An educated, upscale young black musician marries a woman from a lower socioeconomic class to get her out of the clutches of her stepfather, who beats and abuses her. However, once he "... See full summary »
Poster writes a gossip column for the Morning Gazette. He will write about anyone and everyone as long as he gets the credit. He gets most of his information from his gal, Peggy who is a ... See full summary »
William A. Seiter
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.
After a short split prologue showing riches as the root of evil in ancient and modern times, the film settles into 1914 France, where the Orient Express is about to be wrecked when a bridge washes out. Among those on board are Al and Travis, Americans who are traveling Europe spending Travis' money, and Marie, a German girl. The boys save Marie after the wreck and Travis falls in love with her. When World War I breaks out Al wants to enlist, but Travis can't, feeling loyal to Marie, a German. By 1917 Al has enlisted, and Travis follows him shortly after marrying Marie. Accused of being a German spy by a Russian agent, she is sentenced to die but is recognized by Travis, who is part of the firing squad. The town they are in is shelled and they are all trapped underground, during which a minister makes a lengthy parallel to ancient times when the King of Akkad persecuted his subjects and defied Jehovah, who finally sends a flood to wipe out mankind, except for Noah and his family, whom ...Written by
Ron Kerrigan <,email@example.com>
In February 1956, Jack Warner sold the rights to all of his pre-December 1949 Warner Bros.-First National films to Associated Artists Productions. However, AAP edited the film down to 75 minutes, removing all the modern day sequences, and replacing the inter-titles of the biblical sequences with a pompous pseudo-biblical sounding narration. 100 minutes of the film have been restored, and the remaining 35 minutes are considered lost. See more »
During the flood sequence (1 hr. 29 min. approx.) Japheth (George O'Brien) is clearly repeatedly calling/mouthing "Maria" as he searches for Dolores Costello. Her name in the Biblical sequence is MIRIAM. (And even in the WW1 story, she is named Marie (Not Maria !).) See more »
This premiered at 135 minutes, then was immediately cut for subsequent roadshow engagements, and then the "popular" run. Over 30 minutes of footage was taken out, including all the talking scenes involving Noah. This version was 11-reels in length(about 102 minutes). Producer Robert Youngson supervised a 1957 re-release, eliminating all talking sequences and inserting a narration. This version is 75 minutes long. See more »
The film which cemented versatile director Curtiz' reputation in Hollywood is a part-Talkie spectacular which, despite the title, is not entirely concerned with the famous holocaust depicted in the Old Testament. Rather, it purports to parallel the Deluge with the massive losses in human life incurred during the so-called Great War; in that respect, NOAH'S ARK survives not merely as a solid example of late 1920s film craftsmanship but also as a heartfelt morality play delineating the long-lasting effect of that particular combat upon society – pity that, for all its good intentions, a second (and infinitely harsher) World War would be waged in the space of just 11 years! Anyway, to get back to the topic at hand, I knew the film enjoyed a considerable reputation among epic productions of the Silent era but, aware of the fact that the Biblical tale was only illustrated in the form of a vision (lasting for about 40 of its 100 minutes) embedded within the main plot, I had expected to be disappointed by it. However, we open on a remarkably elaborate prologue (superbly-edited in the contemporary Soviet style) and the WWI sequences themselves are well done (featuring even a spectacular train crash early on) and prove surprisingly absorbing in their own right (especially the interaction between the four protagonists – Noah Beery, Dolores Costello, George O'Brien and Guinn "Big Boy" Williams). Incidentally, all four (and a few others) play additional roles in the Noah story; this section is done on a truly grand scale, in clear imitation of Cecil B. DeMille (with a couple of obvious nods to THE TEN COMMANDMENTS  which, coincidentally, I watched 2 days later!) – with the flood itself still highly impressive after all these years and undoubtedly deserving to be ranked among the finest sequences in all of cinema (though controversy still rages about the apparent disregard for the consideration and safety of those involved – with three extras reportedly drowning and several more getting injured during its shooting)!
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