#88 The Red Shoes

Watched: March 6 2017

Director: Michael Powell, Emeric Pressburger

Starring: Moira Shearer, Anton Walbrook, Marius Goring

Year: 1948

Runtime: 2h 14min

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Victoria Page (Shearer) is a young, ambitious ballet dancer who, after a party, is invited by ballet impresario Boris Lermontov (Walbrook) to try out for his company. At the same time, young composer Julian Craster (Goring) gets a job with the same company coaching the orchestra. As Vicky rises to be the new prima ballerina (after the old one got married), Julian also rises through the ranks as a composer. The culmination of both their work is a new ballet, The Red Shoes, based on H. C. Andersen’s classic fairy tale. Julian composes while Vicky dances the lead.

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While the others work, Lermontov does his very best impression of a creepy old man

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The ballet is a great success, and its two rising stars fall in love, something Lermontov is none too happy about. He fires Julian, and Vicky, though torn, decides to go with her boyfriend. She marries him and he starts composing operas, also to great success. However, despite her meteoric rise to fame in Lermontov’s ballet, Vicky spends the following year out of work.

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We strongly suspect Julian didn’t like other men’s hands this close to his wife’s hoo-ha..

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Next season, Vicky goes back to Monte Carlo on holiday with her aristocratic aunt and runs into Lermontov again. He convinces her to dance The Red Shoes once more, but on the night of the performance, Julian comes and demands his wife choose between him and the ballet. Crazed (or possessed?) by this ultimatum, Vicky loses her mind and her control, just like the protagonist in Anderson’s fairy tale.

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Ah – innocence ruined by the lure of passion. It’s like the fairy tale reflects the fate of the innocent ballerina…

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It’s clear that Lermontov is supposed to be some sort of parallel to the shoe maker in the fairy tale, but honestly, he’s not the devil here. He encourages her ambition – an ambition that comes from her, not any outside force. Sure, his encouragement comes from mainly selfish reasons, and he may have some ulterior motive of his own, but at least he want her to follow her passion. Julian seems to think she should be content being the wife and muse of a talented composer, despite her own obvious talent which she is unable to develop once they leave the company. In our opinion, Julian is the bad guy here.

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It doesn’t help our impression that he shows up for her performance  wearing something very close to a Nazi outfit and goes straight for the boobs

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This film is spectacular and definitely a new favourite of ours. It’s an intriguing story with great, often eccentric, characters (we particularly love the other members of the ballet company), gorgeous costumes and breathtaking dancing. The performance of The Red Shoes – a ballet within the film – is wonderful and somewhat reminiscent of the Berkeley musicals from the ’30s, beautifully incorporating cinematic effects with amazing dancing to tell the story.

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We’re quite certain that the audience cannot be replaced by an ocean in a real live performance.

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It seems to us that women’s ambition is a dangerous thing (in which case Lermontov is the devil), although we’re not sure for whom. Is it scary for the men who lose control over them, or for the (fragile) women who will crack under the pressure of trying to balance a traditional role (doting wife and house maker) with a professional career? Possibly both, but it seems like women tend to pay the price – especially in morality tales and fiction (let’s not even go into the sexual undertones of this film and, indeed, the fairy tale on which it’s based).

What we learned: A happy and full life should have room for love and ambition. To have to choose is unfair (especially when it’s one gender asking the other to choose while they themselves can have it all..). Also, things haven’t changed much for ballerinas in the last 7 decades, judging from the parallels between this film and Black Swan (2010).

Next time: The Treasure of the Sierra Madre (1948)

#87 The Fallen Idol

Watched: February 16 2017

Director: Carol Reed

Starring: Ralph Richardson, Bobby Henrey, Michèle Morgan, Sonia Dresdel

Year: 1948

Runtime: 1h 35min

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A recent addition to the list, The Fallen Idol did not disappoint. French ambassador’s son Phillipe (Henrey) is left home alone with his good friend and idol butler Baines (Richardson) and his less pleasant wife (Dresdel) for a few days. Like his namesake (and also ambassador’s son?) in Venom (1981), Phillipe has a penchant for snakes which Mrs Baines is not particularly impressed with.

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For supper: fried snake!

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Mrs Baines quickly establishes herself as an antagonist by killing the boy’s snake, and it comes as no surprise then that her husband is having an affair (she may have killed his snake too, if you know what we mean). Phillipe comes across Baines and girlfriend Julie (Morgan) although he is too young to figure out what their relationship is and assumes that Julie is Baines’ niece.

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Phillipe crashes their secret rendez-vous in a scene very reminiscent of Brief Encounter

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After Mrs Baines denies her husband a divorce, the unhappy spouses each manipulate Phillipe to learn and/or hide secrets and the poor kid is caught in the middle of the sordid affairs of two grown people who should know better than to involve him. As their conflict escalates, so does the situation – Mrs Baines falls down the stairs and dies. Phillipe, having witnessed a fight immediately preceding the fall, runs away and right into the hands of a (very clever and kind) police officer.

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The boy also runs into the arms of a sweet prostitute, but again is too young to truly appreciate the experience.

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Police officers investigate the death of Mrs Baines, and Phillipe, trying to protect his friend, weaves a web of lies which does more damage than good, and the last half of the film is a tense investigative affair which we found almost unbearable. The relationship between Baines and Phillipe will most likely never be the same, and Phillipe’s innocence is also lost forever. And not because of the prostitute.

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Because of the dead-wife-who-Baines-kinda-hated thing

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The Fallen Idol is a great and tense drama, beautifully shot with a very dramatic score. Although we must admit, knowing that Mrs Baines would fall down the stairs (it says so right on the DVD cover), we spent the first half of the film betting on when it would happen. Every time she walked up or down the stairs, we were at the edge of our seats, waiting for her to die (you will not believe the amount of times that woman survives a trip up or down the stairs!). We loved it!

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That poor kid is traumatised for life, though

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What we learned: A great many things. Do not involve children in your sordid marital drama. Admitting to an affair is better than a murder charge. Also, WTF is “Nosegay”? And where can we get some?

Next time: The Red Shoes (1948)

#86 Rope

Watched: January 30 2017

Director: Alfred Hitchcock

Starring: James Stewart, John Dall, Farley Granger, Douglas Dick, Joan Chandler, Edith Evanson, Cedric Hardwicke,

Year: 1948

Runtime: 1h 20min

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We continue our journey through film history with this classic Hitchcock thriller, filmed in glorious technicolor. Brandon (Dall) and Philip (Granger), old school friends, decide to kill a third friend and throw a dinner party for his family with the body hidden in the room. This is what an Ivy League education will do to your sense of morality, apparently.

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Who needs morals when you have unlimited access to alcohol and this penthouse view?

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They also invite their old housemaster (whatever that is. Some sort of teacher?) Rupert (Stewart), who Brandon idolizes (and quite possibly is in love with on some level). The idea behind the party is to stroke their egos (particularly Brandon’s) by convincing themselves they have committed the perfect murder. For Brandon the party is exhilarating, while for Philip it’s excruciating.

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One of these men have less of a conscience than the others…

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As the (very tense) party progresses, we learn that the murderous philosophies so taken to heart by Brandon originate in Rupert’s fascination with Nietzsche and similar thinkers. They both think that there are differences between people and that some have more right to live than others. In fact, they go so far as to claim that it is the superior people’s right to take the lives of others. For Rupert these are simply thought experiments – not anything to be put into action. However, Brandon takes everything his hero says quite literally and drags his rather more weak-willed friend down with him.

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Guess which one is the dominant one! Hint: it’s not the one doing the actual killing…

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Rope is tense and exciting – a sitting room thriller with great long shots and a truly chilling character in Brandon (although, to be honest, there are many movie murderers who surpass him in creepiness). The long shots help build the tension quite well – especially when Mrs Wilson is tidying the chest containing the body after dinner. Philip gradually melts down until his Tell-Tale Heart-moment which reveals Rupert’s true feelings about the philosophies he spouts.

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Turns out, Rupert has some opinions about the difference between theory and practice.

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We love Rope – it’s a classic we’ve watched several times before, and we thoroughly recommend it to anyone who loves a good suspenseful melodrama. And a good murder. Which we do. There are also clear parallels to the real case of Leopold and Loeb, but we find fictional murders infinitely more satisfying than real life as we’re not total psychopaths…

Extra fun fact for you: “Farley” (as in actor Farley Granger) pretty much means “dangerous” in Norwegian. So, from a purely Norwegian linguistic point of view, he should have been the one to play Brandon. For some reason, Hitchcock did not take this into consideration when casting the film.

What we learned: Thinking oneself superior is a dangerous thing.

Next time: The Fallen Idol (1948)

#85 Oliver Twist

Watched: February 22 2017

Director: David Lean

Starring: John Howard Davies, Alec Guinness, Robert Newton, Kay Walsh, Henry Stephenson

Year: 1948

Runtime: 1h 50min

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We assume (perhaps mistakenly, but still) that most people have some idea of the plot of Dickens’ 1838 novel Oliver Twist, and so we’ll keep our plot summary to a minimum. Suffice to say, Oliver Twist (Davies) is a poor orphan who is brought up in an abusive workhouse and who, through a series of unfortunate events, ends up alone on the streets of London. He takes up with a band of thieving boys, led by Fagin (Guinness), and the inexperienced Oliver is promptly arrested on his first outing.

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Fagin cannot accept responsibility though – he did after all spend upwards of five minutes training the boy before sending him out with Dodger

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Oliver is acquitted, falls ill, and ends up in the care of Mr Brownlow who takes him in as his own. But what is their connection? It turns out they are more connected than they originally assumed…

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Or perhaps Oliver is just like us, took one look at that library and decided to stay forever

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Meanwhile, Fagin and Bill Sikes (Newton), a brutal man who runs the show, are freaking out, worried that Oliver will blow their whole operation. They therefore kidnap him to keep him quiet, but Nancy (Walsh) feels bad for both Oliver and Brownlow and decides to snitch. How will this all end?

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Ultimately, Nancy forgot that snitches get stitches…

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From the ominous beginning – storm, thorns and torrential rain – to the suspenseful ending, David Lean’s Oliver Twist is a great watch. Lean’s version is a fairly faithful adaptation of the novel although, as with all adaptations, there are fewer details and some parts of the book are only alluded to, changed, or left out completely.

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We love the way to Fagin’s lair

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The film is beautiful and atmospheric with gorgeous sets, a great score, wonderful performances and (naturally) Dickensian characters (including the somewhat racially offensive Fagin). We recommend it both to lovers of the novel as well as those who cannot be bothered reading it but still want to pretend they have.

What we learned: The things some people will do for financial gain… Also, lynch mobs are terrifying, whether in the flesh as in 19th century London, or online as in now.

Next time: Rope (1948)

#84 Ladri di biciclette/Bicycle Thieves

Watched: February 12 2017

Director: Vittorio De Sica

Starring: Lamberto Maggiorani, Enzo Staiola, Lianella Carell

Year: 1948

Runtime: 1h 29min

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In post-war Rome, Antonio Ricci (Maggiorani) is experiencing the Poverty Catch-22: he is (finally) offered a good job, but the job requires a bicycle which he has pawned to provide for his family and cannot reclaim until his first paycheck. Which he won’t get without his bike. Luckily for Antonio he has a good wife, Maria (Carell), who sells their sheets to retrieve his bicycle. With his mode of transportation back, Antonio is set to start his new job, putting up posters of glamorous stars around the city.

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The job also requires expert balancing skills… Biking around with this gear is seriously impressive!

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As promising as the beginning is – the tale of a man who works his way out of poverty after someone gave a break – we just know that something terrible will happen. And of course, as the title implies, the bicycle is stolen. On Antonio’s first day, no less. He gives chase, but the thief’s cohorts distract him and send him down the wrong path. He reports the theft to the police, but they do not consider this case a priority. All Antonio can do to keep his job and make a living for himself and his family is to go look for the bike himself.

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Finding a bike in a city of millions isn’t made easier by their decision to inspect every possible bike in detail

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He takes his young son Bruno (Staiola) with him to a market to look for his stolen property, whole or in parts, and they spend the entire day roaming around Rome on their quest. The day puts a strain on Antonio’s relationship with his young son, especially as he, in his desperation, makes some bad choices and cannot live up to the heroic view Bruno has had of him up until now.

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The weather does absolutely nothing to lighten the overall mood of the film

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This was a rewatch for (one of) us and not a particularly happy one. Not because we didn’t like the film – it’s amazing, but it is also thoroughly depressing. Antonio and Bruno have a few good moments during their quest such as the restaurant scene (which made us kind of hungry, we must admit), but there is a mood of hopelessness and desperation throughout Bicycle Thieves (the plural noun in the title implies more than we’re prepared to reveal) which stays with you for a while.

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However many mistakes Antonio makes though, his son stays by his side. Bless.

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Antonio is not a bad man, but he is not really a particularly good one either. He is human and desperate and he acts as such. Which is understandable. The film is an interesting (and beautiful) insight into post-war Italy and the effects poverty has on people. While it is sadder and more depressing than anything we’d willingly expose ourselves to (we prefer to live on fluffy clouds), it is not by far the worst one from De Sica in terms of sob factor. Seriously, if anyone tries to make us watch Umberto D. (1952) again, we might have to resort to violence. That shit is brutal.

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We mean it. If you care at all about dogs or old people (and you should! Both!), De Sica’s Umberto D will mess you up.

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What we learned: It always rains on Sundays. Also, there’s a cure for everything except death.

Next time: Oliver Twist (1948)

#83 Out of the Past

Watched: February 9 2017

Director: Jacques Tourneur

Starring: Robert Mitchum, Jane Greer, Kirk Douglas, Virginia Huston, Paul Valentine

Year: 1947

Runtime: 1h 37min

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Jacques Tourneur goes down a different route than in Cat People and I Walked with a Zombie with this film noir, but it still works.

Jeff Bailey (Mitchum) runs a gas station in a small California town, is moderately successful at it (he has at least one employee) and is dating a sweet girl, Ann (Huston). However, he has a past and there are those who won’t let him forget it. One day, Joe (Valentine) saunters into town to drag Jeff back into the world he left behind – a world of criminals and Private Dicks. And, of course, Dames.

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As we have established before, there are good girls (pictured above) and then there are Dames

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Jeff spills the beans to his girlfriend and tells her all about a romance he had back in his private detective days with a certified Dame, Kathie Moffat (Greer). He was hired by her ex boyfriend/stalker/victim Whit Sterling (Douglas) to track her down after she had shot him and run away with $40 000 of his hard earned and totally legitimate money. Jeff follows Kathie’s trail to Acapulco and strikes up a conversation with her, which turns into a whirlwind romance. He lies to Whit and takes Kathie with him to San Francisco to start a new life. Which doesn’t exactly go as planned.

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Turns out you can take the Dame away from Danger but you cannot take Danger away from the Dame

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This could have been the end of the story, but Joe’s appearance means Jeff’s past is about to catch up with him. Kathie has gone back to Whit and Jeff has no choice but to do one last job for him. A job which includes murder, frame-ups, tax evasion and even more double-crossing dames.

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As well as Kirk Douglas

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As we mentioned, this is quite the departure from the previous Tourneurs on the list, but there’s still something distinctly Tourneur about it. We’re just not film scholarly enough to point out exactly what that is… Suffice to say, we enjoyed Out of the Past (almost) as much as his earlier ventures into horror (“almost” because horror is our lifeblood). It is exciting and fun with the most duplicitous of Dames, but there’s also love and romance, heartbreak and sorrow. Extremely enjoyable!

What we learned: Drinks in Acapulco are too cheap. They keep leaving half empty (half full?) glasses in bars!

Next time: Bicycle Thieves (1948)

#50b Dance, Girl, Dance

Watched: February 11 2017

Director: Dorothy Arzner

Starring: Maureen O’Hara, Lucille Ball, Ralph Bellamy, Louis Hayward

Year: 1940

Runtime: 1h 30min

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We’re going back in time to catch up on a recent addition to the list, and what a great addition! Judy O’Brian (O’Hara) is an ambitious young club dancer with ballet dreams. However, when she goes to a meeting with Steve Adams (Bellamy) to audition for the American Ballet Company, she sees the professional dancers and is intimidated by their (very impressive) skills. Thus, she runs out before seeing Adams.

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And it’s back to do the hula for horny men

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Adams leaves his office at the same time and tries out his smooth umbrella game on Judy, but is brutally rebuffed. She goes back to the apartment she shares with a fellow dancer and they are visited by Bubbles, aka Tiger Lily White, (Ball) – a former dancer in their troupe who has made a name for herself in Burlesque. She is looking for more girls and hires Judy as a stooge – she is to dance ballet during breaks in Bubbles’ set to rile up the men who have not paid to see art.

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These people paid good money for a striptease and she doesn’t even have the decency to wear a short tutu!

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As if Judy’s life isn’t complicated enough, she also starts dating Jimmy Harris (Hayward) – a rich drunkard who is still in love with his ex-wife. When Bubbles finds out she goes after Jimmy herself, and the humiliation of her job, Bubbles’ insensitivity and her crushed ballet dreams culminate to enrage the so far kind and sensitive Judy.

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The audience finally gets their money’s worth when a cat fight ensues

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After an amazing speech to the leering audience, Judy gets into it with Bubbles who, after initially playing the outraged victim, reconciles with her fellow dancer and with herself. As for Judy, she has another encounter with Adams and things are definitely looking up.

Dance, Girl, Dance was a great addition to the list. It has strong female characters and great dance scenes – two things we absolutely love. The fact that this is the first film with a female director comes across as well (although there are of course male directors who can write and direct women – we’re not trying to be sexist here). The issues addressed in the film are interesting coming from a female perspective, and Dorothy Arzner handles the lives of dancing girls in the ’40s with a slightly different take than Busby Berkeley. Great dance movie – great movie!

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Also, nearly as many legs as in Dames!

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What we learned: is it worth sacrificing one’s dignity for fame and money? Also, a double feature night of Dance, Girl, Dance and Split (2016) leads to strange dreams of James McAvoy as a ballet dancer…

P.S. Confused about numbering? Check out this handy disclaimer!

Next time: Out of the Past (1947)

#82 Odd Man Out

Watched: February 1 2017

Director: Carol Reed

Starring: James Mason, Kathleen Ryan, Robert Newton, Robert Beatty, F.J. McCormick, W.G. Fay, William Hartnell

Year: 1947

Runtime: 1h 56min

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In an unnamed Northern Irish city (our money’s on Belfast), Johnny McQueen (Mason), recently escaped from prison and hidden ever since, is planning a robbery/heist with his cohorts to raise funds for their (also unnamed) organisation. Despite not having been outside for years, Johnny is set on carrying out the plan himself, even when one of his mates offers to go in his place. However, during the heist, he suffers some sort of existential crisis (or perhaps agoraphobia) and things go wrong. Johnny shoots a man and is himself injured, and has to go on the lam.

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Is this some Omenesque foreshadowing? Stay tuned to find out!

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The now injured Johnny first hides in an air raid shelter and after Dennis (Beatty) helps him escape his hiding place he roams the city looking for safety and help with his injuries, meeting all sorts of interesting and colourful characters along the way.

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He also inexplicably poses for portraits

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With the authorities hot on his heels, the people he meets are sympathetic but afraid to help. Most of them give him a drink and send him on his way, scared to get involved but not willing to turn him in and collect the reward. Meanwhile, his girlfriend Kathleen (Ryan) is also looking for him and enlists the help of Father Tom (Fay) to save her love.

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She’s the light at the end of his tunnel. Bliss!

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As the backdrop of all this drama, we see the local kids hero worshipping and celebrating him, in many ways turning him into some sort of Messiah figure. Unfortunately, we all know what happened to Jesus, so this is not necessarily a good sign. Johnny spirals, deteriorating both physically and mentally, and he has to try to come to terms with what he has done and what will happen.

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The snow keeps falling heavier and heavier which, again, we find somewhat ominous

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Odd Man Out is a lot more slowly paced than the other Noirs we’ve watched lately, which was a nice departure. We loved the performances, the beautiful sets (the ravages of “conflict” are evident in the decrepit buildings), the lighting, the score, and particularly the visions in the beer foam and the moving portraits. It’s a long and slow watch, so you have to be in the right mood, but it is definitely worth it.

 

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Pro tip: once you start seeing this in your spilled beer, it’s time to go home

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What we learned: NO jitterbugging!

Next time: Dance, Girl, Dance (1940)

#81 Nightmare Alley

Watched: January 29 2017

Director: Edmund Goulding

Starring: Tyrone Power, Joan Blondell, Coleen Gray, Helen Walker, Ian Keith

Year: 1947

Runtime: 1h 50min

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Edmund Goulding’s Nightmare Alley brings us back to the carny world of Freaks, complete with a Geek (not the computer kind though; more the rip-the-heads-off-of-chickens-with-his-teeth kind). It’s a world we’ve missed and we were very happy to be back.

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The Geek is ever present though never shown on screen. Our filthy, sensationalist minds were only slightly miffed.

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Zeena, Mentalist Princess (Blondell), is mentoring Stan (Power), an ambitious young carnival performer. Stan learns of a secret code which Zeena and her now alcoholic husband Pete (Keith) used to “tell fortunes” back in their Vaudeville days, and he is set on learning it. However, Pete will have none of it and forbids his wife from teaching it to Stan or anyone else.

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“If only something could befall this desperate alcoholic..!”

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One dark night, there is a fatal (if accidental?) mix-up of bottles, and Pete has drunk his last drop. Unable to perform alone, Zeena teaches Stan the code and the two of them resurrect her old clairvoyant act. That is, until Stan is caught fraternizing with fellow performer Molly (Gray) and the lovers are forced to marry, leave the carnival and set up on their own.

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Sparks quite literally fly

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With his new wife, Stan starts performing in hotels – a step up from the traveling carnival circuit and with a slightly more powerful and respectable clientele. As his audience and his reputation grow, he strikes up a (probably platonic) relationship with a consulting psychologist, Lilith Ritter (Walker), who treats many of the city’s elite. When he learns that she records her sessions, he teams up with her to use her clients’ personal information to gain their trust and their money.

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He underestimated how fatale this femme really was…

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Stan becomes the victim of his own hubris and ambition. No matter how many of the women (and Tarot cards) in his life try to warn him that he is crossing the line he keeps pushing, making himself out to be almost a Messiah figure, and in the end something’s got to give. The story comes full circle – we start and end in a traveling carnival where people make their own fate. Nightmare Alley is in many ways an Ikaros-tale, and it’s an intriguing and hypnotic watch. We absolutely loved it!

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Also, Joan Blondell, who we loved in the Busby Berkeley musicals, got even better with age!

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What we learned: Never trust a professional conman. Or a consulting psychologist. Also, do not take the Lord’s name in vain.

Next time: Odd Man Out (1947)

#80 Brighton Rock

Watched: January 29 2017

Director: John Boulting

Starring: Richard Attenborough, Hermione Baddeley, William Hartnell, Carol Marsh, Wylie Watson

Year: 1947

Runtime: 1h 32min

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Brighton. A cesspool of crime, run by gangsters and desperation. On top of the ladder following the death of old kingpin Kite: Pinkie Brown (Attenborough), a young but ruthless man. As newly appointed leader it is his duty to avenge the death of his former boss, and he blames reporter Fred Hale. So he disposes of him.

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Fred wasn’t the only victim. Those glasses had once offended his mother so were also promptly disposed of.

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While there are no witnesses to the actual disposing (which by the way was an excellent scene), Ida Arnold (Baddeley) who had spent most of the day with Fred, gets suspicious and starts her own investigation. At the same time, Pinkie’s associate Spicer (Watson) royally messes up while trying to establish an alibi for the gangsters, and accidentally leaves behind a potential witness – 17 year old waitress Rose (Marsh).

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Luckily, Rose is a mature, intelligent woman, not easily manipulated or an easy victim, and she brings the gangsters down. Just kidding!

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To stop Rose talking, Pinkie starts dating her, and while he may very well be the worst, broodiest date ever, she is an inexperienced, naïve Catholic girl and she falls for him. Silly child.

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She even tends to his battle wounds, that sweet summer child

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Their (insanely wrong) romance blossoms, but that is about the only thing going right in Pinkie’s life. Ida continues her investigation and stumbles across Rose who accidentally reveals a crucial piece of information. Meanwhile, Pinkie’s business is under threat from Colleoni, a rival “businessman,” which puts another cog in his wheels.

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Later, his rival also puts a scar on his face and fear in his eyes

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As his story progresses, Pinkie gets more desperate and more violent and it all builds towards an inevitably bleak ending, particularly as he introduces some Romeo and Juliet-type scenario to his new, doting wife. We’re not entirely sure she paid attention in English class, or perhaps she is still so young she thought it all romantic.

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Then again, who could resist these loving eyes?

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We’ve heard the end referred to as fairly “happy”, but we cannot help but think Rose would be better off knowing the truth about her marriage as it would at least leave her with a chance to move on. As it stands, she may be lost forever.

Brighton Rock is suspenseful to the point of being stressful, and it’s a very good watch. The performances in the film are great, and we really enjoyed it. Definitely worth watching. We will leave you with a picture featuring Ida and Dallow (Hartnell – aka The Doctor), as we have not managed to squeeze them in anywhere else.

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We threw in a couple of police officers for good measure. Enjoy!

What we learned: if a shady character indirectly sort of threatens your life, don’t marry him.

Next time: Nightmare Alley (1947)