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You tell him the cops couldn't get me no other way, so they hired a couple of gunmen. Rico Bandello quickly rises through the gangster ranks, earning himself the nick-name of Little Caesar. As he sets his sights on the top boss job held by Pete Montana, Rico knows the heat is closing in - fast. Though not the first gangster picture to hit the big screen, Little Caesar is undeniably one of the genres landmark pictures. Adapted from W.R. Burnett's (High Sierra) Al Capone inspired novel, Little Caesar would go on to influence many of the genre highlights that followed, while in the process typecasting its star and icon, Edward G. Robinson. What is perhaps the first striking thing about viewing the film now is actually just how un-violent it is in context to what would follow it, and yet it never needs to be because this is not just about a violent uprising. With the advent of sound proving to be a winner with the fact that it's set outside of prison walls. The gangster genre by and large up to this point in 1931 consisted of mob characters behind bars, the sight of Rico about town amongst the noisy hustle and bustle surely would have depression jaded cinema goers, director Mervyn LeRoy exploits this by utilising opened the eyes and ears of the paying public. I wasn't around back then so have no on the spot frame of reference, but the professional critics point to many allegories that reside within Little Caesar's structure. Talk of paranoias and conformities during economic collapse, which are for sure points of reference for those so inclined to analyse and dissect Caesar as a whole. Yet to me it's a gangster picture first and foremost, outlaying the rise and fall of a very dubious man with big ideals above his relatively small social standing. Rico has ruthless violence constantly itching to burst out, add in definite hints of sexual ambiguity and this makes him a troubling yet most intriguing character. That it works so well obviously is down to Edward G. Robinson's portrayal, big bulging eyes and snappy slang phrases (this themselves must have really hit a chord with the viewersback in the day), Robinson gives the performance that so many have imitated over the years, where he probably defined the archetype in the process. It does look a little dated now, but of course that is only natural, but this is a powerful film that rises above merely being a hoodlum based piece. Producer Darryl Zanuck wanted something different for this burgeoning genre, and with the might of Warners revelling in the power of the talkie movie, they all crafted one hell of a picture that enthrals still today as much as it has influenced through the decades. Things most definitely changed with Little Caesar. 8/10
Edward G. Robinson is great in this early gangster talkie. He is "Rico", a clever and ambitious petty thief who decides it's time to move to the big city. Initially, he goes to work for "Sam Vettori" (Stanley Fields) but not long after, the local Crime Commissioner "McClure" is assassinated. Luckily, his buddy "Joe Massara" (Douglas Fairbanks Jr") is working at that self same club, and manages to warn "Rico" ahead of the subsequent police crackdown. It is now that he starts to smell an opportunity. First his boss, then the bigger boss "Pete Montana" (Ralph Ince) are toppled. Even his pal "Joe" and his gal "Olga" (Glenda Farrell) are not immune from his increasingly megalomanic tendencies. The thing I didn't especially like about this film is the ending - it is just a little too tame, but otherwise this is a solid effort from Mervyn LeRoy that really did bring out the best in Robinson with a quickly paced and enjoyable film.
Between the two World Wars, Yugoslavia was ruled by a monarchy. This movie explores the difficulties faced by a Communist Party organizer under that regime when an order goes out to kill anyone threatening the current regime. At first he is willing to leave the country, but his experience of the situation of workers moves him to stay. Despite efforts of captors to help him escape, he refuses, and dies a martyr's death.
Bad luck and bad judgment follow two generations of men in this Rumanian tragedy, set in the World War II era. Ion (Dan Nutu) seeks to find out why many years ago his father was falsely accused of being a communist, an accusation which led to his execution. He discovers that his father's mistress, now married to a wealthy man, made the accusation for money, as she was deathly afraid of poverty. Ion's own girlfriend seems to be similarly concerned about issues of livelihood, and abandons him for a richer suitor. Frustrated and angry, he burns down these couple's houses and takes up with some anti-communist arms smugglers.
Humbert Humbert is a middle-aged British novelist who is both appalled by and attracted to the vulgarity of American culture. When he comes to stay at the boarding house run by Charlotte Haze, he soon becomes obsessed with Lolita, the woman's teenaged daughter.
Four best friends (Tibby, Lena, Carmen & Bridget) who buy a mysterious pair of pants that fits each of them, despite their differing sizes, and makes whoever wears them feel fabulous. When faced with the prospect of spending their first summer apart, the pals decide they'll swap the pants so that each girl in turn can enjoy the magic.
In the midst of his crumbling relationship, a radio show host begins speaking to his biggest fan—a young boy—via the telephone. But when questions about the boy's identity come up, the host's life is thrown into chaos.
Accio and Manrico are siblings from a working-class family in 1960s Italy: older Manrico is handsome, charismatic, and loved by all, while younger Accio is sulky, hot-headed, and treats life as a battleground — much to his parents' chagrin. After the former is drawn into left-wing politics, Accio joins the fascists out of spite, but his flimsy beliefs are put to test when he falls for Manrico's like-minded girlfriend.
Deformed since birth, a bitter man known only as The Phantom lives in the sewers underneath the Paris Opera House. He falls in love with the obscure chorus singer Christine, and privately tutors her while terrorizing the rest of the crew.
Takeoff on the Godfather with the son of a mafia king taking over for his dying father.
The Candyman, a murderous soul with a hook for a hand, is accidentally summoned to reality by a skeptic grad student researching the monster's myth.
Former FBI Agent Will Graham, who was once almost killed by the savage Hannibal 'The Cannibal' Lecter, now has no choice but to face him again, as it seems Lecter is the only one who can help Graham track down a new serial killer.