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It may be difficult to countenance now but there was a time when George Arliss was close to being the biggest film star in the world. This slightly stooped, perhaps not conventionally handsome, mature gentleman had spent years on the stage to tremendous acclaim and achieved the same in the early sound era of film. His great skill was a tremendous personal charisma that defied his actual appearance. When he is on screen there is little else that the viewer remembers – his precise diction and sheer presence dominate. The Devil (1921) was Arliss’ first film and though denied his superb voice, that presence so evident in his sound films of a decade later is ever present. As Dr. Mueller he puts a loving couple to a test of fidelity, slowly drawing them through deception and innuendo into compromising circumstances. It is this sly approach that gives Arliss the opportunity to show, through expression and mouthed dialogue his skills as a seducer. I had assumed the title of the film was a metaphorical one, highlighting the devilish nature of the Arliss character, but in a final reckoning he is revealed to indeed be more than a lecherous fiend but at the very least a servant of the Dark One. The heroine is protected from his advance by a glowing cross and he is eventually seen to be defeated by the powers of light. The very essence of deux ex machina in a story that at least follows a logical path.
George Arliss is superb in this short feature as the marvellously manipulative, rapscallion "Dr. Müller" who relishes in the misery he causes. He overhears a conversation at an art gallery were a two people are discussing a painting illustrating that truth will always overcome evil. Our devious "Müller" sets about disproving this theory by cleverly manoeuvring "Mimi" (Sylvia Beamer) who is keen on painter "Paul" (Edmund Lowe) who is keen on "Marie" (Lucy Cotton) who is married to "Georges" (Roland Bottomley) and soon nobody trusts anyone anymore... Based on his play - and the direction and styling of the performances is clear testament to that - it is a bit stilted at times, the settings are a little too claustrophobic but Arliss is really good and sinister. Maybe the ending is a little bit disappointing, but that may depend on your own views of good v evil.
A neo-nazi sentenced to community service at a church clashes with the blindly devotional priest.
A wealthy New York investment banking executive hides his alternate psychopathic ego from his co-workers and friends as he escalates deeper into his illogical, gratuitous fantasies.
A drama teacher's taboo relationship with an unstable student strikes a nerve in her jealous classmate, sparking a vengeful chain of events within their suburban high school that draws parallels to "The Crucible".
The hit musical based on the life of Evita Duarte, a B-movie Argentinian actress who eventually became the wife of Argentinian president and dictator Juan Perón, and the most beloved and hated woman in Argentina.
TV adaptation of Lesya Ukrainka's drama, which interprets the plot of Don Juan from a feminist point of view.
A Finnish film version of Macbeth. Macbeth, the Thane of Glamis, receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders his king and takes the throne for himself.
A stranger's call informs Roberta that her estranged brother Frank has died in a small town under bizarre circumstances. Ben, his best friend from college, also gets the call. Arriving just in time for his funeral, it becomes quickly obvious to them that the little slice of small-town America in which they find themselves is like an episode of The Twilight Zone featuring Frank's eccentric friends, his amazing secrets and his stunning final request. Both Ben and Roberta are shocked to discover that Frank not only had a child, but that he has left them responsible for his son's care.
Arnold is a gay man working as a drag queen in 1971 NYC. He meets a handsome bisexual man.
The story of an unruly class of bright, funny history students at a Yorkshire grammar school in pursuit of an undergraduate place at Oxford or Cambridge. Bounced between their maverick English master, a young and shrewd teacher hired to up their test scores, a grossly out-numbered history teacher, and a headmaster obsessed with results, the boys attempt to pass.
When Hamlet discovers his father’s deceased body, he finds himself pulled into a power struggle as his scheming uncle attempts to secure a monopoly on the Scandinavian rubber duck industry. Will Hamlet avenge his father? Will he become the king of rubber ducks? Does any of it really matter?
A man refuses all assistance from his daughter as he ages and, as he tries to make sense of his changing circumstances, he begins to doubt his loved ones, his own mind and even the fabric of his reality.
