#122 Rear Window

Watched: June 30 2017

Director: Alfred Hitchcock

Starring: James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, Raymond Burr

Year: 1954

Runtime: 1h 52min

Rear Window

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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.

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“Contrary to what you might think, I spy on my unattractive, male neighbours just as much as sexy Miss Torso the Dancer. So this is all morally sound!”

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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.

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Conveniently, the Thorwalds both tend to be within sight of Jeff’s window simultaneously

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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.

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“For this meeting of the NWA we’ll be spying on our curtain-less neighbours using this incredible powerful lens. Anyone have a moral problem with that?”

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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.

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“Murder, murder, murder! Change the fucking record!”

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No police involvement means that the two mobile women must risk their necks as Jeff is bound to his chair, which gives Lisa a chance to prove to her boyfriend that she is indeed wife material.

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Pictured: the kind of woman every man turns down. Disgusting hag.

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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.

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The most intriguing character by far. We’d be very interested in seeing her story on film.

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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.

Next time: Seven Samurai (1954)

Bonus post: Baby Driver

Watched: July 15, August 4 (and several other times in the forseeable future) 2017

Director: Edgar Wright

Starring: Ansel Elgort, Lily James, Kevin Spacey, Jon Hamm, Eiza González, Jamie Foxx, CJ Jones, Jon Bernthal

Year: 2017

Runtime: 1h 52min

Baby-Driver

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In honour of Baby Driver‘s Norwegian première, we decided to skip the list for a day and bring you Edgar Wright’s latest masterpiece instead. As you’ve probably gathered, we are avid fans of Mr Wright’s work and so threw a bit of a temper tantrum when the Norwegian release date was not pushed forward along with the rest of the world. Luckily for Sister the Oldest, she was already going to London in July so managed to catch it there a few weeks ago, but now the Norwegian realease is finally upon us and we have gathered a crew to go see it (again) tonight. Yay!

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We got our iPods loaded and ready to go! True fact: we’ve never stopped using them.

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As this is a new film, we won’t spoil the plot (the less you know going in, the better), but in short, Baby (Elgort) is a getaway driver who uses music to get in the right frame of mind to drive, and to drown out his chronic tinnitus. It’s an incredible action film which uses music as well as any musical we’ve ever seen. As Guillermo del Toro tweeted: “This is An American In Paris on wheels and crack smoke” – a very apt description indeed.

This is more of a pure action film which has (somewhat) less comedy than the Cornetto Trilogy, but the film references which Wright does so well are definitely there along with his signature style, and it’s thrilling, exciting, original and fun. Definitely the must-see film of the summer. And we’re not at all biased. At all.

Go! See it! It’s an amazing cinematic experience, and we can’t wait for tonight!

While you wait, you can see the trailers here and here, and the first six minutes here. Now, if that doesn’t make you want to drive (somewhat recklessly) to your nearest cinema, we really can’t help you.

What we learned: All you need is one killer track.

Next time: Rear Window (1954)

#119 The Wages of Fear/Le salaire de la peur

Watched: July 8 2017

Director: Henri-Georges Clouzot

Starring: Yves Montand, Charles Vanel, Folco Lulli, Peter van Eyck, Véra Clouzot

Year: 1953

Runtime: 2h 27min

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In a small village somewhere in South America, men of various nationalities are looking for work and a ticket out of extreme poverty and to more civilized places. After a horrible accident at a nearby oil field, the American owned “Southern Oil Company” needs to transport huge quantities of nitroglycerin to the field, but have no inclination to spend time and money putting security measures in place.

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“We made a sign. What more could we possibly do?”

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Not prepared to sacrifice proper American lives on this suicide mission, the company recruits drivers among the unemployed village vagabonds – desperate men ready to do anything for the $2000 offered as payment.

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“Just, you know, don’t shake the cargo. Or make loud noises. Or crash. Or have a nervous breakdown. Yeah, you’ll be fine.”

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The lucky(?) selected drivers (after some light corruption and implied violence) are Mario (Montand) and Señor Jo (Vanel) in one truck, and Luigi (Lulli) and Bimba (van Eyck) in the other. They are informed of what they are transporting as well as warned by another potential driver that even if they survive the impossible task, they will be mentally scarred for life. However, desperate people are willing to do desperate things, and the chosen men go on their way.

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What could possibly go wrong on these well-maintained roads?

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The ensuing road trip is one of the tensest we’ve ever seen. Every tiny obstacle, of which there are many, is potentially fatal, and the relationships between the characters grow very strained. It is a good film that can get us to care about characters who are intrinsically unlikable, and Clouzot manages that difficult task.

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Despite their (many) flaws and their treatment of each other and others in their lives (such as Mario’s girl Linda [Clouzot]), we really don’t want them to suffer a fiery death

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This is another film which we did not expect to enjoy as much as we did. It is excruciating to watch the four men attempt to get their deadly cargo to their destination, and the tension manages to stay high all the way to the final scene. Despite a slightly slow start, the 147 minutes fly by and leaves you a nervous wreck. We’d really love to see this on the big screen one day, so if the local film club ever does a screening, we’re first in line.

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Not what we had in mind when we saw there would be men covered in oil. The only slight disappointment in this film.

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What we learned: Oil companies are ruthless and evil. Also, money is not worth risking everything for.

Next time: Godzilla (1954)

#118 The Naked Spur

Watched: June 30 2017

Director: Anthony Mann

Starring: James Stewart, Janet Leigh, Robert Ryan, Ralph Meeker, Millard Mitchell

Year: 1953

Runtime: 1h 31min

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Howard Kemp (Stewart), a farmer turned bounty hunter, is tracking Ben Vandergroat (Ryan) through the Rocky Mountains. Along the way he runs into old prospector Jesse Tate (Mitchell) and “morally unstable” dishonorably discharged Army Lieutenant Roy Anderson (Meeker).

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There’s tension from the get-go

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The three join forces, sort of against Kemp’s wishes, and manage to capture the murderer. However, they are surprised to find him in the company of Lina Patch (Leigh) – the daughter of a dead criminal. As Kemp’s companions learn that he is no lawman but a bounty hunter set on collecting the $5000 reward for Vandergroat’s capture, they decide to accompany the party back to Kansas to get their share of the reward.

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#SquadGoals

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Vandergroat turns out to be a master manipulator who has his female companion convinced that he is innocent. As the five travelers make their long way towards Kansas, their captured killer works on turning them all against each other, which isn’t a hard task considering they don’t really trust each other to begin with. Will they all reach Kansas in one (five?) piece(s)?

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While the men do men stuff, the girl is tasked with womanly work such as tending the wounded, making coffee and falling for the protagonist

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The Naked Spur is a tense Western Thriller and we enjoyed it a lot more than we thought we would. It’s engaging and interesting, and it’s often hard to tell who the bad guys actually are – they all have their moments. It’s violent and suspenseful and we loved every minute of it. If you’re in the mood for a tense Western, you could do a lot worse than this Technicolor feature.

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Although the threat of rape lies heavily on poor Lina throughout…

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What we learned: It’s OK for strong, macho cowboys to cry. Also, are you willing to sell your soul for $5000?

Next time: The Wages of Fear (1953)

#117 The Big Heat

Watched: June 24 2017

Director: Fritz Lang

Starring: Glenn Ford, Gloria Grahame, Lee Marvin, Alexander Scourby, Jocelyn Brando

Year: 1953

Runtime: 1h 30min

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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.

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He’s also invited to uncover other kinds of layers, if you catch our drift

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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.

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Methods include, but are not limited to, threatening widows. (PS: check out the decorative lamp in the background. Classic!)

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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.

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Cornering people in pubs is a tried and tested investigatory method in many a film. It usually ends in violence.

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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.

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She pays the price though, poor girl…

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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.

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There’s also real tragedy and innocent victims

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On top of it all, it is directed by freakin’ Fritz Lang, the man behind two of our favourite entries on the list – M and MetropolisWhat’s not to love?

What we learned: If one side of your face is scarred, you can always go through life backwards. Also, good friends will come through in the end.

Next time: The Naked Spur (1953)

#109 High Noon

Watched: May 21 2017

Director: Fred Zinnemann

Starring: Gary Cooper, Grace Kelly, Katy Jurado, Lloyd Bridges, Thomas Mitchell

Year: 1952

Runtime: 1h 25min

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New Mexico Marshal Will Kane (Cooper) is getting married to Quaker girl Amy Fowler (Kelly) and retiring from his gun wielding profession as it goes against his new wife’s beliefs. As the ceremony comes to an end, word comes to their small town of Hadleyville that one of Kane’s earlier arrests has been released from prison (because Northerners are too lenient) and is coming on a train scheduled to arrive at noon.

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Your wedding present is MURDER

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Frank Miller (the bad guy, not the graphic novelist) has his three cohorts waiting at the train station, and the newlywed Kane couple decide to make a run for it before the killings begin. However, despite the theory that Miller may leave the town alone if he does not find Kane there, Kane is not one to run from a fight. He decides to stay and protect his town with the help of his disgruntled deputy Harvey Pell (Bridges) while they await the arrival of their new marshal who is supposed to arrive the next day.

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Basically, the entire plot revolves around bad timing

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New wife Amy and ex-lover Helen (Jurado) both think this is a ridiculously bad idea and team up to skip town by boarding the same train on which Miller is expected. With a clear deadline, Will tries to round up a posse of deputies to help him stand against Miller at noon. However, although most of the town agree that they have Kane to thank for their prosperity, and that Miller deserves a good ass whoopin’, they are reluctant to risk their lives to help their (technically former) marshal out. As noon approaches, Kane awaits his fate in solitude as even the jealous and immature Pell has abandoned him. Shit’s about to go down…

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One is the loneliest number that you’ll ever doooo

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High Noon was a very tense Western and we loved it. It’s very engaging and we felt personally affronted by all the townspeople who refused to help. When the showdown finally came, after about an hour of the town clock moving relentlessly towards noon, it felt as though this could go either way, and we honestly had no idea whether Kane would come out of this alive or die defending his town.

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The filmmakers threw us off by putting the bad guys in different colour hats while the good guy wore black. It was all very confusing.

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All in all, this was a very engaging and enjoyable (almost) first Western on the list. Unlike The Treasure of the Sierra Madre (which we also loved, by the way), this felt more like the Westerns our dad used to watch when we were growing up, with a lot of the same tropes we will undoubtedly see in future representations of the genre. The tension rivaled that of many a thriller and Noir, and our dog loved all the horses on screen.

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Imagine tense score…

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What we learned: We cannot hear the name “Gary Cooper” without Young Frankenstein’s rendition of “Puttin’ on the Ritz” getting stuck in our brains. Also, Lloyd Bridges stayed extremely recognizable for close to 50 years.

Next time: Ikiru (1952)

#108 The Prowler

Watched: May 31 2017

Director: Joseph Losey

Starring: Van Heflin, Evelyn Keyes, John Maxwell, Katherine Warren

Year: 1951

Runtime: 1h 32min

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After a bath, Susan Gilvray (Keyes) sees someone leering through her bathroom window and calls the police who basically chalk it up to hysterical women who should know better than to get undressed in their own homes.

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She should know better than to go near windows while her husband is a work

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One of the police officers, Webb Garwood (Heflin) seems to understand perfectly why a peeping Tom would like to spy on Susan, and he swings by at the end of his shift to check up on her. They discover that they are from the same town and start hanging out together when her radio personality husband is at work, which eventually leads to an affair.

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Because, in this world, “no” apparently means “yes”.

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After a while of cheating on her husband (who we get the impression is more than a little bit controlling), Susan loses her nerve and after some back-and-forths the couple split up. However, Webb, who early on stumbled across Susan’s husband’s life insurance papers, hatches a cunning plan.

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Webb, pictured here hatching

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He decides to get rid of the troublesome rival, get the girl and make a profit in the process. It all goes according to plan, but then another little hiccup appears in the shape of an unplanned pregnancy which could expose them both.

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Luckily, this town is coming like a ghost town and provides a good place to hide

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The Prowler wasn’t at all what we expected. We were prepared for a lot more stalker action and less murderous-psychopath-lover action, but we were far from disappointed. Instead of the basically good man corrupted by the femme fatale we often see in Film Noir, this is the story of a basically good girl who is corrupted by a man (Un Homme Fatal..?) and who must suffer the consequences.

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Him taking the position of her stalker probably should have been her first clue…

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Susan’s fatal flaw is probably her terrible taste in men. Between her controlling husband who locks up everything in his house, including his wife, makes her stay up and listen to his late night radio show and signs off with a slightly ominous “I’ll be seeing you, Susan,” and her new beau who’s a murdering psychopath, she never really stood a chance. Add to the mix the fact that Webb is a master manipulator and Susan is incredibly naïve and easily manipulated, and you have a recipe for disaster.

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She should have walked away the minute he sat down in her house as if he owned the place

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Though not what we expected, we loved The Prowler and we don’t regret the fact that we ended up having to purchase a second, Region A Blu-Ray player in order to watch it (that’s what you get for not checking region codes properly when buying stuff online). At least now we’re no longer limited to buying Region B discs. We’ll pretend it was all part of our master plan all along.

What we learned: Don’t marry your dead husband’s killer.

Next time: High Noon (1952)

#107 Strangers on a Train

Watched: May 15 2017

Director: Alfred Hitchcock

Starring: Farley Granger, Robert Walker, Ruth Roman, Leo G. Carroll, Patricia Hitchcock, Kasey Rogers

Year: 1951

Runtime: 1h 41min

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Pliable Guy Haines (Granger) accidentally meets creepy Bruno Antony (Walker) on a train. The two start speaking – Guy’s first mistake – and the polite Guy does what most people do when they meet crazy people on public transport – he smiles and nods and generally agrees with his fellow passenger.

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Smile and nod, Guy. Smile and nod.

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Bruno is anxious to rid himself of his father, and he knows, through the gossip columns, that Guy has a wife, Miriam (Rogers), who he wants to divorce in order to marry his new girlfriend Anne (Roman). Bruno also has a theory about how to get away with murder – the trick is to murder someone you have no motive to kill. You know, such as when two people who are otherwise unrelated randomly meet on a train and decide to kill each other’s family members…

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A psychopath he may be, but one cannot fault his taste in shoes

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Guy reaches his destination and thinks no more of the insane stranger on the train until his wife refuses to divorce him now that he’s making money. To make matters even more difficult, she is pregnant by another man and Guy finds himself in a murderous mood which he tells his girlfriend.

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You can see why he’d want to divorce her. She is after all wearing glasses! The ultimate sin of women!

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Guy doesn’t need to worry though – Bruno is there to solve his problems. He follows Miriam and her two boyfriends (possibly? We’re not quite sure) to a fun fair and gets her alone in a secluded spot where he strangles her.

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At least he got rid of those pesky and unattractive glasses for her!

 

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While this helps Guy out of one predicament, it get him into another. Bruno now expects the favour returned – for Guy to kill his father. When Guy refuses, Bruno inserts himself into his life and threatens to frame him for Miriam’s murder.

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Meanwhile, to avoid suspicion, Bruno goes around randomly strangling society women

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Strangers on a Train is a classic Noir thriller with a great premise and a very creepy, menacing and completely insane antagonist. The other characters are a bit less interesting, particularly the boring protagonist, although there are some perceptive women, such as Anne’s little sister Barbara (Hitchcock), Anne to a certain degree, and of course the manipulative and morally speculative Miriam. Also, just in case you care, our favourite characters were the little boy on the carousel and the old man crawling under it.

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This guy

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It’s a suspenseful and interesting thriller which every Hitchcock fan should watch, and we loved re-watching it.

What we learned: Never talk to weirdos on public transport. Also, definitely don’t try to placate them by agreeing with everything they say!

Next time: The Prowler (1951)

#99 In a Lonely Place

Watched: April 24 2017

Director: Nicholas Ray

Starring: Humphrey Bogart, Gloria Grahame, Frank Lovejoy, Martha Stewart (no, not that one)

Year: 1950

Runtime: 1h 34min

In a Lovely Place

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Dix Steele (Bogart) is a successful screen writer whose career is in a bit of a slump. He is about to adapt a novel into a screenplay, and as he cannot be bothered reading the source material, he invites the adorable Mildred (Stewart) home to tell him the story. She cancels her date and goes home with him, and at the end of the night he gives her money for a taxi and sends her on her way.

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Dix is too busy creeping on his neighbour to pay attention to the girl in his apartment

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When Mildred turns up dead the next day, Dix becomes the prime suspect; he was the last one to see her alive, he has a violent temper and also a somewhat unsettling fascination with murder. In addition, he doesn’t really seem too bothered by the whole affair, which is always a red flag for law enforcement (we have learned through movies). However, his neighbour Laurel Gray (Grahame) provides an alibi as she witnessed Mildred leaving the writer’s apartment, and the police let him go.

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Seems the whole creeping-on-the-neighbour-thing went both ways

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The two start a relationship (which is kind of a bad idea since she’s basically the only thing standing between him and a lengthy prison sentence) and quickly start spending all of their time together with Laurel working as Dix’s secretary/assistant. While their relationship seems to be mostly good, Laurel is gradually exposed to her boyfriend’s explosive temper and, as in Suspicion, starts doubting his innocence and her own safety.

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Not the face of a happy woman

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We won’t reveal too much of what transpires, but In a Lonely Place is a captivating Noir thriller and we never tire of watching Humphrey Bogart being super cool and somewhat menacing, though here also strangely vulnerable. Gloria Grahame is also excellent and holds her own with her iconic co-star.

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In between the tension and doubt there are also sweet and romantic moments

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It’s an excellent film with a compelling (though ultimately fairly unimportant) murder mystery and a very intriguing relationship. The characters are flawed and deeply human, and while their choices may not always be good, they are understandable.

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They could have been so good together…

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What we learned: First chance we get, we’re legally changing our names to Dix Steele.

Next time: #100! Los Olvidados (1950)

#98 Gun Crazy

Watched: April 21 2017

Director: Joseph H. Lewis

Starring: Peggy Cummins, John Dall

Year: 1950

Runtime: 1h 26min

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Barton Tare (Dall) has been obsessed with guns (although incapable of killing anything) ever since childhood, when he was arrested for trying to steal one and sent to reform school. As an adult, shooting is his only real skill, and after seeing the alluring Annie Laurie Starr (Cummings) show off her marksmanship in a travelling circus, he joins them as a sharp shooter and goes on the road.

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We can’t really blame him for going. Anyone capable of pulling off this look is surely worth risking it all for.

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After a short stint with the circus, the two are fired for falling in love while Laurie “belongs to” the circus owner. (Yup, we know…) The lovers go on the road, get married and spend their savings quicker than they probably planned. Laurie has an idea of how they can earn a living and, very much inspired by Bonnie Parker and Clyde Barrow, they go on a crime spree, robbing banks, shops and factories.

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Some are more trigger happy than others. See “Deadly is the Female” – original (spoiler) title

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While Bart has a strict no-killing policy, Laurie isn’t as scrupulous. After a factory hold-up gone slightly awry, Bart discovers that Laurie killed two people in the robbery and he is less than pleased.

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“Bitch had it coming though, criticizing my slacks!” – Laurie, probably

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Despite their difference of opinion regarding the value of human life, Bart is unable to leave the woman he loves, and as the FBI gets involved in the manhunt for the robbers-turned-killers, they take increasingly desperate measures to escape the law.

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They even resort to wearing *gasp* GLASSES!

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Gun Crazy was amazing (despite the fact that it pretty much put all the blame for Bonnie and Clyde’s crimes on Bonnie). Laurie may be the Fatalest Femme we’ve encountered so far – not because she is necessarily the most devious one, but because Bart is probably the most “innocent” Noir (anti-)hero in many ways. Sure, he has an unhealthy obsession with guns and firepower, but at the same time he is almost boyishly naïve and truly seems to believe they’ll be able to conduct a series of robberies without hurting anyone. Or he’s just telling himself that, which is the more likely scenario.

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She wears the pants AND drives the car. And he won’t even shoot police officers for her…

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A new favourite for sure, we thoroughly recommend this one, and we’re looking forward to Bonnie and Clyde (1967).

What we learned: Women are soulless creatures who will corrupt good boys. Also, boys who’ve never been exposed to girls are easily corrupted…

Next time: In a Lonely Place (1950)