The Hourglass Sanatorium
Set in pre- World War II era. A young man is on a strange train to see his dying father in a sanatorium. But the place is going to ruin and recalls a lot of memories from the past. He is beset by soldiers from the past, colonial black mercenaries, girls from his early life, and his parents. It is an interior adventure, with unusual atmospheric flair and extraordinary sets.
- Category:War, Fantasy
- Stars:, Jan Nowicki, Tadeusz Kondrat, Irena Orska, Halina Kowalska, Gustaw Holoubek, Mieczyslaw Voit, Bozena Adamek, Ludwik Benoit, Henryk Boukolowski, Seweryn Dalecki, Julian Jabczynski, Jerzy Przybylski, Wiktor Sadecki, Janina Sokolowska, Wojciech Standello,
- Director:Wojciech Has,
- Writer:Wojciech Has, Bruno Schulz (story "Santorium pod Klepsydra")
Set in pre- World War II era. A young man is on a strange train to see his dying father in a sanatorium. But the place is going to ruin and recalls a lot of memories from the past. He is ... . You can read more in Google, Youtube, Wiki
The Hourglass Sanatorium torrent reviews
(fr) wrote: I have seen alot of dance films, and while some are worse there are a lot that are better. However this has some great dancing in it and is actually fairly entertaining throughout. Not really my kind of dancing but it was pretty good all the same.
(br) wrote: Damn Dario. What the fuck, man?
(nl) wrote: This is the perfect example of a movie that critics are pressured/encouraged to rate well. But 99.9% of viewers will hate. Let's not kid ourselves.
(it) wrote: Loved this movie. Complex - requires intelligence. Cinematography is mesmerizing. Jean Reno - the twists with his character are fun. The lead actress - fascinating to watch.
(ca) wrote: Gaudy, silly, derivative, but also rather fun. The ending is actually surprising, a rarity in these sorts of films.
(ag) wrote: Unfortunate Italian entry in the post-nuke Mad Max craze of the 80's. Ginty is often unintelligible and never convinces as being 'the chosen one'; Pleasance looks like Dr Evil here; Williamson is barely present. Best part may be when the chirping supercycle is run over by the Megaweapon. Was featured on an episode of Mystery Science Theater 3000.
(ag) wrote: Many delightful amusements if not many laugh out loud moments. A quite pleasing diversion.
(kr) wrote: unrealistic, naive, full of stretches
(nl) wrote: 50s musical charm at its finest. Great songs to sing along to, several quotable one-liners, and fantastic buddy chemistry between Russell and Monroe.
(jp) wrote: so cool and want to see him
(nl) wrote: Utterly vacuous, boring film. May I ask why a one-note performance of a one-note character is deserving of an Academy Award for Best Actress?????
(it) wrote: The 1980 film THE CHANGELING is one of the most genuinely frightening movies I have ever seen, with a false sense of innocence that lures us into its darkness. It utilizes mood, story, atmosphere, and plot so effectively that, even after multiple viewings, I still find it unsettling. The fact that George C. Scott stars in this film should be some indication of its quality, but don't be fooled; Scott is just one of many strong elements at work. Everything on display here bears the mark of mature, intelligent filmmaking (the acting, direction, cinematography, sets, and music are uniformly excellent), and when dedicated to such a genre as horror, the results are truly terrifying. George C. Scott plays John Russell, a NYC composer who, upon the tragic deaths of his wife and only daughter, takes a college professorship in Seattle to get away from it all. He rents an immense old mansion where he feels he can plug away at the piano undisturbed. Then strange things start to happen: doors creak open and shut, he hears the sound of water splashing wherever he goes, and every morning at 6 the pipes clang with the force of a cannon. It's bothersome enough that he decides to investigate the history of the house, and after finding a secret attic that has been crudely boarded up, John makes a startling discovery. I would not dream of revealing it, except to say it's one of the creepiest ghost story experiences in movie history. You'll never look at wheelchairs the same way again. While THE CHANGELING employs a number of standard haunted house tricks, it treats the material with such sincerity and craft one cannot help getting drawn into its mystery. A lot of credit goes to George C. Scott, who underplays Russell as a man so quietly affected by his own personal tragedy that he almost accepts the intrusion of evil spirits with resigned indifference. It's an odd choice, but with tremendous results. Scott is such a naturally stoic and impenetrably subtle actor that when he does actually lose his composure, we're disconcerted, as is he, by the severity of events. Helping him along is Trish Van Devere (Scott's real-life wife) as a historical preservationist who fills him in on the house's history. She too gives an understated performance, and as doors open and close on her in the dark, the look in her eyes says it all. There's something strange in the neighborhood. Ultimately, Scott and Van Devere register as real people, and therefore, we are made more accepting of their unreal situation. I said that Scott plays a composer, and sure enough, one area the film proves especially creepy in is its music. When he writes an engagingly beautiful lullaby early on, it speaks of the tenderness and sensitivity of his personal loss. Not so to the house, which takes his melody and twists it into a perversely ironic representation of spiritual evil. The rest of the film score is composed of sinister strings, mournful piano work, and my personal favorite, echoing human shrieks. It's an effective melange that puts us immediately on edge and distracts us with orchestral beauty, only to punctuate it with moments of symphonic horror. Watch the film in the dark, if you doubt it. If there is a failing in THE CHANGELING, it's that the conclusion, while fitting, feels somehow rushed. It's not that the movie is fast-paced; rather, it's scary precisely because it takes its time and allows our dread to build. It succeeds where most horror films fail because even after it reveals what's going on, we are still kept in the dark about the house's true motivations. Is it trustworthy or no? Is the sympathetic Scott really safe or just as endangered as everyone else? Suffice to say, I can reveal no more about the ending, except to say that the film ends, as all effective horror films must, with a final shot reasserting the creepiness of its central conceit and the implication that the doorway to the supernatural is never truly closed. If at the end you still aren't scared by what the film has shown us, you may scoff, but before you do, consider one final, parting fact--it's also a true story.
(de) wrote: A few laughs are spread throughout, mainly for the high school crowd, but the ending does make up for some of the predictable 2nd act. Not enough to redeem the movie, but enough for a watch on a lazy day.
(au) wrote: Great story not so great acting
(ru) wrote: Absolutely fabulous!