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Return from the Ashes

The water warm... the champagne chilled... the music soft... then the daydream ends... and the nightmare begins!

1965 1hr : 45m Thriller · Drama ★ 6.2

A Jewish woman, Dr. Michele Wolf, interred in a Nazi concentration camp during WWII returns to her Paris home after the war's end. She's unaware that her husband, the handsome gigolo and chess master Stanislaw Pilgrin, has been having an affair with her stepdaughter Fabi in her absence.

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Is Return from the Ashes right for you?

Why it may be worth watching

  • Return from the Ashes combines Thriller and Drama elements in one feature.
  • The principal cast includes Maximilian Schell, Samantha Eggar, Ingrid Thulin.

Who may enjoy it

Best suited to viewers looking for Thriller, Drama.

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A regional age classification is not currently listed. Ratings vary by country; use this as a quick screening note rather than a complete parental guide.

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gigolo

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1
CinemaSerfExternal review · ★ 7.0/10

Maximilian Schell is good in this as the pretty odious "Pilgrin". He is an intellectual philanderer whom, upon the Nazi invasion of Poland, marries the wealthy Jewish "Mischa" (Ingrid Thulin). She is incarcerated in a concentration camp, presumed dead, but after the war meets her husband again only to discover that has taken up with her step-daughter Samantha Eggar ("Fabienne") and that he will stop at very little to get hold of what is left of her fortune. It's odd to see a film about Nazis and their horrendous treatment of the Jews and for that not to…

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Maximilian Schell is good in this as the pretty odious "Pilgrin". He is an intellectual philanderer whom, upon the Nazi invasion of Poland, marries the wealthy Jewish "Mischa" (Ingrid Thulin). She is incarcerated in a concentration camp, presumed dead, but after the war meets her husband again only to discover that has taken up with her step-daughter Samantha Eggar ("Fabienne") and that he will stop at very little to get hold of what is left of her fortune. It's odd to see a film about Nazis and their horrendous treatment of the Jews and for that not to be the most toxic element of a film. That accolade must go to Schell, and to the really unlikeable Eggar - a pair who really do rather deserve each there. The film is just too long, there are too many sagging points and the score from jazz legend John Dankworth drags it down, too; but it does have a decent story, is well produced and the acting is effective too.

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