Velvet Goldmine (1998)

A journalist (Christian Bale) is assigned a story about whatever happened to a famous 70s glam bi-sexual pop star (Jonathan Rhys Meyers), who faked his own death on stage and then mysteriously vanished from public life. The journalist's own life history is tied to the star, who he emulated as a youth. As he interviews those who knew the pop star, he reflects on his own coming out. It takes a bit of chutzpah to use CITIZEN KANE as a template for one's own film but director Todd Haynes whose innovative films include SAFE, I'M NOT THERE and FAR FROM HEAVEN has never been one to shy away from audacity. Haynes uses the 1970s glam rock scene to take us like Alice into surreal Wonderland, where we're overwhelmed and heady with the assault to our senses, our equilibrium unsteady. It's one of those films which flopped, both critically and financially, when it opened but has since found a cult audience and a growing reputation. Haynes could have given the film a simpler structure to follow but there's more than story to this. The eye popping costumes by Sandy Powell received an Oscar nomination. With Ewan McGregor, Toni Collette, Eddie Izzard and Emily Woof.

Cat And Mouse (aka Mousey) (1974)

After his wife (Jean Seberg) leaves him and takes their son (Stuart Chandler), though he isn't the biological father, a timid man (Kirk Douglas) begins to unravel to the point where he is a danger to himself ... and others. Indeed, he calls the police to inform them that he will kill someone before midnight! Debuting on television in the U.S. but playing theatrically in Europe, it takes awhile for the thriller aspect to kick in but when it does, it's pretty intense. In fact, one of the film's key scenes was used in WHEN A STRANGER CALLS five years later but it steals a little bit from the earlier WAIT UNTIL DARK too. Up till then it's a rather unexceptional thriller. One wouldn't normally think of Douglas as a milquetoast type but lest we forget he started out in the 1940s playing such types in films like A LETTER TO THREE WIVES and STRANGE LOVE OF MARTHA IVERS. He's actually a sympathetic figure at first and one can't help but feel Seberg did him wrong but that all goes by the wayside once the senseless killings start. Directed by Daniel Petrie (FORT APACHE THE BRONX). With Sam Wanamaker, John Vernon and Bessie Love.

Salome (1923)

The stepdaughter/niece (Alla Nazimova) of the Judean governor (Mitchell Lewis) lusts after the prophet (Nigel De Brulier) imprisoned by her stepfather. When he refuses her advances, she exacts a terrible revenge. Based on the Oscar Wilde play and directed by Charles Bryant (A DOLL'S HOUSE). This is one of the most visually dazzling film of the silent era. The production design and especially the costumes by Natacha Rambova (Mrs. Rudolph Valentino) are startling still. That plus the avant garde staging give the film an eerie timelessness. Indeed, one can imagine the production intact done at some off-off Broadway theater. The Wilde source material is a bit outre to be taken seriously today perhaps but it provides a mesmerizing film experience. It's not a good film in the sense that it never quite coalesces the memorable imagery to an organic narrative or in plain English, (to turn a phrase around) the sum of its parts is greater than the whole. The transfer I saw had an atonal score by Marc Olivier Dupin which works quite nicely. With Rose Dione and Earl Schenck.

Amanti D'Oltretomba (aka Nightmare Castle) (1965)

After catching his wife (Barbara Steele) with her lover (Rik Battaglia), a husband (Paul Muller) tortures them to death. When he finds out his wife left all her money and estate to her sister (also Steele), he marries the sister but plans to have her committed to a mental asylum. Essentially GASLIGHT re-imagined as a Gothic horror film, Mario Caiano's movie is a B&W routine faux Edgar Allan Poe that if shot by Roger Corman and American International would have been in color which would have benefited the film. The movie needs the punch that some vivid color would bring to accommodate the rather lurid proceedings. To the film's advantage, the iconic "Scream Queen" Barbara Steele dominates the proceedings and brings a certain gravitas needed to ground the film in a dual role of good sister/bad sister. Ennio Morricone's provides one of his more annoying scores. It's in the public domain, so be cautious about what transfer you go with. With Helga Line and Marino Mase.

The Moon Spinners (1964)

Two English women, a musicologist (Joan Greenwood) and her niece (Hayley Mills), are visiting the Greek island of Crete. But something strange is going at the inn they are staying at. The inn owner's (Irene Papas) brother (Eli Wallach) doesn't want them there for some reason and a mysterious stranger (Peter McEnery) doesn't appear to be an ordinary tourist. Many of Walt Disney's live action films of the 60s and early 70s don't hold up well, mostly because as a society we've moved beyond the wholesome somewhat naive values the films espouse. Fortunately, THE MOON SPINNERS is based on a mystery novel by Mary Stewart and the emphasis is on adventure and action. No longer a child, it was Hayley Mills' first young adult role and though there are no kisses, her first romantic-ish part. The Crete locations are gorgeous and one wishes that Paul Beeson's (TO SIR WITH LOVE) photography took more advantage of them. A pleasant diversion. Directed by James Neilson. With John Le Mesurier, Sheila Hancock, Andre Morell and in her final film appearance, the silent screen siren Pola Negri.

A Most Wanted Man (2014)

Set in Hamburg, Germany; the head (Philip Seymour Hoffman) of a secret anti-terrorist group sets his sights on a young Chechen refugee (Grigoriy Dobrygin) who he suspects will lead him to bigger fish, notably a well respected and internationally known Islamic philanthropist (Homayoun Ershadi) he believes channels monies to Islamic terrorists. Based on the novel by John Le Carre (THE SPY WHO CAME IN FROM THE OLD), this is an intense espionage thriller anchored by a strong performance by Hoffman in the central role. This was his last completed film (he died while filming the next HUNGER GAMES installment) and the film stands as a testament to his standing as one of the best actors of his generation. In Le Carre's "don't trust anyone" spy world, there are no heroes and any attempt to be one is doomed to failure. This is a movie for grown ups. Layered and complex with lots of gray and not much black and white. You can't guess the ending but you know won't be leaving the theater feeling good. Directed by Anton Corbijn. The wonderful supporting cast is chock full of good performances including Willem Dafoe, Rachel McAdams, Robin Wright, Daniel Bruhl and Nina Hoss.

The Bride Wore Red (1937)

In an experiment to prove that there's no real difference between the aristocracy and the common folk, a Count (George Zucco) sends a down on her luck cabaret singer (Joan Crawford) to a plush Alps resort and pass herself off as a wealthy society woman for two weeks. Once there, she plots to snag herself a rich husband (Robert Young) though her heart is susceptible to the charms of a local postman (Franchot Tone). Based on a play by Ferenc Molnar (LILIOM), this was considered one of the mediocre films that soured MGM on Crawford. So it was a surprise to discover how charming it was. Though it lacks the feminist subtext that the director Dorothy Arzner brought to films like DANCE GIRL DANCE and CHRISTOPHER STRONG, it's a polished piece of a fairy tale romcom with Crawford at her most appealing. A minor irritant is Lynne Carver (though no fault of the actress) as Young's all forgiving doormat fiancee which is an unfortunate product of the time. The trite underscore is by Franz Waxman. With Billie Burke, Reginald Owen and Mary Philips (LEAVE HER TO HEAVEN).

The Long Good Friday (1980)

A crude British gangster (Bob Hoskins) has ambitions of legitimizing his organization by investing in property that will home the future Olympic games. To this end, he seeks the support of an American syndicate whose representative (Eddie Constantine, ALPHAVILLE) has arrived in London. However, a series of killings and bombings of the gangster's cohorts threaten to derail the deal and he is determined to find the culprits. But he doesn't realize just how over his head he is. Directed by John MacKenzie (THE FOURTH PROTOCOL), this is a terrific and nasty portrait of a street thug who rose from the gutter to a crime kingpin yet doesn't seem to realize that he can't control everything around him and that his violent tactics often make matters worse. This was Hoskins' breakthrough film and he gives a superb performance. He's both frightening and attractive at the same time, you can see why a looker like Helen Mirren (as his mistress) would be drawn to him. It's a tough little gangster film that spares us nothing, no glamorizing the life here. Really first rate stuff! I could have done without Francis Monkman's overcooked score though. With Derek Thompson, Dave King, Bryan Marshall, Paul Freeman and in his feature film debut, Pierce Brosnan.

Kansas City Bomber (1972)

A single mother (Raquel Welch) turns to skating in the roller derby as a way of supporting her two children who live with her mother (Martine Bartlett) while she travels with the Kansas City team. Things get complicated when she is traded to Portland, Oregon where's she's seen as a threat by the "star" (Helena Kallianiotes, FIVE EASY PIECES) of the Portland team. It doesn't help that the team's owner (Kevin McCarthy) thinks he owns her outside the skating rink too. Directed by Jerrold Freedman. While the film can't seem to decide whether it's an out and out exploitation film or a serious study of a woman trying to find her place in a world that exploits her both professionally and personally (something Welch knows something about), it's a tight little film with a surprisingly effective performance by Welch. Two supporting performances stand out: Kallianiotes who wears her simmering rage on her sleeve and Norman Alden as a sensitive big gorilla of guy who's not too bright but exploited also. The skating sequences seem authentic though it's clear Welch is using a double for the more physical portions. There's a nice jazz infused score by Don Ellis (THE FRENCH CONNECTION). With Jeanne Cooper, Cornelia Sharpe and 10 year old Jodie Foster as Welch's daughter.

Nikutai No Mon (aka Gate Of Flesh) (1964)

In the burnt out squalor of postwar Tokyo, a recent rape victim (Yumiko Nogawa) joins up with four prostitutes who ply their trade and keep a strict code (no sleeping with American G.I.s, no sex for free). But when an ex-soldier (Joe Shishido, he of the chipmunk cheeks) moves in with the women, their carefully knit "family" begins to unravel. If you're familiar with director Seijun Suzuki's notable work in the Yakuza genre for which he's known, this film may come as something of a revelation. Before anything else, the film's stunning production design by Takeo Kimura must be addressed. Kimura is just as much responsible for the film's artistry as Suzuki. The Tokyo slums are totally fabricated on the Nikkatsu backlot which gives the film an often surreal and intentionally stylized look with no attempt to conceal that they are sets. Combined with the vivid color scheme (the prostitutes are identified by the color of their dresses) which would do Douglas Sirk proud, Suzuki truly creates a hellish atmosphere. As for the narrative, though it comes almost 20 years after the end of WWII, there's a bitterness toward the American occupation of Japan and the loss of the war running through the film. Tellingly, as a character describes the Hell on earth, the last shot of the film is of an American flag. I'm not suggesting that the film is anti-American by any means but rather the film is about the hopelessness of defeat and the animal existence the survivors of war and an occupied country must resort to. Startlingly, some of the brutality is actually quite erotic and intended so but I could have done without the graphic slaughter of a cow. Based on a novel by Taijiro Tamura. With Satoko Kasai, Tomiko Ishii and Misako Tominaga.

Right Cross (1950)

Despite being in love with the WASP daughter (June Allyson) of his fight promoter (Lionel Barrymore), a Mexican-American boxer (Ricardo Montalban) feels paranoid that "gringos" have it out for him. When his right hand becomes damaged and his fighting days seem numbered, he plots to get out of his contract with his promoter and sign with another promoter (Barry Kelley) who can do more for him financially. Directed by John Sturges (BAD DAY AT BLACK ROCK), this is a well done programmer with three appealing leads (Dick Powell as a sports reporter is the third) and a solid screenplay by Charles Schnee. The race angle is handled well without the Krameresque heavy handedness. Allyson may be top billed but the film really belongs to Powell and Montalban who establish a believable bond of friendship, a genuine "bromance". The film's big boxing sequence toward the end is excellent though this is coming from someone who is not a fan of the sport. There's no real underscore to speak of but David Raksin composed a corker of a main title. With Kenneth Tobey, Larry Keating and in a bit part as a model Powell tries to pick up ... Marilyn Monroe.

The Shanghai Gesture (1941)

A massive gambling house in Shanghai run by the notorious Mother Gin Sling (Ona Munson, Belle Watling in GONE WITH THE WIND) attracts a mix from all walks of life: society types, government officials down to con men and prostitutes. When a rich spoiled playgirl (Gene Tierney) and a down on her luck chorus girl (Phyllis Brooks) enter the establishment, they will both provide Mother Gin Sling with the means for revenge against the man (Walter Huston) who did her wrong. This is one insane movie! Directed by Josef von Sternberg (though the film has no connection to his SHANGHAI EXPRESS), one has to wonder what hallucinogens he was taking when he made it. Considering the censorship restrictions of the time eviscerated the source material, it's still amazing what the film gets away with. In the original play, Mother Gin Sling is Mother Goddam and she runs a brothel rather than a gambling establishment. Is it a "good" film? No ... but it's much more enjoyable and fun than so many "good" films that we know we are supposed to like. Boris Leven's Oscar nominated set, a circular multi-leveled casino with a huge chandelier viewing the gambling tables on the bottom floor, is pretty awesome. A surreal experience that should be seen at least once. With Victor Mature, Eric Blore, Albert Basserman, Mike Mazurki and Maria Ouspenskaya whose role seems to have been cut, she has no lines.