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Liliom, a merry-go-round barker at a Budapest amusement park, becomes enamored of Julie, a servant girl, and though under the influence of Madame Muskat, a sideshow entrepreneur, he marries the girl. Although he has not been a good provider, Liliom is spurred into action by the discovery that his wife is pregnant and eventually is influenced by his friend Buzzard, to rob a bank cashier so that he can take Julie to America.
Molnar demurs from giving the character of the ardent carpenter a proper name as a means of illustrating Julie's boundary with all but Liliom. See more »
He takes my hand, like this... Then he wants to swing hands, like this. But I don't let him.
Is that what you call "flirting"
Uh-huh. It's sinful, but it's awfully thrilling. For a long time I don't let him.
Until in the end, I let him. The we walk along swinging hands, up and down, up and down, just like this. That's passionate love.
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Although Lang's version is more famous,Borzage's work is not devoid of interest ,far from it:its "celestial" sequences are even better.The metaphor of the train (perhaps borrowed from the ending of Abel Gance's "la roue" ) is eventually more convincing than the "up above" heavenly world.
Borzage's tenderness for his characters shows in Marie's character and love beyond the grave is one of his favorite subjects (the ending of "three comrades" ).The amusement park seems to be everywhere: we see it even when we are in Marie's poor house.I do not think that the sets are that much cheesy,they are stylized to a fault.The fair from a distance almost gives a sci-fi feel to the movie.
Borzage never forgets his social concerns: in the heavenly train going up,the Rich cannot stand to be mixed up with the riffraff but as "chief magistrate" tells :"here there's no more difference" .
Not a major work for Borzage (neither is Lang's version),but to seek out if you are interested in the great director's career.
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