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This page was last edited on 16 September 2024, at 12:25 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
This page was last edited on 25 December 2024, at 02:31 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
The film was directed by Karl Ritter, who was a master of "covert propaganda film". Ritter made two more movies with Jaeger, Pour le Mérite and Legion Condor. Jaeger played the role of the actuary Faber in the notorious Nazi propaganda film Jud Süß (1940) which was directed by Veit Harlan. In most movies, which of course also included ...
Jaeger and other communists sought refuge in the Zone libre (free zone) in the southern section of Vichy France in 1942. He also began to discover his interest in the film industry and worked as an assistant director. In the Zone Libre, Jaeger met Gillo Pontecorvo, an Italian filmmaker and fellow communist, and joined the Italian Communist ...
Nakajima Ki-27, Japanese aircraft of World War II, called "Nate" Tropical Storm Nate (disambiguation) Nate (web portal), South Korean web portal; Nate Station, a train station in Kinokawa, Wakayama Prefecture, Japan; Nate, a 2006 novel by Phil Henderson; Nate – A One Man Show, a performance by Natalie Palamides
Nate and the Colonel is a 2003 Western film written, directed and edited by Paul Winters.. The film also stars Winters as Colonel Ben Loftin and Ricco Ross as Nate. Nate and the Colonel is the first feature film to use the Native American Ojibwe language (for the first half of the film, the Native actors only speak in the Ojibwa language with English sub-titles).
There's No Tomorrow (French: Sans lendemain) is a 1939 French drama film directed by Max Ophüls and starring Edwige Feuillère, George Rigaud and Daniel Lecourtois. [1] A number of those employed on the film were exiles from Nazi Germany. It was shot at the Joinville Studios in Paris.
Iwan Pranowo of Movielogy.com evaluated Sans laisser de traces as a "nice surprise" but also belittled it as merely a French version of the film Match Point. [8] Jordan Mintzer of Variety derided the film as "a paint-by-numbers tale of greed, betrayal and seduction" which was "marginally saved by first-rate acting and production values".