At the age of twenty-nine, Elgar Enders "runs away" from home. This running away consists of buying a building in a black ghetto in the Park Slope section of Brooklyn. Initially his ... See full summary »
Set in the Middle East in 1919, a group of European Jews planning on settling in the Sinai Desert are attacked by Bedouin tribesmen. As they fight for their lives they realize that they are... See full summary »
Emily Crane is fired after refusing to give names to a 1951 House Un-American Activities Committee, and takes a part-time job as companion to an old lady. One day her attention is drawn to a noisy argument being conducted largely in German in a neighbouring house, the more so since one of those involved is her main senator prosecutor. Starting to look into things, she gradually enlists the help of FBI officer Cochran who was initially detailed to check her out. Just as well when things turn nasty.Written by
Jeremy Perkins <firstname.lastname@example.org>
In one scene, Emily overhears The Women in the House character (who is off-screen) speaking to one of the Russians through an interpreter. The Woman is telling the Russian that they will leave for Chicago "tomorrow." The interpreter mistakenly says "tomorrow" in English and then corrects himself mid-word to the correct Russian word "zaftra." See more »
[running into each other at the train station]
Why can't you stay in one place?
[gasping for breath]
Why do you keep on scaring me?
Everybody else does, why not me? Come on.
See more »
After the usual "all incidents are fictional" disclaimer, it states "In particular, the producers do not intend to imply that Life Magazine dismissed any of its employees for their political beliefs or activities." See more »
romance without feeling, drama of issues without point (or drama).... This film is supposed to be all these and fails on every account, as if it isn't trying. Or as if the director/editor/scriptwriter team isn't really trying. The actors are able--they need better support.
One element that doesn't fail is the score by George Delarue. Beautiful and moving. What a shame it's attached to this film. In a good film actors' words and movements and music synchronize and enhance the impact. This editor plastered on music with no regard for dialogue and movement. The love scene is particularly grating in this respect: an insult to the talents of the lead actors.
There is another element in the film that works: location photography. Notably one moment in Grand Central Station. I'd guessed in advance what was going to happen; but the filming was breathtaking.
Some commentators on this board have pointed out that US assimilation of criminal Nazi scientists actually happened during these years of the MacCarthy scare. The moment the film seems to start looking seriously at American society, it switches into conventional romance; before any human feelings can move us, it's away on a (predictable) 'thriller' escapade.
Just as the film insults the talents of the actors, it insults the issues it's pretends (and fails) to take up.
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