Alfred Hitchcock – Marnie (1964)

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Quote:
Marnie Edgar is a habitual liar and a thief who gets jobs as a secretary and after a few months robs the firms in question, usually of several thousand dollars. When she gets a job at Rutland’s, she also catches the eye of the handsome owner, Mark Rutland. He prevents her from stealing and running off, as is her usual pattern, but also forces her to marry him. Their honeymoon is a disaster and she cannot stand to have a man touch her and on their return home, Mark has a private detective look into her past. When he has the details of what happened in her childhood to make her what she is, he arranges a confrontation with her mother realizing that reliving the terrible events that occurred in her childhood and bringing out those repressed memories is the only way to save her. Continue reading

John Huston – Key Largo (1948)

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Key Largo is a 1948 film noir directed by John Huston and starring Humphrey Bogart, Edward G. Robinson and Lauren Bacall and featuring Lionel Barrymore and Claire Trevor. The movie was adapted by Richard Brooks and Huston from Maxwell Anderson’s 1939 play of the same name, which played on Broadway for 105 performances in 1939 and 1940.

Storyline:
Frank McCloud travels to a run-down hotel on Key Largo to honor the memory of a friend who died bravely in his unit during WW II. His friend’s widow, Nora Temple, and wheelchair bound father, James Temple manage the hotel and receive him warmly, but the three of them soon find themselves virtual prisoners when the hotel is taken over by a mob of gangsters led by Johnny Rocco who hole up there to await the passing of a hurricane. Mr. Temple strongly reviles Rocco but due to his infirmities can only confront him verbally. Having become disillusioned by the violence of war, Frank is reluctant to act, but Rocco’s demeaning treatment of his alcoholic moll, Gaye Dawn, and his complicity in the deaths of some innocent Seminole Indians and a deputy sheriff start to motivate McCloud to overcome his Hamlet-like inaction. Continue reading

Howard Hawks & Richard Rosson – Scarface (1932)

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Plot Synopsis [AMG]
Completed in mid-1930, Scarface, based on Armitage Trail’s novel of the same name, might have been the first of the great talkie gangster flicks, but it was held up for release until after that honor was jointly usurped by Little Caesar and Public Enemy. Paul Muni stars as prohibition-era mobster Tony Camonte, a character obviously patterned on Al Capone (whose nickname was “Scarface”). The homicidal Camonte ruthlessly wrests control of the bootlegging racket from his boss, Johnny Lovo (Osgood Perkins), and claims Lovo’s mistress, Poppy (Karen Morley), in the bargain. But while Poppy satisfies him sexually, Tony has a soft spot in his heart only for his sister Cesca (Ann Dvorak). The film’s finale is one of the longest and bloodiest of the 1930s, maintaining suspense and concern for the characters involved even though Muni has deliberately done nothing to make Tony likeable to audience. Continue reading

Leni Riefenstahl & Béla Balázs – Das blaue Licht AKA The Blue Light (1932)

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Synopsis
Junta is hated by the people in the village where she lives, especially by the women, who suspect her of being a witch. Only she can climb the nearby mountains to a cave high up, whence a mysterious blue light glows when the moon is full. Many young men of the village have died trying to follow her. She is driven out of town, and takes to living in the mountains. Eventually she shares the secret of the blue light with one man, and he betrays it. Continue reading

Luchino Visconti – Le notti bianche AKA White Nights [+extras] (1957)

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Synopsis:

A chance encounter on a canal bridge results in a series of twilight rendezvous between a lonely city transplant (Marcello Mastroianni) and a sheltered woman (Maria Schell) haunted by a lover’s promise. Their hesitant courtship soon entangles both of them in a web of longing and self-delusion. Adapted from the Fyodor Dostoyevsky short story, director Luchino Visconti’s Le notti bianche—shot in ravishing black and white—is a romantic, shattering tale of the restlessness of dreamers. Continue reading

Ernst Lubitsch – Broken Lullaby (1932)

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From the AFI Catalog:

After World War I, Frenchman Paul Renard is haunted by the memory of Walter Holderlin, a German soldier he killed in the heat of battle. Having read and signed Walter’s last letter and memorized his home address, Paul goes to Germany to confess his deed to the soldier’s family. Anti-French sentiment is strong in Germany and Dr. Holderlin will not suffer Paul’s presence in his home until Walter’s fiancée Elsa recognizes Paul as the man who has been leaving flowers on Walter’s grave. Paul reveals that he knew Walter, but is unable to confess his past, and tells the grateful family he and Walter were friends during the war. Paul and Elsa fall in love and a close bond grows between Paul and the Holderlins, despite the entire town’s disapproval. When Elsa shows Paul Walter’s former bedroom, he is unable to contain himself any longer and confesses the truth to her. Paul also reveals his plans to tell Dr. and Mrs. Holderlin his secret and then leave, but Elsa intervenes and advises him that his confession and departure would deprive the Holderlins of their second “son.” Eventually, Elsa convinces Paul to sacrifice his conscience and stay to make the Holderlins happy. After Paul consents, Dr. Holderlin gives him Walter’s violin to play to Elsa’s accompaniment. Continue reading