A celebration of working class leisure activities at Hindle, Lancashire, during "Wakes Week", an annual week still observed in parts of Lancashire and Yorkshire when all factories and ... See full summary »
In Paris during the summer of 1914 a succession of brief liaisons begins and ends with a soldier and a tart, but on the way moves humourously and sometimes poignantly through a fascinating panorama of society and of attitudes to love.
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Having revolutionized film editing through such masterworks of montage as Potemkin and Strike, Soviet director Sergei Eisenstein emigrated west in hopes of testing the capabilities of the American film industry.
Sergei M. Eisenstein
While on seaside holiday with her girlfriend Mary, a pretty factory worker named Jenny is attracted to Alan, son of the owner of the mill where she works. When she agrees to spend a week ... See full summary »
On the last Wednesday before the spring solstice ushers in the Persian New Year, people set off fireworks following an ancient Zoroastrian tradition. Rouhi, spending her first day at a new job, finds herself in the midst of a different kind of fireworks -- a domestic dispute between her new boss and his wife.
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Fernando Fernán Gómez
A celebration of working class leisure activities at Hindle, Lancashire, during "Wakes Week", an annual week still observed in parts of Lancashire and Yorkshire when all factories and schools take a holiday. Written by
Michael Crew <email@example.com>
HINDLE WAKES (1927) Maurice Elvey's version of the controversial story set during a workers holiday week in Lancashire. Several other versions followed but this is apparently the most notable. Often cited as the start of the British cinema's characteristic strain of social realism which pervades so many later films - Powell & Pressburger providing the main creative island of respite - this one has some convincing opening shots documenting the workers in their mills and then off to Blackpool for their holidays. WAKES' story is mostly the familiar, melodramatic one of poor girl 'led astray' by rich man and suffers from a long middle section containing all the expected moralistic, and now dated, chest beating about the perils of natural fun outside marriage. What entirely redeems the film from this fossil nose dive is the character of the heroine, Fanny (Estelle Brody, later to appear in TV's THE MARTIAN CHRONICLES, of all things) who ultimately is entirely unrepentent towards her days of sexual indiscretion in Llandudno, and even dismisses the affair as just a "little fancy" before leaving home to seek freedom elsewhere. Slightly shocking, when seen in context of the times, even today.
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