A community for classic cinema enthusiasts who engage in discussions, share insights, and celebrate films from the early 20th century to the mid-1960s. Members appreciate the rich history, themes, techniques, and cultural significance of classic movies.
In our weekly tradition, it's time to gather round and talk about classic film(s) you saw over the week and maybe recommend some.
Tell us about what you watched this week. Did you discover something new or rewatched a favourite one? What lead you to that film and what makes it a compelling watch? Ya'll can also help inspire fellow auteurs to embark on their own cinematic journeys through recommendations.
So, what did you watch this week?
As always: Kindly remember to be considerate of spoilers and provide a brief synopsis or context when discussing the films.
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Tovarich (1937) – This is Warner's most successful attempt at sophisticated comedy and I loved it. Claudette Colbert and Charles Boyer are superlative, lovely and soooo funny as exiled Russian aristocrats living in Paris who decide to go into domestic service because it is the only kind of work they know anything about, having had servants themselves.
The Razor's Edge (1947) – I haven't read Maugham's book, so I don't know if this is a good adaptation or not but I thought it was a great film and I applaud it for exploring existential and transcendental themes at a time when existential cinema rarely performed well at the box off.
Crossfire (1947) – Jewish man is found murdered, newly-demobilized soldiers become suspects. Starring three big Roberts of old Hollywood: Ryan, Mitchum & Young, along with Gloria Grahame. At its heart it's a whodunnit, but it's also a psychological thriller, with all the suspects well characterised and a still relevant message about antisemitism and bigotry in general. It presses the topic very well and the actors lift the film. I liked Gentlemen's Agreement when I watched it, but it's very bland and dated in comparison, despite the fact that it came out on the same year as Crossfire.
There's another movie called Crossfire with Hedy Lamarr that I keep mistaking for this one you watched, and as a result I haven't watched the latter. I have to see it.
The Razor's Edge is indeed excellent, and proves once again that Clifton Webb and Anne Baxter were top-tier actors that deserve all the credit in the world. It's a decent adaptation though when we're talking about literary classics, you have to accept that about 1/10th of the whole novel is in the movie. They do a much better job with this than with Maugham's Of Human Bondage, which - despite giving us Bette Davis and Leslie Howard - was like a very thin, very surface outline of the book in question (which I adore, and why the film fell so far short for me).
Crossfire has Gloria Grahame? I so need to see that
Her part is relatively minor, but it’s crucial to the plot.
The Killing (1956)
Directed by Stanley Kubrick, characterized by his precise framing and keen eye for detail. The cinematography captures the gritty essence of film noir, while the script is tight and well-paced, filled with crisp dialogue. The movie explores the intricacies of a meticulously planned racetrack heist. The narrative is notable for its non-linear storytelling, employing flashbacks and varying perspectives to gradually reveal the complexity of the heist. This technique builds suspense and adds depth to the characterizations, allowing the audience to see the same events from multiple angles. Tarantino about Reservoir Dogs: “This movie is my The Killing”.
The Phantom Carriage (1921)
Swedish silent film directed by and starring Victor Sjöström, is widely celebrated for its innovative use of narrative structure and special effects, particularly its pioneering double exposure techniques. The narrative is structured in a complex, non-linear way that was ahead of its time, using flashbacks within flashbacks to reveal the story. This technique, coupled with the ghostly visual effects, creates a surreal and eerie atmosphere that underscores the film’s themes of redemption and moral reckoning.
Love Letters (1945)
Joseph Cotten writes love letters for an army buddy to send to Jennifer Jones, but feels drawn to her himself, and then when he seeks her out years later he finds her living as an amnesiac after killing the buddy. A good, but not great, movie, with a bit of a modern, noir-ish take on Cyrano de Bergerac. The plot gets a bit convoluted, but it's easy enough to follow. Jennifer Jones is charming to watch here, although her performance does seem a bit overdone in hindsight. Cotten was fine, but he did feel a bit out of place in the English setting.
Did you stream this? I am looking for it.
It was on TCM last week so I'm guessing they watched it there.
Yeah, I caught it on TCM. I don't really have any suggestions on where else you could find it, it's a Paramount movie, and they're always difficult to find.
I have link via DM it's definitely online in full
Love Letters (1945, dir. William Dieterle): Jennifer Jones, Joseph Cotten, Ann Richards, Gladys Cooper. A British officer writes love letters for a friend during the war. After the war's over, that friend is dead and he stumbles upon the woman...only she has amnesia due to a shock in her recent past.
With a screenplay adapted by Ayn Rand, a really solid cast, and 4 Oscar nominations, this one proved to be well worth a watch. The story is excellent and really keeps you guessing and in some cases, also keeps you on the edge of your seat. There's a lot of great dialogue and the supporting performances from Cooper, Richards, and Cecil Kellaway are huge assets. It's sort of like a noir romance that's inspired by several different ideas and pieces of fiction, and it all comes together in an extremely satisfying way.
My only complaints are that Cotten feels a little out-of-place at times and Jones, while fantastic for much of it, goes a little overboard with her emoting (she did earn a nomination for this, though). I will also add that perhaps if they'd had more time, they could've given the plot a bit more in the way of nuance and subtlety. There's a certain ham-fistedness that suddenly springs forward at times, like mini exposition dumps that feel rushed. However, that being said, it's certainly a ride worth taking. 3/4 stars
The Animal Kingdom (1932, dir. Edward H. Griffith and George Cukor, uncredited): Leslie Howard, Ann Harding, Myrna Loy. A man is about to marry but still has a strong connection to his ex, and there's an underlying dilemma of individuality as well.
It's actually quite difficult to accurately describe this film with a quick blurb, because there's a lot going on here. As such, it's a highly ambitious script - in many ways, especially ambitious for the time; as we're only about 5 years past the advent of the first 'talkie,' this feels very sophisticated - and while it trips and stumbles here and there, it's always compelling. The love triangle between Howard, Harding, and Loy is multi-layered, decently developed, quietly composed, and intriguing. In some ways, this had a lot of that nuance and subtlety I was missing in Love Letters, though this wasn't as accomplished a production overall. You've also got 3 of the very best performers of that particular decade, which is a huge advantage.
I wouldn't say it's one of the best roles for any of those three, and the story arc - as it hops and settles a bit in odd places - leaves a little something to be desired. Still, it kept my mind working, which is always a big bonus. 2.5/4 stars
I also rewatched The Bride Walks Out (1936) without realizing it was a rewatch. I thought it was a Barbara Stanwyck movie I hadn't seen but about five minutes in, I did remember it. Which is okay; it's not a great movie but it's genuinely hilarious at times and it features an interesting storyline that fuses the progressive (exactly why shouldn't a woman work?) with the traditional (there's nothing wrong with being a housewife). I'm just always very lukewarm on Gene Raymond, who always seems personable but, at the same time, always falls shy of "good."
Then I rewatched East Side, West Side (1949), another Stanwyck movie that I KNEW was a rewatch 'cuz I own it. :) It's one of those movies that doesn't get anywhere near enough attention and credit these days, even among film buffs and Stanwyck lovers like myself. It boasts a stellar performance by Van Heflin, a great role for Ava Gardner, and James Mason in a part that seems written for him: that of a cheating husband who desperately tries to wriggle out of all guilt with dashing displays of verbal acrobatics. It's also like a two-parter, in that the second half of the movie deals with a surprise murder. If you haven't seen it yet, watch it; I can almost guarantee you won't be disappointed. There's a wonderful final exit scene, too!
Sun Valey Serenade (1941) - Good - And I was surprised that it was. Ever since I saw Gymkata I've had and low expectations of Olympic winners winners moving into acting and usually had those expectations confirmed. Had they not the sense to stick to a tried and true, even in those days, formula the movie would have been killed by her bad acting. What made it good was Glen Miller and his orchestra, Lynn Bari, and Milton Boil (I guess he worked before It's a Mad Mad Mad Mad (Mad?) World.), and the fact that the musical numbers were part of the story, not random bursting into song, and good. After seeing Boy Kills World I needed a silly happy rom-com. I suppose I can get over seeing Lynn Bari being evil after I fell in love with her in The Baroness and the Butler.
Made for Each Other (1939) - Not Good - I don't know how I stumbled on this but when I did and saw Carol Lombard, Jimmy Stewart, Lucile Watson, Charles Coburn, and Louise Beavers in the cast I thought it had to be good. I was the W-word. It tries to be too many things at once, romantic-comedy, domestic drama, medical drama, airplane adventure, consequently, none of those things gets enough attention.
Jeanie (1941) - Good - It's another instance of not knowing if I watched a digitized degraded print or if they just were using cheap film back then. Anyway the low resolution and crappy sound weren't so bad as to ruin enjoyment of this movie. Set mostly in Vienna some unspecified time before the war, or even the Anscluss, It's just a good nice happy romance. I can understand the lead being dowdy looking but not the bad girl. This is from the country that gave us Greer Garson and the De Havilland sisters. They know how to grow them pretty. Another weird thing was the occasional title card with just the word JEANNIE on it popped up for a second a few times.
Ladies in Retirement* (1941) - Good - In spite of the slow start and a totally telegraphed ending. The music was a little over done. I was surprised to see Ida Lupino doing a convincing English accent. I then looked her up and it turns out that she did a convincing American accent in High Sierra and Sea Wolf. The back stories of the sisters and the male bad guy could have been fleshed out more. Why were the sisters crazy? What was the sane sister's previous relationship relationship with the bad guy? It's too easy to project modern sensibilities in that one but it's not clearly given to us. Overall it's a well performed good story.
The Monolith Monsters (1957) - Good - I always expected '50s sci-fi to be little more than horror without the supernatural and it usually is. This is one of the rare instances where it's not. What makes this movie good is that it doesn't deny that reality is real. Something strange from space threatens a community and they have to deal with it, which they do with reason and knowledge.
Thrifting
Some I bought a while ago but they've been piling up, waiting to be sorted.
A Streetcar Named Desire
Sink the Bismarck
Singin' in the Rain
Rebel without a Cause
Pinocchio
My Fair Lady
Mildred Pierce
Gromit's Tail Waggin' DVD
Gaslight (the 1944 remake)
Of Human Bondage
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More selections from the US National Film Registry, all seen for the first time:
🍿 Newark Athlete is the earliest film in the collection; a 12 second silent short from 1891(!), produced at The Edison Studio.
[ Also, The "Phonautograms" recordings by Edouard-Leon Stott de Martinville, the earliest known sound recording from 1853!!]
🍿 The Corbett-Fitzsimmons Fight, a 1897 documentary of a championship prizefight boxing match, which took place in Nevada. At over 100 minutes, it was the world's first (and longest) feature film. But only 19 minutes survived today.
🍿 The classic The Great Train Robbery (1903), my first film by Edwin S. Porter, director of over 250 silent films. A "sensationalized Headliner", which included a separate close-up shot of the outlaw leader shooting directly at the camera. My 'Todayilearned' post: After retiring from the movies, the actor who played the lead robber, became a milkman. 9/10.
🍿 First viewing of Gone with the wind was not what I expected! I knew it was a bloated confederacy 'Lost Cause' fanfiction and a revisionist myth-making, glorifying slavery and the fantasy of the antebellum South. But I also thought it was the 'greatest love story of all time', and that was harder to get. Scarlett O'Hara grew to become a strong woman with fierce survival skills, but she was so flawed; Vain, selfish, conniving and unscrupulous. Her lover and third husband, Clark Gable, was no hero either. Their tragic on-again off-again love story was a 4 hour long soap opera. The gorgeous cinematography and massive production were breath-taking though. 4/10.
🍿 All the King's Men (1949), a fictionalized and badly-dramatized story about the corruption of power. A veiled story about populist Louisiana governor Huey Long, how he rose from humble ideological beginnings to become a power-hungry despot. 4/10.
My first film by Robert Rossen, who was blacklisted for being a communist sympathizer, but who later "named" 57 of his friends to Joseph McCarthy's HUAC. I need to watch 'The Hustler'!
🍿 "There are plenty of warm rolls in the bakery; stop pressing your nose against the window!"
🍿 Pillow Talk (1959), a frothy romantic comedy with Rock Hudson and Doris Day. A charming story about two neighbors who have to share a party-line, a phone technology that is now all but forgotten. Like Ted Gioia, I love Doris Day's jazz singing, so in spite of the out-dated genre politics, I found this light-hearted movie lovely and enjoyable.
🍿 Saul Bass was world-famous for his astounding graphic designs and inventive title sequences. But he also directed a few films, one of which, Why Man Creates, won the 1968 Oscar for Short Documentary. It's a whimsical plaything, with Bass's geometrical genius and good-nature foolery on display. Strong whiff of Terry Gilliam wildness and style. George Lucas was an un-credited second unit cameramen on the film.
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City of Gold, my first atmospheric documentary by Canadian Colin Low. A pleasant nostalgic trip back to the small Yukon town of Dawson City, which for one summer in 1895 was the center of the Klondike Gold Rush. Its slow panning style, overlapped with soothing narration, inspired Ken Burns to develop his famous 'Ken Burns Effect'. Winner of the 1957 Cannes Festival, and nominated for an Oscar. 9/10.
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A day in Tokyo was created in 1968 by the Japan National Tourism Organization to promote tourism in the rebuilt city. It captured the time, 23 years after it's destruction, when it was ready to take its place as the primer metropolis of the world. It tells of its history from the Edo period until then, (but it doesn't mention the war).
🍿
"Would you like to come in for a cup of tea - or perhaps something stronger?..."
Return to Glennascaul (1951) is a spooky Irish ghost story, framed and narrated by Orson Welles, as he picks up a stranded motorist on a dark and (not) stormy night on his way to Dublin...
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Re-watch ♻️: Laurel and Hardy classic The Music Box, (1932). These two numbskulls never learn. 9/10.
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2 by Argentinian Mario Soffici:
🍿 Italian-born Soffici directed some of the highest rated Argentinian films of the classic era.
His Rosaura at 10 O'Clock (1958) is a strange crime drama with a story that changes so much, that it's hard to know what is true and what fiction. It takes place at a boarding house, where a shy painter starts getting perfumed love letters, and the nosy owner who meddles in his affairs. It turn out to be nearly like 'Rashomon', where everybody has their own story. There's one violent scene where a pimp beats up a woman brutally and unexpectedly.
🍿 For many decades, Prisoners of the Land (1939) was considered as the "Greatest Argentinian movie". It's a tragic revenge story about peasants fighting a cruel plantation owner in the jungles of 1915, a drunk doctor and his beautiful daughter. Very John Huston and South American Herzog-like in sweaty, feudal nightmares of whip-lashing and booze.
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"Why don't you study a blank piece of paper for a while, and improve your mind?..."
Ready, willing and able (1937), a second-rate Broadway-style song-and dance musical, trying to emulate the finesse of better talents (like Fred Astaire and Ginger Rogers). But this un-charismatic movie is the one which introduced the Johnny Mercer song 'Too Marvelous for Words', and it ended with The fantastic Typewriter Dance, an over-the-top Busby Berkeley style number.
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More at my film tumblr.
The Merry Frinks (1934, dir. Alfred E. Green). An overworked, overlooked mother (Aline MacMahon) tries to keep her fractured, bickering family together. But when she reaches her limit and financial freedom beckons via an unexpected windfall, is she ready to leave them behind?
Mildly amusing light comedy, featuring a motley collection of Warners players filling out our contentious family’s ranks: Hugh Herbert as the lazy husband who can’t keep a job down, Allen Jenkins as an activist socialist lawyer son, Helen Lowell as a grumpy old grandmother, Frankie Darro as a school-skipping son, and Guy Kibbee as a windbag (what else?). Despite all the grouchiness it thankfully doesn’t descend too far into negative-ness, thanks in large part to MacMahon’s solid central performance as our long-suffering, but still-caring mother. It also doesn’t get very serious, but then again we’re asked to believe that Jenkins is MacMahon’s son (they were only one year apart in age in real-life), so reality was never an option on the table…
Wednesday’s Child (1934, dir. John Robertson). A young boy’s (Frankie Thomas) world is shaken when he finds out his parents’ (Edward Arnold, Karen Morley) marriage is falling apart.
Good, small-scale, light drama. Told mostly from our boy’s point of view, it’s very honest and sensitive in showing his pain as the foundations of his life crumble. There’s no sugar-coating or escapism here, and there’s no (completely) black-and-white blame or judgment the movie makes on our fracturing couple; Arnold’s father is obviously the more sympathetic (and the boy’s favorite), but Morley’s mother is clearly miserable trying to make the best out of an unhappy situation. The only issue for me comes at the end, where Arnold’s character makes a decision that, while it might make sense given where the movie had gotten to by then, is a little cold-blooded with how it affects another, minor character.
Grandma’s Boy (1922, dir. Fred Newmeyer). A meek young man (Harold Lloyd) tries to gain more self-confidence by helping hunt down a dangerous criminal (Dick Sutherland), to win the heart of the woman (Mildred Davis) he loves.
Another fun Lloyd silent comedy. He’s got a romantic rival (Charles Stevenson) bullying him as well, but the tables finally turn when his concerned grandmother (Anna Townsend) relates a Civil War tale of how his grandfather (also played by Lloyd) overcame his own meekness. With our protagonist now all charged up (and with a special talisman in hand as well), the second half is chock full of (humorous) physical battles as our protagonist puts words into action.
Ooh I need to see those
To Kill a Mockingbird (1962) - examines the lives of two children in the south whose father defends a black man wrongly accused of rape.
I had never seen it before but have always wanted to. I thought it was an 8/10. I also recognized a couple faces from Star Trek. Brock Peters (Tim Robinson in TKAM) played Joseph Sisko in DS9, and John Megna (Dill Harris in TKAM) played a young boy in the TOS episode “Miri”.
watched Goodbye Mr. Chips on friday night, and Captains Courageous on saturday night.
the former is very good. the latter......outstanding.
Smart Woman (1931) - Mary Astor’s husband begins an affair while she’s traveling. To get him back, she makes him think she’s also having an affair, with the help of a handsome British gentleman, her sister-in-law, and her brother-in-law, played by Edward Everett Horton. I watched it for him, and it was worth it!
Stage Door (1937) - Katharine Hepburn and Ginger Rogers lead an ensemble cast of young women trying to make it in the theater. Some melodrama, some comedy, lots of fantastic performances.
Shopworn (1932) - Barbara Stanwyck plays a common girl who falls in love with a rich man. Things go badly for her when the rich man’s mother intervenes. Stanwyck is amazing, and I thought the relationship between the mother and son was well-done, but that was about all I enjoyed in this.
The Stolen Jools (1931) - Short film about trying to find Norma Shearer’s stolen jewels, made to raise money for a tuberculosis hospital. Fun to play spot the star, not much else there.
Ball of Fire (1941) - Gary Cooper is a buttoned up academic researching slang, Barbara Stanwyck is a gangster’s girlfriend on the run from the cops. I really enjoyed this, but I don’t know if Gary Cooper does it for me. I’ve seen a handful of his movies now and I keep hoping I’ll “get it” but he always leaves me a little underwhelmed.
Gary Cooper is sort of just...Gary Cooper. I think his best parts are the ones where he perfectly fits the role, like Pride of the Yankees and High Noon. That's really where he shines; sometimes they try to shoehorn him into other sorts of roles, and it doesn't work as well for me.
For example, if we're talking Cooper and Stanwyck movies, Meet John Doe is top-tier -- Cooper is the ideal John Doe and Stanwyck is, well, pretty much always the best. Ball of Fire is still a blast, though. The Lady Eve is Barbara's other wonderful comedy and an even better film; Shopworn is very early and had one of those ambitious scripts that they just didn't have enough film time to develop, IMO.
Stage Door is great. Such a stellar cast and so lively throughout.
I need to check out Smart Woman as well as Stage Door
Did an unintentional Gregory La Cava double feature last night. He’s very much finding his footing in Smart Woman, a lot of shots that didn’t need to be as long as they were. Stage Door he’s in top form!
Rewatched one of my favorite shirley temple movies stowaway last night
The Mark of Zorro 1940 Shanghai Express 1932
i'd love to see The Mark of Zorro 1940. i've seen the silent version with Douglas Fairbanks, and i'd say it's underrated and well worth watching.
I've probably seen this version 100 times. One of my all time favorites.
Marty and On the Waterfront
Stagedoor
Such a wonderful film with an amazing ensemble cast.
The Mountain(1956) Spencer Tracy and Robert Wagner, beautiful Swiss scenery
Yes! The scenery is gorgeous. I've liked that film ever since I was a kid, something about the simplicity. I saw it again a few months back and read the book it's based on, La neige en deuil, by Henri Troyat (I got the English version through Inter Library). Not a great film but a story that still pulls me in.
I just rewatched Some Like It Hot a couple of days ago. Damn, Marylin Monroe is such a great actress. Her talent as an actor is so underappreciated imho.
I watched the film long ago and just re-watched it recently. I agree with your comments about Monroe. Jack Lemmon was the surprise for me. I did not remember at all the brilliance of his performance. Every aspect of the film works to such a high degree. Truly amazing, from beginning to hilarious end.
Marilyn never got enough credit for having the raw talent she had. She was never going to be a dramatic dynamo or true-blue chameleon but her instincts were fabulous.
If you haven't already, make sure to check her out in The Prince and the Showgirl (her most impressive role for me), Don't Bother to Knock (an early-career film where she plays a war widow with PTSD), The Misfits (her last and most dramatic part), and Niagara (her one and only chance to play the femme fatale, and she's great!).
Picture of dorian grey starts off.
This has surely one of the finest, most eloquent, thought provoking scripts of all time.
A brilliant film in every way.
An allegory that's even more relevant today then when written.
George Sanders has so many incisive lines and observations of live.
Such as "vote with the liberals but eat with the tories" The champagne lefties here will hate this film
So many people today sells their souls and for what?
Put this on your list.
Angela Lansbury is exquisite and shouid have won an Oscar.
Then it's Winchester 73.
Finally we see desperate Dan without his trademark dickie bow.
An interesting film that's got a stellar cast as it weaves it's story.
Only the final confrontation is badly done.
A great film even so.
A movie can never live up to a classic book, but The Picture of Dorian Grey comes very close. It captures just about every aspect of the story, and the cast is SO good.
The Ghoul(1933)--Boris Karloff says he'll come back from the dead for revenge if anyone steals his priceless jewel--dark, atmospheric and creepy
I just watched the silent film, "The Wind" with Lillian Gish. Wonderful!
I watched The Private Lives of Elizabeth and Essex with Bette Davis and Errol Flynn. Good god, Flynn was good looking! And actually he was pretty good in the role. Bette Davis was too young to play the older Elizabeth I and there were lots of historically inaccuracies but all in all it was a pretty good film. And did I mention that Errol Flynn was drop dead gorgeous?
I need to check that out
It's on ok.ru. Internet Archives might have it but I think the one on ok.ru is the restored version.
Ah the wonders of ok.ru. I usually go to ok.ru just to watch some works of Vittorio Gassman or Alberto Sordi
I watch all my movies on free streamers, but recently I find more and more of them on ok.ru, and it’s becoming my streamer of choice.
Picnic at Hanging Rock. Still can’t really figure it out.
Moments ago I had the chance to watch More Than A Miracle (1967) starring Sophia Loren and Omar Sharif. Set in 1600s Naples (this is long long ago before a unified Italy exists centuries later), a Spanish prince called Prince Rodrigo (Omar Sharif) who does everything to defy his parents' wishes to marry.
The prince sets off with his horse into the countryside where he meets a flying monk who gifts him a bag of flour and tells him to ask someone to make him (the prince) seven dumplings. He soon crosses path with a headstrong Neapolitan village girl called Isabella (Sophia Loren) and instantly they are at loggerheads with each other due to a misunderstanding. What will happen next to both the Spanish prince and the Neapolitan peasant girl?
As a viewer, I am intrigued watching this fairytale-like film from start to end and would definitely recommend it to anyone who is a new-wish Sophia Loren and/or Omar Sharif fan exploring their filmographies. This is a film I also recommend those who love their fairytales with a unique twist
Here are interesting facts about More Than A Miracle (1967):
It is also titled as Cinderella Italian Style
More Than A Miracle is titled as C'era Una Volta in Italian
The actor who portrayed the witch who helps Isabella is not a woman but is actually portrayed by a male Italian actor called Carlo Pisacane who appeared in Big Deal on Madonna Street (1958), its sequel Fiasco in Milan (1959) and Brancaleone's Army (L'Armata Brancaleone, 1966)
The film was shot in Odescalchi Castle in Rome, Cinecitta Studios in Rome, Bracciano in Rome, Basilcata and Padua in Campania
The Owl And The Pussycat(1970) with Barbara Streisand and George Segal, set in Manhattan, nice music score from Blood Sweat and Tears
I need to see that too
Starting with maybe the greatest cast of all time.
It's certainly one of the most original films ever made
The list of adrien messenger is so good on many levels.
Kirk is on top form. As usual.
Highly recommended film. There's nothing like this one
The quiet man