The Big Show (1961)

Returning after five years in prison, a trapeze aerialist (Cliff Robertson) confronts his brother (Robert Vaughn) who has taken over the family circus after the death of their father (Nehemiah Persoff). In flashback, we get the backstory of the family rivalry and how the brother went to prison. Based on the novel I'LL NEVER GO THERE ANYMORE by Jerome Weidman and directed by James B. Clark (A DOG OF FLANDERS). This is the third film version of Weidman's novel. It was filmed in 1949 under the title of HOUSE OF STRANGERS and as a western in 1954 called BROKEN LANCE. This is easily the weakest of the three. The circus background is a drag and adds nothing to the narrative. This version makes the father figure more of a bastard than the other two films and our "hero" isn't very likable either. Although top billed, Esther Williams as Robertson's love interest is a supporting role rather than a star one. With Margia Dean, David Nelson, Renate Mannhardt (the only sympathetic chacter in the movie) and Carol Christensen.

Sirius (1942)

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.

Fifth Avenue Girl (1939)

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 Invasion Of Carol Enders (1974)

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.

The Godless Girl (1928)

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.

Curse Of Simba (aka Curse Of The Voodoo) (1965)

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.

French Without Tears (1940)

The sister (Ellen Drew) of a young Englishman (Kenneth Morgan) studying at a French language "cramming" school in the South of France arrives in town and proceeds to flirt with all her brother's classmates! The only one to resist her is a cynical student (Ray Milland) who sees right through her. Based on the play by Terence Rattigan (SEPARATE TABLES) and directed by Anthony Asquith (THE VIPS). The play was a huge success in London's West End where it ran for more than 1,000 performances and established Rattigan (still in his 20s) as a major playwright and made a star out of Rex Harrison (Trevor Howard and Jessica Tandy were also in the cast). This is a British film with Milland and Drew imported from Hollywood to ensure its success outside of England. It's such a slight piece that it hardly seems there. If the movie is a reasonable facsimile of the play, I can't image what made it a success. Even though it's slightly opened up for the screen, director Asquith doesn't bother to disguise its theatrical origins. In spite of the antagonistic relationship between Milland and Drew, there's never a doubt they'll end up together. With Roland Culver (recreating his stage role), David Tree and Janine Darcey.

Cattle Town (1952)

Set in Texas, a land baron (Ray Teal) is evicting "squatters" from his turf but it's just a ruse to rustle their cattle herds. Sent by the governor to keep the peace, a sharpshooter (Dennis Morgan) quickly sides with the victimized cattlemen. Directed by Noel M. Smith (DANCING DYNAMITE). A B western programmer that was never intended to be anything other than what is is ..... a seat filler. Actually, it's not bad if predictable but what spoils the movie is that Morgan's character is a singing cowboy! If they'd cut out Morgan's singing, the picture would be 20 minutes shorter. The songs diffuse the drama and the action. For western fans only. With Rita Moreno (in one of her spitfire roles), Philip Carey, Amanda Blake and Paul Picerni.

Freakier Friday (2025)

Some 22 years after a body swapping incident, a mother (Jamie Lee Curtis) and daughter (Lindsay Lohan) find themselves in the same predicament when the daughter switches bodies with her daughter (Julia Butters) and the mother switches bodies with the daughter (Sophia Hammons) of her daughter's fiance (Manny Jacinto). Directed by Nisha Ganatra (LATE NIGHT). A sequel to the 2003 FREAKY FRIDAY based on the book by Mary Rodgers, itself the third remake following filmed adaptations from 1976 and 1995. Did we really need a sequel to FREAKY FRIDAY? No! It's just more of the same and isn't it time to put a stop to body swapping comedies if they can't provide anything more than regurgitating stale gags (Does anyone actually find food fights funny? How about driving on the wrong side of the road? I didn't think so). Curtis and Lohan (it was nice seeing her back on the screen) do their best and one can't fault their performances but this once too often trip to the one joke well doesn't do them any favors. I liked the 2003 film (the best of the three versions) but this one is a bungle. But I'm in the minority. The film received good reviews and made money. With Mark Harmon, Chad Michael Murray, Vanessa Bayer, Stephen Tobolowsky, Chloe Fineman and Elaine Hendrix.

The Comic (1969)

Lying in a casket at his funeral, a legendary comedian (Dick Van Dyke) of silent cinema reflects on his life, his stardom and his downfall, especially his ego which ruined his career. Directed by Carl Reiner (THE JERK). A box office flop upon its initial release, the film's reputation has grown over the ensuing years. On the plus side, its recreation of silent cinema is excellent and a never better Dick Van Dyke has the physical sensibility of the great silent movie clowns like Buster Keaton and Charlie Chaplin. He also handles the dramatic requirements of the movie quite well. There's also fine support from Michele Lee (who should have had a bigger film career) and Mickey Rooney (he's pretty terrific here). But director Reiner can't sustain the film and the movie's last half hour meanders in search of an ending. Despite its flaws, the movie ends up as a love letter to silent comedies and the film's strong performances make it worthwhile. With Cornel Wilde, Steve Allen, Pert Kelton and Nina Wayne.

Lady Paname (1950)

Set in 1920s Paris, an entertainer (Suzy Delair) is struggling to make a success as a singer in the music halls of Paris. After securing a song from a popular composer (Henri Guisol), she becomes a sensation as Lady Paname. Directed by screenwriter (FANFAN LA TULIPE) and journalist Henri Jeanson in his only directorial credit. An amiable comedy with musical numbers (though I wouldn't call it a musical) that is a bit overlong for something so lightweight. The movie grasps the music hall atmosphere of the 1920s nicely and Delair is quite charming. Certainly not mandatory cinema but if you happen to stumble across it, you might want to give it a look. With Louis Jouvet, Henri Cremieux, Raymond Souplex and Jane Marken.

I Ought To Be In Pictures (1982)

A young girl (Dinah Manoff recreating her Tony award winning stage role) travels from New York to Los Angeles to meet the father (Walter Matthau) who abandoned his family 16 years ago. She wants his help in becoming an actress. Based on the play by Neil Simon and directed by Herbert Ross (THE TURNING POINT). In the 1960s and 1970s, a Neil Simon play was gold and a sure thing to be turned into a hit movie. But somewhere around the early 1980s, even though the films were based on hit plays, the movie versions floundered. This dud is one of the stinkers. The banter and the one liners aren't up to Simon's best work and when he gets "serious", he's heavy handed and trite instead of insightful. With Ann-Margret (the best thing about the movie) and Lance Guest.