WHAT FILMS HAVE YOU SEEN LATELY?

[JackFavell]

Just in case anyone was stupid enough to fall asleep after the first ten minutes of Lady of Burlesque (like I did), it's available for streaming on Netflix.

[movieman1957]

You're not stupid, just tired.

[charliechaplinfan]

Oh dear! What a wealth this thread brings today!

I love most of Franklin's films, that's why I was curious about him.

The Furies did generate a ton of discussion over at the TCM website 2 or so years ago... it's a really good, unsung western with a lot of family saga overtones. Judith Anderson is just great, I hated her on sight but she is also somewhat sympathetic... love those not quite bad not quite good characters! And Gilbert.... really?? really, you're going to turn down GILBERT for WENDELL COREY???????

Red, you had me laughing hard with your description of boxing, MOM and stickball. Warners all the way.

Did I say I'd turn down Gilbert for Wendell Corey? it wasn't what I meant, no way I'd stick to Gilbert even with Blanche Yurka.

Cinemaven, I think I drew the line across to The Colby's because we hadn't had any of Barbara Stanwyck's other TV programmes over here.

[JackFavell]

Oh, no, Alison! I was talking to Barbara... I still can't believe she turned down Gilbert, and it's been two years since I watched The Furies.

[feaito]

I'm also fond of "Lady of Burlesque" guys.... Hope you catch it again Wendy.

Gary, I agree concerning DD Lewis, John Boles was rather stiff and lacks depth as Newland Archer...I must say though, that sometimes Boles has given better performances and that I'm reconciled with other actors whom I thought stiff and colorless in certain roles...i.e. the young Bob Taylor wasn't very good in "Camille" (1936), but he did a spelndid job in "Maginificent Obsession" (1935) (IMO)

Today I saw a splendid MGM film: "Manhattan Melodrama" (1934) in which Myrna Loy, Clark Gable and William Powell give powerful, sensitive performances. Gable is so likable as the doomed, devil-may-care, noble Blackie; one of his best roles for sure and Bill Powell's (as his righteous childhood pal) heartwrenching plight as Jim the D.A. and later Governor, conveys all his despair torn between duty and his love for his friend. Loy is wonderful. One of the best MGM features I've seen lately.

[JackFavell]

Oooh, I love Manhattan Melodrama! It's perfect!

[feaito]

I forgot to mention that Rodgers and Hart's "Blue Moon" is featured as "The Bad in Every Man"...sounds odd...

[CineMaven]

Cinemaven, I think I drew the line across to The Colby's because we hadn't had any of Barbara Stanwyck's other TV programmes over here.

Ohhhhhhhhhhh. May I ask, where is over here?

...I'm reconciled with other actors whom I thought stiff and colorless in certain roles...i.e. the young Bob Taylor wasn't very good in "Camille" (1936), but he did a spelndid job in "Maginificent Obsession" (1935) (IMO)

I thought Taylor did a grand job holding his own with the great Garbo. Her world-weary experience with his youthful first love. When he gets upset with her and throws his money at her ("...Buy a grave!!!") was very convincing to me. IMO also.

[feaito]

Maybe I'll have to revisit Camille soon to re-appraise Bob Taylor's performance.

[feaito]

Tonight I revisited another film (with my wife who loved it), a delightful farce based upon a James M. Barrie story "Quality Street" (1937), with a gloriously beautiful and flirtatious Kate Hepburn; she was so amazingly beautiful in the thirties! What a doll. Her flawless angular features, her expressive eyes, her lovely smile, her cheekbones....The film is set in England during the Napoleonic Wars (1805-1815). She plays a young woman who becomes an old maid and later masquerades as her own niece to lure his beau (Franchot Tone). The cast is superb and we get to witness one of Estelle Winwood's rare -and winning- performances, as meddling spinster. Fay Bainter is Hepburn's mousy sister and Cora Witherspoon a riot as their maid. Eric Blore is a winking sergeant

[JackFavell]

Quality Street is one of my all time favorite George Stevens movies, Fer! I just had a discussion with someone about it this week, and I thought I was the only one who liked it, but he seemed to enjoy it as well. Hard to believe this little gem of a film helped label Hepburn as "box office poison".

Fay Bainter's scene when she gives Hepburn her wedding dress at the beginning brings me close to tears, her character is so wide eyed and silly, but she gives that small scene such poignancy. I love the two actresses together. Hepburn is a delight, and I really like Franchot Tone as the good natured soldier. It is wonderful to see Estelle Winwood in her prime. I've always thought there was a bit of John Ford's disdain for nosy neighbors in this movie.

[feaito]

I have also become an admirer of this film Wendy. One of my favorite Hepburn films, if not my very favorite is George Stevens' "Alice Adams" (1935), a grand film in which Kate gives one of her best all-time performances. She defintely had rapport with Stevens, because the did three excellent films together ("Woman of the Year" (1942) is the other one). In fact I think that AA was Stevens' breakthrough film thanks to Hepburn.

[feaito]

During June, July and August 2011, I saw many films of which I kept a record and now wrote small opinions of what I remember upong seeing them, here they are:

“Kitty” (1945). Since I was reading Charles Tranberg’s Biography of Fred MacMurray when I watched this film, I had on my mind some fresh insight on Mitchell Leisen’s career. I have read many times that Billy Wilder, Charles Brackett and Preston Sturges weren’t happy with the filmizations of the scripts they wrote for some of Leisen’s most successful films, stating that he cared more about the look or appearance of his films, than about their plot -most notably “Midnight” (1939), “Hold Back the Dawn” (1941), “Easy Living” (1937) and “Remember the Night” (1940)-. In my opinion all these films are quite flawless and perfect.

Kitty is a Leisen film which showcases perhaps one of Paulette Goddard’s finest performances as the very poor girl of the title, with a terrible cockney accent, who by chance, while stealing a pair of shoes from famous painter –Sir Thomas Gainsborough (Cecil Kellaway)- becomes involved in a web of events that ultimately leads her to become a high-ranking aristocrat (by marriage) and a very wealthy woman. Goddard’s beauty, skill, Leisen’s direction and the wonderful costumes she gets to wear, and the blending of comedy and dramatic elements make this film a joy from start to finish. She works well with Ray Milland, who is cast in an unpleasant role, as the cad who plans Kitty’s “Pygmalionic” transformation into a lady, with the aid of his aristocratic aunt who has a weakness for booze, played deftly by Constance Collier –a hoot-. Patric Knowles plays another of Kitty’s suitors, who’s much more likable than Milland. Sara Allgood is the wretched woman who leads the band of female-robbers to which Kitty belongs in the beginning of the film and Reginald Owen is a delight as a Duke who ardently pursues Kitty.

A wonderfullly entertaining picture and a living proof that Leisen had talent and made good films, outside those masterpieces scripted by Wilder-Brackett and Sturges.


“To Each His Own” (1946). The following film I saw after Kitty, was yet another Leisen film which I had –also- long anticipated, because it earned Olivia De Havilland her first Academy Award.

The film is reminiscent of “Stella Dallas” (1937) and “The Old Maid” (1939). Olivia impersonates a young girl from small American town, who’s very popular with the boys, especially by one of its scions, but she’s not interested, because she’s waiting to fall madly in love with one prince charming. Enter dashing pilot John Lund (in his film debut) who sweeps her off her feet. Then the drama begins. This part of the film is set during WWI.

The story is told via flashback when Olivia, already a mature, embittered, hardened woman, is shown when an air raid is taking place in London during WWII. Roland Culver plays first her nemesis, who after and event “on the roofs of London” turns into her suitor and admirer.

I found Olivia’s performance as a lovesick girl who turns into a ruthless, rich businesswoman very good, but I think that her performance in Leisen’s “Hold Back the Dawn” (1941) is superior and worthier of an Academy Award. TEHO is surely well done, but belongs more to the dramatic-soap opera tradition, although Leisen’s deserves kudos for not making it fall into the overly sentimental, maudlin territories of this type of films.

John Lund’s double performance as the flier and his son is good, but I was more impressed by Roland Culver’s performance. John Lund’s performances always have a certain stiffness to them, I really don’t know how to explain it, but probably he hadn’t much range as an actor, although he did fine in dramas and comedies alike.

Another film which demonstrates Leisen’s skill and talent and that proves that his career deserves to be revised and reappraised.

“Latin Lovers” (1953) I remember that when I watched this film many times as kid, I enjoyed it very much each time , due to its simple premise and attractive and colorful mise-en-scene (top MGM production values and the story of the millionairess whose money turns to be a burden). From an adult’s point of view though, the film is just an amusing trifle in which Lana Turner gets to wear a lot of beautiful gowns and that stiff & short hairdo she used in the 1950s. Jean Hagen shows more dramatic range as an actress in the role of Lana’s secretary. Colorful and amusing.

“Forbidden” (1932) Very good drama with Barbara Stanwyck and Adolphe Menjou, which is quite reminiscent of “Back Street”. Stanwyck gives a terrific performance under Capra’s good direction and Adolphe Menjou gives a warm impersonation of her lover. Ralph Bellamy (third billed) plays a completely different role for a change

“Pagan Love Song” (1950) A much better and entertaining film than I expected. I enjoyed this frolic, partly filmed on location in Hawaii, with Esther as a half native, half white girl who dallies with Howard Keel. There are some fine musical sequences.

“Thrill of a Romance” (1945) I had seen this film many years ago and I liked it more the second time around. Esther is a bride left to her own devices in a mountain resort, because his husband has some business to attend; enter GI Van Johnson and a colorful supporting cast that includes Frances Gifford, Lauritz Melchior (on diet), Spring Byington, Ethel Griffies and Henry Travers

“Hands across the Table” (1935) One of the best romantic comedies I’ve ever seen; a superb pairing of Carole Lombard and Fred MacMurray and, arguably, their best film together. This is one of those films I could see many times –and in fact it’s the third time I watch it-, because it’s highly enjoyable and well performed all around. The chemistry between Lombard and MacMurray is perfect. And that scene after Carole impersonates a Telephone operator to cheat Fred’s fiancée, and they end laughing out loud on the floor –for real-, is a hoot!

“Sally, Irene and Mary“ (1937) Just so-so vehicle for Alice Faye. Of interest because she co-starred with husband Tony Martin and Gregory Ratoff’s florid performance.

“That Midnight Kiss” (1949) I enjoyed very much this Mario Lanza musical in which he portrays a truck-driver turned into an Opera singer. He and Kathryn Grayson make a perfect screen couple; her dislike of him is not apparent onscreen. Ethel Barrymore is always a plus to any film and I did not remember that Marjorie Reynolds played Lanza’s girlfriend. Enjoyable.

“Million Dollar Mermaid” (1952) I did not expect much from this biopic, but I must admit it is one of Esther’s most engrossing films. Her pairing with Victor Mature is surprisingly good and the plot is quite absorbing. A good musical; some awesome musical sequences.

“The Mayor of Hell” (1933) I loved this Jimmy Cagney Pre-Coder, directed by Archie Mayo, set in a Boy’s Reformatory led by despicable Dudley Digges. Madge Evans plays a nurse who cares for the boys and who’s Digges’ nemesis until Cagney comes along, appointed as the new superintendent of the Reformatory with his pals of the underworld. Frankie Darro, as a mini-Jimmy Cagney sent to the Reform School, along with other pals, and the other kids in the cast are terrific. A completely engrossing Precoder.

“The Adventures of Robin Hood” (1938) I revisited the Blu-Ray release of this film an I was in awe of the quality of the restored Technicolor print. A perennial Classic.

“Confessions of a Nazi Spy” (1939) I watched another great WB film dealing with infiltrated German-American Nazi sympathizers who work as spies for the Third Reich within the US. Francis Lederer demonstrates his standing as the great actor he was. George Sanders is utterly nasty and Ed. G. Robinson is the heroic FBI Agent. Paul Lukas is equally good in an opposite role to the one he played in “Watch on the Rhine” (1943), here he impersonates a scheming doctor.

“The Glass Slipper” (1955) This version of Cinderella was a fixed favorite when I was a kid. Leslie Caron’s waiflike charm is pivotal to the success of the film –she’s the most credible Cinderella I’ve ever seen. The supporting cast is exceptional, especially dear Estelle Winwood as the Fairy Godmother and Elsa Lanchester as the Stepmother. I liked the fact that Cinderella is played by an unconventional beauty, with big sad eyes and the two stepsisters are played by two conventionally beautiful actresses.

“She Married Her Boss” (1935) Claudette Colbert is superb as the secretary who takes the responsibility of being in charge of boss’ Melvyn Douglas home and his rebellious daughter (Edith Fellows, great!) to Douglas’ sister chagrin (Katharine Alexander, a very good actress). Jean Dixon (another favorite) plays Colbert’s pal. This should be on DVD!!

“The Big Country” (1958) Rousing, epic Western with a star studded cast: Gregory Peck as the gentile easterner who goes West to meet fiancée Carroll Baker, a strong-willed, wild beauty; Charlton Heston plays the foreman of Charles Bickford’s huge ranch (Baker’s dad) and lovely, demure, but equally strong-willed Jean Simmons, plays Baker’s friend and the town’s teacher, who also owns an important amount of land (her father was an important ranch owner). Burl Ives is Bickford’s nemesis (they fight over the control of land and water) and Chuck Connors (one of Ives’ sons) plays one of the most despicable, cowardly characters ever. In all, a very entertaining and well-done film by masterful William Wyler.

“The Shanghai Gesture” (1941) This is another film I felt the need to watch because when I saw it for the first time Von Sternberg’s bizarre, baroque, decadent mise-en-scene fascinated me, with Ona Munson as a kitschy Mother Gin Sling, a character that could had perfectly been played by Marlene. Gene Tierney is Victoria aka Poppy, a spoiled, rich heiress who becomes addicted to booze, sex and gambling, falling under Victor Mature’s and Munson’s control. Walter Huston plays her father. Stunning.

“Gentlemen Prefer Blondes” (1953) I revisited this film to show it to my sister, her husband and two pals; they loved it and its saucy musical numbers! For me, one of Marilyn’s and Jane’s very best. Non-stop entertainment…And who can top Charlie Coburn as a lecherous old man?

“Soylent Green” (1973) A Sci-Fi film set in a very sad, depressing future with Charlton Heston as a policeman and Edward G. Robinson (in his last film) as his sidekick. What Heston discovers at the end of the film is not a pretty picture. Very interesting.

“The Curse of the Golden Flower” (2006) This Chinese film has become a favorite and it’s the 3rd time I watch it. The Blu-Ray edition is so awesome and stunning…the bright colors, the incredible costumes, furniture and décors look amazing, enhancing the dramatic aspects of this story. Gong Li is just short of ravishing!

“Kiss of Death” (1947) EXCELLENT NOIR!! Arguably it has Victor Mature’s best performance and Richard Widmark as one of the scariest villains of cinema’s history. This is a solid movie from all points of view, which contains great performances. I can’t believe I hadn’t seen it.

“The Long Hot Summer” (1958) Paul Newman’s and Joanne Woodward’s love scenes ignite the screen and so do Lee Remick as the flirtatious wife of Tony Franciosa. A great drama in which Burl Ives plays a role reminiscent of Burl Ives’ Big Daddy from Cat on a Hot Tin Roof, released that same year.

“The Long Gray Line” (1954) I liked this John Ford film, although for me it’s not one of his best and as a matter of fact in my opinion, notwithstanding their good performances, Tyrone Power and Maureen O’Hara, looked old for their roles at the beginning of the film. Nevertheless a John Ford film is always worthwhile.

“Scaramouche” (1953) Another “re-visit”; one of my very favorite swashbucklers in stunning Technicolor and with a great cast. Eleanor Parker and Janet Leigh are both so beautiful!

“Tonight or Never” (1931) I liked this early talkie about prima donna Gloria Swanson, dressed by Coco Chanel, no less, because Melvyn Douglas plays different kind of character, closer to a Latin Lover type, full of ardor for his beloved Swanson. Entertaining, sexy and visually handsome.

“Dive Bomber” (1941) Excellent aviation film with Errol Flynn and Fred MacMurray, one of the best I’ve seen.

“And So They Were Married” (1936) Very amusing comedy of widowed parents (Mary Astor and Melvyn Douglas) vacationing in a mountain resort with their respective daughter and son. Edith Fellows and Jackie Moran as the feuding kids –they try to ruin their parents’ romance- do a great job. Douglas and Astor have chemistry and work well together.

“Centennial Summer” (1946) Very entertaining musical set in the 1870s which is quite reminiscent of “Meet Me in St. Louis”, but which has a charm of its own and beautiful Jerome Kern score, most notably “In Love in Vain”. Walter Brennan –he looks so different in this film, I almost did not recognize him- is the patriarch of the Rogers family; Dorothy Gish is dear mum and beautiful Jeanne Crain and Linda Darnell are their eldest daughters. Ms. Darnell is courted by William Eythe, but when auntie Connie Bennett (Gish’s sister) arrives for a visit from Paris, she sets her wills on dashing Frenchman Cornel Wilde (Bennett’s late husband’s nephew). Bennett is delightful as a sort of Merry Widow who attracts the attention of all the men, including her sister’s husband. A delight.

“I’ll Take Romance” (1937) This is the first Grace Moore vehicle I have ever seen and I liked it very much, although it’s one of her minor films. She plays an opera diva (she really had one of the finest voices among the Opera-Operetta divas who has a career in Hollywood) who’s being pursued by impresario Melvyn Douglas, who doesn’t want her to break her contract to sing in Buenos Aires. Helen Westley is a hoot as Moore’s Ex-Operatic Diva Grandma.

“Strange Cargo” (1940) Every once in a while I have to revisit this offbeat, allegorical film, which in my opinion contains Crawford’s and Gable’s best pairing under master Borzage’s deft direction. Full of underlying meaning and not the typical Hollywood stuff of the time. Most engrossing.

“A Night to remember” (1942) One of the best comedies I’ve seen lately with Brian Aherne as a writer who moves with his wife (Loretta Young) to a basement to find inspiration for his next mystery novel. The building in which they live hides a mystery and all its inhabitants seem to have a silence pact. Superb entertainment, with Gale Sondergaard as yet another eerie character; a film that should be revisited!!

“The Bachelor Father” (1931). Fine little film with aristocratic C. Aubrey Smith as a British peer, trying to reunite his illegitimate offspring: a British lad (Ray Milland, very good), an American free-spirited, spontaneous girl (aptly played by Marion Davies) and an Italian (Nina Quartero). The “children” enliven Mr. Smith’s life, especially Davies, who is courted by the very proper Ralph Forbes. Very amusing. Guinn “Big Boy” Williams plays Marion’s brother, a daredevil pilot.

“Magnificent Obsession” (1935). A very fine version of Lloyd C. Douglas’ book, with Irene Dunne and Robert Taylor doing an excellent job, as the leading characters. This film delivered much more than I expected and I think it stands its own against the better known 1955 Wyman-Hudson blockbuster. This film made Bob Taylor a star and he’s exceptionally good, considering it was one of his first important roles. In fact, I think he performs much better here than in “Camille”.

“Father was a Fullback” (1950) Agreeable, harmless comedy of Football coach Fred MacMurray trying to improve his team’s luck and coping with his daughters’ shenanigans (Betty Lynn and Natalie Wood). Maureen O’Hara plays the coach’s sensible wife and Thelma Ritter is their sarcastic maid.

“My Sister Eileen” (1942) Another great comedy by Columbia filmed (IMO) in the same basement than the aforementioned “A Night to Remember” (1942), with Roz Russell and lovely Janet Blair trying to do good in the big city; very funny and engaging. Brian Aherne plays Russell’s boss and beau. George Tobias is a riot as Russell’s and Blair’s “artist” landlord. A must!

“The Last Mile” (1932) Powerful, timeless, gritty film, about convicts condemned to death who are being sent to the electric chair, with Preston Foster giving a superlative performance. Howard Phillips plays a young man condemned to death for a crime he claims he’s not guilty of and who’s caught in the midst of a riot. Daniel L. Haynes (of Hallelujah! fame) plays one of the fellow convicts at death row. A landmark movie.

“She Wouldn’t Say Yes” (1945) I did not plan to watch this film again, because I had seen it only a year ago, but it captured completely and watched it all over again. Roz Russell’s comedies are so good that one cannot help watching them again and again. In this movie she plays a no-nonsense psychoanalyst who is pursued by cartoonist Lee Bowman (with the aid of Russell’s zany dad, Charles Winninger). Adele Jergens plays an alluring femme fatale who believes she’s responsible for the deaths of every man who kisses her. Delightful film!

“Her Cardboard Lover” (1942) This film has the infamous fame of being one of the two movies which ruined Norma Shearer’s career. Well, like many times before I did not find it half as bad as it was said to be. Not a perfect comedy by any means, Ms. Shearer displays a charm for comedy as a woman pursued by Bob Taylor, but who’s really in love with nasty George Sanders. Harmless, entertaining fluff.

“Manslaughter” (1930) Very good Precoder about completely irresponsible heiress who loves speed and high life, until she stretches her luck too much. Fredric March is the sensible D.A. who in spite of being in love with her has to send her to prison for manslaughter. Emma Dunn is Colbert’s aunt. Very well done.

“There Goes My Heart” (1938) Mildly engaging comedy of rich heiress Virginia Bruce, who’s lived a secluded, guarded life due to her grandfather’s (Claude Gillingwater) iron will, who manages to escapes his yacht and pretends to be a poor working girl and goes to live with funny Patsy Kelly and jealous, ambitious Nancy Carroll (in one of her last roles). Fredric March plays a reporter who’s looking for an exclusive on the heiress’ shenanigans and Eugene Pallette is his newspaper’s editor.

“Raise the Red Lantern” (1991) Superb Chinese about the lives of landlord concubine circa 1930, starring Gong Li as his most recent acquisition. Beautiful cinematography, hauntingly paced and directed and wonderfully acted all around. Lust, passion, betrayal, jealousy, madness perfectly blended by masterful director Zhang Yimou

“Sons and Lovers” (1960) Excellent British picture about motherly love and social non-conformism with Wendy Hiller delivering another great performance who has high expectations for his favorite son’s future (Dean Stockwell in a nuanced performance) as a painter and is strongly against him following his father’s footsteps in the coal mine, just as other of his sons did, and died later on. Heather Sears plays Stockwell’s love interest in an ethereal performance, who due to her sexually repressed mother’s issues cannot fulfill an adult relationship with her love. Trevor Howard is Hiller’s coarse but lovable husband. One cannot refrain to feel sorry for what his marriage and relationship with Wendy Hiller became due to the hardships of life. Mary Ure plays the beautiful character of a liberated woman who has an affair with Stockwell. A great picture.

“Son of Fury” (1942) Yet another revisit. One of Ty Power’s best adventure films in which he plays Benjamin Blake, a nobleman whose title and position has been unfairly usurped by his evil uncle (George Sanders). Directed by John Cromwell, who casted his wife Kay Johnson as Sander’s wife, a woman who truly loves his political nephew, especially because she was in love with his late father and should have married him, but he chose a woman of lower-birth. Frances Farmer (beautiful!) plays Power’s scheming cousin. Gene Tierney is the lovely South Seas woman who breaks Benjamin’s shell and gives him all the uninterested love he only got from his grandfather (Harry Davenport).

“To the Last Man” (1933) Very good early western with Randolph Scott and Esther Ralston as members of feuding families, who in spite of that fall in love for each other. This film has a daring sequence in which Miss Ralston swims sans clothes. Very entertaining story and a great supporting cast: Buster Crabbe, Gail Patrick, Noah Beery, Jack La Rue, Barton MacLane et al.

“Colonel Redl” (1985) Haunting masterpiece set in the last days of Franz Josef’s of Austria crumbling empire, which focuses on the raise and fall of a military officer (superbly portrayed by Klaus Maria Brandauer who conveys brilliantly all the conflicts of the title character). The director aptly captures the atmosphere of decadence, corruption and political intrigue of that Era. 9/10 film.

“Night Flight” (1933) I had previously seen a horrible print of this film, so it was a blessing to watch this fine print released by Warners. One of the most interesting aspects of this feature is its all-star cast, its visual style and un-commercial approach to film making. Although it’s indeed flawed in some ways –at times is pacing gets cumbersome- and it would have benefited from better editing, it’s very worthwhile to see, especially due to its subject. John Barrymore as the general manager of the aviation company at times hams it up too much, but nevertheless it remains a fascinating film.

“Father is a Bachelor” (1950) Quite harmless, little, unmemorable sentimental comedy with Bill Holden as singing loafer who befriends a bunch of appealing orphaned kids. Coleen Gray as his love interest is just nice. Charles Winninger as Holden’s sidekick is funny. Watchable.

“The Cat and the Canary” (1939) Good whodunit comedy, but not as funny as Hope’s and Goddard’s 1940 “The Ghost Breakers”. Spooky film about an inheritance, a manor, a hidden necklace, a monster and a crime in the Bayou, when a group of people gather for the lecture of millionaire’s will. A good cast that includes Gale Sondergaard, Elizabeth Patterson, George Zucco, etc.

“Meet the Stewarts” (1942) Nice little comedy about newlyweds Frances Dee and Bill Holden trying to live on his budget (she led a pampered life with her rich dad and has to cope with her new situation- she tries hard, but….) Funny, sweet and enjoyable. Miss Dee plays skillfully the daffy heiress type. Margaret Hamilton has a small role as the maid “Willemetta” and she’s a hoot!

“Come Live with Me” (1941) Agreeable comedy with Jimmy Stewart giving all his roguish-boyish charm to a role tailor-made for him, playing opposite alluring Hedy Lamarr as lovely Viennese refugee in NYC during WWII. Ian Hunter and Verrée Teasdale are quite delightful as Lamarr’s protector (a publisher) and lover and his sophisticated wife, respectively, who have a very “open” marriage.

“The Crash” (1932) Good precoder with Ruth Chatterton as woman of “loose” morals who dallies with a series of beaus while married to ineffective, bland George Brent, in a very thankless role. Henry Kolker and Paul Cavanagh fare much better two of the men in Chatterton’s love life.

“The Prisoner of Zenda” (1922) This Silent version is different from the 1937 and 1952 films; I’d say that it is more straightforward, lacks details present in the plot of the aforementioned sound versions and also lacks the warmth and charm of the 1937 Colman film. The actors in general cannot match the allure and appeal of the cast of the 1937 Classic. In all, an entertaining film, but not truly memorable.

“One Rainy Afternoon” (1936) Highly amusing frou-frou with a Casanova-Don Juan character (played expertly by Francis Lederer, who’s very good in the role of a mischievous actor who falls for socialite (Ida Lupino)). Very charming movie, with a gallery of appealing supporting characters –Donald Meek Hugh Herbert, Erik Rhodes, Roland Young, Mischa Auer et al. A very worthwhile little gem of a film in which Lederer proves his charm and talent, which was produced by Jesse Lasky and Mary Pickford and released through UA, just like those other gems “The Gay Desperado” (1935) (Lupino and Nino Martini directed by Mamoulian) and “The Gay Deception” (1935) (Frances Dee and Lederer directed by Wyler).

“The Picture of Dorian Grey” (1945) Elegant, polished, eerie MGM adaptation of Wilde’s story with Hurd Hatfield as the personification of heartlessness. Angela Lansbury’s performance as Sybil is lovely and George Sanders is shamelessly vain and shallow as the man who leads Dorin into the darkness and perdition. Very good film.

“Moguls and Movie Stars” (2010) Well produced 7 episode documentary which I found interesting but which I must admit disappointed me a little bit, because there was nothing new in it –at least for me.

[CineMaven]

Maybe I'll have to revisit Camille soon to re-appraise Bob Taylor's performance.

No no...you've got your hands full. Besides...maybe it's just that I like gazing at Robert Taylor. It's not a purely 'critical' response I have of him.

Quite a list of movies you've seen there. I'm going to have to read your critiques on my subway ride into Manhattan. Wow!!