Oscar and Lucinda

Oscar and Lucinda

After a childhood of abuse by his evangelistic father, misfit Oscar Hopkins becomes an Anglican minister and develops a divine obsession with gambling. Lucinda Leplastrier is a rich Australian heiress shopping in London for materials for her newly acquired glass factory back home. Deciding to travel to Australia as a missionary, Oscar meets Lucinda aboard ship, and a mutual obsession blossoms. They make a wager that will alter each of their destinies.

In mid-1800's England, Oscar is a young Anglican priest, a misfit and an outcast, but with the soul of an angel. As a boy, even though from a strict Pentecostal family, he felt God told him... . You can read more in Google, Youtube, Wiki


Oscar and Lucinda torrent reviews

Gabriela V (ca) wrote: Totally agree, this movie is all visuals and little content

Jan v (ag) wrote: In short: Wonderful film about cultural and language barriers and how this can stand in the way of relationships Though being generally positive about this film, I must admit upfront that I had problems with its use of flashbacks featuring the deceased Kai. I only understood afterwards on the way home what I missed, while apparently easily picked up by others whose reviews I saw. The first example is the scene with Kai and Junn, shown twice, the first time ending when someone entered the room to replace a light bulb but does not see Kai, making clear for most viewers (apparently, but not for me) that Kai existed only in Junn's mind. The second appearance of this scene ended before the bulb-change person entered, so I had no chance to reconsider. Kai died some time ago, and I only knew that from reading the synopsis beforehand, and a virtual visit like this one was Junn's own way to keep the reminiscences of her son alive. A second example where I missed the obvious were the scenes with Kai and Richard at home, apparently (again, in hindsight) happening in the past, where they talk about living together with or without Junn, in either case how and when to reveal the true nature of their gay relationship. Rationally speaking (again, while looking back), it is abundantly clear that these flashbacks were inevitable to clarify the respective relationships. Yet I think there could have been thought of other ways to accomplish that, without hampering our chronological narrative way of thinking that usually works best. The way it is done now feels a bit artificial, and it hampered my viewing experience. I am prepared to admit that the latter can be my fault altogether. Perfectly clear throughout the whole running time is that Junn and Richard belong to two different worlds. There is much more than merely a language barrier that withholds them from really communicating. The interpreter he hired, Vann, dismisses Junn's lack of knowledge of the English language, calling her a "lazy bitch" which was obviously a common phenomenon under female immigrants. On one hand they could depend on their spouse or children to interface with the outer world, and on the other hand it demonstrates Junn's bland refusal to adapt to the world where she lived in for many years. That also explains how the English way to take care of the elderly, being very different from her own traditions, stood between Junn and Kai for a long time, in spite of Kai repeatedly saying that the home for the elderly she was put in, was just a "temporary" measure. Anyway, Kai did not have to cope with a language barrier, and still failed to drive the message home, particularly as he kept postponing a decision to explain the real relationship between himself and Richard, fearing she would not understand and working disruptively on the relationship between mother and son. A nice find is the introduction of Alan as Junn's would-be lover. They "dated" several times before, both without understanding a word what the other was saying. This courting formed an excuse for Richard to hire Vann as an interpreter, fitting nicely his own hidden agenda to come closer to Junn. The relationship between Alan and Junn changes as soon as their communication improved. It brings several differences to light, some not so important but others seemingly insurmountable. Junn is not the modest passive woman we assumed at first sight; she can make her position very clear when felt necessary. The final scene demonstrates hope for their future. Junn and Richard seem to be able to communicate without interpreter Vann translating each sentence (this is rather implicit, but even I understood by virtue of their body language). We see a mutual trust and understanding growing between the two when exchanging sentences, in spite of not really knowing what the other was saying. I must admit being a bit lost during this final scene. It took some time on the way home to grasp all the things that were shown implicitly. The preceding scenes were abundantly clear in comparison, but this one needed some afterthought. We can imagine for ourselves how their relationship is about to continue, this being left as an exercise for the viewer.

Del H (nl) wrote: If you crossed Wes Anderson's quirky hipster humor with Woody Allen's intellectual, upper crust malaise, you would land somewhere near this cute comedy about a group of NYC teenage debutantes and their all style, no substance way of thinking. It's a dryly funny satire of privileged youth and all its misconceptions but also an adoring tribute to the misadventures of adolescence. Perfectly true to life and brimming with irony.

Princess O (es) wrote: Saw some of it and it looked kinda DULL Movie.

Kevin R (fr) wrote: Move or be driven out.The story of Wild Bill has a lot of turning roads, which some include glory and some misfortunes. He falls in love with a girl after his long famed accomplishments against the Native Americans. He trusts and believes in Native Americans, and doesn't enjoy people putting them down. When he needs to make a living, he reluctantly creates his own western show with a new friend. He may not be proud of it, but it helps him make a living...and have the funds to marry his true love."The red-man and whiskey don't mix."William A. Wellman, director of Public Enemy, A Star is Born, the Ox-Bow Incident, Battleground, Blood Alley, The Happy Years, Yellow Sky, and Story of G.I. Joe, delivers Buffalo Bill. The storyline for this is very interesting and I really enjoyed the numerous aspects of the character that was delivered. The settings and writing was very good and I enjoyed the performances by the cast. The cast includes Joal McCrea, Maureen O'Hara, Anthony Quinn, Edgar Buchanan, Thomas Mitchell, and Linda Darnell. "We need more men like you to exterminate these savages."This was recently recommended to me by Fios so I decided to give it a shot. This was entertaining and well done and worth a viewing for fans of the character and/or western genre. I recommend seeing this at least once."Indians never do what you expect."Grade: B-

Stella D (ru) wrote: i have a certain fondness for this film; i like maugham and i love sanders. this was one of his few lead roles and of course he was perfect playing an absolute bastard, who claims, among other outrageous things, that it's an absurd delusion that women have souls. said to be inspired by the life of paul gauguin and a labor of love for director albert lewin who made only 6 films, of which this was the first.

Mera L (de) wrote: About suffering and loneliness

Peter B (au) wrote: The premise appealed to me being a former high school theatre geek. Unfortunately, it's devoid of anything that would make it worth watching. Amateurish may be too good a word to describe the script, acting, and direction.