Calling the Tune offers a fascinating look at the fledgeling gramophone industry as it tries to solve the problems of reliable recording and production methods. 'I predict that the gramophone will be the democratic entertainment of the future' states unscrupulous record label boss Mr Gordon (Sam Livesey), who finally gets his comeuppance after one dirty trick too far against his rivals. If the film's love story is perfunctory, the real interest comes with watching performers of the day, from Henry Wood and his orchestra to George Robey and Charles 'the laughing policeman' Penrose laying down their recordings direct to record. And something very like a prototype laser disc makes a crucial appearance too.

American chorus-girl Mamie Wallace (Farrell) travels to Paris with a ramshackle touring musical revue. The company runs out of money, and it looks as though Mamie and her dancing colleagues are going to be stranded in Europe with no way home. Luckily, she meets a handsome, well-spoken Englishman Peter Millett (Hulbert), who falls in love with her and proposes marriage. Under the impression that he is a man of means, she readily accepts, imagining an entrée to English high society. The couple return to England and Mamie discovers to her horror that not only is her new home a decrepit farmhouse out in the sticks, but that Peter is a widower and his three children also come as part of the package.

Mozart biopic.

Call Me Mame is a 1933 British comedy film directed by John Daumery and starring Ethel Irving, John Batten and Dorothy Bartlam. It was made at Teddington Studios as a quota quickie.

“Jim Oakley hears in prison that his son is to be made a substitute by a gang for a rich American family's son who was kidnapped years back. He breaks jail to rescue his son but after seeing how happy his son will be with the family, he renounces his claim to boy and returns to finish his sentence in jail.” - BFI.

A French sleeping-car attending with an eye for the ladies hooks up with a wealthy widow and they get married. What he doesn't know is that she married him because she wants to stay in France. Complications ensue.

Robert Tisdall finds on the beach the corpse of a woman he knew. Others wrongly conclude that he is the murderer. Fleeing, he desperately attempts to prove that he is not the killer. A young woman becomes embroiled in the effort.

A telephonist falls for her employer.