Babhruvahana, like Arjuna at the beginning of the Kurukshetra war, faces a moral dilemma. Can he risk harming his parents? While Chitarangada alerts Arjuna to shoot an arrow at their son and take advantage of Babhruvahana’s momentary lapse due to a sense of devotion towards them (as Arjuna did with Karna), Uluci, the Naga princess and yet another abandoned wife of Arjuna’s, reminds Babhruvahana of the teaching of the Kurukshetra battle that in the battlefield there is no space for feelings even towards parents. What Babhruvahana must do is to establish his mother’s good name and thereby his own character. This film captures this conflict spectacularly. The eerie parallels with the moral dilemmas of the great Mahabharata battle aside, here all the familial relationships (in particular, strong mothers and dutiful sons) become exaggerated and demand our attention.
Guilt and sexual jealousy are the main dynamics behind Skouen's gloomy and intense tale about Oddmund, a former Resistance leader who caused the death of 12 refugees during the war.
Uka is an old Albanian who lives in the mountains on the border of Kosovo and Albania. As an honorable man, he must deal with his son who befriended Italian fascists during WW2.
It is the year 2031, as the spores of the Flower of Life spread over the remains of the SDF-1 and SDF-2, the Invid land out of Hyperspace, on a head-on collision with the Earth. They crash on the spot, quickly turning it into their massive hive, later to be called Reflex Point. In a matter of moments, the Invid take control of the devastated planet.
The year is 1974, and Barbara Dean (Judi Dench), a British assistant manager in a foreign bank in Saigon, begins a relationship with American Bob Chesneau (Frederic Forrest). She quickly realises that he works for the CIA and he knows that the fall of South Vietnam is very near.
The story of a woman who searches through the country for her husband, a resistant, while the war for independence is raging. She finds him at last and saves his life. When peace finally arrives, they have to learn how to be together again and start living in a destroyed land.
Constance Bennett both produced and starred in the espionager Paris Underground. Bennett and Gracie Fields play, respectively, an American and an English citizen trapped in Paris when the Nazis invade. The women team up to help Allied aviators escape from the occupied city into Free French territory. The screenplay was based on the true wartime activities of Etta Shiber, who engineered the escape of nearly 300 Allied pilots. British fans of comedienne Gracie Fields were put off by the scenes in which she is tortured by the Gestapo, while Constance Bennett's following had been rapidly dwindling since the 1930s; as a result, the heartfelt but tiresome Paris Underground failed to make a dent at the box-office. It would be Constance Bennett's last starring film--and Gracie Fields' last film, period.
A biographical portrayal of Simon Wiesenthal, famous Nazi Hunter. From his imprisonment in a Nazi Concentration Camp, the film follows his liberation and his rise to become one of the leading Nazi hunters in the world, bringing such criminals to justice as Adolf Eichmann and Klaus Barbee. (Written by Anthony Hughes)
A Korean War film with a secondary plot of the training of South Korean pilots, to fly fighters in air defense, by American Air Force instructors,led by Major Brady, a famed and skilled-but-grounded pilot, assigned to the Kongku base.
During the World War II in Italy, Sergeant Joe Mooney is leading his small squad on the front-lines but is ordered to avoid rescuing a soldier trapped in no man's land.
The fighting between the Sandinista government in Nicaragua and the Contra rebels backed by U.S. money and expertise is the focus of this pro-Sandinista film by Haskell Wexler. On a secret mission to help the U.S. Special Forces train Contra rebels in the jungles of Nicaragua, American soldier Eddie Guerrero begins to question the morality of the task at hand and consider how his actions may influence the fate of a nation.
The Shinobi-no-Mono series was so successful that Daiei Studios dipped into the well one more time, making the best 60′s B&W ninja movie ever seen in the otherwise color-dominated year of 1970. Issei Mori directs Hiroki Matsukata as the reluctant leader of a small band of spies charged with kidnapping a noblewoman from a heavily ninja-proofed castle. The finality of the air slowly began to fill like smoke, and in all that had become dark the loyalty of the Ninja who dared to go shone like light as they entered a world shrouded in mystery. Things do not go as planned in what is possibly the darkest and most fatalistic of the already noir-ish 60′s fare. Both the decade and it’s distinctive style of shinobi cinema went out on a high note with Mission Iron Castle.