British officer is assigned to duty in Ireland and gets embroiled in Anglo-Irish battles and old girl friend who is now married to an Irishman. Powell learns more than he wanted to know ... See full summary »
It's 1917. In Russia, the Communist revolution is in full swing. Stephen 'Steve' Locke is a British agent in Russia. The main task of Steve is to prevent the Bolsheviks, led by Joseph ... See full summary »
Karl is the workaholic adopted son while Stephan is the lazy one. They both go to Munich to study medicine and Karl is at the top of the class while Stephan is barely passing. When ... See full summary »
Egypt, circa 1230 BC. Israelites are inslaved, and the jewish girl Merapi falls in love with egyptian prince Seti, son of pharaoh Merneptah., which creates a lot of problems. By the end, Moses leads his people away from Egypt.
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To lead a whole new life, probably more carefree, with the dancer Kitty, George Rothwill abandoned his wife Nora and his son. And without any scruples he squanders, with his new conquest, the money of his old mother.
This movie was originally released at length of 136 minutes. The version I looked at had 35 minutes trimmed, mostly, I judge, from the beginning, leaving some incoherence in the plot, derived from a Schnitzler play. It's 1809, Napoleon is at the gates of Vienna, and Medardus, played by Victor Varconi, is the son of a man dead in the wars. He is an Austrian patriot. He and Princess Ágnes Eszterházy are in love, but her ancien regime father orders her to marry the Valois claimant to the French throne. She does so, but puts him off until after he has accomplished a mission back in France. She sends for Varconi and tells him she loves him only, will he kill Napoleon -- played by a tubby Mihail Xantho -- pretty please and a cherry on top?
There's also an atlas that everyone is looking for, but I couldn't tell why. I don't think it matters terribly; the point of the movie is the costumes, the Viennese location shots, and the crowd scenes. Director Michael Curtiz is an absolute whiz at crowd sequences, whether they are battle scenes or the milling Viennese throngs. Perhaps those are actually the work of Second Unit director Arthur Gottlein, but I think not. Curtiz would, over the next couple of decades, run some pretty impressive crowd and battle sequences, in works like NOAH'S ARK and THE CHARGE OF THE LIGHT BRIGADE.
The historical drama is, of course, rather pointless, since Napoleon did not die in 1809 at the hands of an Austrian patriot, and the incoherence of the cut version only serves to abet the melodramatic nonsense of the story. Still, it remains an interesting movie for its position in Curtiz' curriculum vitae, demonstrating his assured visual settings even at this early stage of his career.
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