A ruthless real-estate tycoon sets his sights on a small fishing village, which he believes he can buy cheaply and turn into a profitable tourist destination. He hires a handsome young ... See full summary »
Oregon, 1980: Jane, Elaine and Louise are all feeling the effects of inflation and cannot afford, as the title states, the high cost of living. Jane cannot afford a babysitter or get ... See full summary »
Susan Saint James,
This is the story of the beautiful young Pervirella. Set in the mythical English land of Condon, the grotesque, power-mad Queen Victoria builds a wall around the country and establishes a "... See full summary »
In a vacation camp somewhere in the French country, 1960. Marc et Philippe are two of the counsellors. Marc is very virile, while Philippe is more reserved. A night, Marc surprises Philippe... See full summary »
Fearful that their star witness might be murdered, two attorneys hire a protector to bring him from Los Angeles to New York. Jesse Crowder (Fred Williamson) is a no-nonsense tough guy. He ... See full summary »
A poor community in the remote state of Espirito Santo, Brazil, ekes an existence by fishing and picking crustaceans from the local tropical mangroves. Their meagre survival gradually ... See full summary »
Walderrama Dos Santos
I don't know that you couldn't find this sort of material and the values it projects in a half dozen other documentaries, yet it's not bad. It rolls along with excerpts from early films through 1934 and show us clips of sex bombs and beauties (all women except for Valentino) who came and went during Hollywood's heyday.
Some of the stills are unusual. Those of us used to seeing Marlene Dietrich in her later American movies may be surprised, as I was, at her fresh, youthful beauty, of which there was only a glimpse in "Der Blaue Engel." Extended treatment is given to Clara Bow, Louise Brooks, and Mae West. Jean Harlow bobs through a scene or two.
Half a dozen talking heads describe the evolution of censorship in Hollywood movies, but most of it will be familiar to buffs. There are a few topless scenes but they're brief. It's not a very sexy movie. Pushing the envelope is represented by somebody like Joan Crawford or Barbara Stanwyck shouting, "Men made me what I am!" (Gasp.) The narration by Diane Lane is informative but clumsy. It gets it point across almost despite itself. "Some queens faded into the shadows; others continued to wear the mask of stardom." Something like that; I wasn't taking notes.
The social background -- the liberation of women and the relaxation of Edwardian norms -- during and after the war (Kids, that's World War I) are briefly limned it. "Vamps" like Theda Bara ("Arab Death") didn't last long. "Flappers" like Clara Bow lasted into the sound period.
The dialectic between the gods of Hollywood movies and the agencies of Breen and Hayes are described. My God, I'm glad I don't look like Will Hayes, ex Postmaster, who was a censor. He looks like some kind of chimera, as if one of his parents had been a comic book character. His agency would simply take a pair of scissors, snip out any parts of a film they found offensive, and throw the pieces away -- gone to hell, I suppose.
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