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Dead among the living and living among the dead. The Lost Moment is directed by Martin Gabel and adapted by Leonardo Bercovici from the Henry James novel, The Aspern Papers. It stars Robert Cummings, Susan Hayward, Agnes Moorehead and Eduardo Ciannelli. Music is by Daniele Amfitheatrof and cinematography by Hal Mohr. Lewis Venable (Cummings) is a publisher who travels to Venice in search of love letters written by poet Jeffrey Ashton. Insinuating himself into the home of the poets lover and recipient of the letters, Juliana Bordereau (Moorehead), Venable finds himself transfixed by the strangeness of the place and its inhabitants, one of which is Juliana's off kilter niece, Tina (Hayward). A splendid slice of Gothicana done up in film noir fancy dress, The Lost Moment is hauntingly romantic and ethereal in its weirdness. It's very talky, so the impatient should be advised, but the visuals and the frequent influx of dreamy like sequences hold the attention right to the denouement. The narrative is devilish by intent, with shifting identities, sexual tensions, intrigue and hidden secrets the orders of the day. Cummings is a little awkward and his scenes with Hayward (very good in a tricky role) lacks an urgent spark, while old hands Moorehead (as a centenarian with an outstanding makeup job) and Ciannelli leave favourable marks in the smaller roles. Mohr's (The Phantom of the Opera) photography is gorgeous and bathes the pic in atmosphere, and Amfitheatrof's musical compositions are powerful in their subtleties. As for Gabel? With this being his only foray into directing, it stands as a shame he didn't venture further into the directing sphere. 7/10
When opportunistic publisher "Lewis Venable" (Robert Cummings) sets out to track down some long-lost love letters from recently re-discovered poet "Jeffrey Ashton", he ends up in a Dickensian-style mansion house where the writer's former mistress, the very elderly "Juliana" (an almost unrecognisable Agnes Moorhead) dressed in black, sits in her chair most of the time with frustrated daughter "Tina" (Susan Hayward) tightly wound up living the life of a caged bird. Rather than come clean about his motives, "Venable" poses as a novelist to ingratiate himself with the women - but soon, is embroiled in a complex intrigue involving the two ladies and the letters. Hayward is super - she exudes an eeriness and almost schizophrenic charisma as the young woman who seems caught in a time loop unsure as to whether she is "Tina" or her own mother. The haunting music from Daniele Amfitheatrof (and a tiny bit of Caruso too) helps build the tension carefully and effectively as the significance of the letters becomes more evident and poignant to the predicament of the women - and increasingly, their guest. Cummings is OK, he has an innate blandness about him to watch, but he has a good script to work with and good to foil to act with, and the pot stays boiling til very near the end.
Photographer Robert Kincaid wanders into the life of housewife Francesca Johnson for four days in the 1960s.
Slaking a thirst for dangerous games, Kathryn challenges her stepbrother, Sebastian, to deflower their headmaster's daughter before the summer ends. If he succeeds, the prize is the chance to bed Kathryn. But if he loses, Kathryn will claim his most prized possession.
In 18th century France, Marquise de Merteuil asks her ex-lover Vicomte de Valmont to seduce the future wife of another ex-lover of hers in return for one last night with her. Yet things don’t go as planned.
In this modern take on Edmond Rostand's classic play "Cyrano de Bergerac," C. D. Bales is the witty, intelligent, and brave fire chief of a small Pacific Northwest town who, due to the size of his enormous nose, declines to pursue the girl of his dreams, lovely Roxanne Kowalski. Instead, when his shy underling Chris McConnell becomes smitten with Roxanne, C.D. feeds the handsome young man the words of love to win her heart.
Famed swordsman and poet Cyrano de Bergerac is in love with his cousin Roxane. He has never expressed his love for her as he his large nose undermines his self-confidence. Then he finds a way to express his love to her, indirectly.
George, host of a television show focusing on literature, receives videos shot on the sly that feature his family, along with disturbing drawings that are difficult to interpret. He has no idea who has made and sent him the videos. Progressively, the contents of the videos become more personal, indicating that the sender has known George for a long time.
Aging publisher Will Randall is at the end of his rope when a younger co-worker snatches his job out from under his nose. But after being bitten by a wolf, Will suddenly finds himself full of youthful vigor. As he struggles to regain his position, he becomes enthralled with Laura Alden, his former boss's daughter. And, as increasingly animal-like urges begin to overwhelm him, Randall worries that he may be turning into the creature that bit him.
Set in mid-70's, 12-year old Dvir Avni navigates between the equality values of his home-born Kibbutz and the relationship with his undermined mother, whom the Kibbutz members will to denounce.
A woman finds a romantic letter in a bottle washed ashore and tracks down the author, a widowed shipbuilder whose wife died tragically early. As a deep and mutual attraction blossoms, the man struggles to make peace with his past so that he can move on and find happiness.
It's graduation day at Huntington Hills High, and you know what that means - time to party. And not just any party, either. This one will be a night to remember, as the nerds become studs, the jocks are humiliated, and freshman crushes blossom into grown-up romance.
In Berlin in 1961, an American soldier and a German engineer join forces to build a tunnel under the Berlin Wall in order to smuggle out refugees, including the soldier's East German girlfriend.