La Verite Sur Bebe Donge (1952)

As his life hangs in the balance in the hospital after being poisoned by his wife (Danielle Darrieux), a man (Jean Gabin) reflects on their marriage and what made a hopelessly romantic girl turn murderess. Based on the novel by Georges Simenon and directed by Henri Decoin. This is a fascinating portrait of a marriage gone sour when two people with different values and ideas get married. Gabin's husband is a philandering lout, often cold and cruel and a user of people. Darrieux's wife is a dreamy romantic whose idea of love borders on obsessiveness to the point that she becomes unappealing, a clinging vine suffocating her husband. While it's hard to dissect a ten year marriage in a two hour film, Decoin uses flashbacks to reveal a slowly festering rot. All the danger signs were there but ignored. The film's bleak finale is a real downer but it's honest. This is a film that deserves to be better known. As a film about marriage, it's right up there with SCENES FROM A MARRIAGE and TWO FOR THE ROAD but to the best of my knowledge, it was never released in the U.S. There's an excellent if brief underscore by Jean Jacques Grunenwald. With Daniel Lecourtois, Claude Genia and Madeleine Lambert. 

The Howling (1981)

An L.A. news anchor (Dee Wallace, E.T.) is attacked by a serial killer. He is shot by the police but she is so traumatized by the incident that she loses her memory of the actual attack. Her therapist (Patrick MacNee) suggests she go to his retreat in Northern California for treatment. But it's there at the retreat, that the horror not only continues but intensifies. Based on the novel by Gary Brandner and directed by Joe Dante (GREMLINS). While the film is an affectionate homage to old Universal werewolf movies, Dante's film balances humor and horror. Film buffs will be amused by the in jokes (MacNee's character is named George Waggner, the director of 1941's THE WOLF MAN) and non film geeks should find enough gore to satisfy their bloodthirsty appetites. Dante is able to create a genuine sense of horror even without the special effects and the finale is both poignant and slightly humorous. The supporting cast includes Kevin McCarthy, John Carradine, Slim Pickens, Kenneth Tobey, Christopher Stone, Dennis Dugan, Belinda Balaski, Elisabeth Brooks and John Sayles (the film's screenwriter) as a morgue attendant.

Murder In Three Acts (1986)

At a dinner party in Acapulco hosted by a film actor (Tony Curtis) and attended by the renowned detective Hercule Poirot (Peter Ustinov), a minister (Philip Guilmant) suddenly drops dead. It is assumed a natural death until at another dinner attended by most of the same people, a doctor (Dana Elcar) also suddenly dies. In fact, they were both poisoned and Poirot attempts to solve the case before the next murder for the killer is not done yet. Based on the novel THREE ACT TRAGEDY by Agatha Christie and directed by Gary Nelson (THE BLACK HOLE). This may be the worst film adaptation of a Christie book that I've seen (and I've seen plenty). The book was published in 1934 and the film makers have updated it by switching the location from upper class Brits in England to jet setters in Acapulco! There's a truly awful performance by Tony Curtis that puts a damper on the film. It's not one of Christie's best novels and indeed, derivative of her earlier work. When will these film people realize that Christie doesn't need updating or improving on? Among the cast: Diana Muldaur, Emma Samms, Lisa Eichhorn, Fernando Allende, Marian Mercer, Frances Lee McCain, Nicholas Pryor and Concetta Tomei.  

I Walk Alone (1947)

After serving 14 years in prison, an ex-bootlegger (Burt Lancaster) is released and goes to meet his ex-partner (Kirk Douglas). But he finds things have changed since he went to prison and the rough ways of the prohibition era no longer work in the more civilized world of crime. Based on the play BEGGARS ARE COMING TO TOWN by Theodore Reeves and directed by Byron Haskin (WAR OF THE WORLDS). This stylish slice of film noir is plentiful with atmosphere and nicely shot in B&W by Leo Tover (THE HEIRESS). This was the first of seven pairings for Lancaster and Douglas and their chemistry is rich in testosterone. As the film's femme fatale, Lizabeth Scott is less stiff than usual and looks gorgeous. The film's highlight is the scene where Lancaster finds out he can no longer push his way into taking over when crime hides behind legitimate businesses with boards of directors and multiple corporation ownership. It may be second tier noir but this is still good stuff. With Wendell Corey, Kristine Miller, George Rigaud, Mike Mazurki and Marc Lawrence. 

Merrily We Live (1938)

The scatterbrained wife (Billie Burke) of a wealthy businessman (Clarence Kolb) has a habit of taking in hobos and tramps into her household and attempt to reform them but they inevitably end up ripping the family off. When his car breaks down nearby, a man (Brian Aherne) attempts to use their phone but is mistaken for a tramp and pulled into the ditzy household by the wife. Loosely based on the book THE DARK CHAPTER by E.J. Rath (and its 1926 Broadway adaptation) and directed by Norman Z. McLeod (HORSE FEATHERS). The hobo and the heiress plot may sound like a rip off of MY MAN GODFREY but I find it infinitely funnier. Everyone is at the top of their game and Billie Burke who specializes in lightheaded characters takes ditzy to new heights and earned an Oscar nomination for it! The dialog is witty and fast paced and everyone seems to be having a grand old time. It may not have the reputation of better known screwballs like BRINGING UP BABY or THE AWFUL TRUTH but trust me, this one ranks right up there with them. With Constance Bennett, Ann Dvorak, Bonita Granville, Patsy Kelly, Alan Mowbray and Tom Brown.  

The Prisoner Of Second Avenue (1975)

After he loses his job, a middle aged businessman (Jack Lemmon) starts to unravel and eventually has a nervous breakdown. His wife (Anne Bancroft) returns to work to support them but as her husband progressively gets worse, she goes to his family for help. Based on the hit Broadway comedy by Neil Simon and directed by Melvin Frank (A TOUCH OF CLASS). This comedy is a bit darker than most of Simon's works. Nervous breakdowns aren't funny and though the film is rich with humor and Simon's famous one liners, it's painful to see a decent man desperately holding on to his sanity while he looks for answers as to why. Lemmon, who does hysteria like no one else, can often be annoying as he rants and raves and well, can we say it? Overacts. But this is a nice blend of normalcy and hysteria and his mannerisms have the perfect setting here. Bancroft has the less showy role as the wife but she's both funny and touching. Clearly, Simon has more on his mind than a laugh machine. There's a nice score by Marvin Hamlisch. With Sylvester Stallone, F. Murray Abraham, Elizabeth Wilson, M. Emmet Walsh, Ketty Lester, Patricia Marshall and in the film's best performance, director Gene Saks as Lemmon's older brother.  

Irma La Douce (1963)

An honest policeman (Jack Lemmon) is assigned to a district where prostitutes ply their trade. Naively and on his own volition, he stages a vice raid which infuriates the police including the police captain (Herschel Bernardi) who are all accepting bribes to look the other way. After being fired, he is taken in by one (Shirley MacLaine) of the prostitutes and falls in love with her even though she refuses to give up streetwalking. Directed by Billy Wilder and based on the 1956 French stage musical which had a great success on Broadway in 1960 winning a best actress Tony award for Elizabeth Seal who played Irma. Inexplicably, the film version omits all the songs (Andre Previn adapts the musical's songs as the underscore) and the film remains a straight comedy. I've seen IRMA LA DOUCE on stage and it's an absolutely charming musical. But by eliminating all the songs, Wilder's film loses its charm and becomes rather sordid. In 1963, a brazen comedy about a hooker was shocking and "adult" but in 2018, it's no longer risque and what we get is an anemic comedy. It still has its moments, mostly with Lemmon who gives us a nice comic performance but MacLaine's best actress Oscar nomination is a real head scratcher. The real scene stealer is Shorty who plays MacLaine's champagne guzzling lapdog. Whenever he's in a scene, your eyes immediately go to him. With James Caan, Bill Bixby, Lou Jacobi, Joan Shawlee and Hope Holiday.

Jack The Giant Killer (1962)

An evil sorcerer (Torin Thatcher) kidnaps a beautiful princess (Judi Meredith) and holds her ransom until the King (Dayton Lummis) abdicates the throne which will allow the wicked wizard to rule the kingdom at the Princess's side. Directed by Nathan Juran, who directed the fantasy classic 7TH VOYAGE OF SINBAD. In fact, the film uses 7TH VOYAGE OF SINBAD as a template. In addition to Juran, Kerwin Mathews who played Sinbad plays Jack and Thatcher repeats his SINBAD duties as an evil wizard. Meredith steps in for Kathryn Grant's princess and instead of Richard Eyer's genie, we get Don Beddoe's leprechaun. Instead of Ray Harryhausen doing the stop motion animation, it's done by Jim Danforth (7 FACES OF DR. LAO). It's a charming fantasy fairy tale and while perhaps the special effects aren't up to 7TH VOYAGE or JASON AND THE ARGONAUTS (mostly likely due to the budget), they're good enough with the witch attack on the ship a highlight. It's bright, colorful and fun. In a bizarre twist, many years after its original release, JACK was reconfigured as a musical by dubbing the actors dialog with singers. To call this version dreadful is an understatement although the musical version's main title credits does have a lovely song playing over the titles. With Anna Lee, Robert Gist, Barry Kelley and Walter Burke.

A Bill Of Divorcement (1932)

After 15 years, a man (John Barrymore) returns unexpectedly from a mental asylum on Christmas day to his family. In the interim, his wife (Billie Burke) has divorced him and his daughter (Katharine Hepburn) barely remembers him. Based on the play by Clemence Dane and directed by George Cukor. After a fluid and cinematic opening shot, the play's creaky proscenium origins are very much in evidence. It's a masochistic film and its dubious theory that insanity is passed down through children no longer passes mustard. Barrymore is very good in a performance that is nicely restrained and when he "overacts", it fits in perfectly with his character's tendency to overexcite himself. Hepburn is fine but you'd never guess from her performance here that she would end up being one of cinema's greatest actresses for the next 50 years. While it holds one's interest for most of its mercifully brief running time (1 hour and 9 minutes), it's just an icky piece of self sacrificing melodrama. For Hepburn fans only. With David Manners, Elizabeth Patterson and Henry Stephenson.

The Young Pope (2016)

The Papal Conclave elects the youthful Lenny Belardo (Jude Law) to become the first American pope. The leaders of the conclave assume because of his youth and inexperience they will be able to control him. Instead, to their horror, what they get is an arrogant and vain conservative reactionary, high on his new found power,  who wants to turn the clock back on the Church's "liberal" leanings and once again, shroud the church in secrecy. Written and directed by Paolo Sorrentino (THE GREAT BEAUTY), this nine hour mini series is a compelling watch. Assisted by his cinematographer Luca Bigazzi, Sorrentino unleashes a tableau of ravishing, often surreal, imagery. Law's young Pope's journey is a complex and fascinating one. This is no GOING MY WAY, as Sorrentino lets us in the plotting and machinations within the Vatican and it's often quite sensual (as when a priest has a three way with a married woman and a young stud) but it's not anti-Catholic either. There is a lot of wit too as when LMAO's I'm Sexy And I Know It plays over Jude Law putting on his papal robes. Don't be surprised if your eyes water up during Law's big speech at the end though I wish I wasn't so aware of how calculated it was. The superb cast includes Diane Keaton as the Pope's nun confidante, James Cromwell, Silvio Orlando, Scott Shepherd, Ludivine Sagnier, Cecile De France, Andre Gregory and Javier Camara, who gives the film's best performance as an alcoholic Cardinal.     

Touch Of Evil (1958)

In a small town on the U.S. Mexican border, a businessman (Jeffrey Green) and his stripper girlfriend (Joi Lansing) are killed when their car explodes on the U.S. side. It's observed by a Mexican drug enforcement official (Charlton Heston) and his new bride (Janet Leigh). When a corrupt cop (Orson Welles) takes charge of the case, the official finds himself drawn into the case. Based on novel BADGE OF EVIL by Whit Masterson and adapted for the screen and directed by Orson Welles. From the stunning long tracking shot running around three minutes that opens the film to the confrontation between Welles and Joseph Calleia as his faithful friend at the film's end, this is a terrific exercise in atmosphere and style. I'm not taking anything away from the film's solid plot which is more than serviceable but it's what Welles does to the material that raises it to Art. Welles and his cinematographer, the great Russell Metty (ALL THAT HEAVEN ALLOWS), use B&W with its light and shadows in such a way that the entire film becomes an almost Kafkaesque nightmare. The performances range from excellent to good. There has been some carping about Heston as a Mexican but I had no problem with it as presented within the narrative. The music is by Henry Mancini. The large cast includes Marlene Dietrich, Joseph Cotten, Akim Tamiroff, Mercedes McCambridge, Zsa Zsa Gabor, Joanna Moore, Ray Collins, Mort Mills and in the film's most bizarre performance, Dennis Weaver as a motel night clerk.

Lost In A Harem (1944)

After being stranded in the Middle East, a comedy act (Bud Abbott, Lou Costello) and a girl singer (Marilyn Maxwell) are working in a local nightclub hoping to earn enough money to get back to the U.S. But after a nightclub brawl, they are all thrown into jail. A sheik (John Conte) offers to help them escape if they will help him in his plot to regain his throne which has been usurped by his wicked uncle (Douglass Dumbrille). Directed by Charles Riesner, this was one of three films the duo did at MGM rather than their home base at Universal. It's not all that different from what they were churning out at Universal though it has a more expensive look to it (it was filmed on the leftover sets from 1944's KISMET). Its wobbly plot is padded out with musical numbers and comedy sketches (including A&C's famous "slowly I turned" routine). Not one of their best films but not one of their worst either. Costello provides several laugh out loud moments. With Jimmy Dorsey and his orchestra, Murray Leonard and Lottie Harrison.