The Great Divide (1929)

Set in a small mining town bordering Mexico, a mine owner (Ian Keith) falls in love with an arrogant flapper (Dorothy Mackaill) whose only concern is having a good time. At first, he is unaware that she is the daughter of his deceased partner. But when finds out, he kidnaps her so he can stop her promiscuous ways and "teach" her to be a good girl. Based on the 1906 Broadway play by William Vaughn Moody and directed by Reginald Barker (THE MOONSTONE). Filmed simultaneously as both a silent film and a sound film. I watched the sound version. The camera work is more fluid than most sound films of its vintage, notably in the fiesta sequence. But boy, are its ideas not only outdated but downright offensive. The heroine is forcibly kidnapped and humiliated in order to make her palatable to the sexist hero's moral views. Then there's the thinly veiled racism toward its Mexican characters. Myrna Loy, still in the exotic phase of her career, is a spiteful Mexican vixen and her character is one of those stereotypical "I keel you if you take my man" (yes, she actually says that) types. Worse, when Mackaill finds out Ian Keith may possibly be involved with her, she contemptuously calls him "a squaw man". Lovely! With Creighton Hale and Claude Gillingwater.    

El Dorado (1966)

A gun for hire (John Wayne) returns to the town of El Dorado only to find that the town sheriff (Robert Mitchum), who is also his friend, has become a laughed at drunk because of a woman. When a rich landowner (Edward Asner) tries to force a rancher (R.G. Armstrong) to sell him his water rights, it's only a matter of time for gunplay to breakout in the town. Based on the novel THE STARS IN THEIR COURSES by Harry Brown and directed by Howard Hawks (RED RIVER). After the failure of the racing car drama RED LINE 7000 (1965), Hawks returned to the tried and true, a John Wayne western. It was a smart move because the film was a commercial and critical hit. Personally, I found it a rather pedestrian western with the strong star power of Wayne and Mitchum kicking it up a notch. By calling it pedestrian, I don't mean it's a bad movie, I mean it's a rather routine western. Still, the Hawks auteurs and fanboys have attempted to elevate it into one of Hawks' masterpieces and I'm not buying it. The screenwriter Leigh Brackett considered EL DORADO one of her best screenplays and became upset when Hawks began fiddling with it and refashioning it until it resembled RIO BRAVO. With James Caan, Charlene Holt, Christopher George, Arthur Hunnicutt and Michele Carey as a tomboy, who looks out of place in the old West with blonde streaks in her brown hair and false eyelashes.

A Dangerous Profession (1949)

An ex-cop (George Raft) now works as a partner in a bail bonds firm. His latest client (Bill Williams) is the husband of a woman (Ella Raines) he was once (and still is) in love with. When the couple are unable to come up with the full $25,000 bond required, a mysterious benefactor comes up with the difference and therein lies the mystery of murder and betrayal. Directed by Ted Tetzlaff (THE WINDOW), the film was originally intended for Humphrey Bogart and later Fred MacMurray but it ended up starring Raft which is unfortunate. It's not a great film by a long shot but the movie could have used a better actor than Raft (quite a lazy actor coasting on the charisma he used to have) in the lead. Starting with this film, Raft's career began a long slow descent into box office failures until he was no longer leading man material (by 1954, he was getting third or fourth billing). This tidy little piece of film noir deserved a better fate. Good enough to be just a bit above average. With Pat O'Brien, Jim Backus and Robert Gist. 

Dawn At Socorro (1954)

A notorious gunfighter and gambler (Rory Calhoun) is in ill health, bad enough that it may prove fatal. He decides to go to Colorado Springs where the mountain air should prove beneficial to his health. But on the stagecoach, he meets a young woman (Piper Laurie) that temporarily alters his plans. Directed by George Sherman (AGAINST ALL FLAGS), this was one of the many western programmers that Universal churned out in the 1950s. There's not much one can say about it, it resembles a score of other westerns of the era (and the decades that preceded it). If you're a fan of oaters as I am, the movie should prove watchable but unless you are a westerns fan, there's not much reason to watch. Calhoun's lung diseased coughing gambler seems to be based on Doc Holliday. With David Brian, Lee Van Cleef, Alex Nicol, Edgar Buchanan, Mara Corday, Kathleen Hughes, Skip Homeier and Richard Garland.

Titanic: The Musical (2023)

On April 10th 1912, the RMS Titanic sails on her maiden voyage from Southampton to New York City. It never arrived as it sank when it struck an iceberg and at a cost of 1,496 lives. Based on the 1997 Tony award winning musical (not related to James Cameron's film version which came out the same year) and directed by Austin Shaw and Thom Southerland. When I first heard that a Broadway musical about the Titanic was opening on Broadway, I rolled my eyes. Singing and dancing amid a horrible historic tragedy sounded grotesque. But after the show opened to good reviews and then won 5 Tony awards including best musical, best original score by Maury Yeston (NINE) and best book by Peter Stone (CHARADE), I was intrigued. I snagged some tickets on a trip to New York and well, I was stunned. It's a terrific musical. Very much class conscious as we see passengers from first, second and third class and their own dreams on the ship of dreams. This is a film of a British 2023 stage production and there are some small but significant changes from the original production. The three tier set has been reduced to two, one of the original show's characters (Charlotte Drake Cardoza) has been reduced to a walk on, the orchestra has been scaled down losing some of the impact of Jonathan Tunick's gorgeous Tony award winning orchestrations and a Caucasian social climber in the original is here played by a black actress (Bree Smith) who's very good but realistically, it's 1912 and racism would have reared its ugly head by the other passengers. Anyway, it's still highly recommended as one of the best musicals of the 1990s. With Martin Allanson, Graham Bickley, Adam Filipe, Niamh Long and Valda Aviks.

Skyscraper Souls (1932)

In a 100 story skyscraper in Manhattan, various characters from the rich and powerful to the poor working class live out their lives. Romance, seduction, betrayal, suicide, murder, greed all play a part. Based on the novel SKYSCRAPER by Faith Baldwin and directed by Edgar Selwyn (THE SIN OF MADELON CLAUDET). This juicy pre code melodrama has (to steal from ALL ABOUT EVE) everything but the bloodhounds snapping at its characters' heels. At the heart of the film's narrative is Warren William as the ruthless, power hungry owner of the skyscraper who'll stop at nothing to retain power and control, even if it means backstabbing his friends and business associates, even his loyal mistress (Verree Teasdale). The romance between two young people (Maureen O'Sullivan, Norman Foster) is somewhat annoying rather than sweet. Their meeting is supposed to be "cute" but Foster's constant pursuit of O'Sullivan would be looked on as sexual harassment today. A nice slice of pre code pulp. With Gregory Ratoff, Anita Page, Wallace Ford, Jean Hersholt and Hedda Hopper.    

Challengers (2024)

Two teenagers (Josh O'Connor, Mike Faist) win a boys junior tennis double at the U.S. Open. But they both become infatuated with a rising tennis star (Zendaya). The film follows the complex relationship between the three of them for the next 13 years. Directed by Luca Guadagnino (CALL ME BY YOUR NAME). A challenging examination of three complicated individuals who love each other and at times hate each other. Set against the background of professional tennis, you don't have to be a sports or tennis enthusiast to get pulled into its circle. I'm not a sports person though fortunately tennis is about the only sport that interests me. While the two male characters are not gay, there's a definite homoerotic vibe between the two of them that's touched on but not explored. The three leads are just wonderful, capturing every nuance of their entangled interrelationship and Guadagnino squeezes every bit of energy and sensuality he can get out of his players onto the screen. With Darnell Appling and Nada Despotovich.

The Greene Murder Case (1930)

A wealthy and contentious family have a deep dislike for each other. But due to the will of the deceased patriarch, they must all live in the same house or be disinherited. When one family member (Lowell Drew) is shot to death and another (Jean Arthur) is also shot but survives, the famous detective Philo Vance (William Powell) is brought in to investigate. Based on the novel by S.S. Dine and directed by Frank Tuttle (THIS GUN FOR HIRE). The second Philo Vance film starring William Powell (he would do one more before moving on to MGM) is a clever and entertaining whodunit. It's a little more fluid than the previous entry THE CANARY MURDER CASE and its cast of quirky suspects helps to hold your attention. Even if you're not particularly a murder mystery fan, there should be enough here to engage you. With Florence Eldridge, Eugene Pallette, Ullrich Haupt Sr., Gertrude Norman and Morgan Farley.

I Miss You, Hugs And Kisses (1978)

A businessman (Donald Pilon) stuck in an unhappy marriage has fallen in love with another woman (Cindy Girling). When his ex-model wife (Elke Sommer) is found bludgeoned to death in their garage, he is arrested for her murder. Directed by Murray Markowitz, this Canadian exploitation film takes a real life murder case (the murder trial of Peter Demeter holds the record as the longest trial in Canadian history) and changes names and circumstances but it's still close enough to be recognizable as the Demeter case. It's unsavory and excessively and unnecessarily gory which is what identifies it as a sleazy exploitation movie. This fictionalized version casts doubt on Demeter's (called Kruschen in the film) guilt and creates fictionalized other possible suspects. It's sad to see Elke Sommer, one of the international beauties of 1960s cinema, reduced to squalor like this. The film is notable for being the first film score by the Oscar winning Howard Shore (LORD OF THE RINGS). With Cec Linder and Chuck Shamata.

Spinout (1966)

A part time racer and the lead singer of a rock band (Elvis Presley) enjoys the freedom of bachelorhood but three determined women are doing their best to push him into marriage: a millionaire's daughter (Shelley Fabares), a best selling author (Diane McBain) and the drummer (Deborah Walley) in his band. Directed by Norman Taurog (WORDS AND MUSIC). After 1962's KID GALAHAD which was a drama, Elvis Presley pretty much stuck to a "if it ain't broke, don't fix it" formula when it came to his movies. Lightweight with lots of songs, girls dancing the Frug or doing the Monkey around him, some lame comedy and minor romantic complications neatly wrapped up by the end of the movie. Unless you were a dyed in the wool Elvis fan, they weren't very good (VIVA LAS VEGAS being an exception but that had more to do with the electrifying Elvis/Ann-Margret chemistry) but they were the money makers so Elvis and Colonel Parker ground them out like sausages until even the public had had enough. This one is inoffensive and it passes the time but that's a poor excuse for a movie, isn't it? With Carl Betz, Cecil Kellaway, Una Merkel, Dodie Marshall, Warren Berlinger, Jack Mullaney and Will Hutchins.

Broken Arrow (1950)

An ex-U.S. Army scout (James Stewart) familiar with the Apache language and their ways negotiates to have the mail service travel through Apache land without harm. His success with this encourages an Army General (Basil Ruysdael) to have the scout negotiate a peace treaty with the Apache chief Cochise (Jeff Chandler) on behalf of the U.S. government. Based on the novel BLOOD BROTHER by Elliott Arnold and directed by Delmer Daves (A SUMMER PLACE). This is a marvelous western which is unabashedly sympathetic toward Native Americans in its narrative. Delmer Daves directed some of the best westerns of the 1950s (3:10 TO YUMA, JUBAL, THE LAST WAGON) and this ranks with his very best. The Native Americans are portrayed with dignity and Daves eliminates the broken English usually spoken by "Indian" characters in westerns by having the narrator tell us that when characters are speaking Apache in the film, it would be English we hear. Even the make up is subdued. Unlike other westerns, Debra Paget's Apache maiden wears no eye shadow or lipstick for a natural look. A bold movie for its era, it holds up beautifully. The stunning Oscar nominated Technicolor cinematography (it was filmed in Arizona) is by Ernest Palmer (BLOOD AND SAND). With Will Geer, Arthur Hunnicutt, Jay Silverheels and Joyce MacKenzie.

The Falcon Strikes Back (1943)

An amateur sleuth (Tom Conway) is approached by a mysterious woman (Rita Corday) to help her find her missing brother. When he accompanies her to a cocktail bar known to be a hangout of her brother, he is knocked unconscious and the mysterious sister has disappeared. This is only the beginning to a mystery that will end in a couple of murders before it is solved. Directed by Edward Dmytryk (THE CAINE MUTINY), the fifth film in The Falcon franchise is one of the better ones. It balances humor with an intriguing murder mystery that includes a puppet show. There are a variety of suspects to keep you guessing and director Dmytryk keeps pushing ahead at a galloping pace (the running time is an hour and 6 minutes). The able supporting cast includes Harriet Hilliard (who would become a TV staple in the 1950s with OZZIE AND HARRIET), Jane Randolph, Richard Loo, Frank Faylen, Edgar Kennedy, Jean Brooks and Wynne Gibson.

L'Important C'est d'Aimer (aka The Most Important Thing Love) (1975)

A once promising actress (Romy Schneider) is now reduced to appearing in porn films. When a tabloid photographer (Fabio Testi) comes into her life, things begin to look promising but it isn't long before it descends into turmoil. Based on the novel LA NUIT AMERICAINE (unrelated to the 1973 Truffaut film) by Christopher Frank and directed by Andrzej Zulawski (POSSESSION). If you've seen Zulawski's POSSESSION, you know what you're in for. This is one downer of a movie. All its characters are broken people, most of them searching for something that they can hang on to that will keep them living. Romy Schneider, who won the Cesar (the French Oscar) for her performance here gives a potent performance. As her homosexual film buff husband, Jacques Dutronc is also very strong and so subtle that one might overlook his fine work here. This is a film that needs your concentration to get the most out of it but (not unlike POSSESSION), it's not for everybody. The underscore by Georges Delerue (SHOOT THE PIANO PLAYER) contributes a nice edge to the film. With Klaus Kinski and Claude Dauphin.

My Geisha (1962)

A French director (Yves Montand), living and working in Hollywood, is married to an actress (Shirley MacLaine). Although he has directed most of her movies, her fame overshadows his own accomplishments. When he decides to film Puccini's MADAME BUTTERFLY on location in Japan with a genuine Japanese actress in the lead, he hopes that this movie will show he can be successful without his wife. But the actress wife decides to get the role by passing herself off as Japanese. Directed by the cinematographer (BLACK NARCISSUS) turned director (SONS AND LOVERS) Jack Cardiff. After the critical success of SONS AND LOVERS (nominated for 7 Oscars including best director), one wonders why Cardiff chose this film as his follow up vehicle. It's a rather tedious comedy produced by MacLaine's then husband Steve Parker, who lived in Japan during their marriage. The  "yellowface" isn't offensive here because it's not a Caucasian playing Japanese in a film part that should be played by a Japanese actress, it's a film about a Caucasian actress duping her husband into thinking she's Japanese. MacLaine is decent but her two leading men are problematic. During Montand's brief Hollywood sojourn (1960-1962), he exhibited none of the strengths of his work in French cinema, his acting in English is awkward. Robert Cummings as a womanizing lech is an old and tired act. With Edward G. Robinson, Yoko Tani and Tatsuo Saito.

The Unknown Terror (1957)

After her brother (Charles H. Gray) disappears in the Caribbean while exploring a cave known as the Cave Of The Dead, his sister (Mala Powers), her husband (John Howard) and her ex-lover (Paul Richards) go in search of him. Directed by Charles Marquis Warren (BACK FROM THE DEAD), this mixture of horror and science fiction is incredibly lame. When the "terror" is finally revealed, it turns out to be a big yawn. The script is poorly constructed and its characters behave stupidly rather than logically. As the "hero", Paul Richards is a zero. The sharp and nuanced B&W CinemaScope cinematography by Joseph F. Biroc (FORTY GUNS). Fans of B 1950s horror may have some nostalgia for something like this. Everyone else needn't bother. With May Wynn, Gerald Milton and Sir Lancelot.

White Heat (1949)

A psychotic criminal named Cody Jarrett (James Cagney), who's also a mama's boy, and his gang rob a mail train, killing four people during the robbery. In a devious plan, he confesses to another robbery that will get him only a couple of years in jail rather than the gas chamber. But he doesn't count on his slutty wife (Virginia Mayo) and her lover (Steve Cochran), a member of Cody's gang, who have plans of their own. Directed by Raoul Walsh (HIGH SIERRA), this is one of the best gangster movies to come out of Hollywood. The film was a critical and box office hit and helped push Cagney's career back on top (he left Warners after YANKEE DOODLE DANDY). Between 1943 and 1948, he had only movie (13 RUE MADELEINE) that made money, all his other movies flopped. He returned to Warners for WHITE HEAT but it was on his terms. The film is justifiably considered a classic in its genre (gangster or film noir depending on your point of view). Cagney is sensational, it's one of his 2 or 3 best performances. Mayo is terrific as his money hungry unfaithful wife, she was always at her best playing unsavory tramps and Margaret Wycherly as Cagney's mother is excellent. The fiery finale with its "Made it, Ma! Top of the world!" is iconic. With Edmond O'Brien, John Archer, Fred Clark and Aline Towne.

Employee's Entrance (1933)

The ruthless head (Warren William) of a Manhattan department store has no time for a personal life. He lives for work and uses and discards people regularly with no regret. He gives a pretty young thing (Loretta Young) a job but only after he beds her and then forgets about her. He makes an ambitious employee (Wallace Ford) his right hand man, not knowing that he's in love with the discarded miss. Based on the play by David Boehm and directed by Roy Del Ruth (DUBARRY WAS A LADY). I found this pre code drama grandly entertaining. Most of these pre code films were short (this one runs an hour and 15 minutes) and tight without unnecessary excess. Loretta Young is sweet and pliable and she and Wallace Ford make for an appealing couple while Warren William is perfect as the stone hearted bulldozing department store executive. He's a total prick and very cruel but you can't help liking him. With Ruth Donnelly, Alice White, Albert Gran and Marjorie Gateson.

Bound (1996)

The mistress (Jennifer Tilly) of a mafioso (Joe Pantoliano) wants out of the life. To escape it, she enters a relationship with a lesbian ex-con (Gina Gershon) and together they plot a dangerous scheme to steal two million dollars of mafia money. Written and directed by Lana and Lilly Wachowski in their directorial debut. It's an audacious film debut, a stylish and clever neo noir that upends our expectations of the genre. The three leads give superb performances but it's Jennifer Tilly's ambiguous femme fatale that drives the movie forward. We're never sure what she's really thinking as she's a master manipulator. While much has been made of the lesbian relationship at the film's center, it's not really a "queer" film. At the time of its initial release, much ado was made about the film's violence which disturbed many film critics but today, violence in cinema has far exceeded what we see in this movie. In its own way, it's a groundbreaking film but it really is a crackerjack thriller that stands with the best of film noir. Mention must be made of Bill Pope's polished cinematography. With John Ryan, Christopher Meloni and Mary Mara.

Goodbye Charlie (1964)

A womanizing Hollywood writer (Harry Madden) is shot dead by a Hungarian movie producer (Walter Matthau) when he is caught with the producer's wife (Laura Devon). The writer's best friend (Tony Curtis) flies from Paris for the memorial when a very attractive woman (Debbie Reynolds) shows up claiming she is the dead writer reincarnated as a woman! Based on the play by George Axelrod (THE SEVEN YEAR ITCH) and directed by Vincente Minnelli (SOME CAME RUNNING). The play wasn't a hit on Broadway where it ran for only four months. But 20th Century Fox still paid a hefty sum for the film rights. The premise is ripe for amusement but this movie isn't. I've not read or seen Axelrod's play so I can only assume the movie's problems are inherent in the source material. It just isn't funny! When you have solid actors like Curtis, Reynolds, Matthau and Ellen Burstyn (as one of the dead writer's affairs) and nothing goes right, you know something's wrong. As the dude is a woman, Debbie Reynolds is actually very good but when the material is this trite, it doesn't help much. It's a bit surprising to see the squeaky clean Pat Boone as a mama's boy putting the moves on a man inside a woman's body! With Joanna Barnes, Martin Gabel and Roger C. Carmel.

Woman Who Came Back (1945)

A woman (Nancy Kelly) returns to the small town in Massachusetts where she had jilted her fiance (John Loder) two years earlier. But when strange things occur upon her return, the townspeople accuse her of being a witch. Directed by Walter Colmes (THE FRENCH KEY), this low budget B psychological horror film is a knock off of the superior CAT PEOPLE (1942). Instead of believing she is a descendent of cat people, Nancy Kelly's heroine believes she is possessed by the spirit of a 300 year old vengeful witch. There's even a scene where her fiance's sister (Ruth Ford) is walking home when suddenly an irrational fear develops that she is being followed by something deadly, a ripoff of a similar scene where Jane Randolph is walking in CAT PEOPLE. It's not very good but given its low budget status, I suppose it overcomes it in some ways like the skillful B&W cinematography of Henry Sharp (MINISTRY OF FEAR) which gives the impression of a film with higher production values. With Otto Kruger and Elspeth Dudgeon.  

君たちはどう生きるか (aka The Boy And The Heron) (2023)

Set during WWII Japan, a young boy (Soma Santoki) loses his mother in a hospital fire. Shortly thereafter, his father (Takuya Kimura) marries his wife's sister (Yoshino Kimura) and they relocate to her family's rural estate in the country. It is there that the boy encounters a mysterious Heron (Masaki Suda) that will guide him to another world. Inspired by the novel HOW DO YOU LIVE (but not an adaptation of) by Genzaburo Yoshino and directed by Hayao Miyazaki (HOWL'S MOVING CASTLE). A new anime by the great Miyazaki is always a treat and this colorful and layered fantasy doesn't disappoint. Winner of last year's Oscar for best animated film, the film is more personal than Miyazaki's other movies in the sense that much of it is influenced by his own childhood. The film is more complex than some of Miyazaki's more kid friendly movies like MY NEIGHBOR TOTORO and KIKI'S DELIVERY SERVICE. The animation, no surprise, is stunning and of course, there's a lovely score by Joe Hisaishi. I watched the original Japanese language version  but the English dub includes voice work from Christian Bale, Robert Pattinson, Willem Dafoe, Florence Pugh and Dave Bautista.

Victimas Del Pecado (aka Victims Of Sin) (1951)

A dancer (Ninon Sevilla) at a nightclub rescues an abandoned baby and attempts to raise it as her own. When she is fired from her dancing job because of the baby, she turns to prostitution to support them. Directed by Emilio Fernandez (MARIA CANDELARIA), this Mexican soap opera about mother love with songs and dance numbers is something to see. I can't really make an argument for it as a good film but it's uniquely entertaining. One of the most popular stars of Mexican cinema, Ninon Sevilla is a strong presence and this movie serves as an introduction to her quite nicely. Gabriel Figueroa's (NIGHT OF THE IGUANA) excellent B&W cinematography highlights the smoky and feverish cabaret atmosphere and there's a solid performance by Ismael Perez as the child being raised. Like STELLA DALLAS and IMITATION OF LIFE, its portrayal of a mother sacrificing herself to provide a loving home for her child is sure to tug at your tear ducts. With Rodolfo Acosta, Rita Montaner and Perez Prado.

Asphalt (1929)

Set in Berlin, a young policeman (Gustav Frohlich) arrests a young woman (Betty Amann) for diamond theft. But before he can get her to a police station, she invites him into her apartment under pretext and seduces him. His guilt at not doing his duty by letting her go is only the beginning of an affair that eventually ends in tragedy. Directed by Joe May (THE INDIAN TOMB), this silent film suggests film noir before the term was invented. May's imposing visual skills are present throughout and the lensing of Gunther Rittau (Lang's METROPOLIS) is also impressive. With her stylish bob, Betty Amann suggests Louise Brooks and makes for a perfect noir-ish femme fatale and like Brooks, she's an American actress. The transfer I saw had a very good score by Karl Ernst Sasse. With Albert Steinruck, Else Heller and Hans Adalbert Schlettow.

The Last Picture Show (1971)

Set in a small town in Texas circa 1951, two high school seniors (Timothy Bottoms, Jeff Bridges) who are best friends are both in love with the same girl (Cybill Shepherd). As the year passes, the dynamics of the relationship of all three change. Based on the novel by Larry McMurtry (TERMS OF ENDEARMENT) and directed by Peter Bogdanovich (TARGETS). One of the most acclaimed films of the 1970s decade and the recipient of 8 Oscar nominations. Similar to his idol and mentor Orson Welles who arguably never topped his masterpiece CITIZEN KANE, Bogdanovich never again made a film as perfect as this. It's a lovely elegiac memory piece of a certain time and place and the people who inhabit it. Bogdanovich is assisted in this vision by the superb and evocative B&W cinematography of Robert Surtees (BEN-HUR). As all great films do, it still resonates although one of the performances doesn't hold up. In 1971, Timothy Bottoms' performance would have been referred to as sensitive but I found it paled next to the other actors. His character seems (unintentionally) absent and I think it's because Bottoms just doesn't bring much to the party. With Ellen Burstyn, Ben Johnson (in an Oscar winning performance), Cloris Leachman (another Oscar winning performance), Eileen Brennan, Randy Quaid, Clu Gulager and John Hillerman.

4 For Texas (1963)

Set in 1870 Texas, a shipment of $100,000 from a stagecoach accident is stolen by a passenger (Dean Martin). But the stagecoach driver (Frank Sinatra) wants that money back so that he can buy a riverboat and turn it into a floating casino. Throw in a corrupt banker (Victor Buono) and a vengeful gunfighter (Charles Bronson) and there's trouble ahead. Directed by Robert Aldrich (FLIGHT OF THE PHOENIX). Aldrich not only directed this film but he co-wrote it and produced it so the blame for this mess rests squarely on his shoulders. Aldrich's specialty is dark and tough films like KISS ME DEADLY, THE BIG KNIFE, WHATEVER HAPPENED TO BABY JANE? and THE DIRTY DOZEN so what he saw in this anemic comedy western puzzles me. Although they had done stellar work in dramatic films in preceding movies, by this stage of their career both Sinatra and Martin were lazy and coasting on their images. Their star power remains intact but one could hardly call it acting. Even Aldrich ended up disliking the final product. Anita Ekberg and Ursula Andress provide eye candy (and not much else) as Sinatra's and Martin's romantic interests respectively. With Richard Jaeckel, Mike Mazurki, Wesley Addy, Virginia Christine, Arthur Godfrey and the Three Stooges.

Vice Squad (1953)

When a cop is shot while arresting a car thief, a police captain (Edward G. Robinson) goes into overdrive to find the killer. The car theft is tied into an upcoming bank heist. Based on the novel HARNESS BULL by Leslie T. White and directed by Arnold Laven (THE RACK). First of all, the title is a misnomer. The film has nothing to do with the vice squad. Sure, there's the madam (Paulette Goddard) of a high class call girl service but she's merely there to provide information to the police. That aside, this is a well crafted and gritty policier that's shot on the streets of Los Angeles which gives the movie an edge rather than a studio bound look. The crisp B&W lensing by Joseph Biroc (HUSH HUSH SWEET CHARLOTTE) belies its economical (sounds better than low budget doesn't it?) status. I did have a problem with the unethical methods of Robinson's "the end justifies the means" bulldozing cop. With Lee Van Cleef, Edward Binns, Porter Hall, Joan Vohs, Adam Williams and K.T. Stevens. 

Three Daring Daughters (1948)

After her husband abandons her and their three very young daughters (Jane Powell, Elinor Donahue, Ann E. Todd), a woman (Jeanette MacDonald) keeps his true character from them and instead, she builds him up as a positive figure. This is a mistake because the girls plot to bring their father back and reunite him with their mother. What they don't know is that not only doesn't their mother want him back but she is secretly married to another man (Jose Iturbi). Directed by Fred M. Wilcox (FORBIDDEN PLANET). While this is a typically glossy wholesome MGM musical, it has a dark undercurrent that is successfully explored. The manipulation children exercise to get their own way and the excess freedom that a divorced parent gives their children to compensate for being a single parent. The musical numbers are the least interesting aspect of the movie and frankly, the movie would have been better if they jettisoned the music and played it out as a straight drama. MacDonald looks ultra glamorous in Technicolor and hasn't been this appealing since her Lubitsch and Mamoulian days. Musically, there are two highlights. Iturbi's performance of De Falla's Ritual Fire Dance and Jane Powell's excursion into jazz with Route 66. With Edward Arnold, Tom Helmore and Moyna Macgill.

The Scarlet Letter (1934)

Set in 1642 Puritan Massachusetts, a young woman (Colleen Moore) bears a child out of wedlock. She refuses to name the father and is sentenced to wear a scarlet colored A on her bosom so that the Puritan community will know that she is an adulteress. Based on the classic novel by Nathaniel Hawthorne and directed by Robert G. Vignola (WHEN KNIGHTHOOD WAS IN FLOWER). Hawthorne's novel has seen several screen adaptations (including one from Wim Wenders). The most famous one is the 1926 silent version with Lillian Gish. This was the first sound film version. Colleen Moore was one of the most popular and highest paid actresses in silent cinema and was the epitome of the era's "flaming youth". She didn't seem very motivated in pursuing her film career once sound came in and she retired after making this movie. It's a faithful adaptation of the Hawthorne book but the Hays code was in full force so there's an overly heavy emphasis on guilt (the film's opening card say the Puritan measures were harsh but necessary!). Some unnecessary comedic elements not in the book have been added such as the courtship of a widow (Virginia Howell) that seem jarringly out of place. With Hardie Albright, Henry B. Walthall, Alan Hale, Cora Sue Collins and William Kent.

Blood On The Sun (1945)

Set in 1929 Japan, an American reporter (James Cagney) has discovered a Japanese plan called the Tanaka Memorial that outlines Japan's intent to conquer the U.S. When a fellow reporter (Wallace Ford) and his wife (Rosemary DeCamp) are murdered by the Japanese secret police in an effort to obtain the document, the American plots to get the document out of the country. Directed by Frank Lloyd (MUTINY ON THE BOUNTY). Although set in 1929, the film is still part of the Hollywood's WWII wartime propaganda movies. By the time it was released, the war in Europe had ended but the war in the Pacific still waged on until two months after the film's release when the atom bombing of Hiroshima ended the war in the Pacific. As to the film itself, it's quite entertaining and well done but again, there's the distracting use of "yellowface" with Caucasians predominantly playing the Japanese characters. The film has a lengthy Judo fight between Cagney (who had a black belt in the art) and John Halloran that is a change of pace from the usual fist fights in films of that era. The film's impressive art direction won an Oscar and the striking chiaroscuro cinematography by Theodor Sarkuhl (THE GLASS KEY) gives the film a noir-ish atmosphere. With Sylvia Sidney as Cagney's Eurasian romantic interest, Robert Armstrong, John Emery and Porter Hall. 

Nostalghia (1983)

A Russian intellectual (Oleg Yankovsky) is in Italy to do research on an 18th century Russian composer. However, he is overcome with homesickness for his home country. An encounter with a self destructive madman (Erland Josephson) complicates his life even further. Directed by Andrei Tarkovsky (SOLARIS), who won the best director award at the Cannes film festival for his work here. Rarely have I seen such rich and stunning imagery in a movie as Tarkovsky and his cinematographer Giuseppe Lanci (GOOD MORNING BABYLON) have given us with this film. Normally, I would be irritated by the languid pacing that Tarkovsky uses for NOSTALGHIA but viewing the film is like slowly walking through a museum and taking the time to admire the treasures that hang on its walls. The film's initial reviews, at least in the U.S. were unexceptional but the film has since acquired a positive reputation. Nothing really "happens" and its minimalist narrative is secondary to its evocative hypnotic visuals. With Domiziana Giordano, Delia Boccardo and Patrizia Terreno. 

Thieves Like Us (1974)

Set in 1936, a 23 year old convicted killer (Keith Carradine) escapes from prison along with two older buddies (John Schuck, Bert Remsen). When they hole up at a rural town, he falls in love with a young girl (Shelley Duvall). Based on the novel by Edward Anderson and directed by Robert Altman (GOSFORD PARK). Anderson's novel had previously been filmed in 1949 by Nicholas Ray under the title THEY LIVE BY NIGHT. At the core of Altman's film and what makes it work is the relationship between Carradine's baby faced killer (who has no remorse) and Duvall's naive country girl. They displayed a sweet appeal together in small roles three years earlier in Altman's MCCABE AND MRS. MILLER and it's in full view here. In supporting parts, Remsen and Schuck overplay their hand and their acting is jarring compared to the more subtle performances by the rest of the cast. As much as I like the film which follows Anderson's novel more closely, I think I prefer the doomed romanticism of the 1949 adaptation. Altman indicates the couple's grim fate when he has a radio play of ROMEO AND JULIET playing when the couple first make love. The stark and gritty cinematography is by Jean Boffety (CESAR AND ROSALIE). With Tom Skerritt and Louise Fletcher.

Danger Has Two Faces (1967)

Set in a divided Germany during the Cold War, an American spy (Robert Lansing) working in East Germany is forced to flee to West Germany after his identity has been uncovered. When an exact lookalike (Robert Lansing) is mistakenly killed by the East Germans, the spy takes over the identity of the dead man with the cooperation of the dead man's wife (Dana Wynter). Directed by John Newland (THAT NIGHT!). In the 1960s, it was not unusual for film studios to cobble together episodes from TV shows and release the edited versions as feature films theatrically. THE MAN FROM UNCLE send out eight such movies. THE MAN WHO NEVER WAS lasted only one season but 20th Century Fox spliced together four episodes and released it theatrically as DANGER HAS TWO FACES. The first half of the film moves smoothly but the second half seems ... well, episodic. As a leading man, Robert Lansing is a zero but as the wife, Dana Wynter brings some elegance and class to the project. The film benefits from the on location cinematography in Germany. With Murray Hamilton, Alexander Davion and John Van Dreelen.

A Quiet Place: Day One (2024)

Set in New York City, a woman (Lupita Nyong'o) who is in the end-stages of terminal cancer resides in a hospice. A field trip for the hospice patients is arranged to see a marionette show and she grudgingly goes (along with her pet cat) solely for the prospect for a decent pizza. However, after the city is invaded by extraterrestrial aliens with an acute sense of hearing, it takes all her wits to survive. Directed by Michael Sarnoski (PIG), this is a prequel to and the third installment to A QUIET PLACE (2018) and A QUIET PLACE II (2020). The film is very good and well acted especially by Lupita Nyong'o who brings a quiet authority and gravitas to her terminally ill character. The screenplay is smart and the action intense but Sarnoski never loses focus on its two major characters (Joseph Quinn as a British expatriate is the other) and their humanity. It can stand proudly next to its two predecessors. With Djimon Hounsou, Alex Wolff and as Nyong'o's scene stealing cat, Nico and Schnitzel.

Brannigan (1975)

A Chicago cop (John Wayne) is sent to London to extradite an American mobster (John Vernon). What should have been a simple case of extradition becomes complicated when the mobster is kidnapped and held for ransom. Directed by Douglas Hickox (THEATRE OF BLOOD). Of his expansive career, over 80 of John Wayne's films were westerns and it's the genre he's most associated with. But by1975, westerns (spaghetti westerns an exception) weren't as sure fire box office as they used to be so somebody thought it might be a good idea to put the Duke in DIRTY HARRY territory with this fish out of water tale of a tough American cop clashing with the by the book Scotland Yard. I'm a big Wayne fan so I had a good time with this one although it's far from great. The contrast between Wayne's crusty cop and Richard Attenborough's traditional British policeman makes for some amusement and there's a sweet father and daughter-ish chemistry between Wayne and Judy Geeson as the policewoman assigned to him. On the downside, there's one of those endless and unfunny pub brawls and a "been there, seen that" reckless car chase through London that could have been dispensed with. With Mel Ferrer, James Booth, Ralph Meeker, Lesley Anne Down and Daniel Pilon.

Johanna Enlists (1918)

An uneducated country girl (Mary Pickford) is bored with farm life and longs for romance and excitement. She gets all that when a regiment of soldiers on their way to Europe to fight in WWI camp in the fields near her farm for several days. Based on the short story THE MOBILIZATION OF JOHANNA by Rupert Hughes and directed by William Desmond Taylor (ANNE OF GREEN GABLES). A slight but charming story which shows Pickford at the height of her fame. WWI was still going on while the movie was being made and while not a war propaganda film, the movie was an effort to spotlight the American soldiers fighting overseas. Real soldiers were used for the movie as background actors. Pickford was a tireless fundraiser for the war effort and an unofficial "godmother" to the U.S. Artillery Corps. Music is an essential and effective part of silent cinema and the transfer I saw had a lovely new underscore by Dan Light. With Wallace Beery, Monte Blue, Douglas MacLean and Emory Johnson. 

Kisses For My President (1964)

A woman (Polly Bergen) makes history when she is elected as the first female President of the United States. However, her husband (Fred MacMurray) is less than enthusiastic as the first male "First Lady". Directed by Curtis Bernhardt (INTERRUPTED MELODY). Boy, is this one dated in the worst sense of the word. The movie is filled with silly jokes about MacMurray being the "first lady" like when he sees his White House bedroom, it's all girly and frilly. MacMurray's grouchiness about his wife being so busy and not having time for him makes me wonder. Didn't they ever discuss the ramifications of her presidency on their marriage prior to her running? The two sitcom kids the movie has saddled them with doesn't do the movie any favors either. The movie's sole interest is the archival look at how "we" viewed the prospect of a woman president in 1964 and it's pretty degrading. With Eli Wallach, Arlene Dahl, Edward Andrews, Norma Varden, Donald May, Eleanor Audley and Ahna Capri.

Meet Me After The Show (1951)

A Broadway musical star (Betty Grable) is married to the producer (Macdonald Carey) of her current show. He was also the man who discovered her and made her a star. But when she suspects him of adultery, she sues for divorce. But a car accident causes her to suffer from amnesia ..... or is she faking it? Directed by Richard Sale (GENTLEMEN MARRY BRUNETTES). A slight piece of fluff with a paper thin story puffed up by amiable musical numbers. In 1951, Betty Grable was still big box office and this was typical of the lightweight fodder that the public ate up. Like Esther Williams, it's hard to dislike Grable so while her movies don't amount to much, I usually have a pleasant time with them. This one is fortunate enough to have the great Jack Cole as its choreographer so the dancing is above average. One of Grable's musical numbers, NO TALENT JOE with shirtless muscle men is a precursor to the more famous AIN'T ANYONE HERE FOR LOVE love in GENTLEMEN PREFER BLONDES also choreographed by Jack Cole. With Eddie Albert, Rory Calhoun, Gwen Verdon, Irene Ryan and Fred Clark.

The Benson Murder Case (1930)

On a dark and stormy night, the home of a ruthless stockbroker (Richard Tucker) is visited by several persons, all of who have reason to hate him. So when he's murdered, there is no shortage of suspects. Fortunately, the amateur detective Philo Vance (William Powell) is also at the house the night of the murder and is on the case. Based on the novel by S.S. Van Dine and directed by Frank Tuttle (THIS GUN FOR HIRE). I enjoyed this pre code murder mystery. It's tight and the mystery is clever and with its plethora of suspects, it was fun trying to deduce the murderer's identity. Visually, the film is static and director Frank Tuttle seems allergic to close ups but this being an early sound film, the movie is played out in medium or wide shots as if you were watching a play. Mystery fans should enjoy this modest entry. With Paul Lukas, Eugene Pallette, Natalie Moorhead, Mischa Auer, William Boyd (no, not the actor who played Hopalong Cassidy) and May Beatty.  

Lillian Gish (1983)

A documentary film about a great actress (Lillian Gish) produced and directed by another great actress (Jeanne Moreau). Moreau interviews Gish at her home about her beginnings as an actress and her work in silent cinema with the legendary director D.W. Griffith as well as her other silent films. Gish was around 88 years old at the time of filming but she's sharp as a tack and a lively conversationalist. Moreau makes for a good interviewer but the film is short (about an hour) and there's so much more we want to know about Gish. The film doesn't extend to her post silent career but there's still so much unsaid about her silent career and outside of her work with Griffith. We want more! If you're interested in silent cinema or the great Gish, this is a must.

Eileen (2023)

Set in 1960s Massachusetts, a young girl (Thomasin McKenzie) working in a juvenile detention facility becomes fascinated with the institution's new psychologist (Anne Hathaway). The psychologist takes a liking to the girl unaware of how unstable she is. Based on the novel by Ottessa Moshfegh (who adapted her novel for the screen) and directed by William Oldroyd (LADY MACBETH). The movie received positive reviews but I found it contrived. I've not read Moshfegh's book so I don't know how much of the film's machinations are because of the novel. While I liked the movie, it kept me at a distance rather than pulling me in. The acting is quite good but the screenplay's stratagem results in artifices that render its characters fraudulent rather than recognizably human. Plus Oldroyd teases us with a lesbian angle that's never explored and seems put there to titillate us rather than any crucial part of the narrrative. Worth seeing but an unsatisfying cinematic experience. With Shea Whigham, Marin Ireland and Sam Nivola.

Strangers May Kiss (1931)

A career woman (Norma Shearer) has unconventional ideas when it comes to marriage and relationships between men and women. She falls madly in love with a man (Neil Hamilton), who wants his freedom. When he goes to Mexico, she follows him knowing he won't marry her. Her childhood friend (Robert Montgomery) who is love with her warns her against going but nothing will stop her. Based on the novel by Ursula Parrot and directed by George Fitzmaurice (RAFFLES). Before she became the great lady of MGM, Norma Shearer resembled a normal person. She was inviting and had a smidgeon of sex appeal. She hadn't calcified yet when she did this film so she's soft and appealing. This pre code film has some interesting ideas regarding men's obsession with the Madonna and The Whore syndrome. They'll take pleasure in a woman but they don't want that type to take for a wife. The film surprised me when it didn't go where I thought it was going to go and I'm not sure I'm okay with that. With Marjorie Rambeau, Irene Rich, Hale Hamilton and Conchita Montenegro.

Le Journal D'une Femme De Chambre (aka Diary Of A Chambermaid) (1964)

Set in the 1920s, a chambermaid (Jeanne Moreau) from Paris goes to the countryside to work at a provincial estate. It is there where she encounters perversion, corruption, anti-Semitism, rape and murder. Loosely based on the novel by Octave Mirbeau (previously filmed in 1946 and again in 2015) and directed by Luis Bunuel (DISCREET CHARM OF THE BOURGEOISIE). Beautifully shot in B&W wide screen by Roger Fellous (ANATOMY OF A MARRIAGE), Bunuel's film stays away from the surrealism he is usually associated with and presents a fairly straight forward presentation. But he still tweaks the film with his usual cynical and satirical view of the upper class bourgeoisie. I found the film's ambiguous ending unsettling as we're not 100% sure if a character is an innocent victim of circumstantial evidence or a pedophile killer who's got off scot free. It's easily the most compelling of the three versions I've seen. With Michel Piccoli, Georges Geret, Daniel Ivernel, Francoise Lugagne and Muni. 

Country (1984)

A farmer (Sam Shepard) and his wife (Jessica Lange in an Oscar nominated performance) have worked her family farm for years. However, low crop prices, a tornado disaster and interest on FHA loans have caused them to struggle. When the FHA suddenly calls in their loans, they face the very real prospect of losing the farm which has been in the family for over 100 years. Directed by Richard Pearce (NO MERCY). In 1984, there were two other movies beside COUNTRY that dealt with farmers, PLACES IN THE HEART and THE RIVER. This effort is by far my favorite because unlike the other two films, it deals purely with the farmers and has no other distractions or subplots to pull our attention away. The film is anchored by a terrific performance by Jessica Lange, who also co-produced the film. There's a forcefulness and naturalism to the film helped by the casting and David M. Walsh's (THE GOODBYE GIRL) gritty cinematography. The underscore by Charles Gross is superb. With Wilford Brimley and Matt Clark.

Charlotte's Web (1973)

A young pig named Wilbur (Henry Gibson) is terrified of being slaughtered but he is befriended by a spider (Debbie Reynolds) who concocts a plan that will save him from the slaughterhouse. Based on the 1952 children's book by E.B. White and directed by Charles A. Nichols and Iwao Takamoto. This Hanna-Barbera animated musical version of the E.B. White book is very sweet (and I don't mean that in a condescending way). With songs by Robert B. Sherman and Robert M. Sherman (MARY POPPINS) and the straight forward animation (some may call it unimaginative) of the Hanna-Barbera studios (THE FLINTSTONES), it presents in a simple way the importance of friendship and how death is inevitable and to be understood and accepted. A weighty subject but simply told in a way children can understand. The songs are good and the voice acting excellent. Whenever I see a movie described as heartwarming, it's usually a sign to avoid it but in this case, heartwarming is a compliment. Remade in 2006. With Paul Lynde, Agnes Moorehead, Martha Scott, Dave Madden and Pamelyn Ferdin.

The Charge Of The Light Brigade (1968)

Set at the outbreak of the Crimean war in 1853, a young officer (David Hemmings) and a veteran of the British Indian Army is stymied by the outdated ideas and class prejudices of his aristocratic superiors. He also falls in love with his best friend's (Mark Burns) wife (Vanessa Redgrave). Directed by Tony Richardson (THE ENTERTAINER). Despite the film's title, it has nothing to do with the famous poem by Alfred Lord Tennyson or the 1936 film with Errol Flynn. Far from the patriotic heroism of Tennyson's poem or the heroic jingoism of the 1936 movie, Richardson's film is distinctly anti war as it portrays the incompetence of the British Army's leaders and the blunders they commit which results in a massive loss of lives. If that sounds a bit heavy handed, the film is actually a satire on the romanticization of war. Akira Kurosawa was a great admirer of the movie but despite favorable reviews, it was a major box office flop. The film fudges on accuracy for some of the film's real life characters for dramatic effect as well as eliminating certain battles. Did I like it? Well, it's worth watching but I can see why the public stayed away. With Trevor Howard, John Gielgud, Jill Bennett, Harry Andrews, Corin Redgrave and Peter Bowles.

Blonde Ice (1948)

Despite being in love with another man (Robert Paige), an ambitious gold digger (Leslie Brooks) marries a wealthy man (John Holland). When her husband discovers she's still in a relationship with her lover, he threatens to divorce her. Her solution? Murder! Based on the novel ONCE TOO OFTEN by Elwyn Whitman Chambers and directed by Jack Bernhard (DECOY). This low budget B movie is more enjoyable than it has a right to be. It's a silly film, maybe even stupid but it's grandly entertaining. Leslie Brooks' femme fatale is a classic amoral film noir protagonist. She's determined to get what and who she wants and if anyone stands in her way, heaven help them! But I wish the film had a more believable script. For example, Brooks is a smart cookie yet she has a letter to her lover where her husband can easily find it. In addition, her penniless dupe of a lover (Paige) continues to pine and chase after her when she continually proves she's only interested in money. But if in the tradition of noir, its heroine is a nasty piece of goods, it shows how evil can be fun as long as we know she'll get her comeuppance.  With Michael Whalen, James Griffith and Russ Vincent.

The Hatchet Man (1932)

Set in San Francisco's Chinatown, a hatchet man (Edward G. Robinson) who is an assassin for the Tongs must kill his best friend (J. Carrol Naish) for transgressing Tong laws. Before he dies, the friend asks the hatchet man to take care of his little girl (who grows up into Loretta Young) and marry her when she becomes of age. Based on the play THE HONORABLE MR. WONG by David Belasco and Achmed Abdullah and directed by William A. Wellman (THE HIGH AND THE MIGHTY). This pre code melodrama has adultery, drugs (opium) and violence in the forefront which wouldn't have been allowed once the code came into existence. Not to mention that the assassin gets the girl and lives happily ever after! Once again, all the major Asian roles are played by Caucasians while genuine Asians are relegated to bit parts and background atmosphere. While none of the major roles are remotely convincing as Chinese, some are downright ghastly. Notably J. Carrol Naish with his phony sing song accent and Leslie Fenton as a "hip" Tong thug. Most unusual is that the most sympathetic character is Robinson's assassin. One can't drum up much interest in the other characters. If you can get past the difficulty of Caucasians as Asians, it's a pretty good drama with solid direction from Wellman. With Dudley Digges and Tully Marshall.

The Iron Mask (1929)

The Queen's confidante (Marguerite De La Motte), who is the beloved of the musketeer D'Artagnan (Douglas Fairbanks) is killed to protect the secret that the young Dauphin (William Bakewell) has a twin brother. Based on THE VICOMTE OF BRAGELONNE by Alexandre Dumas and directed by Allan Dwan (SLIGHTLY SCARLET). Fairbanks' last silent film utilizes bits and pieces of THE THREE MUSKETEERS and THE MAN IN THE IRON MASK as well as characters in this pastiche of a movie. Although it is a silent film, there is a sound prologue and another sound intro by Fairbanks after the film's intermission. I found the film diverting but not up to the best of Fairbanks' earlier swashbucklers or adventure movies. Fairbanks plays the young D'Artagnan in the first half but after the film's intermission which begins 20 years later, he gets to play the aging D'Artagnan. The movie serves as a farewell to silent cinema by one of the silent era's greatest stars. The restored transfer I watched contained a fine score by Carl Davis. With Belle Bennett, Dorothy Revier, Rolfe Sedan and Nigel De Brulier, very good as Cardinal Richilieu.