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Synopsis:
A young man (Harry Langdon) who has just been given his first pair of “long pants” fancies himself engaged to a vampish conwoman (Alma Bennett); after cruelly abandoning his local sweetheart (Priscilla Bonner) on their wedding day, he plots to help Bennett escape from prison.

Genres, Themes, Actors, and Directors:

• Comedy
• Coming-of-Age
• Frank Capra Films
• Harry Langdon Films
• Silent Films

Review:
Harry Langdon’s second film with director Frank Capra (after The Strong Man) is a sadly unsavory affair. One watches with the intention of simply enjoying baby-faced Langdon’s skillful slapstick maneuvers, but a central plot element — his desire to kill his fiancee (Bonner) after stupidly falling for a passing vamp — undoes whatever potential for humor the story may have had. Yes, Langdon’s characters were notoriously “dumb”, and this is what we’re supposed to have fun with — but homicidal? No, it just doesn’t fly. There are a couple of reasonably enjoyable comedic sequences (most notably one involving Langdon’s persistent attempt to convince a policeman-like ventriloquist’s dummy to come to his assistance), but overall, this one’s a dud.

Redeeming Qualities and Moments:

• Some amusing slapstick sequences
  
  

Must See?
No; this one is only must-see for Langdon fans. Listed as a film with Historical Importance (I’m not sure why) and a Personal Recommendation (really??) in the back of Peary’s book.

Links:

• IMDb entry

Synopsis:
After the end of World War I, a Belgian soldier (Harry Langdon) captured by a German enemy (Arthur Thalasso) is brought to America to perform as a sidekick in Thalasso’s strong man circus act. Once there, he seeks out a beautiful woman (Priscilla Bonner) who was once his penpal, not realizing she’s kept away from him because she’s blind.

Genres, Themes, Actors, and Directors:

• Blindness
• Comedy
• Frank Capra Films<
• Harry Langdon Films
• Immigrants and Immigration
• Morality Police
• Silent Films

Review:
Although he’s less well-known than Charlie Chaplin, Buster Keaton, or Harold Lloyd, baby-faced Harry Langdon is considered one of the key players from the silent comedy era. TCM provides the following overview of his screen persona:

“His childlike face covered by traditional pantomime white make-up, he wore a tightly buttoned jacket as though he were a boy who had outgrown it. Juvenile in appearance, he played the bewildered, clumsy, wide-eyed simpleton out of step with the behavior of normal adults, eerily baffled by erotic situations and naively trusting in the world’s goodness.”

The Strong Man (also notable as Frank Capra’s feature-length directorial debut) is cited by many as Langdon’s best film, and it is indeed an enjoyable affair. The most amusing sequence occurs just after Langdon’s character has arrived in America, as he’s looking for his long-lost penpal (“Mary Brown”) and meets up with a con-artist (Gertrude Astor) who has slipped a wad of money into his pants to elude the police. Astor tells the naive Langdon she’s “Little Mary”, and the two head off (in wonderfully forthright pre-Code manner) to her apartment. Their perfectly timed slapstick interactions together — as Astor does whatever it takes to try to slip the cash out of Langdon’s pants, and Langdon misinterprets her actions as lustful pursuit — are simply classic.

The remainder of the storyline is a tad schmaltzy (Capra’s “touch” is already evident), as Langdon romances the impossibly sweet Brown, and learns that Brown’s preacher-father (William V. Mong) is leading a gang of righteous townsfolk in a crusade against the evil bootleggers who have taken over their performing hall. But throughout this narrative, Langdon is given plenty of opportunities to show off his slapstick genius; fans won’t be disappointed in the slightest, and those just discovering his work will be glad for this fine introduction.

Redeeming Qualities and Moments:

• Harry Langdon at his inimitable best
  
• The entire hilarious sequence with Astor
  

Must See?
Yes, for its historical relevance as Langdon’s best film. Listed as a film with Historical Importance and a Personal Recommendation in the back of Peary’s book.

Categories

• Historically Relevant

Links:

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

Synopsis:
The daughter (Audrey Hepburn) of an expert forger (Hugh Griffith) enlists the help of a man (Peter O’Toole) she believes is an art thief to steal back a forged statue loaned by her father to a local museum.

Genres, Themes, Actors, and Directors:

• Artists
• Audrey Hepburn Films
• Eli Wallach Films
• Hugh Griffith Films
• Peter O’Toole Films
• Thieves and Criminals
• William Wyler Films

Review:
Thirteen years after directing Audrey Hepburn in her Oscar-winning debut performance (for Roman Holiday), William Wyler re-teamed with Hepburn to make this stylish but disappointing Hitchcockian caper flick. The film’s primary flaw is its pacing: at more than two hours long, it simply drags, and takes far too long to get to its most exciting sequences (taking place during the heist in the museum). Once we’re finally there — and our would-be lovers find themselves stuck in a crammed closet, needing to find a way to break free and carry out their plan — the story becomes temporarily captivating, as we watch O’Toole’s character demonstrating immense presence of mind as a thief (even if this isn’t really his “true” identity). Hepburn is as lovely as ever in her palette of Givenchy outfits, but doesn’t bring anything new or interesting to her role; and a sub-plot involving millionaire Eli Wallach’s pursuit of Hepburn simply takes up precious screentime. This one is worth a look by fans of this particular genre, but be forewarned that it doesn’t quite succeed on all counts.

Redeeming Qualities and Moments:

• Peter O’Toole as Simon Dermott
  
• The genuinely tense and fascinating extended “closet scene”
  
• Fine sets and outfits
  

Must See?
No, though it’s worth a look if you’re a fan of Hepburn or O’Toole.

Links:

• IMDb entry
• NY Times Original Review
• DVD Talk Review
• Digitally Obsessed Review
• Combustible Celluloid Review

Synopsis:
A cattle baron (Duke R. Lee) hires a gunslinger (Harry Carey) to kill a farmer (George Berrell) whose land is encroaching on his territory — but when he learns that Berrell’s son (Ted Brooks) has already been killed, and sees the grief this has caused Berrell’s beautiful daughter (Molly Malone), he quickly shifts allegiances.

Genres, Themes, Actors, and Directors:

• John Ford Films
• Ranchers
• Rivalry
• Silent Films
• Westerns

Review:
Notable as “Jack” (John) Ford’s first surviving full-length film, this early western — featuring silent-era superstar Harry Carey — shows clear evidence of Ford’s directorial vision (at the tender age of 22!). He manages to turn an overly simplistic story about feuding between ranchers and farmers (along with a “bad-boy-turned-good” narrative twist, and a brief love triangle) into a reasonably entertaining outing — though in its hour-long running time, there’s not really much to sink one’s teeth into. Certainly worth a look, but not essential viewing for anyone other than diehard Ford fans and/or early-cinema buffs — though one could argue it’s “must-see” simply to see Carey in a flick.

Redeeming Qualities and Moments:

• Early evidence of Ford’s directorial vision
  
  
  
  

Must See?
No, though it will certainly be of interest to Ford fans and/or those interested in early cinematic history.

Links:

• IMDb entry

Synopsis:
A highly rational professor (Peter Wyngarde) is disturbed to discover that his wife (Janet Blair) has been practicing black magic to help him achieve tenure, and forces her to stop — but soon a series of tragedies befall them, and Wyngarde must reconsider his lack of belief.

Genres, Themes, Actors, and Directors:

• Horror
• Voodoo and Black Magic
• Witches and Wizards

Review:
Film fanatics who’ve not yet seen this low-budget British horror flick are in for a real treat. Based upon a simple yet inspired narrative premise — a young professor seeking tenure would surely be more in need of assistance from the Dark Side than anyone else! — it possesses clear echoes of Rosemary’s Baby (was Polanski inspired by it?) in its depiction of a loving couple whose lives are nearly destroyed by their divergent spiritual beliefs. Director Sidney Hayers and DP Reginald Wyer film the entire affair with extraordinary skill, evoking horror in seemingly mundane interactions and objects; we come to truly believe that dark forces are ruling this unfortunate household. The final half-hour brings an unexpected plot twist, one which suddenly sheds new light on the narrative — and the tension simply never lets up. This is a film which really must be seen to be appreciated, and merits multiple enjoyable viewings.

Redeeming Qualities and Moments:

• Peter Wyngarde as Norman Taylor
  
• Janet Blair as Tansy Taylor
  
• Margaret Johnston as Flora Carr
  
• Wonderfully atmospheric cinematography and direction
  
• Charles Beaumont, Richard Matheson, and George Baxt’s clever, spooky script

Must See?
Yes, most definitely. Listed as a Sleeper and a Personal Recommendation in the back of Peary’s book.

Categories

• Genuine Classic

Links:

• IMDb entry
• Spinning Image Review
• Moria Review
• DVD Savant Review
• Time Out Capsule Review

Synopsis:
Sherlock Holmes (Peter Cushing) and Dr. Watson (Andre Morell) respond to a request by Dr. Mortimer (Francis De Wolff) to investigate the mysterious death of a nobleman, whose nephew (Christopher Lee) has recently arrived on the moors to take over his inheritance.

Genres, Themes, Actors, and Directors:

• Christopher Lee Films
• Detectives and Private Eyes
• Peter Cushing Films
• Sherlock Holmes Films

Review:
Critical opinions are highly mixed on this Hammer Studios adaptation of Arthur Conan Doyle’s oft-filmed novel, with some claiming it to be the best Holmes-ian adaptation ever, and others less enthusiastic. I happen to fall into the latter camp. Despite Peter Cushing’s respectful attempt to portray Holmes with as much authenticity as possible (including emulating his drug-addicted appearance), he ultimately fails to project the kind of magnetic brilliance fans expect from this most iconic of literary figures; his trusty sidekick Watson comes across as almost equally competent.

Meanwhile, Lee is miscast in the central role as an heir whose life is in perpetual danger; we’re so used to reading sinister overtones into Lee’s every move that it feels awfully strange to realize he’s simply a neutral foil here.

Jack Asher’s color cinematography is lush and beautiful to look at but doesn’t evoke the same level of menace as the black-and-white hues of this film’s celebrated 1939 predecessor. The narrative itself remains relatively faithful to the original story, while incorporating some additional horror elements (i.e., a lethal tarantula) to satisfy those who associate “Hammer Studios” with overt chills and thrills; unfortunately, however, the dramatic finale with the “hound” is far from menacing — again, it was better handled in the 1939 version, which is ultimately the one I recommend film fanatics check out instead.

Redeeming Qualities and Moments:

• Jack Asher’s cinematography
  

Must See?
No, though it’s certainly worth a look, especially for fans of Hammer Studios films.

Links:

• IMDb entry
• NY Times Original Review
• DVD Savant Review
• Moria Review
• TCM Article
• Time Out Capsule Review

Synopsis:
After botching a job on a society woman (Colette Wilde), a plastic surgeon (Anton Diffring) goes on the lam, taking over a circus owned by a Frenchman (Donald Pleasence) with a scarred daughter (Carla Challoner), and populating it with facially disfigured, troubled women whose beauty he restores. When his protegees choose to leave, however, he jealously kills them one by one, and soon a detective (Conrad Phillips) is on his trail.

Genres, Themes, Actors, and Directors:

• Carnivals and Circuses
• Detectives and Private Eyes
• Disfigured Faces
• Donald Pleasence Films
• Fugitives
• Horror
• Mad Doctors and Scientists

Review:
According to TCM’s article, “During a twelve month period between April 1959 and April 1960 British filmmakers tested the boundaries of the horror film with a much stronger emphasis on sex and violence in three features often referred to as the ‘Sadian Trilogy’ — Horrors of the Black Museum, Circus of Horrors and Peeping Tom.” Of these, Peeping Tom (1960) is the most highly regarded, but Circus of Horrors — while not “must-see” for anyone other than fans of the genre — remains a well-mounted, effectively lurid tale in its own right. Despite possessing a host of egregious flaws in narrative logic, it’s guaranteed to hold your interest, thanks in part to colorful cinematography (by DP Douglas Slocombe), solid direction (by Sidney Hayers, best known for 1962’s Burn, Witch, Burn!), and several fine performances (including a small, early one by Donald Pleasence, who — like all others killed or maimed in this film — meets a most unpleasant death).

German-born Diffring is nicely cast as the troubled lead of the film, who is clearly a “baddie” but not entirely evil; from the film’s opening sequence — in which a woman (Wilde) shrieks with horror at the botched job that’s been done on her face — it’s made clear that Diffring never intended for things to work out this way, and that he actually takes great pride in the stellar work he’s able to carry out, under the right circumstances. With that said, we soon learn that Diffring’s Dr. Rossiter/Schuler is an egomaniacal control freak who desires not only to make disfigured women beautiful again, but to hold them forever accountable to his will (and sexual desires). His choice (as a fugitive) to run a very-public circus, as well as his uncanny ability to turn all the women he takes under his wing into stellar acrobats, are evidence of the flawed logic listed previously; but they help to propel the undeniably sensationalist story towards its inevitable conclusion, with several gruesomely circus-themed deaths thrown in along the way. Meanwhile, fine use is made of Billy Smart’s actual circus performers; fans of this type of entertainment will surely enjoy seeing its historical capturing on film.

Redeeming Qualities and Moments:

• Anton Diffring as Dr. Schuler
  
• Donald Pleasence as Vanet
  
• Erika Remberg as Elissa
  
• Fine use of Billy Smart’s Circus as a setting
  

Must See?
No, but it’s certainly recommended.

Links:

• IMDb entry
• NY Times Original Review
• DVD Savant Review
• Moria Review
• Q Network Review
• TCM Article
• Time Out Capsule Review