A priest (William Holden) arrives at a mission-post in China accompanied by a young native girl who has joined him along the way. His job is to relieve the existing priest (Clifton Webb), ... See full summary »
In 1856, fresh from life with nuns in an orphanage school, Alexina Barbin comes to a coastal village in La Rochelle to teach the village girls. She is deeply religious. She shares the ... See full summary »
Just before Christmas, Joe Miracle, a returning WWII war hero, comes home to learn that gangster Barney Teener has taken over his nightclub and murdered Joe's partner. Joe loots the club's ... See full summary »
Chief Sitting Bull of the Sioux tribe is forced by the Indian-hating General Custer to react with violence, resulting in the famous Last Stand at Little Bighorn. Parrish, a friend to the ... See full summary »
J. Carrol Naish
An Army deserter, still a fugitive in Post-War Britain, wanders into a pawn-shop robbery and finds himself wanted for murder. He meets a war widow who helps him elude the police while he ... See full summary »
Marie, the charming daughter of Italian immigrants, has a dream : to become rich. In Roubaix, where she lives, she meets and marries small-time crooner Marcel Potier. Together they leave ... See full summary »
This classic (Greek) tale tells how a noble youth accidentally marries his own mother, kills his own father (deliberately) and ends up paying a terrible price for invoking the wrath of the ... See full summary »
This example of cinema vérité was shot in Saint Pauli, the red light district of Hamburg. Indeed, the local police district and the working girls of the area are credited.
The story, such as it is, concerns Friedrich Gnaß -- he has a sort of Paul Muni look to him -- who spots a trinket in a jewelry window, performs a bit of smash-and-grab, and flees into the Saint Pauli district, where no one thinks of anything but the moment -- if indeed, that much. The film-makers don't glorify their subjects, but neither do they look down on them. Indeed, there is no emotional center to the movie, yet it easily maintains interest, thanks to some beautiful compositions by cinematographer A.O. Weitzenberg and excellent editing by Carl Behr.
There are a few musical interludes, and a final number which can only be called a paean to hopelessness. The last is apparently to give some gravitas to the entire affair, but the effect tends to make the rest of the movie seem a bit ridiculous. Still, the rest of the movie has enough of interest to make this a superior work.
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