APRIL 2023 ROUND-UP
TOTAL FILMS SEEN IN APRIL: 35
(see the film posters at the bottom of the post, arranged in watching order)
NEW-TO-ME: 34 (25 features & 9 shorts)
REWATCHES: 1
SEEN ON THE BIG SCREEN: 1
MOST WATCHED ACTOR: Rock Hudson (6 in total)
Bambi with Bambi, Thumper and Flower
April is gone! And although we've had spring and summer all at once during part of March and all of April, with the start of May it legitimately feels like summer and it's definitely here to stay. We had a 8-day holiday at the end of April going into May (starting work again on the 3rd, this Wednesday) and our younger sister came for a short visit.
What happened classic movie-wise? First of all, I couldn't help watching two K-dramas, the 12-episode The Light in Your Eyes and the 16-episode Thank You. I enjoyed them both, the first-mentioned title a bit more as I was slightly disappointed with Thank You. I also started the ongoing series The Good Bad Mother and watched two episodes but need to wait for new episodes to be aired. I don't like to watch a series that's not completed yet, but it prevents me from binge-watching the show in a couple of sessions. So far I like the series so I will continue.
What happened classic movie-wise? First of all, I couldn't help watching two K-dramas, the 12-episode The Light in Your Eyes and the 16-episode Thank You. I enjoyed them both, the first-mentioned title a bit more as I was slightly disappointed with Thank You. I also started the ongoing series The Good Bad Mother and watched two episodes but need to wait for new episodes to be aired. I don't like to watch a series that's not completed yet, but it prevents me from binge-watching the show in a couple of sessions. So far I like the series so I will continue.
Again I watched a total of 35 (!!!) films. Admittedly, some of them were very short. But I'm really happy with the high figure. Also, I saw a film on the big screen for the first time at the Museo de Bellas Artes in Valencia. It was a Spanish film from 1944 (La Torre de los Siete Jorobados), one that I hadn't planned to see. Just read my notes with the film's entry below to learn about our mistake.
.jpg)
Rock Hudson, Most Watched Actor of April
My Most Watched Actor is Rock Hudson. He used to be my favourite actor when I was growing up, and I still love him. I watched six of Hudson's films this April (Back to God’s Country, Seconds, I Was a Shoplifter, Blindfold, Ice Station Zebra, A Very Special Favor). In I Was a Shoplifter he has a very small part but since he's credited on IMDB and has a couple of lines, I'll include the film. I finally watched the much praised Seconds, yet found it a bit underwhelming (but I did enjoy it).
Ruth Roman is My Most Watched Actress with 3 films seen (Tomorrow Is Another Day, The Shanghai Story, Mara Maru).
Rock Hudson & Charles Drake in I Was a Shoplifter (screenshot by me)
Actors with 2 films seen: Steve Cochran (Back to God’s Country, Tomorrow Is Another Day), Charlie Chaplin (Police, The Champion), Edna Purviance (Police, The Champion), Charles Ruggles (If I Had a Million, One Hour with You), Betty Grable (The Beautiful Blonde from Bashful Bend, Footlight Serenade), Madge Evans (The Mayor of Hell, Day of Reckoning) and Leslie Caron (A Very Special Favor, Father Goose).
I started the month with watching the Disney animation classic Bambi. I saw 6 animation films in total. The other 5 animation films were all shorts: Aschenputtel, Snow-White, Poor Cinderella, Puss Gets the Boot, The Midnight Snack. Two of them are Betty Boop shorts (Snow-White, Poor Cinderella) and two are Tom and Jerry shorts (Puss Gets the Boot, The Midnight Snack).
In total I watched 3 foreign films: the German Aschenputtel, the Danish The Witch and the Cyclist and the Spanish La Torre de los Siete Jorobados.
I watched 6 silent films in total. 5 were shorts (Police, The Champion, Aschenputtel, Back to the Woods, The Witch and the Cyclist) and one was a feature silent (So This Is Paris). Together with the 4 animation shorts (Snow-White, Poor Cinderella, Puss Gets the Boot, The Midnight Snack) I watched a total of 9 shorts. (NOTE: among the 5 animation shorts I also listed Aschenputtel, but as it is an animation short ánd a silent short, in the list of shorts I only count it once, obviously).
In total I watched 3 foreign films: the German Aschenputtel, the Danish The Witch and the Cyclist and the Spanish La Torre de los Siete Jorobados.
I watched 6 silent films in total. 5 were shorts (Police, The Champion, Aschenputtel, Back to the Woods, The Witch and the Cyclist) and one was a feature silent (So This Is Paris). Together with the 4 animation shorts (Snow-White, Poor Cinderella, Puss Gets the Boot, The Midnight Snack) I watched a total of 9 shorts. (NOTE: among the 5 animation shorts I also listed Aschenputtel, but as it is an animation short ánd a silent short, in the list of shorts I only count it once, obviously).
Barbara Stanwyck & Billy Wilder on the set of Double Indemnity
My highest rated film of the month is Double Indemnity (my only rewatch), followed closely by Bambi and Whistle Down the Wind. Also very good are So This Is Paris and Puss Gets the Boot. Furthermore I watched a great amount of very enjoyable films: Tomorrow Is Another Day, Father’s Little Dividend, Cinderella, The Beautiful Blonde from Bashful Bend, The Mayor of Hell, Seconds, One Hour with You, Snow-White, Poor Cinderella, Father Goose and The Midnight Snack.
My lowest rated film of April is Ice Station Zebra. I also didn't like Convicted very much.
My lowest rated film of April is Ice Station Zebra. I also didn't like Convicted very much.
Screen couples I enjoyed this April: the threesome Bambi, Thumper and Flower in Bambi, Steve Cochran and Ruth Roman in Tomorrow Is Another Day, Spencer Tracy and Elizabeth Taylor in Father’s Little Dividend, Spencer Tracy and Joan Bennett in Father’s Little Dividend, Barbara Stanwyck and Fred MacMurray in Double Indemnity, Frankie Darro and James Cagney in The Mayor of Hell, Rock Hudson and Claudia Cardinale in Blindfold, Rock Hudson and Leslie Caron in A Very Special Favor, Rock Hudson and Charles Boyer in A Very Special Favor, the foursome Monte Blue, Patsy Ruth Miller, Lilyan Tashman and George Beranger in So This Is Paris, Maurice Chevalier and Jeanette MacDonald in One Hour with You, Cary Grant and Leslie Caron in Father Goose, and Tom and Jerry in Puss Gets the Boot and The Midnight Snack.
Before breaking down the watched films in decades, right below are three off-screen photos of one of my most loved films of the month, Whistle Down the Wind: Hayley Mills and mother Mary Hayley Bell, who wrote the novel the film's based on, top photo; Hayley Mills, Diane Holgate and Alan Barnes celebrating Hayley's 15th birthday at Pinewood Studios, middle photo; Hayley Mills, Diane Holgate and Alan Barnes with producer Richard Attenborough and director Bryan Forbes, bottom photo.
1900s - 1
1910s - 3
1920s - 2
1930s - 9
1940s - 8
1950s - 6
1960s - 6
Very happy with this decade break-down and to see all decades represented and a whopping 6!!! films watched for the 1960s.
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)
.jpg)
Felt like starting the new month with a Disney film and chose to watch Walt Disney's personal favourite BAMBI (Walt Disney Productions, 1942), a delight from start to finish. There's little plot here, just the passing of the seasons, the cycle of life, basically a coming-of-age story of Bambi. The sweet fawn becomes friends with Thumper the bunny (the scene on the frozen lake is legend) and Flower the skunk. They are so adorable and cute together but Thumper (pictured with Bambi in two photos) is the best! The cuteness overload is tempered by a dark and sad twist (a well-known plot element involving Bambi's mother) and the last act is also bleak and menacing with the dogs and the fire. The music (love the songs!) and images are perfectly in sync. Those images with impressionistic backdrops are beautiful and the fact that they are hand-drawn is just amazing. The colours in Technicolor are gorgeous. This animation film also has something meaningful to say about man's role (the unseen villain) in nature. I was thinking how to rate this, and the fact that I wanted to see it again right away made me bump up my rating by half a star. Also stunningly beautiful last shot with Bambi standing proud on top of the mountain. Directed by David Hand. ★★★★½ / 02.04.2023
POLICE (The Essanay Film Manufacturing Company, 1916) is a 26-minute short — which I watched while working from home — with Charlie Chaplin starring and directing. He plays a convict released from prison, immediately gets swindled by a fake preacher and ends up burglarising a house after meeting a fellow ex-convict (Wesley Ruggles). The burglary is the best part of this short with Edna Purviance (pictured with Chaplin and Ruggles) playing an important role as the young lady of the house. She takes a liking to Chaplin and I love how she's trying to convince him to take the straight path. I also love the ending where Chaplin is thrilled with the little money Edna has given him, and we see him happily hitting the road. As a whole this short is not very funny but I love the fact that it has a heart, and though Chaplin is not really likeable, we still root for him. ★★★ / 03.04.2023
.jpg)
Watched MR. SKITCH (Fox Film Corporation, 1933) for Will Rogers. I was sleepy throughout the film and dozed off numerous times so rewatched some scenes the next day. Not as funny or touching as I'd hoped it would be, this pre-code film about a family heading west to California after they lose their home during the Great Depression is still mildly enjoyable. The family's road trip passes the big tourist attractions and we are treated to some fake backgrounds. Rogers and Zasu Pitts (as his wife) make a nice couple but I didn't think Rogers came across as well as in previous films I've seen him in. But I do like his laid-back style and natural way of acting. Rochelle Hudson as the daughter and Charles Starrett provide the romance (both pictured in two photos, top photo with Rogers and Pitts). It's nothing special and that final wedding scene was pretty abrupt. Also with Eugene Pallette in a small supporting part. Directed by James Cruze. ★★½ / 03.04.2023
Wanted to watch a film starring Rock Hudson, and BACK TO GOD'S COUNTRY (Universal, 1953) is one of his shorter films with a runtime of 78 minutes. It's not really good but still a decent adventure vehicle, enhanced by the pretty Technicolor colours and some nice photography by Maury Gertsman. Especially the snowy scenes with the dog sleds look appealing, even though it's evident that a lot is filmed on the studio's backlot. There's not a lot of plot and Hudson's character is less interesting than Steve Cochran's bad guy. I think Cochran might also have more screen time than Hudson and basically steals the picture from Hudson. Incidentally, Cochran's always good and believable when playing sleazy, this time having his lustful eyes set on Hudson's wife Marcia Henderson (from All I Desire). Poor Marcia (pictured with Hudson, top photo, and with Cochran and Hudson, middle photo), having to fend off Cochran's rapey attempts. Yet she's feisty, can handle a gun and effortlessly navigates the sled with a wounded Hudson through a snowy landscape, even protecting Hudson's body with her own when an avalanche is coming their way. Also interesting is Hugh O'Brian as Cochran's friend (pictured in a publicity still with Hudson and Henderson, bottom photo). It looks like he's a live-in and this raises questions about their maybe gayish relationship. Pleasant music score by Frank Skinner and directed by Joseph Pevney (taking over from Douglas Sirk who fell ill). ★★½ / 04.04.2023
Charlie Chaplin's THE CHAMPION (The Essanay Film Manufacturing Company, 1915) is a short of 31 minutes where Chaplin trains to be a boxer (pictured with dog, bottom photo). There's a lot of hitting and being hit — obviously — and though there are no laugh-out-loud moments, there were enough instants that made me chuckle. Edna Purviance (as the trainer’s daughter) is in this too but has practically nothing to do (portrayed with Chaplin, top photo). Though not anywhere near top-tier Chaplin, I enjoyed this and I like Chaplin in his boxing outfit with the striped shirt. ★★★ / 05.04.2023
I watched TOMORROW IS ANOTHER DAY (Warner Bros, 1951) for Steve Cochran. It's a very enjoyable and nicely paced film noir. Cochran and Ruth Roman (both pictured in three photos) give good portrayals of their down-on-their-luck characters and have great chemistry. They look so good together, especially when they're on the run after an accidental killing and Roman turns from an awful blonde to a beautiful brunette and Cochran has bought her a white shirt, pants and a jacket. Portraying a man released from prison where he spent 18 years (from age 13, for killing his abusive dad), Cochran's character is awkward, at times vulnerable and somewhat naive and shy. It's an unusual role for him and he's very convincing. Roman's transformation from the tough blond dancehall girl to the brunette housewife might be too swift but I liked the domestic scenes with her and Cochran in the cabin. There's some suspense (will Cochran fly off the handle and get himself into a bigger mess?) and I was worried things might not turn out right for our leading couple. A lot of reviewers criticise the tacked-on happy ending, but I couldn't be happier with it because I was rooting for their characters all the way and felt they deserved a clean break. By the way, the scene where they hide out in a car tied to a truck carrier was an inventive and very unusual place for a hide-out. Felix E. Feist directed. ★★★½ / 05.04.2023
Watched THE SHANGHAI STORY (Republic Pictures, 1954) for Ruth Roman whose pairing with Edmond O'Brien (both pictured, top photo) is less successful than the one with Steve Cochran in the previously seen Tomorrow Is Another Day. The story of a group of expatriate Westerners being held captive in a hotel in Shanghai by the communist authorities, in order for the Chinese to expose the spy among them, is entertaining. Though O'Brien had some lesser acting moments, Roman is quite good. Their romance is not very convincing, though, and the happy ending is a bit ridiculous. The scene where Frank Ferguson is forced to confess during an interrogation is one of the film's better moments. By the way, there's some shocking violence here (e.g. killing of the dog). Also with Philip Ahn as the brutal Chinese Major and Marvin Miller as the police chief (pictured with Roman, bottom photo). Some great noirish photography by Jack A. Marta and directed by Frank Lloyd. ★★★ / 06.04.2023
.jpg)
Felt like watching something fun and came across a clear print of Vincente Minnelli's FATHER'S LITTLE DIVIDEND (MGM, 1951). I have enjoyed Father of the Bride which I watched a while back, but I enjoyed this sequel (from the same director and with the same lead cast of Spencer Tracy, Joan Bennett, Elizabeth Taylor, Don Taylor — all pictured with baby, top photo) even better. A lot had to do with the fact that Joan Bennett (pictured with Tracy, middle photo) has a bigger part here. As in the prequel, Spencer Tracy as the grumpy and befuddled father is a delight. I love his voice-over narration and feelings of anxiety, this time not because of a wedding but because he's going to be a granddad. I think there's less of Elizabeth Taylor here than in Father of the Bride, but she shares a wonderful scene with Tracy telling him about her physician's more natural method of childbirth and infant care (both pictured with Don Taylor, bottom photo). I love Tracy's natural way of acting and he has great chemistry with both Elizabeth Taylor and Joan Bennett. (Incidentally, Tracy and Bennett starred together decades earlier in the 1932 pre-code film Me and My Gal.) The scene where Tracy abandons his baby grandson sleeping in his carriage in the park, while engaging in a soccer game with some neighbourhood kids, is just unbelievable. But of course all ends well. Further supporting cast of Billie Burke and Moroni Olsen as Don Taylor's parents, and Russ Tamblyn as one of the two sons of Tracy and Bennett. Photography is by John Alton (nothing remarkable) and costume design by Helen Rose. ★★★½ / 07.04.2023
.jpg)
MARA MARU (Warner Bros, 1952) is a fast-paced adventure noir that I watched for both Errol Flynn and Ruth Roman (both pictured). My sister had already seen this and liked it, and it's indeed not as bad as I thought most of Flynn's post-1950 work would be. In fact, it's enjoyable and quite compelling. Flynn still had it in him here and delivers a lively performance. He looks good and slim, slightly older, and fits his clothes nicely. I also like his character who treats the two Filipino brothers working for him well and cares for them. When his boat explodes and is on fire, his first concern is for the kids and he is genuinely moved when one of them is fatally wounded. Flynn also has decent chemistry with Roman and I liked their scenes together. There's an Indiana Jones type of ending where the hunt for the treasure (a jewel-encrusted cross belonging to the church) is being played out in the catacombs of that same church. The noirish photography by Robert Burks (Burks worked as a DP on 12 Hitchcock films!) is great, especially during the climactic scene at the church. With support by a young Raymond Burr (in a typical villainous Burr role), pleasant music score by Max Steiner and direction by Gordon Douglas, this was a fun watch. ★★★ / 07.04.2023
%20(1).jpg)
The only reason I watched the B-mystery flick CONVICTED (Kenneth J. Bishop Productions/ Central Films/Columbia, 1938) was because Rita Hayworth takes the female lead role here and fortunately it clocks in just under an hour. Hayworth plays a nightclub dancer (she performs some Spanish-oriented solo dances) trying to catch the gangster who framed her brother for murder. Charles Quigley (pictured with Hayworth) is the police detective helping her. It's all pretty lame, to be honest, even though it was nice to see young Rita in a lead role (before she would get her breakthrough in Only Angels Have Wings) and she's actually not bad. Leon Barsha directed. ★★ / 07.04.2023
.jpg)
WHISTLE DOWN THE WIND (Allied Film Makers/Beaver Films, 1961) is my first 1960s film of the month, recommended to me by my sister. I loved it! It's a heartwarming and funny film, heavy in allegory and an exploration of innocence and faith, based on the novel written by Mary Hayley Bell, wife of John Mills and mother of Hayley Mills. The story is an original one, about three siblings (living on a farm with their father and aunt) who mistake the wounded criminal hiding in their barn for Jesus Christ. Hayley Mills plays the elder sister convincingly, and Diane Holgate and Alan Barnes as her siblings are very good as well (all three pictured, top photo). Especially Alan Barnes is a little scene-stealer, and so funny! ("It isn’t Jesus — it’s just a fella.") In the role of the criminal we have Alan Bates (pictured, middle photo, and with Mills, bottom photo) in his first starring role and he gives a subdued and sensitive performance (and looks freakin' handsome!). The film has a very strong ending which left me with tears in my eyes. I love the child actors, also the extras. They are local children, amateurs, and their performances are very natural. Shot largely on location in the countryside around Burnley in Lancashire, there's beautiful black-and-white photography by Arthur Ibbetson (also great close-ups of the children) and a fine music score by Malcolm Arnold. I believe this film will even get better on a rewatch. Bryan Forbes directed. ★★★★½ / 08.04.2023
The remake of the 1932 A BILL OF DIVORCEMENT (RKO, 1940) had been on my watchlist for some time now. Apparently there's been a Blu-ray released and I was happy to find a crisp print. Though the popular opinion is that this is inferior to the 1932 version, I think I might have enjoyed this better. I don't remember much of the 1932 version, other than it deals with mental illness and its heredity and that I thought the performances of Katharine Hepburn and John Barrymore were very mannered and Kate was a bit shrill. Maureen O'Hara is the main reason why I liked this version better. Though this film couldn't hide its stage origins either, O'Hara's acting was much more natural than Hepburn's, and I liked her boldness in her interactions with the wonderful Dame May Whitty. What the 1932 version has going for it is the great chemistry between Katharine Hepburn and John Barrymore and they make a believable father and daughter. I just didn't feel that connection here with O'Hara and Adolphe Menjou. By the way, O'Hara looks so young and is beautifully photographed (pictured in three screenshots by me). Backed up by an additional strong supporting cast of Fay Bainter, Herbert Marshall, Patric Knowles (I liked his scenes with O'Hara) and C. Aubrey Smith, this was a short and enjoyable viewing experience. Sad ending, the same as in the 1932 version. Photography by Nicholas Musuraca and directed by John Farrow. ★★★ / 09.04.2023
I'm marking DOUBLE INDEMNITY (Paramount, 1944) as a rewatch as I must have seen this before, but my viewing experience (I watched this with my sister) was as if it was a first watch since I hardly remembered anything of it. (Sometimes I mark films that I don't remember at all as a first watch, so it's a bit random.) Film noir doesn't come more quintessential than this. All the trademarks are in place: a story told in flashback, a voice-over narration, an ordinary man getting himself into trouble, a femme fatale, a gritty atmosphere, noir cinematography with great chiaroscuro (notice the strong diagonal bands caused by blinds), the bleak ending, and the fast-paced and sharp dialogue! I didn't find the plot that complex and confusing, though, which was a plus. Fred MacMurray, Barbara Stanwyck (both pictured, top and middle photo) and Edward G. Robinson (pictured with MacMurray, bottom photo) are all terrific, in this sordid tale about an insurance agent and a dangerous woman plotting to kill her husband after he unsuspectingly signs a double indemnity insurance policy. Written by Billy Wilder and Raymond Chandler, based on the novella by James M. Cain, the dialogue sizzles. The following is my fave interaction between MacMurray and Stanwyck's characters:
Phyllis: "Mr. Neff, why don't you drop by tomorrow evening about eight-thirty. He'll be in then."
Walter Neff: "Who?"
Phyllis: "My husband. You were anxious to talk to him, weren't you?"
Walter Neff: "Yeah, I was, but I'm sort of getting over the idea, if you know what I mean."
Phyllis: "There's a speed limit in this state, Mr. Neff. Forty-five miles an hour."
Walter Neff: "How fast was I going, officer?"
Phyllis: "I'd say around ninety."
Walter Neff: "Suppose you get down off your motorcycle and give me a ticket."
Phyllis: "Suppose I let you off with a warning this time."
Walter Neff: "Suppose it doesn't take."
Phyllis: "Suppose I have to whack you over the knuckles."
Walter Neff: "Suppose I bust out crying and put my head on your shoulder."
Phyllis: "Suppose you try putting it on my husband's shoulder."
Walter Neff: "Who?"
Phyllis: "My husband. You were anxious to talk to him, weren't you?"
Walter Neff: "Yeah, I was, but I'm sort of getting over the idea, if you know what I mean."
Phyllis: "There's a speed limit in this state, Mr. Neff. Forty-five miles an hour."
Walter Neff: "How fast was I going, officer?"
Phyllis: "I'd say around ninety."
Walter Neff: "Suppose you get down off your motorcycle and give me a ticket."
Phyllis: "Suppose I let you off with a warning this time."
Walter Neff: "Suppose it doesn't take."
Phyllis: "Suppose I have to whack you over the knuckles."
Walter Neff: "Suppose I bust out crying and put my head on your shoulder."
Phyllis: "Suppose you try putting it on my husband's shoulder."
Walter Neff: "That tears it."
I'm happy they didn't opt for the ending where MacMurray is led to the electric chair. The ending with him and Eddie G. is just perfect. I couldn't find any fault with this famous noir (except maybe Richard Gaines as Robinson's boss, but that was mainly his stupid character), hence the full five stars. With beautiful black-and-white cinematography by John F. Seitz and superb direction by Billy Wilder, this is a noir masterpiece! ★★★★★ / 09.04.2023 (rewatch)
.jpg)
The 13-minute German silent short ASCHENPUTTEL (Institut für Kulturforschung, 1922) is a beautiful animation film using paper cut-out silhouettes to tell the story (pictured with a photo & gif), created and directed by Lotte Reiniger. Based on the Cinderella version by the brothers Jacob and Wilhelm Grimm, it tells the well-known fairytale. Despite the fact that the images are really pretty and inventive, I don't know whether I would have fully understood the story if I wouldn't have had any prior knowledge. Unlike in the Disney animation version, the Grimm story has the stepsister cut off half of her foot in order to fit the shoe and Reiniger also shows this gruesome detail, with blood dripping all over the place. There's also a mindboggling scene where the bad stepmother breaks in two. Definitely will seek out more of Reiniger's work. ★★★½ / 09.04.2023
IF I HAD A MILLION (Paramount, 1932) is an anthology film with a nice concept. What would you do if some millionaire gave you one million dollars? The millionaire in question (Richard Bennett ... yes, Joan and Constance's dad!) doesn't want his greedy relatives to inherit anything, therefore randomly picks eight people from the phone directory and gives them a cheque of one million dollars each. The eight vignettes are written and directed by different people (directors are Ernst Lubitsch, Norman Taurog, Norman Z. McLeod, H. Bruce Humberstone, James Cruze, Stephen Roberts, William A. Seiter), some stories are pretty dramatic but unfortunately not all of them are good. There's a star-studded cast (Gary Cooper, Charles Laughton, George Raft, Jack Oakie, Charles Ruggles, Alison Skipworth, W.C. Fields, Mary Boland, Roscoe Karns, May Robson, Joyce Compton, Frances Dee, Samuel S. Hinds, Tom Kennedy, Grant Mitchell, Gail Patrick, Gene Raymond, Willard Robertson, Clarence Muse) with many actors making uncredited appearances. My fave vignettes are Lubitsch's The Clerk with Charles Laughton (pictured) blowing a raspberry at his corporate boss; Stephen Roberts' Violet with prostitute Wynne Gibson (uncredited) booking herself a luxurious hotelroom to pamper herself (there's a pre-code moment with Gibson undressing); and Roberts' Grandma with May Robson reforming the old ladies home where she's staying once she receives her fortunate gift. As a whole this film is a bit of a let-down and it also took some time to get started (Richard Bennett is just not very appealing), but there are still things to enjoy here, especially the cast. ★★½ / 10.04.2023
I AM A THIEF (The Vitaphone Corporation/ Warner Bros, 1934) is an enjoyable crime mystery film, set on a train and dealing with stolen jewels and murder. I primarily watched this for Mary Astor as it's always great to see her in a leading role. No big shakes here but she has decent chemistry with Ricardo Cortez (less attractive with the moustache — both pictured) and with a runtime of only 64 minutes it didn't overstay its welcome. Some nice black-and-white photography by Sidney Hickox (as Sid Hickox), known for shooting the acclaimed films To Have and Have Not, The Big Sleep and White Heat. Directed by Robert Florey. ★★★ / 15.04.2023
THE BEAUTIFUL BLONDE FROM BASHFUL BEND (20th Century-Fox, 1949) is not peak Preston Sturges, but it's definitely underrated and doesn't deserve its bad reputation. I had good fun with this nutty story of saloon girl Betty Grable being jailed for shooting the judge in the butt and escaping with her friend Olga San Juan (both pictured, top photo). San Juan stole train tickets belonging to a school teacher, so that's whom Grable is going to impersonate in the small town they're ending up in. I like San Juan who takes on the role of Grable's Indian maid. When the train conductor makes a racist remark ("You must be that little Indian girl she was bringing with her. You leave mama and papa back home in teepee? How would you like to go with me and see white man's choo-choo, puff-puff engine, huh?"), her retort is priceless: "How would you like to go suck an egg?". This film of 77 minutes runtime, shot in beautiful Technicolor, moves at a brisque pace and has a couple of pleasant musical numbers. Supporting cast of Cesar Romero, Rudy Vallee (pictured with Grable, bottom photo), Hugh Herbert, Sterling Holloway (very annoying; his character and his brother are way over the top), Margaret Hamilton and Marie Windsor. ★★★½ / 17.04.2023
BACK TO THE WOODS (Rolin Films, 1919) is an average short silent with Harold Lloyd and Harry 'Snub' Pollard hunting in the woods. The two timid bears following an oblivious Lloyd around didn't really elicit a chuckle as it's standard comedy fare, but it's a plus that they used real tame bears here, even in the fight later on with Harold. Regular Lloyd girl Bebe Daniels (pictured with Lloyd) plays the love interest, feisty and handy with the gun. Hal Roach directed. ★★½ / 17.04.2023
I WAS A SHOPLIFTER (Universal Pictures International (UPI), 1950) is classified as film noir but it has little to do with this subgenre, unless I must have missed something in my sleepy state. It's a mildly enjoyable mystery flick, dealing with a gang of shoplifters. Scott Brady and Mona Freeman make a nice pair (both pictured), though I didn't particularly like Freeman's whiny character. Probably the most noteworthy thing here is seeing Rock Hudson in an early role. I didn't see his name with the opening credits but he's credited on IMDB as Si Swanson - Store Detective. He also has a couple of spoken lines. Tony Curtis has a bigger part and is fourth-billed as Anthony Curtis. He plays the bad guy, and there's a weird scene where Freeman runs into the ocean after Curtis tries to rape her and she's saved by Brady. At least she looked better with wet hair. Good support by Andrea King (her character is much more interesting than Freeman's) and Charles Drake. Funny, I was already thinking of Winchester '73 (1950), a great Jimmy Stewart western, where Hudson and Curtis both appear in small roles, then I saw the same thing mentioned in a review but also saying that Drake is in Winchester '73 too. Charles Lamont directed. ★★½ / 20.04.2023
%20(1).jpg)
According to Letterboxd, DAY OF RECKONING (MGM, 1933) is a brutal prison drama and Richard Dix "is sentenced to prison after getting caught with his hand in the company till. He is sent to a high-rise facility in LA." I was waiting for this film to become a brutal prison drama and was wondering whether the 'friendly' county jail where Dix was imprisoned was the high-rise facility in LA of the synopsis. In any case, the inmates seemed pretty amiable and acted more as his friends. Madge Evans plays Dix's wife (both pictured) who starts dating prosperous businessman Conway Tearle while her husband sits in prison and then gets herself killed by the jealous Isabel Jewell, Tearle's former lover. All actors deliver solid performances but it's Una Merkel who easily steals the film. She's great as the devoted maid of Dix and Evans who takes care of their two children, and it was nice she got her happy ending with Stuart Erwin, the milkman. Directed by Charles Brabin. ★★★ / 22.04.2023
THE WITCH AND THE CYCLIST (Nordisk Film Denmark, 1909) — original title: Heksen og cyklisten — is a Danish silent short film directed by Viggo Larsen (from Female Rivals) of only 3 minutes long, brought to my attention by my sister. It's a fairly entertaining watch about a witch using her dark magic on an innocent cyclist, and it's funny to see his bike changing shapes (pictured). Nothing too exciting but still remarkable it was made more than a century ago. ★★½ / 22.04.2023
SECONDS (Gibraltar Productions/ Joel Productions / John Frankenheimer Productions Inc., 1966) had been on my watchlist for ages and my expectations were really high. Too bad it's not the masterpiece I had hoped it would be. I like the sci-fi concept, the great opening sequence and the final twist (even though the twist was not entirely unexpected). Very handsome Rock Hudson (pictured, top photo) is well cast and gives one of his better performances (but let's not underestimate his performances in comedies — I like him best in comedies, to be honest — because playing comedy is not easy). Also, the cinematography by the great James Wong Howe, the camerawork and editing are amazing. But whoa! What's with the pacing! It's just sooo slow and there's also little suspense. It already takes a long time before Rock makes his first appearance, but when he finally does appear and then moves into his Malibu beach house and meets Salome Jens (pictured with Hudson, middle photo), there's a never-ending sequence with naked bodies stomping on grapes and drinking wine. Once that's finished, there's a party at Rock's house where the host gets really drunk (reportedly the director got Hudson plastered for that scene) and this sequence also goes on for far too long. Still, despite its flaws the film as a whole is intriguing and enjoyable, with a thought-provoking message and deeper meaning dealing with one's identity and path in life. John Frankenheimer directed (pictured on set with Hudson and DP James Wong Howe, bottom photo). ★★★½ / 22.04.2023
.jpg)
.jpg)
Chose BLINDFOLD (Universal, 1966) because I wanted to watch a comedy with Rock Hudson. This spy-thriller/comedy with a central romance is harmless fun and elevated by the good chemistry between Hudson and Claudia Cardinale (off-screen they could get along well and became good friends — both pictured in three photos). Rock is so handsome, oozes charm and has great comic timing. There's a thrilling last act taking place in the swamps (shot on location in Florida) with alligators, airboats and quicksand. With a nice music score by Lalo Schifrin, great photography by the acclaimed Joseph MacDonald (from My Darling Clementine, Pickup on South Street, among others), costumes by Jean Louis, good support by Jack Warden, Guy Stockwell and Anne Seymour (as Hudson's feisty secretary), this was an enjoyable pastime. Directed by Philip Dunne. ★★★ / 23.04.2023
.jpg)
The Museo de Bellas Artes in Valencia has special cine programs and now they are showing films for the special Indagar en la Oscuridad. My sister and I saw the Spanish title La Torre de los Siete Jorobados listed and quickly assumed it had to be The House of the Seven Gables, not bothering to look up what jorobados meant. It turned out we went to watch a classic Spanish film with the English title THE TOWER OF THE SEVEN HUNCHBACKS (J Films/España Films, 1944), directed by Edgar Neville. Fortunately it was a nice horror film, a bit weird too, with good black-and-white photography, some great sets (pictured, top photo), and German expressionism came to mind. It was never scary but there was humour (e.g. the scene with Napoleon) and the leading couple (Antonio Casal and Isabel de Pomés — both pictured, bottom photo) was appealing. In any case, it was nice to see a Spanish film from the 1940s as I'm not familiar with Spanish classics. Seen in the original version with Spanish subtitles (the sound wasn't very good and the dialogue was difficult to hear at times) with a very lengthy lecture about cine gótico and such before the film started. All in all, it was a fun watch and we were pleasantly surprised with the nice viewing room and comfy seats and there was a decent turnout, a mix of older and young people. Entrance was free! ★★★ / 25.04.2023
A VERY SPECIAL FAVOR (The Lankershim Company/ Universal, 1965) started out to be a better film than I thought it would be (with a surprisingly well-written script) but doesn't capitalise on that initial promise in the second part where it derails a bit and gets sillier. But I do like Rock Hudson in these sex comedies reminiscent of Pillow Talk (he really excels in them) where he plays a womaniser and pretends to be someone he's not in order to woo the intended girl, in this case Leslie Caron. Charles Boyer plays Caron's father who approaches Hudson with a very special favour, namely to seduce his daughter. Hudson looks really good and I love his smile and facial expressions. He has good chemistry with Caron (whose accent I find less annoying than Claudia Cardinale's in Blindfold) and they share some nice scenes, especially when she's in her psychologist role (both pictured, top and middle photo). I love the chemistry between Hudson and Boyer (there's some great dialogue between them), and also the scene where Caron recognises Boyer as her father and breaks down in his arms. The happy ending with all the kids is sweet (Hudson, Caron and Boyer pictured with kids, bottom photo). Also noteworthy are the gay references here (Hudson as Paul Chadwick [emerging from his hiding place]: "Oh! It's you. I wasn't sure." Caron as Dr. Lauren Boullard: "Hiding in the closet isn't going to cure you.") and the turn of events where Hudson enlists the help of the switchboard operator of his apartment building to impersonate a man so Caron will think he's gay. Directed by Michael Gordon (yes, the same from Pillow Talk fame). ★★★ / 25.04.2023
Ernst Lubitsch's silent comedy SO THIS IS PARIS (Warner Bros, 1926) is witty, sophisticated and sexy. The couple-swapping story premise (with the married doctor falling for the female dancer (who is his old flame) while his wife and the dancer’s husband develop an attraction for one another) is appealing, the performances of the main actors (Monte Blue, Patsy Ruth Miller, Lilyan Tashman and George Beranger — pictured Beranger and Miller, top photo; Blue and Tashman, middle photo; Blue and Miller, bottom photo; three screenshots by me) are great, and I love the sets! With the opening scene and the Dance of Despair, I was already chuckling. And the exuberant Charleston dance sequence at the Artists' Ball is chef's kiss. With sexual innuendos typical of the pre-code era, this comedy is a pure delight. Watch out for Myrna Loy in a small non-speaking uncredited role as the maid. ★★★★ / 26.04.2023
.jpg)
Ernst Lubitsch's ONE HOUR WITH YOU (Paramount, 1932), with assisted direction by George Cukor, is thin in plot but the greatly executed story makes for another delightful and sophisticated couple-swapping comedy of manners, enlivened by a couple of musical numbers. These songs don't have memorable tunes but the lyrics are witty. I don't really like Maurice Chevalier but he's a great entertainer and the way he talks and sings to the camera really engages the viewer. What I like about him is his infectious gaiety. I'm also beginning to like Jeanette MacDonald and how she sparkles here. She has great chemistry with Chevalier. Love the glamour, the women in their gorgeous 1930s dresses (designed by Travis Banton), and there's some fine photography by Victor Milner. Great support by Genevieve Tobin, Charles Ruggles and Roland Young. And that last scene where Chevalier and MacDonald talk to the camera/audience is pure bliss (both pictured). ★★★½ / 29.04.2023
FOOTLIGHT SERENADE (20th Century-Fox, 1942) is an enjoyable musical which I watched for Betty Grable (here she reminded me of both Ginger Rogers and Priscilla Lane). Yet ultimately it's feisty Jane Wyman for whom to watch this Fox film, here in an Eve Arden kind of role. It's a missed opportunity that they didn't make a second romantic couple with Wyman and the conceited Victor Mature, she could really have learnt him a lesson or two. Though I like John Payne in film noir (pictured with Grable, Wyman and Mature, top photo, and with Grable and Mature, middle photo), it's nice to see him in lighter fare and also singing (he was really a singer and has a pleasant voice). This musical is nothing special but it manages to entertain enough, has some nice photography by Lee Garmes, especially the boxing scenes, and Grable (pictured with Wyman, bottom photo) is an actress I intend to see more of. James Gleason and Phil Silvers give adequate support, although I find the comic relief of Silvers a bit tedious. Gregory Ratoff directed. ★★★ / 29.04.2023
Wanted to watch a short film and came across the Betty Boop cartoon SNOW-WHITE (Fleischer Studios/ Paramount, 1933), a very loose adaptation of the original fairytale of Snow White. When the evil queen asks her mirror who is the fairest in the land and the answer is 'Betty Boop', the queen orders her to be beheaded. Bimbo the Pup and Koko the Clown cannot bring themselves to carry out the request and join Betty (ending up encased in a block of ice) and The Seven Dwarfs in the Mystery Cave, Betty's final resting place (pictured, screenshot by me). Koko the clown, with Cab Calloway's voice, sings the great St. James Infirmary Blues in the cave with floating ghosts and flying skeletons. This 7-minute short is my first Betty Boop film and I enjoyed it a lot. Dave Fleischer directed. ★★★½ / 29.04.2023
I watched POOR CINDERELLA (Fleischer Studios, 1934) because I wanted to see another Betty Boop short (this is the only Betty Boop in colour with Betty having red hair — Betty pictured in three screenshots by me). There's nothing special story-wise since it's a straightforward retelling of the classic fairytale we all know so well, but animation-wise it's very good (and don't forget, it's hand-drawn!) and it looks gorgeous in 2-strip colour. I love how the pumpkin, mice and lizards transform into a carriage, horses and footmen. And how Betty gets a ballroom dress, but not after she's stripped off her old clothes and is shown in sexy underwear with a garter. There's also a nice repetitive song called Poor Cinderella which fortunately doesn't get annoying. Totally enjoyed this 11-minute short rendition of Cinderella. Directed by Dave Fleischer. ★★★½ / 29.04.2023
FATHER GOOSE (Granox Productions, 1964) is a very enjoyable comedy (I might have seen this before), set in WWII, about South Sea beachcomber Cary Grant (grumpy and with a fondness for the bottle) who is persuaded by his old friend Trevor Howard to become a coast watcher for the Allies and spy on planes passing over his island. His place is then invaded by school teacher Leslie Caron and a group of seven school girls who are stranded on the island. What follows is mostly predictable, as is the ensuing romance between our leading couple, but it's harmless entertainment and I just had fun with it. I think Grant and Caron have decent chemistry (a bit like the chemistry between Grant and Audrey Hepburn) and I love their scenes together (both pictured in three photos — middle photo is screenshot by me). Grant was 60 years old at the time and Caron 27 years younger but this huge age gap doesn't show (Grant looks really good, scruffy and unshaven, and he's still romantic leading man material). Having mentioned Audrey Hepburn, it's funny that Grant wanted Hepburn as his co-star for this film, but she was already committed to My Fair Lady, whereas he had turned down the role of Henry Higgins to do Father Goose. Reportedly Grant considered Father Goose to be one of his favourite films. He claimed that his role in this film was most like his real-life personality, and I also read that he kept in touch with most of the girls from Father Goose as they grew up. Partly filmed on location in Jamaica and directed by Ralph Nelson. ★★★½ / 30.04.2023
Tom and Jerry cartoons are nostalgia for me because I grew up with them and I've seen many. PUSS GETS THE BOOT (MGM Cartoon Studio/ MGM/ Rudolf Ising Productions, 1940) is the first short featuring the house cat and the mouse. Here Tom the cat is called Jasper and there's no mention of Jerry's name. This short of 9 minutes was meant as a one-off but because of its success with the audience they decided to make a series. The plot of each episode usually revolves around Tom's attempts to capture Jerry but he rarely succeeds because of Jerry's cleverness. Here Tom/Jasper gets a last warning from the maid: if he breaks another object, he's out. So Jerry is on a mission to make Jasper/Tom break things. I love Jerry's cunningness but I always feel a bit sorry for Tom (Tom pictured, top photo, screenshot by me, and both pictured in bottom screenshot by me). I had so much fun with this and I'm glad it hasn't lost any of its appeal since I saw a Tom and Jerry cartoon decades ago. It's so well made, with the action taking center stage, there's humour, and the music is totally in sync with the images. I will definitely watch more T&J cartoons. Directed by Joseph Barbera, William Hanna and Rudolf Ising. ★★★★ / 30.04.2023
Ending the month with THE MIDNIGHT SNACK (MGM Cartoon Studio/ MGM/ Rudolf Ising Productions, 1941), the second instalment in the Tom and Jerry series. This time they appear under their new and familiar names. The plot is simple again. Jerry tries to take cheese from the fridge and Tom does everything in his power to prevent this, but he's the one ending up as the victim of Jerry's sweet revenge (both pictured in two screenshots by me). This was fun! And the food in the fridge looks sooo yummy! Joseph Barbera, William Hanna and Rudolf Ising directed. ★★★½ / 30.04.2023
Another round-up is completed and we're going into May now. The intention is to keep on watching the classics but maybe not as many as I watched in April because I also want to watch some more K-dramas. I'm also thinking of maybe doing another format for rounding up my monthly film watches, because the way I'm doing these wrap-ups now is very time-consuming. I love doing them, though, and I actually like going back to them and read my notes. So I don't know how I'm going to like a slimmed-down version myself. Anyway, stay tuned for the next round-up (probably with the same format) and have a lovely May!
