Woman on the Beach, The (1947)
“If I could prove to you that Tod wasn’t really blind, would you leave him?”
“If I could prove to you that Tod wasn’t really blind, would you leave him?”
“First I lost my bags, then my room, and now my trousers!”
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Review: Redeeming Qualities and Moments: Must See? Links: |
“They left him lying there like a dog.”
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Review: Note: Cyclist won raves at the Cannes International Film Festival, but was inexplicably panned by New York Times reviewer Bosley Crowther upon its American release. Redeeming Qualities and Moments:
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“These are letters which your daughter wrote to the late Ted Darby.”
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Review: … makes a strong lead, and it’s refreshing to see her playing a self-sufficient mother. The film’s primary problem lies in its script, which neglects to adequately explain the motivations behind Mason’s immediate infatuation with Bennett — he’s an intriguing character, and we want to know more about him. Note: The Reckless Moment gained renewed attention in 2001 when it was updated with Tilda Swinton in Bennett’s role, and renamed The Deep End. Redeeming Qualities and Moments:
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“Sure, sure, kill me… Just be quick about it, or I’ll kill you first!”
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Review: Redeeming Qualities and Moments: Must See? Links: |
“We may be fairly sure this job is not the work of a professional.”
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Review: … and while Signoret provides some moments of campy enjoyment as a self-absorbed actress, she (along with nearly everyone else) is too quickly killed off. To its credit, The Sleeping Car Murders does keep one continually guessing as to the identity of the killer — but the ultimate resolution of this mystery is unsatisfactory, and the plot has become so convoluted by this point that it’s hard to care. Redeeming Qualities and Moments: Must See? Links: |
“An undisciplined mind is the devil’s playground.”
“No matter what’s with us, Sid, I’m going to be fighting for my side, and fighting hard.”
“My form — lower 5B — say they murdered Mr. Pelham.”
“It’s Monk, all right — but he looks like a devil!”
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Review: It’s all the more tragic, then, when nearly everyone turns against him after he has heroically rescued the son (Miko Oscard) of a doctor (Cameron Mitchell) from a burning house. Unfortunately, this collective change of heart is much too drastic to seem authentic: while Peter Lorre’s disfigured watchmaker in The Face Behind the Mask (1941) somewhat realistically scares those he meets for the first time, it’s much more difficult to believe that an entire town would suddenly be frightened of — and disgusted by — someone they’ve known for years. Nonetheless, Face of Fire‘s uneven screenplay (perhaps a function of its source material, though I haven’t read the original story) is redeemed by Band’s creative direction, effective cinematography (shot in Sweden!), and a handful of excellent performances. Redeeming Qualities and Moments:
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