Even though Peter and Kimani grow up together, Kimani soon finds that different races are treated differently. After the father of Kimani is jailed for following tribal customs, Kimani ... See full summary »
At the Doll House, a 1930's New Orleans bordello, Hallie is the main attraction both for clients and for Jo, the madame. Her comfortable if tedious life is disrupted by the arrival in town ... See full summary »
The man called Obam struggles with the increasingly hostile forces facing each other in a colonial African country. The African natives want their land and lives back from the British ... See full summary »
An African-American prison psychiatrist (Sidney Poitier) finds the boundaries of his professionalism sorely tested when he must counsel a disturbed inmate (Bobby Darin) with bigoted Nazi tendencies. Written by
Producer Stanley Kramer directed the framing story. See more »
[furiously to the patient]
You crud! You vicious, slimy. rotten little crud!
[He slams the door]
Let me tell you something. Do you know what I wanted most? Despite what you are and despite what you were, I wanted to help you. I wanted to kill you. I would enjoy to kill you right now with my bare hands. But more than I wanted to kill you, I wanted to help you. Know what that makes me? More than a good man that makes me a doctor!
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Here Comes the Bride
("The Bridal Chorus") (uncredited)
Composed by Richard Wagner (1850)
Sung at bund meeting See more »
I don't know why this film is virtually unknown. For its time it must have been very controversial and even today it still packs a wallop of a punch. But I am as equally impressed by the style of this film as I am with the performances and the screenplay. Fans of THE TWILIGHT ZONE will feel right at home with the stark B&W stylization of the dream sequences and the childhood flashbacks. Yet like any great film, it doesn't let its style overwhelm the viewer. It simply acts as a springboard from which it can stun the viewer with the emotional impact of the story. It takes a lot to shock me, yet the flashbacks of the patient's childhood (especially one terrifying scene in a meat hanger that reminded me of the father-son relationship in PEEPING TOM) chilled me with its honest portrayal of childhood terror and helplessness. The other aspect of this film that intrigued me was the whole analytical forum of intellectual cat-and-mouse between patient and doctor. Realistically, an adult black man in the 1940s would have built up a shield to fend off the kinds of brutal statements made by his patient. But the patient's high intelligence throws Poitier off guard. He makes Poitier confront the injustices and indignities present in the country that he is so vigorously defending, thus he makes him confront his own anger and contempt. He makes Poitier an ally in anger, and that would throw anyone off balance. I also want to congratulate the film for its honest portrayals of terror and humiliation. An abusive game of tic-tac-toe in the hands of another director and actor would have come off as silly, but here it is startling and chilling. I don't know why Bobby Darin didn't continue his career with more dramatic performances like this but I'm grateful that this one is out there on video. It's one of the best performances that I've seen by an actor in anything!
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