12 jury members are in a locked room deliberating a murder case. That’s it. That’s the plot. Sound boring? Not at all! It’s tense, dramatic and very well acted, and it will keep you engaged throughout the entire 96 minutes.
Human nature, society, male pride, racism and prejudice all play a part in the “neutrality” of the justice system, and it’s important to question what people tell you is the truth. Also, Juror #8 should have been the defense lawyer. And that’s all we’ll say, apart from watch this film. It’s fantastic.
8 year old Rhoda Penmark (McCormack) is a prim and proper young lady who is a bit spoiled and very straightforward. Her father and neighbours think the world of her, especially landlady Monica Breedlove (Varden), but her mother Christine (Kelly) has noticed a more sinister side to her daughter; she has an explosive temper and is possibly the worst loser in history.
When Rhoda fails to win a school prize for penmanship, she does not take it well. Later, at a school picnic, the boy who beat her accidentally drowns. Christine becomes suspicious when she then finds the boy’s missing medal among her daughter’s precious things…
While Christine suspects her daughter may not be quite normal, handyman Leroy (Jones) recognizes exactly what she is – he sees himself in her. He’s too confident in his own supremacy though, so he confronts the child and teases her. Big mistake! She may be tiny and young, but Rhoda is also vicious and resourceful.
We loved Monica the Landlady and her psychoanalytical friends, and the crazy and manipulative Rhoda. The film is long and melodramatic, with lots of sitting room exposition (it’s based on a play), but it is also very creepy and engaging. The Freudian influence is very evident, especially when it comes to the (many) weirdly intense parent-child relationships. Or perhaps that’s just how parents and children interacted in the ’50s.
He serves a stint in prison for driving a stolen car (very Christian of him) and shares a cell with robber Ben Harper (Graves). Harper tells his cell mate about his family and Powell figures out Ben’s children know the whereabouts of the money from the robbery.
Powell tracks down Harper’s bereaved widow and successfully woos her (with help from the very busy Icey Spoon [Varden]), set on learning her children’s secret. However, son John (Chapin) is not a fool, and he never trusts his new step-father.
When Powell’s misogyny, frustration and general disposition drives him to kill his new wife, the children grab the money and go on the run, drifting down the river in their boat in search of a safe haven, which they find in the form of Rachel Cooper (Gish). But Powell is not about to give up on “his” fortune…
We have no words to express how much we loved The Night of the Hunter. A serial killer (who may have been the inspiration for characters in both Buffy the Vampire Slayer and Carnivale), resourceful children, absolutely beautiful imagery (even the above picture of dead Willa Harper (Winters) is eerily gorgeous in its grotesqueness), and the exquisite Lillian Gish are the main ingredients which made us fall, but there was nothing about it we didn’t love.
Mrs Wilberforce (Johnson) is a sweet little old lady and frequent visitor at the police station reporting on various observations, who is looking for a tenant for her vacant room. When Professor Marcus (Guinness) shows up looking for a room where he can live and rehearse with his string quintet, she may have gotten more than she bargained for.
Naturally, Professor Marcus and his cohorts (the rest of the men credited) are not what they appear – they are a band of criminals planning to rob a security van at King’s Cross and they want to use Wilberforce’s house, and the old lady herself, as part of their plan.
The Ladykillers is a fantastic comedy, perfectly cast and entertaining throughout. Katie Johnson, who gets ridiculously low billing, is amazing as the old widow, and her adversaries are all brilliant as well – screen legends as many of them are.
Leonard Diamond (Wilde) is a police lieutenant with a vendetta against crime lord Mr Brown (Conte). Despite warnings from his superiors and a distinct lack of evidence, he is hell-bent on bringing the gangster down and to save Mr Brown’s girl Susan Lowell (Wallace), with whom he is a bit obsessed.
When Lowell tries to kill herself, Diamond finally has an opportunity to talk to her in her hospital bed. Not entirely conscious, she keeps muttering about someone named “Alicia,” but when she regains consciousness, she cannot say who Alicia is (or was).
However, inventive torture devices do nothing to dissuade the investigator, who only increases his efforts to put the criminal behind bars. Following a hunch, Diamond goes out to prove that Brown is a killer, but what he finds is not quite what he expected.
The Big Combo is dark and atmospheric, with great lighting and music. The characters are taken to the extreme; Diamond is exceedingly righteous and stubborn, while Brown is a sadistic psychopath with few redeeming features, apart from maybe his tongue, judging from the look on Susan’s face in one infamous scene.
We loved the lighting, the smoke and the angles, the jazzy music and the use of sound around a pivotal moment in McClure’s life (which we will not spoil). The Big Combo is also surprisingly progressive sexually, with the aforementioned scene with Susan and Brown, as well as the heavily implied relationship between henchmen Fante and Mingo both being unusually explicit for the time.
Tony le Stéphanois (Servais) is a retired crook with health problems who just spent five years in prison after taking the fall for friend Jo (Möhner). The two meet mutual friend Mario (Manuel) for coffee and crime planning, although Tony is getting too old for this shit.
The trio bring in Italian safe cracker César (Dassin) and start planning the perfect heist – the nighttime robbery of a jewellery shop. The crime itself goes off (almost) without a hitch, until César can’t help himself but steal an extra piece of jewellery for his lover Viviane (Noël).
Rififi is basically the ultimate heist movie; it is stylish and cool with a great cast of characters and an extremely exciting robbery. We absolutely loved the song and dance routine with the silhouettes, as well as the planning phase. However, the long silent scene during the robbery, which is probably the longest silent part of a film that’s not a pre-talkie we’ve ever seen, was by far our favourite. So suspenseful!
Christina Delassalle (Clouzot) and Nicole Horner (Signoret) are colleagues at a boarding school for boys somewhere in France, but that’s not all they have in common. They are also involved with the same man – Christina’s tyrannical bastard of a husband Michel (Meurisse).
Michel does not only mistreat his poorly (but wealthy) wife – he is also abusive to his mistress and the children in the school. Fed up with him, Nicole concocts a murderous plan to rid the two women of their shared lover. Christina is hesitant at first, but after her husband humiliates her and rapes her, she has finally been pushed too far.
They go through with their plan, but the already mentally and physically fragile wife is quickly deteriorating from the stress and the guilt. Then, the body disappears, freaky stuff starts happening and things turn creepy.
Diabolique is very, very creepy and suspenseful. Michel is extremely unlikable and we’ve never wanted two people to get away with murder more than in this case. This film kept us guessing to the end (although we had a theory which turned out to be spot on) and there are a lot of exciting twists and turns in the plot.
The tiny town of Black Rock is amazed to see the train actually stop for the first time in four years. Even more puzzled, and suspicious, are they to find a stranger getting off in search of a hotel room and a cab to take him to Adobe Flats.
The stranger, John J. Macreedy (Tracy), is met with hostility from all sides, mainly led by Reno Smith (Ryan) who everyone seems to be afraid of. The hostility increases when Macreedy reveals he is looking for a Japanese-American farmer named Komoko, and he is served a story of Komoko being relocated in the wake of Pearl Harbor.
As Macreedy is trapped in the town for the night and all lines of communication with the outside world are sabotaged by local followers of Smith, vet/undertaker Doc (Brennan) is the only one willing to help him. Doc reveals that Komoko is dead, although the details of his death are still unknown to our hero.
Smith and his croonies, most notably Coley and Hector (Borgnine and Lee, respectively), no longer operate under any pretense of innocence, and the chances of Macreedy surviving the night grow smaller and smaller.
Bad Day at Black Rock is an exciting and tense murder-mystery-western with a crime at the centre of the plot which is strangely (and sadly) relevant to our own times and political climate. Macreedy is a stoic badass, yet you’re never sure things will go his way or who he can trust. The men in this one-woman-town must make some tough choices and decide whether or not to make up for the mistakes that were made four years ago.
There’s nothing not to love about this film. It’s shot in Eastman Color and Cinemascope, and beautifully so. There are car chases, shoot-outs, bar fights, Dames (well – just the one dame, actually), murder, mystery, and mayhem, and we loved everything about it. Loved it!
What we learned: This is a local town for local people. There’s nothing for you here! Alternatively, they don’t take kindly to strangers round these there parts.
It’s hot in the city and L.B. “Jeff” Jeffries (Stewart) has a broken leg. The increasingly bored and impatient photographer tries to amuse himself by entertaining his voyeuristic side – he spies on his neighbours.
From his wheelchair by the window, Jeff watches the romantic exploits of “Miss Torso;” the heartbreaking life of widow(?) “Miss Lonelyhearts” (whose sadness matches even that of Chaplin himself); and the bickering Thorwald couple across the yard.
In addition to being the founding, and only, member of his local Neighbourhood Watch Alliance, Jeff is contemplating breaking up with his perfect (no, really!) girlfriend Lisa (Kelly), as he thinks she’s not cut out for his bohemian photographer lifestyle. However, when he sees suspicious activity at Thorwald’s (Burr) apartment, followed by the apparent disappearance of his wife, Lisa and housekeeper Stella (Ritter) are the only ones who believe his theory that Thorwald may have done something shady.
Since Jeff’s police friend Doyle (Corey) can’t investigate without any sort of evidence that Thorwald is a killer, and he also doesn’t believe that a murder has happened, the three take it upon themselves to get the proof.
Rear Window is one of our favourite Hitchcock films, although that list is very long. Like Rope, the action takes place in one room, with just glimpses into the neighbouring apartments. It’s suspenseful with a good cast of characters (and actors), and for a long time you are not sure whether a crime really has been committed, or if Jeff is imagining everything. Miss Lonelyhearts is heartbreaking, and the scene where our protagonists ignore her clearly upcoming suicide attempt in order to focus on a potential murderer’s behaviour is probably the most uncomfortable scene in the entire picture.
We loved the apartment complex and the mini-tableaux in the apartments, Stella the no-nonsense nurse, the couple sleeping on their balcony, and Lisa the socialite with a brain and guts. Also, the suspense was almost killing us even though we’d seen it before. We love ourselves a good murder mystery.
What we learned: Neighbours are dangerous. We’re never talking to ours again.
Detective Sergeant Dave Bannion (Ford) has it all – a good job, a happy marriage and a lovely young daughter. That is, until officer Tom Duncan commits suicide and Bannion starts to investigate, uncovering layers and layers of corruption and deceit.
Those who cooperate with Bannion tend to die shortly thereafter, which makes him suspicious that the suicide may not have been as straightforward as initially thought. Even his superiors tell him to back down, which drives his determination to get to the bottom of the circumstances of his colleague’s death, as well as the extent of the mob’s influence on the police force.
When Bannion’s wife is killed by a bomb intended for him, and his boss suspends him for not complying with orders and accusing him of being on the mob’s payroll, our hero quits his job and goes on a one man mission to bring down the local gangster Lagana (Scourby) and everyone connected to him.
One of Laguna’s thugs, Vince Stone (Marvin), has a girl he does not treat right – Debby Marsh (Grahame). After a confrontation between Bannion and Stone in a bar, Marsh, the obligatory scorned female, joins forces with her lover’s enemy.
We absolutely loved this film! Bannion is an early incarnation of the disillusioned-cop-with-nothing-left-to-lose-who-goes-after-the-bad-guys-on-his-own, and he is perfect. We watched it with our parents (family time!) and all four of us were at the edge of our seats for the entirety. It’s thrilling, exciting and intriguing – everything we look for in a Noir.