Good Day For A Hanging (1959)

In a small Nebraska town, the local bank is held up by outlaws. A posse goes after them and the town marshal (Emile Meyer) is killed but one (Robert Vaughn) of the bandits is shot and brought back to town to stand trial for the murder of the sheriff. The new Marshal (Fred MacMurray) must not only deal with convicting the outlaw (he's the only witness to the killing) but the fact that his daughter (Joan Blackman) is in love with the killer. Based on the short story THE RELUCTANT HANGMAN by John H. Reese and directed by Nathan Juran (7TH VOYAGE OF SINBAD). A minor but above average western that has more on its mind than shoot 'em up. Juran brings genuine tension as we not sure of Vaughn's guilt and begin to wonder about MacMurray's motives in getting the boy hung. It's decently acted although Vaughn's "method" acting seems out of sync with both the rest of the cast and the era. With Margaret Hayes, James Drury, Denver Pyle and Kathryn Card.

Boomerang (1947)

An Episcopal priest (Wyrley Birch) is shot dead while walking down a street at night. The public prosecutor (Dana Andrews) faces extreme pressure to convict an ex-soldier (Arthur Kennedy) for the murder but he has his doubts about the man's guilt. Based on a non fiction magazine story by Fulton Oursler and directed by Elia Kazan (GENTLEMAN'S AGREEMENT). Based on an actual 1924 murder case, like most such movies the "facts" are distorted for dramatic effect (or dramatic license if you prefer) such as hinting a minor character is the real murderer. Kazan gives the film a semi-documentary feel which adds to the movie's realism although certain scenes just seem phony even if they did happen. That aside, on its own and not taking into account that it's a "true" story, it's a compact (it runs under 90 minutes) solid crime movie with noir trimmings. With Karl Malden, Lee J. Cobb, Jane Wyatt, Ed Begley, Cara Williams and Sam Levene.

Lucky Me (1954)

A young singer (Doris Day) is stranded in Miami along with her partners in a musical act. When she meets a famous composer (Robert Cummings) of Broadway musicals, she falls in love and he offers her the lead in his new musical. However, not if his rich girlfriend (Martha Hyer) has anything to say about it and it's her father (Bill Goodwin) who's backing the show. Directed by Jack Donohue (ASSAULT ON A QUEEN), this was the first musical to be filmed in the CinemaScope format. It's a mediocre musical and Doris Day knew it. She didn't want to do it but Warners (she was under contract) threatened to suspend her if she didn't. It doesn't help that she has no chemistry with the dull Cummings. As her troupe partners, Phil Silvers, Eddie Foy Jr. and Nancy Walker do what they can to spice things up but they can't overcome a weak script. For Doris Day fans only. With Angie Dickinson, Marcel Dalio and Lucy Marlow and Dabbs Greer.

Talk To Me (2023)

Set in Australia, a group of teenage friends discover how to conjure spirits with an embalmed hand, they become hooked on the new thrill. But it soon spirals out of control when the dead denizens of the other world invade their real lives. Directed by Danny and Michael Philippou, a popular Australian YouTube duo in their feature film debut. A very intriguing premise that is soon bungled by silliness and incompetence. Let's start off with its cast of characters, who are all idiots in some way or other. How are we to possibly care about what happens to them? Stupid actions have consequences and they brought it on themselves. Are we to believe that in a hospital, teenagers can just walk into a hospital room and perform a supernatural ritual on a comatose patient and no one notices? Perhaps I could have put up with the ludicrous nonsense if the movie had a genuine sense of horror, some style but all we get is dumb teenagers doing dumb things. Mine is a minority opinion, the film received good reviews and did very well at the box office. The film's ending assures a sequel is on the way! With Sophie Wilde (an appealing actress who deserves better), Alexandra Jensen, Joe Bird, Otis Dhanji and Miranda Otto, playing mothers of grown teenagers now. How time flies.  

Wrestling Ernest Hemingway (1993)

Set in a small Florida coastal town, two senior citizens, a reserved Cuban immigrant (Robert Duvall) and a loud foul mouthed ex-sailor (Richard Harris) meet in a local public park and soon become inseparable friends. Directed by Randa Haines (CHILDREN OF A LESSER GOD), this tender and rather sweet story about two old men forming a late in life friendship is too flawed to successfully override its sentimentality and histrionics. You can pretty much guess where it's going including the "sad" ending. To the film's credit, it doesn't make old people into stereotypical comic caricatures. They're allowed their dignity, such as it is. Harris is very good here, keeping his tendency to overact in restraint but sadly, Duvall is unconvincing as a Cuban but beyond that, his acting has too many phony moments where we can see his obvious technique. There's enough good things about the movie that doesn't make it a total loss but it bites off more than it can chew and the end result is a disappointment. The film's four supporting actresses are very good and make the most of their underdeveloped roles: Shirley MacLaine, Sandra Bullock, Piper Laurie and Micole Mercurio.

Frantz (2016)

In a small German town immediately after WWI, a young woman (Paula Beer) grieves for her fiance (Anton Von Lucke) killed in the war. When she encounters a mysterious Frenchman (Pierre Niney) placing flowers on his grave, it is the beginning of a series of lies that will alter several lives. Based on the 1930 play L'HOMME QUE J'AI TUE by Maurice Rostand (previously filmed by Ernest Lubitsch in 1932) and directed by Francois Ozon (8 FEMMES). Ozon uses a leisurely pace as he lets the narrative unfold as we see a series of lies perpetuated to hide a very painful truth. Elegantly shot in both B&W and color wide screen by Pascal Marti, who won the Cesar (the French Oscar) for his work here. Its anti war theme is very much at the forefront (as is its eye toward xenophobia) but Ozon doesn't hammer us with it. But its also a love story about misreading signals and moving on, however painful it is. There's a lovely performance by Paula Beer at the film's center but the rest of the cast is solid too. With Ernst Stotzner, Marie Gruber, Cyrielle Clair and John von Bulow.

Cheyenne Autumn (1964)

Based on a factual event, the film tells the story of the Northern Cheyenne Exodus of 1878. Two Indian chiefs (Ricardo Montalban, Gilbert Roland) leave their Oklahoma Territory reservation and march on foot to their traditional home of Yellowstone in Wyoming. A sympathetic U.S. Cavalry Captain (Richard Widmark) is forced to lead his troops to stop the tribe. Loosely based (or perhaps inspired would be a better word) on the non fiction book by Mari Sandoz and directed by John Ford (THE SEARCHERS). Ford's final western seems to be a cinematic apology for the mistreatment and stereotyping of Native Americans in the Hollywood western including some of Ford's own movies. The film's intentions are noble and visually, it's a stunning film thanks to William Clothier's Oscar nominated 70 millimeter cinematography which utilizes Ford's beloved Monument Valley location. The film is overlong because it's padded out by an irrelevant sequence in Dodge City with James Stewart as Wyatt Earp and Arthur Kennedy as Doc Holliday that's played for humor. The sequence was later cut from the film for general release but I viewed the uncut Roadshow version (including overture, intermission and entr'acte) which restores the sequence. The large cast includes Carroll Baker, Edward G. Robinson, Karl Malden, Dolores Del Rio, Sal Mineo (who's just awful), Ben Johnson, Elizabeth Allen, Victor Jory, John Carradine and Mike Mazurki in his best performance since MURDER MY SWEET (1944).

Blondie Johnson (1933)

Set in the Great Depression, a young woman (Joan Blondell) is without a home and without a job. After her mother dies due to lack of medical care, it hardens her and she is determined to use her brains and not her body to get power and wealth. She rises from con artist to crime boss. Directed by Ray Enright (THE SPOILERS), this pre-code gangster film was a shift in Blondell's career. Up till now, she'd been cast as gangster molls and wisecracking chorus girls. The dramatic impetus of this movie gives her a chance for more serious acting and she's up to it. This quickly moving B movie is her show all the way but as enjoyable as it is, it's really nothing more than a routine programmer. As a pre-code, I expected a bit more and its romantic "crime does not pay" finale seemed rather mundane to me. With Chester Morris, Allen Jenkins, Claire Dodd, Mae Busch and Toshia Mori.

Carve Her Name With Pride (1958)

Set during WWII, the English widow (Virginia McKenna) of a French army officer (Alain Saury) is recruited as a spy by the Special Operations Executive to parachute into Nazi occupied France. Based on the non fiction book by R.J. Minney and directed by Lewis Gilbert (THE SPY WHO LOVED ME). Based on the true story of Violette Szabo, a posthumously awarded WWII heroine. Though the tall blonde McKenna (who received a BAFTA nomination for her performance) bares little resemblance to the real Violette Szabo (who was petite and brunette), she gives a strong performance that gives hints of the courage and fortitude of Szabo. This being a fifties movie, it holds back on the brutality and suffering Szabo endured at the hands of the Nazis in a concentration camp. As a film, it's a decent example of wartime bravery and the indominable British spirit but without the artistry that would have elevated it into something more. With Paul Scofield, Maurice Ronet, Billie Whitelaw and Avice Landone.

The Johnstown Flood (1926)

Set in 1889, an engineer (George O'Brien) for a lumber company is engaged to the owner's (Anders Randolf) daughter (Florence Gilbert). He warns the father of the imminent failure of the dam but he is ignored. Directed by Irving Cummings (DOWN ARGENTINE WAY), this is a fictionalized version of the Great Flood Of 1889 in Johnstown, Pennsylvania that killed over 2,000 people. This is an early example of what became known as the disaster movie genre in the 1970s. The special effects are quite striking, even some 90 years later. Character development is superficial but the handsome George O'Brien and lovely Janet Gaynor (in her first major role) are very appealing which is enough for a movie like this. With Paul Nicholson, Paul Panzer and reputedly a young Clark Gable is in the background somewhere in the saloon sequence but I didn't catch him.

Dragon Seed (1944)

Prior to WWII, a peaceful Chinese village is invaded by the Imperial Japanese Army. The male villagers adopt a peaceful attitude toward the conquerors but a headstrong woman (Katharine Hepburn) insists that they must resist the invaders. Based on the novel by Pearl Buck (THE GOOD EARTH) and directed by Jack Conway (LIBELED LADY) and Harold S. Bucquet (ADVENTURES OF TARTU). Before we get to the elephant in the room which irretrievably compromises the movie, let's talk about the film. It's a good solid "epic" about a generation gap between the old and the young and their conflict on how to deal with the Japanese invaders. The horrors inflicted on the Chinese by the Japanese conquerors are graphic although at the time the film was released, Japan was our "enemy" too. But it's a solid well crafted film, a good example of the quality product often turned out by MGM during its golden years. Alas, as was usual for its era, the Asian roles are played by Caucasians in "oriental" make up. PC aside, sometimes it worked, sometimes it didn't and it doesn't here. Katharine Hepburn stands out like a sore thumb! Luise Rainer won a best actress Oscar playing Chinese in THE GOOD EARTH (1937) and PC aside, that worked. But Rainer was foreign and didn't have Hepburn's obvious mannerisms and vocal pattern. Hepburn is more Kate Hepburn than ever here. As the family patriarch, perhaps wisely Walter Huston doesn't even try to be Chinese and Hurd Hatfield as his youngest son is plain bad. Not all of the actors are bad. Agnes Moorehead, for one, suggests a Chinese woman without dipping into stereotyping. So there you have it. It's a good movie but with the casting, how seriously can you take it in the long run? With Aline MacMahon (who got an Oscar nomination for her matriarch), Turhan Bey, Akim Tamiroff, J. Carrol Naish, Frances Rafferty, Robert Rice and Jacqueline DeWit. 

El Bosque Del Lobo (aka Forest Of The Wolf) (1970)

Set in mid 19th century Spain, a lonely and miserable peddler (Jose Luis Lopez Vazquez) suffers from a form of epilepsy possibly brought on by a traumatizing incident as a child. When he has these seizures, he's overcome with a need to kill. The ignorant and superstitious villagers chalk up the murders to a werewolf in the forest. Based on the novel EL BOSQUE DE ANCINES by Carlos Martinez and co-written, produced and directed by Pedro Olea (AKELARRE). Loosely based on the life of Manuel Blanco Romasanta, Spain's first recorded serial killer, who claimed he was not responsible because a curse turned him into a wolf. This is a very disturbing film, mainly because his victims trust him and are friends. Disturbing also because today his illness could be treated. The film makes it clear that he can't help himself but, of course, that does not negate the repulsion we feel at his actions. I hesitate to call it a horror movie because it comes across as more of a drama about an ordinary man driven to kill by compulsions he is not able to control. Very well done for what it is but I can't say I enjoyed it. With Amparo Soler Leal, Nuria Torray, John Steiner and Victor Israel.

Taylor Swift: The Eras Tour (2023)

A documentation of Taylor Swift's Eras Tour, reputedly the highest grossing concert tour of all time and it's still not finished, a second leg is expected in 2024. Directed by Sam Wrench, Swift bypassed a studio distribution deal and in a daring move, she made a direct deal with AMC theatres thus cutting out the middle man and leaving a higher profit margin for her. Clearly I'm not the demographic for a movie like this but I had a great time at it. Amazing sets and lighting, special effects, choreography by Mandy Moore (LALA LAND), excellent cinematography by Brett Turnbull and a high powered energetic performance by Swift. I'll never buy a Taylor Swift album but seeing her perform, you can see why she has such a dedicated fan base. The audience was a bit rowdier than usual but I found the little girls running up to the screen and dancing in front of it kind of cute. The songs might not be great but they're catchy and performed with vitality and sass. Indeed, if I were fifty years younger, I could totally see myself becoming a Swiftie!

Bitter Victory (1957)

A pair of British Army officers, a Captain (Richard Burton) and a Major (Curt Jurgens) are assigned to execute a daring commando raid on the Libyan stronghold of General Rommel. Even before the mission begins, there is tension between the two men that is exacerbated by the fact that the wife (Ruth Roman) of the Major is the ex-lover of the Captain. Based on the novel by Rene Hardy and directed by Nicholas Ray (JOHNNY GUITAR). Essentially a French production, I would call the film an interesting failure. It's not the most pleasant movie to sit through and it often seemed pointless. I'm a huge fan of Nicholas Ray but what I assume was intended as an anti war film meanders too much to get its message across. I did like the "bitter victory" of the film's ending which was cut from the British release which is shorter by 12 minutes. Burton seems to be walking through his part but Jurgens brings an unsettling ambiguity to his Major, we're never quite sure what his motives are. As his wife, Ruth Roman brings some surprising depth to an underwritten role. I liked the look of the B&W CinemaScope cinematography of Michel Kelber (FRENCH CANCAN). With Christopher Lee, Raymond Pellegrin, Nigel Green and Anthony Bushell.

L'homme Du Train (aka The Man On The Train) (2002)

A mysterious stranger (Johnny Hallyday) is the sole passenger disembarking from a train in a sleepy French village. He is befriended by a retired poetry teacher (Jean Rochefort). The few days they spend together gives them the opportunity to reflect on their dashed hopes and unfulfilled dreams. Directed by Patrice Leconte (MONSIEUR HIRE), this is a poignant look at an unlikely friendship (if knowing someone briefly for a few days can be called a friendship) with an aura of fatalism though some may view the film's end as ambiguous rather than fatal. Both Rochefort and Hallyday (a famous French pop singer) give excellent lowkey performances yet with enough depth that allows us to see how both men have led lives of "quiet desperation) to quote Thoreau. Although well received at the time (it won the Los Angeles film critics award as the year's best foreign film), it doesn't seem to be remembered much today. Worth seeking out. With Edith Scob, Jean Francois Stevenin and Isabelle Petit Jacques. 

Who Done It? (1942)

Two soda jerks (Bud Abbott, Lou Costello) work at the soda fountain of a local radio station's studios. But their real dream is to become writers on one of the station's mystery programs. When the network president (Thomas Gomez) is murdered, they attempt to solve the killing. Directed by Erle C. Kenton (HOUSE OF FRANKENSTEIN), this is one of Abbott and Costello's best movies. I'm a fan of comedy murder mysteries so this was right up my alley though the emphasis is on the comedic aspects rather than the murder mystery. The antics of the comedic duo include some of their best routines and director Kenton keeps the action moving so fast, you don't have time to catch your breath. As a wisecracking secretary, Mary Wickes makes for a perfect romantic foil for Costello. I wish they'd done more movies together. This was also the first A&C film without any musical numbers. Even if you're not a fan of the pair, there's a good chance their escapades will amuse you. With Patric Knowles, Louise Allbritton, William Bendix, Don Porter and William Gargan.

Gypsy (1993)

An ambitious and domineering stage mother (Bette Midler) is determined to make her young daughter June (Lacey Chabert, who morphs into Jennifer Rae Beck) into a Star while ignoring her other daughter Louise (Elisabeth Moss morphing into Cynthia Gibb) and keeping her in the background. But when June elopes with a dancer (Jeffrey Broadhurst), she turns her attentions to Louise, determined to make her a Star. Based on the Broadway musical (previously filmed in 1962) which was loosely based on Gypsy Rose Lee's memoir and directed by Emile Ardolino (DIRTY DANCING). GYPSY has one of the great scores in Broadway musicals with music by Jule Styne and lyrics by Stephen Sondheim. The plum role of Mama Rose is one of the best parts for an actress in a musical and has been played by Ethel Merman, Angela Lansbury, Bernadette Peters, Patti LuPone, Betty Hutton, Leslie Uggams and Tyne Daly among many others. On paper, Bette Midler seems like a terrific choice but she only scratches the surface. We see Bette Midler, not Mama Rose though Midler almost kicks her big number Rose's Turn out of the park but not quite. It's a perfectly serviceable rendering of the classic musical but I kept waiting for it (or Midler) to take off like a rocket but it never did. With Peter Riegert, Edward Asner, Christine Ebersole, Tony Shalhoub and Andea Martin.

The City Of The Dead (1960)

A college student (Venetia Stevenson) is doing her thesis on the history of witchcraft. Her professor (Christopher Lee) suggests she visit a small out of the way village which has a history of witchcraft going back to 1692. Directed by John Llewellyn Moxey (CIRCUS OF FEAR), this British cult horror film is rich in atmosphere and suggestion with moody B&W lensing by Desmond Dickinson (the 1948 film of HAMLET). It also bears some resemblance to Hitchcock's PSYCHO released the same year such as plot points and reactions. Originally intended as a TV pilot, it was rewritten to feature length. The American release was cut by some two minutes and retitled HORROR HOTEL. The movie works very well although the film's final six minutes are disappointing. It simply does not have the inventiveness of what preceded it. With Betta St. John, Patricia Jessel, Dennis Lotis and Valentine Dyall.

Duet For One (1986)

A world famous classical violinist (Julie Andrews) is diagnosed with multiple sclerosis. Not only is she faced with her inability to play the violin which puts an end to her career, she senses her marriage is crumbling as her husband (Alan Bates) is having an affair with his secretary (Cathryn Harrison). Based on the play by Tom Kempinski and directed by Andre Konchalovsky (RUNAWAY TRAIN). Kempinski's play was a success in London's West End but when it transferred to Broadway), it closed after two weeks. The film version opens up the play considerably. The play had only two characters, the violinist (played by Anne Bancroft) and her psychiatrist (Max Von Sydow, who reprises his stage role here). The film adds a husband (Bates), his secretary (Harrison), a maid (Macha Meril), a lover (Liam Neeson), an agent (Margaret Courtenay) and another violinist (Rupert Everett) which are not in the play. In a difficult dramatic role, Andrews acquits herself admirably so it's a pity that the film that surrounds her isn't very good. Some of the acting is good, notably Von Sydow and Meril but some of it is shockingly bad. I'm thinking of Bates and Rupert Everett who is is just godawful. Worth watching for Andrews' performance but not much else.

Born Yesterday (1950)

Set in Washington D.C., a corrupt but very rich thug (Broderick Crawford) has social ambitions. But he's embarrassed by his ex-chorus girl's (Judy Holliday in her Oscar winning performance) crass behavior and lack of social grace. So, he hires a journalist (William Holden) to give her some culture and make her more presentable. Based on the play by Garson Kanin and directed by George Cukor (DINNER AT EIGHT). In perhaps the greatest "dumb blonde" screen performance (only Marilyn Monroe's Lorelei Lee in GENTLEMEN PREFER BLONDES comes close), Holliday is pure magic here. Recreating her stage performance, she's irresistible. Surprisingly, some of the play's raciest lines remain intact. Crawford and Holden are both just fine but remain straight men to Holliday's quips. Though some have said that Holliday's character becomes less interesting (and less funny) as she becomes smarter, I disagree. She also looks terrific in her Oscar nominated Jean Louis costumes. With Howard St. John and Claire Carleton.

The UFO Incident (1975)

On the 19th of September 1961 in the mountains of New Hampshire, a married couple Barney (James Earl Jones) and Betty Hill (Estelle Parsons) claim that they were taken aboard a spacecraft and examined medically by extraterrestrials Based on the non fiction book INTERRUPTED JOURNEY by John G. Fuller and directed by Richard A. Colla (FUZZ). Based on an actual incident though obviously the couple's claims remain unverified, the telefilm is fairly compelling in its telling. It's not a sensationalized Nation Enquirer "I was abducted by aliens" exploitation movie. It's smartly conceived and executed and the interracial marriage of the couple plays an important part in the story's narrative. The film is fortunate to have two first rate actors in the leading roles and both James Earl Jones and Estelle Parsons give excellent performances. Quality actors like them bring detail and nuance to their performances, more than is on the printed page. Do I believe the Hill's story? No, but it makes for good drama. With Barnard Hughes and Dick O'Neill.

Der Kongress Tanzt (aka Congress Dances) (1931)

A shopkeeper (Lillian Harvey) promotes her wares by ambushing world leaders with floral bouquets. When she tosses the bouquet at a visiting Russian Czar (Willy Fritsch), the bouquet is mistaken for a bomb and she is arrested. Directed by Erik Charell (WHITE HORSE INN), this semi musical has been compared to the early musical films of Ernst Lubitsch (THE SMILING LIEUTENANT) and Rouben Mamoulian (LOVE ME TONIGHT). I think the comparisons are pushing it because it lacks the wit and airiness of those two fine movies. While the film has its moments (Akira Kurosawa was one of its admirers), I found it on the dull side and even a bit heavy handed (in the Teutonic sense). Lillian Harvey is rather sweet in a colorless way but I really liked Willy Fritsch who plays two roles, the visiting Czar and his doppelganger who the Czar uses as his stand in when he doesn't want to attend any functions. I was an hour into the film before I realized Fritsch was playing both parts! With Conrad Veidt, Alfred Abel and Lil Dagover.

The Great Escape (1963)

Set in 1942 WWII, the Third Reich builds a new camp designed specifically for POWs who repeatedly make escape attempts. But the prisoners under the leadership of an RAF squadron leader (Richard Attenborough) plot a massive escape involving 250 prisoners of war. Based on the non fiction book by Paul Brickhill and directed by John Sturges (BAD DAY AT BLACK ROCK). A grandly entertaining WWII adventure based on a true story but heavily fictionalized for the screen (the Americans are given a more prominent role then they actually had). Running almost three hours, the film could have used some pruning in the editing room and one cliched character (the irritating Scotsman played by Angus Lennie) could have been eliminated altogether. On the plus side, there's a charismatic performance by Steve McQueen and director Sturges keeps the suspense high on the intensity scale. The story had previously been dramatized for TV in 1951 with Rod Steiger and E.G. Marshall in the cast. With James Garner, Charles Bronson, James Coburn, Donald Pleasence, David McCallum, James Donald, Gordon Jackson, John Leyton and Hannes Messemer.

Destry (1954)

After the local sheriff (Trevor Bardette) dies under mysterious circumstances, a ruthless gambler (Lyle Bettger) who has the town in his grip arranges to have the town drunk (Thomas Mitchell) appointed as the new sheriff thinking he can control him. But the new sheriff sends for the son (Audie Murphy) of a famous lawman as his deputy. Loosely based on DESTRY RIDES AGAIN by Max Brand (previously filmed in 1932 and 1939) and directed by George Marshall, who directed the 1939 version. I'll be upfront, I'm not a fan of the 1939 film with James Stewart and Marlene Dietrich which is much admired so I had no problem with this remake. Actually, neither the 1939 movie or this remake bear much resemblance to the original novel. While it may lack the star power of its more famous predecessor, I'm rather fond of Audie Murphy and I liked Mari Blanchard's brassy saloon singer, the "bad" girl who comes around to the good side when she falls for Murphy's innocent charm. Still, while I'll take it over its 1939 cousin, it's a routine western at best. With Lori Nelson, Edgar Buchanan, Mary Wickes and Wallace Ford.

Body And Soul (1947)

To help support his mother (Anne Revere) after his father's death, an ambitious young man (John Garfield) turns to boxing. In his pursuit of success (money and fame), he associates himself with undesirable characters who see him as a money magnet. Directed by Robert Rossen (THE HUSTLER), this is a classic boxing picture (some refer to it as noir) with much to recommend it. A solid screenplay by Abraham Polansky (FORCE OF EVIL), striking B&W cinematography by James Wong Howe and John Garfield at his best. I'm not a fan of boxing movies but this goes beyond stuff like ROCKY in its sociological look at a capitalistic society that exploits and corrupts its own. It's stuff like this that got Polonsky and Garfield in trouble with HUAC with their "progressive" Art. Garfield received a best actor Oscar nomination for his performance while Polansky was nominated for his screenplay. It did win the best editing (Robert Parrish, Francis Lyon) Oscar and justifiably so. The boxing sequences are first rate. With Lilli Palmer, Hazel Brooks, William Conrad, Canada Lee and Joseph Pevney, who would soon switch from acting to directing (MAN OF A THOUSAND FACES).

Scarlet (2022)

Shortly after WWI, a veteran (Raphael Thiery) returns home to find himself a widower and father to an infant daughter (played by 6 different actresses as the girl grows older: Victoire Battist, Sienna Gillibert, Suzanne Marquis, Anais Recorbet, Asia Brechat and finally Juliette Jouan as the adult) in rural Normandy. The daughter grows up as a lonely young woman who dreams of greater possibilities. Based on the novel SCARLET SAILS by Alexander Grin and directed by Pietro Marcello (MARTIN EDEN). This very slight fable has a great deal of charm and enchantment to it. But its lack of a cinematic linchpin to hold its heterogeneous content together works against it. I liked it well enough but it just doesn't stick with you. I kept waiting for it to merge its pieces into something resembling a cohesive whole by the film's end but instead, the movie just ended. With Noemie Lvovsky and Yolande Moreau.

Pirates Of Tripoli (1955)

A princess (Patricia Medina) loses her kingdom after an attack and takeover by a ruthless villain (John Miljan). She manages to escape and heads for Tripoli where hopes to hire a notorious pirate (Paul Henreid) to assist her in recovering her throne. Directed by Felix E. Feist (DONOVAN'S BRAIN), this low budget quickie is the work of Sam Katzman, producer of such "gems" as CANNIBAL ATTACK, JUNGLE MOON MEN and CHA CHA CHA BOOM! to name but a handful so you know what to expect. Ten years earlier, the delicate looking Paul Henreid starred as a pirate in THE SPANISH MAIN (1945) and he was miscast then, hardly a match for Errol Flynn or Tyrone Power. Ten years later, he's still miscast as a pirate but this time he's older and looks tired. Patricia Medina makes for a beautiful princess but it's mindless swashbuckler that buckles more than it swashes. Its extremely low budget made it possible for it to actually turn a profit. With Paul Newlan and Lilian Bond.

Step By Step (1946)

A Marine veteran (Lawrence Tierney) is immediately drawn to a pretty secretary (Anne Jeffreys) that he meets on a Malibu beach. However, the girl's new job as secretary to a state senator (Harry Harvey Sr.) unexpectedly involve her with murder and a nest of Nazi spies. Directed by Phil Rosen (MYSTERY OF MARIE ROGET), this B programmer (with a running time of a little over an hour) is entertaining if slightly ludicrous in its plot. Tierney and Jeffreys had starred in the gangster sleeper DILLINGER the year before as Dillinger and his moll. Reunited here, they play the good guys instead. It's an unpretentious fast moving thriller with two attractive leads (both in bathing suits for the first half of the movie) and while the film requires some suspension of disbelief, it's a painless viewing. With George Cleveland, Lowell Gilmore, Myrna Dell, Robert Clarke and a scene stealing mutt named Bazuka.

Three Into Two Won't Go (1969)

A businessman (Rod Steiger) picks up a pretty 19 year old hitch hiker (Judy Geeson) on a road trip and beds her. He thinks he's in control of the philandering situation until the girl shows up on his doorstep and introduces herself to his wife (Claire Bloom). Based on the novel by Andrea Newman (adapted for the screen by Edna O' Brien) and directed by Peter Hall (THE HOMECOMING). This searing look at a marriage on the precipice should be better known. It's a blunt, unsentimental look at a married couple going through the motions of a marriage and unable to face the truth until a manipulative vixen exposes the cracks in the marriage and they are forced to acknowledge the facade they've been living. Steiger's nervous energy as an actor can be a problem but it's reined in and put to good use here. As the wife, Bloom is marvelous, subtly letting us see the layers peeling off. As was its practice at the time, Universal cut the movie for TV showings and added additional scenes not sanctioned or participated in by the cast or director. NIGHT OF THE FOLLOWING DAY and SECRET CEREMONY also underwent the same treatment. So if you've only seen the TV cut, you haven't really seen it. With Peggy Ashcroft, Paul Rogers and Elizabeth Spriggs.

La Mansion De La Niebla (aka The Murder Mansion) (1972)

When a dense fog makes visibility impossible, a disparate group of travelers find a haven in the mysterious mansion of a beautiful woman (Ida Galli). But when people start dying, the travelers wonder if they wouldn't be safer out in the fog. Directed by Francisco Lara Polop, I found this Spanish horror movie somewhat incoherent. I watched the English language dub ( a poor transfer) rather than the Italian/Spanish cut so that may account for some of the incoherence. As a horror film, it's a dud. There's no sense of atmosphere and the characters' hysteria seems overblown. If I saw a better print, it may look better but I suspect it would still be a poor movie. It's the kind of movie where the characters have every opportunity to escape the house but inexplicably stick around to be picked off. With Analia Gade, Lisa Leonardi, Andres Resino, Franco Fantasia and Alberto Dalbes. 

The Naughty Flirt (1931)

A madcap heiress (Alice White) has too much money and too much time on her hands which usually ends up with her getting into trouble. But when a young law clerk (Paul Page) catches her eye, she attempts to reform. But a fortune hunting brother (Douglas Gilmore) and sister (Myrna Loy) conspire to break the romance up and have the penniless brother marry the heiress. Based on the story MAN CRAZY by Frederick Bowen and directed by Edward Cline (MY LITTLE CHICKADEE). Barely an hour long, this pre code romantic comedy starts flat and doesn't get any better as it goes along. None of the actors ignite the spark that might have turned the movie around despite its inane screenplay. The exception, no surprise, is Myrna Loy who doesn't have to sparkle but just cause trouble for everyone. This was during Loy's bad girl period before her comedic chops were sharpened at MGM. With Robert Agnew and George Irving.

Monkey On My Back (1957)

A three time world boxing champion and WWII hero (Cameron Mitchell) is known as "the pride of the ghetto" becomes addicted to heroin because of injuries suffered in WWII. Instead of getting help, he hides his addiction as his life spirals downward. Based on the life of Barney Ross, a real life boxing champion and WWII hero and directed by Andre DeToth (HOUSE OF WAX). Although based on a real person, like most movie biographies of the period, the telling is heavily fictionalized. Cameron Mitchell gives a strong performance so it's a pity the movie isn't better and it suffers coming only two years after the potent THE MAN WITH THE GOLDEN ARM which became the benchmark for movies about drug addiction for years to come and it suffers heavily in comparison. Good intentions do not a good movie make and MONKEY doesn't give us anything insightful or fresh. I also had a problem with the way the role of the wife (Dianne Foster) was written. Mitchell is jumping out of his skin and she doesn't put two and two together to figure out he's a junkie? With Jack Albertson, Barry Kelley, Kathy Garver and Paul Richards.

Force Of Evil (1948)

A lawyer (John Garfield) is connected to a ruthless racketeer (Roy Roberts) which compromises his ethics. His participation in a rigged numbers racket ultimately proves fatal to his brother (Thomas Gomez) and the lawyer must face up to his complicity. Based on the novel TUCKER'S PEOPLE by Ira Wolfert and directed by Abraham Polonsky (TELL THEM WILLIE BOY IS HERE). A much admired example of film noir, I found it just a little preachy for my taste. Notably in the "good girl" played by Beatrice Pearson whose character I found irritating. She preaches her distaste for Garfield's lack of morality and claims she doesn't want anything to do with him yet continuously engages in a passive/aggressive flirtation with him. I much preferred the upfront married femme fatale of Marie Windsor, who makes what she wants very clear. Sadly, Polonsky would not direct another feature film for another 20 years because shortly after this movie came out, he became a victim of HUAC. I liked it well enough but I didn't love it. With Barry Kelley, Stanley Prager, Howland Chamberlain and Paul Fix.

The Anderson Tapes (1971)

After ten years in prison, an ex-convict moves into the luxury apartment building of an old girlfriend (Dyan Cannon). He then masterminds an elaborate plot to rob the entire building. Based on the novel by Lawrence Sanders and directed by Sidney Lumet (DOG DAY AFTERNOON). Oy! A duller heist film I can't imagine. There's some minor (very minor) intensity in the movie's last half hour but the elaborate planning of the robbery as well as the Connery/Cannon "romance" that takes up most of the film's first hour is a big fat bore! Who are we supposed to attach ourselves to? The low life crooks? The Mafia? The Cops? With no one to invest our empathy with, all we can do is endure the tedium. The film's dated attitude toward homosexuality is just one of the movie's many problems. Even back in 1971, Martin Balsam's swishy queen is an embarrassment. I'm a big fan of some of the cast (Connery Cannon, Balsam, Ralph Meeker) but no one comes out looking good. Inexplicably, the film has its fans. Go figure! With Christopher Walken, Alan King, Margaret Hamilton, Scott Jacoby and Janet Ward.

Les Inconnus Dans La Maison (aka Strangers In The House) (1942)

After his wife runs off with another man, an alcoholic ex-attorney (Raimu) becomes disillusioned with life. He lives in a vast and gloomy mansion with his estranged daughter (Juliette Faber). One night they hear a gunshot coming from upstairs and discover a dead man lying on an old bed in the attic. Based on the novel by Georges Simenon (and adapted for the screen by Henri Georges Clouzot) and directed by Henri Decoin (LA VERITE SUR BEBE DONGE). This combination of whodunit and courtroom drama is an odd mixture. While the mystery aspects are there, the movie seems more interested in the sociological aspects of what led to the crime. As the bitter misanthrope, Raimu is perhaps overly passive for most of the film but that only makes his impassioned courtroom tirade all the stronger. Not an important piece of French cinema but an intriguing one nonetheless. Remade in 1967 with James Mason in Raimu's role. With Andre Reybaz, Marcel Mouloudji, Marc Doelnitz and Jean Tessier.