The Cameraman

The Cameraman

Buster is a tintype portrait photographer who at first sight develops a serious crush on Sally, a beautiful young woman who works as a secretary for MGM's newsreel department. Buster seeks to also work there, as a newsreel cameraman, in hopes of impressing her. However, his skills with a movie camera are lacking at first. Buster is determined to succeed, in hopes of winning the girl.

Hopelessly in love with a woman working at MGM Studios, a clumsy man attempts to become a motion picture cameraman to be close to the object of his desire. . You can read more in Google, Youtube, Wiki

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The Cameraman torrent reviews

Smashproplaya (nl) wrote: Aardmans best movie yet

Mark D (de) wrote: A great documentary with some awesome special features, and interviews with some real motorsport heroes! You have to like bikes for this to be worth the time, but if you do you can't go wrong. Even my Missus liked it, and that's saying something!

Jonathan B (gb) wrote: Up there with Ichi the killer and Audition.

Aaron G (es) wrote: One of the most suspenseful movies ever made... turned unwatchable by the nihilistic ending.

Shane H (jp) wrote: Brendan Fraser starring as: himself.

Louise R (br) wrote: David Gulpili was good in this role as a rebellious Aboriginal tracker("Boss")-and I thought Gary Sweet played the part of a rascist white man to a tee(he got what he deserved in the end by the way-hung by the abo).I am glad it was a happy ending with a just result

blair k (br) wrote: quirky interesting ride of a movie.

YouKnow W (us) wrote: A long time favorite...would love to get it on DVD!

Matthew Z (fr) wrote: THE WOMAN IN THE WINDOW, coupled with SCARLET STREET, form a formidable duo in Lang's mature American style. The director who may have singlehandedly developed the style that would come to be known as "noir" never relented. Even his latest Indian films are forceful and dense with Lang's characteristic fatalism. He may be more recalled for his work in erecting German cinema, but his cross-pollination with American studio mandate produced a series, from FURY to BEYOND A REASONABLE DOUBT, containing some of the most influential and memorable films from the 30's, 40's, and 50's. Underneath an ideal surface example of the "noir" construct, Lang interjects a deft psychological evaluation of the increasing voyeurism in American culture -- perhaps encouraged by cinema? Robinson's plunge into fate's grip is all suggested by his fixation on a portrait. Here, Lang smartly plays on the same construct on which Hollywood operates -- the relationship between image and audience. Most potently, he understands that this relationship is a sexual one. A connection between idealized and unreachable models cinema has taught us to build. The kind of kernel that has been gnawing away self-image for a century. However, instead of glorifying and capitalizing on this relationship, Lang inverts it and demonstrates how it can hijack common sense. HOUSE BY THE RIVER shows the same obsession with the human connection with ideals and sex. Furthermore, it introduces a concept key to Lang's greater ideology -- sex and death are forever entwined as basic necessities. We must immediately forgive the ending, like we must do for countless other pictures of this era. It is remarkable that Lang even managed to cultivate such an unforgiving portrait of Americana. In fact the ending only serves to further his evaluation of the viewer's fatal, sexual relationship with art. Like they would repeat in SCARLET STREET, Robinson and Bennett turn in a fine chemistry. Robinson is not an attractive man. But he rejects our need for such a character by inspiring the bumbling, nervous moments of idiocy that we all know in ourselves. There is something about the way Bennett lights her cigarettes that signal danger. WOMAN IN THE WINDOW does not present her as the appalling bitch that she would be in SCARLET STREET, but the smoke hovers around her like an evaporating halo. And her youthful power complex is just right for dragging Robinson into the abyss. Lang managed to be so damning and so hateful while simultaneously constructing a new American style. So many of these films demand a viewing and so few of them get one. A renaissance of this formidable cycle is needed. 88.0

Rangan R (es) wrote: A new kind of animation and probably the only kind to exist.A very unique Scandinavian-English language film from the technical aspect. The only one kind in the whole world which is actually an experimental product from the new productions. It was made primarily using photoshop, and then adobe after effects for animation. If you're wondering what kind it is, actually a 2.5D animation, that means it is neither 2D or 3D, but between those two. Like tricking the 2D object as the 3D material.Well they have succeeded to bring a visually impressive animation that mainly focused on the film character faces. The story was decent which is another dystopian concept where metro trains are the main content, hence it is called 'Metropia'. But the title also means 'visual refraction', that's what the story is slightly related too.Anyway, it was very suspenseful till the final and mostly talking drama than physical action sequences. At some point I felt it was like the recent stop-motion animation 'Anomalisa', but realised that I predicted wrong and the story travelled in a different path to end decently. Though the overall film was very impressive from both technical and narrative wise. One must not miss it, just for a its rare kind, especially you like animations, but best suitable for adults.7/10