The general Othello is manipulated into thinking that his new wife Desdemona has been carrying on an affair with one of his officers Michael Cassio when in reality it is all part of the scheme of a bitter lieutenant named Iago.
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 private eye escapes his past to run a gas station in a small town, but his past catches up with him. Now he must return to the big city world of danger, corruption, double crosses and duplicitous dames.
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 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, ...
See more »
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 »
This is a wonderful film, one of great pathos and sensitivity. Orson Welles was drawn to Tarkington's novel because Tarkington had been a friend of Welles' father and Welles identified strongly with the story, seeing something of his own family's history there.
Whether it is better than Kane is a fun question for film clubs to debate (I did once but I don't now), but it is interesting to note that while Orson Welles was particularly bitter that RKO re-shot his ending to make it more appealing to audiences, if you read the novel you will see that it is the novel's ending that RKO tacked on. Welles' ending was of his own invention and would have given the film a completely different tone.
So it is ironic that Welles always seemed to claim that RKO had destroyed the integrity of the novel's story when they only preserved it, if rather poorly in execution.
27 of 32 people found this review helpful.
Was this review helpful to you?