An extended family is concerned that the 28 year old daughter (Setsuko Hara) is still unmarried. When an opportunity comes for an arranged marriage, she hesitates preferring instead to make her own plans. Directed by Yasujiro Ozu, this quiet and subtle film looks at the changing landscape of Japanese culture as the traditional ways of family values gives way to more modern ideas especially as it pertains to women. As with Ozu's post war films that deal with family, there's a beautifully crafted narrative that gives us insight into Japanese tradition and how western influences are changing its values. Example: the two adolescent boys (Zen Murase, Isao Shirosawa) whose disrespectful insolence toward grown ups would never have been tolerated before the war. Its leisurely pace (it's over two hours long) allows Ozu to examine the film's subsidiary characters and flesh them out. A lovely film with a strong central performance by Hara. My only quibble is with the mundane underscore by Senji Ito but then again, I don't think I've seen an Ozu film with a decent score. The splendid cast includes Chishu Ryu, Kuniko Miyake, Haruku Sugimura and Chikage Awashima.
The skipper (Michael Caine) of a salvage tugboat discovers the capsized S.S. Poseidon the morning after it was overturned by a tidal wave. When he reaches the ship, he discovers a medical ship with a crew lead by a doctor (Telly Savalas) who claims they are looking for survivors. But his intentions are much more nefarious. Based on the novel by Paul Gallico (author of the original THE POSEIDON ADVENTURE) and directed by Irwin Allen (THE SWARM). After the massive success of POSEIDON and TOWERING INFERNO which Allen produced but were directed by other people (Ronald Neame on POSEIDON and John Guillermin on INFERNO), for some reason Allen decided he wanted to direct his films too. The result was the disastrous THE SWARM (1978) which he followed with this film. While not as bad as THE SWARM, this one is pretty dreadful too. In THE POSEIDON ADVENTURE, we got to know the characters and care about their fate. Here, the characters are ciphers spouting the most vapid dialog. The film is crammed with talented actors (6 Oscars among them) but they all pretty much give the worst performances of their careers. I've never seen Sally Field (2 Oscars) as bad as this and Michael Caine (2 Oscars) barks all his lines in a monotonous cadence. To be fair, they're all hampered with an impossibly ludicrous script. With Karl Malden (1 Oscar), Shirley Jones (1 Oscar), Jack Warden, Shirley Knight, Mark Harmon, Angela Cartwright, Veronica Hamel, Slim Pickens and Paul Picerni.
A cynical newspaper reporter (Tyrone Power) poses as a security officer in order to get a scoop on a headline making heiress (Loretta Young). When the heiress discovers the reporter's subterfuge, she plots her own revenge to get even. Directed by Tay Garnett (THE POSTMAN ALWAYS RINGS TWICE), this screwball comedy hits the right notes so why isn't it funnier? You can't fault Garnett's rapid pacing and the script is decent. Perhaps it's in the casting. While Loretta Young is surprisingly good, you don't think of Tyrone Power when it comes to screwball comedy and there's a reason why. Oh, he's a charmer alright and he does give it his best shot but he doesn't have a comic actor's instinct. 11 years later, Fox remade the film under the title THAT WONDERFUL URGE with Gene Tierney in Young's role and Power repeating his role. He's much better in that one so perhaps he just needed some seasoning to relax into the part. Still, it's a diverting piece of Golden age fluff. With Don Ameche, George Sanders, Jane Darwell, Elisha Cook Jr. and in a cringe inducing performance, Stepin Fetchit.
Set in 1930s New Orleans, a small time gambler (Steve McQueen) has acquired a reputation as the one to beat in a poker game. But he will have to beat the champion (Edward G. Robinson) referred to in the world of high stakes poker as "The Man". Based on the novel by Richard Jessup and directed by Norman Jewison (MOONSTRUCK), who took over after Sam Peckinpah was fired. Often smugly dismissed as THE HUSTLER with cards (instead of pool), this is a fine film. With a first rate cast, cinematographer (Philip H. Lathrop) and editor (Hal Ashby) at his disposal, Jewison has assembled a concise and controlled film that whips up some tension. Even if you're not a poker player, you're bound to be caught up in the atmosphere of smoky card rooms and risk it all poker. The cast is impeccable right down the line with the veterans Edward G. Robinson and Joan Blondell taking over whenever they are on screen. Ray Charles sings the title song. With Ann-Margret, Karl Malden, Tuesday Weld, Rip Torn, Cab Calloway, Jack Weston and Jeff Corey.
Set in the months just prior to the U.S. entering WWII, a young man (Michael Duane) is framed for aiding the Japanese. While serving a five year sentence in prison, his school teacher fiancee (Linda Darnell, borrowed from 20th Century Fox) moves into a boarding house near the prison which is populated by convict wives so she can be near him. Directed by Sidney Salkow (RAIDERS OF THE SEVEN SEAS), this low budget crime melodrama started out as bigger budgeted Samuel Goldwyn production starring Jean Arthur but Goldwyn sold the rights to Columbia Pictures and it ended up a B programmer. Even with a larger budget, I doubt it would be a better movie. Indeed, the film's budget is in line with the film's modest aims and the "cheap" look actually gives it a taint of authenticity. The film is interesting as long as it concentrates on the convicts' wives. When it moves to the prison, we get prison movie cliches (we wait for the inevitable jail break). There's an early underscore by David Raksin. With Glenda Farrell, Lloyd Bridges, Margaret Hamilton, Don DeFore, Rosemary DeCamp, Edgar Buchanan, Sara Allgood, Leslie Brooks and Constance Worth.
Set in a small Mexican fishing village, a fisherman (Pedro Armendariz) is happy to see his old friend (Jack Palance) returning. But his wife (Maria Felix) isn't happy to see him come back. Her affair with him produced a son (Juan Muzquiz) which the fisherman believes is his own child. Based on the novel by Vicente Blasco Ibanez (BLOOD AND SAND) and directed by Roberto Gavaldon. The transfer I saw was in English but this overheated melodrama might play better in Spanish (I believe an original Spanish language DVD exists but without English subtitles). Accompanied by a horrendous over the top score by Gustavo Cesar Carrion, the actors carry on as if they were in an opera. I kept waiting for Pedro Armendariz to tear his shirt open and beat his chest! All of the film's characters are unpleasant people which kept me from investing in their moral quandary. The location lensing in color by Gabriel Figueroa (NIGHT OF THE IGUANA) is often striking but the constant over emotionality of the whole thing is exhaustive. With Paul Stewart and Carlos Montalban.
A young girl named Cinderella (Julie Andrews) is treated as a servant by her stepmother (Ilka Chase) and her stepsisters (Kaye Ballard, Alice Ghostley). When a ball is announced in honor of the return of the Prince (Jon Cypher) to the kingdom, the stepmother and stepsisters plan to attend while leaving Cinderella at home. Based on the classic fairy tale by Charles Perrault with music by Richard Rodgers and lyrics by Oscar Hammerstein and directed by Ralph Nelson (LILIES OF THE FIELD). This original musical was done live on television and captured a record breaking (for the time) audience. It's popularity was such that it was later adapted for the stage (instead of the other way around) and it was remade in 1965 and 1997 for TV. Originally shown in color, alas only a B&W transfer has survived. While this production may lack magic, there's a sincerity and simplicity to it that's engaging and Julie Andrews makes the perfect Cinderella. The R&H songs are all first rate and one would have to be a curmudgeon to nitpick. With Edie Adams, Dorothy Stickney and Howard Lindsay.
A struggling actress (Sandra Dee) is working as a maid to make ends meet. When she meets an upscale businessman (Bobby Darin), she's too embarrassed to invite him to her postage stamp apartment. So she passes off a swanky apartment that she cleans as her own ... unaware that it's actually the businessman's bachelor pad. Directed by Richard Thorpe (JAILHOUSE ROCK). By 1965, Doris Day and Rock Hudson had outgrown the romcoms like PILLOW TALK and LOVER COME BACK that made them king and queen of the box office. Bring in Sandra Dee and then husband Bobby Darin to fill their shoes! The very familiar screenplay feels like a blueprint of those Day/Hudson comedies but Dee and Darin just aren't up to filling those shoes. It's a mildly entertaining and inoffensive movie but there's an air of ennui about it. The film even has a stand in for Tony Randall, Donald O'Connor as Darin's recently divorced colleague and Nita Talbot as Dee's room mate serves as a Thelma Ritter confidante. With Leo G. Carroll, Reta Shaw, Larry Storch, Kathleen Freeman, Arte Johnson and Nora Marlowe.
In mourning for his deceased wife (Hazel Court), a master magician (Vincent Price) is told by a man (Peter Lorre) turned into a raven by a rival magician (Boris Karloff) that his wife is alive and the mistress of his nemesis. Very loosely based on the classic Edgar Allan Poe poem and directed by Roger Corman. Of all the Poe adaptations done by Corman and American International, this is my least favorite. Mainly because for some reason Corman chose to do it as a comedy rather than a traditional horror film. I found the "comedy" rather silly and tedious and couldn't help but wish that Corman had taken the material seriously. Sure, it's a thrill to see such genre icons as Vincent Price, Boris Karloff, Peter Lorre as well as a very young Jack Nicholson (as Lorre's son) all in the same movie but I wasn't amused. The highlight of the film is a magician's showdown with Price and Karloff dueling with their occult abilities which is enjoyable. With Olive Sturgess as Price's daughter.
Set in the 1926 Paris of the "lost generation", a struggling American artist (Keith Carradine) becomes involved in forging masterpieces for a wealthy woman (Geraldine Chaplin) and romantically involved with the wife (Linda Fiorentino) of a brutal and dangerous businessman (John Lone). Co-written and directed by Alan Rudolph (CHOOSE ME), the film coasts on its exquisite recreation of Paris in the 1920s. It's an art director's and costume designer's movie and the milieu is everything. Its rambling screenplay is borderline pretentious and Carradine and Fiorentino aren't strong enough actors to compensate for their uninteresting characters. As for Kevin O'Connor as Ernest Hemingway, I'm not sure which is worse. His godawful performance or the inane dialog he's been given. But three of the supporting actors manage to rise above the material and make their presence felt: Geraldine Chaplin, John Lone and Genevieve Bujold. With Wallace Shawn and Elsa Raven as Gertrude Stein.
When his stockbroker father (Edward Arnold) is sent to prison for embezzlement, his son (Tyrone Power) denounces him. But after regretting his decision to abandon his father, he turns to a life of crime as a mobster's (Lloyd Nolan) henchman in order to buy his father a pardon. Directed by Henry Hathaway (TRUE GRIT), this crime drama is unusual in that Tyrone Power plays against type instead of his usual romantic leading man roles as does Dorothy Lamour (on loan from Paramount to 20th Century Fox) as a mobster's mistress. That's about it as far as out of the ordinary as the plot is pretty standard fare. Power is okay but he'd reveal stronger acting chops seven years later in NIGHTMARE ALLEY. Its interest today is strictly for the "Golden Age" star power (no pun intended) of Power and Lamour. If the film had starred Richard Carlson and Ann Rutherford, I doubt anybody would be interested. With Charley Grapewin, Lionel Atwill and Marc Lawrence.
When an American scientist (Brian Donlevy) in Britain investigates reports of meteorites landing in a rural part of England, he discovers a mysterious "top secret" complex that hides a deadly secret. Directed by Val Guest (THE DAY THE EARTH CAUGHT FIRE), this is a sequel to Guest's THE QUATERMASS XPERIMENT (1955) and as sequels go, it's very good. In fact, I'd venture to say it's better than its predecessor. It looks marvelous thanks to Gerald Gibbs (NO ORCHIDS FOR MISS BLANDISH) B&W cinematography and Guest keeps the movie galloping along at a racing pace. It's not a film where the acting matters much which is good because Donlevy as Quatermass is pretty flaccid (apparently he was inebriated during most of the filming). It would be another ten years before another big screen Quatermass movie would be made. With John Longdon, Bryan Forbes (prior to his directing career), Sidney James, Percy Herbert, Vera Day and Marianne Stone.
A down on his luck ex-paratrooper (Glenn Ford) returns to France to recover a precious jeweled glove that had been stolen from a country church. During WWII, he encountered a Nazi collaborator (GeorgeMacready) who had the glove in his possession. Directed by Rudolph Mate (WHEN WORLDS COLLIDE) from an original screenplay by Charles Bennett. This routine thriller has the advantage of being shot on location in the South of France and Monaco by the great Claude Renoir (THE SPY WHO LOVED ME) but alas, it was shot in B&W thus reducing its glamour factor which it could have used a lot of. I don't think even Hitchcock could have made a silk purse out of this sow's ear even though there are many Hitchcockian elements in the movie which is not surprising considering Bennett wrote THE 39 STEPS for Hitch. Glenn Ford is rather anemic as the returning G.I. and the film's female lead Geraldine Brooks lacks the "oomph" factor. I wasn't bored, I'll give it that. With Sir Cedric Hardwicke, Gaby Andre and Jany Holt.
Set in 1849 on the French island of Saint Pierre (near Canada), a condemned murderer (Emir Kusturica) is placed in the care of an army officer (Daniel Auteuil) and his wife (Juliette Binoche) until a guillotine can be sent to the island for the execution. But as the months pass, the condemned man atones for his crime and the islanders come to object to the execution. But the island's politicians become even more determined to carry it out. Directed by Patrice Leconte (MONSIEUR HIRE), the film is based on an actual incident. The widow of the title has a double meaning which becomes clear by the film's conclusion. It's a disturbing film on several levels as it addresses some issues. Can one overlook the severity of the crime when the criminal changes, when he is not the same man who committed the crime? Does a military officer's obligation to duty supersede his marital obligations? What does capital punishment solve? There's a triple tragedy by the film's finale and it all seems so futile when you realize that not only was justice not served but "justice", in fact, was the cause of these tragedies. Still, although I was sympathetic to the film's characters, I couldn't help but think how the victim was so easily forgotten in all this. With Michael Duchaussoy and Philippe Magnan.
When his shrewish wife (Carole Landis) goes out of town for the weekend, a henpecked husband (George Brent) picks up an alcoholic flirt (Ann Dvorak) and invites her to his apartment for a drink. This turns out to be a big mistake as what he gets isn't what he bargained for! Based on a short story by Vera Caspary (LAURA) and directed by Leigh Jason. This little known screwball comedy is a real sleeper. Who knew the normally dull-ish Brent could do farce so well? George Brent and Ann Dvorak provide the majority of laughs but the film is saddled with a conventional romantic couple, a photographer (Turhan Bey) and a model (Virginia Mayo) that aren't nearly as fun. I don't want to oversell it, it's no THE AWFUL TRUTH or BRINGING UP BABY but it's still a real charmer and worth checking out. With Elizabeth Patterson and Julia Dean as two snoopy old biddies.
After his motorcycle gets smashed up in an accident, a drifter (Elvis Presley) reluctantly accepts a temporary job with a carnival at the behest of its owner (Barbara Stanwyck) until his motorcycle gets repaired. Directed by John Rich (WIVES AND LOVERS), this is your typical mid sixties lightweight Elvis vehicle with just enough plot to hold you until the next song. The songs are a mixed bag with only two stand outs, Hard Knocks which is prime Elvis and Little Egypt which is a cover of the old Coasters hit. Presley's character is a real jerk, however. I guess the film makers figured, it's Elvis. Everybody likes Elvis. Yes but his character is selfish, arrogant and egotistical. Qualities even Elvis can't make attractive though, of course, we all know he'll redeem himself in the final reel (or in this case, the last five minutes). Still, I'd say this one is for Elvis fans only. If you're a Stanwyck fan, you're going to be disappointed. She looks great but she's ill used. With Joan Freeman, Leif Erickson, Jack Albertson, Sue Ane Langdon, Joan Staley, Steve Brodie and in bit parts, two future stars: Raquel Welch and Teri Garr.
Set during the Civil War and shortly after, the lives of the March sisters: the feisty and independent Jo (Saoirse Ronan), the sensible down to earth Meg (Emma Watson), the self centered Amy (Florence Pugh) and the fragile Beth (Eliza Scanlen). Based on the beloved classic by Louisa May Alcott and directed by Greta Gerwig (LADY BIRD). Did we really need yet another version of LITTLE WOMEN? Probably not but if there's a book that is practically fool proof in its various incarnations on film and stage, it's LITTLE WOMEN. I have seen many versions and while they vary in quality, none of them are bad. Gerwig's take on the Alcott classic is refreshing. I'm not sure Alcott would have approved but Gerwig has given us a LITTLE WOMEN for the 21st century without betraying Alcott's source material. Done in a non linear fashion, she's given it a feminist bent along with some tweaking. Notably, giving Amy (who's usually played as a ditzy flirt) a backbone and some spirit. Perfect performances right down the line and yet another winning score by Alexandre Desplat. With Meryl Streep, Laura Dern, Timothee Chalamet, Chris Cooper, Tracy Letts and James Norton.
A well known artist (Franco Nero) is plagued with bizarre nightmares. His press agent (Vanessa Redgrave), who is also his mistress, suggests a quiet place in the country to relax. But things become worse as the artist becomes obsessed with the spirit of a young girl (Gabriella Boccardo) who was killed at the villa during WWII. Based on the novel THE BECKONING FAIR ONE by George Oliver Onions and directed by Elio Petri (INVESTIGATION OF A CITIZEN ABOVE SUSPICION). Upon its original release, the films reviews were divisive and it's easy to see why. Though the film is often mistakenly referred to as a giallo (as if every Italian film with bloody killings is automatically a giallo), this is more of a psychological thriller. There's no real mystery to it as everything that happens in it points to an obvious and inevitable solution. It's style over substance cinema and Petri has style to burn. Whether it's enough to sustain one's interest in the movie depends on one's tolerance for a pretentious narrative with no logic and lots of kink. I'm quite fond of both Redgrave and Nero which helped a lot. The appropriately cacophonous score is by Ennio Morricone. With Georges Geret and Madeleine Damien.
After serving in WWII, a man (Johnny Weissmuller) returns home to the bayous of Louisiana. His attempts to fall back into his former life are complicated by a wealthy heiress (Virginia Grey) who has designs on him and his hot tempered rival (Buster Crabbe doing a dreadful Cajun accent) who resents his return. Directed by William H. Pine, this poverty row potboiler is of interest in seeing Tarzan (Weissmuller) and Flash Gordon (Crabbe) battle each other. Weissmuller may not be playing Tarzan but he's still wrestling rubber alligators! As usual in films of this sort, the "bad" girl (Grey) is much more fun than the "good" girl (Carol Thurston) though it's inevitable that Weismuller will choose the boring nice girl. Watchable but forgettable. With Pedro De Cordoba and Pierre Watkin.
The first manned mission to Mars lands safely on the red planet. But the Martian landscape harbors a shocking secret and a mysterious vortex destroys the expedition, leaving only one survivor (Don Cheadle). When a distress message is received, a rescue mission is sent but an amazing discovery awaits them. Directed by Brian De Palma, the film was panned by U.S. film critics (Pauline Kael was one of the few mainstream critics who had some good things to say about it) but in Europe, it was very well received and Cahiers Du Cinema named it one of the year's 10 best films. 20 years later, I'm with the European critics. This is not to say the film is not flawed, it has a lot (there's too much sentiment, the dialog is pedestrian) but there are some incredibly beautiful moments in the film and it puts forth a theory that while it may upset creationists, I found imaginative and brave. The production design, art direction and CGI are first rate. This is definitely thinking man's sci-fi. The shimmering score by Ennio Morricone is one of his best. With Gary Sinise, Tim Robbins, Jerry O'Connell, Armin Mueller Stahl and Connie Nielsen.
When a freelance pilot (Vic Morrow) working out of Monte Carlo flies a passenger (Stanley Holloway) to Istanbul and the passenger later turns up murdered, he becomes the focus of a mysterious femme fatale (Suzanne Pleshette) and a local mobster (Victor Buono) who both want what the passenger was carrying in his briefcase. Directed by Roger Corman under the pseudonym of Henry Neill. This was originally intended as a TV movie with the possibility of becoming a regular TV series with Morrow. That never happened. Instead, some gratuitous sex, nudity and violence were inserted into the film and it was released theatrically under the title HOW TO MAKE IT. It's an unexceptional film so one can see why Corman might have wanted his name taken off it. Vic Morrow is a good actor but he's not leading man material and this film shows why. It needed a Charles Bronson or Burt Reynolds type of actor whose screen presence could make it tolerable. Suzanne Pleshette is ideal casting for a femme fatale but the movie's trite dialog does her in and eventually renders her unappealing. But the film's ineptness is never more obvious when Charlotte Rampling's character is brutally murdered and it's obvious Ms. Rampling wasn't even in the room when the scene was shot. They don't even try to obscure the fact that it is not Rampling and even give her body double (who doesn't look like her) a close up! With Cesar Romero and Michael Ansara.
A drifter (Audie Murphy) and a hired killer (Dan Duryea) accept a woman's (Joan O'Brien) offer of $1,000 apiece to take her through hostile Apache territory to be with her husband. But the woman isn't forthcoming about her real reasons for the trek. Directed by Harry Keller (THE UNGUARDED MOMENT), this routine oater is basically a three character film with only two interesting characters. Murphy's character isn't very interesting. It's a pity that Murphy never found his Budd Boetticher or Anthony Mann the way Randolph Scott and James Stewart did and were able to create some of the best westerns of the 1950s. Murphy wasn't much of an actor but he wasn't a bad one and could be effective in the right role. Murphy's work for John Huston (RED BADGE OF COURAGE, THE UNFORGIVEN) suggests that perhaps Huston was able to tap into Murphy's psyche and might have been a good director for him but Huston wasn't a genre director. Fortunately, Dan Duryea and Joan O'Brien play characters with enough ambiguity (we're never quite sure if they're good or bad) to hold our attention through the film's running time. With George Barcroft and Bob Steele.
A factory worker (Betty Hutton) dreams of becoming a stage actress. She joins a small acting troupe but her inadequacies as an actress ruin the shows. So what's an aspiring actress to do? Why go into the movies, of course! A highly fictionalized account of the silent film actress Pearl White and directed by George Marshall (MY FRIEND IRMA). If there's an iota of actual truth in any of this movie, it's an accident. Pearl White had died in 1938 so she didn't live to see this travesty of her life. What it is, is a vehicle for Betty Hutton, at the time, Paramount's biggest female star. Hutton is an acquired taste. Her manic style can be exhausting as evidenced in some of her musical numbers here like Rumble Rumble Rumble but when she stops all the antics and just sings, she can be effective as in her restrained rendition of the Oscar nominated I Wish I Didn't Love You So. My own favorite musical number is Poppa Don't Preach To Me (no, not the Madonna song). For Hutton fans only (there must be a few). With John Lund, William Demearest, Billy De Wolfe, Constance Collier and Frank Faylen.
A thief (Steve Reeves) falls in love with the Sultan's (Antonio Battistella) beautiful daughter (Giorgia Moll) who is betrothed to the evil Prince Osman (Arturo Dominici). When she becomes seriously ill, only a rare blue rose will cure her. So off the thief goes to find the blue rose but he will find danger and adventure in his quest. Although an Italian film, it is directed by the Hollywood veteran Arthur Lubin (BUCK PRIVATES). The film appears to have a bigger budget than the usual Steve Reeves films of the period allowing for better production values including the handsome Tunisian locations shot in CinemaScope by Tonino Delli Colli (ONCE UPON A TIME IN THE WEST), beautiful costumes, art direction and design and good special effects. While it lacks the charm of the 1924 and 1940 versions, it is still a grand and colorful adventure that should make fans of fantasy cinema pleased. With Daniele Vargas, Edy Vessel and Fanfulla (FELLINI SATYRICON).
An anti-establishment poet (Sean Connery) is frustrated because of writer's block. His wife (Joanne Woodward) arranges for him to be analyzed by a prominent psychiatrist (Patrick O'Neal) in the hopes he will be able to discover the cause of the writer's block. Based on the novel by Elliott Baker and directed by Irvin Kershner (EYES OF LAURA MARS). Oh, the 1960s! When misogynistic, misanthropic, abusive non conformists were considered heroes! When punching your pregnant wife in the face could be done for a laugh! A major part of the plot deals with a doctor (Clive Revill) eager to give the poet a lobotomy which misfires because Connery looks like a lobotomy might actually help him. I don't mean to be to hard on the film because much of it is actually very good but it's of its era. Connery brings a welcome vitality to his character but Woodward's shrill one note performance becomes irritating very quickly. There's a wealth of talent in the supporting cast including Jean Seberg, Colleen Dewhurst, Kay Medford, Jackie Coogan, Sue Ane Langdon, Zohra Lampert, Bibi Osterwald, Richard Castellano, Renee Taylor and Mabel Albertson.
A group of traveling players present the story of Pippin (William Katt), son of the 9th century King Charlemagne and head of the Holy Roman Empire, in song and dance. Based on the hit Broadway musical and directed by David Sheehan. The Broadway show owed its success to Bob Fosse's direction and staging and here choreographer Kathryn Doby recreates Fosse's unique dance style. The songs by Stephen Schwartz range from decent to very good but the show's problem has always been its book credited to Roger O. Hirson. It's weak although it's filled with self importance because it's (trying to) saying something. Forget the dialog interludes and enjoy the singing and dancing. Two performers stand out: the dynamic Ben Vereen (recreating his Tony winning performance) as the troupe's leader and Chita Rivera, who gives a sly performance as Pippin's stepmother. This production is a filmed play before a live audience, not a movie but the energy is there and pushes the staging forward but oh that trite dialog! I wouldn't mind seeing a proper film version. With Martha Raye, Leslie Denniston, Benjamin Rayson and Christopher Chadman.
While excavating sites in Asia, a group of archaeologists (John Agar, Hugh Beaumont, Nestor Paiva) find evidence of a civilization living deep in the bowels of Earth. Descending into a deep tunnel, they discover a lost race of Sumerians. Directed by Virgil Vogel, this piece of science fiction seemed awesome when I was 10 years old but viewed as an adult, it's just silly and the nostalgia factor isn't enough to overlook how dumb it is. Even with a short running time of one hour and 17 minutes, it seems padded. It starts with a rather ludicrous prologue with a professor from USC spouting off some inane trivia about hollow earth theories and it takes forever for the doltish archaeologists to discover the Sumerian civilization as they wander around the dark tunnels. Wooden actors like Agar and Beaumont don't help much and it isn't until Alan Napier as a Sumerian priest shows up that we get some kitsch. With Cynthia Patrick and Rodd Redwing.
When a flirtatious tease (Magda Miller) is found strangled in the woods, the police inspector (John Mills) assigned to the case narrows it down to three suspects: a doctor (Charles Coburn), the local social club's secretary (Derek Farr) and a sensitive young man (Alec McCowen), who may or may not have mental problems. Directed by John Guillermin (TOWERING INFERNO), this British mystery film is hampered by the lack of any real sense of mystery or suspense. The screenplay narrows it down to the three male suspects and it would have been fresh if it was actually someone else but it isn't. So the film is a waiting game till we find out which of the three men did it and the ending is a cliche. The acting is generally good especially Elizabeth Seal (Broadway's IRMA LA DOUCE) as another flirtatious good time gal. With Barbara Bates, Fay Compton, Geoffrey Keen, Maureen Connell and Margaretta Scott.
A Hollywood sex symbol (Elke Sommer) is tired of being exploited for her body so she walks off the set of her latest film and hides out in a secluded lakeside cabin in Oregon. Things gets ultra complicated when a real estate agent (Bob Hope) trying to sell the lakeside property gets involved with the actress. Directed by George Marshall (MURDER HE SAYS), this mid 60s Bob Hope farce is a prime example of the rut Hope's film career was in. One of the dependable comic film actors in the 30s, 40s and 50s, after BACHELOR IN PARADISE (1961), his last good comedy, his movies became increasingly worse. Known for his crackerjack timing, both he and Phyllis Diller (playing his maid) are unable to do anything with the material. There's not a single laugh to be had in the whole film, not one which allows one's mind to wander and dwell on something like the hideousness of Marjorie Lord's (as Hope's wife) ugly wig. Surprisingly, it did fairly well at the box office. With Cesare Danova, Joyce Jameson and Terry Burnham.
A young woman (Jeanne Crain) returns to her Southern roots from the North where she had been working as a nurse. When confronted by her grandmother (Ethel Waters), she confesses she had been passing for white. She hadn't told her fiance (William Lundigan) about her black heritage and she has come home to sort things out. Based on the novel QUALITY by Cid Ricketts Sumner and directed by Elia Kazan (ON THE WATERFRONT). Under Daryl F. Zanuck, 20th Century Fox produced a series of socially conscious films, the Oscar winning GENTLEMEN'S AGREEMENT (also directed by Kazan) being the most notable example. While GENTLEMEN'S AGREEMENT comes across as obvious and heavy handed today, PINKY holds up very well and (unfortunately) still relevant as when the police stop Crain's Pinky, their courtesy turns brutal after they discover she is black or after a sales clerk realizes she is "colored", he charges her twice as much. Crain's Oscar nominated performance is often dismissed but I think she's very good here. For a 1949 film, it doesn't pull any punches. The film was banned in Texas in a case that went all the way up to the Supreme Court which resulted in a landmark decision giving First Amendment rights to films. With Ethel Barrymore (also Oscar nominated along with Ethel Waters), Evelyn Varden, Frederick O'Neal, Basil Ruysdael, Arthur Hunnicutt and Nina Mae McKinney.
Set during WWI in France, two young British soldiers (George MacKay, Dean Charles Chapman) are given the mission to hand deliver a message to another regiment to cancel their attack plans as it's a planned ambush by the Germans. But their journey will be a treacherous one across battle lines. Directed by Sam Mendes (SKYFALL). I'm not much of a fan of war films and I went into this one with some trepidation. It was unwarranted as this is easily one of the best war films I've ever seen. Even if it weren't a good film, it would be worth seeing for Roger Deakins' stunning cinematography alone. Shot in long takes seemingly without cuts (I didn't detect any), Deakins pulls off some amazing shots without calling attention to itself and always in service of the film. You never get the feeling he's showing off. By focusing on only two characters, Mendes is able to sharpen the film's narrative which allows the intimacy to take precedence over the "epic" style. He shows us heroism and bravery without resorting to jingoism and shows us war is hell without the pretentiousness of something like ALL QUIET ON THE WESTERN FRONT. Thomas Newman provides the best film score I've heard this year. Quite an achievement and highly recommended. With Colin Firth, Benedict Cumberbatch, Andrew Scott, Mark Strong, Richard Madden and Claire Duburcq, the only woman in the film.
In the Jewish ghetto of medieval Poland, a Rabbi (Albert Steinruck) reading the stars sees disaster for his people. The day after, the Emperor (Otto Gebhur) issues a mandate that the Jews must leave Prague. To save his people, the Rabbi invokes a spell that will bring his newly created clay creation, the Golem (Paul Wegener), to life to protect his people. Based on the 1915 novel by Gustav Meyrink and directed by Paul Wegener and Carl Boese. Made at the height of German expressionism in cinema, this was an influential film in the horror genre chiefly because of Karl Freund's cinematography (he would go on to shoot the 1931 DRACULA) and the art direction of Hans Poelzig and Kurt Richter. For example, its influence can clearly be seen in James Whale's film of FRANKENSTEIN (1931). Its iconic status aside, it remains a transfixing piece of horror cinema rather than just an archival museum piece. With Lydia Salmonova, Ernst Dueutsch, Lothar Muthel and Fritz Feld.
A young mentally unstable woman (Sharon Stone) fights off a rapist and stabs him with scissors but he gets away. But she begins to unravel. Is somebody helping to push her over the edge? Directed by novelist turned director Frank De Felitta (THE ENTITY), this psychological thriller is so inept in every department that it could be a textbook on how not to make a movie! There are so many loopholes, the dialog is frequently laughable, a major subplot is nothing but a red herring and the acting is bad. Sharon Stone, a year away from her breakout role in BASIC INSTINCT, is just awful and if you hadn't seen her in other films, you'd never guess she could act. The only high spots are Anthony B. Richmond's (DON'T LOOK NOW) cinematography and the production design (Craig Stearns) and art direction (Randy Moore) which includes a fantastic art deco loft apartment. Alas, not the kind of bad movie which is fun in spite of itself. With Steve Railsback (in a dual role), Michelle Phillips, Ronny Cox and Vicki Frederick.
.JPG)
_Film_Poster.jpeg)
