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This first film version of "The Children's Hour" uses a heterosexual triangle rather than the play's lesbian theme. The plot concerns schoolteachers Karen Wright and Martha Dobie, both of ... See full summary »
A love story centered around the lives of three young German soldiers in the years following World War I. Their close friendship is strengthened by their shared love for the same woman who ... See full summary »
The Roth family lead a quiet life in a small village in the German Alps during the early 1930's. When the Nazi's come to power, the family is divided and Martin Brietner, a family friend is... See full summary »
Young, naive Luisa Ginglebusher, who loves fairy tales, leaves the Budapest orphanage to become a movie usherette. Soon she befriends paternal waiter Detlaff and not so paternal Konrad, a meat-packing millionaire. Uninterested in Konrad's rich gifts, Luisa schemes to be a "good fairy" and divert some of this wealth to poor stranger Dr. Sporum. But it's not that simple... Written by
Rod Crawford <email@example.com>
On July 31, 1944, Deanna Durbin, Fredric March and June Lockhart acted in a 30-minute radio adaptation of the film, presented on the "Screen Guild Theatre" by CBS. Two-and-one-half years later, Miss Durbin starred in a musical remake of this picture, entitled I'll Be Yours (1947), which opened on February 2. See more »
[In an energetic telling of a fairy tale for the other orphans]
Wampa wampa, Wumpa wumpa, Eenie meenie minie mo; Sweet and faithful Rosalinda, Take me where I want to go.
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It's amazing that this film is so little known, since it represents the joint effort of some of Hollywood's best-known talents resulting in a 1930s comedy classic.
The story, set in Budapest, is a frothy, glittering comedy strongly reminiscent of Lubitsch -- who in fact five years later made a better known film with the same setting, atmosphere, and some of the same main actors, The Shop Around the Corner. What's different here, and one of the things that makes this film unique, is the Preston Sturges screenplay, which puts such a strong stamp of Sturges's style on the film that it really deserves to be called a Preston Sturges film as much as a William Wyler one. All the characteristic Sturges elements are here: the combination of subtlety and slapstick, the credible development of a comic situation which starts simply and rapidly becomes absurdly complicated, continual rapid-fire action and repartee, and an atmosphere of sophisticated sex farce overlaying a surprisingly cynical vision of relations between the sexes. Margaret Sullavan is enchanting as the naive do-gooder orphan suddenly dumped into the real world, and Herbert Marshall as a lawyer who is something of a young fogey steers an exactly right course between pomposity and idealism. Some of the comic sequences -- for instance, the attempted seduction dinner which is disastrously thwarted by a combination of the orphan's innocence and the machinations of the waiter to make it impossible for them to order, are as funny as anything in film.
Should you see it? I'd recommend this film to everyone. It's a thoroughly entertaining comedy which is also a first rate piece of film making by everyone involved.
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