All her life Englishwoman Gladys Aylward knew that China was the place where she belonged. Not qualified to be sent there as a missionary, Gladys works as a domestic to earn the money to ... See full summary »
Anna Kalman is a London based actress. She has been unable to find love in her life. The reason why she came home early from a vacation to Majorca fits into that theme, as the man she met ... See full summary »
In the Fifteenth Century, France is a defeated and ruined nation after the One Hundred Years War against England. The fourteen years old farm girl Joan of Arc claims to hear voices from ... See full summary »
Francis L. Sullivan
Years after her aunt was murdered in her home, a young woman moves back into the house with her new husband. However, he has a secret that he will do anything to protect, even if it means driving his wife insane.
Daniel has been forced by his father to become a priest. After graduating, he comes to a parish in Hälsingland. During one stormy night, he seduces a young girl, Karin, and rapes her. ... See full summary »
Irene Girard is an ambassador's wife and used to always live in luxury. After the dramatic death of her son, she feels guilty of having neglected him and feels compelled to help people in ... See full summary »
When she was a child, Anna Holm burned her face. This destroyed her looks, and she has become a mean and bitter woman. She and her 'friends' are black-mailers. One of the victims pay her by letting a plastic surgeon, doctor Wegert, make her beautiful again. Anna becomes a new person and leave the others. She becomes a governess for a young boy, who will inherit a fortune. The boy has an evil uncle, who wants to see the boy dead, so that he will inherit the fortune. He hires Anna's former colleagues as assassins. Written by
Gustaf Molander had trouble with the ending. He stopped the filming for two days without getting any reasonable ideas. Finally, he asked Ingrid Bergman what she would think was the best. It was she who suggested the present ending. See more »
Well, it has a European feel and does not hinge itself on a court-case melodrama like the Joan Crawford version which is molded in the shape of the weepies of the twenties, thirties and forties hollywood. Bergman is not very good in this, especially when her face is scarred. Her performance is a bit too bitter, too harsh, a little exaggerated. She is much better when her face has been reconstructed and gently turning heel and keel as the boy's nanny. An ending of doubt and uncertainty which marks this version is missing from the Hollywood version. I would say the hollywood version is much more perfect and rounded; and definitely, Joan Crawford's performance is better. You can only change the outside, it is only you that can change the inside, is the core/moral of both versions and in that way, both of the stories succeed. One is done with Hollywood cliches and the other with the Swedish/Nordic arty/ realist style of European cinema. Both are different by the look but at heart the same movie.
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