El Pato Donald va de visita a un museo de inventos modernos, donde le ocurrirán todo tipo de situaciones disparatadas con las máquinas que allí se exponen.

Unusually elaborate for a PRC film, Minstrel Man is a lively musical drama built around the talents of veteran vaudevillian Benny Fields. The star is cast as Dixie Boy Johnson, who rises from the ranks of minstrel shows to become a top Broadway attraction. On the opening night of his greatest stage triumph, Dixie Boy's wife dies in childbirth. Profoundly shaken, he walks out of the show, leaving the baby to be raised by his showbiz pals Mae and Lasses White (Gladys George, Roscoe Karns). The kid grows up to be an attractive young woman named Caroline (Judy Clark), who follows in her dad's footsteps by billing herself as-that's right-Dixie Girl Johnson. This leads to a tearful reunion between Caroline and the father she'd long assumed to be dead. If Minstrel Man seems at times to be a dress rehearsal for Columbia's The Jolson Story (1946), it shouldn't surprising: the PRC film was directed by Joseph H. Lewis, who went on to helm Jolson Story's musical highlights.

Al Fuller (Jolson) es la estrella de un espectáculo ambulante de trovadores de gira por los Estados Unidos. El grupo se desplaza a una modesta ciudad del sur, donde el hombre se enamora de Nora Meadows (Lois Moran), estrella del espectáculo, pero el problema es que ella ama a Westy, un apuesto miembro de la misma troupé. Incidentalmente, Fuller se convertirá en acusado de intento de homicidio de su compañero y rival en el amor.

Harry and Inez are a dance team at the Wonder Bar. Inez loves Harry, but he is in love with Liane, the wife of a wealthy business man. Al Wonder and the conductor/singer Tommy are in love with Inez. When Inez finds out that Harry wants to leave Paris and is going to the USA with Liane, she kills him.

At its peak, The Black and White Minstrel Show was watched by a Saturday night audience of more than 20 million people. David Harewood goes on a mission to understand the roots of this strange, intensely problematic cultural form: where did the show come from, and what made it popular for so long? With the help of historians, actors and musicians, David uncovers how, at its core, blackface minstrelsy was simply an attempt to make racism into an art form - and can be traced back to a name and a date.

Monty Banks becomes a car salesman and is shifted to Africa to sell one to King Obogeegee.