The Crucible (1967)

Set in the Massachusetts Bay Colony in 1692. After a clergyman (Henry Jones) catches a group of girls dancing naked including his own daughter (Kathleen Cody) and engaging in a pagan ritual, his daughter lies in a coma as the village is rife with rumors of witchcraft. Soon the hysteria spreads as neighbor accuses neighbor of witchcraft. Based on the play by Arthur Miller and directed by Alex Segal (RANSOM!). This adaptation of Miller's celebrated play is an allegory of the House Un-American Activities witch hunts that destroyed so many lives in the 1950s. It's a straightforward production of Miller's play with excellent performances with three standing out: George C. Scott as a man whose wife (Colleen Dewhurst) is accused of witchcraft by a vengeful girl (Tuesday Weld) after he ends their affair. It's an unsettling and disturbing production to sit through since it has its basis in historical fact. That human beings could do this to their fellow man is shocking and some 300 years later, it's still difficult to comprehend the intentional evil. With Melvyn Douglas, Fritz Weaver, Catherine Burns, Cathleen Nesbitt and Will Geer.

Golden Needles (1974)

A priceless ancient Chinese statue that has the power to give health and vigor if used properly with acupuncture needles (if used improperly, it causes death) is pursued by two ruthless men, an American (Burgess Meredith) and a Chinese (Roy Chiao) who will stop at nothing to attain it. Directed by Robert Clouse (ENTER THE DRAGON), this martial arts action movie is a bit of a mess. The action sequences never amount to anything more than okay, the karate sequences are a bit livelier but I've seen better. But its near incoherent plot never makes much sense which leaves its characters up a creek without a paddle. Joe Don Baker had scored a sleeper hit the year before in WALKING TALL so someone thought it might be a feasible idea to make him a movie star and this movie is the result. It didn't and by the 1980s he was back doing character parts. As Baker's romantic interest, Elizabeth Ashley is overqualified for stuff like this and can only assume a paid trip to Hong Kong was an incentive. With Ann Sothern, Jim Kelly and Frances Fong.

Belfast (2021)

Set in 1969 Ireland during the Northern Ireland conflict between Protestants and Catholics (though it wasn't really a religious war), a working class Protestant family struggles to stay neutral while the fighting rages around them. Eventually, they're pulled into the conflict against their will. Written and directed by Kenneth Branagh, this is his best film since HAMLET (1996) though ALL IS TRUE (2018) is very good. Probably because it's such a personal project for him. This ode to his childhood in Belfast brings up memories of John Boorman's HOPE AND GLORY. Shot in notable B&W with occasional splashes of color by Haris Zambarloukos (MAMMA MIA), the film is seen through the eyes of a 9 year old boy beautifully played by young Jude Hill. Branagh perfectly captures the angst of parents reluctant to give up the home they've known all their lives yet watching as the horror of war creeps into their daily lives and threatens to destroy the childhood of as well as lives of their sons. It's flawlessly acted by its ensemble cast. The only sour note I found was the use of the song from HIGH NOON during a crucial scene which came across as a bit cheesy. With Caitriona Balfe, Jamie Dornan, Judi Dench, Ciaran Hinds and Lewis McAskie.

Poison (1991)

Three intercut stories dealing with "misfits" living outside of society's margin are told in genre style vignettes: 1) HERO. After killing his abusive father (Edward Allen), a boy literally flies out the window never to be seen again. 2) HORROR. A scientist (Larry Maxwell) accidentally drinks a potion that turns him into a disfigured murderous leper. 3) HOMO. In prison, an inmate (Scott Renderer) finds himself sexually attracted to another inmate (James Lyons). Written and directed by Todd Haynes (FAR FROM HEAVEN) in his feature film debut, the film was considered an audacious entry in the burgeoning gay cinema and parts of it are still potent. But overall, I found that time has not been kind to the film. Its intentional (?) amateurishness renders it an artifact of its time. Certainly, it is not without interest. Clearly there's a man of talent at the helm and Haynes would go on to make some masterworks like SAFE and FAR FROM HEAVEN and POISON shows a budding artist on his way. I found HERO to be the most engrossing of the three stories but it gets shortchanged as Haynes seems more interested in the other two tales. With Edith Meeks and Susan Gayle Norman.

The Case Of The Black Cat (1936)

Famous attorney Perry Mason (Ricardo Cortez) is summoned in the middle of the night by an eccentric millionaire (Harry Davenport) who wants to cut his granddaughter (Jane Bryan) out of his will. Shortly thereafter, he is killed in a fire under suspicious circumstances. Based on the novel THE CASE OF THE CARETAKER'S CAT by Erle Stanley Gardner and directed by William C. McGann. The fifth entry in the Warners Perry Mason franchise and the first without Warren William as Mason. The tone in this film is decidedly different than the previous Perry Mason films. The Warren William movies were rich in humor and combined screwball comedy with the mystery. This one is closer to the Gardner books and on the serious side. It's also the first in the series to actually show Mason in the courtroom defending a client. The previous entries had Mason as more of a detective. The title is inaccurate. There is a cat in the movie and he's very important to the plot but he is not black. While the humor is missed, the movie is fast paced and I enjoyed it probably because it's closer to the Raymond Burr TV series I grew up with. With June Travis as Della Street, Garry Owen as Paul Drake, Guy Usher as Hamilton Burger, Craig Reynolds, Nedda Harrigan and Bill Elliott.

La Macchina Ammazzacattivi (aka The Machine To Kill Bad People) (1952)

Set in a small coastal village in Italy, a struggling photographer (Gennaro Pisano) is given the power to kill the bad people of his village by taking their picture. But as he uncovers evil, greed and cruelty in the town, will anyone be left alive when he's done? Directed by Roberto Rossellini (STROMBOLI), this whimsical comedic fantasy is unlike anything he's ever done. At least that I've seen. When one thinks of Rossellini, one doesn't think of whimsical comedies. If it were a bit more irreverent, I would have compared it to some of Bunuel's comic pieces. It's a slight concoction, a one joke premise that promises to run out of steam but Rossellini smartly ends it before it does. It's a morality tale whose moral is pretty obvious but that doesn't preclude an enjoyable journey with bits and pieces of charm and a surprise at the end. With Giovanni Amato, Clara Bindi, Giacomo Furia and Marilyn Buferd (Miss America 1946).

Black Zoo (1963)

A sociopath (Michael Gough) owns a private zoo in the San Fernando Valley. He literally worships his menagerie which includes big cats and primates and he has trained them to kill anyone who stands in his way. Directed by Robert Gordon (IT CAME FROM BENEATH THE SEA), this is a rather subdued horror film. Most of the violence is done off screen or shown very briefly and not graphic. Nicely shot in wide screen Panavision by the Oscar winning cinematographer Floyd Crosby (OLD MAN AND THE SEA), much of the footage is devoted to the big cats and while they're quite majestic, it does make for tedious scenes. The script is poorly written and most of the actors are defeated by the dialogue. Exceptions include Jeanne Cooper as Gough's abused wife and Virginia Grey as her theatrical agent (their one scene together is the best acted scene in the movie) who somehow manage to make the dialogue sound natural. Lucky Rod Lauren is playing a mute so he's spared. Gough snarls and spits his dialogue out as if he were playing a junkyard dog and after awhile one can't help wondering why he isn't in a padded cell somewhere. With Marianna Hill, Jerome Cowan, Edward Platt and Elisha Cook Jr.

Poliziotto Sprint (aka Highway Racer) (1977)

An arrogant cop (Maurizio Merli), a member of Rome's Mobile Squad, has a reputation for recklessness and disregard for authority. When he is assigned to go undercover and infiltrate a notorious gang of bank robbers, will he be able to pull it off or will his careless attitude do him in? Directed by Stelvio Massi, this Italian poliziottesco is one long series of car chases. It's like a musical in that instead of stopping the story for a song, the movie stops for a car chase. I like a good car chase (BULLITT, FRENCH CONNECTION) as much as the next guy but a whole movie? The real stars of the film are the stuntmen and precision drivers. So if speeding through crowded traffic and endangering lives give you a thrill, you should find much to like here. Merli's immature self centered cop is a turn off so you don't much care what happens to him and his 360 turnaround to responsible lawman happens too quickly to be believable. Stelvio Cipriani's underscore hits all the right notes. With Angelo Infanti, Giancarlo Sbragia and Lilli Carati.

Two Smart People (1946)

A con man (John Hodiak) who has stolen some bonds is on the run and pursued by a determined cop (Lloyd Nolan). But a con femme fatale (Lucille Ball) is also after those bonds. The three of them find themselves on a train headed for New Orleans. Directed by Jules Dassin (BRUTE FORCE), the film doesn't have a very good reputation but overall, I rather enjoyed it. It starts off well enough as long as it sticks to the larcenous competition between Ball and Hodiak but bogs down in the middle section when romance enters the movie before picking up with a spectacular Mardi Gras sequence. Dassin's career at MGM wasn't very impressive but once he left the studio and showed a talent for tougher film noir with such films as NAKED CITY, THIEVES HIGHWAY and NIGHT AND THE CITY, he seemed set for an impressive career until HUAC caused him to go to Europe to seek work. The imposing Mardi Gras set piece foreshadows Dassin's aptitude for darker material. With Hugo Haas, Lenore Ulric and Elisha Cook Jr. 

Sherlock Holmes (1916)

A series of letters which compromise a European royal family are held by a young woman (Marjorie Kay), the sister of a dead girl betrayed by a prince. A representative (Ludwig Kreiss) of the royal family asks the assistance of the renowned detective Sherlock Holmes (William Gillette) in retrieving the letters. However, Holmes' arch enemy Professor Moriarty (Ernest Maupain) also desires the letters for the purpose of blackmail. Based on the stage success by William Gillette (who plays Holmes here) and directed by Arthur Berthelet. While not based on any particular Arthur Conan Doyle story, actor/writer Gillette took bits and pieces of A SCANDAL IN BOHEMIA, A STUDY IN SCARLET and THE FINAL PROBLEM to create his play. It was a great success and Gillette played Holmes for well over a thousand performances. As far as a representation of Conan Doyle's iconic character goes, it's not especially notable (though it does have Holmes falling in love). But it is one of the earliest and most ambitious depictions of Holmes on screen. Holmes fans as well as fans of silent movies should enjoy it. With Edward Fielding as Dr. Watson, Mario Majeroni and Grace Reals.

Cattle King (1963)

Set in 1883 Wyoming, a cattle rancher (Robert Taylor) is trying to peacefully hold on to his spread and avoid a range war but a cattle baron (Robert Middleton) hires a gunslinger (Richard Devon) to intimidate the ranchers who refuse to accede to his threats. Directed by Tay Garnett (THE POSTMAN ALWAYS RINGS TWICE), this low budget western could just as well been an episode of BONANZA. I think I was supposed to admire Taylor's reticence to involve himself in violence but he seemed too unbelievably naive to not know that eventually it would erupt in violence. If he'd taken a stronger stand earlier, some deaths could have been avoided. But it passes the time just fine, just don't expect anything more than a routine oater. With Joan Caulfield, Robert Loggia, William Windom, Virginia Christine, Ray Teal, Maggie Pierce and Larry Gates as Chester A. Arthur, President of the United States.  

The Ambassador's Daughter (1956)

To win a bet, the daughter (Olivia De Havilland) of the American ambassador (Edward Arnold) in Paris goes out with a soldier (John Forsythe) by pretending to be a French model. Written and directed by Oscar winning writer Norman Krasna (he only directed three movies). This romantic comedy reunites him with De Havilland who starred in PRINCESS O'ROURKE, the film that won him his Oscar. This piece of piffle is basically a riff on that film in which De Havilland played a princess who pretended to be a war refugee as she romanced an American pilot. While I wasn't very enthusiastic about PRINCESS O'ROURKE, it had a bit of charm that carried it through most of the film. Lightning doesn't strike twice here and this results in tedium. Originally intended as a vehicle for Gene Tierney and Van Johnson, the pairing of a matronly De Havilland (she was pushing 40) and the bland Forsythe doesn't set off any sparks. Shot in CinemaScope, the French locations are attractive and De Havilland and Myrna Loy (as a Senator's wife) look quite striking in their Christian Dior frocks. With Adolphe Menjou, Tommy Noonan and Francis Lederer.

Coda (2021)

Set in a Massachusetts coastal town, a young 17 year old teenager (Emilia Jones) is the only hearing member of her deaf family. Making their living as fishermen, the family depends on her as their interpreter and the burden becomes too much for her when her ambition to study singing might have to be put aside to help her family. Based on the French film LA FAMILLE BELIER and directed by Sian Heder. Coming of age stories are a staple of the movies but it's never quite been done this way. Rather than using hearing actors playing deaf for the central roles, the film uses deaf actors. In the lead role of the hearing daughter, the young British actress Emilia Jones is a real find and her rendition of Joni Mitchell's Both Sides Now is sure to bring tears to your eyes. I liked how the deaf parents (Marlee Matlin, Troy Kotsur) weren't portrayed as saintly victims but as flawed somewhat selfish humans who love to screw and the deaf brother (Daniel Durant, excellent) as a hot tempered angry young man. Jones's daughter is the anchor that holds the family together and the possibility of her departure puts the family in a panic and they must learn to stand on their own two feet and set her free. With Eugenio Derbez, Ferdia Walsh Peelo and Amy Forsyth.

赤線地帯 (aka Street Of Shame) (1956)

As the Japanese legislature considers a ban on prostitution, the lives of the prostitutes who work in a Yoshiwara brothel plays out: One prostitute (Michiyo Kogure) works to support her sick husband and their baby. A widow (Aiko Mimasu) works to provide her adult son with an education. A crafty prostitute (Ayako Wakao) not only lends money to her fellow prostitutes charging them interest but she also cons men out of money to fatten her bank account. An aging prostitute (Hiroko Machida) grasps at an offer of marriage as her last hope with disastrous results. A narcissistic prostitute (Machiko Kyo) thinks only of herself as she gets deeper into debt. Based on the novel SUSAKI NO ONNA by Yoshiko Shibaki and directed by Kenji Mizoguchi in his final film (he died five months after the film's release). Unlike many films, prostitution isn't glamorized here but Mizoguchi isn't a moralist preaching down to his audience. He's more interested in the socio-economic realities that force women into prostitution. It's a disturbing but ultimately a heartbreaking movie and the film's final shot is traumatic. A fine score by Toshiro Mayuzumi gives the B&W film some color. With Kumeko Urabe and Yasuko Kawakami.

Nor The Moon By Night (1958)

Set in Africa, a game warden (Patrick McGoohan) is expecting a woman (Belinda Lee) he has never seen, only communicated through letters, to arrive at the sanctuary for the purpose of marriage. When an emergency arises, he sends his brother (Michael Craig) to pick up his future bride. But naturally, the brother and the intended bride find themselves irresistibly attracted to each other. Based on the novel by Joy Packer and directed by Ken Annakin (SWISS FAMILY ROBINSON). Released in the U.S. under the title ELEPHANT GUN, the movie combines a romantic triangle or should I say quadrangle (Anna Gaylor is the fourth) with the African adventure movie so popular in 1950s films with movies like SAFARI, ODONGO, BEYOND MOMBASA, WATUSI etc. In the film's favor is the authentic location shooting in Kenya and South Africa nicely shot by Harry Waxman (DAY THE EARTH CAUGHT FIRE) which makes up for the predictable romantic suds. The film does manage to generate some tension when McGoohan faces off with a cobra. The movie went over budget and was behind schedule but still managed to turn a profit. With Eric Pohlmann and Pamela Stirling. 

The Tragedy Of Macbeth (2021)

Having led King Duncan's (Brendan Gleeson) army to victory, Macbeth (Denzel Washington) and Banquo (Bertie Carvel) are approached by three witches (all played by Kathryn Hunter) who announce that Macbeth will eventually be King and that Banquo would father kings. Thus Macbeth's ambition which is spurred on by his wife (Frances McDormand) will take everyone down a tragic and deathly path. Based on the play by William Shakespeare and directed by Joel Coen (BLOOD SIMPLE), his first without brother Ethan. This is a stark and stripped down (both the text and visually) MACBETH superbly shot in a shimmering B&W collage of shadows and light by Bruno Delbonnel (INSIDE LLEWYN DAVIS) on an obvious soundstage which gives the film a theatrical look. But there's nothing of the proscenium about it as Coen's fluid direction propels the movie toward its climax. Anchored by a superb performances by Washington (one of his best) and McDormand and with a strong supporting cast. Stylish and accessible, so if you're not into Shakespeare, there's every chance this could catch your fancy. With Corey Hawkins, Harry Melling and Moses Ingram.

Romance (1930)

A young minister (Gavin Gordon) from an aristocratic family falls madly in love with a notorious opera singer (Greta Garbo), who unbeknownst to him is the mistress of his good friend (Lewis Stone). Based on the play by Edward Sheldon (previously filmed in 1920) and directed by Clarence Brown (NATIONAL VELVET). Boy, does this flick creak! This film was the follow up vehicle for Garbo after her first sound film ANNA CHRISTIE. It was well received critically at the time and Garbo received a best actress Oscar nomination and Brown a best director nomination but today, the movie comes across as a tedious dry run for the later and superior CAMILLE (1936). But Garbo isn't at her best and one can only wonder what she sees in the mundane Gavin Gordon (best known for his Lord Byron in BRIDE OF FRANKENSTEIN). However, the public lapped it up and MGM could breathe a sigh of relief ... sound and Garbo were here to stay. For Garbo fans only. With Elliott Nugent (who would soon become a director in his own right) and Florence Lake.

The Arrangement (1969)

An advertising executive (Kirk Douglas) would seem to have everything on the surface. A successful career, a beautiful home and a loving wife (Deborah Kerr). But he's unsatisfied with his life until one morning, he attempts suicide by driving his sports car in the path of an 18 wheeler truck on the freeway. Based on the novel by Elia Kazan and directed by Kazan. I honestly can't describe how awful this movie is, you'd actually have to sit through it. For over two hours, we're subjected to a series of Psychology 101 cliches with Douglas suffering for being a conformist when he really wants to be the free soul his modern muse and mistress (Faye Dunaway) assures him he can be. In the end, it's just another story about a middle aged man going through his middle aged crisis lusting after a hot chick. Douglas isn't remotely convincing as an uptight advertising executive and as much as I dislike him, this is a role Henry Fonda (or Jack Lemmon) would have been more convincing in. And the horror when Douglas clashes with Richard Boone as his father and two of cinema's hammy actors suck up the scenery like two vacuum cleaners trying to outdo each other. Even Deborah Kerr (usually the most delicate of actresses) succumbs and she's never been so shrill and unappealing. The movie just goes round in circles and when it's over, we're exhausted rather than enlightened. With Hume Cronyn, Barry Sullivan, Michael Murphy, Carol Rossen and Charles Drake.  

The Seagull (1978)

At a country estate in Russia, a famous actress (Zoe Caldwell) arrives with her lover (Michael Gambon) for a brief vacation. Her brother (Alan Webb) and her son (Stephen Rea) live on the estate but tensions mount when the son feels humiliated by his mother's rejection of his playwrighting skills and the girl (Julia Schofeld) he loves finds herself attracted to his mother's lover. Based on the classic play by Anton Chekhov and directed by Michael Lindsay Hogg (NASTY HABITS). Chekhov's great play isn't easy to get "right" and if it isn't, it just lies there with only the acting to save it from complete boredom. The play is filmed on actual locations so it doesn't have that stage bound feeling so many BBC film adaptations of plays have but I still found it pretty lifeless. Caldwell is a great stage actress but her Arkadina here displays none of the charm or presence one would assume her character would need for us understand how the others gravitate toward her. Two supporting players take over: in most productions I've seen, the gloomy Masha recedes into the background but here, Georgina Hale brings an intensity to Masha that pushes her into the core of the play. Similarly, Anthony Bate's doctor brings an attractive authority that I'd not seen in that character before. With Pauline Delaney and John Kane.

The Fabulous Dorseys (1947)

The lives and careers of the band leader brothers Jimmy and Tommy Dorsey (played by themselves ..... and badly) from their boyhood in Pennsylvania and their rise to the top of their profession. Directed by Alfred E. Green (THE JOLSON STORY), this is a highly fictionalized version of the Dorsey brothers' lives. I doubt if there's an iota of truth to the tale. Frankly, their lives aren't the least bit interesting and even creating circumstances that never actually happened isn't enough to hold one's interest. As if sensing this, the film makers created a secondary plot involving the romance between a band singer (Janet Blair) and a budding composer (William Lundigan). If you're fan of the Dorsey bands' music then you might get through this without nodding off. If you're not, this will be a tough slog. With Sara Allgood, Arthur Shields (once again overdoing the Irishness), Paul Whiteman, Helen O'Connell and Dave Willock

That Lady (1955)

Set in Spain, a one eyed noblewoman and widow (Olivia De Havilland) has lived peacefully in the countryside with her young son (Andy Shine). But King Philip II (Paul Scofield in his film debut) coerces her to return to Madrid to tutor the commoner (Gilbert Roland) he has chosen to make his first secretary. Based on the novel FOR ONE SWEET GRAPE by Kate O'Brien and directed by Terence Young (WAIT UNTIL DARK). This historical romance shot in Spain in CinemaScope by Robert Krasker (THE THIRD MAN) uses actual historical characters for its tale of lovers caught in the middle of political intrigue in 16th century Spain. As cinema, its political shenanigans are interesting up to a point but eventually the creaking movie romance at the center of the film deflates everything else. De Havilland is particularly irksome as she gives one of those "great lady" performances where emoting with a capital E takes precedence over creating an identifiable human being. It doesn't help that she doesn't have any chemistry with the handsome Roland. To be fair, the transfer I watched was pretty shoddy so it's entirely possible I might have liked it better had I seen a pristine print. With Francoise Rosay, Christopher Lee and Dennis Price.  

Tick, Tick... Boom! (2021)

Set in the early 1990s, a struggling composer (Andrew Garfield) of musicals works in a diner while he prepares a workshop production of his first show, a futuristic musical. Based on the autobiographical musical by Jonathan Larson (RENT) and directed by Lin Manuel Miranda (IN THE HEIGHTS) in his feature directorial debut. While I admired Miranda's inventive direction and Garfield's powerhouse performance, the film didn't really work for me. I'm not a fan of Larson's RENT which I found mediocre and his songs here are are uninspired and what's a musical without good songs? The best musical sequence is a parody of Stephen Sondheim's Sunday from SUNDAY IN THE PARK OF GEORGE. Larson, at least as presented here, was a rather smug self centered character. I suppose we should congratulate Miranda for showing Larson warts and all but who would want to spend two hours with such an obnoxious character? Well, Garfield's performance demands to be seen so in that respect the movie is worth checking out but ultimately, the film is a failure. With Alexandra Shipp, Robin De Jesus, Vanessa Hudgens, Bradley Whitford as Stephen Sondheim, Judith Light (channeling Viveca Lindfors) with cameos by Bernadette Peters, Chita Rivera and Joel Grey.

Edge Of Darkness (1943)

Set during WWII in 1942 Norway, a small village is occupied by the Nazis. But there is a strong resistance force led by a fisherman (Errol Flynn) that is awaiting arms from the British so they can take their town back. Based on the novel by William Woods and directed by Lewis Milestone (ALL QUIET ON THE WESTERN FRONT). Not surprisingly, there was a proliferation of propaganda films churned out by Hollywood during WWII. Most of them weren't very good, they were well intentioned movies intent on boosting the nation's morale during wartime. But there were a very small handful that ranged from good to excellent and this film is one of them. The irony is not lost that director Milestone made one of the most admired anti-war films, ALL QUIET ON THE WESTERN FRONT which was set during WWI. But this is hardly a pro-war film but rather a statement that we must stand up to fascism by any means necessary, even if it means fighting back. The film is potent stuff (Robert Rossen did the screenplay) and avoids preachiness until the film's last few seconds. And what a cast! All delivering fine performances and a few surprises along the way. I'd seen Nancy Coleman, a Warners contract player, in several films before this and she barely registered. But here, playing the mistress to a Nazi officer, she gives the best performance in the movie. She basically retired after 1947 never having fulfilled the promise she shows here. If you're not a fan of war movies (and frankly I'm not), don't let that put you off. Check this one out. The strong cast includes Ann Sheridan, Walter Huston, Ruth Gordon, Judith Anderson, John Beal, Henry Brandon, Morris Carnovsky and Helmut Dantine.

Moon In Scorpio (1987)

A newly married couple (Britt Ekland, John Phillip Law) are going to spend their honeymoon sailing to Acapulco with two other couples. The other two men (William Smith, Lewis Van Bergen) are, like the groom, Vietnam vets. Directed by Gary Graver, this slasher film is often incoherent and appears to have been messed with during post production. It was never released theatrically and went straight to video. Perhaps worst of all, we're never given a motive for the killer's murderous rampage though I'm guessing it has something to do with their Vietnam past. It's not the kind of movie where the acting matters much but surprisingly, Ekland manages to summon up some semblance of a performance. The other actors aren't so lucky. An untidy movie but watchable. With James Booth, April Wayne, Jillian Kesner and Robert Quarry. 

Fear (aka La Paura) (1954)

The wife (Ingrid Bergman) of a pharmaceutical industrialist (Mathias Wieman) is having an extramarital affair. She feels guilt and attempts to break off from her lover (Kurt Kreuger) but before she can, his ex-mistress (Renate Mannhardt) blackmails her. Based on the novella by Stefan Zweig (LETTER FROM AN UNKNOWN WOMAN) and directed by Roberto Rossellini. Six years after GERMANY YEAR ZERO, Rossellini returns to Germany for a very different kind of film than the neorealist dramas which brought him international acclaim. It's a melodrama with near noir-ish touches as it looks at a woman pushed to the breaking point with guilt and fear over her affair being exposed. No surprise, Bergman gives a wonderful performance but it's really a mood piece. It's not a particularly strong film and easily the least interesting of the four films they made together (five if you include the filmed stage performance of JOAN AT THE STAKE). I suppose Rossellini is saying something about the moral turpitude of post war Germany otherwise why film it there and not in Italy? With Elise Aulinger.

The Power Of The Dog (2021)

Set in 1925 Montana (but filmed in New Zealand), a prosperous rancher (Jesse Plemons) marries a widow (Kirsten Dunst) with a teenage son (Kodi Smith McPhee). The rancher's brother (Benedict Cumberbatch) resents the marriage and his taunting causes her to turn to alcohol. Based on the novel by Thomas Savage and directed by Jane Campion (THE PIANO). A superbly crafted film that reasserts Campion's position as not only one of the premier female directors but one of the best film directors period. Perhaps overly languid, there were times I longed to light a match under the proceedings so the film would move closer to its point but in the end, its storytelling justified its pace. There's a lot on Campion's plate here and she neatly (perhaps too neatly, the film could have used a surprise or two) sews this cinematic quilt into a cohesive piece. If the film has a flaw (other than its pacing), it's that its conclusion lacks any punch which leaves its audience hungry after the anticipation of a payoff. Acting wise, it's flawless with Cumberbatch particularly impressive. Ari Wegner's cinematography is imposing as is Jonny Greenwood's restrained underscore. With Keith Carradine, Frances Conroy and Thomasin McKenzie.

Chateau De Reve (aka Dream Castle) (1933)

A film company seeks the use of a dozen sailors as background in the movie they are making. A naval officer (Jaque Catelain) is given the part of a prince. While traveling to their next location, the film company passes off the officer as a real prince which causes all sorts of complications. Directed by Geza Von Bolvary, this is a charming confection which casts a satirical eye on actors and film making. It's mostly forgotten now but it's getting some attention because it was written by Henri Georges Clouzot, still an apprentice and several years away from his breakthrough films, L'ASSASSIN HABITE AU 21 and LE CORBEABAU. The film also features a young ingenue by the name of Danielle Darrieux who would become an international star three years later with MAYERLING (1936). With Edita Mera, Lucien Baroux, Adrien Le Gallo and Vivien Grey.

The Web (1947)

A wealthy businessman (Vincent Price) hires an attorney (Edmond O'Brien) for protection after he is threatened by an embezzler (Fritz Leiber) recently released from prison. After he shoots the embezzler in self defense, the attorney begins to suspect that he might have been set up. Directed by Michael Gordon (PILLOW TALK), this film noir is decidedly a B effort but there are many second tier noirs that may not have the status of a MALTESE FALCON or a DOUBLE INDEMNITY but nevertheless are lesser gems of entertainment. This nifty little B&W crime movie is one of them. O'Brien's lawyer/bodyguard may be a bit too much of a dupe and/or dope to be believable but Vincent Price is a wonderfully oily villain, the always welcome Ella Raines makes for a fetching femme non-fatale and William Bendix makes the most of the copper role. Fun stuff even if we're always one step ahead of the befuddled "hero". With Maria Palmer and John Abbott.

Number One (1969)

Now past the age of forty, an aging pro football quarterback (Charlton Heston) finds his skill fading and the question of retirement looms closer. But football is all he's ever known. Directed by Tom Gries (BREAKHEART PASS), a potentially potent film finds itself bogged down in cliches. When there's a soft focus scene with Heston and Diana Muldaur making love in front of a fireplace while Dominic Frontiere's muzak drips away, you know the film has lost its way. Heston gave one of his best career performances the year before in WILL PENNY also directed by Tom Gries but that was a far superior movie. Heston gives another fine performance here (it's clear he and Gries worked well together) but his performance can't save the film. To his credit, Heston doesn't hesitate to show the unlikability and hubris of his character. It's the kind of part usually reserved for the likes of Kirk Douglas. If you're a Heston fan (as I am), the film is worth seeing for his performance although you realize the movie isn't very good early on. I'm not a football fan at all which made the recurring football scenes excruciating to sit through. With Jessica Walter, Bruce Dern, John Randolph, Mike Henry, Bobby Troup, Al Hirt and Steve Franken.

Scream Pretty Peggy (1973)

A college student and aspiring artist (Sian Barbara Allen) takes a housekeeping job at a mansion occupied by a sculptor (Ted Bessell) and his mother (Bette Davis). But there's a third resident and a most deadly one. Written by Hammer regular Jimmy Sangster (BRIDES OF DRACULA) and directed by Gordon Hessler (GOLDEN VOYAGE OF SINBAD). This horror flick offers no surprises. It is one of the many spawn of PSYCHO and if you've seen that Hitchcock classic (and who hasn't?), the film's "surprise" ending is no surprise at all. Sian Barbara Allen is an uninteresting actress, Bessell is adequate but Davis fans will enjoy her presence as she brings some much needed authority to the telefilm as well as some star power. Bob Prince provides a suitably eerie underscore, it's a pity that it is wasted on such a routine venture. With Charles Drake and Tovah Feldshuh.

Lullaby Of Broadway (1951)

A singer and actress (Doris Day) who's lived in England for many years returns to New York to be reunited with her mother (Gladys George), who she thinks is a big Broadway star. In reality, the mother is a washed up lush singing in a dive. A friend (Billy De Wolfe) of her mother covers up for her. Directed by David Butler (CALAMITY JANE), this breezy slice of musical fluff goes down very easily if you don't ask too much of it. While MGM was the King of the movie musicals in the 1950s and 1960s, Warners had Doris Day from 1948 to 1954! With the exception of CALAMITY JANE and THE PAJAMA GAME (made after her contract was up), her musicals were formulaic but that was okay. She was effervescent and likable and was a triple threat: she could sing, dance and act. What's not to like? The musical numbers here aren't much but she's partnered with that undervalued dancer Gene Nelson and they make a great combination. The film is bolstered by two supporting comedic performances: S.Z. Sakall and Florence Bates as an ill match married couple and the two serve as a reminder of the wealth of great character actors Hollywood had during this period. As the alcoholic mother, Gladys George brings some grit and pathos to her part. With Anne Triola and Hanley Stafford.

Passing (2021)

Set in 1920s New York, a black woman (Tessa Thompson) living in Harlem runs into an old school friend (Ruth Negga) and is astonished to find out that she is passing for white and married to a white man (Alexander Skarsgard). Based on the novel by Nella Larsen and directed by actress Rebecca Hall in her directorial debut. This is an almost hypnotic yet unsettling cinematic event. Hall's graceful direction permits the film to unfold like a good short story. Shot in the Academy ratio (1.37) and in striking B&W allows the movie to provide a conspicuous mood and atmosphere that reflects its time period or at least the movies of its era. The performances of Thompson and Negga are nuanced and perfect. I thought Negga was terrific in LOVING (2016) and was hoping she would get another strong film role and here it is. She's positively luminous but also tragic as a woman whose desire for materialism causes her to literally lose her identity. The film keeps the novel's ambiguous ending which is unnerving to say the least. With Andre Holland, Bill Camp and Antoinette Crowe Legacy.

Il Bigamo (1956)

A traveling salesman (Marcello Mastroianni) has his world turned upside down when an unstable woman (Franca Valeri) shows up and claims to be his wife even though he already has a wife (Giovanna Ralli) and child. Even his shyster lawyer (Vittorio De Sica) believes he's guilty. Directed by Luciano Emmer, this amusing farce takes aim at the Italian legal system. Although he shot to international stardom in his Fellini dramas (LA DOLCE VITA, 8 1/2), people tend to forget what a wonderful comedic actor Mastroianni was. As the put upon "everyman" dumped on and abused by the legal system, the media and even his family and neighbors, Mastroianni perfectly (and hilariously) encapsulates the frustrations of an ordinary man overwhelmed by the enormity of circumstances. As his attorney, De Sica has a showy role which he milks (perhaps too much) but his timing is not to be faulted. Alas, by the film's courtroom finale, the movie has exhausted its welcome and one just waits for it to end. A pity because I was enjoying the ride till then. With Marisa Merlini and Memmo Carotenuto. 

Secrets Of F.P.1 (1933)

A dashing pilot (Conrad Veidt) wants to help his friend (Leslie Fenton) whose designs for an air station in the middle of the Atlantic ocean languish away at a major factory. While bringing attention to his friend's designs, he falls in love with the sister (Jill Esmond) of the brothers who run the company. But his ambition gets in the way of the romance and fate deals the three of them a major blow. Based on the novel by Kurt Siodmak (DONOVAN'S BRAIN) and directed by Karl Hartl. Simultaneously filmed in German (with Hans Albers in Veidt's role) as F.P.1 DOESN'T ANSWER and French (with Charles Boyer in Veidt's role) as well as English. This English language version is over a half hour shorter than the German version. While it makes it a leaner and tighter movie, it does seem rather rushed as if it had a time limit. The film itself is a mixture of adventure movie and disaster movie and works very well in that regard. If not as detailed as the 1932 German version, this one is like a compact Readers Digest version and I enjoyed it too. With Donald Calthrop and Francis L. Sullivan.  

Champion (1949)

After finding out he's been scammed in a business deal, a drifter (Kirk Douglas) finds himself in Los Angeles where he looks up a boxing manager (Paul Stewart) who promised to train him for the ring. He quickly rises to the top while using and then discarding whoever he needs to in his climb to be a champion boxer. Based on the short story by Ring Lardner and directed by Mark Robson (VALLEY OF THE DOLLS). I'm not a boxing fan but this really isn't a movie about boxing. Douglas's character could just as easily have been a football player, a politician or an actor. This was Douglas's breakthrough role (and his first Oscar nomination) and it's a type he played to perfection and would return to frequently in his career: the arrogant, overconfident heel without a conscience. You're repulsed by him yet he's so magnetic that you can't help but see why others are pulled into his sphere. Three actresses also get a chance to shine: Ruth Roman as Douglas's wronged wife, Marilyn Maxwell as a blonde gold digger and Lola Albright as a married woman who falls for him. Harry W. Gerstad's tight film editing got an Oscar. With Arthur Kennedy (also Oscar nominated) as Douglas's brother and Luis Van Rooten.

The Boy With Green Hair (1948)

After his parents are killed in WWII, an orphan (Dean Stockwell) is passed around a series of indifferent relatives before settling in with his grandfather (Pat O'Brien). But one morning when he wakes up, his hair has turned green! This causes fear and consternation among the adults and makes him a victim to the school bullies. Based on a short story by Betsy Beaton and directed by Joseph Losey (THE GO BETWEEN) in his film directorial debut. Dang! This is one heavy handed and preachy social message movie. One can look at it as an allegory about anyone who is "different" but the movie was intended as an anti-war tract. I appreciate its message but if a movie like this is going to succeed, it needs to have some sort of subtlety to it and let the audience slowly understand what they're seeing rather than being treated like imbeciles and hit over the head with a "message" hammer. Although the film was a box office flop, its theme song Nature Boy was a big hit for Nat King Cole (who doesn't sing it in the movie) reaching number one on Billboard's charts. With Robert Ryan (wasted), Barbara Hale, Walter Catlett and Dwayne Hickman.

The Miniver Story (1950)

Set in 1945 as the war in Europe ends, a British housewife (Greer Garson) is diagnosed with a terminal illness. But she keeps this news to herself as her husband (Walter Pidgeon) returns from the war, her daughter (Cathy O'Donnell) returns from Egypt and her son (James Fox in his film debut) returns from America. Directed by H.C. Potter (MR. BLANDINGS BUILDS HIS DREAM HOUSE). By 1950, Greer Garson's film career as MGM's great lady star was fading (MGM importing Deborah Kerr from England didn't help). So someone probably thought revisiting her greatest triumph MRS. MINIVER (1942) for which she won an Oscar was a good idea. It wasn't. Though often dismissed as another WWII propaganda film, I quite like MRS. MINIVER and don't think Garson's Oscar was altogether undeserved. But the 1942 film had William Wyler at the helm and did an excellent job of showing the duress under which the British people lived during WWII. Unlike the original movie, this sequel has Garson at her worst as she goes into her noble great lady act suffering in silence while she attempts to get her family's life in order before she kicks the bucket. The film benefits from being shot in England (the original was shot in Hollywood). The public stayed away and the film flopped. With John Hodiak, Leo Genn, Peter Finch and Henry Wilcoxon. 

Because Of You (1952)

Set during WWII, a pretty but naive blonde (Loretta Young) is duped by her lover (Alex Nicol) into accepting stolen merchandise which lands both of them in prison. After she is released on parole, she takes a job as a nurse's aide where she falls in love with a wounded combat pilot (Jeff Chandler) from a prestigious Philadelphia family. When he proposes, she accepts but doesn't tell him of her prison past ..... big mistake! Directed by Joseph Pevney (MAN OF A THOUSAND FACES), this soapy melodrama with noir-ish trimmings starts off promisingly but it can't sustain itself and by the film's denouement, it has sunk into mawkishness. Similarly, at the beginning of the movie Young is surprisingly sexy and reminiscent of her pre-code movies like MIDNIGHT MARY but as soon as she takes the high road, she becomes her insufferable ladylike image. Jeff Chandler is quite good here balancing both vulnerability and rage and he manages to spark some chemistry with Young in their romantic scenes. Almost but not quite but engrossing enough to keep you watching. With Frances Dee, Alexander Scourby, Mae Clarke and Lynne Roberts.

Ladies They Talk About (1933)

A woman (Barbara Stanwyck) is sent to prison for her part in a bank robbery but she refuses to name her accomplices. Meanwhile, a reformer and evangelist (Preston Foster) falls in love with her and attempts to rehabilitate her. Based on the play by Dorothy Mackaye and Carlton Miles and directed by William Keighley (ADVENTURES OF ROBIN HOOD) and Howard Bretherton. The play's author Dorothy MacKaye had actually served time in San Quentin prison so she knew of what she wrote. I'm not a big fan of prison movies but I do have a fondness of its distaff side, the women behind bars movies like CAGED (1950). This tough talking Warner Brothers pre-code entry is a lot of fun. There's not much sentiment here. These prison babes are no innocents, they're hard as nails and you wouldn't want to run across one of them in a dark alley! Murderesses, prostitutes, gun molls etc., they're a colorful lot and the movie snaps when it concentrates on them. Less so when the do gooders like Foster's reformer tries to butt in. Stanwyck, of course, takes to these roles like a duck to water. Remade in 1942 with Faye Emerson. With Lillian Roth (who gets to sing), Lyle Talbot, Ruth Donnelly, Dorothy Burgess and Harold Huber.