[Q]: Given the below context:  In the seventeenth century, Sir Simon de Canterville is forced by the Code of Chivalry to engage in a duel on behalf of his brother, but flees to the family castle when his opponent is substituted for a giant, the Bold Sir Guy (played by an uncredited Tor Johnson). His proud father, Lord Canterville, refuses to acknowledge that his son has disgraced the family name, even when shown in front of witnesses where Simon is cowering. The father has the only entrance to his son's hiding place bricked over as proof that Simon is not there, ignoring Simon's pleas for mercy. Lord Canterville then curses his doomed cowardly son to find no rest until "a kinsman shall perform an act of bravery" in his name. Next, during World War II, US Army Rangers are billeted in the castle, owned now by a six-year-old Lady Jessica de Canterville. One of the men is Cuffy Williams. The Rangers encounter Sir Simon but rather than being terrorized, humiliate the ghost with a mock haunting. With Cuffy's help, Jessica overcomes her own terror of the ghost. Jessica discovers that Cuffy is a Canterville by a distinctive birthmark. Together, the two meet and learn the fate of their ghostly ancestor. One night, Simon takes Cuffy on a tour of the family portrait gallery, recounting the cowardly act of each descendant. Cuffy scoffs at Simon's misgivings and boasts that he is different. However, when the moment of crisis comes, Cuffy seems to be a true Canterville and is paralyzed by fear in combat. Disgraced and leaving the Rangers, Cuffy is faced with an unexploded parachute mine threatening his platoon with destruction and is again overcome with fear. However, when Lady Jessica inadvertently activates the mine trying to inspire him, Cuffy hitches the bomb behind a jeep and steers it into a ravine. The courageous act finally frees Sir Simon from his centuries of bondage.  Guess a valid title for it!
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[A]: The Canterville Ghost (1944 film)


[Q]: Given the below context:  Johnny Clay is a veteran criminal planning one last heist before settling down and marrying Fay. He plans to steal $2 million from the money-counting room of a racetrack during a featured race. He assembles a team consisting of a corrupt cop, a betting window teller to gain access to the backroom, a sharpshooter to shoot the favorite horse during the race to distract the crowd, a wrestler to provide another distraction by provoking a fight at the track bar, and a track bartender. George Peatty, the teller, tells his wife Sherry about the impending robbery. Sherry is bitter at George for not delivering on the promises of wealth he once made her, so George hopes telling her about the robbery will placate and impress her. Sherry does not believe him at first but, after learning that the robbery is real, enlists her lover Val Cannon to steal the money from George and his associates. The heist is successful, although the sharpshooter is shot and killed by a security guard. The conspirators gather at the apartment where they are to meet Johnny and divide the money. Before Johnny arrives, Val appears and holds them up. A shootout ensues and a badly wounded George emerges as the only man standing. He goes home and shoots Sherry before collapsing. Johnny, on his way to the apartment, sees George staggering in the street and knows that something is wrong. He buys the biggest suitcase he can find to put the money in (and struggles to lock it properly). At the airport Johnny and Fay are not allowed to take the case on their flight due to its size. Instead, they must check it as regular luggage. Johnny reluctantly complies. While waiting to board the plane the couple watch the suitcase fall off a baggage cart onto the runway, break open, and the loose banknotes scattered and then swept away by the backdraft from the aircraft's propellers.  Guess a valid title for it!
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[A]: The Killing (film)


[Q]: Given the below context:  Nielsen's two operas are very different in style. The four-act Saul og David (Saul and David), written in 1902 to a libretto by Einar Christiansen, tells the Biblical story of Saul's jealousy of the young David while Maskarade (Masquerade) is a comic opera in three acts written in 1906 to a Danish libretto by Vilhelm Andersen, based on the comedy by Ludvig Holberg. Saul and David received a negative press when it was premiered in November 1902 and did no better when it was revived in 1904. By contrast, in November 1906 Masquerade was a resounding success with an exceptional run of 25 performances over its first four months. Generally considered to be Denmark's national opera, in its home country it has enjoyed lasting success and popularity, attributable to its many strophic songs, its dances and its underlying "old Copenhagen" atmosphere.Nielsen wrote a considerable number of choral works but most of them were composed for special occasions and were seldom reprised. Three fully-fledged cantatas for soloists, orchestra and choir have, however, entered the repertoire. Nielsen composed Hymnus amoris (Hymn of Love), Op. 12 (1897) after studying early polyphonic choral style.  Writing in the newspaper Dannebrog, Nanna Liebmann referred to the work as "a decisive victory" for Nielsen, and Angul Hammerich of Nationaltidende welcomed its improved clarity and purity. But the Berlingske Tidende reviewer H.W. Schytte thought Nielsen had been pretentious presenting the lyrics in Latin rather than Danish. Søvnen (The Sleep), Op. 18, Nielsen's second major choral work, sets to music the various phases of sleep including the terror of a nightmare in its central movement which, with its unusual discords, came as a shock to the reviewers at its premiere in March 1905. Fynsk Foraar (Springtime on Funen), Op. 42, completed in 1922, has been cited as the most Danish of all Nielsen's compositions as it extols the beauty of Funen's countryside.  Guess a valid title for it!
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[A]:
Carl Nielsen