Volpone, an elderly Venetian, connives with his money-crazed servant to convince his greedy friends that he is dying, knowing that each will try to curry favor with him in order to be named... See full summary »
Jacques de Baroncelli
In a college, three friends form a secret society. Their objective - going to America. A night, after one of their secret meetings, one of them see a man coming out from a wall. Then the ... See full summary »
Erich von Stroheim,
Life in a small Mexican village where joy and misery, hope and pain, passion and guilt, love and decay, life and death are mixed in the peasants life and two French citizens who end up stranded in there, during a typhoid epidemic.
Rafael E. Portas
Víctor Manuel Mendoza
Novelist Richard Harland and socialite Ellen Berent meet on a train and are attracted to each other. They fall in love and decide to get married. However, the love each one feels for the other is different from the other. Ellen's love for Richard is obsessive, possessive. Ellen wants Richard all to herself. Richard learns to what extent Ellen will go to get what she wants,Written by
While shooting the drowning scene, John M. Stahl was particularly tough on Darryl Hickman. He never even referred to him by name, calling him "boy" or "son" the entire time. Then word came back from Hollywood that Darryl F. Zanuck thought the rushes were some of the best he had ever seen. Suddenly Hickman was one of Stahl's favourite actors, but he took to picking on Wilde and calling him "son" and "boy." See more »
The car that picks up Harland, the Berents, and Glen Robie at the railroad station in New Mexico also appears in the driveway at the hospital at Warm Springs parked right in front of Harland and Ellen. See more »
B Movie Acting and Story Draped in A Movie Cinematography, Sets, Costumes
This movie is like the Dickens line about, Best of, Worst of. There are elements that are the peak of 1945 film-making skill: cinematography, set decoration, costumes, use of technicolor, music scoring. And elements that are pure B movie-making: a shallow psycho-drama with mostly wooden glib performances. On the one hand, I imagined really talented, nuanced actors as I watched Gene Tierney and Cornel Wilde - on the calibre of Barbara Stanwyck and Kirk Douglas, who appeared that same year in a Warner Brothers noir film, Loves of Martha Ivers, and imagined it would have deepened the film. But it didn't help that film, and may not have helped a similarly melodramatic, histrionic film. At the same time, the uber- glamor movie-star quality of Tierney and Wilde added a Douglas Sirkian over-the-top quality to the film's gloss which somehow defines 40s glamor, like Lana Turner and John Garfield. I'm not sure it's a guilty pleasure for me, because I am drawn to Tierney's beauty but find her remote, and never quite suspend disbelief when I watch her act.
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