Altering Environments Affect the Psychological State Caitlin Hesketh SUNY Geneseo

Total Page:16

File Type:pdf, Size:1020Kb

Altering Environments Affect the Psychological State Caitlin Hesketh SUNY Geneseo Proceedings of GREAT Day Volume 2010 Article 24 2011 Altering Environments Affect the Psychological State Caitlin Hesketh SUNY Geneseo Follow this and additional works at: https://knightscholar.geneseo.edu/proceedings-of-great-day Creative Commons Attribution 4.0 License This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation Hesketh, Caitlin (2011) "Altering Environments Affect the Psychological State," Proceedings of GREAT Day: Vol. 2010 , Article 24. Available at: https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2010/iss1/24 This Article is brought to you for free and open access by the GREAT Day at KnightScholar. It has been accepted for inclusion in Proceedings of GREAT Day by an authorized editor of KnightScholar. For more information, please contact [email protected]. Hesketh: Altering Environments Affect the Psychological State Altering Environments Affect the Psychological State Submitted by: Caitlin Hesketh During the 1950s, the decade subsequent to the At this point in the novel Graham does publishing of Eric Ambler’s Journey into Fear, not see the necessity of taking action to save his Graham Greene’s, The Ministry of Fear, and life. He cannot comprehend how closely he is Henry Green’s, Back, a new subfield of tied to the inner workings of the war and states: Psychology was established: Environmental Nonsense, Kopeikin! You must be out of Psychology. This subfield “studies the your senses. What conceivable reason relationship between environments and human could anyone have for wanting to kill behavior and how they affect one another” me? I’m the most harmless man alive. (Conaway). These characters’ actions, thoughts, (Ambler, 42) and beliefs undergo alteration due to the It is clear at this point in the novel that physical or emotional setting that they are in. In Graham’s psychological environment is one of Journey, Graham’s ability to take action indifference and detachment from the outside increases only after he transfers settings. world. He does not comprehend that his work Through relocation, Ministry's Arthur Rowe supplies a portion of the arms used to fight the finds both his psychology and ability for war; ultimately endorsing this fighting and romantic engagement altered. Conversely, profoundly affecting numerous people. Because Charley, Back's returning World War II veteran, neither Graham’s physical or emotional remains in a single setting altered by his lover's environment has been affected by the war absence. before this time, he cannot act in any other Ambler’s protagonist, Graham, is an fashion. employee for an armaments company during Graham’s environment continues to World War II. Because of his unique blend of affect his behavior after he has boarded the boat technical and interpersonal abilities, Graham that will return him home. Midway though this travels to various countries as a representative. journey home the boat docks in Greece where While abroad, Graham becomes the target of Graham receives word that there is a new Romanian terrorists in a plot to prevent Turkey passenger onboard. Graham finds that the man from acquiring weaponry. This character’s who has boarded the ship, Banant, is the inability to take action is prevalent from the assassin who attempted to murder him in beginning of the novel when he experiences his Turkey. The introduction of this character first brush with death. After a night of within the confined boat setting alters Graham’s entertainment with the company’s Turkish emotional environment. He transitions from a representative, Kopeikin, Graham returns to his world of detachment to a world of inescapable hotel room and is attacked by a man waiting in paranoia. The greatest marker of this change in the shadows. When Graham is grazed by the temperament is a memory of a past feeling, intruder’s bullet, he turns to Kopeikin for which Graham recalls as a, “curious but vaguely assistance. Kopeikin suggests that Graham familiar feeling… associated with the smell of change his plans for travel back to England and antiseptics and the singing of a kettle” (Ambler, explains the severity of the situation. 121). Graham recounts a time when an experiment at work went wrong and a coworker 176 Published by KnightScholar, 2011 1 Proceedings of GREAT Day, Vol. 2010 [2011], Art. 24 was severely injured. The same disturbing Graham has undergone are positive and that he feeling that he associates with this past incident will continue to move forward with his newly returns to him. acquired psyche. Due to the addition of Banat to the boat, In the novel The Ministry of Fear, Graham is forced out of his original emotional Graham Greene’s protagonist Arthur Rowe can environment and must take action in order to be analyzed through the lens of psycho save his own life. In an attempt to do this geography because he is greatly affected by Graham seeks to procure a revolver after his is each geographical environment that he is in. stolen out of his quarters. He enlists the help of Psycho geography is, "The study of specific his love interest on the boat, Josette. The two effects of the geographical environment, conspirators plot to steal from Jose, Josette’s consciously organized or not, on the emotions husband. In this portion of the text the revolver and behavior of individuals” (Blissett, Home). is a larger metaphor for Graham’s continued Rowe’s emotions and behaviors differ inability to take action into his own hands. depending on whether he is in an urban setting Although his behavior is changing due to the during World War II, or in a mental resort shift in his emotional environment, he fails at secluded from the city and the events of the war. obtaining a revolver in this instance, as well as At the commencement of the novel in a second attempt to steal Banant’s weapon. Rowe is depicted as both a victim and an This suggests that Graham’s physical aggressor. He has committed the crime of environment must also change in order for him murder against his wife and continuously asserts to be able to take action. Graham’s psychology this fact with casual statements such as, will not undergo a reformation until he fulfilled “Perhaps, I ought to tell you that I am a murder his obsession with finding a revolver and also myself” (Greene, 26). It is clear that Rowe sees physically removed himself from the boat. himself an aggressor; however, he is also a The resolution of the novel includes victim of circumstance. The crime that he is Graham shifting from his paranoid emotional tried for is ruled a “mercy killing” due to his environment to a resolute one. After finding his wife’s poor health and his inability to watch her ally on the boat dead, Graham begins to take suffer. (Greene, 27). Rowe is also a victim of risks by actively planning his escape from his his surroundings. Although the urban setting enemies. His first action is to finally acquire a that he lives in is not responsible for his actions revolver from a Frenchman on board. After against his wife, it shapes how Rowe views Graham exits the boat he is no longer confined himself and how he behaves after the crime is or paranoid, but realizes that in order to survive committed. Rowe begins to characterize the he must change the way that he thinks and city that he lives in as an enemy and as a result behaves. While riding in a vehicle with his he, “grows into criminality like a habit of captors Graham seizes an opportune moment to thought” (Greene, 31). To Rowe the city is a save his life. secret world and he feels as if he is exiled from In that second Graham acted… A sudden the places that he once frequented before the blind fury seized him… Before he knew murder. Rowe sees himself as a murderer what he was doing, he had pulled out because he has committed the crime and also Mathis’s revolver and fired it full in because everywhere he turns, people and places Banant’s face. (Ambler, 261) remind him of the social ramifications of his act. The change in Graham’s physical and emotional These feelings of isolation inflict a want in environments is so great that he is able to Rowe to return to his childhood environment transition from a disconnected inability to act, to where he was cared for and still had the the ability to take human lives. This new found potential to love and be loved. behavior continues to present itself in Graham’s At the climax of the novel Rowe loses character even after he is removed from the his memory due to a bomb planted by a ministry stimulus that precipitated it. At the close of the working for the axis powers. His loss of novel there is a sense that the alterations that memory evokes a change in his emotional 177 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2010/iss1/24 2 Hesketh: Altering Environments Affect the Psychological State environment as well as in his physical setting. because he is not able to drastically shift Rowe survives the bomb’s blast and wakes up to physical environments like the characters find himself stationed in a “resort” filled with Graham and Rowe. Before the war Charley is patients who are battling war related traumas. depicted as out of touch and in a, “usual state of In this setting, Rowe is able to return to a not knowing” (Green, 5). He is romantically pseudo childhood because he is cared for by Dr. involved with a woman named Rose and Forester and his staff, and also because he no continues to see her even after she marries longer remembers his past.
Recommended publications
  • Graham Greene and the Idea of Childhood
    GRAHAM GREENE AND THE IDEA OF CHILDHOOD APPROVED: Major Professor /?. /V?. Minor Professor g.>. Director of the Department of English D ean of the Graduate School GRAHAM GREENE AND THE IDEA OF CHILDHOOD THESIS Presented, to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Martha Frances Bell, B. A. Denton, Texas June, 1966 TABLE OF CONTENTS Chapter Page I. INTRODUCTION 1 II. FROM ROMANCE TO REALISM 12 III. FROM INNOCENCE TO EXPERIENCE 32 IV. FROM BOREDOM TO TERROR 47 V, FROM MELODRAMA TO TRAGEDY 54 VI. FROM SENTIMENT TO SUICIDE 73 VII. FROM SYMPATHY TO SAINTHOOD 97 VIII. CONCLUSION: FROM ORIGINAL SIN TO SALVATION 115 BIBLIOGRAPHY 121 ill CHAPTER I INTRODUCTION A .narked preoccupation with childhood is evident throughout the works of Graham Greene; it receives most obvious expression its his con- cern with the idea that the course of a man's life is determined during his early years, but many of his other obsessive themes, such as betray- al, pursuit, and failure, may be seen to have their roots in general types of experience 'which Green® evidently believes to be common to all children, Disappointments, in the form of "something hoped for not happening, something promised not fulfilled, something exciting turning • dull," * ar>d the forced recognition of the enormous gap between the ideal and the actual mark the transition from childhood to maturity for Greene, who has attempted to indicate in his fiction that great harm may be done by aclults who refuse to acknowledge that gap.
    [Show full text]
  • The Broken Ideals of Love and Family in Film Noir
    1 Murder, Mugs, Molls, Marriage: The Broken Ideals of Love and Family in Film Noir Noir is a conversation rather than a single genre or style, though it does have a history, a complex of overlapping styles and typical plots, and more central directors and films. It is also a conversation about its more common philosophies, socio-economic and sexual concerns, and more expansively its social imaginaries. MacIntyre's three rival versions suggest the different ways noir can be studied. Tradition's approach explains better the failure of the other two, as will as their more limited successes. Something like the Thomist understanding of people pursuing perceived (but faulty) goods better explains the neo- Marxist (or other power/conflict) model and the self-construction model. Each is dependent upon the materials of an earlier tradition to advance its claims/interpretations. [Styles-studio versus on location; expressionist versus classical three-point lighting; low-key versus high lighting; whites/blacks versus grays; depth versus flat; theatrical versus pseudo-documentary; variety of felt threat levels—investigative; detective, procedural, etc.; basic trust in ability to restore safety and order versus various pictures of unopposable corruption to a more systemic nihilism; melodramatic vs. colder, more distant; dialogue—more or less wordy, more or less contrived, more or less realistic; musical score—how much it guides and dictates emotions; presence or absence of humor, sentiment, romance, healthy family life; narrator, narratival flashback; motives for criminality and violence-- socio- economic (expressed by criminal with or without irony), moral corruption (greed, desire for power), psychological pathology; cinematography—classical vs.
    [Show full text]
  • Fritz Lang © 2008 AGI-Information Management Consultants May Be Used for Personal Purporses Only Or by Reihe Filmlibraries 7 Associated to Dandelon.Com Network
    Fritz Lang © 2008 AGI-Information Management Consultants May be used for personal purporses only or by Reihe Filmlibraries 7 associated to dandelon.com network. Mit Beiträgen von Frieda Grafe Enno Patalas Hans Helmut Prinzler Peter Syr (Fotos) Carl Hanser Verlag Inhalt Für Fritz Lang Einen Platz, kein Denkmal Von Frieda Grafe 7 Kommentierte Filmografie Von Enno Patalas 83 Halbblut 83 Der Herr der Liebe 83 Der goldene See. (Die Spinnen, Teil 1) 83 Harakiri 84 Das Brillantenschiff. (Die Spinnen, Teil 2) 84 Das wandernde Bild 86 Kämpfende Herzen (Die Vier um die Frau) 86 Der müde Tod 87 Dr. Mabuse, der Spieler 88 Die Nibelungen 91 Metropolis 94 Spione 96 Frau im Mond 98 M 100 Das Testament des Dr. Mabuse 102 Liliom 104 Fury 105 You Only Live Once. Gehetzt 106 You and Me [Du und ich] 108 The Return of Frank James. Rache für Jesse James 110 Western Union. Überfall der Ogalalla 111 Man Hunt. Menschenjagd 112 Hangmen Also Die. Auch Henker sterben 113 Ministry of Fear. Ministerium der Angst 115 The Woman in the Window. Gefährliche Begegnung 117 Scarlet Street. Straße der Versuchung 118 Cloak and Dagger. Im Geheimdienst 120 Secret Beyond the Door. Geheimnis hinter der Tür 121 House by the River [Haus am Fluß] 123 American Guerrilla in the Philippines. Der Held von Mindanao 124 Rancho Notorious. Engel der Gejagten 125 Clash by Night. Vor dem neuen Tag 126 The Blue Gardenia. Gardenia - Eine Frau will vergessen 128 The Big Heat. Heißes Eisen 130 Human Desire. Lebensgier 133 Moonfleet. Das Schloß im Schatten 134 While the City Sleeps.
    [Show full text]
  • 1 Ministry of Fear 1-153 6/11/13, 10:29 Am Introduction
    THE MINISTRY OF FEAR AN ENTERTAINMENT Grahame Greene Introduction by richard greene Coeor’s LıBrarY 3 1 Ministry of Fear 1-153 6/11/13, 10:29 am Introduction Spies, fugitives, double-agents, traitors, informers: Graham Greene seemed to carry these stock characters of fiction inside his skin. His imagination endowed them with moral urgency. He found in the plots of the common thriller, its concealments and duplicities, the elements of a more universal tale. His characters become the agents of the divided heart and their yearning for safety, escape, refuge, becomes a fable of the modern world. Graham Greene’s childhood would have divided any heart. Born in 1904, he was the son of a master (later headmaster) of Berkhamsted School in Hert- fordshire. After a quiet childhood, he was sent at the age of thirteen to live as a boarder in the school. This placed him on the other side of a symbolic green baize door which separated the family quarters from the school. The other boys assumed he was a Judas, reporting to his father all that happened in the dormitory. Two of his friends subjected him to elaborate mental cruelties, which he recalled as torture. Greene fell apart, made attempts at suicide, and eventually ran away to Berkhamsted Common, intending to become, as he wrote in his autobio- graphy, A Sort of Life (1971), ‘an invisible watcher, a spy on all that went on’. His parents brought him back into the family quarters, but he was never the same. In a family with a devastating history of mental illness, he showed signs of depression and instability.
    [Show full text]
  • Proquest Dissertations
    A THESIS ON GRAHAM GREENS MASTER IN THE FICTIONAL STUDY OF EVIL By Sister Sadie Hedwig Neumann, S.G.M. Thesis presented to the Faculty of Arts of the TJniversity of Ottawa in view to obtaining the degree of Master of Arts. mmjw Saint Norbert, Manitoba, 1951 UMI Number: EC55492 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI® UMI Microform EC55492 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ACKNOWLEDGMENT This thesis has been prepared under the direction of Reverend Father Rene Lavigne, O.M.I., Dean of the Faculty of Arts. The technique has been submitted to Mr. George Buxton, M.A., D.Lit., Director of the Department of English Literature, of the Faculty of Arts, University of Ottawa. To all who have offered their kind co-operation, we wish to express our thanks. TABLE OF CONTENTS Chapter page INTRODUCTION iv I.- BIOGRAPHY 1 Principal Works 8 II.- CATHOLIC PHILOSOPHY IN FICTION 9 III.- WRITING TECHNIQUE 16 IY.- INTERPRETATION OF OUR TIMES 26 V.- THE MAN WITHIN 41 71.- LESSER WORKS 52 1.
    [Show full text]
  • Sharon Knolle
    Sharon Knolle n the noir landscape, nestled between hard-boiled writers synony- dramatist Terence Rattigan (Separate Tables). Not surprisingly, Greene mous with the genre—Dashiell Hammett, Raymond Chandler, James was happiest with those adaptations. M. Cain—are the works of literary giant Graham Greene, who par- The world-weary way Greene ended most of his novels was typically layed his own experiences with the British Secret Service into nov- considered too downbeat for moviegoers; the films based on his books els that included Our Man in Havana and The Quiet American. The have endings ranging from slightly less bleak to positively upbeat. The final classicI film noir films based on his work—This Gun for Hire (1942), Minis- shot of The Third Man—where after Harry Lime’s funeral, Anna (Alida Valli) try of Fear (1944), Brighton Rock (1947) and The Third Man (1949)—all walks inexorably toward an increasingly optimistic Holly Martins (Joseph bear his particular brand of profound cynicism and moral conflict. Cotten) … and then right past him, without breaking stride—remains one of Made by four different directors, these films reached the screen with the most stingingly bitter endings in film history. varying degrees of fidelity to their sources. Greene himself wrote the Oddly, it was Greene who advocated for a finale in which Anna and Holly end screenplay for The Third Man and cowrote Brighton Rock’s script with up together. For once, Greene was the odd man out in desiring a happy ending. 26 NOIR CITY I NUMBER 27 I filmnoirfoundation.org filmnoirfoundation.org I NUMBER 27 I NOIR CITY 27 Greene set A Gun for Sale in the British city of Nottingham, where a munitions magate hires an assassin to kill a British minister; the film version, starring Veronica Lake and Alan Ladd, moves the story to California, undermining the book’s geopolitical relevance THIS GUN FOR HIRE (1942) nett, who wrote such classic crime novels as High Sierra and The As Greene writes in his 1980 autobiography, Ways of Escape, this Asphalt Jungle.
    [Show full text]
  • Notes for the Woman in the Window
    IAP Film Series, January 2012: Five Émigré Directors and the Rise of Film Noir SCREENING #2: The Woman in the Window (99 minutes) Production Company International Pictures (independent production) US Release 3 November 1944 (One month after Double Indemnity) Producer Nunnally Johnson Director Fritz Lang (born in Vienna in 1890 to a middle-class Jewish family, but his mother converted to Catholicism; studied painting, 1910-1914, until World War I; served in the Austrian army until wounded in 1916. Entered the film industry after the war and became a leading director at UFA in Berlin, where he created superb films such as Siegfried (1924) and Metropolis (1927), as well as others about an underworld criminal mastermind, “Dr. Mabuse”; adapted ably to the coming of sound with M, a still-powerful study of the capture of a serial killer of children; left Germany after Goebbels invited him to become head of the new state film institute; emigrated to the USA in 1934; directed dozens of films for various studios, many of them concerned with criminals and ordinary citizens placed under extraordinary pressures—economic, social, and moral. Just before Woman in the Window he directed two anti-Nazi thrillers, Hangmen also Die! and Ministry of Fear. The Woman in the Window, his 25th feature, was the first of two that featured the same three actors: E. G. Robinson, Joan Bennett, and Dan Duryea. The next was Scarlet Street, and the two films are almost mirrors of one another in terms of the themes and story trajectories. His career declined somewhat in the 1950s, but the French and American “auteurist” critics considered him one of the great masters from one end of his career to the other.
    [Show full text]
  • A Sheffield Hallam University Thesis
    Reluctant Heroes, Ambivalent Patriots : Eric Ambler, Graham Greene and Middlebrow Leftist Thrillers 1932-1945 DOYLE, Christopher Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/25601/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/25601/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Reluctant Heroes, Ambivalent Patriots : Eric Ambler, Graham Greene and Middlebrow Leftist Thrillers 1932-1945 Christopher Doyle A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy April 2018 1 Table of Contents Introduction....................................................................................................................5 The Evolution of Popular Genres..........................................................................8 Defining the Espionage Novel.............................................................................14 The Pre-History of the Ambler-Greene Story.......................................................21 Chapter 1: ‘a little mild mental recreation from the stern realities
    [Show full text]
  • ENG 5006-001: Studies in 20Th Century British Lit Chris Wixson Eastern Illinois University
    Eastern Illinois University The Keep Fall 2016 2016 Fall 8-15-2016 ENG 5006-001: Studies in 20th Century British Lit Chris Wixson Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/english_syllabi_fall2016 Recommended Citation Wixson, Chris, "ENG 5006-001: Studies in 20th Century British Lit" (2016). Fall 2016. 73. http://thekeep.eiu.edu/english_syllabi_fall2016/73 This Article is brought to you for free and open access by the 2016 at The Keep. It has been accepted for inclusion in Fall 2016 by an authorized administrator of The Keep. For more information, please contact [email protected]. Eng 5006: Blitz Modernism and the 1940s in British Fiction fall 2016 I Section 001 Dr. Chris Wixson "There is still an astonishingly general belief, or hope, or perhaps a mixture of both, that something will happen. What that something may be remains vague, but it is argued that enough things have happened already to confound anybody who imagined that this war was going to adhere to the rules." ---Mollie Panter-Downes, London War Notes October 29, 1939 "This is a time for hard writers." ---Elizabeth Bowen (1941) course philosophy This course is an experiment as it endeavors to stage a meaningful collision between literature and other forms of public writing. It is research-centered, offering opportun·1ties for locaf1ng primary sources from digital archives as well as more "traditional" secondary sources of literary criticism and historical scholarship. The endgame is to employ these varied sources in a polished, articulate argumentative 18-20 page essay. This seminar will begin by exploring five cornerstone novels from the period, written by Elizabeth Bowen, Henry Green, Graham Greene, Patrick Hamilton, and Virginia Woolf.
    [Show full text]
  • Lang, Fritz , 1890–1976, German-American Film Director, B
    Lang, Fritz , 1890–1976, German-American film director, b. Vienna. His silent and early sound films, such as Metropolis (1926), are marked by brilliant expressionist technique. He gained worldwide acclaim with M (1933), a study of a child molester and murderer. After directing 15 films, Lang fled Nazi Germany (1933) to avoid collaborating with the government and settled in the United States. His 20 Hollywood films continued his exploration of criminality and the cruel fate that can overtake the unwary. His notable American works include Fury (1936), You Only Live Once (1937), Hangmen Also Die (1943), The Big Heat (1953), and Beyond a Reasonable Doubt (1956). Born in Vienna, Austria, Fritz Lang’s father managed a construction company. His mother, Pauline Schlesinger, was Jewish but converted to Catholicism when Lang was ten . After high school he enrolled briefly at the Technische Hochschule Wien, then started to train as a painter. From 1910 to 1914 he traveled in Europe and, he would later claim, also in Asia and North Africa. He studied painting in Paris in 1913-14. At the start of the First World War he returned to Vienna, enlisting in the army in January 1915. Severely injured in June 1916, he wrote some scenarios for films while convalescing. In early 1918 he was sent home shell-shocked and acted briefly in Viennese theater before accepting a job as a writer at Erich Pommer's production company in Berlin, Decla. In Berlin, Lang worked briefly as a writer and then as a director, at UFA and then for Nero-Film, owned by the American Seymour Nebenzahl.
    [Show full text]
  • Film Noir Database
    www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H.
    [Show full text]
  • M Movie Review & Film Summary (1931) | Roger Ebert
    M Movie Review & Film Summary (1931) | Roger Ebert 14/01/14 19:30 In Memoriam 1942 – 2013 | “Roger Ebert loved movies.” | ★ ★ ★ ★ M M (1931) Cast Peter Lorre as Franz Becker , Otto Wernicke as Inspector Lohmann , Gustaf Grundgens as Schraenker , Theo Lingen as Bauernfaenger , Ellen Widmann as Mme. Becker , Directed by Fritz Lang, Written by Lang, Thea, Action, Crime, Drama, Foreign, Thriller Rated NR adult theme makes it unsuitable for children 117 minutes WATCH THIS MOVIE Netflix Mail (DVD/Blu-ray) iTunes (Streaming) VUDU (Streaming) Amazon Instant Video (Streaming) SnagFilms (Streaming) Hulu Plus (Streaming) http://www.rogerebert.com/reviews/great-movie-m-1931 Page 1 sur 4 M Movie Review & Film Summary (1931) | Roger Ebert 14/01/14 19:30 Powered by GoWatchIt (http://gowatchit.com) ★ ★ ★ ★ | Roger Ebert August 3, 1997 | ☄ 4 The horror of the faces: That is the overwhelming image that remains from a recent viewing of the restored version of “M,” Fritz Lang's famous 1931 film about a child murderer in Germany. In my memory it was a film that centered on the killer, the creepy little Franz Becker, played by Peter Lorre. But Becker has relatively limited screen time, and only one consequential speech--although it's a haunting one. Most of the film is devoted to the search for Becker, by both the police and the underworld, and many of these scenes are played in closeup. In searching for words to describe the faces of the actors, I fall hopelessly upon “piglike.” What was Lang up to? He was a famous director, his silent films like "Metropolis” worldwide successes.
    [Show full text]