Labour Power Plant
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Labour Power Plant
A new production center, maybe set in an undetermined future. What is being produced here? We shall find out by following the given traces. Two pairs of hands trying to untangle themselves. A human sheep virtually cut into pieces. A warm welcome to the authors and actors of their lives. Stories being told, their narrators dissected. When the gates open, those leaving Labour Power Plant have been made fit for the demands of the labour market. The next production cycle begins… People with their own wills, interests, and desires are being equipped with the different physiological, cognitive, psychological, and social core competencies to transform them into human resources. Meanwhile, the management is introducing new methods to enrich the products with the innovative features of ‘self-evaluation’, ‘self-optimisation’, and, most importantly, ‘self-fulfilment’. A series of interventions are performed, leading to an assembly that may appear strange at first sight.
|Studio :||Spectre Productions, Weltfilm, Volte Slagen,|
|Crew :||Cinematography, Producer,|
|Cast :||Franc Bruneau|
brilliant actors, brilliant editing
If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.
This is a dark and sometimes deeply uncomfortable drama
An atmospheric haunted-house yarn nestled on the coast of Cornwall, Broadway workman Lewis Allen's directorial feature debut THE UNINVITED is not a spine-tingling scare-fest one might expect it to be, but a decorous melodrama seeking out the truth about a past tragedy tinged with a tint of Gothic spookiness owing to Charles Lang's stupendous Oscar-worthy camera work through minimal torchlight and candlelight in the mansion where the London siblings Rick (Milland) and Pamela (Hussey) Fitzgerald dwell. The mansion is called Windward House, which the siblings buy from Commander Beech (a lumpen Crisp) for a knockdown price. The Commander is very cagey about the history of the house and whose only intention is to get the pecuniary profit to secure the future for his 20-year-old granddaughter Stella Meredith (Russell), he brazenly makes it clear that they don't want anything to do with the Fitzgeralds after the deal is cut and dried, intriguing, isn't it? It is not every day someone is offering to buy a jinxed house. But an impressionable and spontaneous Stella takes a liking for the debonair but expansive Rick, confides in him that she feels a strong yet strange connection toward the house where she has been forbidden to set her foot since she was three, when her mother fell to her death from the escarpment in front. So, apparently it is the apparition of Mary, Stella's mother who torments the new residents with the nightly wailing, chilling draft and pungent scent of mimosa (a clever olfactory indicator as we have to take the characters at their word), but the plot thickens when more details are disclosed: Stella's father had a gypsy mistress Carmel, and the rumor says that it is her who murdered Stella's mother then died of illness afterward. At this step, the ghosts become plural, the rub is whether it is Mary's benevolent calling or Carmel's malignant hex that draws Stella back to the place? Or, as we are all fully aware, there would be a final reveal to overturn all the previous presumptions, after the fuss of a seance and the intervention of a formal nurse, Mary's best friend Miss Holloway (Skinner), there is something fishy about Stella's real identity. Not quite often a pair of siblings is put in the center of a household, Milland and Hussey make do with their rivalry-free interaction and instill a patina of sangfroid which doesn't seem to be congruent with the mystical happenings, and willfully gives the movie a jocund vibe, if they are not spooked, how can we, armchair rubberneckers, be startled through vicariousness? Forever remembered by Victor Young's theme strain STELLA BY STARLIGHT, a fresh-faced Gail Russell is pleasant to behold, but couldn't be bothered to register a convincing reaction after receiving the bolt from the blue, which mars this otherwise fairly sustained suspense (along with Rick's half- hearted final smack-down with Mary's misty specter). In fact, the best part comes from a scrumptiously scenery-chewing Cornelia Otis Skinner, flagrantly furnishes the story with the requisite venom which one cannot get enough in the genre of uncanny mysteries, which, if really is your cuppa, bearing in mind that Jack Clayton's THE INNOCENTS (1961) is a far superior achievement to be amazed, transfixed and awe-struck.
I always find it interesting to "rate" a Christian movie. Actually, i find it interesting to see how other people rate a Christian film. Somehow, the average comes in to somewhere between 4 and 6. I think it's because Christians will rate ALL Christian movies higher because it's Christian, and non-Christians will rate it low for the same reason. I don't think either of these is fair.SAVING GOD is a fine movie. Period. There's no - it's good for a Christian film. It is just a good movie. The acting is strong, the characters are believable, the story is engaging and though provoking, and the look and feel of the movie are authentic, and certainly do NOT look like most Christian films(read: cheesy and low budget looking).Ving Rhames poured himself into the role of Armstrong Cane, and it shows in every scene. He is instantly believable, and instantly likable in a "I can't believe he said that kind of way." All of the cast turned in stellar performances, but I was personally particularly impressed with Dwain Murphy. The sky is truly the limit for this talented young man.It would be unfair if I didn't comment on the Christian aspect of the Christian film. As a Christian, I was encouraged by this movie. It shows another step in the maturity of Christian film. Poignant without being preachy is probably the best description I can come up with. This is truly a film that a Christian can show to a non-believing friend, and not feel embarrassed by it. That being said,there is certainly a message of redemption, and salvation in the film, but it is presented in a more natural, real and believable way.I really can't see how anyone can knock this movie for anything other than the fact that they disagree with the Christian message. Because there is really nothing wrong with it. I recommend this movie highly to anyone who likes a good dramatic story, Christian or not.
This drama was made for French TV.It seems that France makes much better TV movies than we do in the US.This starts in the same way many comedies start (meet -cute). Our young handsome hero has not come out to his parents. VERY GOOD REASON, his father is a BIGOT of the first order. Our young lad's somewhat older lover does have an understanding Mother. We do have a very pretty young lady who is a fellow student of our hero. The parents assume its a romance between girl & boy.Now all this we have seen before in many films. We expect the typical ending we see all the time,NOT here,I cannot reveal the ending, I will just say it is a most satisfying one.The acting is first rate all the way through,,The production values are also first rate.I really do not like downing American TV movies, But we do not make this kind of realistic Gay Themed films that can & should be seen by a large audience.Ratings:***1/2 (out of 4) 91 points (out of 100) IMDDB (9 out of 10)
Before the 1950s, the studios owned the movie theaters, and had to make "product" for them continuously. Films were created to utilize contract players, with perhaps a better known "name star" borrowed for the cast. Movies were only intended for a short run, and then meant to be forgotten. That being said, this film is a harmless bit of fluff that was never meant to have a long life. It was just "product" to fill a movie theater. I'm sure nobody at the time expected this to be competition for MGM spectaculars or 20th Century Fox Technicolor beauties.Keep in mind that Ray Bolger made this film three years after "Wizard of Oz", so the comment about MGM "finally" getting it right in casting him, makes no sense. So what if Anne Shirley had fine clothes. Did you ever count how many costume changes Ginger Rogers had in "Kitty Foyle", playing a shop girl? Come on fellas, this is Hollywood, not real life.Sure, Bolger could have used better material, but he never had a much of a movie career. He did better on Broadway, both before and after this film was made. So what is this is a re-make of "Street Girl". Did you ever notice how many movies get re-made? And not only once, but two and three times. "Maltese Falcon" has had at least three, and "Three Blind Mice" got re-made as "Moon Over Miami" and later as "Three Little Girls in Blue".Considering how much junk you see on TVhow many insipid situation comedies that are broadcastthis film compares favorably to what we have available to watch.The songs are tuneful and catchy, keeping with the style of the 1940s. The composers, Mort Greene and Harry Revel, were responsible for a plethora of tunes in that era, together and with other collaborators. You'll find their work in many movie musicals, both A and B grade.Using Martha Mears to dub Anne Shirley's singing was a good choice, since the tone of her voice matches Shirley's speaking voice very favorably. Mears also did Marjorie Reynolds singing in "Holiday Inn". Dubbing is nothing new to Hollywood. Rita Hayworth and Lucille Ball were always dubbed in the many musicals those actresses made.So, while TV has resurrected old films, just consider viewing this one as a nostalgic trip to a time when life was simpler. It's only a little over an hour of your time.