A heroic guerrilla group fights back against impossible odds during the 1941 German invasion of the Soviet Union.

Quote:
This is one of the few appearances on screen of Tamara Tamanouva, “The black pearl of Russian ballet” (who married writer, producer Casey Robinson). Her first actually as well as the first part on screen of Gregory Peck.

	
Days of Glory (1944) DVDRIP x264 AC3 KJNU.mkv

General
Container:  	Matroska
Runtime: 	1 h 29 min
Size: 	1.37 GiB
Video
Codec: 	x264
Resolution: 	700x576 ~> 747x576
Aspect ratio:  	1.297
Frame rate: 	24.000 fps
Bit rate: 	2 000 kb/s
BPP: 	0.207
Audio
#1:  	English 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/B1C425240DDE715/Days_of_Glory_(1944)_DVDRIP_x264_AC3_KJNU.mkv

Language(s):English
Subtitles:French

The post Jacques Tourneur – Days of Glory (1944) first appeared on Cinema of the World.

Barry Kohler, a young Nazi hunter, tracks down a group of former SS officers meeting in Paraguay in the late 1970s. The Nazis, led by Dr Mengele, are planning something. Old Nazi hunter, Ezra Lieberman, is at first uninterested in Kohler’s findings. But when he is told something of their plan, he is eager to find out more. Lieberman visits several homes in Europe and the U.S. in order to uncover the Nazi plot. It is at one of these houses he notices something strange, which turns out to be a horrible discovery.

The.Boys.from.Brazil.1978.BDRIP.576p.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	2 h 4 min
Size: 	2.74 GiB
Video
Codec: 	x264
Resolution: 	1024x576 
Aspect ratio:  	16:9
Frame rate: 	24.000 fps
Bit rate: 	2 500 kb/s
BPP: 	0.177
Audio
#1:  	English 2.0ch AC-3 @ 640 kb/s (Stereo)

https://nitro.download/view/25840B563FC8EAF/The.Boys.from.Brazil.1978.BDRIP.576p.x264.AC3.KJNU.mkv

Language(s):English
Subtitles:None

The post Franklin J. Schaffner – The Boys from Brazil (1978) first appeared on Cinema of the World.

Quote:
Most actors, especially established stars, yearn for roles that allow them to stretch their performance muscles and play against type. Most big stars who attained their status in the heyday of the studio system often found themselves stifled by typecasting, especially if they enjoyed overwhelming success in any given role. Studio executives weren’t about to risk placing an established property in something unexpected, and if the paying public had shown their approval by lining up at the box office for, say, Tyrone Power as a swashbuckling hero, then Tyrone Power as a swashbuckling hero is exactly what the public would be offered. Over and over. Many of the most pointed disputes in the Golden Era of Hollywood had the subtext of actors trying to break out of this predetermined mold. Power himself in fact attempted to play against type in the 1946 film version of W. Somerset Maugham’s The Razor’s Edge, delivering a surprisingly nuanced performance in a difficult role. (Intrestingly, Maugham’s Of Human Bondage in its first film adaptation provided a defining role for Bette Davis early in her career.) Another legendary writer with a first initial followed by a middle and surname, one F. Scott Fitzgerald, had his own battles with “type casting” in Hollywood. After having been arguably the most popular writer in the world (or at least America) in the 1920s, Fitzgerald descended into an alcoholic haze from which he never really fully recovered. Hollywood attempted to squeeze what it could out of the once profligate author, but Fitzgerald’s days in Los Angeles were neither very productive nor very successful. Fitzgerald’s Hollywood years became yet another object lesson in playing against type when Gregory Peck was cast to play the author in the 1959 film version of Sheilah Graham’s memoir Beloved Infidel. Peck is so indelibly imprinted on the general public consciousness as Atticus Finch in To Kill a Mockingbird that it’s sometimes hard to remember some of the darker, less heroic roles that Peck tackled at various times, notably Duel in the Sun. But there was such an innate decency emanating from Peck that even when the actor did play less morally upright characters something seemed slightly out of place, and that’s certainly the case with Beloved Infidel. Peck’s unease in his role is matched, perhaps relatively less noticeably, by Deborah Kerr as Sheilah Graham, one of the great provocateurs of her time (rather like Dorothy Parker), and Kerr, like Peck playing against type, doesn’t quite seem to know what to make of her character. That leaves two iconic performers flailing about in a pretty sudsy melodrama that is, to put it mildly, a rather depressing look at a doomed love affair between two mismatched souls.

As odd as the casting choices in Beloved Infidel inarguably are, the film itself is a rather peculiar enterprise even disregarding its stars. Though Beloved Infidel in book form had sold well, neither Graham nor Fitzgerald (as surprising as it may sound to us today) were exactly household names in 1959. Furthermore, the film is shorn of virtually any real reference to time or place, as if casual comments like “I have to interview Gable” or the sight of a vintage automobile will immediately anchor it in viewers’ minds as taking place in the 1930s. For a film ostensibly about the down and dirty world of Hollywood, it’s an innately clean, almost hygienically pristine, film with little bite or menace, another kind of odd thing, considering its two main characters.

The film tries to make both Graham and Fitzgerald rather conventional characters, a perhaps fatal mistake. The real life Graham was virtually nothing like the character portrayed by Kerr in the film. Graham (née Lily Sheil) was the child of poor Jewish immigrants and was raised in an environment of poverty and hardscrabble ways, and by the time she emigrated to America in the early thirties and had already married (while still in her teens), hardly the patrician “insider” affianced to a Marquess portrayed in the film. (Graham indeed did indeed become engaged to the Marquess of Donegall after she divorced her first husband.) Kerr made a career out of playing “veddy” proper, kind of inherently uptight, women, and she simply doesn’t have the brusque viciousness that marked Graham’s early Hollywood years.

Much like Kerr as Graham, Peck simply seems too nice to be portraying such a haunted man as F. Scott Fitzgerald. So much important emotional context is given short shrift in Sy Bartlett’s screenplay that it actually isn’t entirely the actor’s fault. When a plot point as important as Zelda Fitzgerald’s mental instability and institutionalization is basically dealt with anecdotally (by Eddie Albert, no less), it gives the film a strangely dissociative quality that divorces it from the very elements which would have seemed to provide the most compelling content. Instead we’re left with two very glamorous stars portraying two very glamorous (if troubled) people who seem to have little to no connection to their real life counterparts.

Beloved Infidel plays almost like yet another version of A Star is Born, with an up and coming female supplanting her once very famous husband (surrogate in this case) in the Hollywood pecking order. And actually quite a bit like the 1954 version of that iconic story, Beloved Infidel seems bloated and simply too “shiny” (for want of a better term) for its own roiling emotional content. The 1954 A Star is Born actually manages to deliver some visceral emotional impact despite its flaws, but Beloved Infidel just kind of sits there like a beautifully made up but vacuous movie star, waiting for its close-up.

Beloved Infidel.1959.576p.BDRip-AVC.ZONE.mkv

General
Container:  	Matroska
Runtime: 	2 h 3 min
Size: 	2.80 GiB
Video
Codec: 	x264
Resolution: 	1024x434 
Aspect ratio:  	2.35:1
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.282
Audio
#1:  	English 2.0ch AC-3 @ 224 kb/s (Stereo)

https://nitro.download/view/9EAFB5FA48756BC/Beloved_Infidel.1959.576p.BDRip-AVC.ZONE.mkv

Language(s):English
Subtitles:English

The post Henry King – Beloved Infidel (1959) first appeared on Cinema of the World.

Quote:
There’s arguably been no historical event that’s captured the imagination of Hollywood and film goers alike quite like the second World War. It simply dominates the War genre; it seems there’s a dozen or more such films for every one about Vietnam, never mind those that have received far less attention than even that controversial conflict. Maybe it’s that a war-weary public demanded feel-good adventures, perhaps it was a culmination of technologies and increases in budgets that allowed for such wide-in-scope pictures with great attention to detail, but whatever the reason, there was plenty of room in theaters for both historically accurate and incredibly grand, sweeping War adventures alike. Movies like The Guns of Navarone fall into the latter category; inspired by the novel from acclaimed writer Alistair MacLean, Director J. Lee Thompson’s picture is a fun, sweeping epic that’s more about creating a sense of adventure and suspense than it is accurately recreating a scene from the war. Never mind whether the film suffers through any number of inaccuracies or plays more as a rollicking Action picture, sprinkled with moments of great drama and anticipation rather than as a more straightforward and enveloping true-life experience. The Guns of Navarone just works as a highly entertaining romp in the tradition of big, over-the-top cinema. It’s meant to be a wild ride and not a history lessen, an objective it accomplishes without a hitch.

At the height of World War II, the German army has placed two devastatingly powerful guns in a practically bomb-proof cave on the island of Navarone, overlooking a seaway leading to the vital island of Keros in the Aegean Sea. The guns are preventing passage to Keros where thousands of British troops have been stranded and who find themselves in the middle of a dangerous game meant to bring Turkey into the War on the side of the Axis powers. With no other options, command decides the only way to take out the guns, rescue the men, and prevent Turkey from entering on the wrong side is to conduct a daring small-team commando raid on the gun emplacement. The only problem is that the only way in is to traverse an impossibly steep cliffside. There’s only one man for the job: Captain Keith Mallory (Gregory Peck), an expert climber. The rest of his team comes preassembled. There’s the team leader, Major Roy Franklin (Anthony Quayle); the explosives expert, Corporal Miller (David Niven); an engineer named “Butcher” Brown (Stanley Baker); the Greek informant Spyros Pappadimos (James Darren); and the Greek officer Andrea Stavros (Anthony Quinn). With the odds against them and time running out, the men must use their collective talents to pull off the most daring and outcome-critical mission of World War II.

The Guns of Navarone is built to entertain. It’s big, it’s grand, it’s a whole lot of fun. Still, it’s a fairly standard “Commando”-style picture — a sub-genre that it pretty much defines along with its younger sibling, 1967’s The Dirty Dozen — and does little more than go through the motions, but it nevertheless gets almost everything right. There’s an excellent balance between large-scale action, high adventure, drama, and character development, but the movie rightly focuses on the former two while integrating the film with the latter two as enhancements rather than elements that absolutely define the film. It’s almost just as smart as it is exciting in both the way it’s made and in its insistence that audiences at least partially engage the brain at various points throughout. The end result is a movie that’s been painstakingly tailored to its audience and style, a trait that’s all too often missing in movies both likeminded and otherwise. But that alone doesn’t make it one of the more memorable World War II pictures. It’s also a classy film, featuring a fine cast and delivering a steady pace even in spite of a few scenes that drag on a little longer than necessary. Fortunately, however, that doesn’t erase or even in the least hinder the movie’s goal of serving as pure audience escapism. The Guns of Navarone has everything audiences could want in what amounts to a World War II Fantasy picture, and it delivers it all in a tidy, easily digestible, and outright fun package.

Of course, it just wouldn’t be a high-flying, death-defying, all-out adventure-driven World War II picture without a top-notch cast. There are certainly other genre and era pictures with a more enticing cast list, but The Guns of Navarone squeezes in several name actors who squeeze out some pretty solid performances. The list is topped by the indelible Gregory Peck, whose stalwart countenance is matched by his effective delivery of dialogue and ability to muster a range of dramatic intensity that reflects the film’s numerous ebbs and flows in both action and characterization superbly. Few actors can so capably emote through such a broad range of emotions as Peck. It’s easier to picture the actor in his more dramatically-oriented roles in films like To Kill a Mockingbird, but his efforts in more diverse films like The Guns of Navarone and Cape Fear are the sorts that truly define his greatness as an actor. Peck is matched in intensity and reliability by Anthony Quinn; his Stavros is perhaps the film’s most interesting character. Never dynamically challenged and walking a fine line between resourceful and machismo, the dynamics of Quinn’s character are matched by the quality of the performance and highlighted by an incredible display of “acting inside acting” when Stavros must feign cowardice and disavow culpability to get the team out of a tight pickle. The remainder of the cast is solid, coming together seamlessly and providing a bit of a well-rounded flair to an over-the-top entertainment spectacle.

Guns of Navarone.1961.576p.BDRip-AVC.ZONE.mkv

General
Container:  	Matroska
Runtime: 	2 h 36 min
Size: 	3.66 GiB
Video
Codec: 	x264
Resolution: 	1024x426 
Aspect ratio:  	2.40:1
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.287
Audio
#1:  	English 2.0ch AC-3 @ 224 kb/s
#2:  	English 2.0ch AAC LC SBR @ 60.8 kb/s (Audio Commentary with Director J. Lee Thompson)
#3:  	English 2.0ch AAC LC SBR @ 60.7 kb/s (Audio Commentary with Film Historian Stephen J. Rubin)

https://nitro.download/view/70A457B0E43E8E7/Guns_of_Navarone.1961.576p.BDRip-AVC.ZONE.mkv

Language(s):English
Subtitles:English, Russian

The post J. Lee Thompson – The Guns of Navarone (1961) first appeared on Cinema of the World.

Set in 19th Century New England, the story follows the whaling ship Pequod and its crew. Leading them is Captain Ahab, who was almost killed by the “great white whale,” Moby-Dick. Now he is out for revenge. With the crew that has joined him, Ahab is out to destroy the huge mammal, but soon he learns that his obsession with vengeance is so great that he cannot turn back, eventually leading to the death of him and all save his newest able seaman, Ishmael.

Moby.Dick.1956.720p.mkv

General
Container:  	Matroska
Runtime: 	1 h 55 min
Size: 	5.68 GiB
Video
Codec: 	x264
Resolution: 	1194x720 
Aspect ratio:  	5:3
Frame rate: 	23.976 fps
Bit rate: 	6 706 kb/s
BPP: 	0.325
Audio
#1:  	English 2.0ch AAC LC @ 221 kb/s
#2:  	English 2.0ch AAC LC @ 96.0 kb/s (Commentary with Film Historians Julie Kirgo, Paul Seydor, and Nick Redman)

https://nitro.download/view/8A8F824690C7F14/Moby.Dick.1956.720p.mkv

Language(s):English
Subtitles:English, English SDH, Russian

The post John Huston – Moby Dick (1956) (HD) first appeared on Cinema of the World.

Manuel Artiguez, a famous bandit during the Spanish civil war, has lived in French exile for 20 years. When his mother is dying he considers visiting her secretly in his Spanish home town. But his biggest enemy, the Spanish police officer Vinolas, prepared a trap at the hospital as a chance to finally catch Artiguez.

2.73GB | 2h 01m | 1024×576 | mkv

https://nitro.download/view/551464305A9C4A0/Behold.a.Pale.Horse.1964.WEBRIP.576p.x264.EAC3.KJNU.mkv

Language(s):English
Subtitles:English

The post Fred Zinnemann – Behold a Pale Horse (1964) first appeared on Cinema of the World.

Synopsis:
Highly successful London barrister Anthony Keane takes on the case of Italian Maddalena Paradine who is accused of poisoning her blind military hero husband. Keane comes increasingly under her spell, threatening both his marriage and his career.

2.85GB | 1h 54m | 768×576 | mkv

https://nitro.download/view/E7C248598177D75/The.Paradine.Case.1947.576p.BluRay.x264-HANDJOB.mkv

https://tezfiles.com/file/76d61b793a70c/The.Paradine.Case.1947.576p.BluRay.x264-HANDJOB.mp4

Language:English+commentary
Subtitles:English (muxed)

The post Alfred Hitchcock – The Paradine Case (1947) first appeared on Cinema of the World.