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A few years ago my mother helped sell my grandparents’ home, and it was a home they had resided in for well nigh 50 years. They were not affluent French folk with a fine arts collection; what they did have was a connection to that space. And it wasn’t just my grandparents but my mother a read more

Our entry point into Irma Vep as an English-speaking audience is Maggie Leung, and although this is a French production from Olivier Assayas, it’s almost as if he’s provided us an avatar. The cinematic Maggie in the film becomes our window into the world created around her. Although the read more

The Old Dark House has a disarming levity that broadsided me at first. James Whale, the man who famously gave us Frankenstein, has all of his notable features with the tinges of horror on hand for another ghastly delight, and then he goes and pokes fun at the whole setup. Raymond Massey is instantly read more

There’s something deeply prescient about The Mummy beginning with an archeological expedition for The British Museum. If it’s not evident from the outset, the film is firmly planted in the reality of 1922 when Howard Carter famously discovered the tomb of Tutankhamun. This is only one hi read more

One of the personal details of Tod Browning’s life was his adolescence spent working in the circus. This gives him an accessibility to the material that some other less-attuned director might have lacked. And yet there’s little denying Freaks is a genuine showpiece when it comes to turn read more

As the story behind Universal’s Dracula unfolds, it’s a joy to pinpoint all the elements helping to intensify the dread and solidify it among the studio’s emerging array of horror classics. There has to be a kind of mythology and lore that the scares can be built out of. The prote read more

This is my entry in The CMBA Spring Blogathon: Big Stars on the Small Screen There are several more recent late-night hosts like Stephen Colbert or Conan O’Brien who have managed to use the truncated form (and podcasts) to try and go deeper with guests beyond surface-level pleasantries. Colber read more

The story is as old as the mythology of the West. You cannot avoid tales of Tombstone, Arizona on October 26, 1881 and the famed Gunfight at The O.K. Corral. John Ford covered the events most famously in My Darling Clementine headlined by Henry Fonda, Victor Mature, and Walter Brennan in the title read more

We open in Montana 1866 with the Allison brothers (Clark Gable and Cameron Mitchell), two former Confederate soldiers, leaving behind the “heartbreak memory of Gettysburg” for the promise of wealth in California. But first they must traverse frostbitten exteriors. It’s no picnic a read more

It’s initially intriguing to have a western pairing of Robert Taylor and Richard Widmark, rather like what we get out of Warlock from Henry Fonda and Widmark the year after. My estimation of the dashing ’30s matinee idol has refined over time as he matured into such worthwhile westerns a read more

Time Limit sounds like it should be the title of a syndicated TV program or at least a game show in the heyday of family entertainment. It is not. The themes are heavy, and there’s a weight behind the picture that means something. And in spite of the clunky title, it bears testament to the ma read more

Only in a western could we meet our protagonists in a sand trap known as Gila Valley. It says everything you need to know about the Arizona landscape, and then the sweeping Technicolor tones say a bit more. Richard Widmark is easy enough to place as an enigmatic figure. There’s a glint in his read more

One of my latest ventures was to view a handful of romantic comedies of the ’30s and ’40s, many with screwball elements, and you could not broach this territory without eventually crossing paths with Claudette Colbert and Fred MacMurray. They starred in 7 films together throughout the de read more

I normally try to focus on a theme to better curate my viewing. This post will encapsulate 3 films whose primary players don’t have much in common. However, if you wanted a loose point of connection, all three are comedies from 1937-38. It all happened when I was on the lookout for some underr read more

Inés Toharia’s new documentary comes at the viewer with a torrential cascade of sound, image, history, curiosities, and loose ends. It pays homage to some of the often forgotten if still vitally important members of the filmmaking community. These include archivists, curators, and technicians read more

You might not immediately connect Joan Crawford and Nat King Cole, but his brand of velvet crooning provides a fine backdrop (and namesake) for Autumn Leaves. It presents the consummate leading lady with a lighter more congenial personality — the kind of Joan Crawford who seems easier to conn read more

I had no prior knowledge of what Sudden Fear was about, and I was relatively taken aback to see a film set during a stage rehearsal. You have your lead actor in the middle of a passionate soliloquy. This is Jack Palance getting a go at a more substantial role. Then, there’s the writer and aut read more

I watched so many films in preparation for award voting, I almost forgot I had written other capsule reviews at the end of last year. As this year’s award cycle comes to an end, I thought I might as well share my thoughts on some of 2022’s other releases. Elvis Elvis is a schizophrenic read more

In our ongoing exploration of Joan Crawford and Bette Davis’s filmographies, here are three more films building on Crawford’s renewed critical success in the 1940s after Mildred Pierce (1945) and Humoresque (1946). Possessed opens with Joan Crawford wandering the city streets past cable read more

The manner in which Garfield is lit in the opening scene is striking. We don’t know the reason yet, but there’s a prevailing angst and discontentment spelled out over his face. It sets the tone for the rest of Jean Negulesco’s swelling drama Humoresque. I’m not sure if it read more