Ο φόβος (aka The Fear) (1966)

Set in the rural Greek countryside, a sexually repressed and backward young man (Anestis Vlahos) rapes and kills a deaf mute serving girl (Elli Fotiou). His father (Alexis Damianos) and stepmother (Mary Chronopoulou) cover up the killing by disposing of the girl's body. But when their daughter (the beautiful Elena Nathanail) returns home from school in Athens, she senses something very wrong. Directed by Kostas Manoussakis, this disturbing drama has its roots in classic Greek tragedy. It's an unsettling film, the rape and murder sequence is difficult to watch but director Manoussakis slowly builds the apprehension until it's positively ready to burst by the film's last scene. Although it was the official Greek entry at the 1966 Cannes film festival, this vehement look at a family torn from within is little known outside its native country. Shot in stark B&W by Nikos Gardelis, it needs to better known. Worth seeking out. With Spiros Focas.

It's A Wonderful World (1939)

A private detective (James Stewart) is sentenced to a year in prison for shielding a convicted murderer (Ernest Truex) who was framed. The detective escapes when he jumps into a river from the train taking him to prison. He takes a ditsy poetess (Claudette Colbert) hostage as they go off in search of the real killer. Directed by W.S. Van Dyke (THE THIN MAN), this is the only pairing of Colbert and Stewart so it's a shame that it isn't a very good movie. Stewart's character is a bit of a jerk and while Colbert is a marvelous proven comedienne, there's a strong sensibility about her that makes her wrong for the dizzy dame (Carole Lombard's specialty) she plays here. Normally, I'm partial to murder mystery/screwball comedy combinations but even I found my tolerance taxed since neither the comedy or mystery amounts to much. With Sidney Blackmer, Frances Drake, Nat Pendleton, Guy Kibbee and Cecil Cunningham.

The Threat (1949)

When a killer (Charles McGraw) breaks out of Folsom prison, he has plans to head out for a bleak desert hideout. But first he makes a violent detour to Los Angeles to kidnap three people he considers responsible for sending him to the gas chamber: a police detective (Michael O'Shea), a district attorney (Frank Conroy) and a stripper (Virginia Grey). Directed by Felix E. Feist (DONOVAN'S BRAIN), this B film noir isn't half bad. At a compact running time of one hour and six minutes, there's very little time for superfluous moments and director Feist keeps the film tight and the action quickly moving. As written, Michael O'Shea's cop seems sort of incompetent but Charles McGraw makes for a suitably menacing killer while Virginia Grey brings a sense of desperation to her showgirl. Fans of the the noir genre should be pleasantly surprised. With Julie Bishop and Anthony Caruso.

Are You There God? It's Me, Margaret (2023)

Set in 1970, an 11 year old girl (Abby Ryder Fortson) is uprooted from her New York City home when her parents (Rachel McAdams, Benny Safdie) move to the suburbs of New Jersey. Dealing with new friends, a new school and the onset of puberty overwhelms her as she struggles to adjust to life outside the big city. Based on the best selling novel by Judy Blume and directed by Kelly Fremon Craig (EDGE OF SEVENTEEN). Since it was first published in 1970, Blume has had many offers to turn her book into a movie but she turned them all down. Thankfully, she waited until the right people made an offer. A coming of age story about an 11 year girl wasn't the most appealing sounding movie to me but I was quickly taken in by this charming and unsentimental look at the travails of adolescence. The film tackles some serious subjects (such as how religion too often divides people rather than bringing them together) but Craig's direction and screenplay neatly balance the humor and the pain of adolescence without the mawkishness to often prevalent in such endeavors. It felt sincere and real. The cast is excellent especially Rachel McAdams as the mother. Alas, despite critical acclaim, audiences stayed away. Definitely worth seeking out. With Kathy Bates, Elle Graham and Echo Kellum.

Defense Of The Realm (1986)

When a tawdry sex scandal links a high ranking British politician (Ian Bannen) to a Russian KGB agent, an ambitious journalist (Gabriel Byrne) swiftly gets the story on page one. But his scoop of the decade soon unravels to reveal a government cover up. Directed by David Drury (a British TV director), this is an above average political thriller. Using a fictionalized version of the 1963 Profumo affair as a starting point, the movie then takes a "what if?" scenario as Byrne's newshound finds he's been used as a dupe to prevent a bigger and much more serious event from being exposed. I'm partial to political thrillers like ALL THE PRESIDENT'S MEN, PARALLAX VIEW etc. and this one while not in their league doesn't disappoint. The acting is good, especially Denholm Elliott as an alcoholic journalist who knows more than he's letting on. For this performance, Elliott won the BAFTA for supporting actor. Drury keeps the intensity quotient high and the film's shocker near the end was totally unexpected. With Greta Scacchi, Robbie Coltrane and Fulton Mackay.

The Sky Is Falling (aka Bloodbath) (1975)

A group of decadent expatriates live in a small coastal Spanish village. They include a washed up Hollywood actress (Carroll Baker), a drug addicted poet (Dennis Hopper), a flaming homosexual (Win Wells, who also wrote the script), an ex-WWII pilot (Richard Todd) and his alcoholic wife (Faith Brook). When a strange group of "hippies" visit the village, mysterious deaths begin to occur.  Directed by Silvio Narizzano (GEORGY GIRL), this unsavory film is incoherent and makes no sense. I suppose one could describe it as surrealistic but that's just a cover up for the movie's incomprehensible plot. The characters have names like Treasure (Baker), Chicken (Hopper) and Alice (Wells). There's blood drinking cats, slaughtered pigs and a child being trampled to death by an indifferent crowd. Despite the American and English cast and a Canadian director, this is a Spanish film. There's also an uncomfortable scene where a black woman (Alibe Parsons) is racially humiliated by Hopper that's positively revolting and Wells' swishing predatory gay reeks of homophobia. Previously having played siblings in GIANT (1956), Baker and Hopper's film careers were sliding at this point so I suppose they took what they could get. Retitled BLOODBATH for its U.S. release.

I See A Dark Stranger (1946)

Set during WWII, a young Irish lass (Deborah Kerr) with strong anti-British sentiments leaves her hometown to go to Dublin in the hopes of joining the Irish Republican Army. However, she is duped by a German spy (Raymond Huntley) into working for the Nazis. Directed by Frank Launder (BLUE MURDER AT ST. TRINIAN'S), this spy thriller with a surprising amount of humor puts us in a bind. We're charmed by the naive colleen played by the appealing Kerr but she's a Nazi spy! Released after the war ended, one wonders how the movie would have been received if released while the war was still on. Kerr received the New York Film Critics award for best actress for this film (shared with her BLACK NARCISSUS role) and she's delightful. You can see why Hollywood imported her. She has a nice chemistry with her romantic lead Trevor Howard who plays a British officer on vacation. Inexplicably retitled THE ADVENTURESS in the U.S. With David Tomlinson, Liam Redmond, Joan Hickson, Torin Thatcher and Patricia Laffan.

The Ballad Of Cable Hogue (1970)

Set in 1908 Arizona, a grizzled prospector (Jason Robards) is left to die without water in the desert by his two cohorts (Strother Martin, L.Q. Jones). But as fate would have it, he finds water and survives and plots his revenge on the men who left him to die. Directed by Sam Peckinpah (STRAW DOGS), this beguiling western finds Peckinpah in a gentler mood tempering his often violent packed cinematic output with a sweet love story. I've seen this film described often as a comedy but the real core of the film is the relationship between Robards' frontiersman and an ambitious prostitute (a radiant Stella Stevens). The film is less successful with its third character, a lustful "minister" (David Warner). While using the traditional elements of the western, Peckinpah brings a fresh prospective to the genre. There's a lovely musical interlude with Robards and Stevens singing Butterfly Mornings that almost makes you wish Peckinpah had turned the film into a musical. With Slim Pickens, Gene Evans and Kathleen Freeman.

Many Rivers To Cross (1955)

Set in 18th century Kentucky, a restless trapper (Robert Taylor) is passing though a small settlement when he catches the eye of a girl (Eleanor Parker) who decides she wants him for a husband. When he resists her advances, she becomes determined to get him by hook or by crook. Based on a short story by Steve Frazee and directed by Ray Rowland (MEET ME IN LAS VEGAS). This colonial western comedy is reminiscent of 7 BRIDES FOR 7 BROTHERS but without the songs and dances except not as good. Eleanor Parker seemed a bit too mature shall we say for her role (comedy was never her forte anyway) and it became tiresome after awhile watching her attempts to trap the unwilling Taylor (this was their third film together in three years). The moviegoing public liked it enough to put it in MGM's profit column. Nicely shot in CinemaScope (with some Wyoming and Northern California locations) by John F. Seitz (SUNSET BOULEVARD). With Victor McLaglen, Russ Tamblyn, James Arness, Josephine Hutchinson, Jeff Richards, Rosemary DeCamp, Darryl Hickman and Betty Lynn.

The Dark Eyes Of London (aka The Human Monster) (1939)

A doctor (Bela Lugosi) runs a life insurance agency where he loans money on his customer's policies. But an inordinate amount of his customers are found drowned in the Thames river. A Scotland Yard detective (Hugh Williams) attempts to solve the killings and tie them in with the doctor's insurance company. Based on the novel by Edgar Wallace and directed by Walter Summers (AT THE VILLA ROSE). A British horror movie with two Hollywood actors imported for the film. In addition to Lugosi, Edmon Ryan appears as a Chicago police detective sent to London to deliver an extradited prisoner. Retitled THE HUMAN MONSTER in the U.S., the British Board Of Film Censors gave it an H rating, H meaning horrific and thereby no one under 16 was allowed to see it. As cinema, it's an enjoyable piece of B horror pulp although its "twist" is quite obvious despite the dubbing of one of the actors' voice to trick us. With Greta Gynt, Wilfred Walter and May Hallatt.

The Assassination Bureau (1969)

Set in 1908 London, a feminist journalist (Diana Rigg) uncovers the headquarters of Assassination Bureau Limited, a clandestine organization that kills people for a price. She hires the head (Oliver Reed) of the bureau to assassinate ..... himself! Based on an unfinished novel by Jack London and directed by Basil Dearden (KHARTOUM). This elegant period black comedy is rich in production values and benefits by the attractive pairing of Reed and Rigg. But it never rises to its intriguing premise. Instead, it spins its wheels but doesn't go anywhere. Handsomely shot by Geoffrey Unsworth (CABARET), it's a moderately pleasant entertainment but insubstantial. With Telly Savalas, Curt Jurgens, Phillippe Noiet, Clive Revill and Beryl Reid. 

Ghost Ship (1943)

His first time at sea, a young third mate (Russell Wade) is aboard a freighter bound for Patagonia. The Captain (Richard Dix) is very pleased with him but the third mate becomes concerned with the Captain's erratic behavior and suspects him of murdering one of the crewmen. Directed by Mark Robson (EARTHQUAKE), this entry from the RKO Val Lewton factory is the weakest of all his films that I've seen so far. Not a horror film at all but a (barely) passable thriller with shades of THE CAINE MUTINY. The acting is feeble and in the case of Richard Dix, downright terrible. Due to a plagiarism law suit (which Lewton lost), the film was kept out of circulation for some 50 years. It's better regarded as a film now than when first released but with the exception of Nicholas Musuraca's striking B&W cinematography, I'm still not impressed. I found it rather silly, in fact. With Lawrence Tierney, Edith Barrett, Edmund Glover and Sir Lancelot.

Corsage (2022)

Set in 1877 Austria, Empress Elisabeth (Vicky Krieps) of Austria finds herself estranged from her husband Emperor Franz Joseph (Florian Teichtmeister). Her eccentricities and often bizarre behavior only widens the gap between them. Written and directed by Marie Kreutzer (THE GROUND BENEATH MY FEET), this is a highly fictional account of the final years of Empress Elisabeth of Austria. It is not to be taken as history. The film has been much praised especially for Krieps' performance and while she's good, I found the film pointless. While gorgeous to look at thanks to Judith Kaufmann's wide screen lensing, ultimately the film is like a beautiful wedding cake that when cut into reveals a dry and tasteless confection. I'm mystified when film makers take a historical personage like Empress Elisabeth and incorporate major fictional events that never happened (in the film, she drowns herself while in real life she was the victim of a political assassination). Why not just make her a fictional Empress and tell your story. With Katharina Lorenz and Manuel Rubey.

Voices (1973)

After their son (Adam Bridges) dies in a tragic accident, the mother (Gayle Hunnicutt) has a nervous breakdown and attempts suicide. Her husband (David Hemmings) has her temporarily committed to a mental hospital. When they visit an old house left to her from a deceased Aunt, she hears mysterious voices and eventually sees the prior tenants of the house. Based on the play by Richard Lortz and directed by Kevin Billington (LIGHT AT THE EDGE OF THE WORLD). Although the film is opened up a wee bit (especially in the pre credit opening sequence with the son), the bulk of the movie takes place in the living room of the old house secluded in the woods. The core of the film is the back and forth stage bound wrangling of the unhappy couple played by Hemmings and Hunnicutt (replacing the play's Julie Harris and Richard Kiley). With a compromised marriage because of a drowned child at its center, the film presages DON'T LOOK NOW which would arrive several months later. It also presages THE SIXTH SENSE and THE OTHERS. The movie was shot on both film (exteriors) and video (interiors) by Geoffrey Unsworth (2001 A SPACE ODYSSEY) which gives the film a schizophrenic look. The effective underscore is by Richard Rodney Bennett (MURDER ON THE ORIENT EXPRESS). As a psychological thriller, it's erratic but not without interest. With Lynn Farleigh and Eva Griffiths.

Silver Queen (1942)

In the New York City of 1872, a wealthy man (Eugene Pallette) loses all his money in a stock market crash. After his death, his daughter (Priscilla Lane) moves to San Francisco where as a gambler, she hopes to make enough money to pay all her father's creditors back. Directed by Lloyd Bacon (BROTHER ORCHID), this western B programmer is entertaining enough if predictable. Surprisingly for a B movie, it actually received two Oscar nominations. One for Victor Young's underscore (not one of his more memorable scores) and the handsome art direction of Ralph Berger and Emile Kun. Priscilla Lane's Warner Brothers contract was over and she was freelancing without much success and her career was effectively over by 1948 though her one big hit ARSENIC AND OLD LACE (1944) was actually filmed in 1941. The likable George Brent is the gambler in love with her and Bruce Cabot is her devious fiance. Agreeable but not mandatory viewing. With Guinn Williams, Janet Beecher, Lynne Overman, Arthur Hunnicutt and Marietta Canty.

Days Of Wine And Roses (1962)

Set in San Francisco, a public relations executive (Jack Lemmon) meets a young secretary (Lee Remick), they fall in love and get married. However, he drinks excessively and she is a teetotaler until he introduces her to alcohol. It isn't long before they are full blown alcoholics and their lives spiral down to its lowest depths. Based on the 1958 teleplay by JP Miller (who adapted his TV play for the screen) and directed by Blake Edwards (BREAKFAST AT TIFFANY'S). Miller's acclaimed teleplay with Cliff Robertson and Piper Laurie in the leads ran an hour long and Miller has expanded his original script to two hours which allows the movie to go into more detail. Despite studio pressure to give the movie a "happy" ending, Edwards stuck to his guns and kept the downbeat ending. Lemmon and Remick give exemplary performances and their final scene together is heartbreaking. It remains, perhaps, the most compelling film about alcoholism made to date (at least that I've seen). With Charles Bickford (repeating his role from the 1958 teleplay), Jack Klugman and Maxine Stuart. 

Children Of Divorce (1927)

Two little girls (Joyce Coad, Yvonne Pelletier) are the children of divorced parents. They are left in the care of a convent while their parents lead their lives. When they grow up, they remain friends but lead different lives. One (Clara Bow) is a flapper looking for a rich husband while the other (Esther Ralston) is a wealthy heiress with a more serious demeanor. Based on the novel by Owen Johnson and directed by Frank Lloyd (MUTINY ON THE BOUNTY). This silent melodrama is an odd little film that reflects a conflicted view of divorce. As little girls, the two protagonists are the victims of divorce, lonely while their parents continue their lives. But as each grows up, they fall in love but are unable to marry the man they love. Because her love (Einar Hanson) has a title but is impoverished, the flapper steals the rich fiance (Gary Cooper) of her best friend (Ralston) and all four suffer because divorce is not an option (religion and a child) and only the death of one of them will bring happiness to two of them. Today, as then, divorce would be the answer to their problems but the obstacles would be removed. Clara Bow brings a sassy attitude to her performance while the young Gary Cooper already projecting the star quality that would make him a popular leading man in the 1930s and beyond. With Hedda Hopper and Norman Trevor.

My Man Godfrey (1936)

Set in the Great Depression, a madcap debutante (Carole Lombard) picks up a homeless man (William Powell) living in a New York City dump along with other down on their luck men. She needs a "forgotten man" in order to win a scavenger hunt. Enamored of the homeless man, she hires him to be the family butler. Based on the novel 1101 PARK AVENUE by Eric S. Hatch and directed by Gregory La Cava (STAGE DOOR). A beloved screwball comedy, every decade or so I revisit it in the hopes that I'll finally get what everybody sees in it but alas, I still found it more tiresome than amusing. Unlike fans of the film, I don't find Lombard adorable but downright irritating and grating my nerves. She spoils whatever pleasure I might have derived from the movie. Heretic that I am I -gasp- prefer the 1957 remake. Powell is elegant and charming as usual and Alice Brady's airhead mother provides some bright spots. I'll try again in another ten years. With Gail Patrick, Eugene Pallette, Jean Dixon, Mischa Auer, Alan Mowbray and Franklin Pangborn. 

Miss Julie (2014)

Set in 1890 Ireland, the aristocratic daughter (Jessica Chastain) of a Baron is left alone with only her father's valet (Colin Farrell) and the cook (Samantha Morton) left in the manor. Despite the difference in their class, she begins a flirtation with the valet that gets dangerously out of hand. Based on the classic play by August Strindberg and directed by actress Liv Ullmann. Strindberg's great play deals with both the class system of the day and the sexual politics of men and women. There's something missing in this film adaptation and it's hard to point a finger at it. The three actors are first rate and Ullmann's direction is more than decent. But there's no sexual tension in it and without it, much of the play doesn't make sense. In 1951, Alf Sjoberg made a superb film adaptation of Strindberg's play, making it cinematic without taking anything away from the play. This version isn't as cinematic and even lacks the claustrophobic tightness that a single setting could bring. As the cook, Morton is the most consistent of the actors while Chastain and Farrell are uneven though Chastain has one great scene. 

Un Temoin Dans La Ville (aka A Witness In The City) (1959)

After he tires of her, a man (Jacques Berthier) kills his mistress (Francoise Brion) by pushing her off a train. He is acquitted of her murder by the French courts so the woman's husband (Lino Ventura) kills her lover in vengeance and makes it look like suicide. However, leaving the scene of the crime, he is seen by a taxi driver (Franco Fabrizi) and his attempt to cover up his crime leads to more deaths. Directed by Edouard Molinaro (LA CAGE AUX FOLLES), this slice of French film noir is pretty good but not great. In fact, there are far better French noirs around. This is not to negate this movie's effectiveness, it's just that it lacks that certain something that would elevate it. Surely, Ventura's character, who had planned the killing of his unfaithful wife's lover ever so carefully, would quickly realize the futility of his mission to eliminate his potential witness. Fabrizi's cab driver is rather obnoxious which makes him hard to like so we're not as invested in him as we would be for a more likable character. The best thing about the film is the marvelous B&W (most of the movie takes place at night) cinematography by the great Henri Decae (LE SAMOURAI), full of contrast and shadows. With Sandra Milo, Daniel Ceccaldi, Dora Doll and Robert Dalban

The Sun Comes Up (1949)

After the tragic death of her young son (Dwayne Hickman), a widowed concert singer (Jeanette MacDonald) seeks solace in a rural mountain community. Embittered, she blames the family dog (Lassie) for the death of her son. Based on the story MOUNTAIN PRELUDE by Marjorie Kinnan Rawlings (THE YEARLING) and directed by Richard Thorpe (NIGHT MUST FALL). This mawkish melodrama was Jeanette MacDonald's final film. While she sings a few songs, she's basically used as an actress, not a singer. The Northern California location (Santa Cruz county) is nicely rendered in three strip Technicolor by Ray June (FUNNY FACE). Normally the star of the movie in "her" own right, Lassie is a supporting player here. Too much sentimentality makes the film a slog to get through so unless you're a fan of MacDonald or Lassie, there's not much for you here. With Lloyd Nolan, Claude Jarman Jr., Lewis Stone, Margaret Hamilton and at his most annoying, Percy Kilbride (more the character than the actor).

Too Many Suspects (1975)

When a high fashion designer (Nancy Kovack) is murdered, her married lover (Ray Milland) is the main suspect since she was killed by his gun. But a writer (Jim Hutton), the son of a police detective (David Wayne), is not convinced of his guilt. Based on the novel THE FOURTH SIDE OF THE TRIANGLE by Ellery Queen (a pseudonym for the writing team of Frederic Dannay and Manfred Bennington Lee) and directed by David Greene (GRAY LADY DOWN). In the 1970s, it was common for networks to make a television movie as a potential pilot for a TV series. This telefilm aired in March of 1975 and in November of the same year, the ELLERY QUEEN MYSTERIES aired for one season. I'm a huge fan of whodunits so I'm partial to stuff like this and if you're a fan of the genre, you'll probably enjoy it. I thought it was unnecessarily overlong. For example, when all the suspects are gathered in a TV studio so the killer can be revealed, we sit through an entire recreation of a TV news show instead of going directly to the clue on the show that breaks the case but I guess they had to stretch it out to feature length. The score is by Elmer Bernstein. With Kim Hunter, Monte Markham, Gail Strickland, Warren Berlinger and Tim O'Connor.

The Squall (1929)

Set in Hungary, a beautiful but manipulative Gypsy (Myrna Loy) insinuates herself into the household of a prosperous farmer (Richard Tucker). She then seduces her way up the chain of power from servant (Harry Cording) to son (Carroll Nye) to father (Tucker) sowing discord and jealousy in a once happy home. Based on the play by Jean Bart and directed by Alexander Korda (THAT HAMILTON WOMAN). For an early talkie, the film is surprisingly fluid without the stage bound stuffiness that infected many early talkies. Unfortunately, the movie's narrative is pretty hokey and perpetuates racial stereotypes. Myrna Loy, still in her exotic phase, as the Gypsy is lazy, lying and thieving. As the son, Nye is unattractive and a total stiff as an actor. To the film's credit, it's moderately entertaining and Loy's (in her dark Egyptian make up) femme fatale is fun to watch as she destroys the household man to man until she gets her comeuppance. With Loretta Young (dull as the good girl), Alice Joyce and Zasu Pitts. 

Moving On (2023)

At the funeral for a close college friend, a woman (Jane Fonda) plans to murder the friend's husband (Malcolm McDowell) because of a traumatic incident that messed up her life. To this end, she attempts to coerce a friend (Lily Tomlin) to help her. Directed by Paul Weitz (ABOUT A BOY), this is an odd movie that never quite finds its tone. It's a comedy, yet it deals with serious subjects like rape, murder, homosexuality, nonbinary children and an interracial geriatric romance. Jane Fonda and Lily Tomlin are excellent and it's a far better film than the other movie they did together this year (80 FOR BRADY). Still, it's disappointing that writer/director Weitz wasn't able to find a way to fuse the often uneven parts together. Not bad by any means, just frustrating. With Richard Roundtree and Sarah Burns.

Little Miss Marker (1980)

Set in the 1930s, a curmudgeon of a bookie (Walter Matthau) accepts a gambler's (Andrew Rubin) little girl (Sara Stimson) as a "marker" on his debt. When the father commits suicide, he's stuck with the kid and begrudgingly becomes attached to her. Based on the short story by Damon Runyon and directed by the screenwriter Walter Bernstein (YANKS), his only movie as a director. Runyon's story has been made several times: 1934 with Shirley Temple, 1949 as SORROWFUL JONES with Bob Hope, 40 POUNDS OF TROUBLE (1962) with Tony Curtis. By the time of this version (1980), it seemed tired and some of the updating didn't help it at all. For example, the senseless killing of a dog is played for laughs. Matthau's grumpy curmudgeon act was beginning to wear thin and Julie Andrews is wasted (she doesn't even get to sing). Fortunately, Runyon's tale hasn't been remade since and hopefully never will. With Tony Curtis, Bob Newhart, Lee Grant, Brian Dennehy and Nedra Volz.

Bedlam (1946)

Set in 1761 London, the cruel and sadistic overseer (Boris Karloff) of a mental asylum is challenged by a young woman (Anna Lee), who hopes to reform the asylum. To get his revenge and remove her from any influence, he manipulates her former patron (Billy House) into having her committed to his asylum. Inspired by the painting series THE RAKE'S PROGRESS by William Hogarth and directed by Mark Robson (VALLEY OF THE DOLLS). A box office failure when first released, this disturbing look at the horrors of a corrupt mental health system still hasn't received its due. Unlike most of his other films, the producer Val Lewton puts subtlety aside and although the movie retains the stylish atmosphere of horror that is his trademark, we aren't spared the degradation of the mentally ill who have been abandoned by society to rot in a hellhole that calls itself a mental hospital. Karloff's administrator is the worst kind of monster, fully conscious of his malignant actions. As the "heroine", Anna Lee's character is no saint either. She's rather shallow and cruel herself although not to the extreme of Karloff's charlatan. Only after being exposed to and living first hand with the "loonies" as she calls them does she have true compassion. With Richard Fraser, Ian Wolfe, Elizabeth Russell, Ellen Corby and Robert Clarke.

The War Wagon (1967)

Just released from prison, a hardened rancher (John Wayne) plots to steal a gold shipment from an ironclad stagecoach called the War Wagon that belongs to the man (Bruce Cabot) responsible for (unjustly) sending him to prison. Based on the novel BADMAN by Clair Huffaker (who adapted his book for the screen) and directed by Burt Kennedy (SUPPORT YOUR LOCAL SHERIFF). I'm a big fan of westerns so I'm more tolerant than others toward routine westerns like this one. I found it amiably entertaining even though I know it never rises above mediocre. Some of the casting is loopy (Howard Keel as an Indian???) but the two leads, Wayne and Kirk Douglas as a professional gunfighter bring star power to the movie. Not essential viewing even for western fans but agreeable enough to pass the time with. The film received decent reviews (Roger Ebert liked it) and did very well at the box office. With Keenan Wynn, Joanna Barnes, Bruce Dern, BruceCabot and Robert Walker Jr.

Track Of The Cat (1954)

When a predator black panther begins decimating the cattle of a secluded snowbound ranch, the eldest son (Robert Mitchum) takes it upon himself to hunt the predator down. But internal conflicts within the dysfunctional family may be more of a threat than the killer cat. Based on the novel by Walter Van Tilburg Clark (THE OX BOW INCIDENT) and directed by William A. Wellman (THE HIGH AND THE MIGHTY). A very unusual western in that with the family drama in the forefront, it seems like a play. With the exception of the actual tracking of the cat (exteriors filmed in Mt. Rainier in Washington state), Wellman limits the action to the interior of the family kitchen area and even the exterior scenes outside the house are clearly shot on a soundstage. As a western, it plays out more like LONG DAY'S JOURNEY INTO NIGHT than HIGH NOON. Shot in color and CinemaScope, Wellman and his cinematographer William Clothier (FORT APACHE) use a monochromatic color scheme so that the film has a B&W look to it with only Mitchum's red jacket giving the occasional burst of color. The acting ranges from excellent to good across the board. Even Teresa Wright, normally an actress I dislike, as the old maid sister gives a strong performance. A brooding western worth your time. With Tab Hunter, Diana Lynn, Beulah Bondi, William Hopper, Philip Tonge and Carl Switzer. 

High, Wide And Handsome (1937)

Set in 1859, a traveling show breaks down in a small Pennsylvania town. The show's singer (Irene Dunne) and an aspiring oilman (Randolph Scott) fall in love and get married. But his ambitions for an oil empire puts a strain on their marriage. Directed by Rouben Mamoulian (LOVE ME TONIGHT), this odd musical doesn't feel like a musical. In fact, its songs seem superfluous. The movie would work perfectly well without the songs. The songs by Jerome Kern and Oscar Hammerstein are okay with only one, the lovely The Folks Who Live On The Hill, that really stands out. Dunne and Scott (who had co-starred in ROBERTA two years earlier) have a nice chemistry which helps the movie enormously. A pleasant if unmemorable diversion. With Dorothy Lamour, Akim Tamiroff, Charles Bickford, Elizabeth Patterson and Alan Hale.

Le Bossu (aka On Guard) (1997)

Set in 1700 France, a skilled swordsman (Daniel Auteuil) is befriended by the Duke Of Nevers (Vincent Perez). When the Duke is killed by his evil cousin (Fabrice Luchini), in his dying moments he asks the swordsman to avenge him and look after his infant daughter. Based on the 1858 novel by Paul Feval and directed by Philippe De Broca (KING OF HEARTS). A huge success in France where it was a box office hit and received 8 Cesar nominations (the French Oscar), the film didn't even make a blip in the U.S. It's a pity because it's a nice old fashioned swashbuckler with a lot of heart. Covering some 18 years, its tale of revenge and romance is a bit of overlong but never boring. One doesn't think of Daniel Auteuil (JEAN DE FLORETTE, LA REINE MARGOT, LES VOLEURS) when one thinks of swashbucklers but he brings a generous dose of panache as the loyal swordsman who must play father to a girl (Marie Gillain) while plotting the revenge on her father's killer. It's got action, romance and adventure all skillfully rendered. What more can one ask. With Philippe Noiret, Yann Collette and Claire Nebout.

Any Number Can Play (1949)

A casino owner (Clark Gable) is faced with failing health, crooks seeking a big score from his posh establishment, pressure from his wife (Alexis Smith) to retire and a son (Darryl Hickman) who resents him. Based on the novel by Edward Harris Heth and directed by Mervyn LeRoy (QUO VADIS). A solid screenplay by Richard Brooks (who would soon direct his own films) and Gable stepping slightly out of his comfort zone as an actor makes for an engrossing melodrama. All taking place within a 24 hour period, the film allows a stellar supporting cast (some of who have only one scene) to shine. Even the domestic scenes which usually drag a movie down contribute to the film's tension. If the end is predictable, I found the journey worth taking. Gable doesn't play his usual macho character. Here, he's a man who realizes he's failed his son as a father and is suddenly faced with his own mortality. A 28 year old Alexis Smith is too young as Gable's wife. In the movie, they've been married 20 years (which means she would have been 8 when they married) and the mother of a 17 year old son (which means she was 11 when she gave birth). She and Mary Astor (as Gable's old flame) should have switched roles. But that's a minor complaint. Acting wise, she's fine and it's a well constructed film. The excellent supporting cast includes Wendell Corey, Audrey Totter, Barry Sullivan, Frank Morgan, Lewis Stone, Marjorie Rambeau, Dorothy Comingore, Leon Ames and Caleb Peterson. 

Bog (1979)

Dynamite fishing in a rural swamp near a small town revives a prehistoric monster that lives on the blood of female humans. A sheriff (Aldo Ray), a pathologist (Gloria DeHaven) and a doctor (Marshall Thompson) team together in an attempt to capture the creature. Directed by Don Keeslar, a TV director whose only feature film this is. To call it a bad movie is an understatement. Filmed in Wisconsin with what appears to be mostly local (bad) actors, most of which have no film credits other than this one. How truly sad to see good professional actors like Aldo Ray, Gloria DeHaven, Marshall Thompson and Leo Gordon so hard on their luck that they were reduced to appearing in this low budget drek. I can't begin to describe how cheap and horrible it is, just take my word for it. It's a horror movie alright but not in the way the film makers intended. It's not even bad enough to be camp though I suppose some might find the ineptitude amusing. As the pathologist, Gloria DeHaven's dialogue consists mostly of technical terms but she plays two roles in the movie. Under heavy makeup, she plays an old hag living in the woods who knows the monster's secret.

Barbie (2023)

Set in Barbieland, where women are in positions of power like president and professions like doctor and lawyer while the men idly spend their time on the beach and depend on the women for their identity. But when Stereotypical Barbie (Margot Robbie) suddenly has thoughts of death, gets cellulite and flat feet, she must find the root of the problem and go into the real world and find the child who is playing with her. Based on the Barbie fashion dolls created by Mattel and co-written (with Noah Baumbach) and directed by Greta Gerwig (LADY BIRD). The clever and often complex structure of the screenplay subverts pre-conceived ideas of the Barbie universe. While giving due regard to the iconic Mattel doll, Gerwig fearlessly deconstructs the sociological impact of the Barbie phenomenon and its impact on little girls. One has to give kudos to Mattel for their sense of humor (and no doubt the publicity and financial benefits the movie will reap) as Gerwig pokes at the negative (and some  if fewer positive) aspects of their creation. Robbie's Barbie and Ryan Gosling's Ken are impeccably played with a fine supporting turn by America Ferrera who gives a speech that should get applause. The incredible art direction (Sarah Greenwood, Katie Spencer) and costumes (Jacqueline Duran) should be shoo ins for Oscar nominations. There's already talk of a sequel, sadly inevitable, but unnecessary. Everything that needed to be said has been said and done to perfection. With Kate McKinnon, Will Ferrell, Rhea Perlman, Michael Cera, Simu Liu, Issa Rae and Helen Mirren doing narration duties.

Il Prefetto Di Ferro (aka The Iron Prefect) (1977)

Set in 1925, a prefect by the name of Cesare Mori (Giuliano Gemma) with special powers is sent by Mussolini to Sicily to fight the Mafia. But it isn't easy as the influence of the Mafia has infiltrated the Fascist government and even the church. Even the victims of the Mafia don't seem eager to fight back but rather are complicit in their own victimization. Based on the non fiction book by Arrigo Petacco and directed by Pasquale Squitieri (DJANGO DEFIES SARTANA). Winner of a best picture David Di Donatello (the Italian Oscar), it's a potent political drama that director Squitieri keeps both fervent and tight. Giuliano Gemma (most famous as a leading man in spaghetti westerns) brings a solemn intensity as the prefect. Although the movie downplays the real Mori's fascism, he's still a Mussolini Fascist which often makes it difficult to empathize with his mission. What's worse, fascism or the Mafia? That aside, it's worth seeking out. The underscore is by Ennio Morricone. With Claudia Cardinale, Francisco Rabal, Rik Battaglia and Stefano Satta Flores.

The Crowd Roars (1932)

An auto racing champion (James Cagney) dumps his longtime  girlfriend (Ann Dvorak) when he takes his kid brother (Eric Linden) under his wing because he doesn't want his brother to be around the "wrong" kind of woman. But when his brother falls in love with a brassy blonde (Joan Blondell), it causes a serious rift in their relationship. Directed by Howard Hawks (BRINGING UP BABY), this pre code drama set in the world of auto racing is quite enjoyable in large part to its cast and Hawks' assured direction. As a pre code, it shows both Cagney and Dvorak and Linden and Blondell coinhabiting without benefit of marriage. The racing sequences are good and Hawks doesn't shy away from the violent deaths on the speedway. Cagney's character is interesting as he's shown as a hypocrite as he lives a free and loose life but hides his girlfriend from his family yet becomes incensed when his kid brother falls in love with a "tramp". Remade in France with Jean Gabin in Cagney's role. With Frank McHugh, Charlotte Merriam and Guy Kibbee.

Chinatown (1974)

Set in 1937 Southern California, an ex-cop turned private detective (Jack Nicholson) is hired by a woman (Diane Ladd) to investigate her husband's (Darrell Zwerling) extra marital affair. But when it turns out the woman was impersonating the real wife (Faye Dunaway), it's just the beginning of a complicated tale of political corruption, water rights, deceit, incest and murder. Directed by Roman Polanski (ROSEMARY'S BABY). Every once in awhile, all the elements of a film fall perfectly into place (screenplay, direction, acting, cinematography, art direction, music etc.) and an instant classic is born. Such was the case of CHINATOWN. When I saw its first run engagement in 1974, when it was over I knew I had just seen a great film that would stand the test of time. Now, almost 50 years later, it remains just that. One of the great films of the 1970s which many consider Hollywood's second "golden age". Polanski smartly insisted that screenwriter Robert Towne change the triumph of good over evil ending into something much darker and thank heavens he did. The downbeat ending seems organically inevitable considering all that preceded it. As great a film noir as THE MALTESE FALCON or DOUBLE INDEMNITY. With John Huston (whose chilling performance made my flesh crawl), Perry Lopez, John Hillerman, Burt Young, Joe Mantell and James Hong.

Love Laughs At Andy Hardy (1946)

Having just been discharged from the Army, young Andy Hardy (Mickey Rooney) is off to college and plans to propose to his sweetheart (Bonita Granville). What he doesn't know is that she's in love with an older man (Dick Simmons). Directed by Willis Goldbeck, this was the 15th and penultimate (the final entry would arrive in 1958) installment in the MGM Andy Hardy film franchise, all starring Mickey Rooney. As with all the others in the series, it's pure fluff and one's enjoyment of it is dependent on one's affection for the series and/or Mickey Rooney. The film's plot is paper thin but the most entertaining aspect of the movie is the pairing of the 5' 2" Mickey Rooney with the statuesque 6'2" Dorothy Ford and their jitterbug is the highpoint of the movie. With Lewis Stone, Lina Romay, Sara Haden, Fay Holden, Clinton Sundberg and Geraldine Wall.

Damage (1992)

Set in England, a member (Jeremy Irons) of Parliament falls passionately in love with his son's (Rupert Graves) fiancee (Juliette Binoche). Disregarding the danger of discovery and the pain it would cause his wife (Miranda Richardson in an Oscar nominated performance) and son, tragedy is inevitable. Based on the novel by Josephine Hart and directed by Louis Malle (ATLANTIC CITY). It's an intense if uncomfortable watch. There's a general dose of sex scenes between Irons and Binoche which I suspect were meant to be erotic but which I found more unintentionally laughable than titillating. I had little interest in the movie's two protagonists who seemed selfish and self destructive. I think it's clear that they can't help themselves but there's no hint of that obsessive compulsion in Irons' and Binoche's performances, just in the script. In the film's best performance, Miranda Richardson brings all the emotion and passion lacking in the two leads in her final scenes. There's a solid underscore by Zbigniew Preisner (THREE COLORS: BLUE). With Leslie Caron, Ian Bannen and David Thewlis.

Never Too Late (1965)

A crotchety old codger (Paul Ford) is a tyrant both at home and at the lumber business he owns. But when his wife (Maureen O'Sullivan) announces they're having a late in life baby, everything begins to fall apart. Based on the play by Sumner Arthur Long (who adapted his play for the screen) and directed by Bud Yorkin (DIVORCE AMERICAN STYLE). Painfully unfunny about sums it up. Astonishing that audiences actually ate this stuff up and the play ran on Broadway for several years! Paul Ford (recreating his stage role) is an actor best used in small doses and watching him blustering for two hours in a leading role is exhausting. I couldn't help but feel sorry for the other actors flapping their acting wings in desperation trying to make things funny. As family friends, Jane Wyatt and Henry Jones underact which makes everybody else look even worse. Vic Damone sings the title song. With Connie Stevens, Lloyd Nolan and Jim Hutton.

Love Letters (1945)

During WWII, a soldier (Robert Sully) persuades a fellow soldier (Joseph Cotten) to write love letters for him to a young woman (Jennifer Jones) he's only casually met. Once on leave, the soldier marries the girl but the marriage ends in a violent tragedy. Based on the novel PITY MY SIMPLICITY by Christopher Massie and adapted for the screen by Ayn Rand (ATLAS SHRUGGED) no less and directed by William Dieterle (HUNCHBACK OF NOTRE DAME). This mash up of CYRANO DE BERGERAC and RANDOM HARVEST is an unusual love story and I liked it a lot. In spite of poor reviews, the film was a box office hit and received four Oscar nominations including Jones for best actress and Victor Young for his lovely score. Its theme with lyrics became a popular standard recorded by Elvis Presley, Rosemary Clooney, Elton John, Nat King Cole and Sinead O'Connor among many others. Perhaps old fashioned with a soupcon of hoke, it worked for me. With Anita Louise, Gladys Cooper, Cecil Kellaway and Ann Richards.

Man Afraid (1957)

When a minister (George Nader) and his wife (Phyllis Thaxter) catch a burglar in their son's (Tim Hovey) room, the ensuing struggle ends with an injury to the wife's eyes and the unintentional killing of the burglar. Then, the minister must deal with not only his wife's temporary blindness but the resulting publicity and the burglar's vengeful father (Eduard Franz). Directed by Harry Keller (THE UNGUARDED MOMENT), this noir-ish thriller with a slight religious bent is inept film making. The suspense is weak, it has one of those annoying children (Hovey) who causes all sorts of problems because he doesn't listen, an ineffectual leading man and no real background on the vengeful father (whose son was a bad one), who's played as some sort of boogeyman. On the plus side, there's some good shadowy cinematography by the great Russell Metty (TOUCH OF EVIL) and a very early Henry Mancini score. With Reta Shaw, Martin Milner, Mabel Albertson and Harold J. Stone. 

The White Sister (1933)

Set in Italy, a young woman (Helen Hayes) is promised in marriage to a banker (Alan Edwards) when she meets a dashing soldier (Clark Gable) and falls in love despite her father's (Lewis Stone) disapproval. But WWI pulls them apart. Based on the novel by Francis Marion Crawford (previously filmed in 1923) and directed by Victor Fleming (GONE WITH THE WIND). There have been changes from the 1923 film. Gone are the wicked stepsister and the erupting Vesuvius finale has been jettisoned. Hayes' heroine isn't as dainty as Lillian Gish, she's stronger and has more of a backbone. I found the first part of the movie agreeable enough but once Hayes decides to become a nun, it becomes a bit of a slog. Gable cuts a raffish figure though both he and Hayes are about as Italian as Coca Cola. Unlike the 1923 film which was filmed in Italy, this version was filmed on the MGM backlot. The movie was a modest hit. With Edward Arnold, May Robson and Louise Closser Hale.