In the reign of emperor Tiberius, Gallilean prophet John the Baptist preaches against King Herod and Queen Herodias. The latter wants John dead, but Herod fears to harm him due to a prophecy. Enter beautiful Princess Salome, Herod's long-absent stepdaughter. Herodias sees the king's dawning lust for Salome as her means of bending the king to her will. But Salome and her lover Claudius are (contrary to Scripture) nearing conversion to the new religion. And the famous climactic dance turns out to have unexpected implications...
- Stars:Rita Hayworth, Stewart Granger, Charles Laughton, Judith Anderson, Cedric Hardwicke, Alan Badel, Basil Sydney, Maurice Schwartz, Arnold Moss, Asoka Rubener, Sujata Rubener,
- Director:William Dieterle,
- Writer:Harry Kleiner (screen play), Jesse Lasky Jr. (story), Harry Kleiner (story)
In the reign of emperor Tiberius, Gallilean prophet John the Baptist preaches against King Herod and Queen Herodias. The latter wants John dead, but Herod fears to harm him due to a ... . You can read more in Google, Youtube, Wiki
Salome torrent reviews
(au) wrote: So bad. I struggled to find something good about this movie and settled on the costume design. Yikes! Skip this for sure.
(ru) wrote: Great acting talent. But is the story too much? It's a movie that makes viewers crave to read the novel.
(us) wrote: This movie was alright. Very inspirational at the end. Good plot.
(de) wrote: All of these independent matter-of-fact vignette-esque films this year.. Chop Shop doesn't exactly present a story, but a lifestyle, no frills or convoluted point. Yet somehow it remains compelling and unavoidably watchable; we want to know more about this character and his world, because we know little about it and it is so vivid and alive that it gives some perspective on ourselves. It does very little yet it manages to make you feel good, marveling in the ingenuity of a little boy and strangely the comfort of the world, given but a slice of life very different from your own. This alone is an amazing feat.
(fr) wrote: Engaging. I can't really relate to any of it, other than wishing I had a real gift for something. It was a little too Hollywood ultimately, but I did enjoy it - probably because I have some distant affinity for literature, if not writing.
(gb) wrote: Hewitt gives a charismatic performance, but this falls short in many ways.
(it) wrote: Trees Lounge proves that Steve Buscemi can be a great leading actor in a film. It's a shame that he's often only used in bit parts.
(br) wrote: The opening credits are so powerful and brilliantly set the tone for the rest of the film. Lee is trying to clash together a few different styles, especially early on. Some of it doesn't work but the energy of Lee's direction overshadows it. Performances down the line are very good. Delroy Lindo playing the father these street kids never had practically steals the entire movie for me. If i'm not giving 'Clockers' enough credit thank David Simon and 'The Wire' for making all movies like this pale in comparison.
(us) wrote: This movie is great. From the amazing acting on Bob Hoskins part to the bizarreness of the setting, as well as, well ALL of the toons involved, it works up to be an visually stunning epic adventure.
(us) wrote: One of my favorite movies as a kid.
(ca) wrote: fan de Rohmer ,ce film ma fait exploser ma passion pour certain films francais
(kr) wrote: The evolution of Batman in the media has been a disjointed one. Some fifty years ago, when the Caped Crusader had his very own show, he was a straight-laced comic book hero surrounded by colorful, humorous shlock. After a two decade break from our screens, silver or small, the vigilante was given new life in the 1980s and '90s with rocky success. But in the mid-2000s, with the aid of the visionary Christopher Nolan, he was suddenly metamorphosed into an action hero of astounding strength, his surroundings as gritty and *real* as things could be portrayed in the scope of superheroism. His latest big screen undertaking, the critically spat upon "Batman v. Superman: Dawn of Justice" (unseen by me since theaters are expensive and life is too short to sit through a panned three hour actioner), continues the trend of the Batman flick more bleak than playful - the DC side of things seems to be doomed to an existence of cynical, operatic fervor, Marvel a better alternate because it recognizes that tagging alongside superheroes should be joyful, not self-serious and dark. So while I'm not saying 1966's "Batman" is my preferred take on the eponymous hero (Nolan's trilogy is a majestic collected masterpiece), I do treasure its tongue-in-cheek goofiness, the way it recognizes its inherent lunacy. As it was released following the first season of the TV series, it is, in essence, a prolonged episode. But at its best moments, the show was a celebration of camp and comic book staginess enhanced by vivacious performances, and the transfer from television to film feels natural. On par with "Danger: Diabolik" and "Barbarella," it's mod chintz mindful of its limitations but nevertheless prosperous in its style and comicality. In "Batman," Adam West's Batman and Burt Ward's Robin are presented with a task more irksome than anything they've ever faced before: supervillains Catwoman (Lee Meriwether), The Joker (Cesar Romero), The Penguin (Burgess Meredith), and The Riddler (Frank Gorshin) have all banded together in hopes to - wait for it - take over the world. The fiends are all decently clever, but are no match for our Dynamic Duo, who know a thing or two about crime fighting and defeating egomaniacal do-badders. If you know what the TV series looked, acted, and sounded like, you can't walk into "Batman" with the idea that you'll be presented with a cinematic masterpiece; it's a camp masterpiece, and to take it seriously is like going to Baskin Robbins and asking for a chicken burrito. So jump in with a smile and an open mind - you have to take it for what it is, which is light-hearted, amicable frowziness. Maybe the sets looks like sets; maybe the plot is more interested in one-liners and garish gags; maybe continuity isn't a pressing characteristic. But look at how seriously its performers take their roles (West and Ward are wonderfully grave), how its misadventures are laughable, how camp becomes an art form. Making a convincing superhero movie is difficult, sure, but making one so kitschy and tacky is harder - to persuade an audience to go along with over-the-top cheekiness is akin to begging an introvert of a friend to go out partying for a night; you might get them out of the house, but will an agreeable attitude stick? Fortunately, "Batman" has enough candy-colored charisma to keep us plenty nostalgic, its zippiness lovesome rather than maudlin. But I'm also a pretty easygoing viewer, as I'm a lover of camp and the film knows what it's doing. Affability depends on the consumer.
(au) wrote: This is my favorite Bunuel film. Is perfect from the story to the photography. The panoramic shots have father Nazario like a perception of their moves, even if he isn't the panoramic character. The allegory of Jesus is made from a modern western way of thinking. In the nihilistic side is like El, when the humans fight with their ambitions, not for them. Good ideas from European philosophy are portrayed by Bunuel. Nietzsce said that there was only one treu Christian, and he died on the cross. This idea is followed and become a leitmotif. In the last scene of the movie an old woman by the road gives him a pineapple as charity. The pineapple is a sexual symbol and the fact that Nazario accept it the proof that he doesn't care anymore about his soul and going to heaven. There is no good or evil. There is just a circle and the absurd give you everything, but in the final you see that your solitude is everything and you don't have nothing, not even yourself. On the intellectual side the movie is more or less disturbing, but is definitely a masterpiece!
(it) wrote: Great performances but this movie is a bit over the top.
(nl) wrote: Despite convincing performances, Gothika's storyline descends into an absurd menagerie of twists and turns and loses most of its fright factor along the way.
(fr) wrote: I enjoyed the raw and powerful story about the emergence of Russell Brand from addict to revolutionary. He truly speaks from the heart in an unabashed way. I love the line yes I'm an egocentric narcissist but I'm your egocentric narcissist. Worth watching and funny as hell!