Category: Classics
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Monster from the Ocean Floor’s a low-budget creature feature; tourist Anne Kimbell becomes convinced there’s an irradiated sea monster off the coast of her Mexican vacation village. Her pseudo-beau, Stuart Wade, is convinced she’s wrong. He’s a marine biologist. His boss, played by Dick Pinner in an (eventually) absolutely delightful turn, thinks Wade ought to…
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Not to be overly pedantic, but the title should be Nights of the Blood Beast. While the “Blood Beast” part is a little complicated, the film does take place over a couple nights. Two Nights and Four Days of the Blood Beast. The Beast is a space monster. Maybe. It’s definitely a space creature, but…
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Attack of the Giant Leeches stops more than ends. Some plot elements seem to go unresolved, but since the film never actually explains those stakes, maybe they don’t. Director Kowalski likes long lingering shots implying giant leech attacks, except there’s little distinction between ominous shots with leeches and those without. Since the characters never pay…
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The Dark Past opens with a lengthy, confidently showy, and capable POV sequence. Lee J. Cobb is arriving at work, just like anyone–and the movie does a lengthy “peoples is peoples” bit–except he’s a police psychiatrist. It’s his job to save kids from becoming hardened criminals, thereby not being on the taxpayer dime. It’s progressive…
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Rebecca opens with protagonist Joan Fontaine narrating, establishing the present action as a flashback—which is kind of important considering how much danger Fontaine will be in throughout. She’s got to make it since there’s the narration. Some of that danger is in Fontaine’s head. Or, at least, she sometimes apprehensive of the wrong person. Sort…
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The Magnificent Fraud tells the unlikely tale of an actor on the run who just happens to be in the right place at the right time for the role of a lifetime. Akim Tamiroff’s stage actor’s enjoying a residency of sorts in San Cristobal’s hottest nightclub, one maybe owned by the president’s troubleshooter, Lloyd Nolan.…
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The Scarlet Letter’s opening title card explains while the Puritan customs might be atrocious to modern eyes, “they were a necessity of the times and helped shape the destiny of a nation.” Not on board with the former, but it’s definitely accurate for the latter. Especially since this version of Letter is about a white…
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Besides the unfortunate special effects execution (the conceptions are fine), the only thing wrong with Beast from Haunted Cave is the title. And, I suppose, some first-act budgetary shenanigans—the movie’s about Frank Wolff’s crew knocking off a gold reserve in a mining town and heading across the mountains on skis to escape, and they have…
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The Quiet Man starts as a loving postcard tour of the Irish countryside. It’s pastoral, romantic, funny, human. Son of Ireland-gone American John Wayne returns home and immediately falls in love with neighbor Maureen O’Hara. Unfortunately, despite O’Hara having similar inklings, her big brother is Wayne’s new nemesis, Victor McLaglen. It’s this exceptionally lush, tender,…
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A Matter of Life and Death suffers the unusual condition of being too good for its own good. Writing, directing, and producing team Powell and Pressburger (The Archers), along with their crew and much of their cast, do singular work on Matter. Jack Cardiff’s Technicolor is so breathtaking a character can get away with commenting…
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I’m not sure The Killer Shrews is the best movie with a protagonist with the first name Thorne, but it’s got to be very high on the list. James Best plays that lead—Captain Thorne Sherman of the S.S. Minnow, and he and first mate Judge Henry Dupree are on a three-hour tour… okay, no, but…
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I thought this one was called The Great Gila Monster, not The Giant Gila Monster. During the first act, I kept thinking how Great was one heck of a flex given the content, but it’s not Great; it’s Giant, which is technically correct. The film is about a giant Gila monster terrorizing a bunch of…
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I cannot, in any conscience, recommend Saratoga Trunk. The list of caveats to work through is a “Choose Your Own Adventure” of racism, ableism, and low-key misogyny (though less of the third, what with the first two). If you’re a Flora Robson completist, you presumably know about the time she was Oscar-nominated for playing Blackface,…
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The Man Who Knew Too Much is an action thriller. It doesn’t start as an action thriller—it begins with an English family (dad Leslie Banks, mom Edna Best, daughter Nova Pilbeam) vacationing in Switzerland. Their vacation has almost come to an end, and they’re saying goodbye to some of their trip friends. Their good trip…
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Betty Grable has a rough time in A Yank in the R.A.F. through no fault of her own. Her love triangle arc is the only thing going on for long stretches of the film. Despite being about brash narcissist Tyrone Power (the Yank) going over to England and joining the R.A.F.—while the U.S. was still…
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Big News is a successful talking picture, meaning they do a good job recording the synchronized vocals. It’s not successful at really anything else, but the sound’s decent. Someone had the idea of keeping the number of actors low in most scenes, which helps with vocal clarity. Possibly too much because editor Doane Harrison and…
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About halfway through City Lights, I realized most of the gags repeat. Especially when it’s Chaplin and his de facto sidekick, Harry Myers. But instead of making the bits seem rote, the repeat value just makes them funnier. There are some differences in how the jokes work, but not very much; Chaplin also lays into…
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While One Touch of Venus only runs eighty-two minutes, it manages to do three sets of romantic arcs. It’s able to fit them all because lukewarm towel and ostensible lead Robert Walker disappears for long stretches of the movie. Sometimes Walker goes so Dick Haymes can serenade Olga San Juan; sometimes he goes so the…
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Room Service appears—well, sounds like—it sounds like it ends with Groucho Marx singing along to a spiritual in a stage play and breaking into occasional mimicry of a Black woman singing. For no reason. Like there was a subplot about a racist parrot they cut from the movie (it runs seventy-eight minutes, so it’s not…
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The funniest part of My Name is Julia Ross is when May Whitty, just after having local vicar Olaf Hytten visit, says son George Macready needs to kill Nina Foch before a doctor shows up because while they might be able to convince no-nothings like the vicar, a doctor would be able to tell she’s…
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Suspicion is a peculiar picture, both in terms of content and context. It’s one of those Hollywood pictures from late 1941, before Pearl Harbor, but it takes place in England, which was already in the war. So it’s set before the war. It’s an all-British cast (not to mention director Hitchcock) making an American film,…
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I Was a Teenage Werewolf opens with a reasonably impressive—for 1957–schoolyard fight. Throughout the film, director Fowler will have these entirely competent low-budget action sequences, with much thought put into them by Fowler and his uncredited editor. It’s not because they’ve got ambition with Werewolf; they’re just trying to pad the runtime. To its seventy-six…
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On the Riviera ends abruptly. The film promises an amping-up of its mistaken identity, only to immediately chuck it and do another musical number. It’s a solid musical number, but the film was on the rise with the comedy. It was about to get really good. The ending features a double scene for star Danny…
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Bell, Book and Candle has three problems. The first involves Kim Novak and James Stewart’s May-September romance, which I’ll take couple jabs at in a bit. The second two problems are with the plotting, either in John Van Druten’s original stage play or Daniel Taradish’s screenplay. In the third act, Candle forgets its supporting cast…
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With some notable omissions (paramours, they’re French, after all), Désirée is shockingly historically accurate. Napoleon really did have an ex-girlfriend named Désirée, who ended up the queen of Sweden, her husband his former general and then adversary. The film gets big and little details right. On its face, Désirée is just a resplendent CinemaScope melodrama.…
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Director Lumet wrote at length about his compositional decisions for 12 Angry Men in his book about filmmaking, aptly titled Making Movies. The camera starts up high, looking down at the jury room and its jurors, then gradually moves down and in; by the third act, it’s in tight, low-angle close-ups. It’s beautiful, sublime work…
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I had a variety of ways I was going to open this post. I was going to make a Robert Palmer reference for my apparent target demographic (it would have read: Director Fuller has cranes and knows how to use them). Except it turns out… Fuller didn’t have a dozen cranes roaming the Tokyo streets.…
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Night of the Hunter is a singular experience. Definitionally. It’s the only film Laughton ever directed, which makes sense. The film’s visuals are decades too early for the composites they can do; Laughton did direct plays, which also makes sense. Hunter feels “stagy,” but not. Laughton directs his actors for close-up without ever losing track…
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Conservatively, Stage Struck has six endings. They start about fifty-eight minutes into the film, which runs ninety-five minutes. Actually, wait, there are probably—conservatively—seven. I forgot how many there are mid-third act before the actual (ending-laden) finale. For a while, the false endings add to the film’s charm. Maybe if the third act hadn’t reduced lead…
The Stop Button 