"Lola Montes" is a visually ravishing, narratively daring dramatization of the life of the notorious courtesan and showgirl, played by Martine Carol. With his customary cinematographic flourish and, for the first time, vibrant color, Max Ophuls charts the course of Montes's scandalous past through the invocations of the bombastic ringmaster (Peter Ustinov) of the American circus where she has ended up performing. Ophuls's final film, 'Lola Montes' is at once a magnificent romantic melodrama, a meditation on the lurid fascination with celebrity, and a one-of-a-kind movie spectacle.
In How to Kill a Judge, Franco Nero (Django) plays filmmaker Giacomo Solaris, whose latest film features a judge corrupted by the mafia and who is later killed. The real judge the character is based on seizes the film but is later found murdered. Feeling a degree of responsibility, Solaris investigates through his police and mafia advisors, but as the assassinations increase around him, will he reach the source of the conspiracy?
Nino (Giuliano Gemma), a regular guy working on a kiosk learns from a friend he has been put on a mafia hit list and is being stalked by an assassin (Michele Placido).
When Nicolas Ray (Johnny Guitar) turns his talents to a gangster movie, a familiar genre becomes startling and new. Set in 1930s Chicago, 'Party Girl' follows a bum-legged mouthpiece for the mob (Robert Taylor) and a gorgeous, wised-up vamp (Cyd Charisse) who fall in love, try to go straight...and head straight for trouble. Ray deepens the drama and heightens the violence with filmmaking artistry that has given Party Girl cult status: a screen painted in sinister ebony and blood red, an urban landscape of shattered glass and shattered bodies, and a scene where a Jean Harlow-besotted mobster learns his idol has married - and shreds her photo with a rat-a-tat of lead.
Set in the gypsy community of contemporary Los Angeles, aspiring dancer Stephen Torino (Cornel Wilde), is tricked by his brother into an arranged marriage with tempestuous Annie Caldash (Jane Russell). Annie is willing to give the union a go, but Torino wants none of it. Several risque complications and lively musical numbers later, Torino changes his mind.
Five gangsters raise the cash to buy a large shipment of drugs which they plan to sell on. One of the gang however plans to secretly rob his partners, beginning a spiral of violence and deception that leaves a trail of bodies across France. Fiendishly plotted with a twisty script from Jose Giovanni (Le trod) and Claude Sautet (Classe tous risques), adapting a novel by Reynaud-Fourton, 'Symphony for a Massacre' sees the French master of the mystery thriller Jacques Deray (La piscine) directing with with real energy and verve. With support from a remarkable cast of France's finest character actors, and stunning photography by Claude Renoir (La grande illusion), this is French crime cinema of the highest quality.
No Lady (1931)
Lupino Lane Comedy vehicle, where Lupino Lane directs and stars as henpecked Mr. Pog, who takes his wife and stepchildren on holiday to Blackpool... He is mistaken for an international criminal mastermind and drawn into a series of adventures that climaxes in a glider race which a foreign power aims to win by fair means or foul.
Her First Affaire (1932)
Ida Lupino stars in her first film aged just 18 and plays an impetuous teenager, who , mucn to the consternation of her boyfriend (Arnold Riches), becomes infatuated with a famous novelist (George Curzon). The boyfriend and the writers wife (Diana Napier) join forces to deter her, and he decides an early marriage is the best cure.
Shipmates O'Mine (1936)
A through the years story with songs and sentiments. A sailor rises from first officer to captain, gets married and has a son, but loses his command when his ship is rammed and he abandons ship to save passengers. For years he lives in the countryside. Then his son, now grown, contacts his father's old shipmates and eventually their ship is put back into commission with its old skipper in command.
Standing tall alongside Buster Keaton and Charlie Chaplin as pioneers of cinematic comedy, Stan Laurel and Oliver Hardy are two of the most beloved comedians in the history of moving pictures. Having acted alongside each other for the first time in 1921, they officially teamed up later in the decade in a series of shorts made for producer Hal Roach - launching a wildly successful partnership that would survive into the sound era and last for another quarter of a century. This collection captures the duo's earliest (mis)adventures on screen, chronicling their journey from their first films together - 'The Lucky Dog' and the aptly titled '45 Minutes to Hollywood' - to the dawn of their official partnership in thirteen shorts produced throughout 1927. From 'Duck Soup' and 'Sailors Beware!' to 'Do Detectives Think?', 'Putting Pants on Philip' and 'The Battle of the Century' (once available only in incomplete versions until its missing scenes were rediscovered in 2015), these films show the development of two independent comedians into the most influential and celebrated comedy duo of all time.
It's 1976 in Chile, 3 years after Pinochet's military coup overthrew the socialist government of Salvador Allende, and opponents of the new regime are being hunted down. Carmen (Aline Küppenheim) heads off to her beach house to supervise its renovation. Her husband, children and grandchildren come back and forth during the winter vacation. When the family priest asks her to take care of a young man he is sheltering in secret, Carmen steps into unexplored territories, away from the quiet life she is used to.
A mysterious new arrival disturbs the delicate balance of a remote monastery run by renegade nun (Cate Blanchett) in this captivating story of spiritual struggle and the cost of survival. The arrival of the new hoy (newcomer Aswan Reid) unsettles the monastery hut enlivens Sister Eileen's fervour for Christ to be his guide, and as his Indigenous spirituality clashes with Sister Eileen's teachings, she must make a choice: uphold tradition or embrace what comes next...
The Day of the Owl stars Franco Nero (Django) as a police chief who, while investigating the death of a construction worker, goes up against corrupt officials and a ruthless mafia boss (Lee J. Cobb, On the Waterfront). Adapted from the celebrated novel by Leonardo Sciascia (Illustrious Corpses, Todo Modo), The Dag of the Owl was the first book to openly deal with organised crime in Sicily.
Only Trudi knows that her husband Rudi is suffering from a terminal illness. It is up to her to tell him or not. The doctor suggests that they do something together, perhaps something they were long planning to do... Trudi decides not to tell her husband about the gravity of his illness and to follow the doctor's advice. She convinces Rudi to visit their children and grandchildren in Berlin. But once they arrive, they realize that their children are so busy with their own lives that they have no time for them. Then, suddenly, fate intervenes. A devastated Rudi has no idea what to do but learns from his daughter's girlfriend that Trudi's love for him had led her to forego the life that she had wanted to live. Rudi begins to see her with new eyes and embarks on his last journey - to Tokyo, in the midst of the cherry blossom festival, a celebration of beauty, impermanence and new beginnings...
Longing to escape the isolation of his quiet Anatolian village, disenchanted art teacher Samet (Deniz Celiloglu) wrestles with narcissistic ideas of unfulfilled potential. While battling accusations of inappropriate behaviour at his school, he unexpectedly strikes up a friendship with Nuray (Merve Dizdar), a charismatic fellow teacher, which offers a welcome distraction. But when her affection moves to Samet's more affable colleague, he becomes jealous and begins to compete for her attention.
Lianna (Linda Griffiths) is a thirty year-old mother of two. A former student, Lianna dropped out when she began a relationship with her former professor and now husband, Dick (Jon DeVries). A serial philanderer, Dick grows irate at his wife's plans to return to education, believing that her place is at home. After another of Dick's infidelities, Lianna's friendship with her professor (Jane Hallaren) blossoms into love, and so Lianna must come to terms with her sexuality and the new life that she must build.
Delphine's travelling companion cancels two weeks before her holiday, so Delphine (Marie Rivière), a Parisian secretary, is at a loose end. She doesn't want to travel by herself, but has no means boyfriend and seems unable to meet new people. A friend takes her to Cerbourg; after a few days there, the weepy and self pitying Delphine goes back to Paris. She tries the Alps, but returns the same day. Next, it's the beach; once there, she chats with an outgoing Swede, a party girl, and a friendship seems to bud; then suddenly, Delphine bolts, heading back to Paris. On her way, a young man catches her eye; perhaps a sunset and the sun's green ray await.
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