FEBRUARY 2023 ROUND-UP
TOTAL FILMS SEEN IN FEBRUARY: 30
(see the film posters at the bottom of the post, arranged in watching order)
NEW-TO-ME: 29 (25 features & 4 shorts)
REWATCHES: 1
SEEN ON THE BIG SCREEN: 0
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Barbara Stanwyck and Ray Milland for California
Where did February go? I just blinked and it's gone. Unreal we're in March already, but I'm happy to report that I spent a week's holiday in The Netherlands with my family at the end of February and .... this is a big AND ... I managed to watch a staggering amount of 30 films in February. Well, it's staggering considering my monthly counts over the past months, and it's even more than one film a day on average because of the shorter February month.
The last time I had reached a higher number than 20 films was February 2022 (35 films). I'm sure I could not have watched 30 films if I would have started binging Korean dramas again. At one point I really wanted to watch a K-drama series that's been sitting on my watchlist since ages, but my appetite for watching Classic Hollywood films proved to be stronger. My watchlist for classics is also constantly growing. For every film that I watch and can tick off the list, somehow 2 or more films are added. So my intention is to steer away from K-dramas in March as well, and I hope to spend some time reading fiction when I'm not watching the classics.
Miriam Hopkins and Ray Milland in Wise Girl
My Most Watched Actor of the Month is Ray Milland with 4 films seen (Wise Girl, French Without Tears, Till We Meet Again, California) but he's sharing this position with Anthony Quinn (King of Chinatown, Daughter of Shanghai, Blowing Wild, California). The big difference is that Milland's films have leading roles for him whereas Quinn plays supporting parts in all 4 films seen. There's also a tie for first place for My Most Watched Actress of the Month: Barbara Stanwyck (Escape to Burma, Blowing Wild, California) and Anna May Wong (King of Chinatown, Daughter of Shanghai, The Toll of the Sea). In this case both actresses play the lead in their films.
There are more actors/actresses with multiple films watched. 3 films seen: Tom Brown (Gentle Julia, Ex-Champ, Hell’s Highway), Lyle Talbot (No More Orchids, Trapped by Television, Red Hot Tires), J. Carrol Naish (King of Chinatown, Daughter of Shanghai, The Mouthpiece). 2 films seen: Roscoe Karns (Red Hot Tires, King of Chinatown), Robert Ryan (On Dangerous Ground, Escape to Burma), Ward Bond (On Dangerous Ground, Blowing Wild), Philip Ahn (King of Chinatown, Daughter of Shanghai), Frances Dee (Half Angel, Headline Shooter), Marsha Hunt (The Happy Time, Gentle Julia), Mary Astor (Trapped by Television, Red Hot Tires).
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Till We Meet Again with Ray Milland and Barbara Britton
I watched 6 silent films in total: The Student Prince in Old Heidelberg, High and Dizzy, The Toll of the Sea, The Fireman, Those Awful Hats and The Lonely Villa. Of these films 4 are shorts (High and Dizzy, The Fireman, Those Awful Hats, The Lonely Villa) and 2 are features (The Student Prince in Old Heidelberg, The Toll of the Sea).
I didn't watch a film on the big screen at the Filmoteca in Valencia but I could have since there was a viewing of François Truffaut's Les Quatre Cents Coups (never seen this one) and The Night of the Hunter (already seen this at the Filmoteca in Barcelona). Unfortunately I couldn't make it.
I did rewatch one film at home, On Dangerous Ground, while I was working on an extra post for this blog: Snowtime: My 10 Favourite Films.
My highest rated films of the month are No More Orchids, The Student Prince in Old Heidelberg, On Dangerous Ground and Party Girl. Also worth mentioning are The Happy Time, Wise Girl, Till We Meet Again, The Citadel, The Toll of the Sea and The Mouthpiece.
I didn't watch a film on the big screen at the Filmoteca in Valencia but I could have since there was a viewing of François Truffaut's Les Quatre Cents Coups (never seen this one) and The Night of the Hunter (already seen this at the Filmoteca in Barcelona). Unfortunately I couldn't make it.
I did rewatch one film at home, On Dangerous Ground, while I was working on an extra post for this blog: Snowtime: My 10 Favourite Films.
My highest rated films of the month are No More Orchids, The Student Prince in Old Heidelberg, On Dangerous Ground and Party Girl. Also worth mentioning are The Happy Time, Wise Girl, Till We Meet Again, The Citadel, The Toll of the Sea and The Mouthpiece.
There were a good many okay and enjoyable watches (like St. Louis Blues, Trapped by Television, Hell’s Highway), but there were also films that came at the bottom of my ranked list. My lowest rated films are: On Trial, King of Chinatown, The Fireman, Escape to Burma and Blowing Wild.
Carole Lombard & Lyle Talbot in No More Orchids (screenshots by me)
I enjoyed a lot of films in February and also the actors/actresses who starred in them. These are the screen couples I enjoyed the most: Marsha Hunt and Charles Boyer in The Happy Time, Ray Milland and Miriam Hopkins in Wise Girl, Carole Lombard and Lyle Talbot in No More Orchids, Ray Milland and Barbara Britton in Till We Meet Again, Ramon Novarro and Norma Shearer in The Student Prince in Old Heidelberg, Robert Donat and Rosalind Russell in The Citadel, Ida Lupino and Robert Ryan in On Dangerous Ground, Anna May Wong and Philip Ahn in Daughter of Shanghai, Robert Taylor and Cyd Charisse in Party Girl, Barbara Stanwyck and Robert Ryan in Escape to Burma (even though this film is not very good), and Warren William and Aline MacMahon in The Mouthpiece.
Breaking the 30 watched films down in decades:
1900s - 2
1910s - 1
1920s - 3
1930s - 16
1940s - 3
1950s - 5
1960s - 0
1900s - 2
1910s - 1
1920s - 3
1930s - 16
1940s - 3
1950s - 5
1960s - 0
NOW LET'S MOVE ON TO THE FILMS!
(read notes with caution as they might contain spoilers; with ratings going from ½ to ★★★★★ and watched date)
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What a nice way to start the new month! THE HAPPY TIME (Stanley Kramer Productions, 1952) is such a gay film with a lovely performance by Charles Boyer. I loved the whole joie de vivre vibe. This comedy doesn't hide its theatrical roots and it's clearly filmed on a sound stage. Though I found Louis Jourdan very handsome and charming, the way he came on to Linda Christian rubbed me the wrong way. Just when the poor girl was trying to get away from pushy men. In any case, she didn't mind in the end and returned his affection. The film's best moment comes when the three brothers defend the honour of Bobby Driscoll and visit the school's principal who has punished Driscoll with a beating. It makes for a delightful and memorable sequence and I immediately bumped up my rating. Also, I loved the father-son talk near the end, where Boyer explains the difference between love and desire. Last but not least, Marsha Hunt! (pictured with Boyer and Driscoll) I love her! Not enough of her here, though, same goes for Boyer (too much screen time has been given to the third brother Kurt Kasznar who drinks wine from a water container), but fortunately Hunt and Boyer have a great and natural chemistry. Satisfying happy ending for everyone. Richard Fleischer directed. ★★★½ / 02.02.2023
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The synopsis of YOU CAN'T BUY LUCK (RKO, 1937) says the male lead (Onslow Stevens) is being accused of murder while his girlfriend (Helen Mack) is trying to prove his innocence, but for a long time nothing happens. And too much time is being spent on the kids' party with the circus acts and the crooks entertaining the children. It's fun, though, to hear the crooks read stories to the kids and I also like the scene where they are buying their story books from Barbara Pepper. Then after about 40 minutes there's finally a murder, but it's all rushed, and the killing, trial, indictment and prison escape occur within 5 minutes. Wow, this film has serious pacing issues. I watched this for Helen Mack because I like her and she makes an okay pair with Onslow Stevens (both portrayed). He's an actor I'm not really familiar with and I kept wondering whom he reminded me of. Jack Holt maybe. Despite its flaws, this film was still mildly enjoyable. Directed by Lew Landers. ★★½ / 02.02.2023
I watched GENTLE JULIA (20th Century-Fox, 1936) for both Tom Brown and Marsha Hunt (both portrayed). Brown has a clumsy character who is smitten with Hunt. This is understandable because Hunt is lovely and young here. They have okay chemistry. The star of the show is Jane Withers, and although she's no Shirley Temple, I did like her. She plays Cupid's aid and is on Brown's side. He has to deal with some fierce competition in trying to win Hunt's affection. With a supporting role by Hattie McDaniel as the maid. Directed by John G. Blystone. ★★½ / 04.02.2023
The murder mystery HALF ANGEL (20th Century-Fox, 1936), directed by Sidney Lanfield, is nothing special but enjoyable, elevated by the charms of the leads Frances Dee and Brian Donlevy (both pictured). Charles Butterworth (as Donlevy's sidekick — I love him), Helen Westley, Sara Haden, Henry Stephenson and Etienne Girardot round out the cast. Girardot is his usual eccentric self and completely bonkers here. ★★½ / 05.02.2023
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I read some reviews of ST. LOUIS BLUES (Paramount, 1939) mentioning how great the music is in this musical film. And it indeed is! I had never heard of jazz singer Maxine Sullivan before (she was a precursor to better-known later vocalists like Ella Fitzgerald and Sarah Vaughan) and she's great. The film itself isn't very special story-wise but I love Lloyd Nolan, and I also like Dorothy Lamour here (both pictured). I haven't seen Lamour in a lot of films (never seen a Road to .... movie) but I like the sassy roles I've seen of her so far (like in Johnny Apollo and Spawn of the North). George Raft played Lamour's leading man in Spawn of the North and apparently he was offered the lead part in St. Louis Blues but he turned it down. Lamour has better chemistry with Raft but I did like her pairing with Nolan as well. Here her showbizz character is right to have enough of being cast in sarong roles because I don't like her that much in a sarong and with long loose hair either. Funnily enough, Lamour herself would be associated with sarongs during most of her career. Raoul Walsh directed. ★★★ / 07.02.2023
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I really enjoyed WISE GIRL (RKO, 1937), a romantic screwball comedy starring Miriam Hopkins and Ray Milland (both pictured). They have great chemistry, of the same kind Hopkins has with Joel McCrea (with McCrea she made five films, with Milland only one). I like the film's story premise. Rich girl Hopkins goes bohemian to be near her late sister's two daughters who live in the custody of their uncle Milland (her late brother-in-law's brother). Hopkins pretends to be an impoverished actress and sets out to expose Milland as a bad parent. Of course the two fall for each other but I have to say the romance part was not well developed. All of a sudden they are a couple, and I thought I might have missed something. On the plus side, the film's very funny at times, I was even laughing out loud, and I love the bathtub scene (being pretty risqué, since the film's made during the Hays Code). Though it loses a bit of steam near the end, with Milland discovering Hopkins' real identity, overall this was a fun and breezy watch with great performances by the two leads. Especially Hopkins is on top of her game. Supporting roles by Walter Abel, Henry Stephenson and Guinn Williams, and directed by Leigh Jason. ★★★½ / 08.02.2023
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The British production FRENCH WITHOUT TEARS (Two Cities Films, 1940), directed by Anthony Asquith, focuses on a couple of British students at a French language school in France. Ultimately it was an enjoyable watch but I had a hard time warming up to Ellen Drew's unlikeable character. David Tree and Roland Culver immediately fall for Drew, who plays the sister of one of the students and comes to visit. She is a terrible flirt and courts both Tree and Culver, letting them think she's in love with them and playing with their feelings. At least Ray Milland (pictured with Drew) has some sense and is immune to her flirtations. The script is funny at times (based on the original play by Terence Rattigan) and I liked the scenes with the guys, but Drew was pretty insufferable. It would have been better if we would have gotten a bit more insight into her character's behaviour, maybe I could have mustered up some sympathy for her then. I liked how Milland was trying to get away from her after she declared her love for him and how he asked protection from the other guys. A bit of a disappointment that he ended up marrying Drew. The moment where Milland makes a run for it and hops on the train was unfortunately not the final scene. Though I don't mind Drew (I do like her in Christmas in July), I'm not a fan of hers (she reminds me a bit of Paulette Goddard). Fortunately Janine Darcey as the daughter of the French professor and David Tree share a happy ending as well. ★★½ / 09.02.2023
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With an above-average script (love Carole Lombard's wisecracks) and beautiful black-and-white cinematography by Joseph H. August, NO MORE ORCHIDS (Columbia, 1932) is a pre-code film I thoroughly enjoyed. I hadn't seen Lombard in a while and seeing her play always makes me realise what a great loss her untimely death was. Here she plays a rich socialite, falling for Lyle Talbot but deciding to go ahead with her marriage to a prince, so her grandfather C. Aubrey Smith will give financial support to her father, played by Walter Connolly. I've mainly seen Talbot in supporting parts and in a weak leading role in Murder in the Clouds (with Ann Dvorak), and thought he was rather bland. But to my surprise he gives a strong leading man performance here and he has great chemistry with Lombard (both pictured). I love Louise Closser Hale as the grandmother and also love Connolly, and despite being wealthy they're no snobs and rather see Lombard happy and marry ordinary guy Talbot. Connolly's performance is great and convincing, and his last scenes with Lombard and his mother (Closser Hale) are touching, knowing what he is about to do. It's especially sad, with the knowledge of Lombard's real-life plane crash. Lovely pre-code moment: Carole walking around in her underwear. She looks really good here and has glamour written all over her. Directed by Walter Lang. ★★★★ / 09.02.2023
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TRAPPED BY TELEVISION (Columbia, 1936) is an entertaining watch, in which Lyle Talbot plays an inventor of a television monitor and camera. The story premise is interesting and it's well executed with some funny scenes. I watched this primarily for Mary Astor (pictured with Talbot) who fortunately has a substantial part, and though her chemistry with Talbot is lacking and their swift romance is not very believable, it's nice to see her in a leading romantic role. Nat Pendleton and Joyce Compton provide the comic relief and they dó make a likely romantic couple. Del Lord directed. ★★★ / 12.02.2023
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RED HOT TIRES (The Vitaphone Corporation/ Warner Bros, 1935) is another short fun B-film in which Lyle Talbot and Mary Astor star together (both pictured). I'm still not sold on their chemistry but it was better than in the previously watched Trapped by Television. The best thing here is Astor playing a race car designer and mechanic. Pretty cool. I like her interactions with little Frankie Darro. Further support by Roscoe Karns who does his usual Roscoe Karns thing. D. Ross Lederman directed. ★★★ / 12.02.2023
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HEADLINE SHOOTER (RKO, 1933) is a fun pre-code film which came on my radar by way of a fellow classic film fan on Letterboxd. I like the cast of William Gargan, Frances Dee and Ralph Bellamy as well as the story premise set in the news world. Gargan is a cocky newsreel camera man, fresh with the dames and always on the lookout for the next scoop. Dee plays a news reporter, falling for Gargan while being engaged to Bellamy. Gargan was a bit forward with Dee (both portrayed in two photos), knowing about her relationship with Bellamy and kissing her when Bellamy turned his back and left the scene. Of course Bellamy doesn't get the girl, as he's third-billed and he seems to have bad luck often in these 1930/40s films. I like Gargan and Dee together and their lively banter. Some nice photography by Nicholas Musuraca, though a lot of footage was taken from real-life news coverages (earthquake and flood). Supporting parts by Jack La Rue, Wallace Ford and Robert Benchley, and Otto Brower directed. ★★★ / 14.02.2023
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Finally gotten around to watching Ernst Lubitsch's silent classic THE STUDENT PRINCE IN OLD HEIDELBERG (MGM, 1927), as I wanted to watch a romantic film in celebration of Valentine's Day. It wasn't the masterpiece I'd hoped it would be, but I still thoroughly enjoyed it. It has engaging performances by both Ramon Novarro and Norma Shearer (both pictured) and they have great chemistry. The plot is a bit too thin for the long runtime and at times scenes drag. But Navarro is cute and has an infectious smile. Highlight is of course the romance between the prince and the common girl, a sugarsweet and innocent love. The overall gaiety makes this a fun and feel-good watch, so I wasn't prepared for the bittersweet ending, reminiscent of the one in Roman Holiday. It got me teary-eyed. One of the best things about the version I watched is the full orchestral music score, composed and conducted by Carl Davis (the 1980s' Thames Television version). It's an absolute delight and it felt like I was listening to a classical music piece, so I didn't mind the scenes that went on for too long. (Original music score by William Axt and David Mendoza.) Special mention goes to Jean Hersholt, who gives good support as Novarro's tutor and friend. ★★★★ / 14.02.2023
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HELL'S HIGHWAY (RKO, 1932) is a gritty pre-code film about a chain gang and their inhuman working conditions, yet it doesn't have the bleak ending I was anticipating. Richard Dix plays a tough convict who gives up an escape opportunity because of the arrival of his younger brother (Tom Brown) at the same chain gang. It's touching how Dix is looking out for his brother and wants to protect him (both portrayed in a publicity still). The film has a great mood and beautiful atmospheric black-and-white photography by Edward Cronjager (with an amazing low-angle shot of men in shackles marching). I also loved to listen to the black convicts (mostly played by The Etude Ethiopian Chorus) singing those wonderful blues songs. Rochelle Hudson as Brown's girlfriend has third-billing but only one scene, unfortunately. Further support by Stanley Fields, and short appearances by Louise Beavers and Clarence Muse. Despite an upbeat ending, this pre-code film gets its message (exposing the brutal prison conditions) across. Rowland Brown directed. ★★★ / 14.02.2023
Felt sleepy so I couldn't manage a feature film but the 26-minute short HIGH AND DIZZY (Rolin Films, 1920), starring Harold Lloyd, had a perfect runtime. Luckily it was also an enjoyable watch with some funny moments and the occasional funny intertitle ("I'll have the porter bring my room down stairs."). Lloyd plays a doctor without patients. When Mildred Davis and her father arrive at his consultation hour, Lloyd makes it look like he has a busy practice by impersonating various patients, coming and going. I thought this was very funny. I also liked the sequence with Lloyd and his friend being drunk, though it gets a bit repetitive. Highlight of course is the scene where Davis is sleepwalking on the ledge of a building and Lloyd is following her (both pictured, screenshot by me). It's a great gag and reminiscent of Lloyd's famous building ledge scene from Safety Last! (1923). I saw the version with the pleasant music score by Carl Davis. Hal Roach directed. ★★★ / 15.02.2023
ON TRIAL (Warner Bros, 1939), directed by Terry O. Morse, is a courtroom drama starring Margaret Lindsay, John Litel and Edward Norris, but it's not a very good one. The plot is messy, to say the least. I get that Litel was acquitted of the robbery charge but what about killing James Stephenson? The most incredible thing is child actress Janet Chapman, a Shirley Temple wannabe, playing Lindsay and Litel's little girl (all three pictured). The way she speaks is not very childlike and in fact quite preposterous. During the trial her testimony is unrealistically detailed ("I remember it was about 8 o'clock.") and it was just strange to hear her say she didn't want to speak anymore because "my head hurts". She has a couple of good instants where her acting is not that bad, but overall she's very annoying. ★★ / 16.02.2023
King Vidor's THE CITADEL (MGM, 1938) had been on my watchlist for some time, and despite the runtime of 110 minutes, I decided to watch it now. I thought it was a compelling watch with a great central performance from Robert Donat. The story is pretty predictable, though, it actually develops just the way I expected it would. Donat goes from penniless village doctor on a mission (to find the cure for tuberculosis) to a city society doctor, abandoning his ideals and enjoying the easy and big money he's making. It takes a tragic event to see the error of his ways and the film's finale has Donat deliver a passionate speech on behalf of the men who made the medical profession great without being licensed physicians. Donat's proud of himself, having saved the life of a friend's child, and in that last camera shot Rosalind Russell (who plays Donat's wife and looks lovely — I love her simple hairdo) is beaming with pride too (portrayed with Donat in two photos). Supporting parts by Ralph Richardson and Rex Harrison, and the fine photography is by Harry Stradling Sr. (he also shot Johnny Guitar and Suspicion, among others). ★★★½ / 17.02.2023
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While putting together a post for this blog, listing 10 favourite films set in the snow (or at least have a significant snow scene), I craved rewatching Nicholas Ray's ON DANGEROUS GROUND (RKO, 1951), a film I loved when I watched it for the first time a while back. And I loved it even more on this rewatch. Robert Ryan delivers a great performance as a tough city cop — with a short fuse and acting impulsively — who's being sent away to the snowy countryside to help out with a murder investigation. When he meets Ida Lupino (in a convincing performance as a lonely blind woman — "The city can be lonely too. Sometimes people who are never alone are the loneliest."), he's being confronted with his own loneliness (both pictured, middle and bottom photo). I loved being witness to his inner growth while he's recognising his own needs. The cinematography by George E. Diskant is beautiful, as well as the music score by Bernard Herrmann. Especially the viola solos accompanying the scenes with Lupino and showing her vulnerability are gorgeous. This film noir has two halves: the dark nights in the city and the bright daytime scenes in the countryside covered in snow. The two parts are not as disjointed as I remembered from my first viewing. I like my film noirs dark and bleak but this is not an average one. As a study of loneliness it's very poignant and the happy ending felt so welcome (Ryan and Lupino make a very believable couple). Good support by Ward Bond (pictured with Lupino and Ryan, top photo) and Ed Begley, and I loved Charles Kemper as Ryan's colleague cop with his wise words: "To get anything out of this life you've got to put something in it — from the heart." And when Ryan says, "You've been doing it for sixteen years; you ought to know. How do you do it? How do you live with yourself?", Kemper answers: "I don't! I live with other people. When I go home I don't take this stuff with me, I leave it outside. But you! The way you carry it around with you, you must like it!" ★★★★ / 19.02.2023 (rewatch)
Chose to watch KING OF CHINATOWN (Paramount, 1939) because it clocks in just under an hour and I wanted to see a film with Anna May Wong in the lead. This film also has some favourable reviews. It's refreshing to see how the principal Asian-American characters are being portrayed: May Wong as a skilled surgeon and Philip Ahn (a Korean actor) as a lawyer and May Wong's love interest. They are being treated with respect, and I love how they speak English without a phony accent. Yet I don't understand why Sidney Toler as May Wong's father is shown in yellow face and why they didn't opt for an Asian-American actor to play the part. As much as I like the fact that May Wong has such a prominent role and she looks good in costumes designed by Edith Head, I was a bit disappointed that she didn't have more screen time and her performance didn't impress me much either. Also playing are Akim Tamiroff (pictured with May Wong, bottom photo), J. Carrol Naish, Anthony Quinn, Roscoe Karns and Bernadene Hayes (pictured with May Wong, top photo). Nick Grinde directed. Will look for another Anna May Wong and Philip Ahn film, as they have good chemistry. ★★ / 19.02.2023
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I wanted to watch another film with Anna May Wong and Philip Ahn and found DAUGHTER OF SHANGHAI (Paramount, 1937) which is superior to the previously watched King of Chinatown. I enjoyed it. Here May Wong and Ahn (both pictured in three photos) are up against an organisation who trafficks in immigrants (they are called aliens, curiously enough). I liked them together and I liked Ahn playing a G-man. By the way, the opening scene is quite a shocker: the pilots open a bomb door in the belly of the aircraft so the aliens fall in the ocean and drown. Supporting roles by Charles Bickford, J. Carrol Naish, Anthony Quinn and Evelyn Brent. Some atmospheric black-and-white photography by Charles Schoenbaum and directed by Robert Florey. ★★★ / 20.02.2023
Watched THE TOLL OF THE SEA (Metro Pictures Corporation/Technicolor Motion Picture Corporation, 1922) — once considered lost — for Anna May Wong and also for boosting the numbers for my silent film fix. The story is nothing special, apparently reminiscent of Madame Butterfly (I'm not really familiar with this classic), but the gorgeous two-strip Technicolor had me glued to my small screen and it's just lovely to look at. It's the first colour feature film made in Hollywood. May Wong (pictured, top and bottom photo) is very young here, only seventeen years old, but gives a convincing performance. Leading man Kenneth Harlan (pictured with May Wong, middle photo) didn't make much of an impression. So nothing original story-wise but the Technicolor makes it all worthwhile and fortunately it didn't outstay its welcome with only 56 minutes of runtime. I watched a clear print restored by the UCLA Film and Television Archive. Directed by Chester M. Franklin. ★★★½ / 21.02.2023
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I watched Nicholas Ray's PARTY GIRL (MGM, 1958) on a plane ride from Valencia to Amsterdam and really love this noir in Metrocolor, filmed in CinemaScope. The story might not be the most original. A lawyer (Robert Taylor) working for the mob wants to break free and change his life around after meeting a showgirl (Cyd Charisse) but mob boss Lee J. Cobb is not willing to let him go. The film is a mix of noir, melodrama and musical, alternating violent scenes with a compelling romance and two great solo dance numbers featuring Cyd (those legs!). Funnily enough it all jells well together and didn't feel like a mixed bag. For me the main draw is the love story. Taylor and Charisse (both in great performances) have flawed characters but likeable, and they make a believable couple (both pictured, top and middle photo, screenshots by me). You really root for their happiness and I was seriously worried it wouldn't end well. Taylor looks a bit worn-out but it fits his role. He had his share of hardships and knows his job isn't morally right but he never had a reason to quit. The way he wants to protect Charisse at all costs makes sense. I also liked how Cyd wanted to support him and didn't want to leave him. She looks great, by the way (pictured, bottom photo, screenshot by me). Those costumes by Helen Rose! Further support by John Ireland and Kent Smith, and great cinematography by Robert J. Bronner. ★★★★ / 23.02.2023
THE FIREMAN (Lone Star Corporation, 1916) is a Charlie Chaplin short (directed by the man himself) where he plays a fireman — a film I didn't enjoy as much as I hoped I would. The broad slapstick isn't funny, I don't think I even chuckled once. I found the ass kicking also pretty tiresome. The best moment is the finale when Chaplin rescues Edna Purviance from a burning building (both pictured), by climbing up and down the front of the building. The reverse shots are a bit confusing but it's the only inventive thing here. ★★ / 24.02.2023
D.W. Griffith's very short film of only 3 minutes THOSE AWFUL HATS (American Mutoscope and Biograph Company, 1909) looks a bit messy, but I did like the story premise of ladies with big hats obstructing views at the cinema and what to do about them. The giant claw dropping down from the ceiling to haul off the woman and the hat is genuinely funny. With the final request for the ladies to remove their hats, we are reminded of modern times when you are requested to turn off your mobile phone before the start of the film. Somebody says in their review "bring back the giant claw to the theater" (to remove annoying movie-goers) and I wholeheartedly agree, haha. ★★★ / 25.02.2023
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Another D.W. Griffith short. THE LONELY VILLA (American Mutoscope and Biograph Company, 1909) is a home invasion film where robbers lure a man out of the house and invade the home where his wife and three daughters are present. The film shares similarities with Lois Weber's Suspense (1913) and manages to build suspense and tell a compelling story in only 12 minutes (without intertitles). Mary Pickford (pictured with Marion Leonard, screenshot by me) plays the eldest daughter. ★★★ / 25.02.2023
I knew ESCAPE TO BURMA (Benedict Bogeaus Production, 1955) wasn't going to be any good, yet it does have a certain entertainment value. Fortunately Barbara Stanwyck and Robert Ryan (both pictured, top photo) — love them both! — have good chemistry but their romance is rushed. It was actually funny how they immediately got the hots for one another after having laid eyes on each other for the first time. The film is badly scripted, the action scenes are not very good and the acting leaves a lot to be desired. Even Barbara (pictured, with Ryan in the background, middle photo) misses the mark at times. I thought Ryan (looking good!) and David Farrar (pictured with Ryan and Stanwyck, bottom photo) were okay, though. Cinematography-wise master DP John Alton has its moments but overall the photography (in Technicolor) is average with a lot of shots of fake jungle foliage. As a whole this adventure flick didn't make much sense, it was bordering on the ridiculous, but I still had a fairly good time with it and laughed out loud a couple of times (not intended, I'm sure). And watching Stanwyck and Ryan make out was fun! (I do recommend their other collaboration, the much better Clash by Night, 1952.) Allan Dwan directed. ★★ / 25.02.2023
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With BLOWING WILD (United States Pictures, 1953) — starring Barbara Stanwyck and Gary Cooper (both pictured, top photo on set & middle photo) — I went in with the lowest expectations possible. As a result, the first half wasn't as bad as I had anticipated. In fact, it was quite watchable and I was pleasantly surprised with the nice black-and-white cinematography by Sidney Hickox (of e.g. The Big Sleep, White Heat, etc.). I also loved the location shots (shot in Mexico, though the title card sets the story in South America). I had prioritised this film because I wanted to see whether it was as bad as the previously watched Escape to Burma. Well, like I said, it was alright at the beginning but it goes downhill after Stanwyck makes her appearance and it becomes very melodramatic. Her character — who throws herself at her old flame Cooper — is close to unbearable. I had been warned about the ending by my sister, and boy ... it was indeed beyond ridiculous. The acting and scripted lines were soooooo bad. It's hard to believe Stanwyck and Cooper are the same actors who starred together in Meet John Doe and Ball of Fire. But at least I had a good laugh, and it was sort of nice to see Coop share a happy ending with Ruth Roman. Anthony Quinn (pictured with Stanwyck, Cooper and Roman, bottom photo) and Ward Bond give adequate support and Hugo Fregonese directed. ★★ / 26.02.2023
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I really like THE MOUTHPIECE (Warner Bros, 1932), a pre-code film starring Warren William. He plays a prosecutor who — after inadvertently having sent an innocent man to the chair — quits his job and becomes a defence lawyer for the criminally guilty because that's where the big money is. Quite the ladies man, William has his wandering eyes set on the new secretary, innocent and young Sidney Fox, who's engaged to be married to someone else. William is very good at playing a sleazy womaniser, and the scenes where he hits on Fox are uncomfortable to watch. Best thing about this pre-code is Aline MacMahon in the role of William's personal secretary, clearly in love with her boss (pictured with William in three screenshots by me). Their scenes together are terrific and they have a wonderful and natural chemistry. Absolute highlight is the scene where MacMahon tries to sober up a very drunk William. Love the fact that she's also there with him in the final scene, even though they might not make the hospital in time. Further support by Guy Kibbee, J. Carrol Naish, Stanley Fields and Jack La Rue, and directed by Elliott Nugent and James Flood. ★★★½ / 26.02.2023
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For my last film of the month I chose CALIFORNIA (Paramount, 1947), starring Ray Milland and Barbara Stanwyck (both pictured, top photo & middle photo on set). The story is a bit convoluted but it's still an enjoyable western, shot in beautiful Technicolor. Stanwyck's first film in colour, she looks gorgeous in costumes by Edith Head and that red lipstick sure stands out (pictured, bottom photo). I would have loved to see more of her, though. I like Barry Fitzgerald in a supporting role, and there's a nice music score by Victor Young with some catchy songs (it's very evident Stanwyck has her songs dubbed). Great cinematography by Ray Rennahan. Also with Anthony Quinn, and John Farrow directed. ★★★ / 27.02.2023
So that's another round-up! I'm excited to see more classic films in March and hope I can watch some must-see films that I haven't seen yet and really should have (like Dinner At Eight, The Lost Weekend, The Prisoner of Zenda, et cetera). Seeya next time!
