After reading the diary of an elderly Jewish man who committed suicide, freelance journalist Peter Miller begins to investigate the alleged sighting of a former S.S. Captain who commanded a concentration camp during World War II. Miller eventually finds himself involved with the powerful organization of former S.S. members, called “O.D.E.S.S.A.”, as well as with the Israeli secret service.Read More »
The two-part TV movie Inside the Third Reich was based on the extraordinary revelatory (if self-serving) autobiographical book by Albert Speer. Played herein by Rutger Hauer, Speer is a young man of privilege in pre-Hitler Germany who happens to be a brilliant architect. Becoming a member of Hitler’s inner circle, Speer is appointed the Nazi regime’s master builder. According to this film, Speer is egomaniacal and ambitious, but somewhat blinded to the inherent evils of Nazism. Though he’d later claim to be ignorant of Hitler’s horrific policies aimed at the Jews, he was certainly aware of the use of Jewish prisoners as slave labor: as Germany’s armaments minister during World War II, Speer exploited these enslaved unfortunates as much as anyone, if not more so. The cast includes Derek Jacobi as Hitler, Blythe Danner as Speer’s wife Margarethe, John Gielgud as Speer’s father, Ian Holm as Goebbels, Maurice Roeves as Hess, and George Murcell as Goering. Originally running 5 hours, Inside the Third Reich was filmed in Munich; it was first telecast on May 9 and 10, 1982. ~ Hal Erickson, RoviRead More »
Paul Tatara, TCM wrote:
Some movie projects, no matter how promising, seem doomed to one form of failure or another. When RKO first filmed Edna Ferber’s popular Western novel, Cimarron, in 1931, it was a major critical success, and even snagged the Oscar® for Best Picture. But it was an expensive movie to make, and the studio lost a pile of money on it. Then, when MGM enlisted Anthony Mann to remake Cimarron in 1960, the production was beset with an assortment of problems, including studio interference and a misbegotten romance between its lead performers, Glenn Ford and Maria Schell.Read More »
Quote:
Le notti bianche (White Nights) occupies a central position within Luchino Visconti’s body of work. In appearance at least, it consummates a break with the neorealism of the 1940s and early 1950s and looks forward to The Leopard (1963), in its rendering of subjectivity by visual style, and to Vaghe stelle dell’orsa (Sandra; 1965), in its dependence on metaphor as a structuring device. But appearances can be deceptive, for in 1960, Visconti returned to realism with Rocco and His Brothers, and in its way, Le notti bianche is also fundamentally a realist film, in spite of its excursions into fantasy.Read More »
Synopsis:
Gervaise Macquart, a young lame laundress, is left by her lover Auguste Lantier with two boys… She manages to make it, and a few years later she marries Coupeau, a roofer. After working very hard a few more years, she succeeds in buying her own laundry (her dream)… But Coupeau starts to drink after having fallen from a roof, and Lantier shows up… A faithful adaptation of Emile Zola’s novel “L’Assomoir”, depicting the fatal degeneration of a family of workers, mainly because of alcohol.Read More »
Not much one can say other than providing Godard’s review of the film:
I don’t give a damn about the merry-go-round decorated by Walt Disney, he lunch on the grass with imitation plastic clothes, the chewing-gum green of a ball of wool. I don’t give a damn about any of the lapses in taste piled up by Astruc, Claude Renoir and Mayo.Or about Roman Vlad’s saxophone either. Actually it isn’t bad. But anyhow, the real beauty of Une Vie lies elsewhere.
In Pascale Petit’s yellow dress shimmering amid the Velazquez grey dunes of Normandy. That’s wrong! Not Velasquez grey? Not even Delacroix grey, howl the connoisseurs.Read More »
Synopsis:
‘A family of aristocrats have fallen on hard times. To pay for repairs to their crumbling country chateau they are forced to use their home as a hotel. The local garage mechanic, Charlie, provides a constant stream of guests for them by sabotaging any car that arrives in his garage. The latest arrival is an important-looking man, Cesar Maricorne, accompanied by his two aides. When she learns that he is a gangster who has just robbed a bank, the aging Marquise realises that her family’s financial worries may be at an end…’
– Films de FranceRead More »
Ryevsk, Russia, 1870. Tensions abound in the Karamazov family. Fyodor is a wealthy libertine who holds his purse strings tightly. His four grown sons include Dmitri, the eldest, an elegant officer, always broke and at odds with his father, betrothed to Katya, herself lovely and rich. The other brothers include a sterile aesthete, a factotum who is a bastard, and a monk. Family tensions erupt when Dmitri falls in love with one of his father’s mistresses, the coquette Grushenka. Two brothers see Dmitri’s jealousy of their father as an opportunity to inherit sooner. Acts of violence lead to the story’s conclusion: trials of honor, conscience, forgiveness, and redemption.Read More »