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Brief Two young people, somewhat wary of love, spend a summer together in Europe making a film about people's attitude towards love. Tanner and Christian realize that they're actually filming their own love story, but they have no idea that their film will ultimately save Christian's life after tragedy strikes them both

114 min

Country Romania

2020

Actors Iain Glen

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The opening intro sounds like the opening intro to Alone by Heart. What about love download movie song. Production Notes from IMDbPro Status: Completed, See complete list of in-production titles  » Updated: 9 January 2019 More Info: See more production information about this title on IMDbPro. Edit Storyline Two young people, somewhat wary of love, spend a summer together in Europe making a film about people's attitude towards love. Tanner and Christian realize that they're actually filming their own love story, but they have no idea that their film will ultimately save Christian's life after tragedy strikes them both. Written by SH Plot Summary Add Synopsis Details Release Date: 12 February 2021 (USA) See more  » Also Known As: The Accident Box Office Budget: 30, 000, 000 (estimated) See more on IMDbPro  » Company Credits Technical Specs See full technical specs  » Did You Know? Soundtracks Because of You Performed by Caroline Waters See more ».

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I wish I also have that kind of vocal range... 😂😂. We all need the clowns. Fav. one <3. What about love download movie online. You see 3 guitarist. You can't hear one until the guitarsolo... Im a grown man and it makes me cry every time I hear this... 😍😍😍😍. Any list of the most romantic movies—this one narrowed to movies in the English language—is going to draw sighs and harrumphs over beloved films left off. Quite a few unforgettable love stories are in movies that dont comfortably fit the category ( Gone with the Wind, for instance) and the contemporary rom-com, while classifiably romantic, can seem as slight as the dandelion—a sunny flowering, a puffball dispersed on a breeze. Movies that reach the romantic pantheon often have more at stake than a trip to the altar and dont always end up happily. Some invoke the archetypes of myth and fairy tale, diving into the deeper imaginative realms of high Romanticism, a movement enamored of mystery and nature untamed. Others are modeled on the literary “romance, ” a centuries-old genre of narrative fiction that combines adventure, idealism, and courtly love, as exemplified by King Arthur and his Round Table. These tales frequently take place on a journey where desire is set against duty, and where love alters destiny. The mortal dislocations of World War II—our “Good War”—are formidably represented in the realm of the romantic. Casablanca, for example, sees patriotism prevailing over the love of one person. The English Patient sees the reverse. At the same time, high-flying ideals can become straitjackets or self-sabotage. Alfred Hitchcocks Notorious keys into a dark vein of lyricism, a place where self-sacrifice becomes voluptuous and ill. One thinks of William Blakes iconic line, which sounds the bass note of Romantic poetry, “O Rose thou art sick. ” That said, it is lyricism in all its textures—dark, light, aural, visual—that lifts these films to higher ground. Rodgers and Hart, in their song “Isnt It Romantic? ” describe the feeling as “music in the night, a dream that can be heard … moving shadows write the oldest magic word. ” Those moving shadows are movies. THE AGE OF INNOCENCE 1993 Beautiful and grave from the first strains of Gounods Faust to the last ray of sun bouncing off a window, Martin Scorseses film version of Edith Whartons greatest novel gets richer with every viewing. This period drama was a departure for Scorsese, until then known primarily for street, gang, and Mafia movies. But were the fabled 400 of New Yorks Gilded Age any less controlling than the Cosa Nostra? Newland Archer, played by Daniel Day-Lewis, hasnt sold his soul to the devil but to a gilded ideal. His marriage to the angelic debutante May Welland (Winona Ryder) will fulfill every conventional wish. But in Mays unconventional, unhappily married cousin, the Countess Olenska (Michelle Pfeiffer) he awakens to another ideal—the romance of deep affinity. This new love is blocked at every turn. But by whom or what? New York society closing ranks? Newlands own pride of place? Or a moral code that wills out? Its unbearably poignant, this life suspended between ideals. THE AMERICANIZATION OF EMILY 1964 This movie works hard not to be on this list. It questions all the romantic clichés: self-sacrifice, heroism on the battlefield, loyalty in the bedroom. Directed by Arthur Hiller from a script by Paddy Chayefsky, The Americanization of Emily stars Julie Andrews, in her most crystalline period, and James Garner, everyones favorite good guy. Emily, having lost her father, brother, and husband to W. W. II, is sick of the cultural complicity that pushes men to be heroes. She believes a living coward is better than a wounded (or dead) warrior with a medal. Garner thinks similarly but opportunistically, without the moral dimension. Events twist and turn. Somehow he ends up as the “first man on Omaha Beach. ” The movie is beguilingly intelligent, funny, and, in the last reel, romantic. Andrews and Garner have both said its their favorite of their films. BEFORE SUNRISE / BEFORE SUNSET / BEFORE MIDNIGHT 1995, 2004, 2013 Eros on location. The first movie in this trilogy is about two students who meet on a train, get off in Vienna, and pass the hours before a flight walking, talking, and falling in love. As Celine, Julie Delpy, of the honey-colored hair and full mouth, could be a pre-Raphaelite nymph, and Ethan Hawkes Jesse, with his glittering eyes and cool-dude goatee, is Mallarmés Faun (“Did I love a dream? ”. The following two movies, at nine-year intervals, catch up with the pair in Paris and then in Greece. Action consists of dialogue interwoven with desire: Vienna is reminiscent of late-night dorm discussions about life; Paris is more psychologically revealing and tinged with confusion; in Greece resentments flare and shadows lengthen. Directed by Richard Linklater, the trilogy dispenses with the usual climb toward happy endings, a story tied up with a bow, and instead finds romance in immediacy—the blue dart in the eternal flame. BRIEF ENCOUNTER 1945 Celia Johnson and Trevor Howard play “ordinary people” Laura Jesson and Dr. Alec Harvey, and Rachmaninoffs Piano Concerto No. 2—practically another character—plays the crashing, roiling wave of love that takes them both by surprise. “Noel Cowards Brief Encounter, ” as the movie is formally billed, was based on Cowards one-act play Still Life. It explores the deepening relationship between two married people of high morals who meet by chance in a train station. David Lean directed, pulling performances of understated passion from Johnson and Howard. Robert Kraskers black-and-white cinematography, justly admired for its shadows and fog, wears a darkness both sooty and soft. Renunciation can be beautiful, but it can also be bleak. The ending—Johnsons luminous eyes, Howards Arthurian brow—is wrenching. BROKEBACK MOUNTAIN 2005 Its testament to our increasing enlightenment that this movie about the secret love affair between two cowboys ranks 12th among the highest-grossing romantic dramas of all time. Its a heartbreaker. The late Heath Ledger, in the role of Ennis Del Mar, underplays stoicism—which takes some doing. No one can know him because he hardly knows himself, except for one thing: he knows that he loves Jack Twist. Jake Gyllenhaal as Jack is less frightened by their love. He wears his heart, well, not on his sleeve but close at hand. (Ennis wont wear his heart anywhere. And he has a vision of the life they could have together. But Ennis cant go there. So close, so far. Their two shirts in the closet—one over the other on a single hanger—embody everything, profoundly. Heath Ledger and Jake Gyllenhaal in Brokeback Mountain. Focus Features/Photofest. CARMEN JONES 1954 “You go for me and Im taboo. But if youre hard to get I go for you. ” Thats the motto of Carmen Jones, a red rose inside a red flame. One of the most successful updates of an opera, this artful film, conceived and directed by Otto Preminger, is not a conventional musical but more a drama with music. The melodies are from Georges Bizets Carmen of 1875, the words are by Oscar Hammerstein II, the time and place is North Carolina during W. II, and the cast is black, with a bewitching Dorothy Dandridge as Jones and Harry Belafonte as the love-obsessed Joe. This is romance as danger, as doom, a fate writ large in Carmens delicious wardrobe (designed by Mary Ann Nyberg. That sinuous coral dress with the slashes over the heart says it all. Dandridge was nominated for the Academy Award for best actress, a first for an African-American woman. CASABLANCA 1942 Where to begin? Theres the great cast: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Sydney Greenstreet, Peter Lorre. And the great moment: nervous, nervy locals silencing Nazi officers with a passionate rendition of “La Marseillaise. ” And the great song: Dooley Wilson singing Herman Hupfelds “As Time Goes By. ” There are the immortal lines: “Heres looking at you, kid, ” and “Of all the gin joints in all the towns in all the world she walks into mine, ” and “Well always have Paris. ” And the swift, punch-the-studio-time-clock transcendence of director Michael Curtiz. And the shocks of North African sun, of searchlights and moonlight in the night, courtesy of cinematographer Arthur Edeson. And theres the last scene, blanketed in gray-velvet fog, in which a skein of glances looms the most powerful triangle in cinematic history. Bogart-Bergman-Henreid. But more than that: love-war-duty. THE ENGLISH PATIENT 1996 World War II again. Zinc bars, cartography in Cairo, the glorious English, and love blossoming like a succulent in strange, dry places. The desert, the plane, the scarf, the cave, Ralph Fiennes in profile, and Kristin Scott Thomas stepping out of her bath—afternoon tea and the Wagnerian “Liebestod” of it all. Anthony Minghellas movie, based on Michael Ondaatjes stunningly voluptuous novel, works on the scale of grand opera. Little lives, historic upheaval, gargantuan passions. Tears, more tears, and we all die alone. Ralph Fiennes and Kristin Scott Thomas in The English Patient., By Phil Bray/Tiger Moth/Miramax/The Kobal Collection. GHOST 1990 Commerce between the living and the dead is the stuff of ghost stories, but when that commerce is love we move into the realm of Orpheus. This genre—the supernatural romantic fantasy—contains masterpieces: 1947s dashing and dansant The Ghost and Mrs. Muir and the 1956 screen adaptation of Rodgers and Hammersteins Carousel. Jerry Zuckers Ghost is not a masterpiece, but it has an aching lyricism unique in contemporary film. Demi Moore, tremulous in a pixie cut, is at her loveliest. And the late Patrick Swayze is a concentrated presence, one of those actors the audience just feels for. He was perfectly cast in the kinetic coming-of-age romance Dirty Dancing, and hes perfectly cast here, as the ardent ghost with unfinished business. HOLIDAY 1938 While The Philadelphia Story (1940) enjoys most-favored status, its slightly older cousin, Holiday, which also stars Katharine Hepburn and Cary Grant, is a deeper, more poignant study of human nature. Derived from a play by Philip Barry (again like The Philadelphia Story) Holiday is The Age of Innocence in reverse. Grant is freethinking Johnny Case, a self-made success who wrestles with whether or not he should marry into stiff, snooty society. Doris Nolans Julia Seton is a strong temptation. But her older sister, Linda, more insecure and vulnerable—played with fire by Hepburn—is the soul match. Shed follow Johnny anywhere (as would we) but will he see that shes the one? I KNOW WHERE IM GOING! 1945 The film critic Pauline Kael loved this Powell and Pressburger gem, and today it is a cult among poetic bluestockings. Set during W. II—as are so many of the movies on this list—it takes place in the stark and savage Scottish Hebrides, and fits into that classic genre in which a woman falls in love with the right man as she travels to wed the wrong one. Wendy Hiller fights the feeling, but the incomparable Roger Livesey, aided by wind and sea, gray seals and a golden eagle, is too much for her. The story and screenplay for this fairy tale—complete with a curse—were written in less than a week, clearly in a state of enchantment. IT HAPPENED ONE NIGHT 1934 The odds were against this one. Claudette Colbert was practically the last choice for the female lead. And Clark Gable did it only because MGM lent him, at a profit, to Columbia. Directed by Frank Capra, the movie ended up sweeping the top five Academy Awards of 1934. Colbert plays a bratty heiress on the lam without money, who, in exchange for help, gives her story to the roguish reporter played by Gable. Their adventures leave us with a gallery of indelible images: the Walls of Jericho (a motel room divided by a blanket on a string) the how-to-hitchhike lesson; the runaway bride, white tulle flying like a comets tail. With her man-in-the-moon beauty and 30s slouch, Colbert is more Pierrot than Columbine. Shes just right for Gable, her Harlequin. Their journey has the rough-and-tumble, seat-of-the-pants quality of commedia dellarte, transplanted to the dusty roads of the Northeast Corridor. THE LONG, HOT SUMMER 1958 His name is Ben Quick, hes a barn burner, and hes played by a sizzling Paul Newman. Yet it still takes all summer to woo and win the cool drink of lemonade that is Joanne Woodward in the role of Clara Varner. The magnificent Orson Welles is her father, and he wants Quick to marry Clara and bring fresh blood into the family. With Angela Lansbury, Lee Remick, and Anthony Franciosa rounding out this classy, randy romp through William Faulkner, its an Actors Studio contact high. Watch Newman with the sound off and his body telegraphs everything. Turn the sound back on and hes a troubadour poet. “Ill bet you was a mighty appealin little girl, ” Ben tells Clara. “Ill bet you knew where to look for robins eggs and blackberries. Ill bet you had a doll with no head on it. ” Irresistible. LOVE AFFAIR 1939 AN AFFAIR TO REMEMBER 1957 It begins with two beautiful specimens: he a Sunday painter and she a nightclub singer, both engaged to wealthy others. Meeting aboard ship, they recognize that they are the same species—kept lightweights—and they begin to pal around. By the end of the crossing they are in love. But is it real and can they afford to stay together? They decide to rendezvous in six months, at the top of the Empire State Building. If both show, its a go. One doesnt show. and both deepen. The first version stars the ineffable twosome Charles Boyer and Irene Dunne—Veuve Clicquot! The second version, not as light, perhaps a sauterne, has Cary Grant and Deborah Kerr. Either way—Leo McCarey directed both—have hankies ready for the final scene. LOVE STORY 1970 Erich Segals screenplay came first and then Paramount Pictures asked him to write the novel, published as a preview to the movie, which premiered 10 months later. So it was studio synergy plus an Ivy League setting: Harvard, as in Ryan ONeal, and Radcliffe, Ali MacGraw. Love Story has a famously blunt opening line, “What can you say about a 25-year-old girl who died? ” and an equally famous, if dubious, last line, “Love means never having to say youre sorry. ” Its a soap, no question, and despite the title there isnt much story. Brains working overtime disdained the movie. Nevertheless, it was huge. The badinage between ONeal and MacGraw was a fresh update on the classic rich-boy-loves-poor-girl formula, bringing the word “preppy” into the wider culture. And the death of Ali MacGraws Jenny gave a lot of people a good cathartic cry. Ryan ONeal and Ali MacGraw in Love Story., From Paramount Pictures/The Neal Peters Collection. NOTORIOUS 1946 Has any director staged them with such a consummate blend of intensity, delicacy, and languor? In the movies of Alfred Hitchcock, the world ceases to exist outside a kiss. In this masterpiece, Ingrid Bergmans Alicia Huberman, the daughter of a convicted Nazi spy, attempts to escape both herself and the world through fast living. When she falls in love with Cary Grants T. R. Devlin, a government agent, she becomes a U. S. spy to be near him, to please him, and to punish herself— and him. Hitchcock laces this love story with poison: intonations of self-obliteration, self-sacrifice slipping into sadomasochism. As for the luminous black-and-white cinematography: a thousand shades of gray. NOW, VOYAGER 1942 This was the favorite movie of Americas most inventive fashion designer, Geoffrey Beene. He loved Bette Daviss transformation from a deeply dowdy (read: traumatized) 30-ish homebody to the glamorous woman of the world she becomes once she gets away from her soul-crushing mother. It happens on a cruise, her first travel on her own; and a stylish medley of hats and gloves, capes and veils, signals her thrilling metamorphosis. One of the catalysts for this change is a man she meets on board, the deeply decent yet unhappily married Paul Henreid. They become lovers, but the physical relationship must end when they both return to responsibilities at home. Their love, however, goes through its own metamorphosis, touching the sublime in sublimation, a shimmer captured in the unforgettable last line, “Dont lets ask for the moon. We have the stars. ” AN OFFICER AND A GENTLEMAN 1982 It wasnt going to end happily ever after. Director Taylor Hackford and star Richard Gere initially thought such an ending would betray the blue-collar, working-class dynamics of this scruffy story. Everyone here is trying to get up to the next rung: the young men enrolled in the U. Navys aviation officer candidate school, as well as the young women in the local mills, who date the prospective officers and dream of marrying one (which some do, oops, by getting pregnant. Gere is Zack Mayo, a hustler who has nowhere to go but up. into the clouds, he hopes, as a navy flier. Between the tough love of Sergeant Foley, played by Louis Gossett Jr., and the honest (not to mention undeniably hot) love of girlfriend Paula—Debra Winger, fresh off her success in Urban Cowboy —Gere grows in character. The rousing finale—chills—is earned. THE REMAINS OF THE DAY 1993 When a house—the manor and its manners—is more important than the people who run it, what happens to love? Where does a life “in service” end and a private life begin? These are the questions that haunt The Remains of the Day, the Merchant Ivory film based on Kazuo Ishiguros Booker Prize–winning novel of 1989. The answers to these questions have consequences that are personal, of course, but also political. Anthony Hopkins, as the English butler Stevens—chief of staff for Lord Darlington—is quietly loved by the housekeeper Miss Kenton, played by Emma Thompson. He is so caught up in correctness that he cant see a crime occurring under his nose. When Stevens finally opens his eyes, and his heart, he understands—as Edith Whartons Newland Archer did before him—that being correct is sometimes the wrong answer, a crime against oneself. ROMAN HOLIDAY 1953 Audrey Hepburn would go on to star in a slew of chaste and charming fairy-tale romances—including Sabrina, Funny Face, and My Fair Lady —but this was the movie that made her a Hollywood princess. Certainly her peculiar blend of innocence, gravity, and grace was perfect for the runaway royalty she plays here. Tired of airless hotel rooms and state ceremony, Princess Ann escapes into the night and spends the next day experiencing Rome with a good-natured guy, Gregory Peck, and his pal Eddie Albert. She doesnt know that they are newspaper reporters who are scooping her story, and Peck doesnt know that hes going to fall in love with this princess. The ending is all in the eyes and unspeakably affecting. SAY ANYTHING. 1989 Looking like Elvis Presleys baby-faced younger brother (if he had one) John Cusack is utterly endearing in this little love story with an outsize fan base. He plays average guy Lloyd Dobler (which makes you think of “dabbler”) who has just graduated from high school and is besotted with Diane Court (Ione Skye) the shy class valedictorian. He asks her out, and on a lark she says yes. Its kismet, and this dewy, poignant pair of lovebirds coos through the summer until Diane must fly to England for a fellowship. The movie marked Cameron Crowes directorial debut, and it plays like a series of set pieces, all of them closing in on the human heart. Lili Taylor as Corey, Lloyds close friend, is hilarious and beatific at once. SENSE AND SENSIBILITY 1995 Every movie based on the work of Jane Austen is romantic, and God knows there are viewers who still havent recovered from Colin Firth as Mr. Darcy in 1995s BBC production of Pride and Prejudice. But that year also brought forth Sense and Sensibility, directed by Ang Lee, from a screenplay by Emma Thompson. In its fiercely composed, almost metaphysical landscapes, its brushstrokes of deep darkness, the movie invokes and then challenges the high Romanticism that is one of the novels themes. The cast is showstopping. A young Kate Winslet is the too passionately romantic Marianne, Thompson is the too selfless Elinor, and Greg Wise, Hugh Grant, and Alan Rickman are their too divine love interests. So lets give the BBC—with Firth and Jennifer Ehle (the definitive Elizabeth Bennet! —the prize for best Pride and Prejudice. Which leaves 1995s Sense and Sensibility to win best Jane Austen film to date. THE SHOP AROUND THE CORNER 1940 Charm, charm, and more charm. Set in a gift shop in Budapest, where theres much ado about a music box for cigarettes/candy, Ernst Lubitschs romantic comedy is a gift in itself, offering up delightful performances when opened. The Austrian sheers on the store windows tuck the viewer in to 99 cozy minutes as elfin Margaret Sullavan spars with the heartbreakingly young and elegant James Stewart (the acting chops are already there—the touchy cross-currents playing about the cloudless face. They irritate each other at every turn, these two co-workers, and have no idea that they also happen to be each others “Dear Friend, ” anonymous pen pals, sharing their hearts through the mail. Frank Morgan, that grand MGM staple, turns in a touching performance as their temperamental boss, Hugo Matuschek. The script is a delicious Hungarian pastry. And the last reel pure joy! THE WAY WE WERE 1973 You can view it as a vanity production if you want, but this movie with almost no plot—its more of a big-budget home movie following the fates of a few college classmates from the 30s to the 50s—strangely holds up. Barbra Streisands Katie is the ugly-duckling campus Communist who loves Robert Redfords golden-boy writer, Hubbell, from afar. After graduation she goes glossy and bags Redford, who, like a postwar F. Scott Fitzgerald (which makes Streisand a sort of crazy Zelda) takes her to Hollywood, where he writes screenplays and she gets all activist again, this time about the blacklist. Katies tugging insecurity about her looks is the wrinkle in the romance: she cant believe a beauty like Hubbell could actually love her. They break up without ever discussing why, crushing the hearts of ugly ducklings everywhere who saw themselves in Katie—including Sex and the City s Carrie Bradshaw, who really wasnt as pretty as Big was handsome but was eventually smart enough to know that she didnt need to be. Robert Redford and Barbra Streisand in The Way We Were. Columbia Pictures/Photofest. WORKING GIRL 1988 Harrison Ford as an aw-shucks Apollo. Sigourney Weaver like Hera from on high. And Melanie Griffith a working-class mortal who believes she can succeed in high finance. “I have a head for business, ” she tells Ford, “and a bod for sin. ” A Cinderella story set in the world of mergers and acquisitions, Working Girl is yet another romance of transformation, but theres nothing passive about Tess McGill, the character played by Griffith. When her boss—Weavers Katharine Parker—is laid up in Europe with a broken leg, Tess smooths her Staten Island perm into a classic French twist (a nod to mom Tippi Hedren) puts on a power suit (remember shoulder pads. and takes a meeting (pretending to be Parkers colleague) with Fords Jack Trainer. Its a well-built little film with a great supporting cast, a stirring finale, and, in Ford and Griffith, an adorable update on the classic rich-poor couple of the 30s. A Look Inside Christies Historic Audrey Hepburn Auction Photograph by Bud Fraker. Audrey Hepburn circa 1956.

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