I’ve known for a long time that Fritz Lang was a ground-breaking movie director (Metropolis for example)–but I’ve never truly appreciated that for myself, until I recently saw his black and white movie about a search for a child murderer, titled M. Fritz Lang described M as a documentary, and I would have to agree with that–it looks, and feels, like a documentary.
An endearing and quietly rhapsodic slice of Americana about a single year among the Norwegian immigrants in a Wisconsin farm town, Our Vines Have Tender Grapes enthralled 1945 audiences and critics with its timeless joys. Told from the viewpoint of little Selma (Margaret O’Brien), the film explores grand childhood adventures: making friends, a pet calf, Christmas, a terrifying trip down a flood-swollen river, a barn fire and a ride on a circus elephant’s trunk. In a change-of-pace role, Edward G. Robinson is a revelation of wisdom and compassion as Selma’s father, leading a fine cast that illuminates the profound power of everyday triumphs and sorrows.
Frank Sinatra stars as Tony Manetta, a widower living well beyond his means. He lives in Miami where he’s raising his young son, Alvin (Eddie Hodges). With a limited understanding of the word “responsibility,” Tony, finding himself in debt. With his back against the wall, decides to reach out to his older brother, Mario. For yet another in a string of loans. He lies that the money is needed for Alvin who has taken ill. The plot takes full-swing when Mario and his wife decide to pay Tony and Alvin a visit.
In The Stranger, Wilson of the War Crimes Commission is seeking Franz Kindler, mastermind of the Holocaust, who has effectively erased his identity. Wilson releases Kindler’s former comrade Meinike and follows him to Harper, Connecticut, where he is killed before he can identify Kindler. Now Wilson’s only clue is Kindler’s fascination with antique clocks; but though Kindler seems secure in his new identity, he feels his past closing in.
Russian exiles in Paris plot to collect ten million pounds from the Bank of England by grooming a destitute, suicidal girl to pose as heir to the Russian throne. While Bounin is coaching her he comes to believe she is really Anastasia. In the end, the Empress must decide her claim.
In The Hasty Heart, a group of Allied soldiers are recovering in a hospital of Burma, when a dour Scot is added to their ranks. The Scot is dying, unknown to himself. Can the soldiers and nurse reach out to him?
Alfred Hitchcock himself called this 1934 British edition of his famous kidnapping story the work of a talented amateur, while his 1956 Hollywood remake was the consummate act of a professional director. Be that as it may, this earlier movie still has its intense admirers who prefer it over the Jimmy Stewart-Doris Day version, and for some sound reasons. Tighter, wittier, more visually outrageous (back-screen projections of Swiss mountains, a whirly-facsimile of a fainting spell), the film even has a female protagonist (Edna Best in the mom part) unafraid to go after the bad guys herself with a gun. (Did Doris Day do that that? Uh-uh.)
Orson Welles‘ performance in Black Magic is absolutely riveting. It’s a must-see performance. He plays the role of the charlatan Cagliostro with gusto, and style. Welles moves the audience from sympathy for the character to disgust for some of his actions, and back to sympathy. The other performers also do an excellent job. But it’s Welles performance that makes Black Magic a must-see movie.
Bird of Paradise – Dolores Del Rio, Joel McCrea. A wealthy playboy falls for a stunning Polynesian princess when his yacht crashes into a coral reef. But each must overcome the prejudices and traditions of their own kind that threaten to pull them apart.
