Always the diplomat, Alex Hazen is slow to take sides in Europe of the 1920s and 1930s. Cassie Bowwman wants him to be more decisive and leaves him in Rome just as Mussolini is coming to ... See full summary »
Even though Peter and Kimani grow up together, Kimani soon finds that different races are treated differently. After the father of Kimani is jailed for following tribal customs, Kimani ... See full summary »
Cary, Shep, Bill, and Francis are pilots who have just, and only just, survived the First World War. They linger in Europe in the aftermath, drinking and ostensibly having fun, but ... See full summary »
Johnny Mack Brown
Covering a quarter-century of American 'syncopated" music (Ragtime, Jazz, Swing, Blues, Boogie Woogie)from prior to WWI through prohibition, the stock-market crash, the depression and the ... See full summary »
Jerry McKibbon is a tough, no nonsense reporter, mentoring special prosecutor John Conroy in routing out corrupt officials in the city, which may even include Conroy's own police detective father as a suspect.
Always the diplomat, Alex Hazen is slow to take sides in Europe of the 1920s and 1930s. Cassie Bowwman wants him to be more decisive and leaves him in Rome just as Mussolini is coming to power. There Alex marries Emily, daughter of a newspaper publisher who hires Cassie for his Paris bureau -- just before retiring form active management of his paper. Alex and Emily's son Sam, recently returned from active duty in World War II, learns the whole story one night in Washington when Emily invites Cassie to dinner. Sam has a story to tell, too. Written by
Dale O'Connor <email@example.com>
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. See more »
And has anyone noticed the way the Sidney and Richards figures in this film anticipate Fonda and Redgrave in "Julia"?
The film itself is very handsome, in a less-than-dynamic sort of way. (How could any film with Robert Young and Ann Richards as 2/3rds of its central trio be described as "dynamic"?) The screenplay is good, though, and Sidney is first-rate.
The theatrical version of Hellman's story was notable for a flashy early appearance by Montgomery Clift (as the ambassador's son). Not a huge success, but acclaimed nonetheless. Frankly, the writing's better for the screenplay.
There's a lot, too, to be said for the sort of noir-flavored, female-centered drama that Hal Wallis and (frequently) William Dieterle produced in this era. "Love Letters," for instance, "The Accused" ... That plus the Hellman style make an intriguing (as well as intrigue-filled) combination.
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