Award-winning actress Coleen Dewhurst is Molly Dushane, a hard-drinking, hard-living woman desperate for one last fling at life. Megan Follows is her daughter Micheline, an angry, ... See full summary »
In 1840, a young Russian aristocrat, Dimitri Sanin, is returning home after a long tour of Europe. In Germany, he falls in love with a beautiful pastry shop girl, Gemma Rosselli, who soon ... See full summary »
Shelley an emotionally volatile young girl was involved in prostitution. The subject under study raises many controversial questions about child prostitution, illegal immigration, child ... See full summary »
In the 1990s, a South American city is rocked by the imminent outbreak of a plague. While many attempt to flee the city, Dr. Bernard Rieux sends his sick wife away and does his best to care... See full summary »
'Where Are the Dolls' follows a woman as she embarks on a late-night journey through an unfamiliar urban landscape, searching for something she cannot name. The film is inspired by the poem... See full summary »
Erotic anthology mini-series about Americans in Paris turned TV movie that consists of three unrelated episodes each created by different notable director and cast. The mini-series/TV movie was followed by a short lived TV series.
Josie elopes with Jack against her father's wishes. Her father follows her to the hotel where they are staying and forces Josie to go with him. Jack in turn follows resulting in an accident that leaves her father dead. Marty her brother, who was despised by their father over something he did years ago, sees Jack while grieving over his father and then follows him to Europe where they were fighting the war and was about to kill Jack, when something happened that prevented him. The next thing he knows is that the two of them are being decorated, and somehow the two of them become comrades in arms but when the war ends will their friendship continue or will Marty continue what he set out to do in the beginning?Written by
Demonstrates Many Aspects Of Superior Film-making.
Appropriate attention to detail is characteristic of this powerful, well-cast, and well-made melodrama with the action pivoting about a San Diego based Spanish Basque family, skillfully directed by Basque Mexican Gregory Nava and featuring effectual contributions from many members of the cast and crew. Two of cinema's ablest and most intense actors, William Hurt (who partially researched his role at the Center For Basque Studies at the University of Nevada, Reno) and Timothy Hutton, perform here as brothers-in-law obliged by one's iniquity to resolve their fateful conflict with violence, while other singular performances come from Melissa Leo, Stockard Channing, and Megan Follows as siblings of the Larraneta family, and Francisco Rabal is impressive as paterfamilias of the clan. A potent scenario emphasizes love and revenge as primary emotions within a creatively edited work noteworthy for its brilliant cinematography and montage by Nava as well as director of photography James Glennon, the action shot principally in Croatia, Trieste, and southern California. Suspense, an essential element of any genre, permeates the film, extending from its opening scenes to a Hitchcockian flavoured climax, enhanced throughout by Hurt's dynamic reading and by finely wrought episodic Ennio Morricone scoring. Costumes of Durinda Wood, set designs by Anne Kuljian, and the first-rate production designing of Henry Bumstead (who also plays several pages as an army Colonel) are united in the accurate recreation of 1942/5 San Diego as well as war battered Italy, and pre-war autos employed are correct. The mentioned adherence to accuracy of detail is clearly evident during scenes filmed at the historic Santa Fe Depot in San Diego that is still in use, occasioning tactical concerns that are nicely handled. Also of interest to cinephiles are wigs topping many of the females, due to contemporary (1988) modes of shorter hair, and additionally avoidance of obvious non-period jewelry among both featured players and extras. The presence on the soundtrack of that ultimate Verdian soprano, Rosa Ponselle, reflects the posture of the film's creators toward constructing a vivid drama of grandly emotional proportions, an objective clearly attained with this woefully undervalued motion picture.
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