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Letty Lynton is one of those hidden movies cinephiles look to unearth from the sands of time. In this case, it’s namely because it’s notoriously difficult to view after a court case in 1936 deemed it was too close in plot to the play Unfaithful Woman, which, coincidentally was made into read more

The film’s title couldn’t be more true as Irene Dunne and Charles Boyer pooled their talents for a third go-around, and what a pleasant experience it is. If it wasn’t evidenced by the soaring romance and light comedy of Love Affair and Beyond Tomorrow, they share that thing that i read more

Waitresses bustle about on their beats passing along the news like busy bees: eight o’clock tonight unity hall! It caused quite a stir in the ranks and the girls are currently walking on eggshells afraid to get canned. A few of the gals are especially jumpy including poor Lulu who drops a who read more

The title card introduces our time and place. It’s a lazy Sunday afternoon in England. The year: 1938. Nothing particularly important is going on except a cocktail party and that’s only important to the host, one Mr. Hilary Ames (Reginald Gardiner). You wouldn’t call this much of read more

“What he did to Shakespeare, we are doing now to Poland.” – Ehrhardt about Josef Tura Our story begins in Warsaw during peacetime. In some sense, this is a period piece because the gulf between the Nazi invasion of Poland in September 1939 and the comparably idyllic years prior co read more

The whole glorious entangled mess of the story feels like an obvious antecedent to Billy Wilder’s Love in the Afternoon (1957), which is one of his lesser films (even with the redeeming presence of both Hepburn and Chevalier). It seems like a fairly obvious observation to make because Wilder read more

Regi Allen (the inimitable Carole Lombard) is a manicurist schlubbing along, working away at people’s cuticles, and jamming away on the subway two times a day. She’s looking for a major catch to grab hold of. Ralph Bellamy is a charming man with money, albeit resigned to a wheelchair. T read more

There are two elements in the opening of The Eagle and The Hawk that might catch some viewers off guard. First, is the matter of a plane landing upside down. Second, being the fact the pilot is an uncharacteristically abrasive Cary Grant. He’s still playing support to our true lead Fredric Ma read more

The images aren’t unfamiliar to those acquainted with Japan’s metropolis. A voice surmises over images of the bustling train station. “Back in Tokyo. 3 years. It makes my head spin. Why are so many people crammed into cage-like boxes?” I couldn’t agree more with our na read more

A crowd gathers outside the Yamato Hotel. Inside two lovers are slain, the cops milling about the crime scene: The man and the woman. The note. It all points to a double suicide (Shinju) and with it a conventional police procedural. It very well could have been if not for one man: the film’s read more

The film sets a precedent when a group of men is tossed out of a bar. They lack the funds to pay their tab and they’re wasted, singing the old war songs they used to know in the military. One refrain goes like this, “We march over the bodies of dead soldiers.” One of their company read more

The opening credits are more self-assured and breezy than I was expecting as the brass sounds off against a pair of kids playing cat’s cradle in the family living. Even with the rain outside, it somehow feels like a fitting depiction of postwar modernity in the 1960s. Films like Ohayo and Whe read more

“On a clear day, you can see Catalina.” Drive a Crooked Road might best be labeled as a So-Cal sunshine noir, and it easily has a place at the counter next to Shack Out on 101 and equally grubby fare. Because under the right circumstances, it’s easy to see how Mickey Rooney could read more

Middle of The Night proves instantly placeable thanks to its black-and-white, New York streets aesthetic. Although the name Paddy Chayefsky, emblazoned over the credits, gives us as much of an inclination of the story we are about to experience. Because to this day, his name carries with it a hallo read more

Richard Quine’s Strangers When We Meet proves to be a Technicolor feast on par with much of what Nicholas Ray, Douglas Sirk, and Vincente Minnelli were putting out at the same time. A lot of the immediate joy comes with getting a feel for life at the time. Certainly, it’s done up and mad read more

In our ongoing series of guides for up-and-coming classic movie fans, we turn our attention to one of the most alluring and iconic actresses from the Classic Hollywood period. Kim Novak, who is still alive and well today, started out in her early 20s as an answer to Marilyn Monroe, while soon develo read more

A raspy vocal emanates from the screen verging on spoken word as it sings to a mambo-infused rhythm. Casual tracking shots lead us by the local architecture at the pace of a car ambling along on a Sunday afternoon. I only confirmed after the fact this is Tom Waits singing his tune “Jockey Ful read more

One of the most revelatory aspects about becoming more familiar with Jim Jarmusch is how international his films are. At the very least, there’s this sense of them putting a lens to a broader cross-section of society. He is unequivocally American, but whether it’s because he’s a c read more

“These are words of the Lord…or the federal government.” Derek Webb has a song called “Spirit.” For anyone with a religious upbringing, it might conjure up the “Holy Ghost” — the Helper meant to fill up Christian faithful as they worship God in their read more

Spike Lee is an incredibly intelligent and perceptive director so he probably knew what he was doing. However, when I see Alec Baldwin playing a virulent racist, spewing out slurs, there’s this odd contradiction. Somehow it loses its import if that is what it was meant to have. Because I know read more