The Lavender Hill Mob (1951) ​Henry Holland (Alec Guinness) is a shy retiring man who

dreams of being rich and living the good life. Faithfully, for 20 years, he has worked as a bank
transfer agent for the delivery of gold bullion. One day he befriends Pendlebury, a maker of
souvenirs. Holland remarks that, with Pendlebury's smelting equipment, one could forge the
gold into harmless-looking toy Eiffel Towers and smuggle the gold from England into France.
Soon after, the two plant a story to gain the services of professional criminals Lackery and
Shorty. Together, the four plot their crime, leading to unexpected twists and turns.

Woody Allen: Love and Death (1975)​​ In czarist Russia, a neurotic soldier and his distant
cousin formulate a plot to assassinate Napoleon. In Russia, Boris Grushenko is in love with his
pseudo-intellectual cousin Sonja, who loves him since he too is a pseudo-intellectual, but she is
not in love with him. Instead she is in love with his brother Ivan. But as Ivan doesn't seem to
return her affections, she is determined to marry someone – anyone – except Boris. If that
person isn't the perfect husband, then she has to find a suitable lover in addition. Boris' pursuit
of Sonja has to take a back seat in his life when he, a pacifist and coward, is forced to join the
Russian Army to battle Napoleon's forces which have just invaded Austria. Despite Sonja not
being in the picture while he's away at war, Boris' thoughts do not stray totally from women.
Although they take these two divergent paths in their lives, those paths cross once again as
they, together, both try to find the perfect spouse and lover, and try to assassinate Napoleon.

Early 19th Century. Boris Grushenko lives in a small Russian village obsessed with death and
his cousin Sonia, who is about to marry a herring trader. Obliged by his family, Boris enlists in
the army to fight against Napoleon. Time sees him turn into a war hero to the extent, despite his
pacifist convictions, of holding Europe’s fate at gun point.

Woody Allen: A Documentary (American Masters) 2012 ​Robert B Weide

El icónico escritor, director, actor, comediante y músico Woody Allen accede por primera vez a
que una cámara documente el proceso creativo que guía cada una de sus películas.

Con este acceso ilimitado durante un año y medio, el director Robert Weide, ganador de un
Emmy y nominado a un Oscar, capta el día a día de una de las leyendas vivas del séptimo arte
con el objetivo de ofrecernos la biografía definitiva sobre Woody Allen. Desde su infancia y
adolescencia a sus primeros trabajos profesionales, Woody Allen: El Documental repasa la
larga trayectoria de Allen desde su labor como guionista y monologuista en programas de Tv
durante los años 50 y 60, a sus primeros proyectos como director con Toma el dinero y corre.

El documental cuenta con la participación de los actores Antonio Banderas, Josh Brolin,
Penélope Cruz, John Cusack, Larry David, Seth Green, Mariel Hemingway, Scarlett Johansson,
Julie Kavner o Diane Keaton.
This is the cinema-release version of a PBS documentary which originally ran at over three
hours: an intimate, affectionate and warmly celebratory study of the great comedian and
film-maker​ ​Woody Allen​, directed by Robert B Weide, a documentary-maker who has also
directed Larry David's Curb Your Enthusiasm. It has fascinating behind-the-scenes footage of
Allen directing on location, in the studio, working in the edit suite, and also glorious material on
Woody's boyhood and early life that is as compelling as a Philip Roth novel. I watched this
engaging film with a great big smile on my face. I don't think anyone with any love for Allen, or
the cinema, could fail to do anything else. To see him scribbling scripts on his yellow legal pads
or hammering them out on a typewriter that he has had since a teenager is almost
awe-inspiring. There can't be a life story in postwar American cinema more inspiring than his:
the comic genius who started out as a gag-writer for the newspapers, then a standup, and then
a film-maker who insisted on auteur prerogative without ever needing to use the word, and who
became an evangelist for the masters of European cinema.

Having said all this, Weide shows a loss of nerve in declining to engage much with the great
Soon-Yi scandal, the awful moment in 1992 when Woody Allen was found to be having an affair
with the adopted daughter of his partner Mia Farrow; a sensation that caused a karmic trauma
after which, it could be said, his work lost ground. The affair could explain his ceaseless industry
and return to undemanding comedy; but Weide does not care to discuss these issues. Soon-Yi
is discussed very gingerly, cursorily; there's a montage of the tabloid front pages, and Allen
blandly says that people are entitled to whatever opinion they like. Really, the question is given
a pretty wide berth. Is it the elephant in the living room? Well, Woody Allen may have fallen in
love with the wrong woman, but the relationship seems to have been entirely stable since then.
Maybe there's no more to be said.
Part of the pleasure of the film is seeing those people who have been legendary names on the
credits of movies we have grown up with, people like Jack Rollins, who with the late Charles H
Joffe (shown in archive footage) was Woody Allen's manager and then executive producer from
the earliest days. Letty Aronson, Allen's sister and his producer from the early 90s, is also
interviewed. This documentary is a pleasure, though we don't get too far beneath the surface.

PULP FICTION. 1994.Quentin Tarantino ​The film interweaves three tales: the first story
focuses on Vincent Vega (John Travolta) and Jules Winnfield (Samuel L. Jackson), two hit men
on duty for "the big boss," Marsellus Wallace (Ving Rhames), whose gorgeous wife, Mia (Uma
Thurman), takes a liking to Vincent. In the second, a down-and-out pugilist (Bruce Willis), who is
ordered to take a fall, decides that there’s more money in doing the opposite. The final chapter
follows a pair of lovers (Amanda Plummer and Tim Roth) as they prepare to hold up a diner.