The Mad Doctor (1941)

A smooth and sinister physician (Basil Rathbone) woos, weds and murders several of his wealthy female patients for their fortunes. He sets up a Park Avenue psychiatry practice and sets his eyes on "curing" a troubled heiress (Ellen Drew). But something different occurs ..... he falls in love with her. Directed by Tim Whelan (THIEF OF BAGDAD) with a script co-written by Charles MacArthur and Ben Hecht (THE FRONT PAGE). An above average thriller with a solid performance by Basil Rathbone in one of his rare leading man roles (the Sherlock Holmes franchise excepted). The nominal "hero" (John Howard) is unlikable and arrogant which gives a perverse sympathy to Rathbone's serial killer. As Ellen Drew's character says of him, there's something frightening about him but also something sad and this is what gives him a dual nature and makes him more interesting than the bland "hero". The film's last 15 minutes or so are very intense and director Whelan squeezes all the tension he can out of the material. With Martin Kosleck (very good as Rathbone's homicidal companion), Ralph Morgan and Barbara Jo Allen.

Smart Woman (1948)

A special prosecutor (Brian Aherne) is assigned when a grand jury is dissatisfied with the efforts of the district attorney (Otto Kruger) to prosecute crime in its city. And why would he? He's involved up to his teeth in crime and racketeering. Meanwhile, an attorney (Constance Bennett) is being blackmailed by the D.A.'s partner in crime (Barry Sullivan). Directed by Edward A. Blatt (BETWEEN TWO WORLDS). In the late 1940s as actors were freed by the studio system, many formed their own production companies to make their own films (Humphrey Bogart's Santana productions and Joan Fontaine's Rampart productions to name just two). One of the most popular actresses in the 1930s, Constance Bennett found her career floundering in the late 1940s and she formed Constance Bennett productions and SMART WOMAN was the result. While the film offers a juicy role for her, it's not much more than a melodramatic potboiler. It's watchable but it's also forgettable and did nothing to stop her sinking career and by 1951, her film career was over (she did return one more time in 1966 for MADAME X). Worth checking out for Bennett fans but everyone else can pass. With Michael O'Shea, James Gleason, Isobel Elsom and Selena Royle.

Three Sisters (1970)

Set in a small provincial Russian town, three sisters long to return to Moscow, the city where they grew up: Olga (Jeanne Watts) is a spinster who teaches school, Masha (Joan Plowright) is married to an older man (Kenneth MacKintosh) she has fallen out of love with and Irina (Louise Pernell), the youngest who fantasizes that everything will be fine if they could get back to Moscow. Based on the classic play by Anton Chekhov (the "The" has been dropped from the title) and directed by Laurence Olivier. Chekhov's great drama reflects on the dreams we have and how we must go on when they don't materialize. While the sisters' stoic acceptance of their situation may prove irritating to some (at times, I wanted to yell, "Do something about it instead of just talking about it"), Chekhov perfectly encapsulates their loneliness and entrapment and perhaps their passive acceptance is a comment (would they be any happier in Moscow?). The acting is very good and director Olivier has a supporting role as an alcoholic doctor. Not released in the U.S. until 1974. With Alan Bates, Derek Jacobi, Sheila Reid and Ronald Pickup.

The Lawyer (1970)

A Harvard educated Italian-American attorney (Barry Newman) practices law in a small Southwestern town where he's resented by the prejudiced locals. When he takes on the defense of a rich physician (Robert Colbert) accused of murdering his wife (Mary Wilcox), he has an uphill battle. Directed by Sidney J. Furie (THE IPCRESS FILE). Despite it's graphic violence and nudity, the film plays out a TV movie of the week. Indeed, it spawned a TV series named PETROCELLI (the name of Newman's character) also starring Barry Newman that had a two year run from 1974 to 1976 so the theatrical film seems like a TV pilot. The film's murder trial is based on the notorious Sam Sheppard murder case in 1954. If you're partial to courtroom dramas and whodunits as I am, there's enough here to hold your attention. The acting never rises above adequate and sometimes less than that. There are two awful performances that I found hard to watch: Harold Gould as the prosecuting attorney can't seem to get a grasp on his character so he continually pops candy into his mouth hoping that will define his character and then there's Jeff Thompson whose non stop grinning made him look mentally defective. With Diana Muldaur, Kathleen Crowley, William Sylvester, Michael Murphy and Ken Swofford.

Ma Saison Preferee (aka My Favorite Season) (1993)

Set in Southwest France, a brother (Daniel Auteuil) and sister (Catherine Deneuve) renew their tenuous relationship after their mother (Marthe Villalonga) suffers a stroke. Co-written and directed by Andre Techine (LES VOLEURS). Although very well acted and directed, I found Techine's film about a dysfunctional family creepy. Certainly it's possible (and it's been done) to make a film with screwed up characters at its center and still relate to their problems but Techine isn't able to make that connection. But Deneuve's adrift wife, Auteuil's self centered doctor, Villalonga's ornery mother deserve each other. As Deneuve's daughter (Chiara Mastroianni) states in the film, that side of the family is dangerous and she doesn't want to have anything to do with them and I couldn't agree more. My opinion isn't share because the film was a big hit in France where it received 7 Cesar (the French Oscar) nominations and both French and American critics gave it their approval. Still, there's no denying it has a certain power. With Jean Pierre Bouvier, Anthony Prada and Carmen Chaplin (Charlie's granddaughter).

The Enforcer (1951)

A crusading district attorney (Humphrey Bogart), out to convict the head of a vicious murder for hire ring, must race against time to find the evidence he needs to bring down the mob boss (Everett Sloane). Directed by Bretaigne Windust (JUNE BRIDE) with an uncredited assist from Raoul Walsh (WHITE HEAT). This early example of what has come to be known as a police procedural is also considered film noir although I wouldn't consider it so myself. The film is often tedious and repetitive with what seems the same scene played over and over again, only with different characters. The movie opens in the present and goes into flashback mode where there are several flashbacks within that flashback. There is a very nice twist at the very end which ends in an intense race against time in order to prevent another death. It's a good little suspense flick, you'll just have to endure the frequent monotony to get to the excellent payoff. With Zero Mostel, Ted De Corsia, Susan Cabot, Roy Roberts, Michael Tolan, Don Beddoe and Patricia Joiner.

Return Of The Bad Men (1948)

Set during the Oklahoma Land Rush of 1889, a cadre of outlaws headed by the notorious outlaw Wild Bill Doolin (Robert Armstrong) prey on the newly prosperous territory. The nastiest of the gang is The Sundance Kid (Robert Ryan) and the town's marshal (Randolph Scott) has a personal grudge to settle with the Kid. Directed by Ray Enright (THE SPOILERS). Typical B western fodder, the kind that played on Saturday afternoons on TV when I was a kid. The good guys (Scott) vs. the bad guys (Ryan), the "bad" girl (Anne Jeffreys) and the "good" girl (Jacqueline White) both in love with the hero, shoot outs and fist fights. You could follow the movie like a map of western movie cliches. Being the bad girl who turns good because she loves the marshal and turns against her outlaw pals, you just know that Jeffreys won't make it to the end. Then there's the ubiquitous Gabby Hayes, irritating as ever presumably there to provide comedy (epic fail there). With Lex Barker, Robert Bray, Steve Brodie and Minna Gombell.

Charlie Chan At The Olympics (1937)

When a U.S. military plane is hijacked and its top secret guidance system stolen, detective Charlie Chan (Warner Oland) heads to Germany to attempt to get it back before it falls into enemy hands. By coincidence, his son (Keye Luke) is on the U.S. Olympics swim team. Based on the character created by Earl Derr Biggers and directed by H. Bruce Humberstone (I WAKE UP SCREAMING). The 14th film in the 20th Century Fox Charlie Chan franchise is one of the better entries. The film includes actual footage from the 1936 Berlin Olympics. The mystery is complicated and takes a few twisty turns before it arrives at its satisfying conclusion but the screenplay doesn't allow for any excess fat as director Humberstone pushes it along. The film hints at the trouble in Germany to come and in an amusing bit, Chan flies to Germany on the Hindenburg. With Katherine DeMille (Cecil B.'s daughter), Pauline Moore, Allan Lane, C. Henry Gordon and John Eldredge.

Creature From The Haunted Sea (1961)

Set during the Cuban revolution, an American racketeer (Antony Carbone) uses his boat to transport a group of Cuban loyalists and their stolen gold from Cuba's treasury to the U.S. where they will plot a counter revolution to restore the old power. But the racketeer has other plans which consists of killing off the Cubans and keeping the gold for himself. Directed by Roger Corman (MASQUE OF THE RED DEATH). Perhaps best known for his stylish Edgar Allan Poe adaptations, Corman did several horror comedies like LITTLE SHOP OF HORRORS and A BUCKET OF BLOOD and this B&W off the cuff quickie (shot in 5 days) is among them. I can't find the words to describe just how awful and amateurish it is! First of all, it's not remotely funny (unless you're a backward 10 year old). Curiously, the film is a favorite of Corman's. A parody of the far superior CREATURE FROM THE BLACK LAGOON, the film might have worked if it was played seriously and the monster didn't look like a rubber bathtub toy. With Betsy Jones Moreland, Beach Dickerson and Robert Towne, who would give up acting and become a screenwriter (he wrote the classic CHINATOWN).

Maria (2024)

Set in 1977 Paris. No longer performing because of the deterioration of her voice, the legendary opera singer Maria Callas (Angelina Jolie) lives in a secluded retirement with her butler (Pierfrancesco Favino) and housekeeper (Alba Rohrwacher). An interview that is being filmed has her reflecting on her past. Directed by Pablo Larrain, this is the third film in his trilogy of iconic women of the 20th century following JACKIE (2016) and SPENCER (2021), both receiving Oscar nominations for its leading ladies, Natalie Portman as Jackie Kennedy and Kristen Stewart as Princess Diana. A third nomination is highly likely for Jolie's Maria Callas. As cinema, it's a good film but it's Jolie's deeply felt performance that elevates it to another level. She inhabits the Callas of her later years and brings both a strength (Callas was not one to wallow in self pity) and a poignance to a woman bereft when her artistic life is vanished. As Larrain has proved before, his biographical films resist the cliches that mar the usual biopics. Even if you're not an opera fan, the film offers a rich cinematic experience thanks to Jolie's quietly potent performance. With Kodi Smit McPhee, Valeria Golino and in a wonderful performance as Aristotle Onassis, Haluk Bilginer.

Justine (1969)

Set in 1938 Egypt, a young English schoolteacher (Michael York) is introduced to the beautiful and enigmatic wife (Anouk Aimee) of an Egyptian banker (John Vernon). He falls under her spell although her attitude toward him is cavalier and she harbors secrets. Based on the novel by Lawrence Durrell (the first part of his ALEXANDRIA QUARTET) and directed by George Cukor (GASLIGHT). Filled with talent both in front of and behind the camera, the result is an incoherent mess. Joseph Strick (TROPIC OF CANCER) was the original director and began filming in Morocco but when he was fired the production was moved to Hollywood and Cukor took over as its director. I've not read Durrell's novel but the movie feels like big gaps of narrative are missing. Characters pop up and disappear quickly (as if their parts were truncated) without the necessary background to make us interested. Characters are also talked about and I struggled to remember who the hell they were talking about. The actors seem lost at sea with only Anna Karina as a forlorn belly dancer who seems to have a grasp on her character. The film was a big flop at the box office and critically savaged. But what a cast: Dirk Bogarde, Robert Forster, Jack Albertson, Philippe Noiret, Michael Dunn, Marcel Dalio, Barry Morse and Cliff Gorman.

The Dragon Painter (1919)

A young man (Sessue Hayakawa) dwells in the Japanese mountains where he paints dragon imagery believing that a princess has been turned into a dragon by the gods. When he his brought to the city to meet a famous artist (Edward Peil Sr.) who will be his mentor, he believes the artist's daughter (Tsuru Aoki) is the reincarnation of the princess. Based on the novel by Mary McNeil Fenollosa and directed by William Worthington (THE GIRL ON THE STAIRS). While diversity in film is very much on the mind of contemporary Hollywood these days, it should be noted that two of the most popular stars in silent cinema were Asian: Sessue Hayakawa and Anna May Wong. While most people know Hayakawa from his Oscar nominated performance in BRIDGE ON THE RIVER KWAI, his striking good looks made him a leading man in Hollywood from 1914 to 1922. The stunning Yosemite National Park stands in for the Japanese mountain country while the Japanese Tea Garden in Coronado (where SOME LIKE IT HOT was filmed) stands in for the mentor's estate. The film brings into play whether Art is more important than love when Hayakawa's painter loses his ability after falling in love. Should the woman remove herself from the equation in order for her beloved exercise his Art? With Toyo Fujita.

The Train Robbers (1973)

A Civil war veteran (John Wayne) teams up with a widow (Ann-Margret) to recover a half million in hidden gold that her late train robber husband stole. To this end, he invites two war buddies (Rod Taylor, Ben Johnson) to help out. But the dead man's ex partners also want the gold and will kill to get it. Written and directed by Burt Kennedy (SUPPORT YOUR LOCAL SHERIFF). An unassuming western that moves pleasantly along and certainly more appealing than some of Wayne's other late westerns like CHISUM, CAHILL U.S. MARSHAL or ROOSTER COGBURN. Handsomely shot in wide screen Panavision by William H. Clothier (DONOVAN'S REEF) that does justice to its Mexico and Arizona locales. If you're a westerns or Wayne fan (as I am), it's a pleasant if unmemorable watch. It's Wayne's movie all the way. Normally, Ann-Margret and Rod Taylor hold the screen in their own right but here, they're just along for the ride. With Ricardo Montalban, Christopher George and Bobby Vinton.

These Old Broads (2001)

After their 1960s musical BOY CRAZY is re-released to movie theatres and becomes a smash hit all over again, a young TV producer (Jonathan Silverman) is assigned against his will to sign up its three leading ladies (Shirley MacLaine, Debbie Reynolds, Joan Collins) for a TV special. But there's a major obstacle to overcome ..... the three divas can't stand each other! However, their agent (Elizabeth Taylor) will take care of that. Co-written by Carrie Fisher and directed by Matthew Diamond (1995's VICTOR VICTORIA). The casting of MacLaine, Reynolds, Collins and Taylor promises to be a juicy slice of camp but if the result is a little less than hoped for, it can't help but still be fun. All four actresses are troupers and the screenplay incorporates elements of their own lives into the mix and the actresses are game. Example: Reynolds character is still hostile over Taylor stealing her husband, MacLaine's believes in reincarnation and when Silverman compliments Taylor on how good she looks, she snorts "I'm as big as a bungalow!". With Gene Barry, Peter Graves, Pat Harrington, Kevin Nealon, Hinton Battle and Carrie Fisher.

Lifeguard (1976)

A 30 something lifeguard (Sam Elliott) enjoys his life on the beach. He's a sought after stud with the ladies and he has no responsibilities or commitments. But after attending his 16 year high school reunion, he begins to re-evaluate his options. Directed by Daniel Petrie (A RAISIN IN THE SUN). An often thought provoking piece that evokes the British film ALFIE (1966). Sam Elliott's Rick isn't a prick like Michael Caine's Alfie but his life seems just as aimless. In his career breakthrough role, Elliott is excellent as the drifting lifeguard but the acting honors are stolen by a young Kathleen Quinlan as a lonely 17 year old who attaches herself to him. For some bizarre reason, Paramount marketed the film as a summer (it was released in July) beach romp with girls in bikinis when it was, in fact, a poignant drama. Reviews at the time of the original release weren't kind but posterity has been good to it. With Anne Archer, Parker Stevenson and Stephen Young. 

Double Or Nothing (1937)

An eccentric millionaire's will has four honest people (Bing Crosby, Martha Raye, Andy Devine, William Frawley) scrambling to double their received sum of $5,000 in order to gain the entire estate. But the millionaire's duplicitous surviving family (Mary Carlisle, Samuel S. Hinds, Fay Holden, William Henry) plot to sabotage their attempts in order to keep the money in the family. Directed by Theodore Reed (HER FIRST BEAU). I'm not Bing Crosby's biggest fan but this musical comedy is more of an ensemble film and the mediocre bunch of tunes (though one, The Moon Got In My Eyes was a popular hit) aside, the plot machinations are amusing enough to keep one interested. While the movie is padded out with specialty acts, the musical highlight is a jazzy scat number After You sung by Frances Faye, Martha Raye and Bing Crosby which allows the movie to come alive briefly. With Benny Baker, Elsie Ames and Nick Arno.

La Battaglia Di Algeri (aka The Battle Of Algiers) (1966)

Set in French occupied Algeria from 1954 to 1957 when the National Liberation Front attempts to destroy the French Colonialism which has a hold on the city of Algiers with the eventual goal of independence from France. Based on the memoir SOUVENIRS DE LA BATAILLE D'ALGER by Saadi Yacef and directed by Gillo Pontecorvo (BURN). Shot in grainy B&W 16 millimeter with a cast of non professional actors (Jean Martin as a French colonel being an exception), the film has a documentary look and feel to it. Pontecorvo received two Oscar nominations for this film, best director and best screenplay (shared by Franco Solinas). It's an amazing influential film that looks at the fine line between revolutionaries and terrorists. Clearly Pontecorvo is on the side of the oppressed Algerians who want the invading foreign power to leave so they can rule their own country. It took two years to be released in France because of pressure from right wing groups and veterans' groups. The film was highly influential in two ways. Its influence on film makers like Stanley Kubrick, Spike Lee and Costa Gavras among others and its influence on political groups like the Black Panthers, Palestinian Liberation Organization and the Irish Republican Army among others. A must for fans of cinema. With Saadi Yacef, Brahim Haggiag and Samia Kerbash. 

Emilia Perez (2024)

Set in Mexico, a lawyer (Zoe Saldana) who's frustrated by the lack of opportunity in her current position is contacted by the notorious head (Karla Sofia Gascon) of a drug cartel. He offers her a massive amount of money to help fake his death so he can transition his gender to female. This would necessitate abandoning his wife (Selena Gomez) and children. Four years after her reassignment surgery, she meets the lawyer in London and asks another favor. Based on the opera by Jacques Audiard by way of the novel ECOUTE by Boris Razon and directed by Audiard (RUST AND BONE). Winner of the Jury Prize and the best actress award (collectively by its female ensemble) at this year's Cannes film festival. This is an extraordinary film! An intense "gangster" crime musical about four different women (Adriana Paz as Gascon's lover is the 4th woman) searching for the freedom to be true to themselves. The songs (by Clement Ducol and Camille) are the inner voices of these women and the only time they can express their true selves. It's a risky venture that could have been a disaster or even worse, "camp" but Audiard knocks it out of the ballpark. Anyone looking for a film about a transgender victim in a hostile society is going to be disappointed, this is no A FANTASTIC WOMAN. Gascon's Emilia Perez is a complex and flawed character who can't quite shake off her thug past though she tries to redeem herself. Original and audacious, you've never seen anything like it. The choreography is by Damien Jalet. With Edgar Ramirez and Mark Ivanir.

The Devil Bat (1940)

A doctor and scientist (Bela Lugosi) is resentful of the two families that made a fortune off his invention of a greaseless cold cream in spite of the fact that they offered him a percentage of the profits but he preferred a flat fee of $10,000 instead. He seeks revenge and to this end, he breeds a race of giant vampire bats to do his bidding. Directed by Jean Yarborough (SHE WOLF OF LONDON). This B&W horror film is the product of Producers Releasing Corporation, along with Monogram pictures one of the poverty row studios that produced movies on a shoestring budget and boy does this movie look it. The film was successful enough that PRC produced a sequel, DEVIL BAT'S DAUGHTER but without Lugosi. If you've a taste for low budget horror movies, you could do worse. It's not very good but it's so ludicrous that you can't help but be engaged by it. With Suzanne Kaaren, Dave O'Brien, Guy Usher and Yolande Mallott.

Nob Hill (1945)

Set in the turn of the century San Francisco, the owner (George Raft) of a popular nightclub on the Barbary Coast in San Francisco finds himself saddled with an orphan (Peggy Ann Garner), just arrived from Ireland. Things get even more complicated when he falls for a Nob Hill socialite (Joan Bennett) thus alienating his saloon singer girlfriend (Vivian Blaine). Based on the story CROCUS HILL by Eleanore Griffin and directed by Henry Hathaway (NORTH TO ALASKA). This mash up of LITTLE MISS MARKER (1934) and SAN FRANCISCO (1936) is pretty stale and George Raft seems out of place in this mixture of sentimentality and Technicolor musical (thanks to Blaine's half dozen songs) but the movie was a big hit. The movie's biggest conflict is who will Raft end up with, the rich but insincere Bennett or the loyal Blaine. Duh! Peggy Ann Garner who gave a lovely performance in A TREE GROWS IN BROOKLYN is saddled with the saccharine orphan and she comes across as a poor substitute for Shirley Temple. With Alan Reed and B.S. Pully.

Target Hong Kong (1953)

A soldier of fortune (Richard Denning) and unlucky gambler finds himself between jobs in Hong Kong. American agents and Chinese nationalists recruit him to help remove the communist influence that has come to the region. Directed by Fred F. Sears (EARTH VS. THE FLYING SAUCERS). A simplistic "red scare" propaganda potboiler that was so typical of the 1950s. The commies aren't remotely recognizable as human beings but stereotypes just dripping with evil intent. A lot of stock footage from older movies are incorporated into the film. Fortunately the movie is barely over an hour so it's over quickly. With Nancy Gates, Michael Pate, Richard Loo, Philip Ahn, Soo Young and Ben Astar in a terrible performance as the head bad guy.

Kinds Of Kindness (2024)

A portmanteau film consisting of three individual stories that are loosely thematically connected with actors playing multiple roles: 1) A man (Jesse Plemons) religiously follows orders from his boss and possible lover (Willem Dafoe). But he has qualms when he is ordered to kill a man. 2) A policeman (Jesse Plemons) is mourning his wife (Emma Stone) who is presumed dead in a boating accident. When she is rescued and brought back, he refuses to believe she is his wife but someone pretending to be his wife. 3) A woman (Emma Stone) leaves her husband (Joe Alwyn) and child (Merah Benoit) to join a bizarre sex cult lead by a charismatic demagogue (Willem Dafoe) and his lover (Hong Chau). Her mission with the cult is to find a woman who can raise the dead. Directed by Yorgos Lanthimos (POOR THINGS). This weird trio of tales is right up my alley and I lapped it up. Lanthimos' pacing is slow and precise which may frustrate some but it pays off in the end. The screenplay is clever and often witty and while some may be put off by the movie's seeming enmity, I was sympathetic. Not for everyone but if you've seen Lanthimos' previous films, you know what you're in for. Plemons won the best actor award at the Cannes film festival for his performance(s) here. With Margaret Qualley, Madmoudou Athie and Hunter Schafer, all playing multiple roles. 

Native Son (1951)

A young African American man (Richard Wright) lives in poverty with his mother and two siblings. He is hired as a chauffeur by a wealthy but progressive family. Taking the family daughter (Jean Wallace) and her communist boyfriend (Gene Michael) out on the town one night, the daughter gets drunk and unable to walk on her own when she gets home, so the chauffeur carries her up to her room. It is there that in a moment of fear, he accidentally smothers her with a pillow. He panics and his fate is sealed. Based on the novel by Richard Wright and directed by Pierre Chenal (CRIME AND PUNISHMENT). Wright's novel is a landmark in African American literature. This was the first of three filmed adaptations (also filmed in 1986 and 2019). The film's controversial nature prevented it from being filmed in the U.S. and it was filmed in Argentina (funded by the Argentine government). Even then, some of Wright's novel was changed (like his rape and murder of his girlfriend) to make him more sympathetic. The film's biggest flaw and noted at the time of the movie's release is Wright's performance. The original actor (Canada Lee) cast bowed out and Wright took over the role but he's not an actor (and 20 years too old for the part). Simply put, his performance is awkward. While it may have worked on the page, the didactic narrative doesn't work well on the screen. Still, flaws and all, it's an often powerful film noir tinged view. With Gloria Madison and George Rigaud. 

The Body Snatcher (1945)

Set in 1831 Edinburgh, Scotland. A doctor (Henry Daniell) concentrates more on teaching rather than dealing with patients. However, in order to teach his students, he needs bodies for his students to dissect. To this end, a cabbie (Boris Karloff) digs up graves to provide the doctor with the bodies he needs. But when digging graves proves too treacherous, the cabbie solves the problem by killing people and selling their bodies to the doctor. Based on the short story by Robert Louis Stevenson and directed by Robert Wise (THE SOUND OF MUSIC). This being a Val Lewton production, the film is steep in a ghoulish atmosphere thanks to the rich B&W cinematography of Robert De Grasse (KITTY FOYLE). In one of his very best performances, Karloff makes your skin crawl as the unctuous cold hearted body snatcher of the title. The film got very good notices and turned a profit for RKO. Still a very unsettling film. With Bela Lugosi, Edith Atwater, Rita Corday, Russell Wade, Robert Clarke, Bill Williams and Mary Gordon.

La Religieuse (aka The Nun) (1967)

Set in 18th century France, a rebellious young woman is forced by her family into entering a convent and taking vows against her will. The convent has a loving mother superior (Micheline Presle) but after her death, the atmosphere becomes tortuous and abusive. Based on the novel by Denis Diderot and directed by Jacques Rivette (CELINE AND JULIE GO BOATING). I'm not Jacques Rivette's biggest fan but I found this film fascinating. Anchored by a strong performance by Anna Karina in the title role, the film is a compelling portrait of political and emotional machinations within the Catholic church and more specifically, convents. Filmed in 1965, the film was banned in France until 1967. The film was shown at the 1966 Cannes film festival and its positive reception most likely helped the ban reversal. The movie wasn't shown in the U.S. until 1971. By 2024 standards, it's difficult to see any legitimate reason for a ban though the Catholic church is supersensitive to negative portrayals. The first part of the film is difficult to sit through as Anna Karina's nun is basically a prisoner who is abused by her nun tormentors but things change in the film's second half when she is transferred to a different convent which comes across as a country club for lesbians! With Liselotte Pulver, Francine Berge, Francisco Rabal and Jean Martin.

Blue Valley Songbird (1999)

A 40 something country singer (Dolly Parton) is still struggling to make it into the big time. But she's under the thumb of her controlling manager and lover (John Terry), who goes as far as sabotaging her career to keep her under his control. She must also deal with the death of her father (Bob Morrison), who was also a controlling and abusive man and the mother (Peggy Walton Walker) who looked the other way. Directed by Richard A. Colla (THE UFO INCIDENT). As an iconic country music star, Dolly Parton's acting career has been pretty much restricted to comedies and this drama allows her a rare dramatic role. She tones down the make up and sexy costumes and even darkens her blonde hair to a light redhead. While she'll never be a Streep as an actress, the role is well within her range and she acquits herself admirably. The movie allows her to sing nine songs and one of them, Wildflowers, is a beauty. I could say this is for Dolly Parton fans only but then again, who isn't? With Beth Grant and Billy Dean.

An American Werewolf In London (1981)

Two American students (David Naughton, Griffin Dunne) are trekking the moors of Yorkshire. When they stop at a small pub, the locals are hostile toward them. When they leave, they are warned to stay on the road and off the moors and to beware the full moon. Shortly thereafter, they are attacked by a wild beast that kills Dunne and wounds Naughton. Directed by John Landis (THE BLUES BROTHERS). I'm a fan of horror comedies like ABBOTT & COSTELLO MEET FRANKENSTEIN and GHOST BREAKERS and this film attempts to tread the fine line between comedy and horror. As a horror film, it works very well for me. As a comedy, I found it juvenile and inane. Landis's juxtaposition of the contrasting elements is crude and a poignant or dramatic moment is quickly demeaned by the insertion of a vulgar moment. Rick Baker's make up won the first ever Oscar for film make up and justifiably so. With Jenny Agutter, John Woodvine, Brian Glover and Lila Kaye.

Chuka (1967)

A gunfighter (Rod Taylor) arrives at a besieged outpost of misfit soldiers guarding the fort. He is hoping to persuade the unbending commander (John Mills) and his men to overcome their hatred of the Indians in order to prevent an attack by the starving tribe. It is also there that he meets an old flame (Luciana Paluzzi) from his past. Based on the novel by Richard Jessup (who adapted his novel for the screen) and directed by Gordon Douglas (THEM!). A minor but solid western, well acted and with enough action to satisfy western fans. Alas, the movie fizzled at the box office but deserved a better fate. Its darker outlook (almost everybody's dead by the end of the film) served as a bridge between the traditional heroic westerns and the darker, more violent westerns like THE WILD BUNCH that would emerge at the end of the decade and into the 1970s. The film's prologue was cut prior to its release (reputedly because it "spoiled the ending") but the transfer I saw had the prologue restored. With Ernest Borgnine, James Whitmore, Michael Cole and Victoria Vetri. 

Flight For Freedom (1943)

In the 1930s, an aviatrix (Rosalind Russell) fights discrimination against women pilots including a famous male pilot (Fred MacMurray). Yet they find themselves attracted to each other. But he doesn't seem to be interested in marriage. Directed by Lothar Mendes (THE MAN WHO COULD WORK MIRACLES). The movie is an obvious roman a clef on the legendary Amelia Earhart. The romance at the movie's core is lame (the real Earhart was a married woman) and the film's ending is an insult to her memory (it suggests suicide). The cast is not be faulted, they do as well as can be expected considering the material and Mendes' direction is adequate. But when you have material as poor as this, there's nowhere to go. Most of the movie concentrates on the romantic triangle between Russell, MacMurray and Herbert Marshall before moving into the theorizing that (like Earhart), Russell's last flight was a secret mission for the U.S. government. And while I understand that the film was made in the midst of WWII, the film's depiction of the Japanese characters as sneaky and deceitful is offensive. With Herbert Marshall, Eduardo Ciannelli and Richard Loo.

Al Capone (1959)

In 1919 Chicago, an ambitious young man (Rod Steiger) gets a job as a bodyguard for a mob boss (Joe De Santis). But it isn't long before he rises in the crime organization and eventually becoming the head of it. Directed by Richard Wilson (RAW WIND IN EDEN). A mixture of fiction and fact or more fiction than fact, the film gives us an edgy deglamorized portrait of mobster Al Capone. However, it's still no more impressive than an episode from THE UNTOUCHABLES which would debut some seven months after this movie came out. Rod Steiger gives one of his mannered scenery chewing performances that's so distracting that it takes you out of the picture. The real Capone got married in 1918 and stayed married until his death in 1947 yet the film gives him a fictional mistress (Fay Spain), the widow of a man he had killed. So much for accuracy. With Martin Balsam, Nehemiah Persoff, James Gregory, Robert Gist and Murvyn Vye.

Waikiki Wedding (1937)

A young girl (Shirley Ross) wins a contest sponsored by a pineapple company for three weeks in Hawaii. But she finds Hawaii disappointing so she wants to go back home. The pineapple company puts their top publicist (Bing Crosby) on the case and in spite of an awkward meeting, they fall in love. Directed by Frank Tuttle (THIS GUN FOR HIRE). It's an anemic musical that exploits its exotic (for 1937) landscapes in the hope that it will compensate for its lack of originality. I'm immune to whatever appeal Bing Crosby had that made him a star and Shirley Ross proves a bland leading lady. This leaves the second bananas, Martha Raye and Bob Burns and a scene stealing pet pig, to provide some adequate amusement. The film's attitude toward the native Hawaiians seems more 1837 than 1937. For Crosby fans only. The film won an Oscar for best original song, Sweet Leilani. With Anthony Quinn, Leif Erickson and Grady Sutton.

Monkey Man (2024)

Set in India, a young man (Dev Patel) ekes out a living by fighting in a fight club wearing a monkey mask. He is emotionally and literally scarred by his childhood when he saw his mother (Adithi Kalkunte) murdered and set on fire by a corrupt police chief (Sikandar Kher). When as an adult, he encounters the police chief at a brothel and cocaine den under the cover of a "social club", it sets in motion a plan for revenge that will end in an orgy of violence. Co-produced, co-written and directed by actor Dev Patel, best known for SLUMDOG MILLIONAIRE in his directorial debut. The film was a passion project for Patel as there was ten years from the inception of the movie (2014) to its theatrical release (2024). It's an action movie but there's a backbone of an emotional and cultural core (including a caste system) that lifts it out of the usual blood splattered revelry (though there's plenty of that here, too). The film is unusual in addressing the discrimination against India's Hijra community (transgender and eunuch) and the film takes them from victims to active participants against their oppressors. The movie is not without its flaws however. The violence is so excessive that at some point I became inured toward it. With Sobhita Dhulipala, Sharlto Copley, Pitobash, Makarand Deshpande and Ashwini Kalsekar, excellent as a vicious brothel madam terrorizing her staff.

Lenny (1974)

The life of controversial legendary comedian Lenny Bruce (Dustin Hoffman) and his rise and fall. Based on the play by Julian Barry (who adapted his play for the screen) and directed by Bob Fosse (SWEET CHARITY). Told in a non linear narrative with some of the important people in his life being interviewed: his wife (Valerie Perrine in an Oscar nominated performance), his mother (Jan Miner) and his agent (Stanley Beck). Shot in a B&W semi documentary style by Bruce Surtees (PLAY MISTY FOR ME), it's an absorbing biography that takes a different approach to the usual movie bios. Dark and gritty with excellent performances, Fosse doesn't romanticize Lenny Bruce. But I must confess that while I can appreciate Bruce's pushing the envelope in comedy and exposing social hypocrisies (especially in language and social injustice), I just don't find the man funny! But you don't have to find him funny to admire his irreverent audacity and paving the way for future comics like George Carlin. This may be my favorite Hoffman performance and Valerie Perrine does some terrific work here, she never had a better role. With Gary Morton and Rashel Novikoff.

The Phantom From 10,000 Leagues (1955)

After radiation burned bodies wash up on the California coast, a U.S. Department of Defense investigator (Rodney Bell) and an undersea radiation expert (Kent Taylor) are sent to discover what's plaguing a small beach town. Directed by Dan Milner, this inane grade Z horror flick is a sad affair. The "phantom" at the bottom of the sea is obviously a man in a silly rubber suit and with the solemnness that the actors bring to their roles, you'd think the movie would bring some camp amusement but it's too dull for even that. The movie's leading lady Cathy Downs had played the title role in John Ford's MY DARLING CLEMENTINE ten years previously and although I'm not a fan of that film, it's still sad to see where her career ended up. Even if you're a fan of B 1950s sci-fi and horror (as I am), one would be hard pressed to defend this one. With Philip Pine, Michael Whalen, Vivi Janiss and Helene Stanton.

Picpus (1943)

While moving into her new Paris apartment, a woman discovers a corpse in her wardrobe. Soon, more bodies pile up near the metro station Picpus. What connects the murder victims? The famous Paris detective Maigret (Albert Prejean) is summoned to investigate. Based on the novel SIGNE PICPUS by Georges Simenon and directed by Richard Pottier (DAVID AND GOLIATH). Filmed during the Nazi occupation of France, this was the first of three Inspector Maigret films starring Albert Prejean. I'm a big fan of murder mysteries so I enjoyed this one even though the mystery itself is almost annoyingly convoluted. I also could have done without the attempts at humor which add nothing to the overly complicated narrative. When the murderer is revealed, I had to wrack my brain to identify him since his only appearance prior to the big reveal was brief and inconsequential. Mystery fans should enjoy this, others may have less patience. With Juliette Faber, Jean Tissier, Andre Gabriello and Colette Regis.

The Escape Artist (1982)

The teenage son (Griffin O'Neal, son of Ryan) of a famous but deceased magician desires to follow in his father's footsteps. He runs off to Ohio to join his uncle (Gabriel Dell) and aunt (Joan Hackett) in their magic act. But he unintentionally becomes involved in the town's corrupt administration. Based on the novel by David Wagoner and directed by cinematographer Caleb Deschanel (THE BLACK STALLION). Originally filmed in 1980 but not released for two years as it went under extensive re-editing. I have no idea what the original cut was like but what we have here is a murky ill defined film that ultimately comes across as pointless. Sadly, this was the final film for several of its cast members (Joan Hackett, Desi Arnaz, Jackie Coogan, Gabriel Dell) so it's a pity that it isn't better. Even the normally reliable composer Georges Delerue (JULES AND JIM) can't seem to summon up any enthusiasm with his underscore. The talent is there, both in front and behind the camera, so what happened? With Raul Julia, Teri Garr (wasted), John P. Ryan, David Clennon, Margaret Ladd, Carlin Glynn, Richard Bradford and Isabel Cooley.

Butley (1974)

A bisexual literature professor by the name of Ben Butley (Alan Bates recreating his stage role) is descending into alcoholism and self destruction. His wife (Susan Engel) has left him and his male lover (Richard O'Callaghan) is about to leave him, too. Based on the play by Simon Gray and directed by playwright Harold Pinter (THE BIRTHDAY PARTY). Except for a brief opening sequence with Bates struggling to shave, Pinter keeps BUTLEY's theatrical roots intact and the film takes place entirely in Butley's office. I'll concede that it's well written and well acted but the character of Butley is an unpleasant, self pitying bully and what is supposed to be wit (at least Gray thinks it is) is just plain bitchiness. And we have to spend more than two hours enduring his nastiness and I couldn't help but think, "Why are people putting up with this?". Well, they're putting up with it because it's a theatrical artifice and if no one was there to be abused, there would be no play. It leaves a sour taste in one's mouth but if you enjoy good acting, there's some compensation. I must say that the play's attitude toward homosexuality seems rather quaint by 2024 standards. With Jessica Tandy, Georgina Hale, Michael Byrne and Simon Rouse.

The Loved One (1965)

A young Englishman and aspiring poet (Robert Morse) arrives in Los Angeles to visit his Uncle (John Gielgud), an artist who now works in the film industry. After his Uncle's suicide, the nephew becomes entangled with a pretty cosmetician (Anjanette Comer), who works at the funeral home where the Uncle is to be buried. Based on the novel by Evelyn Waugh (adapted for the screen by Christopher Isherwood and Terry Southern) and directed by Tony Richardson (LOOK BACK IN ANGER). After the enormous success of Richardson's TOM JONES (1963), it was inevitable Hollywood would lure Richardson back to Hollywood (his previous American film SANCTUARY from 1961 was a failure). Waugh's book was a satire on the the American funeral industry, Los Angeles and the British expatriate community in Hollywood. The film is a mixed bag, there's so much on the movie's plate that the satire is hit and miss. But what's good is very good. Handsomely shot in B&W by Haskell Wexler (IN THE HEAT OF THE NIGHT), the high points exceed the weaker ones. Morse's English accent is poor so he never quite convinces but some of the other actors nail it. Notably, Rod Steiger as the mama's boy embalmer, both hilarious and repulsive as is Ayllene Gibbons as his gluttonous mother. The massive cast (many in small roles) include Dana Andrews, Milton Berle, James Coburn, Tab Hunter, Jonathan Winters, Liberace, Roddy McDowall, Robert Morley, Margaret Leighton, Barbara Nichols, Lionel Stander, Pamela Curran, Claire Kelly, Asa Maynor and Paul Williams.

Strange Affair (1944)

A cartoonist (Allyn Joslyn) has a propensity to stick his nose in police business much to the consternation of the head (Edgar Buchanan) of the homicide department. When a man the comic strip artist was supposed to pick up turns up dead, he gets suspicious and begins to investigate. Based on the short story STALK THE HUNTER by Oscar Saul and directed by Alfred E. Green (BABY FACE). I'm partial to comedic murder mysteries but while I was entertained by the mystery aspects of the film, I found the comedy lame and often juvenile. Allyn Joslyn wasn't a leading man, he was a supporting player and based on this film, one can see why. He's just not strong enough to carry a movie. But the rest of the cast are decent and sometimes, more than that. With Evelyn Keyes, Nina Foch, Marguerite Chapman, Carole Mathews, Hugo Haas and Shemp Howard, who has one good comedic bit.

Broken Lullaby (1932)

A French violinist (Phillips Holmes) returns from WWI haunted by the death of a German soldier (Tom Douglas) he killed. Determined to make amends, he travels to the dead soldier's hometown to ask forgiveness but unable to confess what he did, he tells them he was a friend of the soldier in pre war Paris. His guilt only becomes worse when the family takes him in. Based on the play L'HOMME QUE J'AI TUE by Maurice Rostand and directed by Ernst Lubitsch (TROUBLE IN PARADISE). While there are things to admire about the film, overall I found it a heavy handed clunker. The movie's biggest flaw is Holmes as the protagonist, his performance is shockingly bad (he was pretty much a stiff in AN AMERICAN TRAGEDY too). The film's pacing, especially in the first half, is sluggish. On the plus side, its anti war message is strong and relevant and Lionel Barrymore as the dead soldier's father has a potent speech about the impact of war on both sides. The film was remade in 2016 by Francois Ozon and is a far superior movie. With Nancy Carroll, Louise Carter, Zasu Pitts and Lucien Littlefield.

Five Gates To Hell (1959)

Set in 1950 Indo China (now Vietnam). A French hospital is raided by a band of guerilla marauders led by a Eurasian war lord (Neville Brand), who takes two doctors, eight nurses and a nun hostage. They are taken to a jungle fortress where the doctors are forced to operate on a dying old man and the women turned over to the men as sex slaves. Written, produced and directed by James Clavell (author of SHOGUN) in his directorial debut. The first half of the movie is as sleazy as it sounds what with nuns crucified on trees and nurses raped but the second half is pretty good as the women escape the compound in a flight to freedom with the guerillas in pursuit. As the war lord, Neville Brand is pretty awful growling his lines in stilted pidgin English but the rest of the cast is very good as is the underscore by Paul Dunlap (THE NAKED KISS). With Dolores Michaels, Patricia Owens, Shirley Knight (in her film debut), Nancy Kulp, Nobu McCarthy, Ken Scott, Benson Fong, Irish McCalla and Greta Chi. 

Freaks (1932)

A dwarf (Harry Earles) in a traveling carnival sideshow falls under the spell of a glamorous trapeze artist (Olga Baclanova). When she discovers that the dwarf has inherited a huge fortune, she connives to marry him and then poison him to get his money. Loosely based on the short story SPURS by Tod Robbins and directed by Tod Browning (DRACULA). Critically dismissed and a box office flop when first released in 1932, the ensuing years have made FREAKS a much admired classic of horror cinema. The film's ending (an act of revenge) is certainly one of the most disturbing images in horror cinema as is the attack in the rain by the show's "freaks". Over 90 years since the movie's release, it's still an incredibly disturbing film. There's an uncomfortable feeling that its deformed sideshow performers are being exploited that doesn't sit right although many (now) consider it a sympathetic portrait of its "freaks". Some of the acting is terribly crude, notably Henry Victor as Hercules the strongman. Still, a must viewing at least once for anybody interested in horror cinema. The film was originally 90 minutes but MGM edited it down to 72 minutes and alas, the original 90 minute version no longer exists. With Wallace Ford, Leila Hyams and Roscoe Ates.

Saturday Night (2024)

A young TV producer by the name of Lorne Michaels (Gabriel LaBelle) is on pins and needles as his new comedy show SATURDAY NIGHT (the LIVE was added later) is set to debut live on air on October 11, 1975. The film is done in real time and set during the 90 minutes just before the show airs. Directed by Jason Reitman (UP IN THE AIR). First off, although based on real people and a real situation, I wouldn't take what we see as gospel. Clearly a lot of dramatic license has been taken. That being said, it's a wonderful movie. Reitman's frenetic pacing leaves you breathless (thank goodness for the handful of "quiet" scenes) and the ensemble of not very well known actors is top notch. The actors thankfully don't do imitations of the well known actors they play but give us the essence of them. I thought two of them in particular stood out: Matt Wood as John Belushi and Lamorne Morris as Garrett Morris. It helps if you were or are a fan of SNL but even if you're not, the movie captures the tension and intensity of doing a live production by the skin of your teeth. With Willem Dafoe, J.K. Simmons (as Milton Berle), Cory Michael Smith, Rachel Sennott, Ella Hunt, Dylan O'Brien, Kim Matula, Nicholas Braun, Emily Fairn, Jon Batiste (who also wrote the excellent underscore), Cooper Hoffman and Matthew Rhys as George Carlin.

Bent (1997)

Set in 1930s Berlin. Although he has a lover (Brian Webber), a promiscuous gay man (Clive Owen) brings a handsome Nazi (Nikolaj Coster Waldau) home for sex. But it is the Night Of The Long Knives, a 48 hour period when Hitler orders a purge of all those he considered a danger to his power and the handsome Nazi was the lover of an important member of the Nazi elite that Hitler wanted eliminated to solidify his power. Although the Nazi is killed, the two other men manage to escape but are eventually caught and sent to a concentration camp. Based on the play by Martin Sherman (who adapted his play for the screen) and directed by Sean Mathias, a theatre director whose only film this is. I found the first half of the film compelling but once the movie arrives at Dachau, it stops dead in its tracks. After that, it's pretty much a dialogue between two characters, Clive Owen and Lothaire Bluteau as another gay prisoner but the (often repetitive) dialogue comes off as pretentious as if written by an untalented Samuel Beckett. The score is by Philip Glass. With Mick Jagger, Ian McKellen, Jude Law, Paul Bettany and Rachel Weisz.

Carmen (1918)

Although he has a sweetheart (Grete Diercks) back home, a Dragoon Sergeant (Harry Liedtke) in Sevilla falls madly in love with a beautiful but fickle gypsy (Pola Negri). So desperately in love that he forsakes his sweetheart and his military career and even steals and kills for her. Based on the novella by Prosper Merimee (made famous by the same named opera by Bizet) and directed by Ernst Lubitsch (THE SHOP AROUND THE CORNER). This is a straight forward telling of the oft told tale, well done but not especially memorable. I will say that Pola Negri is just about perfect as the gypsy minx. You can believe that a man could fall under her spell and abandon everything. Alas, as the lovestruck soldier, Liedtke is a bit of a blob. Released in the U.S. as GYPSY BLOOD. With Leopold von Ledebur, Magnus Stifter and Margarete Kupfer.

Barocco (1976)

A young woman (Isabelle Adjani) convinces her ex-prizefighter boyfriend (Gerard Depardieu) to accept a bribe to tell a lie that discredits a local politician. When the boyfriend is murdered, she is racked with guilt until she meets the killer (Gerard Depardieu), a dead ringer for the murdered man. Directed by Andre Techine (MY FAVORITE SEASON) in only his third film. A big hit in France, it was nominated for 9 Cesar awards (the French equivalent of the Oscar). I found the film's noir-ish plot unnecessarily convoluted and didn't buy Adjani's attraction to her boyfriend's murderer. Why both the murderer and the murder victim are played by the same actor is never explained though there's an unsubstantiated suggestion that they're brothers. My favorite character and the best performance in the movie comes from Marie France Pisier as a wife and mother who supports her family as a prostitute. Pisier won the Cesar best supporting actress award for her work here. There's also a strong score by Philippe Sarde. With Claude Brasseur, Jean Claude Brialy and Helene Surgere. 

Crossplot (1969)

An advertising executive (Roger Moore) by day is a playboy by night. But when a beautiful model (Claudie Lange) he's recently hired is almost murdered and he's framed for killing an associate (Dudley Sutton), he's on the run. Directed by Alvin Rakoff (SAY HELLO TO YESTERDAY). This attempt at a romantic thriller with humor seems inspired by Hitchcock movies like THE 39 STEPS and NORTH BY NORTHWEST but to say it doesn't come close to those movies is an understatement. The movie is full of plot holes and the action sequences are routine and contrived. A mystery romp like this needs charismatic leads like a Cary Grant and Audrey Hepburn but we're saddled with a limp performance by Roger Moore and the lovely Claudie Lange, who seems to be struggling with the English language (she's Belgian). It's quite watchable but that doesn't mean that it's any good but the swinging London vibe of the 1960s that permeates the film gives it a nostalgic glow. With Martha Hyer, Bernard Lee and Alexis Kanner.

The Underworld Story (1950)

After a story he wrote gets someone killed, a reporter (Dan Duryea) is fired and finds himself blacklisted from all the major newspapers in a big city. So he moves to a small town where he becomes a partner in a small newspaper. But when the daughter in law of a prominent newspaper publisher (Herbert Marshall) is murdered and her black maid (Mary Anderson) is arrested, he finds himself involved in the biggest story of his career. Directed by Cy Endfield (ZULU). Dan Duryea's sleazy and unethical reporter who'll exploit anyone for a big story and do anything to ensure he comes out on top is a precursor by a year to Kirk Douglas's character in ACE IN THE HOLE (1951). This B&W B noir-ish crime film is a tight little thriller. Dismissed at the time of its release, it plays better today than it probably did in 1950. Dealing with corruption in the press, small town class systems and racism (but not with a heavy hand), the film has one disturbing flaw. The role of the black maid is played by a white actress, Mary Anderson who is best remembered as the other female in Hitchcock's LIFEBOAT. Thankfully, she doesn't play it in blackface but she's obviously white and if she's supposed to be bi-racial (which might explain her appearance), the movie doesn't address it. With Gale Storm, Michael O'Shea, Howard Da Silva, Frieda Inescort and Melville Cooper.

Little Darlings (1980)

At an all girls summer camp, two very different young teenage girls feel like outsiders. A rich girl (Tatum O'Neal) just wants to be accepted by the other kids but she's ostracized for being rich. The other teen (Kristy McNichol) comes from a low income neighborhood and is raised by a single mother. When a snooty "mean girl" leader (Krista Errickson) finds out the two girls are virgins, she challenges them to a contest. Whoever loses her virginity first will be a winner and win a cash prize. Directed by Ronald F. Maxwell (GETTYSBURG). There's an unsavory aspect to the film as two minors (they appear to be 15 or 16) engage in a contest to see who's the first virgin to get laid. To be fair, the film redeems itself at the very end when it shows the troubling aspect of teen girls having sex before they are emotionally ready for it. Both McNichol and O'Neal acquit themselves very well and manage to not let the dubious material soil their performances. The film was a big hit . With Matt Dillon, Armand Assante, Cynthia Nixon, Margaret Blye and Alexa Kenin. 

Dance Fools Dance (1931)

When the stock market crashes, a society playgirl (Joan Crawford) and her wastrel brother (William Bakewell) find themselves penniless and abandoned by their society friends. She goes to work for a newspaper as a cub reporter and he joins a gang of bootleggers. Directed by Harry Beaumont (MAISIE GOES TO RENO), this pre code melodrama was the first teaming of Joan Crawford with Clark Gable (who plays a bootlegger here) in a supporting role, not yet a star and they would go on to make seven more movies together. I love Crawford during her early period at MGM. She's vital and sexy, quite the scrappy vixen and unrecognizable from the hard shelled lady she became in the mid 1940s. She holds the screen like a true star. As to the film itself, it's an entertaining newspaper crime drama, more Warners in tone than MGM. The picture earned Metro a tidy little profit. With Cliff Edwards, Lester Vail and Natalie Moorhead.