Get age-based picks. Parents need to know that this is an adult story, probably too dated to engage kids. Scenes dealing with Terry's shame over her injury and refusal to tell Nicky the truth are emotionally charged. Teens who enjoy classic romances and old movie stars may like this one. Add your rating See all 3 parent reviews. Add your rating See all 4 kid reviews. Both are engaged to others, and unequipped to support themselves. They make a vow to end their engagements, straighten out their lives, and meet in six months' time on top of the Empire State Building.
Nicky starts painting, and becomes a modest success. Terry goes back to nightclub singing, and soon has a growing following. On the appointed day, they both head for the Empire State Building, but she's hit by a taxi.
He waits faithfully, but she never arrives. Terry loses the use of her legs but is determined to persevere on her own. She never tells Nicky what happened because she doesn't want to be a burden to him. After a chance meeting at the theater, Nicky tracks her down and discovers the truth. Throughout, Cary Grant and Deborah Kerr do their best to enliven the proceedings.
Dedicated romance buffs may feel compelled to add this one to their "best love stories" list.
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But Affair loses its way when Terry McKay loses her mobility. Ample doses of schmaltzy music, overlong scenes featuring singing school kids, and Terry's noble suffering are a lethal combination, especially for young viewers most interested in finding out if Nicky will discover the truth about why Terry didn't meet him that day.
Writer and director Leo McCarey was certainly committed to his story -- he filmed it first in as Love Affair , and updated it for this release. If they love each other so much, why not just be poor for a while and make a new life together? Families can talk about their views of fate and destiny. Have you ever stayed away from someone you liked because you were ashamed of something about yourself? How would you have reacted in Nicky's place?
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Thank you for your support. Our ratings are based on child development best practices. We display the minimum age for which content is developmentally appropriate. And carnivals are infamous for grift and vice, selling cheap trinkets that can often be linked to global slavery. Peele stuffs his subtextual dressing into a siege scenario, failing to utilize a promising gimmick.
The tethered are truly us, our doubles, and so the family at the heart of the film is chased by evil versions of themselves. Amazingly, Peele does nothing with an unsettling idea: that a family might be driven to kill itself, which might lead to the exorcism of demons. What if Adelaide had to fight evil Gabe, referred to as Abraham, and what if that action echoed something unacknowledged in their relationship?
An Affair To Remember Review
What if one of the parents was driven to kill one of their mirror children? Over the course of the narrative, the details of the tethered become increasingly absurd: They wear prison jumpsuits, which itself is a resonant idea, and carry golden scissors and don a single glove in a bid for movie-monster iconography though the glove is also probably another reference to Michael Jackson. The only double with emotional stature is played by Moss, who manages to suggest, with a demented smile, the bitterness that this being is finally allowed to satiate. Get Out trivialized its racial themes with an embarrassing happy ending, and Us often runs in circles, with characters repetitively knocking monsters out and escaping so that no one we like has to die.
Which is to say that the film is the plutonic ideal of cinema in the think-piece era. This transfer boasts an image with rich, gorgeous, nearly viscous colors, especially the reds and the industrial grays. The soundtracks are equally impressive, with immersive and frighteningly multi-planed soundstages. Thunder crackles like a shotgun blast, while the careful treading of intruders almost subliminally prepares us for their attack. On a technical level, this disc offers a spotless presentation of a significant new Universal Pictures title.
An extended sequence allows us to see young Adelaide and her double as they dance in their respective worlds. In this longer version, we feel the awe and pain of each girl, and experience the wonder of the tethered as they witness this performance. In a matter of seconds, Peele taps into the emotional perversity of his premise, which he too often reduces to fodder for slasher-movie chases. Appearances, though, turn out to be quite deceiving. The sound is nothing beyond serviceable, but the dialogue is fairly clean and only hampered occasionally by the ambient background noise of chatter throughout the mall.
The commentary track with film historians Howard S. The only other extra included is an interview with a somnambulistic Gould, who fondly remembers working with Plummer, Susannah York, and director Daryl Duke, but offers little of substance beyond his random reminiscences. The film does no propagandizing for the Confederacy; in the interests of making the story—loosely based on an actual incident—that of an underdog, Keaton felt his hero had to be a Southerner.
Still an iconic clown with an unsmiling sense of purpose, Buster the actor-filmmaker-stuntman makes the context work; in this singular larger canvas, he takes over the War Between the States.
He then responds to the theft of his titular locomotive by Union raiders with a one-man campaign to recapture it that forms the entire second movement of The General. Running down the track toward the horizon, then by handcar, bicycle, and finally by newly appropriated locomotive, his chase is one of frenzied resourcefulness and experimentation. Keaton was no purist, and he cited the film as his personal favorite. Awaking in a hospital to discover that a storm has lifted the walls and roof of the building away, Keaton and his bed are blown through the streets and into a stable. A spectacular refinement of an older Keaton gag, it caused his camera operator to look away in fear.
Steamboat Bill, Jr. If Steamboat Bill, Jr. Audiences or lone viewers are more apt to open their mouths in astonishment than laughter, both at the audacious stuntwork and the odd, forbidding universe created by this placid, soon-to-decline Kansas vaudevillian. Both films are presented here in new 4K restorations. Carl Davies composed the full orchestral scores that accompany both films on this disc.
The latter is particularly engrossing for the way it captures reverb effects on the back channels, conveying an expansive sense of space. The accompanying booklet contains a few stills from the films but no essay—or much text at all, other than a chapter listing for both films and befuddlingly an abbreviated cast and crew list for Steamboat Bill, Jr.
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- an affair to remember | The Kentucky Theatre.
- Wir wissen wo dein Auto steht: 40 Jahre mit der Pfeife (German Edition).
- An Affair to Remember: No 13 best romantic film of all time;
- Aint Going Down (Til the Sun Comes Up).
But as romantic comedies continue to teach us, part of the pleasure of coitus resides in interruptus. Astaire and Rogers are icons who must be first humbled by the strictures of three-act plotting, which comes to mirror the petty irritations that stymie our own lives. She tries to teach him a three-step move, inspiring him to tease her with pratfalls.
Astaire falling over is more graceful than most of us dancing. And as Lucky and Penny dance, a farce blossoms into romance, and a recurring pattern is subtly established. The swing gesture of this routine, with Astaire and Rogers alternately twirling one another and performing intricate solos, is laced into the subsequent numbers. This number is even more exhilarating for the fact that it takes the film nearly 30 minutes to unleash it. In the first act, Stevens and his collaborators build a magnificent tension, teasing the audience.
For an Astaire and Rogers film, Swing Time has an unusually involved, almost free-associational plot that suggests what might happen if every s-era screwball comedy and crime caper had been thrown into a mixer. The song-and-dance men also screw up this plan, and Lucky hitches a ride on the back of a train, clad in tux, with his Sancho Panza-like friend, Pop Victor Moore , in tow.
Many of the lyrics to the songs we hear touch on difficult subjects, such as labor struggles, personal loss, and racism. In one, a migrant farm worker discusses his life of transience, ceaselessly moving from one area to another, follow the crops.
An Affair to Remember Movie Review
In another, a musician relates an infuriating anecdote about being refused service at a roadside hamburger stand because of his ethnicity. Of the two films, Chulas Fronteras is the clear standout, offering a deeper cultural immersion. But the similarities between the two films overwhelm their differences. Providing an unvarnished look at kitchen interiors full of ugly wood cabinets and orange laminate countertops and men in checkered polyester pants sucking down cans of Schlitz, these films are also a blast from an ineffably gaudy past.
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