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 »
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
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 newspaper reporting the auto accident that injured George Amberson Minafer, the left-hand column is "Stage Views" featuring the picture and byline of "Jed Leland", the theater critic in Citizen Kane (1941), also directed by Orson Welles. Leland was played by Joseph Cotten, who plays Eugene Morgan in this movie. See more »
In scene where Lucy and George say goodbye while walking down the street, Lucy's hair is pulled behind her neck. In closeup, as she watches George leave, her hair is in ringlets hanging in front of shoulders, then reverts to original hairdo when she goes into pharmacy. 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 »
The fate of this almost magnificent film must rank as one of the greatest tragedies in the history of the cinema. viewing it in its present state is like looking at the Venus Di Milo, or at a beautiful Greek vase that has been shattered. One can only admire the fragments...and what gorgeous fragments they are: Major Ambersons heartbreaking meditation by the fireplace,the quarrel between Eugene Morgan and Georgie about the Automobile, Isabel's death, Agnes Moorehead's magnificent performance, the splendor of the Amberson mansion, and the ballroom scene. Perhaps someday, some powerful computer might be able to reconstruct the missing footage from stills and from Welles script...perhaps. Until that almost impossible moment, one can only envy the handful of men and women who were able to see it whole, and to understand what they were seeing.
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