Temptation (1946)

A woman (Merle Oberon) with a checkered past marries a naive archaeologist (George Brent). When she accompanies her husband to an archaeological dig in Egypt, she begins an affair with an impoverished opportunist (Charles Korvin). Deceit, blackmail and murder follow. Based on the novel BELLA DONNA by Robert Smythe Hichens (previously filmed in 1923 with Theda Bara) and directed by Irving Pichel (THEY WON'T BELIEVE ME). This little known noir-ish Victorian thriller was quite the surprise. I knew very little about it going in except that it was panned by the critics when it opened in 1946. I quite liked it. The film begins with Oberon's arrest and then in flashback, we're told of the events leading to her downfall. Oberon is very good as she goes from calculating femme fatale to adulteress until finally finding redemption in love. Charles Korvin who didn't impress me as a leading man in ENTER ARSENE LUPIN is in his element here as the womanizing gigolo. If you're a noir fan, check it out. With Paul Lukas, Lenore Ulric, Arnold Moss and Suzanne Cloutier.

The Mummy (1932)

A group of archaeologists discover a tomb containing a 3,000 year old mummy (Boris Karloff). After being accidentally brought back to life, he takes the form of a modern Egyptian and searches for his lost love (Zita Johann) who he believes has been reincarnated. Directed by Karl Freund, this is the first and the best of the Universal mummy franchise. Four more mummy films followed in the 1940s and Universal rebooted the franchise in 1999 but this elegantly shot B&W original remains the template and the most spellbinding. Cinematographer Karl Freund (Lang's METROPOLIS) only directed nine movies (only 1935's MAD LOVE is of any interest) but this is his best directorial effort. It's all about the expert lighting and the sinister atmosphere that Freund generates. Very few horror films can be called poetic (Franju's EYES WITHOUT A FACE is another one) but surely this one qualifies. With David Manners, Zita Johann, Arthur Byron and Edward Van Sloan. 

Tout Feu Tout Flamme (aka All Fired Up) (1982)

A young woman (Isabelle Adjani) who had been abandoned by her father (Yves Montand) many years ago is now working in an important position for the ministry of finance in the French government. When her father returns suddenly into her life, he attempts to scam her grandmother (Madeleine Cheminat) into selling her property so he can buy a casino. Can he redeem himself and heal the wounds between his daughter and himself? Directed by Jean Paul Rappeneau (1990's CYRANO DE BERGERAC), this dramedy (with the emphasis on comedy) with a dose of action is an affable feature bolstered by two star performances from Montand and Adjani. Montand's character is a reprobate but he slowly wins us over toward the end of the movie. Noted for her Oscar nominated dramatic work (STORY OF ADELE H, CAMILLE CLAUDEL), Adjani gets an opportunity to show her comedy chops which are sharp. It's not a major entry in either of their filmographies but it's a good natured effort. Adjani and Lauren Hutton (as Montand's mistress) look great in their Dior costumes. With Alain Souchon, Jean Luc Bideau and Pinkas Braun.

A Night To Remember (1958)

On April 14, 1912 just  before midnight, the "unsinkable" Titanic struck an iceberg. In less than three hours, it had plunged to the bottom of the sea, taking with it more than 1,500 of its 2,200 passengers. Based on the non fiction book by Walter Lord and directed by Roy Ward Baker (QUATERMASS AND THE PIT). The Titanic tragedy has fascinated the public ever since its sinking. Innumerable books have been written about it as well as film and TV adaptations and even a Tony award winning musical. This 1958 film is often considered the best of the movies based on the event. Instead of concentrating on several characters with the ship's sinking as a backdrop, this version has no central characters. It's an ensemble film with an almost documentary approach to the subject. Still, the film doesn't eschew sentimentality (a lost little boy crying for his mommy) or unnecessary "comedic" footage such as a ship's crewman who decides to get drunk as the ship sinks. The downside if any is that the film is on the dry side. Of all the versions so far, I suppose it's the "definitive" version and the most historically accurate. But honestly, I missed the scale and epic quality as well as the emotional investment of the Oscar winning 1997 film. Among the cast: Kenneth More, Honor Blackman, David McCallum, Alec McCowen, Laurence Naismith, Geoffrey Bayldon and Michael Bryant.

Intermezzo (1939)

A renowned violinist (Leslie Howard) is delighted to be back with his family after a long tour. But when he meets his daughter's (Ann Todd) piano teacher (Ingrid Bergman in her American film debut), he finds himself falling in love. A remake of the 1936 Swedish film with the same title and directed by Gregory Ratoff (ADAM HAD FOUR SONS). Bergman had starred in the 1936 Swedish version and impressed producer David O. Selznick enough to import her to Hollywood to recreate her part. One can see why Bergman quickly became a favorite of U.S. audiences. She was so different from the typical Hollywood actress. Her freshly scrubbed beauty was a refreshing contrast to the often artificial beauty (courtesy of the make up department) of the usual Hollywood starlet and her acting was natural rather than the often actress-y performances of the homegrown kind. The subject of adultery is handled skillfully for a post code movie although the film's descent into schmaltz in the last seven minutes is almost unbearable though to be fair, the 1936 Swedish film was just as bad. With Edna Best, Cecil Kellaway and John Halliday. 

Strange Invaders (1983)

An entomology professor's (Paul Le Mat) ex-wife (Diana Scarwid) leaves their daughter (Lulu Sylbert) in his care so she can return to the small town in Illinois for her mother's funeral. But when she never returns, he becomes suspicious and visits the town where he encounters visitors from another planet. Directed by Michael Laughlin (STRANGE BEHAVIOR), this is a fun affectionate homage to 1950's B science fiction movies. Despite favorable reviews, the movie fared poorly at the box office which is a pity because it works both as a satire of 50's sci-fi and on its own as a well constructed straight piece of science fiction. The film avoids the nudge/nudge wink/wink "get it" style of many movie parodies and the actors play it straight rather than broadly. Not that the film isn't without flaws. When Nancy Allen (as a tabloid journalist) and Lulu Sylbert make a mad dash for freedom in an escape attempt from the alien creatures, it inexplicably takes a lot of time for the aliens to chase after them rather than doing so immediately. But hey, 50s B sci-fi lacked logic most of the time anyway. With Louise Fletcher, Michael Learned, June Lockhart, Kenneth Tobey, Fiona Lewis, Mark Goddard and Wallace Shawn. 

Enter Arsene Lupin (1944)

A French gentleman thief (Charles Korvin) finds himself attracted to a Greek heiress (Ella Raines) while traveling en route to Paris on the Orient Express. He follows her to England where he suspects the heiress's cousin (Gale Sondergaard) of plotting to murder her in order to claim her inheritance. However, an intervention puts him at risk of capture by the French police. Directed by Ford Beebe, this is a modestly entertaining mystery. The so called "gentleman" thief has been a staple in the movies for decades. Examples include Ronald Colman in RAFFLES, Cary Grant in TO CATCH A THIEF and David Niven in THE PINK PANTHER to name three. In the title role, Charles Korvin lacks the charisma and charm that would make Lupin particularly memorable. This was his film debut and it's clear why he never became a star. That aside, mystery fans should be diverted by the unassuming but well done entertainment. Ella Raines is appealing and Gale Sondergaard does nicely in her patented "spider woman" villainess act but J. Carrol Naish as a bumbling French detective on Korvin's trail is tiresome. Peter Sellers would perfect that kind of role as Inspector Clouseau in the PANTHER franchise. With Miles Mander and George Dolenz.

La Ragazza E Il Generale (aka The Girl And The General) (1967)

Separated from his retreating regiment, a private (Umberto Orsini) with the Italian army during WWI comes across an Austrian general (Rod Steiger) and captures him. Counting on a reward from the authorities for capturing him, he joins forces with an Italian girl (Virna Lisi) in bringing the enemy general as their prisoner. Directed by Pasqule Festa Campanile (WHEN WOMEN HAD TAILS), this Italian anti-war comedy goes down easily enough until it gets to the rather heavy handed downbeat finale. A subdued Rod Steiger is very good, Lisi provides the pulchritude and Orsini is blandly inoffensive. The film manages to combine humor with its anti-war message and the three leads don't overplay the comedy. The excellent score is by the great Ennio Morricone. It's not something I could really recommend but if you come across it, you could do worse. 

Halloween Kills (2021)

As Laurie Strode (Jamie Lee Curtis) recovers from her wounds from her attack by Michael Myers (James Jude Courtney), the town of Haddonfield goes berserk as vigilantes roam the town in pursuit of Myers. Directed by David Gordon Green (SNOW ANGELS), this is the twelfth entry in the HALLOWEEN franchise begun in 1978. It picks immediately after the end of the 2018 installment. The franchise is clearly tired and the movie is a perfect example of going to the cinematic well once too often. The movie's premise of a town turning into a monster created by a monster in pursuit of the monster is a good one. But its execution is not. Too many characters taking up space and adding nothing to the narrative. They're there merely to make fools of themselves and get killed off. The film ups the gore factor considerably but again, the behavior of these dumb victims make no sense. Example: when a gay character finds his lover butchered by Myers and sees Myers looking out the window, what does he do? Instead getting out and going for help, he says "Michael, you've come home!". Clearly it's time to retire the franchise. To the movie's credit, it doesn't kill Myers off only to bring him back from the dead for the next sequel. At the end of the film, it's clear that Myers is alive and prepped for the next chapter.  With Will Patton, Judy Greer, Anthony Michael Hall, Andi Matichak and Nancy Stephens.

My Reputation (1946)

A recent widow (Barbara Stanwyck) finds herself the subject of small minded gossip among her social set when she begins dating an army officer (George Brent) she met on a skiing vacation. She doesn't care but pressure from her conventional mother (Lucile Watson) and impressionable two sons (Scotty Beckett, Bobby Cooper) threaten to destroy the budding romance. Based on the novel INSTRUCT MY SORROWS by Clare Jaynes and directed by Curtis Bernhardt (A STOLEN LIFE). The film bears some similarity to Sirk's ALL THAT HEAVEN ALLOWS but without the irony, insight or dazzling visuals. Still, it's an example of solid studio film making from the factories of "Golden Age" Hollywood and Stanwyck is able to deliver a sensitive, well rounded performance. I've always felt George Brent got a bum rap as an actor. While not a particularly strong actor, he played well opposite the big female stars of the day, letting them dominate while providing a suitable masculine presence. Stanwyck here as well as Bette Davis, Greta Garbo, Joan Fontaine, Ginger Rogers, Kay Francis and Hedy Lamarr to name a few. The film was very popular and turned a modest profit for Warners. With Eve Arden, Warner Anderson, Esther Dale and Cecil Cunningham.

Nightmare (1974)

When a man (Richard Crenna) witnesses a murder from the window of his high rise apartment, he is unable to convince the police the killer lives in the building across from his apartment. When he attempts to investigate himself, it isn't long before he and his girlfriend (Patty Duke) become the killer's next target. Directed by William Hale (S.O.S. TITANIC), this ludicrous made for TV thriller rips off REAR WINDOW. It's so inept that by the end of the movie it ventures into camp. Crenna's victim is such a jerk and behaves so stupidly that no wonder the cop (Vic Morrow) on the case has his doubts about Crenna's veracity. The ending with the killer running after Crenna on the busy streets of New York while brandishing a butcher knife had me snickering. Come on, even in New York a man running after another man with a knife while the guy screams "Help!" on crowded streets would cause some sort of commotion but the pedestrians just look like it's just another day! The inappropriate 70s disco score doesn't help either. With John Travolta, Henry Winkler, Arlene Golonka, Arch Johnson and Doreen Lang.

Le Capitan (aka Captain Blood) (1960)

The young teenaged King Louis XIII (Christian Fourcade) is dominated by his treacherous mother (Lise Delamare) and her ambitious lover (Arnoldo Foa). A faithful knight (an aging but agile Jean Marais) vows to destroy the King's enemies and allow the young King to reign unhampered. Meanwhile, he falls in love with the daughter (Elsa Martinelli) of a Duke (Raphael Patorni) who has plans of his own for the throne. Based on the novel by Michel Zevaco and directed by Andre Hunebelle (FANTOMAS). When one thinks of swashbucklers, one immediately goes to thoughts of classic Hollywood and Errol Flynn, Tyrone Power and Cornel Wilde. But France and Italy had their share and LE CAPITAN is one of the betters European entries in the genre. Fast paced, colorful and plenty of swordplay handsomely shot in Dyaliscope by Marcel Grignon (IS PARIS BURNING?) and utterly enjoyable. Though not a musical, in the middle of the movie Bourvil as Marais' comedic sidekick and Pierrette Bruno as a maid sing a delightful duet that feels like it came right out of a 1930's Rene Clair. It almost makes one wish the entire movie had been turned into a musical. If you're fond of swashbucklers, definitely check this one out. The rousing score is by Jean Marion. With Annie Anderson and Guy Delorme.

Reunion At Fairborough (1985)

A businessman (Robert Mitchum) from Chicago travels to England for the 40 year reunion of the Air Force flyers who were stationed in a small English village during WWII. What he's most interested in is what happened to the woman (Deborah Kerr) he loved and abandoned while he was stationed there. Directed by Herbert Wise (I CLAUDIUS), this was the fourth and final pairing of Mitchum and Kerr some 25 years after their last pairing (THE GRASS IS GREENER). They are the reason to see this rather generic geriatric romance about wartime lovers reuniting. The film feels padded out with storylines that detract from the Mitchum/Kerr plot. Namely, an alcoholic soldier (Red Buttons) who has fallen on hard times and then there's Kerr's anti-war granddaughter (Judi Trott) whose scenes really drag the movie down. For fans of Mitchum and Kerr (and who isn't?). With Barry Morse, Shane Rimmer and Helen Horton.

Mogambo (1953)

A globe trotting playgirl (Ava Gardner in an Oscar nominated performance) arrives at a remote African outpost only to find that the Maharajah she was supposed to meet there has flown the coop. She begins an antagonistic relationship with a big game hunter and safari guide (Clark Gable) but it's clear the two are mutually attracted to each other. Enter an anthropologist (Donald Sinden) and his beautiful wife (Grace Kelly) and an uneasy love triangle ensues. Based on the play RED DUST by Wilson Collison (previously filmed in 1932) and directed by John Ford. In a rare case of an actor playing the same role in a remake of a movie he had previously starred in, Gable returns some 20 years later. Shot entirely in Equatorial Africa, the film is enjoyable for the most part mostly due to Ava Gardner. Livelier than usual, she takes over the Jean Harlow part with sass and vinegar and as long as she's on screen, it's amiable fun. The Gable/Kelly romance is a bit of a drag but there's always some exotic animal or native village to animate the movie. With Philip Stainton, Eric Pohlmann and Laurence Naismith.

Abschied (aka Farewell) (1930)

Set in a Berlin rooming house, a young couple (Aribert Mog, Brigitte Horney) are waiting for the opportunity to marry. But when he receives a job offer in Dresden, the other lodgers creat a series of misunderstandings that could jeopardize the couple's happiness. Co-written by Emeric Pressburger (BLACK NARCISSUS) and directed by Robert Siodmak (THE SPIRAL STAIRCASE). This "slice of life" dramedy is quite different from Siodmak's Hollywood output which tended to emphasize the darker side of life. The entire action takes place in boarding house rooms which makes it rather static cinematically and it comes across as an adaptation of a play (it's not). Most of the humor is too broad for my taste (I've never found German comedies particularly funny). When the most amusing bit is an emcee (Frank Gunther) using a black pen on the white dots on his socks so he'll have black socks, you know you're in trouble. After the movie's release, the studio replaced the downbeat ending with a tacked on happy ending without Siodmak's consent. Of interest as an early example of Siodmak's work but not an especially memorable film. With Emilia Unda as the two faced landlady in the film's best performance, Vladimir Sokoloff, Konstantin Mic and Erwin Bootz.

Bad Girls (1994)

After a saloon prostitute (Madeleine Stowe) kills a man for beating up a fellow whore (Mary Stuart Masterson), the outraged and hypocritical townspeople plan to lynch her but she's saved at the last moment when her prostitute pals (Masterson, Andie MacDowell, Drew Barrymore) help her escape and the four of them go on the run. Directed by Jonathan Kaplan (THE ACCUSED), I found this feminist western grandly entertaining. Female driven westerns are rare but not without precedent, JOHNNY GUITAR (1954) and THE WOMAN THEY ALMOST LYNCHED (1953) come to mind. The film's original director Tamra Davis (GUNCRAZY) was fired and the script rewritten to beef up the action. Stowe hated the finished movie (it wasn't what she signed up for) and the reviews were negative but hey, I liked it. It is what it is and it has the feel of a spaghetti western but I think it could have used a tougher director and a less schizophrenic script (the sentimentality and the toughness work against each other). There's a nice score by Jerry Goldsmith. With Robert Loggia, Dermot Mulroney, James Russo and James LeGros.  

Belle Of The Yukon (1944)

Set in the days of the Great Alaskan Gold Rush, a scam artist (Randolph Scott) has adopted a new identity to hide from the law. When an old flame (Gypsy Rose Lee) arrives in town, they renew their relationship but she insists he walk the straight and narrow and give up his old ways. Directed by William A. Seiter (ONE TOUCH OF VENUS), this comedy/musical/western is so unsubstantial that it's barely there. There's a plot all right but it serves merely to hang some inane comedy and inferior musical songs though Dinah Shore as a saloon singer makes them sound better than they are. One of those songs, Sleigh Ride In July received an Oscar nomination for best song. The film is notable for two reasons: the handsome Technicolor cinematography of Ray Rennahan (FOR WHOM THE BELL TOLLS) and a rare leading role for burlesque queen Gypsy Rose Lee. With Florence Bates, Bob Burns, Charles Winninger, William Marshall, Robert Armstrong and Guinn Williams whose comedy relief is more irritating than amusing.

The Evil (1978)

A psychologist (Richard Crenna) and his doctor wife (Joanna Pettet) buy a dilapidated historical mansion with a dark past. Hoping to restore the estate, he accepts the help of some of his students and patients. But when a secret door in the basement is opened, a malevolent presence is unleashed and traps everyone inside with no means of escape. Directed by Gus Trikonis, this silly horror film feels like a TV movie but it was a theatrical release. The film actually received some favorable reviews but I found it lacked originality and the dumb dialogue edges the film toward camp. Example: the characters are trapped in a house by an evil spirit with no way out and when a hysterical girl shrieks, "We're never getting out of here alive!", her boyfriend slaps her and says, "It's all right!". Huh? You're trapped in a house with Satan (Victor Buono) living in the basement and it's "all right"? Then when Crenna tells everyone to stick together and no one venture off by themselves for safety reasons, what happens? Yes, everyone ventures off alone so they can meet a grisly end. It's that kind of movie. It's sort of enjoyable in the way that bad movies can sometimes be but just know what you're in for. With Andrew Prine, Cassie Yates, Lynne Moody and Robert Viharo.

France (2021)

A superstar television journalist (Lea Seydoux) is career driven. But when she carelessly drives into a young delivery man (Jewad Zemmar) on a busy Paris street, her career and personal life begin to unravel. Directed by Bruno Dumont, what could have been a blistering look at TV journalism is sabotaged by Dumont's lethargic pacing and an unsuccessful balance between satire and reality. The film examines the dichotomy of pure news reporting and the fame a TV journalist finds by "starring" in her news reports. Her popularity makes her the focus of the news she's reporting and it often seems she's exploiting the situation whether it's war or displaced refugees as she stands before the frightened and unfortunate, impeccably made up and camera ready. But she's an unlikable person and though one can have empathy for her (as when she finds herself exploited), the other characters are irredeemable. When two characters die a horrible death, we're supposed to be devastated but I found myself sighing with relief that they would no longer be in the movie. The most annoying character is Seydoux's assistant (Blanche Gardin), who enables her boss and constantly kisses her ass. The best thing about the film is the stunning (and I do mean stunning) cinematography by David Chambille. It's one of the most beautifully shot films of 2021. With Benjamin Biolay and Emanuele Arioli.

The Little Minister (1934)

Set in 1840 Scotland, a small village welcomes its new young minister (John Beal). He is strait laced and rigid in his attitude but when he meets a mysterious gypsy girl (Katharine Hepburn), he finds himself falling hopelessly in love, much to the consternation of his disapproving flock. Based on the novel by James M. Barrie (PETER PAN) and directed by Richard Wallace (SINBAD THE SAILOR). This movie isn't one of the Hepburn films talked about much and it was a flop (its high budget exceeded its profit) at the box office but it's one of my very favorite Hepburn performances. Hepburn is an often polarizing actress (I'm surprised at the amount of people who dislike her) but she's never been more charming and even, dare I say it, sexy. I'm talking about the gypsy girl section of the film. When she becomes the proper lady of the manor, she reverts to form. As cinema, it creaks more than a bit but it's worth seeking out for Hepburn's performance. With Donald Crisp, Alan Hale, Dorothy Stickney, Beryl Mercer, Reginald Denny, Mary Gordon and Eily Malyon.

Il Grande Silenzio (aka The Great Silence) (1968)

Set in 1890's Utah during a severe blizzard, a group of ruthless bounty hunters led by a man named Loco (Klaus Kinski) hunt down a group of townspeople hiding in the mountains. Their only crime being they have stolen to feed their families. A mute gunslinger (Jean Louis Trintignant) takes it upon himself to protect the wanted townspeople who are awaiting a pardon from the new governor (Carlo D'Angelo). Directed by Sergio Corbucci (DJANGO), this spaghetti western wasn't released in the U.S. until 2001 and then only on DVD. It's a dark and bleak western, one of the most nihilistic westerns ever made. The following year Peckinpah's THE WILD BUNCH would cause a sensation and controversy in the U.S. over its violence and bleak revisionism when Corbucci's movie did it all the year before. The movie ends in a bloodbath and there are no heroes to save the day. Corbucci was prodded into filming two more endings, one "happy" and one ambiguous leaving the fate of its characters in question. Fortunately, neither (to my knowledge) saw the light of day theatrically. The violence in the film reflects the era (both Robert F. Kennedy and Martin Luther King were assassinated earlier in the year) and apparently the deaths of Malcolm X and Che Guevara were influential in his decision to make the film. Underappreciated in its day, the film has since got a cult following and is now recognized as one of the best spaghetti westerns ever made. The snow laden landscapes are beautifully shot by Silvano Ippoliti and the underscore is pure Ennio Morricone. With Vonetta McGee, Luigi Pistilli, Frank Woff and Marisa Merlini.

Just Tell Me What You Want (1980)

When his long time mistress (Ali MacGraw) leaves him for a young playwright (Peter Weller), a ruthless magnate (Alan King) will stop at nothing to get his revenge on her. Based on the novel by Jay Presson Allen (who adapted her book for the screen) and directed by Sidney Lumet (DOG DAY AFTERNOON). A highly uneven romantic farce without a single character one can like. Dina Merrill as King's emotionally disturbed alcoholic wife is probably the most sympathetic character in the movie but everyone else is either a shark or a sellout. Even the usually likable Myrna Loy (in her final film role) gets no respect from me as King's secretary who carries out his dirty work. Alan King isn't a strong enough actor to make his ego driven and vengeful tycoon believable but on the plus side, it features Ali MacGraw in a rare good performance. At least it's not a bore so I suppose we can thank Lumet for that but it's a bit of a mess. With Keenan Wynn, Tony Roberts, Joseph Maher and Judy Kaye. 

Hangmen Also Die (1943)

Set in Nazi occupied Czechoslovakia, a resistance fighter (Brian Donlevy) assassinates a German deputy and Reich Protector (Hans Heinrich Von Twardowski) known as "the hangman". In revenge, the Gestapo rounds up innocent citizens and holds them hostage and threatens to execute them unless the assassin is turned in. From a story co-written by Bertolt Brecht (he wasn't credited with the script although the evidence suggests the screenplay is mainly his) which was his only Hollywood writing job and directed by Fritz Lang (METROPOLIS). Lang did several anti-Nazi propaganda films in the 1940s including MAN HUNT and MINISTRY OF FEAR. This one is very well done although it veers toward being heavy handed and preachy. What saves it are the noir-ish thriller elements that would later serve Lang in good stead in films like SCARLET STREET and THE BIG HEAT. The movie is loosely based on the assassination of Reinhard Heydrich. The acting is uneven and suffers from American actors playing Czechs including Walter Brennan in an atypical role as a Czech professor. All things considered, he's actually very good. Hanns Eisler's score received an Oscar nomination. With Anna Lee, Dennis O'Keefe, Margaret Wycherly, Gene Lockhart and Alexander Granach.

The Sundowners (1960)

Set in 1920s Australia, a family of drovers (the sundowners of the title) are suddenly at odds. The husband (Robert Mitchum) enjoys the wandering life with no ties and nothing to hold him down. His wife (Deborah Kerr) is tired of the drifting life and wants a home and to settle down. Based on the novel by Jon Cleary and directed by Fred Zinnemann (FROM HERE TO ETERNITY). Upon its initial release, the film was a critical success including five Oscar nominations for best picture, actress (Kerr), supporting actress (Glynis Johns), director (Zinnemann) and adapted screenplay. But it did poorly at the box office despite the star cast and prestigious accolades. The film must have seemed somewhat "exotic" to U.S. audiences as Australia wasn't a common setting for movies at that time though ON THE BEACH had been set there the year before. Nothing much happens. There's a sheep shearing contest, a couple of horse races and a baby gets born. It's an amiable film that benefits from some good performances (Kerr might have won the Oscar if Elizabeth Taylor hadn't almost died and won the sympathy vote) but it's not a particularly memorable movie. Dimitri Tiomkin's overbaked score does the film no favors. With Peter Ustinov, Dina Merrill, Michael Anderson Jr., Lola Brooks and Chips Rafferty.

The Nelson Affair (aka Bequest To The Nation) (1973)

A young man (Dominic Guard) is a guest at his Uncle's estate. His Uncle happens to be the naval hero Lord Nelson (Peter Finch). Loyal to his Aunt (Margaret Leighton), he has difficulty understanding the relationship between his Uncle and his mistress, the scandalous Lady Hamilton (Glenda Jackson). Based on the play by Terence Rattigan and directed by James Cellan Jones (TV's THE FORSYTE SAGA). The film serves as an interesting companion to THAT HAMILTON WOMAN (1941) which had Laurence Olivier as Lord Nelson and Vivien Leigh as Lady Hamilton. The portrayal of Lady Nelson is much more sympathetic than the 1941 movie where Gladys Cooper played Lady Nelson. Unlike Leigh, Jackson plays Lady Hamilton as a vulgar bawd. As long as the film focuses on the relationship between Nelson and Hamilton as observed by the nephew, it's an interesting watch. The movie's battle scenes are a letdown (most of it is stock footage anyway) but fortunately, the film ends on a high note with a confrontation scene between Leighton's Lady Nelson and Jackson's Lady Hamilton and it's a treat to see the great actresses play off each other. Director Cellan Jones is a TV director and so the film's isn't very cinematic and comes across as a livelier BBC Masterpiece Theatre offering. With Anthony Quayle, Michael Jayston, Pat Heywood and Barbara Leigh Hunt.

Now And Forever (1934)

A jewel thief and con artist (Gary Cooper) decides to rescue his daughter (Shirley Temple) from the clutches of his late wife's stuffy family. However, his new wife (Carole Lombard) is uncomfortable with the adventurous but aimless life they've been leading and with the child now part of the equation, she wants a more stable life. But can the con man put aside his old ways and reform? Based on the short story HONOR BRIGHT by Jack Kirkland and Melville Baker and directed by Henry Hathaway (NORTH TO ALASKA). Although Shirley Temple is in the cast, this is not a typical Shirley Temple vehicle because the focus isn't on her. It's a surprisingly dark film and Temple gets to give a real performance rather than play the usual cloying doll she played in her starring Fox films (this is a Paramount picture). While the film's original bleak ending was jettisoned (Cooper and Lombard died) and refilmed, the reshot ambiguous ending leaves the fate of the major characters in doubt. Cooper and Lombard (I've always preferred her in drama rather than comedy) are in top form. With Guy Standing and Charlotte Granville. 

Sophia Loren In Rome (1964)

A companion piece to ELIZABETH TAYLOR IN LONDON which aired the year before, screen goddess Sophia Loren guides viewers through various parts of Rome, both the historic Rome as well as contemporary Rome. Rome by day and Rome by night as well as tourist spots and the everyday Rome of its citizens. Unlike Taylor, Loren doesn't make herself the focus of the production. She doesn't read poetry, quote diaries or recite famous speeches by Italian monarchs and politicians. She does, however, sing. She also has a famous guest (which Taylor did not) when she visits Marcello Mastroianni at his home on the Appian Way. Gowned by Dior (Loren had it in her contract, she got to keep the clothes), she looks stunning. I enjoyed it a bit more than ELIZABTH TAYLOR IN LONDON because I find Rome a more photogenic city than London and the history of Rome more fascinating than British history. John Barry once again provides the underscore. 

Horror Express (1972)

Set in 1906, a European bound train on the Trans Siberian Railway coming from China is stalked by a centuries old alien who moves from body to body after killing its host. It's up to an anthropologist (Christopher Lee) and a doctor (Peter Cushing) to discover what passenger is hosting the alien creature and terminate it before it kills again. Directed by Eugenio Martin, this co-Spanish and American sci-fi and horror blend tantalizes us with an interesting premise that it never quite lives up to. I love movies set on trains so I was already partial to it but it's crudely made. It's always nice to see horror icons Cushing and Lee working together but the film too often borders on the ludicrous. For example, why would a Russian priest (Alberto De Mendoza) suddenly switch from a fanatical man of God to voluntarily serving "Satan"? Then there's Telly Savalas as a Russian soldier who doesn't enter the movie until the last half hour but his character seems superfluous. But it moves at a nice pace and it's never boring. With Silvia Tortosa, Julio Peria and George Rigaud.  

Misery (1990)

Set in Colorado, a successful novelist (James Caan) is caught in a blizzard which causes his car to go off the road and he is seriously injured and unconscious. He wakes up in the home of a nurse (Kathy Bates in an Oscar winning performance) who professes to be his number one fan. She was the one who saved his life and pulled him out of the wreck. But it isn't long before he realizes that she's psychotic and he is her prisoner. Based on the novel by Stephen King and directed by Rob Reiner (A FEW GOOD MEN). Stephen King hasn't always been lucky in the filmed adaptations of his books but MISERY, along with CARRIE (1976), is one of best adaptations. Bates' Annie Wilkes is one of the great movie "monsters" but her performance shows a lot of shading (especially the rain scene) which gives us a peek at the tortured soul underneath the psycho. Bates has received the bulk of the praise but she has Caan's performance to play off of and he's wonderful here as he balances both the fear of and the contempt for his captor. Her oft over the top performance works because of the contrast of his lowkey work here. With Lauren Bacall, Richard Farnsworth, Frances Sternhagena n J.T. Walsh. 

Das Indische Grabmal (aka The Indian Tomb) (1921)

A British architect (Olaf Fonss) is commissioned by an Indian maharajah (Conrad Veidt) to create a large monument, only to learn that it is meant for the maharajah's unfaithful lover (Erna Morena), who will be buried alive as punishment. Based on the novel by Thea  Von Harbou (who adapted her novel for the screen with her then husband Fritz Lang) and directed by Joe May. This epic is over four hours long but it was meant to be seen in two parts and if seen in one sitting, it can be occasionally tedious especially in the second part which tends to languish more than it should. Edited down to to a tight three hours and you might have an epic adventure on a grand scale. The sets are spectacular and the art direction by Erich Kettelhut and Karl Vollbrecht are impressive. Fritz Lang would remake the film in 1959 in color and although it too is long and meant to be seen in two parts, I think it's a much better movie. With Mia May (the director's wife), Lya De Putti, Bernhard Goetzke and Paul Richter.

Everything Everywhere All At Once (2022)

A Chinese immigrant mother (Michelle Yeoh) runs a failing laundromat with her unhappy husband (Ke Huy Quan). She has an antagonistic relationship with her daughter (Stephanie Hsu) who has recently come out as a lesbian. Her world is turned upside down however when she is contacted from a parallel multi-universe and told only she can save the universe. Directed by the Daniels (Daniel Kwan and Daniel Scheinert), this crazy piece of inventive science-fiction takes awhile for it to get its rhythm going but when it does, watch out! At first, I was disappointed considering all the good things I'd heard about it because it seems like an incoherent, silly sci-fi action pic. But if you stick with it, you'll be rewarded with a poignant, touching and complex film about the lives we've made for ourselves, the memories we've made, the what ifs and should have beens and appreciate the richness and intricacies of the life we have, however mundane it may seem. Yeoh gives a career best performance and is supported by a near perfect cast. With Jamie Lee Curtis, James Hong, Jenny Slate and Harry Shum Jr.

Young Wives' Tale (1951)

Compelled to live together due to the post war shortage, a young couple (Joan Greenwood, Nigel Patrick) with a 2 year old boy have moved in with another couple (Derek Farr, Helen Cherry) with a 2 year old daughter. Based on the play by Ronald Jeans and directed by Henry Cass (LAST HOLIDAY). The film's first forty minutes are pretty inane but things pick up considerably when a nanny (Athene Seyler) enters the picture and the mix ups and misunderstandings bring a farce like quality to the movie. Still, all in all, it's a pretty thin comedy. Greenwood and Farr are repeating their stage roles but I found Greenwood miscast. It's the kind of role that June Allyson or Debbie Reynolds would play if this were an American movie and who wants to see the deliciously purring Greenwood as a perky housewife? The film is notable for Audrey Hepburn (already immensely appealing) in one of her early roles as a man fearing boarder in the household. With Guy Middleton and Fabia Drake.

Chicago Confidential (1957)

An Illinois state attorney (Brian Keith) helps convict a union leader (Dick Foran) for the murder of another union official. But it soon comes to his attention that the union leader might have been set up by a crime syndicate intent on penetrating the city's unions. Based on the book by Jack Lait and Lee Mortimer and directed by Sidney Salkow (THE LAST MAN ON EARTH). This B programmer passes by quickly enough but it plays like an episode of something like THE UNTOUCHABLES. Keith's state attorney constantly underestimates the danger he's putting other people in as well as himself and one can only wonder how he could be so naive when dealing with a corrupt syndicate. It seems to want to be a "ripped from the headlines" exploitation film but it never manages to be anything other than a potboiler. With Beverly Garland, Anthony George, Douglas Kennedy, Gavin Gordon, Beverly Tyler, Phyllis Coates and Elisha Cook Jr.

La Femme Du Boulanger (aka The Baker's Wife) (1938)

Set in a small Provencal village, the town baker (Raimu) is besotted by his much younger wife (Ginette Leclerc). When she runs off with a handsome shepherd (Charles Moulin), he becomes depressed and stops his baking. The villagers want their bread so they concoct a plan to bring the wife back. Based on the novella BLUE BOY by Jean Giono and directed by Marcel Pagnol (FANNY). Anchored by a great performance by Raimu, Pagnol's rustic rumination on love is an absolute charmer. It's a little long (it runs past the two hour mark) and some of the scenes go on too long like the fisherman's (Edouard Delmont) slow retelling of how he discovered the wife's whereabouts. But Pagnol balances the peasant humor with the genuine pathos of Raimu's heartbroken baker. Be forwarned, the film will propel you to your nearest bakery for a fresh baked baguette! With Fernand Charpin, Robert Vattier and Charles Blavette.

The Initiation Of Sarah (1978)

A shy socially awkward young girl (Kay Lenz) goes off to college with her popular and outgoing sister (Morgan Brittany). While her sister is invited to join a prestigious sorority, the snobby president (Morgan Fairchild) blackballs the misfit sister. So she joins a mysterious sorority with a house mother (Shelley Winters) who has some demonic secrets. Directed by Hammer horror alumnus Robert Day (THE HAUNTED STRANGLER), this made for television ripoff of CARRIE (1976) is actually quite entertaining for the most part. But it's toothless compared to the Brian De Palma horror classic. But with an over the top Shelley Winters as a batshit crazy house mother and Morgan Fairchild as a spoiled rich bitch, there's many a guilty pleasure to hold one's interest. Remade in 2006 with Fairchild playing the mother (played here by Kathryn Grant, 7TH VOYAGE OF SINBAD) of the two sisters. With Tony Bill, Robert Hays and Tisa Farrow. 

Die Frau Nach Der Man Sich Sehnt (aka The Woman One Longs For) (1929)

A young businessman (Uno Henning) on his honeymoon falls under the spell of a manipulating femme fatale (Marlene Dietrich) who is on the run from the law with her lover (Fritz Kortner). Based on the novel by Max Brod and directed by Curtis Bernhardt (A STOLEN LIFE). When Marlene Dietrich exploded on the international scene with THE BLUE ANGEL (1930) and whisked off to Hollywood (along with her director Josef von Sternberg), she was hardly a new discovery having worked in German films for almost seven years. Here, she already possessed the assured screen presence and charisma that would make her a star for the next forty years. Curtis Bernhardt would soon follow Dietrich's path to Hollywood some seven years later where he would direct other major actresses like Bette Davis, Barbara Stanwyck, Elizabeth Taylor and Rita Hayworth. As to the movie itself, it's a compelling drama with shadings of film noir as Henning's innocent is lured into Dietrich's web which ends in death. I'm surprised it was never picked up by Hollywood and remade. The transfer I saw had an excellent underscore by Pascal Schumacher (the film itself is silent) that propels the movie forward. A must for silent film and Dietrich fans. With Edith Edwards and Karl Ellinger. 

Elizabeth Taylor In London (1963)

Film legend Elizabeth Taylor guides us on a tour of London interspersing interviews with real Londoners with readings from poetry, diaries and letters of notable Brits. Directed by Sidney Smith. First televised in 1963, the show was a very successful production and inspired a follow up, SOPHIA LOREN IN ROME. Gowned by Yves St. Laurent and coiffed by Alexandre Of Paris, Taylor reads us Keats, Browning and Wordsworth as well as Elizabeth I's speech to the troops at Tilbury, Winston Churchill's speech after the German attack on London and and two excerpts from Queen Victoria's diary. It's a time capsule of London in 1963 which at the time was the place to be. The history of London is too massive to be done justice in an hour's time but it's a pleasant advert for London tourism. The lush score is by John Barry.

Mamba (1930)

Set in German East Africa on the eve of WWI, a vulgar and coarse brute (Jean Hersholt) is shunned by other members of the German community as well as the British. He goes to Berlin to marry the aristocratic daughter (Eleanor Boardman) of a man who owes him money. She is, however, repulsed by him and finds herself attracted to a young German officer (Ralph Forbes). Based on a short story by Ferdinand Schumann Heink and directed by Albert S. Rogell (MURDER IN GREENWICH VILLAGE). This turgid overheated melodrama is notable for two things. It's use of two strip Technicolor and as an example of racism in 1930s Hollywood cinema. It's a pre code movie so it gets away with subjects like marital rape and miscegenation. However, the implications that arise from the film's cretin (Hersholt) being the only one who has sexual relations with the Africans which the "proper" colonialists (both German and black) would never do suggests where the film makers sympathies lie. The indigenous black population are referred to as savages and when they rebel against their white oppressors, we're supposed to be rooting for the colonialists, not the natives. But as an artifact of its time, it's culturally significant and the use of the two strip Technicolor (very pastel looking) is interesting. With Claude Fleming and Will Stanton.