La Symphonie pastorale (film)
La Symphonie pastorale is a 1946 French language film drama directed by Jean Delannoy and starring Michèle Morgan and Pierre Blanchar. The film is based on the novella La Symphonie Pastorale by André Gide and adapted to the screen by Jean Aurenche; the film score was by Georges Auric. At the 1946 Cannes Film Festival, it won the Grand Prix and the Best Actress award for Michèle Morgan, it was the film chosen to be shown at the opening gala of the Cameo cinema in Edinburgh, Scotland, in March 1949, a rare surviving print with English subtitles was shown there again in 2009 to celebrate the film's 60th anniversary, courtesy of the BFI. The pastor of a mountain village adopts Gertrude; as Gertrude grows up into an attractive young woman, the pastor, now middle-aged, realises that he is in love with her. To his chagrin, his adopted son, Jacques, is in love with Gertrude though he is shortly to be married to another woman. Jacques’s fiancée is jealous of Gertrude and arranges for her to see a doctor in the hope that she might be cured and to enable Jacques to choose between the two women.
Miraculously, Gertrude’s sight is restored and she returns to the village a changed woman. Unable to accept Jacques' love and disappointed by the pastor's affections for her, she realises that her former happiness has been lost forever; this film supplies a second, deeper meaning. The blind girl comes to dominate the pastor's consciousness as he guides her from being the brutish creature seen in our first glimpse of her, into an accomplished and attractive young woman, his obsession with her damages his family life. There is no indication of carnal attraction between her; this alternative interpretation is that the blind girl is a kind of demon who takes over his consciousness, with the result of wrecking his family life and marring his surface saintliness. This meaning is cued for us by his wife's growing worry. La Symphonie Pastorale on IMDb La Symphonie Pastorale at AllMovie La Symphonie Pastorale at filmsdefrance.com
The Lost Weekend (film)
The Lost Weekend is a 1945 American film noir directed by Billy Wilder and starring Ray Milland and Jane Wyman. The film was based on Charles R. Jackson's 1944 novel of the same name about an alcoholic writer; the film was nominated for seven Academy Awards and won four: Best Picture, Best Director, Best Actor, Best Adapted Screenplay. It shared the Grand Prix at the first Cannes Film Festival, making it one of only two films to win both the Academy Award for Best Picture and the highest award at Cannes. In 2011, The Lost Weekend was added to the National Film Registry of the Library of Congress as being "culturally or aesthetically significant." On review aggregator Rotten Tomatoes, the film has an approval rating of 100% based on 33 reviews, with an average rating of 8.3/10. The site's critical consensus reads, "Director Billy Wilder's unflinchingly honest look at the effects of alcoholism may have had some of its impact blunted by time, but it remains a powerful and remarkably prescient film."
On a Thursday, an alcoholic New York writer, Don Birnam, is packing for a weekend vacation with his brother Wick, trying to discourage his drinking. When Don's girlfriend Helen comes to see them off, she mentions that she has two tickets for a concert. Don suggests that he and Wick take a train and that Wick go to the concert with Helen, they are suspicious of leaving Don alone, since they have found a bottle hidden outside his window, but leave anyway. Since his hidden bottle had been poured down the drain by Wick, Don heads for Nat's Bar, using money Wick hid in the flat to pay the cleaning lady. Don intends to be back home in time to meet Wick and catch the train, but he loses track of time due to his drinking; when he arrives home he sees Wick leaving and Helen saying she will stay and wait for Don, as she is worried about Don being left alone. Don sneaks back into the flat to drink some cheap whisky he has bought. On Friday, back at the bar, the owner, criticizes Don for treating Helen so badly, Don recalls how he first met her.
It was due to a mix-up of cloakroom tickets at the opera-house, where he had to wait for the person, given his coat-check in error, as his coat contained a bottle of alcohol. This was Helen, he remains sober during this time, but when he is due to meet her parents for lunch at a hotel, he overhears them talking about how he doesn't have a job and wondering if he is good enough for their daughter. He loses his nerve and phones a message to her and sneaks off; when she arrives at his flat, Wick tries to cover for him, but Don appears, confessing to her that he is two people: "Don the writer", whose fear of failure causes him to drink, "Don the drunk" who always has to be bailed out by his brother. Still, Helen devotes herself to helping him in his plight. Back in the present day, Don has moved on to another bar, where he is caught stealing money from a woman's purse to pay his bill, he is promptly thrown out of the establishment by its staff. Back in his flat, he finds a bottle he had stashed in a light fixture the previous night and drinks himself into a stupor.
On Saturday, Don is broke. But all the pawnshops are closed for the Jewish festival Yom Kippur. At Nat's Bar, he is refused service. Desperate for money, he visits a girl who has had a long-held crush on him, but who he stood up during this latest binge, she gives him some money, but while leaving her flat he falls down the stairs and is knocked unconscious. On Sunday, Don wakes up in an alcoholics' ward where "Bim" Nolan, a cynical male nurse, mocks him and other guests at "Hangover Plaza", but he offers to help cure his delirium tremens. Don refuses help and manages to escape from the ward while the staff are occupied with a raving, violent patient. On Monday, still broke, Don spends the day drinking. Suffering from an episode of delirium tremens, he hallucinates a nightmarish scene in which a bat flies in his window and kills a mouse, spilling its blood. Helen returns, alerted by a call from Don's landlady. Finding him collapsed and in a delirious state, she vows to look after him and stays overnight on his couch.
On Tuesday morning, Don slips out and pawns Helen's coat—the thing that had first brought them together. She trails him to the pawn shop, thinking that he sold her coat so he could buy more alcohol, but learns from the pawnbroker that he traded the coat for a gun he had pawned earlier, she races to Don's apartment and interrupts him just before he is about to shoot himself in the bathroom. He tells her their relationship is over as she catches a glimpse of the gun lying in the bathroom sink. Helen rushes to the sink, grabs the weapon, but he pries it out of her hand, she reminds Don of her love for him, her concern that he should stop drinking. Nat arrives to return Don's portable typewriter, which the bartender says he found "floating around in the Nile" and warns him not to "hock her". After Nat leaves, Helen is able to convince him that "Don the writer" and "Don the drunk" are the same person, he commits to writing his novel The Bottle, dedicated to her, which will recount the events of the weekend.
He drops a cigarette into a glass of whiskey to make it undrinkable, as evidence of his resolve. Wilder was drawn to this material after having worked with Raymond Chandler on the screenplay for Double Indemnity. Chandler was a recovering alcoholic at the time, the stress and t
The Red Meadows
The Red Meadows is a 1945 Danish war drama directed by Bodil Ipsen and Lau Lauritzen Jr. based on resistance fighter Ole Valdemar Juul's 1945 novel of the same name. The film, starring Poul Reichhardt and Lisbeth Movin, is a suspense tale revolving around the memories of a Danish saboteur as he awaits his execution in a German war-time prison. Filmed in Denmark only months after the end of the German occupation during World War II, Red Meadows was a tribute to the Danish resistance fighters; the film received the Palme d'Or at the Cannes Film Festival and is considered a stylistic masterwork. In German-occupied Denmark during World War II, the young Danish saboteur Michael sits in a Gestapo jail and awaits his execution, his thoughts go back to the events. In a meadow in Jutland and his comrades wait for a British airdrop of weapons and explosives to use for the resistance. Afterward, while in his hideout, Michael is surprised by German soldiers, he is able to slip free. On a country road, a car driven by a German Field Officer stops.
Michael shoots him. Dressed in the officer's uniform, Michael is able to reach Copenhagen and find his girlfriend Ruth at the hotel where she lives. Toto, the leader of the resistance group, is waiting for him, they are planning to sabotage a weapons factory. However, there is suspicion that there is an informant in the group, so the plan is delayed. One of the group's members, Dreyer, is arrested, so Ruth and Michael flee to her uncle's summer house. Ruth is frightened of losing Michael, she says, If you die everything is meaningless - I'm not a person anymore - and the meadows aren't green anymore -- they are colored the red of your blood. Plans for the sabotage are completed and the group goes into action, but it is revealed that there has been an informant, when the group is surprised by soldiers lying in wait for them. During the firefight, Michael is wounded. However, he is able to blow up the factory. Back in the Gestapo jail, the prison guard Steinz who hates the war and the Nazis, tries to help Michael in small ways, but is unable to prevent his torture.
Michal is able to resist during the brutal torture. While in jail, Michael suspects who the informant is and through Steinz gets a message to his comrades: The apple is rotten. A trap is set and Prikken reveal himself as the informer. There is no other way but to kill him and it is not difficult to find members who will do it. While being driven to his execution, Steinz tells Michael that he has received a message—Steinz's entire family was killed during an Allied aerial bombardment that week. Michael asks Steinz to escape with him. Steinz shoots himself in the car. Michael seeks refuge in a bakery where he is able to contact Toto. Both Michael and Ruth find transport to Sweden where they can rest. De røde enge at IMDb De røde enge at Den Danske Film Database De røde enge at Det Danske Filminstitut
Belgrade is the capital and largest city of Serbia. It is located at the confluence of the Sava and Danube rivers and the crossroads of the Pannonian Plain and the Balkans; the urban area of the City of Belgrade has a population of 1.23 million, while nearly 1.7 million people live within its administrative limits. One of the most important prehistoric cultures of Europe, the Vinča culture, evolved within the Belgrade area in the 6th millennium BC. In antiquity, Thraco–Dacians inhabited the region and, after 279 BC, Celts settled the city, naming it Singidūn, it was conquered by the Romans under the reign of Augustus and awarded Roman city rights in the mid-2nd century. It was settled by the Slavs in the 520s, changed hands several times between the Byzantine Empire, the Frankish Empire, the Bulgarian Empire and the Kingdom of Hungary before it became the seat of the Serbian king Stefan Dragutin. In 1521, Belgrade was conquered by the Ottoman Empire and became the seat of the Sanjak of Smederevo.
It passed from Ottoman to Habsburg rule, which saw the destruction of most of the city during the Austro-Ottoman wars. Belgrade was again named the capital of Serbia in 1841. Northern Belgrade remained the southernmost Habsburg post until 1918. In a fatally strategic position, the city was razed 44 times. Belgrade was the capital of Yugoslavia from its creation in 1918 to its dissolution in 2006. Belgrade has special administrative status within Serbia and it is one of the five statistical regions that make up the country, its metropolitan territory is divided into each with its own local council. The city of Belgrade covers 3.6% of Serbia's territory, around 24% of the country's population lives within its administrative limits. It is classified as a Beta-Global City. Chipped stone tools found in Zemun show that the area around Belgrade was inhabited by nomadic foragers in the Palaeolithic and Mesolithic eras; some of these tools are of Mousterian industry—belonging to Neanderthals rather than modern humans.
Aurignacian and Gravettian tools have been discovered near the area, indicating some settlement between 50,000 and 20,000 years ago. The first farming people to settle in the region are associated with the Neolithic Starčevo culture, which flourished between 6200 and 5200 BC. There are several Starčevo sites including the eponymous site of Starčevo; the Starčevo culture was succeeded by the Vinča culture, a more sophisticated farming culture that grew out of the earlier Starčevo settlements and named for a site in the Belgrade region. The Vinča culture is known for its large settlements, one of the earliest settlements by continuous habitation and some of the largest in prehistoric Europe. Associated with the Vinča culture are anthropomorphic figurines such as the Lady of Vinča, the earliest known copper metallurgy in Europe, a proto-writing form developed prior to the Sumerians and Minoans known as the Old European script, which dates back to around 5300 BC. Within the city proper, on Cetinjska Street, a skull of a Paleolithic human was discovered in 1890.
The skull is dated to before 5000 BC. Evidence of early knowledge about Belgrade's geographical location comes from a variety of ancient myths and legends; the ridge overlooking the confluence of the Sava and Danube rivers, for example, has been identified as one of the places in the story of Jason and the Argonauts. In the time of antiquity, the area was populated by Paleo-Balkan tribes, including the Thracians and the Dacians, who ruled much of Belgrade's surroundings. Belgrade was at one point inhabited by the Thraco-Dacian tribe Singi. In 34–33 BC, the Roman army, led by Silanus, reached Belgrade, it became the romanised Singidunum in the 1st century AD and, by the mid-2nd century, the city was proclaimed a municipium by the Roman authorities, evolving into a full-fledged colonia by the end of the century. While the first Christian Emperor of Rome —Constantine I known as Constantine the Great—was born in the territory of Naissus to the city's south, Roman Christianity's champion, Flavius Iovianus, was born in Singidunum.
Jovian reestablished Christianity as the official religion of the Roman Empire, ending the brief revival of traditional Roman religions under his predecessor Julian the Apostate. In 395 AD, the site passed to the Eastern Byzantine Empire. Across the Sava from Singidunum was the Celtic city of Taurunum. In 442, the area was ravaged by Attila the Hun. In 471, it was taken by king of the Ostrogoths, who continued into Italy; as the Ostrogoths left, another Germanic tribe, the Gepids, invaded the city. In 539 it was retaken by the Byzantines. In 577, some 100,000 Slavs poured into Thrace and Illyricum, pillaging cities and more permanently settling the region; the Avars, under Bayan I, conquered the whole region and its new Slavic population by 582. Following Byzantine reconquest, the Byzantine chronicle De Administrando Imperio mentions the White Serbs, who had stopped in Belgrade on their way back home, asking the strategos for lands. In 829, Khan Omurtag was able to add its environs to the First Bulgarian Empire.
The first record of the name Belograd appeared on April, 16th, 878, in
Brief Encounter is a 1945 British romantic drama film directed by David Lean about British suburban life on the eve of World War 2, centring on Laura, a married woman with children, whose conventional life becomes complicated because of a chance meeting at a railway station with a married stranger, Alec. They fall in love; the film stars Trevor Howard, Stanley Holloway and Joyce Carey. The screenplay is by Noël Coward, based on his 1936 one-act play Still Life; the soundtrack prominently features the Piano Concerto No. 2 by Sergei Rachmaninoff, played by Eileen Joyce. Brief Encounter was met with wide praise from critics upon its release, is today considered to be among Lean's finest works, it has been credited as an important early work of realist cinema for its small scale and the lack of big-name stars in its cast. In 1999, the British Film Institute voted Brief Encounter the second greatest British film of all time. In 2017 a poll of 150 actors, writers and critics for Time Out magazine saw it ranked the twelfth best British film ever.
The voice-over throughout the film is in the form of an unspoken confession from Laura to her husband. In the latter months of 1938, Laura Jesson, a respectable middle-class British woman in an affectionate but rather dull marriage, tells her story while sitting at home with her husband, imagining that she is confessing her affair to him. Laura, like many women of her class at the time, goes to a nearby town every Thursday for shopping and to the cinema for a matinée. Returning from one such excursion to Milford, while waiting in the railway station's refreshment room, she is helped by another passenger, who solicitously removes a piece of grit from her eye; the man is Alec Harvey, an idealistic doctor who works one day a week as a consultant at the local hospital. Both are in their late thirties or early forties and with children; the two accidentally meet again outside Boots the Chemist and on a third meeting decide to go for a small lunch both having free time, go to an afternoon performance at the Palladium Cinema.
They are soon troubled to find their innocent and casual relationship developing into something deeper, approaching infidelity. For a while, they meet until they run into friends of Laura and the perceived need to lie arises; the second lie comes more easily. They go to a flat belonging to Stephen, a friend of Alec's and a fellow doctor, but are interrupted by Stephen's unexpected and judgmental return. Laura and ashamed, runs down the back stairs and into the streets, she walks for hours, sits on a bench and smokes, is confronted by a police officer, with the implication that she could be perceived as a "streetwalker". The recent turn of events informs the couple that both an affair and a future together are impossible. Realising the danger and not wishing to hurt their families, they agree to part. Alec has been offered a job in South Africa, where his brother lives, their final meeting occurs in the railway station refreshment room, now seen for a second time with the poignant perspective of their story.
As they await a heart-rending final parting, Dolly Messiter, a talkative acquaintance of Laura, invites herself to join them and begins chattering away, oblivious to the couple's inner misery. As they realise that they have been robbed of the chance for a final goodbye, Alec's train arrives. With Dolly still chattering, Alec departs with a last look at Laura but without the passionate farewell for which they both long. After shaking Messiter's hand, he leaves. Laura waits for a moment, anxiously hoping that Alec will walk back into the refreshment room, but he does not; as the train is heard pulling away, Laura is galvanised by emotion and, hearing an approaching express train dashes out to the platform. The lights of the train flash across her face, she returns home to her family. Laura's kind and patient husband, Fred shows not only that he has noticed her distance in the past few weeks but that he has even guessed the reason, he thanks her for coming back to him. She cries in his embrace; the film is based on Noël Coward's one-act play Still Life, one of ten short plays in the cycle Tonight at 8.30, designed for Gertrude Lawrence and Coward himself, to be performed in various combinations as triple bills.
All scenes in Still Life are set in the refreshment room of a railway station. As is common in films based on stage plays, the film depicts places only referred to in the play: Dr. Lynn's flat, Laura's home, a cinema, a restaurant and a branch of Boots the Chemist. In addition, a number of scenes have been added which are not in the play: a scene on a lake in a rowing boat where Dr Harvey gets his feet wet; some scenes are made more dramatic in the film. The scene in which the two lovers are about to commit adultery is toned down: in the play it is left for the audience to decide whether they consummate their relationship. In the film, Laura has only just arrived at Dr Lynn's flat when the owner returns and is led out by Dr Harvey via the kitchen service door; when Laura seems to want to throw herself in front of an express train, the film makes the intention clearer by means of voice-over narration. In the play, the characters at the Milford station — Mrs Baggot, Mr Godby and Stanley — are much aware of the growing relationsh
Rome, Open City
Open City or Rome, Open City is a 1945 Italian neorealist drama film directed by Roberto Rossellini. The picture features Aldo Fabrizi, Anna Magnani and Marcello Pagliero, is set in Rome during the Nazi occupation in 1944; the title refers to Rome being declared an open city after 14 August 1943. The film won several awards at various film festivals, including the most prestigious Cannes' Grand Prize, was nominated for the Best Original Screenplay Oscar at the 19th Academy Awards. In occupied Rome in 1944, German SS troops are trying to arrest the engineer Giorgio Manfredi, a communist and a leader of the Resistance against the German Nazis and Italian Fascists, staying in a rooming house; the landlady warns him in time of the Germans' arrival, so that he can elude them by jumping across the rooftops. He goes to the home of Francesco. There he encounters Pina. Pina is Francesco’s fiancée, is visibly pregnant, she first suspects Giorgio of being a cop and gives him a rough time, but when he makes it clear he is not, she welcomes him into Francesco’s apartment to wait for him.
With Pina’s help, Giorgio contacts Don Pietro Pellegrini, a Catholic priest, helping the Resistance, asks him to transfer messages and money to a group of Resistance fighters outside the city as Giorgio is now known to the Gestapo and cannot do it himself. Don Pietro is scheduled to officiate at Francesco's wedding the next day. Francesco is not religious, but would rather be married by a patriot priest than a fascist official, her son, Marcello, is a sort of reluctant altar boy. He and his friends have a small role in the Resistance planting bombs. Pina's sister Laura stays with her, but is not involved in the Resistance: in fact, she works in a cabaret serving the Nazis and Fascists, she is an old friend of Marina, a girlfriend of Giorgio's, looking for him, but with whom he is now splitting up. Marina works in the cabaret, as an occasional prostitute; the local SS commander in the city, helped by the Italian police commissioner, suspect that Giorgio is at Francesco’s apartment. They conduct a huge raid, arresting dozens of men.
Giorgio gets away. Seeing him being taken away, Pina breaks through a cordon of police and runs towards him, but is shot dead; the priest, in the building to hide weapons, under the guise of praying for a dying man, holds her in his arms and prays for her soul. The truck drives away in a convoy with military vehicles, but outside of town it is attacked by Resistance fighters, many of the captives escape. Francesco reconnects with Giorgio. Together they go to the priest. Marina betrays her former lover in exchange for a fur coat. Using information given by Marina, the Gestapo and Italian police capture Giorgio and the priest, along with an Austrian defector, on their way to the monastery. Francesco is saying goodbye to Marcello, sees them get picked up and gets away; the defector, fearing torture, hangs himself in his cell. The Gestapo try to get Giorgio to in vain, he does not respond to sweet talk, so they torture him intensely – they want to break him before word gets out that he was arrested, so they can take the Resistance by surprise with the information they hope to extract from Giorgio.
They try to use Don Pietro's influence on Giorgio to convince him to betray his cause, saying that he is an atheist and communist, the enemy. They force Don Pietro to watch Giorgio's torture; when Giorgio dies without revealing anything, Don Pietro blesses his body and commends him to God's mercy. Giorgio’s refusal to yield shakes the confidence of the Germans, including the commander, who had boasted to the priest and the collaborating woman that they were the “Master Race,” and no one from a “Slave Race” could withstand their torture. Marina and a German officer stumble into the scene while intoxicated. Realizing that she was responsible for this, she passes out; the Gestapo Chief and the collaborator decide that she is now useless to them and arrest her, taking away the fur coat they had given her as a bribe. Don Pietro still refuses to crack, so he is taken out to be executed early the next morning, before his parish can learn of his arrest and respond with a protest. However, the parish altar boys/Resistance fighters show up to where Don Pietro is being executed and they begin whistling a tune which Don Pietro recognizes.
The Italian firing squad is lined up to execute Don Pietro. The German officer in charge of the execution squad walks over to Don Pietro as soon as he realizes that the Italians will not kill a priest, executes Don Pietro himself. At this, the altar boys and Resistance fighters grow silent, bow their heads in grief, walk away; as the kids make way back into the city, an infamous last shot of the city of Rome and St. Peter's Basilica can be seen in the background. Aldo Fabrizi as Don Pietro Pellegrini Anna Magnani as Pina Marcello Pagliero as Giorgio Manfredi, alias Luigi Ferraris Vito Annicchiarico as Marcello, Pina's son Nando Bruno as Agostino, the Sexton