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  1. The Net es una película dirigida por Anthony Asquith con Phyllis Calvert, Robert Beatty, James Donald, Herbert Lom .... Año: 1953. Título original: The Net. Sinopsis: Unos científicos trabajan en una investigación secreta sobre un avión capaz de volar al triple de la velocidad del sonido.

  2. Sinopsis. El primer día de sus vacaciones, una programadora de ordenadores recibe un extraño disquet para que lo investigue. Se lo guarda y descubre que posee una clave para acceder al control de las bases de datos protegidas de Estados Unidos. A la vez ve cómo todos los datos de su vida que figuran en archivos informáticos son suprimidos o ...

  3. One day, the escaped prisoner José-Luis appears and is hid by his friend Antonio. Although José-Luis does not want to betray his friend, a love affair with tragic consequences between him and Rossana develops. The Net was one of Mexico's entries at the 1953 Cannes Film Festival.

  4. The Net (a.k.a. Project M7 (U.S. distribution)) is a 1953 British aviation thriller film made by Two Cities Films, directed by Anthony Asquith and starring James Donald, Phyllis Calvert, Robert Beatty and Herbert Lom. The film is set in the world of aviation research and was based on the 1952 novel of the same name by John Pudney.

  5. The Net is a 1953 British aviation thriller film made by Two Cities Films, directed by Anthony Asquith and starring James Donald, Phyllis Calvert, Robert Beatty and Herbert...

  6. Overview. A secret jet aircraft capable of traveling three times the speed of sound is being developed by a group of scientists. On the day of the test flight, one of the scientists dies in a mysterious accident, and there are many arguments concerning the flight itself; some think it should be ground-controlled while Heathley (James Donald ...

  7. Directed by Emilio Fernández and shot by the Mexican Golden Age's most important Canadian, Alex Phillips, The Net is deceptively straightforward. Presented as just another love triangle, it is in fact a fascinatingly strange film, one which eschews dialogue in favor of faces, bodies, and impulses.