JULY, SEPTEMBER & OCTOBER 2025 ROUND-UP
TOTAL FILMS SEEN IN JULY/ SEPTEMBER/ OCTOBER: 15
(see the film posters at the bottom of the post, arranged in watching order)
NEW-TO-ME: 9
REWATCHES: 6
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Maria Montez
Recently I suffered a great loss. Both of my parents passed away, my mum last December and my dad in February this year. I inherited my love for classic Hollywood films from them (see this post The Films from My Youth). Last 18th of August would have been their 65th wedding anniversary. Though I hardly watch classic films anymore (despite still loving them and currently trying to improve my classic film watching habits) — caused by my addiction to K-dramas (see my blog here) — I wanted to celebrate my parents' anniversary by watching some films they loved. I had an elaborate watchlist in mind. I started in July and meant to finish it by the end of August. Unfortunately, my plan failed miserably. I hardly watched anything in July and nothing in August. So I decided to extend the little project into September and October. In the end I managed to watch a total of 15 films.
Maria Montez in Cobra Woman
My dad loved everything that included adventure and he loved swashbucklers (e.g. Scaramouche and The Adventures of Robin Hood). He also liked fantasy and science fiction. For some reason he loved red-heads. Some of his favourite actresses were Maria Montez and Maureen O'Hara, he thought they were beautiful.
My mum loved Elizabeth Taylor for her beauty and Bette Davis for her acting skills. Unlike my father, she didn't like fantasy or sci-fi. She liked love stories, melodramas, soap-operas with lots of intrigue. She was a lifelong fan of daytime TV-shows like The Bold and the Beautiful and As the World Turns.
Elizabeth Taylor in Conspirator (screenshot by me)
I watched a mix of my parents' preferences, both rewatches and first watches.
See the watched films with random thoughts below.
NOTE: Read notes with caution as they might contain spoilers; with ratings going from ½ to ★★★★★ and watched date.
I picked the film COBRA WOMAN (1944, Universal) because my dad loved Maria Montez. This adventure flick, directed by Robert Siodmak, has a runtime of only 1 hour and 11 minutes so it was easy to get through. I knew I shouldn't expect too much in terms of plot and characterisation, but the visuals are great, with eye-popping Technicolor colours and great costumes (designed by Vera West). I don't even find Montez that beautiful but the colours and costumes make all the difference. She looks stunning. The story (where Jon Hall tracks his kidnapped bride Montez to a jungle island and also finds her evil twin, the high priestess) is obviously not well developed and the acting is quite bad. Still, it's campy fun and I even had some laughs, undoubtedly unintentional. The film is classified as a camp classic by film critic Leonard Maltin. Hall and Montez have good chemistry and would make six adventure films together, all filmed in Technicolor, turned out by Universal between 1942 and 1945. Besides Cobra Woman, they starred in Arabian Nights, White Savage, Ali Baba and the Forty Thieves, Gypsy Wildcat and Sudan, and their films were a welcome reprieve for the escape-hungry wartime audiences. Also with Sabu. ★★½ / 05.07.2025 (Screenshot by me: Maria Montez and Jon Hall)
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Elizabeth Taylor was one of my mum's fave actresses. This little celebratory project of mine is a good way to explore Liz's filmography a bit further. I hadn't seen the thriller CONSPIRATOR (1949, MGM) yet, with the double-Taylor billing, and I'm also not sure whether my mum has ever seen this. Liz is only 16 years old here, in her first 'adult' role playing an 18-year-old. Robert Taylor, who was 38 years old at the time, plays a 31-year-old. Their pairing isn't that bad, and Liz receives her first screen kiss from Bob. Unfortunately Robert Taylor is not believable as a Russian spy at all, but I find Liz well cast as the child bride who slowly realises her darling husband isn't the man she thinks he is. When she finds out he's a spy, Liz conveys the character's feelings of fear and hurt quite well. Though the film is mediocre, Liz looks radiant (photographed in beautiful close-ups), and she's definitely the stand-out here. I bumped up my rating just for her. I was glad it didn't end well and that we didn't get a tacked-on Hollywood happy ending (they had to slightly alter the plot then, haha). Love the location shooting in the UK (also at the London underground) and the black-and-white chiaroscuro photography by Freddie Young! Directed by Victor Saville. ★★★ / 06.07.2025 (Photo: Elizabeth Taylor and Robert Taylor)
Picking up my project again and wanting to see a Bette Davis film I hadn't seen yet. My mum loved Bette and her fave Bette movie was The Letter. I don't think she liked 1930s Bette but she also wasn't really familiar with her films from this decade. BORDERTOWN (Warner Bros, 1935) has Paul Muni in the lead, an actor who leaves me indifferent (though he gave a great performance in I Am a Fugitive from a Chain Gang as the titular fugitive). Here he didn't impress me much as an Mexican-American lawyer who, after a professional setback, moves to a bordertown where he runs and ultimately owns a nightclub. Muni's accent is distracting. I was waiting for Bette to make her appearance which she did after 35 minutes. She plays an unstable character, the wife of Eugene Pallette (co-owner of the nightclub) while being obsessed with Muni. The "locked garage with car running" as the method of murder immediately reminded me of They Drive by Night, where Ida Lupino kills Alan Hale's character (her husband) in the same way (she's obsessed with George Raft). In court Lupino breaks down and says with an insane look: "The doors made me do it!" Here Bette also has an insanity breakdown at the trial, thereby revealing her guilt. I read that They Drive by Night is considered to be a partial remake of Bordertown with the wife orchestrating her husband's murder and attempting to frame the man who rejected her. Bette gives a strong performance, with some occasional overacting. There's also good cinematography by Tony Gaudio with a couple of beautiful close-ups of Bette. Directed by Archie Mayo. ★★½ / 27.09.2025 (Gif: Bette Davis / Photos: Bette Davis and Paul Muni / Bette Davis)
Been meaning to rewatch the melodrama THE OLD MAID (Warner Bros, 1939) for some time now, and since I can watch Bette Davis films for my project, I decided to revisit it today. Having watched this a lifetime ago I couldn't remember much of it, except that it had made me cry a lot. The story is about two cousins Bette Davis and Miriam Hopkins, in love with the same man George Brent. Brent is Hopkins' ex-boyfriend who returns on the day when she's about to marry into a wealthy family. Davis comforts Brent, which results in an illegitimate child. I didn't know Brent's role was so small, as he goes off to war and gets killed. The child doesn't know that Bette is her mother, she sees Bette as her 'old maid' aunt and Hopkins as her mother (who eventually adopts her). With the heartbreaking ending I cried again — how can one not — as Bette accepts her own sacrifice (having given up her identity as the biological mother to ensure her daughter's future in society) and as Hopkins, realising the extent of Bette's sacrifice, makes a final request from her adoptive daughter (Jane Bryan): to give Bette the last kiss before departing on her honeymoon. Bette delivers a poignant performance and is especially good at the older age (they really did everything to make her look like an old maid!). I love how she acts with restraint and emotional depth, and how her character's quiet strength comes through. Hopkins' performance is solid but less impressive than Bette's. Other supporting roles by Donald Crisp, James Stephenson, Jerome Cowan, William Lundigan. Cinematography by Tony Gaudio, music by Max Steiner, costume design by Orry-Kelly, and directed by Edmund Goulding. ★★★½ / 04.10.2025 (rewatch) (Photo: Bette Davis and Miriam Hopkins)
Watched the film MR. HOBBS TAKES A VACATION (20th Century-Fox, 1962) for Maureen O'Hara, one of my dad's fave actresses. I don't know whether it was just for her looks, or whether her acting or filmography came into the equation. (I'm guessing mainly looks, and she also played in adventure films.) I had this family film still on my watchlist for James Stewart and 1960s films, so a good reason to watch it now. With almost two hours of running time, this is a bit on the long side. (Arguably the scene with Stewart and his son on the boat could have been cut short.) The story premise with Stewart wanting to go on a holiday with just his wife O'Hara and then having the whole family tag along because mum O'Hara wants everybody together, is a simple one. Oh, I love grumpy Stewart! The affection between Stewart and O'Hara as a married couple is palpable, shown in multiple scenes where they share a kiss. The subplot with Fabian and the teenage daughter wearing dental braces is sweet. This whole section made me wonder whether this was in fact a rewatch and not a first watch because it seemed so familiar, especially the scene where Fabian returns the 5-dollar bill to Stewart. (But it could also have been predictability!) The inclusion of Marie Wilson makes for a steamy (literally) bathroom scene with Stewart, all very innocent but typical of 1960s comedies. Overall this was an enjoyable film, with a great score by Henry Mancini and Johnny Mercer (the 1960s benefited greatly from Mancini's recognisable tunes), filmed in CinemaScope. Stewart and O'Hara have great chemistry and made 2 films together, the other one being the western The Rare Breed (still need to see it). Incidentally, I think O'Hara also had great chemistry with John Wayne and Brian Keith; with both actors she also starred in multiple films (Wayne five and Keith three). Maureen looks beautiful here, with that flaming red hair, and I love her wardrobe. Directed by Henry Koster. ★★★ / 06.10.2025 (Screenshots by me (3): James Stewart and Maureen O'Hara)
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My dad really liked THE WAR OF THE WORLDS (Paramount, 1953) and it's probably the one film I watched with him the most. This film — about an alien invasion from Mars — doesn't need any introduction among movie buffs, being a sci-fi quintessential classic, based on H.G. Wells' novel and famous because of the controversial Orson Welles radio broadcast. With this rewatch I'm happy to confirm that it still holds up today, and I found the special visual and sound effects still great (impressive for a 1950s film). Gene Barry and Ann Robinson have good chemistry (I love their meet-cute!) and I like their little romance. He must have developed feelings for her, apparent in the frantic way he's looking for her at the end. I've always liked their scene together in the abandoned farmhouse, with Robinson baking eggs, and I've always felt sorry they don't get to eat them, haha. Not so surprisingly, there's not much character development, but the main couple is likeable and you don't want them to get hurt. The focus is of course on men's battle against the Martians and it was well depicted. I had forgotten how bleak the final act was with the portrayal of the lawlessness and mob violence in the city. Filmed in Technicolor, this is much better than the Steven Spielberg remake (2005) starring Tom Cruise. Directed by Byron Haskin. ★★★★ / 09.10.2025 (rewatch) (Screenshots by me (3): Gene Barry and Ann Robinson)
I spent a lot of time with my mum and dad in our family house in Rojales, especially in 2005/2006 when I was living and working in Rojales. I had a little cupboard in my bedroom filled with DVDs. I bought a lot of classic DVDs at the FNAC and El Corte Inglés (in Spain it was so much easier to trace obscure films) and even went regularly to the local videostore in the village. One of the films from my own collection that I can clearly remember having watched with my parents was YOU CAN'T TAKE IT WITH YOU (Columbia, 1938). It's not a film I thought they would like but they loved it and were laughing a lot. I enjoyed this rewatch and was also laughing again. Frank Capra's screwball comedy about a banker's son (James Stewart) falling in love with a woman (Jean Arthur) from an eccentric family is good fun. I liked all the antics of Arthur's family, whether it's mother Spring Byington typing away (using a cute kitten as a paperweight), sister Ann Miller dancing while her husband plays the xylophone, father Samuel S. Hinds making fireworks in the basement with Halliwell Hobbes, or grandpa Lionel Barrymore (with his own quirky traits) supporting his family's lifestyle of following their passion. The film is a bit messy, I have to say, but it has the unmistakable Capra touch, the celebration of 'the little guy', where happiness and family values are more important than wealth and power. My favourite scenes are the ones with James Stewart and Jean Arthur. They have great chemistry and their interactions are so natural. I especially love the scene in the cab and how Stewart looks at Arthur. Also with Edward Arnold as Stewart's father (who transforms from a cold banker to someone joyfully playing the harmonica) and Mischa Auer as Ann Miller's ballet teacher (I found him mostly annoying). ★★★½ / 17.10.2025 (rewatch) (Screenshots by me (3): James Stewart and Jean Arthur)
I recently rewatched The War of the Worlds and felt like watching another sci-fi film for my dad. I chose the film WHEN WORLDS COLLIDE (Paramount, 1951) because of its good ratings. The story premise: a group of astronomers discover that Earth is on a collision course with a colossal star, sealing the fate of every living being. The scientists are probably familiar with the story of Noah's Ark and set out to build a spaceship in order to evacuate 44 people (all white and well-educated, also a kid and a dog) to a nearby planet in the hope it's habitable. Could have made for a compelling watch but it wasn't. First of all, the special effects leave a lot to be desired. I know it's an early 1950s film but so is The War of the Worlds. (Probably something to do with the budget.) Here we get miniature props and paintings as a backdrop — the visual of the new planet is even hilarious! The gushing floodwaters are impressive but it looks like stock footage. The roller coaster track for launching the spaceship is laughable. In terms of characters and performances, there's nothing to write home about. The only plus is Barbara Rush's pleasant and pretty appearance, but her character is not very nice. She drops her fiancée the moment she lays eyes on Richard Derr. And talking about Derr ... what a drab and unappealing leading actor. With the introduction of his pilot character (making out with a girl while steering a plane), I felt an immediate dislike. He's not even good-looking and kind of dumb. The scene where he rushes out to Rush to sweep her in his arms for a passionate kiss was ridiculous and cringe-worthy. As an end-of-the-world disaster film, it's strange that little attention is being paid to the depiction of fear amongst the crowd of people. It was even uncanny how well-behaved and composed everyone was while drawing the fatal lots. And when the chosen ones entered the ship, they almost behaved like they were going on a field trip. There is absolutely no attention given to the 99.99% of the world’s population who are left to die on Earth. This film is kind of bad — my rating is very generous — but it's hilariously bad so I had a couple of good laughs. I wonder what my dad would have thought of this. Directed by Rudolph Maté. ★★½ / 24.10.2025 (Screenshots by me: Barbara Rush and Richard Derr (2) / spaceship with roller coaster track)
Watched the film THE PRIVATE WAR OF MAJOR BENSON (Universal, 1955) for my mum because she liked Charlton Heston. I’m not sure how much she actually liked him, but he was one of the few actors I know she favoured. (I think William Holden as well.) I decided to watch one of Heston's films I hadn't seen yet. (I'm sure mum hadn't seen this either.) I chose this light comedy because it's unusual to catch Heston in a comedic role. I had expected him to be funnier, actually, and also thought the film as a whole was going to be more fun. But it was a bit of a lackluster affair and there were few laughs. Heston plays the tough army officer Major Benson. After criticising the army men as being weak, his words are printed in the media, and as punishment he is being sent away to take charge of the cadets at a religious military school, run by nuns. The cadets turn out to be kids. Julie Adams plays the resident doctor and Heston's love interest. She looks lovely in Technicolor, but the romance is, not so surprisingly, very rushed, with Heston forcing a kiss from Adams already early on. (And of course, she slaps him!) At first Heston is strict with the kids, wanting to teach them discipline, and therefore he's not well-loved. Of course the kids eventually change their opinion of Heston. Steal-scener is little Tim Hovey as the six-year-old Cadet "Tiger" who loves Adams and hates Heston. Hovey is adorable, especially while marching with his pants falling down. Turning point — my fave part of the film — is when Heston and Hovey meet at the train station, both wanting to leave, and they bond over eating hamburgers. When Heston sneaks Hovey back into his dorm room, Hovey gives Heston a hug. This catches Heston momentarily off guard and you see the emotion displayed on his face, Heston's best scene of the film. I wouldn't have minded more scenes between Heston and Hovey, they have nice chemistry. Further support by William Demarest, Sal Mineo and Milburn Stone. Directed by Jerry Hopper. ★★½ / 27.10.2025 (Screenshots by me: Charlton Heston and Julie Adams / Charlton Heston and Tim Hovey)
ARSENIC AND OLD LACE (Warner Bros, 1944) is another film I watched with my mum and dad in Rojales and they loved it. Directed by Frank Capra, this screwball black comedy crime film is a lot of fun. I was laughing out loud multiple times. Cary Grant is perfectly cast as Mortimer Brewster whose two lovely aunts (Josephine Hull and Jean Adair) are hiding a body in the bench under the windowsill and even more bodies in the basement cellar. Grant's facial expressions are a joy to behold and his performance is very energetic. With the arrival of Raymond Massey (as Mortimer Brewster's crazy brother) and Peter Lorre and yet another stiff, things start to get out of hand and become even crazier. Priscilla Lane has a bit of a thankless role as Grant's new bride but that doesn't spoil the fun. Other supporting parts by John Alexander, Jack Carson, Edward Everett Horton (he's a hoot!), James Gleason and Grant Mitchell. The screenplay written by Julius J. Epstein and Philip G. Epstein, based on Joseph Kesselring's 1941 play of the same name, is very funny, and there are beautiful chiaroscuro images courtesy of master DP Sol Polito. This film will surely get everyone in the mood for Halloween. ★★★★ / 28.10.2025 (rewatch) (Photo & gif: Cary Grant and Priscilla Lane)
I watched the romance melodrama LOVE IS A MANY-SPLENDORED THING (20th Century-Fox, 1955) for my mum. She liked it and I think she also liked William Holden. I thought I had seen this film before but I hadn't logged it as watched in Letterboxd. While I was watching it, nothing seemed familiar, so I think it's a first watch after all. I hadn't expected anything from this film, the reviews and ratings being very mixed. The story premise of an Eurasian doctor (Jennifer Jones) having an affair with a widowed American correspondent (William Holden) in Hong Kong is nothing special, nor is the execution of the story. The performances are just okay, with little depth to characters or plot development. The romance is rushed, and Holden is being forward and coming on too strong. I appreciated the fact that Holden's marital status was out in the open from the start, Jones had already been told by someone else and Holden also told Jones himself. His marriage was already over but Holden's wife didn't want to give him a divorce. The chemistry between Jones and Holden is decent — at least I didn't think it was terrible — but reportedly the stars hated each other. Jones received a lot of criticism for not being Asian, but I did like the Chinese dresses she's wearing. The film is shot in CinemaScope and there is some beautiful cinematography (by Leon Shamroy) with gorgeous location shooting. This drama also boasts a great opening sequence where an ambulance drives to the hospital, filmed from the inside of the car. Ultimately it was a drab film with a predictable ending. Probably the best thing about this film is the famous theme song which can be heard throughout the production (the instrumental version). The ending made me shed tears, not for Holden (who died) but for my mum. Directed by Henry King. ★★½ / 28.10.2025 (Screenshots by me (3): Jennifer Jones and William Holden)
Watched the adventure fantasy film THE THIEF OF BAGDAD (London Films Productions, 1940) for my dad. He would have loved this. I don't know whether he saw this in his youth in Indonesia, in any case it's not a film we watched together while I was growing up. Adapted from One Thousand and One Nights, it tells the story of Prince Ahmad (John Justin) who is blinded and cast out of Bagdad by the evil Grand Vizier Jaffar (Conrad Veidt). Ahmad then gets together with the thief Abu (Sabu) to reclaim his royal palace and win the heart of the Princess (June Duprez) he loves. This production looks very good in Technicolor, and though some of the special effects could have been better, it's quite amazing that this was made in 1940. I love the scenes with the towering genie (Rex Ingram) released from a bottle. We also have a flying toy horse, a gigantic spider, and the goddess with six arms. Yet my favourite fantasy object is the flying carpet. I love how Abu rescues Ahmad with the carpet. I was a bit let down by the romance and the lack of build-up, but I understand that since this is a fairytale/folktale, it's typical for the romantic leads to fall in love the moment they lay eyes on each other. What bothers me more, actually, is the fact that John Justin has no charisma at all. And there is no chemistry whatsoever with lovely June Duprez. She would have been better off with Conrad Veidt, who despite being evil is much more charismatic and an interesting character. Love the camera shots of his piercing eyes. Overall I enjoyed this acclaimed film and I'm glad I finally watched it. Directed by Michael Powell, Tim Whelan and Ludwig Berger. ★★★½ / 29.10.2025 (Screenshots by me: June Duprez and John Justin / June Duprez / June Duprez and John Justin)
Watched SINBAD THE SAILOR (RKO, 1947), another adventure flick, for my dad and it also stars one of his favourite actresses, Maureen O'Hara. Maybe rating this too low but I was a little bored. The leads Douglas Fairbanks Jr. and O'Hara (love them both) are appealing, though, and this is also a good-looking production. Douglas Fairbanks Jr. inherited the energetic charm from his dad, Douglas Fairbanks Sr., — though junior is better looking than senior — and he really tries his best. But he doesn't get to exercise athletic jumps enough nor engage in sword fights. (Or I must have missed them, I was a bit distracted during this watch.) Fortunately Fairbanks Jr. has decent chemistry with the beautiful O'Hara, who — despite playing a feisty and spirited heroine — must have been bored out of her mind to be cast in yet another swashbuckler film. Supporting roles by Walter Slezak, Anthony Quinn, George Tobias, and a brown-faced Jane Greer. Directed by Richard Wallace. ★★ / 30.10.2025 (Screenshots by me (2): Douglas Fairbanks Jr. and Maureen O'Hara)
Based on the short story by W. Somerset Maugham of the same title, the William Wyler drama THE LETTER (Warner Bros, 1940) has Bette Davis at her best and it was my mum's favourite Bette film. Her performance here is quite subdued and she does a lot of acting with her eyes. The opening shot where Bette kills a man in cold blood is magnificent. Oh, I love how Bette moves. Herbert Marshall is a bit dull as Bette's husband, or better yet, he's probably a dull husband (which made Bette fall for someone else in the first place), but I love Marshall, especially a distraught Marshall. He looks really good. James Stephenson gives a convincing performance as the lawyer who defends Bette and risks his career for her, protecting her lie. With former viewings I didn't like Gale Sondergaard's casting as an Asian woman (the widow of Bette's murdered lover) at all, but this time I thought it wasn't so bad. She really instils fear with her mask-like face and deadly stare. With a sweeping music score by Max Steiner, costume design by Orry-Kelly, and beautiful chiaroscuro cinematography by the great Tony Gaudio, this film is a must-see. NOTE: I've always been intrigued by the Mid-Atlantic accent, a sort of American-British hybrid of artificial speech, which was designed to convey sophistication on the silver screen during the Hollywood heyday. Actors like Bette Davis, Katharine Hepburn and Cary Grant made use of this accent. I'm mentioning it because in this film Bette's Mid-Atlantic accent was very apparent. I love listening to hear her speak. ★★★★ / 30.10.2025 (rewatch) (Gif: Bette Davis / Screenshot by me: Bette Davis and Herbert Marshall / Photo: Bette Davis)
The last film for my little tribute post dedicated to my mum and dad is the adventure film THE NAKED JUNGLE (Paramount, 1954) with Charlton Heston, one of my mum's favourite actors. He looks quite handsome and manly here, though his role as a plantation owner in South America is not very likeable at first. He acquires a wife (Eleanor Parker), hand-picked by his brother, and behaves like a macho jerk because she's been married before and he doesn't like used things. Parker is the film's stand-out and looks beautiful in Technicolor. She's feisty and speaks her mind, not putting up with Heston's bullshit. I looooove the piano comment! "If you knew more about music, you'd realize that a good piano is better when it's played. This is not a very good piano." I have seen this film many times, actually since my youth when we had it on videotape. My dad loved it for the killer ants. For a film that's pitched as an adventure film with deadly ants, the little creatures sure take their sweet time to make their first appearance. They have less than half an hour of screen time. I guess my mum watched the first part for the romance and looked away with the ants part. Incidentally, Heston and Parker have great chemistry and look good together. And fortunately Heston behaves less like a jerk when he falls for his wife. It's a fun film, yet very predictable, with a happy ending for the main couple and the ants beaten in the end. Apparently this film is listed as one of Martin Scorsese's guilty pleasures. Costume design by Edith Head and cinematography by Ernest Laszlo. Directed by Byron Haskin. ★★★½ / 31.10.2025 (rewatch) (Screenshots by me (3): Charlton Heston and Eleanor Parker)
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SUMMARY:
- COBRA WOMAN FOR DAD (Maria Montez)
- CONSPIRATOR FOR MUM (Elizabeth Taylor)
- BORDERTOWN FOR MUM (Bette Davis)
- THE OLD MAID FOR MUM (Bette Davis)
- MR. HOBBS TAKES A VACATION FOR DAD (Maureen O'Hara)
- THE WAR OF THE WORLDS FOR DAD (sci-fi)
- YOU CAN'T TAKE IT WITH YOU FOR MUM & DAD (comedy)
- WHEN WORLDS COLLIDE FOR DAD (sci-fi)
- THE PRIVATE WAR OF MAJOR BENSON FOR MUM (Charlton Heston)
- ARSENIC AND OLD LACE FOR MUM & DAD (comedy)
- LOVE IS A MANY-SPLENDORED THING FOR MUM (romance, melodrama)
- THE THIEF OF BAGDAD FOR DAD (adventure)
- SINBAD THE SAILOR FOR DAD (Maureen O'Hara & adventure)
- THE LETTER FOR MUM (Bette Davis)
- THE NAKED JUNGLE FOR MUM & DAD (Charlton Heston & romance for mum/ adventure for dad)
Following is the breakdown in decades of the 15 watched films:
1900s - 0
1910s - 0
1920s - 0
1930s - 3
1940s - 6
1950s - 5
1960s - 1
And so ends my little tribute post which I loved doing. It also whets my appetite for the classics again.
I hope to watch more films in the year's remaining two months and catch some noirs for Noirvember. See you with the next round-up!
