Yukinojo Henge (aka An Actor's Revenge) (1963)

A male actor (Kazuo Hasegawa) who does female roles in Kabuki theater recognizes the three men (Ganjiro Nakamura, Saburo Date, Eijiro Yanagi) responsible for the ruination and death of his parents in the audience one night. Thus begins a complicated plot of revenge that will also destroy the innocent. Directed by Kon Ichikawa (FIRES ON THE PLAIN), this is a remake of a 1935 film that also starred Hasegawa. This is a fascinating stylized melodrama with a bravura performance by Hasegawa (who also plays the commenting thief). Ichikawa balances the sumptuous visuals with the narrative which is also a balancing act of sorts. There is great tragedy but also generous doses of humor, notably Fujiko Yamamoto's man hating lady bandit. Hasegawa's male actress stays in feminine mode even off stage which makes some of the romantic scenes between he and Ayako Wakao's love smitten concubine mesmerizing in its gender bending possibilities. Also known as REVENGE OF A KABUKI ACTOR. With Raizo Ichikawa and Shintaro Katsu.

The Man In The Glass Booth (1975)

A wealthy Jewish industrialist (Maximilian Schell), who is a survivor of a Nazi concentration camp, lives in a Manhattan penthouse. He appears to be paranoid about being followed and that someone is after him. He is later kidnapped by Israeli agents and taken to Israel to be put on trial ..... as a Nazi war criminal. Based on the novel and play by Robert Shaw (yes, the actor) and directed by Arthur Hiller (SILVER STREAK). This is a provocative and thought provoking film. It is also a filmed play and in spite of some attempts to open it up, its theatrical roots are obvious. This is also evident in Schell's performance which is very theatrical and played to the balcony. There can be some justification for that choice because of the character's emotional and mental instability. But make no mistake about it, this is a one man show and it belongs to Schell who delivers a searing performance. One can debate endlessly what the point of the film is but its layers of complexity will have you pondering much food for thought. Hiller's direction is adequate, more of a traffic cop than anything else. With Lois Nettleton as the prosecuting attorney, the only other actor to make an impression besides Schell, Luther Adler, Lawrence Pressman, Lloyd Bochner and Berry Kroeger.  

The Goodbye Girl (2004)

After being dumped by her current live in boyfriend, a single mother (Patricia Heaton) raising a daughter (Hallie Kate Eisenberg) discovers that he sublet their apartment to an actor acquaintance (Jeff Daniels). Rather than fight over who has legal rights to the apartment, they reluctantly work out a room mate situation. Directed by Richard Benjamin (THE MONEY PIT), this is a remake of the 1977 Neil Simon film. The film follows the 1977 film so religiously that Neil Simon still gets credit for the screenplay. There are a few concessions (there weren't any cell phones in 1977) but it's basically a line for line remake. The most notable difference is how Daniels and Heaton approach their roles in comparison to Richard Dreyfuss and Marsha Mason in the 1977 movie. Dreyfuss and Mason played to the balcony, hitting every punchline and wisecrack in true Broadway fashion. It worked. Daniels and Heaton (who got a SAG nom for her work here) dial it down considerably and deliver their dialog more naturally and don't feel the need to treat every line as a zinger. While it takes a bit to get used to the more natural rhythms, it works too. Eisenberg (Jesse's sister) too is less movie kid and more real life kid (though no kid in real life is that sophisticated). With Alan Cumming and director Benjamin playing a movie director.

6 Donne Per L'assassino (aka Blood And Black Lace) (1964)

When one of the models (Francesca Ungaro) at a haute couture fashion house in Italy  is brutally murdered, it is only the beginning of a series of violent killings. It seems the model left a diary and there lies the key to the motive. Co-written and directed by Mario Bava, this is the most stunning looking of Italian gialli. There is no credit for a production designer or art director so I attribute the "hot" look of the film (reds, blues, pinks) to Bava and his cinematographer Ubaldo Terzano. While not the first giallo, this was a radical film for its day in that Bava graphically emphasizes the murder aspect of the film which paved the way for the likes of Dario Argento as well as being influential to future directors like Quentin Tarantino. Its critical reception, at least in the U.S. was lukewarm to say the least but it is now recognized as one of the defining examples of giallo. The film's stylish original title credits had the cast members posing as mannequins as their names were given. This was cut for the U.S. release and a new set of credits given which weren't bad per se but lacked the originality and style of the Italian credits. With Cameron Mitchell, Eva Bartok, Mary Arden, Dante DiPaolo (Rosemary Clooney's husband), Thomas Reiner and Lea Lander.

Charlie Chan In Reno (1939)

A young woman (Pauline Moore) is in Reno to get a divorce when she runs into the mean spirited Manhattan socialite (Louise Henry) who stole her husband (Kane Richmond). When the woman is found stabbed to death, she becomes the main suspect. Enter Charlie Chan (Sidney Toler) to solve the case. Based on DEATH MAKES A DECREE by Philip Wylie and directed by Norman Foster, this is one of better entries in Fox's Charlie Chan franchise. Just about everyone except the chief suspect seems "suspect" so that Chan has his work cut out for him and for the viewer, it's fun trying to figure out whodunit. As efficient "B" programmers, the Chan movies tend to be very short (usually around 75 minutes) so there's not a lot of wasted time. Sure, there's Slim Summerville as a redneck sheriff for comedy relief but he doesn't take up too much space. As usual, all the suspects are gathered in one room so that Chan can reveal the real killer. It's such a cliche but I wouldn't have it any other way. The cast includes Ricardo Cortez, Phyllis Brooks, Victor Sen Yung and Kay Linaker.

Boogie Nights (1997)

In 1977 in Southern California's San Fernando Valley, a high school drop out (Mark Wahlberg) finds himself swept up in the burgeoning porn industry where he becomes a big star. But the excesses of the 1980s party scene, casual sex and easily available drugs can only lead to a big fall. Written and directed by Paul Thomas Anderson, this is a sensational film! It runs over 2 1/2 hours but unlike most films of that length, you never notice the running time it's that engrossing. A superb ensemble cast combined with a compelling screenplay and an irresistible song soundtrack, BOOGIE NIGHTS splendidly recreates the late 1970s in all its gaudy polyester self indulgence. A lot of the credit goes to Bob Ziembicki's production design, Ted Berner's art direction and Mark Bridges' costume design. Anderson doesn't hammer us over the head with moral judgments but rather let's us empathize with its fallen protagonists, people we wouldn't give the time of day in real life. That's the sign of a true artist. The impeccable cast includes Burt Reynolds, Julianne Moore, John C. Reilly, Philip Seymour Hoffman, William H. Macy, Heather Graham, Alfred Molina, Don Cheadle, Philip Baker Hall, Robert Ridgely, Thomas Jane, Joanna Gleason and Nicole Ari Parker.  

Stopover Tokyo (1957)

An American counterintelligence agent (Robert Wagner) arrives in Tokyo for a seemingly routine assignment when he discovers a plot to assassinate the American High Commissioner (Larry Keating) in Japan. An attractive Welsh airline clerk (Joan Collins) finds herself unwittingly swept up into the investigation. Directed by Richard L. Breen and based on the novel by John P. Marquand. The book featured Marquand's Japanese detective Mr. Moto but he was entirely eliminated from this film version. It's a fairly standard spy film that benefits from the gorgeous Japanese location shooting (in Kyoto) in CinemaScope courtesy of Charles G. Clarke (MIRACLE ON 34TH STREET). Oddly both its stars (Wagner and Collins) have disparaged the film although both have done worse (far worse) films. This being the 1950s, the "commies" are the enemy, here being represented by Edmond O'Brien although the film doesn't get anywhere near the ludicrousness of something like BIG JIM MCLAIN. Breen manages to keep the suspense quotient high at the start but it dissipates by the film's wan finale. With Ken Scott, Reiko Oyama and Sarah Selby.

T-Men (1947)

Two U.S. Treasury men (Dennis O'Keefe, Alfred Ryder) go undercover as gangsters in order to discover the source of a counterfeit ring. It's a race against the clock as the suspicious counterfeit gang gets closer to discovering their true identities. Directed by Anthony Mann (BEND OF THE RIVER), the movie plays out like a semi-documentary with actual location shooting in Detroit and L.A. rather than studio sound stage sets which gives the film a gritty authentic vibe. The film is fortunate to have the great John Alton (ELMER GANTRY) behind the camera whose use of lighting is legendary and his B&W cinematography here gives the film a texture that enhances the mood and atmosphere. The actors do fine work though it's not the kind of script that allows for much depth of characterization. Still, it's surprising how even in the smallest roles and briefest moments, how a good actor can bring a wealth of information. Mann had not yet moved on to "A" productions but his direction here is tight and solid. With June Lockhart, Charles McGraw, Wallace Ford, Keefe Brasselle, Mary Meade and Jane Randolph (CAT PEOPLE).  

What's The Matter With Helen? (1971)

In the 1930s, two women (Debbie Reynolds, Shelley Winters) head for California and change their names to start a new life after their sons are sentenced to life imprisonment for a brutal mutilation murder. But it seems they have been followed by someone bent on revenge for the murder their sons committed. Based on an unpublished short story THE BOX STEP by Henry Farrell (WHATEVER HAPPENED TO BABY JANE?) and directed by Curtis Harrington (NIGHT TIDE). There were cuts of a lesbian kiss by Winters to Reynolds and the final murder was severely toned down at the studio's insistence in order to avoid an R rating. What remains is still an effective entry in the "mature" actress horror cycle (think BABY JANE, HUSH HUSH SWEET CHARLOTTE, WHATEVER HAPPENED TO AUNT ALICE, STRAIT JACKET etc.). Not surprisingly, Winters is very effective as a whack job but Reynolds is surprisingly good in a dramatic role that suggests MGM might have been wasting her in musical comedy. The art direction by Eugene Lourie (LIMELIGHT) is excellent and Morton Haack's costume design received an Oscar nomination. There's a topnotch score by David Raksin (LAURA). With Dennis Weaver, Agnes Moorehead, Micheal Mac Liammoir, Timothy Carey, Yvette Vickers and Pamelyn Ferdin.

The Beguiled (2017)

 

Toward the end of the Civil War, a wounded Yankee soldier (Colin Farrell) is discovered in the woods near a girls school. He is taken in by the school's headmistress (Nicole Kidman) and his wounds tended to but the soldier isn't eager to leave. This is a remake of the 1971 Don Siegel film which in turn was adapted from the book THE PAINTED DEVIL by Thomas P. Cullinan and directed by Sofia Coppola. I have nothing against remakes on principle and I'm a huge admirer of Siegel's film so I was eager to see what Coppola brought to the table. Sadly, not much. It's not a bad film by any means, quite the contrary but it fails on almost every level when comparing it to the 1971 film. I think it was a mistake to eliminate the film's one black character and the elimination of the incest backstory weakens Kidman's character. Farrell doesn't bring the "alpha male" the way Clint Eastwood did. Eastwood was a real fox in the hen house and there was sexual tension. Farrell, at least in the beginning, is kind of a sweet blob and doesn't pose the immediate sexual threat the way Eastwood did. I hesitate to call it a noble failure since it's much better than that but still. It's also one of the ugliest looking movies I've ever seen, who needs a lighting director when you have candles? With Kirsten Dunst and Elle Fanning.  

Blue (1968)

A young Caucasian man (Terence Stamp) has been raised by a Mexican bandit (Ricardo Montalban) as one of his own sons. But when the bandits cross the border and raid a "gringo" settlement, he is wounded and nursed back to health by a doctor (Karl Malden) and his daughter (Joanna Pettet). He finds himself questioning his loyalties and his true identity. Directed by Silvio Narizzano (GEORGY GIRL), this is an above average western with much to recommend it. It would be worth seeing for the stunning visuals alone (it was filmed on location in Utah) courtesy of the legendary Stanley Cortez (MAGNIFICENT AMBERSONS) filmed in wide screen Panavision. It doesn't always avoid the cliches of the genre but the film has some layers to it. It's not as clear cut as most westerns when you have the racist white settlers on one side and the murderous Mexican bandits on the other side and you're right in the middle. The final battle between the bandits and the settlers is very well done. The underscore by Manos Hadjidakis (NEVER ON SUNDAY) is quite good if slightly inappropriate at times. With Anthony Costello, Joe De Santis, Stathis Giallelis, James Westerfield, Sally Kirkland and Peggy Lipton.

The Young Philadelphians (1959)

A young man (Paul Newman) studying law at Princeton was born with a prestigious Philadelphia mainline society name but without the money is raised by his single mother (Diane Brewster), who has sacrificed personal happiness to keep the name which will open doors for her son. He rises to the top of his legal profession thru ambition and manipulation. Based on the novel THE PHILADELPHIAN by Richard P. Powell and directed by veteran director Vincent Sherman (MR. SKEFFINGTON). This is the kind of juicy melodrama they don't make anymore and to many film buffs, this is a good thing. But I'm partial to these soap opera movie equivalents of hard to put down page turners. I can't make any more of it than what it is so if you're looking for something more substantial than a pleasant two hours of pure entertainment, this movie isn't for you. I suppose one could call it a guilty pleasure but I never feel guilty about anything that gives me pleasure. Newman does well and the rest of the cast is fine including Robert Vaughn in an Oscar nominated performance as a rich kid turned alcoholic. The score is by Ernest Gold (EXODUS) though you could have fooled me, it sounded like Max Steiner. With Barbara Rush, Alexis Smith, Brian Keith, Billie Burke, Adam West, Otto Kruger, John Williams, Anthony Eisley, Isobel Elsom and Robert Douglas.