Abschied (aka Farewell) (1930)

Set in a Berlin rooming house, a young couple (Aribert Mog, Brigitte Horney) are waiting for the opportunity to marry. But when he receives a job offer in Dresden, the other lodgers creat a series of misunderstandings that could jeopardize the couple's happiness. Co-written by Emeric Pressburger (BLACK NARCISSUS) and directed by Robert Siodmak (THE SPIRAL STAIRCASE). This "slice of life" dramedy is quite different from Siodmak's Hollywood output which tended to emphasize the darker side of life. The entire action takes place in boarding house rooms which makes it rather static cinematically and it comes across as an adaptation of a play (it's not). Most of the humor is too broad for my taste (I've never found German comedies particularly funny). When the most amusing bit is an emcee (Frank Gunther) using a black pen on the white dots on his socks so he'll have black socks, you know you're in trouble. After the movie's release, the studio replaced the downbeat ending with a tacked on happy ending without Siodmak's consent. Of interest as an early example of Siodmak's work but not an especially memorable film. With Emilia Unda as the two faced landlady in the film's best performance, Vladimir Sokoloff, Konstantin Mic and Erwin Bootz.

Bad Girls (1994)

After a saloon prostitute (Madeleine Stowe) kills a man for beating up a fellow whore (Mary Stuart Masterson), the outraged and hypocritical townspeople plan to lynch her but she's saved at the last moment when her prostitute pals (Masterson, Andie MacDowell, Drew Barrymore) help her escape and the four of them go on the run. Directed by Jonathan Kaplan (THE ACCUSED), I found this feminist western grandly entertaining. Female driven westerns are rare but not without precedent, JOHNNY GUITAR (1954) and THE WOMAN THEY ALMOST LYNCHED (1953) come to mind. The film's original director Tamra Davis (GUNCRAZY) was fired and the script rewritten to beef up the action. Stowe hated the finished movie (it wasn't what she signed up for) and the reviews were negative but hey, I liked it. It is what it is and it has the feel of a spaghetti western but I think it could have used a tougher director and a less schizophrenic script (the sentimentality and the toughness work against each other). There's a nice score by Jerry Goldsmith. With Robert Loggia, Dermot Mulroney, James Russo and James LeGros.  

Belle Of The Yukon (1944)

Set in the days of the Great Alaskan Gold Rush, a scam artist (Randolph Scott) has adopted a new identity to hide from the law. When an old flame (Gypsy Rose Lee) arrives in town, they renew their relationship but she insists he walk the straight and narrow and give up his old ways. Directed by William A. Seiter (ONE TOUCH OF VENUS), this comedy/musical/western is so unsubstantial that it's barely there. There's a plot all right but it serves merely to hang some inane comedy and inferior musical songs though Dinah Shore as a saloon singer makes them sound better than they are. One of those songs, Sleigh Ride In July received an Oscar nomination for best song. The film is notable for two reasons: the handsome Technicolor cinematography of Ray Rennahan (FOR WHOM THE BELL TOLLS) and a rare leading role for burlesque queen Gypsy Rose Lee. With Florence Bates, Bob Burns, Charles Winninger, William Marshall, Robert Armstrong and Guinn Williams whose comedy relief is more irritating than amusing.

The Evil (1978)

A psychologist (Richard Crenna) and his doctor wife (Joanna Pettet) buy a dilapidated historical mansion with a dark past. Hoping to restore the estate, he accepts the help of some of his students and patients. But when a secret door in the basement is opened, a malevolent presence is unleashed and traps everyone inside with no means of escape. Directed by Gus Trikonis, this silly horror film feels like a TV movie but it was a theatrical release. The film actually received some favorable reviews but I found it lacked originality and the dumb dialogue edges the film toward camp. Example: the characters are trapped in a house by an evil spirit with no way out and when a hysterical girl shrieks, "We're never getting out of here alive!", her boyfriend slaps her and says, "It's all right!". Huh? You're trapped in a house with Satan (Victor Buono) living in the basement and it's "all right"? Then when Crenna tells everyone to stick together and no one venture off by themselves for safety reasons, what happens? Yes, everyone ventures off alone so they can meet a grisly end. It's that kind of movie. It's sort of enjoyable in the way that bad movies can sometimes be but just know what you're in for. With Andrew Prine, Cassie Yates, Lynne Moody and Robert Viharo.

France (2021)

A superstar television journalist (Lea Seydoux) is career driven. But when she carelessly drives into a young delivery man (Jewad Zemmar) on a busy Paris street, her career and personal life begin to unravel. Directed by Bruno Dumont, what could have been a blistering look at TV journalism is sabotaged by Dumont's lethargic pacing and an unsuccessful balance between satire and reality. The film examines the dichotomy of pure news reporting and the fame a TV journalist finds by "starring" in her news reports. Her popularity makes her the focus of the news she's reporting and it often seems she's exploiting the situation whether it's war or displaced refugees as she stands before the frightened and unfortunate, impeccably made up and camera ready. But she's an unlikable person and though one can have empathy for her (as when she finds herself exploited), the other characters are irredeemable. When two characters die a horrible death, we're supposed to be devastated but I found myself sighing with relief that they would no longer be in the movie. The most annoying character is Seydoux's assistant (Blanche Gardin), who enables her boss and constantly kisses her ass. The best thing about the film is the stunning (and I do mean stunning) cinematography by David Chambille. It's one of the most beautifully shot films of 2021. With Benjamin Biolay and Emanuele Arioli.

The Little Minister (1934)

Set in 1840 Scotland, a small village welcomes its new young minister (John Beal). He is strait laced and rigid in his attitude but when he meets a mysterious gypsy girl (Katharine Hepburn), he finds himself falling hopelessly in love, much to the consternation of his disapproving flock. Based on the novel by James M. Barrie (PETER PAN) and directed by Richard Wallace (SINBAD THE SAILOR). This movie isn't one of the Hepburn films talked about much and it was a flop (its high budget exceeded its profit) at the box office but it's one of my very favorite Hepburn performances. Hepburn is an often polarizing actress (I'm surprised at the amount of people who dislike her) but she's never been more charming and even, dare I say it, sexy. I'm talking about the gypsy girl section of the film. When she becomes the proper lady of the manor, she reverts to form. As cinema, it creaks more than a bit but it's worth seeking out for Hepburn's performance. With Donald Crisp, Alan Hale, Dorothy Stickney, Beryl Mercer, Reginald Denny, Mary Gordon and Eily Malyon.

Il Grande Silenzio (aka The Great Silence) (1968)

Set in 1890's Utah during a severe blizzard, a group of ruthless bounty hunters led by a man named Loco (Klaus Kinski) hunt down a group of townspeople hiding in the mountains. Their only crime being they have stolen to feed their families. A mute gunslinger (Jean Louis Trintignant) takes it upon himself to protect the wanted townspeople who are awaiting a pardon from the new governor (Carlo D'Angelo). Directed by Sergio Corbucci (DJANGO), this spaghetti western wasn't released in the U.S. until 2001 and then only on DVD. It's a dark and bleak western, one of the most nihilistic westerns ever made. The following year Peckinpah's THE WILD BUNCH would cause a sensation and controversy in the U.S. over its violence and bleak revisionism when Corbucci's movie did it all the year before. The movie ends in a bloodbath and there are no heroes to save the day. Corbucci was prodded into filming two more endings, one "happy" and one ambiguous leaving the fate of its characters in question. Fortunately, neither (to my knowledge) saw the light of day theatrically. The violence in the film reflects the era (both Robert F. Kennedy and Martin Luther King were assassinated earlier in the year) and apparently the deaths of Malcolm X and Che Guevara were influential in his decision to make the film. Underappreciated in its day, the film has since got a cult following and is now recognized as one of the best spaghetti westerns ever made. The snow laden landscapes are beautifully shot by Silvano Ippoliti and the underscore is pure Ennio Morricone. With Vonetta McGee, Luigi Pistilli, Frank Woff and Marisa Merlini.

Just Tell Me What You Want (1980)

When his long time mistress (Ali MacGraw) leaves him for a young playwright (Peter Weller), a ruthless magnate (Alan King) will stop at nothing to get his revenge on her. Based on the novel by Jay Presson Allen (who adapted her book for the screen) and directed by Sidney Lumet (DOG DAY AFTERNOON). A highly uneven romantic farce without a single character one can like. Dina Merrill as King's emotionally disturbed alcoholic wife is probably the most sympathetic character in the movie but everyone else is either a shark or a sellout. Even the usually likable Myrna Loy (in her final film role) gets no respect from me as King's secretary who carries out his dirty work. Alan King isn't a strong enough actor to make his ego driven and vengeful tycoon believable but on the plus side, it features Ali MacGraw in a rare good performance. At least it's not a bore so I suppose we can thank Lumet for that but it's a bit of a mess. With Keenan Wynn, Tony Roberts, Joseph Maher and Judy Kaye. 

Hangmen Also Die (1943)

Set in Nazi occupied Czechoslovakia, a resistance fighter (Brian Donlevy) assassinates a German deputy and Reich Protector (Hans Heinrich Von Twardowski) known as "the hangman". In revenge, the Gestapo rounds up innocent citizens and holds them hostage and threatens to execute them unless the assassin is turned in. From a story co-written by Bertolt Brecht (he wasn't credited with the script although the evidence suggests the screenplay is mainly his) which was his only Hollywood writing job and directed by Fritz Lang (METROPOLIS). Lang did several anti-Nazi propaganda films in the 1940s including MAN HUNT and MINISTRY OF FEAR. This one is very well done although it veers toward being heavy handed and preachy. What saves it are the noir-ish thriller elements that would later serve Lang in good stead in films like SCARLET STREET and THE BIG HEAT. The movie is loosely based on the assassination of Reinhard Heydrich. The acting is uneven and suffers from American actors playing Czechs including Walter Brennan in an atypical role as a Czech professor. All things considered, he's actually very good. Hanns Eisler's score received an Oscar nomination. With Anna Lee, Dennis O'Keefe, Margaret Wycherly, Gene Lockhart and Alexander Granach.

The Sundowners (1960)

Set in 1920s Australia, a family of drovers (the sundowners of the title) are suddenly at odds. The husband (Robert Mitchum) enjoys the wandering life with no ties and nothing to hold him down. His wife (Deborah Kerr) is tired of the drifting life and wants a home and to settle down. Based on the novel by Jon Cleary and directed by Fred Zinnemann (FROM HERE TO ETERNITY). Upon its initial release, the film was a critical success including five Oscar nominations for best picture, actress (Kerr), supporting actress (Glynis Johns), director (Zinnemann) and adapted screenplay. But it did poorly at the box office despite the star cast and prestigious accolades. The film must have seemed somewhat "exotic" to U.S. audiences as Australia wasn't a common setting for movies at that time though ON THE BEACH had been set there the year before. Nothing much happens. There's a sheep shearing contest, a couple of horse races and a baby gets born. It's an amiable film that benefits from some good performances (Kerr might have won the Oscar if Elizabeth Taylor hadn't almost died and won the sympathy vote) but it's not a particularly memorable movie. Dimitri Tiomkin's overbaked score does the film no favors. With Peter Ustinov, Dina Merrill, Michael Anderson Jr., Lola Brooks and Chips Rafferty.

The Nelson Affair (aka Bequest To The Nation) (1973)

A young man (Dominic Guard) is a guest at his Uncle's estate. His Uncle happens to be the naval hero Lord Nelson (Peter Finch). Loyal to his Aunt (Margaret Leighton), he has difficulty understanding the relationship between his Uncle and his mistress, the scandalous Lady Hamilton (Glenda Jackson). Based on the play by Terence Rattigan and directed by James Cellan Jones (TV's THE FORSYTE SAGA). The film serves as an interesting companion to THAT HAMILTON WOMAN (1941) which had Laurence Olivier as Lord Nelson and Vivien Leigh as Lady Hamilton. The portrayal of Lady Nelson is much more sympathetic than the 1941 movie where Gladys Cooper played Lady Nelson. Unlike Leigh, Jackson plays Lady Hamilton as a vulgar bawd. As long as the film focuses on the relationship between Nelson and Hamilton as observed by the nephew, it's an interesting watch. The movie's battle scenes are a letdown (most of it is stock footage anyway) but fortunately, the film ends on a high note with a confrontation scene between Leighton's Lady Nelson and Jackson's Lady Hamilton and it's a treat to see the great actresses play off each other. Director Cellan Jones is a TV director and so the film's isn't very cinematic and comes across as a livelier BBC Masterpiece Theatre offering. With Anthony Quayle, Michael Jayston, Pat Heywood and Barbara Leigh Hunt.

Now And Forever (1934)

A jewel thief and con artist (Gary Cooper) decides to rescue his daughter (Shirley Temple) from the clutches of his late wife's stuffy family. However, his new wife (Carole Lombard) is uncomfortable with the adventurous but aimless life they've been leading and with the child now part of the equation, she wants a more stable life. But can the con man put aside his old ways and reform? Based on the short story HONOR BRIGHT by Jack Kirkland and Melville Baker and directed by Henry Hathaway (NORTH TO ALASKA). Although Shirley Temple is in the cast, this is not a typical Shirley Temple vehicle because the focus isn't on her. It's a surprisingly dark film and Temple gets to give a real performance rather than play the usual cloying doll she played in her starring Fox films (this is a Paramount picture). While the film's original bleak ending was jettisoned (Cooper and Lombard died) and refilmed, the reshot ambiguous ending leaves the fate of the major characters in doubt. Cooper and Lombard (I've always preferred her in drama rather than comedy) are in top form. With Guy Standing and Charlotte Granville.