In Havana, Cuba in the late 1950s, a wealthy family, one of whose sons is a prominent night-club owner, is caught in the violent transition from the oppressive regime of Batista to the ... See full summary »
A street-wise, middle-aged moll named Gloria stands up against the mobs, which is complicated by a six-year-old urchin with a will of his own who she reluctantly takes under her wing after ... See full summary »
Crime scene photographer, Johnny Scardino (aka Johnny Skidmarks), is working on the side for a group of blackmailers, photographing wealthy guys in seedy motels with prostitutes. One such ... See full summary »
In 1930s New York Orson Welles tries to stage a musical on a steel strike under the Federal Theater Program despite pressure from an establishment fearful of industrial unrest and red activity. Meanwhile Nelson Rockefeller gets the foyer of his company headquarters decorated and an Italian countess sells paintings for Mussolini.Written by
Marc Blitzstein was a composer who wrote and adapted musical plays on and off Broadway. In 1958, he appeared before the House Un-American Activities Committee. He said that he had been a member of the Communist Party but quit it in 1949. Nearly two-thirds of the American communists fled the party after Joseph Stalin's atrocities became known. See more »
At the beginning of Hallie Flanagan's Senate testimony, the court stenograper's machines are not operating although they are pressing the keys. Later in the scene, the machines are working properly. See more »
There is a heart in the credit roll with the following initials inside; SS, EMLA, JHR & MGR (SS is likely 'Susan Sarandon,' EMLA for Sarandon's daughter Eva Amurri, JHR & MGR for Robbins' & Sarandon's sons Jack Henry & Miles Robbins). See more »
This is a romantic look at 1930's liberalism, with a ham-handed script that pits the evil fascists against the enlightened intellectuals.
It tries to be a little of everything, and doesn't quite pull it off. It alternates from a comedy, to poignant vignettes of depression era poverty, to a musical, to farce, to political drama. I just felt Robbins couldn't make up his mind as what this film was supposed to be. I am guessing that most of it wound up on the cutting room floor, and maybe a longer film would have allowed some of these themes to develop more completely.
It has one of the largest casts I've ever seen. It seems everyone in Hollywood wanted to get in on this one.
The biggest problem I had with the film was that if you weren't one of the warmly-portrayed socialists, then you were either a simple minded right wing alarmist, or a big businessman in bed with the fascists.
One thing is clear - Robbins and Sarandon yearn for the days when being part of the far, far left was fashionable.
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