Le Route De Salina (aka The Road To Salina) (1970)

A young drifter (Robert Walker Jr.) is mistaken as her son by a lonely woman (Rita Hayworth) who runs a diner and gas station in a small seaside town. He plays along but things turn mysterious when his "sister" (Mimsy Farmer, looking like a young Bibi Andersson but without the talent) accepts him as her brother. Based on the novel SUR LA ROUTE DE SALINA by Maurice Cury and directed by George Lautner (LE PROFESSIONEL). Although shot in English with American actors in the leading roles, this is a French/Italian production filmed in Spain and France. This is a strange psychological drama with an air of mystery about it. Everything and everyone seems off kilter and we're all as in the dark as the young drifter who eventually sets about finding the truth behind the delusional life he finds himself caught in. Naturally, it all ends badly. Beautifully shot in wide screen Panavision by Maurice Fellous, who makes extensive use of the Canary Islands landscape. The incest angle is creepy but the movie does cast a spell of its own. Frankly, I'm not sure if it's a good movie but it's highly watchable. With Ed Begley in his final film role (he died before the film's release), Bruce Pecheur, Sophie Hardy and Marc Porel. 

Liza With A Z (1972)

Reputedly the first filmed concert for television, this was shot on 16 millimeter film (8 cameras) by Owen Roizman (THE FRENCH CONNECTION) rather than the traditional videotape. 1972 was a banner year for director/choreographer Bob Fosse who won the Oscar for CABARET, the Tony for PIPPIN and the Emmy for this. It also serves as a reminder of what a dynamite triple threat entertainer Liza Minnelli was in the 1970s. Minnelli was still in fine voice and Fosse's sharp direction along with the material (lots of John Kander and Fred Ebb) and inimitable choreography make this special. Highlights are the Fosse choreographed numbers: I Gotcha, Bye Bye Blackbird and Son Of A Preacher Man which spotlight Minnelli's underrated dancing (Fosse said after Gwen Verdon, Minnelli was the one who understood his choreography the best). If you're a Minnelli or Fosse fan, you've probably already seen this but if you haven't, it's worth seeking out.

Defending Your Life (1991)

An L.A. advertising executive (Albert Brooks) is killed when his newly purchased car crashes into a bus. In the after life, he finds himself put on trial to justify his moving on to the next level or being sent back to Earth and reincarnated. In the meanwhile, he falls in love with a recently deceased woman (Meryl Streep) also awaiting a decision deciding her fate. Written and directed by Brooks, this inspired combination of romantic comedy and fantasy is a pure delight! Brooks' screenplay is clever and witty yet it's the romance between Brooks and Streep which gives the movie its heart. The movie is more introspective than some similarly themed films like HEAVEN CAN WAIT and GHOST and has one of the great romantic finales of all romcoms. I know Brooks has many admirers but other than this and MOTHER, his movies usually leaves me cold. With Rip Torn, Lee Grant, Buck Henry, Leonard O. Turner and in one of the film's funniest gags, Shirley MacLaine playing herself.     

Kid Nightingale (1939)

An aspiring opera singer (John Payne) is talked into becoming a heavyweight boxer by a boxing scout (Walter Catlett). He agrees on the condition that he can also train for the opera. With his good looks and singing voice, he becomes known as Kid Nightingale and lures a legion of swooning female fans to the ring. Directed by the Oscar nominated film editor George Amy (THE SEA HAWK) who directed a few films but had more success as a film editor. This mildly amusing B programmer is bolstered by an eager cast and its brief running time (it's barely an hour long). Its two attractive leads, Payne and Jane Wyman as his girl, are early in their careers and stardom for both would be a few years away. I've always liked Payne who had a nice screen presence and movie star looks but who never quite made the upper tier of stardom while lesser actors did. Who said life was fair? It's silly and predictable but one would have to work awfully hard to dislike it. With Edward Brophy, Charles D. Brown and Harry Burns.

On The Rocks (2020)

When a writer (Rashida Jones) suspects her husband (Marlon Wayans) of being unfaithful, she turns to her egocentric philanderer father (Bill Murray) for advice. Probably not the best person to discuss infidelity with. Written and directed by Sofia Coppola (LOST IN TRANSLATION). The reuniting of Coppola and her LOST IN TRANSLATION leading man pays dividends here. It's a supporting role as the movie belongs to the appealing Jones but it's Murray who steals the movie. His character should be repellant but the aging Murray's impudent narcissistic charm is impossible to resist and one can see why women fall under his spell, even as he hurts those around him. It takes awhile to get to the movie's payoff and for a long time, you wonder where the movie is going but it eventually gets there. It's a lightweight confection of a movie and if you don't expect too much, it's a pleasant journey. With Barbara Bain (as Murray's mother!) and Jessica Henwick. 

Confidential Agent (1945)

Set in 1937 during the Spanish Civil War, a Spanish agent (Charles Boyer) travels to England with a mission to purchase much needed coal for the Republican government or at the very least, dissuade the sale of coal to the Fascists. Based on the novel by Graham Greene (THE THIRD MAN) and directed by Herman Shumlin, a theatre director who only directed two movies (the other was WATCH ON THE RHINE). I've not read Greene's novel but I understand the film is fairly faithful to the book but I found the movie overly complicated and too long (it's two minutes shy of the two hour mark). Boyer's agent comes across as too naive. Yes, I understand he's not a professional but when everybody is after you and you can't trust anybody, who goes into a dark alley with a total stranger? That being said, Boyer is excellent here. I think it's one of his very best performances. Alas, his leading lady Lauren Bacall in only her second movie already shows the limitations of her acting. But the movie remains a solid entry in the spy genre. The outstanding supporting cast includes Peter Lorre, Katina Paxinou, Victor Francen, George Coulouris, George Zucco and Wanda Hendrix giving a lovely performance as an abused servant girl.

King Of Texas (2002)

Set in 19th century Texas, a wealthy cattle baron (Patrick Stewart) divides his sprawling property among his three daughters. But first he demands proof of their love and while the two oldest daughters (Marcia Gay Harden, Lauren Holly) espouse their love, his youngest daughter (Julie Cox) refuses to play his game and is banished from his life. Based on KING LEAR by William Shakespeare and directed by Uli Edel (LAST EXIT TO BROOKLYN). Adapting Shakespeare's plays into a different genre or setting is nothing new in film or stage. Such adaptations include the sci-fi FORBIDDEN PLANET (THE TEMPEST), the western JUBAL (OTHELLO) and the musical WEST SIDE STORY (ROMEO AND JULIET) and this version of KING LEAR on the range works surprisingly well. Of course, without the poetry of Shakespeare's language much is lost in the transition but the power of the narrative is still there. However, the monstrous adult children who seem perfectly at home in the Shakespearean tragedy seem excessive in a more contemporary format. Stewart is very good here as Lear, receiving our empathy even though he's responsible for the harridans he raised. He bred them and raised them and he's not altogether undeserving of their contempt. The underscore by John Altman is quite effective. With Roy Scheider, David Alan Grier, Patrick Bergin, Steven Bauer, Colm Meaney and Matt Letscher.

Daylight (1996)

An explosion in a tunnel under the Hudson River in New York causes a sweeping fireball to incinerate the majority of motorists. An ex paramedic (Sylvester Stallone), now driving a taxi, takes it upon himself to gather up the survivors and try to find a way out. Directed by Rob Cohen (THE FAST AND THE FURIOUS), the production values and special effects of this disaster film are first rate. However, the movie is sunk by its dreadful dialogue and cardboard characters. Say what you will about the disaster movies of the 1970s but movies like THE POSEIDON ADVENTURE and TOWERING INFERNO may have had cardboard characters too but they were smart enough to give the films time enough to develop those characters so we got to know them and could invest in their fate. Not here! Those films also had strong actors who could flesh out some of that cardboard but with the exception of a wasted Claire Bloom (I hope she was paid well) and Viggo Mortensen (defeated by his inane character), the movie doesn't have actors of that quality. A disaster movie where you don't give a rat's ass if anybody survives has nowhere to go but down. With Amy Brenneman, Dan Hedaya, Jay O. Sanders, Vanessa Bell Calloway, Rosemary Forsyth, Stan Shaw and Barry Newman.

The Naked Spur (1953)

An embittered rancher turned bounty hunter (James Stewart) is tracking down a killer (Robert Ryan) but circumstances force him to take a rapist (Ralph Meeker) and a gold hungry misogynist (Millard Mitchell) as partners in the reward money. Directed by Anthony Mann (FALL OF THE ROMAN EMPIRE), this tough and gritty western is a typical collaboration between Mann and star Stewart (they did eight films together, five of them westerns). It's a tight western with only five speaking roles (Janet Leigh as Ryan's girlfriend is the fifth character). Stewart, who I almost always prefer in dramatic parts as opposed to his comedies, is in fine form here. The often irritating mannerisms in his comedy work are gone and he fiercely embodies this angry victim of betrayal who's lost much of his humanity. William C. Mellor (A PLACE IN THE SUN) is responsible for the handsome Technicolor cinematography filmed in the Colorado mountains and the screenplay by Sam Rolfe and Harold Jack Bloom received a best screenplay Oscar nomination. The score by Bronislau Kaper unfortunately incorporates the song Beautiful Dreamer into the score proper and the strains are annoying and work against what's on the screen.

Big Blonde (1980)

Set in the prohibition era of the 1920s, a showroom model and goodtime girl (Sally Kellerman) marries a traveling salesman (John Lithgow). But while the former party girl delights in her new found domesticity, her husband hates it and still craves the party life. As the marriage deteriorates, so does the wife. Based on the prize winning short story by Dorothy Parker and directed by Kirk Browning. There's an underlying sadness to Parker's tale of a vivacious blonde putting on a cheerful front because it's expected of her as she sinks into a depression. This adaptation (done for public television) doesn't quite capture the heroine's duality but Kellerman is really wonderful here, engendering empathy when she could have just as easily engendered annoyance. Sadly, Lithgow seems miscast. We're only too aware of his "acting" the part rather than inhabiting it. With George Coe, Anita Morris and Peg Murray.

F.P.1 Antwortet Nicht (aka F.P.1 Doesn't Answer) (1932)

A dashing pilot (Hans Albers) wants to help his friend (Paul Hartmann) whose designs for an air station in the middle of the ocean languish away at a major factory. While bringing attention to his friend's design, he falls in love with the sister (Sybille Schmitz) of the brothers who run the company. But his ambition gets in the way of the romance and fate deals the three of them a major blow. Based on the novel by Kurt Siodmak (DONOVAN'S BRAIN) and directed by Karl Hartl. Simultaneously filmed in French (with Charles Boyer in the Albers role) and English (with Conrad Veidt in the Albers role) as well as German. It's an enterprising mixture of romance, science fiction and disaster movie. I liked how the movie didn't go the obvious route with its romantic triangle and Albers is an early example of the antihero, something Humphrey Bogart would perfect in the 1940s. Creative and visually imaginative, it provides enough entertainment value to keep you invested. With Peter Lorre and Hermann Speelmans.

Sea Wife (1957)

After WWII, a man (Richard Burton) returns to England and places an ad in a newspaper trying to contact a young girl (Joan Collins) he was shipwrecked on a desert island with along with a racist Brit (Basil Sydney) and a black purser (Cy Grant). They were all on a ship that was torpedoed by the Japanese near Singapore. Based on the novel SEA WYF AND BISCUIT by James Maurice Scott and directed by Bob McNaught. Originally, the film was going to be directed by the Italian neorealist Roberto Rossellini (ROME OPEN CITY) but 20th Century Fox was horrified by the frank depiction of a sexual relationship between Joan Collins' nun and Richard Burton and Rossellini was replaced by the nondescript McNaught. We'll never know if Rossellini's version would have been a superior film but it certainly would have been more provocative than what we get, which is a typical "beautiful girl stranded on a desert island with three men" adventure. To the film's credit, it retains the racial tension between Sydney's racist and the black purser. Handsomely shot in CinemaScope on the island of Jamaica by Edward Scaife (THE DIRTY DOZEN). With Ronald Squire and Beatrice Varley.