FilmFanatic.org

Synopsis:
When three schoolmates — spoiled Vivian (Ann Dvorak), hardworking Ruth (Bette Davis), and fun-loving Mary (Joan Blondell) — meet ten years after graduating, they light three cigarettes on one match, and their lives are changed forever.

Genres, Themes, Actors, and Directors:

• Ann Dvorak Films
• Bette Davis Films
• Character Arc
• Class Relations
• Downward Spiral
• Edward Arnold Films
• Humphrey Bogart Films
• Joan Blondell Films
• Kidnapping
• Mervyn LeRoy Films
• Warren William Films

Review:
Panned as “tedious and distasteful” by the New York Times upon its release, this taut Warner Brothers melodrama has gained more respect in recent years, lauded by critics for its “uncompromising script” and “raw direction”, and cited as “one of the best” of Warner’s “factory assembly line films [from] the early thirties”. The truth lies somewhere in between both extremes. While Three on a Match is certainly neither “tedious” nor “distasteful”, it’s also not particularly compelling. The first half hour (which, given its mere hour+ length, is half the movie itself) is rather inconsequential, with too much time spent establishing the stereotypical characters and their backgrounds; fortunately, things heat up once Dvorak’s character “goes bad”, and the narrative takes some unexpected twists and turns.

Three on a Match is most notable these days for clearly showing Dvorak as an unrepentant cocaine addict; she gives up her marriage and young child without compunction, swiping greedily at her nose like it itches — this is classic Pre-Code daring. More impressive than Dvorak, however, is Joan Blondell — it’s easy to see why she was touted (over mellow Davis, whose role is minor at best) as a rising star. Also of interest is charismatic Humphrey Bogart in a tiny yet unforgettable role as a kidnapping gangster; see below for his classic response to Dvorak’s young son.

Redeeming Qualities and Moments:

• Joan Blondell as Mary
  
• Humphrey Bogart in a small role as an utterly ruthless gangster:
  

Junior: Please don’t hurt my mommy!
Bogart (with a sneer): I’ll bear that in mind.

• Adorable Buster Phelps as curly-headed Junior (despite his substantial role in the film, he’s uncredited)
  
• The shocking finale
  

Must See?
No, though it’s worth a look simply for its daring Pre-Code content.

Links:

• IMDb entry
• Three Movie Buffs Review
• TCM Article

Synopsis:
In 15th century England, the power-hungry Duke of Gloucester (Basil Rathbone) — assisted by his loyal club-footed executioner (Boris Karloff) — attempts to murder his way to the throne.

Genres, Themes, Actors, and Directors:

• Basil Rathbone Films
• Boris Karloff Films
• Historical Drama
• Ian Hunter Films
• Plot to Murder
• Royalty and Nobility
• Vincent Price Films

Review:
This atmospheric Shakespearean horror-drama — directed by Rowland V. Lee — is primarily notable for its featured performances by three of Universal’s best-known actors: Rathbone, Karloff, and Vincent Price (in one of his earliest roles). Each has at least one memorably creepy scene: Rathbone periodically visiting his “doll house” and reconfiguring the placement of figurines near the throne; Karloff meandering purposefully through “his” dungeon, pausing (for all the world like an artiste) to pile additional weight upon a tortured prisoner; Price laughing maniacally as he wrongly assumes that he can win a drinking bet with Rathbone. While critics at the time were bothered by the film’s cheeky mix of horror and costume drama, there’s something undeniably horrific about the Duke of Gloucester’s ruthless climb to power. As noted in TCM’s article, “The beauty of a film as diabolical as Tower of London is not [in] knowing who is going to die next, but [in] savoring each victim’s unorthodox journey from the castle to the grave”. Despite its obvious perks, being royalty in medieval Europe comes across here as unquestionably risky; after watching this film, it’s not something most viewers would wish upon themselves.

Redeeming Qualities and Moments:

• Basil Rathbone as “crookback” Richard
  
• Ian Hunter as blueblood-obsessed King Edward
  
• Vincent Price as the Duke of Clarence
  
• Boris Karloff as Richard’s loyal, club-footed executioner
  
• Rathbone continually returning to his “doll house” to remove “eliminated” royalty
  
• Atmospheric cinematography
  
  
• Fine production values
  

Must See?
Yes, as an all-around creepy-good show.

Categories

• Good Show

Links:

• IMDb entry
• TCM Article
• At-a-Glance Review
• Spinning Image Review

Synopsis:
Upon arriving at Jamaica Inn in Cornwall, an orphaned Irish woman (Maureen O’Hara) learns that her Uncle Joss (Leslie Banks) is part of a gang of criminals who loot shipwrecks — secretly orchestrated by mysterious Sir Humphrey Pengallan (Charles Laughton) — for monetary gain. When Mary (O’Hara) helps an undercover gang member (Robert Newton) escape with his life, her own is soon in danger — both from the rest of the criminals, and from nefarious Pengallan, who wants her as his very own “beautiful object”.

Genres, Themes, Actors, and Directors:

• Charles Laughton Films
• Historical Drama
• Hitchcock Films
• Maureen O’Hara Films
• Mistaken or Hidden Identities
• Robert Newton Films
• Thieves and Criminals
• Undercover Cops and Agents

Review:
It’s no secret that Alfred Hitchcock was only vaguely invested in this adaptation of Daphne Du Maurier’s gothic novel, his final British venture before moving to Hollywood. Frank Nugent of the New York Times stated the situation succinctly: “Having set his own standards, Alfred Hitchcock must be judged by them; and, by them, his Jamaica Inn… is merely journeyman melodrama.” While reasonably competent, the film shows little of Hitchcock’s trademark directorial style; unlike most of the entries in his distinctive oeuvre, this one could easily be taken as the work of someone (anyone) else.

Indeed, as many have noted, Jamaica Inn is actually a “Charles Laughton picture” rather than a “Hitchcock picture”, given Laughton’s role as both producer and lead actor. He has great fun playing the corpulent baddie here, slyly fooling everyone around him, and coming across as simultaneously grotesque and calculating.

Equally impressive is beautiful Maureen O’Hara (in her first significant film role), who displays every ounce of her Irish spunk — no simpering early-19th-century maiden she! Her Mary is refreshingly fearless, refusing to be cowed.

I especially love the scene near the end of the film, when she resolutely ties the top strands of her dress back together after nearly being raped.

Less successful, however, is the overall arc of the story, which is unevenly paced and lacks narrative punch; we should care much more about what’s going on than we do. Part of the problem is that essential character motivations are left unclear: for instance, while we understand that Mary’s Aunt Patience (Marie Ney) is firmly attached to her no-good husband, we never discover why:

And, unless I missed something, we never learn why Pengallan holds the sway he does over Joss — nor why this must be (conveniently) kept a secret from everyone else in the gang. Overall, Jamaica Inn remains one of Hitchcock’s lesser outings, and is not must-see viewing.

Redeeming Qualities and Moments:

• Charles Laughton’s hammy performance as Pengallan (those eyebrows!)
  
• Beautiful Maureen O’Hara as Mary
  
• Atmospheric cinematography
  

Must See?
No, though fans of Hitchcock or Du Maurier will certainly be curious to check it out.

Links:

• IMDb entry
• NY Times Original Review
• TCM Article

Synopsis:
The manipulative daughter (Jean Simmons) of a writer (Herbert Marshall) tries to enlist the help of her new chauffeur (Robert Mitchum) in killing her wealthy stepmother (Barbara O’Neil).

Genres, Themes, Actors, and Directors:

• Femmes Fatales
• Herbert Marshall Films
• Jean Simmons Films
• Otto Preminger Films
• Plot to Murder
• Psychopaths
• Robert Mitchum Films

Review:
Otto Preminger’s atmospheric thriller features compelling performances, beautiful b&w cinematography, and several unexpected deviations from the traditional noir set-up. Unlike most of the heedless chumps populating this genre, Mitchum’s character (always savvy — he’s a relentlessly intelligent actor) never fully falls for “Angel Face”; and while Simmons’ femme fatale is appropriately manipulative and reckless, her motivations lie deeper than mere exploitation and greed. The narrative’s pacing foils expectations as well: the courtroom scene — which one would expect to be the final climax — isn’t; indeed, if you’ve never seen Angel Face, avoid reading any other online reviews, since most of them give away the ending.

Redeeming Qualities and Moments:

• Robert Mitchum as Frank
  
• Jean Simmons as Diane
  
• Crisp b&w cinematography by Harry Stradling
  
  

Must See?
Yes. This unusual little noir film is now regarded as one of Preminger’s best.

Categories

• Good Show

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

Links:

• IMDb entry
• NY Times Original Review (spoilers alert)
• Toxic Universe Review (spoilers alert)
• TCM Article
• DVD Savant Review (spoilers alert)
• Time Out Capsule Review

Synopsis:
An off-duty cop (Lawrence Tierney) who has spent the night drinking heavily and can’t remember his actions tries to clear his name by investigating the mysterious murder of an actress (Eve Brent), who was last seen with gossip columnist Claude Almstead (John Carradine). Meanwhile, a caricaturist (Burt Kaiser) who has been cheating on his wife (Kathleen Crowley) with a blonde vamp (Jayne Mansfield) thinks he may have important information about the murder.

Genres, Themes, Actors, and Directors:

• Jayne Mansfield Films
• John Carradine Films
• Lawrence Tierney Films
• Love Triangle
• Murder Mystery
• Police

Review:
This low-budget noir-thriller was the directorial debut of character actor Bruno VeSota, who starred in several of Roger Corman’s AIP flicks (including Bucket of Blood) — but it’s perhaps even more notable as the first significant screen appearance of Jayne Mansfield (who was paid $150 for her work, and promptly went back to her job selling popcorn). Unfortunately, it’s a flawed film: the screenplay is muddled, with too many characters introduced as potential suspects; the ending is frustratingly vague (just when we think things are resolved, another twist is hinted at); and the acting is uneven (Crowley as the artist’s wife is particularly bad). Yet the entire affair is at least partially redeemed by a couple of noteworthy performances (Tierney and Carradine), and an effectively dark-and-dirty B-level atmosphere; as noted in Graeme Clark’s Spinning Image review, Female Jungle takes place entirely at night, with neither dusk nor dawn to signal the presence of daylight life.

Redeeming Qualities and Moments:

• Lawrence Tierney as the guilt-ridden cop
  
• John Carradine as Almstead
  
• Jayne Mansfield as “Candy” — no great actress, but exuding sexual allure
  
• Effective noir cinematography
  
  
• Plenty of juicy B-level dialogue between Mansfield and Kaiser:
  

  “With or without violins, I’d call this a brush-off.”
  “You and I just don’t add up together.”
  “You’re lying — just like the phony paint on yer face!”
  “You’re good for nothing, but I’m crazy for you.”

Must See?
No. While notable as Mansfield’s first significant on-screen appearance, this one is for B-budget noir fans only.

Links:

• IMDb entry
• The Spinning Image Review

Synopsis:
Near the start of the Civil War, an apolitical Southern profiteer (Robert Stack) in Colorado becomes embroiled in a heated stand-off between Unionists and Confederates; meanwhile, he finds himself caught in a love triangle between a feisty saloon hostess named Boston (Ruth Roman) and a prim-and-proper dress-shop owner (Virginia Mayo).

• Civil War
• Gold Seekers
• Jacques Tourneur Films
• Love Triangle
• Raymond Burr Films
• Robert Stack Films
• Ruth Roman Films
• Virginia Mayo Films
• Westerns

Review:
Jacques Tourneur’s Civil War-era western is notable primarily for Lesser Samuels’ intelligent script, which deftly explores the tensions between “Northern” and “Southern” sympathizers in a non-strategic territory of the U.S. The screenplay features many memorable lines, and Robert Stack’s character is drawn as a reasonably compelling anti-hero. The film also benefits from fine supporting performances by both Ruth Roman (appropriately savvy and forward as a woman who immediately falls for Stack):

… and Raymond Burr (intensely angry as Roman’s jilted, would-be lover).

Unfortunately, Virginia Mayo fares much worse (she performs her scenes with melodrama rather than nuance), and Stack should have at least attempted a southern accent.

Surprisingly, little of Tourneur’s signature directorial style is in evidence here, making this a somewhat puzzling — albeit enjoyable — inclusion in Peary’s book.

Redeeming Qualities and Moments:

• Ruth Roman as Boston
  
• Raymond Burr as Jumbo Means
  
• An effective look at pre-Civil War loyalties and tensions
  
• A clever script with many pithy lines: “The North and South are natural enemies — like husband and wife.”

Must See?
No, but it’s recommended for one-time viewing.

Links:

• IMDb entry
• TCM Article (spoilers alert)
• Time Out Capsule Review (spoilers alert)

Synopsis:
A housewife (Carrie Snodgress) married to a demeaning and demanding husband (Richard Benjamin) rebels by having an affair with a self-absorbed writer (Frank Langella).

Genres, Themes, Actors, and Directors:

• Feminism and Women’s Issues
• Frank Perry Films
• Housewives
• Infidelity
• Marital Problems
• Richard Benjamin Films

Review:
Frank and Eleanor Perry’s adaptation of Sue Kaufman’s novel is a delightfully acerbic glimpse at gender roles in the early 1970s. Keeping in mind the film’s title (the story is distinctly told from Snodgress’s point of view), it’s easy to accept the humorously over-the-top depictions of both Benjamin and Langella as true male chauvinists — this is how she perceives them. Snodgress — who was nominated for an Oscar in her first leading role — is marvelous as Tina, the titular housewife, managing to make us believe not only that Tina would put up with Benjamin’s abuse, but that she would rebel with a man who treats her just as badly. Through incisive editing, we’re shown Tina choosing to visit Langella each time things get too awful at home — it’s her version of a safe haven. The clever ending — which puts the entire story in a slightly different light — is especially well-conceived.

Redeeming Qualities and Moments:

• Carrie Snodgress’s wonderful performance as Tina
  
• Richard Benjamin as Tina’s hideously self-righteous husband
  
• Frank Langella as Tina’s equally insufferable lover, George
  
• A witty look at oppression and liberation in the early days of women’s lib
  

Must See?
Yes, for Snodgress’s Oscar-nominated performance. Listed as a Cult Movie in the back of Peary’s book.

Categories

• Noteworthy Performance(s)
• Oscar Winner or Nominee

Links:

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