Australian famer Kit Kelly and his new bride Anna are driving through Europe when they help a stranded motorist. They discover he is Antonio, a famous dancer. Upon learning that Anna was a ... See full summary »
"Die Fledermaus" (The Bat) is the pseudonym adopted by Dr. Falke. Floating on the buoyant waltzes of Strauss, this Viennese romp is sure to please. Disguises, tricks, and every kind of ... See full summary »
A girl from an impoverished family is jilted by her rich fiance, whose father doesn't approve. She decides to take revenge against them, and determines to let nothing or no one stop her from getting to the top.
A re-editing of Gone to Earth (1950) after a disagreement and court case between director Michael Powell and producer David O. Selznick. Selznick's changes are mainly:- (1) Adding a prologue. (2) Adding scenes explaining things, often by putting labels or inscriptions on them. (3) Adding more close-ups of Jennifer Jones (Selznick's wife). He also deleted a few scenes that he felt weren't dramatic enough. Sadly some of these were major plot points so the story doesn't make as much sense as the original. In his autobiographies, Powell claimed that Selznick only left about 35 mins of the original film. In fact there's a lot more than that. About 2/3 of the original remains.Written by
Steve Crook <firstname.lastname@example.org>
A re-edited version of 1950's "Gone to Earth", which apparently derived after an artistic struggle between production team the Archers and David O. Selznick. It's a rather overripe, humorless adaptation of Mary Webb's book "Gone to Earth" involving a gypsy girl in 19th century Wales who is caught between two men. Predictably handsome melodrama, yet one which seldom involves the viewer. Co-directors Michael Powell and Emeric Pressburger have a unique and occasionally ominous way of letting nature unfold in front of the lens, and the cinematography is vivid and expressive; however, they don't seem to know much about actors or about the strength of performance--the technique seems to elude them--and Jennifer Jones in particular comes off looking like an amateur (which she is most assuredly not). The film has its charms, but it has no gypsy blood--nor a wild heart. ** from ****
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