Movie : George Sidney – Jeanne Eagels (1957) full watch online


Jeanne Eagels (1957)
IMBD
Country : USA Directo r: George Sidney
Genre : Drama,Classics Length : 108 mins
Kim Novak is clearly out of her depth as legendary Broadway actress Jeanne Eagels, but one can't fault her for trying very hard. As this filmed biography gets under way, wide-eyed Eagels finds...

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Movie : Leigh Jason – Carolina Blues (1944) full watch online


Carolina Blues (1944)
IMBD
Country: USA Director :Leigh Jason
Genre : Musical,Classics Length : 81 mins
Band Leader Kay Kyser wants to make holiday, but his publicist Charlotte has promised, that he gives an concert for defense plant workers. Due to the fact, that his vocalist has quit to gets...

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Movie : Stanley Kramer – Ship of Fools (1965) full watch online


Ship of Fools (1965)
IMBD
Country : USA Director : Stanley Kramer
Genre : Drama,Classics Length  :149 mins
“Vivien Leigh's last film! A star studded extravaganza, this time on a cruise ship during the time just before World War II. Story-lines include Ms. Leigh as a lonely, forty-something woman...

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Movie : Kamal El Sheikh – Hayat ou maut (1955) full watch online


Hayat ou maut (1955)
IMBD
Country : Egypt Director : Kamal El Sheikh
Genre : Thriller,Classics Length:
Life or Death (Arabic: Hayat ou maut‎) is a 1955 Egyptian film directed by Kamal El Sheikh. It was entered into the 1955 Cannes Film Festival.[1]



Language(s) Arabic
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Movie : Glenn Tryon – Nazty Nuisance (1943) full watch online


Nazty Nuisance (1943)
IMBD
Country : USA Director : Glenn Tryon
Genre : Comedy,Classics Length:42 mins
A sequel to the Hal Roach "streamliner" The Devil with Hitler, That Nazty Nuisance is much funnier, albeit nearly as tasteless as the earlier film. Bobby Watson, Hollywood's foremost Adolf Hitler...

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Movie : George Schaefer – Our Town (1977) full watch online


Our Town (1977)
IMBD
Country : USA Director : George Schaefer
Genre : Classics,TV Length : 117 mins
This classic American play, performed on an almost-bare stage, is about the mundane but rather pleasant lives of the Gibbs family, the Webb family, and their neighbors in Grover's Corners,...

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Movie : Felipe Cazals – Canoa (1976) full watch online


Felipe Cazals - Canoa (1976)
IMBD
Country : Mexico Director : Felipe Cazals
Genre : Politics, Classics Length : 114 mins
In 1968, four University of Puebla employees on a mountain climbing trip were attacked and beaten, and two people were killed, by the townspeope of San Miguel de Canoa....

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Movie : Felipe Cazals – Canoa (1976) full watch online


Felipe Cazals - Canoa (1976)
IMBD
Country : Mexico Director : Felipe Cazals
Genre : Politics, Classics Length : 114 mins
In 1968, four University of Puebla employees on a mountain climbing trip were attacked and beaten, and two people were killed, by the townspeope of San Miguel de Canoa....

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Movie : Orson Welles – Macbeth (1948) full watch online

[img]http://i4.imageban.ru/out/2013/09/25/3524362e6b299672afa7913073d60a15.png[/img]
[b]Orson Welles - Macbeth (1948)[/b]
[url=http://adf.ly/WOVas][b]IMBD[/b][/url]
[b]Country:[/b]USA|[b]Director:[/b]Orson Welles
[b]Genre:[/b]Classics,Drama|[b]Length:[/b]01:42:40
In fog-dripping, barren and sometimes...

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WRITERS:  Nathan Juran   (story) (as Jerry Juran)
         Nathan Juran   (screenplay) (as Jerry Juran)
         James Kelley   (adaptation) (as James Kelly) and
         Peter Miller   (adaptation)

GENRE:  Horror

PLOT SUMMARY:  People are mysteriously disappearing near a remote Cornish village, where
a scientist is experimenting with reviving the dead.

CAST:
Kieron Moore ...  Dr. Peter Blood
Hazel Court ...  Nurse Linda Parker
Ian Hunter ...  Dr. Robert Blood, Peter's Father
Kenneth J. Warren ...  Sergeant Cook (as Kenneth Warren)
Gerald Lawson ...  Mr. Morton
Fred Johnson ...  Tregaye
Paul Hardtmuth ...  Professor Luckman
Paul Stockman ...  Steve Parker, Linda's Husband
Andy Alston ...  George Beale the Tunnel Expert





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Atlantis, the Lost Continent (1961)

A Greek Fisherman brings an Atlantean Princess back to her homeland which is the mythical city of Atlantis. He is enslaved for his trouble. The King is being manipulated by an evil sorcerer who is bent on using a natural resource of Atlantis to take over the world. The Atlanteans, or rather the slaves of Atlantis, are forced to mine a crystalline material which absorbs the suns rays. These crystals can then be used for warmth. The misuse of science has created weapons out of the crystals that can fire a heat ray to destroy whatever it touches.






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Elmer Gantry (1960)

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Era notte a Roma AKA Blackout in Rome (1960)

Director Tony Richardson adapted the screenplay of A Taste of Honey from the "kitchen sink" stage play by Shelagh Delaney. Rita Tushingham plays a working-class British teenager, living with her drink-sodden, libertine mother Dora Bryan. Denied affection by her selfish mother, Tushingham is pushed further in the background when Bryan impulsively marries her latest boyfriend Robert Stephens. The girl takes a job at a shoe store, then moves in with her kindly homosexual employer Murray Melvin. The two lost souls live in harmony until Tushingham becomes pregnant after a casual affair with black sailor Paul Danquah. Melvin comes to the rescue by offering to look after the baby. This relatively blissful state of affairs is short-lived; before long, Tushingham's hateful mother, having been kicked out by Stephens, descends upon her daughter and her "family," with all her debilitating emotional baggage intact. A poignant denouement caps this riveting slice-of-life drama.





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This exquisite adaptation of D.H. Lawrence's novel is famed cinematographer Jack Cardiff's most accomplished film as a director; in fact, he was nominated and indeed won several major Best Direction awards (including the Golden Globe). Sadly, none of his other directorial efforts were anywhere near as rewarding although I'd still like to watch at least 2 of them - the epic THE LONG SHIPS (1963) and the horror film THE MUTATIONS (1974; a SE DVD of which has been released under the title THE FREAKMAKER).

Amazingly, this was a Hollywood production (made by 20th Century Fox) and, as such, leading man Dean Stockwell (who was probably never better) was imposed on Cardiff by producer Jerry Wald - though he seems to have been pleased with his performance. The acting of the Oscar-nominated Trevor Howard (as Stockwell's boorish and drunkard coal-miner father) and Mary Ure (as the married but separated young suffragette with whom Stockwell has an affair), as well as Wendy Hiller (as his strong but possessive mother), is irreproachable. The supporting cast includes Ernest Thesiger (in one of his last films) and Donald Pleasence, with both unfortunately having limited screen-time.

Freddie Francis' luminous black-and-white cinematography earned the film its only Oscar; interestingly, Francis also followed in Cardiff's footsteps and became a film director himself (with similarly erratic results, ironically enough). Mario Nascimbene's lovely music score and the film's vivid recreation of an era (in authentic locations, no less) add immeasurably to its lasting impression.

The coal-mine setting recalls earlier films like Carol Reed's THE STARS LOOK DOWN (1939) and John Ford's HOW GREEN WAS MY VALLEY (1941), with which it can be favorably compared. Still, for all its quaint Englishness and the inherent sentimentality of its narrative, the film is a remarkably adult and frank depiction of sexual and artistic awakening vis-à-vis repressed Edwardian society and, together with Ken Russell's equally celebrated adaptation of WOMEN IN LOVE (1969), remains undoubtedly the finest screen rendition of D. H. Lawrence's work. --Mario Gauci (IMDB)



http://www.filesonic.com/file/31434793/Sons and Lovers (1960).avi

Synopsis
A young teacher on her way to a position in Transylvania helps a young man escape the shackles his mother has put on him. In so doing she innocently unleashes the horrors of the undead once again on the populace, including those at her school for ladies. Luckily for some, Dr Van Helsing is already on his way.

Eccentric-Cinema Review
The vampire Baron Meinster (David Peel) terrorizes a girl's academy, and it's up to Dr. Van Helsing (Peter Cushing) to stop him...
  
Following the phenomenal success of their 1958 version of Dracula (released in the U.S. as Horror Of Dracula), Hammer Studios mulled over the idea for the inevitable sequel. 1960's The Brides Of Dracula is misleadingly titled, in that Dracula himself never appears, but it's a worthy follow-up that, for many fans, actually eclipses the original. Precisely why Dracula doesn't factor into the narrative is open to speculation. Hammer was obviously looking to capitalize on their biggest success, so why not bring back Christopher Lee to essay the role that made him famous? Some sources indicate that Lee refused a sequel, fearing that he'd become typecast in the role just as Bela Lugosi had been before him. Yet other sources, including Lee himself, refute this claim. Regardless, despite its title, Brides Of Dracula charts the exploits of Dracula's disciple, Baron Meinster. Establishing continuity between the two films is the heroic/obsessed Dr. Van Helsing, played once again by Peter Cushing.

In terms of its screenplay, the film is something of a mess. The original script by Jimmy Sangster was apparently deemed unsatisfactory, with Cushing insisting on some heavy-duty rewrites (the original finale, in which Van Helsing summons a horde of bats to destroy the vampire later resurfaced in Kiss Of The Vampire). Two screenwriters later (Peter Bryan, who also wrote Hammer's Plague Of The Zombies, and the mysterious Edward Percy, rumored to be a nom de plume for Cushing and/or director Terence Fisher) and the film went before the cameras, but it's apparent that a number of ideas were somehow forgotten along the line. Horror films aren't exactly noted for their cold, hard logic, and that is as it should be, but Brides incorporates some inconsistencies that are, at times, downright baffling. At the beginning of the film, a mysterious man in black (Michael Mulcaster) appears and arranges for the heroine (Yvonne Monlaur) to be stranded at the Castle Meinster. Established early on as a potentially significant heavy, the character simply disappears after the early scenes, never to be seen again. While it goes without saying that he is a lackey of sorts for the Meinster clan, it simply makes no sense to drop him so unceremoniously from the rest of the film - quite possibly, this was a character intended to do more in an earlier draft. Early in the film, the heroine, Marianne, is stranded without her luggage. Yet when she arrives at the Castle, her luggage is there waiting for her. A ploy by the mysterious man in black, no doubt, but why does she not question its miraculous reappearance? Marianne finds the handsome Baron Meinster imprisoned in his room, bound by a chain. While Horror Of Dracula debunked the idea that vampires could transform into bats, here Van Helsing explains that they can indeed transform into bats - and Meinster is no exception, changing to bat form several times in the story. All well and good, but it does raise the question - if he can change into a bat, then why doesn't he do so in order to escape the chain? If there is some intended explanation for this (some viewers have suggested a "magic chain" theory which, frankly, doesn't hold any water), then it is completely unclear in the film as it stands. Another issue arises when the newly liberated Baron kills his mother, turning her into a vampire in the process. Marianne is aware of this, yet reacts with surprise when the Baron later tells her of his mother's death. Why? Once again, the script gives clear indications of hasty rewrites with the original thread of logic being lost in the process. In addition to these story lapses, the film suffers from some laughably tacky bat effects and the vacant non-acting of Yvonne Monlaur in the important role of Marianne. Monlaur is certainly photogenic, but her work in the film damages a number of scenes, notably some of the potentially lighter moments at the academy. The bat effects, on the other hand, prove that Hammer was wise to eliminate the transformations from their original Dracula production.
  
With all these problems, one would think the film wouldn't have much to offer in the long run - happily, this is not the case. Under Terence Fisher's assured direction, the film moves at a good pace, offers some stunning visuals and creates a fairy tale atmosphere that is hard to shake. Apart from Monlaur, the cast is terrific. Cushing gives yet another immaculate performance, improving on his somewhat harsher portrayal of Van Helsing in Horror Of Dracula by bringing out more humanity in the somewhat single-minded character. David Peel makes for a witty and credibly menacing foe, never quite matching the sheer presence and force of Lee's iconic vampire king, but making a vivid impression on his own account. Much of the film is dominated by the splendid work by Martita Hunt (David Lean's Great Expectations) and Freda Jackson (John Gilling's Shadow Of The Cat). Hunt highlights the tragic dimension of the Baroness Meinster while hinting at a perverse undercurrent; Jackson goes for all-out Shakespearean theatricality as the servant who knows too much. Supporting roles are filled by the likes of Miles Malleson (Phantom Of The Opera), Michael Ripper (Curse Of The Werewolf), Mona Washbourne (The Collector) and Fred Johnson (The Curse Of Frankenstein). Marie Devereux (Stranglers Of Bombay) and Andree Melly (The Horror Of It All) play Meinster's eerily sexy vampire brides, even if they do tend to bear their fangs a little too much.
  
Fisher's direction is sure-footed and stylish throughout. Whereas his staging of Horror Of Dracula sometimes tended to be a bit stale and stagy during dialogue scenes, here he handles every scene with authority and energy. Lulls are few and far between and the various action/suspense sequences are masterfully done. The director's keen sense of framing and judicious camera movement is in evidence throughout, with Jack Asher providing some of the most remarkable lighting ever to be featured in a Hammer film. Sadly, this would be the last time Fisher and Asher would work together - in an effort to keep costs down, Hammer would soon drop Asher from the roster and bring in lesser cameramen in his place. In addition to Asher's sumptuous lighting, the production design by Bernard Robinson and the organ-drenched soundtrack by Malcolm Williamson are particularly impressive.
  
With a better script, Brides Of Dracula could have been the finest Hammer vampire film of them all. As it stands, even with its imperfections, it's still a first-class example of its genre.







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Plot: Kreton, a school pupil from the planet X-47, is found by his teacher joyriding in his flying saucer in Earth's upper atmosphere. Sentenced to write out "I will not visit Earth" ten million times, Kreton instead steals a flying saucer and returns to Earth, coming down in Richmond, Virginia. He has been intending to observe the Civil War but discovers that he has arrived a hundred years too late. Kreton arrives at the home of Mayor Spelding who is determined to prove that flying saucers do not exist. Invited to stay with the Speldings, Kreton's powers and his innocence in the ways of Earth culture cause a great many problems.

USA. 1960.
Director - Norman Taurog, Screenplay - Edmund Beloin & Henry Garson, Based on the Play by Gore Vidal, Producer - Hal Wallis, Photography (b&w) - Loyal Griggs, Music - Leigh Harline, Photographic Effects - John P. Fulton, Process Photography - Farciot Edouart, Makeup - Wally Westmore, Art Direction - Hal Pereira & Walter Tyler. Production Company - Wallis-Hazen Productions/Paramount.
Cast:
Jerry Lewis (Kreton), Joan Blackman (Ellen Spelding), Earl Holliman (Conrad), Fred Clark (George Spelding), John Williams (Delton), Lee Patrick (Rheba Spelding), Gale Gordon (Bob Mayberry)










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The original Joe May-directed, Conrad Veidt-Starring, frumpy Mia May-containing, Fritz Lang/Harbou-written Das Indische Grabmal is an all-cylinders turning barrel of fun... full of exotic locales (or German- studio art-director's conception of exotic locales, which make them all the more unique), magic, intrigue, jealousy, spurned love, revenge... pure cinematic heaven. This film is pulp at its qualitative best, and the prints that David Shepard secured for this telecine are just wonderful, containing the original vibrant tints bursting forth from vintage nitrate prints.

Enjoy the fine mise en scene, the wonderully oily Conrad Veidt, the dashing Paul Richter (of Mabuse der Spieler fame), Lya dePutti, Olaf Fonss, a wonderfully sinister Bernhard Goetzke... I could go on. There's been no other release of this early 20's gem-- so... have fun!

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Daisy and Violet Hilton were born in Brighton to a young, unwed barmaid, Kate Skinner and were "adopted" by their mother's boss and midwife, Mary Hilton. The sisters were conjoined at the hips and buttocks. They shared blood circulation and were fused at the pelvis but shared no major organs. Soon after acquiring the twins, Mary Hilton was exhibiting them all over the United States and Europe. They were required to call her "Auntie Lou" and her current husband "Sir".

When Mary died, her husband and daughter took over the sisters' act. It was not until 1931, when the sisters filed a lawsuit against their management, that they were awarded independence.

They left the sideshow circuit, which they hated, and joined Vaudeville. In 1932 the twins appeared as themselves in the movie Freaks, which dared to pose the question of whether or not conjoined twins can have a love life. In the case of the Hilton sisters, the answer was yes - they were notorious for their many affairs and allegedly had a strong desire to outdo one another in the area of dating. Each of the sisters was married separately, although they bore no children and each marriage lasted only a short time. After the public lost interest in Siamese twins, the sisters settled in Miami and ran a hamburger stand called the Hilton Sisters' Snack Bar.

When the business failed, they turned to Hollywood. And in 1950 the sisters appeared in the film Chained for Life. But their story did not end happily, penniless they were finally forced to take a job at a grocery store, with one working the register and the other bagging groceries. On January 6, 1969, the twins failed to report for work and were later found dead in their home, from the Hong Kong flu.





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