The Belles of St. Trinian's

The Belles of St. Trinian's

Story of manic schoolgirls who are more interested in racing form than books as they try to get-rich-quick, aided by the head-mistress' brother, played by Alastair Sim, who also plays the head-mistress.

These schoolgirls are more interested in racing forms than books as they try to get-rich-quick. They are abetted by the head-mistress' brother, played by Alastair Sim, who also plays the head-mistress. . You can read more in Google, Youtube, Wiki


The Belles of St. Trinian's torrent reviews

Anne C (jp) wrote: A D O R E I Aninhaaaaaaa !!! Hahahaha

Riccardo R (au) wrote: Film ad uso e consumo esclusivamente Natalizio.Piuttosto insipido, ma la sufficienza gliela darei.

Barbara S (it) wrote: translating the science of Love and life.

Sergej P (br) wrote: cool documentary about free diving..

Phil T (es) wrote: The final third is by far the funniest point of a film that is thin with laughs, just more little chuckles.

Nancy H (ru) wrote: The music tells the story...

Weul S (gb) wrote: A young patriot must choose to assassinate a communist leader & go on the run or live a normal life with a lovely blonde barkeep.

Sammy H (ag) wrote: Slow. Unlikeable characters. Obvious scientific mistakes.

Allan C (gb) wrote: Probably the most lurid of all Alfred Hitchcock films. And I'll assume that everyone reading this knows the story and I won't bother summarizing the story or worry about spoilers. But there's always an undercurrent of sex and violence in his films, but he really pushed the limit with the one and audiences loved it. The studio hated Hitchcock's idea to doing a gruesome story based on real-life serial killer Ed Gein, so they slashed his budget in hopes that he'd drop the project, but Hitch went ahead and made the film with his "Alfred Hitchcock Presents" TV crew on the Universal backlot and the rest is history. My other favorite bit of film history with "Psycho" is that Anthony Perkins was basically a teen heartthrob before making this film, starting as the romanic lead opposite Audrey Hepburn, Sophia Loren, Shirley MacLaine, or Jane Fonda. Perkins gave such a great performance as Norman Bates that no one could ever take him as anything but a deranged killer and ended up typecasting him for the rest of his career. Though not to diminish Perkins contribution to the film, director Hitchcock is at the hight of his powers in terms of manipulating the audience. On the story level, Hickcock manages to keep the audience thinking that Norman Bates' mother is responsible for all these killings without doing any cheats and even after the audience knows the film's big reveal, a second viewing of the film becomes laced with wickedly dark humor that goes unnoticed the first time around. In therms of use of the camera and editing, Hitchcock again demonstrates his mastery of the medium. The iconic shower sequence is what this film is most remembered for and it still today is incredibly brutal and jarring. I think it's Marion Crane's naked vulnerability that makes the scene so frightening, along with, of course, the music and sound editing. Hitch's shot choice and precise editing is so much more effective compared to a majority of the sloppy murder scenes you get in most contemporary films. And the scenes that directly follow the murder, where Norman Bates cleans up the mess left behind by Mother is quite a gruesome affair in itself with all it lurid little details . There are plenty of films before and since where someone has cleaned up a murder scene to hide the crime, but Hitchcock gets devilish glee in lingering on Norman picking up Marion's shoes and wrinkled note papers and those sorts of details make the scene go on excruciatingly (in a good way) forever. And that slight moment the car being dumped in the swam with Marion's body stops sinking, is just terrific suspense (not to mention that Hitch has you worrying about Norman). But speaking of Bernard Herrmann's music, beside the i conic murder music, the entire score is amazing, particularly the second half of the film when the story shifts from Marion Crane to Norman Bates. Herrmann's use of only strings to compliment the black and white photography plays brilliantly as a stripped down compliment the film's overall stark nature. I've always felt this was the closest to a horror film that Hitchcock ever got, with a brief tease toward the supernatural when Vera Miles and Marion's boyfriend find out that Norman's mom has been dead for years. Overall, this film is a real classic that I think would still engage modern audiences.

Sandra A (au) wrote: Triller of war and mystery at the evening of the japanese invasion in Shanghai.Stellar cast make this movie a enjoyable one.

David S (mx) wrote: Oh dear. It's been a long time coming to see this movie and goodness, my dislike of John Woo continues to new depths. It starts with a horrifically over dramatic beginning, and the Tarantino-esque violence goes on and on and on throughout a movie that should have been far more heart felt. The Navajo Indian part of the film got lost within the "horrors of war" understory.I don't know how many times I'm going to have to see Nicolas Cage overact a part. It's pathetic. Adam Beach is not convincing. And he's not going to get any roles unless there is an under current of Native American empathy. The best acting was done by Jason Isaacs (yet another British actor that plays a better American than the Americans themselves). It's poorly casted, I can't shake Christian Slater as an idiot. He is one. And this sympathetic character isn't convincing either. And Peter Stormare? Is not and will never be an American. It's weak. And over gratuitous. Poor John Woo. Poor.