The Man From Yesterday (Berthold Viertel, 1932) 6/10
A young nurse (Claudette Colbert) marries a soldier (Clive Brook) who goes off to the front. When word comes that he is dead she hooks up with a doctor (Charles Boyer) who comforts her and the baby she has had by her husband. And then the husband returns. Soapy plot that became a staple in Bollywood melodramas works due to the intense romantic scenes between Boyer and Colbert. The film is sumptuously produced, beautifully photographed (by Karl Struss) with a chic Colbert looking sensational dressed by Travis Banton in slinky gowns and she has great chemistry with Boyer while Brook is as stiff as ever.
Last Seen Movie - The Latest Movie You Have Seen; ratings
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Bridal Suite (Wilhelm Thiele, 1939) 1/10
MGM's pathetic attempt at screwball places Robert Young in a "B" production playing a drunk swinging bachelor who jilts his fiancé on his wedding day for a woman (Annabella) from the Alps. Unfunny situations - with Billie Burke particularly annoying doing her dithering, fluttery act - and the french leading lady who was never very comfortable in Hollywood productions. Young is charming but cannot rise above the trite material. A rare turkey from the studio.
MGM's pathetic attempt at screwball places Robert Young in a "B" production playing a drunk swinging bachelor who jilts his fiancé on his wedding day for a woman (Annabella) from the Alps. Unfunny situations - with Billie Burke particularly annoying doing her dithering, fluttery act - and the french leading lady who was never very comfortable in Hollywood productions. Young is charming but cannot rise above the trite material. A rare turkey from the studio.
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Bedtime Story (Alexander Hall, 1941) 8/10
Fast paced screwball comedy deftly directed by Hall. A successful playwright (Fredric March) tries to prevent his leading lady and wife (Loretta Young) from retiring from the stage. The hilarious plot has her divorcing him, marrying another man and discovering the divorce was illegal and her new marriage may label her as a bigamist. The two stars play well off each other with the manic March creating sparks with lady-like Young who is just as wily as him. The superb supporting cast - Robert Benchley, Helen Westley, Eve Arden, Joyce Compton - help and abet both leads. Sparkling film which easily ranks amongst the top screwball comedies.
Fast paced screwball comedy deftly directed by Hall. A successful playwright (Fredric March) tries to prevent his leading lady and wife (Loretta Young) from retiring from the stage. The hilarious plot has her divorcing him, marrying another man and discovering the divorce was illegal and her new marriage may label her as a bigamist. The two stars play well off each other with the manic March creating sparks with lady-like Young who is just as wily as him. The superb supporting cast - Robert Benchley, Helen Westley, Eve Arden, Joyce Compton - help and abet both leads. Sparkling film which easily ranks amongst the top screwball comedies.
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Bear Island (Don Sharp, 1979) 7/10
Despite some absurdities - the cast all speak in strange accents - in this film it is not as bad as critics claimed when it first came out. It barely got released despite the outstanding cast and a plot, based on Alistair MacLean's bestseller, which was full of exciting action sequences, many thrills and the stunning icy location - British Columbia/Alaska - which substituted for Norway. A group of scientists, led by a Norwegian team leader (Richard Widmark who speaks with a german accent), converge in the icy north of Norway for scientific experiments. As in all thrillers things don't seem as they appear and one by one the scientists start getting killed in spectacular fashion - run down by a snow mobile, crushed by an avalanche, blown up by an explosion, kniffed and shot to death. It appears the location houses an old abandoned WWII german U-boat carrying gold bullion. Also part of the team is a hot shot American doctor (Donald Sutherland speaking in a John Wayne drawl who makes a spectacular entrance via helicopter by falling into the icy ocean and whose late father just happened to be the captain on that U-boat), his ex-girlfriend (Barbara Parkins), his old buddy (Lloyd Bridges), a Scandanavian doctor (Vanessa Redgrave hilariously bad trying out a swedish accent - she actually accepted this part right after winning an Oscar for "Julia") and a polish crew member (Christopher Lee - yet another try at an accent). There are enough red herrings to drown a boat and as in an Agatha Christie mystery everyone is a suspect. Exciting chase sequences on skis, nasty Nazi villains and a mystery that is sustained till the end with Alan Hume capturing the dazzling scenery through his camera. Great fun.
Despite some absurdities - the cast all speak in strange accents - in this film it is not as bad as critics claimed when it first came out. It barely got released despite the outstanding cast and a plot, based on Alistair MacLean's bestseller, which was full of exciting action sequences, many thrills and the stunning icy location - British Columbia/Alaska - which substituted for Norway. A group of scientists, led by a Norwegian team leader (Richard Widmark who speaks with a german accent), converge in the icy north of Norway for scientific experiments. As in all thrillers things don't seem as they appear and one by one the scientists start getting killed in spectacular fashion - run down by a snow mobile, crushed by an avalanche, blown up by an explosion, kniffed and shot to death. It appears the location houses an old abandoned WWII german U-boat carrying gold bullion. Also part of the team is a hot shot American doctor (Donald Sutherland speaking in a John Wayne drawl who makes a spectacular entrance via helicopter by falling into the icy ocean and whose late father just happened to be the captain on that U-boat), his ex-girlfriend (Barbara Parkins), his old buddy (Lloyd Bridges), a Scandanavian doctor (Vanessa Redgrave hilariously bad trying out a swedish accent - she actually accepted this part right after winning an Oscar for "Julia") and a polish crew member (Christopher Lee - yet another try at an accent). There are enough red herrings to drown a boat and as in an Agatha Christie mystery everyone is a suspect. Exciting chase sequences on skis, nasty Nazi villains and a mystery that is sustained till the end with Alan Hume capturing the dazzling scenery through his camera. Great fun.
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Wintertime (John Brahm, 1943) 5/10
Typical Sonja Henie musical set in Norway - her last at Fox - has her romanced by Cornel Wilde and Cesar Romero (with romantic rival Carole Landis snapping at her heels) while she gets to skate on ice. The plot involves slapstick involving a hotel owner (Jack Oakie) trying to con Henie's rich uncle (S.Z. Skall) to cough up dough for his derelict hotel. Since the War was on (and Henie was Norwegian) the plot also involves the Nazi invasion of the country. Silly fluff has pleasant musical moments with Woody Herman and his orchestra and Romero gets to dance with Henie.
Typical Sonja Henie musical set in Norway - her last at Fox - has her romanced by Cornel Wilde and Cesar Romero (with romantic rival Carole Landis snapping at her heels) while she gets to skate on ice. The plot involves slapstick involving a hotel owner (Jack Oakie) trying to con Henie's rich uncle (S.Z. Skall) to cough up dough for his derelict hotel. Since the War was on (and Henie was Norwegian) the plot also involves the Nazi invasion of the country. Silly fluff has pleasant musical moments with Woody Herman and his orchestra and Romero gets to dance with Henie.
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Our Souls at Night (Ritesh Batra, 2017) 8/10
Remarkable to see two great stars, both in their eighties, co-starring as leads (almost 40 years after their last teaming and over 50 years after their first) together on screen again. They both bring years of experience - both professional and personal - and it shows in the absolute comfort they share as a couple on screen. A widow (Jane Fonda) approaches her long time neighbour, a widower (Robert Redford), with a proposal that they start spending nights together on a platonic basis in order to talk but mainly for companionship in their lonely old age. Although they both know of each other, having lived in the same town for almost fifty years, they are not friends. He is taken aback and stunned, slightly amused but accepts. And so begins a relationship between the relaxed and extrovert woman and the shy, introvert man. There are minor obstacles along the way - the small town male geriatrics are scandalized but envious (Bruce Dern playing an ascerbic old friend makes fun of Redford's "energy") and the reactions of the couple's family. Fonda's son (Matthias Schoenaerts) cannot believe his mother, at her age, is "living" openly with her neighbour who was his school teacher while Redford's daughter (June Greer) is happy for her father. Nothing much really happens - the film is a slow-burn - yet the two stars totally use their acting skills to inhabit their characters making us forget that we are watching two iconic stars on screen. The marvelous screenplay shows the changes people face as they age and what remains the same. Indian director Ritesh Batra (who made the charming "The Lunchbox") sensitively handles the story and with the delicate performances of both Redford and Fonda this is a lovely romantic film providing hope for one's old age.
Remarkable to see two great stars, both in their eighties, co-starring as leads (almost 40 years after their last teaming and over 50 years after their first) together on screen again. They both bring years of experience - both professional and personal - and it shows in the absolute comfort they share as a couple on screen. A widow (Jane Fonda) approaches her long time neighbour, a widower (Robert Redford), with a proposal that they start spending nights together on a platonic basis in order to talk but mainly for companionship in their lonely old age. Although they both know of each other, having lived in the same town for almost fifty years, they are not friends. He is taken aback and stunned, slightly amused but accepts. And so begins a relationship between the relaxed and extrovert woman and the shy, introvert man. There are minor obstacles along the way - the small town male geriatrics are scandalized but envious (Bruce Dern playing an ascerbic old friend makes fun of Redford's "energy") and the reactions of the couple's family. Fonda's son (Matthias Schoenaerts) cannot believe his mother, at her age, is "living" openly with her neighbour who was his school teacher while Redford's daughter (June Greer) is happy for her father. Nothing much really happens - the film is a slow-burn - yet the two stars totally use their acting skills to inhabit their characters making us forget that we are watching two iconic stars on screen. The marvelous screenplay shows the changes people face as they age and what remains the same. Indian director Ritesh Batra (who made the charming "The Lunchbox") sensitively handles the story and with the delicate performances of both Redford and Fonda this is a lovely romantic film providing hope for one's old age.
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This Was Paris (John Harlow, 1942) 2/10
Good cast in boring film about the Fifth Columnists in WWII France. Spies galore as the Nazis invade Paris. Ann Dvorak, Ben Lyon and Griffith Jones hunt for them while Robert Morley is hilarious running down Americans. Slow and boring.
Good cast in boring film about the Fifth Columnists in WWII France. Spies galore as the Nazis invade Paris. Ann Dvorak, Ben Lyon and Griffith Jones hunt for them while Robert Morley is hilarious running down Americans. Slow and boring.
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The Green Glove (Rudolph Maté, 1952) 4/10
Tired thriller with Glenn Ford cavorting around France looking for a green glove, an old relic, stolen from a church during the War. Chasing him for its whereabouts are George MacReady and his gang of thugs. Slow and unexciting this film only has location work in France to recommend it. Skip it.
Tired thriller with Glenn Ford cavorting around France looking for a green glove, an old relic, stolen from a church during the War. Chasing him for its whereabouts are George MacReady and his gang of thugs. Slow and unexciting this film only has location work in France to recommend it. Skip it.
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The Book of Henry (Colin Trevorrow, 2017) 5/10
This is a very messy film that crams in everything imaginable in its plot - a sassy child genius (Jaeden Lieberher), a dysfunctional family with an out-of-her-element Mom (Naomi Watts), the aw-shucks cute little brother (Jason Trembley), 1980s atmosphere of a small town with more than a whiff of Spielberg - "E.T." & "The Goonies" - suspected child molestation and the creepy neighbor next door, a fatal disease and an assassination attempt. There is much more in this implausable and manipulative screenplay but sifting through it all there are some important life lessons about love and empathy and it becomes hard to stop watching the incredulous way the plot twists lead to a final moment that stops itself short of turning totally absurd. The two children are both outstanding and Watts needs to stop and seriously re-think her career choices.
This is a very messy film that crams in everything imaginable in its plot - a sassy child genius (Jaeden Lieberher), a dysfunctional family with an out-of-her-element Mom (Naomi Watts), the aw-shucks cute little brother (Jason Trembley), 1980s atmosphere of a small town with more than a whiff of Spielberg - "E.T." & "The Goonies" - suspected child molestation and the creepy neighbor next door, a fatal disease and an assassination attempt. There is much more in this implausable and manipulative screenplay but sifting through it all there are some important life lessons about love and empathy and it becomes hard to stop watching the incredulous way the plot twists lead to a final moment that stops itself short of turning totally absurd. The two children are both outstanding and Watts needs to stop and seriously re-think her career choices.
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The Beguiled (Sofia Coppola, 2017) 6/10
Exquisite looking but rather pointless remake of Don Siegel's 1971 film. Coppola intentionally dispenses with the grand guignol finale and a lot of the frustrated heavy breathing that went on in the original. During the Civil War a wounded soldier (Colin Farrell) happens upon an all girl's Catholic seminary and is given shelter by the group of women living in isolation - "the slaves ran away", as someone mentions, thus paving the way for Coppola to conveniently and sensibly avoid overt critical hysteria in her country of origin where matters continue to remain heated over race relations. The women - the kind but strict headmistress (Nicole Kidman who is miscast, looking like a waxwork thanks to all the remodelling on her face and speaking with a southern accent that comes and goes), a virginal teacher (Kirsten Dunst who is superb), a fiery little teenager (Elle Fanning) and two younger girls - are first wary of this intruder but gradually warm up to the male presence in the house and in subtle ways show their attraction. Coppola takes her film in the same direction as the original (though without the violence) but in a deeply languid way which in the end seems rather too genteel - the fox may be amongst the hens but the feathers don't get ruffled enough. Instead the director concentrates more on the "look" of her film - beautifully shot by Philippe Le Sourd whose camera evokes a gothic atmosphere where these women dressed in delicate white costumes simmer with erotic tension in the summer heat. This is a well made film and less may certainly be more but in the end it's like looking at a flag flapping at half mast.
Exquisite looking but rather pointless remake of Don Siegel's 1971 film. Coppola intentionally dispenses with the grand guignol finale and a lot of the frustrated heavy breathing that went on in the original. During the Civil War a wounded soldier (Colin Farrell) happens upon an all girl's Catholic seminary and is given shelter by the group of women living in isolation - "the slaves ran away", as someone mentions, thus paving the way for Coppola to conveniently and sensibly avoid overt critical hysteria in her country of origin where matters continue to remain heated over race relations. The women - the kind but strict headmistress (Nicole Kidman who is miscast, looking like a waxwork thanks to all the remodelling on her face and speaking with a southern accent that comes and goes), a virginal teacher (Kirsten Dunst who is superb), a fiery little teenager (Elle Fanning) and two younger girls - are first wary of this intruder but gradually warm up to the male presence in the house and in subtle ways show their attraction. Coppola takes her film in the same direction as the original (though without the violence) but in a deeply languid way which in the end seems rather too genteel - the fox may be amongst the hens but the feathers don't get ruffled enough. Instead the director concentrates more on the "look" of her film - beautifully shot by Philippe Le Sourd whose camera evokes a gothic atmosphere where these women dressed in delicate white costumes simmer with erotic tension in the summer heat. This is a well made film and less may certainly be more but in the end it's like looking at a flag flapping at half mast.
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British Agent (Michael Curtiz, 1934) 8/10
Dour but interesting historical drama set during the time of the Russian Revolution when Stalin took over the country overnight. A British diplomat (Leslie Howard) tries to convince the Bolshoviks from signing a treaty with Germany and continue to side instead with the Allied Forces. Complicating matters is the woman (Kay Francis) he falls in love with who happens to be Stalin's secretary and spy for him. The leads work well together but the talky script slows down the film. It is rare to see Hollywood siding with the Russians who are portrayed as wanting peace unlike Great Britain during those chaotic times. Briskly directed by Curtiz, wonderfully photographed by Ernest Haller and outstanding production design by the great Anton Grot. Francis, with her husky voice, is a lovely presence throughout.
Dour but interesting historical drama set during the time of the Russian Revolution when Stalin took over the country overnight. A British diplomat (Leslie Howard) tries to convince the Bolshoviks from signing a treaty with Germany and continue to side instead with the Allied Forces. Complicating matters is the woman (Kay Francis) he falls in love with who happens to be Stalin's secretary and spy for him. The leads work well together but the talky script slows down the film. It is rare to see Hollywood siding with the Russians who are portrayed as wanting peace unlike Great Britain during those chaotic times. Briskly directed by Curtiz, wonderfully photographed by Ernest Haller and outstanding production design by the great Anton Grot. Francis, with her husky voice, is a lovely presence throughout.
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Spider-Man: Homecoming (Jon Watts, 2017) 8/10
The spirit of John Hughes appears to be hanging over this film starting with the casting of 21 year old (although he looks 15) Tom Holland (who was introduced as the character in a cameo appearance in last year's "Captain America: Civil War") playing the teenaged Spider-Man of the comics. Previous incarnations had much older actors - Tobey Maguire & Andrew Garfield - playing the character. Like all of Hughes' films this one also has tension and angst at all the right, poignant moments. Holland makes a zesty superhero and plays it like a kid who's just found these fun powers enjoying it all especially the sense of awe he inspires all around. The film also has a wonderful villain in Michael Keaton as Vulture, an ordinary man who is pissed off (aren't we all?), who uses extraordinary gadgets to create havoc. Watts inventful direction keeps things moving at a breakneck pace and the screenplay brings in Captain America (Chris Evans) and Iron Man (Robert Downey Jr) as father figures/mentors who appear at inappropriate moments to give advice. The young teenage actors, playing Peter Parker's high school buddies, are all well cast and add to the humour. Fun filled movie with Holland inspired casting which should give the franchise a much needed boost.
The spirit of John Hughes appears to be hanging over this film starting with the casting of 21 year old (although he looks 15) Tom Holland (who was introduced as the character in a cameo appearance in last year's "Captain America: Civil War") playing the teenaged Spider-Man of the comics. Previous incarnations had much older actors - Tobey Maguire & Andrew Garfield - playing the character. Like all of Hughes' films this one also has tension and angst at all the right, poignant moments. Holland makes a zesty superhero and plays it like a kid who's just found these fun powers enjoying it all especially the sense of awe he inspires all around. The film also has a wonderful villain in Michael Keaton as Vulture, an ordinary man who is pissed off (aren't we all?), who uses extraordinary gadgets to create havoc. Watts inventful direction keeps things moving at a breakneck pace and the screenplay brings in Captain America (Chris Evans) and Iron Man (Robert Downey Jr) as father figures/mentors who appear at inappropriate moments to give advice. The young teenage actors, playing Peter Parker's high school buddies, are all well cast and add to the humour. Fun filled movie with Holland inspired casting which should give the franchise a much needed boost.
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Paradise for Three (Edward Buzzell, 1937) 4/10
MGM's foray here into the screwball genre is not to successful. The ingredients are there - a German industrialist (Frank Morgan) lives incognito amongst his ordinary workers in order to get to know them better. He befriends an unemployed young man (Robert Young) at a posh hotel with whom his daughter (Florence Rice) falls in love while he is pursued by a golddigger (Mary Astor in her first film under contract for the studio). Silly fluff which is clearly a second tier production allowing contract players to hone their craft. Morgan's innocent bluster begins to grate after a while but Astor and Young are quite pleasant to go through the rather tired comic situations.
MGM's foray here into the screwball genre is not to successful. The ingredients are there - a German industrialist (Frank Morgan) lives incognito amongst his ordinary workers in order to get to know them better. He befriends an unemployed young man (Robert Young) at a posh hotel with whom his daughter (Florence Rice) falls in love while he is pursued by a golddigger (Mary Astor in her first film under contract for the studio). Silly fluff which is clearly a second tier production allowing contract players to hone their craft. Morgan's innocent bluster begins to grate after a while but Astor and Young are quite pleasant to go through the rather tired comic situations.
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Brief Moment (David Burton, 1933) 5/10
Lombard's delightful reputation rests on only a handful of films yet she made many before she became big in 1934. Unfortunately most were pretty run of the mill but she was always radiant and a wonderful actress in both comedies and dramas. This is one of her minor films in which she shines as a nightclub singer who falls in love with a rich alcoholic playboy (Gene Raymond). When he continues his lifestyle she begs his rich family not to undulge him but to no avail. Marital complications lead to separation followed by much heartbreak. Silly film is grounded by Lombard's strong sexy presence and an equally good performance by Raymond.
Lombard's delightful reputation rests on only a handful of films yet she made many before she became big in 1934. Unfortunately most were pretty run of the mill but she was always radiant and a wonderful actress in both comedies and dramas. This is one of her minor films in which she shines as a nightclub singer who falls in love with a rich alcoholic playboy (Gene Raymond). When he continues his lifestyle she begs his rich family not to undulge him but to no avail. Marital complications lead to separation followed by much heartbreak. Silly film is grounded by Lombard's strong sexy presence and an equally good performance by Raymond.
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Hotel Reserve (Lance Comfort, Max Greene & Victor Hanbury, 1944) 4/10
Ordinary spy thriller (based on a novel by Eric Ambler) set in pre WWII France. A refugee (James Mason) from the Nazis is accused of being a spy and to prove his innocence he tries to find the actual culprits (Herbert Lom & Patricia Neal). Slow moving film is notable for the appearance of the great Lucie Mannheim as the love interest and even she looks bored in this listless actioner. Hitchcock would have worked wonders with this material.
Ordinary spy thriller (based on a novel by Eric Ambler) set in pre WWII France. A refugee (James Mason) from the Nazis is accused of being a spy and to prove his innocence he tries to find the actual culprits (Herbert Lom & Patricia Neal). Slow moving film is notable for the appearance of the great Lucie Mannheim as the love interest and even she looks bored in this listless actioner. Hitchcock would have worked wonders with this material.