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The Breaking Point - Criterion Collection [CRI-Criterion]
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Laserzone Preis
CHF 29.90
Artikel: 1627866
Movie: 11690161
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Regionencode [?]
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1 - USA
(NTSC) (Film in s/w)
Benötigt Codefree-Player zum Abspielen!
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Originaltitel
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The Breaking Point
Menschenschmuggel
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Genre
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Drama
/ Krimi
/ Film-Noir
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Produktionsland
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USA
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Herstellungsjahr
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1950
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Schauspieler
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Patricia Neal, John Garfield, Phyllis Thaxter
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Regie
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Michael Curtiz
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Autor(en)
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Ernest Hemingway
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Produzent(en)
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Jerry Wald
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Sprache (Tonformat)
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Englisch (Dolby Digital)
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Untertitel
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-
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Covertext
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Michael Curtiz brings a master skipper’s hand to the helm of this thriller, Hollywood’s second crack at Ernest Hemingway’s To Have and Have Not. John Garfield stars as Harry Morgan, an honest charter-boat captain who, facing hard times, takes on dangerous cargo to save his boat, support his family, and preserve his dignity. Left in the lurch by a freeloading passenger, Harry starts to entertain the criminal propositions of a sleazy lawyer (Wallace Ford), as well as the playful come-ons of a cheeky blonde (Patricia Neal), making a series of compromises that stretch his morality—and his marriage—further than he’ll admit. Hewing closer to Hemingway’s novel than Howard Hawks’s Bogart-Bacall vehicle does, The Breaking Point charts a course through daylight noir and working-class tragedy, guided by Curtiz’s effortless visual fluency and a stoic, career-capping performance from Garfield.
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Bildformat
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Fullscreen 1.33:1
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Altersfreigabe
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Unbekannt
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Laufzeit
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97 Minuten
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Veröffentlichung
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08.08.2017
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Special Features
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- New 2K digital restoration
- New interview with critic Alan K. Rode (Michael Curtiz: A Life in Film)
- New piece featuring actor and acting instructor Julie Garfield on her father, actor John Garfield
- New video essay by Taylor Ramos and Tony Zhou analyzing Curtiz’s methods
- Excerpts from a 1962 episode of Today showing contents of the Ernest Hemingway House in Key West, Florida, including items related to To Have and Have Not, the novel on which The Breaking Point is based
- Trailer
- PLUS: An essay by critic Stephanie Zacharek
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