A serial killer in London is murdering young women he meets through the personal columns of newspapers. He announces each of his murders to the police by sending them a cryptic poem. After ... See full summary »
Fifteen years after the Civil War the people of Bowden, Alabama still hate Marcus Hubbard for wartime profiteering. He's also at odds with wife Lavinia and his sons, conniving Ben and weak Oscar; but beautiful daughter Regina gets all she wants from him. Conflicts intensify when Regina gets involved with John Bagtry, scion of the old gentry, and Oscar with the Ku Klux Klan; on a stormy night, family relationships unravel. Written by
Rod Crawford <firstname.lastname@example.org>
Sound stage set (1948) stock units were used to construct the Hubbard Home in 1950 on Colonial Street. The "Hubbart house" remained on the colonial street 1950 to 1981 next to the Munster House. In 1981 set moved to the new colonial street where it was placed next to the "Leave it to Beaver House"/ "Marcus Welby House" ("Any town USA" on the Universal Studio Tour. In 1988 it was move again along with the Beaver house to an area of the back-lot south of Falls lake. Some time between (2006 and 2007) it was destroyed. The Hubbard House set has appeared in many Universal Pictures and TV series, example 'The Milkman (1950)', "Bachelor Father' (1960)' and 'Amazing Stories (1985)'. See more »
Destined for the stage, but somehow ingeniously made into a movie, this heavy drama about an ostracized family and there internal implosion gets better with each passing minute all the way up to its smashing ending. The superb cast includes an impressive list of names, but even the lesser roles (Dona Drake in particular) contribute significantly, while the story is nearly flawlessly presented, with a few touches that take advantage of the cinematic medium, especially a terrifically edited sequence with Drake doing a Can-Can in a dancehall while out in the woods the KKK is beating a carpetbagger senseless. But what gets the most attention is the constant state of maneuvering between three siblings for the father's favor and his money, and the father's utter disdain, brilliantly portrayed by Frederic March, for his two sons, the hardworking Edmond O'Brien and his lazy younger brother played by Dan Duryea. What stands out is the consistent level of fascination and intensity that the film maintains from start to finish, and the fact that it (this film) seems all but lost today.
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