Critics and the public say Karen Stone is too old -- as she approaches 50 -- for her role in a play she is about to take to Broadway. Her businessman husband, 20 years her senior, has been ... See full summary »
On the sidewalks of the London theater district the buskers (street performers) earn enough coins for a cheap room. Charles, who recites dramatic monologues, sees that a young pickpocket, ... See full summary »
Queen Elizabeth is running this show. The men in her court should be thinking about how to add to the glory of the Elizabethan Age and how to foil those pesky Spanish who got far too much ... See full summary »
William K. Howard
Gutsy lass Gracie rallies fellow stall-holders at Birkenhead Market to prevent its takeover and demolition by a department store chain. She invokes the Market's foundation by Royal Charter ... See full summary »
Lee Sheridan, a young American comes to study at Oxford University, but is instantly disliked by the other students, because of his brash and big-headed attitude. After several scrapes with... See full summary »
Stefan and Dolly Oblonsky have had a little spat and Stefan has asked his sister, Anna Karenina, to come down to Moscow to help mend the rift. Anna's companion on the train from St. Petersburg is Countess Vronsky who is met at the Moscow station by her son. Col. Vronsky looks very dashing in his uniform and it's love at first sight when he looks at Anna and their eyes meet. Back in St. Petersburg they keep running into each other at parties. Since she has a husband and small son, they must be very discreet if they are going to see each other alone. Written by
Dale O'Connor <email@example.com>
Closing credits: "And the light by which she had been reading the book of life, blazed up suddenly, illuminating those pages that had been dark, then flickered, grew dim, and went out forever". See more »
Opening credits: "Happy families are all alike; every unhappy family is unhappy in its own way. Everything was in confusion in the Oblonsky's House". See more »
This film is like the adaptation of Wuthering Heights Goldwyn made in 1939. --Which is to say it cuts its indebtedness to its literary namesake to the bone so completely you'd swear the producers were paying for the use of the name based on percentage of fidelity to original source material. This is still a common practice, to take a hot literary property or should-be sacrosanct classic and completely wing it on your "interpretation" of the story. (See the recent refry of Scarlet Letter, for example.) Understand, I won't carp about the issue of fidelity, per se. My point is more like why even bother to use the name as a film title if you find it expedient for one reason or another to ditch the plot and refit the original character nuances.
The redeeming feature of this film lies in the way it pays off with a big, teary, dramatically oh-so right finish. You'd have to be pretty flinty not to feel it. --The sad, stunning finish seems, after all is said and done, the films reason for being. See it. 8 stars.
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