Two men who work as both automobile mechanics and firemen operate a garage in a fire station. A car has been left for them to clean, but they destroy it instead. In the second half of the film, Roscoe and Keaton have been called to a fire, but it turns out to be a false alarm. When they return, they find their own fire station on fire.
Tourné dans la plaine de la Beauce, près de Chartres en France, le film La Terre retrace fidèlement l’histoire du roman d’Émile Zola montrant le drame paysan de l’époque, froid, endurci, faisant ressortir, la misère matérielle, l'avarice, et l'égocentrisme des terriens.
Jannings' character, the doorman for a famous hotel, is demoted to washroom (restroom) attendant, as he is considered too old and infirm to be the image of the hotel. He tries to conceal his demotion from his friends and family, but to his shame, he is discovered. His friends, thinking he has lied to them all along about his prestigious job, taunt him mercilessly while his family rejects him out of shame. The man, shocked and in incredible grief, returns to the hotel to sleep in the washroom where he works. The only person to be kind towards him is the night watchman, who covers him with his coat as he falls asleep.
На заводе всё спокойно / At the factory all is quiet
Using typography, the word "но" (but) is added to the title of the chapter which then animates and dissolves into an image of machinery in motion.
Dans un village traditionnel, Marfa Lapkina est une pauvre paysanne qui ne possède même pas un cheval. Les koulaks, les paysans riches, refusent d'aider les plus pauvres. Marfa considère le communisme comme son seul espoir. Avec l'appui de jeunes communistes et de responsables du parti, elle lance l'idée d'une coopérative, un kolkhoze. Grâce au kolkhoze, les paysans apprennent le travail en commun et découvrent la mécanisation.
The film begins with the final moments of grandfather Semyon (Simon) Opanas beneath a pear tree. Next local kulaks, including Arkhyp Bilokin, contemplate the process of collectivization and declare their resistance to it, while elsewhere Semyon's grandson Vasyl (Basil) and his komsomol friends also meet to discuss collectivization, although his father is skeptical.
The film opens with an image of a wooden toy horse. Gradually we observe that this is an assembly line in a prison, staffed by prisoners. They sing (La liberté, c'est pour les heureux = "Freedom is for the happy") as they work. Close-ups of two prisoners (Louis and Émile, the film's main protagonists) indicate they've taken a work tool. The prisoner next to Louis occasionally looks on, looking somewhat bored. After dinner everyone goes back to their cell. After feigning sleep during a guard's nightly rounds, Louis and Émile sing the title song as they resume a project of sawing off the prison window. Émile cuts himself, and Louis kindly mends the wound with a handkerchief. The window breaks free and they attempt to escape. Louis is able to get over the retaining wall, but Émile is not successful. Louis escapes, accidentally knocks someone off a bicycle, and rides off on the bicycle. Meanwhile we hear a chorus suggesting he's about to be captured (Ce sera bientôt fini = "It'll soon be over"). Louis heads into a village emblazoned with the words "Finishing Line" - the cyclist he knocked over was in a bicycle race, and Louis has won first prize.
Simone (Marie Glory), jeune dactylo travaillant dans une banque, engage un soir la conversation avec un jeune homme élégant qu'elle croit être un collègue, mais qui est en réalité son patron, Paul Derval (Jean Murat). Celui-ci ne la détrompe pas et s'amuse lorsqu'elle lui dit qu’elle espère pouvoir se marier avec un meilleur parti qu'un simple employé.
Two boys, one French and the other German, are playing marbles near the border between the two countries. When the game is over, both boys claim to have won, and complain that the other is trying to steal their marbles. Their fathers, border guards, come and separate the boys.
Seul film documentaire de Luis Buñuel, tourné en avril et mai 1932 dans la région des Hurdes (Estrémadure), à partir de la thèse ethnographique de Maurice Legendre, directeur de l'Institut français de Madrid, Las Jurdes : étude de géographie humaine (1927), Terre sans pain ne fut sonorisé qu’en 1937, puis à nouveau en 1965 lorsque Buñuel décida, avec son producteur Pierre Braunberger, de diffuser une version non censurée du film. Remarquable par son sujet peu traité à l’époque (la misère en milieu rural), par son montage (fait par Buñuel « sur une table de cuisine, à Madrid »), par l'usage du gros plan et de la piste sonore, ainsi que par la place assignée au spectateur par le film, le film continue à surprendre aujourd’hui encore.
In 1908 the Earl of Burnstead (Roland Young) gambles away his eminently correct English manservant, Marmaduke Ruggles (Charles Laughton). Ruggles' new masters, crude nouveau riche American millionaires Egbert and Effie Floud (Charlie Ruggles and Mary Boland), bring Ruggles back to Red Gap, Washington, a remote Western boomtown. When Ruggles is mistaken for a wealthy retired Englishman colonel, he becomes a celebrity in the small town. As Ruggles attempts to adjust to his rough new community, he learns to live life on his own terms, achieving a fulfilling independence as a result.
Set in Pennsylvania coal country, the film tells the story of Joe Radek, a miner who has come from immigrants. Upset after an argument with his girlfriend, he drinks and attends a union meeting, where he acts as a catalyst to splitting the radical and conservative factions; they decide to go out on strike. During violence by the Coal and Iron Police, his best friend is killed.
Elmer (Buster Keaton) becomes a fireman, but not a particularly good one. He has a chance to prove himself, however, when three women are trapped in a burning building.
Five unemployed Parisian workers, Jeannot (Jean Gabin), Charlot (Charles Vanel), Raymond, called Tintin (Raymond Aimos), Jacques (Charles Dorat), and Mario (Raphaël Médina), a foreigner threatened with expulsion, win the main prize in the National Lottery. One of them, Jeannot, has the idea of putting the money together so the group can buy an old suburban wash house in ruins that they would transform, as equal co-owners, into a guinguette—a dancing and refreshment café in the country. They get down to realizing the project with confidence. But the solidarity of the group proves fragile. Soon enough the group is reduced to just Charles and Jean—who are in love with the same woman, Gina (Viviane Romance). The ending, judged too pessimistic, was re-made.
Because Bezhin Meadow was repeatedly edited, re-shot, and changed to satisfy the Soviet government authorities, several versions of the film were created.