The uniquely Australian underwear invention of the Berlei Bra and under corsetry of the time is lovingly and lavishly depicted in David Elfick's lush and amusing production.

True story set in the Roaring Twenties Sydney about the rise of Berlei, a popular Australian brand of women's lingerie, famous for its bras and girdles. . You can read more in Google, Youtube, Wiki


Undercover torrent reviews

Daniel D (kr) wrote: Not worth the time of wasted life you'll never get back

Walter C (ru) wrote: A group of teachers with blackboards strapped to their backs travel around the Iraq-Iran boarder looking for students. Two of them break away from the main group and part ways. One ends up in a group of elders who are leaving the village to go back to their homeland. The other ends up with a group of children who aren't interested in learning because they're more interested in transporting goods across the boarder. It's a slow moving movie with a few good scenes. Too bad the teachers were the least interesting of the characters.

Rick V (ru) wrote: At times funny (DVD)

Zoran S (it) wrote: It has some fine moments, especially during the stand-off where arrows fly through the sky and all we hear is their noise. Alas, it's not particularly good or bad beyond those moments. It's merely conventional.

David J (gb) wrote: The attempt at a romance is laughable at times, but the sniping/war scenes are largely on point.

joao b (us) wrote: Mars Needs Moms tem uma tima direo e efeitos visuais bem legais,mesmo assim sofre com um roteiro podre e bagunado.

Giorgos T (gb) wrote: An excellent movie, with remarkable cast and nice music.

Allan C (mx) 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.

Matt B (it) wrote: Great film one of my favorite animated features. I love how dizzy the camera work makes the viewer feel and the pace of the movie makes it impossible to keep your eyes off of. I hope they finish the trilogy!