Sophia Loren In Rome (1964)

A companion piece to ELIZABETH TAYLOR IN LONDON which aired the year before, screen goddess Sophia Loren guides viewers through various parts of Rome, both the historic Rome as well as contemporary Rome. Rome by day and Rome by night as well as tourist spots and the everyday Rome of its citizens. Unlike Taylor, Loren doesn't make herself the focus of the production. She doesn't read poetry, quote diaries or recite famous speeches by Italian monarchs and politicians. She does, however, sing. She also has a famous guest (which Taylor did not) when she visits Marcello Mastroianni at his home on the Appian Way. Gowned by Dior (Loren had it in her contract, she got to keep the clothes), she looks stunning. I enjoyed it a bit more than ELIZABTH TAYLOR IN LONDON because I find Rome a more photogenic city than London and the history of Rome more fascinating than British history. John Barry once again provides the underscore. 

Horror Express (1972)

Set in 1906, a European bound train on the Trans Siberian Railway coming from China is stalked by a centuries old alien who moves from body to body after killing its host. It's up to an anthropologist (Christopher Lee) and a doctor (Peter Cushing) to discover what passenger is hosting the alien creature and terminate it before it kills again. Directed by Eugenio Martin, this co-Spanish and American sci-fi and horror blend tantalizes us with an interesting premise that it never quite lives up to. I love movies set on trains so I was already partial to it but it's crudely made. It's always nice to see horror icons Cushing and Lee working together but the film too often borders on the ludicrous. For example, why would a Russian priest (Alberto De Mendoza) suddenly switch from a fanatical man of God to voluntarily serving "Satan"? Then there's Telly Savalas as a Russian soldier who doesn't enter the movie until the last half hour but his character seems superfluous. But it moves at a nice pace and it's never boring. With Silvia Tortosa, Julio Peria and George Rigaud.  

Misery (1990)

Set in Colorado, a successful novelist (James Caan) is caught in a blizzard which causes his car to go off the road and he is seriously injured and unconscious. He wakes up in the home of a nurse (Kathy Bates in an Oscar winning performance) who professes to be his number one fan. She was the one who saved his life and pulled him out of the wreck. But it isn't long before he realizes that she's psychotic and he is her prisoner. Based on the novel by Stephen King and directed by Rob Reiner (A FEW GOOD MEN). Stephen King hasn't always been lucky in the filmed adaptations of his books but MISERY, along with CARRIE (1976), is one of best adaptations. Bates' Annie Wilkes is one of the great movie "monsters" but her performance shows a lot of shading (especially the rain scene) which gives us a peek at the tortured soul underneath the psycho. Bates has received the bulk of the praise but she has Caan's performance to play off of and he's wonderful here as he balances both the fear of and the contempt for his captor. Her oft over the top performance works because of the contrast of his lowkey work here. With Lauren Bacall, Richard Farnsworth, Frances Sternhagena n J.T. Walsh. 

Das Indische Grabmal (aka The Indian Tomb) (1921)

A British architect (Olaf Fonss) is commissioned by an Indian maharajah (Conrad Veidt) to create a large monument, only to learn that it is meant for the maharajah's unfaithful lover (Erna Morena), who will be buried alive as punishment. Based on the novel by Thea  Von Harbou (who adapted her novel for the screen with her then husband Fritz Lang) and directed by Joe May. This epic is over four hours long but it was meant to be seen in two parts and if seen in one sitting, it can be occasionally tedious especially in the second part which tends to languish more than it should. Edited down to to a tight three hours and you might have an epic adventure on a grand scale. The sets are spectacular and the art direction by Erich Kettelhut and Karl Vollbrecht are impressive. Fritz Lang would remake the film in 1959 in color and although it too is long and meant to be seen in two parts, I think it's a much better movie. With Mia May (the director's wife), Lya De Putti, Bernhard Goetzke and Paul Richter.

Everything Everywhere All At Once (2022)

A Chinese immigrant mother (Michelle Yeoh) runs a failing laundromat with her unhappy husband (Ke Huy Quan). She has an antagonistic relationship with her daughter (Stephanie Hsu) who has recently come out as a lesbian. Her world is turned upside down however when she is contacted from a parallel multi-universe and told only she can save the universe. Directed by the Daniels (Daniel Kwan and Daniel Scheinert), this crazy piece of inventive science-fiction takes awhile for it to get its rhythm going but when it does, watch out! At first, I was disappointed considering all the good things I'd heard about it because it seems like an incoherent, silly sci-fi action pic. But if you stick with it, you'll be rewarded with a poignant, touching and complex film about the lives we've made for ourselves, the memories we've made, the what ifs and should have beens and appreciate the richness and intricacies of the life we have, however mundane it may seem. Yeoh gives a career best performance and is supported by a near perfect cast. With Jamie Lee Curtis, James Hong, Jenny Slate and Harry Shum Jr.

Young Wives' Tale (1951)

Compelled to live together due to the post war shortage, a young couple (Joan Greenwood, Nigel Patrick) with a 2 year old boy have moved in with another couple (Derek Farr, Helen Cherry) with a 2 year old daughter. Based on the play by Ronald Jeans and directed by Henry Cass (LAST HOLIDAY). The film's first forty minutes are pretty inane but things pick up considerably when a nanny (Athene Seyler) enters the picture and the mix ups and misunderstandings bring a farce like quality to the movie. Still, all in all, it's a pretty thin comedy. Greenwood and Farr are repeating their stage roles but I found Greenwood miscast. It's the kind of role that June Allyson or Debbie Reynolds would play if this were an American movie and who wants to see the deliciously purring Greenwood as a perky housewife? The film is notable for Audrey Hepburn (already immensely appealing) in one of her early roles as a man fearing boarder in the household. With Guy Middleton and Fabia Drake.

Chicago Confidential (1957)

An Illinois state attorney (Brian Keith) helps convict a union leader (Dick Foran) for the murder of another union official. But it soon comes to his attention that the union leader might have been set up by a crime syndicate intent on penetrating the city's unions. Based on the book by Jack Lait and Lee Mortimer and directed by Sidney Salkow (THE LAST MAN ON EARTH). This B programmer passes by quickly enough but it plays like an episode of something like THE UNTOUCHABLES. Keith's state attorney constantly underestimates the danger he's putting other people in as well as himself and one can only wonder how he could be so naive when dealing with a corrupt syndicate. It seems to want to be a "ripped from the headlines" exploitation film but it never manages to be anything other than a potboiler. With Beverly Garland, Anthony George, Douglas Kennedy, Gavin Gordon, Beverly Tyler, Phyllis Coates and Elisha Cook Jr.

La Femme Du Boulanger (aka The Baker's Wife) (1938)

Set in a small Provencal village, the town baker (Raimu) is besotted by his much younger wife (Ginette Leclerc). When she runs off with a handsome shepherd (Charles Moulin), he becomes depressed and stops his baking. The villagers want their bread so they concoct a plan to bring the wife back. Based on the novella BLUE BOY by Jean Giono and directed by Marcel Pagnol (FANNY). Anchored by a great performance by Raimu, Pagnol's rustic rumination on love is an absolute charmer. It's a little long (it runs past the two hour mark) and some of the scenes go on too long like the fisherman's (Edouard Delmont) slow retelling of how he discovered the wife's whereabouts. But Pagnol balances the peasant humor with the genuine pathos of Raimu's heartbroken baker. Be forwarned, the film will propel you to your nearest bakery for a fresh baked baguette! With Fernand Charpin, Robert Vattier and Charles Blavette.

The Initiation Of Sarah (1978)

A shy socially awkward young girl (Kay Lenz) goes off to college with her popular and outgoing sister (Morgan Brittany). While her sister is invited to join a prestigious sorority, the snobby president (Morgan Fairchild) blackballs the misfit sister. So she joins a mysterious sorority with a house mother (Shelley Winters) who has some demonic secrets. Directed by Hammer horror alumnus Robert Day (THE HAUNTED STRANGLER), this made for television ripoff of CARRIE (1976) is actually quite entertaining for the most part. But it's toothless compared to the Brian De Palma horror classic. But with an over the top Shelley Winters as a batshit crazy house mother and Morgan Fairchild as a spoiled rich bitch, there's many a guilty pleasure to hold one's interest. Remade in 2006 with Fairchild playing the mother (played here by Kathryn Grant, 7TH VOYAGE OF SINBAD) of the two sisters. With Tony Bill, Robert Hays and Tisa Farrow. 

Die Frau Nach Der Man Sich Sehnt (aka The Woman One Longs For) (1929)

A young businessman (Uno Henning) on his honeymoon falls under the spell of a manipulating femme fatale (Marlene Dietrich) who is on the run from the law with her lover (Fritz Kortner). Based on the novel by Max Brod and directed by Curtis Bernhardt (A STOLEN LIFE). When Marlene Dietrich exploded on the international scene with THE BLUE ANGEL (1930) and whisked off to Hollywood (along with her director Josef von Sternberg), she was hardly a new discovery having worked in German films for almost seven years. Here, she already possessed the assured screen presence and charisma that would make her a star for the next forty years. Curtis Bernhardt would soon follow Dietrich's path to Hollywood some seven years later where he would direct other major actresses like Bette Davis, Barbara Stanwyck, Elizabeth Taylor and Rita Hayworth. As to the movie itself, it's a compelling drama with shadings of film noir as Henning's innocent is lured into Dietrich's web which ends in death. I'm surprised it was never picked up by Hollywood and remade. The transfer I saw had an excellent underscore by Pascal Schumacher (the film itself is silent) that propels the movie forward. A must for silent film and Dietrich fans. With Edith Edwards and Karl Ellinger. 

Elizabeth Taylor In London (1963)

Film legend Elizabeth Taylor guides us on a tour of London interspersing interviews with real Londoners with readings from poetry, diaries and letters of notable Brits. Directed by Sidney Smith. First televised in 1963, the show was a very successful production and inspired a follow up, SOPHIA LOREN IN ROME. Gowned by Yves St. Laurent and coiffed by Alexandre Of Paris, Taylor reads us Keats, Browning and Wordsworth as well as Elizabeth I's speech to the troops at Tilbury, Winston Churchill's speech after the German attack on London and and two excerpts from Queen Victoria's diary. It's a time capsule of London in 1963 which at the time was the place to be. The history of London is too massive to be done justice in an hour's time but it's a pleasant advert for London tourism. The lush score is by John Barry.

Mamba (1930)

Set in German East Africa on the eve of WWI, a vulgar and coarse brute (Jean Hersholt) is shunned by other members of the German community as well as the British. He goes to Berlin to marry the aristocratic daughter (Eleanor Boardman) of a man who owes him money. She is, however, repulsed by him and finds herself attracted to a young German officer (Ralph Forbes). Based on a short story by Ferdinand Schumann Heink and directed by Albert S. Rogell (MURDER IN GREENWICH VILLAGE). This turgid overheated melodrama is notable for two things. It's use of two strip Technicolor and as an example of racism in 1930s Hollywood cinema. It's a pre code movie so it gets away with subjects like marital rape and miscegenation. However, the implications that arise from the film's cretin (Hersholt) being the only one who has sexual relations with the Africans which the "proper" colonialists (both German and black) would never do suggests where the film makers sympathies lie. The indigenous black population are referred to as savages and when they rebel against their white oppressors, we're supposed to be rooting for the colonialists, not the natives. But as an artifact of its time, it's culturally significant and the use of the two strip Technicolor (very pastel looking) is interesting. With Claude Fleming and Will Stanton.