For Love Or Money (1963)

When her three daughters threaten to challenge the conditions of their father's will, a wealthy woman (Thelma Ritter) hires an attorney (Kirk Douglas) to arrange marriages for her three daughters. Two of the daughters, a health nut (Julie Newmar) and a patroness of the arts (Leslie Parrish, THE MANCHURIAN CANDIDATE) prove easy but it's the third daughter (Mitzi Gaynor) who proves to be the stumbling block. This romantic comedy gets the full on Ross Hunter, even though he had nothing to do with the film, glamour treatment (sets, costumes, jewels and furs etc.) and director Michael Gordon who had a big hit with PILLOW TALK is the director. One can see what the picture was supposed to be and everyone tries hard but ... no soap. The screenplay might (and that's a very iffy might) have worked with, say, Tony Curtis and Debbie Reynolds in the leads. But Kirk Douglas doesn't have the light touch required for material like this and Gaynor, who's cute and a terrific dancer, has an artificiality about her acting that often renders her charmless. It's slack when it should be fizzy. With Gig Young giving his patented "best friend who loses the girl" performance, William Bendix, William Windom, Elizabeth MacRae, Dick Sargent and Edy Williams.

Hope And Glory (1987)

As WWII encroaches on a small English town, a young lad (Sebastian Rice-Edwards) looks upon it as a great adventure. A break from the monotonous routine of everyday existence. An absolute joy, this may be director John Boorman's best film. War is a horrible thing, we all know that but as politically incorrect as it sounds, it can be an adventure and as seen through the eyes of a child, it's both exhilarating and horrible. Bombed out homes become club houses, children search through the rubble for pieces of shrapnel and other souvenirs, bombs bursting are looked upon with awe rather than terror and when schoolhouses are bombed, children cheer because it means more holiday time. But it's not all frivolity. Boorman, sometimes in a single shot, shows up both the tragedy and the comical. While most WWII films about the homefront (like MRS. MINIVER or SINCE YOU WENT AWAY) focus on how those who wait also endure, this is not MRS. MINIVER. The film is fortunate in young Rice-Edwards and also young Geraldine Muir, two child actors who give fresh and natural performances rather than the usual parroting performances given by child actors. Two other performers stand out. Ian Bannen as a cranky grandfather and the adorable Sammi Davis as a 15 year old girl who grows up in a hurry (when asked about her going out with soldiers, she replies "I'm just doing my bit for the war!"). The rest of the cast includes Sarah Miles, David Hayman, Derek O'Connor, Jean Marc Barr and Susan Wooldridge.

Gaslight (1940)

The house where an elderly woman (Marie Wright) was murdered has not been lived in for many years when a man (Anton Walbrook, THE RED SHOES) and his new wife (Diana Wynyard) move in. She is recovering from a recent breakdown but when strange things start happening she fears she is losing her mind and oddly enough, she is encouraged in that train of thought by her husband. Based on the play ANGEL STREET by Patrick Hamilton, this British film has long been buried in the shadow of its more famous 1944 American remake with Ingrid Bergman. For many years, it was suppressed from showing in the U.S. which led to the belief that it was actually superior to the 1944 MGM film. It's not. Oh, it's very good mind you but not only is the acting better in the MGM version (only Walbrook's devilish sadist stands out in the 1940 film), but it also has more of an atmosphere, a sense of dread. I suspect Anglophiles may prefer this version but they're both good enough to stand on their own merits. Directed by Thorold Dickinson. With Robert Newton, Cathleen Cordell, Frank Pettingell and Jimmy Hanley.

Diane (1956)

In 16th century France, a noblewoman (Lana Turner) rises to power through her political associations. First, a marriage to a Count (Torin Thatcher), then as confidante to King Francis I (Pedro Armendariz) and later as mistress to his son King Henry II (Roger Moore). But when Henry makes a political marriage to Catherine de Medici (Marisa Pavan, THE ROSE TATTOO) of Italy, the Countess may have met her match. Loosely based on the life of Diane de Poitiers, the film is a typically glossy Hollywoodized view of French history and one is apt to find oneself looking at the art direction or costumes rather than paying strict attention to the narrative. It's hard to believe the screenplay is by Christopher Isherwood (BERLIN STORIES). The dialog is florid and affected and Turner and Moore aren't strong enough actors in the best of circumstances to overcome the ornate lines they're given to say. The acting honors go to Marisa Pavan, who goes from naive young bride to a steel fisted Queen. Her final confrontation with Turner is the highlight of the film. There's a terrific score by Miklos Rozsa, one of his best. Directed by David Miller (LONELY ARE THE BRAVE). With Cedric Hardwicke, Taina Elg, Henry Daniell, Michael Ansara, Sean McClory and Melville Cooper.

The Fearless Vampire Killers (1967)

An incompetent vampire hunter (Jack MacGowran) and his timid assistant (Roman Polanski) find lodgings at a small inn in Transylvania. Noticing the garlands of garlic hanging about the inn, they suspect vampires are at hand and when the innkeeper's daughter (Sharon Tate) is kidnapped, they trace her to a mysterious Count's (Ferdy Mayne) castle. In most horror comedies like THE GHOST BREAKERS or ABBOTT & COSTELLO MEET FRANKENSTEIN, the emphasis is on the comedy. The director Roman Polanski's often witty farce balances the comedy and the horror with equal aplomb. The film, beautifully shot by Douglas Slocombe (THE LION IN WINTER), has the look and feel of a Hammer horror and despite the silliness never let's you forget this is also a horror film, too. The actors are all attuned to the style of the material and give appropriate performances. Polanski and co-writer Gerard Brach's screenplay score some trenchant digs amid the madness as when the coffin of a Jewish vampire is not allowed to rest aside the coffins of the gentile vampires. The clever score is by Christopher Komeda. With Alfie Bass, Fiona Lewis and Jessie Robins.

Hornets' Nest (1970)

In 1944 Italy, an American paratrooper (Rock Hudson) is the sole survivor of a Nazi massacre. He is rescued by a band of child partisans led by a boy (Mark Colleano) whose only thought is revenge on the Nazis who killed his parents. They agree to help each other. The American will teach the boys how to kill and the boys will help the American complete his mission ..... blowing up a dam. This is one bad movie! Inept in almost every way. For example, there's a scene with Hudson jumping into a river to escape the Nazis, cut to another shot, then we see Hudson jumping into the river again! There are several distasteful scenes like an attempted rape of Sylva Koscina by the children and later an actual rape of Koscina by Hudson and he's the movie's hero!! It doesn't help that all the Germans in the movie are played by Italians with Italian accents, it takes more than dying their hair blonde to make them convincing Germans. The film appears to have an actual message which seems to be how war turns children into killers but it's so bungled that the message is lost. Last year's WAR WITCH did a much better job of showing the horror of child soldiers. As for the acting, Colleano gives a performance that is stupendous in its awfulness. On the plus side, there's a decent score by Ennio Morricone and the vivid cinematography is by Gabor Pogany (De Sica's TWO WOMEN). Directed by Phil Karlson (THE SILENCERS). With Sergio Fantoni, Jacques Sernas and Giacomo Rossi Stuart.

Elena Et Les Hommes (aka Paris Does Strange Things) (1956)

An impoverished Polish countess (Ingrid Bergman), now living in Paris, accepts a marriage proposal by a wealthy shoe manufacturer (Pierre Bertin) out of financial necessity. But before the marriage can take place, she catches the eye of both a general (Jean Marais) and a count (Mel Ferrer) who eagerly pursue her. Directed by the great Jean Renoir, this colorful French farce with political overtones should be bubbly and animated. It's certainly not from lack of trying but there's an air of desperation about the whole affair as the actors go through their paces, dashing about with mock indignation. Bergman is delectable, like a ripe peach ready to be devoured but her timing seems off and Marais and Ferrer lack fizz. Some of the supporting players fare better, notably Pierre Richard as the general's orderly and Magali Noel as a sexy maid. Renoir is certainly capable of doing a witty comedy of manners, after all this is the man who directed RULES OF THE GAME but only once does he hit a high note: when a supposedly secret rendezvous at an inn turns into the most public of affairs. The candy coated cinematography by Claude Renoir (Jean's nephew) looks delectable as does the costume designs of Rosine Delamare and Monique Plotin. With Juliette Greco, Dora Doll, Elina Labourdette and Jacques Jouanneau.

Desperate Search (1952)

After an airliner crashes in the mountains of British Columbia, the father (Howard Keel in a non singing role) of two children (Lee Aaker, Linda Lowell) on the flight joins an air search of the area for survivors. There's further conflict when his ex-wife (Patricia Medina) and the mother of his children shows up which causes friction with his current wife (Jane Greer, OUT OF THE PAST). This "B" programmer directed by Joseph H. Lewis (GUN CRAZY) is pretty tight and economical and clocks in at a brief hour and 12 minutes. Unfortunately, this allows for almost no characterization at all and as written, the actors have no room to breath, much less act. Which is probably just as well given the cardboard characters and uninspired dialog. Poor Patricia Medina fares worst as the "dragon lady" ex-wife. As for the children, Aaker is decent enough but Lowell's shrieking brat gets on one's nerves though Lewis whips up some tension involving the kids being terrorized by a mountain lion. With Keenan Wynn, Elaine Stewart and Jeff Richards.

La Vie D'Adele (aka Blue Is The Warmest Color) (2013)

A young high school student (Adele Exarchopoulos) meets an older woman (Lea Seydoux) and thus begins an intense romantic relationship that will last several years. The winner of this years Palme D'Or at the Cannes film festival as well as best director (Abdellatif Kechiche) and best actress for both its leading ladies, if not the masterpiece it's been hyped up to be, it's still a remarkable achievement. Unfortunately much of the film's notoriety (it's rated NC-17) is based on its graphic lesbian sex scenes. But anyone going in expecting an erotic chick on chick flick is going to be disappointed. The sex scenes total about ten minutes out of a three hour running time and they're not exploitative but a necessary function of the film's narrative. This is a film about love. About finding it, finding your soul mate and the messiness of romantic relationships, of loss and the slow painful rebuilding. It's anchored by an extraordinary (and I don't use that word lightly) performance by Exarchopoulos that's so raw and visceral that it seems to transcend acting. Never for a moment do you feel you're watching an actress but only the character, an achievement rarely accomplished by even the greatest actresses like Streep, Hepburn and Davis. It's three hour running time may seem excessive for such an intimate story and Kechiche's languid pacing occasionally feels self indulgent but in the end, it's justified.

Take A Hard Ride (1975)

When his cattle rancher boss (Dana Andrews) dies of a heart attack, his right hand man (Jim Brown) promises the dying man to deliver $86,000 to his wife in Mexico. But when word gets out what he's carrying, suddenly a lot of people with an eye on the money attempt to prevent him from keeping his promise. This peculiar mixture of blaxploitation and spaghetti western with a dash of kung-fu oddly works for its first hour but I had trouble sustaining interest during its second half when it turns into a rather routine western. Directed by Antonio Margheriti (YOR, THE HUNTER FROM THE FUTURE), the movie was shot in the Canary Islands which make for a very convincing substitute for the American and Mexican west. Only Jerry Goldsmith's zippy score which cries out big budget Hollywood western hurts the spaghetti western like atmosphere. The stoic Brown has a strong screen presence but not much else so Fred Williamson (BLACK CAESAR) contributes a more lively performance while Jim Kelly (ENTER THE DRAGON) as a mute Indian provides the martial arts. With Lee Van Cleef as the squint eyed bounty hunter tracking the men, Catherine Spaak, Barry Sullivan and Harry Carey Jr.

Prudence And The Pill (1968)

Though they live under the same roof, a wealthy banker (David Niven) and his wife (Deborah Kerr) live separate lives. He has a mistress (Irina Demick), she has a lover (Keith Michell). But when his young niece (Judy Geeson) switches her mother's (Joyce Redman, TOM JONES) birth control pills with aspirin, it leads to a chain reaction of unexpected pregnancies for almost everyone. Based on the book by Hugh Mills and directed by Fielder Cook (A BIG HAND FOR THE LITTLE LADY). Oh those swinging 60s have a lot to answer for and PRUDENCE AND THE PILL is one of them. It's garish looking (it's all orange and blue rooms and pink and purple dresses) with the requisite "swinging" underscore and taking advantage of the screen's new sexual freedom. I suppose a comedy about the birth control pill was inevitable but couldn't it have been funnier? Mercifully, they avoided putting Edith Evans in a mini skirt but no one comes out looking very good. Hugh Mills adapted his book for the screen so so I suppose we can lay the blame at his feet. With Robert Coote, David Dundas and Moyra Fraser.

Diana (2013)

Focusing on the last two years in the life of Princess Diana (Naomi Watts looking like a young Helen Mirren), post Prince Charles and pre Dodi Fayed, and her romance with a Pakistani heart surgeon (Naveen Andrews, THE ENGLISH PATIENT). Not surprisingly, the film opened to scathing reviews in Great Britain. The surprise is that while it's not good, it's not totally bad either. Never rising above, and I'm being generous here, adequate; it nevertheless presents a well balanced look at Diana. She's not portrayed as Saint Diana by a long shot but neither is she portrayed as mindless tabloid fashion icon/publicity hound. More importantly the central performance by Naomi Watts is excellent! Acknowledged that she can't overcome the script's inherent weakness (critics who've compared it to a Lifetime movie aren't far off) but Watts brings a genuine naivete (she wasn't the brightest) and humanity to her Diana. Recommended if you love good acting but if acting isn't that important to you, it can be skipped. Directed by Oliver Hirschbiegel with a very good underscore by David Holmes and Keefus Ciancia. With Juliet Stevenson, Geraldine James, Art Malik, Charles Edwards and Michael Byrne.