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Synopsis:
The wife (Stephane Audran) of a small town mayor (Claude Pieplu) carries on a torrid affair with her husband’s married deputy (Michel Piccoli); soon they’re driven to spousal murder by their uncontrollable lust for one another.

Genres, Themes, Actors, and Directors:

• Claude Chabrol Films
• French Films
• Infidelity
• Plot to Murder

Review:
While this Hitchcockian thriller by Claude Chabrol doesn’t tread much new ground in its treatment of adulterous lovers who are driven to murder, it remains a reasonably entertaining satire of the foolhardy passions which often simmer beneath the veneer of bourgeois respectability. The most enjoyable character in the film (despite his pigheaded, corrupt demeanor) is undoubtedly Claude Pieplu as the cuckolded husband who takes what he believes will be sweet revenge on his philandering wife; his reaction to learning about her affair is both classic and original. Less satisfying is the odd denouement, which hinges entirely on the emergent morality of Audran’s beautiful teenage daughter (Eliana De Santis) — unfortunately, she’s not a strong enough character (as written) to make this plot device convincing. Although Wedding in Blood has been lauded by many critics as one of Chabrol’s best outings, I can’t quite agree.

Redeeming Qualities and Moments:

• Claude Pieplu as Audran’s cuckolded yet cocky husband
  
• Audran and Piccoli’s ridiculously passionate love affair
  

Must See?
No, but it’s worth viewing once. Listed as a film with Historical Importance (although I’m not sure why) and a Personal Recommendation in the back of Peary’s book.

Links:

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

Synopsis:
A tiny Scottish lad (Paul Young) grows into a “gentle giant” (Bill Travers) who learns to throw hammers, and is recruited to represent Britain in the Australian Olympics.

Genres, Themes, Actors, and Directors:

• Alastair Sim Films
• Comedy
• Scotland
• Sports

Review:
This enjoyable Scottish fable — reminiscent of Bill Forsyth’s recent imports, particularly Local Hero (1983) — plays like a biopic, but is pure fiction all the way. It’s an innocuous fairy tale which can easily be described as “heartwarming” — after all, what’s not to love about this handsome “gentle giant” who, despite his other-worldly strength, longs for little more than the hills of Scotland, his own sweet lass (Norah Gerson), and a chance to proudly wear his father’s kilt in the Olympics? While the story gets bogged down in the final reel by an inane subplot about a female Danish athlete (Doris Goddard) who lusts after Geordie, until then it’s all sweet, breezy sailing.

Redeeming Qualities and Moments:

• “Wee Geordie” starting his mail-order exercise regime
  
• Geordie walking out during the Olympics in his father’s Black Watch kilt
  
• Alastair Sim as a local laird who takes a fatherly interest in Geordie
  

Must See?
No, but it’s worth a look.

Links:

• IMDb entry
• NY Times Original Review
• Brit Movie Review

Synopsis:
When her mother dies, a gypsy girl named Marie (Bernadette La Font) — who for years has been treated as the town slut — begins charging the boorish villagers for her sexual favors; soon she embarks upon an even more elaborate plan of revenge.

Genres, Themes, Actors, and Directors:

• Black Comedy
• Character Arc
• Feminism and Women’s Issues
• French Films
• Gypsies
• Prostitutes and Gigolos
• Revenge
• Strong Females

Review:
This most unusual erotic black comedy — the directorial debut of Nelly Kaplan — tells the satisfying tale of a beautiful gypsy girl who manages to single-handedly transform herself from victim to victor, leaving plenty of sweet justice in her wake. While the grotesque opening scenes are hard to stomach (the unenlightened townsfolk treat Marie literally like chattel), her eventual triumph makes the rocky beginning worth sitting through. It’s rather broad satire, but the point is well-made that hypocrisy will eventually out, with everyone ultimately paying for his or her dirty desires. La Font is wonderful in the lead role; she’s ferocious in her late-earned dignity, and displays enormous satisfaction both in the transformation of her tin shack into a cozy space, and in the power she knows she’s accumulated over her piggish neighbors. It’s a delight to watch Marie pursue her plan with such calculated tenacity.

Redeeming Qualities and Moments:

• Bernadette La Font as Marie
  
• A satisfying tale of feminist growth and revenge
  
• The hilarious ending
  

Must See?
Yes, as a most unusual French film. Listed as a Personal Recommendation in the back of Peary’s book.

Categories

• Foreign Gem

Links:

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

Synopsis:
When a former outlaw (Randolph Scott) saves the life of a Western Union engineer (Dean Jagger), he’s offered a job with the company. As they string wires across the United States, the workers must confront tribes of Indians, as well as a gang of outlaws led by Scott’s brother, Slade (Barton MacLane). Meanwhile, both Scott and an east coast dandy (Robert Young) are interested in Jagger’s beautiful sister (Virginia Gilmore).

Genres, Themes, Actors, and Directors:

• Dean Jagger Films
• Fritz Lang Films
• Native Americans
• Randolph Scott Films
• Robert Young Films
• Westerns

Review:
Few would guess that this historical western about the spread of telegraph lines across the American frontier was directed by Fritz Lang, an iconic director known primarily for his noir dramas and atmospheric visuals. Lang apparently wanted to alter the screenplay of Western Union, but was not given permission to do so; the result is a narrative which never quite rises above mediocrity, and is too often played for laughs. While Scott’s central dilemma — whether to betray his brother or not — is compelling, it’s constantly interrupted by inane subplots, particularly the underdeveloped “love triangle” between Scott, Young, and Gilmore. As in Lang’s first western (The Return of Frank James), the storyline here is almost entirely fictional; Lang himself noted that “in reality, nothing happened during the entire building of the line except that they ran out of wood for the telegraph poles, and the only other thing that disturbed the laying of the line was the ticks on the buffaloes; the buffaloes got itchy and rubbed themselves against the poles, and the poles tumbled. And that was all that happened.” Personally, I wouldn’t have minded seeing the buffaloes…

Redeeming Qualities and Moments:

• Beautiful Technicolor cinematography
  
• Slim Summerville responding indignantly to questions about his cooking abilities
  

Must See?
No, but it’s worth a look.

Links:

• IMDb entry
• NY Times Original Review
• Combustible Celluloid DVD Review
• TCM Article
• Time Out Capsule Review

Synopsis:
Sherlock Holmes (Christopher Plummer) and Dr. Watson (James Mason) try to unravel the mystery of Jack the Ripper, who has been killing prostitutes across London; when they learn that a high-level conspiracy may be behind the murders, they attempt to track down the woman (Genevieve Bujold) who holds the key to the entire affair.

Genres, Themes, Actors, and Directors:

• Christopher Plummer Films
• Detectives and Private Eyes
• Genevieve Bujold Films
• Historical Drama
• Jack the Ripper
• John Gielgud Films
• James Mason Films
• Murder Mystery
• Prostitutes and Gigolos
• Serial Killers
• Sherlock Holmes Films
• Susan Clark Films

Review:
This oddly unsatisfying Victorian-era thriller should be much better than it is: despite the inspired casting (Plummer and Mason are wonderful together), an effective recreation of foggy London, several unexpectedly humorous moments, and a satisfying denouement, it’s too bloody difficult to follow. Only during the final 15 minutes of the film — once Holmes neatly unravels the entire affair in front of the British prime minister (John Gielgud) — does one finally understand who all the key players are, and why Holmes has been tracking them; indeed, Murder by Decree is a rare thriller which may be more enjoyable upon second viewing. Plummer and Mason are the main reasons to check this one out.

Redeeming Qualities and Moments:

• Christopher Plummer as Holmes
  
• James Mason as Watson
  
• Susan Clark as frightened prostitute Mary Kelly
  
• Watson chatting with a prostitute who’s inordinately proud to still have all her teeth
  
• The clever ending, in which Holmes solves everything
  

Must See?
No, but fans of Sherlock Holmes will certainly want to check it out. Listed as a Sleeper and a Personal Recommendation in the back of Peary’s book.

Links:

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

Synopsis:
When former singer Marian Washburn (Maureen O’Hara) confesses to shooting her young protegee (Gloria Grahame), Marion’s pianist-friend (Melvyn Douglas) tries to convince police detective Jim Fowler (Jay C. Flippen) that she’s lying.

Genres, Themes, Actors, and Directors:

• Criminal Investigation
• Flashback Films
• Gloria Grahame Films
• Maureen O’Hara Films
• Melvyn Douglas Films
• Mentors
• Nicholas Ray Films
• Singers

Review:
This melodramatic flashback film — written by Citizen Kane‘s Herman Mankiewicz, and directed by Nicholas Ray — bears a vague resemblance to All About Eve (1950) in its tale of quibbling mentor/protegee, but is ultimately much less satisfying: because the characters (particularly O’Hara) are underdeveloped, we never quite believe or understand their motivations, and the entire narrative drifts along without much defining energy. Fortunately, O’Hara and Douglas are both fine (albeit unexceptional) in their roles, and Grahame gives a typically eccentric performance as loopy Susan — though it’s undeniably strange to hear her dubbed voice (in real life, she was tone deaf) crooning beautiful melodies. I was most impressed by Edward Stevenson’s lovely gowns; both leading ladies look gorgeous in them.

Redeeming Qualities and Moments:

• Gloria Grahame as Susan
  
• Jay C. Flippen as droll Inspector Fowler
  
• Edward Stevenson’s gowns
  

Must See?
No, but it’s worth viewing once.

Links:

• IMDb entry
• TCM Article
• Time Out Capsule Review

Synopsis:
When wealthy Mr. Enderby (Finlay Currie) falls dead from a heart attack, plucky Miss Marple (Margaret Rutherford) suspects foul play, and tries to determine who among his greedy heirs is the murderer.

Genres, Themes, Actors, and Directors:

• Amateur Sleuths
• Inheritance
• Margaret Rutherford Films
• Murder Mystery
• Robert Morley Films

Review:
British comedic actress Margaret Rutherford is primarily known for two eccentric characterizations: medium Madame Arcati in Noel Coward’s Blithe Spirit (1945) (originally a stage play), and amateur sleuth Miss Marple in George Pollock’s four screen adaptations of Agatha Christie’s novels; of the latter, Murder at the Gallop is the only one listed in Peary’s book, and thus is the only one I’ve seen (so far). While purists have complained that jowly Rutherford doesn’t fit Christie’s description of prim, spinsterish Miss Marple, the inimitable actress brings her own unique charm and energy to the role, and the result is sheer delight: with her otherworldly facial grimaces and her indomitable lust for sleuthing (and snooping), Rutherford carries the film with ease. The mystery itself is well-plotted (I was unable to guess the true culprit), the supporting performances are all fine, and Ron Goodwin’s lilting thematic score provides a welcome touch of humor to the proceedings.

Redeeming Qualities and Moments:

• Margaret Rutherford as Miss Marple
  
• Atmospheric b&w cinematography
  

Must See?
Yes, simply for Rutherford’s performance — but it’s likely that any of the other three films in the series (Murder She Said, Murder Most Foul, or Murder Ahoy) would suffice as well.

Categories

• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
An aspiring dancer (Mary Eaton) leaves behind her small-town sweetheart (Edward Crandall) for a chance at fame in New York; meanwhile, her corrupt partner (Dan Healy) takes advantage of her, and her best friend (Gloria Shea) hopes Crandall will fall for her instead.

Genres, Themes, Actors, and Directors:

• Aspiring Stars
• Career-versus-Marriage
• Dancers
• Love Triangle

Review:
This early variation on the cinematic trope of marriage-versus-career — with an enormous dollop of “I want to be a star!” thrown in — received decidedly lukewarm reviews upon its release, for good reason. The performances are sub-par (most of the actors lean towards the over-emoting techniques of silent cinema), while the narrative is full of cliches — including a tepid “unrequited-love” triangle, an overbearing stage mother, and a lecherous Broadway cad. One scene in particular — in which poor Gloria Shea is run over by a car after being left behind by Crandall and Eaton — is so ridiculous it nearly approaches camp. Glorifying the American Girl is primarily notable these days for showcasing a handful of famous performers (including Eddie Cantor and Helen Morgan) in their prime, and for its cinematically innovative opening sequence; it’s too bad the rest of the film fails to live up to this early potential.

Redeeming Qualities and Moments:

• The creative opening sequence, depicting streams of hopeful starlets heading across the United States towards New York
  
• The dazzling “Follies” finale
  
  

Must See?
No.

Links:

• IMDb entry
• NY Times Original Review