Maud and Cecil have been in love since they were children in the pre-Civil War South, but Howard, Maud's domineering brother, disapproves of a marriage between them. Instead, he has chosen English nobleman Lord Lovelace as the ideal fiancé for Maud. On the night that the engagement is to be announced, however, she elopes with Cecil. The runaways are caught, though, after which, because of her loyalty to her brother, Maud sends Cecil away. When the Civil War begins, Howard, Lovelace and Cecil all volunteer, and are all soon reported killed in action. Heartbroken, Maud decides to become a nun, and takes her vows just moments before Cecil, whose death was mistakenly reported, returns from the battlefield and comes to the convent to ask her to marry him.
Rupert Julian
Director
Francelia Billington
Maud
Rupert Julian
Cecil
Zoe Rae
Maud - as a Child (as Zoe Bech)
Gordon Griffith
Cecil - as a Child
Douglas Gerrard
Lord Lovelace
Jack Holt
Howard
George Hupp
Howard - as a Child
Nanine Wright
Cecil's Mother (as Nannie Wright)
Ben Horning
Maud's Father
Paul Weigel
Cecil's Father
So with the recent (rightful) public apologies to Britney from comedians and media for trashing her image in the 2000s, perhaps some people should also give Crossroads the fair chance it deserves. It won't be everyone's cup of tea, and that is fine. Personally, I will take my girl Britney and her movie, over the next testosterone "Dude Flick" any day.
Elio could be seen as fantastic piece of representation, showing lonely children who feel ostracized that they are not alone. That is, unless you look behind the curtain.
Despite being an over-talked-about piece of media, 'Euphoria' has some interesting articles about it with personal angles that oppose the average tendency to be generic.
A historic documentary about the iconic Disney character gives viewers a glimpse into animation.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.