Freaky Friday (1976)

A mother (Barbara Harris) and her teenage daughter (Jodie Foster) casually (and separately) wish they could switch places with each other for a day. It's Friday the 13th and magically they get their wish. Based on the novel by Mary Rodgers (ONCE UPON A MATTRESS) who adapted her book for the screen and directed by Gary Nelson (THE BLACK HOLE). Disney silliness is immeasurably helped along by the two central performances of Harris and Foster, who both bring an actress's creativity and intelligence to their work here. In the hands of lesser actresses, there could have been a lot of mugging and phony play acting (think of Ginger Rogers' embarrassing attempts at acting juveniles in MONKEY BUSINESS and MAJOR AND THE MINOR) but clearly the actresses here took the time to deliberate on their characters. This film came several months after Foster's performances as the child prostitute in TAXI DRIVER, talk about range! Popular enough to spawn two remakes, a 1995 TV version with Shelley Long and a 2003 film with Jamie Lee Curtis. With John Astin, Kaye Ballard, Patsy Kelly, Marie Windsor, Marc McClure, Jack Sheldon and Brooke Mills.  

Unholy Partners (1941)

Returning home after WWI, a newspaperman (Edward G. Robinson) decides to start his own newspaper, a tabloid that sensationalizes the news and isn't above making the news rather then just reporting it. Directed by Mervyn LeRoy, this doesn't feel like a movie from the MGM dream factory. Rather it has the feel of a gritty Warner Brothers topical feature. LeRoy (I AM A FUGITIVE FROM A CHAING GANG) and his star Robinson both came from Warners so that only adds to the set up. It's an entertaining piece of pulp until it goes all saccharine on us at the very end. Now that feels like MGM. Warners wouldn't have gone soft or at least not that soft. Robinson is wonderful here and Edward Arnold as a corrupt racketeer who funds Robinson's tabloid is perfect. Laraine Day and Marsha Hunt provide the feminine requirement which translates to looking pretty with nothing much to do. Also in the cast: William T. Orr, Marcel Dalio, Charles Dingle and Frank Faylen.   

Assassination In Rome (1965)

A wealthy American woman (Cyd Charisse) is vacationing in Rome when her husband goes missing. An American journalist (Hugh O'Brian) attempts to help her locate her husband when the police don't seem interested. But when a man is found murdered with a packet of heroin in his pocket, suddenly the police are interested in her husband's whereabouts. Directed by Silvio Amadio, this is one of those international thrillers so prevalent in the 1960s with American stars in the leads and the rest of the cast native to their country. In this case, Italy. It's strictly a routine affair with the advantage of the Rome and Venice locations to lend the film some much needed glamour. O'Brian is stalwart and Charisse is elegant and lovely and that's about all their parts require. My favorite performance came from Eleonora Rossi Drago (Antonioni's LE AMICHE) as a three time divorcee colleague of O'Brian's. The score is by Armando Trovajoli. With Juliette Mayniel and Alberto Closas.

L'Assassin Habite Au 21 (aka The Murderer Lives At Number 21) (1942)

A serial killer known by the name of Monsieur Durand leaves a calling card by the dead bodies of his victims. When a police detective (Pierre Fresnay) gets a tip that the killer lives at a small boarding house, he disguises himself as a clergyman in an attempt to ferret out the murderer. However, when his ditzy mistress (Suzy Delair) shows up and moves into the rooming house, she throws a monkey wrench into the proceedings. Based on the novel by Stanislas Andre Steeman and directed by Henri Georges Clouzot (DIABOLIQUE) in his feature film directorial debut. A screwball comedy about a serial killer sounds terribly politically incorrect. Even when the killer's identity is revealed, it's played for laughs. But if you can put your moral compunctions aside, you'll find a wacky but clever comedy thriller. The film drops a few red herrings along the way and they do their job because I seriously doubt you'll be able to guess the killer's identity. I thought I had but the denouement had me floored and loving that I'd been had. With Jean Tessier, Noel Roquevert, Pierre Larquey, Odette Talazac and Maximilienne.

Bedazzled (1967)

A short order cook (Dudley Moore) in a diner is infatuated with the restaurant's waitress (Eleanor Bron) but is too shy to ask her out. But when Satan (Peter Cook) appears and offers him seven wishes in exchange for his soul, he accepts and uses his wishes to obtain Margaret's love. But the devil is too clever for him. Written by Peter Cook and directed by Stanley Donen (SINGIN' IN THE RAIN), this is an often wickedly funny black comedy. Outside of an appalling comment on rape that is offensive to 2018 ears, Cook's screenplay is full of droll wit and often pointed commentary. Cook's dry devil and Moore's frustrated but lovable clod make for a pleasing comedy combination. The film also offers the opportunity for the talented Eleanor Bron to play a bevy of different incarnations from promiscuous wife to chaste nun. The underscore by Dudley Moore is quite attractive includes the witty Bedazzled performed by Peter Cook. With Raquel Welch as Lust in a scene stealing cameo, Michael Bates, Barry Humphries and Evelyn Moore.

A Woman's Vengeance (1948)

A 40-ish married man (Charles Boyer) is having an affair with an 18 year old girl (Ann Blyth). When his neurotic wife (Rachel Kempson) dies suddenly, he is free to marry the young woman. But soon after the second marriage, his wife's body is exhumed and discovered to have been poisoned and he is put on trial for her murder. Based on the short story THE GIOCONDA SMILE by Aldous Huxley (who also wrote the screenplay) and directed by Zoltan Korda (1942's THE JUNGLE BOOK). This noir-ish mystery is surprisingly adult for the 1940s. The protagonist played by Boyer is having an adulterous affair with a girl young enough to be his daughter and the film not only doesn't condemn him for it, it romanticizes it. But although Boyer is top billed, the film belongs to the third billed Jessica Tandy. In her films of the 1940s and 1950s, Tandy rarely had really good parts but here as the frustrated spinster desperately in love with the married Boyer, Tandy finally got a role worthy of her talent. What she does is horrible but you can't dislike her and indeed, right up to the end you can't help but feel empathy for her. The first rate B&W cinematography is by Russell Metty (SPARTACUS) and the strong score is by Miklos Rozsa. With Cedric Hardwicke, Mildred Natwick, John Williams and Cecil Humphreys. 

Sunday In The Park With George (1986)

In 1884, the painter Georges Seurat (Mandy Patinkin) is fiercely committed to his Art at the expense of relationships with his mistress (Bernadette Peters) and his mother (Barbara Bryne) among others. Though his new technique (pointillism) is considered radical, he perseveres in the originality of his artistic vision rather than convention. Based on the musical play with music and lyrics by Stephen Sondheim and directed by Terry Hughes. This is one of the great musicals of the American theater. Sondheim was never interested in simple hummable tunes (though he can write a great melody) and his score for SUNDAY IN THE PARK is a complex and layered thing of beauty. As George(s), Patinkin gives an intense powerhouse performance that very often seems to be veering toward showing off but thankfully never quite crosses the line. This isn't a "movie" but a filmed production of the stage version with the original Broadway cast and director Hughes does a fine job of placing the camera in the right place at the right time. Sometimes, a wide angle for us to see the whole staging and sometimes a close up when necessary. Mention must be made of Michael Starobin's stunning orchestrations. With Dana Ivey, Charles Kimbrough, Brent Spiner and Robert Westenberg.   

The Maze (1953)

After inheriting a remote castle in the Scottish highlands as well as the title of Baronet, a young man (Richard Carlson) mysteriously breaks off his engagement. His fiancee (Veronica Hurst) and her Aunt (Katherine Emery) go to Scotland to confront him but what they find is beyond belief! Directed by William Cameron Menzies (INVADERS FROM MARS), this was originally in 3D. I watched it in 2D but the detail (it was shot by Harry Neumann) is excellent and I imagine it would look quite impressive in 3D. As to the film itself, it's quite entertaining with an appropriate atmosphere of foreboding and mystery until the film's last eight minutes when the big reveal encourages unintentional laughter. It's a pity because what came before wasn't half bad. If you prepare yourself for the movie's ridiculous finale so you won't be disappointed, there's every chance you might enjoy this slice of "B" horror. The cast includes Michael Pate, Hillary Brooke, Lilian Bond and John Dodsworth. 

Hachijikan No Kyofu (aka 8 Hours Of Terror) (1957)

When all trains are canceled due to a typhoon, a group of disparate passengers decide to take a bus to their destination. Not only must the bus wend its way through treacherous mountain roads but there are two deadly bank robbers on the loose in the area. Directed by Seijun Suzuki, this is an uneven thriller that has a rocky start in the first half before redeeming itself with the second half. The film could just as easily have been called BUS OF FOOLS. The comedic elements are inane and the passengers are a selfish cowardly lot. Not ironically, only a convicted murderer (Kaneko Nubuo) and a prostitute (Harue Tone) turn out to be heroes. Tone is excellent and gives my favorite performance in the movie. This film could really use a remake, drop the comedy and up the tension quotient. I don't mean to sound too hard on it because I really enjoyed it. I just wish it were better. The film does feature one of the worst film scores I've ever heard (credited to Takio Niki). With Nitani Hideaki, Fukami Taizo, Minami Sumiko, Yamada Zenji, Keishichi Nakahara and Kazuki Minako. 

No Down Payment (1957)

In the 1950s, four young married couples on the way up attempt to take their slice of the American dream and move to burgeoning suburbia where modern homes are available in seemingly perfect neighborhoods (all white, of course). Based on the novel by John McPartland and directed by Martin Ritt (HUD). Like similar 1950s films such as PEYTON PLACE and SOME CAME RUNNING, NO DOWN PAYMENT lifts the covers of the American Dream only to discover the rot underneath: alcoholism, rape, religious hypocrisy, racism and greed among the upwardly mobile baby boomer generation. Shot in crisp B&W CinemaScope by Joseph LaShelle (THE APARTMENT), as directed by Ritt, it's a stark examination of the lure of obtaining the dream on installment but the price to pay can destroy you. The acting is superior right down the line with some of the cast giving career best performances like Cameron Mitchell as the war vet whose lack of education blocks his ambition and Tony Randall as an alcoholic weasel looking for the easy way. The others include Joanne Woodward, Barbara Rush, Jeffrey Hunter, Sheree North, Pat Hingle and Patricia Owens.

The Cat And The Canary (1978)

On a dark and stormy night, eight people meet in a secluded country mansion for the reading of the will of a man (Wilfrid Hyde White) who died 20 years earlier. Oh, and there's a homicidal maniac on the loose who's escaped from a mental asylum. Based on the 1922 Broadway play and directed by Radley Metzger (better known for his softcore porn like THERESE AND ISABELLE). This is the fourth film version which was previously filmed in 1927 (a silent film), 1930 (an early lost talkie) and 1939 (a Bob Hope comedy). There's not much style or suspense here but an attractive and talented cast gives it their all which helps hold your interest. I'm a sucker for these dark and stormy night/mansions with secret passageways horror thrillers so I'm probably more tolerant of stuff like this than most people. Also in the overqualified cast: Wendy Hiller, Carol Lynley, Edward Fox, Honor Blackman, Daniel Massey, Michael Callan, Olivia Hussey, Peter McEnery and Beatrix Lehmann.  

Alice In Wonderland (1951)

A young girl (Kathryn Beaumont) spots a white rabbit (Bill Thompson) and follows him into a large rabbit hole. She falls a great distance and finds herself in a topsy turvy world where she shrinks and grows, cats disappear leaving only their smile, mad people have tea parties and a Queen (Verna Felton) has a penchant for cutting off people's heads. Based on the beloved classic by Lewis Carroll and directed by Clyde Geronimi, Wilfred Jackson and Hamilton Luske. This 1951 animated Walt Disney version of Carroll's oft filmed tale (I have 4 other versions myself) is delightful and surprisingly faithful to the source material even with the added (but unnecessary) songs. It's colorful, bright and keeps Carroll's nonsensical humor. Sadly, many of the book's characters were eliminated to keep the running time down so there's no Jabberwocky, Mock Turtle or Duchess. Purists will no doubt take offense at the "Disneyfication" of the Carroll books but a definitive version of the Carroll stories has yet to be made. Until then, this charmer will do nicely. The voice cast includes Ed Wynn, Heather Angel, Jerry Colonna, Sterling Holloway, Richard Haydn, Doris Lloyd and J. Pat O'Malley.