Flight For Freedom (1943)

In the 1930s, an aviatrix (Rosalind Russell) fights discrimination against women pilots including a famous male pilot (Fred MacMurray). Yet they find themselves attracted to each other. But he doesn't seem to be interested in marriage. Directed by Lothar Mendes (THE MAN WHO COULD WORK MIRACLES). The movie is an obvious roman a clef on the legendary Amelia Earhart. The romance at the movie's core is lame (the real Earhart was a married woman) and the film's ending is an insult to her memory (it suggests suicide). The cast is not be faulted, they do as well as can be expected considering the material and Mendes' direction is adequate. But when you have material as poor as this, there's nowhere to go. Most of the movie concentrates on the romantic triangle between Russell, MacMurray and Herbert Marshall before moving into the theorizing that (like Earhart), Russell's last flight was a secret mission for the U.S. government. And while I understand that the film was made in the midst of WWII, the film's depiction of the Japanese characters as sneaky and deceitful is offensive. With Herbert Marshall, Eduardo Ciannelli and Richard Loo.

Al Capone (1959)

In 1919 Chicago, an ambitious young man (Rod Steiger) gets a job as a bodyguard for a mob boss (Joe De Santis). But it isn't long before he rises in the crime organization and eventually becoming the head of it. Directed by Richard Wilson (RAW WIND IN EDEN). A mixture of fiction and fact or more fiction than fact, the film gives us an edgy deglamorized portrait of mobster Al Capone. However, it's still no more impressive than an episode from THE UNTOUCHABLES which would debut some seven months after this movie came out. Rod Steiger gives one of his mannered scenery chewing performances that's so distracting that it takes you out of the picture. The real Capone got married in 1918 and stayed married until his death in 1947 yet the film gives him a fictional mistress (Fay Spain), the widow of a man he had killed. So much for accuracy. With Martin Balsam, Nehemiah Persoff, James Gregory, Robert Gist and Murvyn Vye.

Waikiki Wedding (1937)

A young girl (Shirley Ross) wins a contest sponsored by a pineapple company for three weeks in Hawaii. But she finds Hawaii disappointing so she wants to go back home. The pineapple company puts their top publicist (Bing Crosby) on the case and in spite of an awkward meeting, they fall in love. Directed by Frank Tuttle (THIS GUN FOR HIRE). It's an anemic musical that exploits its exotic (for 1937) landscapes in the hope that it will compensate for its lack of originality. I'm immune to whatever appeal Bing Crosby had that made him a star and Shirley Ross proves a bland leading lady. This leaves the second bananas, Martha Raye and Bob Burns and a scene stealing pet pig, to provide some adequate amusement. The film's attitude toward the native Hawaiians seems more 1837 than 1937. For Crosby fans only. The film won an Oscar for best original song, Sweet Leilani. With Anthony Quinn, Leif Erickson and Grady Sutton.

Monkey Man (2024)

Set in India, a young man (Dev Patel) ekes out a living by fighting in a fight club wearing a monkey mask. He is emotionally and literally scarred by his childhood when he saw his mother (Adithi Kalkunte) murdered and set on fire by a corrupt police chief (Sikandar Kher). When as an adult, he encounters the police chief at a brothel and cocaine den under the cover of a "social club", it sets in motion a plan for revenge that will end in an orgy of violence. Co-produced, co-written and directed by actor Dev Patel, best known for SLUMDOG MILLIONAIRE in his directorial debut. The film was a passion project for Patel as there was ten years from the inception of the movie (2014) to its theatrical release (2024). It's an action movie but there's a backbone of an emotional and cultural core (including a caste system) that lifts it out of the usual blood splattered revelry (though there's plenty of that here, too). The film is unusual in addressing the discrimination against India's Hijra community (transgender and eunuch) and the film takes them from victims to active participants against their oppressors. The movie is not without its flaws however. The violence is so excessive that at some point I became inured toward it. With Sobhita Dhulipala, Sharlto Copley, Pitobash, Makarand Deshpande and Ashwini Kalsekar, excellent as a vicious brothel madam terrorizing her staff.

Lenny (1974)

The life of controversial legendary comedian Lenny Bruce (Dustin Hoffman) and his rise and fall. Based on the play by Julian Barry (who adapted his play for the screen) and directed by Bob Fosse (SWEET CHARITY). Told in a non linear narrative with some of the important people in his life being interviewed: his wife (Valerie Perrine in an Oscar nominated performance), his mother (Jan Miner) and his agent (Stanley Beck). Shot in a B&W semi documentary style by Bruce Surtees (PLAY MISTY FOR ME), it's an absorbing biography that takes a different approach to the usual movie bios. Dark and gritty with excellent performances, Fosse doesn't romanticize Lenny Bruce. But I must confess that while I can appreciate Bruce's pushing the envelope in comedy and exposing social hypocrisies (especially in language and social injustice), I just don't find the man funny! But you don't have to find him funny to admire his irreverent audacity and paving the way for future comics like George Carlin. This may be my favorite Hoffman performance and Valerie Perrine does some terrific work here, she never had a better role. With Gary Morton and Rashel Novikoff.

The Phantom From 10,000 Leagues (1955)

After radiation burned bodies wash up on the California coast, a U.S. Department of Defense investigator (Rodney Bell) and an undersea radiation expert (Kent Taylor) are sent to discover what's plaguing a small beach town. Directed by Dan Milner, this inane grade Z horror flick is a sad affair. The "phantom" at the bottom of the sea is obviously a man in a silly rubber suit and with the solemnness that the actors bring to their roles, you'd think the movie would bring some camp amusement but it's too dull for even that. The movie's leading lady Cathy Downs had played the title role in John Ford's MY DARLING CLEMENTINE ten years previously and although I'm not a fan of that film, it's still sad to see where her career ended up. Even if you're a fan of B 1950s sci-fi and horror (as I am), one would be hard pressed to defend this one. With Philip Pine, Michael Whalen, Vivi Janiss and Helene Stanton.

Picpus (1943)

While moving into her new Paris apartment, a woman discovers a corpse in her wardrobe. Soon, more bodies pile up near the metro station Picpus. What connects the murder victims? The famous Paris detective Maigret (Albert Prejean) is summoned to investigate. Based on the novel SIGNE PICPUS by Georges Simenon and directed by Richard Pottier (DAVID AND GOLIATH). Filmed during the Nazi occupation of France, this was the first of three Inspector Maigret films starring Albert Prejean. I'm a big fan of murder mysteries so I enjoyed this one even though the mystery itself is almost annoyingly convoluted. I also could have done without the attempts at humor which add nothing to the overly complicated narrative. When the murderer is revealed, I had to wrack my brain to identify him since his only appearance prior to the big reveal was brief and inconsequential. Mystery fans should enjoy this, others may have less patience. With Juliette Faber, Jean Tissier, Andre Gabriello and Colette Regis.

The Escape Artist (1982)

The teenage son (Griffin O'Neal, son of Ryan) of a famous but deceased magician desires to follow in his father's footsteps. He runs off to Ohio to join his uncle (Gabriel Dell) and aunt (Joan Hackett) in their magic act. But he unintentionally becomes involved in the town's corrupt administration. Based on the novel by David Wagoner and directed by cinematographer Caleb Deschanel (THE BLACK STALLION). Originally filmed in 1980 but not released for two years as it went under extensive re-editing. I have no idea what the original cut was like but what we have here is a murky ill defined film that ultimately comes across as pointless. Sadly, this was the final film for several of its cast members (Joan Hackett, Desi Arnaz, Jackie Coogan, Gabriel Dell) so it's a pity that it isn't better. Even the normally reliable composer Georges Delerue (JULES AND JIM) can't seem to summon up any enthusiasm with his underscore. The talent is there, both in front and behind the camera, so what happened? With Raul Julia, Teri Garr (wasted), John P. Ryan, David Clennon, Margaret Ladd, Carlin Glynn, Richard Bradford and Isabel Cooley.

Butley (1974)

A bisexual literature professor by the name of Ben Butley (Alan Bates recreating his stage role) is descending into alcoholism and self destruction. His wife (Susan Engel) has left him and his male lover (Richard O'Callaghan) is about to leave him, too. Based on the play by Simon Gray and directed by playwright Harold Pinter (THE BIRTHDAY PARTY). Except for a brief opening sequence with Bates struggling to shave, Pinter keeps BUTLEY's theatrical roots intact and the film takes place entirely in Butley's office. I'll concede that it's well written and well acted but the character of Butley is an unpleasant, self pitying bully and what is supposed to be wit (at least Gray thinks it is) is just plain bitchiness. And we have to spend more than two hours enduring his nastiness and I couldn't help but think, "Why are people putting up with this?". Well, they're putting up with it because it's a theatrical artifice and if no one was there to be abused, there would be no play. It leaves a sour taste in one's mouth but if you enjoy good acting, there's some compensation. I must say that the play's attitude toward homosexuality seems rather quaint by 2024 standards. With Jessica Tandy, Georgina Hale, Michael Byrne and Simon Rouse.

The Loved One (1965)

A young Englishman and aspiring poet (Robert Morse) arrives in Los Angeles to visit his Uncle (John Gielgud), an artist who now works in the film industry. After his Uncle's suicide, the nephew becomes entangled with a pretty cosmetician (Anjanette Comer), who works at the funeral home where the Uncle is to be buried. Based on the novel by Evelyn Waugh (adapted for the screen by Christopher Isherwood and Terry Southern) and directed by Tony Richardson (LOOK BACK IN ANGER). After the enormous success of Richardson's TOM JONES (1963), it was inevitable Hollywood would lure Richardson back to Hollywood (his previous American film SANCTUARY from 1961 was a failure). Waugh's book was a satire on the the American funeral industry, Los Angeles and the British expatriate community in Hollywood. The film is a mixed bag, there's so much on the movie's plate that the satire is hit and miss. But what's good is very good. Handsomely shot in B&W by Haskell Wexler (IN THE HEAT OF THE NIGHT), the high points exceed the weaker ones. Morse's English accent is poor so he never quite convinces but some of the other actors nail it. Notably, Rod Steiger as the mama's boy embalmer, both hilarious and repulsive as is Ayllene Gibbons as his gluttonous mother. The massive cast (many in small roles) include Dana Andrews, Milton Berle, James Coburn, Tab Hunter, Jonathan Winters, Liberace, Roddy McDowall, Robert Morley, Margaret Leighton, Barbara Nichols, Lionel Stander, Pamela Curran, Claire Kelly, Asa Maynor and Paul Williams.