Akos Tolnay Movies

This is an out-dated, old-fashioned remake of the 1935 film by Alexander Ivanovsky, a Russian director. Based on a tale by Alexander Pushkin, Dubrovsky (John Forsythe) is a young nobleman whose land is confiscated by a greedy and powerful aristocrat. Determined to get justice one way or another, Dubrovsky gathers together a band of serfs and goes on the rampage like another Robin Hood or Pancho Villa, stealing from the rich and giving to the poor. Along the way, Dubrovsky falls in love with the daughter (Rossana Schiaffino) of his arch-nemesis, a mistake that takes its toll in the end. This film was an entry at the 1959 Pula Film Festival. ~ Eleanor Mannikka, All Movie Guide

The Golden Madonna is a peppy romantic adventure, utilizing its tight budget to the utmost. British actress Phyllis Calvert plays an American girl who inherits an Italian villa. Part of the legacy is "The Golden Madonna", a valuable religious painting. When the painting is stolen, Calvert enlists the aid of English tourist Michael Rennie in tracking down the thieves. The Golden Madonna is a typical "runaway" production of the 1940s: British stars, Hungarian expatriate director, and Spanish/Italian production crew. ~ Hal Erickson, All Movie Guide

Roberto Rossellini's Roma, Città Aperta (known in English as Open City) was one of the landmark films of the 1940s on several levels. Aesthetically, it was one of the first major works of Italian neorealist filmmaking and perhaps the single most influential example of the style. Historically, it was among the first postwar European films to gain a significant audience in the United States, opening the door for a greater appreciation of international filmmaking in America. And politically, it was a work of tremendous bravery. The screenplay was written by Roberto Rossellini in association with Federico Fellini and Sergio Amidei while Rome was still occupied by German forces in 1943-44. Rossellini began filming in secret, using scavenged film stock without sound equipment, shortly before the city was liberated in June of 1944. Several key members of his creative team had been active in the Italian resistance movement. With its rough, documentary-style look, multi-layered narrative, and a cast that mixed amateurs with actors who didn't look like film stars, Roma, Città Aperta captured the harsh and unforgiving textures of real life as few movies of its time had dared. It set the pace for Italian Neorealism as an influential postwar film style that combined outdoor light and location shooting with non-actors, a focus on simple stories of everyday life, and a concern for the poor and for social problems. Roma, Città Aperta shows the lives of a group of people living in Rome during the Nazi occupation, after the Germans had declared it an "open city." Anna Magnani plays a woman in love with a member of a resistance group; in helping him, she risks not only her own life, but also that of her unborn child. Aldo Fabrizi plays a priest who aids the anti-Nazi cause and pays dearly for his activism. Marcello Pagliero is an outspoken communist who runs afoul of the Nazis. And Harry Feist plays a German officer who has taken an Italian lover, but whose affection for Romans does not run especially deep. While Roma, Città Aperta shows flashes of the melodramatic sentimentality that would mark much of Rossellini's later work, it still rings true as a chronicle of a city under siege and as the genesis of a powerful new film style whose influences include such later filmmakers, among many others, as John Cassavetes, Martin Scorsese, Robert Altman, and Spike Lee. ~ Mark Deming, All Movie Guide

In this African adventure, a band of Englishmen search for a buried cache of diamonds. Unfortunately, their greed creates considerable friction that erupts in violence culminating in the death of one party member and the wounding of another. The rest of the men end up abandoning the killer and opting to share their new-found wealth equally. ~ Sandra Brennan, All Movie Guide

The unusual amalgam of documentary maven Robert Flaherty and pure-entertainment producer Zoltan Korda resulted in the 1937 money-spinner Elephant Boy. In his screen debut, eleven-year-old Indian-born Sabu plays the title character, a mahout named Toomai. When his father is killed by a tiger, Toomal is left alone and unprotected and not long afterward loses his beloved elephant to a sadistic "driver." Stealing back the pachyderm and heading into the wilderness, Toomal stumbles across a herd of wild elephants, which the British government has long been seeking. With visions of a huge reward in his head, Toomal offers to lead the authorities to the elusive herd -- whereupon the "dramatic" portion of the story gracefully gives way to the "documentary" portion. More intriguing than entertaining, Elephant Boy was nonetheless one of the most successful films of its kind. ~ Hal Erickson, All Movie Guide

Hollywood's Conrad Nagel heads cast of the British Ball at Savoy. The tux-garbed Nagel plays a baron who, while vacationing in Cannes, falls in love with opera star Marta Labarr. The prideful Labarr will have nothing to do with Nagel because of his wealth, so he poses as a waiter. When he's accused of being a thief, Nagel learns that there's two sets of justice, one for the rich, another for the poor. This 1936 remake of an earlier German film, was based on a novel by Alfred Grunwald and Fritz Lohner-Beda. Distribution of Ball at Savoy was handled in Britain and the US by RKO Radio Pictures. ~ Hal Erickson, All Movie Guide

In this espionage romance, a French spy falls in love with a German operative who has been sent to learn how the French were able steal a German invention. Though she is assigned to kill the Frenchman, she instead falls in love and they decide to leave. Unfortunately, the woman knows that the car has been booby trapped and will fire a bullet into the driver when it reaches a certain speed. She saves her lover and dies in his arms. ~ Sandra Brennan, All Movie Guide