthin’,” a nickname that sticks. Eventually the two see that they need each other.

Film clips highlight the funniest scenes and brightest comic stars in MGM's history.

To scare the squatters from the cattle country he claims as his own, rancher Ed Sampson orders the Martin farm house burned. Galt Martin is killed, and his eldest son, Joe, is pistol-whipped. Timmy Martin sees the killer, Cass Becker and points him out when he and Joe are in Painted Flats. Cass forces Joe to put on a gun but Ned East, a retired gunfighter, saves the inexperienced Joe by forcing Cass to draw on him, and Ned is the winner.

A man and his partner arrive at a small Western town to kill its most powerful man because the former blames him for his wife's death.

A money-to-burn and girl-chasing Texas oilman, and a sensitive, dignified entomologist find themselves in charge of a brood of wild kids whose parents, both famous explorers, are reported lost while on an African safari.

Erie Canal, N.Y., 1850: Molly Larkins, cook on Jotham Klore's canal boat, has a love-hate relationship with her boss. She hires handsome new haul-horse driver Dan Harrow and the inevitable triangle develops (complicated by Dan's desire to farm and Molly's to boat) against a background of the canalmen's fight against the encroaching railroad.

Music manager Janey Edwards poses as a co-ed to get the rights to a song from one of the professors.