Romance

On the heels of Annie Hall, the Oscar-winning romantic comedy that rocketed Woody Allen to the front ranks of American filmmakers, Manhattan continued Allen’s romantic obsessions in a slightly darker, more pessimistic vein. Allen stars as Isaac Davis, a TV comedy writer sick of the pap he is forced to churn out and harboring dreams of being the great American novelist.
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Marco Poloni’s family owns a bakery in the Bronx and it seems that they have fallen on hard times and his family is considering selling the bakery. Marco then decides to enter a baking competition hoping that the money and publicity will help them. But he needs a partner, so he asks Grace Carpenter, the baker of a restaurant, although they started off on the wrong foot, she agrees. So they go to the competition and things seem to be looking good except for a few complications. One of the other contestant Jacques du Jacques is Marco’s former classmate at the Academy, whom he says betrayed him. Emil, one of the judges, is Marco’s former instructor at the Academy whom he did not leave a good impression on. And Marco’s temper, will they be able to pull it off? During this time, Marco also finds himself attracted to her, but she already has a boyfriend.
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This three-part drama, produced for HBO, examines the changing tides of the lives of lesbians in America, both politically and personally, as we eavesdrop on three stories taking place in the same house over a span of five decades…
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A young woman hires a frontier scout to help her discover if her brother died in an Indian attack on a remote fort.
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Comical goings on at an exclusive golf club. All the members are wealthy and eccentric, and all the staff are poor and slightly less eccentric. The main character is ‘Danny’; he’s a caddy who will do almost anything to raise money to go to college. There are many subplots, including the assistant green keeper’s pursuit of a cute (obviously stuffed) gopher.
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An obscured thief breaks into a school gymnasium at night to steal a portable telescope from the science lab. On the following morning, the thief, Tomek (Olaf Lubaszenko) sets up the telescope on his desk, facing the window of his room, and across the courtyard into an adjacent apartment. Later in the day, an attractive, hurried woman named Magda (Grazyna Szapolowska) stops by the post office in order to claim a money order after receiving a notification in her mailbox, only to be informed by the attentive young postal clerk, Tomek, that there is nothing being held at the station on her behalf. Back home, Tomek sets his alarm clock to 8:00 pm, the approximate time of Magda’s return home.
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Four war pilots that have been fighting together go seperate ways and meet up again years later.
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A singing soldier (Johnny Johnston) newly returned home finds himself discontent to work in his father’s opera company or pick up where he left off with his girlfriend. Having met an aquacade showgirl (Esther Williams) while in the service, he reintroduces himself. Romance blossoms.
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Lloyds of London traces the rise to prominence of the venerable British insurance company, as seen through the eyes of fictional 19th-century Londoner Jonathan Blake (Tyrone Power, in his first starring role). A lifelong friend of naval hero Lord Nelson, Blake puts his job (and the future existence of Lloyds) on the line when he announces Nelson’s victory at Trafalgar – before it takes place.
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There is something vaguely mythical to the manner in which Konwicki introduces his characters, both to us and to each other, lapped as much by the ethereal eeriness of the score as by the seaside winds that send their hair aflutter. When they tend to speak to each other in whispers, it seems almost out of respect for the otherworldly aura of their locale, as though it is to their eyes as improbably beautiful as Konwicki’s camera renders it to us. They—referred to in the credits only as “He” and “She”, mysterious and mythical in themselves—do not whisper much; there’s a clear silent heritage at work here, conferring meaning to the motion of faces and the movement of the camera along this spectral shore.
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