An adventuresome young man goes off to find himself and loses his socialite fiancée in the process. But when he returns 10 years later, she will stop at nothing to get him back, even though she is already married.
He had everything and wanted nothing. He learned that he had nothing and wanted everything. He saved the world and then it shattered. The path to enlightenment is as sharp and narrow as a razor's edge.
Tyrone Power is a pilots' pilot, but he doesn't believe in anything beyond his own abilities. He gets into trouble by flying a new fighter directly to Canada instead of to New York and ... See full summary »
A woman secretly suffering from kleptomania is hypnotized in an effort to cure her condition. Soon afterwards, she is found at the scene of a murder with no memory of how she got there and seemingly no way to prove her innocence.
Well-to-do Chicagoan, Larry Darrell, breaks off his engagement to Isabel and travels the world seeking enlightenment, eventually finding his guru India. Isabel marries Gray, and following the crash of 1929, is invited to live in Paris with her rich, social climbing, Uncle Elliot. During a sojurn there, Larry, having attained his goal, is reunited with Isabel. While slumming one night Larry, Isabel and company are shocked to discover Sophie, a friend from Chicago. Having lost her husband and child in a tragic accident, Sophie is living the low-life with the help of drugs and an abusive brute. Larry tries to rehabilitate her, but his efforts are sabotaged by Isabel who tries in vain to reignite Larry's interest in herself. Written by
Richard Blinkal <firstname.lastname@example.org>
After principal shooting, Darryl F. Zanuck took over, instructing editor J. Watson Webb Jr. on what to cut and how to cut it. The Fox mogul took control of post-production like few producers today and directors working with him understood, implicitly, that once the principal photography was done, the movie was out of their hands. It wasn't a bad deal, as Zanuck had a good feel for pacing, and the final result, coming in at almost 2-1/2 hours, moves along at an easy pace. It wasn't the Oscar-winning hit Zanuck had wanted, but it was a box-office success all the same, with almost everyone who worked on it, even Clifton Webb, expressing delight with their experience. See more »
At 1:17:13, the way Gray holds the coin changes. See more »
We could go down to Capri for our honeymoon and then in the fall we could go to Greece. Remember how we used to talk about traveling all over the world together?
Of course, I want to travel. But, not like that. Cheap restaurants. Third rate hotels. Besides, I want to have babies, Larry.
Alright, darling, we'll take them along with us.
Oh, Larry, you're so impractical. You don't know what you are asking me to do. I'm young. I want to have fun. Do all the things people do. We wouldn't have a ...
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When the screenplay credits are shown, a curious symbol appears near W. Somerset Maugham's name. It's a symbol meant to ward off the evil eye, and it more often than not appeared on the covers of many of Maugham's novels. See more »
Brilliantly cinematic adaptation in the grand Hollywood style
I discovered this movie only recently and have watched it three times in the last two months. It's the kind of movie that rewards repeated viewings. The story, as others have commented, is moving and inspiring and way ahead of its time, dealing as it does with topics (the philosophical/spiritual quest for meaning in life, alcoholism, psychic healing, class divisions, post-war trauma, greed vs. self sacrifice) that one would expect in a movie taking place in the nineteen sixties rather than one taking place immediately following World War I. It offers the pleasure of Hollywood glamour of a very high order with one spectacular set-piece after another. Over and over, one is amazed at the staging of scenes set at balls, restaurants, night-clubs, Paris streets, factories, etc. Many jaw-dropping, pre-steadycam long takes involve the choreography of dozens of elements, e.g. one long take outside a Paris railway station, or another crane shot in a Paris night club as the camera searches the crowd for the protagonists. Everyone involved with the film seems to be working at his or her peak, from director Goulding to composer Alfred Newman, to all the perfectly cast actors. The screenplay is filled with brilliant cinematic story-telling devices (ironic voice-overs, montage sequences, foreshadowings, symbolism (the use of water and the ocean in so many scenes)that keep a long and complex story moving so smoothly that the two-hour-plus running time is hardly noticed at all. The cinematography by someone named Arthur Miller is gorgeous with lighting effects and moving camerawork that rank in the pantheon of Hollywood's visual creations. This is a great film.
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