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Synopsis:
When Tom Brown (John Howard Davies) arrives at Rugby boarding school, he’s mercilessly tormented by the school’s evil bully, Flashman (John Forrest). With the help of his friend East (John Charlesworth), plucky Brown devises a plan to get back at Flashman; in the meantime, he’s asked to look out for a timid new student (Glyn Dearman), whose life is accidentally put in peril during a school race.

Genres, Themes, Actors, and Directors:

• Boarding Schools
• Bullies
• Robert Newton Films

Review:
Thomas Hughes’ semi-autobiographical novel, published in 1857, has been adapted for the screen no less than five times: in 1916, 1940, 1951, 1971, and 2005; this version is the only one listed in Peary’s book. From its opening scenes, Tom Brown’s Schooldays (the title is falsely innocuous) remains a difficult film to watch, given the relentless display of abuse young Tom suffers, first from the entire school (following tradition, he’s forced to stand up and sing during dinner, while being pelted with food from all sides), then — most brutally — at the hands of a sociopathic bully, whose power at Rugby remains absolute due to a code of “honor” preventing students from “peaching” (i.e., tattling). While a distinction is clearly drawn between these two levels of behavior, both are appalling; fortunately, there are enough scenes of genuine camaraderie sprinkled throughout the film (group sing-alongs at dinner; rousing football games) to convince us that these boys will have at least a few happy memories of their school days. By the end of the film, it’s clear that honor and integrity will ultimately triumph over sadism, thanks in part to a progressive headmaster (Robert Newton) who’s determined to make changes at the school — but be forewarned that the journey until then is a tough one to swallow.

Redeeming Qualities and Moments:

• John Howard Davies as Tom Brown
  
• Fine location shooting at Rugby School in England
  

Must See?
No, but it’s worth a look simply as a brutally honest depiction of “public school” bullying in early 1800s England.

Links:

• IMDb entry
• Eye for Film Review
• Time Out Capsule Review

Synopsis:
A kind country doctor (Oliver Hardy) successfully treats the depressed pet elephant (Zenobia) of a traveling medicine man (Harry Langdon), only to find that the grateful Zenobia won’t leave him alone afterwards. Meanwhile, his daughter (Jean Parker) hopes to marry a young man (James Ellison) whose snobby mother (Alice Brady) wants nothing to do with the “lowly” doctor and his family.

Genres, Themes, Actors, and Directors:

• Comedy
• Cross-Class Romance
• Deep South
• Doctors and Nurses
• Harry Langdon Films
• Jean Parker Films
• Laurel and Hardy Films

Review:
Originally developed as a feature for comedic duo Stan Laurel and Oliver Hardy, Zenobia ultimately teamed Hardy with silent screen legend Harry Langdon:

… when Laurel had a falling out with Hal Roach studios. The result is a well-meaning but decidedly tepid comedy, one which admirably shows Hardy’s talents as a “leading man” yet fails to deliver many genuine laughs. The title character — a testy female elephant named Zenobia —

… is the film’s primary claim to uniqueness, yet Zenobia’s relentless attachment to Hardy unfortunately takes a back seat to the rather dull primary drama about cross-class romance and Southern snobbery. With that said, film fanatics will likely appreciate seeing Alice Brady in one of her final roles before she succumbed to cancer later that year; she looks frail but still manages to invest her character with gumption and energy.

Redeeming Qualities and Moments:

• Oliver Hardy in a rare role without Stan Laurel by his side
  
• Alice Brady in one of her final screen roles

Must See?
No, though fans of either Laurel and Hardy or Langdon will likely be curious to check it out.

Links:

• IMDb entry
• TV Guide Review

Synopsis:
In 1890s New York, saloon-owner Chuck Connors (Wallace Beery) and suave gambler Steve Brodie (George Raft), continue their lifelong rivalry by vying for the affections of a street urchin (Jackie Cooper) and a beautiful young woman (Fay Wray).

Genres, Themes, Actors, and Directors:

• Fay Wray Films
• George Raft Films
• Historical Drama
• New York City
• Raoul Walsh Films
• Rivalry
• Wallace Beery Films

Review:
Raoul Walsh’s bawdy interpretation of life on the Bowery in 1890s New York comes across today as misogynistic and racist, with little to redeem it as a worthwhile drama. While some may argue that such unsavory sentiments are authentic to the era, it’s literally painful to watch an early “humorous” scene in which Chinese men are trapped in their burning laundromat:

… while volunteer firemen brigades engage in a street brawl rather than putting out the fire — and to know that the fire itself was caused by Cooper being given “permission” by Beery to “throw just a tiny rock in the Chinks’ window” (naturally, not a shred of guilt is expressed by either party). Regardless of these hideously uncomfortable scenes, however, Connor and Brodie’s lifelong rivalry simply doesn’t sustain a narrative; the “high point” of the story occurs when Brodie jumps off the Brooklyn Bridge on a dare:

… and Connor loses his saloon as a result — but who really cares about these louts anyway? Fay Wray is sympathetic but wasted as Brodie’s love interest:

while Cooper seems to be simply reprising his earlier role opposite Beery in The Champ (1931).

Redeeming Qualities and Moments:

• An interesting (albeit historically suspect) glimpse at how Carrie Nation and her minions carried out their abolitionist agenda
  

Must See?
No; this one can easily be skipped. Listed as a film with Historical Importance in the back of Peary’s book.

Links:

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

Synopsis:
The manager (Peter Falk) of two beautiful “tag team” wrestlers (Vicki Frederick and Laurene Landon) tries to find work for his “California Dolls”, who aspire towards a match in Reno with their ultimate rivals: the Toledo Tigers (Tracy Reed and Ursaline Bryant).

Genres, Themes, Actors, and Directors:

• Aspiring Stars
• Peter Falk Films
• Richard Jaeckel Films
• Rivalry
• Robert Aldrich Films
• Strong Females
• Wrestling

Review:
This semi-comedic female wrestling flick was director Robert Aldrich’s final film, and shows ample evidence of his willingness to tackle even the most unusual topics. Although it’s no longer widely available, it’s easy to understand why Peary lists All the Marbles (a.k.a. The California Dolls) as an erstwhile cult favorite, given that it stars two strong, sexy females who spend most of the film wearing form-fitting leotards and cat fighting in an arena — indeed, fans of female wrestling won’t be disappointed, as there’s plenty of girl on girl action scattered throughout. Fortunately, those of us not so interested in either t&a or wrestling can still appreciate the humorous rapport between Falk (excellent as always) and his two appealing “dolls” — one of whom (Frederick) is his sometime-lover, and the other of whom (Landon) suffers from a “mild” addiction to prescription drugs. Indeed, Landon’s professed but unseen “problem” with drugs is indicative of the film’s overall attitude of glowing unreality: Frederick and Landon should by any account be black-and-blue given the thrashings they encounter in the ring, but the most they ever seem to suffer from is a hurt back or a mildly split lip. Ultimately, then, All the Marbles is more of a fairy tale fable than an expose, with the Dolls conveniently triumphing by the end.

Redeeming Qualities and Moments:

• Peter Falk as Harry
  
• Believable, humorous rapport between Falk, Frederick, and Landon
  
• The exciting final MGM match between the California Dolls and the Toledo Tigers
  

Must See?
No, but it’s worth a look. Listed as a Personal Recommendation and Cult Movie in the back of Peary’s book.

Links:

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

Synopsis:
A successful lawyer (Claude Rains) engaged to an icy blonde (Whitney Bourne) accidentally shoots his mistress (Margo), then constructs an elaborate series of alibis to cover up his crime.

Genres, Themes, Actors, and Directors:

• Claude Rains Films
• Jealousy
• Lawyers
• Love Triangle
• Womanizers

Review:
This little-seen psychological thriller establishes itself as a must-see gem from its fantastical opening sequence, in which we witness the three dark-haired “Furies” of Greek myth emerging full-form from droplets of blood, and immediately wreaking gleeful havoc upon unsuspecting mortals. When this mind-bending montage comes to a close and the camera settles upon the story’s all-too-human protagonist (Rains), the effect is somewhat unsettling — yet Ben Hecht and Charles MacArthur’s clever, witty screenplay immediately draws us in to Rains’ romantic dilemma. While the story remains firmly grounded in “real life” from this moment on (with only occasional nods to the supernatural), the point has been well established that Rains’ cocky, womanizing lawyer will be made to pay for his arrogance, and in a suitably dramatic fashion.

Rains is excellent in the lead role, managing to sustain our interest despite his character’s decidedly unsavory actions and demeanor. Equally impressive is 17-year-old Margo (castanet-clicking “Clo-Clo” in Val Lewton’s The Leopard Man) in her screen debut as the object of Rains’ lustful affections — while we desperately want to shake some sense into her (how can she be in love with such a cad?!), she engages our genuine sympathies as well. Wrapping up within a neat 70 minutes, Crime Without Passion tells its fall-from-grace narrative quickly and succinctly, and is well worth the enjoyable ride.

Redeeming Qualities and Moments:

• Claude Rains as Lee Gentry
  
• Margo (in her screen debut) as Carmen Brown
  
• The phenomenal opening montage sequence, showing the “Three Furies” emerging from drops of blood and wreaking havoc on humankind
  
• Lee Garmes’ impressive camera work
  
• Hecht and MacArthur’s clever screenplay

Must See?
Yes, as an all around “good show”. Listed as a Cult Movie in the back of Peary’s book.

Categories

• Good Show

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
A trio of burglars — Dan Duryea, Peter Capell, and Mickey Shaughnessy — steal a valuable necklace from a mansion that’s been cased by Duryea’s sexy young ward, Gladden (Jayne Mansfield). But when a corrupt cop (Stewart Bradley) puts the moves on lovesick Gladden in an attempt to secure the jewels for himself, Duryea and his accomplices find themselves on the lam in Atlantic City.

Genres, Themes, Actors, and Directors:

• Dan Duryea Films
• Heist
• Jayne Mansfield Films
• Thieves and Criminals

Review:
Director Paul Wendkos’ feature debut was this gritty noir thriller, based on a novel by David Goodis. While The Burglar is primarily notable for featuring Jayne Mansfield in one of her first screen appearances (playing a love-starved young sexpot named, of all things, Gladden), the film stands on its own as an enjoyable, tautly directed crime flick. The expertly shot and edited opening heist sequence gets things off to a rollicking start, and while the narrative occasionally meanders (particularly during the awkward flashbacks to Duryea’s past), the story remains compelling throughout. The performances are all fine, with the always “durable” Dan Duryea effective in the lead, and Peter Capell as his eager accomplice providing a nice counterpoint to Duryea’s staunch stoicism.

Redeeming Qualities and Moments:

• Dan Duryea as Nat
  
• Jayne Mansfield as Gladden:
  

  “Look at me — I’m a woman! I’m flesh and blood, and I got feelings!”

  

• Peter Capell as Baylock, the gang’s enthusiastic jewelry expert
  
• The tense opening heist sequence
  
• Atmospheric direction and editing by Wendkos
  

Must See?
No, but it’s recommended, particularly for noir fans.

Links:

• IMDb entry
• TV Guide Review
• Film Noir of the Week
• Time Out Capsule Review

Synopsis:
In 1932, 79-year-old Alice Hargreaves (Coral Browne) — the inspiration for Lewis Carroll’s Alice in Wonderland — arrives in New York for a centennial celebration with her assistant (Nicola Cowper), and finds herself besieged by both reporters (including the unscrupulous Peter Gallagher, who pursues Cowper) and marketers. Meanwhile, she reflects back on her days as a young girl (Amelia Shankley), when Carroll (Ian Holm) was clearly besotted with her.

Genres, Themes, Actors, and Directors:

• Fantasy
• Flashback Films
• Historical Drama
• Ian Holm Films
• Writers

Review:
This most unusual little film — scripted by Dennis Potter — relies on a real life event (Alice Hargreaves’ visit to America in 1932) to fictionally explore the confusing — though literarily fruitful — relationship between besotted Lewis Carroll and young Alice, and the ramifications this famous association continued to have on grown Alice’s life. The “modern-day” section of the film pokes satirical fun at the culture clash between dignified Hargreaves (Browne is simply wonderful) and media-happy, Depression-era America, which is more than willing to exploit Hargreaves’ presence — with pay — for the sake of marketing her “image” like mad (this part of the story is reminiscent of Chaplin’s King in New York from 1957). Less successful is the budding romance between a mercenary ex-journalist (Peter Gallagher) and Hargreaves’ young assistant (Nicola Cowper), though Cowper (who sadly never made a big name for herself) more than holds her own in scenes which don’t do her justice.

Ultimately, however, Dreamchild is most concerned with Alice’s reflective flashbacks to her childhood, which — often in nightmarish ways — occasionally merge with the present in her aging mind. Ian Holm perfectly embodies the conflicted Reverend Dodgson (pen name “Lewis Carroll”), effectively conveying his desire for Alice while remaining sympathetic to viewers, given that he never acts upon his pedophilic urges. Amelia Shankley as young Alice is an excellent counterpart to Holm, showing clear evidence of the insouciant charm Carroll fell in love with, while (we sigh with relief) making the boundaries between the two of them perfectly clear. Equally impressive — though not given enough screen time — are Jim Henson’s Wonderland creations, including Mock Turtle, the Mad Hatter, Gryphon, Caterpillar, and Dormouse. They’re both magical and frightening, a perfect manifestation of Carroll’s twisted imagination and Alice’s lifelong interpretation of them, and they add just the right surreal touch to this highly unique film.

Note: Click here and here to read more about Carroll’s real-life relationship with young Alice and her sisters.

Redeeming Qualities and Moments:

• Coral Browne as Alice Hargreaves
  
• Ian Holm as Lewis Carroll
  
• Nicola Cowper as Mrs. Hargreave’s naive young assistant
  
• Amelia Shankley as “young Alice”
  
• Jim Henson’s muppetlike creatures of Wonderland
  

Must See?
Yes, as a little-seen “good show”, and for Browne’s performance.

Categories

• Good Show

Links:

• IMDb entry
• NY Times Original Review
• Moria Review
• Roger Ebert’s Review
• Time Out Capsule Review

Synopsis:
A rookie cop (Darren McGavin) in Brooklyn goes undercover to expose rampant corruption in the police force — but the well-being of both his wife (Peggy McCay) and partner (Brian Hutton) are put in jeopardy when he actively pursues a widow (Margaret Hayes) who may have information to share.

Genres, Themes, Actors, and Directors:

• Corruption
• Criminal Investigation
• Police
• Undercover Cops and Agents

Review:
This early precursor to 1990’s Internal Affairs tells the gritty, true-to-life tale of rampant police corruption in 1950s Brooklyn, and the neophyte cops who were sent undercover to secure incriminating evidence against their degenerate elders. Darren McGavin is perfectly cast as a young war veteran who is immediately comfortable with the deception required of his new job: although he’s clearly the film’s protagonist, he’s ultimately a flawed hero, someone we can’t help silently despising as he lunges a bit too whole-heartedly into an affair with a likable widow (Hayes) while his loyal wife (McCay) waits naively at home.

As a narrative, The Case Against Brooklyn is flawed by its overly perfunctory exposition and didactic narration (similar to that in Anthony Mann’s T-Men); but once McGavin enters the story and the voice-over mysteriously disappears, the story unfolds with tension and excitement until its bittersweet ending.

P.S. McGavin is one of the more unexpectedly athletic actors I’ve seen in a while — watch how he leaps, then rolls across his bed to answer his ringing telephone, or how competently he (nearly) takes out two bookie thugs sent to collect money from him.

Redeeming Qualities and Moments:

• Darren McGavin as Pete Harris
  
• Margaret Hayes as Lil Polombo
  
• Many exciting, tension-filled sequences
  
  

Must See?
No, but it’s certainly worth a look if you can find a copy.

Links:

• IMDb entry

Synopsis:
Declared legally sane after 22 years in a mental institution, Norman Bates (Anthony Perkins) tries to establish a new life for himself back at his motel — but as bodies begin piling up, he soon discovers that someone is out to convince him his dead mother is still alive…

Genres, Themes, Actors, and Directors:

• Anthony Perkins Films
• Gaslighting
• Horror
• Mental Illness
• Murder Mystery
• Serial Killers

Review:
Three years after Hitchcock’s death, director Richard Franklin helmed this sequel-cum-homage starring two members from the original Psycho‘s cast: Vera Miles as Marion Crane’s vengeance-seeking sister, Lila, and — most critically — Anthony Perkins as Norman Bates. In his review of Psycho II, Roger Ebert notes that “the first thing is to put Alfred Hitchcock’s original 1960 Psycho right out of your mind” — a point well-taken to a certain extent, given that Psycho II doesn’t begin to scale the heights of Hitchcock’s groundbreaking masterpiece. At the same time, however, Psycho II is likely to be most enjoyable to those who love and remember the original, given that nearly every scene plays upon one’s intimate knowledge of camera placement, set design, and character development from the first film.

With that said, Psycho II actually works on its own as a reasonably engaging, campy thriller, with enough plot twists and nasty surprises to satisfy most horror fans. Perkins is note-perfect as an older, more sympathetic Norman, who we grow to genuinely care for — as does Meg Tilly’s sexy waitress Mary, who at first seems like the ultimate putz for daring to sleep over at Norman’s house, but whose true motivations for spending time around Norman are soon revealed. As long as one can buy the initial, highly unlikely premise that Bates would be released on his own, back to his childhood home, rather than to a halfway house, the remainder of the story gradually clicks into place, and ends on a surprisingly freaky, satisfying note.

Redeeming Qualities and Moments:

• Anthony Perkins as an older Norman Bates
  
• Meg Tilly as Mary
  
• An affectionate homage to Hitchcock’s classic
  
• Plenty of unexpected thrills, chills, and twists
  

Must See?
Yes, as a noteworthy — albeit inevitably inferior — follow-up to Hitchcock’s famous thriller. Listed as a Sleeper and a Personal Recommendation in the back of Peary’s book.

Categories

• Historically Relevant

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• Moria Review
• Time Out Capsule Review