Nora leaves the convent where she has been raised to marry a relative. Just arrived she has an accident resulting in total amnesia. Her identity mistaken a new life begins for her, where she will encounter love, adventure and even crime.
Juan de Orduña
María Esperanza Navarro
A writer eloping with his mistress by train has second thoughts, pulls the emergency brake, bails out and witnesses the train's collision with another train, events eventually leading to murder and a police manhunt.
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Baby is found by nuns, who raise her inside the convent. When she grows up, she moves to a fishing village and gives up religious life when she falls in love with a black fisherman, who ... See full summary »
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Virtually unknown slice of life drama is a very poor thing
Although it will be of almost no interest to anyone, this piece of social realism based on a 1946 play by a left-wing Glasgow theatre group is still a curiosity. It's a shame that probably we'll never know why such a parochial drama by an unknown playwright was deemed worthy of filming. A lot of people live cheek by jowl in a tenement apartment. It seems likely that many of the cast (never heard of again) were repeating their stage roles. They're not awfully good and generally they speak nice drama school Scots rather than the raw Glaswegian we'd expect. There's a fair amount of theatrical make-up on show. The house-mates include an Indian (who appears to be played by a Jew with an accent that wanders too regularly into Welsh) and inevitably a struggling artist desperate to escape the Gorbals squalor. There's much talk of poverty but the drama only comes to life when an irate father finds his daughter sitting on the artist's lap. The mediocre writing is a very long way from Steinbeck or Miller. Apart from establishing shots, the entire film was shot at London's Merton Park Studios. This robs the film of any hope of realism.
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