In the mid-1700's the East India Company has power over commerce on the sub-continent, with the blessings of the British government. A clerk in the company, Robert Clive, is frustrated by ... See full summary »
A distinguished English gentleman has a secret life--he is the notorious jewel thief the press has dubbed "The Amateur Cracksman". When he meets a woman and falls in love he decides to "... See full summary »
Harry d'Abbadie d'Arrast
Spendthrift Willie Leyland again returns to the family home in London penniless. His father is none too pleased but Willie smooth-talks him into letting him stay. At the same time he turns ... See full summary »
Scientists are looking for a man to send up to be the first man on the moon. A man immune to worry, disease and even the common cold. They think they have found him until the impossible happens at Woomera...
Shirley Anne Field,
An aspiring composer, in the British Air Force for WWII, is downed in Italy and rescued by an Italian girl. He returns home to his wife, inspired to write an opera and aware that he's fallen in love with his rescuer.
MP John Chilcote is addicted to drugs and its made his already unpleasant personality more so. When he lets down his party in Parliament by botching an important speech he walks out into a London fog and bumps into his identical cousin John Loder. When life - including a clinging mistress, a discarded wife, his demanding party bosses and his responsibilities as a gentleman - close in on him he chucks it all and finds his cousin in order to hide out in a drunken stupor. When his faithful servant follows him, the servant hits on the idea of Loder impersonating Chilcote until the latter can get his act together. Loder does, and gets emotionally entangled with Mrs. Chilcote and the mistress. Written by
Ron Kerrigan <firstname.lastname@example.org>
There's no question but that "The Masquerader" is dated. This 1933
movie is set in a London contemporaneous with the era in which it was
filmed and portrays a highly stratified social milieu that has all but
disappeared in the intervening eight decades; one is almost surprised
that the constable at the doors of the House of Commons doesn't pull
his forelock as he addresses the parliamentarians who emerge. But the
movie is nimbly and deftly made and features both good acting in its
principal and secondary roles and sure direction by Richard Wallace.
Portraying both the dissolute Sir John Chilcote and his identical
cousin John Loder, Ronald Colman is afforded the opportunity to display
both his louche and noble sides (qualities he was to exploit to greater
advantage in "A Tale of Two Cities" made two years later) and Colman
makes the most of it. He's ably assisted here by Elissa Landi, Juliette
Compton and the ubiquitous Halliwell Hobbes (playing his faithful, if
long-suffering manservant, Brock). And, really, it's the acting that
makes this movie come to life; in the hands of lesser thespians the
much-used plot and only serviceable dialogue would begin to display the
threadbare attributes of the cinematically shop-worn. But good acting
always has the ability to move us... or it should. The joy that
Colman's and Landi's characters feel when the expected but nonetheless
surprising ending to "The Masquerader" rolls 'round is palpable and --
in a cool, present-day cinematic era when highly charged emotion is
regarded as somewhat suspect -- refreshing.
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