A cavalcade of English life from New Year's Eve 1899 until 1933 seen through the eyes of well-to-do Londoners Jane and Robert Marryot. Amongst events touching their family are the Boer War,...

. . Amongst events touching their family are the Boer War,. A cavalcade of English life from New Year's Eve 1899 until 1933 seen through the eyes of well-to-do Londoners Jane and Robert Marryot

Cavalcade is a great movie of Alexa. This movie was introduced in 1933. There are many actors in this movie torrents, such as Diana Wynyard, Clive Brook, Una O'Connor, Herbert Mundin, Beryl Mercer, Irene Browne, Tempe Pigott, Merle Tottenham, Frank Lawton, Ursula Jeans, Margaret Lindsay, John Warburton, Billy Bevan, Desmond Roberts, Dickie Henderson. There are many categories, such as War. This movie was rated by 6 in www.imdb.com. We have a good movie to watch. Please support us via sharing this movies to your friends . You can read more in Google, Youtube, Wiki

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Links Name Quality Seeders Leechers Size
Download   Cavalcade (1933) Noel Coward.avi Other 51 43 703.39 MB
Download   Cavalcade - Frank Lloyd, 1933 Other 40 46 699.59 MB
Download   Best Picture - 1933 - Cavalcade Other 46 31 703.83 MB
Download   Cavalcade.1933.720p.BluRay.DTS.x264-PublicHD BRRip 49 46 4 GB
Download   Cavalcade Other 46 28 1.15 GB

Users reviews

Ashley H (ag)

True Confessions is a must see. I enjoyed watching this movie because of the drama. Ulu Grosbard did a great job directing this movie. The screenplay is well written. Robert De Niro and Robert Duvall give excellent performances. homicide detective who investigates the brutal murder of a young prostitute. A. It is about a worldly ambitious monsignor who clashes with his brother, a cynical L. True Confessions is a masterful film

Asif H (au)

The film was clearly inspired by the Hollywood movie `The Entity` but that version was definitely one of the scariest films I have ever seen. The film even borders on sleazy instead of trying to terrify you. Poor Tabu, a highly respected actress being stuck with a horrible picture like this. However, this pathetic excuse of a movie was terrible beyond belief. Even, the Vikram Bhatt directed `Raaz` and `1920` was awesome. There have been some great Bollywood horror films over the years, many of them directed by Ram Gopal Verma such as `Raat`, `Bhoot` and `Phoonk`

BeardSmoke D (kr)

Downright deplorable, imho. Really sad to see so many truly gifted actors laboring like crazy to get this piece of s*** off the ground

Bill M (kr)

Stick with it through the stiff start to get to the sewer scene (better than The Third Man's, I say)

Chris M (jp)

Great for both kids and adults. I haven't seen this movie in a very long time. It had great cinematography, great cast, really good comedy, very well done makeup, really great costumes, great music, great characters and a very good story. It was a really funny and really enjoyable live-action family film

Dan S (ca)

Zero stars is too generous. An abortion of a movie that could only have been saved by a finale that saw the entire town nuked from space

Dann M (ru)

Formulaic and clichd, Into the Blue 2: The Reef is uninspired tripe. Additionally, the directing is unfocused and doesn't bring any intensity or suspense to the film. And the writing is incredibly bad; full of one-dimensional characters and standard genre tropes. Laura Vandervoort, David Anders, and Marsha Thomason lead the cast, but their performances are rather weak. The story follows a scuba diving team that's hired by a smuggler to recover some lost cases, but they soon discover that things are not what they appear to be. A generic crime thriller, Into the Blue 2: The Reef is a poorly made piece of garbage

david t (ca)

. . i would like to see this one

Edith N (au)

But these movements are almost all pretty much boys' clubs, and if you notice that, you get accused of being shrill. True, there are three or four guys who directed most of these movies, three or four leading lights of the Italian Neorealism movement. But I can't help wondering what it says about everyone concerned that not one of these movies is directed by a woman, that I noticed it, and that Martin Scorsese either did not or did not feel it worth mentioning. Oh, Scorsese is better than Fellini by a long shot. But particularly in their treatment of women. In their analysis of authority figures, yes. In their treatment of religion and family, yes. But I will say that I could write a pretty interesting paper about the evolution of the Guy Movie including some obvious parallels between Scorsese and Fellini. ) Therefore, I will not do it here. (I have a lot to say about Fellini. I have decided that, when I get to [i]Nights of Cabiria[/i], I will watch the whole thing and review it so I can get my rant about Fellini out of the way. The main place where I disagree with Scorsese is about Fellini. It's a subject with which Scorsese has at least passing familiarity, after all. And he dabbles a little in discussion of censorship, both in Italy and in the United States. ) There is a bit of conversation about how Bergman caused Rossellini to "sell out" in the eyes of other filmmakers and why Scorsese doesn't agree with that assessment. (Bergman, being Swedish, is a bit outside the scope of the documentary. Scorsese even fills us in on the shocking-for-the-time relationship between Roberto Rossellini and Ingrid Bergman and how it relates to the changes in Rossellini's films. However, every film considered to be an Italian classic of the era gets at least a mention. It includes extremely detailed discussions of some of the films--a little too detailed in places; either I'd seen them and gotten bored or else I hadn't seen them and he gave away too much plot. It is, after all, just over four hours long. Of course, you have to really care about Scorsese, Italian cinema, or for preference both to get into this movie. Italian cinema helped him learn that he could do that, and film school taught him how. Yes, he mentions briefly the movies he saw in the theatres at the same time, but Italian cinema combines with Scorsese's connections to family and religion in a way the Hollywood product of his childhood cannot. The defining characteristic of Martin Scorsese that matters relevant to today's film is that Martin Scorsese has loved film all his life. I approve of film school training, but I think it works best to polish and refine a love and a talent which already exists. And certainly, now he comes to mention some of them, I can see their influence on his own film. I feel much the same about many of the movies he discusses here, though I do quite like a few of them. I respect and admire the quality of his own body of work, even when I don't necessarily like the movies much themselves. With few exceptions, I can agree with much of what Scorsese has to say about the various films. Some of the films are better known than others, but all helped to define the films of Martin Scorsese, and by extension every filmmaker who came after him. But this, too, was a kind of film school for him, not to mention a way of absorbing the culture of his family's homeland. With few exceptions, he is discussing post-war Italian film, Italian Neorealism, essentially ending with Fellini's [i]8 1/2[/i], which came out just about the time young Marty Scorsese was attending film school. This is not, therefore, intended to be any kind of comprehensive overview of the entire history of Italian film. Young Marty watched them with his family, and he soaked in their style. It seems that the Scorsese family owned a TV earlier than a lot of other people, and a local New York channel played subtitled Italian movies on Friday nights. In short, Martin Scorsese is giving us an overview on the history of Italian cinema as it influenced his own filmmaking. The more so because it is a genuine love of quality film, a thing I admire even in directors I don't. It is a curious fact that, while I don't generally care for Scorsese films, I am still interested in the story of what made him make the kinds of films he makes. This, however, is also an interesting story, and it's one not everyone would think to tell. And that would have been an extremely interesting story. I had assumed, not unreasonably, that this would be the story of Martin Scorsese visiting his ancestral home in Sicily, walking the roads his ancestors walked and so forth. Sometimes, as in this case, it's because I looked at the title and was intrigued, sometimes but not always in combination with a name attached to it. Sometimes, it's because they are movies I've heard of long since but never actually knew the plot. A Journey of Cinema, Not Flesh As I've said before, I don't always know what movies are about before I bring them home from the library

Gaspar O (kr)

Well done. Extra half star for the ability to con someone into burning this thing to DVD and packaging it for retail sale. There was some human chopping and some ax wearing and I tried hard to accept it and like it just as a subpar slasher film, but I could not. The acting sucked, but at times the editing was so bad that it made the acting look even worse. I'm not sure which was worse between the acting, the script and the editing. That's what I said to myself when the credits rolled. Wow