China Valdes joins the Cuban underground after her brother is killed by the chief of the secret police, Ariete. She meets and falls in love with American expatriate Tony Fenner. Tony ... See full summary »
Against a background of war breaking out in Europe and the Mexican fiesta Day of Death, we are taken through one day in the life of Geoffrey Firmin, a British consul living in alcoholic ... See full summary »
A no account outlaw establishes his own particular brand of law and order and builds a town on the edges of civilization in this farcical western. With the aid of an old law text and ... See full summary »
China Valdes joins the Cuban underground after her brother is killed by the chief of the secret police, Ariete. She meets and falls in love with American expatriate Tony Fenner. Tony develops a plan to tunnel under the city's cemetery to a plot owned by a high official, assassinate him, and blow up the whole Cuban hierarchy at the ensuing state funeral. Together with a band of dedicated revolutionaries, they begin digging. Written by
Jim Beaver <firstname.lastname@example.org>
John Huston wanted a then almost-unknown Marilyn Monroe for a part in this movie. He made it about Cuban rebels at the time Monroe had a contract with Columbia. But producer Sam Spiegel didn't want to spend money for a screen test of Monroe. See more »
This film is an astounding anomaly to Hollywood film-making, in that it is openly supportive of armed revolutionary terrorism, even if it means the death of innocent people. And since it was made in 1949, by Columbia Pictures, just as the Hollywood Blacklist was beginning, it is even more unusual.
The quality of the film is first-ratea taut, well-constructed thriller, with convincing characterizations by the actors and strong direction by John Huston. The fact that it is about Cuba, made 10 years before the victory of the Fidel Castro-led revolutionary forces, is more coincidence.
The revolutionaries are seen as intense fanatics, yes, but each with a justification for their zeal. They are seen as different from each other, occasionally at odds, but essentially united in their purpose. They openly discuss the rights and wrongs of revolutionary violence, and come to a consensus to go ahead.
Jennifer Jones is impressive, as are Gilbert Roland, Pedro Armendariz, and John Garfield. I can't think of another studio-made American feature like this one, worth seeing for both its quality and its unique place in American movies.
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