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But if I had a hundred fathers and a hundred mothers, I could not go back. I must go forward now. In the Fifteenth Century, France is a defeated and ruined nation after the One Hundred Years War against England. Up steps a teenage farm girl who claims to hear voices from heaven telling her to lead God's army against Orleans and to crown the weak Dauphin Charles VII as the King of France. Joan gathers the people with her faith, forms an army and advances on Orleans - from here real history is formed in all its heroic and tragic glory... Savaged by some critics, cut by the studio to various run times, it really is a case of asking film fans to at least see the now readily available full 145 minute version to give it a fair trial. Starring Ingrid Bergman in the title role and directed by a clearly fawning Victor Fleming (he takes every single opportunity to focus on Bergman's natural beauty), it's unfortunately a mixture of a stirring historical epic with over theatrical stage bound theatricals. Bergman, although surrounded by a great array of superlative supporting players, carries the lead role with aplomb. She clearly dives into the role with a passion of some distinction and film lovers are rewarded with a performance of great depth and feeling, none more so with the sequences in the last tragic quarter of the pic. The screenplay by Maxwell Anderson and Andrew Holt (based on the play "Joan of Lorraine") is beautifully written, with dialogue passages that stir the blood whilst holding court. For some the literate passages may come off as long winded, even tedious, but in Bergman's hands they hopefully will entice the masses in the way that "The Maid of Orleans" actually did. 7.5/10
Whatever you do, try to avoid the dreadfully hacked version of this - the original version; coming in at just under 2½ hours is far, far better. That said, however - it still isn't all that great. Ingrid Bergman doesn't so much act as Joan of Arc, she suggests quite strongly that Joan of Arc would have been just like her! The pained, saintly expression coupled with the rousing battle cries and heartfelt pleading make it hard to imagine the real woman could have been anything but! José Ferrer expertly plays the, duplicitous, selfish monarch who'd betray his own mother for a sou in a creepily magnetic fashion and, of course, Francis L. Sullivan is super as the presiding Bishop Cauchon serving whichever master suits him best so long as our heroine goes to the flames. The rest of the cast rather underperform though: Ward Bond, Gene Lockhart and Cecil Kellaway are fish out of water and Lief Erickson is frankly dreadful in the quite pivotal role of Dunois. The writing is dreary; way too wordy. The ensemble performances never seem to set foot out of doors, which renders the battle scene largely ineffective and the trial scenes are just all too bitty to establish any genuine sense of the threat she was under during this corrupt trial. Maybe it needed Cecil B. De Mille to take the grand scale cinematography to it - the story certainly merits it; but this is uncomfortably constricted and too physically theatrical. The costumes are glorious, though, and the lighting does go some way to compensate for the rigidity the production. Well worth watching, but it could have been much better had Victor Fleming had more imagination.
Joey, the church boy, drops out of school to follow Bill into a ‘cooler’ lifestyle, until he mixes with the wrong people, and commits the worst sin of all...
This short explores the possibility that Louis XVII, son of King Louis XVI and Marie Antoinette, escaped death during the French Revolution and was raised by Indians in America.
Camille, a young, provincial, proletarian man works for Hélène Courtray, who is still beautiful and seductive. She's a sophisticated, cultivated and well-to-do woman who has engaged him to care for her reclusive son who has spent the past few years voluntarily locked up in his room. An encounter between two persons and two worlds where the relationship of the young man to this closed, strange and unknown universe rapidly turns tragedy.
In 25 AD, Judah Ben-Hur, a Jew in ancient Judea, opposes the occupying Roman empire. Falsely accused by a Roman childhood friend-turned-overlord of trying to kill the Roman governor, he is put into slavery and his mother and sister are taken away as prisoners.
A radio astronomer receives the first extraterrestrial radio signal ever picked up on Earth. As the world powers scramble to decipher the message and decide upon a course of action, she must make some difficult decisions between her beliefs, the truth, and reality.
Michel takes up pickpocketing on a lark and is arrested soon after. His mother dies shortly after his release, and despite the objections of his only friend, Jacques, and his mother's neighbor Jeanne, Michel teams up with a couple of petty thieves in order to improve his craft. With a police inspector keeping an eye on him, Michel also tries to get a straight job, but the temptation to steal is hard to resist.
Maria finds herself caught between two worlds. At school this 14-year-old girl has all the typical teenage interests, but when she’s at home with her family she follows the teachings of the Society of St. Paul and their traditionalist interpretation of Catholicism. Everything that Maria thinks and does must be examined before God. And since the Lord is a strict shepherd, she lives in constant fear of committing some misconduct...
Schoolteacher Bertram Cates is arrested for teaching his students Darwin's theory of evolution. The case receives national attention and one of the newspaper reporters, E.K. Hornbeck, arranges to bring in renowned defense attorney and atheist Henry Drummond to defend Cates. The prosecutor, Matthew Brady is a former presidential candidate, famous evangelist, and old adversary of Drummond.
Lucas, a wealthy, 43 year-old divorced businessman, is irresistibly attracted to Elsa, a 38 year old renowned sculptor from whom he has commissioned a piece to decorate the reception at his office.
A group of French soldiers, including the patrician Captain de Boeldieu and the working-class Lieutenant Maréchal, grapple with their own class differences after being captured and held in a World War I German prison camp. When the men are transferred to a high-security fortress, they must concoct a plan to escape beneath the watchful eye of aristocratic German officer von Rauffenstein, who has formed an unexpected bond with de Boeldieu.