My Mother took me to see this film at the Lowestoft Odeon around I was 8. Why I remember it is that the Cinema Manager told my Mother that the film was on its first screening in the UK even before London dunno why and there would be a surprise after the film. The surprise was the Actor Ronald Lewis who came on stage.
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Unfortunately some of the audience hissed him which put him off a little-he said 'Im one of the Good Guys' or words to that effect but then gave us an interesting talk about making the film. I didn't understand the movie at the time really but seeing it this afternoon was the first time since then. The film showed the Italian troops in a good, professional light when our Dads at the time told us that they had 'chased them all over North Africa'. I saw it when I was 8 years old, I'm almost 40 now and I always remember this movie.
Catholic nuns in France, hiding Jewish children in their convent during the occupation.
Falsches Spiel: Roman (German Edition)
Lilli Palmer, I remember her face vividly. There must be a reason, but I can't find a copy of that film, not even on video. Maybe, I should keep the memory as it is, rather than jeopardizing it by seeing again, today. I couldn't sleep after I saw it. I think I lived that film. It happened to me another time, when I was around the same age. Strangely enough, both films have religious roots and take place within the walls of convents and monasteries. I wonder what that means.
A worthwhile film that made a lasting impression. I saw this film when I was young, and I have never forgotten it. There are certain scenes of compassion and courage that have been with me ever since. The decision to do the right thing in spite of the consequences is upheld in the portrayal of the nuns, the priest, the rabbi and even the soldiers ordered to shoot the nuns. The lesson that to be good and godly means to personally involve oneself in direct,compassionate intervention on behalf of those in need is clearly shown and lauded, as is the truth that love and compassion can know no ethnic nor religious boundaries.
It is a good movie, especially for the young. I would hope that it could be made available for purchase. I saw this movie when it first came out.. I went to a Catholic school in with a much better view of what the Sisters stood for Can ya hear the Thunder?? I was with a couple of friends and we thought that this film would be just another British war film. However, Mile End in those days still had a reasonably large Jewish population and older people all around us kids were openly weeping throughout the showing of the film.
Later, in the foyer a woman told us that her family had been killed during the Hollocaust. A saw this film again quite recently on television and it really is quite a remarkable film. The characters have real depth and the the story about nuns sheltering Jewish children from the Nazis in Italy during World War II is not sentimentalised. The sub-plot concerning an unrequited love story between an Italian officer and a novice nun is is really well presented and does not intrude on the main story concerning Nazi ruthlessness and brutality towards the Jewish children and the nuns.
Please can this beautiful film regarding Christian suffering and the understanding of standing for principles of truth be re-released on DVD. Even though I am not a Catholic Christian, but of another part of the family of Christ, I attended a Catholic school and I just feel this a really beautiful film. I feel these kind of films must be shown to an ignorant generation of people that have forgotten the horrors of World War 2.
The wish of those that gave their lives in World War 2 for freedom and peace is that "We don't forget". Even if we look at the World now there is still genocide still taking place against vulnerable people just because they are different or speak different. Vastly under-rated and unknown film but definitely worth watching even if, like me, you have a tendency towards the cynical. The nuns' work causes conflict within their local church and their community and at first not even all of their own agree that what they are doing is for the best.
I saw this film as a child myself and was struck and moved by it but wasn't sure why, only as an adult did I realise that it represented all that was best and worst in human nature. Channel Four In the UK shows it regularly so if you can can catch it please do. Otherwise rent or buy! Ralph and Betty try harder Oct 15 February Ralph Thomas and Betty Box belong so firmly to the tale of the British cinema's protracted postwar decline, and their output runs so much to cheerful mediocrity and worse, that it would be churlish not to salute this exception.
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A film about a mixed European bag of nuns in sunny Italy, sheltering Jewish children from nasty German occupiers, could have easily wound up as sticky or preachy as a Hollywood movie of the week or after-school special "endorsed by the National Education Association". This production does quite a bit better. To begin with, the couple took the commercially bold decision to shoot in dramatically suitable monochrome Rank was very into Technicolor despite the temptation of those gorgeous locations near Florence.
Next, Rank's addiction to polyglot casts proves acceptable, since the nunnery and the Cahtholic church are multinational, as is the war situation: the convention of Colonel Albert Lieven talking in Teutonically accented English and others in Italianate English does not distract. Thirdly, the cast is well chosen. Sylvia Syms, a rising English rose, was the novice. Lilli Palmer, that quintessentially cosmopolitan star, is apt if a little too soigne as Mother Superior.
Ronald Lewis as the Italian major torn between allegiance to the Axis and revulsion at its persecutions, patronised by Lieven and a worm about to turn, is his customary sombre self. Both Lewis and Goodliffe were suicides. Fourthly, the mise-en-scene is ideal for moral conflicts: sunny exteriors and open hillsides against the shadowy cloister and catacombs where the hunt for hidden escapees from a concentration camp culminates.
Thomas is no Bresson or da Sica, but he makes good use of his lighting cameraman, and in his workmanlike way keeps the tension boiling.
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The religious angle with its dilemmas of obedience, confession and incompatible loyalties is deftly threaded through the chase to raise the tone. For a 'U'-certificated production there is an unholy amount of screen time leading up to, and about, killings and executions: it's about younger children but not for them.
As always, Box and Thomas are craftsmanlike, most to be praised for the mistakes and ineptitudes they avoid. This is not "The Sound of Music" sans music. The storyline is not muffled by subplots, the enemy are not caricatured Lieven convincingly depicts a non-Nazi career officer, forced into exemplary cruelty by his force's isolation amid partisans and the slither into sentimentality is avoided nearly all the time. This is the price the script willingly pays for not characterising the children much; on the other hand, the issue of whether nuns gladly harboured Jews and made concessions to Judaism under a Christian roof is not shirked.
Adrian Scott, a member of the Hollywood Ten, outlined a plot based on real incidents which was worked up by Marsha Hunt's longtime husband, Robert Presnell Jr. It was unusual for the Pinewood team to work with Americans, who may have helped keep the film's political aspects uppermost-- and, as it were, salted it with some asperity, so that it plays pretty smartly and kitsch-free today.
Barney Balaban of Paramount saw its premiere while in London and paid Rank handsomely for the rights on impulse. The film fared well in an America not yet used to stories of Nazi anti-Jewish actions: the Auschwitz trial and Eichmann's capture would soon make them too familiar. Sadly, the latter would be much more typical of them thereafter. Towards the end of the second world war, an order of Italian nuns makes all attempts to secure the freedom of Jewish children held captive in a local concentration camp.
However when the camp comes under the direct control of German troops, the Sisters' task becomes increasingly dangerous. The question of conscience and commitment to duty is repeatedly explored, from the perspective of both nun and soldier - Mitchell's Sister Gerta fears and doubts the Holy Order's actions, Sims' novitiate Sister Mitya is forced to confront her feelings towards Lewis's Major Spoletti, who in turn must choose between military duty and moral salvation. The juxtaposition between Catholicism and Judaism is also fascinatingly explored as the Sisters struggle to comprehend the facets of a different faith.
Universally well-performed by the ensemble, as usual its the supporting performances that stand out - Yvonne Mitchell was a power-house actress and at the peak of her film career shockingly she is all but forgotten now , and her transformation from angry doubter to selfless devotee is totally believable.
In addition, Ralph Thomas coaxes extraordinary performances from his juvenile cast - Rebecca Dignam and Joseph Cuby are beautifully moving without being cutesy or maudlin Hollywood child actors take note! At the heart, Palmer creates a depiction of quiet strength, dignity and humour even if we could have coped with a little less lipstick and mascara! This is a very moving film about the war and the life of nuns during the period. The story line is completely believable and real. Lilli Palmer always gives an excellent performance and Yvonne Mitchell is very interesting to watch, as she learns to appreciate the value of saving the children.
Falsches Spiel: Roman (German Edition)
The climax at the end of the movie with the anticipated shooting is very moving to witness. This movie was a rare one for me to become teary!! That is a sign to me that it is very good. The bearded man, frustrated by his wait time on line, cocks his head back and to the left. The video juxtaposes that with performance footage of Elvis where he makes this exact same motion, his famous hunka hunka head-jerk.
Again, back and to the left. Back… and to the left. It might not be his trademark pelvis gyrations, but from the neck up, he's sure got the moves like Elvis. Beyond the physical similarities, let us move on to the circumstantial evidence placing Elvis in Home Alone which, by the way, many people think is loosely based on the Sylvester Stallone movie First Blood , but that's an investigation for another day. Doubtfire , two Harry Potter movies, and the adaptation of Rent.
But the last movie he directed before making Home Alone was a film called Heartbreak Hotel , the plot of which centers around a teenager and his friends kidnapping Elvis to make him fuck his mom. Yes, the plot sounds creepy and implausible, which is probably why it failed to reach the success of Home Alone , a film about an eight-year-old warding off burglars with blow torches and paint cans.
Actor David Keith plays Elvis in the movie. We think. Who can even tell what is real anymore?
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So what does this connection tell us? Possibly nothing. Perhaps Elvis saw Heartbreak Hotel and, being still alive and all, called up Columbus and asked to be placed in his next movie. The least we can conclude is that it seems highly coincidental that Columbus would immediately follow up a movie about Elvis-mom-fucking with a movie in which a man who looks a lot like Elvis stands directly behind the film's maternal figure.
What does Columbus want us to know here? Where is he leading us? The two shared a hard chuckle over it, maybe too hard. Almost as if they're covering something up.
Does Culkin know? Well, let's see Not ten minutes earlier, in the most famous scene of his career, Culkin lipsyncs to The Drifters' version of "White Christmas" in front of the mirror while slicking his hair back with a comb, giving himself a very Elvis-esque hairdo.
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This is a blatant homage to The King himself. I know what you're wondering: Did Elvis ever cover "White Christmas"? You bet your sweet dick he did. Right on his first holiday record, 's Elvis' Christmas Album. Culkin knows. He knows. Moving along, let's examine a character in this scene we haven't mentioned yet, the late John Candy. Candy's character introduces himself as the "Polka King of the Midwest. There may not be any clear-cut answers here except for this one: Yes, absolutely he is.
Elvis, act. But if I had more time to work this anagram out more fully, certainly, you could see where this was headed. So there you have it.
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