Set in 1980s Nottingham, social worker Margaret Humphreys holds the British government accountable for child migration schemes and reunites the children involved -- now adults living mostly in Australia -- with their parents in Britain.
In 1930s New York Orson Welles tries to stage a musical on a steel strike under the Federal Theater Program despite pressure from an establishment fearful of industrial unrest and red activity. Meanwhile Nelson Rockefeller gets the foyer of his company headquarters decorated and an Italian countess sells paintings for Mussolini.Written by
After Diego Rivera's "Man at the Crossroads" mural was destroyed in 1933 at the Rockefeller Center, the artist recreated it in 1934. Using black and white photos of his New York mural, Rivera painted a smaller mural in Mexico City's Palace of Fine Arts. He made some changes in this painting. He added more of the early leaders of communism - Leon Trotsky, Friedrich Engels and Karl Marx. He called his new mural, "Man, Controller of the Universe." See more »
When Tommy Crickshaw and Hazel Huffman are discussing communism, the camera shot from behind Crickshaw shows his hand in a fist, cut to the next shot facing him, his hand is stretched out. See more »
There is a heart in the credit roll with the following initials inside; SS, EMLA, JHR & MGR (SS is likely 'Susan Sarandon,' EMLA for Sarandon's daughter Eva Amurri, JHR & MGR for Robbins' & Sarandon's sons Jack Henry & Miles Robbins). See more »
This is a romantic look at 1930's liberalism, with a ham-handed script that pits the evil fascists against the enlightened intellectuals.
It tries to be a little of everything, and doesn't quite pull it off. It alternates from a comedy, to poignant vignettes of depression era poverty, to a musical, to farce, to political drama. I just felt Robbins couldn't make up his mind as what this film was supposed to be. I am guessing that most of it wound up on the cutting room floor, and maybe a longer film would have allowed some of these themes to develop more completely.
It has one of the largest casts I've ever seen. It seems everyone in Hollywood wanted to get in on this one.
The biggest problem I had with the film was that if you weren't one of the warmly-portrayed socialists, then you were either a simple minded right wing alarmist, or a big businessman in bed with the fascists.
One thing is clear - Robbins and Sarandon yearn for the days when being part of the far, far left was fashionable.
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