A British scientist is discovered to have been passing information to the Communists, then kills himself. Another scientist decides that they might have brainwashed him by a sensory deprivation technique, but he doesn’t know if someone really can be convinced to act against their strongest feelings. So he agrees to be the subject in an experiment in which others will try to make him stop loving his wife.
Basil Dearden
Director
Dirk Bogarde
Dr. Henry Laidlaw Longman
Mary Ure
Oonagh Longman
John Clements
Major Hall
Michael Bryant
Dr. Danny Tate
Wendy Craig
Annabella
Harold Goldblatt
Professor Sharpey
Geoffrey Keen
Calder
Terry Palmer
Norman
Norman Bird
Aubrey
Terence Alexander
Rowing Coach (uncredited)
Grace Arnold
Train Passenger (uncredited)
The film is a simple love story reminiscent of stories like The Notebook released in 2004. Sylvie and Robert are rarely actually together in the film, however; time and circumstance keep them away from each other, and the audience waits with bated breath to see them find one another over and over.
David Fincher is back in his playpen, with a dark and chilling thriller.
Suppressed intergenerational family trauma and healing, warm welcome to the Marvel Cinematic Universe team, and Awkwafina's humor really make this film the real MVP.
White audiences saw Peola’s mixed-race passing as a Black woman’s struggle to be white. Black audiences saw it as the rebellion of a Black woman trying to gain privileges only given to white people.
This is not a story of oppression but a story of liberation.
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.