A once great stage actor (John Barrymore), now an alcoholic womanizing ham actor, finds his career in tatters. But when a pretty young girl (Anne Baxter) brings him a play written for him, he attempts a comeback. Directed by Walter Lang (THE DESK SET). Nicknamed The Great Profile for his aristocratic side profile, John Barrymore appears to be having great fun satirizing his image or at least his perceived image. A wacky comedy that hits too close to home for Barrymore. But he's not the whole show. The film is almost stolen by Gregory Ratoff (ALL ABOUT EVE) as Barrymore's gambling Russian manager. It's all done at a frantic pace but the running time is brief so the movie doesn't exhaust you. I had a good time with it. With John Payne, Mary Beth Hughes, Lionel Atwill and Marc Lawrence.
When a trio of bandits (Tom Santschi, J. Farrell MacDonald, Frank Campeau) discover a young woman (Olive Borden) whose father was murdered by a ruthless gang, they go from being outlaws to comrades in chivalry. Based on the novel OVER THE BORDER and directed by John Ford (STAGECOACH). An amiable good natured western that many consider one of Ford's best silent films. The three outlaws aren't saints, they're wanted by the law in several states and they intend to kill Borden and steal her horses when they think she's a man and only spare her because she's a girl. But the film's theme is their redemption as they go from hard drinking bandits to surrogate fathers protecting the girl. The film is free of some of the faults of Ford's later westerns (Victor MacLaglen, barroom brawls, overdoing the Irishness) and I quite enjoyed it. The transfer I saw I a nice newly composed score by Dana Kaproff. With the likable George O'Brien as Borden's romantic interest, Lou Tellegen and Priscilla Bonner.
Set in Cuba, a croupier (Errol Flynn) in a Havana casino is falsely accused of counterfeiting pesos. As self protection, he is forced to uncover a racket involving highly respected banking officials. Based on the novel by Robert Sylvester and directed by Richard Wilson (INVITATION TO A GUNFIGHTER). An often confusing noir-ish thriller without much excitement or tension. It doesn't help that its star is lethargic and looks dissipated. Flynn just seems tired and during some of the action scenes, his stunt double is obvious. It worked in some of his later movies like THE SUN ALSO RISES and THE ROOTS OF HEAVEN because those characters were tired but BOODLE needed a younger and more energetic leading man though to be fair, I doubt it would have made the movie any better. However, it would make the matter less of a distraction. With Gia Scala, Pedro Armendariz, Rossana Rory, Carlos Rivas and Jacques Aubuchon.
Set in 1943, lyricist Lorenz Hart (Ethan Hawke) sits in Sardi's bar during the opening night of OKLAHOMA!, a groundbreaking musical with music by his longtime collaborator Richard Rodgers. Directed by Richard Linklater (BOYHOOD). Although based on an original screenplay Robert Kaplow, the film plays out like a stage play. There's just one set (the Sardi bar) and although there are other characters, it's essentially a one man show with a bravura performance by Ethan Hawke meandering about the "stage" baring his soul. It's not cinematic in the least but the knockout performance by Hawke justifies its existence as a movie. Not a film I'd recommend to the casual moviegoer. With Margaret Qualley, Bobby Cannavale and Andrew Scott, excellent as Richard Rodgers.
Recovering from a broken leg in the desert, alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman) writes the screenplay for CITIZEN KANE to be directed by wunderkind Orson Welles (Tom Burke). Directed by David Fincher (ZODIAC). I have no idea how much of the film is accurate. There's been much disagreement about how much of KANE's screenplay is Mankiewicz and how much is Welles with Pauline Kael suggesting that Mankiewicz is the primary author and Peter Bogdanovich debunking that as false. But when it comes to MANK, that's irrelevant. I quite liked it. Handsomely shot in B&W by Erik Messschmidt (FERRARI), who won the Oscar for his splendid work here, it's a fascinating look at the behind the scenes machinations of Hollywood film making in the 1930s and 40s. Poignant yet great fun. With Amanda Seyfried (in an Oscar nominated performance as Marion Davies), Charles Dance, Lily Collins, Arliss Howard, Tuppence Middleton and Tom Pelphrey.
In the 1940s, a brash playboy (Laszlo Szilassy) travels back 200 years with a mad scientist (Elemer Balo) to the mid 18th century royal court world of wigs and pompadours. It is there that he falls in love with an Italian opera singer (Katalin Karady). Based on the novel by Ferenc Herczeg and directed by Dezso Akos Hamza (WHO KILLED ANABELA?). An unusual science fiction time travel romantic fantasy which predates SOMEWHERE IN TIME (1980) and BACK TO THE FUTURE (1985) and from Hungary of all places. It's a pleasant diversion that I think I might have enjoyed more if I was more familiar with Hungarian history since the movie incorporates actual historical Hungarian figures. A genuine oddity but Klara B. Kokas' production design is impressive and Katalin Karady as the penniless opera singer is charming (she's better known outside Hungary for rescuing Hungarian Jews from the Nazis). With Geza Berczy and Jeno Bodnar.
A wealthy manufacturing executive (Walter Connolly) is ignored by his self centered family. When he brings home a girl (Ginger Rogers) he met in the park and provides her with a job and lodging, it's not long before they all fall under the spell of this working class young lady. Directed by Gregory La Cava (STAGE DOOR). A modest but perfectly charming "screwball" comedy and a reminder what a delightful comedienne Ginger Rogers was (I'm not a big fan of her dramatic work, she always seems to be working too hard). The original version had a bleak ending but that was reshot with a more conventional happy ending. The movie was a hit! The entire cast attack their parts with relish. The film pokes fun at the rich as well as wannabe communists. Not a major entry in the screwball comedy sweepstakes but a lot of fun. With Tim Holt, Verree Teasdale, James Ellison, Louis Calhern, Franklin Pangborn and Jack Carson.
The spirit of a deceased car crash victim (Sally Kemp) is reincarnated into the body of another patient (Meredith Baxter). Will she be able to discover and expose who her murderer is by using the other other woman's body? Directed by actor turned director Burt Brinckerhoff. Very well done supernatural thriller is hampered by its low budget and poor production values. Also, it was shot on videotape rather than film so it doesn't look all that great. Something that could easily be updated and remade. Playing two roles in one body, Meredith Baxter gives a strong performance that helps anchor the far fetched narrative. With Charles Aidman, Christopher Connelly and John Karlen.
A teenage girl (Lina Basquette) leads an atheist group at her high school. A pious schoolmate (Tom Keene) who heads a Christian group invades the atheist group along with his pals. The ensuing furor ends in tragedy when a young girl (Mary Jane Irving) falls to her death and the two are sent to a brutal reform school on manslaughter charges. Directed by Cecil B. DeMille (THE TEN COMMANDMENTS) in his final silent film. This slice of inspirational hokum is more entertaining than it has any right to be. Of course, this being the sanctimonious DeMille, you know Basquette will find religion and God before the end of the movie. The film was a box office flop and sound and some dialogue was added to the movie and rereleased but still tanked. The restored transfer I saw had an excellent score by Carl Davis (THE FRENCH LIEUTENANT'S WOMAN). With Marie Prevost, Eddie Quillan and Noah Beery.
A cold blooded guide (Bryant Haliday) to novice big game hunters has to clean up the mess of one of his clients, shooting a lion but couldn't kill. But a curse is put upon him by a local tribe who worship lions as their deity. Directed by Lindsay Shonteff (THE MILLION EYES OF SUMURU). This low budget horror flick is more silly than frightening. Though partially set in Africa, it was filmed entirely in England with stock footage for the African locations. As the leading actor, Haliday has all the screen presence of an overcooked noodle. The not so subtle racism weaved into the movie makes it an unpleasant watch. With its "ooga booga" natives it has the distasteful flavor of those movies set in colonial countries where the Brits look down at the indigenous people whose country they have invaded. Haliday would later redeem himself by co-founding Janus Films. With Dennis Price, Lisa Daniely, Ronald Leigh Hunt, Mary Kerridge, Dennis Alba Peters and Beryl Cunningham.
