El filme comienza con un hombre vagando por el campo. Encuentra a una mujer vestida de blanco y comienzan a besarse, hasta que eventualmente caen sobre el pasto. El hombre lleva a la mujer vestida de blanco a conocer a una mujer mayor que la rechaza y la hace huir. El hombre va en su búsqueda y nota que ella tiene patas de pato, él cae al suelo y muera mientras ella coloca un pequeño costal café cerca de su pecho. La película muestra después a un grupo de hombres cargando su cuerpo hacia su ceremonia fúnebre mientras la mujer mayor llora detrás de la procesión y la mujer de blanco observa escondida en una esquina. Cuando el cuerpo es dejado solo, la mujer de blanco se aproxima para tomar el costal café y desaparece.
The film begins with a man wandering in the country. He finds a woman dressed in white and they begin to kiss, eventually falling on the grass. The man takes the woman dressed in white to meet an older woman who rejects her and makes her leave. He goes looking for the woman in white and sees that she has duck legs, he falls and dies while she places a small brown sack by his chest. The film then shows men carrying his body to his burial while the older woman cries behind the funeral procession and the woman in white watches hiding in a corner. When the body is left alone, the woman in white approaches him and takes the brown sack back and leaves.
"Film is a comedy about how a married couple originally met" Archives of Ontario.
"The Bystander is a study of a young, apparently bashful fellow who studies other boys and girls having a good time and imagines just what they might do as they pair off and trundle out into the night. He, himself, cannot muster the courage to join them" PSA Journal, Sept. 1966, 35.
"Una cinta cargada de referencias a Jean-Luc Godard (Los Carabineros, 1963) pero sobre todo concentrada en la crítica mordaz al radicalismo de izquierda. Una vez más Marco Antonio Madrid hace el papel de protagonista, un joven de pelo largo, pantalón de mezclilla y saco, que se dedica a ligar en los cafés de la Zona Rosa adoctrinando a las mujeres. Lee a Marx después de hacer el amor, y se junta con sus amigos para brindar por "la muerte de la intelectualidad burguesa". Montero utiliza intertítulos como recurso irónico, una suerte de narrador externo que interpela la historia: "¿Qué es la intelectualidad burguesa?". La lucha revolucionaria del joven y sus amigos está teñida de sentido del humor. En una secuencia que recuerda mucho a Los Carabineros, suben al techo de una fábrica para iniciar la lucha armada (...) Por último un cartel proporciona una última burla: "Y si el sol es burgués detendremos al sol" " (Vázquez Mantecón, 2012).
"A film loaded with references to Jean-Luc Godard (The Carabineers, 1963), but above all focused on biting criticism to the radical left. Once again Marco Antonio Madrid plays the role of the lead character, a young man with long hair, jeans and coat, that dedicates his time to hook up in the coffee shops of the Zona Rosa indoctrinating women. He reads Marx after making love and he gets together with his friends to toast for the "death of the bourgeois intellectuality". Montero uses intertitles as a resource for irony, a sort of outside narrator that interpellates the story: "What is bourgeois intellectuality?". The revolutionary fight of the young man and his friends is filled with a sense of humor. In a sequence that reminds us of The Carabineers, they go to the rooftop of a factory to begin the armed fight. (...) Finally a sign shows one last derision "And if the sun is bourgeois, we will stop the sun" " (Vázquez Mantecón, 2012).
El filme muestra a una mujer esperando en su casa, tocando música, leyendo y acordando por el teléfono verse con alguien. Ella ve a una amiga y le dice que su novio, un hombre llamado Javier, está fuera de la ciudad por negocios. Primero van a una feria y después a un bar llamado El Pez Rojo, donde escuchan a una banda en vivo y toman algunos tragos, eventualmente ven que Javier está ahí bailando con otra mujer. Se van y Javier se queda bailando, después aparecen diversas imágenes de letreros de clubes nocturnos. Después se ve Javier manejando por la mañana con la otra mujer y deteniéndose a fumar un cigarro mientras es visto por su novia y su amiga. Mientras la pareja discute, la amiga de la primera mujer golpea a Javier en la cabeza con un arma. Después el filme corta a una escena de la primera mujer despertando y abriendo la puerta a sus amigas, mismas que reclaman haberla esperado demasiado, a lo que responde que se quedó atrapada por una historia que estaba leyendo, implicando que todo había sido producto de su imaginación.
The film shows a woman waiting in her house, playing music, reading and agreeing to see someone over the phone. She meets with a friend and tells her that her boyfriend, a man named Javier, is out of town on business. They first go to the fair and then to a bar called El Pez Rojo [The Red Fish] where they listen to a live band and have drinks, eventually they see that Javier is there dancing with another woman. They leave and Javier keeps dancing, then a series of images of several night clubs signs appear. Javier is then seen driving in the morning with the woman and stopping to smoke a cigar, where he is seen by his girlfriend and her friend. While the couple fights, the friend of the first woman hits Javier in the head with a gun. Then we see the woman waking up and opening the door to her friends who claim that she has kept them waiting for too long, and she says she got caught up in the story of the book she was reading, implying it was all a product of her imagination.
"Concerto, by Warren Doremus, is a sensitive and touching story of young love, following a couple from the joy of their graduation and marriage to the anguish and pain of the man's recall to war service in Korea. The telling of this simple tale has been done with such warmth that the observer cannot help being caught up in the current of emotions which fill the film. The performances of Sallie Dunn and George Harrison as the young couple convey the right mood for each scene with complete sincerity and heart, while Mr. Doremus's direction is forceful and yet restrained. Accompanied by and an interpretation of the Warsaw Concerto of Richard Addinsell, Concerto, the film, may truly be styled a cine tone poem." Movie Makers, Dec. 1953, 332.
Un cura preocupado de que una pareja viva en el mismo hogar sin estar casados, pide un milagro. Reza para que alguien en la pareja se enferme a fin de que valoren la vida y entiendan la necesidad de seguir los preceptos de su religión.
A priest concerned with a couple living together without being married, asks for a miracle. He prays for someone in the couple to become ill so that they will value life and the need to follow the precepts of religion.
"Staria Zimmerman, that charming Milwaukee minx who made her big time bow in The Boss Comes to Dinner, a 1944 Ten Best winner, has done it again in The Dizzy Top. As the impish daughter of a winsome but widowed mother, she pulls the strings in this "merryonette" show which maneuver her pretty parent into the arms of a new and handsome husband. The quite willing victim of these arch designs is, in the film, the proprietor of a swank hat shop, and it is in this bright locale that the majority of the action takes place. Patricia and Ryne Zimmerman — the producers and supporting players — have a sharp and genuine sense of farce comedy. Their lighthearted plot dances forward as gaily as the suave settings they have contrived for it. Their incidents are antic in their absurdity, their timing crisp and delicately controlled. These qualities are, to be sure, aided immeasurably by Mistress Staria, who carries off each new comic conceit with impudent but charming assurance. Mr. Zimmerman's technical execution in their latest film leaves little to be desired in competence and imagination. There is, to a heightened degree, the same warmth and brilliance in his lighting which marked The Boss. His camera viewpoints are effective and varied, cutting one into the next with precision and pace. Show pieces of cinematic imagination enrich the production, like sugar plums in a Christmas pudding. The Dizzy Top, the Zimmerman's first 16mm. effort, is a handsome step forward along their chosen course of lighthearted comedy." Movie Makers, Dec. 1946, 486.
"Strangely enough, although its producers may or may not have intended it, Entre dos Rosas (Between Two Roses) is essentially an old-fashioned morality play set forth in fairly modern filmic turns. For here is a handsome young artist as the protagonist of the action. Here, in the girl of a white rose, is the embodiment of virtue; while there, in the girl of the red rose, is the embodiment of evil. And, overlooking this eternal tug of war, is the figure of Fate or Destiny. Only at the end does Entre dos Rosas turn away from the classic formula, since, with a realistic and more modern psychology than that which stirred the medieval dramatist, it refuses to resolve the ultimate struggle. To the drawing of this age-old triangle, Carlos Barrios Baron has brought stimulating though deliberate direction, while Alfredo Rubio has interpreted his ideas in monochrome imagery which is both visually creative and dramatically compelling. Although Entre dos Rosas of leaves its classic central problem unsolved. It is a striking experimental film well worthy of study by less daring movie makers" PSA Journal, Jan. 1954, 50.
"The trials, tribulations and eventual triumphs of a teen aged young man embarked on his initial evening engagement are engagingly portrayed by John C. Sherard in First Date. Even the traditional nuisance role played by junior members of the girl's family is given a new angle — a trained flea circus on the loose. But this bit of business and others in a basically imaginative comedy are, on occasion, drawn out too much for the best dramatic pace. Outstanding in the film, however, is Mr. Sherard's use of Type A Kodachrome outdoors without the corrective filter to simulate moonlight." Movie Makers, Dec. 1949, 469.
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