Tag Archives: spanish subtitles

A rare gem of cinematic storytelling that weaves docudrama, fictional reenactment, and experimental photography into a powerful, reflective work on the early days of German cinema. The film tells the story of the Skladanowsky Brothers, the German-born duo responsible for inventing the “bioskop”, an early version of the film projector.
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Larson E. Whipsnade runs a seedy circus which is perpetually in debt. His performers give him nothing but trouble, especially Edgar Bergen and Charlie McCarthy. Meanwhile, Whipsnade’s son and daughter, Phineas and Vicky, attend a posh college. Vicky turns down her caddish but rich suitor Roger Bel-Goodie, but changes her mind when she learns of her father’s financial troubles. Will Vicky marry for money or succumb to the ventriloqual charm of Edgar Bergen? Will Whipsnade’s Circus Giganticus make it over the state line one jump ahead of the sheriff?
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Helena, the beautiful young wife of a wealthy businessman, invites a stranger Fred to her party. Fred repays her by stealing compromising documents from her husband’s safe, with the aim of blackmailing the couple. Pursued by police and the henchmen of Helena’s ruthless husband, Fred goes on the run, taking refuge in the Paris metro. Here, he meets other social misfits, including a roller-blader the police have been hunting for several months. Whilst Helena realises that she has fallen in love with Fred and makes every attempt to contact him, Fred occupies himself with forming a band by recruiting buskers. Meanwhile, the police and Helena’s husband are getting closer to their target…
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Film opens with the mad rush of haphazard freedom as the concentration camps are liberated. Men are trying to grab food, change clothes, bury their tormentors they find alive. Then they are herded into other camps as the Allies try to devise policy to control the situation. A young poet who cannot quite find himself in this new situation, meets a headstrong Jewish young girl who wants him to run off with her, to the West. He cannot cope with her growing demands for affection, while still harboring the hatred for the Germans and disdain for his fellow men who quickly revert to petty enmities.
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Hélène Régnier walks out on her drug-addicted husband Charles after he brutally attacks their infant son. She stays in a run-down hotel whilst her son convalesces in hospital and she files for divorce. Charles’s wealthy bourgeois father is adamant that Hélène will lose custody of her child and, to that end, he engages a former business associate of Charles, Paul Thomas, to discredit her. When Paul fails to uncover any incriminating evidence against Hélène he concocts a scheme that will destroy her reputation. Things do not go quite as planned…
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“Who are you?” the dwarf Mordecai (Billy Curtis) asks Clint Eastwood’s Stranger at the end of Eastwood’s 1973 western High Plains Drifter. “You know,” he replies, before vanishing into the desert heat waves near California’s Mono Lake. Adapting the amorally enigmatic and violent Man With No Name persona from his films with Sergio Leone, Eastwood’s second film as director begins as his drifter emerges from that heat haze and rides into the odd lakefront settlement of Lago. Lago’s residents are not particularly friendly, but once the Stranger shows his skills as a gunfighter, they beg him to defend them against a group of outlaws (led by Eastwood regular Geoffrey Lewis) who have a score to settle with the town. He agrees to train them in self-defense, but Mordecai and innkeeper’s wife Sarah Belding (Verna Bloom) soon suspect that the Stranger has another, more personal agenda. By the time the Stranger makes the corrupt community paint their town red and re-name it “Hell,” it is clear that he is not just another gunslinger. With its fragmented flashbacks and bizarre, austere locations, High Plains Drifter’s stylistic eccentricity lends an air of unsettling eeriness to its revenge story, adding an uncanny slant to Eastwood’s antiheroic westerner. Seminal western hero John Wayne was so offended by Eastwood’s harshly revisionist view of a frontier town that he wrote to Eastwood, objecting that this was not what the spirit of the West was all about. Eastwood’s audience, however, was not so put off, and an exhibitors’ poll named Eastwood a top box-office draw for 1973.
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Edith and Paul Guetz are so happy with the birth of their son Tanguy that they promise he can live with them forever. Twenty-eight years later, Tanguy, a cultivated intellectual, is still ensconced in the family home – and his parents can hardly wait to see the back of him. When Tanguy reveals that it will be at least another year before he can complete his doctoral thesis and start looking for a full-time job, Edith’s nerves finally give way. She persuades her husband that the time has come to drive their stay-at-home son away, by whatever means possible..
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This adaptation of the Raymond Chandler novel ‘Farewell, My Lovely’, renamed for the American market to prevent filmgoers mistaking it for a musical (for which Powell was already famous) has private eye Philip Marlowe hired by Moose Malloy, a petty crook just out of prison after a seven year stretch, to look for his former girlfriend, Velma, who has not been seen for the last six years. The case is tougher than Marlowe expected as his initially promising enquiries lead to a complex web of deceit involving bribery, perjury and theft, and where no one’s motivation is obvious, least of all Marlowe’s.
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Sidney Lumet directed this film version of Peter Shaffer’s dramatic play, transforming theatrical symbolism into cinematic realism. Richard Burton received an Academy Award nomination for Best Actor for his performance as Martin Dysert, a psychiatrist determined to unravel the disturbed mind of Alan Strang (Peter Firth), a young stableboy. In a fit of rage, Strang has blinded a stable of six horses. The court then assigns Dysert to probe the young man’s mind in order to understand why he committed such a violent act. But the doctor, who is battling demons of his own, wonders if he can save the boy–and whether saving him at all is the right thing to do. Joan Plowright stands out as Dora Strang, the young boy’s mother.
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Ford is prison escapee Dr. Richard Kimble, a Chicago surgeon falsely convicted of killing his wife and determined to prove his innocence by leading his pursuers to the one-armed man who actually committed the crime. Jones is Sam Gerard, an unrelenting bloodhound of a U.S. Marshal. They are hunted and hunter. And as directed by Andrew Davis, their nonstop chase has one exhilarating speed: all-out. So catch him if you can. And catch an 11-on-a-scale-of-10 train wreck (yes, the train is real), a plunge down a waterfall, a cat-and-mouse jaunt through a Chicago St. Patrick’s Day parade and much more. Better hurry. Kimble doesn’t stay in one place very long!
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