Carrie boards the train to Chicago with big ambitions. She gets a job stitching shoes and her sister's husband takes almost all of her pay for room and board. Then she injures a finger and ... See full summary »
An accidental nerve gas leak by the military kills not only a rancher's livestock, but also his son. When he tries to hold the military accountable for their actions, he runs up against a wall of silence.
George C. Scott
George C. Scott,
Ivan Kouznetsoff, a Russian engineer, recounts during World War II his stay in England prior to the war working on a new propeller for ice-breaking ships. Naïve about British people and ... See full summary »
Carrie White is a lonely and painfully shy teenage girl with telekinetic powers who is slowly pushed to the edge of insanity by frequent bullying from both classmates at her school, and her own religious, but abusive, mother.
Carrie boards the train to Chicago with big ambitions. She gets a job stitching shoes and her sister's husband takes almost all of her pay for room and board. Then she injures a finger and is fired. This is the 1890s. Charles Drouet, a salesman she met on the train, comes to her rescue, invites her to dine at Fitzgerald's where the manager George Hurstwood sends over a bottle of champagne. Stay in Drouet's apartment. He will be on the road 10 days. When she leaves the apartment many months later -- on a train bound for New York -- her traveling companion is Hurstwood. Why is he in such a hurry? Written by
Dale O'Connor <firstname.lastname@example.org>
A Splendid Recreation of Another Era: Oliver At His Best, Jones Tamped Down To "Real"
This is a curious little sleeper from 1952, a grim, objective look at the upward mobility of a country girl who first adapts to the needs of the men around her, and then moves on to a successful stage career on her own, leaving one of the men in abject poverty.
Today Carrie succeeds not only because of it's splendid recreation of a time, but as one of the few American vehicles where the legendary Laurence Olivier, (who often walked through a character role for the paycheck) performs to his best advantage, evolving from an assured man of the world to a pathetic morsel at the bottom of the heap, a restrained and beautifully measured performance given 13 years later than his dynamic Heathcliff for the same directer in 1939's Wuthering Heights.
Jennifer Jones, too, is a good deal less hysterical and florid than usual; the music score by David Raksin underscores without bombast, and the supporting cast provide excellent contrast. This is definitely not a cheerer-upper, but a picture neatly tuning into it's original author's concerns. It deserves another look, and as time goes by, will be considered one of Wyler's significant contributions.
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