Then again, anything that saves me from crushing on Nazis, even fictional ones, is probably a bonus.
It can be awkward.
(I am now thinking of The One That Got Away (1957), a film that derives a nice charge of cognitive dissonance from presenting its tremendously attractive protagonist as crush-worthy, except for the part where's a hotshot of the Third Reich. I can't think of anything else like it in its decade, and it's rare—for good reason—even since.)
If Francis L. Sullivan is your type, I'm not sure I've ever seen him as a hero, but he's a definitive Jaggers in David Lean's Great Expectations (1946) and he's good in Jules Dassin's Night and the City (1950), along with everyone else who stars in that incredible piece of nihilism. And he does not play a Nazi.
no subject
It can be awkward.
(I am now thinking of The One That Got Away (1957), a film that derives a nice charge of cognitive dissonance from presenting its tremendously attractive protagonist as crush-worthy, except for the part where's a hotshot of the Third Reich. I can't think of anything else like it in its decade, and it's rare—for good reason—even since.)
If Francis L. Sullivan is your type, I'm not sure I've ever seen him as a hero, but he's a definitive Jaggers in David Lean's Great Expectations (1946) and he's good in Jules Dassin's Night and the City (1950), along with everyone else who stars in that incredible piece of nihilism. And he does not play a Nazi.