After the end of WWI, a returning war hero (Paul Muni) finds there's no meaningful work for him. Unable to find a job, he sinks into poverty and when he accompanies an acquaintance to a diner, the companion robs the place but it is the war vet who is caught and sentenced to prison hard labor. Based on the autobiography by Robert Elliott Burns and directed by Mervyn LeRoy (QUO VADIS). In the 1930s, Warner Brothers was the studio for socially conscious films and this Oscar nominated (best picture) film is one of the very best and ninety years later, it's as powerful as ever. Unrelenting in its brutality and portrait of a corrupt prison system, its final closing line and image is still startling. Paul Muni (in an Oscar nominated performance) is superb and almost unrecognizable from the hammy actor he would later become. With Glenda Farrell, Helen Vinson, Preston Foster, Noel Francis and Allen Jenkins.
Set in 1923 Berlin, an out of work alcoholic circus performer (David Carradine) is living in poverty. When his brother commits suicide, he moves into the apartment of his sister in law (Liv Ullmann), a cabaret singer. Written and directed by Ingmar Bergman (FANNY AND ALEXANDER) in his second English language film. What was Ingmar Bergman thinking of? I found it a rather pointless and aimless film. If his intention was to call attention to the horrors of a budding Nazi nation, it's been done before and better. The movie stumbles around in search of a germ of an idea that will bring everything together but it never happens. In the leading role, David Carradine can't bring any clarity to his character and he doesn't have a strong enough screen presence to overcome that. For Bergman completists only. With James Whitmore, Glynn Turman, Gert Frobe and Heinz Bennent.
Set in the Philippines circa 1951, a plantation owner (George Montgomery) returns to his homeland to find that the natives known as Huks have begun an insurrection and are pillaging local plantations. Based on the novel by Stirling Silliphant and directed by John Barnwell (SURRENDER HELL). Yikes! What a potboiler and not in a good sense. The film may as well have been bankrolled by the Philippine government, it's so "patriotic". The only authentic thing about it is the locations (after all, it was filmed in the Philippines) and outside of its four American leads, the cast is entirely comprised of Filipinos. Everything else from the acting, directing, writing, music etc. is mundane. Montgomery would return to the Philippines in the early 1960s and make three more films there as an actor/director/writer. With Mona Freeman, John Baer and James Bell.
A Boston judge (Alexander Knox) has position, security and a lovely home on Beacon Hill. He also has a disagreeable wife (Frieda Inescort), a selfish daughter (Martha Hyer) and a nagging suspicion that somehow his life has gone terribly wrong. Directed by Boris Ingster (STRANGER ON THE THIRD FLOOR). A romantic comedy that turns very serious toward the end. I rather liked it but I hated its bourgeois values. Knox's judge finds happiness after ditching his family with the owner (Ann Sothern) of a truck stop diner in California. But this being middle class 1949, he must accept his responsibility to his family though they seem to be doing perfectly fine without him. But the conventional morality of the era demands he sacrifice his happiness for his "duty". With Florence Bates, George Tobias, H.B.. Warner and Sharyn Moffett.
A chorus girl (Fay Wray) quits show business when she marries a wealthy composer (Phillips Holmes). But unhappy with this marriage, his mother cuts him off financially. Struggling to make ends meet, she goes back to work. Directed by A. Edward Sutherland (EVERY DAY'S A HOLIDAY). This early pre code musical comedy is routine stuff although it's a bit more fluid than most early sound films of this era. Nothing to write home about but of interest in that it provides a look at Helen Kane, the "boop oop a doop" girl and the inspiration for Betty Boop whose film career consisted of seven movies between 1929 and 1931. Her teamwork with Richard Skeets Gallagher provides some decent comedy. With William Powell and Eugene Pallette.
A rancher (Pedro Pascal) rides across a desert to visit an old friend (Ethan Hawke) he hasn't seen in 25 years, who is now the town sheriff. His son (George Steane) is a suspect in the murder of the sheriff's sister in law. But the visit brings up the feelings of 25 years ago when they were lovers. Written and directed by Pedro Almodovar (WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN). A most unusual film for Almodovar. It's a male centric western with women marginal characters. But in spite of all the western trimmings (the macho gunfighters, the shoot out, etc.), it's at heart a love story but without the romanticized pretentiousness of something like BROKEBACK MOUNTAIN. Hawke and Pascal, two actors I'm not especially fond of, are very good and more to the point very believable as the queer cowboys. With Jason Fernandez and Jose Condessa.
An enigmatic entrepreneur (Vincent Cassel) is behind a new technological package that allows bereaved relatives to view their loved ones' decomposing remains. But when his futuristic cemetery is vandalized, he begins to suspect a conspiracy at work. Written and directed by David Cronenberg (DEAD RINGERS). A highly personal film from Cronenberg as he cinematically ruminates on the death of his wife of 43 years. It's a fascinating film, almost hypnotic in its ability to pull you into its often complex narrative. I've seen it referred to as a "horror" film but I didn't see it that way at all. There was no horror to it at all, at least not for me. While the film's themes and structure are intricate, it never coalesces into anything more than a meditation with movie thriller trimmings that are often difficult to swallow and I don't think Cronenberg came up with a satisfactory ending. Still, definitely worth watching. With Diane Kruger in a dual role, Guy Pearce, Sandrine Holt and Jeff Yung.
After having his latest movie turned down by every known film festival, a failing film producer (Dennis Hopper) manages to get his "disaster" of a movie entered into an obscure film festival in a small town. Hollywood egos and phonies clash with small town egos and phonies. Directed by producer (PLAYING FOR TIME) turned director Linda Yellen. An incoherent unfunny satire with a troubled history. It was filmed in 2010 but Dennis Hopper died before the film was completed. It was finally released in Los Angeles some 6 years later. Surprisingly, the film received some decent reviews when it was released (escaped?). I felt sorry for the actors who all try desperately to make it fun but to no avail. The film's best performance comes from Jacqueline Bisset as Hopper's Italian movie star ex-wife. She's very good so it's a pity it wasn't for a better film. With Jobeth Williams, Leelee Sobieski, Chris Kattan, Katrina Bowden, Agim Kaba and Joseph Cross.
A disgraced police officer (Claude Akins) is hired by a husband (Jason Evers) to investigate crimes surrounding his psychologically troubled housewife (Anjanette Comer). Directed by TV director Herbert Kenwith (HERE'S LUCY). A decent suspense thriller made for television that at first seems a retread of GASLIGHT. But it takes a different path that comes to a satisfying conclusion. The production serves as a showcase for Anjanette Comer who gets to sink her teeth into a juicy piece of acting steak. Production values are minimal (it was shot on videotape) but Kenwith's direction keeps it edgy. With Tom Selleck and Philip Carey.
An ex-champion jockey (Bill Owen) having forfeited his own career by taking a bribe takes a young rider (Fella Edmonds) under his wing. Directed by Basil Dearden (KHARTOUM). After cats, horses may be my favorite animals. But I'm not a fan of horse racing on ethical grounds and with rare exceptions like NATIONAL VELVET and THE BLACK STALLION, movies about horse racing are a turn off. This one isn't too bad, in fact, it's quite decent but I had problems with the film's three lead characters (the third is Kay Walsh as Edmonds' mother) because their problems were of their own making due to their lack of a moral backbone. It's handsomely shot in Technicolor by Otto Heller (PEEPING TOM). With Robert Morley, Honor Blackman, Wilfrid Hyde White, Sid James and Edward Underdown.
Assumed killed during WWII, a man (Jean Gabin) returns to his home town to find that his wife (Elina Labourdette) has taken control of his shipping company with her new husband (Renaud Mary) and will do anything to get rid of him and keep his company. Based on the novel by Pierre Nord and directed by Gilles Grangier (SPEAKING OF MURDER). A first rate film noir that keeps you guessing until the very end. Handsomely shot in stark B&W by Marc Fossard (SOMETHING TO SING ABOUT), the movie evokes the writing of James M. Cain and Raymond Chandler and Hollywood films like THE POSTMAN ALWAYS RINGS TWICE and DOUBLE INDEMNITY. Every character, even the minor ones, leave an indelible impression. I don't want to oversell it but if you're a film noir buff, you have to check this one out. With Nadia Gray, Andree Clement, Claude Vernier and Albert Dinan.
When a British industrialist (Cary Grant in his final film role) arrives in Tokyo on business, the influx of tourists for the upcoming 1964 Olympic games makes it impossible to find lodging. So he fast talks his way into sharing an apartment with a young woman (Samantha Eggar) who had advertised for a room mate but forgot to indicate a female room mate. A remake of the 1943 film THE MORE THE MERRIER and directed by Charles Walters (THE UNSINKABLE MOLLY BROWN). I'm not a big fan of the original 1943 movie though I found it rather charming. This remake has no charm and it's just not funny. The Japanese background gives it some atmosphere and the cast is appealing but that's about it. With scripts like this and FATHER GOOSE, perhaps Grant could see the writing on the wall, hence his retirement from cinema. With Jim Hutton, Miiko Taka, John Standing, Ted Hartley and George Takei.
A man (Darren McGavin) finds himself down on his luck following a divorce settlement which has left him with nothing. So he hooks up with a street smart 16 year old (Denise Nickerson) who makes her living by repossessing cars from their owners. Directed by Don Weis (LOOKING FOR LOVE). Some six years before the cult favorite REPO MAN which dealt with the same subject matter, this lowbrow comedy made its appearance. If you're into movies with car chases and cars smashing into each other, this might appeal to you. I found it tedious and silly. The movie was produced by McGavin's wife, the actress Kathie Browne. She must have called in some favors because the supporting cast consists of some good actors. Among them: Joan Collins, Sylvia Miles, Dick Martin, Gordon MacRae, Lorraine Gary, David Huddleston, Lyle Waggoner, Monica Lewis and Vito Scotti.
A working class building contractor (Jean Gabin) falls in love with a beautiful pet shop owner (Marlene Dietrich). She loves him but she loves money more. Based on the novel by Pierre Rene Wolf and directed by Georges Lacombe (CAFE DE PARIS). The only pairing of these two cinematic icons is a strong film noir that would still be of interest even without its two leads. Fortunately, Gabin and Dietrich give off sparks (apparently off screen, too) and elevate the movie to another level. They weren't stars for nothing. Gabin is wonderful but the film belongs to Dietrich, who gets free of the exoticism that infused her Hollywood films. Her promiscuous gold digging femme fatale has more in common with her Lola in THE BLUE ANGEL than the mysterious beauties of MOROCCO and GARDEN OF ALLAH. Being a French film, it can be and is franker with sexuality than her Hollywood movies. With Daniel Gelin and Margo Lion.
As the internationally renowned detective Charlie Chan (Sidney Toler) awaits the birth of his first grandchild, he is brought in to solve a high seas murder. But when a second victim is found strangled, he ties up the boat and lets no one leave or come on board until he's solved the murders. Based on the character created by Earl Derr Biggers and directed by H. Bruce Humberstone (I WAKE UP SCREAMING). This was Toler's first appearance as Chan as he took over from Warner Oland who had played Chan since 1931. Alas, I found it one of the weakest in the Chan franchise. The mystery isn't very interesting, the suspects are an ordinary bunch and there's too much comedic bits. Notably, the hysterical and stuttering deckhand played by Eddie Collins and the unamusing antics by Victor Sen Yung as Chan's number two son. With Phyllis Brooks, George Zucco, Claire Dodd, Robert Barrat, Marc Lawrence and John King.
A motorcycle gang reunites after 20 years to help a former member's wife (Barbara Eden) whose tourist business is being threatened by a gang of hell raising river rats led by a sociopathic punk (Patrick Swayze). Directed by Noel Nosseck (YOUNGBLOOD). A rather moronic TV movie that only has two pluses. Its appealing cast and the handsome Lake Havasu, Arizona landscape setting. In one of his earliest leading roles, Swayze is just awful. One would never guess he actually had talent though to be fair, I suspect Nosseck's poor direction had something to do with it. As always, the lovely Eden is eminently likable. With Don Murray, Jamie Farr, Christopher Connelly and Robert Mandan.
A tough Paris cop (Lino Ventura) has been exiled to a second rate police station after being reprimanded. There, he is given a young partner (Marlene Jobert). The duo are soon tasked with a very difficult mission: to find a man whose evidence is instrumental in convicting a master criminal. Based on the novel by Joseph Harrington and directed by Jose Giovanni (LE GITAN). Eschewing the director's past history (he blackmailed hidden Jews during the Occupation, sentenced to prison for murder and torture), this is a solid police procedural with a downbeat and cynical ending. Given his criminal past, director Giovanni knew the French underworld which accounts for the blunt and unsentimental narrative. It's not a sympathetic look at the police as the movie portrays them as protecting their victims only as it serves their purpose and abandons them when they've served that purpose leaving them vulnerable. There's a nice score by Francois De Roubaix. With Michel Constantin and Philippe March.
Set in the swinging London of the 1960s, a new cop (Michael York) on the beat hooks up with an uninhibited underage flower child (Susan George). Meanwhile, a veteran policeman (Jeremy Kemp) on the force is obsessed with taking down a drug kingpin (Jack Watson), who consistently evades arrest. Based on the novel by Bernard Toms and directed by David Greene (GRAY LADY DOWN). A sordid look at British police where all the cops are either incompetent, psychotic or corrupt. Even the "good" ones. It's a downer of a movie but nevertheless, it's engrossing in its relentless examination of how even the best of intentions become manipulated until everyone is tainted by its foul fingers. The standout performance comes from Jeremy Kemp as an honest cop who eventually becomes demented in his obsession. A neat little crime thriller where there are no heroes. With Nigel Davenport and Madge Ryan.
Set in 1759 during the French Indian War, a group of men known as Rogers' Rangers working with the British are on a mission to attack a village in what was then the French province of Canada. Their trek home is a hardship as the men lack food and are chased by both the vengeful "Indians" and the French. Based on the (first half) novel by Kenneth Roberts and directed by King Vidor (DUEL IN THE SUN). Based on an actual historical incident but its accuracy is dubious. Okay, on the plus side, this is one gorgeous looking movie in three strip Technicolor with Idaho landscapes passing for Canada. On the downside, it's a glamourized version of what was essentially a massacre of indigenous people. Reportedly, the actual village consisted of mostly women, children and the elderly. But the film portrays the village full of savage barbaric male "Indians" and a handful of white captives. Of course, the French are just talked about and never seen. As they're Caucasian, it was much easier just to show barbaric Indians (they decapitate their victims and play ball with their heads). I found it difficult to get past the racism in the film which is blatant. With Spencer Tracy, Robert Young, Ruth Hussey, Walter Brennan, Nat Pendleton and Isabel Jewell.
A supervising nurse (Fay Wray) is in love with a doctor (Walter Byron), who unknown to her is a womanizing Lothario. She ignores the amorous attention of the hospital's top surgeon (Ralph Bellamy). Based on the short story KALEIDOSCOPE IN K by A.J. Cronin (KEYS OF THE KINGDOM) and directed by Lambert Hillyer (THE INVISIBLE RAY). A medical soap opera that's really two separate stories weaved together. There's the romantic triangle involving Wray, Bellamy and Byron and then there's the narrative of a young doctor (Bellamy) with new ideas fighting with the head of surgery (Walter Connolly) who resists new technology and methods in the medical profession. It's a tight compact (it runs just over an hour) little movie that manages not to insult our intelligence and shine a light on medical ethics circa 1934. With Mary Carlisle, Jane Darwell and Billie Seward.
Set in 1861 just prior to the American Civil War, a Union soldier (Audie Murphy) fights the anti Native American attitudes of his new superior officer (Robert Sterling). However, as the Civil War approaches, Confederate sympathizers plot to provoke the Native Americans to go on the war path. Directed by Frederick De Cordova (BEDTIME FOR BONZO). A slightly (very slightly) above average western with an interesting plotline. It's not the kind of movie where the acting matters much so the narrative is what holds our attention. Audie Murphy is, well ..... Audie Murphy but the rest of the cast recite their lines with enough believability that they don't embarrass themselves. Western fans should be entertained. With Joan Evans, Dennis Weaver, Ray Collins, Gregg Palmer, Russell Johnson and Jack Kelly.
A husband (Jack Carson) and wife (Ann Sothern) vaudeville act is failing because they haven't changed their corny act in years. But when they add their talented 14 year old son (Robert Ellis) to their act, they become a sensation. Directed by James V. Kern (THE DOUGHGIRLS). Oy! Does this one creak! It's the kind of old timey Technicolor costume musical usually associated with 20th Century Fox and starring Dan Dailey and Betty Grable except here it's in B&W with Carson and Sothern. All the cliches are here and you you know exactly where it's going every step of the way. I never cared much for vaudeville plots. As a musical, the songs aren't original but era favorites like On Moonlight Bay, Carolina In The Morning, Every Little Movement as well as the title song. As usual, Jack Carson and Ann Sothern are dependable performers but they can't do anything with the hokey plot and characters. With Robert Alda and S.Z. Sakall.
Set in contemporary Iran, a woman (Leila Hatami) sues for divorce after her husband (Peyman Moaadi) refuses to leave Iran because of his Alzheimer suffering father (Ali Asghar Shahbazi). When her divorce petition is denied, she moves out of the house and her husband hires a caretaker (Sareh Bayat) to watch his father while he is at work. This is when his life begins to fall apart around him. Written and directed by Asghar Farhadi (THE SALESMAN). Winner of the foreign language film Oscar, this is an absorbing and complex film ruminating on ethics and morality while providing an intense eye on two families falling apart due to pride, injustice and deceit. The performances are all around excellent. When the film is over, there are no victors but our empathy extends to everyone involved. With Sarina Farhadi (the director's daughter and the most mature looking 11 year old I've seen, she looked to be in her teens), Shahab Hosseini and Kimia Hosseini.
Recently married, a young woman (Rosita Arenas) and her husband (Abel Salazar) travel to a secluded country mansion to reunite with her aunt (Rita Macedo). But what awaits her is an evil sorceress bent on resurrecting an ancient specter. Directed by Rafael Baledon (THE HELL OF FRANKENSTEIN). There have been many film versions utilizing the Hispanic myth of La Llorona, the crying woman, both in Mexican cinema and the U.S. This version is admired by many but I found it rather silly, poorly acted, bordering on camp with shoddy special effects. Arenas' damsel in distress is a ninny and while director Baledon manages some atmosphere, the film has no style and no suspense. The dull score by Gustavo Cesar Carrion only makes matters worse. I couldn't help but think what Roger Corman might have done with it at American International in color with Hazel Court and Barbara Steele in the leads. With Enrique Lucero and Carlos Lopez Moctezuma.
Set during the 1960 Rome Olympics, the film focuses on four runners in the 26 mile marathon race: a Brit (Michael Crawford), an American (Ryan O'Neal), a Czech (Charles Aznavour) and an Australian Aborigine (Athol Compton). Based on the novel by Hugh Atkinson and directed by Michael Winner (CHATO'S LAND). A by the numbers sports movie on the stale side. The British and American runner stories aren't interesting but the two others have some appeal. The aging 41 year old Czech runner pulled out of retirement for propaganda purposes by his communist government and the aborigine exploited by his racist trainer (Jeremy Kemp). Not boring if you can tolerate the cliches. There's an excellent score by Francia Lai (A MAN AND A WOMAN). With Sam Elliott, Leigh Taylor Young, Stanley Baker, Stephanie Beacham, Kent Smith, Mona Washbourne, Rafer Johnson and Elaine Taylor.
