High Treason,' J. Arthur Rank Production

High Treason
Original British quad poster
Directed by	Roy Boulting
Produced by	Paul Soskin
Written by	Roy Boulting Frank Harvey
Starring	Liam Redmond Anthony Bushell André Morell
Music by	John Addison
Cinematography	Gilbert Taylor
Edited by	Max Benedict
Distributed by	Peacemaker Pictures
Release dates	13 November 1951
Running time	90 min.
Language	English

MOVIE REVIEW

THE SCREEN IN REVIEW; ' High Treason,' J. Arthur Rank Production, Has U. S. Premiere at 52d Street Trans-Lux

Published: May 21, 1952

Since Frank Harvey and Roy Boulting were responsible for the script of that tension-packed British import of 1950, "Seven Days to Noon," that redoubtable pair now can be credited with being in a fairly auspicious rut. For in "High Treason," which arrived at the Fifty-second Street Trans-Lux yesterday, the Messrs. Harvey and Boulting are following awesome parallel lines—a blueprint which does not involve an atom bomb, as was the case in "Seven Days," but one which grippingly deals with the mounting effects of a group of saboteurs intent on crippling Brittain's power plants.

Comparisons being in order, it is worthy to note that "High Treason" travels at a more leisurely pace than "Seven Days," but Roy Boulting, who also directed, achieves an equally intelligent handling of the many pieces needed to fit his intricate jigsaw of a plot. There is also the matter of the clash of ideologies inherent in the story, which, while being superficial and inconclusive, leaves no doubt in the mind of the viewer that the skulking villains are being influenced from behind the Iron Curtain. This, however, appears to be secondary to the basic theme elaborated by Mr. Boulting. He and his associates are intent on showing that his saboteurs are a frightening cross-section of the populace and that their "warrens," are as commonplace as the Parliament buildings, London shops, schools and docksides.

Since melodrama and mystery also are the prime objectives, credit the producers with providing these ingredients in full measure. A completely unimpressive clerk in the Ministry of Supply surreptitiously copies information about a freighter about to leave for the Far East with a cargo of munitions. The ship explodes, bringing a crew of investigators from Scotland Yard and Military Intelligence. Thereafter the sleuths, faced by a suspect or two and a few clues, follow their slim leads to the appalling fact that saboteurs are planning to blow up Battersea power station, as well as plants in other major cities.

Call the climax obvious and far from a gem of ingenuity—it seems a foregone conclusion that the cops successfully will shoot it out with the sappers amid the noisy whirring generators of the power station—but up to that point deft direction, crisp dialogue and a generally excellent cast gives "High Treason" a high polish.

The principals, with the exception of one or two of the conniving group who are stereotyped characters, turn in top flight performances. Although he is not well known on this side of the Atlantic, Liam Redmond, a recruit from the Abbey Theatre, whose Irish brogue, odly enough, fits in neatly with the proceedings, is excellent as the top Scotland Yard investigator, an unhurried, rational and decisive detective. Kenneth Griffith does a restrained but poignant job as a terrified radio shop owner and ill-fated dupe of the saboteurs.

John Bailey, on the other hand, overplays the role of the villainous strong-arm member of the gang but Andre Morell and Anthony Bushell, as Yard operatives; Mary Morris, as one of the sabotage leaders; Anthony Nichols as the suave, cultured and seemingly liberal M. P. schemer; Charles Lloyd Pack, as the Ministry clerk, and Dora Bryan, as a garrulous shopper are convincing types, who, aided by a roving camera tour of the British metropolis, help make the crimes in "High Treason" a taut tale and a pleasure.HIGH TREASON, original story and screen play by Frank Harvey and Roy Boulting; directed by Mr. Boulting; produced by Paul Soskin; a British-made picture presented by the J. Arthur Rank organization; a Pacemaker-Mayer-Kingsley release distributed by Pacemaker Pictures. At the Fifty-second Street Trans-Lux. 

Comdr. Robert Brennan . . . . . Liam Redmond
Anna Braun . . . . . Mary Morris
Superintendent Folland . . . . . Andre Morell
Jimmy Ellis . . . . . Kenneth Griffith
Major Elliott . . . . . Anthony Bushell
Mrs. Ellis . . . . . Joan Hickson
Grant Mansfield . . . . . Anthony Nichols
George Eilis . . . . . Patric Doonan
Morgan Williams . . . . . Geoffrey Keen
Commissioner . . . . . R. Stuart Lindsell
Stringer . . . . . John Bailey
Mrs. Bowers . . . . . Dora Bryan
Percy Ward . . . . . Charles Lloyd Pack
Gordon Wells . . . . . Laurence Naismith
Home Secretary . . . . . Lockwood West
Benson . . . . . Jack McNaughton
Slater . . . . . Julian Amys
Watson . . . . . John Harvey
Photographer . . . . . Harry Fowler
Sabotage Leader . . . . . Cyril Conway

The Last Train to Auschwitz

The Last Train (2006 film)

From Wikipedia, the free encyclopedia

The Last Train
Theatrical release poster
Directed by	Joseph Vilsmaier, Dana Vávrová
Produced by	Artur Brauner
Written by	Stephen Glantz
Starring	Gedeon Burkhard Lale Yavas Lena Beyerling
Cinematography	Helmfried Kober Joseph Vilsmaier
Edited by	Uli Schön
Production company	Central Cinema Company Film (CCC), Diamant Film
Distributed by	Bontonfilm
Release dates	October 26, 2006(2006 Internationale Hofer Filmtage) November 9, 2006 (Germany) October 11, 2007(Czech Republic) January 11, 2008 (Spain)
Running time	123 minutes
Country	Germany Czech Republic
Language	German Hebrew Polish French Ukrainian
Budget	€2.7 million

The Last Train (German: Der letzte Zug) is a 2006 German film directed by Joseph Vilsmaier andDana Vávrová, and starringGedeon Burkhard, Lale Yavas, and Lena Beyerling. The film depicts the fate of some of the last remaining Jews in Berlin, who in April 1943 were rounded up at theBerlin-Grunewald station and sent to the Nazi concentration camp atAuschwitz. The film stands out due to its proximity as well as the unsparing realism with which the brutality of a transport to the Auschwitz concentration camp appears.

Background[edit]

Der letze Zug was filmed in Germany and Czech Republic and went into production in May 2005 on a budget of €2.7 million. During filming, director Joseph Vilsmaier fell from a crane and suffered permanent, albeit minor, injuries. Production halted for two weeks while he was hospitalized. Filming resumed once Vilsmaier recovered, but his wife, actress Dana Vávrová took over directing duties while Vilsmaier supervised.

The film premiered on May 20, 2006 at the 40th Hof International Film Festival. It was widely released in theaters in Germany on November 9, 2006, by The Central Cinema Company

External links[edit]

• Website at Concorde-Film
• The Last Train at the Internet Movie Database
• The Last Train at Rotten Tomatoes
• Bar Mitzvah Boy
• Barney's Version (film)
• Bart Got a Room
• The Believer (film)
• Berlin 36
• The Bespoke Overcoat
• Biloxi Blues (film)
• Blum Affair
• The Boy in the Striped Pyjamas (film)
• Brighton Beach Memoirs (film)
• Broadway Bound
• Bye Bye Braverman

Death Train

Death Train (also known as Detonator) is a 1993 made-for-TV movie featuringPierce Brosnan, Patrick Stewart,Christopher Lee, Ted Levine, andAlexandra Paul. The script was based on an Alistair MacNeill novel of the same name, which in turn was based on anAlistair MacLean screenplay.

Contents

  [hide] 

• 1Plot
• 2Cast
• 3Locations
• 4DVD release
• 5Sequel
• 6

  External links

  
  

  
  

  Plot[edit]

  With the aid of a German nuclear physicist, dissident Russian General Konstantin Benin (Christopher Lee), a military casualty of the Soviet collapse, is conspiring to restore the Soviet Unionto superpower status. His plan is to place a nuclear bomb on a train bound for Iraq, forcing the Russian army to invade Iraq to recover it and once again mobilize its might - creating a new military union in the process. Malcolm Philpott (Patrick Stewart), the head of UNACO (United Nations Anti-Crime Organisation), entrusts the mission of stopping the train and its deadly cargo to field operatives Mike Graham (Pierce Brosnan) and Sabrina Carver (Alexandra Paul) who are forced to form a reluctant partnership as the international balance of power hits crisis point.

  Sequel[edit]

  Pierce Brosnan and Alexandra Paul returned for the sequel Detonator II (Night Watch). Night Watch is available on Region 1 DVD both individually and bundled as a double pack with Death Train/Detonator.

Framed 1947 Glenn Ford

Framed
Theatrical release poster
Directed by	Richard Wallace
Produced by	Jules Schermer
Screenplay by	Ben Maddow
Story by	John Patrick
Starring	Glenn Ford Janis Carter
Music by	Marlin Skiles Arthur Morton
Cinematography	Burnett Guffey
Edited by	Richard Fantl
Distributed by	Columbia Pictures
Release dates	March 7, 1947(United States)
Running time	82 minutes
Country	United States
Language	English

Framed is a 1947 American black-and-white film noir directed by Richard Wallace and featuring Glenn Ford,Janis Carter, Barry Sullivan and Edgar Buchanan. The B movie is generally praised by critics as an effective crime thriller despite its low budget.^[1]

Plot[edit]

Mike Lambert takes to driving a truck when he falls on hard times. When the brakes stop working while driving through a small town, he runs into the car of Jeff Cunningham and is arrested. A total stranger, barmaid Paula Craig (Janis Carter), pays his bail, and Mike is quickly drawn into a criminal plot devised by the seductivefemme fatale.

Paula talks a married man, Steve, into robbing the bank that he manages. The two then drug Mike, intending to frame him for the crime. Paula proceeds to kill Steve take all of the stolen cash. She is able to convince Mike that he is the one who killed Steve in a drunken rage and that she has covered up for him, thereby implicating herself. She begs him to run away with her. Mike considers her offer until he learns that Jeff, who has become a friend, has been accused of the killing—and that Paula intends to pin the robbery that Steve committed on Jeff to give the police a fall guy for the crime.Paula is tricked by Mike into opening a safe-deposit box where the stolen money is, and the police quickly place her under arrest.

Cast[edit]

• Glenn Ford as Mike Lambert
• Janis Carter as Paula Craig
• Barry Sullivan as Steve Price
• Edgar Buchanan as Jeff Cunningham
• Karen Morley as Beth
• Jim Bannon as Jack Woodworth

  Reception[edit]

  Critical response[edit]

  Critic Mark Deming called the film, "[a] superior low-budget film noir."^[2]
  Film critic Dennis Schwartz liked the film and wrote, "Janis Carter gives a very sexy and dangerous performance, which plays off very well against Glenn Ford's very earnest one of the good guys who can't get a lucky break. Even when he finds someone he could love she turns out to be poison, someone who was about to poison his coffee until she was reassured that he does not know something incriminating about her role in the crime. It was an entertaining B-film that ably caught how an honest but desperate man reacts after hooking up with a falsehearted woman. The good performances overcame the cheap production values and slight story."^[3]

• Reception[edit]

  Critical response[edit]

  Critic Mark Deming called the film, "[a] superior low-budget film noir."^[2]

  Film critic Dennis Schwartz liked the film and wrote, "Janis Carter gives a very sexy and dangerous performance, which plays off very well against Glenn Ford's very earnest one of the good guys who can't get a lucky break. Even when he finds someone he could love she turns out to be poison, someone who was about to poison his coffee until she was reassured that he does not know something incriminating about her role in the crime. It was an entertaining B-film that ably caught how an honest but desperate man reacts after hooking up with a falsehearted woman. The good performances overcame the cheap production values and slight story."^[3]

  
  

  Reception[edit]

  Critical response[edit]

  Critic Mark Deming called the film, "[a] superior low-budget film noir."^[2]

  Film critic Dennis Schwartz liked the film and wrote, "Janis Carter gives a very sexy and dangerous performance, which plays off very well against Glenn Ford's very earnest one of the good guys who can't get a lucky break. Even when he finds someone he could love she turns out to be poison, someone who was about to poison his coffee until she was reassured that he does not know something incriminating about her role in the crime. It was an entertaining B-film that ably caught how an honest but desperate man reacts after hooking up with a falsehearted woman. The good performances overcame the cheap production values and slight story."^[3]

  
  

  Noir analysis[edit]

  
  

  Film critic Hans J. Wollstein wrote, "These silly censorship rules aside, Framed remains a thrilling example of 1940s film noir at its best: economically told, atmospherically photographed (at, among other places, Lake Arrowhead) and more than competently acted. Carter, especially, is a revelation and it is too bad that she was mostly used by Columbia Pictures for decorative purposes, a sort of second-tierRita Hayworth."^[4]

BEHIND LOCKED DOORS

Published on Feb 21, 2015

A well-known judge has become a fugitive from the police, with a large reward on his head. A reporter believes that the judge is hiding in a private sanitarium, so she seeks out a private investigator and asks him to pretend to be insane, so that he can get inside the sanitarium and look for the judge. The investigator is admitted to the asylum, and encounters many dangers while trying to prove that the judge is there.

Directed by Budd Boetticher (as Oscar Boetticher); written by Eugene Ling and Malvin Wald; starring Lucille Bremer, Richard Carlson, Douglas Fowley.

João Furtado-Coelho 4 months ago

No pretentions, but the narrative streams at a good pace, it has a reasonable dose of suspense, there are brutal things going on there, but the film director doesn't inflict on us more than just the strict necessary amount - and it ends happily. The criminal is caught - and boy gets the girl... Pleasantly entertaining. Shared on Google+

Behind Locked Doors
Theatrical release poster
Directed by	Budd Boetticher
Produced by	Eugene Ling
Screenplay by	Eugene Ling Malvin Wald
Story by	Malvin Wald
Starring	Lucille Bremer Richard Carlson Douglas Fowley
Music by	Irving Friedman
Cinematography	Guy Roe
Edited by	Norman Colbert
Distributed by	Eagle-Lion Films Peter Rodgers Organization
Release dates	September 8, 1948(Hollywood)
Running time	63 minutes
Country	United States
Language	English

Behind Locked Doors is a 1948 black-and-white film noir directed by Budd Boetticher and starring Lucille Bremer,Richard Carlson and Tor Johnson.

Contents

  [hide] 

• 1Plot
• 2Cast
• 3Reception
• 4Reception
  • 4.1Critical response
• 5References
• 6

  External links

  Plot[edit]

  At the behest of a pretty reporter, an amorously forward private detectivegoes undercover as a patient in a private sanitarium in search of a judge hiding out from the police. The two plan to split the $10,000 reward for the judge's capture. As the reporter and detective begin to fall in love, the detective also falls deeper into danger from an abusive attendant and difficult inpatients. The latter include an arsonistand "The Champ," a lunatic ex-boxer who attacks anyone put into a room with him after he hears what sounds like a bell.

  Although the film features noir lighting and camerawork, depicts corruption, and provides suspense, it lacks most of the characterizations common to film noir. And it ends happily for the protagonists.

  
  

  DENNIS SCHWARTZ

  IS THERE ANY GOOD  IN SAYING  EVERYTHING ABOUT A MOVIE?

  
   

  BEHIND LOCKED DOORS (director: Budd Boetticher; screenwriters: Eugene Ling/Malvin Wald/story by Mr. Wald; cinematographer: Guy Roe; editor: Norman Colbert; music: Irving Friedman; cast: Richard Carlson (Mr. Stewart), Lucille Bremer (Kathy Lawrence), Thomas Browne Henry (Dr. Clifford Porter), Douglas Fowley (Larson), Ralf Harolde (Fred Hopps), Herbert Heyes (Judge Finlay Drake), Tor Johnson (The Champ), Gwen Donovan (Madge Bennett), John Holland (Dr. J.R. Bell), Morgan Farley (Topper); Runtime: 62; MPAA Rating: NR; producer: Eugene Ling; Eagle Lion Films/Kino Video; 1948)

  
   

  "Aside from being well directed, this melodrama has little else to recommend it."Reviewed by Dennis Schwartz Budd Boetticher directs a fast-paced low-budget B-film thriller with a far-fetched idea as its storyline and presents a shaky portrayal of the mental health profession. The film's claustrophobic and oppressive surroundings in a private mental hospital, moves this paranoiac tale somewhat into film noir territory. Though because the crime story is so straightforward, I think that might be a stretch. It's the dark situation created by the narrative that brings out the perverse nature of those establishment figures in charge of the helpless that gives this film its creepy feeling, which makes this programmer more presentable than expected. A lesser director than Boetticher would have been caught in all the film's snake-pit absurdities and never would have come away with such a decent result.  Attractive Kathy Lawrence (Bremer) is an investigative reporter for a San Francisco newspaper who has a tip that a crooked ex-judge, Finlay Drake (Heyes), who is on the lam and has a $10,000 reward posted by the law for his capture, is hiding out in a private mental hospital and is abetted on the outside by his girlfriend Madge Bennett. Kathy after the scoop agrees to split the reward money with the new P.I. on the block, Stewart (Carlson), if he would agree to go undercover as a patient in the mental hospital to make certain the judge is there. Kathy becomes his first-client, in a manner of speaking. This plan calls for Stewart to have an alias and to convince a state psychiatrist that he's mentally ill and needs to be placed in a sanitarium. Posing as a husband and wife, Stewart easily gets a letter recommending his admittance from Dr. Bell (John Holland) as a manic depressive. The letter is Stewart's ticket into the sanitarium, where he finds one attendant, Hopps (Harolde), to be kindhearted but secretive about why he works in a place where the patients are regularly abused by the other sadistic attendant Larson (Fowley) while the sleazy director Dr. Porter (Henry) just ignores this behavior. Spending his time sniffing around for the judge while his wife acts as liaison on visiting days, the private detective hasn't spotted his mark yet but believes he's hiding in the locked ward--where they keep the violent patient called the Champ (Tor Johnson-cult fave Ed Wood icon). Armed with a photo Kathy slipped him of the judge, Stewart slips an arsonist patient (Morgan Farley) some matches and he responds by setting a blaze in the locked ward. Rushing to put out the fire, Stewart spots the judge in a private room. But the wary judge becomes suspicious of the inquisitive Stewart and when the evil trio take possession of Stewart's photo of the judge, they realize he's a spy and plan to deal harshly with him. Porter who agreed to keep the judge for a month and is handsomely paid, has kept him for 5 weeks and in a panic tells the judge he wants him out immediately. The judge executes a plan where he throw Stewart into the Champ's cell and the ex-boxer obliges by giving Stewart a severe beating. But, as expected in such a predictable storyline, the enterprising Kathy devices a plan to rescue her private eye before the judge can escape with Madge. No character was developed, the storyline never seemed believable, and despite the attempts made through the dark photography to create tension that wasn't possible because we didn't know enough about the lead characters and the villains were merely cardboard characters. Aside from being well directed, this melodrama has little else to recommend it. Boetticher is better known today for the many splendid Westerns he directed during the 1950s with Randolph Scott as star, which include Commanche Station, Ride Lonesome, and Tall T.