A Navy engineer, returning to the U.S. with his wife from a conference, finds himself pursued by Nazi agents, who are out to kill him. Without a word to his wife, he flees the hotel the ... See full summary »
Dolores del Rio
In fog-dripping, barren and sometimes macabre settings, 11th-century Scottish nobleman Macbeth is led by an evil prophecy and his ruthless yet desirable wife to the treasonous act that ... See full summary »
Three stories of murder and the supernatural. In the first, a museum worker is introduced to a world behind the pictures he sees every day. Second, when two lifelong friends fall in love ... See full summary »
The young, handsome, but somewhat wild Eugene Morgan wants to marry Isabel Amberson, daughter of a rich upper-class family, but she instead marries dull and steady Wilbur Minafer. Their only child, George, grows up a spoiled brat. Years later, Eugene comes back, now a mature widower and a successful automobile maker. After Wilbur dies, Eugene again asks Isabel to marry him, and she is receptive. But George resents the attentions paid to his mother, and he and his whacko aunt Fanny manage to sabotage the romance. A series of disasters befall the Ambersons and George, and he gets his come-uppance in the end. Written by
John Oswalt <firstname.lastname@example.org>
In the absence of Orson Welles, RKO cut 50 minutes from the original film--which was later destroyed--ostensibly to free up vault space at the studio. However, there was also conjecture that this was done to prevent Welles from attempting to make any changes to what was left of his film. The RKO-mandated re-editing had been left in the hands of two men: Robert Wise and studio rep Jack Moss. A phone was put into Moss' office that fed directly to Welles' hotel room in Rio de Janeiro, Brazil. According to future director Cy Endfield, who was working with Moss at the time, Moss would simply not answer the phone when it rang, suspecting it was Welles with his latest batch of comments and suggestions for the re-edit, Similarly, when Moss received lengthy telegrams from Welles with more suggestions and thoughts, he would throw them away. See more »
Towards end of long tracking shot with George and Lucy in horse-drawn carriage, portion of rear end of camera car and some sort of filmmaking equipment briefly enters left side of frame. See more »
The magnificence of the Ambersons began in 1873. Their splendor lasted throughout all the years that saw their midland town spread and darken into a city. In that town, in those days, all the women who wore silk or velvet knew all the other women who wore silk or velvet, and everybody knew everybody else's family horse and carriage. The only public conveyance was the streetcar. A lady could whistle to it from an upstairs window, and the car would halt at once and wait for her, ...
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All of the credits except the RKO logo, the film's title and the copyright notice are recited orally (by Orson Welles) at the end of the film, not written out onscreen. As Welles recites the names of the production crew, we see such items as a motion picture camera when he says "Director of Photography", a pair of hands turning knobs as he says the words "Sound Recording By", etc. See more »
If you think Citizen Kane is wonderful, then, if you haven't already seen it, find a copy of "Ambersons" as soon as you can. To me, "Ambersons" surpasses "Kane" in complexity and perhaps richness of characters. The story of the long-term results of love deferred, unrequited love, and long-suffering love, are even more interesting with Welles' direction using overlaid dialogue and odd camera angles. My favorite part is when old Major Amberson speaks to the camera and it becomes apparent he's lost his mind. Chilling. The Ambersons captures a time more than a century ago in America when passions were suppressed and civility masked a boiling interior. This film was edited severely, I've read. This is another mystery, because the remaining footage is superb. We can only wonder what the original "Ambersons" might have been.
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