The Story Of Gi Joe 1945 Ok.ru

[Nina Zahra]

PinkString and Sealing Wax is a 1945 British drama film directed by Robert Hamer and starring Mervyn Johns. It is based on a play with the same name by Roland Pertwee. It was the first feature film Robert Hamer directed on his own.[2]

The title derives from the practice of pharmacists in the Victorian and Edwardian age of wrapping drugs in a package sealed with pink string and sealing wax to show the package had not been tampered with.

The story is set in Brighton around 1880. Pharmacist Sutton, a strict, arbitrary father, scolds his son David (Gordon Jackson) for writing love verses instead of seeing to business at the pharmacy. At home, he refuses permission for his older daughter Victoria to train as a professional singer. Sutton then dismisses Peggy, his younger daughter, for her objections to his vivisection of guinea pigs. After supper, David reacts to his dad's tough-as-nails attitude by visiting a local pub. While there, he overhears two women gossiping about the landlord's wife, Pearl, and her liaison with another man. Later, David, feeling tipsy, bumps into Pearl outside and engages her in conversation. By the time he arrives home, he is barely sober enough to prepare for bed.

Later, Victoria and Peggy, forbidden from seeing a popular opera singer's concert, decide to wait outside the stage door. Victoria gains the singer's attention by singing "There's No Place Like Home" (Home! Sweet Home!). The singer invites them to supper and arranges for Victoria to attend an audition at London's Royal College of Music. They collect enough money to pay for Victoria's train fare to London. Her audition is a success. She receives a full scholarship offer, which she accepts against the wishes of her father. Back in Brighton, Pearl visits David at the pharmacy to treat a cut she got from Joe, her husband. David tends to her injury and warns her of tetanus. He discusses the various poisons on the shelf. Pearl steals some of them while he is out of the room fetching her a glass of milk.

Pearl returns to the bar and is told Joe has collapsed drunk upstairs. Pearl cuts Joe's hand with a cut-throat razor while he sleeps. When Pearl eventually plucks up courage to poison him, she is shocked by the ferocity of his death. She locks the door but then bashes on it crying, "Let me in!" Later, a doctor pronounces Joe dead. He suspects death was caused by tetanus from the cut. However, after Joe's burial, a police inspector informs Pearl that her husband's body is to be exhumed for a post mortem. Pearl attempts to avoid suspicion. She visits Mr. Sutton and claims David gave her the poison but said it was to "put Joe off the drink". However, Sutton sees through the ruse and reveals that it was his expert opinion to the police that caused her dead husband's exhumation in the first place. She weeps but gets little sympathy from Sutton. Afterwards, she wanders in a daze to the outer edge of the promenade and throws herself off a cliff.

The film premiered in London on 3 December 1945 at the Tivoli Cinema on The Strand and the Marble Arch Pavilion. The critic in The Times praised Googie Withers and Gordon Jackson for their roles, and concluded that Robert Hamer, "has made, in spite of occasional lapses and longueurs, a promising beginning as a director."[2]

Two O'Clock Courage is a 1945 American film noir directed by Anthony Mann and written by Robert E. Kent, based on a novel by Gelett Burgess. The drama features Tom Conway and Ann Rutherford.[1] It is a remake of Two in the Dark (1936).

The film was based on a 1934 novel that had been filmed by RKO in 1936 as Two in the Dark. It was directed by Benjamin Stoloff who produced Two O'Clock Courage. The film starred Tom Conway, who was appeared in The Falcon series at RKO. Ann Rutherford had just left MGM studios. Filming started August 1944.

Variety called it a "slow paced, drab mystery... situations are obvious, the dialog routine" although it felt the leads "give film some story strength."[3]Has been shown on the Turner Classic Movies show 'Noir Alley' with Eddie Muller.

Yolanda and the Thief is a 1945 American Technicolor MGM musical-comedy film set in a fictional Latin American country. It stars Fred Astaire, Lucille Bremer, Frank Morgan, and Mildred Natwick, with music by Harry Warren and lyrics by Arthur Freed. The film was directed by Vincente Minnelli and produced by Arthur Freed.

The film was a long-time pet project of Freed's to promote his lover Bremer's career, but fared disastrously at the box office. An attempt to create a whimsical fantasy, it ended up, in the words of critic John Mueller, as "egg-nog instead of the usual champagne".[3] Despite admirable production values, it ruined Bremer's career and discouraged Astaire, who decided to retire after his next film, Blue Skies.

In the pastoral country of Patria, young Yolanda Acquaviva celebrates her birthday in a convent among her fellow students. She has turned 18, and must now take over management of her family fortune, formerly overseen by her Aunt Amarilla. Yolanda feels unprepared, but the mother superior assures Yolanda that her guardian angel will watch over her.

Meanwhile two American con men, Johnny Riggs and Victor Trout, have come to Patria because it has no extradition laws. On the train ride through the Patrian countryside, they learn of the vast Acquaviva fortune from a waiter. They are shown a newspaper reporting on the young heiress, Yolanda. They speculate on how they might take advantage of this opportunity.

Johnny telephones Yolanda, claiming to be her guardian angel. He tells her that he will help her but cannot appear in angelic form. He will meet her in human disguise. The naive girl agrees. At their meeting he tells her to call him Mr. Brown. He claims that he will take away the burden of her wealth. She is easily deceived and agrees to his plans.

Eugene Loring was responsible for most of the choreography, with Astaire for once taking a back seat and contributing only in parts. Tactfully, Astaire claimed he wanted to see what it would be like dancing to other choreographers' ideas, a move some critics have attributed to a putative temporary decline in Astaire's creative powers around this time,[3] but it is equally possible that he found the artistic pretensions of the project somewhat off-putting.

Taste and imagination are so rare these days in musical films that a good bit of both is sufficient to offset a pack of obvious faults. So that's why this corner is cheering for Metro's Yolanda and the Thief ... a pleasing compound of sparkling mummery and glistening allures for eyes and ears ... the terpsichorean cavorting of Lucille Bremer and Fred Astaire is simply grand. ... Mr. Astaire and Miss Bremer are plainly thrown considerably out of stride when they are called upon to ramble through some of the talkative scenes. The humor, to put it bluntly, is obvious and dull ... However, the visual felicities and the wackiness of the main idea hold the show together ...[5]

There's an idea in this yarn, but it only suggests itself. It becomes too immersed in its musical background, and the story is too leisurely in pace. ... And the story itself, the way it's done, strains credibility.[6]

Murder in Reverse (also styled Murder in Reverse?) is a 1945 British thriller film directed by Montgomery Tully and starring William Hartnell, Jimmy Hanley and Chili Bouchier.[1] It is based on the story Query by "Seamark" (Austin J. Small).[2]

Tom Masterick, a stevedore in Limehouse, London, is married with a young daughter. He discovers that his wife has been having an affair with a man named Fred Smith. In a fit of rage, Masterick fights Smith in a saloon bar, and the fight spills out onto the streets, leading to a high stakes chase on a docks crane, which ends with Smith falling to his apparent death. Despite no body being found and Masterick 's insistence that he did not commit murder, he is found guilty and sentenced to death, which is later commuted to 15 years in prison, despite his insistence that he saw Smith alive after his apparent death.

Following private investigation, Masterick finds his former wife, now abandoned by Smith and living in poverty. She advises where Smith can be found, but is unsuccessful in her attempt to reconcile with Masterick, who is only driven by his desire for justice and sets out to find Smith.

Masterick finds Smith running a public house and in an act of duplicity, convinces him that he is not out to avenge him. Following a conversation, the two agree to split any compensation that Masterick believes he will receive for his wrongful imprisonment. They visit Crossley, the prosecution barrister at Masterick's trial, now a judge, who is entertaining guests at a dinner party. Masterick explains that there has been a miscarriage of justice, and the victim is alive and well, standing next to him. However, the judge is unwilling to help, citing the passage of time and the legal technicalities surrounding the case.

Frustrated and desperate, Masterick fatally shoots Smith in front of the judge and his guests, seeking revenge for Smith's failure to come forward during the trial. In the epilogue, Sullivan remarks that Masterick cannot be convicted of murder since he already served a prison sentence for it. The killing was, in effect, a "murder in reverse."

The film was shot at Elstree Studios,[1] and on location including Dartmoor prison.[3] It was among the first films directed by Montgomery Tully, who had previously worked on many short films during World War II.[4]

The film saw a general cinema release rather than having a West End showing, due to being an independent production.[5] Hartnell made a personal appearance at the film's showing in Glasgow's Regal and Coliseum Cinema in October 1945.[6]

Reviewing the film in 1949, The Philadelphia Inquirer praised it highly, describing the film as building to "a tricky climax which leaves the audience breathless and virtually able to write its own ending". They particularly highlighted the performances of Hartnell as "extraordinarily good as the betrayed husband", while noted other cast such as Slater, Sheridan and Bouchier as being "excellent".[8]

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