Tunis, 1943. Battle-weary troops of Company C have orders to occupy a derelict Tunisian farmhouse. They are to establish an artillery observation post, reporting on enemy movements before the imminent offensive to liberate Tunis. However German infantrymen discover their operations. The ensuing battle for control of this small piece of land will decide who controls Tunis but more critically, the victors in the battle of democracy versus fascism.
Dutch painter Jan-Van Rooyer hurries to keep a rendezvous with Jacqueline Cousteau, an elegant, sophisticated Frenchwoman, slightly his elder, whose relationship with him had turned from art student into one of love trysts. He arrives and is confronted by Detective Police Inspector Morgan who accuses him of having murdered Jacqueline.
In the small variety company of the Cavaliere Martoni, three chorus girls in search of fortune must decide their fate: Vera marries an industrialist, even if she doesn’t love him; Franca contracts a happy marriage; only Margherita becomes a star of the show.
Madeline is one of twelve little girls at a boarding school in Paris. They all act exactly alike except things are always happening to Madeline. When she gets appendicitis all of the girls visit her and are impressed by her scar. Later the other girls claim they too are sick and want an operation. The head of the school smiles because she knows all is well.
When it was released in 1950, The Sinner inspired vigorous protests and caused huge controversy for a film industry just getting back on its feet. Its tale of a young woman who survives as a prostitute after the war and later falls in love with a dying artist shocked conservatives and religious authorities. A popular actor and director of comedies since the 1920s, director Forst, in his first postwar movie, reveals a considerable feeling for melodrama. His narration proceeds without any sensationalism, and the theme of a great, ill-fated love is skillfully developed through the unfolding memories of the woman.
The Savage Eye is an experimental hybrid between fiction and documentary, portraying urban life as both a nightmare and a release. The poetic text sometimes contrasts with intriguing, neutral footage. When it was released in 1960, The Savage Eye was seen as an important example of cinema verité. Filmmakers Sidney Meyers, Ben Maddow and Joseph Strick worked on the film for a full four years in their free time. There’s an important role for music, performed by a brass ensemble and composed by Leonard Rosenman, who went on to write scores for films such as Barry Lyndon (1975) and Sybil (1976).
An American gunslinger kills a Mexican man in California immediately after the Mexican-American war. The killer is arrested and put on trial for murder with the Hispanic population waiting to learn of American justice.
A troublemaker returns to town only to find his old tearaway pals have joined a supervised motorcycle club. Friction erupts between him and the new leader about this goody-goody setup, and about the charms of gang moll Terry.