White Cloud

Enjoyed the film. However, a couple of significant departures. First, Peter III did not consummate their marriage due to psychological problems, not a physical problem as indicated in this picture. Knowledge of Peter III's issues comes only from Catherine's own memoirs. Second, Catherine had some erotic furniture constructed. Although she died in 1792, the furniture survived until the mid-19th century when it was photographed. These prints are currently held in the Harvard University museum I am informed. This seems to infer that Catherine entertained more than one lover at once, which could never be put in a film.

One missing TV episode is "Jack Buys A New Suit" with Mary Livingston. Another missing TV episode is."The Jam Session Show" with Kirk Douglas, Fred MacMurray,Dan Daiey, Tony Martin, and Dick Powell (10/17/54). In both episodes Rochester plays Jack's helper. Mary gets Jack into a clothing store but he is so tired from his humerus venture into a long morning walk that he keeps falling asleep standing up in the clothing store.

The TV show "Jack Buys A New Suit" is really classic Jack Benny. The Jam Session Show starts with a significant monologue by Jack with his announcer Don. Wilson. Then the show moves right into the Jam Session. Jack Plays the violin, Kirk Douglas plays the banjo, Tony Martin plays the clarinet, Fred MacMurray plays the saxophone, Dan Daily plays drums, and Dick Powell plays the trumpet. They all stagger through "Basin Street" but it is obvious that they are not accomplished musicians (except Jack who actually is fairly accomplished on the violin. Kirk Douglas wants to demonstrate that he can actually play a chord on the banjo by making a bit of a scene about it.

Dorothy Collins appears briefly to do a commercial, as does. Rita Gam.

This film tells the same story as a film made in Germany "Rommel Ruft Kairo." The German film has a slightly different slant, but a number of the scenes are similar, and it basically tells the same story. There are no English subtitles, so best enjoyed if one understands German. The German version also expands the romantic aspect of the film with actress Elisabeth Müller, but the German film keeps Elisabeth's relationship respectable.

This was an excellent film. Dramatizations always have a little fiction added for dramatic purposes. However, the three knifings in the film were theatrical. They were implicitly done with a 4 inch jackknife in the abdomen. A penetration of that depth in the body can be fatal, but, except in rare cases, not right away. In the film, the three victims died almost instantaneously. Clean for the theater, but loose on credibility. Loved, Barbara Kellerman, an exciting woman. Background: this beautiful woman has one blue eye and one brown eye. It is visible if one is looking for it.

Miss Bergman plays an aristocratic liberated woman, who rides horses like a man, shoots ducks with a shotgun, is about to receive a PhD in something related to government history, and has plans for a career in government, possibly election. Eva has no interest in marriage or men. Now comes Vladimir, a free spirit with no roots, five years in the foreign legion, and currently working in a traveling carnival. Through an unlikely chain of events, they become engaged. In Sweden in the 1930's, engagements were expected to last for a year so the couple could get to know each other well. Free-spirited Vladimir takes a broad view of this custom leading to the climactic scene. Miss Bergman's performance here is great, and this scene all by itself is worth the price of admission.

As the story opens, the four friends are still at the Jockey Club in West Berlin. Hesselbarth is asked about an acquaintance well-known to all four, Barbara "Babsybi" Bibiena. He takes out a diary prepared by one of Barbara's ancestors, translated into German, that she has loaned to him with supplemental letter. This sequence is mostly about the content of that personal diary, which relates the experiences of Ettore Galli da Bibiena (Barbara's great-great-grandfather) during the Battle of Kunersdorf in 1759. Historic Note: King Frederick II of Prussia personally led his army and suffered a crushing defeat by the Russians (assisted by Austria). To begin: In August of 1939, Barbara Bibiena (played by Elisabeth Müller) and her tutor arrive by chauffeured limousine at the castle of a family known to her tutor, the Zehdenitz family in Doberin. Barbara wishes to share the diary she has translated, since it involves them as well. After being welcomed, she reads the diary line-by-line. This story she relates forms the large part of this sequence. Of major significance is that Barbara's ancestor Ettore is asked by the dying ensign Wenceslas Bogdan von Zehdenitz to greet a lady Rosalba Bibiena, in Berlin. Ettore finds her (luckily) and realizes that she is a distant relative of his, and from the house of one of the master builders of Galli da Bibiena. After a reasonable courtship, the two marry. At the party that evening at the Zehdenitz castle, there is some attraction between Barbara and Hans Wratislaw, the second son of the Zehdenitz family. The next morning, Barbara and her tutor, Dr. Forster, accompanied by Hans Wratislaw, go to Kunersdorf to visit the actual battlefield. At a private moment, Hans and Barbara exchange expressions of love and give each other big kisses. Barbara wants Hans to accompany her family back to Chili on 20 August. While head-over-heels in love, Hans feels that the Zehdenitz's have always supported Germany, he goes to the military, and in April of 1945 he is killed near Berlin. Hesselbarth relates that Barbara returned to Germany in 1946, wants to find the grave of her Hans, and has begun the search.

As the story opens, the four friends are still at the Jockey Club in West Berlin. Hesselbarth is asked about an acquaintance well-known to all four, Barbara "Babsybi" Bibiena. He takes out a diary prepared by one of Barbara's ancestors, translated into German, that she has loaned to him with supplemental letter. This sequence is mostly about the content of that personal diary, which relates the experiences of Ettore Galli da Bibiena (Barbara's great-great-grandfather) during the Battle of Kunersdorf in 1759. Historic Note: King Frederick II of Prussia personally led his army and suffered a crushing defeat by the Russians (assisted by Austria). To begin: In August of 1939, Barbara Bibiena (played by Elisabeth Müller) and her tutor arrive by chauffeured limousine at the castle of a family known to her tutor, the Zehdenitz family in Doberin. Barbara wishes to share the diary she has translated, since it involves them as well. After being welcomed, she reads the diary line-by-line. This story she relates forms the large part of this sequence. Of major significance is that Barbara's ancestor Ettore is asked by the dying ensign Wenceslas Bogdan von Zehdenitz to greet a lady Rosalba Bibiena, in Berlin. Ettore finds her (luckily) and realizes that she is a distant relative of his, and from the house of one of the master builders of Galli da Bibiena. After a reasonable courtship, the two marry. At the party that evening at the Zehdenitz castle, there is some attraction between Barbara and Hans Wratislaw, the second son of the Zehdenitz family. The next morning, Barbara and her tutor, Dr. Forster, accompanied by Hans Wratislaw, go to Kunersdorf to visit the actual battlefield. At a private moment, Hans and Barbara exchange expressions of love and give each other big kisses. Barbara wants Hans to accompany her family back to Chili on 20 August. While head-over-heels in love, Hans feels that the Zehdenitz's have always supported Germany, he goes to the military, and in April of 1945 he is killed near Berlin. Hesselbarth relates that Barbara returned to Germany in 1946, wants to find the grave of her Hans, and has begun the search.

As the story opens, the four friends are still at the Jockey Club in West Berlin. Hesselbarth is asked about an acquaintance well-known to all four, Barbara "Babsybi" Bibiena. He takes out a diary prepared by one of Barbara's ancestors, translated into German, that she has loaned to him with supplemental letter. This sequence is mostly about the content of that personal diary, which relates the experiences of Ettore Galli da Bibiena (Barbara's great-great-grandfather) during the Battle of Kunersdorf in 1759. Historic Note: King Frederick II of Prussia personally led his army and suffered a crushing defeat by the Russians (assisted by Austria). To begin: In August of 1939, Barbara Bibiena (played by Elisabeth Müller) and her tutor arrive by chauffeured limousine at the castle of a family known to her tutor, the Zehdenitz family in Doberin. Barbara wishes to share the diary she has translated, since it involves them as well. After being welcomed, she reads the diary line-by-line. This story she relates forms the large part of this sequence. Of major significance is that Barbara's ancestor Ettore is asked by the dying ensign Wenceslas Bogdan von Zehdenitz to greet a lady Rosalba Bibiena, in Berlin. Ettore finds her (luckily) and realizes that she is a distant relative of his, and from the house of one of the master builders of Galli da Bibiena. After a reasonable courtship, the two marry. At the party that evening at the Zehdenitz castle, there is some attraction between Barbara and Hans Wratislaw, the second son of the Zehdenitz family. The next morning, Barbara and her tutor, Dr. Forster, accompanied by Hans Wratislaw, go to Kunersdorf to visit the actual battlefield. At a private moment, Hans and Barbara exchange expressions of love and give each other big kisses. Barbara wants Hans to accompany her family back to Chili on 20 August. While head-over-heels in love, Hans feels that the Zehdenitz's have always supported Germany, he goes to the military, and in April of 1945 he is killed near Berlin. Hesselbarth relates that Barbara returned to Germany in 1946, wants to find the grave of her Hans, and has begun the search.

As the story opens, the four friends are still at the Jockey Club in West Berlin. Hesselbarth is asked about an acquaintance well-known to all four, Barbara "Babsybi" Bibiena. He takes out a diary prepared by one of Barbara's ancestors, translated into German, that she has loaned to him with supplemental letter. This sequence is mostly about the content of that personal diary, which relates the experiences of Ettore Galli da Bibiena (Barbara's great-great-grandfather) during the Battle of Kunersdorf in 1759. Historic Note: King Frederick II of Prussia personally led his army and suffered a crushing defeat by the Russians (assisted by Austria). To begin: In August of 1939, Barbara Bibiena (played by Elisabeth Müller) and her tutor arrive by chauffeured limousine at the castle of a family known to her tutor, the Zehdenitz family in Doberin. Barbara wishes to share the diary she has translated, since it involves them as well. After being welcomed, she reads the diary line-by-line. This story she relates forms the large part of this sequence. Of major significance is that Barbara's ancestor Ettore is asked by the dying ensign Wenceslas Bogdan von Zehdenitz to greet a lady Rosalba Bibiena, in Berlin. Ettore finds her (luckily) and realizes that she is a distant relative of his, and from the house of one of the master builders of Galli da Bibiena. After a reasonable courtship, the two marry. At the party that evening at the Zehdenitz castle, there is some attraction between Barbara and Hans Wratislaw, the second son of the Zehdenitz family. The next morning, Barbara and her tutor, Dr. Forster, accompanied by Hans Wratislaw, go to Kunersdorf to visit the actual battlefield. At a private moment, Hans and Barbara exchange expressions of love and give each other big kisses. Barbara wants Hans to accompany her family back to Chili on 20 August. While head-over-heels in love, Hans feels that the Zehdenitz's have always supported Germany, he goes to the military, and in April of 1945 he is killed near Berlin. Hesselbarth relates that Barbara returned to Germany in 1946, wants to find the grave of her Hans, and has begun the search.

With 696 reviews, much has been favorably discussed. However, in Episode 10, Part 5, Spielberg grabbed me, for the last and perhaps the greatest. In this scene a German unit is taken prisoner as a whole, and the commander is permitted to address his men one more time. In that address, although talking to his men, the words described Easy Company too, all dedicated units of the 101st, and many soldiers in combat. Spielberg knew that - it was the last battle-related scene.

Jennifer Ehle won a BAFTA Award as Best Actress of the year for her performance in this series. Well deserved. As everyone agrees, this series is closer to Jane Austen's novel than any other of several productions that have appeared. However, Ms Austen gave us her characterization of Lizzy in Chapter 7, where she was described as "light figure", playful, and having dark, flashing eyes. The persona of Ms Ehle is not a close match to those attributes. Selection of actors is usually done by the producer, and this series has five listed. Possibly it was a committee decision. I would have preferred more "dark, flashing eyes" and "light figure."

The poster on the cover is misleading. Mitchum (as Mike Morrison) never held an assault rifle (a handgun a couple of times) and there never was a bombing scene in the film. The hide and pursuit action was pretty well produced. However, this film lost a lot of money for MGM. imho, what moviegoers want for an ending is for two highly-paid heads to come together for that studio rent-paying, theater-filling, popcorn-selling KISS. This does not happen in this film. In fact, the ending, while positive, is kind of weird.

Winston Churchill has called 1942 "Their Finest Hour." The film opens at Rommel's HQ in April of 1942. The Afrika Corps is near the peak of its conquests. Rommel has conquered Tobruk only to lose it. He wants it back. An espionage team is formed to flank British lines to the south through the deep desert, cutting east toward the Nile and then north to Cairo & British HQ. An espionage team of five vehicles is formed. Erratum: It contains a 1949/50 Ford Station Wagon. Oh well. A team of two spies makes it into Cairo, and begins making coded radio transmissions of intelligence to Afrika Corps HQ. Implicitly, this intelligence aided Rommel in retaking Tobruk in late June 1942. Then the plot thickens, of course. There is a "Mata Hari" in this film (certainly not Lt. Morrison). There is a special role for the ever-charming Elisabeth Müller as a British staff officer (Lt. Kay Morrison) in Cairo. The chief spy is a dashing Capt. Eppler (played by Adrian Hoven). Both women are attracted, one attached and one moderately interested. The moderately interested Lt. Morrison could be accused of fraternizing with the enemy, but is cleared. I found the golf scene (at a Cairo country club) vaguely humorous. This film is generally well done, entertaining, and not a combat film. The end is historically predictable, of course. The title could be translated "Rommel Telegraphs Cairo." The German word "ruft" refers, in this case, to the transmission of Morse Code messages back and fourth.

Fans of Ingrid Bergman know that she dropped out of Hollywood in 1948, and went to Italy to love and perform for avant-garde director Roberto Rossellini. She performed exclusively for Roberto for about eight years. Ingrid's return to light comedy (after a side-step for "Elena et Des Hommes" in France)as her marriage to Rosselini was crumbling has produced "Indiscreet." What one treasures is the thought that in "Indiscreet," Ingrid may have been playing a character not too different from herself. Also, one sees the Italian influence in her acting as she storms off to her bedroom after learning the truth about Philip Adams. Ingrid never got a nomination for this performance, but it is a joy to watch. The breakfast nook scene after Philip announces that he will take the Paris job (and not go to Mexico) is so believable - we see a woman who has 40+ years showing the inner giggling of a school girl. That is worth the price of admission all by itself.

Ingrid Bergman as Clio Dulaine is great, as usual. She was 28 at the time this picture was filmed, and had just finished "Casablanca." Cooper as Clint Maroon is, well, "the Coop," as usual. Cooper is at his best on the open range and not so much in the drawing room. The background of the story is complicated. I had to watch the picture a couple of times to figure it out. From the inscription on the burial crypt of Clio's mother, Rita, it appears that this story was set in 1881-1882 or so, in New Orleans (later Saratoga, NY). Rita was the common-law wife of Clio's father Nicolas Dulaine (also deceased), who was a leading member of the Creole upper crust of New Orleans. Rita is referred to as a "placée," which appears to be Creole French slang for "mistress." Rita's mother was a sex worker. Rita's grandmother was a (free) person of color. Clio wants to marry a rich man, and has the physical attributes of Ingrid Bergman to help her out. Bergman carries the role. Clio has two servants, one a black nanny, Angelique, who is unfortunately played by an English actress wearing skin coloration makeup ("blackface" is what it is and that bothered me but Hollywood was not above such casting in those days). Clio's other servant was a real dwarf, Cupidon, who was great! Hollywood still had a trace of vaudeville in it in those days and Cupidon provided comic relief. Anyway, that is the setting for the picture. One thing that strains credibility (but is the heart of the movie) is that Clint moves in with Clio and yet Clio is still intent on finding herself a "rich husband." Later Clio follows Clint to Saratoga and takes an adjoining hotel room to Clint and they unlock the door between them but still Clio is working on getting a "rich husband." Bergman makes this scenario believable. Anyway, the film is fun to watch and has a Hollywood ending.

Henry James did not write short novels, which are great literature. This picture made in 1949 captures the principal drama of James' novel "Washington Square." It qualifies as fine art. Olivia De Havilland is amazing - an Oscar was surely easy to award. Any character is heavily dependent on her/his director. William Wyler should have gotten an Oscar as well. The ending is so real, not a "Hollywood" ending. It is not "bigger than life." An Oscar-winning performance always involves nuances of expression, beyond what the director can ask for - a twitch of the eye - tremor of muscle which conveys an inner meaning - slight voice inflection. It's all here in De Havilland's performance. Bernard Shaw's "Pygmalion" doesn't quite compare. Shaw would have applauded "The Heiress."

The review by ptb-8 (Australia) had it right. A couple of things I could add - the direction was not so great - where is John Ford when one really needs him. The US lost about half a million US citizens during WWII, which made for a lot of widows. This movie speaks to (and was intended to speak to, I believe)widowhood, and one woman's recovery from loss. In that context, the social message is clear. Enjoy Barbara Stanwyck at her best. P.S. Some of us enjoy seeing Eve Arden, who was mostly a radio show celebrity. The "propaganda," Jessica uses precious meat-food stamps to buy ham and sausage to have a picnic with her boys - what a dedicated mother; talk of walking, taking a bus, sharing rides - gas was tightly rationed (8 mpg for the limo). Jerome Cowan was the only wastrel of gas. Why not released in 1943: Because '43 and '44 were peak fatality years - too dark a subject, and that ending - with 8 million men in uniform (US Population 130 million), the pain and anxiety of that ending would be too real for millions of wives, sweethearts, and moms.

Not having seen Norma Shearer in any prior picture, I was enchanted by her performance - specifically the lounge scene. I could have drunk vodka with her indefinitely. Of course Clark Gable is always Clark Gable. He dances in a male chorus line! The only time that happened. What a hoot! Of course Norma carries the picture; she is an early Holly Golightly (Breakfast at Tiffany's) and she comes to terms with herself similarly. Anti-war message is embryonic, but apropos given what happened in September of 1939. Movies often show the move from peace to war, and this was certainly a beginner. The traditional Russian gypsy song "kak stranno" (how strange) plays a part in tying the two together. Generally, the props and sets for a movie like this are a window back in time, and give a new meaning to the times.

This picture was widely panned (see Barry Paris' bio of Audrey), but I think the critics were looking at the film too narrowly. I saw it for the first time about a month ago, and my basic impression was that God is in his heaven and all is well in the motion picture business (at least in 1962 when this picture was made).

Much has been written about Audrey, who did the movie because she owed Paramont one more picture, even though she was nervous about appearing again with her former paramour, Holden.

I especially liked Noel Coward, and not much has been said about him. Coward wrote hundreds of screen plays in addition to doing some acting. In his final scene (with Holden) - the grotesque edifice one - I am not sure he was acting. It seemed too real.

Anyway, it ended when those two highly paid heads came together for that ultimate, final, and inevitable, studio-rent paying, theater-filling, popcorn-selling, kiss.

This picture is a beautiful example of the use of flashbacks. However, some IMDb reviewers seem confused as to the number of trips through France the Wallaces took. There were six. They are: (1) the courtship trip; (2) the Maxwell-Manchester trip; (3) the MG trip; (4) the Triumph run-in trip; (5) the Triumph "family" trip; (6) the Mercedes trip. A couple of flashbacks are blended. Everything is this picture is symbolic - it is a tremendous cinematic achievement.

I have included the cricket bat/black swimsuit scene with the MG trip. The Triumph run-in trip runs right into the Triumph "family" trip. The Triumph "family" trip is the only time we see Caroline.

Unless you happened to have seen this movie on TV, you have probably not seen it. It has not been released for DVD, although it is a big budget movie filmed in Cinemascope. Like most Cinemascope films of the time, it brings in the flavor of the locale with panorama shots. I see it a a period piece first and film noir only because of Robinson. For its time, it was incredibly gritty.

Robinson is the classic Little Ceasar, and his performance carries the movie. Ladd may have been miscast, but carries the part OK. The dynamic boat-ride ending may be commonplace now, but was a real innovation at the time.

I have always wondered why this film was not released on tape or DVD. Perhaps its the title, since San Franciscans loath the nickname "Frisco."