Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
Christabel fools everyone with her sweet exterior including her cousin Donna and Donna's wealthy fiancée Curtis. The only one who sees through her facade is Nick, a rugged writer who loves ... See full summary »
The life of Marie Antoinette (1755-1793) from betrothal and marriage in 1770 to her beheading. At first, she's a Hapsburg teenager isolated in France, living a virgin's life in the household of the Dauphin, a shy solitary man who would like to be a locksmith. Marie discovers high society, with the help of Orleans and her brothers-in-law. Her foolishness is at its height when she meets a Swedish count, Axel de Fersen. He helps her see her fecklessness. In the second half of the film, she avoids an annulment, becomes queen, bears children, and is a responsible ruler. The affair of the necklace and the general poverty of France feed revolution. She faces death with dignity. Written by
When Marie and Louis first wedding anniversary is announced, the bells are heard change-ringing. This requires the bells to completely be rotated by a rope wound on a wheel, and was until the 19th century a strictly English way of ringing bells. The bells shown are swinging from trunnions, in the normal French manner. See more »
Written by Claude Joseph Rouget de Lisle
Played over the opening credits
Reprised as background music at the start of the French Revolution
Played again at the end See more »
It never ceases to amaze me at how completely I might be suddenly drawn into the emotional moment of a film by the power of the actor. Usually the strongest ones come suddenly, and without warning, giving you no time to put up defenses. Brando's eruptions of moods when talking to his dead wife in Last Tango in Paris is probably the most dramatic example of this. (His greatest scene ever, that I have witnessed) But before that, Norma Shearer's panic and utter emotional breakdown when the guards come to take her son from her in the prison, is overwhelming and complete. Anyone who is not genuinely moved to the core by this incredible performance, either sleeps or does not possess those human sensitivities that are torn by the loss of a child. For it is not sympathy that is evoked, but an empathy called forth by the raw, human agony of the suffering before you. Years later when I visited the actual site in Paris where that tragedy would have taken place, I experienced a time of respect and reflection such as I have never had in any other place in the world that I have visited.
This is one of the truly great films. If you want to find out how deeply someone can feel, show it to them and observe. Norma Shearer set a standard I fear has been forgotten, as evidenced by the way tinsel town hands out awards today for mediocre work pushed onto the modern consciousness by glitzy ad campaigns and self-serving accolades.
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