Far too many film versions of the The Four Feathers have been made over the years, which is especially surprising considering that this 1939 Korda brothers production is surely definitive. The film simultaneously celebrates and pokes fun at British imperialism, showing the kind of dogged stiff-upper-lippery that forged an empire, but also the blinkered attitudes and crass snobbishness of the ruling classes (and those plummy accents--did people ever really talk like that?). Whatever political subtext may or may not be read into it, though, the film is best celebrated for its magnificent vistas: partially made on location in the Sudan, as well as at the famous Denham Studios, this is British cinema from the days when it thought to rival Hollywood for sheer spectacle. Vincent Korda's production design and the glorious early colour cinematography are helped greatly by fellow Hungarian émigré Miklos Rozsa's epic score. John Clements is the notional hero, the man who is determined to show the world he is not a coward after resigning his commission (even though it would surely have saved everyone a lot of bother if he had just stuck with it) but the film is stolen by Ralph Richardson, magnificent as an officer struck blind and led to safety by Clements' Harry Faversham. The latter scenes when Richardson's Captain Durrance realises the truth and its implications are the most poignant and emotionally truthful in the film. C Aubrey Smith is delightful as the old buffer who relives his battles on the dinner table; to a modern audience, however, the "blackface" casting of John Laurie as the Khalifa strikes a discordant note. But adjusting some expectations for its vintage, this is a triumph of derring-do and far and away the most gripping version of this oft-told story on film. --Mark Walker
With the etching onto glass of a single word - MABUSE - Berlin reawakens into a nightmare. Fritz Lang's electrifying Das Testament des Dr. Mabuse (The Testament of Dr. Mabuse) is the astonishing second instalment in the German master's legendary Mabuse series, a film that puts image and sound into an hypnotic arrangement unlike anything seen or heard in the cinema before - or since.It's been eleven years since the downfall of arch-criminal and master-of-disguise Dr. Mabuse (Rudolf Klein-Rogge), now sequestered in an asylum under the watchful eye of one Professor Baum (Oskar Beregi). Mabuse exists in a state of catatonic graphomania, his only action the irrepressible scribbling of blueprints that would realise a seemingly theoretical Empire of Crime. But when a series of violent events courses through the city, police and populace alike start asking themselves with increasing panic: Who is behind all this?! The answer borders on the realm of the impossible...
With the etching onto glass of a single word - MABUSE - Berlin reawakens into a nightmare. Fritz Lang's electrifying Das Testament des Dr. Mabuse (The Testament of Dr. Mabuse) is the astonishing second instalment in the German master's legendary Mabuse series, a film that puts image and sound into an hypnotic arrangement unlike anything seen or heard in the cinema before - or since.It's been eleven years since the downfall of arch-criminal and master-of-disguise Dr. Mabuse (Rudolf Klein-Rogge), now sequestered in an asylum under the watchful eye of one Professor Baum (Oskar Beregi). Mabuse exists in a state of catatonic graphomania, his only action the irrepressible scribbling of blueprints that would realise a seemingly theoretical Empire of Crime. But when a series of violent events courses through the city, police and populace alike start asking themselves with increasing panic: Who is behind all this?! The answer borders on the realm of the impossible...
Written between the 1596 and 1598 'The Merchant of Venice' is both an early Shakespearean comedy and one of the Bard's problem plays; a work in which good triumphs over evil yet the dramatic tension often remains unresolved and the world is not as put to rights as its heroes would hope.And it is such a tension that surrounds the legendary villain of the Merchant of Venice the Jewish money-lender Shylock who seeks a literal pound of flesh from his Christian opposite the genero
This gripping atmospheric crime thriller from Austrian-born director Paul Stein stars Oscar nominee Raymond Massey as a man at the centre of a multiple murder investigation a case that sparks a sensationalist press frenzy when it becomes clear that the killer only strikes when there is a full moon. Black Limelight (also known as Footsteps in the Sand) is presented in a brand-new transfer from the original film elements in its as-exhibited theatrical aspect ratio. A house stands full in the ugly glare of publicity with a police cordon round it and morbidly curious crowds at the gates. Inside Mary Charrington waits in horror and bewilderment for the next act in the tragedy. Her husband Peter is wanted for murder; the murder of a girl at a seaside bungalow. Following a series of killings the popular press has dubbed them the work of a Moon Maniac... and now Peter is somewhere in the countryside hiding and haunted by terror... SPECIAL FEATURES [] Image gallery [] Original script PDF
Matt Damon and Henry Thomas star as John Grady Cole and Lacey Rawlins, two young cowboys in 1949 who ride from Texas into Mexico in search of what may be left of the Old West.
Harwood an American detective meets a man called Wagner in Nice. Later that night Wagner is found dead. His body disappears only to be found in the wreckage of a train in which Harwood and insurance investigator Caryl Fenton are travelling.
This classic tale of grave robbers and murderers who sold the corpses for medical science was banned in its original title of Burke and Hare, which was of course a true story. The film is set in Edinburgh in the 1800's starring Tod Slaughter as William Hart; this dark and gory film tells the story of the infamous grave robbers. Burke was hanged and Hare avoided the gallows by testifying against Burke. This film is rarely seen and is graced with a fine cast. Alongside Tod Slaughter, top honours go to Henry Oscar (1891-1969) as Mr. Moore who equals Slaughter's treacly malevolence to such an extent that neither actor steals the scenes over the other. It is equally delightful to see a very young Aubrey Woods and also Tod's wife Jenny Lynn in the role of Helen Moore.
Horror Hotel: This hotel is the gateway to hell! Young college student Nan Barlow (Stevenson) uses her winter vacation to research a paper on witchcraft in New England as her professor recommended that she spent her time in a small village called Whitewood. Once she gets to the village she notices some weird happenings but things begin to happen in earnest when she finds herself ""marked"" for sacrifice by the undead coven of witches! The Terror: A lieutentant in Na
Mary Martin And Ethel Merman - The Ford 50th Anniversary Sho
The 1934 version of 'The Man Who Knew Too Much' was an international hit for Alfred Hitchcock and transformed him from a British filmmaker to a worldwide household name. The story centres on a British family who befriend a jovial Frenchman while vacationing in Switzerland. The Frenchman is soon mortally wounded and before he dies whispers a secret to Banks. Foreign agents witness this incident and kidnap Banks' daughter to prevent him from revealing this terrible secret. The acting a
Alfred Hitchcock himself called this 1934 British edition of his famous kidnapping story "the work of a talented amateur", while his 1956 Hollywood remake was the consummate act of a professional director. Be that as it may, this earlier movie still has its intense admirers who prefer it over the Jimmy Stewart--Doris Day version, and for some sound reasons. Tighter, wittier, more visually outrageous (back-screen projections of Swiss mountains, a whirly-facsimile of a fainting spell), the film even has a female protagonist (Edna Best in the mom part) unafraid to go after the bad guys herself with a gun. (Did Doris Day do that that? Uh-uh.) While the 1956 film has an intriguing undercurrent of unspoken tensions in nuclear family politics, the 1934 original has a crisp air of British optimism glummed up a bit when a married couple (Best and Leslie Banks) witness the murder of a spy and discover their daughter stolen away by the culprits. The chase leads to London and ultimately to the site of one of Hitch's most extraordinary pieces of suspense (though on this count, it must be said, the later version is superior). Take away distracting comparisons to the remake, and this Man Who Knew Too Much is a milestone in Hitchcock's early career. Peter Lorre makes his British debut as a scarred, scary villain. --Tom Keogh
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