A lawyer who is planning to run for District Attorney accidentally kills a gangster who owns the nightclub where the attorney's girlfriend is a singer. Although he manages to cover up his ... See full summary »
In occupied France during the Franco-Prussian War, a young French laundress shares a coach ride with several of her condescending social superiors. But when a Prussian officer holds the ... See full summary »
In 1692, a young girl in Salem, Massachusetts accuses several residents of being witches, and they are burned at the stake. In 1980, a young woman who is a descendant of the accuser finds ... See full summary »
An old Jewish shop owner Mr. Shaddick ('Peter Falk') suddenly finds himself responsible for a little black boy named Herman Washington ('Aaron Meek') trying to escape the chaos of Harlem as... See full summary »
In New York, Janice Templeton is happily married to executive Bill Templeton and they live in a comfortable and fancy apartment with their eleven-year-old daughter Ivy. One day, Janice is stalked by a weirdo and she tells her husband. Soon afterwards the stranger contacts them and invites the couple to meet him in a restaurant. Elliot Hoover tells Janice and Bill that his daughter Audrey Rose died eleven years ago, burned in a car crash, and her soul has been reincarnated in Ivy's body. Bill and Janice believe that Elliot is nuts, and Bill tells his lawyer to get a restraining order against Elliot. However, Ivy has dreadful nightmares and only Elliot is able to calm her down. When Elliot abducts Ivy, Bill and Janice go to court to have him arrested. But Elliot wants to prove that Ivy and Audrey Rose are the same soul.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Marsha Mason told columnist Rex Reed in 1978 that she was unhappy with her character in this movie. "All I did was cry. It turned the picture into a Greek tragedy." See more »
The school for girls where Ivy was sent during the trial was administrated by a character dressed as a Catholic nun and addressed as "mother superior". In the mid 1970s Catholic schools still had not fully embraced the celebration of Halloween due to its secular roots. Therefore, it is highly unlikely a Catholic school would allow a ritual with such pagan undertones as students dancing around a large bonfire to melt a giant snowman while chanting blessings for an early spring. See more »
I just watched Don't Look Now, and after viewing it I found myself recollecting memories of a little film by Robert Wise that was forced into obscurity, Audrey Rose. I saw Audrey Rose on a cold Halloween night for my annual "scary movie" viewing, and I was disappointed not by the film but by the fact that it really isn't that scary. It's chilling, ultra-atmospheric, and very suspenseful, but by no means terrifying. At the end I felt empty, something the director probably intended, because that's basically what the story suggests. The plot, based on a source novel by Frank De FeLitta, was inspired by an actual event in which Felitta's daughter played the piano perfectly despite having never touched one in her life. Some of his preachiness manages to seep into the screenplay, sometimes resulting in little moments where someone who completely doubts reincarnation would roll their eyes. However, the audience is so captivated that they accept what's going on. This acceptance should be accredited to Wise, who found the idea of returning to the world fascinating, but knew not everyone would be under the spell. For compensation, he puts the atmosphere at the fore front, keeping everything on a segue. Sure, the film sometimes allows the material to appear sententious and John Beck's performance is as wooden as hell, but the disorienting camera work and acting turns from the three leads (Hopkins, Mason, Swift) are all virtuoso. Anthony Hopkins, here in a role before James Ivory and The Silence of the Lambs, and even Richard Attenborough's "Magic," gives a performance so perfectly minimalist that his character's emptiness might evoke Donald Sutherland in Don't Look Now, a film primarily fueled by its structure coat fit for Hitchcock. But now, 40 years after it's initial release, this supposed Exorcist rip-off proves as ambitious as "Contact" and utterly original.
3 of 3 people found this review helpful.
Was this review helpful to you?
| Report this