Romance and heartbreak walk hand-in-hand when Philip Chagal accidentally meets Helen Lawrence in a restaurant where she is a waitress. Unhappily married to a woman who suffers from mental ... See full summary »
Susan Miller works behind the girdle counter in a department store and dreams about the beautiful clothes and glamour she can never hope to have. Enter May Worthington and Warren, a pair of... See full summary »
A young priest, Father Chisholm is sent to China to establish a Catholic parish among the non-Christian Chinese. While his boyhood friend, also a priest, flourishes in his calling as a ... See full summary »
John M. Stahl
Famed English painter Priam Farll has spent the last 25 years living in various remote locations with only his trusted manservant, Henry Leek, for company. While Farll is summoned to London to receive a knighthood, Leek falls ill and dies. Wishing to avoid the ostentation knighthood ceremony, the reclusive painter assumes his valet's identity. Farll, posing as Leek, soon receives a letter from Alice Chalice, a widow who has been corresponding with Leek through a marriage bureau and is expecting to finally meet her beloved in person... Written by
At approximately 1:05:54 into the film, the well-lit wall close behind the two main characters suddenly cuts to darkness, as though simulating a night scene, and after seven seconds returns to daylight brightness; all while the ongoing dialogue through the two cuts flows smoothly. See more »
"Holy Matrimony" existed for me only as legend for the longest time. My father's friend Bill Gitt (renowned projectionist and elder brother of film preservationist Bob) was a great fan of this and often spoke of it, though I can't recall ever seeing it as a young lad. But I searched long and hard and finally tracked down a DVD of it (not a bad print at all), and it is truly enchanting. Marvelous, marvelous performance by Monty Woolley, in a very understated mood -- those who know him only from "The Man Who Came to Dinner" will, I think, be quite pleasantly surprised by his work here and, from Gracie Fields, a miraculous one. The first time I watched it I thought, well, she doesn't do much. But then I wanted to see it again almost immediately. And it's true, she doesn't do much, but the little things she does are simply exquisite. A great, really subtle performance, not at all played for laughs, but funny all the same. Her delivery of the simple line, "That's it," is a lesson in charming simplicity. John M. Stahl, that strange, almost mythical director, has a marvelous effect on actors (see, for example, Adolphe Menjou in "Letter of Introduction," where he really plays sincerity... well, sincerely): without fancy photography, he seems able to give them an almost mystical radiance. And he has an amazing cast of character actors to work with here: Eric Blore, Una O'Connor, Alan Mowbray, George Zucco, Laird Cregar, Melville Cooper, Ethel Griffies. A superb Nunnally Johnson script (his best?) and an excellent score (Cyril Mockridge) -- typical of Fox films of the 40s and early 50s. A film worth seeking out, one you will want to watch time and again.
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