A pragmatic U.S. Marine observes the dehumanizing effects the Vietnam War has on his fellow Marine recruits from their brutal boot camp training to the bloody street fighting set in 1968 in Hue, Vietnam.
Rome, 1944. Giorgio Manfredi, one of the leaders of the Resistance, is tracked down by the Nazis. He goes to his friend Francesco's, and asks Pina, Francesco's fiancée, for help. Pina must ... See full summary »
A German stage actor finds unexpected success and mixed blessings in the popularity of his performance in a Faustian play as the Nazis take power in pre-WWII Germany. As his associates and ... See full summary »
Klaus Maria Brandauer,
A French boarding school run by priests seems to be a haven from World War II until a new student arrives. He becomes the roommate of top student in his class. Rivals at first, the roommates form a bond and share a secret.
During World War II, 12-year old Ivan works as a spy on the eastern front. The small Ivan can cross the German lines unnoticed to collect information. Three Soviet officers try to take care... See full summary »
France, 1942, during the occupation. Philippe Gerbier, a civil engineer, is one of the French Resistance's chiefs. Given away by a traitor, he is interned in a camp. He manages to escape, ... See full summary »
During the First World War, two French soldiers are captured and imprisoned in a German POW camp. Several escape attempts follow until they are sent to a seemingly impenetrable fortress which seems impossible to escape from.
Maciek, a young Resistance fighter, is ordered to kill Szczuka, a Communist district leader, on the last day of World War II. Though killing has been easy for him in the past, Szczuka was a... See full summary »
The power and fortune of the Von Essenbeck family remained intact even when Germany lost the great war and during the depression that followed. Now it's 1934 and the baron has summoned his family to a dinner that also brings a cousin rising in the Nazi party to the great house accompanied by a rising manager at the baron's company. Two little girls recite poetry in the parlor and then play hide-and-seek with their cousin Martin. Suddenly there is a scream. The baron has been shot with their father's gun and the father flees the country. Written by
Dale O'Connor <email@example.com>
The film opens on the night of the Reichstag Fire (27 February 1933). However, later that night (or early the next morning) the police inspector investigating the murder of Joachim, in dictating a report to a secretary, gives the date as 18 February 1933. See more »
It's all over, Gunther. It was everyone's fault, even mine. It does no good to raise one's voice when it's too late, not even to save your soul. The fear of a proletariat revolution, which would've thrown the entire country to the left... was too great, and now we can't defend it any longer! Nazism, Gunther, is our creation. It was born in our factories, nourished with our money!
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Pauline Kael famously called this movie "hysterical" (she was contrasting it to Bertolucci's *The Conformist*, which was supposed to be more "lyrical".) Well, a movie about decadent Nazis is bound to be a little hysterical -- what, were you expecting something tasteful? Hysteria is probably the best mode with which to treat the Third Reich. What's astounding is that director Luchino Visconti forced his sweaty, hysterical visuals into a rigid classical structure. The set-up is pure clockwork: one betrayal leading to another; one devastation opening up an even deeper abyss for another perpetrator.
Basically, Visconti is taking on *Macbeth*, here. Dirk Bogarde plays the Macbeth figure, an up-and-coming industrialist who's sleeping with an evil Grande Dame of Nazi finance, Sophie von Essenbeck (Ingrid Thulin, having an absolute ball), heiress to a munitions conglomerate. (The von Essenbecks are loosely based on the Krupps, but don't take this as any sort of literal historiography.) Thulin eggs on her lover Bogarde to commit a few politic murders and a frame-up or two so that he can take over the family business, with herself as the power behind the throne. But she doesn't count on the pathology of her grown son from a previous marriage, the hideous little monster Martin (Helmut Berger, acting terribly but it sort of fits in an Udo Kier-sort of way). Martin is your typical Nazi: a closet pedophile, a drug addict, a transvestite, a momma's-boy, a you-name-it. The scenes involving his seduction of a 9- or 10-year-old girl who lives in a shabby apartment complex are some of the most disturbing that you'll ever see in cinema . . . and along those lines, I seriously wonder about the state of mind of some of the commentators here who find this movie to be high camp, to be watched with drinking buddies. If you think molestation is funny, you'd better see a shrink, pal.
Anyway. The plot is so Byzantine that it finally defeats a brief summary. Let it suffice to say that Visconti manages to cram his complicated story neatly within the historical context of the period between the Reichstag Fire and the Night of the Long Knives, thereby maintaining a nutty observance of Classical Unities. All the while, he films the thing in Hammer-horror Pop color, with intense contrast between shadow and light. The first scene, by the way, is a shot of the blasting furnaces of the munitions factory -- a fitting intro to the horrendous vision of depravity which soon follows. Everyone's sweating in this movie: drops of perspiration trickle down temples, and beads of sweat glisten on upper lips throughout, as if the flames of Hell are licking up at the soles of their collective feet. *The Damned* is a feverish masterpiece. You'll never forget it. Highest recommendation.
(A tip for viewing of the DVD: I recommend that you watch the movie with the English subtitles ON. While everyone speaks English in the film, only Bogarde is clearly intelligible. Owing to the complicated plot, you'll need to know what's going on in order to fully appreciate Visconti's thematic design.)
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