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Synopsis:
During World War II, a young Jewish boy (Alain Cohen) is sent by his concerned parents (Charles Denner and Zorica Lozic) to live undercover as a Catholic in the countryside with a kind but anti-semitic old man (Michel Simon) and his wife (Luce Fabiole).

Genres, Themes, Actors, and Directors:

• Childhood
• French Films
• Friendship
• Jews
• Mistaken Identities
• World War Two

Review:
Claude Berri’s feature debut — based on his own experiences as a boy in the French countryside during World War II — offers an unabashedly sentimental perspective on the danger of Jews in hiding. Rather than hinging his narrative on if or when naughty Claude (Cohen) will slip up and give away his religious identity, Berri focuses instead on the “May-December” friendship which develops between Simon and Cohen; indeed, the original title of the film (inexplicably changed for American audiences) is “Le Vieil Homme et l’Enfant”, or The Old Man and the Boy. Eventually, however, The Two of Us turns into a gentle fable about the absurdity of prejudice as well.

Simon, with his craggy, life-worn face, is surprisingly appealing as the bigoted “Grampa”, whose ill-founded preconceptions about “others” (Jews, Blacks, gypsies) belies his soft-hearted nature; much is made, for instance, of the fact that he’s a vegetarian who strongly opposes his wife killing rabbits for dinner, and tries to convince Claude from abstaining as well. Most of the film’s rather unexpected humor comes as we listen to Simon explaining how Jews can be spotted (or smelled!), and why they’re so “undesirable” — and then hear Claude innocently questioning his inane assertions, pointing out, for instance, the enormity of Simon’s own nose. Meanwhile, Claude — once so coddled that his mother literally spoon-fed him his dinner — gradually becomes more independent, literally blossoming in the fresh country air. If only all young European Jews during the war were as lucky as Berri…

Redeeming Qualities and Moments:

• Michel Simon as “Grampa”
  
• Alain Cohen as Claude
  
• A touching story of cross-generational friendship
  
• Beautiful b&w cinematography (by Jean Penzer)
  

Must See?
Yes, as a classic of foreign cinema, and for Simon’s late-life performance.

Categories

• Foreign Gem
• Important Director
• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Interview With Cohen
• Roger Ebert’s Review
• Q Network Review
• TCM Article
• Time Out Capsule Review

Synopsis:
During the Great Depression, a plucky orphan named Annie (Aileen Quinn) is rescued from the clutches of her evil caretaker (Carol Burnett) by the secretary (Ann Reinking) of a crusty billionaire (Albert Finney), who agrees to help her find her long-lost parents — but Annie’s life is put in danger when a pair of con-artists (Tim Curry and Bernadette Peters) collude with Miss Hannigan (Burnett) to nab the $50,000 award offered by Daddy Warbucks (Finney).

Genres:

• Albert Finney Films
• Carol Burnett Films
• Con-Artists
• Depression Era
• John Huston Films
• Millionaires
• Musicals
• Orphans

Review:
John Huston’s mega-million-dollar film adaptation of the long-running Broadway musical Annie received decidedly mixed reviews upon its release, with Vincent Canby of the NY Times calling it “a nearly perfect Music Hall picture — big, colorful, slightly vulgar, occasionally boring and full of talent not always used to its limits”, and Roger Ebert noting that “in the abstract, [it’s] fun… but in the particular, it has all sorts of problems”. Even those who adored Annie as children — and can break into any one of its catchy tunes without missing a beat — generally concede that it’s a flawed picture; it’s currently rated at only 36 points on Metacritic (Update as of 1/30/21: 39 points), and director John Huston (this was his one and only foray into musicals) was nominated for a Razzie! Perhaps not surprisingly, Annie is missing from Peary’s book — but I’m reviewing it here simply because it’s achieved such a cult status over the years.

Unknown (then and now) Aileen Quinn was selected among thousands of applicants for the lead role, and does a memorable job; her voice is strong and clear, and while she’s no great actress, she projects just the right amount of spunk and vitality. (Note, however, that she won a Razzie as worst supporting actress of the year.)

Film fanatics will likely enjoy seeing both bald-pated Albert Finney as the crusty yet malleable Daddy Warbucks, and Carol Burnett’s hilariously over-the-top performance as Miss Hannigan (my favorite moment: Hannigan drunkenly takes a sip of water from a vase full of flowers).

And the story itself remains undeniably seductive: what kid — orphan or not — wouldn’t want to be adopted by the wealthiest person in the world?

Note: Among those considered for the key roles in Annie were Bette Midler as Miss Hannigan, Jack Nicholson as Daddy Warbucks, and Drew Barrymore as Annie herself. Interestingly, any one of these possibilities seems like a plausible choice.

Redeeming Qualities and Moments:

• Albert Finney as Daddy Warbucks
  
• Carol Burnett as Miss Hannigan
  
• A catchy roster of tunes
  

Must See?
Yes, simply as a cult favorite.

Categories

• Cult Movie

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• Time Magazine’s Original Review
• TCM Article
• Time Out Capsule Review

Synopsis:
In the late 1700s, warlock Joseph Curwen (Vincent Price) is burned at the stake by the villagers of Arkham, and vows revenge. More than 100 years later, his great-grandson (also Price) arrives in Arkham with his new wife (Debra Paget), and becomes possessed by a painting of Curwen. With the help of his loyal servant (Lon Chaney), Curwen attempts to raise his mistress (Cathie Merchant) from the dead, and to kill off his murderers’ descendants.

Genres:

• Debra Paget Films
• Elisha Cook Jr. Films
• Horror
• Lon Chaney, Jr. Films
• Possession
• Revenge
• Roger Corman Films
• Vincent Price Films
• Witches, Wizards, and Magicians

Review:
Made as part of AIP’s cycle of “Poe” pictures (but actually based on a story by H.P. Lovecraft ), this Corman-directed flick is a compelling treat for fans of gothic horror. With its opulent sets, fog-drenched cinematography, and brass-heavy score, The Haunted Palace has atmosphere to spare; and Corman-favorite Vincent Price is at his hammy best in dual roles as both Ward and Curwen, effortlessly shifting from hapless husband to malevolent warlock with a simple arch of his eyebrows. Because Curwen is treated so viciously by his neighbors in the opening sequence of the film:

— his dying screams as he’s burned at the stake are bloodcurdling — we can actually sympathize with his desire for revenge; the snively residents of Arkham (many of whom are mutants) almost seem to deserve their fate. Paget is fine as Ward’s unfairly put-upon wife:

… and Chaney (in ghoulish-green facial makeup) is appropriately creepy as Curwen’s eternally loyal servant:

— but this is Price’s show all the way.

Note: Watch for the final compelling shot of the movie, which takes one by surprise.

Redeeming Qualities and Moments:

• Vincent Price as Curwen and Ward
  
• Daniel Haller’s baroque production design
  
• Atmospheric cinematography (by Floyd Crosby) and direction (by Corman)
  
• Ronald Stein’s instantly hummable score

Must See?
Yes, for Price’s performance, and as a most enjoyable “Poe” adaptation by Corman.

Categories

• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review
• Classic-Horror Review
• Moria Review
• Spinning Image Review
• TCM Article
• Time Out Capsule Review

Synopsis:
In 18th century England, a young boy (Bobby Driscoll) is given a treasure map and sets sail on a ship with a mutinous crew, led by the one-legged pirate Long John Silver (Robert Newton).

Genres, Themes, Actors, and Directors:

• At Sea
• Coming-of-Age
• Gold Seekers
• Pirates
• Robert Newton Films

Review:
Disney’s first live-action film remains the most famous version among many (including the Peary-recommended 1934 version, starring Wallace Beery) made from Robert Louis Stevenson’s classic 1883 adventure novel. Unfortunately (as in the novel), it takes too long for the action to get started, with half-an-hour passing before the ship even sets sail; but once it does, director Byron Haskin keeps things moving at an energetic clip, with plenty of exciting action sequences and life-threatening encounters. Disney veteran Bobby Driscoll (star of 1946’s Song of the South) is appropriately mature as young Jim Lively (who gets to experience a coming-of-age adventure most boys only dream of!):

… and he’s surrounded by a cast of colorful supporting actors — most notably Robert Newton as Long John Silver (nominated by Peary as one of the Best Actors of the Year in his Alternate Oscars).

Redeeming Qualities and Moments:

• Robert Newton as Long John Silver
  

Must See?
Yes, simply to see Newton in perhaps his most iconic role.

Categories

• Noteworthy Performance(s)

Links:

• IMDb entry
• Ultimate Disney Review

Synopsis:
When the mothers (Debbie Reynolds and Shelley Winters) of two convicted murderers receive threatening phone calls, they flee to Hollywood, where they establish a song-and-dance studio for aspiring kid stars. Reynolds finds happiness by dating a wealthy admirer (Dennis Weaver), but Winters’ increasingly unstable mental state puts both their lives at risk.

Genres, Themes, Actors, and Directors:

• Agnes Moorehead Films
• Debbie Reynolds Films
• Hollywood
• Horror
• Mental Breakdown
• Shelley Winters Films

Review:
What’s the Matter With Helen? was written by Henry Farrell, best known for penning the Grand Guignol classic Whatever Happened to Baby Jane? (1962) and its successor, 1964’s Hush… Hush, Sweet Charlotte (based on his short story “Whatever Happened to Cousin Charlotte?”). Farrell was clearly interested in milking the theme of “things happening” to middle-aged women with troublesome pasts — yet unlike in either …Jane or …Charlotte, it’s obvious from the beginning of …Helen which of the two female leads will eventually show evidence of having a few too many screws loose.

While …Helen? offers some enjoyment in its recreation of 1930s Hollywood — complete with eerie Shirley Temple- and Mae West-wannabes dancing their hearts out for hypothetical talent scouts in the audience — it ultimately fails to generate the same type of twisted energy as its cinematic predecessors, due primarily to the rather tame central relationship between Winters and Reynolds. Ironically, 40-year-old Debbie Reynolds’ uber-trim, youthful appearance (she looks not a day over 30) works to her detriment here, given that she never comes across as either middle-aged or pathetic — and her friendship with Winters, based purely on the circumstance of their sons’ hideous crime, lacks the emotional gravity of the contentious familial relationships grounding both …Jane and …Charlotte.

As a result, Winters’ gradual descent into madness exists in a weird parallel universe to the somewhat mundane path taken by Reynolds (who seems to want to be in a romantic musical — note her two impressive dance scenes). There’s some tension to be had in the underlying question of who’s been making threatening calls to the two ladies, and whether or not Reynolds’ convenient new love interest (nicely played by Dennis Weaver) will care about her grown son’s infamous record — but a potential subplot about Winters’ obsession with a charismatic female evangelist (Agnes Moorehead in a criminally small cameo) sadly fails to go anywhere, and the climactic ending, while shocking, feels like a bit of an emotional cheat.

Redeeming Qualities and Moments:

• Effective 1930s set designs and (Oscar-nominated) costumes
  
• The surreal “kiddy revue”
  
• Dennis Weaver as “Linc”
  

Must See?
No, though it’s worth a one-time look.

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• Spinning Image Review
• DVD Savant Review
• Time Out Capsule Review

Synopsis:
In the aftermath of a nuclear explosion, a Los Angeles father (Ray Milland) places the survival of his wife (Jean Hagen) and children (Frankie Avalon and Mary Mitchel) above all else.

Genres, Themes, Actors, and Directors:

• Jean Hagen Films
• Nuclear Holocaust
• Post-Apocalypse
• Ray Milland Films
• Science Fiction
• Survival

Review:
Ray Milland starred in and directed this earnest yet disappointing low-budget AIP flick about a family struggling to survive after a nuclear bomb hits Los Angeles. Post-apocalyptic dramas have the potential to explore a rich array of societal and psychological issues, including racism, loneliness, and despair — see Arch Oboler’s Five (1951), for instance, or The World, the Flesh, and the Devil (1959) — but Panic in Year Zero remains squarely in the realm of exploitation films, with a gang of marauding young hoodlums (led by Richard Bakalyan) representing the primary force of evil, and “every man for himself” serving as its rather uninspired theme. Milland isn’t great at directing his cast (not even spirited Jean Hagen or teen heartthrob Frankie Avalon emerge with much personality):

… and the film’s ultra-low budget inevitably hurts its veracity as well — most egregiously in the use of high-speed freeway footage to represent local two-lane roads (!). Despite its historical relevance as one of the first “atom scare” films to be released in America, Panic in Year Zero isn’t must-see viewing.

Redeeming Qualities and Moments:

• A compelling premise
  

Must See?
No; feel free to skip this dated flick.

Links:

• IMDb entry
• DVD Savant Review
• Time Out Capsule Review

Synopsis:
A dying professor of Egyptology (Boris Karloff) asks to be buried with a valuable jewel known as the Eternal Light, which he believes will grant him immortality in the afterlife. When his butler (Ernest Thesiger) steals the jewel from his tomb, Karloff returns from the dead to seek revenge.

Genres, Themes, Actors, and Directors:

• Boris Karloff Films
• Egypt and Egyptology
• Horror
• Life After Death
• Ralph Richardson Films
• Revenge

Review:
This early British horror flick was believed lost for many years, until a print was finally found in 1969. Unfortunately, however — despite the presence of Boris Karloff in a starring role — it’s far from a missing classic. The pacing in early scenes is deathly slow, the film’s overall tone shifts awkwardly from comedy to horror, and Karloff is gone from the screen for far too long (he doesn’t “rise from the dead” until more than 45 minutes into the story). While it’s redeemed somewhat by effectively creepy lighting and sets — as well as Karloff’s surreal makeup and performance — overall, The Ghoul is a dull disappointment. See TCM’s article for in-depth background information on the making and context of the film.

Redeeming Qualities and Moments:

• Highly atmospheric lighting and set designs
  
  
• Boris Karloff as Professor Morlant
  

Must See?
No. Listed as a Sleeper in the back of Peary’s book.

Links:

• IMDb entry
• NY Times Original Review
• British Horror Films
• TCM Article
• Moria Review