A motorcycle stunt rider turns to robbing banks as a way to provide for his lover and their newborn child, a decision that puts him on a collision course with an ambitious rookie cop navigating a department ruled by a corrupt detective.
A teacher lives a lonely life, all the while struggling over his son's custody. His life slowly gets better as he finds love and receives good news from his son, but his new luck is about to be brutally shattered by an innocent little lie.
Thomas Bo Larsen,
1921. In search of a new start and the American dream, Ewa Cybulska and her sister Magda sail to New York from their native Poland. When they reach Ellis Island, doctors discover that Magda is ill, and the two women are separated. Ewa is released onto the mean streets of Manhattan while her sister is quarantined. Alone, with nowhere to turn and desperate to reunite with Magda, she quickly falls prey to Bruno, a charming but wicked man who takes her in and forces her into prostitution. And then one day, Ewa encounters Bruno's cousin, the debonair magician Orlando. He sweeps Ewa off her feet and quickly becomes her only chance to escape the nightmare in which she finds herself. Written by
Enrico Caruso would have been too ill to have performed in February 1921. After several years of poor health. His last performance was in late December 1920, after which his health deteriorated further and he underwent several surgeries. See more »
A woman appears in a new world (it's New York in the 20s) that should be rife with possibility, she has the address of relatives where she's going to live, she could get a job, marry, leave the misery behind. But a showman arranges to take her in as part of his cabaret show - she doesn't know this but is little by little swept in, as we are, into sex, despair, drama. The questions are about the extent of the manipulation in this world - was the customs officer bribed to report a false address, is the sister sick as reported?
But we see everything in the same passive yellow light. The filmmaking itself is unimaginative, but more, the filmmaker isn't trying to sculpt possibility, only arranges the story that will take us into his show.
How much more bold and difficult it would be to have the woman herself manipulate, actively try to carve her own fate? Was the incident on the ship during the voyage really a lie? And would we judge her if it wasn't? And if we did, would we be any different from the bigot uncle?
But see, for the filmmaker this won't be an important lesson unless she's just stood there, pure, tossed about, as two rival men watch her and scheme for her, and we watch them, and there's only a postcard importance between the levels of watching.
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