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The Four Horsemen of the Apocalypse

The Four Horsemen of the Apocalypse

Drama · War · 1962

In Argentina, one daughter of patriarch Madariaga is married to a Frenchman while the other is married to a German thus leading to a crisis when Nazi Germany occupies France and some Madariaga family members fight on opposite sides.

Movie details

The Four Horsemen of the Apocalypse

“Paris, city of lovers... the day the clocks stopped turning and the world stood still...”

1962 Drama · War 2h 33m

Critical arithmetic

One number, for now.

TMDB

6.0 / 10

Community rating

In Argentina, one daughter of patriarch Madariaga is married to a Frenchman while the other is married to a German thus leading to a crisis when Nazi Germany occupies France and some Madariaga family members fight on opposite sides.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Four Horsemen of the Apocalypse?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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King Rat

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A Midnight Clear

A Midnight Clear

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The Grey Zone

The Grey Zone

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Names above the title

The people responsible.

Directed by

Vincente Minnelli

Written by

Robert Ardrey · John Gay

Glenn Ford

Glenn Ford

Julio Desnoyers

Ingrid Thulin

Ingrid Thulin

Marguerite Laurier

Charles Boyer

Charles Boyer

Marcelo Desnoyers

Lee J. Cobb

Lee J. Cobb

Julio Madariaga

Paul Lukas

Paul Lukas

Karl von Hartrott

Yvette Mimieux

Yvette Mimieux

Chi Chi Desnoyers

Karlheinz Böhm

Karlheinz Böhm

Heinrich von Hartrott

Court is in session

Put The Four Horsemen of the Apocalypse on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.