Tag Archives: Agnes Moorehead

John Cromwell – Caged (1950)

Synopsis:
Pregnant nineteen-year old Marie Allen (Eleanor Parker) is sentenced to prison as an accessory to robbery. The warden, Ruth Benton (Agnes Moorehead), dedicated to reforming even the most hardened of the prisoners, deals fairly with Marie, even upon learning of her condition. The naïve Marie comes up against tough block matron Evelyn Harper (Hope Emerson) and must decide whether accepting the friendship of the toughest prisoners will rub off on her and affect the future of her unborn child. Read More »

Crane Wilbur – The Bat (1959)

Synopsis:
Mystery writer Cornelia Van Gorder has rented a country house called “The Oaks”, which not long ago had been the scene of some murders committed by a strange and violent criminal known as “The Bat”. Meanwhile, the house’s owner, bank president John Fleming, has recently embezzled one million dollars in securities, and has hidden the proceeds in the house, but he is killed before he can retrieve the money. Thus the lonely country house soon becomes the site of many mysterious and dangerous activities. Read More »

Douglas Sirk – Magnificent Obsession (1954)

Quote:
A wealthy young wastrel, Bob Merrick, cracks up his speedboat and almost dies, to be saved at the last minute by a resuscitator borrowed from the home of a famous surgeon who lives nearby. In the meantime the surgeon himself has suffered an attack, and, with his equipment out on loan, dies before he can be revived. The guilt-ridden Bob clumsily tries to make amends by romancing the surgeon’s young widow, Helen, but only causes further tragedy… Read More »

Douglas Sirk – All That Heaven Allows [+commentary] (1955)

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Quote:
Douglas Sirk once said: “This is the dialectic—there is a very short distance between high art and trash, and trash that contains an element of craziness is by this very quality nearer to art.” When All That Heaven Allows was released by Universal Pictures in 1955, it was just another critically unnoticed Hollywood genre product, designed to appeal to the trashy “women’s weepie” audience. Now, in retrospect, it is considered to be closer to the art side of Sirk’s dialectic, and one of his key films. But this is part of a wider process of critical reevaluation in which his entire body of work has been rediscovered and reappraised by successive generations of filmmakers and historians. Read More »