Meet Me After The Show (1951)

A Broadway musical star (Betty Grable) is married to the producer (Macdonald Carey) of her current show. He was also the man who discovered her and made her a star. But when she suspects him of adultery, she sues for divorce. But a car accident causes her to suffer from amnesia ..... or is she faking it? Directed by Richard Sale (GENTLEMEN MARRY BRUNETTES). A slight piece of fluff with a paper thin story puffed up by amiable musical numbers. In 1951, Betty Grable was still big box office and this was typical of the lightweight fodder that the public ate up. Like Esther Williams, it's hard to dislike Grable so while her movies don't amount to much, I usually have a pleasant time with them. This one is fortunate enough to have the great Jack Cole as its choreographer so the dancing is above average. One of Grable's musical numbers, NO TALENT JOE with shirtless muscle men is a precursor to the more famous AIN'T ANYONE HERE FOR LOVE love in GENTLEMEN PREFER BLONDES also choreographed by Jack Cole. With Eddie Albert, Rory Calhoun, Gwen Verdon, Irene Ryan and Fred Clark.

The Benson Murder Case (1930)

On a dark and stormy night, the home of a ruthless stockbroker (Richard Tucker) is visited by several persons, all of who have reason to hate him. So when he's murdered, there is no shortage of suspects. Fortunately, the amateur detective Philo Vance (William Powell) is also at the house the night of the murder and is on the case. Based on the novel by S.S. Van Dine and directed by Frank Tuttle (THIS GUN FOR HIRE). I enjoyed this pre code murder mystery. It's tight and the mystery is clever and with its plethora of suspects, it was fun trying to deduce the murderer's identity. Visually, the film is static and director Frank Tuttle seems allergic to close ups but this being an early sound film, the movie is played out in medium or wide shots as if you were watching a play. Mystery fans should enjoy this modest entry. With Paul Lukas, Eugene Pallette, Natalie Moorhead, Mischa Auer, William Boyd (no, not the actor who played Hopalong Cassidy) and May Beatty.  

Lillian Gish (1983)

A documentary film about a great actress (Lillian Gish) produced and directed by another great actress (Jeanne Moreau). Moreau interviews Gish at her home about her beginnings as an actress and her work in silent cinema with the legendary director D.W. Griffith as well as her other silent films. Gish was around 88 years old at the time of filming but she's sharp as a tack and a lively conversationalist. Moreau makes for a good interviewer but the film is short (about an hour) and there's so much more we want to know about Gish. The film doesn't extend to her post silent career but there's still so much unsaid about her silent career and outside of her work with Griffith. We want more! If you're interested in silent cinema or the great Gish, this is a must.

Eileen (2023)

Set in 1960s Massachusetts, a young girl (Thomasin McKenzie) working in a juvenile detention facility becomes fascinated with the institution's new psychologist (Anne Hathaway). The psychologist takes a liking to the girl unaware of how unstable she is. Based on the novel by Ottessa Moshfegh (who adapted her novel for the screen) and directed by William Oldroyd (LADY MACBETH). The movie received positive reviews but I found it contrived. I've not read Moshfegh's book so I don't know how much of the film's machinations are because of the novel. While I liked the movie, it kept me at a distance rather than pulling me in. The acting is quite good but the screenplay's stratagem results in artifices that render its characters fraudulent rather than recognizably human. Plus Oldroyd teases us with a lesbian angle that's never explored and seems put there to titillate us rather than any crucial part of the narrrative. Worth seeing but an unsatisfying cinematic experience. With Shea Whigham, Marin Ireland and Sam Nivola.

Strangers May Kiss (1931)

A career woman (Norma Shearer) has unconventional ideas when it comes to marriage and relationships between men and women. She falls madly in love with a man (Neil Hamilton), who wants his freedom. When he goes to Mexico, she follows him knowing he won't marry her. Her childhood friend (Robert Montgomery) who is love with her warns her against going but nothing will stop her. Based on the novel by Ursula Parrot and directed by George Fitzmaurice (RAFFLES). Before she became the great lady of MGM, Norma Shearer resembled a normal person. She was inviting and had a smidgeon of sex appeal. She hadn't calcified yet when she did this film so she's soft and appealing. This pre code film has some interesting ideas regarding men's obsession with the Madonna and The Whore syndrome. They'll take pleasure in a woman but they don't want that type to take for a wife. The film surprised me when it didn't go where I thought it was going to go and I'm not sure I'm okay with that. With Marjorie Rambeau, Irene Rich, Hale Hamilton and Conchita Montenegro.

Le Journal D'une Femme De Chambre (aka Diary Of A Chambermaid) (1964)

Set in the 1920s, a chambermaid (Jeanne Moreau) from Paris goes to the countryside to work at a provincial estate. It is there where she encounters perversion, corruption, anti-Semitism, rape and murder. Loosely based on the novel by Octave Mirbeau (previously filmed in 1946 and again in 2015) and directed by Luis Bunuel (DISCREET CHARM OF THE BOURGEOISIE). Beautifully shot in B&W wide screen by Roger Fellous (ANATOMY OF A MARRIAGE), Bunuel's film stays away from the surrealism he is usually associated with and presents a fairly straight forward presentation. But he still tweaks the film with his usual cynical and satirical view of the upper class bourgeoisie. I found the film's ambiguous ending unsettling as we're not 100% sure if a character is an innocent victim of circumstantial evidence or a pedophile killer who's got off scot free. It's easily the most compelling of the three versions I've seen. With Michel Piccoli, Georges Geret, Daniel Ivernel, Francoise Lugagne and Muni. 

Country (1984)

A farmer (Sam Shepard) and his wife (Jessica Lange in an Oscar nominated performance) have worked her family farm for years. However, low crop prices, a tornado disaster and interest on FHA loans have caused them to struggle. When the FHA suddenly calls in their loans, they face the very real prospect of losing the farm which has been in the family for over 100 years. Directed by Richard Pearce (NO MERCY). In 1984, there were two other movies beside COUNTRY that dealt with farmers, PLACES IN THE HEART and THE RIVER. This effort is by far my favorite because unlike the other two films, it deals purely with the farmers and has no other distractions or subplots to pull our attention away. The film is anchored by a terrific performance by Jessica Lange, who also co-produced the film. There's a forcefulness and naturalism to the film helped by the casting and David M. Walsh's (THE GOODBYE GIRL) gritty cinematography. The underscore by Charles Gross is superb. With Wilford Brimley and Matt Clark.

Charlotte's Web (1973)

A young pig named Wilbur (Henry Gibson) is terrified of being slaughtered but he is befriended by a spider (Debbie Reynolds) who concocts a plan that will save him from the slaughterhouse. Based on the 1952 children's book by E.B. White and directed by Charles A. Nichols and Iwao Takamoto. This Hanna-Barbera animated musical version of the E.B. White book is very sweet (and I don't mean that in a condescending way). With songs by Robert B. Sherman and Robert M. Sherman (MARY POPPINS) and the straight forward animation (some may call it unimaginative) of the Hanna-Barbera studios (THE FLINTSTONES), it presents in a simple way the importance of friendship and how death is inevitable and to be understood and accepted. A weighty subject but simply told in a way children can understand. The songs are good and the voice acting excellent. Whenever I see a movie described as heartwarming, it's usually a sign to avoid it but in this case, heartwarming is a compliment. Remade in 2006. With Paul Lynde, Agnes Moorehead, Martha Scott, Dave Madden and Pamelyn Ferdin.

The Charge Of The Light Brigade (1968)

Set at the outbreak of the Crimean war in 1853, a young officer (David Hemmings) and a veteran of the British Indian Army is stymied by the outdated ideas and class prejudices of his aristocratic superiors. He also falls in love with his best friend's (Mark Burns) wife (Vanessa Redgrave). Directed by Tony Richardson (THE ENTERTAINER). Despite the film's title, it has nothing to do with the famous poem by Alfred Lord Tennyson or the 1936 film with Errol Flynn. Far from the patriotic heroism of Tennyson's poem or the heroic jingoism of the 1936 movie, Richardson's film is distinctly anti war as it portrays the incompetence of the British Army's leaders and the blunders they commit which results in a massive loss of lives. If that sounds a bit heavy handed, the film is actually a satire on the romanticization of war. Akira Kurosawa was a great admirer of the movie but despite favorable reviews, it was a major box office flop. The film fudges on accuracy for some of the film's real life characters for dramatic effect as well as eliminating certain battles. Did I like it? Well, it's worth watching but I can see why the public stayed away. With Trevor Howard, John Gielgud, Jill Bennett, Harry Andrews, Corin Redgrave and Peter Bowles.

Blonde Ice (1948)

Despite being in love with another man (Robert Paige), an ambitious gold digger (Leslie Brooks) marries a wealthy man (John Holland). When her husband discovers she's still in a relationship with her lover, he threatens to divorce her. Her solution? Murder! Based on the novel ONCE TOO OFTEN by Elwyn Whitman Chambers and directed by Jack Bernhard (DECOY). This low budget B movie is more enjoyable than it has a right to be. It's a silly film, maybe even stupid but it's grandly entertaining. Leslie Brooks' femme fatale is a classic amoral film noir protagonist. She's determined to get what and who she wants and if anyone stands in her way, heaven help them! But I wish the film had a more believable script. For example, Brooks is a smart cookie yet she has a letter to her lover where her husband can easily find it. In addition, her penniless dupe of a lover (Paige) continues to pine and chase after her when she continually proves she's only interested in money. But if in the tradition of noir, its heroine is a nasty piece of goods, it shows how evil can be fun as long as we know she'll get her comeuppance.  With Michael Whalen, James Griffith and Russ Vincent.

The Hatchet Man (1932)

Set in San Francisco's Chinatown, a hatchet man (Edward G. Robinson) who is an assassin for the Tongs must kill his best friend (J. Carrol Naish) for transgressing Tong laws. Before he dies, the friend asks the hatchet man to take care of his little girl (who grows up into Loretta Young) and marry her when she becomes of age. Based on the play THE HONORABLE MR. WONG by David Belasco and Achmed Abdullah and directed by William A. Wellman (THE HIGH AND THE MIGHTY). This pre code melodrama has adultery, drugs (opium) and violence in the forefront which wouldn't have been allowed once the code came into existence. Not to mention that the assassin gets the girl and lives happily ever after! Once again, all the major Asian roles are played by Caucasians while genuine Asians are relegated to bit parts and background atmosphere. While none of the major roles are remotely convincing as Chinese, some are downright ghastly. Notably J. Carrol Naish with his phony sing song accent and Leslie Fenton as a "hip" Tong thug. Most unusual is that the most sympathetic character is Robinson's assassin. One can't drum up much interest in the other characters. If you can get past the difficulty of Caucasians as Asians, it's a pretty good drama with solid direction from Wellman. With Dudley Digges and Tully Marshall.

The Iron Mask (1929)

The Queen's confidante (Marguerite De La Motte), who is the beloved of the musketeer D'Artagnan (Douglas Fairbanks) is killed to protect the secret that the young Dauphin (William Bakewell) has a twin brother. Based on THE VICOMTE OF BRAGELONNE by Alexandre Dumas and directed by Allan Dwan (SLIGHTLY SCARLET). Fairbanks' last silent film utilizes bits and pieces of THE THREE MUSKETEERS and THE MAN IN THE IRON MASK as well as characters in this pastiche of a movie. Although it is a silent film, there is a sound prologue and another sound intro by Fairbanks after the film's intermission. I found the film diverting but not up to the best of Fairbanks' earlier swashbucklers or adventure movies. Fairbanks plays the young D'Artagnan in the first half but after the film's intermission which begins 20 years later, he gets to play the aging D'Artagnan. The movie serves as a farewell to silent cinema by one of the silent era's greatest stars. The restored transfer I watched contained a fine score by Carl Davis. With Belle Bennett, Dorothy Revier, Rolfe Sedan and Nigel De Brulier, very good as Cardinal Richilieu.