Roger O. Thornhill (Grant) is a busy adman with a slightly exasperated secretary and a fabulous mother (Landis). During lunch, he is mistaken for a Mr Kaplan by a couple of thugs and whisked away on an adventure.
Despite Thornhill’s insistence that they have the wrong guy, baddie Phillip Vandamm (Mason) is convinced his captive is lying. His suspicions are confirmed several times as Thornhill starts investigating and finds himself in the mysterious Kaplan’s hotel room, accepting his laundry and answering his phone. Idiot.
Things go from bad to worse when Thornhill becomes a prime suspect for murder and must go on the lam. He ends up sneaking on to the “Twentieth Century” where he meets the mysterious and gorgeous Eve Kendall (Saint). She helps him elude capture, but now our hero is hunted by both criminals and law enforcement. What a pickle!
North by Northwest is definitely among the funnier Hitchcock movies. The whole thing plays like a farce, and Cary Grant’s amazing face, sass and sarcasm keep the audience laughing throughout. We also loved his darling mother.
On a busy beach, aspiring actress/model Lora Meredith (Turner) is looking for her daughter. She finds the girl in the company of an African-American lady, Annie Johnson (Moore), who she hires as a live-in babysitter after learning she and her daughter are homeless.
Lora goes to see a theatrical agent, Allen Loomis (Alda), who basically tells her that to succeed she must prostitute herself, something she’s not yet quite desperate enough to do. However, she gets a break when a playwright likes her honest critique of his play, and is soon catapulted to stardom, much to the chagrin of love interest Steve Archer (Gavin) who’d rather have her be a stay-at-home mom and his wife.
Lora and Annie stay friends for the next 10+ years, as the former finds success and the latter eventually gets paid for being her maid. Their daughters grow up, but while Lora’s daughter Susie (Dee) is a well-adjusted blonde with a private school education, Annie’s daughter Sarah Jane (Kohner) is light enough to pass for white and develops some serious identity issues.
As is tradition, we loved this Sirk film more than we thought we would. Sarah Jane, though an atrocious dancer and slightly annoying, is a tragically intriguing character, Annie is just the best, Susie is pluckily charming, and Lora is self-centred yet understandably ambitious. And there are also some men there, more often than not screwing up the women’s lives.
Lora and Annie’s friendship seems to be fairly mutual even though Annie works for Lora, but we learn that Lora knows absolutely nothing about her friend’s life outside of the house, which is very telling.
Imitation of Life is about friendship and family and heritage and sexism and racism and authority. And probably lots of other things as well. We loved it, and we’re now off to plan our funerals. Those things are not to be left to chance.
What we learned: If you love someone, apparently it gives you the right to decide for them. And control them. And be petulant if they make their own decisions. Also, racism sucks!
In those days Caesar Augustus declared that everyone throughout the empire should be enrolled in the tax lists. This first enrollment occurred when Quirinius governed Syria. Everyone went to their own cities to be enrolled. Since Joseph belonged to David’s house and family line, he went up from the city of Nazareth in Galilee to David’s city, called Bethlehem, in Judea.
We all know that story. However, this is not that story, but set in the same time. In 26 A.D. (probably not called that at the time, to be fair) Judah Ben-Hur (Heston) was a Judean prince and childhood friend of newly returned Roman tribune Messala (Boyd). Despite the intense homoeroticism of their interactions, the two have a falling out over political issues (one wants the other to sell out his people. That sort of thing).
After an accident involving a Roman procession and rooftop tiles, Messala finally has an excuse to arrest the Ben-Hur family and send Judah away to the galleys. His mother Miriam (Scott) and sister Tirzah (O’Donnell) are thrown in a dungeon, the family home is raided, and Judah is sent off.
Strange destiny eventually brings the eponymous hero back to his hometown, now as an adopted Roman with a new fortune, new status in the Roman Empire, and excellent horse racing skills. His hatred for Messala has not diminished though, despite an encounter with Jesus, and he is also out for revenge and for the salvation of his family…
Sometimes it’s hard to get in the right mood to watch an almost 4 hour epic from the ’50s, and we must admit we didn’t rush to pick this one up despite all we’ve heard of it. However, we’re glad we did as it lives up to its reputation (despite Heston’s occasional overacting). We loved the Roman perspective on Jesus, the (possibly unintended) homoeroticism between Judah and Messala, the sheikh, the general epicness of the feature, and the fact that we never actually see or hear Jesus.
We also loved the Roman uniforms, but mainly because they reminded us so much of Asterix that we spent the entire film quoting Asterix chez les Bretons (1986) and had to pull some strings to get our hands on the Norwegian dubbed version (AKA the only version worth watching) of our childhood favourite. So thank you, Kristian!
It’s easy to think Ben-Hur is a movie about horse racing (it’s by far the most famous scene), but it is really an epic saga of revenge and redemption with Jesus hanging out in the background. And a badass chariot racing scene.
In a beatnik café, pretentious poet Maxwell H. Brock (Burton) is performing his latest work, to the fascination of busboy Walter Paisley (Miller). Inspired by the artists he surrounds himself with, and also driven by their ridicule of him, Walter decides to try his hand at sculpting.
Realising that sculpting is harder than it looks, he takes a break to save his landlady’s cat who’s stuck inside the wall. However, stabbing through it, he accidentally stabs the poor cat. Naturally, he proceeds to cover the dead animal in sculpting clay and the next day he turns up to work with his new sculpture.
Walter’s newfound success leads to admiration from his crush Carla (Morris) and other patrons of the café, and a lady gives him some heroin as a gift, as one does. This in turn leads to an attempted arrest as an undercover cop follows Walter home and tries to book him for drug possession. Afraid, Walter hits him over the head with a frying pan, killing the cop instantly.
Walter gradually goes from underestimated and accident-prone simpleton to calculating killer who lets every small slight become justification for murder. He is, however, not smart enough to avoid killing people he knows and is known to dislike.
Leonard (Carbone), the owner of the café, is the only one to see through his newly discovered talent, but he is making money off of Walter’s work and has a vested interest in keeping up the illusion. But how long can this go on? And who is next on Walter’s kill radar?
A Bucket of Blood is the farcical version of House of Wax. The concepts are similar, but this one is more comedic and strangely also more sinister in many ways. Walter is the epitome of the stereotypical “good guy” – he sees himself as sweet, kind, underestimated and misunderstood, but if he’s rejected by someone, or made fun of, he becomes violent and murderous while simultaneously justifying his actions in his head.
We loved his first attempt at sculpting Carla’s face, the extremely pretentious Maxwell and the morbidity of the whole film. We also understand perfectly why Roger Corman made so many films based on the works of Edgar Allan Poe – it’s a match made in heaven! Or probably hell, to be quite frank.
Starring: James Stewart, Kim Novak, Barbara Bel Geddes, Tom Helmore
Runtime: 2h 8min
For those of you wondering what happened to #167 to #172, Mr Wright has made a few changes to the list and we have had to update the numbering to the current version, as outlined here. A number of new films have been added to the ’30s and ’40s, and we’ll try to catch up with them as soon as we can get our hands on copies. Until then, we continue where we left off, but with updated numbers.
During a roof top police chase, John “Scottie” Ferguson (Stewart) almost falls to his death and witnesses another police officer die trying to save him. After the accident, he retires from the force and suffers vertigo as a result of the traumatic incident.
Spending his downtime in the (fantastic) company of friend Midge Wood (Bel Geddes), Scottie is contacted by old school friend Gavin Elster (Helmore) who hires him to stalk his wife. Elster claims Madeleine (Novak) has been possessed by the spirit of her great-grandmother Carlotta, who killed herself after being betrayed by the man she loved.
Hesitant at first, Scottie agrees to the job after seeing the gorgeous Madeleine. He follows her to the florist and the cemetery where she visits Carlotta’s grave. When she later flings herself into the river, he saves her and brings her home, and they promptly fall in love.
However, it’s far from smooth sailing from then on. Turns out newfound love does not erase madness/ghosts and Scottie is unable to save Madeleine, leading him to a complete meltdown. But what was actually going on?
From the awesome opening titles (by Saul Bass) to the end credits, Vertigo is fantastic. We loved the colours (especially the red restaurant), all the spirals, the dolly zoom, the very judgemental judge, the dream sequence and of course Midge. Lovely, lovely Midge and her lovely, lovely apartment.
Mr & Mrs Vargas (Heston and Leigh, respectively) pass the border from Mexico to the USA only to have a car blow up in front of them. Mike Vargas, a Mexican agent, decides to look into it, while American-born Susan Vargas stupidly decides to follow a random dude back across the border.
Vargas is joined by US police officers Hank Quinlan (Welles) and his partner Pete Menzies (Calleia) and gets to tag along on their investigation. However, when Vargas witnesses Quinlan planting evidence in the apartment of their main suspect, he accuses the veteran police captain and starts to suspect that he, perhaps with his partner, has been operating this way for years.
Quinlan denies any wrongdoing and starts to work to discredit Vargas, or get rid of him altogether. Meanwhile “Uncle” Joe Grandi (Tamiroff) is also putting pressure on Quinlan since Vargas has been investigating Grandi’s brother. To keep her safe, Susan in moved to a remote motel where she finds herself the sole guest only joined by a very strange manager.
Touch of Evil is really very tense, especially Susan’s storyline. We were genuinely worried about her, no matter how spunky and independent she was, and she had some really horrible scenes. We loved the film though – we loved Susan, the Mexican being the good-guy protagonist (even if it was Charlton Heston in brownface), the total corruptedness of Quinlan and the naïve hero worshiping of Menzies.
Welles’ version was reedited and released as a very different movie than the one he envisioned. Since its 1958 debut, two other cuts have been released. We’re pretty sure the one we watched was the 1998 version cut together based on Orson Welles’ notes (we base this on nothing other than runtime, as we didn’t check the DVD-case). Just so you know, in case some of you think this is very important to this informal review.
Starring: David Hedison, Patricia Owens, Vincent Price, Herbert Marshall, Torben Meyer
Runtime: 1h 34min
So, first of all, we must apologize (once again) for the sporadicness (is that a word..? We’ll say it is.) of the posts lately. We’ve both been very busy with moving, redecorating, and having paying day jobs. Hopefully, the worst is now behind us, and we can get back to more regular updates. On the bright side, we bring you a real treat for Easter! The Fly!
Somewhere in Canada (the French part), Gaston (Meyer) is having a bad day. He thought he would just have another uneventful day janitoring, but instead he stumbles across the mutilated, crushed body of scientist André Delambre (Hedison) and witnesses Mrs Hélène Delambre (Owens) fleeing the crime scene. Probably not the day he was expecting.
Hélène contacts her brother-in-law François (Price) and while there’s no doubt she killed her husband, she is rich and respected enough to be interrogated by the police in her own bedroom. After a few days of bedrest, with a strange new obsession with flies, she confides in her brother-in-law and recounts the events leading up to her husband’s fatal encounter with the hydraulic press.
André, a scientist, had been testing out his new invention, a “disintegrator-integrator” with various results (including one that turns their cat into a disembodied meowing phantom). Not content with just transporting things and animals, he decided to test it on himself, as all slightly megalomaniac scientists are prone to do.
The Fly from 1958 has a very different approach than Cronenberg’s 1986 version, but we love them both. The title even feels like it might refer to different things in the two versions. This has more of a murder-mystery feel, and there’s less focus on the transformation, although that is still very much present.
We loved the flies buzzing around, the murder-mystery approach, and Vincent Price in all his glory. It’s a lovely, creepy horror film, and a must-see for every fan of the genre. Or of flies. We don’t judge.
Sinbad the Sailor (Mathews) is doing what he does best: sailing the seas. It’s not his best work though – he and his crew have run out of food and are desperate for land. Luck is on their side, however, and they come upon an island. But what sort of an island is it..?
The sailors save a stranded magician, Sokurah (Thatcher), from the island’s local cyclops, but during the commotion Sokurah loses his magic lamp™ to the monster. Sinbad refuses to go back for it as he has onboard his ship Princess Parisa (Grant) and does not want to risk her life. Especially as he is going to marry her and it would be a shame to be a widower before his wedding.
Sokurah is an unscrupulous bastard, and once they reach the safety of Baghdad he uses his magic to shrink Parisa in order to blackmail Sinbad into going back. Which works, as a marriage to someone 15 cm tall would be somewhat problematic.
Sinbad does not want to risk the lives of his crew and recruits “volunteers” among the prison population of Baghdad, who immediately start plotting a mutiny. After an eventful journey, they eventually reach Colossa and go lamp-hunting. It turns out the island is home to more threats than a cyclops and an evil magician…
The7th Voyage of Sinbad is a fun adventure with cool monsters and a simple but sweet princess. There are cyclopes, a genie (Eyer), caliphs, dragons, huge three-headed birds and skeletons. We’re slightly miffed we never watched this as kids, because we would have absolutely loved it. We did now too (though the white people playing Arabs have become a bit dated), we just wish we had watched it back when we used to read and love these stories.
Ray Harryhausen’s “Dynamation” technique is still magical, and we’re very glad we ended up having to buy this DVD. We’ll definitely watch it again, and introduce it to our niece and nephew once they’re old enough.
Our second encounter with Monsieur Hulot (Tati) was perhaps even more enjoyable than our first. Mon Oncle introduces us to his extended family: his sister, his brother-in-law, and his adorable nephew. Oh, and their dog, of course. Cannot forget the dog.
Hulot’s brother-in-law Charles Arpel (Zola) and sister Mme. Arpel (Servantie – who doesn’t even have a name in this) live in their ultra-modern and technologically advanced house Villa Arpel, where everything goes wrong on a regular basis. In addition to their fancy house, they have son Gerard (Bécourt) and the aforementioned dog, both of whom like to play with strays.
While the Arpel’s try to keep up appearances to their neighbours, colleagues and anyone who should happen to pass by, Gerard is disenfranchised by it all and loves spending time with his unassuming uncle. However, Charles thinks Hulot is a bad influence, and that he should get a proper job, a proper house, and a proper life. Like he has.
There’s so much in this movie we loved! The opening credits, Mme. Arpel’s plastic house dress, the traffic moving in time with the music, the dogs, the hats (oh, the hats!), the slapstick, the hark back to the silent movie era (especially Modern Times), the trotting secretary, and the garden party populated by the worst kinds of people in the world.
Foreign Legion veteran Julien Tavernier (Ronet) and his lover Florence Carala (Moreau) have a diabolical plan: they will kill Florence’s husband, who just so happens to be Julien’s boss, and make it look like a suicide. The plan is good (you know, in an evil way) and goes smoothly until Julien forgets to get rid of a key piece of evidence.
Florist Véronique (Bertin), who works across the street, and her crook boyfriend Louis (Poujouly) take this opportunity to steal Julien’s car and go on their own spree, which also ends in murder. One in which Julien becomes the main suspect as Louis stole his identity as well as his sweet ride.
We loved everything about this movie. It is visually stunning and fantastically scored with music by Miles Davis. Despite the fact that Julien committed his very own murder, we kept hoping that pretentious douchebag Louis would be arrested to clear Julien of killing the extremely happy German tourist, and the suspense kept us on the edges of our seats.