Hangmen Also Die!

Hangmen Also Die!

During the Nazi occupation of Czechoslovakia, surgeon Dr. Franticek Svoboda, a Czech patriot, assassinates the brutal "Hangman of Europe", Reichsprotektor Reinhard Heydrich, and is wounded in the process. In his attempt to escape, he is helped by history professor Stephen Novotny and his daughter Mascha.

On May 27, 1942 the Nazi Reichsprotector of Bohemia/Moravia, the "Hangman" Reinhard Heydrich, died from the bullets of unidentified resistance fighters. Hangmen Also Die is the story of Heydrich's assassination in fictionalized form. It was Bertolt Brecht's only comparatively successful Hollywood project; the money he received allowed him to write "The Visions of Simone Marchand", "Schwyk in the Second World War" and his adaptation of Webster's "The Duchess of Malfi". Hanns Eisler won an Academy Award for his musical score. . You can read more in Google, Youtube, Wiki

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Hangmen Also Die! torrent reviews

Richard G (fr) wrote: If youre into noir, this movie does it. Just saw it. Keeps you locked in. The action and the characters, over the top yet fun

Stephane B (ru) wrote: Bon bah dans la srie des Etienne Chatillez a voir aussi absolument. PS: Sabine Azema je t'aime!!!!!!

Josh C (mx) wrote: I watched it with my junior English class just after reading The Crucible. I can't say too much about it because people kept talking over it. From what I could gather: the story was slow, but the acting was great. I felt like it ended a bit abruptly.

Scott C (gb) wrote: Wow. How did they make it this far?

Chris W (us) wrote: The budget for the third and final Shaft film was even larger than before. As a result, a white director was brought in to handle things. That director was John Guillermin, the man responsible for the 1970s King Kong film. That was a disaster. This however, despite being a mixed bag, is halfway decent (all things considered). The plot concerns Shaft going to Africa to infiltrate a modern day slave cartel. It's an interesting idea filled with some good subtext and social issues. However (and this may or many not have to do with Guillermin being white), the film also comes across as rather pandering, racist, and offensive at times. The characters are caricatures and this film exemplifies the term "exploitation" in more ways than one. Taken as a genre film though, it's not too bad. As a regular movie, well, then we have problems. There's lots of good action scenes, and this is by far the most violent of the trilogy. The camera work is good, and so is the music. There's no sign of Isaac Hayes, but the theme song by the Four Tops rocks. It was later used in a brief segue scene in Superbad (when the guys travel across town on the bus to the liquor store). This film had the potential to be excellent both as a genre film, and as a movie with important themes and messages. It comes up short in both areas, but is still really damn fun and entertaining.

Andrew W (au) wrote: Just not bad enough to make for a really good MST3K episode

Eric F (ag) wrote: It's hard to imagine a film like "Thieves' Highway" flying in 2009. You can just hear the pitch now: "get this - it's a revenge tale set in the world of the produce market!" Despite what appears to be remarkably bland subject matter, director Jules Dassin marvelously constructs this 1949 thriller, his last film before being exiled from the United States, into an interesting tale of the bloodlust of capitalism. The film's start is a memorable one. Nick Garcos (Richard Conte) has just come back from the war and returns home to Fresno with gifts for his family. After a loving exchange of well wishes, Nick presents his father (Morris Carnovsky) with a present - a pair of slippers. Little does Nick know, his father's legs were amputated after a suspicious trucking accident. When Nick hears that the truck was on it's way to a produce dealer in San Francisco by the name of Mike Figlia (Lee J. Cobb), he suspects foul play and designs an elaborate revenge scheme to get back the money that Figlia owes to his father.Nick teams up with Ed (Millard Mitchell), a Frenchman with a connection to purchase large quantities of golden delicious apples. Together, they load up two trucks full of the apples and drive to the produce market in San Francisco. Their trip, in some ways, resembles the memorable truck scenes from "The Wages of Fear". The truck collapses on Nick as he fixes the tire. Ed's truck is in such poor shape that it can barely make it up a hill. On his tale are two buffoons desperate for a piece of Ed's share of the valuable apples.The love interest is an Italian prostitute by the name of Rica (Valentina Cortese), who originally works for Figlia before falling for Nick. The suspense builds successfully as Figlia and his cronies threaten Nick and take advantage of many of the market's vendors.The ending of the film was reshot against Dassin's will, and it's incredibly apparent. The entire last act devalues this smart thriller into a tired formula piece - the final showdown between Figlia and Nick is a let down, and the last scene is an incredibly obvious development that's a bit too upbeat to fit the rest of the tone of the film. Tidy endings were obviously not uncommon of the time, but being 2/3rds an edgy noir and 1/3rd a familiar Hollywood revenge piece does not suit the tone quite well.Lee J. Cobb's character is not unlike the the one he played in "On the Waterfront" five years later, but he's memorable as the devious businessman. Conte is a successful lead who undergoes a believable transformation, and Cortese, in her first American role, also adds quite a bit to the second act. While the film suffers from it's poor ending, "Thieves' Highway" is nevertheless an entertaining piece by the great Jules Dassin.

Adrian A (gb) wrote: When the climax of a film is a man ripping out the heart of a dragon with his bare hands and then letting loose the most manly, blood chilling scream ever recorded on film, you're gonna have a good time.

James P (nl) wrote: For all of Hulk's shortcomings, at least it did something that very few comic book films do, to try and push the genre forward in new ways both emotionally and stylistically.