Lydia Garth meets Paul de Vandiere, a French nobleman, but their romance is plagued by Lydia's complaint of recurring spells of blurred vision. Paul leaves for France, promising to return ... See full summary »
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Returning to 1870's London after finishing at boarding school, Fanny witnesses the death of her father in a fight with Lord Manderstoke. She then finds that her family has for many years ... See full summary »
Sei persone viaggiano in un vagone-letto da Marsiglia a Parigi. All'arrivo, un donna viene trovata morta nella sua cuccetta. La polizia si mette alla ricerca delle altre persone, ... See full summary »
Set just after the end of WWII (but filmed in the middle of it) in a time of general euphoria at having won the war, with full employment and general happiness for all (or nearly all). ... See full summary »
Three good men - a broken boxer, an American veteran trying to win back his mother-dominated wife, and an air force sergeant married to a faithless actress - are corrupted by Miles ... See full summary »
The film begins on Mother's Day, 1938 when 14-year-old Ziggy Brennan (Mona Freeman buys a gardenia for her mother. Ziggy's youthful exuberance disappears when she enters their apartment and... See full summary »
Lydia Garth meets Paul de Vandiere, a French nobleman, but their romance is plagued by Lydia's complaint of recurring spells of blurred vision. Paul leaves for France, promising to return and marry Lydia, but she loses her sight while he is gone. Given no hope of recovery, she enters a convent and quickly finds that she has no vocation for life in a nunnery. She finally marries Paul, but encounters strong opposition from Verite Faimont, a neighbor who is very fond of Paul. The latter constantly plots against Lydia and is successful in temporarily breaking up the marriage, but can a miracle of restored vision be seen? Written by
Les Adams <firstname.lastname@example.org>
Faint-hearted, discount version of Rebecca; it should be full throttle purple, but it's lazy lavender .
A faint-hearted, discount version of Rebecca (itself a version of Jane Eyre.) The first third is adequately, but unexcitingly presented, and the remaining two thirds ground out in a series of unconvincing, predictable and lame melodramatic clichés. The usually dependable writer/director seems to have no discernible appetite here for the potential suspense, tension and excitement. This should be a good old fashioned melodrama, but at best it's a milk chocolate romance for undemanding picturegoers of the 1940s. Only Maxwell Reed as the oily servant, lurking and scheming, seems to have the right idea, but is given very little to do. The stars are dull. Maurice Denham and Thora Hird are okay, and Desmond Dickinson's photography is sometimes lovely.
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