British actress Naomie Harris has been nominated for an Oscar for her role as a crack-addicted mother in the 2016 indie drama Moonlight. "No Small Parts" takes a look at some other roles she's played in her career.
Sgt. Mike Kincaid of the French Foreign Legion learns, from a Riff prisoner, that an attack will soon be made by the villainous Hussin on the Legion's outpost of Tarfa. Kincaid volunteers ... See full summary »
Bill Saunders, disturbed ex-soldier, kills a man in a postwar London pub brawl. Fleeing, he hides out in the apartment of lonely nurse Jane Wharton. Later, despite misgivings about his violent nature, Jane becomes involved with Bill, who resolves to reform. She gets him a job driving a medical supplies truck. But racketeer Harry Carter, who witnessed the killing, wants to use Bill's talents for crime. Written by
Rod Crawford <email@example.com>
Burt Lancaster's flogging ranks 43rd in the book, "Lash! The Hundred Great Scenes of Men Being Whipped in the Movies." Curiously, while he's sentenced to receive 18 lashes, in the book on which this movie is based, his character is sentenced to receive only 10 lashes. See more »
The story takes place in England, where automobiles and trucks are right-hand drive; but the truck Bill drives is left-hand drive. See more »
[to Bill Saunders]
... furthermore, although these appear to be first offenses, in view of the brutal nature of the assault, I have no alternative but to direct that you receive eighteen lashes of the cat-o'-nine-tails.
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KISS THE BLOOD OFF MY HANDS (Norman Foster, 1948) **1/2
Burt Lancaster's seventh film (and sixth noir!) 'relocates' him to London where he is an ill-tempered Canadian seaman and former WWII P.O.W. who accidentally kills the bartender of a pub for curtailing his boozing at closing time; a fellow patron (played with customary hamminess by the one and only Robert Newton) witnesses the event and plagues Lancaster throughout the picture to act as 'inside man' in a pharmaceutical robbery. This turn of events comes about through Lancaster's improbable relationship with a besotted nurse (Joan Fontaine) in whose flat he first takes refuge. Despite an evocative title, appropriately moody camera-work and musical accompaniment (courtesy of Russell Metty and Miklos Rozsa) and even a couple of Wellesian directorial touches (read tilted camera angles) thrown in for good measure by Norman Foster whose best-known credit remains JOURNEY INTO FEAR (1943) the film faces an insurmountable hurdle in the unconvincing central romance that culminates in an exceedingly phony redemptive ending. More's the pity, therefore, that this finale had just been preceded by the film's best sequences which depict Newton's double-death at the separate hands of first Fontaine and later Lancaster!
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