The Harder They Fall (1956)

A sportswriter (Humphrey Bogart) joins forces with a corrupt boxing promoter (Rod Steiger). Together, they scheme to deceive a clumsy 7 foot giant (Mike Lane) and the public that he is a champion boxer by fixing a series of fights. Based on the novel by Budd Schulberg (WHAT MAKES SAMMY RUN?) and directed by Mark Robson (VALLEY OF THE DOLLS). A nasty, gritty look at the corruption in the boxing game. In his final performance and already dying of cancer, Bogart is excellent though I couldn't help but think his character was too smart not to know how it would all end up. Surely he knew or at least suspected that he was in bed with a bunch of devious snakes that would never keep their promise. Other than that, it was a strong  film that pulled no punches. The striking B&W cinematography by Burnett Guffey (BONNIE AND CLYDE) received an Oscar nomination. With Jan Sterling, Nehemiah Persoff, Edward Andrews, Harold J. Stone, Max Baer, Felice Orlandi and Carlos Montalban. 

The Zone Of Interest (2023)

Set in 1943 Poland, the German commandant (Christian Friedel) of Auschwitz and his wife (Sandra Huller) are enjoying their blissful life and social status and their lovely home with flower gardens and a swimming pool. Meanwhile, behind the wall next to their home thousands of Jews are sent to their death in the gas chambers. Loosely based on the novel by Martin Amis and directed by Jonathan Glazer (BIRTH). This is only Glazer's fourth film but I'm a big fan of his previous three movies: SEXY BEAST, BIRTH and UNDER THE SKIN. Could he make it four in a row? Yes he did and I wasn't disappointed though this is by far his most difficult (and polarizing?) film. A film about the banality of evil risks being branded banal but while we never see any Jews or the the actual concentration camp, the soundtrack is filled with sounds of screaming, gunshots, trains etc. which are constantly heard. Meanwhile, birthday parties, picnics, bedtime stories, dinners occur in the family home oblivious to the horror they live next to. Winner of the Grand Prix at this year's Cannes film festival and the best picture award from the Los Angeles Film Critics, it's a cold look at the commonplace existence of evil. These aren't barking, frothing at the mouth Nazis but people who were decent people before the war but enabled the greatest horror of the 20th century. There are those who will be put off by Glazer's monotonous atmosphere but it's that very monotony that emphasizes that horror. The excellent score is by Mica Levi.

The Shaggy Dog (1959)

A teenage nerd (Tommy Kirk) is shape shifted into a shaggy dog by a cursed ring that once belonged to the notorious Borgia family. That his mailman father (Fred MacMurray) hates dogs is the least of his problems. Based on the novel THE HOUND OF FLORENCE by Felix Salten and directed by Charles Barton (BUCK PRIVATES COME HOME). A massive hit when it opened, the film spawned a mini franchise of TV sequels and remakes as well as a 2006 remake. Its charms are rather thin today, its a one joke comedy that feels like a TV sitcom. The film turned MacMurray's career around and in the 1960s, he became Disney's "dad" of choice in most of their movies. Very young children may still find it amusing and there's the nostalgia factor of those of us who saw the movie when we were kids but I suspect most everyone else would find it on the tedious side. With Jean Hagen, Annette Funicello, Roberta Shore, Tim Considine, Kevin Corcoran, Jack Albertson and Alexander Scourby.

The Cherry Orchard (1999)

Set in Russia during the turn of the 20th century, a Russian aristocrat (Charlotte Rampling) returns to her country estate after an extensive stay in Paris. She finds the estate heavily in debt and about to be auctioned off. A former peasant, now a wealthy merchant (Owen Teale) urges her and her brother (Alan Bates) to save the estate by turning their beloved cherry orchard into summer cottages for vacationers which they refuse to do. Based on the classic play by Anton Chekhov and directed by Michael Cacoyannis (ZORBA THE GREEK). I'm a big fan of Chekhov's plays, notably THE SEA GULL, THREE SISTERS and UNCLE VANYA but THE CHERRY ORCHARD has always mystified me. Its aristocrats seem oblivious to their complicity in their own destruction. Its former peasants seem ambiguous toward the aristocracy, detesting them yet desirous of their status. Unlike stage versions, the film benefits because we see and spend time in an actual cherry orchard and we can begin to feel why this orchard means so much to the family. The film is well acted and directed and its a respectable adaptation of Chekhov's play but its themes of social change, class struggle and the political landscape of Russia aren't emphasized enough. With Gerard Butler, Xander Berkeley, Michael Gough, Melanie Lynskey, Katrin Cartlidge and Frances De La Tour.

The War Lover (1962)

Set in England during WWII, an Air Force captain (Steve McQueen) is a first rate pilot but he's also reckless and arrogant. He loves the thrill of war. His co-pilot (Robert Wagner) is more conservative and by the book. When a young English girl (Shirley Anne Field) enters their lives, she will be the conduit for each man to to look within himself. Based on the novel by John Hersey (A BELL FOR ADANO) and directed by Philip Leacock (TAMAHINE). Unusual in war films, the focus isn't on war but on the three main characters and the psychology of their relationship. As the hot shot pilot who is also a borderline psychopath, McQueen is perfectly cast and gives one of his best performances. Wagner is quietly efficient but Field is rather colorless. The script by Howard Koch (CASABLANCA) is solid but Leacock's direction needed to be stronger to elevate the movie into something that might have been better than what we're given. The film received mixed reviews but I still think it's an above average "war" film. The aerial photography is excellent. With Michael Crawford, Gary Cockrell and Robert Easton.

Elizabeth Is Missing (2019)

When her best friend Elizabeth (Maggie Steed) goes missing, an elderly woman (Glenda Jackson) with dementia is convinced something terrible has happened. But her search soon unveils an even darker unsolved mystery about her sister's (Sophie Rundle) disappearance many years ago. Based on the novel by Emma Healey and directed by Aisling Walsh (MAUDIE). Returning to the screen after a 27 year absence (during which time she served as a member of the British parliament), Glenda Jackson shows her acting talent intact and in fine form. The film's unique approach to the subject of Alzheimer's, the topic of several high profile films like AWAY FROM HER, IRIS and STILL ALICE makes this heartbreaking document stand apart from the crowd. On one level, its subject is living with Alzheimer's and society's understanding of it but it's also a mystery about two missing women 70 years apart. Sentimentality is eschewed and while Jackson's character is an object for compassion, it's not one for pity, not the way Jackson portrays her. Satisfying as both a human document and a mystery. With Helen Behan, Nell Williams and Mark Stanley. 

Life Begins At Eight Thirty (1942)

A washed up alcoholic actor (Monty Woolley) is taken care of by his devoted daughter (Ida Lupino). His daughter is physically challenged because of a paralyzed foot which happened when her father in a drunken stupor dropped her when she was a baby. A young writer (Cornel Wilde) enters their lives and provides a second chance for both of them. Based on the play THE LIGHT HEART by Emlyn Williams and directed by Irving Pichel (DESTINATION MOON). There's not much one can say about this one. Its theatrical origins are barely disguised and the maudlin screenplay creaks a bit. It falls on the actors to carry it but they can't overcome the script's limitations. Monty Wooley was always a limited actor and he's unable to bring the kind of depth needed to bring the necessary layers to his character. It's watchable but you're always aware that you're watching something mediocre. I hope Emlyn Williams' source material was better than this. With Sara Allgood and Melville Cooper.

The Baby (1973)

A social worker (Anjanette Comer) is obsessed with one of her cases. A 21 year old man (David Mooney) who still behaves like an infant. This is encouraged by his hard bitten mother (Ruth Roman) who wants the money for "baby" that she gets from welfare. But the social worker just might have her own reasons for wanting to "help" the mentally challenged young man. Directed by Ted Post (MAGNUM FORCE), this is a hard film to categorize. Is it a horror movie? A thriller? A psychological suspense film? A black comedy? Whatever it is, I found this cult film rather silly. I dislike films where adults act like children (Ginger Rogers anyone?) and Mooney's baby act isn't convincing for a second. You never get the feeling he's a mentally challenged young adult, just an actor giving a bad baby impression (he's dubbed with real baby "sounds"). I think it's cult status derives from its kinky narrative and camp value. Other than Ruth Roman's good performance as the tough as nails mother, I found the whole enterprise more sick than fun. There's a good underscore by Gerald Fried (THE KILLING). With Marianna Hill, Suzanne Zenor and Tod Andrews.

High Pressure (1932)

A promoter (William Powell) agrees to promote an artificial rubber product made from sewage after he's assured by his friend (Frank McHugh) that the product is on the level and not a scam. He rents an office and begins to sell shares of the newly formed artificial rubber company. But there's a slight problem ... the inventor (Harry Beresford) can't be found! Based on the play HOT MONEY by Aben Kandel and directed by Mervyn LeRoy (QUO VADIS). This frantic farce is more enjoyable than it has a right to be. Director LeRoy rushes through the antics like a bullet train, no doubt hoping we won't notice how slight the plot is. Powell is in his element here and if you're partial to these frenetic comedies as I am, you might have a bit of fun with this one. It's not a sleeper or a lost comedic gem but a perfectly servicable pre code comedy. With Evelyn Brent, George Sidney and Guy Kibbee.

Man In The Saddle (1951)

Although in love with a cattle rancher (Randolph Scott), an ambitious woman (Joan Leslie) marries a wealthy and powerful cattle baron (Alexander Knox). The situation worsens when the cattle baron attempts to push the rancher off his property and take it over. Based on the novel by Ernest Haycox and directed by Andre DeToth (HOUSE OF WAX). With a stronger screenplay, this could have been a provocative western. Instead, we get an average western that's not without interest. For me, the most interesting aspect of this western were the two women's roles. One woman (Leslie) who sacrifices love to marry a man who will elevate her socially and the other (Ellen Drew), an independent rancher who steps aside rather than declare her love to the man (Scott) who loves her best friend. As the menfolk shoot and kill, it's the women who will determine the outcome. With Cameron Mitchell, John Russell, Alfonso Bedoya and Tennessee Ernie Ford.

You Belong To Me (1941)

While vacationing at a ski lodge, an immature but very rich playboy (Henry Fonda) has a skiing accident. He becomes smitten with the doctor (Barbara Stanwyck) attending him and they get married. But she has a difficult time adjusting to the luxurious life that comes with him while he is insanely jealous of any man she has contact with including her male patients. Directed by Wesley Ruggles (I'M NO ANGEL), this romantic comedy is more irritating than amusing. Jealousy is a very unattractive trait which automatically makes Fonda's millionaire a creep and the movie has an underlying suggestion that a woman's true vocation is a wife and if Stanwyck would just give up her career, they'll live happily ever after! Earlier in the year, Stanwyck and Fonda hit a bullseye with THE LADY EVE, one of the best screwball comedies ever made but here, they come up with a cropper. Amazingly, the film opened to good reviews. The film's star power makes the movie nominally watchable but nothing can make it better. With Edgar Buchanan, Ruth Donnelly, Melville Cooper and Fritz Feld.

Town Without Pity (1961)

Set in a small town in 1960 occupied Germany, four American soldiers (Robert Blake, Richard Jaeckel, Frank Sutton, Mal Sondock) are accused of raping a 16 year old German girl (Christine Kaufmann). With the death penalty hanging over the four men, the military defense lawyer (Kirk Douglas) will do everything in his power to prevent the men from hanging, even if it means destroying the rape victim on the stand. Based on the novel THE VERDICT by Gregor Dorfmeister and directed by Gottfried Reinhardt (BETRAYED). A very disturbing and unpleasant movie to sit through. Which doesn't mean it's poorly done or not good, just upsetting to watch. We've come a long way in societal attitudes about rape and rape victims since 1961 so to watch a rape victim's reputation torn apart by innuendo and gossip while the town's inhabitants watch the trial with inappropriate glee is highly unsettling. The rapists on trial become almost secondary to the plot. I don't mean to imply that the movie condones this attitude, it's clearly on the side of the rape victim. The movie's downbeat ending is inevitable. The Oscar nominated title song sung by Gene Pitney was a top 40 hit. With E.G. Marshall, Barbara Rutting and Gerhart Lippert.

Flickorna (aka The Girls) (1968)

Three actresses (Bibi Andersson, Harriet Andersson, Gunnel Lindblom) are in a touring production of Aristophanes' LYSISTRATA. Leaving behind husbands and lovers to tour with the play, the actresses can relate to the feminist message of the Aristophanes play. Inspired by LYSISTRATA by Aristophanes and directed by actress turned director Mai Zetterling. The movie was not a critical or financial success upon its original release (it pretty much stalled Zetterling's career as a director) but its reputation (as well as Zetterling's as a director) has grown through the ensuing years. A politically charged example of feminist cinema, Zetterling's film balances reality with an almost surreal landscape of angry female rage against a patriarchal system that treats them as second class citizens. Using three of Ingmar Bergman's most notable actresses, it's not an easy movie to digest and one can see why it wasn't popular in 1968. Its narrative isn't simple and it's often difficult to navigate what is actually real and what is in the heroines' mind. A provocative film that pays dividends if you stick with it. With Erland Josephson and Gunnar Bjornstrand.

Bed Among The Lentils (1987)

The wife (Maggie Smith) of a popular small town vicar is bored and unhappy with her bourgeois life. She is also a passive alcoholic though her husband seems unaware of her drinking problem. She begins an affair with the younger Indian shopkeeper in the town next to hers. Written and directed by Alan Bennett (THE LADY IN THE VAN), this is a filmed "talking head" one woman monologue with an expert performance by Maggie Smith as the morose housewife reflecting on her monotonous life and marriage. Bennett's dialogue is subtly sly and witty and one can't help but empathize with the wife's plight. The play is just under an hour in length and concludes satisfactorily. A must for Maggie Smith fans.

A Haunting In Venice (2023)

Set in 1947 Venice, the renowned detective Hercule Poirot (Kenneth Branagh) lives in retirement. His friend, the mystery author Ariadne Oliver (Tina Fey) insists he accompany her to a seance where a bereaved mother (Kelly Reilly) hopes to contact her dead daughter. Based on the novel HALLOWEEN PARTY by Agatha Christie and directed by Kenneth Branagh (HENRY V). To say I loathed Branagh's previous Christie adaptations of MURDER ON THE ORIENT EXPRESS (2017) and DEATH ON THE NILE (2022) is an understatement. The two books were among Christie's best and Branagh bungled them. HALLOWEEN PARTY isn't prime Christie and this adaptation owes very little to the book. It's Agatha Christie in name only as the plot has been changed so much that it's unrecognizable from the source material. This isn't Christie's Poirot or Ariadne (Christie would have been horrified what Branagh has done to her character). All that aside, if you can accept that the movie has very little to do with Agatha Christie, you'll find an engrossing supernatural horror mystery that's quite satisfying except for the ending. As an adaptation of Christie, it sucks. As a non related atmospheric ghost murder mystery, I give it a thumbs up. With Michelle Yeoh, Jamie Dornan, Jude Hill, Kyle Allen and Camille Cottin.

The Crimson Pirate (1952)

Set in the late 18th century Caribbean, a pirate (Burt Lancaster) makes a deal with an envoy to the King (Leslie Bradley) to capture the leader (Frederick Leister) of a rebellion against authorities. However, when he meets the daughter (Eva Bartok) of the rebel leader, he begins to have second thoughts. Directed by Robert Siodmak (THE SPIRAL STAIRCASE), this affectionate tongue in cheek homage to the swashbuckler is great fun. Siodmak specialized in the darker noir genre but he seems right at home in this fast moving adventure. Reputedly, it was Siodmak's idea to turn a serious script into a comedy adventure. Lancaster started out as a circus acrobat but after his film debut in Siodmak's THE KILLERS (1946), he rarely had a chance to fully show his acrobatic skills but they're on display here and he looks like he's having a ball! Even if you're not a fan of pirate movies, this one is hard to resist. With Dana Wynter, Nick Cravat, Christopher Lee, Torin Thatcher, Margot Grahame and James Hayter.

Seven Keys To Baldpate (1935)

A novelist (Gene Raymond) takes on a bet that he can write an entire novel in 24 hours. To do this, he settles in a secluded hotel that is closed for the winter season. But it isn't long before a barrage of shifty characters interrupt his solace. Based on the play by George M. Cohan by way of the novel by Earl Derr Biggers (creator of Charlie Chan) and directed by William Hamilton and Edward Killy. This was the second sound version (the first was 1929) of the film and two more versions (1947, 1983) would follow. This version emphasizes the comedic elements more than the mystery aspects and in a smart move (in my opinion) jettisons the "twist" ending of previous versions. It's still an overly frantic movie whose humor isn't as clever as it thinks it is and despite its brief running time (1 hour, 8 inutes), it wears out its welcome fairly quick. The large supporting cast includes Walter Brennan, Eric Blore, Henry Travers, Erin O'Brien Moore, Grant Mitchell and Margaret Callahan.  

La Voce Della Luna (aka The Voice In The Moon) (1990)

Recently released from a mental asylum, two men (Roberto Benigni, Paolo Villaggio) roam the Italian countryside where they have a series of surrealistic adventures including the capture of the moon. Based on the novel IL POEMA DEI LUNATICI by Ermano Cavazzoni and directed by Federico Fellini (LA DOLCE VITA). This was Federico Fellini's final film and I wish I could say it was a great swan song but frankly, I found the movie to be almost unwatchable. It was if I was watching a movie by a lesser talent imitating Fellini. I didn't mind the often incoherent narrative, after all this is Fellini. The word lunatic comes from the word luna which means moon and Fellini takes it to heart as he attempts to make a connection with the two mentally ill protagonists who feel the pull of the moon. While the film was a massive hit in Italy ((it received three David Di Donatello awards, the Italian Oscar), the rest of the world dismissed it. It just meanders around with the usual array of Fellini oddballs and while you get a sense of what themes Fellini is pushing, it's just a mess. I must confess that other than CITY OF WOMEN and GINGER AND FRED, I didn't much care for Fellini's output from the 1970s on. With Nadia Ottaviani and Angelo Orlando.

The Facts Of Life (1960)

A married advertising executive (Bob Hope) and a suburban housewife (Lucille Ball) fall in love. Both belong to the same social group so it's difficult to maneuver their affair secretly. Directed by Melvin Frank (THE COURT JESTER), the film did well critically and at the box office. At the time, it was a bit of surprise to see Bob Hope and Lucille Ball in a comedy about adultery, their movies were usually more family friendly but this one was for the adults. I'm a big fan of Bob Hope movies but this isn't one of my favorites. Since it's a more "serious" subject, Hope's usual persona is kept in check as is Ball's wacky I LOVE LUCY image. This being 1960, the outcome of the affair is never in doubt. Still, it's a solid picture which many consider one of Hope's best. Some 13 years later, director Melvin Frank would cover some very similar territory in A TOUCH OF CLASS (1973) but this time unrestricted by early 1960s morality but this is the better movie. It received five Oscar nominations and won one (best B&W costume design). With Ruth Hussey, Don DeFore, Louis Nye, Hollis Irving and Philip Ober.

T.R. Baskin (1971)

A young woman (Candice Bergen) moves from a small town in Ohio to Chicago. Stuck in a boring job and unable to connect with anyone around her, she struggles to find her place in the big city. Directed by Herbert Ross (THE GOODBYE GIRL), the movie is a major misfire. While a movie about a small town girl adjusting to life in a major urban city has potential, the film's flaw is its protagonist. She's smug, sarcastic and obnoxious right off the bat! No one likes a smart aleck, so why did the film makers think we could empathize with her? Under that smart alecky exterior, there's a lonely woman looking for something. Love? Possibly but not necessarily. But we're never privy to who she is or what she wants. We're just given her exterior. Bergen does a decent job considering that she's handicapped by the script and Ross's direction is no help. When the movie's over, we still don't know what makes her tick and how she ended up in her unhappy situation. With James Caan, Peter Boyle and Marcia Rodd.

By Candlelight (1933)

A butler (Paul Lukas) to a Prince (Nils Asther) falls in love with an aristocrat (Elissa Landi) who thinks he is his employer. How long can he keep up the charade before she finds out? Based on the play CANDLE LIGHT by Siegfried Geyer and directed by James Whale (BRIDE OF FRANKENSTEIN). While director James Whale is best known for his horror movies, he also worked in other genres like musicals (the 1936 SHOW BOAT) and this pleasant pre code romantic comedy. The film takes a little while to pick up its rhythm but when it does, it becomes quite appealing. The film's "surprise" ending isn't a surprise at all as hints are dropped through out the movie. Lukas isn't as adept at romantic comedy as the part requires but he has an endearing charm that wins you over. With Esther Ralston and Lawrence Grant.

Anna Lucasta (1958)

After being thrown out of the house by her father (Rex Ingram), his daughter (Eartha Kitt) turns to a life of prostitution. But when the son (Henry Scott) of an old friend comes to visit, her family plots to have her return home and marry him to get his money. Based on the play by Philip Yordan (itself inspired by Eugene O'Neill's ANNA CHRISTIE) and directed by Arnold Laven (ROUGH NIGHT IN JERICHO). The play was notable for being the first play with an all black cast that wasn't related to race. Ironically, when the film was first made in 1949, it was rewritten for an all white cast. This version reinstates the African American cast but gives us an ambiguous "happy" ending that the play didn't have. The film dances around Kitt's past, never explicitly using the word prostitution. Still, it's refreshing to see a film from this era with an all black cast that doesn't involve stereotypes or condescend to African Americans. Eartha Kitt was an excellent actress with a sexy image that didn't allow many opportunities to show her talent (she fared better as a singer). This is one of the few roles that gave her a chance to show her acting abilities. The role of the sailor Danny has been built up from the play to allow Sammy Davis Jr. more screen time though a sequence giving him a dance number is incongruous and superfluous. With Frederick O'Neal, Isabel Cooley (excellent), James Edwards, John Proctor and Rosetta LeNoire. 

The Set Up (1949)

An aging down on his luck boxer (Robert Ryan) keeps plugging away, sure that his luck will change with one big fight. What he doesn't know is that his sleazy manager (George Tobias) has taken money with the understanding that his fighter will take the fall. Based on a narrative poem by Joseph Moncure March and directed by Robert Wise (THE SOUND OF MUSIC). Shot in a real time narrative structure with no underscore, THE SET UP was critically admired upon its release and did well at the box office. While I quite liked it, I didn't love it as much as its reputation suggests. It's still very much admired by cinephiles and noir enthusiasts. I found the film a little too self conscious of what it was doing and I thought Wise's attitude toward the boxing audience over the top. I'm no fan of boxing and I understand boxing fans can be turned on by the thought of someone getting beaten to pulp but they're the visual equivalent of shrieking hyenas drooling for blood. Couldn't Wise have done a shot of at least one person turning away in disgust? The acting is first rate all the way down the line with both Ryan and Audrey Totter (as his girlfriend) giving career best performances. Considerably changed from the source material, notably the race of the protagonist which is African American. With James Edwards, Darryl Hickman and Wallace Ford.

The Mystic (1925)

An American con man (Conway Tearle) imports a Gypsy girl (Aileen Pringle) and her father (Mitchell Lewis) from Hungary to assist him in swindling a rich American girl (Gladys Hulette) out of her inheritance. Co-written and directed by Tod Browning (FREAKS), this highly atmospheric silent drama with supernatural overtones isn't one of Browning's better known films. His usual collaborator Lon Chaney isn't in this one and the film's stars, Pringle and Tearle aren't very well known today. While not one of Browning's major movies, it remains an engrossing film mainly because of Browning's undertone which imbues the film with a sense of encroaching doom hovering over the proceedings. A minor but stylish movie. Pringle's costumes were designed by the famous Erte (aka Romaine De Tirtoff). With Robert Ober and David Torrence.

The Road To Singapore (1931)

After his attempts to seduce a woman (Doris Kenyon) traveling on the same ship fail, an alcoholic womanizer (William Powell) discovers that she is going to marry his neighbor, a doctor (Louis Calhern). But his amorous inclinations are not stopped by her marriage and she becomes more receptive to his advances after she realizes how cold a man her husband is. Based on the play HEAT WAVE by Roland Pertwee (by way of the novel by Denise Robins) and directed by Alfred E. Green (THE JOLSON STORY). This overheated pre code romantic triangle creaks a bit but it's still quite daring for its era. It's the kind of melodrama where native drums incessantly beating through the steamy night awake passions among the Caucasian population. In one scene, the married Doris Kenyon is seen wearing an evening gown while having dinner with Powell, in the next scene she's wearing a robe, an unsubtle indication they've been to bed. The movie does have a disturbing racist element, the contempt the colonials have for the indigenous people of the island they've usurped from its population. With Marian Marsh, Alison Skipworth and Ethel Griffies.

This Sporting Life (1963)

Set in a small working class town in Yorkshire, a crude and vulgar professional Rugby player (Richard Harris) is a great success on the playing field. But his attempts at romance with his landlady (Rachel Roberts) are less successful. Based on the novel by David Storey (who adapted his novel for the screen) and directed by Lindsay Anderson (O LUCKY MAN) in his feature film directorial debut.  In the mid to late 1950s, the British cinema seemed in a state of stagnation. But beginning in the 1960s, British cinema shook the international film industry with a bevy of exciting new directors like Tony Richardson, Karel Reisz, John Schlesinger, Richard Lester and John Boorman among them. Lindsay Anderson's THIS SPORTING LIFE was one of the key British films of this period. This examination of loneliness among the working class is raw and vital. Richard Harris and Rachel Roberts received Oscar nominations for their performances with Harris also getting the best actor award at the Cannes film festival and Roberts receiving the BAFTA award for best actress. Both have never been better. With Alan Badel, Colin Blakely, William Hartnell, Vanda Godsell and Arthur Lowe.

The Man Of Destiny (1981)

Set in 1796 Italy, the young Napoleon Bonaparte (Simon Callow) is fresh off his victory of the Battle of Lodi. Staying at a small inn, he meets a mysterious woman (Delphine Seyrig) who may be an Austrian spy. Based on the play by George Bernard Shaw (PYGMALION) and directed by Desmond Davis (GIRL WITH GREEN EYES). Filmed for the BBC, this isn't one of Shaw's major plays. There are two minor characters but the focus is on the back and forth dialogue between Napoleon and the lady at the inn. There is no complicated narrative to speak of, it's bantering but when the bantering is by George Bernard Shaw, you know you're most likely going to get some superior dialogue. As Napoleon, Callow is a bit superficial, more posing than acting but Delphine Seyrig is at her most charming and seductive as the possible spy. With David Troughton and Niall Toibin.

Memory (2023)

A social worker (Jessica Chastain) is a recovering alcoholic and a survivor of sex abuse as a child. One night she is followed home by a man (Peter Sarsgaard), who is in the early stage of dementia. Their encounter will change both their lives. Written and directed by Michel Franco (AFTER LUCIA), this is a quirky and eccentric film yet remaining dark and disturbing in its underbelly. I'm still weighing in on how I feel about it. I had a difficult time with it. Is the film maker irresponsible or are the film's characters irresponsible in their behavior? Whatever you think, it's not a film you can dismiss or shake off easily. Shot on an obvious low budget, the movie has a gritty and authentic feel to it. The performances are excellent (Sarsgaard won the best actor award at the Venice film festival) and both Chastain and Sarsgaard give strong but subtle performances resisting the temptation to overact which lesser actors would be inclined to do. A difficult and often frustrating film but worth checking out. With Jessica Harper (excellent) as Chastain's enabling mother), Merritt Wever and Josh Charles. 

Branded (1950)

A gunfighter (Alan Ladd) attempts to pass himself off as the long lost kidnapped son of a wealthy Texas rancher (Charles Bickford). But as he softens due to the kindness from the family, he begins to develop a conscience. Based on the novel MONTANA RIDES by Max Brand and directed by Rudolph Mate (THE 300 SPARTANS). A decent and interesting western that tries to be out of the ordinary by focusing on the human element rather than the usual western paraphernalia like gunfights, Indian attacks etc. Unfortunately, it isn't interesting enough to make it stand out of the pack of the plentiful but often generic westerns of the 1950s. The original 1933 novel received some praise so I assume the film version didn't do it justice. There's some nice lensing of the exterior Arizona locations by Charles Lang (BOB & CAROL & TED & ALICE). With Mona Freeman, Tom Tully, Joseph Calleia, Robert Keith, Selena Royle and Peter Hansen. 

Time Limit (1957)

A former POW (Richard Basehart) in North Korea has not only been charged with collaboration with the enemy, he's signed a confession. However, his judge advocate (Richard Widmark, who also produced the film) is suspicious of the case and suspects the defendant is withholding vital information. Based on the play by Henry Denker and Ralph Berkey and directed by actor Karl Malden (his only film as a director). I was surprised how much I liked this intense legal drama. The performances are quite good, not surprising since the director is an Oscar winning actor but although the film is based on a play, it's not static. Its theatrical origins are obvious and almost all of the film is confined to Widmark's office but that only adds a suitably claustrophobic layer to the movie. The movie presages THE MANCHURIAN CANDIDATE (1962) and its "message" is a critical one. The film's original reviews were kind to Malden's direction but he found direction wasn't for him. With Rip Torn, Martin Balsam, Dolores Michaels, June Lockhart and Carl Benton Reid.

Lloyds Of London (1936)

A young man (Tyrone Power) who works at the famous insurance company Lloyds Of London during the Napoleonic Wars finds his fortunes rising as he climbs to the top. Unfortunately, he falls in love with a married woman (Madeleine Carroll) stuck in an unhappy marriage. Directed by Henry King (THE GUNFIGHTER), this is a romanticized slice of fictionalized historical slop. The actual Lloyds Of London cooperated with 20th Century Fox in the making of the movie and why wouldn't they? It's a two hour advertisement for the insurance company! It's as dull as you would imagine a movie about an insurance company to be. On the plus side, the atmosphere of late 18th century London feels authentic thanks to the excellent Oscar nominated art direction of William S. Darling. This was Tyrone Power's fifth film and his first starring role and he remained a major star until his death 22 years later. With George Sanders, Freddie Bartholomew, Virginia Field, C. Aubrey Smith and Una O'Connor.

Hi Diddle Diddle (1943)

On a 48 hour leave, a sailor (Dennis O'Keefe) ties the knot with his socialite sweetheart (Martha Scott). The newlyweds  are all set to start their honeymoon when a snowballing series of events threaten to roadblock every avenue of marital bliss. Directed by Andrew L. Stone (THE LAST VOYAGE), this minor entry in the screwball comedies of the 1940s is intermittently amusing. Often breaking the fourth wall (not unlike the Hope-Crosby ROAD movies) by having the actors comment on situations outside the movie's plot ("That's the director's girlfriend, he's trying to put her in as many scenes as he can"). The talented cast is game and they barrel through the dialogue quickly hoping we don't realize it's not all that funny. But if you stick with it, it grows on you. With Adolphe Menjou, June Havoc, Billie Burke, Pola Negri and Walter Kingsford.

Anatomie D'une Chute (aka Anatomy Of A Fall) (2023)

In the Southeastern France region of Grenoble, the dead body of a man (Samuel Theis) is found by his partially blind son (Milo Machado Graner) having fallen from from the attic. An accidental fall? Suicide? Homicide? Soon after, the boy's mother (Sandra Huller) is arrested for the murder of her husband. Co-written and directed by Justine Triet (SYBIL), this film won the Palme d'Or at this year's Cannes film festival as well as the New York Film Critics award as best foreign language film (although much of the movie is in English). It's a riveting film on two levels. Purely as a courtroom thriller, it's a superior effort but it also addresses the power play of a modern married couple whose marriage is uneven. Huller's performance dominates the movie and a lengthy flashback scene with the couple dissecting their marriage in a rage is stunning in its honesty and superbly written. Did she or didn't she kill her husband? The film leaves it up to us to decide what side we come down on. Definitely worth seeking out. With Swann Arlaud, Antoine Reinartz, Jehnny Beth and Messi, a border collie whose performance won the Palm Dog award at Cannes and justifiably so.

Stolen Hours (1963)

A wealthy American expatriate (Susan Hayward) living in England has a fatal brain tumor. However, her doctor (Michael Craig) who is in love with her conspires with her sister (Diane Baker) to keep the news from her. Based on the play DARK VICTORY by George Brewer Jr. (previously filmed in 1939) and directed by Daniel Petrie (RESURRECTION). The 1939 DARK VICTORY was not a great movie but Bette Davis's performance was. Her vital performance elevated the movie and gave it the sheen of something special. Throughout her long career, Susan Hayward was often unceremoniously described as the "poor man's Bette Davis" and her performance here shows why. There's nothing wrong with Hayward's performance, it's quite decent but there's no energy that drives the film forward the way Davis's performance did. The many changes this version makes to the script does Hayward no favors either. On the plus side, there's a lovely underscore by Mort Lindsey. Remade in 1976 as a TV movie with Elizabeth Montgomery. With Edward Judd and Paul Rogers.

The Last Voyage Of The Demeter (2023)

A merchant ship called the Demeter picks up cargo in Bulgaria that is to be transported to London. But what that cargo contains will prove the ship's destruction. Based on a chapter in DRACULA by Bram Stoker ("The Captain's Log") and directed by Andre Ovredal (AUTOPSY OF JANE DOE). Despite the film's mixed reviews, I'd heard some positive things about this horror riff on the Stoker novel so I was looking forward to it. Alas, it's a major disappointment! This attempt to rewrite Bram Stoker is a ripoff of ALIEN (1979) set on a merchant ship instead of a salvage ship in outer space. If you've read the Stoker novel, you know where this is going although the screenplay deviates from Stoker and sets it up so it's sequel ready (the movie flopped so hopefully we'll be spared). The film is filled with cliches like the female stowaway (Aisling Franciosi), I thought that cliche went out in the 1950s and the "adorable" cabin boy (Woody Norman). The movie zigzags toward the obvious predestination with a lack of suspense. The best thing about this mess is Liam Cunningham as the ship's Captain, the only authentic performance and character. With Corey Hawkins, David Dastmalchian and Javier Botet.

L'Enfant Sauvage (aka The Wild Child) (1970)

In 1798, a naked boy (Jean Pierre Cargol) about 11 or 12 years old is discovered in the forests of Southern France. The boy, who seemingly can't hear or talk, has apparently grown up in solitude in the forest since an early age. A doctor (Francois Truffaut) at the institution where the boy is placed takes the child under his wing and along with his housekeeper (Francoise Seigner) attempt to educate the boy. Based on a true story and directed by Francois Truffaut (JULES AND JIM). This is a wonderful movie. Truffaut has always shown an interest in children in his movies like THE 400 BLOWS and SMALL CHANGE and this fact based movie adds a layer of fascination as he examines the question of the noble savage versus the civilized human. It's clear which side he weighs in on. Refreshingly concise and compact (it runs under 90 minutes) in this era of three hour movies, Truffaut gives us a near poetic portrait of innocence. The superb B&W images courtesy of the great Nestor Almendros are museum worthy. With Jean Daste and Claude Miller.