Ten years after her father's death, Manon (Emmanuelle Beart) has no idea that her neighbor (Yves Montand) cheated her out of her father's land. But when she discovers that he and his nephew (Daniel Auteuil) were directly responsible for her father's death, she goes after them with a vengeance. Based on the novel THE WATER OF THE HILLS by Marcel Pagnol (an adaptation of his 1952 film MANON DES SOURCES) and directed by Claude Berri (THE TWO OF US). Not a sequel but the second part of Berri's JEAN DE FLORETTE (they were shot back to back) which had been released three months earlier. Not only a satisfying conclusion to the tale but I think I liked it a tad more. Stunningly shot by Bruno Nuytten (BRUBAKER), it's a satisfying conclusion to a tale of deceit, betrayal and revenge. It allows us to eventually have empathy for Auteuil's bumbling hick and even Montand's destructive patriarch, both of whom we detested in JEAN DE FLORETTE. With Hippolyte Girardot and Yvonne Gamy.
Manhattan society is shocked by the news that a millionairess (Frieda Inescort) has abruptly married an unknown salesman (Patric Knowles). But not as shocked as the manicurist (Lucille Ball), who's engaged to him. Directed by Glenn Tryon (GEORGE WHITE'S SCANDALS). A surprisingly enjoyable programmer with a strong performance by Lucille Ball as a jilted woman who gets her revenge by starting up her own cosmetics company and becoming a wealthy businesswoman. As the cad who jilts his fiancee to marry for money, Patric Knowles isn't good enough for either woman. It's also refreshing to see Ball become a successful businesswoman in a man's world and doesn't give up her career to satisfy a man's ego (which was typical of the era) and she still gets the man in the end. With Donald Woods, Inez Courtney and Leona Maricle.
An alien invasion begins when an unidentified submerged object attacks international ships for no reason. A U.S. nuclear submarine is ordered to hunt down the mysterious underwater saucer and destroy it. Directed by Spencer Gordon Bennet (KING OF THE CONGO). A low budget piece of science fiction pulp shot in six days (and it shows it). With a cliched script, wooden acting and preposterous plot, it should be more B movie fun than it is but it's not. The special effects are subpar what with obvious stock footage and toy submarines floating through a fish tank, it's not even kitsch. There's a minor (very minor) attempt at something deeper with the submarine's lieutenant commander (Arthur Franz), a militarist and a pacifist doctor (Brett Halsey) debating the merits of war versus peace but it's superficial. With Dick Foran, Tom Conway and Joi Lansing.
Set in Chicago during the Prohibition gang wars. A policeman (Thomas Meighan) tries to keep the peace but he is hampered by massive corruption in the city's politics. Based on the play by Bartlett Cormack and directed by Lewis Milestone (ALL QUIET ON THE WESTERN FRONT). The film was nominated for a best picture Oscar and later remade in 1951. It's a strong crime film with noir-ish trimmings long before Hollywood went full noir in the 1940s. It's a cynical movie that ends with the corruption still firmly in place unlike the 1951 remake where it's suggested that the bad guys will be exposed. Along with Josef von Sternerg's UNDERWORLD (1927), one of the best gangster movies of the silent era. The transfer I saw had a very good newly written score by Neil Brand. With Louis Wolheim, Marie Prevost, Lucien Prival and George E. Stone.
The kingdom of Thebes is suffering from a deadly drought which the prophet Tiresias (Akim Tamiroff) says it's because its king (Alberto Lupo) does not revere the god Dionysus (Pierre Brice). It is up to Thebes future queen (Taina Elg) to aid in resolving the situation. Loosely based on THE BACCHAE by Euripides and directed by Giorgio Ferroni (MILL OF THE STONE WOMEN). Serious scholars of Greek tragedy needn't bother but I'm inordinately fond of Italian sword and sandal epics also referred to as peplum. Blame it on my childhood! So I enjoyed this one much more than I should have. A trained dancer, Taina Elg had a brief Hollywood career from 1955 to 1959 but outside of LES GIRLS (1957), she was never used as a dancer. Here, in the movie's highlight, she gets to dance (the choreographer Herbert Ross would later direct such films as THE TURNING POINT and THE GOODBYE GIRL) an abandoned homage to the god Dionysus. With Alessandra Panaro and Raf Mattioli.
An ex-GI (Richard Conte), now working as a trucker, is bent on satisfaction from the man responsible for crippling his father (Morris Carnovsky). But when the ruthless market operator (Lee J. Cobb) gets wise to his plan, treachery and heartbreak follow. Based on the novel THIEVES' MARKET by A.I. Bezzerides (who adapted his book for the screen) and directed by Jules Dassin (NEVER ON SUNDAY). Like his THE NAKED CITY, Jules Dassin shot this film on actual locations (in this case, San Francisco) rather than studio soundstages. The movie is much admired by film noir fans and while it's an effectively gritty look at corruption and duplicity in the produce market of the day, I found it rather pedestrian. Conte makes the perfect noir protagonist and Norbert Brodine's (KISS OF DEATH) dark and shadowy cinematography emphasizes the noir atmosphere and goes a long way in giving authenticity to the plot. With Valentina Cortese, Barbara Lawrence, Millard Mitchell, Jack Oakie and Tamara Shayne.
A descendant of Jim Hawkins (Dawn Addams) returns to Treasure Island with a priceless map with the intention of locating the treasure buried there by Long John Silver (Robert Long). But she's not the only one after the hidden treasure. Directed by E.A. Dupont (VARIETE). Dupont did some impressive work in his native Germany and Great Britain. His American career was far less illustrious and this snoozefest was his swan song! It's incredibly amateurish and badly acted. It's Tab Hunter's worst performance and he would later redeem himself but boy, is he a piece of wood here. Shirtless throughout the entire movie, he's reduced to hunk eye candy. The narrative is laughable with lots of plot holes. Even at a brief running time of one hour and 15 minutes, it's a slog. With Porter Hall and James Seay.
Set in 1962 England, two teenage girls (Elle Fanning, Alice Englert) are inseparable. They share everything together from dreams to politics. But as the threat of nuclear war escalates amid the sexual revolution, their friendship is threatened. Written and directed by Sally Potter (ORLANDO). A coming of age story that eschews the stereotypes and cliches inherent in the genre. The title is a misnomer, it should have been called GINGER because although Englert's Rosa is an important part of the narrative, it's Fanning's marvelous performance that takes over the film and anchors it as Englert's Rosa begins to fade into the background. Fanning's Ginger is a bit of an emotional mess but this is due in part to her parents (Alessandro Nivola, Christina Hendricks) antipathy and more importantly, her father's lack of parental interest. Refined and astute, it's a refreshing portrait of adolescence on the cusp of maturity. With Annette Bening, Oliver Platt, Timothy Spall and Jodhi May.
