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Synopsis:
After accidentally sending the wrong man to the gallows, Superintendent Grodman (Sydney Greenstreet) is released from duty and replaced by ambitious Superintendent Buckley (George Coulouris). When another murder takes place, both Grodman and Buckley try to determine who among a host of suspects — including a dance hall singer (Joan Lorring), a landlady (Rosalind Ivan), a detective (Paul Cavanagh), and an artist (Peter Lorre) — is guilty.

Genres, Themes, Actors, and Directors:

• Detectives and Private Eyes
• Don Siegel Films
• Falsely Accused
• Murder Mystery
• Peter Lorre Films
• Sydney Greenstreet Films

Review:
Don Siegel’s directorial debut received decidedly tepid reviews upon its release, with Bosley Crowther of The New York Times labeling it a “thoroughly unimpressive picture”. But Crowther’s assessment is inaccurate: while The Verdict isn’t quite a classic, it’s both atmospheric and suspenseful, and certainly worth a look. It’s great fun to see Greenstreet and Lorre in their final onscreen pairing, with Lorre’s performance especially enjoyable (what other actor could get away with calmly stating, “I’ve done three stabbings in a row; how about a nice strangling for a change?” and make it seem realistic?). Siegel does an excellent job pointing fingers at a host of possible suspects, and the final plot twist comes as quite the surprise.

Redeeming Qualities and Moments:

• Sydney Greenstreet as Grodman
  
• Peter Lorre as Grodman’s loyal friend, Victor Emmric
  
• Highly atmospheric cinematography
  
• The surprising final plot twist

Must See?
No, but it’s recommended, and probably must see for fans of Peter Lorre and/or Don Siegel.

Links:

• IMDb entry
• NY Times Original Review
• Time Out Capsule Review

Synopsis:
A governess (Deborah Kerr) in charge of two sibling orphans — Miles (Martin Stephens) and Flora (Pamela Franklin) — gradually becomes convinced that they are possessed by ghosts, and tries to get their housemaid (Megs Jenkins) to believe her.

Genres, Themes, Actors, and Directors:

• Deborah Kerr Films
• Ghosts
• Governesses and Nannies
• Jack Clayton Films
• Mental Breakdown
• Michael Redgrave Films
• “No One Believes Me!”
• Orphans
• Psychological Horror

Review:
Widely acknowledged as the best cinematic adaptation of Henry James’ novella “The Turn of the Screw”, this atmospheric thriller by director Jack Clayton is a true gem of the horror genre. James’ novella is notoriously ambiguous, with readers left to determine whether the noises and visions experienced by Miss Giddens (Kerr) are real or imagined — but it’s made fairly clear here that Kerr’s increasing paranoia is self-induced, and that the tragic ending is of her own making. Indeed, screenwriters William Archibald and Truman Capote do an admirable job translating James’ difficult psychological story into literal visuals, while simultaneously keeping us in suspense about whether or not Miles and Flora really are “innocent” — and, if so, in what way.

The performances in The Innocents are, across the board, superb. It’s difficult to imagine anyone better than Kerr at playing Miss Giddens, an idealistic, faithful, sexually repressed woman who is mortified to learn that her sweet charges may have been corrupted — and who will stop at nothing to “clear” them of their sins. Both Pamela Franklin (who, six years later, starred in Clayton’s Our Mother’s House) and Martin Stephens (from Village of the Damned) are entirely believable as the inscrutable siblings, and Megs Jenkins rounds out the cast beautifully as the children’s well-meaning, naive maid — her performance never hits a false note, and is essential to the success of the story.

Equally impressive are the film’s visuals, including the stunning black-and-white cinematography, appropriately baroque set designs, and effective use of pastoral outdoor settings. Much like in Robert Wise’s The Haunting (1963) and Val Lewton’s early films for RKO, the frights here are cinematically suggested rather than made explicit, with Clayton using a variety of techniques (including deep focus framing and double exposure) to evoke horror; yet even some straightforward shots — such as a bug crawling out of a statue’s mouth — are enough to cause one to jump. Ultimately, the “horror” here is truly psychological, indicating that the worst monsters are the ones we — like Miss Giddens — conjure up for ourselves.

Redeeming Qualities and Moments:

• Deborah Kerr as Miss Giddens
  
• Megs Jenkins as naive, well-meaning Mrs. Grose
  
• Martin Stephens as Miles
  
• Pamela Franklin as Flora
  
• Freddie Francis’s atmospheric cinematography
  
• Haunting set designs
  
• Good use of selective cinematic techniques to evoke horror
  
• Effective establishment of a pastoral calm before the storm
  
• A powerful depiction of mental breakdown
  
• The creepy opening credits
  
• William Archibald and Truman Capote’s smart screenplay

Must See?
Yes. This excellent psychological thriller is a good show all-around, and a classic of the horror genre. Listed as a Cult Movie in the back of Peary’s book.

Categories

• Good Show
• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review
• Classic-Horror Review
• DVD Savant Review
• Moria Review
• Time Out Capsule Review

Synopsis:
When a college-bound basketball star (Jamaal Wilkes) is accidentally shot by two cops (Bernie Casey and Vince Martorano), several witnesses — including a 12-year-old boy (Laurence Fishburne), his cousin Earl (Tierre Turner), and a storeowner (Charles Lampkin) — are intimidated by the police into keeping quiet.

Genres, Themes, Actors, and Directors:

• African-Americans
• Corruption
• Courtroom Drama
• Falsely Accused
• Untimely Death

Review:
Based on Ronald Fair’s novel The Hog Butcher (1966), this uneven yet compelling tale of mistaken identities and police corruption in an African-American neighborhood is primarily notable for featuring 14-year-old Laurence Fishburne in his movie debut. Well-acted by most of the cast, and full of believable, three-dimensional characters, Cornbread, Earl and Me manages to effectively illustrate racial and economic tensions without simplifying the issue into “black versus white”. Unfortunately, the same can’t be said for the film’s portrayal of police corruption, which is both heavy-handed and predictable; while I haven’t the slightest doubt that the corrupt bullying of potential witnesses (particularly in lower socio-economic neighborhoods) takes place on a regular basis, it needed to be handled with much more finesse here. Despite its uneven script, however, Cornbread, Earl and Me is most definitely worth a look.

Redeeming Qualities and Moments:

• Laurence Fishburne as Wilford
  
• Rosalind Cash as Wilford’s mom
  
• Bernie Casey as the African-American cop convinced he killed the right man
  
• Stack Pierce and Madge Sinclair as Cornbread’s parents
  
• Donald Byrd’s score

Must See?
No, but it’s worth seeking out. Listed as a Sleeper in the back of Peary’s book.

Links:

• IMDb entry
• BlackFilm.com Review

Synopsis:
At the insistence of his idealistic wife (Ida Lupino), philandering Hollywood actor Charlie Castle (Jack Palance) resists signing another seven-year contract with studio boss Stanley Hoff (Rod Steiger) — but when Hoff and his assistant (Wendell Corey) threaten to reveal Charlie’s part in a hit-and-run accident the previous year, he must reconsider his options.

Genres, Themes, Actors, and Directors:

• Actors and Actresses
• Blackmail
• Hollywood
• Ida Lupino Films
• Jack Palance Films
• Jean Hagen Films
• Marital Problems
• Play Adaptations
• Robert Aldrich Films
• Rod Steiger Films
• Shelley Winters Films
• Wendell Corey Films

Review:
Based on Clifford Odets’ 1949 stage play, this infamous skewering of Hollywood’s studio system (directed by Robert Aldrich) is actually a broader indictment of all powerful organizations and tycoons who attempt to silence the creativity and authenticity of individuals. Unfortunately, while Odets’ script is often sharp and incisive (“Never underestimate a man just because you don’t like him,” warns Charlie’s agent), it’s just as often overly florid and theatrical (“Why did I add this burden to that grotesque, devoted soul?” laments Palance at one point, struggling to let the words roll naturally off his tongue). Even worse, the film is overly stage-bound, with limited sets (nearly every scene takes place inside Castle’s manse) and clear divisions between the three “acts” of the story. Yet the strong ensemble cast works hard to overcome the script’s flaws, with especially noteworthy performances given by the many supporting players (Wendell Corey, Shelley Winters, Jean Hagen, and others). Most of Aldrich’s movies — always edgy and unique — are worth watching at least once, and this is no exception.

Redeeming Qualities and Moments:

• Jack Palance as Charlie
  
• Shelley Winters as Dixie Evans
  
• Ida Lupino as Charlie’s long-suffering wife, Marion
  
• Wendell Corey as “Smiley” Coy
  
• Jean Hagen as the obnoxiously seductive wife of Charlie’s press agent
  
• Wesley Addy as Marion’s would-be beau, Hank
  

Must See?
Yes, simply for its historical importance and earnest performances.

Categories

• Historically Relevant

Links:

• IMDb entry
• NY Times Original Review
• TCM Article
• DVD Savant Review

Synopsis:
In 1800s Italy, a Hungarian (Douglas Fairbanks, Jr.) invading the castle of newlywed Countess Angelina (Betty Grable) falls for a painting of Countess Francesca, Angelina’s lookalike ancestor. Soon he finds himself enamored with Angelina herself, which makes Angelina’s husband (Cesar Romero) increasingly jealous.

Genres, Themes, Actors, and Directors:

• Betty Grable Films
• Cesar Romero Films
• Douglas Fairbanks, Jr. Films
• Ernst Lubitsch Films
• Fantasy
• Historical Drama
• Royalty and Nobility
• Musicals
• Otto Preminger Films
• Romantic Comedy

Review:
This amusing costume farce — co-starring Betty Grable (the highest-paid Hollywood performer in 1947) and a delightfully tongue-in-cheek Douglas Fairbanks, Jr. — is a heady mixture of fantasy, historical drama, romance, musical interludes, jealousy, and humor, all presented in gorgeous Technicolor. Fairbanks’ performance as the lovestruck Colonel (who knew he was such a natural comedic actor?) is indubitably the highlight of the film (check out his Cheshire Cat grin as he dreams of Francesca/Angelina), while Grable — with her bouncy blonde curls — is appropriately luminous and feisty in the title role, and even manages to show off her million-dollar legs in one fun dance scene (see the poster image). Although there aren’t quite enough songs to classify That Lady as a full-steam musical, the first ditty — “Ooh! What I’ll Do (To That Wild Hungarian)” — is enormously catchy. All in all, this one is great fun.

Note: Otto Preminger took over direction of the film when Ernst Lubitsch died mid-production, but the transition is seamless.

Redeeming Qualities and Moments:

• Douglas Fairbanks, Jr. as Col. Ladislas and The Duke
  
• Betty Grable as Francesca/Angelina
  
• Cesar Romero as Mario
  
• Harry Davenport as Angelina’s loyal servant
  
• Effective set designs and historical costumes
  
• A clever, “realistic” portrayal of characters emerging from portraits
  
• Many genuinely amusing, tongue-in-cheek moments — as when Francesca carries — then flies — the Colonel upstairs
  

Must See?
Yes. This unusual fairy-tale-for-adults is a surprisingly enjoyable flick.

Categories

• Good Show

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
An insanely jealous animal collector (Lionel Atwill) plots to murder his wife’s lover (John Lodge) at a fundraising dinner for the local zoo; meanwhile, the zoo’s new press agent (Charles Ruggles) is on hand for comic relief.

Genres, Themes, Actors, and Directors:

• Horror
• Infidelity
• Jealousy
• Lionel Atwill Films
• Randolph Scott Films
• Revenge

Review:
At just over an hour in length, this early Paramount horror film zips by in its depiction of a psychopathic husband who wreaks creative revenge on his unfaithful spouse (Kathleen Burke). Unfortunately, the inclusion of Ruggles as a comedic supporting character is both annoying and unwelcome — whenever things start to look appropriately gloomy and creepy, Ruggles appears and ruins the effect. While it’s enjoyable to see Burke (so memorable as the Panther Woman in Island of Lost Souls) in a non-feline role, Atwill himself overacts, turning what could have been a deliciously creepy portrayal into a ham-fest.

Redeeming Qualities and Moments:

• The truly gruesome results of Atwill’s first bout of torture
  
• Kathleen Burke as Atwill’s perpetually fearful wife
  

Must See?
No. While Peary lists this as a Sleeper in the back of his book, I don’t think it’s necessarily worth seeking out.

Links:

• IMDb entry
• NY Times Original Review
• Moria Review (immediate spoilers)
• Time Out Capsule Review

Synopsis:
When Harry Graham (Edmond O’Brien) and his wife (Joan Fontaine) try to adopt a baby, the head of the agency (Edmund Gwenn) senses something is not quite right with Harry. After following him on a business trip to Los Angeles, Gwenn discovers that Harry is married to another woman (Ida Lupino), and has a young child with her.

Genres, Themes, Actors, and Directors:

• Edmond O’Brien Films
• Edmund Gwenn Films
• Flashback Films
• Ida Lupino Films
• Infidelity
• Joan Fontaine Films
• Love Triangle

Review:
Ida Lupino’s earnest “problem picture” (her second-to-last directorial feature) suffers greatly from Collier Young’s overly cautious and dated script. In order to “justify” O’Brien’s lapse into a second marriage, Fontaine is depicted as both career-obsessed and unwilling to acknowledge blatant hints that her husband might be straying. In one particularly implausible scene, O’Brien calls Fontaine from Los Angeles and openly admits to her that he’s been flirting with a “brown haired mouse” — yet Fontaine acts as though she hasn’t heard him; later, Fontaine is shown flaunting her technical knowledge and social finesse during a business dinner with prospective clients, effectively “emasculating” poor O’Brien. It’s no wonder — in typical ’50s ideology — that O’Brien’s Harry is “forced” to turn to Lupino, a “real” woman able to give him a child from a single night of sex (though this is implied rather than depicted, naturally). Adding to the overall impression of Harry as someone steamrollered into bigamy, it’s made clear that marrying Lupino — while also saving Fontaine from the tragedy of divorce — is the only “right” thing to do. Despite its clumsy script, however, The Bigamist remains oddly watchable, thanks in large part to the truly heartfelt performances by O’Brien (he’s perfectly cast), Lupino, and Fontaine. It’s fascinating to know that in real life, Fontaine had just married Lupino’s ex (Collier Young, the film’s screenwriter), thus eerily echoing the story’s marital love triangle. Much less impressive — in fact, downright annoying — is Edmund Gwenn as the head of the adoption agency; he’s a busybody snoop who may mean well but ultimately comes across as creepy. Fortunately, his presence merely bookends the film.

Redeeming Qualities and Moments:

• Edmond O’Brien as Harry
  
• Ida Lupino as Phyllis
  
• Joan Fontaine as Harry’s self-deluding career wife
  

Must See?
No, but fans of Lupino’s work will likely want to check it out.

(Listed in 1001 Movies You Must See Before You Die)

Links:

• IMDb entry
• TCM Article
• Time Out Capsule Review

Synopsis:
After stabbing her possessive Chinese boyfriend (Harold Huber), a dancehall singer known as the Frisco Doll (Mae West) boards a ship to Alaska, where she immediately entrances the ship’s captain (Victor McLaglen). When a missionary (Helen Jerome Eddy) on board the ship falls ill and dies, the Frisco Doll assumes her identity on land.

Genres, Themes, Actors, and Directors:

• Alaska
• Character Arc
• Fugitives
• Mae West Films
• Missionaries and Revivalists
• Mistaken or Hidden Identities
• Play Adaptation
• Raoul Walsh Films
• Victor McLaglen Films

Review:
Often cited as Mae West’s definitive film, Klondike Annie is nonetheless an unusual vehicle for the busty blonde, one clearly tempered by the mandates of the Hays Production Code. West’s Frisco Doll undergoes a definite shift throughout the film, morphing from a self-absorbed fugitive to someone who thinks about the needs and desires of others. While this is an admirable character arc, it’s also a bit of a let-down, since “naughty Mae” is the persona we’re accustomed to seeing on-screen. For my money, I’d rather watch West in full saucy form, either in She Done Him Wrong (1932) or My Little Chickadee (1940).

Redeeming Qualities and Moments:

• Mae West as the Frisco Doll
  
• West’s outrageously baroque “Oriental” costume in the opening scenes
  
• Victor McLaglen as the lovestruck captain
  
• A few witty exchanges:
  

  McLaglen: I can always tell a lady.
  West: Yeah? Whaddya tell ’em?

Must See?
No, but film fanatics will likely be curious to check it out, and it’s certainly a must for Mae West fans.

Links:

• IMDb entry
• NY Times Original Review
• Time Out Capsule Review

Synopsis:
Detective Charlie Chan (Sidney Toler) and his eager son (Sen Yung) investigate the sudden death of a writer (Louis Jean Heydt) who has received a mysterious telegram from the famed hypnotist “Dr. Zodiac”.

Genres, Themes, Actors, and Directors:

• Asian-Americans
• Detectives and Private Eyes
• Magicians
• Mind Control and Hypnosis
• Murder Mystery

Review:
It’s impossible to discuss 20th Century Fox’s popular “Charlie Chan” film series (based on the set of novels by Earl Derr Biggers) without noting the sad truth that in early Hollywood, the famed Chinese detective was never played by a Chinese man. Despite his best efforts, it’s difficult to forget that Sidney Toler (the second non-Asian to play the detective) is simply a white man in pseudo-Asian makeup, speaking in stereotypical pidgin English; this lessens the appeal of the movie enormously. With that said, the story itself is mildly entertaining, with multiple plausible suspects and some enjoyable back-stage glimpses at magic shows; and, since this is widely considered to be the best of the Sidney Toler series, it’s a good one to check out.

Redeeming Qualities and Moments:

• Some effectively atmospheric imagery and cinematography
  
  
• Sen Yung as Chan’s son — not a great performance, but it’s so refreshing to see an Asian (rather than a white) playing an Asian that he emerges as one of the highlights of the film
  

Must See?
Yes, but only as a representative example of the Sidney Toler Charlie Chan series; it’s likely that another might suffice.

Categories

• Representative Film

Links:

• IMDb entry
• NY Times Original Review
• At-a-Glance Film Review

Synopsis:
A happily married man (Maurice Chevalier) finds himself seduced by his wife’s flirtatious friend Mitzi (Genevieve Tobin); meanwhile, his unsuspecting wife (Jeanette MacDonald) is pursued by their friend Adolph (Charles Ruggles), and Mitzi’s suspicious husband (Roland Young) has his wife followed.

Genres, Themes, Actors, and Directors:

• Ernst Lubitsch Films
• George Cukor Films
• Infidelity
• Jeanette MacDonald Films
• Love Triangle
• Maurice Chevalier Films
• Musicals
• Play Adaptation
• Roland Young Films

Review:
This frothy musical romance — a remake of director Ernst Lubitsch’s The Marriage Circle (1924) (both were based on Lothar Schmidt’s play Only a Dream) — was the third onscreen pairing of Maurice Chevalier and Jeanette MacDonald, who also co-starred together in The Love Parade (1929), Love Me Tonight (1932), and The Merry Widow (1934). One Hour With You is primarily notable for its popular theme song (which today comes across as rather forgettable), intermittent use of rhyming couplets in the dialogue, and several to-the-camera asides by Chevalier (who — being such an eminently likable fellow — is portrayed as merely a gullible pawn in the hands of scheming Mitzi). Indeed, Mitzi — a backstabbing woman who continues to gleefully pursue Chevalier despite learning that he is her best friend’s husband — is the true “villain” of the film; unfortunately, we’re never given the satisfaction of a meaningful confrontation between the two women. Also frustrating is how similar two of the leading actors — Ruggles and Young — look; at times I’ll admit I got them confused. Ultimately, One Hour With You remains little more than a minor romantic souffle, entertaining while it lasts but nothing more.

Note: Though George Cukor was formally hired to direct this film, producer Ernst Lubitsch ordered so many scenes to be reshot that he’s given co-directing credit.

Redeeming Qualities and Moments:

• Chevalier and MacDonald’s easy, natural banter together
  

Must See?
No, unless you’re a die-hard Jeanette MacDonald fan (as so many apparently are — click here to read about her international fan club.)

Links:

• IMDb entry
• NY Times Original Review
• Time Out Capsule Review