Righteous propaganda fuels the patriotic fire: Lewis Milestone and Robert Rossen’s blood-soaked ode to Norwegian resistance goes way over the top. These Norsemen and Norsewomen take up arms to fight their Nazi occupiers tooth and nail. Errol Flynn and Ann Sheridan star; some of Hollywood’s best partake of the rah-rah celebration of suicidal vengeance: Walter Huston, Nancy Coleman, Helmut Dantine, Judith Anderson, Ruth Gordon, John Beal, Morris Carnovsky, Charles Dingle, Roman Bohnen, Richard Fraser, Art Smith, and a very young Virginia Christine. We’re all anti-Fascist freedom fighters on this bus!
Edge of Darkness
Blu-ray
Warner Archive Collection
1943 / B&w / 1:37 Academy / 119 min. / Available at Amazon.com / Street Date January 18, 2022 / 21.99
Starring: Errol Flynn, Ann Sheridan, Walter Huston, Nancy Coleman, Helmut Dantine, Judith Anderson, Ruth Gordon, John Beal, Morris Carnovsky, Charles Dingle, Roman Bohnen, Richard Fraser, Art Smith, Monte Blue, Henry Brandon, Virginia Christine, Tom Fadden, Kurt Katch, Kurt Kreuger,...
Edge of Darkness
Blu-ray
Warner Archive Collection
1943 / B&w / 1:37 Academy / 119 min. / Available at Amazon.com / Street Date January 18, 2022 / 21.99
Starring: Errol Flynn, Ann Sheridan, Walter Huston, Nancy Coleman, Helmut Dantine, Judith Anderson, Ruth Gordon, John Beal, Morris Carnovsky, Charles Dingle, Roman Bohnen, Richard Fraser, Art Smith, Monte Blue, Henry Brandon, Virginia Christine, Tom Fadden, Kurt Katch, Kurt Kreuger,...
- 2/15/2022
- by Glenn Erickson
- Trailers from Hell
It's sweet, all right, not to mention sentimental and corny -- As Adeline Schmidt, Irene Dunne leaves her father's beer garden to sing in New York, where she falls prey to a predatory playboy. Set in nostalgic 1898, this Jerome Kern-Oscar Hammerstein II musical features several unfamiliar but marvelous songs. Dunne shows the film world the voice that brought her fame on Broadway -- "Why Was I Born?", "Lonely Feet" -- supported by Donald Woods, Louis Calhern and Dorothy Dare. Warners' new restoration makes this a must see for Irene Dunne fans. Sweet Adeline DVD-r The Warner Archive Collection 1934 / B&W / 1:37 flat Academy / 87 min. / Street Date October 20, 2015 / available through the WBshop / 18.95 Starring Irene Dunne, Donald Woods, Louis Calhern, Hugh Herbert, Ned Sparks, Wini Shaw, Joseph Cawthorn, Dorothy Dare, Noah Beery, William V. Mong. Cinematography Sol Polito Film Editor Ralph Dawson Art Director Robert Haas Ensembles Director Bobby Connolly...
- 12/30/2015
- by Glenn Erickson
- Trailers from Hell
The Affair has been labeled the Rashomon of marriage dramas, thanks to its he said/she said structure—but it's also a pretty compelling mystery. The two main characters, Noah (Dominic West) and Alison (Ruth Wilson), are telling the story of their affair to a detective who appears to be investigating a murder. So far, all we know is this: Someone died. And that someone is a man, probably a local, though he was run down on a road that's primarily used by tourists. And he died the night of a party. And Alison misses him now that he's gone.
- 10/20/2014
- by Melissa Maerz
- EW - Inside TV
Second #3055, 50:55
“I’m leaving now,” says Jeffrey. Dorothy, her back to the camera, stands in the bathroom, facing the mirror, her red shoes on the tiled floor beside her. Another radiator, like an iron spy from another world. The screen, divided against itself. Crowded by darkness, Dorothy’s space is a like a music track awaiting the vocals. The open toilet some sort of joke. A zombie film: Dorothy dead and not knowing she is dead, hungry for Jeffrey’s flesh, or the way hallways always lead to bad ends. In a room across the city, her son held hostage. The fullness of despair, in ripe bloom, and you wonder: what if Blue Velvet is the most restrained document of evil ever put across the screen? A completely pressured-down version of the chaos of Survival Research Laboratories (Srl), founded in 1978 by Mark Pauline, which created, staged, and filmed the...
“I’m leaving now,” says Jeffrey. Dorothy, her back to the camera, stands in the bathroom, facing the mirror, her red shoes on the tiled floor beside her. Another radiator, like an iron spy from another world. The screen, divided against itself. Crowded by darkness, Dorothy’s space is a like a music track awaiting the vocals. The open toilet some sort of joke. A zombie film: Dorothy dead and not knowing she is dead, hungry for Jeffrey’s flesh, or the way hallways always lead to bad ends. In a room across the city, her son held hostage. The fullness of despair, in ripe bloom, and you wonder: what if Blue Velvet is the most restrained document of evil ever put across the screen? A completely pressured-down version of the chaos of Survival Research Laboratories (Srl), founded in 1978 by Mark Pauline, which created, staged, and filmed the...
- 1/11/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Despite circumstances that would make most men bitter, Anton Bruckner (Sept. 24, 1824 – Oct. 11, 1896) in his mature symphonies and choral works wrote some of the most spiritual music since Bach's. Insecure, he spent his thirties studying with the dictatorial music professor Simon Sechter, who had briefly taught Franz Schubert. Brucker didn't compose a symphony until 1863, the "Study" Symphony, which he withheld (as he did the later so-called No. 0).
In Vienna, Bruckner was considered by many to be a naïve country bumpkin; he got unfairly entangled in the bitter Brahms-Wagner debates that split the city. Bruckner's symphonies were thus the object of myopic criticism from some in the Brahms camp, including powerful critic Eduard Hanslick (however, Wagner, Liszt, and Emperor Franz Joseph I were among those who praised or supported Bruckner). The unprecedented length of Bruckner's symphonies, which develop in slow-moving monoliths of sound, was an impediment for some listeners. Bruckner, an excellent organist,...
In Vienna, Bruckner was considered by many to be a naïve country bumpkin; he got unfairly entangled in the bitter Brahms-Wagner debates that split the city. Bruckner's symphonies were thus the object of myopic criticism from some in the Brahms camp, including powerful critic Eduard Hanslick (however, Wagner, Liszt, and Emperor Franz Joseph I were among those who praised or supported Bruckner). The unprecedented length of Bruckner's symphonies, which develop in slow-moving monoliths of sound, was an impediment for some listeners. Bruckner, an excellent organist,...
- 10/10/2011
- by SteveHoltje
- www.culturecatch.com
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