Saviors in the Night

Saviors in the Night

Drama, based on the book "Retter in der Nacht", in which Marga Spiegel tells her memories: In Westfalia of 1943 Marga Spiegel, her husband and her daughter are about to be deported. Yet westfalian farmers help the jewish family, grant Marga and her daughter refuge under false names and hide her husband.

Based on the memories of Marga Spiegel. In her narrative, published in 1965, she describes how courageous farmers in southern Munsterland hid her, her husband Siegfried and their little ... . You can read more in Google, Youtube, Wiki


Saviors in the Night torrent reviews

Jacky L (gb) wrote: the soundtrack was bad and tacky, the direction was quite inexcusable (tyler the narrator was a joke) and peyton and elena? a bloody fairytale. but you don't really care about all that cos you'd wanna do is watch 'elena' and 'peyton'. they bloody fog up the screen every frame they're in. nose bleed alert! pet peeve though- why the hell did they have to make peyton wear such unflattering shirts and jeans!

Lori A (es) wrote: Anyone who ever has dealt with a foster kid, the foster system, or even dealt with trying to get help with a therapist for a kid in need can totally relate to this movie. It is incredibly moving and heartfelt. The things these kids go through are so tremendous. Many adults don't give that enough weight while they talk about the resiliancy of children. Children break easier than we think and while this is just a movie, a made for tv movie at that, it shows just how breakable these kids are.

Paul D (au) wrote: Poor urban dystopia movie. The story isn't coherent and the subcultural themes too irrelevant to the audience if poorly conveyed, and they are. The future setting isn't shot too convincingly with reminders of modern day life happening in some backgrounds.

Deborah B (ru) wrote: Very well done film. Kept your attention.

Stephan H (gb) wrote: Crazy story, great docReminded me of Brokedown Palace

Nash S (au) wrote: i found this to be quite interesting and entertaining. the only reason i originally watched this was because i knew Johnny Depp was on it... but yea... it was awesome x Nash

Maxine B (us) wrote: Thoughtful character development, compelling narrative, sensitive performances, a well told story of a little known aspect of the Holocaust.

Melissa S (gb) wrote: very funny i love this movie one of my faves

Grega S (gb) wrote: A romantic comedy done right.

Jakub M (nl) wrote: Here's how to watch this movie: enjoy the first story, perhaps finding it a tad undeveloped but a good kick-off none the less. Now, be careful because it gets tricky: put some Sinatra on, or just think of skyscrapers and Central Park, while the second film is running - this will help you stay in the mood, trust me. Return to your seat when the credits roll, and watch Woody Allen save the day and teach you to love your mom because she always knows best. You're welcome!

Private U (ag) wrote: I can't find this on DVD anywhere and it's my most favorite movie of all time. Rainbow, Starlite, and Twink were my heroes. And they still are. =)

Camille L (ag) wrote: Apres une demi-heure assez laborieuse, Cannery Row se met en route et se trouve etre une comedie bien sympathique, mais trop longue pour son propre bien. Nick Nolte et Debra Winger forment un duo plutot efficace, les seconds roles comme M. Emmet Walsh ou Frank McRae sont excellents et John Huston assure a la narration mais le film parait un peu vain, en fin de compte. Dommage.

Private U (ag) wrote: Bardem subtly gets in his jabs at the Franco regime within the context of a Hitchcock-style tale.

Danijel J (it) wrote: When we put aside the obvious talent involved in making of this, Barbary Coast is just another movie which almost completely depends on Edward G. Robinson's screen persona, legendary even in that time when it was still fresh and rising. There were many filmmakers who counted on him being one of the rare constants in the history of motion pictures, but what's peculiar is how many of the weaker ones than the two he got here managed to get through with it. I mean, you'd think Ben Hecht (who wrote it together with Charles MacArthur) and Howard Hawks would have had more fun with him on board! Still, this is one of the rare instances where Hawks missed because he aimed too high. He was always one of the most careful ones in that respect, so the reasons for that probably lie on the side of his partner. One can say that this was thematic exorcize for the westerns he made in every upcoming decade of his distinguished carrier. The setting is San Francisco of the nineteen century (during The Gold Rush) where Mary Rutlege (Miriam Hopkins) from the civilized New York settles to be married, following the previously existing arrangement. On arrival, she is shocked to find out her groom to be was shot dead by chief local gangster Louis Chamalis, a shock increased with the knowledge that all of his money was also confiscated by the man. Even there, we begin to suspect her motifs. Our doubts are confirmed when she accepts platonic relationship with him, for a chance to enjoy some of the luxury. This is not a first collaboration between writer-director tandem. They did Scarface, the best of the early gangster pictures and Twentieth Century, which I thought was a little overrated, but still enjoyable on its own terms. Both of those pictures, even with the shortcomings of the later, always looked like they are coming out of the same mind. That synchronicity, or the lack of it, is the key reason Barbary Coast was the first of their collaboration which could be called a failure. When Hecht goes on one of his ramblings about the importance and lost honor of journalistic profession, Hawks looks interested. It brings us picture's best sequences, most of them involving the head of the printing paper Colonel Cobb, played by Frank Craven in a supporting performance of the film. But there are parts of this script Hawks doesn't seem to take seriously, and we can't be to harsh on him because of that. Somewhere in the middle, we are presented with Jim Carmichael (Joel McCrea), an idealist who spent last 3 years alone in the wilderness, trying to use the best of The Gold Rush. As he becomes more and more of a conscious call for Mary, we can almost feel Hawks snoring in his chair. From than on, it is a situation of two pictures in one, battling for the domination. McCrea is perfectly fine in all of his misplacement, but that doesn't do the picture much good, and Hopkins is at her routinely convincing and uniquely sexy in calm moments, but is left entirely on her own in dramatic ones, coming out as a bad stage actress appearing on the screen. The strongest feeling Barbary Coast leaves us with is lifelessness, a flaw even Hawks' biggest detractors can't find in his best work. He collaborated with Hecht again, most famously in His Girl Friday, when they recreated the early magic. This one remains for the fans only.

Jordan J (gb) wrote: This movie wasn't really necessary but it was still good but not great like the first movie but I still found this sequel entertaining. For a sequel for a comedy, I really enjoyed this movie because unlike most sequels I didn't think this movie wasn't bad. This movie will get a B for having its moments and not being a bad sequel.

Cody R (gb) wrote: About midway through this movie, I realized my TV set was right next to my dresser mirror. My first thought, a wild one, was that I should cover the mirror with a blanket. Oculus had come out of the screen and into my head. That was the exact moment I knew it was good.

Aa L (ag) wrote: Probably my all-time favorite sports movie, seamlessly merging ridiculous on-ice scenes with surprisingly real off-ice relationships and veiled social commentary. Iconic characters, great ending, tons of laughs. Loses a star for unnecessarily raunchy dialogue (which makes the movie less recommendable for teenagers), but it's essentially a 5-star classic that is worthy of repeated views.

Jake B (de) wrote: Flop is a mad man help us save us