Wait Till The Sun Shines, Nellie (1952)

Told in flashback, a young barber (David Wayne) and his bride (Jean Peters) settle in a small town in Illinois. She is disappointed as she thought they would live in Chicago as small town life is not for her. Based on the novel I HEARD THEM SING by Ferdinand Reyher and directed by Henry King (SONG OF BERNADETTE). What seems to be intended as a nostalgic look at small town America (1890s to the 1920s) and the heartaches endured by a small town barber was looked at as something else by me. It showed the status of women in this period when their lives were controlled by their chauvinist husbands. Husbands kept things from wives as if they were to be "protected" from such things as mortgages, property ownership, where to live, major decisions that should have been talked about and decided equally were the realm of the husband. When Jean Peters as the wife runs off to Chicago with a married man (Hugh Marlowe) and is killed off early in the movie, I thought, "Good. At least she doesn't have to rot in a hick town the rest of her life tied to the dull David Wayne!". With Albert Dekker, Helene Stanley, Warren Stevens, Joyce MacKenzie and William Walker.

Dick Tracy's Dilemma (1947)

Detective Dick Tracy (Ralph Byrd) investigates a murder and robbery at a furs warehouse. A brute of a killer known as The Claw (Jack Lambert) is behind the murder and robbery but he's not the brains behind it. Directed by John Rawlins (ARABIAN NIGHTS). This is the third of the four RKO Dick Tracy movies (1945-1947) and the return of Ralph Byrd to the role that made him famous in the Dick Tracy serials (1937-1941) and he even went on to do a Dick Tracy TV series in 1950. It's one of the better entries in the series, adhering closely to the style of the iconic Chester Gould comic strip and a more grim and violent bad guy in the form of Lambert's The Claw. With Kay Christopher as Tess Trueheart, Lyle Latell, Ian Keith, Jimmy Conlin and taking over the movie in her brief screentime, Bernadene Hayes as Longshot Lillie.

Merchant Ivory (2023)

A documentary of the film making partnership, both professional and personal, of director James Ivory and producer Ismail Merchant from their meeting in 1961 through the forty films they made together, Merchant's death in 2005 and Ivory's post Merchant career. Directed by Stephen Soucy, this is a fascinating account of behind the scenes film making and the legacy of two very different men who somehow managed to make some of the best films of their era. It's also a story of two gay men who discreetly kept their sexual identity and their relationship private publicly in an era where being "out" was controversial although those close to them and their colleagues knew. The contributions of and their relationship with screenwriter Ruth Prawer Jhabvala and composer Richard Robbins, both personal and professional, are strongly noted. The stories about the making of their films is manna for film buffs and the movie is rich with forthright interviews of those worked in Merchant Ivory films. Among them: Vanessa Redgrave, Emma Thompson, Helena Bonham Carter, Hugh Grant, Sam Waterston, James Fox, Rupert Graves, Greta Scacchi, Simon Callow and Natascha McElhone. Essential viewing for film buffs.

Scotland Yard Hunts Dr. Mabuse (1963)

A British police inspector (Peter Van Eyck) works with a German policeman (Werner Peters) to track down a mysterious mind control device developed by a scientist (Walter Rilla) who is possessed by the "ghost" of the master criminal Dr. Mabuse (Wolfgang Preiss). Based on the story THE DEVICE by Bryan Edgar Wallace and directed by Joe May (FREDDY AND THE MILLIONAIRE). The second to last entry in the popular (in Germany anyway) Dr. Mabuse franchise from 1960 to 1964 (six movies in all). James Bond had just made his cinematic debut the year before with DR. NO and its influence is strongly felt here. It's all rather silly with comedy relief in the form of Agnes Windeck as Van Eyck's zany mother and cheaply made (or at least looks cheaply made) and lots of running around in a frenzy. Van Eyck looks rather worn out for a spy hero. The film takes place in England but the Brits are played by Germans and the dialogue is in German which gives the movie an unreal setting. Definitely the weakest of the Mabuse movies I've seen. With Klaus Kinski, Sabine Bethmann and Ruth Wilbert.

Out Of Sight (1998)

A bank robber (George Clooney) busts out of prison and kidnaps a Federal Marshal (Jennifer Lopez). An unlikely cat and mouse romance develops. Based on the novel by Elmore Leonard (GET SHORTY) and directed by Steven Soderbergh (ERIN BROCKOVICH). Grandly entertaining and slick as a shiny new dime. Casting is the key here and when you have a career bank robber played by George Clooney, you know you can't help but like him even if he is a criminal. The film is also a reminder what a good little actress Jennifer Lopez was before she decided she wanted to be a plastic pop star instead. Like OCEAN'S ELEVEN, Soderbergh imbues the film with cleverness and style and Scott Frank's Oscar nominated screenplay is sharp witted and the dialogue is rich. Far from a great film but more than good enough to rate your attention. The supporting cast is amazing: Albert Brooks, Ving Rhames, Viola Davis, Don Cheadle, Catherine Keener, Michael Keaton, Samuel L. Jackson, Nancy Allen, Dennis Farina, Luis Guzman and Steve Zahn.

The Damned (2025)

Set in a remote and desolate 19th century fishing village in Iceland during a very severe winter. A widow (Odessa Young) who is the head of the village must make an agonizing decision when a shipwreck happens near their shores. They barely have enough supplies for them to make it through the winter. If they rescue the sailors, there won't be enough supplies for all of them to survive. She makes her decision but it unleashes a horror that threatens to destroy them all. Directed by Thordur Palsson, an Icelandic director in his feature film debut. An effective and disturbing of piece of psychological horror that achieves its horror not from jumps and boos but mood and atmosphere. The bleak and barren atmosphere (stunningly shot by Eli Arenson) contributes to the uneasiness of the mise en scene. One of the characters remarks that the living are much more dangerous than the dead and indeed, the psychological deterioration of the villagers does more to destroy themselves than the "dead". With Joe Cole, Rory McCann and Siobhan Finneran.

Blow Up (1966)

A popular photographer (David Hemmings) in the swinging London scene of the 1960s takes some photos in a park in the early morning hours. A young woman (Vanessa Redgrave) seen in the distance in these photos furiously objects to being photographed without her permission. She tracks him down to his studio and attempts to negotiate the return of the film and negatives. Loosely based on the short story LAS BABAS DEL DIABLO by Julio Cortazar and directed by Michelangelo Antonioni (L'AVVENTURA). Winner of the Palme d'Or at the Cannes film festival, this was Antonioni's first film in the English language. A critical darling and art house sensation in 1966, it was an influential film (its progeny include Coppola's THE CONVERSATION and DePalma's BLOW OUT) and many consider it a masterpiece. I disliked it intensely when I first saw in its original release but in the ensuing years, I've warmed up to it more but it's still not one of my favorite Antonioni films. Like L'AVVENTURA where the mystery of a girl's disappearance is never solved, the facts of a probable murder (if it did in fact take place) are never resolved. Here, Antonioni is playing with illusion vs. reality and Hemmings' protagonist ability to straddle the fine line between both. The film is open to numerous interpretations. With Sarah Miles, Jane Birkin, John Castle, Peter Bowles and Tsai Chin.

Nightmare (1956)

Set in New Orleans, a jazz clarinetist (Kevin McCarthy) has a nightmare in which he sees himself killing a man in a mirrored room. He awakens to find blood on himself, bruises on his neck and a key from the dream in his hand. Based on the novel AND SO TO DEATH by Cornell Woolrich (previously filmed in 1947 as FEAR IN THE NIGHT) and directed by Maxwell Shane, who had directed the previous 1947 film version. A rather far fetched film noir crime film that is eminently watchable but the hysterical absurdities of its plot eventually renders it on the minus side. The movie captures a little bit of the flavor of the New Orleans jazz scene with composer/arranger Billy May's band playing themselves and the singer Connie Russell (who plays McCarthy's girlfriend) singing a couple of jazz songs. One would be advised to avoid looking at the film's original poster as it blatantly gives away the movie's "twist". With Edward G. Robinson, Virginia Christine, Marian Carr and Rhys Williams.

Il Mattatore (1960)

A struggling actor (Vittorio Gassman) is lured into participating in a scam by an experienced con man (Mario Carotenuto) but it turns out the con man just wanted him as the fall guy. After several months in prison, he's back on the streets but this time, he's nobody's fool. Directed by Dino Risi (IL SORPASSO). Movies about con artists scamming people are a mixed bag for me. This one is a comedy. Are we to have any empathy for a fool and his money that are soon parted? Are we supposed to take pleasure in the owner of a jewelry store getting ripped off? Well, it's not happening to us so I suppose we're allowed to admire the clever way criminals commit their crimes. After all, they're not killing people, they're just thieves! I won't be a hypocrite, I've enjoyed a good heist movie or two (or 3 or 4) but I didn't find much fun here. When the film's hero exploits even those who love him, the film loses me. Entertaining but I wanted a shower when the movie was over. With Dorian Gray, Anna Maria Ferrero and Peppino De Filippo.

Roseland (1977)

A trio of bittersweet romances set in New York's famous Roseland ballroom: 1) a widow (Teresa Wright) returns to the ballroom where she and her late husband had the happiest moments of their lives. 2) a gigolo (Christopher Walken) lives off a rich widow (Joan Copeland) while involved with two other women (Geraldine Chaplin, Helen Gallagher) but won't commit to any of them. 3) an older woman (Lilia Skala) commits to winning a dance contest even though it might be injurious to her health. Directed by James Ivory (HOWARDS END). A very well done but very depressing movie that looks at the dreams people hold on to even if they're unlikely to ever happen. With the exception of Christopher Walken's gigolo and Geraldine Chaplin's divorcee, the characters  are all past their prime and there's a sad desperation about their illusions. Only Gallagher's cynical dance instructor seems to have a foot grounded in reality. With Lou Jacobi, Conrad Janis and David Thomas.

Miracles For Sale (1939)

An inactive magician (Robert Young) devotes his time to exposing fraudulent psychics and magicians who prey on the unsuspecting public. When a demonologist (Frederick Worlock) is mysteriously murdered, he assists the police in solving the murder. Based on the novel DEATH FROM A TOP HAT by Clayton Rawson and directed by Tod Browning (FREAKS) in his final film. I love a good locked room murder mystery and this one has a variety of interesting suspects. While no where near the quality of his classic films (DRACULA, FREAKS, his Lon Chaney collaborations), this is a respectable swan song for director Browning. A mixture of murder mystery and screwball comedy, the movie fits perfectly in Browning's oeuvre as it deals in trickery and illusions. The movie moves quickly so one needs to pay attention or you'll get lost in the who's who and who did what of it all. With Florence Rice, Frank Craven, Henry Hull, Lee Bowman, William Demarest, Gloria Holden, Astrid Allwyn and Cliff Clark.

Knock On Any Door (1949)

An attorney (Humphrey Bogart) in a prestigious law firm takes on the case of a hoodlum (John Derek) charged with the murder of a policeman. Because he came from the slums himself, the lawyer feels the boy's background is pertinent to his crime. Based on the novel by Willard Motley and directed by Nicholas Ray (BIGGER THAN LIFE). Notable for being the second novel (the first was Frank Yerby's THE FOXES OF HARROW) by an African American writer to be filmed by a major Hollywood studio. Rich in noir-ish atmosphere, Ray's film is an early example of the juvenile delinquent problem movies that proliferated in the 1950s though the genre actually goes back to the 1930s and films like ANGELS WITH DIRTY FACES. The screenplay doesn't whitewash Derek's hoodlum yet still manages to whip up some empathy for him as a victim of a society that ignores the root of the problem that breeds criminals. There's a good score by George Antheil. With George Macready, Cara Williams, Barry Kelley, Dewey Martin, Allene Roberts and Candy Toxton.