by ·Comments Off on Night of the Hunter (1955, Charles Laughton)

After the cops nab father Peter Graves (star of Parts: The Clonus Horror), false priest Robert Mitchum moves in and takes care of mother Shelley Winters, then starts working on the kids to reveal their bank robber dad’s missing loot until they escape downriver and find a protector in Lillian Gish. I wasn’t getting the fantasy storybook quality of this movie when I watched it thirty years ago on TCM, just the plot and some odd moments, such as Mitchum popping up like a cartoon to get shot by Gish at the end.

Terrence Rafferty:

[Screenwriter James] Agee was steeped not only in the right kind of southern sensibility but also in the work of the silent-film pioneer D. W. Griffith, which Laughton, with near miraculous intuition, believed should be the touchstone for the telling of the story; Griffith was the master of heightened, poetic melodrama, and that’s what Laughton wanted for The Night of the Hunter. He screened as many of Griffith’s movies as he could dig up at the Museum of Modern Art, and hired the terrific cinematographer Stanley Cortez, who had done brilliantly imaginative work in black and white on Orson Welles’s second film, The Magnificent Ambersons. The black-and-white imagery of The Night of the Hunter is in a different, more deliberately archaic style from that of the Welles film, keyed to the basic emotions of love and fear, just as the great silent movies were.

David Ehrenstein:

The Night of the Hunter has the feel and the force of an American folk fable; yet, it’s a curious and highly eccentric sort of folk fable, mixing, as it does, rural humor with gothic humor, biblical quotation and Freudian symbolism, and everyday realities with a near-mythic confrontation between the forces of good and evil. … It may be frightening, but not in the melodramatic manner of a conventional thriller. Its story is told from a child’s viewpoint, yet it has nothing in common with the likes of Disney or Spielberg. Then, there is its style to contend with—an incredible mixture of naturalistic three-dimensional space on view one moment, replaced by theatrical two-dimensional images the next. It is clear what the film is aiming at: images from our nightmares, brought into the lucid light of day.

Only instance in history of an adult in a movie believing a kid over another adult:

Bad shadow:

Good shadow:

by ·Comments Off on The Tarnished Angels (1958, Douglas Sirk)

Sirk with the same great cast as Written on the Wind – inconsistent dubbing, but the greatest widescreen staging and overheated actors. Our doomed lovers are even more inevitably doomed than ever before, since they are daredevil pilots with engine problems.

Inspiration for Slack Bay:

In 1932, after Robert Stack’s own plane crashes he attempts to sell his wife Dorothy Malone to hotheaded businessman Ord in exchange for a new busted plane. Stack’s loyal mechanic Jack Carson gets the Ord plane working, but not well enough to keep it from plowing into the sea. Rock Hudson is an audience-surrogate reporter who becomes obsessed with this group, is fired from his outlet for insisting on covering air shows, then fails to pick up Dorothy after her husband dies.

Yui is the best, despite his allergy to capital letters.

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Crankin’ Hank, later the villainous foreman of Days of Heaven:

The kid’s a star, also in Hitchcock, Boetticher, and Nick Ray movies:

by ·Comments Off on Laughter (1930, Harry d’Arrast)

Starving artist Glenn Anders (Lady From Shanghai) loves Nancy Carroll (Broken Lullaby), but Nancy loves Parisian Fredric March (romantic lead(s) of I Married a Witch), but she is married to older Frank “The Wizard of Oz” Morgan. She’s right to prefer March – he’s a charming nut, playing piano duets with the servants and romping around wearing bear rugs. Among all this romantic intrigue, the husband makes eight million dollars on a business deal and nobody in the family can be bothered to care. There’s a cute stepdaughter, and the artist tries smooching her, but ultimately decides to shoot himself since he can’t have Nancy, an act which shocks her into leaving her rich husband for March.

Bonding with stepmom:

Moments before they’re arrested for breaking into this house:

by ·Comments Off on While the City Sleeps (1956, Fritz Lang)

Kane Kyne Enterprises runs a sensationalist newspaper/TV empire. As is often the case in crime reporting movies, it’s not enough for these guys to cover the big serial killer story, they have to solve it before the cops do, in order to create new stories to cover. Vincent Price is the spoiled kid who just inherited the company, playing power games by creating an executive director position and watching the company leaders fight for it. In the game: big brit George Sanders, big eyebrows Thomas The Kid Mitchell, and small mustache James Craig (Side Street). Free agent Dana Andrews is a TV newsman trying to get away with his fiancee before getting pulled into all this drama. For once the women are just as important in the story. Rhonda Fleming is Price’s hotwife, sleeping with the small mustache guy, which somehow lands him the big job. Ida Lupino is Sanders’ gal, kissing up to Dana to coerce and/or blackmail him into helping. Sally Forrest (star of a couple Lupino-directed dramas) is Dana’s gal, who he puts in danger by trying to bait the killer. All this leads to more and more inter-office drama, the news people caring less about the actual serial killer, who tries to reassert himself with some serial killings, but gets caught in a futile newspaper exclusive. Last-minute scale-tipping rewards the (relatively) virtuous and interferes with an employee’s honeymoon, as was always happening in 1950s workaholic movies.

by ·Comments Off on Reminiscences of a Journey to Lithuania (1972, Jonas Mekas)

“Hey, I escaped the ropes of time once more.” Between shorter beginning and end chapters, the hourlong middle is a diary of a week spent with family in Lithuania, in a hundred numbered chapters. Handheld scenes, sometimes nicely composed and sometimes quick and jittery, with in-camera editing. See: Sicinski

Jonas and mother:

Episode 61: the duck was captured but not harmed:

by ·Comments Off on Confessions of an Opium Eater (1962, Albert Zugsmith)

Odd human trafficking spy/rescue story, less furious than The Furious but overall better, set in 1900ish San Francisco. Yet another movie where newspaper men have to solve local crimes themselves, sneaking around to find kidnapped brides held in bamboo cages. All the dialogue is philosophical quotes. Costarring every Asian guy they could round up to play Chinese (including the Chinese-Hawaiian Richard Loo, who played Japanese in The Steel Helmet, and the Korean-American Philip Ahn, who’d play a doctor in Shock Corridor), I found nothing wrong with the movie’s politics except when it scared a cockatoo into trying to fly while tied to a perch.

Vincent Price is a rogue element stepping into the middle of a gang war filmed on Western sets, hmm. Nice freakout scene with masks, skulls, funhouse lenses, and zoo animals. In the middle of the rescue operation Price has a couple hours to kill until the girl auction starts, so he stops to smoke some opium. Soon afterwards when he’s accosted by baddies, the drug has given him super-slo-mo powers.

Feels like a Messiah of Evil / Carnival of Souls indie. Zugsmith produced a couple Sirk films and Touch of Evil before cementing his legacy with MST3K-bound pictures about wayward high schoolers. As far as I can tell, the source book by Thomas De Quincey (best known as originator of Suspiria) is an 1810s drug memoir and contains no human trafficking thriller story. The Monthly Film Bulletin review excerpted on wiki is spot on, just add “(complimentary)” to the end of each sentence.

Philip Ahn and Vincent have the same tattoo:

The late Richard Loo faked his death, joins Price for the final fight:

Angelo/Master has a cameo:

by ·Comments Off on Try and Get Me (1950, Cy Endfield)

Ultimately a sappy social-issues message movie, worse than My Son John, ending up with an angry mob of college hunks assaulting the precinct. Everyone in this town should be in jail. But it had a promising enough beginning, when broke idiot Frank Lovejoy (played cops in House of Wax and In a Lonely Place) meets high-pantsed wealthy showoff Lloyd Bridges at a bowling alley and gets hired to drive for robberies.

Robberies are working out fine, so they try kidnapping a kid with a rich dad, but Lloyd kills the hostage. Of course Frank has been lying to the wife (Kathleen Ryan, still attracted to heist men after Odd Man Out), but he starts drinking heavily to kill his conscience, the movie blurring accordingly, then drunkenly gives up the plot to his new girlfriend. Per Rosenbaum, the last of Cy Endfield’s movies to be released before he fled the country because of the anti-commie goon squad.

by ·Comments Off on The Scenic Route (1978, Mark Rappaport)

Dry Detached Experimental Arthouse Cinema but with a bit of dramatic heat, via heightened music, color, poses.

Estelle narrates from her notebooks. “I pretended I was malleable… I know it’ll happen again.” Her troublesome sister comes to stay, and they juggle two men between them – mostly Mustache Paul but also Estelle’s ex Jack, counting down until at least one of these men gets murdered.

They seem to have no life or interests besides men and each other. They all disco dance in the living room, because it is 1978. Eventually Paul tries to sister-swap, creeping into Estelle’s bed, not having listened to the backstory to realize this is how you get stabbed.

Mostly the movie isn’t a straight narrative but a Ruizian carousel of framing games. The DP has range, shot this and Girlfriends, Q: The Winged Serpent, The Dead, and Freddy vs. Jason. Mustache Paul is better known as a writer of Meet Joe Black.

by ·Comments Off on Panic in the Streets (1950, Elia Kazan)

Another 1950s movie about an underpaid, overworked guy who neglects his wife in favor of his job. This time instead of a newspaper man, he’s a US health guy trying to save the country from a deadly outbreak, slightly more excusable. Our guy is Richard Widmark (same year as Night and the City and No Way Out) and the wife is Midge from Vertigo… he’s neglecting Midge! So, it’s back to being inexcusable.

Murderer Jack Palance (in his sharp-faced debut) isn’t about to let himself get caught, and he’ll throw any obstacle or friend under the bus to escape from the cops assisting the health guy, not realizing (or giving two shits) that the immigrant he knocked off was patient zero. I’m surprised his whiney friend Zero Mostel makes it all the way to the end. Their other friend Tommy Cook (American Guerrilla in the Philippines the same year), sick on a stretcher, gets hurled down the stairs as a diversion. Meanwhile, Widmark tries to convince any of the locals to help but everyone is uncooperative.

In the end, Jack Palance is defeated by a baffle on a rope, exactly the same way I stop squirrels from getting to my bird feeder.

My main takeaway is that I don’t see Richard Widmark often enough, and I could easily program a Richard Widmonth with ten good movies I haven’t seen before:
1947 Kiss of Death
1948 Road House
1948 Street With No Name
1950 No Way Out
1952 Don’t Bother to Knock
1955 The Cobweb
1961 Two Rode Together
1961 Judgement at Nuremberg
1964 Cheyenne Autumn
1968 Madigan