Years after her aunt was murdered in her home, a young woman moves back into the house with her new husband. However, he has a secret that he will do anything to protect, even if it means driving his wife insane.
All her life Englishwoman Gladys Aylward knew that China was the place where she belonged. Not qualified to be sent there as a missionary, Gladys works as a domestic to earn the money to ... See full summary »
In this adaptation of Françoise Sagan's best selling novel, Paula is a beautiful and highly successful 40-year-old businesswoman. She is deeply in love with Roger, her mature consort of ... See full summary »
A concert violinist becomes charmed with his daughter's talented piano teacher. When he invites her to go on tour with him, they make beautiful music away from the concert hall as well. He ... See full summary »
Karen, a young woman from the Baltic countries, marries fisherman Antonio to escape from a prisoners camp. But the life in Antonio's village, Stromboli, threatened by the volcano, is a tough one and Karen cannot get used to it.
Russian exiles in Paris plot to collect ten million pounds from the Bank of England by grooming a destitute, suicidal girl to pose as heir to the Russian throne. While Bounin is coaching her he comes to believe she is really Anastasia. In the end the Empress must decide her claim. Written by
Ed Stephan <firstname.lastname@example.org>
At the time of filming, the filmmakers were not aware that the real Anna Anderson was still alive. When this came to their attention, they flew straight to her home in Germany and asked permission to use her name. See more »
Not the most accurate rumination on whether or not Anna was really Anastasia, perhaps, but creamy, expensive entertainment, expertly done. Many share in the credit. There's a witty, epigrammatic screenplay by the always reliable Arthur Laurents (love that closing line, and most of Helen Hayes' dialogue) that manages to speculate perceptively on the nature-of-performance theme without beating it into the ground; an evocative Alfred Newman score that surpasses virtually anything else he did at Fox; fine CinemaScope photography that really uses the outer reaches of the screen, though it does dabble in spectacle for spectacle's sake at times; a superb Hayes (she could be theatrically actressy or resort to little-old-lady tricks in other movies, but here she's the real deal); a delightful Martita Hunt; and chemistry between Ingrid Bergman and Yul Brynner that suggests all the underlying sexual tension without ever stating it explicitly. Also knock-your-eye-out costume design. In a time of rampant Hollywood bloat and slow-moving epics, this one moves along, without too much pretension. And Anatole Litvak's direction, while no great shakes, is nicely paced.
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