WHAT FILMS HAVE YOU SEEN LATELY?

[JackFavell]

What I like about Day of the Jackal is how the first time you see it, it jerks you up short in your own prejudices and emotions. After following Edward Fox around for half the movie, you kind of come to admire him, or at least his skill. I found myself rooting for him in a weird way.Then he has that interlude with the nice woman and I guess I was expecting something to come of that. It certainly did, but it sure wasn't what I was expecting. I love movies that turn in weird ways and make you realize just how vulnerable or easily played on we are.

[feaito]

Thanks to Tess' recommendation and youtube availability I watched two Crawford movies yesterday:

"Female on the Beach" (1955), a highly entertaining campy thriller with Jeff Chandler as bait for rich women; Natalie Schafer and Cecil Kellaway as his -unlikely- "pimps"; Joan Crawford as his next victim and Jan Sterling as a woman hopelessly in love with Chandler. Suspenseful and quite bold/erotic by the '50s more prudish standards (IMO). The campy music is highly charged with sensuality. Liked it a lot. Less campy IMO than "Queen Bee" (1955). I perceived that eroticism and sex were all over the atmosphere of the film, with Chandler being the object of desire, instead of Jan Sterling or Ms. Crawford herself -just like Gary Cooper was in "Morocco" (1930), but in a different way (Where Cooper was naïve and sort of mischievous, Chandler is a he-man all the way)-; Crawford wasn't half as alluring as Jan Sterling though....

"Harriet Craig" (1950), a film I had wanted to see for years. Crawford plays a role she was born to play: the insecure, control-freak, manipulative, selfish and complex Mrs. Walter Craig. This remake of the 1936 Arzner film starring Roz Russell is different and longer, but nevertheless very absorbing. Liked it very much. Lucile Watson as always is superb in a featured role as the all-knowing wife of Mr. Craig's (Wendell Corey) boss. When Russell tackled the role in 1936 she was criticized as being too young (29) for the role, but Joan was perhaps too old (43). I am not familiar with the source play by George Kelly, but I think that Roz was right since the characters has been married for only 4 years. Roz played Harriet as being almost devoid of any emotion, so as Moira stated in a post she wrote on my fbook well, one tends to feel more sorry for Roz than for Joan. A good picture! Does anyone know if Mr. Kelly based Harriet on his mother or any other woman he knew closely? I'm curious.

[CineMaven]

Glad you enjoyed "FEMALE ON THE BEACH." I have a good time with that movie. But please don't forget ( try and make some time ) for "THE TATTERED DRESS." Good solid performances by all, especially Jack Carson and Gail Russell.


"He-man all the way..."

[Sue Sue Applegate]

What I like about Day of the Jackal is how the first time you see it, it jerks you up short in your own prejudices and emotions. After following Edward Fox around for half the movie, you kind of come to admire him, or at least his skill. I found myself rooting for him in a weird way.Then he has that interlude with the nice woman and I guess I was expecting something to come of that. It certainly did, but it sure wasn't what I was expecting. I love movies that turn in weird ways and make you realize just how vulnerable or easily played on we are.

Jackie, I found myself rooting for him, too! There is something so cold and calculating about him that I find admirable in a way because he doesn't let anything stand in his way while he focuses on his goal, but I also love the French detective, Claude Lebel, played by Michael Lonsdale, and Derek Jacobi as young Caron because they are even more determined to get their man. And Edward Fox looked so good in those tailored suits!

Feaito, I'm glad you were able to see Harriet Craig and Female on the Beach!

[charliechaplinfan]

I only watched Female on the Beach a few weeks ago, it was really enjoyable, Joan looked amazing for her age. she should have rightly been very proud of herself.

I rewatched Laura yesterday, the kids are home from school and they came in half way through and immediately got into it, apart from Joe hasn't got to the age where he likes to wait for the answer to who killed Laura, he wanted to know straight away. He was still asking questions this morning that made me wonder if I should watch more movies with them. Libby is great for watching quite complicated storylines but I hadn't given Joe the credit before. The film lost none of it's power and Gene, there's something so special about her, she radiates so much beauty and warmth and Dana Andrews is the perfect foil for her with his world weariness and his cleverness. It's the perfect film noir experience and a good place to start, yet again.

[feaito]

Theresa, as you already know, I did see "The Tattered Dress" (1957) last night and I was blown away by it! EXCELLENT. It's a "B" Noir-Drama with "A" List actors: Jeanne Crain, Jeff Chandler, Jack Carson, Gail Russell, George Tobias, Elaine Stewart...even an older Philip Reed (who played the young, sensitive guy in Ruth Chatterton's "Female" (1933) and Connie Bennett's annoying suitor in "Merrily We Live" (1938)) who plays Stewart's husband.

The film is a taut and suspenseful, with an excellent script and performances by Chandler as a Criminal lawyer accustomed to winning cases, especially if his clients are guilty; Elaine Stewart is the sultry-slutty lady of the tattered dress and what a sight she is; Jack Carson is one despicable character, one of the filthiest sheriffs ever; Gail Russell is a strained woman; Jeanne Crain plays Chandler's all-understanding wife and George Tobias is endearing as Chand's pal.

[RedRiver]

Did you see Sadie McKee on youtube? It's a movie I've always wanted to see

It's not bad. Maybe not one of the all-time greats, but I enjoyed it.


What I like about Day of the Jackal is how the first time you see it, it jerks you up short in your own prejudices and emotions. After following Edward Fox around for half the movie, you kind of come to admire him

The filmmakers accomplish that effect nicely. Is the assassin the hero? Maybe not. But he's the character you're most interested in. It works quite well. Finally, are there too many S's in ASSASSIN? I think so!

[knitwit45]

Did you see Sadie McKee on youtube? It's a movie I've always wanted to see

It's not bad. Maybe not one of the all-time greats, but I enjoyed it.


What I like about Day of the Jackal is how the first time you see it, it jerks you up short in your own prejudices and emotions. After following Edward Fox around for half the movie, you kind of come to admire him

The filmmakers accomplish that effect nicely. Is the assassin the hero? Maybe not. But he's the character you're most interested in. It works quite well. Finally, are there too many S's in ASSASSIN? I think so!

I've always wondered: How famous/important do you have to be to be assassinated rather than murdered????

[MikeBSG]

Today I watched "Elephant Boy" (1937) directed by Robert Flaherty and Zoltan Korda.

I really liked this. It moved very fast, the plot was based on a Kipling story, and the animals were fascinating. As I watched Sabu climb up and down from the elephant or from the elephant to a roof to steal a melon, I had to think of "Avatar." James Cameron had to invent a world and its creatures with special effects, but here they filmed real animals that were as majestic and unusual for the audience as what we saw in "Avatar."

Sabu has a very bright, likeable personality here. You see him and like him. You hope that things go well for him, and when they don't you hope they get better soon. He's a real star.

[CineMaven]

... Finally, are there too many S's in ASSASSIN? I think so!

...And don't forget Mississippi, Red.

[RedRiver]

I never heard of ELEPHANT BOY, but I don't know that I've ever seen a movie of that type and not liked it! Sabu is likeable in THE JUNGLE BOOK too. For the very reasons you stated, Mike. I like that one a lot.

[JackFavell]

It was Bob Hope day today, but since they were showing his 1960's comedies, I made it a double feature day, with noir as the theme. It's taken me some time but I think I finally understand what noir fans see in these movies that draws them closer...closer. I couldn't have picked better films than these two and the last one I watched, THE KILLING. I think altogether, these three impressed me more than all the others I've seen already put together.

"IT WAS BEAUTY KILLED THE BEAST" or I WAKE UP SCREAMING SPOILERS

I have been planning to see I WAKE UP SCREAMING for years, but didn't, mainly because I had a feeling I'd really love it, or really hate it. Sometimes I put off movies because I don't want to run out of good things to watch. If I leave it for another time, then I know I'll always have that movie in my future...I know it's ridiculous, but that's my nature.

I savored every beautiful black and blonde minute of it. Not only does it have Victor Mature and Betty Grable, the most gorgeous close-up couple ever, a kind of yin and yang of Hollywood pulchritude; it also has an incredible supporting cast, comprised of the best comic and crime drama talent thrown together into the most beautifully filmed and entertaining mashup I've ever seen!

Bruce Humberstone directed this quick paced, sometimes silly (in the best possible way) little thriller, with Edward Cronjager as DP. Together they made a luscious film, full of shadow and light, rich in character and setting. Honestly, the movie made me drool, it looked so good. Super tight two shots and slight dutch angles, lots of venetian blinds, barred holding cells and desk lamps heated up and shone into the eyes to make the perp sweat... well, you couldn't ask for anything better looking than that! OK, well, those closeups of Vic and Betty were better looking, but that's beside the point. Eyelashes! Glistening Hair! And the combination of police stations and alleys juxtaposed with tone-y apartments and luxurious Moon Over Miami nightclubs made a splendid pairing, one I would not have thought could work. I swear, there are scenes in which you can see the reflection of Carole Landis in the highly polished surface of a marled wood dresser or bedstead, the settings were so lush. There is also a shot of Laird Cregar walking in on the interrogation of Victor Mature that made my jaw drop - Mature is sitting in a chair, under a big light, and someone has been smoking... the smoke hangs in the air in front of Mature's foreground face, alone, and Cregar steps into it - he's literally enveloped in this wave of clingy, wispy smoke ocean. It's wonderful.

It would be the rare film that wouldn't suck me in with Allyn Joslyn and Alan Mowbray as a couple of Broadway phoneys, each out to promote the femme fatale of the piece, Carole Landis, who looks like a million dollars here. Her hair, her clothing, her voluptuous body, well, let's just say she was perfect for the role, a not quite nice girl who was tired of waiting tables but IS waiting for a break to come her way so she can exploit it into a Hollywood career. One can see how tired she is of guys constantly staring at her, with nothing to offer but their undying obsession. Both Mowbray and Joslyn give excellent comic performances, but also slide easily into the crime genre, adding some desperate and sweaty moments of their own. This brings me to Elisha Cook Jr. who plays a lovelorn desk clerk at Landis' apartment building. He's appropriately creepy, and he and Cregar are the unhinged or unhinging forces in this likable movie. Laird Cregar is always shot with a black backdrop of night and neon signs flashing behind him. It's his city, he owns it. There's another scene where Cregar just shows up in Mature's apartment (also Grable's, later on). He can make his presence known anywhere, get into any apartment he likes. It's so completely unexpected and weird and underplayed that it adds greatly to the noir feel. Ewwww! Cregar, it turns out, has been watching Landis, Cook is not the only one with a weird obsessive love for the playgirl. Cregar gives a tour de force performance, one feels ever so slightly sorry for the guy at the end of the film, much like Kong when he falls from the heights - although Kong wasn't the creep that Cregar is, corrupted by power. And yet, as Cregar himself knew, one feels there was so much more to him than creepy. Every role I've seen him in has been vastly different from the others, no matter the similarities in type.

Victor Mature is just super, straddling the comedy/noir fence perfectly, and looking classier in this film than any other he would make. Instead of being the joke of the film, he's the cool guy that holds it all together. And oh, how he does! He and Grable definitely have a spark, but he plays off every other actor effortlessly and excitingly too. He's got a way with good line, and this film is written well, which is a blessing. This may be my favorite of his movies. The script doesn't make too big a deal of his ethnic looks, and he's got an energy that's catching. He's appropriately doomed, the fall guy, set up for a crime he didn't commit... light as a feather in his line readings, and it's a tricky combination to pull off, but somehow Mature does. Amazingly, he matches Cregar in every scene. It's a pleasure to watch these two together, they are matched well, with Cregar looming over Mature in most of the shots, but plucky Mature still giving him what for. I almost wish he'd made more movies with Cregar, they are a better fit than Mature and his leading ladies, which is saying a lot, since Mature is charming with both Grable and Landis.

It's a beautiful movie and one I'd recommend to almost anyone, from those who like screwball comedies to those who like noir. That's The Big Combo....

"I'M GONNA GIVE YOU A BREAK. I'M GONNA FIX IT SO YOU DON'T HEAR THE BULLETS." or THE BIG COMBO SPOILERS

The second film I watched today was the superior THE BIG COMBO. I was in love with this movie from the opening shot - a woman, very blonde, very feminine, is running through the shadows at night in an alley behind a boxing ring where a fight is going on. Two massive lugs are running after her, we don't know why. She's wearing a black lace dress, it could be her slip or an evening dress. The sight is arresting and very pulpy to go with the saxophone-heavy jazz music that is blaring all the while.

Had I known this was a Joseph E. Lewis film, I probably would have watched it a long time ago. I think for me the bugaboo was Cornel Wilde, who has never been my favorite actor. Well, I was wrong, yet again - he's outstanding. Take THE BIG HEAT, add LAURA to the mix, and a bit of SWEET SMELL OF SUCCESS, and you'll get just the slightest idea of what THE BIG COMBO is like. It was a movie that just kept getting better and better and BETTER all the way through. I can't remember the last time I saw a movie that built up like this one did, topping itself over and over again, thanks to a tremendous and surprising cast, and some impressive filmmaking.

It starts out slow, with our blonde heroine (and I use that term loosely, this girl/woman has been through the mill), Jean Wallace, running, and the big lugs catching up. She's a mobster's gal, and it's clear she is trapped in the relationship, stifled, imprisoned, constantly watched. She reminded me of Susan Harrison in SSOS, pretty, delicate, terrified. The mobster is Richard Conte. He's a big man he keeps reminding us - "First is first. Second is nobody." Conte is brilliant, no remorse, no guilty conscience. He eats bacon and eggs, or lobster after killing even his closest friends, if they could be called that. His henchmen include Lee Van Cleef (good), Earl Holliman (better), and Brian Donlevy (best). Donlevy, who used to be Conte's boss years before, is having second thoughts about his boss. Donlevy's got a hearing aid, and Conte constantly threatens to bust Donlevy's eardrums, taking the aid's speaker at least once in the movie in order to yell into it, torturing Donlevy, who never knows when it might happen. One wonders how he lost his hearing in the first place. This kind of threatened violence is very effective in the film. Conte is a sadist, it's quite clear. He is always sneaking up on his girl, asking her questions, obsessive ones, then roughly kissing her, holding her from behind, intimating sexual familiarity and sadism we'd rather not think about.

Holliman and Van Cleef are henchmen's henchmen, rather dumb, but a kind of buddy team. Conte has people around him, lots of them. Wilde, the cop, in contrast, has no one. His boss is on his back, trying to get him to give up on Conte - he's too obsessed with him for his own good, or the department's good, more importantly. Boss implies a fixation on blonde girl, Susan, her name is, who Wilde's never even met. We know it's true by Wilde's reaction. Wilde's only friend is his co-worker, Detective Sam Hill, beautifully underplayed by Jay Adler. He was my favorite character - tired, rumpled, lurking just outside the periphery, quietly backing up Wilde no matter what, even at the cost of his job. It was a perfect performance, so realistic it hurt.

Susan the doll, attempts suicide, but fails, and before Conte can whisk her out of the hospital, Wilde has questioned her, finding out Conte's weakness - a name he scrawled on a foggy window once with his finger and then obliterated - Alicia. Meanwhile, the cop is on the track of a man Conte named in a lie detector test - Bettini. Bettini, we discover, is a sweet old man who lies down on his bed to die when Wilde finds his hideout, because he's scared to death that after seven years in hiding, Conte has finally found him. He is wonderfully played by Ted de Corsia (i have to use superlatives as more supporting players show up, they are all just great). He leads Wilde to Nils Dreyer, coldly played by John Hoyt, a swedish boat captain turned antiques dealer, who was payed off by Conte to sink Alicia (who turns out to be Conte's wife) into the ocean. He's bumped off right after Wilde questions him. I gasped when I saw the photo of Alicia, shown at a key plot point, because she was none other than Helen Walker.

Needless to say, Walker does show up and gives a hell of a performance, maybe just a notch above everyone else in the cast for intensity and brilliance. Alicia has gone slightly mad rather than think about the murder her husband committed on board Dreyer's boat, when he bumped off not her, but his boss in the "combo". Donlevy enlists Van Cleef and Holliman to 'off' Conte, but it backfires and he gets a marvelous cringing death scene of his own instead. Van Cleef and Holliman soon follow, blown up by none other than Conte, the thanks they get for remaining loyal to him. Holliman has an exceptionally fine scene ratting out Conte on his deathbed, crying over Van Cleef's body. He actually moved me, though the suspense was such that everything hinged on that moment, so there was no time for tears. Conte, now cornered, and without anyone to take the fall, has a beady-eyed rat-in-a-trap finale, as Susan the blonde trains a car's headlight on him, making him an easy target for the police - payback for the spotlight he put her under for all those years.

I get the impression that Lewis cast Cornel Wilde as a stand in for Dana Andrews - the role is very much a Mark MacPherson role, crossed with Dave Bannion. But Wilde is wonderful. He's dedicated, obsessive, tough, sensitive, hard-boiled and has a very moving moment of self loathing after a stripper girlfriend is shot dead in his apartment. This movie makes me reevaluate him as an actor, though I don't know if he ever had a role as good as this one again.

Did I mention the DP is John Alton? Well, it's as you would imagine - gorgeous!!! Like Rembrandt. You are either in or out of the light, with a slight shade of grey in between, kind of like the story itself. Two men, each obsessive, controlling, but one good and the other bad....with all kinds of grey guys in between. It's exciting, and the very pinnacle of noir, as far as I can tell so far.

[CineMaven]

It was Bob Hope day today, but since they were showing his 1960's comedies, I made it a double feature day, with noir as the theme. It's taken me some time but I think I finally understand what noir fans see in these movies that draws them closer...closer. I couldn't have picked better films than these two and the last one I watched, THE KILLING. I think altogether, these three impressed me more than all the others I've seen already put together.

I know I joke, I kid...but I have to tell you Wendy, that is a BRILLIANT piece of writing with your reviews of "I WAKE UP DREAMING" and "THE BIG COMBO." ( Just call me Roxanne! ) I will have to seek out my French Connection via Texas ( Ollie ) to supply me with Grable and Mature. He has to ship that to me asap b'cuz your review painted such a great picture of what you saw...what you felt. "The Big Combo" is on YouTube so I'll be able to check that out as well. I haven't seen both in decades and eons and millennia.

You're painting images with your words as well as the pix painted by the films:

...someone has been smoking... the smoke hangs in the air in front of Mature's foreground face, alone, and Cregar steps into it - he's literally enveloped in this wave of clingy, wispy smoke ocean. It's wonderful.

One can see how tired she is of guys constantly staring at her, with nothing to offer but their undying obsession.

Cregar gives a tour de force performance, one feels ever so slightly sorry for the guy at the end of the film, much like Kong when he falls from the heights - although Kong wasn't the creep that Cregar is, corrupted by power.

Conte is brilliant, no remorse, no guilty conscience. He eats bacon and eggs, or lobster after killing even his closest friends, if they could be called that.

Susan the blonde trains a car's headlight on him, making him an easy target for the police - payback for the spotlight he put her under for all those years.

Yeah yeah you're busy with a husband and a kid and a l'il dog up where you live. But if you can find time to write like this...some film noir publication oughta KNOW about you and pay you. Oh, and a Westerns publication. And a Pre-Code publication. And a Silents publication. And a

Here's a deleted scene from "I WAKE UP SCREAMING.
[youtube][/youtube]

OLLLLIEEEEE!!!!

* * *

Today is a day of re-makes on TCM. For those who like that wisp of a blonde, there's Constance Bennett at 10:15 in "Two Against the World." The ones I'm most looking forward to..."Libeled Lady" ( 1936 ) and "Easy to Wed." ( 1946 ) Both hilarious.

[movieman1957]

Wendy:

As usual, marvelous. I know Humberstone has directed some westerns so no reason to think this wouldn't be good as well. I went straight to Netflix but they're down.

I've never seen either of these so I hope I can get to them and pick your brain some more.