Reviews

A charming "anthology" motion picture, of the kind that was briefly popular in the 1940s. This one contains three stories, each of a supernatural bent. None really brilliant, but diverting.

The second piece was the best. This was based on a story by Oscar Wilde (not Noel Coward, as incorrectly stated in another review). Edward G. Robinson plays a lawyer haunted by a prediction that he will murder someone, and the always-watchable Thomas Mitchell is the palm-reader.

The first, with Robert Cummings and Betty Field in a story set in the Mardi Gras, is appealing in a naive way. The third segment, set in a circus, is the weakest. Charles Boyer an acrobat? No way.

This movie suffers somewhat from some of the most unconvincing studio-bound "locations" I have ever seen. I know, this was the 1940s and all that, made in the middle of the war, but puh-lease!

A really glorious, spellbinding movie. Filmed in Bengal, India, on the Ganges, it captures the essence of India, the timeless quality of life on the Ganges, without being patronizing.

This is a coming of age movie about three teenage girls, two British and one Anglo-Indian, and how their lives are affected by the arrival of a one-legged American war veteran. It's very easy to fall into sentimentality in a movie like this, but Renoir avoids this obvious pitfall. Though I have to say, I found this film very moving.

It helps that this movie is filmed in Technicolor, and is one of the best uses of Technicolor of that era.

Some of the performers were amateurs, including the actor who played the veteran and some of the children, but overall the performances are outstanding. A fine, low-key performance by Esmond Knight. This was the only film for Patricia Walters, who played Harriet, and Thomas Breen, the war veteran who played Captain Jack, never made any other movies. Watch for Arthur Shields, the brilliant Irish actor, as father of Nan.

An unjustly neglected "kitchen sink" movie from the fifties, with fine performances by all and intriguing New York locations.

Bette Davis and Ernest Borgnine portray the very much working-class parents of a young woman who is about to get married, and just wants a quick ceremony with no reception. But the mother, guilty about "not giving her daughter anything" over the years, pushes for an expensive "catered affair" that her husband cannot afford, and would use money he planned to devote to buying a taxicab license.

Davis' brassy performance has received the most attention, but Borgnine's subtle, nuanced portrayal of the father is what really sustains this movie. Barry Fitzgerald provides comic relief as a "oirish" uncle. Altogether a charming and touching film that is very much a slice of life of NYC in the fifties. Like the other Chayefsky scripts of this era, it explores themes that would have been unpalatable or mawkish for any other writer.

Charlie and Eric Campbell are in top form is this very amusing short. Charlie plays a tailor's assistant and Campbell is his boss. They wind up by coincidence (!) at the same rich lady's party, where both compete for the daughter Miss Moneybags, played by Edna Purviance.

The plot is, of course, completely ridiculous, and the whole thing is totally silly and contrived--which is just how it should be. The highlight is a hilarious dance sequence, with Charlie at his acrobatic best. There is a lot of cake-throwing and bottom-kicking. The latter is such a standard device in Chaplin movies that I wonder if there might have been some kind of underlying S&M thing going on here.

Not one of his best, but standard Charlie is Grade A stuff. Still very very funny.

Not one of Chaplin's best, but not deserving of the bad reviews it has generally received.

Chaplin here, in his very first movie, plays a swindler masquerading as a reporter--or at least I think so. The movie moves along at such a hectic pace that it is a little confusing. Like all Keystone movies of that era, it was a silly bit of fluff. But still, it had its moments and is generally is pretty funny.

One memorable scene--memorable for its silliness--is the scene where a car gets into an accident and a reporter (Charlie? I am not sure) interviews a survivor while pinned in the wreck! That one bit of business was funny as hell. Any former present or former journalist, in particular, would appreciate it.

One of the funniest movies every made, and definitely one of Chaplin's finest. It refreshingly lacks the pathos that Chaplin (sometimes unwisely) inserted in his later movies.

This short is memorable because of its unrelenting comedy "business," such as the famous scene in which a customer brings in an alarm clock and Chaplin examines it like a doctor, eventually taking a pair of pliers and yanking out its innards. This and other routines were later stolen by other comedians. For example, the scene in which an old actor comes in to sell a ring. This bit was stolen, in every single detail--down to Chaplin spitting crackers while crying--by Abbott & Costello.

Chaplin's constant tussling with another shop assistant, played by John Rand, is hilarious. Oddly, Rand did not receive screen credit for his role, even though he appears in almost every scene and is brilliant.

The Pawn Shop also provided good roles for other Chaplin regulars, including Edna Purviance, Eric Campbell, Albert Austin (as the customer with the clock), and Henry Bergmann as the pawn shop proprietor.

One interesting sidelight to this film is that the Bergmann character wears a skullcap and is identifiably Jewish--which is accurate enough, given that most urban pawnshops were owned by Jewish people at the time. This means that two of the main characters, he and Purviance, were Jewish. That was unusual at the time, particularly because the characters are not stereotyped.

I don't understand why this movie is listed as "I Was a Criminal." It was released in the U.S., and shown on television years ago, as Passport to Heaven.

A really outstanding, touching movie that featured a distinguished performance by Basserman. This movie appeared toward the end of the Second World War, and on one level was very crude anti-German propaganda. But its subtext, the yearning for freedom, is universal.

One real tragedy is that this movie simply vanished from the face of the earth. It is not available in any format, DVD or video. A real shame. My thanks to the other commenter for sharing his recollections of the film.

This is the definitive low-budget early-1950s sci-fi movie.

Not bad enough to go down in the annals of the worst movies ever made, but it comes close. Part of the "problem" from that perspective is that Peter Graves is pretty good in the lead, and the special effects aren't as horrific as the Ed Wood movies. There are also some mainstays of B and C movies of the Fifties in supporting roles, such as my longtime favorite Frank Gerstle. I always wanted to grow up to be like Frank Gerstle but unfortunately never succeeded. Sure, we get to see some wild beasts that are obviously running on a film screen, but that is OK. It's all good fun.

A very fine, forgotten movie that deserves a great deal better than the total obscurity that has shrouded it over the years. After being shown on late-night TV in the early Seventies, Andy just dropped out of sight. And that's a shame. This is really an outstanding movie, filmed on location in New York and featuring excellent performances, particularly by Alden in the lead role. This is what used to be called an "art" movie, receiving limited distribution but often far outclassing the movies of the era. In some respects this film was better than "Charly," the Cliff Robertson film that explored mental retardation several years later.

I've searched in vain for this very fine movie, which I saw many years ago and has clung firmly to my memory. It's about a cocky young soldier who is sent to kill a French collaborator. He later develops serious moral qualms about the mission.

This film has a fine cast and has some very interesting touches. I am sure, for example, that those of us who have seen it still remember the collaborator's cat, who adds tremendously to the humanity of that character. At times, the tension and psychological pressure of this movie is almost unbearable. Filmed on location in Paris, I believe. The score, which also stands out in my memory, is melodramatic but appropriate.

Very loosely--very VERY loosely--based on the story of the real-life Murder Inc., but fictionalized to a ridiculous extent and sorely lacking in authenticity. Everett Sloan is miscast as a mob boss, and Bogie is... well, Bogie, playing a prosecutor based on Burton Turkus. Interesting to contrast his dynamic performance and star persona to a flaccid Henry Morgan in the same role in "Murder Inc." a few years later.

Zero Mostel is amusing as an overweight hood, and Ted DeCorsia is good, as usual. DeCorsia's role is based loosely on the real-life Abe Reles, later portrayed much more effectively in "Murder Inc." by Peter Falk.

Other performances and characterizations are only so-so. This is really more of a throwback to the Thirties than a genuine film noir, so it is of only mild interest to noir buffs.

Maybe not a barn-burner, but definitely worth seeing because of Peck. The movie actually captures quite well the tradecraft and moral dilemmas of counterespionage, and the scenes between Peck and Crawford are first-rate. Berlin locations add to the authenticity of this forgotten little movie.

An authentic and riveting movie that certainly will strike a lot of familiar chords, given all that is happening in the Middle East. Though the filmmaker probably sympathized with the Algerians, this movie does not present a particularly sympathetic portrayal of the FLN and Arab side. Indeed, in some respects it is an indictment of terrorism and it most certainly does not glorify the use of violence. The main players on the Arab side are shown to be callous if not murderous, and the French commander, while ruthless, is by no means a stick figure. A most informative and realistic movie, surprisingly objective--and I speak as a person who, believe me, was not rooting for the Algerians even once!

A thoughtful examination of the media's systematic skewing of the Israel-Palestinian conflict, focusing on the French press. A frightening and frankly partisan view of the conflict, this movie is unlikely to persuade hardline Israel-bashers but should be viewed by the two or three remaining people in the world who haven't formed an opinion on the subject.

Peter Falk's almost scarily authentic performance as Reles steals this otherwise mediocre account of the real-life Murder Inc., which made latter-day gangsters like the characters in Goodfellas seem like choir boys in comparison. Though allegedly based on the Turkus-Feder book, most of this is complete fantasy. The central "love story," the Whitman and Britt characters, is utterly ridiculous as well as completely fictitious. The portrayals of Lepke and Mendy Weiss are interesting; the fatso playing Albert Anastasia is completely mischast.

The scene at the end is a copout, evidently for fear of offending the NYPD.

The real story of Murder Inc. would be a fascinating movie, instead of this drivel. Even so, this is worth watching because of Falk.

... really harm would could be a charming and revealing movie. The writer can't seem to get beyond stereotypes in shaping their characters. You name it, they are here, with the Jewish stereotypes bordering on offensive. Do we really need another overbearing Jewish mother? Another collection of male dating losers (funny as they are)? Ex-stereotypes, I'd have given this movie a 7. Without them it is a weak 4.

Few TV shows in history sustained such a high level of acting, production and writing. Naked City was a showcase for up-and-coming stage actors, such as Robert Duvall, Dustin Hoffman, Robert Redford, Ed Asner--the list goes on and on. But leads--Burke, McMahon and Bellaver--were superb. Some episodes were nothing short of breathtaking. A good example is "Hold for Gloria Christmas," starring Burgess Meredith as a Greenwich Village poet. It was filmed entirely in the Village, and the cast included Herschel Bernardi, Eileen Heckhart and--a real treat for theater buffs--a rare appearance by the famed acting teacher and Group theater veteran Sanford Meisner. The best episodes were like that--character studies, filmed in the early Sixties, finely wrought time capsules of a New York that no longer exists.

Eleven "great" filmmakers, eleven pieces of garbage. Eleven minutes each of sheer tedium, sophistry, condescension, self-indulgence. Treats for people of all nations. Yussef Chahine of Egypt giving a "hip hip hooray!" for terorism in his amateurish segment. Across the green line we have Amos Gitai of Israel, using his eleven minutes to show a terrorist act and focus on a jerky newscaster. Alejandro González Iñárritu of Mexico concentrated on the Twin Towers but seemed to forget to turn on his camera. Sean Penn not knowing that there were no buildings within the shadow of the Trade Center on 9-11. Shohei Imamura of Japan ignoring the whole thing. Claude Lelouch focussing on a trivial and cliched love affair. Ken Loach of the UK focussing on Chile. Etc. etc.

A little-known slice of life from the postwar era. Mark Stevens plays a war veteran who is having problems adjusting to his return to civilian life. Set in the Highbridge section of the Bronx, with some pivotal scenes on a footbridge to Manhattan. Not filmed there, of course, but the movie has realistic touches. Not so real is the leading lady (Joan Fontaine is no Bronx housewife) and the characters are ridiculously de-ethnicized. But the movie is genuinely touching and is a kind of time capsule of the sentiments of its era.

This movie is somber, downbeat, and really really weird. Many women hate this movie because of the ending. And for good reason. I guess you can say this is the kind of movie that leaves one with a bad taste in the mouth. It is the kind of movie where you want to scream at the characters--"what the hell are you doing?" But this film is hypnotic in its strange way. The performances are terrific, and the locations are stunning. They may not have been viewed that way 40 years ago, but today it is a kind of museum piece, very accurately capturing the atmosphere of New York City in the early Sixties. There is an excellent score by Aaron Copland, which was later released as "Symphony for a Great City." Since this was a low-budget movie, one really has to wonder how much he was paid to score this film. You also have to wonder why this movie was such poison for everyone associated with it. The author of the novel never wrote anything significant again. The director, Baker's hubby, faded away. Baker divorced him and Ralph Meeker hit the skids. Something Wild has many tragic dimensions, for both its characters and its stars.

A "slice of life" drama centered around a bachelor party. Don Murray plays a newly married, not very happily married, man. His vague dissatisfaction with his marriage is tested as he wander into Greenwich Village (nicely filmed on location)and compares himself to his friends--an older, struggling married man, the bridegroom, the confirmed bachelor. Will he stray or not? The movie is depressing, far less uplifting than Marty. But good performances from Murray, Jack Warden and Carolyn Jones.

Based on fact, and hewing closely to a book co-authored by the central character Keating, this movie is based on more or less the real people portrayed in On the Waterfront -- there's even a priest-- only without Brando and without the romance. Egan as Keating is a bit of a stiff. I think the real Keating was more of a rebel. Great title music, an old Rodgers & Hart tune first used in "On Your Toes" for a comic dance number. Still, not much Slaughter and not much Tenth Avenue either. (The real life incident at the beginning took place on Grove Street in Greenwich Village, but "Slaughter on Grove Street" wouldn't sound right, I guess.)

OK, Joan Fontaine is no Bronx housewife. But this movie about the post-war travails of a New York City couple is genuinely moving. Mark Stevens comes across well in the lead, and Harry Morgan does nicely in a small role. True, these are probably the only non-ethnic people in the Highbridge section of the Bronx, but that's how it was in those days.

The real star of this underappreciated noir is Clifford Odets' dialogue, which you either love or you hate. I love it. Really terrific performances, and even the bit players are memorable. Look for Group Theater vet Roman Bohnen in a tiny role as the building janitor with a dead cat-- "she could practically speak." Or Jerome Cowan, a B-movie actor in a zillion Forties flicks, wonderfully slimy as a Broadway producer. Filmed on a backlot, but it seethes New York more than most location movies.