Anti-Semitism, race relations, coming of age, and fathers and sons: in Baltimore from fall, 1954, to fall, 1955. Racial integration comes to the high school, TV is killing burlesque, and ... See full summary »
Colm is a Catholic and George is a poetry-loving Protestant. In Belfast in the 1980s, they could have been enemies, but instead they became business partners. After persuading a mad wig ... See full summary »
Jimmy Alto is an actor wannabe who stumbles into the role of a lifetime. He becomes a vigilante crime-fighter, aided by his sidekick William, who has suffered a head wound and has problems ... See full summary »
Janne, a 60 year old party promoter is arranging a nightclub at the annual tennis week in the small coastal town of Båstad, where he also teams up with his older sister Jackie. But an ... See full summary »
Melanie Griffith and Don Johnson (at the time married to each other) play Lily and Ben Reed, a young couple torn apart by a family tragedy. It would take a miracle to rekindle their love ... See full summary »
The streetcar wreck scene was staged with a plywood replica of a Baltimore PCC streetcar, with assistance by Baltimore-area streetcar historians. The location of the "wreck" actually was on an original Baltimore streetcar route. See more »
Although the beginning of the picture is set in the late 1940s, the Christmas song "Silver Bells" is heard on Jules' car radio, sung by Bing Crosby. That version of the song was released in 1950. See more »
I came to America in 1914 - by way of Philadelphia. That's where I got off the boat. And then I came to Baltimore. It was the most beautiful place you ever seen in your life. There were lights everywhere! What lights they had! It was a celebration of lights! I thought they were for me, Sam, who was in America. Sam was in America! I didn't know what holiday it was, but there were lights. And I walked under them. The sky exploded, people cheered, there were fireworks! What a welcome ...
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The credits roll over a photograph of Avalon, which begins as a sharp color photograph, but fades into a worn black-and-white picture at the end. See more »
The third of Barry Levinson's Baltimore trilogy (following Diner' and Tin Men') is a gentle and low key yet hugely impressive film that is a worthy successor to his enormously prosperous and Oscar winning Rainman'. Although adopting the box office disaster strategy no stars just talent', Levinson manages to create a small yet thoroughly incisive look at the changing face of America and its values during an eventful period in its cultural history.
Set in the mid 1950's at the height of the post war economic boom and on the eve of Television's dominance of domestic life, Avalon' looks closely and lovingly at the lives, loves and disasters of three generations of a Polish family in the New World. Opening with a magnificently shot flashback of Mueller-Stahl's arrival in America on July 4th some forty years earlier, the film develops a nostalgic yet never overtly sentimental approach to its subject matter and always keeps its story-line rooted firmly in reality.
Although the film has no specific plot or central character, the magnificent Mueller-Stahr emerges as the principal paternal figure trying to keep his increasingly disparate family of brothers, children, nephews, nieces and sundry together amidst the turning tides of cultural change. Joan Plowright plays his stubborn wife who has never learned to fully adapt to the lifestyles in the West, while his son Aidan Quinn is trying desperately to cash in on the American dream that brought his father to those shores in the first place.
A tale told with great colour, character and humour and populated with a huge assortment of human characters and memorable moments, 'Avalon' is a beautifully composed piece of American cinema.
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