The Strange Love Of Molly Louvain (1932)

After being abandoned by her wealthy boyfriend, a young girl (Ann Dvorak) finds herself pregnant. Leaving her child to be raised by strangers, she takes up with a petty gangster (Leslie Fenton) and finds her life spiraling down even further. Based on the play TINSEL GIRL by Maurine Dallas Watkins (CHICAGO) and directed by Michael Curtiz (CASABLANCA). This pre code crime drama is one of those "good girl gone bad" melodramas that aims for the tear ducts as mother love finds her sacrificing herself for her child. Except for the sweet bellhop (Richard Cromwell) who loves her and tries to lead her down the path of respectability, none of the movie's characters are very likable. One can't even find much to like about Molly Louvain (Dvorak) who wallows in self pity and makes terrible choices. Still, typical of most pre code movies it moves fast (1 hour, 13 minutes) so you don't have to much time to wallow with her. The movie is lucky to have the inviting Ann Dvorak in the lead who makes much of the silliness palatable. With Lee Tracy (at his most annoying as an opportunistic newspaper reporter), Guy Kibbee, Frank McHugh and Louise Beavers.  

隠し砦の三悪人 (aka The Hidden Fortress) (1958)

During a war between two fighting clans (Yamada vs. Akizuki), two ignorant peasants (Minoru Chiaki, Kamatari Fujiwara) join up with a mysterious man (Toshiro Mifune) and a mute woman (Misa Uehara) in crossing enemy lines with hidden sacks of gold. What the peasants don't know is that the man is a general in the Akizuki army and the woman is a princess of the Akizuki clan. Directed by Akira Kurosawa (SEVEN SAMURAI), this epic adventure movie was Kurosawa's first film in wide screen (TohoScope) and an obvious major influence on George Lucas' STAR WARS (1977). A big success in Japan, the film did poorly in the U.S. As usual, the clueless New York Times critic Bosley Crowther dismissed it. It's exciting and great fun and visually, it's a stunning film and cinematographer Ichio Yamazaki and Kurosawa's use of the B&W wide screen is superb. The action scenes are impressive but the visual highlight is the mesmerizing fire festival sequence. Some refer to the film as second tier Kurosawa but I don't view that as a condescension, second tier Kurosawa towers over most other directors. Mifune gives a robust performance and the appealing Misa Uehara in her film debut quit acting two years later. With Susumu Fujita and Eiko Miyoshi.

Madison Avenue (1961)

An advertising executive (Dana Andrews) is fired by the head of the company (Howard St. John) because he senses that the executive plans on starting his own advertising agency and take some top clients with him. The executive plots his revenge by taking a struggling ad agency inadequately run by a woman (Eleanor Parker) and building it up with the intention of destroying his former employer. Based on the novel THE BUILD UP BOYS by Jeremy Kirk and directed by H. Bruce Humberstone (I WAKE UP SCREAMING). Completed in 1960, this movie was released on a double in Great Britain in 1961 and wasn't shown in the U.S. until 1962. 20th Century Fox clearly had little faith in the film and the movie doesn't have a good reputation so I was expecting a dog. Therefore, I was pleasantly surprised at how much I enjoyed it. In its modest way, it's a cousin to Oliver Stone's WALL STREET (1987). With one exception, all the characters are cutthroats ready to stab a colleague in the back or use them when they're of use and then dispose of them after they've served their purpose. The one decent character is Jeanne Crain as a journalist who sees through everybody and has her own set of ethics. Certainly not a film to seek out but if it happens to come across your path, it's an enjoyable watch. With Eddie Albert, Henry Daniell, David White and Kathleen Freeman.

Sounder (1972)

Set in 1933 Louisiana, an African American family of sharecroppers struggle to survive raising sugar cane for the white landlord (Ted Airhart). When the father (Paul Winfield in an Oscar nominated performance) steals meat from a nearby smokehouse in order to feed his family, he is sentenced to one year at a work camp leaving his family to struggle without him. Based on the novel by William H. Armstrong and directed by Martin Ritt (THE LONG HOT SUMMER). When one hears the term "family film", one usually thinks of those generic Walt Disney comedies with Fred MacMurray as the father. But this is a family film in the purest sense of the term. It's heartwarming without being self indulgently sentimental and there's a simple and clean beauty to it. Anchored by a strong yet delicate performance by Cicely Tyson (also Oscar nominated), it's a well grounded observation of the African American experience in the Jim Crow era. The movie's title refers to the family's hound dog. With Kevin Hooks, Janet MacLachlan, James Best, Carmen Mathews, Sylvia Kuumba Williams and Taj Mahal.

Elaine Stritch At Liberty (2002)

A film of the one woman show that Elaine Stritch did on Broadway which won a Tony award. She recounts her childhood and more importantly, her life in the theatre and it's a mesmerizing journey. She knew them all from Brando to Tennessee Williams to Noel Coward to Stephen Sondheim and everyone in between. She chronicles her romances, her hits and her failures, her battle with alcoholism and diabetes and always with a generous dose of humor and often poignance. And, of course, the songs associated with her long career from COMPANY, SAIL AWAY, PAL JOEY and even those shows she wasn't in but claimed anyway like I'm Still Here and Broadway Baby from FOLLIES etc. Her account of working on a stage production of THE WOMEN is both hilarious and heartbreaking. Stritch is a force of nature and a compelling stage presence and it helps if you're a theatre person so you recognize the names and the shows. A pure dynamite delight! Directed by George C. Wolfe.

Great Expectations (1998)

Set in Florida's Gulf Coast, a young boy (Jeremy James Kissner, later morphing into Ethan Hawkes) encounters an escaped convict (Robert De Niro), who he provides tools to cut his shackles and some food. Not long after, he is summoned to the decaying mansion of a rich but dotty old lady (Anne Bancroft) to entertain her. Based on the classic novel by Charles Dickens and directed by Alfonso Cuaron (GRAVITY). An interesting but misguided attempt at updating the 1861 Dickens novel to contemporary Florida and Manhattan. What did Cuaron hope to accomplish? Hawkes' self involved Finn bears no resemblance to the innocent Pip of the Dickens book. The Dickens narrative seems forced rather than organic to the material we're watching. If Cuaron wanted to change the Dickens narrative to suit his own creative purpose, he should have gone further in shedding the Dickens storyline. The splendid cinematography by Emmanuel Lubezki (THE TREE OF LIFE) assists the film immeasurably. As it stands, it's not good Dickens and it's not good Cuaron either. Still, not as bad as it could have been. With Gwyneth Paltrow, Chris Cooper, Hank Azaria, Kim Dickens, Nell Campbell and Josh Mostel.

Witchfinder General (1968)

Set in 1645 England during the English Civil War, an opportunistic witch hunter (Vincent Price) takes advantage of the situation to make a profit on getting "witches" to confess with the help of his sadistic henchman (Robert Russell). He falsely proclaims himself appointed the Witchfinder General by Parliament. Based on the novel by Ronald Bassett and directed by Michael Reeves (THE SORCERERS), who died nine months after the film's release at the age of 25. Although the movie's initial release was dismissed by most critical factions, the film has amassed a cult following and its reputation rehabilitated in the ensuing decades. Personally, I found most of the film repugnant, a nasty piece of goods with the director seemingly savoring every piece of torture and rape. Is there anything worthwhile about the film? Yes, Vincent Price is quite good and gives a restrained and chilling portrait of evil that is quite different from his often hammy performances in Roger Corman's Poe adaptations. With Ian Oglivy, Hilary Dwyer, Rupert Davies, Patrick Wymark, Nicky Henson and Margaret Nolan.

Bwana Devil (1952)

Set in 1898 British East Africa, a pair of lions terrorize the workers (Hindis imported from India) who are building the Uganda railway. Two men, an engineer (Robert Stack) and a doctor (Nigel Bruce), are in charge of the mission but their attempt at capturing the lions prove futile. Written and directed by Arch Oboler (FIVE), the film is notable as being the first feature film shot in the 3D process and briefly starting a 3D (the film's poster shrieked, "A Lion In Your Lap!") craze which didn't last very long (about a year). Outside of the first AVATAR film, I've always found 3D a novelty, a gimmick that outwears its welcome very quickly. As to the film itself, it's a routine African adventure based on the true story of the Tsavo maneaters that killed dozens of railway workers in late 19th century Kenya. Although set in Africa, the landscape definitely looks like Southern California. The narrative attempts to create a somewhat complex character in Stack's engineer: a man married to his boss's daughter (Barbara Britton) who considers himself a failure and exiled to Africa as some sort of punishment. Being 1952, most of the violence is either muted or done off screen. Of interest as a historic footnote of Hollywood showmanship. With Ramsay Hill and John Dodsworth.

Against The Wind (1948)

Set during WWII, a Catholic priest (Robert Beatty) is recruited by the wartime British Special Operations Executive to covertly be dropped behind enemy lines in Belgium in order to destroy a Nazi records office in Brussels and to spring a prominent British agent (Peter Illing) from the prison where he is held by the Nazis. Directed by Charles Crichton (A FISH CALLED WANDA). An unexceptional war movie that's notable for Simone Signoret in her first English language film. As to the film itself, if you're into war movies you might enjoy it although the emphasis is not on battle but suspense as a handful of recruits parachute into Nazi held Belgium to accomplish their mission in a short span of time. I found some of these saboteurs not too bright as their actions risk the lives of their compatriots and the mission too. A proficient (it's watchable) but unimaginative movie. With James Robertson Justice, Jack Warner, Gordon Jackson, Paul Dupuis, John Slater and Andre Morell.

Blonde Crazy (1931)

A small time grifter (James Cagney) works as a bellhop in a midwestern hotel. He takes a fancy to the new chambermaid (Joan Blondell) and lures her into partnering with him into scamming rich men. But being arrogant and confident, he doesn't realize he's not ready for the big time ..... yet. Directed by Roy Del Ruth (EMPLOYEES ENTRANCE). This scrappy pre code dramedy is very entertaining. Cagney's larcenous punk is just ripe to get taken down and I got a bit of pleasure seeing him fall. It's actually Blondell who is the smart one while there's something of the spoiled child in Cagney's character. The movie's ending is unsatisfactory as one despicable character doesn't get his comeuppance and Cagney gets the blame. It's fast moving, there's snappy dialog and Cagney and Blondell make for a great team and they're supported by an ace cast of supporting players. Among them Ray Milland, Louis Calhern, Nat Pendleton, Guy Kibbee and Noel Francis.

Furiosa: A Mad Max Saga (2024)

Set in an apocalyptic Australian landscape, a young female child (Ayla Browne, just marvelous) is kidnapped and taken to a camp of biker hordes where their leader (Chris Hemsworth) takes a liking to her. This is just the beginning of a decades long wait to execute an act of vengeance. A prequel to MAD MAX: FURY ROAD directed by George Miller (THE WITCHES OF EASTWICK), who has directed all the Mad Max films (this is the fifth entry). It took awhile for me to get into the movie but once I did, I was riveted. Browne eventually morphs into Anya Taylor Joy (who doesn't come into the movie until its second hour) and she's marvelous too. The film is CGI heavy but the CGI effects are very well done and not distracting. I think it was a mistake to make Hemsworth's character so "campy" (it takes away from his vileness) though given some of his dialog, I suppose that was the only way to play it. Incredibly, the film was a box office failure (it had a $168,000,000 budget) in spite of sterling reviews which would indicate the end of the franchise but we'll see. All in all, a most satisfying prequel: intense, thrilling and beautifully crafted. With Tom Burke, Lachy Hulme (playing two roles), Nathan Jones and Charlee Fraser.

Hellzapoppin (1941)

A producer and composer (Robert Paige) is in love with a wealthy heiress (Jane Frazee) but keeps it to himself as she's engaged to his best friend (Lewis Howard). An adaptation of the Broadway musical comedy revue and directed by H.C. Potter (MR. LUCKY). It's an adaptation of the Broadway hit in the loosest way because the play was constantly changing during its (over) three year run on Broadway (1,404 performances) with constant improvisation and script changes to remain topical. The stage show's stars Olsen and Johnson, a vaudeville comedy team, also star in the film. It's one bizarre movie as you can tell right from the beginning when a stage of chorus girls literally go to Hell where they are tortured by demons! The actors continually break the fourth wall and address the audience and we're constantly reminded we're watching a movie as it (intentionally) goes out of frame or the film breaks. Its frantic comedy is all over the place with sight gags and jokes coming from everywhere. With the constant barrage, some of the gags hit the mark, some don't. It's the kind of comedy where someone says, "It's got everything but the kitchen sink!" and the next moment someone walks in, "Here's your kitchen sink!". Yes, it's that kind of comedy. It also presages THE PRODUCERS by 25 years in having an intentionally bad musical so that it will flop turn into a hit show. The film's highlight is a sensational jitterbug number by black dancers known as Whitey's Lindy Hoppers. With Martha Raye, Mischa Auer, Hugh Herbert, Shemp Howard, Jody Gilbert and Elisha Cook Jr.