She Had To Say Yes (1933)

A young secretary (Loretta Young) is coerced into going out on "dates" with out of town clients by her ambitious boyfriend (Regis Toomey). One of the clients (Lyle Talbot) is attracted to her but she rebuffs his advances until she finds out her boyfriend is cheating on her. She becomes romantically involved with the client only to find that when it comes to men ..... they're pretty much the same everywhere. Based on the short story CUSTOMER'S GIRL by John Francis Larkin and co-directed by Busby Berkeley and George Amy. This pre-code movie deals with sexual harassment before the phrase entered our national conscience. Both the men in Young's life "suggest" she help them get what they want from other businessmen but when she does, they turn on her for being a tramp! She's not of course (after all, she's the virtuous Loretta Young) but they think the worst of her without any conclusive evidence. The film has a "happy" ending although I would have booted the guy she ends up with out the door. Quite enjoyable. With Hugh Herbert and Winnie Lightner.

Hotel Du Nord (1938)

In a working class district in Paris, two stories unfold: 1) two despondent young lovers (Annabella, Jean Pierrre Aumont) engage in a suicide pact. He will shoot her and then turn the gun on himself. But after shooting her, he runs away. 2) a prostitute (Arletty) is treated badly by her pimp (Louis Jouvet) who has a hidden past that will come back to confront him. Based on the novel by Eugene Dabit and directed by Marcel Carne (LES ENFANTS DU PARADIS). The film is part of the "poetic realism" that proliferated in 1930s French cinema. Slipping in between Carne's two masterpieces, PORT OF SHADOWS and LE JOUR SE LEVE, this movie tends to get overlooked in Carne's filmography. While nowhere near the greatness of those two films, HOTEL DU NORD is still a worthy entry that deserves a little more attention. It has its flaws (the situation of the girl still in love with the man who shot her is kind of icky) but overall it's a captivating mood piece. I was going to say atmospheric but I decided against it (you have to have seen the movie to understand why). As the lovers, Annabella is charming (this was her last French film before leaving for Hollywood where she would marry Tyrone Power) and Jean Pierre Aumont is touching but the film belongs to Arletty and Louis Jouvet as the sparring prostitute and pimp. Jouvet especially brings a poignance to the lost man finally reclaiming his humanity but too late. With Jane Marken, Andre Brunot, Bernard Blier, Francois Perier and Paulette Dubost.  

Shootdown (1988)

On September 1, 1983, Korean Airlines Flight 007 on route from New York to Seoul flying over prohibited Soviet airspace was shot down by a Soviet interceptor aircraft. Unsatisfied with the information provided by both the Soviets and the U.S. government, the mother (Angela Lansbury) of one of the victims is determined to find out what really happened. Directed by Michael Pressman (DOCTOR DETROIT). During the 12 year (1984-1996) run of MURDER SHE WROTE, Angela Lansbury did many telefilms which allowed her more varied roles than the popular TV sleuth she portrayed. This project about a grieving mother (based on Nan Oldham) trying to find closure over the death of her son was one such effort. As long as the movie concentrates on the KAL 007 tragedy and the mother's efforts to bring light and accountability, the narrative remains compelling. Alas, too much time is spent with an unnecessarily long exposition and frequent cliched domestic scenes that deflate any attempt at a quality drama. The film espouses unsubstantiated conspiracy theories (though the belief that it was just an unfortunate "accident" seems highly unlikely) that have no real basis in fact yet presents it as truth with no disclaimers. With John Cullum and Molly Hagan.

Grand Central Murder (1942)

When a gold digging actress (Patricia Dane) turns up dead in the private railroad car of a millionaire (Mark Daniels), there is no shortage of suspects. A police inspector (Sam Levene) rounds up the suspects in one room and through a series of flashbacks, we get the backstory that lead to the actress's killing and eventually, the murderer. Based on the novel by Sue MacVeigh and directed by S. Sylvan Simon (THE FULLER BRUSH MAN). This unassuming whodunit comedy courtesy of MGM's B movie unit is fun especially if you're a murder mystery fan (like me). It's terribly contrived and overly complicated but it's got a wonderful ensemble cast of MGM's second string players and they all get their moment to shine. Van Heflin wasn't yet a "name" (his Oscar win for JOHNNY EAGER would give him status at MGM) so as a private detective who breaks the case, he's just part of the ensemble. A minor film to be sure but if it crosses your path, you should have a good time. The spirited cast includes Stephen McNally, Virginia Grey, Tom Conway, Connie Gilchrist, Millard Mitchell, Samuel S. Hinds and Cecilia Parker.

Queen Bees (2021)

After a fire destroys her kitchen, an independent senior (Ellen Burstyn) reluctantly locates to an expensive assisted living retirement community until repairs are done on her house. Directed by Michael Lembeck (CONNIE AND CARLA), this is yet another frustrating geriatric comedy (somehow Diane Keaton isn't in this one) that has its heart in the right place but can't help but fall into the usual ageist stereotypes. It's the kind of comedy where we're supposed to be amused when senior citizens get high on pot, play strip poker or have promiscuous sex with each other. Funny, yes? Funny, no! I suppose we should be grateful they don't go skydiving or ride motorcycles. While it's great to see such mature talents like Burstyn, James Caan, Ann-Margret and Jane Curtin (who gives the best performance as the resident bitter bitch) together on screen, it's also sad when this is (apparently) the best they're offered. The faults of the movie aren't theirs, they're troupers and they get the job done but they deserve better material. With Loretta Devine, Christopher Lloyd, Elizabeth Mitchell, French Stewart, Alec Mapa and Matthew Barnes.

Susan Lenox (Her Fall And Rise) (1931)

After fleeing her abusive Uncle's (Jean Hersholt) house after an attempted rape by a man (Alan Hale) her Uncle was forcing her to marry, a young woman (Greta Garbo) meets a young architect (Clark Gable) and falls in love. But fate has a grim destiny set for her and after the architect abandons her, she drifts from man to man, going from a rich politician's mistress to singing in third world dives. Based on the novel by David Graham Phillips and directed by Robert Z. Leonard (PRIDE AND PREJUDICE). The only pairing of Garbo and Gable (not yet the iconic star he would become in a few years), the sparks may not fly but there's still enough star power to make wading through this pre-code soap opera worthwhile. Alas, the downbeat realistic ending that seems inevitable never comes to pass and instead, we get a real eye roller of a "happy" ending. Still, the public lapped it up and the film was a big hit. With John Miljan and Cecil Cunningham. 

Come Cani Arrabbiati (aka Like Rabid Dogs) (1976)

Accompanied by two sidekicks (Annarita Grapputo, Luis La Torre), the spoiled and privileged son (Cesare Barro) of a wealthy Italian businessman (Paolo Carlini) robs and kills for kicks. A police inspector (Jean Pierre Sabagh) is determined to catch them whatever the cost. Directed by Mario Imperoli, this is a nasty and unsavory exploitation film under the guise of a political film. Ostensibly, it's about how the rich can get away with murder because of their class but Imperoli lingers over the torture and brutal killings with such relish that it soon becomes clear where his head is really at. The female victims are stripped before they are tortured and murdered and served up for our delectation. To avoid charges of misogyny, Imperoli tosses in the killing of two homosexuals to throw us off the scent. When an undercover policewoman (Paola Senatore) is almost raped by the two thugs, she gets so turned on that she goes home and has sex with the police inspector who set her up. Granted, it's eminently watchable but you might feel like taking a shower when it's over. With Gloria Piedimonte.

Vacation From Marriage (aka Perfect Strangers) (1945)

A mild mannered bookkeeper (Robert Donat) and his mousy wife (Deborah Kerr) lead a tedious life. But when war breaks out, he joins the Navy and she joins the Women's Royal Navy Service. The war separates them for three years but during that time, he grows more confident and assured while she blossoms into an independent woman. The war has changed them. Will they be able to go back as man and wife since they're not the same people? Directed by Alexander Korda (PRIVATE LIFE OF HENRY VIII), the film is a parable of Great Britain during the war. As the war changes the husband and wife so the war changed England and life would never be the same. Clemence Dane's Oscar winning story is interesting and for most of the film's running time, it's on firm ground. However, the ending goes a bit flabby and predictable. We always knew where it was going to end up but did it have to be so romcom-ish? There's a scene where Kerr says of Donat, "He's no Cark Gable" and just two years later, she made her American film debut opposite Gable in THE HUCKSTERS. There's a fine supporting cast including Glynis Johns, Ann Todd, Roland Culver and Caven Watson.

Coogan's Bluff (1968)

An Arizona deputy sheriff (Clint Eastwood) is sent to New York City to extradite an escaped killer (Don Stroud). However, his crude methods and ideas of law and order clash with the New York City Police Department. Directed by Don Siegel (INVASION OF THE BODY SNATCHERS), this was the first of the five film collaborations between director Siegel and star Eastwood. I'd say it was the weakest of their collaborations if it weren't for ESCAPE FROM ALCATRAZ (yes, I know that movie has its admirers). It's a typical "fish out of water" plot with a reactionary lawman adrift in a sordid New York City filled with criminals, hookers, junkies, hippies, homosexuals and grifters. The horror! Eastwood's Coogan is pretty sleazy himself. He breaks the law when it suits his own agenda, uses the one friend (Susan Clark in a demeaning role) he makes in New York to get information and abandons her when he gets it, has sex with the underage girlfriend (Tisha Sterling) of the man he's tracking down and bullies his way through out by flashing his badge though he has no authority outside of Arizona. This is our hero? But I'll give it its due, it's never boring and the entertainment value is strong. The inspiration for the TV series MCCLOUD with Dennis Weaver. With an unusually restrained Lee J. Cobb, Betty Field (who has one great scene), Tom Tully and Seymour Cassel.

The Horizontal Lieutenant (1962)

Set during WWII, an Army Intelligence officer (Jim Hutton) stationed in Hawaii is sent to a remote island in the Pacific to search for a Japanese soldier (Yuki Shimoda) hiding in the hills. Romantic complications ensue when a nurse (Paula Prentiss) the officer is attracted to is also sent to the island. Based on the novel THE BOTTLETOP AFFAIR by Gordon Cotler and directed by Richard Thorpe (IVANHOE). The fourth and last teaming of Hutton and Prentiss (although Prentiss did a cameo in LOOKING FOR LOVE (1964) opposite Hutton) is a dud of a military service comedy. It makes the similarly themed THE PRIVATE NAVY OF SGT. O'FARRELL (1968) look like a comedy classic! There's not a single laugh to be had though to their credit, Hutton and Prentiss give it their best shot. The studio didn't even bother going on location, it's a soundstage island. With Miyoshi Umeki (who gets to sing Gershwin's How About You?), Charles McGraw, Jack Carter, Jim Backus, Marty Ingels and Yoshio Yoda.  

Hai Shang Hua (aka Flowers Of Shanghai) (1998)

Set in 1884 Shanghai, the "flower houses" (they're not brothels) of Shanghai cater to moneyed gentlemen and provide female companionship. It's a world where male/female relationships play out in intrigue, jealousies and tension. Based on the novel THE SING SONG GIRLS OF SHANGHAI by Han Bangqing as translated by Eileen Chang and directed by Hou Hsiao Hsien. This is a visually ravishing film bathed in amber as shot by Mark Lee Ping Bing (IN THE MOOD FOR LOVE) with superb production design (Wen Ying Huang), art direction (Huang again with Chih Wei Tasao) and costume design (no one is credited). The film is episodic in nature, a series of vignettes looking at the courtesans of four elegant flower houses as they use their powers of seduction (it's the only weapon allowed them) to marry, for financial gain or buy their freedom. The strongest of the stories focuses on a quiet gentleman (Tony Leung Chiu Wai) and his relationship with a duplicitous flower girl named Crimson (Michiko Hada). Its leisurely pacing and long takes may not be to everyone's taste but the rewards are worth it. With Vicky Wei, Carina Lau (Mrs. Tony Leung), Shuan Fang and Rebecca Pan. 

Toward The Unknown (1956)

A former Korean POW (William Holden) who made a false confession under torture returns to active service at Edwards Air Force Base in California. Not only must he deal with his own insecurities, he must contend with a hard nosed Commander (Lloyd Nolan) and the distrust of other officers. Directed by Mervyn LeRoy (QUO VADIS), this is yet another film about aviation and pilots where the aerial sequences are far more interesting than the mundane problems on the ground. While the storyline dealing with a POW suffering post-traumatic stress disorder and his guilt over breaking down is compelling, it's sidetracked by the fleet of Air Force combat aircraft and the flying scenes which pushes the PTSD issue into the background. There's also the groan inducing comedy relief provided by L.Q. Jones as Nolan's aide. If you're into aviation, there should be enough here to hold your interest. Others might not be so tolerant. With James Garner (in his film debut), Virginia Leith, Charles McGraw, Murray Hamilton, Karen Steele and Jean Willes. 

The Shootist (1976)

A famous but aging gunfighter (John Wayne) comes to Carson City in Nevada to be examined by a doctor (James Stewart). The doctor confirms what he suspected ..... he has terminal cancer. But his hopes of living out his final days in peace are dashed when word of his presence brings out the wannabe gunfighters who want to make their own mark by gunning him down. Based on the novel by Glendon Swarthout (WHERE THE BOYS ARE) and directed by Don Siegel (CHARLEY VARRICK). Perhaps the greatest gift of a swan song to an actor, it's near impossible to watch the film without acknowledging the almost 50 years of his iconic career that he brings to the part. The man, the Star and the legend all come together here. His poignant subdued performance allows him to both perpetuate his persona yet still let that persona down so we can see the man confronted with his own mortality and while frightened of what lies ahead, makes no apologies and goes out on his own terms. With one exception, the acting is very good and Elmer Bernstein's subtle score hits all the right notes. With Lauren Bacall (quite good), Ron Howard, Richard Boone, Hugh O'Brian, Sheree North, John Carradine, Rick Lenz, Scatman Crothers and in the film's one bad performance, Harry Morgan. 

Upperworld (1934)

A multi millionaire railroad tycoon (Warren William) is ignored by his social climbing wife (Mary Astor). When he meets a burlesque showgirl (Ginger Rogers), he becomes infatuated. The showgirl's sleazy boss (J. Carrol Naish) attempts to persuade the girl in blackmailing the millionaire which she refuses. But the dye is cast and a double murder and a trial is in the cards. Directed by Roy Del Ruth (THE ALLIGATOR PEOPLE), this pre-code drama isn't bad at all. The film seems to be about how the very rich can get away with anything because of their wealth and position. But the movie tries to shift the blame of the tragic events to the wife because she wasn't there for her husband. The "happy" ending seems to suggest that guilt or innocence aside, the very rich can get away with anything but the film doesn't condemn the unfairness of it but instead, it doesn't seem concerned with it and takes it in its stride. This was one of the very last pre-code movies before the Hollywood Production Code put its fist down. With Andy Devine, Sidney Toler, John Qualen and Dickie Moore.

Shane (1953)

Set in Wyoming territory not long after the Civil War. A homesteader (Van Heflin) struggles to build his ranch up while being intimidated by a cattleman (Emile Meyer) who wants his land. Enter a drifter (Alan Ladd), who will be a savior to the homesteaders. Based on the novel by Jack Schaefer and directed by George Stevens (GIANT). I'm not a big fan of Stevens' post WWII films and SHANE is no exception. I don't dislike it, it's well done for what it is but it's nowhere near as great as its reputation (it pops up near the top of just about every list of great westerns) would have you believe. After WWII, Stevens seemed to want to make only "important" films rather than the wonderful entertainments (like SWING TIME and GUNGA DIN) that he made before the war. So SHANE couldn't be just an ordinary western, it had to be mythic! As Shane, Alan Ladd is rather sweet and his scenes with young Brandon De Wilde are lovely but Jean Arthur (this was her last feature film) as Heflin's wife seems ill at ease. Victor Young's overblown score only adds to the pomposity but Loyal Griggs' Oscar winning color cinematography was justly praised. With Jack Palance, Ben Johnson, Edgar Buchanan, Nancy Kulp and Elisha Cook Jr.

The Defector (1966)

Set during the Cold War, an American physicist (Montgomery Clift) is blackmailed by a secret agent (Roddy McDowall) into spying for the CIA in East Germany. His mission is to obtain some microfilm from a Russian scientist but the East German secret police are already privy to his mission when he arrives. Based on the novel THE SPY by Paul Thomas and directed by Raoul Levy. This was Montgomery Clift's last film (he died three months after completing it) and its reputation isn't very good so I was prepared for the worst. So I was pleasantly surprised that it wasn't bad at all but it wasn't very good either. It's one of those drab and realistic anti-Bond spy films that thrived in the 60s like THE IPCRESS FILE, THE DEADLY AFFAIR, SPY WHO CAME IN FROM THE COLD, etc. Clift, looking very gaunt, gives an effective performance but after a promising start, the film meanders around the half hour mark and never finds its footing again. The cinematography is by Raoul Coutard (JULES AND JIM) and the undistinguished score by Serge Gainsbourg. Clift's next film was to be REFLECTIONS IN A GOLDEN EYE which would have made a better swan song. With Hardy Kruger, Macha Meril, Hannes Messemer and David Opatoshu.

Red King, White Knight (1989)

When the CIA hears of a plot by the KGB to assassinate a high ranking Soviet official with progressive ideas, they send a retired agent (Tom Skerritt) to Russia to authenticate the threat. But things don't go according to plan and the ex-agent finds himself trapped without an exit plan. Directed by Geoff Murphy (THE QUIET EARTH), this is an unexceptional Cold War spy thriller. The plot is often incoherent and the movie generates no suspense or tension until the film's last ten minutes. Tom Skerritt is a solid character actor in supporting roles (THE TURNING POINT) or ensemble films (ALIEN) but he's a hole in the screen as a leading man, not that the unconvincing script does him any favors. Hungary convincingly stands in for the Soviet Union. With Helen Mirren, Max Von Sydow (wasted), Tom Bell, Barry Corbin and Gavan O'Herlihy.

High Wall (1947)

A man (Robert Taylor) is sent to a mental asylum for observation after strangling his adulterous wife and attempting to commit suicide. But a psychiatrist (Audrey Totter) at the asylum attempts to break through the patient's mental block to discover what really happened. Based on a play by Alan R. Clark and Bradbury Foote and directed by Curtis Bernhardt (INTERRUPTED MELODY). This is a decent enough if rather predictable film noir. The film shows its hand early in the narrative and so we pretty much know how its going to end up, thus the movie becomes more of a mystery unfolding to reveal what we all ready know. The budding romance between Taylor and Totter suffers from a lack of chemistry between them. If you can put up with the overly contrived plot, it's a fair entertainment with a nice performance by Robert Taylor. With Herbert Marshall, Warner Anderson, Elisabeth Risdon, H.B. Warner and Dorothy Patrick.

Guns For San Sebastian (1968)

In 1746 Mexico, an outlaw (Anthony Quinn) on the run from Spanish soldiers is given sanctuary by a priest (Sam Jaffe). When he refuses to hand the outlaw over to the authorities, the church sends the priest to a remote village in the middle of nowhere. Feeling guilty, the outlaw follows the priest to the town of San Sebastian. Based on the novel A WALL FOR SAN SEBASTIAN by Reverend William Barnaby Faherty and directed by Henri Verneuil (THE SICILIAN CLAN). This is a surprisingly enjoyable "spaghetti" western (an Italian, French, Mexican and U.S. co-production) although it was filmed in Mexico. It slowly wins you over until you find you're invested in the movie's outcome and the film's final battle between the villagers and the attacking Yaqui Indians is wonderfully done and quite intense. The handsome wide screen (shot in Franscope) cinematography is by Armand Thirard (DIABOLIQUE) and Ennio Morricone contributes one of his very best scores. With Charles Bronson, Silvia Pinal, Anjanette Comer, Jaime Fernandez, Jorge Martinez De Hoyos and Leon Askin.

Madame X (1929)

After abandoning her husband (Lewis Stone) and child for her lover, a woman (Ruth Chatterton) attempts to reconcile with her husband only to be kicked out and told she will never see her child again. As the years pass, she sinks into a life of degradation and eventually, murder. Based on the 1908 play by Alexandre Bisson and directed by the actor Lionel Barrymore. One of the countless versions of the play which has been filmed some ten times in various countries, this one suffers from being caught in the transition to talkies. This is a stagnant film. Barrymore plops his stationary camera down and films his actors going through their paces. The acting is pretty stiff for the most part, even Chatterton doesn't thaw out until the second half of the movie. There's no music in the film, not even over the title credits. Theatre orchestras were still expected to provide whatever music was needed. With Raymond Hackett, Holmes Herbert, Eugenie Besserer and Sidney Toler.

Flight To Mars (1951)

A scientific expedition team makes the first visit to Mars. They find what at first appears to be a friendly welcome by its citizens. What they don't know is that the planet is dying and the Martian leaders plan to eventually relocate to Earth. Directed by the prolific Lesley Selander (FORT ALGIERS), this is a low budget (it was produced by the poverty row studio Monogram) science fiction movie typical of its era. It's a straight forward piece of sci-fi. There are no bug eyed monsters or creatures which is kind of refreshing actually and the Martians look just like us, they just dress funnier. Thankfully, it makes no claims to scientific accuracy and there's not much action. It's pretty much a talkfest. I found it similar to QUEEN OF OUTER SPACE but without the "camp" factor. Shot in CineColor. With Cameron Mitchell, Marguerite Chapman, Arthur Franz, Virginia Huston, John Litel and Morris Ankrum.

Those Who Wish Me Dead (2021)

After a traumatic experience, a smoke jumper (Angelina Jolie) is posted to a fire lookout tower in the mountains of Montana. A forensic accountant (Jake Weber) is murdered by two hit men (Nicholas Hoult, Aidan Gillen) but his young son (Finn Little) witnesses the murder and goes on the run from the hitmen. Based on the novel by Michael Koryta and directed by Taylor Sheridan (WIND RIVER). I was a huge fan of Sheridan's previous film WIND RIVER (2017) so I was looking forward to this action thriller. It's decent enough and it certainly delivers the goods but I was disappointed since it's a comedown from his previous and superior film. Don't get me wrong, I thoroughly enjoyed it but it never rises above a decent if generic thriller. The plot is highly contrived (I've not read the novel so I don't know how it plays out in the book) but I liked the movie's two feisty heroines (Medina Senghore as a cop's pregnant wife is the other) who are able to take the bull by the horns rather than wait for a man to save them. There's plenty of action and I liked that the film ended without a sappy happy ending even though one of the film's most likable characters gets killed off. With Jon Bernthal and in an atypical role, Tyler Perry as the mob boss who puts out the contract that sets the movie in motion. 

The Lion In Winter (1968)

It's 1183 in England at Christmastime. King Henry II (Peter O'Toole) is holding Christmas Court and releasing his estranged wife, Eleanor Of Aquitaine (Katharine Hepburn), from her prison for the holidays. But the holiday visit turns vicious as Henry and Eleanor battle it out for which son will inherit Henry's throne as Eleanor favors Richard (Anthony Hopkins) while Henry wants John (Nigel Terry) to succeed him. Based on the play by James Goldman (who adapts his play for the screen) and directed by Anthony Harvey. While the original play was a flop, the film was a critical success (it won the New York film critics best picture award, so much for the New York film critics) and a popular box office hit. I'm always taken aback at how seriously some people take this film as if it were a serious historical drama along the lines of A MAN FOR ALL SEASONS (which Roger Ebert favorably compared it to) or, heaven forbid, a work of film art. Its chronic anachronism aside, the dialogue is not nearly as literate or witty as it thinks it is. What makes the movie a joy to watch are the performances of Hepburn and O'Toole. They're clearly relishing their roles and the exhilaration with which they go at it like the thoroughbreds they are is a genuine pleasure to watch. With Timothy Dalton, John Castle and Jane Merrow.  

Anatahan (aka The Saga Of Anatahan) (1953)

Set in 1944 during WWII. After their ship is sunk, twelve Japanese seamen are stranded on an abandoned island for seven years. Upon their arrival, they find only a man (Tadashi Suganuma) and his "wife" (Akemi Negishi) who were left behind when the island was abandoned. It isn't long before all the men begin to fight over the woman. Based on the book by Michiro Maruyama and written, photographed and directed by Josef von Sternberg (MOROCCO). What could have been a superior film is sabotaged by von Sternberg himself. While the actors speak Japanese, intentionally there are no subtitles and instead von Sternberg narrates the entire film! Alas, his narration is as somber and pompous as Cecil B. DeMille's pontificating narration on his biblical movies. While the story has a basis in fact (30 Japanese sailors and a woman were stranded on an island for some 6 years), von Sternberg uses the incident as a morality tale of man giving in to his baser desires and abandoning all semblance of civilization while the woman is Eve driving men to their destruction because of her gender. Clearly, von Sternberg thought he was making an important piece of film art. Unfortunately, it's simply a missed opportunity. What remains is a cinematic curiosity, the swan song of a legendary director. Actually, his last released film is JET PILOT (1957) but that was filmed in 1949 and sat of the shelf for 8 years. There's a very good underscore by Akira Ifukube. With Kisaburo Sawamura and Shoji Nakayama. 

She (1965)

A 2,000 year old goddess (Ursula Andress) discovers the reincarnation of the lover (John Richardson with a hideous dye job) that she murdered centuries ago. She gives him a map to her secluded desert kingdom and urges him to return and claim his rightful place alongside her. Smitten by her beauty, he and two friends (Peter Cushing, Bernard Cribbins) trek through the desert in search of her lost kingdom. Based on the novel by H. Rider Haggard and directed by Robert Day (THE HAUNTED STRANGLER). Previously filmed six times before (the most notable being the 1935 version), this version has been Hammer-ized which in this case wasn't a good idea. Still, it was a big enough international hit to spawn a sequel, THE VENGEANCE OF SHE two years later. However, the movie lacks the fun factor of the 1935 film which was outlandish and whose purple dialogue made it one of those enjoyably retro kitschy flicks. This one takes itself too seriously and moves at a funereal pace. Andress is lovely but once again dubbed by Nikki Van Der Zyl, who had previously dubbed her in DR. NO. With Christopher Lee, Andre Morell and Rosenda Monteros (THE MAGNIFICENT SEVEN).

Mommie Dearest (1981)

At the height of her career, unmarried film star Joan Crawford (Faye Dunaway) feels unfulfilled without children so she adopts a baby girl and later a boy. What she didn't count on was a daughter with a will as strong as her own. Based on the autobiography by Christina Crawford and directed by Frank Perry (DIARY OF A MAD HOUSEWIFE). With four credited screenwriters (too many cooks?), the movie has a haphazard disorganization about it and Frank Perry's sledge hammer direction only accents the problematic screenplay. While the film has become a "camp" favorite among certain types, like rape jokes I've never found child abuse amusing. So why bother with this movie? A genuinely magnificent performance by Dunaway. The film's ads declared Faye Dunaway IS Joan Crawford and for once, they didn't exaggerate. Dunaway seems possessed by Crawford and gives an operatic out of control performance that takes no prisoners. Her performance almost turns the film into a Joan Crawford movie except there's a real actress at the center, not a posing movie star. Dunaway's performance was and remains controversial (she lost the New York Film Critics best actress award by just a few votes to Glenda Jackson) but it's thrilling to see an actress take the gloves off and soar. With Diana Scarwid, Steve Forrest, Howard Da Silva, Rutanya Alda, Jocelyn Brando, Xander Berkeley and as young Christina, Mara Hobel who gives an unsettling performance perfectly balancing the defiant will and pure terror.

Housewife (1934)

A housewife (Ann Dvorak) pushes her husband (George Brent) to leave his advertising job where he's treated poorly and start his own business. Eventually, he does and the business is a great success but the marriage starts suffering when he becomes lovers with the advertising copy writer (Bette Davis) who works for him. Directed by Alfred E. Green (THE JOLSON STORY), this is a trite and dreary domestic drama that wastes its talented cast. Is there anything more annoying than a clinging vine wife (Dvorak) who continually puts up with abusive behavior from a boorish husband instead of booting him out the door? As the office femme fatale, there's not much that Bette Davis can do with the role but go through the motions but she's always watchable, even in an insipid movie like this. Dvorak, as always, is appealing but Brent's character renders him unappealing and we're also stuck with one of those "cute" child actors that Hollywood foisted on us in its "golden age", Ronnie Cosby as their son. For nostalgists and Davis completists only. With John Halliday and Ruth Donnelly. 

No Il Caso E Felicemente Risolto (aka No, The Case Is Happily Resolved) (1973)

While fishing, a man (Enzo Cerusico) witnesses the brutal murder of a young woman (Loredana Martinez). The killer (Riccardo Cucciolla) makes eye contact with the witness. Not wanting to get involved, the witness doesn't report it to the police. The killer has no such qualms and goes to the police telling them he saw the girl murdered and identifies the witness as her killer! Directed by Vittorio Salerno, the film has the perfect Hitchcockian set up of an innocent man accused of a crime he didn't commit yet his behavior is guilty to the point that he actually becomes complicit in the murder even though he's innocent. The bond between the two men suggests STRANGERS ON A TRAIN but the film makes the mistake of making the innocent man a bit of an unsympathetic bastard (he's a prick toward his wife and makes one stupid mistake after another). Still, the movie is quite compelling but is stuck with a ludicrous "happy" ending by the distributors who didn't like the original ending which was obviously headed toward a very dark yet ironic finale. It demeans everything that went on before it. Riz Ortolani did the monotonous score (one theme repeated over and over again). With Enrico Maria Salerno and Martine Brochard.

Picadilly (1929)

After the owner (Jameson Thomas) of a popular nightclub in Picadilly fires his headline attraction (Cyril Ritchard), business drops alarmingly. He hires a Chinese dancer (Anna May Wong) and the club does a booming business again. But the club owner's mistress (Gilda Gray) is jealous of the attention the Chinese dancer is getting from the club owner. Directed by E.A. Dupont (VARIETY), this stylish melodrama is engaging and fluid though Dupont's pacing is often somber. It also could have used more intertitles. For example, there's a sequence in a Limehouse dive where a white woman is attacked for dancing with a black man and she goes off on a lengthy tirade but we're not privy to what she's saying! The reason for watching the movie is Anna May Wong. The first female Asian film star, Hollywood didn't know what to do with her except casting her in supporting roles as an exotic. She had to go to England to get better roles like PICADILLY and her performance as the ambitious Shosho who rises from scullery dishwasher to the toast of London is displays her talent to the fullest. The film came out when talkies were just starting so a dull prologue with sound was added to the film for release in the U.S. which is stodgy in comparison to the fluidity of the rest of the film. With Charles Laughton, King Hou Chang and Hannah Jones.

The Tall Headlines (1952)

After their eldest son is hanged for killing his girlfriend in a notorious well publicized murder case, a middle class English family change their name and move away hoping to start a anew but try as they might, the past is always with them. Based on the novel by Audrey Erskine Lindop and directed by Terence Young (WAIT UNTIL DARK). The film is unusual in that the focus is not on the son's crime but the aftermath of the crime and its effect on the family. Since we never see the family before the son's arrest and execution, we're not privy to the earlier family dynamics but it's clear from the instability that occurs afterwards that perhaps the family was partly responsible for producing the monster that committed the crime. The father (Andre Morell) is a bully, the mother (Flora Robson) is weak and possibly an enabler, the sister (Jane Hylton) is a bitch and the youngest son (Michael Denison) is neurotic. By the film's end, it's obvious that the family is morally and ethically corrupt. Yet we're given a ridiculous "happy" ending that seems to pardon them when everything seemed to be pointing to a darker ending. With Mai Zetterling as the innocent victim of the family's venom, Dennis Price, Mervyn Johns and Barbara Blair. 

Rio Rita (1942)

Two New Yorkers (Bud Abbott, Lou Costello) stranded in Texas get jobs as house detectives at a resort on the Mexican border. What they don't know is that the hotel is infiltrated by Nazis who plan to use a musical radio broadcast to transmit coded messages to enemy agents. Very loosely based on the 1927 Broadway musical which was previously filmed in 1929. Anyone who knows me knows that Abbott and Costello are my favorite comedy team (yes, that includes Martin & Lewis) and they have some first rate comedic material here. It might have been one of their very best movies except for one thing. Unfortunately, MGM shoved in trilling Kathryn Grayson and bellowing John Carroll for some musical numbers and a pallid romantic subplot. Where are the Andrews Sisters when you need them? The public lapped it up and the film was a big hit. With Barry Nelson, Tom Conway, Patricia Dane, Peter Whitney and Eros Volusia whose Brazilian dance number is the only tolerable musical spot. 

For Those Who Think Young (1964)

A spoiled rich playboy (James Darren) has his eye on a young college coed (Pamela Tiffin) who continues to resist his advances. Meanwhile, his father (Robert Middleton) does everything he can to break up the romance. Directed by Leslie H. Martinson (FATHOM), this is an incredibly lame (and dull) beach movie although more time seems to be spent in the nightclub where Tiffin's uncle (Woody Woodbury) works than on the beach. There are a couple of musical numbers including one bizarre effort where Bob Denver is buried in the sand with only his mouth and chin exposed as he sings! The film seems an attempt to turn Woodbury, a mediocre comedian, into a viable film commodity. It didn't. Best to stick with the BEACH PARTY franchise, at least they know what they're doing. With Ellen Burstyn (billed as Ellen McRae, this movie may have caused her to change her name), Tina Louise (who seems to be practicing for her Ginger character in GILLIGAN'S ISLAND), Nancy Sinatra, Paul Lynde, Anna Lee, George Raft and Roger Smith.  

A Quiet Place Part II (2021)

Their home destroyed in a post apocalyptic world terrorized by alien creatures with acute sound sensitivity, a mother (Emily Blunt) takes her surviving children (Millicent Simmonds, Noah Jupe) along with her new born infant in search of other survivors. Written and directed by John Krasinski, this sequel to the 2018 critical and box office success A QUIET PLACE is a sequel worthy of the original. Resisting the temptation to make the sequel "bigger and better", Krasinski once again keeps it simple and taut without adding unnecessary bloat or a longer running time. Cillian Murphy replaces Krasinski (who died in the first one though he has a cameo in the flashback opening) as the male lead. There are still some jump moments (I counted three of them) but the emphasis is on character development, notably Simmonds and Murphy who carry the movie. Krasinski is aided immeasurably by Michael P. Shawver's tight editing and Marco Beltrami's strong underscore. I hear rumors of a third film but I don't know that going to the well again is such a good idea. We shall see. With Djimon Hounsou and Scoot McNairy. 

Titanic (1953)

Fearing that her elitist husband (Clifton Webb) is turning their children into carbon copies of himself, his wife (Barbara Stanwyck) leaves Europe and takes their daughter (Audrey Dalton) and son (Harper Carter) back to America with her on the maiden voyage of the Titanic. But the husband discovers her ruse and surprises her by showing up on the voyage. Directed by Jean Negulesco (THREE COINS IN THE FOUNTAIN), the film eschews spectacle and concentrates on its characters. It's not historically accurate but then again, it's not really a film about the sinking of the Titanic (the special effects are modest) which is a backdrop to the dramatic story of a fractured family. Webb is particularly good here, showing that he can do more than play wasps spouting acidic quips. There's also a subplot about a defrocked priest (Richard Basehart) but the time spent on a banal shipboard romance between Audrey Dalton and Robert Wagner only drags the movie down. Other than that, it's an enjoyable effort with half the running time of its more famous 1997 Oscar winning sister. With Thelma Ritter, Brian Aherne, Edmund Purdom, Allyn Joslyn, Frances Bergen and Mae Marsh.

Madam Satan (1930)

Bored with his wife (Kay Johnson), a man (Reginald Denny) indulges in extramarital affairs. His latest conquest is a chorus girl (Lillian Roth). His wife loves him but unable to put up with his infidelity any longer, she leaves him. Directed by Cecil B. DeMille. The ads and movie posters for this pre-code film screamed, "You've never seen anything like it!" and for once, it wasn't hyperbole. This is one bizarre movie! Part musical, part screwball comedy, part science fiction, part disaster movie and all bonkers! The second half of the movie takes place at a masquerade ball on a floating dirigible that gets struck by lightning and suddenly it turns into a combo of TOWERING INFERNO and POSEIDON ADVENTURE. The mixture of elements never jell, it's as if DeMille threw in everything but the kitchen sink in the hopes that something would stick. As wacky as it is or maybe because of it, you can't take your eyes off it. It should be seen at least once by all film buffs. With Roland Young and Boyd Irwin.

Seven Seas To Calais (1962)

Set in 1577, the privateer Francis Drake (Rod Taylor) secretly receives financing from Queen Elizabeth I (Irene Worth) to raid the Spanish gold in the New World. Directed by Rudolph Mate (WHEN WORLDS COLLIDE), this inferior swashbuckler buckles more than it swashes. Its adventures on the high seas are recycled from dozens of earlier (and better) movies and once again, indigenous women are seen as eager playthings for their European conquerors. The movie briefly comes alive in its last half hour or so with a plot to assassinate Queen Elizabeth but the finale featuring the battle with the Spanish Armada is a dud. As Drake, Taylor isn't given a screen romance which leaves Keith Michell as his right hand man and Hedy Vessel as a lady in waiting in Elizabeth's court to pick up the slack. Franco Mannino's mediocre score has one wishing that Erich Wolfgang Korngold would come in and take over and whisk us away into celluloid heaven. With Terence Hill and Anthony Dawson. 

Opfergang (aka The Great Sacrifice) (1944)

A recently married man (Carl Raddatz) falls under the spell of the beautiful wild spirited but terminally ill woman  (Kristina Soderbaum) who lives on the estate next to his. Based on the novel by Rudolf G. Binding and directed by Veit Harlan. This soapy melodrama seems an odd film to come out of the Nazi era. I couldn't detect any overt propaganda and it's the kind of melodrama that Douglas Sirk might have been able to whip into shape at Universal in the 1950s with Lana Turner but here, it's too literal and heavy handed to have any impact. None of the characters are appealing: the wife (Irene Von Meyendorff) who looks the other way at her husband's adultery, the vixen breaking up a home and the husband who wants to keep his wife and have his mistress too! It doesn't help that Meyendorff (who was the top pin up girl for WWII Germany as Betty Grable was in the U.S.) is more attractive and elegant than Soderbaum. She should be enough to keep any husband at home. Joseph Goebbels (Nazi Germany's minister of propaganda) took a personal interest in the film and insisted the ending of the book be changed. Of interest to those curious about cinema created during the Third Reich. For others, Hollywood did this sort of thing so much better. With Franz Schafheitlin.

I Know Where I'm Going (1945)

A strong willed young Englishwoman (Wendy Hiller) knows what she wants and an engagement to a very rich Scottish industrialist is it. But when weather conditions on a Scottish island prevent her from reaching her wedding destination, she discovers what she thinks she wants may not be what she wants after all. Writtten and directed by Michael Powell and Emeric Pressburger, this is a charming romance that manages to avoid most of the cliches of romantic comedies. Beautifully shot in atmospheric B&W on authentic Scottish locations by Erwin Hiller (THE QUILLER MEMORANDUM), the film aims its arrows at materialism but it doesn't preach. It knows that its first duty is to entertain and that it does. Wendy Hiller's plucky heroine is admirable even though she makes stupid decisions that risks others' lives. Roger Livesey as the titled Scotsman she finds herself attracted to may not be a matinee idol but he has a quiet appeal. While I don't think it's the masterpiece some think it is (like Martin Scorsese), it's a perfect film of its kind and wouldn't hesitate in recommending it. With a 12 year old Petula Clark, Pamela Brown, Finlay Currie and George Carney. 

Get To Know Your Rabbit (1972)

A corporate executive (Tom Smothers) is fed up with the rat race so he quits the corporate world to pursue his new passion as a tap dancing magician. Directed by Brian De Palma, who had made his reputation with small independent comedies like GREETINGS and HI MOM. This was his first film for a major studio (Warner Brothers) and it ended up with an unsatisfactory result for everyone involved. Smothers hated working with De Palma, Warners disliked the film and recut it and De Palma stopped making comedies and turned to darker material like SISTERS, PHANTOM OF THE PARADISE and CARRIE. The film is dated with its roots in the counter culture mindset of the era and the movie drifts aimlessly. While one can appreciate what De Palma originally intended to do, what we get is a satire on the establishment vs. the free spirit that simply isn't funny. It jerks and spurts its way in search of a life preserver that it never finds. With Orson Welles, Katharine Ross, John Astin, Allen Garfield and Samantha Jones. 

The Ex-Mrs. Bradford (1936)

When a jockey dies during a race, it's believed to be heart failure but a mystery writer (Jean Arthur) gets it into her head that it was murder and she prods her doctor ex-husband (William Powell) into investigating the death. Directed by Stephen Roberts (STORY OF TEMPLE DRAKE), this wan murder mystery shows that sometimes even star power can't resuscitate a movie that's dead on arrival. Powell and Arthur do their best but to no avail. The central murder mystery isn't all that interesting to begin with and the dialogue (Anthony Veiller did the screenplay) lacks the sparkle and wit that made the THIN MAN series such a treat. Still, the film was popular with contemporary audiences and solidified the box office pull of Powell and Arthur. Nostalgists and fans of Hollywood's "Golden Age" should be okay with it. With Robert Armstrong, Eric Blore, James Gleason, Erin O'Brien Moore and Ralph Morgan. 

Le Foto Di Gioia (aka Delirium) (1987)

An ex-model (Serena Grandi) is the publisher of a men's magazine called Pussycat. When the models who work for her magazine start being killed in bizarre ways (stabbed with a pitch fork, stung to death by bees, etc.), the serial killer sends her photos of the victims' bodies surrounded by her old modeling photographs. She begins to suspect it's only a matter of time before the killer gets around to her. Directed by Lamberto Bava (Mario's son). It's an erotic giallo that benefits from some stylish visuals as when the murders are seen through the eyes of the killer's warped mind. There's no shortage of suspects and Bava tosses in a lot of red herrings. Unfortunately, the bosomy Serena Grandi is a lousy actress but it's unlikely she was hired for her acting skills as the film features copious nudity and softcore sex scenes. It should be of interest to gialli fans but of little interest to anyone else unless you have a mammary fetish. With Capucine, Daria Nicolodi, George Eastman, Karl Zinny and Vanni Corbellini.

Lights Of Old Broadway (1925)

Two girl infants are separated at birth. One is adopted into a wealthy New York society family while the other is adopted by poor Irish immigrants. The Irish girl (Marion Davies) grows up to be a chorus girl who falls in love with a young man (Conrad Nagel) from a wealthy family and whose adopted sister (Marion Davies) just happens to be the twin separated at birth. Based on the play THE MERRY WIVES OF GOTHAM by Laurence Eyre and directed by Monta Bell. This creaky melodrama was a big hit and resulted in an MGM (who released the film) contract for Davies. The reason for seeing the film is the effervescent Davies who gets to play two very different roles here although the wealthy sister doesn't get as much screen time as the feisty Irish sister. The Irishness is brushed on so thickly that one almost expects John Ford to have had his finger in the pie. The movie is notable for its early use of Technicolor in the "lights on" sequence but tinting is also used. Not essential though fans of silent cinema may enjoy it. With Frank Currier and Charles McHugh.   

Assignment To Kill (1968)

A ruthless and at time unethical private detective (Patrick O'Neal) is hired by an insurance company to investigate a shipping tycoon (John Gielgud) who may be responsible for sinking his own ships. Written and directed by Sheldon Reynolds (FOREIGN INTRIGUE), this is one of those international thrillers so popular in the 1960s set in attractive locations (in this case, Switzerland) and with a convoluted plot. I'm rather partial to the genre myself so I may be more tolerant of this movie than others. Even when it's over, I'm not sure I grasped the details of the treachery and double crosses but it's a fun ride if you're not too demanding (I wasn't). O'Neal is a good actor but he's never been leading man material. A star like Michael Caine or even a Roger Moore might have helped give the movie some needed pizazz. Fortunately, there's the appealing Joan Hackett as the slightly ditzy female lead and Herbert Lom as the elegant villain to compensate. The film's amiable journey turns unpleasant when it kills off the one decent character in the movie. With Oscar Homolka, Peter Van Eyck, Eric Portman, Kent Smith, Leon Greene and Cynthia O'Neal.