Sailor Beware (1952)

A young man (Jerry Lewis) who is allergic to women's cosmetics like lipstick, face powder etc. joins the navy. A more worldly sailor (Dean Martin) befriends him and takes him under his wing. On their way to an assignment in Hawaii, his fellow sailors make a bet that he can't get a nightclub singer (Corinne Calvet) to kiss him. Based on the play by Kenyon Nicholson and Charles Robinson and directed by Hal Walker (ROAD TO MOROCCO). One of the weaker Martin and Lewis vehicles, it's near plotless while a series of episodic comic situations not related to each other make up the bulk of the movie. I'm a big fan of Jerry Lewis but he's really hit and miss in this one. It's the kind of performance that people who hate Lewis point to as an example of why they don't like him. Martin pads out the movie by singing a couple of mediocre songs. With Betty Hutton, Vince Edwards, Marion Marshall, Robert Strauss, Leif Erickson, Mary Treen and a young James Dean, who would have to wait three more years before his big break. 

Herzog Blaubarts Burg (aka Bluebeard's Castle) (1963)

A young bride (Ana Raquel Satre) comes to her groom's (Norman Foster) mysterious castle where she discovers a room with seven locked chambers. Her curiosity causes her to prod him to give her the keys to the rooms as she wants no secrets between them. Alas, her curiosity will prove fatal. Based on the opera by Bela Bartok (his only opera) with a libretto by Bela Balazs and directed by Michael Powell (BLACK NARCISSUS). Written in 1911 but not performed until 1918, Bartok's opera is not a full length opera and remained relatively unknown until after Bartok's death when interest grew. Michael Powell's love of  the fusion of music and cinema has shown itself in movies like THE RED SHOES, TALES OF HOFFMAN and OH ROSALINDA! among others. Bartok's dark opera's connection to Powell's PEEPING TOM doesn't go unnoticed. Sung in German, Powell didn't want subtitles for the libretto as he felt it would distract from the visuals and the music. There are infrequent subtitles that clarifies some action but not the libretto. Everyone knows the story of Bluebeard so the absence of subtitles are not crucial. The film is a stunning visual feast thanks to Hannes Staudinger's cinematography and Hein Heckroth's incredible production design. It's been beautifully restored under the supervision of Martin Scorsese and Powell's widow, editor Thelma Schoonmaker. For fans of Michael Powell, this is essential cinema!

Christopher Strong (1933)

An intelligent and unconventional aviatrix (Katharine Hepburn) is a liberated young woman whose ambition is to break the altitude record. But when she falls in love with a married aristocrat (Colin Clive), she finds herself pushing her ambitions aside at his request. Based on the novel by Gilbert Frankau and directed by Dorothy Arzner (DANCE GIRL DANCE). ALICE ADAMS aside, this is probably my favorite Hepburn performance during her RKO period. In only her second film and first starring role, Hepburn gives a terrific performance. In a way, it's painful to watch her vital free spirit slowly suppressed because of falling in love with a man she can never have in a polite aristocratic society without a scandal. As a pre code film, the screenplay allows a frank and open attitude. In one shot of Hepburn's braceleted wrist, it's clear the lovers are having a post coital conversation. With Billie Burke in a rare dramatic role and good too. Also in the cast: Helen Chandler, Jack La Rue and Margaret Lindsay.

Tell It To The Judge (1949)

A messy divorce from her husband (Robert Cummings) threatens the appointment of a judge (Rosalind Russell) to the federal bench. Things only get more complicated when a playboy (Gig Young) makes a play for the recent divorcee. Directed by Norman Foster (WOMAN ON THE RUN). Originally intended as a vehicle for Lucille Ball and Fred MacMurray, this screwball comedy is a pale imitation of its more illustrious predecessors. Thank heavens for Russell! She can't do anything to elevate the script but being the pro she is, she occasionally manages to make a lame line seem amusing! The same can't be said for Cummings who flounders throughout. It's the usual comedic mixture of misunderstood or mistaken situations that cause a marriage to fall apart but it's also the usual 1940s scenario that treats career women as freaks until they throw their careers away in order to be the dutiful housewife nature intended them to be. It was movies like this that began to dim Russell's movie stardom and eventually caused her to go to Broadway where she revitalized her career with smash hits like WONDERFUL TOWN and AUNTIE MAME. With Gig Young, Marie McDonald, Harry Davenport, Douglass Dumbrille, Fay Baker and Katherine Warren.

Nyad (2023)

A journalist and former champion swimmer (Annette Bening) failed in her attempt to swim from Cuba to Florida in 1978. In her 60s, she attempts once again to do the Cuba/Florida swim in 2011. Based on the autobiography FIND A WAY by Diana Nyad and directed by documentarians Elizabeth Chai Vasarhelyi and Jimmy Chin (FREE SOLO) in their narrative film debut. I was genuinely surprised how much I liked this movie. I was expecting the superlative performances by Annette Bening and Jodie Foster which anchor the movie but I didn't have much enthusiasm for the film itself going in. I mean how exciting can all that swimming be and I knew the eventual outcome of the film. But directors Vasarhelyi and Chin bring an intensity to the film that pulls you in and holds you. Bening (and the script) don't try to whitewash Diana Nyad into some sort of lovable underdog heroine. Bening plays her as a self promoting, self absorbed bitch with an air of superiority! But you still root for her. Controversies about the authenticity of Nyad's claims aside, it really doesn't matter (to me anyway). It's about female friendship and not letting an ageist society write you off before your time. There's a nice score by the wonderful Alexandre Desplat. With Rhys Ifans and Eric T. Miller.

Poor Things (2023)

Set in Victorian London, a doctor (Willem Dafoe) resurrects the body of a pregnant woman (Emma Stone) who committed suicide. But he gives her the brain of her unborn child. As she grows mentally older, she seeks to experience the world. Based on the novel by Alasdair Gray and directed by Yorgos Lanthimos (KILLING OF A SACRED DEER). This feminist version of Mary Shelley's FRANKENSTEIN is near astonishing in both its unique look and its execution. Emma Stone's Bella Baxter is a "born" innocent without the influence of a patriarchal society creating her into its concept of what a woman should be. While I intensely disliked Lanthimos' last film (THE FAVOURITE), I was a fan of both THE LOBSTER and KILLING OF A SACRED DEER but nothing prepared be for this fiercely visionary tale. I can't give enough praise to Emma Stone's performance, she bats it right out of the ballpark. Still, I can see why not everyone is a fan of it. Its glossy finish gives its visuals a prominence that often overshadows the film's intended statement. The first rate cast includes Mark Ruffalo, Ramy Youssef, Hanna Schygulla, Margaret Qualley, Kathryn Hunter and Jerrod Carmichael.

American Fiction (2023)

A black writer and teacher (Jeffrey Wright) living in L.A. goes on leave after his students complain about his abrupt and unsympathetic demeanor. Going home to Massachusetts, he reconnects with his family and writes a satire of popular black literature that pushes "ghetto" stereotypes. To his shock, the book is published and acclaimed but no one gets the satire, it's considered a serious landmark in black literature! Based on the novel ERASURE by Percival Everett and directed by Cord Jefferson in his directorial debut. I loved this movie! Incisive and witty, the film pokes fun at accepted stereotypes (usually by white people) on the "black" experience. At the film's center is a sensational performance by Jeffrey Wright in an Oscar nominated performance. Wright is a brilliantly talented Tony and Emmy winning actor but cinema hasn't always done well by him. AMERICAN FICTION remedies that! In a pay attention directing debut, Cord Jefferson (who also did the screenplay) balances the topical humor with a heartfelt and sentimental (in a good way) family dramedy. Looking forward to his next film. The excellent cast includes Sterling K. Brown, Leslie Uggams, Tracee Ellis Ross, John Ortiz, Erika Alexander, Keith David and Adam Brody. 

Kings Of The Sun (1963)

Set in a Mayan state around the early 13th century, its King (George Chakiris) leads his people away from the Yucatan peninsula across the sea to a new land (possibly Texas) where they will hopefully be free from a merciless conqueror (Leo Gordon). Directed by J. Lee Thompson (CAPE FEAR), this modest historical epic is an intelligent effort that is more concerned with ideas (like peaceful coexistence and barbaric religions) than spectacle though there is some of that, notably in the final battle which is superbly done. Filmed in Mazatlan, it's beautifully shot in wide screen Panavision by Joseph MacDonald (HOW TO MARRY A MILLIONAIRE). The movie is hampered by some casting issues. Yul Brynner and George Chakiris have an generic ethnic look about them so they can respectfully pass as Mayans but other actors like Richard Basehart and Shirley Anne Field are too obviously Caucasian, even under the dark make up. With Brad Dexter, Barry Morse and Victoria Vetri.

The Key (1934)

Set in 1920 Ireland during the Irish rebellion, a British officer (William Powell) runs into an old military friend (Colin Clive) that he hasn't seen in years. To his shock, he discovers his friend is married to the woman (Edna Best) he loved and abandoned several years ago. Based on the play by R. Gore Brown and directed by Michael Curtiz (WHITE CHRISTMAS). This pre code romantic triangle pushes the more serious (and interesting) Irish War Of Independence into the background. So we're left with a mundane romance with a leaning toward the British. William Powell doesn't have much of a chance to display the charm that would make him a popular leading man at MGM (this feature is a product of Warner Brothers) and there's little chemistry between Powell and Edna Best. Thankfully, its running time is short (one hour, 11 minutes) so that its tediousness doesn't spoil its (very) limited appeal. With Anne Shirley, Donald Crisp, Arthur Treacher and Halliwell Hobbes.

The Corn Is Green (1979)

A spinster school teacher (Katharine Hepburn) opens up a school in a mining town in Wales. When she discovers a promising student (Ian Saynor), a young miner seemingly destined for a life of hard work in the mines, she is determined to see him fulfill his potential. Based on the play by Emlyn Williams (NIGHT MUST FALL) and directed by George Cukor (MY FAIR LADY). With the rare exception, movies about inspirational teachers who overcome resistance and help seemingly unreachable students have never appealed to me. This one is no different and indeed is a textbook example of why I don't care much for them. I didn't buy Katharine Hepburn as a schoolmarm in Wales for a minute, it was Kate Hepburn doing a star turn. A great star she is but she seems out place in this simple tale of a teacher helping a student to better himself. Of course, she'll push him to his limits, she's Katharine Hepburn who doesn't take guff from anybody! Even the reliable John Barry can't seem to muster up much enthusiasm in his tired underscore. With Anna Massey, Bill Fraser, Patricia Hayes and Toyah Willcox.

Haunted Honeymoon (aka Busman's Honeymoon) (1940)

On the eve of their marriage, a renowned detective (Robert Montgomery) and a famous murder mystery writer (Constance Cummings) vow to give up their attachment to crime and settle down to a quiet life in the country. But that proves difficult when a dead body turns up at their honeymoon cottage. Based on the novel BUSMAN'S HONEYMOON by Dorothy L. Sayers and directed by Arthur B. Woods (Q PLANES). I'm a sucker for comedy murder mysteries but I found this slight entry lacking. Try as they might, Montgomery and Cummings are no substitute for William Powell and Myrna Loy. The murderer isn't difficult to figure out, he/she is the most logical suspect. The suspects are a colorful lot however and provide some amusement. With Robert Newton, Googie Withers, Leslie Banks and Joan Kemp Welch.

The Last Man On Earth (1964)

Set in 1968, a scientist (Vincent Price) has survived unscathed from an airborne plague that has decimated the world. However, the plague's victims that survived are now undead vampires who come out at night and routinely attempt to break into the scientist's home in an attempt to kill him. Based on the novel I AM LEGEND by Richard Matheson and directed by Sidney Salkow (TWICE TOLD TALES). The first film version of I AM LEGEND which was remade twice: THE OMEGA MAN with Charlton Heston in 1971 and I AM LEGEND  in 2007 with Will Smith. Of the three films, this one is closest to the original source material. While the book's author Matheson wrote the screenplay (credited in the movie under a pseudonym), he was unhappy with the result feeling Price was miscast. Initial reviews weren't favorable but in the ensuing years, its reputation has grown and it is now a cult movie. I liked it and I liked Price's performance as he brings some pathos and sense of utter loneliness to his characterization. The movie's biggest flaw is the lackluster direction by Salkow. It could have used a stronger director who could have infused the film with a richer sense of horror. With Franca Bettoia, Emma Danieli and Giacomo Rossi Stuart.

The Country Girl (1954)

Against the strong wishes of his producer (Anthony Ross), a theatre director (William Holden) insists on a washed up alcoholic actor (Bing Crosby) for the play's lead. The director and the actor's wife (Grace Kelly in her Oscar winning role) immediately clash with the director resenting the wife's influence on the actor which he feels is detrimental. Based on the play by Clifford Odets (GOLDEN BOY) and directed by George Seaton (AIRPORT). A straight drama in its original stage production, the film has been rewritten to accommodate Crosby's singing so instead of a dramatic actor, Crosby's character is a musical comedy star and recording artist thus allowing for several musical numbers. It's a pity because while Crosby's dramatic moments are very good, the musical sequences slow the movie down and we never see what makes Crosby's musical performer so special and why Holden's director is insistent on casting him. While I don't think it's a great film, it's a solid melodrama though its Oscar nominations for best picture, director and screenplay are dubious. With Gene Reynolds and Jacqueline Fontaine whose nightclub singer is a highpoint.

Perche Si Uccide Un Magistrato (aka How To Kill A Judge) (1974)

A film maker's (Franco Nero) new movie is causing a sensation. Its plot about a corrupt judge in bed with the Mafia is a thinly disguised version of a real life judge (Marco Guglielmi). When the judge is assassinated, the film maker's guilt that his film might have inspired the murder causes him to seek out those responsible for the killing. Directed by Damiano Damiani (A BULLET FOR THE GENERAL), this is a wonderful crime thriller that has more on its mind than thrills. Among other things, it brings up a filmmaker's responsibility for the actions his movie can inspire. If he takes credit for the positive effects a movie can have, doesn't he also take responsibility for its negative effects? It questions responsible journalism as when a lie would do more good than the truth, does one print the lie? With the exception of Nero's film director, almost everyone is involved in some form of corruption and not everything is black and white. "Good" people can be bad and "bad" people can be good. As good as Nero is, the movie belongs to Francoise Fabian who gives a layered performance as the judge's widow. An absorbing thinking man's thriller. With Giorgio Cerioni, Salvatorre Moscardini and Renzo Palmer.

The Undefeated (1969)

After the end of the Civil War, a Confederate Colonel (Rock Hudson) takes a group of Southerners (including women and children) to Mexico where they hope to assist Emperor Maximillian in his war against the Juaristas. Meanwhile, a Union Colonel (John Wayne) takes a group of ex-soldiers and rounds up wild horses to sell to Maximillian's army. The paths of the two men will eventually converge. Directed by Andrew V. MacLaglen (SHENANDOAH). Several months after his triumph in TRUE GRIT (which would get him an Oscar), John Wayne followed it up with this mess of a western. While the premise is interesting, the movie settles for western cliches like the big comedic brawl between ex Union and Confederate officers right out of a John Ford movie that stops the movie cold. While Wayne is in his element, Rock Hudson seems out of place and other than those two, there's no one else around to hold the film together. In addition to the movie's fluctuating tone, I wasn't fond of the film's attempt to make the arrogant Southerners "victims" of the Civil War. With Jan Michael Vincent, Lee Meriwether, Marian McCargo, Bruce Cabot, Ben Johnson, John Agar, Richard Mulligan, Carlos Rivas and Antonio Aguilar. 

Dragonslayer (1981)

Set in the sixth century, a small village is being terrorized by a 400 year old dragon. To appease the monster, the villagers sacrifice a virgin selected by lottery twice a year. A group of villagers travel  far in search of a sorcerer (Ralph Richardson) to help rid themselves of the deadly dragon. Co-written and directed by Matthew Robbins (BATTERIES NOT INCLUDED). This is a wonderful dark and magical fantasy with a realistic rustic look to it. Curiously, the movie (co-produced by Paramount and Disney) was a box office flop! The special effects are excellent but the film is clever enough to also focus on the human element rather than concentrate solely on the fantasy components. The dragon is awesome and the film is aided immeasurably the Oscar nominated Alex North score. Pauline Kael, who rarely discussed film music called North's score a beauty. With Peter MacNicol, Caitlin Clarke, Albert Salmi, John Hallam and Chloe Salaman.

Lancer Spy (1937)

Set during WWI. When a high ranking German officer (George Sanders) is captured by the British, his physical resemblance to an English Lieutenant (George Sanders) is remarkable. It is decided that the Lieutenant will be trained to impersonate the German officer and be sent to Germany as a spy. Based on the novel by Marthe McKenna (a real life WWI spy for the British) and directed by Gregory Ratoff (INTERMEZZO). A rather routine espionage thriller with not much to offer but still quite watchable. George Sanders had recently been signed by 20th Century Fox and had a success as the villain in LLOYDS OF LONDON (1936) and this was Fox's attempt to make him a romantic leading man. It didn't work but he went on to a prolific career as one of Hollywood's great character actors (no one could play a cad like him). Top billed Dolores Del Rio as a Spanish dancer spying for the Germans doesn't come in until a half hour into the movie. She brings a glamorous exoticism (her specialty) though the romantic attraction to Sanders isn't quite believable. With Peter Lorre, Joseph Schildkraut, Lynn Bari, Lionel Atwill, Virginia Field and Fritz Feld.

I'll Be Seeing You (1944)

Set during the Christmas season, a young woman (Ginger Rogers) and a soldier (Joseph Cotten) meet on a train. Slowly, a romantic attachment develops but both of them are hiding secrets. She is fresh out of prison and he's been released from a medical facility which treated his PTSD (post traumatic stress disorder). Based on the radio play DOUBLE FURLOUGH by Charles Martin and directed by William Dieterle (DEVIL AND DANIEL WEBSTER). This is what I call an in between movie. Not bad but not really good either. The cast is fine (Rogers is especially good) but the well intentioned screenplay is on the dull side. It's a delicate romance but Rogers and Cotten don't set off any sparks and what's a love story if the romantic leads don't have chemistry? Still, I liked the movie's premise of two lost and bruised people finding love when least expected. The film was a big hit with 1944 audiences. With Shirley Temple, John Derek, Spring Byington, Tom Tully and Chill Wills.

The Nun's Story (1959)

Set in the late 1920s, a young Belgian girl (Audrey Hepburn in an Oscar nominated performance) enters a convent of nursing sisters with the hope of  serving in the Belgian Congo. But try as she might, she finds it difficult to adapt to the restricting rules of convent life. Based on the novel by Kathryn Hulme and directed by Fred Zinnemann (A MAN FOR ALL SEASONS). Widely regarded as Audrey Hepburn's best performance (New York film critics best actress award) and justly so and the film itself is quite impressive. Even before production began, the film makers were sensitive to possible objections by the Catholic church and sought their cooperation. It's a somber but insightful film and unlike many movies about nuns (like THE BELLS OF ST. MARY'S or COME TO THE STABLE), it is without a dose of any sentiment. The superb underscore is by Franz Waxman. The large but excellent supporting cast includes Peter Finch, Edith Evans, Peggy Ashcroft, Dean Jagger, Colleen Dewhurst, Beatrice Straight, Mildred Dunnock, Patricia Collinge, Barbara O'Neil, Rosalie Crutchley, Ruth White, Niall MacGinnis, Margaret Phillips and Dorothy Alison.

The Holdovers (2023)

Set in 1970 at an upper class boarding school during the Christmas holidays in New England. An unpopular curmudgeon of a teacher (Paul Giamatti) is assigned to spend the holidays restricted to the campus to supervise a handful of students who have nowhere to go during the holiday season. Directed by Alexander Payne (SIDEWAYS), this is one of the most acclaimed movies of 2023 and I must say that for the most part, I found it a terrific movie. While the narrative is often predictable, its journey is so well done that you don't mind and I didn't expect the poignant bittersweet ending. The three central performances are excellent and both Giamatti and Da'Vine Joy Randolph as the school's cafeteria manager deserve the numerous accolades they're receiving this awards season. The third lead is Dominic Sessa in his film debut as a troubled student. A moving and heartfelt film and while it may occasionally feel contrived, it's heart is in the right place. With Carrie Preston and Stephen Thorne.

Bergman Island (2021)

A husband (Tim Roth) and wife (Vicky Krieps) are both filmmakers. They spend a working vacation on the island of Faro in Sweden where the acclaimed filmmaker Ingmar Bergman lived and worked. The wife struggles with her film and is frustrated that her husband doesn't appear to be interested her filmmaking impasse. Written and directed by Mia Hansen Love (THINGS TO COME). If you're not familiar with director Ingmar Bergman and/or his films, I seriously doubt that the movie will appeal to you. You don't necessarily have to be a fan of Bergman but a familiarity with him and his work is essential to the enjoyment of the film. Visually, it's a real treat. After watching it, I was ready to buy a plane ticket to Sweden! Denis Lenoir's (STILL ALICE) wide screen cinematography displays the island of Faro to its best advantage. You can sense why Bergman made it his home. There's a movie within the movie that takes up too much time (though it's always a pleasure to see Mia Wasikowska) but isn't nearly as interesting as the narrative proper. As a film, one could say that it's more than the sum of its parts. With Anders Danielsen Lie and Clara Strauch.

Arrow In The Dust (1954)

An army deserter (Sterling Hayden) on the run figures his best chance for escape is to hook up with a wagon train headed for Oregon. He assumes the identity of a dead friend (Carleton Young), an army major and takes charge of the troopers escorting the besieged caravan which is under attack from Apaches and Pawnees. Based on the novel by L.L. Foreman and directed by Lesley Selander (FORT ALGIERS). Shot in Technicolor and wide screen, this B western is very watchable but nothing special. As the deserter redeeming himself, Hayden's strong presence is a plus and director Selander keeps the action moving but unless you're a western fan (as I am), there's really nothing for you here. Alas, the transfer I saw was not pristine. Color was faded somewhat and a night scene shot "day for night" is incorrectly shown daylight while a character mentions that it's just after midnight! With Coleen Gray, Lee Van Cleff, Tom Tully, Keith Larsen and Iron Eyes Cody.

Johnny Angel (1945)

Set in New Orleans, the captain (George Raft) of a cargo ship discovers another cargo ship derelict at sea. There is no one aboard but traces of blood are found. The captain is compelled to solve the mystery because the captain of the seemingly abandoned ship was his father (J. Farrell MacDonald). Based on the novel MR. ANGEL COMES ABOARD by Charles Gordon Booth and directed by Edwin L. Marin (MAISIE). This maritime noir isn't half bad but its male lead weighs it down. I've never warmed to George Raft. He may have a certain presence but as an actor, he's a stiff. He rat-a-tat-tats his lines like a trained seal but with all the emotion of an ice cube. Still, if you can overcome that, you'll find a tight and skillful mystery. Fortunately, the two female leads compensate for Raft's lethargy. Claire Trevor makes for a formidable hard bitten femme fatale and Signe Hasso makes for a lovely damsel in distress. There's a nice score by Leigh Harline to accompany it all. With Hoagy Carmichael, Margaret Wycherly, Marvin Miller, Lowell Gilmore and Ann Codee.

O Convento (aka The Convent) (1995)

Determined to prove that Shakespeare was a Spanish Jew, a professor (John Malkovich) journeys with his wife (Catherine Deneuve) to an ancient Portuguese convent to seek validation of his theory. The convent's guardian (Luis Miguel Cintra) may or may not be the Devil but he has designs on the professor's wife. Inspired (rather than based on) by the novel AS TERRAS DO RISCO by Agustina Bessa Luis and directed by Manoel De Oliveira (A TALKING PICTURE). While I certainly was absorbed by the film's mysticism and the atmosphere of surrounding evil, I still don't have a clue as to what the movie is about! Cintra's guardian represents evil (it's suggested he's the Devil) and Leonor Silveira as the convent's archivist represents purity while the couple are obviously in a troubled marriage. Malkovich tempted by the purity of Silveira while the jealous Deneuve is willing to align herself with the satanic Cintra to get rid of her rival. The film was a huge hit in Portugal and its U.S. reviews were good. I suppose the film is an allegory. Perhaps it will reveal its meaning to me on a second viewing. With Duarte De Almeida and Heloisa Miranda.

The Count Of Monte Cristo (1934)

Set in 1815 France, a sailor (Robert Donat) innocently delivers a letter given to him by his dying Captain (William Farnum). Unbeknownst to him the letter contains a message from Napoleon, now exiled to the island of Elba. The sailor is arrested for treason and sent to prison without trial or an opportunity to defend himself. 20 years later, he escapes and sets his plan for revenge in motion. Based on the novel by Alexandre Dumas and directed by Rowland V. Lee (SON OF FRANKENSTEIN). The first sound adaptation of the Dumas novel (there were five silent versions preceding it) but not the last has many changes from the novel. This does not prevent it from being a thrilling tale of adventure. Purists may protest but the end result is quite satisfying. It's not a swashbuckler but there is enough sword fights, duels, intrigue and romance to keep one enthralled. With Elissa Landi, Louis Calhern, Sidney Blackmer, Raymond Walburn, Irene Hervey and Clarence Muse.

Street Smart (1987)

A reporter (Christopher Reeve) for a New York magazine is under pressure from his publisher (Andre Gregory) to complete a story about a day in the life of a pimp. But when he can't get any cooperation from authentic pimps, he fabricates a story which is a sensation when published. But it doesn't end there when the District Attorney's office believes that the journalist was actually writing about a pimp (Morgan Freeman in an Oscar nominated performance) who is suspected of murder. Directed by Jerry Schatzberg (PUZZLE OF A DOWNFALL CHILD). While Reeve gives an accomplished performance, the movie is stolen by Morgan Freeman's (in his breakthrough role) pimp and Kathy Baker as a prostitute in his stable. Freeman is astounding here in what could have been a stereotypical performance in the hands of a lesser actor. The movie received good reviews and while Freeman went on to a major career, Kathy Baker didn't get the career she deserved based on her work here. It's a good movie that's elevated by those two performances and doesn't glamorize the pimps and hookers. With Mimi Rogers, Jay Patterson and Anna Maria Horsford.

Call Me Mister (1951)

Set in Japan shortly after WWII, a soldier (Dan Dailey) goes AWOL to follow his estranged wife (Betty Grable) who is putting on a show for servicemen in Kyoto. Very loosely based on the 1946 Broadway musical (which was a revue with sketches) and directed by Lloyd Bacon (THE FIGHTING SULLIVANS). The reigning Queen of the box office during the 1940s, Betty Grable was America's sweetheart singing and dancing her way through Fox's Technicolor musicals. Unfortunately, most of them weren't memorable and few were very good. This falls under the mediocre (and I'm being generous) category. Dan Dailey was Grable's best dance partner at Fox but the Busby Berkeley choreography is too simple and uncomplicated to amount to much. The songs are an insipid grab bag by a gaggle of various songwriters. For Grable fans only. With Danny Thomas (who brings some needed punch to the movie), Dale Robertson, Jeffrey Hunter, Richard Boone, Benay Venuta and Frank Fontaine.

The Graduate (1967)

A recent college graduate (Dustin Hoffman) has no idea what he wants to do in life. Living with his parents, he drifts aimlessly for awhile before beginning an affair with a married woman (Anne Bancroft). This affair has ramifications when he falls in love with her daughter (Katharine Ross). Based on the novel by Charles Webb and directed by Mike Nichols (WHO'S AFRAID OF VIRGINIA WOOLF?). One of the seminal films of the 1960s, it was a critical success as well as a huge box office hit. Alas, it hasn't held up well. Today, Hoffman's Benjamin comes across as an annoying loser and Bancroft no longer comes across as the dragon lady she was perceived to be but a more bruised and sympathetic character. I found the once celebrated Simon and Garfunkel soundtrack tiresome and dated. I suspect young viewers coming to the film for the first time will wonder what all the fuss was about. A relic of its era, it serves as an example of the burgeoning youth and counter culture cinema that would soon expand in 1970s film. With Murray Hamilton, William Daniels, Elizabeth Wilson, Buck Henry, Alice Ghostley, Marion Lorne, Norman Fell, Elisabeth Fraser and Richard Dreyfuss.

Macchie Solari (aka Autopsy) (1975)

Set in Rome, a rash of unexplained suicides occur in the city. A group of scientists theorize that these suicides are caused by sunspots. However, a young priest (Barry Primus) insists to a morgue doctor (Mimsy Farmer) that his sister was not a suicide but a murder victim. Directed by Armando Crispino (THE DEAD ARE ALIVE). I'm partial to the giallo genre but this one is a godawful mess. I've long since learned that logic has very little importance in the genre but this entry is pointless and senseless even by its own shabby rules. If you get your kicks watching dead bodies being dissected and organs pulled out, this might be for you. The sleazy gore factor and unnecessary exploitative nudity aside, the film's poor structure has no atmosphere (almost a necessity in a giallo) and the acting is poor. The two leads are as wacko as the mysterious killer. Farmer's doctor is an unstable and emotional wreck while Barry Primus's priest is a hot tempered borderline psychopath! Even the normally reliable Ennio Morricone can't summon up a decent score. With Massimo Serato, Raymond Lovelock and Gaby Wagner.

Second Honeymoon (1937)

At Palm Beach in Florida, a playboy (Tyrone Power) runs into his ex-wife (Loretta Young) who is vacationing with her second husband (Lyle Talbot). It soon becomes clear that the attraction between the two is still there. Based on a magazine story by Philip Wylie (WHEN WORLDS COLLIDE) and directed by Walter Lang (THE KING AND I). For most of its brief running time, I found this screwball comedy charming. They may not be Cary Grant and Irene Dunne but Tyrone Power and Loretta Young have a deft way with a comedic line and their star power goes a long way to overcome whatever minor quibbles one might have with the movie. It's not a pre code film so I'm surprised that the film got away with its casual attitude of a married woman dallying with her ex-husband right under her husband's nose. You pretty much know how the movie's going to end up and when the movie ends, Young is still married as she runs off with her ex-husband! With Claire Trevor, Stuart Erwin, Mary Treen and Marjorie Weaver, who's just adorable.

Angel On The Amazon (1948)

When his plane crashes in the Amazon jungle, a pilot (George Brent) and his handful of passengers are guided to safety by a mysterious woman (Vera Ralston). He falls in love with her at first sight but traumatized by an incident in her past, she refuses to engage in a romance. Directed by John H. Auer (CITY THAT NEVER SLEEPS), this low budget Republic programmer begins like an adventure film but soon turns into a psychological suspense film. Its outcome isn't psychologically sound but if you view it as a supernatural event then it works. The film is hampered by Ralston's performance. She's not a strong enough actress to suggest a sense of mystery to her character nor the depth to suggest a psychologically disturbed woman. It's a potboiler but I enjoyed it well enough. With Constance Bennett, Brian Aherne, Fortunio Bonanova, Alfonso Bedoya and Richard Crane.