Film Freak Central

Shadow of a Doubt (1943) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

****/**** Image A Sound A Extras B-
starring Teresa Wright, Joseph Cotten, Macdonald Carey, Henry Travers
screenplay by Thornton Wilder, Sally Benson, Alma Reville, from an original story by Gordon McDonell
directed by Alfred Hitchcock

by Walter Chaw Just by the fact of her, Charlie (Teresa Wright) is dangerous for her Uncle Charlie (Joseph Cotten), a violent rebuke of the caustic nihilism of his worldview. She's too pure, too loving, too good; her existence is proof there's something wrong with him. Very wrong. She's so rare a thing, the only way to protect her and, by extension, what he believes about our debased, postlapsarian state is to corrupt her. Really, he's doing her a favour. I think that Uncle Charlie knows he's running out of time, that the dragnet around him is tightening at the neck. I think he wants to spend whatever freedom he has left turning his namesake to his way of thinking. Visiting for the first time in too long, he brings gifts for everyone in his sister Emmy's (Patricia Collinge, her character named after Hitch's mother) family: his brother-in-law Joe (Henry Travers), his little niece Ann (Edna May Wonacott), his nephew Roger (Charles Bates), and of course Charlie. But she rejects even the notion of receiving a present from her beloved uncle. His presence is good enough, she says.

Saboteur (1942) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

*/**** Image A Sound B Extras C
starring Priscilla Lane, Robert Cummings, Norman Lloyd, Otto Kruger
screenplay by Peter Viertel, Joan Harrison, Dorothy Parker
directed by Alfred Hitchcock

by Walter Chaw When I think of Saboteur, which isn't often, it's as the first American project Hitchcock developed largely without his beloved assistant Joan Harrison, who left after co-writing the first draft (seeing in the opportunity to produce The Phantom Lady her chance to wriggle out from under Hitch's shadow), and, maybe more significantly, without his most essential collaborator, wife Alma Reville, then away in New York with their daughter Pat, who had just won the lead role in a play. They left creative absences Hitch tried to fill--disastrously, I think--with Algonquin Roundtable alumni Peter Viertel and Dorothy Parker. (If there's a case to be made about the importance of Alma to Hitchcock's career, it may be useful to examine those films where we know she was absent.) I also think of Saboteur, when I do, as an attempt at an "all-American" film of the kind Hitchcock, fearing he'd left Britain trailing with him too much of the old country, was desperate to make. The desire to embrace his adopted culture is so conspicuous it becomes uncomfortably obvious in multiple instances (stops at the Statue of Liberty, Rockefeller Center, and even the Hoover Dam) that setting has fatally superseded narrative. His follow-up, the Thornton Wilder-penned Shadow of a Doubt, is the all-American Hitchcock that works, locating the country's heart in the introduction of a human stain into a small town and a wholesome family.

A Matter of Life and Death (1946) [The Criterion Collection] - Blu-ray Disc

Stairway to Heaven
****/**** Image A+ Sound A Extras A
starring David Niven, Roger Livesey, Raymond Massey, Kim Hunter
written and directed by Michael Powell & Emeric Pressburger

by Walter Chaw Watching 1946's A Matter of Life and Death while the end of the American experiment is upon us is an amazingly painful thing. The film was conceived in part by hyphenates Michael Powell and Emeric Pressburger as a way of cementing the postwar British-American alliance. Accordingly, it ends with a trial in which the United States is celebrated as an inspirational model: a paragon of idealism, humanism, truth. If it ever was those things, it isn't any of them today. The scales have fallen from my eyes, and the movie now plays as an elegy for everything we've lost since 1946--for everything I've lost as I bid goodbye to what remains of my innocence and my optimism that there's anything left in this country that resembles what I had been raised to believe about it. We are divided, hateful, unhealthy, selfish, stupid, and brutal. There's a line from Graham Baker's underestimated Alien Nation I think of often nowadays. Alien immigrant Sam Francisco (Mandy Patinkin), drunk one night, tells his human friend:

Detour (1945) [The Criterion Collection] - Blu-ray Disc

****/**** Image A- Sound A- Extras B
starring Tom Neal, Ann Savage, Claudia Drake, Edmund MacDonald
screenplay by Martin Goldsmith, based on his novel
directed by Edgar G. Ulmer

by Bryant Frazer Among legitimate Hollywood classics, Detour is about as threadbare as they come: a small film, shot on a shoestring over a handful of days (between six and 14, depending on whose accounting you believe) at a Poverty Row film studio. And yet, the finished product is uniquely compelling. As a crime thriller, it's notable for the absence of gunfights, chase scenes, double-crosses, and back-stabbings. What it's lacking in film noir's usual narrative detail or expressionistic flourishes is compensated for by its overarching preoccupation with determinism and a healthy contempt for fate. Amplifying and accompanying the slow-building sense of despair and helplessness is an internal-monologue-in-voiceover that's unrelentingly dreary and self-pitying, even for noir. Detour isn't remotely sexy or exciting, though it is amply dour and uncomfortably personal--disturbing, even, in its spare vision.

Bambi (1942) [The Signature Collection - Anniversary Edition] - Blu-ray + DVD + Digital HD|[Diamond Edition] - Blu-ray Disc

***/****
2011 Diamond Edition Blu-ray - Image A- Sound B+ Extras A-
2017 Anniversary Edition Blu-ray - Image A- Sound B+ Extras A-
story direction Perce Pearce and story adaptation Larry Morey, from the story by Felix Salten
supervising director David D. Hand

by Bryant Frazer Bambi is just 70 minutes long, but it's one of the more versatile features in the Disney canon. It's a cute circle-of-life story, sure, populated by talking rabbits, nominally sweet-smelling skunks, and wise old owls (not to mention the adorable chipmunks that the owl, for some reason, hasn't preyed upon). But look what else is going on in this slice-of-wildlife film: an attempt at an animated nature documentary; a tract in opposition to sport hunting; and the impetus for generations of children to weep in terror at the prospect of losing their mothers.

Pinocchio (1940) [The Signature Collection] - Blu-ray + DVD + Digital HD

****/**** Image A Sound A- Extras A
story adaptation Ted Sears, Otto Englander, Webb Smith, William Cottrell, Joseph Sabo, Erdman Penner, Aurelius Battaglia
supervising directors Ben Sharpsteen, Hamilton Luske

by Bill Chambers Bambi was supposed to be Walt Disney's second feature film, but the phenomenal success of Snow White and the Seven Dwarfs¹ had thrown his fledgling empire into such chaos--most of it created by Walt's manic spending and multitasking--that it got swapped out for Pinocchio, ostensibly the easier to animate as well as the more commercial of the two. It's not that Disney was playing it safe, it's that he thought he could bank some time and audience good will for experimentation in the years ahead. But before Pinocchio even opened, Disney was apologizing for falling into a sophomore slump, and the film wound up being a box-office disappointment, grossing less than Bambi eventually would.² It's interesting to try to watch Pinocchio from a contemporary perspective and determine what's lacking (the crude sentimentality of Snow White and the Seven Dwarfs, for starters), having grown up with it as a brand classic. Is it possible this idiosyncratic motion picture--more of a dry run for Fantasia than Walt maybe realized or intended--was ahead of its time, and time caught up? It's possible, though Pinocchio undoubtedly benefited from Disney's practice of cyclically reissuing their animated features: people started to appreciate that it had in abundance what modern Disney movies lacked, chiefly, personality, inspiration, and ambition.

Bitter Rice (1949) [The Criterion Collection] - Blu-ray Disc

Riso amaro
****/**** Image A- Sound A- Extras B
starring Vittorio Gassmann, Doris Dowling, Silvana Mangano, Raf Vallone
screenplay by Corrado Alvaro, Giuseppe De Santis, Carlo Lizzani,Carlo Musso, Ivo Perilli, Gianni Puccini
directed by Giuseppe De Santis

by Bryant Frazer Bitter Rice is a heck of a film. It's the story of a couple of refugees from an American film noir who stumble into a grindhouse showing an Italian social-issues drama. The beautiful losers are Walter and Francesca (Vittorio Gassman and Doris Dowling), a pair of small-time crooks on the run following the heist of a lifetime. The social conscience is personified by a class of peasant women who have for hundreds of years travelled from all over the country to work hard days in the rice fields of northern Italy, and also by, to some degree, ethical, committed soldier Marco (Raf Vallone), who lingers in the rice fields after his discharge because he has come to care about the fate of the women there. And the sex appeal is provided, in spades, by Silvana Mangano, a bombshell and a half. When producer Dino de Laurentiis and director Giuseppe De Santis cast the 18-year-old in the role, she had already appeared in a few films and had been the teenaged girlfriend of young Marcello Mastroianni. But her performance in Bitter Rice--a role that had her shaking her tits, swinging her hips, and hiking her skirt up to here--made her an overnight sensation.

The Life and Death of Colonel Blimp (1943) [The Criterion Collection] - Blu-ray Disc

****/**** Image A+ Sound A- Extras A
starring Anton Walbrook, Deborah Kerr, Roger Livesey, Roland Culver
written and directed by Michael Powell and Emeric Pressburger

by Walter Chaw The prototype in many ways for Charlie Kaufman's Synecdoche, New York, Powell and Pressburger's The Life and Death of Colonel Blimp, although lighthearted and easily mistaken for a romp, is an existential horror film that, for all the things it's otherwise about, is most vitally about what it's like to grow old. There's a moment early on--when our hero, Clive Candy (Roger Livesey), realizes he's let the love of his life marry his best friend--that clarifies exactly what the picture has on its mind. For the rest of the film, as the kingdom of his memories grows to a size that dwarfs modernity rushing past, Candy finds shades of the lost Edith (Deborah Kerr), his personal Lenore, resurfacing in the faces of young women the world over. The Life and Death of Colonel Blimp understands that as one grows old, an entire village sprouts in the mind, full of beloved businesses and places that have long since disappeared, peopled by old flames and loved ones, dead or just vanished but in any case never again to resume the form in which memory has frozen them. Though memorable for its technical brilliance, its Technicolor vibrancy, and its courageously sprung narrative structure, The Life and Death of Colonel Blimp's ability to pinion the sadness, the loneliness, that experience carries with it is what makes the movie what it is. Life as a process of emotional attrition: Last man standing is cold comfort, indeed.

The Palm Beach Story (1942) [The Criterion Collection] - Blu-ray Disc

click any image to enlarge

***/**** Image A Sound A Extras B
starring Claudette Colbert, Joel McCrea, Mary Astor, Rudy Vallee
written and directed by Preston Sturges

WATCH IN iTUNES - USA|CANADA

by Jefferson Robbins The Palm Beach Story is lesser candy from a master confectioner--so it's still worth a taste. Preston Sturges's screwball portrait of a marriage upending itself braids together multiple comedic forms: road trip, Elizabethan comedy of errors, have-nots infiltrating the haves, and a distinct and strange but intriguing touch of fairytale. For instance, the yacht on which jillionaire J.D. Hackensacker III (Rudy Vallee) absconds with disenchanted young wife Gerry Jeffers (Claudette Colbert) is christened The Erl King. Sure, Hackensacker is an obvious gloss on Rockefeller and there's the play on "oil king," but the Erl King of legend is a kidnapper of innocents. (Goethe's poem casts him as a child murderer.) Gerry's scratching a five-year itch, taking flight from glum husband Tom (Joel McCrea), partly on the advice of another "king." "Cold are the hands of time that creep along relentlessly, destroying slowly but without pity that which yesterday was young," warns the millionaire Wienie King (Robert Dudley), after moseying into the Park Avenue duplex Gerry and Tom are about to lose. (A Tiresias who's deaf rather than blind, he can't hear anything anybody says, so he might as well be talking to himself.) Although "adventuress" Gerry, abandoning her marriage without money or clothing, can still wield youth and beauty as sword and shield, she pays a price for the attempt, first charming and then dodging the heavily-armed, dangerously inebriated Ale & Quail Club as it pursues her throughout a southbound train. They're a Wild Hunt straight out of pagan lore.

Looney Tuesdays - "Dough Ray Me-ow" (1948)

***/****
directed by Arthur Davis

by Bill Chambers When Bob Clampett left Termite Terrace in 1946, his unit was assigned to Arthur Davis, who had years of experience behind him as the industry's first in-betweener (the person who draws the steps that get a pose from point A to point B) as well as a director in his own right, having helmed a number of cartoons for Screen Gems, where he worked closely with the great Frank Tashlin. (The two migrated to Warner Bros. together.) But Davis's name never became synonymous with Looney Tunes like so many of his colleagues' did, perhaps because his style is so unorthodox as to seem discontinuous with, even supplemental to, the studio's general output. Comparing Dough Ray Me-ow to the previously-reviewed Porky Chops also suggests that it's because Davis did better with characters denied immortality by their one-and-done status. Louie the Parrot and the gloriously stupid Heathcliff the Cat, who has to be reminded to breathe, are like Tweety and Sylvester reconfigured as Of Mice and Men's George and Lenny--a familiar-enough trope/dynamic, unconventionally applied to natural enemies and almost immediately upset by the intervention of a will that makes Louie next in line for a big inheritance in the event of poor, dumb Heathcliff's "disappearance." A clever running joke has Louie's fiendish murder plots inadvertently prevent Heathcliff from committing certain suicide, while the grand finale must be the ne plus ultra of dynamite-as-birthday-cake-candle gags, as the fuse stays lit for two whole minutes--a Hitchcockian eternity. Only the cynical button Davis and writer Lloyd Turner put on it feels rote; from its bulbous, anti-cute figures to its frequent dusting-off of the z-axis, Dough Ray Me-ow is a restless tweaking of the form that explains at once the brevity of Davis's stint as as a Warner director and his current cult reputation. Alternate Audio (Blu-ray/DVD): In a research-dense commentary, CARTOONRESEARCH.COM editor Jerry Beck credits specific animators with specific gestures, trainspots the musical references, and discusses the audition process by which Turner became a writer for Looney Tunes. Available on: Looney Tunes: Platinum Collection, Volume Two [Blu-ray]|Looney Tunes: Golden Collection Volume Four (Running Time: 7:04)

Looney Tuesdays: "The Big Snooze" (1946)

****/****

by Bill Chambers Given Bob Clampett's less-than-amicable departure from Warner Bros., not only is his final cartoon for the studio, The Big Snooze, a particularly loaded one, it also suggests a key influence on the evolution of Freddy Krueger's mythology. When Elmer Fudd tires of Bugs Bunny repeatedly steering him off the edge of a cliff in a cartoon-within-this-cartoon, he tears up his contract with Jack Warner and dances on the confetti. The delicate ecology of Looney Tunes thus upset (what is the hunted without a hunter?), Bugs disrupts Elmer's life of retirement by coating his pleasant dreams with "nightmare paint," alerting Elmer to the fact that there's no free will in cartoon purgatory. Clampett's reputation has taken a hit in recent years thanks to rumours of credit-glomming (ironically, he would not receive any billing here), and one can understand his colleagues' frustration that he didn't seem to be adapting to the evolving house style. Indeed, The Big Snooze looks defiantly "old-fashioned" next to other Bugs Bunny shorts released the same year, such as Chuck Jones's Hair-Raising Hare or Friz Freleng's Baseball Bugs; the characters are cherubic, the scenery painterly. Still, it's a crowning achievement that showcases every unique touch Clampett brought to Looney Tunes/Merrie Melodies, including his genius for puns ("Sleeping Pills: Take Dese and Doze"), his Dali-esque flights of surrealism, and the cheeky, unpredictable way he makes rubble of the fourth wall. And it ends with Bugs declaring his love for Elmer in an oddly tender fashion--Clampett was one of the few artists to invest their dynamic with real history, time and again. Alternate Audio (Blu-ray/DVD): The late Bill Melendez provides vivid descriptions of the working conditions at "Termite Terrace," having actually been employed there prior to overseeing the animated incarnations of "Peanuts" and "Garfield". Unfortunately, all he says about The Big Snooze is that it's pure Clampett. Available on: Looney Tunes: Platinum Collection, Volume Three [Blu-ray]|Looney Tunes: Golden Collection, Volume Two (Running Time: 7:25)

Looney Tuesdays: "Slick Hare" (1947)

**/****
directed by I. Freleng

by Bill Chambers Old Hollywood may possess a timeless quality that prevents Slick Hare and others like it (Hollywood Steps Out, Hollywood Daffy, even 8 Ball Bunny) from becoming an instant relic à la the Michael Jordan-fronted Space Jam, but celebrity cameos in animation nonetheless have a habit of accelerating the ripening process. Gags like Ray Milland paying a tab with a typewriter--and getting change in the form of mini-typewriters--straddle the line between obsolescence and posterity, today only earning laughs among the movie-minded while also presenting a valuable snapshot of the pop-cultural consciousness circa 1947. Thing is, Carl Stalling's music, a smorgasbord of timely references, tends to already carbon-date these cartoons in an arguably wittier, more whimsical way than does straight-up parody. Slick Hare finds Dave Barry reprising his Humphrey Bogart impersonation from Bacall to Arms as Bogie, here gangsterish in a way that actually would've seemed a little archaic by this point, gives "Mocrumbo" waiter Elmer Fudd twenty minutes to prepare fried rabbit, and...you know the drill. Best joke? Maybe Leopold Stokowski conducting the house band--they really had a hard-on for Fantasia over at Termite Terrace. Bugs Bunny disguising himself as Groucho Marx, on the other hand, might be putting too fine a point on it. One of the more colour-saturated Looney Tunes, in any event. Alternate Audio (Blu-ray/DVD): Michael Barrier tells us the filthy kitchen seen in Slick Hare was, eek!, modelled on that of the real Mocambo, a West Hollywood nightclub that was popular among the glitterati. Perhaps its health-code violations aren't surprising, since the place lined the walls with live caged birds! Available on: Looney Tunes: Platinum Collection, Volume Three [Blu-ray]|Looney Tunes: Golden Collection, Volume Two (Running Time: 7:45)

Looney Tuesdays: "Little Red Riding Rabbit" (1944)

****/****
directed by I. Freleng

by Bill Chambers The Shrek movies dream of being this renegade. Little Red Riding Hood (a brilliant Bea Benaderet, using a halting squeal that suggests the '40s equivalent of uptalk) is on her way to Grandma's house with a picnic lunch: Bugs Bunny. The Big Bad Wolf gets there first, of course, though he has to kick other wolves out of Grandma's bed. (Where's Grandma? "Working [the] swing shift at Lockheed." Wartime audiences must've howled, pardon the pun.) When Red arrives, the Wolf can't hustle her out fast enough in his desire to eat Bugs, and both he and Bugs grow impatient with formal niceties as Red keeps interrupting the ensuing farce to try to fulfill her outmoded narrative function. Introduced belting out Glenn Miller's "Five O'Clock Whistle," this Red is a bobby-soxer by definition, and the combination of her cute figure and abject brattiness create a seductive-repulsive push-pull that is damn near Lolita-esque--honouring, in a roundabout way, the erotic component that is essential to any retelling of the original fairy tale. Red, for what it's worth, meets a less grisly yet somehow more subversive end here than she does at the hand of Charles Perrault; punchlines or "release gags," as they're called, weren't necessarily director Friz Freleng's forte, but this one's ingeniously grim and worthy of Tex Avery, whose style is emulated throughout. Unfortunately the Blu-ray and DVD releases offer no isolated audio for Little Red Riding Rabbit: As animation curator Andrew Farago posits in The 100 Greatest Looney Tunes Cartoons, "what makes this cartoon stand head and shoulders above the 300-plus others Freleng directed is the music." Available on: Looney Tunes: Platinum Collection, Volume Three [Blu-ray]|Looney Tunes: Golden Collection, Volume Two (Running Time: 7:06)

Looney Tuesdays: "Gorilla My Dreams" (1948)

**½/****
directed by Robert McKimson

by Bill Chambers Bugs Bunny floats in a barrel to the ape colony of Bingzi-Bangzi, where Mrs. Gorilla, in the throes of baby envy, mistakes him for a delivery from the stork. A sympathetic Bugs goes along with it, but her husband Gruesome--an obvious relative of Bunny Hugged's The Crusher--is vexed by the impostor, and opens up a can of whup-ass on "Junior." Although Bugs's pantomime of a gorilla brings down the house (Robert McKimson's paunchier Bugs really lends itself to the gag), ultimately the central conflict is too esoteric to sustain a 7-minute cartoon, as evidenced by a non-ending that has Gruesome simply wearing himself out. Also, Mrs. Gorilla's emotional fragility is almost unbearably poignant and palpable; sometimes the folks at Termite Terrace didn't know their own strength. Loosely remade eleven years later under Friz Freleng's direction as the considerably less charming and more literalminded The Apes of Wrath--a spoof title that appears on a book cover in Gorilla My Dreams (along with "Our Vines Have Tender Apes") in a tableau of an ape family sitting together reading that bespeaks postwar ideals. Alternate Audio (Blu-ray/DVD): Jerry Beck, co-author of the indispensable Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Bros. Cartoons, sheds light on the pop-culture references destined to sail over the heads of young viewers and takes inventory of McKimson's stylistic hallmarks. Available on: Looney Tunes: Platinum Collection, Volume Three [Blu-ray]|Looney Tunes: Golden Collection, Volume Two (Running Time: 7:25)

To Be or Not to Be (1942) [The Criterion Collection] - Blu-ray Disc

click any image to enlarge

****/**** Image A+ Sound A- Extras A
starring Carole Lombard, Jack Benny, Robert Stack, Felix Bressart
screenplay by Edwin Justus Mayer, based on a story by Melchior Lengyel
directed by Ernst Lubitsch

by Walter Chaw Ernst Lubitsch took chances, none greater than To Be or Not to Be. Released in the first months of America's involvement in WWII, in that initial flurry of propaganda that saw the Nazis as murderous, animalistic, inhuman Hun, Lubitsch chose instead to portray them as ridiculous, as human--to make a comedy, a farce...and a masterpiece, as it happens. It's a crystallization of his work in that way: He's always more interested in foible than in oppressive arcs of personal failure--if Nazis can be seen to be possessed of the same faults as the rest of us, the same vanities, the same fears. Make no mistake, To Be or Not to Be is no olive branch. Seventy years on, it remains among the most withering satires of totalitarian governments and the politics of groupthink, but it suggests that Nazism is just one of many insufficient sops to the insecurities hardwired into us--that we're all just thin projections strutting and fretting our hour on the proverbial stage, each susceptible to things that would give relief from the pain of lack of self-confidence and identity. It's a film that seeks to explain why people create cults of personality. That it sets itself amongst a theatre troupe performing "Hamlet", itself a play that houses another play within itself (holding a mirror up to nature, indeed), makes total sense in a picture that, through this absurdity, seeks to highlight greater absurdities. Of all his great films (and when push comes to shove, I'd say Trouble in Paradise is and likely always will be my favourite Lubitsch), To Be or Not to Be is inarguably his greatest.

To Have and Have Not (1944) + The Big Sleep (1945/6) - DVDs

TO HAVE AND HAVE NOT
****/**** Image B- Sound B Extras C
starring Humphrey Bogart, Walter Brennan, Lauren Bacall, Dolores Moran
screenplay by Jules Furthman and William Faulkner, based on the novel by Ernest Hemingway
directed by Howard Hawks

THE BIG SLEEP
****/**** Image B Sound B Extras C+
starring Humphrey Bogart, Lauren Bacall, Martha Vickers, Dorothy Malone
screenplay by William Faulkner, Leigh Brackett & Jules Furthman, based on the novel by Raymond Chandler
directed by Howard Hawks

by Walter Chaw While biographer Todd McCarthy refers to the two versions of Howard Hawks's The Big Sleep as marking the delineation point separating linear (early) Hawks from non-linear (later) Hawks, I feel like you can mark the director's affection for bonzo non-sequiturs throughout his sultry To Have and Have Not. The picture tells its tale of immigrants marooned off the islets of war and sexual sophistication--an island bell jar and pressure-cooker envisioned as a sequel of sorts to Casablanca. But where Casablanca's sex was mature and companionate (the sizzle replaced by simmer) and tinged with regret, To Have and Have Not has a slick of bestial sweat to it that promises that the explosion of really naughty stuff is looming rather than in the rear-view. (There's no sexier film in all the Forties.) The story of the corrupt Vichy government and the brave French underground unfolding behind the red-hot flirtation between diplomatically non-affiliated fishing boat captain Harry "Steve" Morgan (Humphrey Bogart) and lost American teen "Slim" (Lauren Bacall) is punctuated helter-skelter by husky lounge numbers courtesy Slim and Cricket (Hoagy Carmichael) and riff sessions with Steve and Slim that have the cadence and unpredictability of jazz improvisation. It's not so much a narrative as a medley in a bouncy key, and Hawks is not so much a director as a bandleader. Much has been made of Hawks's skill in casting (and it's hard to argue otherwise when he sniffs out the alchemical enchantment between old man Bogie and new thing Bacall (and Marilyn Monroe and Jane Russell; and Dean Martin and a bottle)), but looking at To Have and Have Not--the first of Bogie/Bacall's four collaborations--is to glimpse something more than a good casting eye: it's to witness the evolution of a true musical genius. The rhythms are subterranean, the verses in-between the words; to watch this and The Big Sleep (Hawks's other collaboration with Bogie/Bacall) back-to-back is as close to rapture as this experience gets.

Monsieur Verdoux (1947) [The Criterion Collection] - Blu-ray Disc

***½/**** Image B+Sound B+ Extras B-
starring Charles Chaplin, Martha Raye, Marilyn Nash, Isobel Elsom
screenplay by Charles Chaplin, based on an idea by Orson Welles
directed by Charles Chaplin

click any image to enlarge

by Bryant Frazer Charles Chaplin augmented his trademark mix of physical comedy, sweetness, and lefty politics with a dose of suspense (borrowed, probably, from Hitchcock) and a sardonic worldview (informed, maybe, by film noir) in the playful, funny, but ultimately downbeat Monsieur Verdoux. In a scenario that originated with Orson Welles, who receives an "idea" credit, Henri Verdoux is a serial killer based on Henri Landru, a French Bluebeard who seduced, married, and then murdered a string of Parisian women in order to liberate their assets. Chaplin plays Verdoux as a charming fiend whose demeanour incorporates the barest echo of the Little Tramp, but whose murderous M.O. recalled the director's own reputation as a womanizer.

The Postman Always Rings Twice (1946) + The Rains of Ranchipur (1955) [The Limited Edition Series] - Blu-ray Discs

THE POSTMAN ALWAYS RINGS TWICE
***/**** Image B+ Sound A Extras A
starring Lana Turner, John Garfield, Cecil Kellaway, Hume Cronyn
screenplay by Harry Ruskin and Niven Busch, based on the novel by James M. Cain
directed by Tay Garnett

THE RAINS OF RANCHIPUR
**½/**** Image A Sound A Extras B
starring Lana Turner, Richard Burton, Fred MacMurray, Michael Rennie
screenplay by Merle Miller, based on the novel by Louis Bromfield
directed by Jean Negulesco

click any image to enlarge

by Jefferson Robbins There's a series of doublings in The Postman Always Rings Twice, Lana Turner's best-known vehicle, that illuminate its obscure title. Disillusioned young wife Cora Smith (Turner) and drift-through handyman Frank Chambers (John Garfield) try twice to make way for their illicit love by eliminating her diner-impresario husband, Nick (Cecil Kellaway). There are two court cases steered by suspicious chief prosecutor Sackett (Leon Ames) and defended by wonderfully shifty lawyer Arthur "I'm Handling It" Keats (Hume Cronyn). There are two moonlight swims, each a turning point in the criminal couple's courtship. Twice the action bends when ailing female relatives, never seen, summon a main character to their sickbeds. There are even two roadside-diner femmes fatale: Cora, and her double Madge (Audrey Totter), who diverts Frank while he's on the outs with the woman he killed to obtain. Finally, the murder itself creates a literal echo. These aren't anvils falling from the heavens, but instead the patterns life presents only in retrospect: This moment, that day, that was when God was trying to get my attention. Like Frank, we're too preoccupied to ever hear the first ring.

Notorious (1946) - Blu-ray Disc

****/**** Image B Sound B- Extras C+
starring Cary Grant, Ingrid Bergman, Claude Rains, Louis Calhern
screenplay by Ben Hecht
directed by Alfred Hitchcock

click any image to enlarge

by Walter Chaw Other than Psycho, the most examined, most carefully raked-through picture in Hitchcock's filmography might be the cold, meticulous, perfect Notorious. It serves as a model for technique, offered as the pinnacle of Hitchcock's early American period and used as proof by some that Hitch was a misogynist. The Dark Side of Genius author Donald Spoto wrote a fitfully interesting (if ultimately useless) article about how the first half of the film is a mirror image of the second--rising to a midpoint before diminishing at the end to the same composition as the first shot. (I'd argue that you could say the same for Shadow of a Doubt--particularly during the movie's character-/setting- establishing sequences.) Stories of how the FBI began a file on Hitch because of his prescient use of uranium as his MacGuffin in Notorious are among the most beloved Hitch arcana, and critics who favour Lacan as the prism through which to analyze the Master of Suspense have found in the picture compelling demonstrations of spectatorship and gender construction. For Freudians, it has its Oedipal elements, its Madonna/Whore complexities--it's a very fine historical relic, one of maybe only two of the director's films (the other being Shadow of a Doubt) that's ever entered into a noir conversation. And at the end--among those in the know, at least--it's the better version, in every way that matters, of Casablanca. Robin Wood writes a brilliant piece on it in his second Hitchcock book, taking on previous brilliant takes by Laura Mulvey, Raymond Bellour, and Michael Renov. I probably like Raymond Durgnat's quick-hit the best, however, for his pegging of the picture's iciness and of Hitch at this moment as midway between idealistic and cynical (though I'd go farther and say he's pretty much all the way cynical by now). Notorious is possibly, neck-and-neck with Vertigo, the best film Hitchcock ever made, though it's seldom identified--unless you're Francois Truffaut--as anyone's favourite (leave that for the bitterest (North by Northwest), the most nihilistic (Psycho), the least sick (Rear Window)), and when the dust settles, the prospect of writing about it is almost as intimidating as pretending that there's anything new to say about it. But here goes.

Les visiteurs du soir (1942) [The Criterion Collection] - Blu-ray Disc

a.k.a. The Devil's Envoys
***½/**** Image A Sound A Extras A-
starring Alain Cuny, Arletty, Marie Déa, Jules Berry
screenplay by Jacques Prévert and Pierre Laroche
directed by Marcel Carné

click any image to enlarge

by Jefferson Robbins Fairytale is the oldest way we know to exorcise trauma or repurpose it to didactic ends. The moving image, probably the newest. So Marcel Carné's Les visiteurs du soir (literally, The Night Visitors, though its international title is The Devil's Envoys), created in France during a period of repression equalled only by the Terror, pulls both tricks. It's a film, therefore it's not reality, but it's also shaped as a magical courtly romance and set in a distant past where romances were both entertainment and cultural transgression. Gilles (Alain Cuny) and Dominique (Arletty) are figures out of a medieval fresco or some monk's illuminated pages, from Gilles's suggestively forked mullet to Dominique's graceful, benedictory poses. The two are minstrels on horseback in 1485--when troubadours carried news, gossip, and forbidden literature from one feudal estate to the next, singing songs of organic, passionate love for nobles trapped in arranged marriages. A long way from Vichy France, under the Nazi occupation, yet either world offered death as punishment for dissent, and both found succour in art that trespassed boundaries.

Swamp Water (1941) - Blu-ray Disc

***/**** Image A Sound B- Extras C
starring Walter Brennan, Walter Huston, Anne Baxter, Dana Andrews
screenplay by Dudley Nichols, based on the novel by Vereen Bell
directed by Jean Renoir

by Walter Chaw Jean Renoir's Swamp Water stands out as an example of how an artist's genius can assert itself even when his product has been taken away from him, re-edited and in some places reshot. Renoir's insistence on actually shooting on location in Georgia's Okefenokee, declared a Federal Wildlife Refuge by FDR in 1937, resulted in a grassroots movement lobbying Darryl Zanuck to hold the premiere locally. It was an artistic choice Godard would later say "revolutionized Hollywood." I'm not sure what Okefenokee residents must have thought of the picture, one that is equal parts offensive cornpone melodrama and haunted, gravid Romanticism. There's an indelible, hard-to-quantify melancholy to the film that's at odds with its boilerplate narrative; it feels like a Joseph Conrad, even if it reads like a Vereen Bell. It's an interesting case study, too, because it might never have happened were Renoir's masterpiece The Rules of the Game not savaged by critics and audiences in his native France, where it would go on to be radically recut, twice-banned, and destroyed in a bombing raid. I like this story, because I think Americans get a bad rap for not recognizing the fruit of their creativity. I like it even more because the French get a lot of credit for being the ones who do.

Spellbound (1945) - Blu-ray Disc

*/**** Image B Sound C+ Extras B
starring Ingrid Bergman, Gregory Peck, Michael Chekhov, Leo G. Carroll
screenplay by Ben Hecht, suggested by Francis Beeding's novel The House of Dr. Edwardes
directed by Alfred Hitchcock

by Walter Chaw It's tempting to give Hitchcock's Spellbound a pass because there's a good chance the whole thing was intended as either a childish, depressive prankster's most expensive prank or a passive-aggressive jab at Selznick (or, more than likely, both). Tempting, because like all of Hitchcock's films, its qualities are directly relatable to Hitch's own inconquerable peccadilloes. In a movie that's essentially about an individual's ability, or lack thereof, to banish his or her personal demons, Spellbound gets a little credit just for being so damned ironic for the fact of it. It's successful, in other words, if its intention was to be a disaster--a grenade offered up to a hated creative rival (Hitch would pretend the camera was broken whenever Selznick visited the set, only to have it spring back to life upon his departure) as a gambit to not only get closer to getting out of his seven-year contract with Selznick, but also provide celluloid testimony to the fact that, contract or not, he's nobody's bitch. It makes sense, too, to recruit Ben Hecht--he of Lifeboat and later Notorious, it's true, but of His Girl Friday and The Shop Around the Corner as well--to write a script packed to the gills with bad screwball and Catskills Freud bits, the better to put David O.'s much-ballyhooed therapy out there formulated to the motion picture frame. This is Hitchcock ridiculing his boss on the most conspicuous stage one could imagine and, here's the punchline, using that same boss's money to do so. Let's feel safe in surmising that when Hitch told Selznick he had the perfect idea for a movie about Selznick's new psychotherapy jones (brought on in part by his affair with Jennifer Jones, no doubt), he wasn't suddenly, spontaneously displaying compassion and the desire to collaborate with Selznick.

Looney Tunes [Platinum Collection - Volume One] - Blu-ray Disc

by Bill Chambers It's been fun to skylark about a Blu-ray release of vintage Looney Tunes since the format's inception, but until Warner announced this "Platinum Collection" box set, I don't think anybody truly expected it to happen. And while the DVD transfers that graced the "Golden Collection"s were more than adequate, the truth is that a taste of Bugs, Daffy, et al in standard-def--via recycled "Behind the Tunes" featurettes--after seeing them in all their HiDef splendour is a lot like Dorothy's unintentionally depressing return to Kansas at the end of The Wizard of Oz. Presented pillarboxed in their original 1.37:1 aspect ratio, these shorts pop like never before but have not, unlike Disney's animated features, undergone a digital repainting--though I remain skeptical of a radioactive shade of green that crops up in Daffy's Robin Hood outfit and on the bars of Tweety's cage in Tweetie Pie (to cite two examples), because it looked so revisionist when applied to the title character of "How the Grinch Stole Christmas" on Warner's Blu-ray version of same. Nevertheless, the restorers use a gentle touch, dustbusting and correcting damage to the prints while leaving grit trapped between the cels alone. The dark Scaredy Cat is dotted with so much white you might think the background plate doubled as a coke tray.

Rebecca (1940) - Blu-ray Disc

****/**** | Image B+ Sound B+ Extras C+
starring Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson
screenplay by Robert E. Sherwood and Joan Harrison;
adaptation by Philip MacDonald and Michael Hogan, based on the novel by Daphne Du Maurier
directed by Alfred Hitchcock

by Walter Chaw

She sang beyond the genius of the sea.
The water never formed to mind or voice,
Like a body wholly body, fluttering
Its empty sleeves; and yet its mimic motion
Made constant cry, caused constantly a cry,
That was not ours although we understood,
Inhuman, of the veritable ocean.
--"The Idea of Order at Key West," Wallace Stevens

Let's take a moment to talk about water.

Casablanca (1943) [Two-Disc Special Edition] DVD|[Ultimate Collector's Edition] - Blu-ray Disc + [70th Anniversary Edition] - Blu-ray Disc

***/****
DVD - Image A+ Sound A Extras A
BD (Ultimate Collector's Edition) - Image A- Sound B+ Extras A
BD (70^th Anniversary Edition) - Image A Sound A Extras A
starring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains
screenplay by Julius J. Epstein & Philip G. Epstein and Howard Koch, based on a play by Murray Burnett, Joan Alison
directed by Michael Curtiz

click any image to enlarge

by Walter Chaw Whenever I watch Casablanca (and there's a lot of pressure that comes with watching Casablanca (the chorus from Freaks rings in my head: "One of us, one of us, we accept you, one of us")), I'm stricken by what the film would have been had Orson Welles or John Huston (or even Billy Wilder--Rick is, of course, the prototypical Wilder outsider) sat at the helm instead of the madly prolific Michael Curtiz. Schooled in German Expressionism, Curtiz, by the time of Casablanca, had lost much of anything like a distinctive visual style, and on this film, a troubled production from the start, there's a lack of imagination to the direction that contributes, at least in part, to the way that Casablanca just sort of sits there for long stretches. For all of its magnificent performances (Claude Rains, best here or in Alfred Hitchcock's Notorious; Peter Lorre, a personal favourite; and let's not forget Sydney Greenstreet), Casablanca is curiously sterile: its politics are topical, but its love story is passionate by dint of history rather than proximate ardour. Ingrid Bergman arguably gave off more heat in Victor Fleming's Dr. Jekyll and Mr. Hyde and inarguably did so in Gregory Ratoff's Intermezzo. Casablanca is legendary, and that forgives a lot of its blemishes.

Tom & Jerry: Golden Collection - Volume One (1940-1948) - Blu-ray Disc

***½/**** Image A Sound A Extras B-
"Puss Gets the Boot," "The Midnight Snack," "The Night Before Christmas," "Fraidy Cat," "Dog Trouble," "Puss N' Toots," "The Bowling Alley-Cat," Fine Feathered Friend," "Sufferin' Cats," "The Lonesome Mouse," "The Yankee Doodle Mouse," "Baby Puss," "The Zoot Cat," "The Million Dollar Cat," "The Bodyguard," "Puttin' On The Dog," "Mouse Trouble," "The Mouse Comes To Dinner," "Flirty Birdy," "Quiet Please!," "Springtime For Thomas," "The Milky Waif," "Trap Happy," "Solid Serenade," "Cat Fishin'," "Part Time Pal," "The Cat Concerto," "Dr. Jekyll and Mr. Mouse," "Salt Water Tabby," "A Mouse in the House," "The Invisible Mouse," "Kitty Foiled," "The Truce Hurts," "Old Rockin' Chair Tom," "Professor Tom"

by Jefferson Robbins They're phenomenally enjoyable, but the conflict in Warner's Roadrunner cartoons comes down to a lively protagonist pitting himself against something that's not a character, nor even a "force of nature." Nature, in fact, is suspended; Wile E. Coyote is struggling with a quantum impossibility. When he sets out after his prey, he finds laws of matter, energy, and motion suspended and reversed. (At times, the Roadrunner appears to move at lightspeed or beyond.) The Coyote applies Acme™ science to the chase, but discovers science doesn't apply. The Roadrunner has no obvious inner life or larger goals, and seems to exist just to frustrate his pursuer. The Universe simply does not want the Coyote to catch this blankly-smiling creature with a void howling behind its eyes, and so he never will.

The Great Dictator (1940) - The Criterion Collection Blu-ray Disc

***½/**** | Image B+ Sound A- Extras A-
starring Charlie Chaplin, Paulette Goddard, Jack Oakie
written and directed by Charles Chaplin

by Bryant Frazer In the late-1930s, as a little man named Adolf Hitler prepared the fearsome German army to run roughshod over the country's European neighbours, Charles Chaplin, one of the greatest of all film artists, responded to the threat of war in the only way that made sense: He prepared a new comedy, The Great Dictator, that mocked Hitler directly.

Bambi (1942) [Diamond Edition] - Blu-ray + DVD

***/**** Image A- Sound B+ Extras A-
story direction Perce Pearce and story adaptation Larry Morey, from the story by Felix Salten
supervising director David D. Hand

by Bryant Frazer Bambi is just 70 minutes long, but it's one of the more versatile features in the Disney canon. It's a cute circle-of-life story, sure, populated by talking rabbits, nominally sweet-smelling skunks, and wise old owls (not to mention the adorable chipmunks that the owl, for some reason, hasn't preyed upon). But look what else is going on in this slice-of-wildlife film: an attempt at an animated nature documentary; a tract in opposition to sport hunting; and the impetus for generations of children to weep in terror at the prospect of losing their mothers.

Fantasia (1941)/Fantasia 2000 (2000) [4-Disc Special Edition] - Blu-ray + DVD

FANTASIA
***/**** Image A Sound A- Extras B+
story direction by Joe Grant and Dick Huemer
directed by James Algar, Samuel Armstrong, Ford Beebe, Norm Ferguson, Jim Handley, Thornton Hee, Wilfred Jackson, Hamilton Luske, Bill Roberts, and Paul Satterfield

FANTASIA 2000
*½/**** Image A Sound A Extras B+
directed by Pixote Hunt, Hendel Butoy, Eric Goldberg, James Algar, Francis Glebas, Gaetan Brizzi, Paul Brizzi, and Don Hahn

by Bryant Frazer More than twenty years ago, I sat in Stan Brakhage's office at the University of Colorado, handling original frames of 65mm IMAX film stock that the avant-garde filmmaker had hand-painted with swirling layers of colour. He explained that IMAX had commissioned him to create an abstract film specifically for presentation on the huge screens of their theatres. It was a great idea, and I wondered when the film had screened. Never, Brakhage told me. The IMAX people eventually lost interest in the idea, and "Night Music" was shown instead in 16mm prints, drastically reduced from the large-gauge film stock. Although IMAX were bold enough to approach Brakhage in the first place, the company got cold feet when it came time to actually exhibit non-narrative cinema--even for only 30 seconds!--for a paying audience.

The Treasure of the Sierra Madre (1948) [Two-Disc Special Edition] - DVD|Blu-ray Disc

****/****
DVD - Image A Sound B+ Extras A+
BD - Image A- Sound A- Extras A
starring Humphrey Bogart, Walter Huston, Tim Holt, Bruce Bennett
screenplay by John Huston, based on the novel by B. Traven
directed by John Huston

by Walter Chaw John Ford isn't America's Akira Kurosawa, John Huston is, and The Treasure of the Sierra Madre, an intimate epic that unfolds against the backdrop of the Mexican Revolution, is Huston's Throne of Blood. Huston also draws comparisons to Ernest Hemingway, not just for being a man's man in life, but for his precision and economy in art. There isn't any flab on The Treasure of the Sierra Madre--it's as sleek as a dancer in its waltz between complex character drama on the one side and broad social commentary on the other. There haven't been many better American films (it's Huston's best film next to Fat City and maybe The Misfits, and it boasts of Humphrey Bogart's best performance without question), and when it's spoken of, it's spoken of in terms of one of those films that decided careers in the cinema for generations of filmmakers.

Golden Age Romance on DVD

ROMAN HOLIDAY (1953)
[CENTENNIAL COLLECTION]
***½/**** Image B- Sound B Extras C
starring Gregory Peck, Audrey Hepburn, Eddie Albert, Hartley Power
screenplay by Ian McLellan Hunter and John Dighton
directed by William Wyler

SABRINA (1954)
[CENTENNIAL COLLECTION]
**½/**** Image B Sound B Extras C
starring Humphrey Bogart, Audrey Hepburn, William Holden, Walter Hampden
screenplay by Billy Wilder, Samuel Taylor and Ernest Lehman, based on Taylor's play
directed by Billy Wilder

LOVE IN THE AFTERNOON (1957)
[TCM GREATEST CLASSIC FILMS COLLECTION: ROMANCE]
½*/**** Image C Sound B
starring Gary Cooper, Audrey Hepburn, Maurice Chevalier, John McGiver
screenplay by Billy Wilder and I.A.L. Diamond, based on a novel by Claude Anet
directed by Billy Wilder

NOW, VOYAGER (1942)
[TCM GREATEST CLASSIC FILMS COLLECTION: ROMANCE]
**½/**** Image A- Sound B Extras D
starring Bette Davis, Paul Henreid, Claude Rains, Gladys Cooper
screenplay by Casey Robinson, based on the novel by Olive Higgins Prouty
directed by Irving Rapper

MOGAMBO (1953)
[TCM GREATEST CLASSIC FILMS COLLECTION: ROMANCE]
*/**** Image C+ Sound B
starring Clark Gable, Ava Gardiner, Grace Kelly, Donald Sinden
screenplay by John Lee Mahin, based on a play by Wilson Collison
directed by John Ford

SPLENDOR IN THE GRASS (1961)
[TCM GREATEST CLASSIC FILMS COLLECTION: ROMANCE]
****/**** Image B Sound B Extras D
starring Natalie Wood, Pat Hingle, Audrey Christie, Warren Beatty
screenplay by William Inge
directed by Elia Kazan

by Walter Chaw SPOILER WARNING IN EFFECT. It's one of those seminal moments that movies provide the culture with now and again, like the swoop up a little rise to an impossibly fresh John Wayne in Stagecoach, or the intervention of a fortuitous steam vent in The Seven Year Itch, this introduction we have to Audrey Hepburn as she's whirled around in a barber chair in William Wyler's Roman Holiday to reveal the pixie-cut heard 'round the world. That she's adorable is a given--the real issue is whether she's an actress or just a bundle of inexplicable charisma, a ganglion of celluloid starlight that evaporates under the slightest critical scrutiny. I love Roman Holiday, but I vacillate between indifference and actual dislike of the rest of Hepburn's films. I don't find her winsome in Breakfast at Tiffany's, am irritated by her in Charade, think she's appallingly twee in Love in the Afternoon. She doesn't hold her own against Sean Connery in Robin and Marian and gets blown off the screen by Albert Finney, Alan Arkin, and Rex Harrison in Two for the Road, Wait Until Dark, and My Fair Lady, respectively. If you ask me, Audrey isn't an actress so much as someone you would like to have known and maybe had the opportunity to cuddle, which makes her mega-stardom in the Fifties and Sixties all the more testament to her ineffable appeal. Happening right when Method was rendering personalities like Hepburn déclassé, she was making a career of being terminally anachronistic. It's Ozzie's Harriet, sashaying while Rome burns. Instant nostalgia; even when she was introduced for the first time, it must have seemed like ages ago.

The Spider Woman|The Voice of Terror [Sherlock Holmes Double Feature] - DVD

Sherlock Holmes and the Voice of Terror (1942)
***½/**** Image A- Sound A-
starring Basil Rathbone, Nigel Bruce, Evelyn Ankers, Reginald Denny
screenplay by Lynn Riggs & John Bright, based upon the story "His Last Bow" by Sir Arthur Conan Doyle
directed by John Rawlins

THE SPIDER WOMAN (1944)
**/**** Image B- Sound B-
starring Basil Rathbone, Nigel Bruce, Gale Sondergaard, Dennis Hoey
screenplay by Bertram Millhauser, based on a story by Sir Arthur Conan Doyle
directed by Roy William Neill

by Ian Pugh My introduction to Basil Rathbone's Sherlock Holmes came courtesy of MPI's recent double-feature DVD, and as introductions go, one could certainly do worse. Plucking the detective from Fox's Victorian backdrop and throwing him unceremoniously into World War II, Universal's take on the Holmes series comes across as hell-bent on forging its own continuity and, moreover, its own sense of context. The first entry in this new cycle, Sherlock Holmes and the Voice of Terror, begins with a title card explaining why the film makes such a dramatic departure from the previous two:

The Gary Cooper Collection: Along Came Jones; Man of the West; The Pride of the Yankees; The Westerner - DVD

ALONG CAME JONES (1945)
**½/**** Image B+ Sound C+
starring Gary Cooper, Loretta Young, William Demarest, Dan Duryea
screenplay by Nunnally Johnson
directed by Stuart Heisler

MAN OF THE WEST (1958)
****/**** Image A- Sound B-
starring Gary Cooper, Julie London, Lee J. Cobb, Arthur O'Connell
screenplay by Reginald Rose
directed by Anthony Mann

THE PRIDE OF THE YANKEES (1942)
**/**** Image B Sound C+ Extras C
starring Gary Cooper, Teresa Wright, Walter Brennan, Dan Duryea
screenplay by Jo Swerling and Herman J. Mankiewicz
directed by Sam Wood

THE WESTERNER (1940)
**½/**** Image B Sound C+
starring Gary Cooper, Walter Brennan, Doris Davenport, Fred Stone
screenplay by Jo Swerling and Niven Busch
directed by William Wyler

by Jefferson Robbins I thought Gary Cooper was broader. The way he carried Hollywood on his shoulders from the silents through the talkies to the threshold of the New Wave, you'd expect him to be broader. Instead, he was the definition of lanky. Where his centre of gravity lay was in his Rushmore of a face: in close-up, he's an impossible granite monument, like that ever-unfinished Crazy Horse memorial in South Dakota; in full shot, in his prime years, he's a broomstick supporting a boulder.

Miracle on 34th Street (1947) - DVD

***/**** Image F (colorized)/B+ (b&w) Sound B Extras C
starring Maureen O'Hara, John Payne, Edmund Gwenn, Gene Lockhart
screenplay by George Seaton, based on the story by Valentine Davies
directed by George Seaton

by Alex Jackson George Seaton's Miracle on 34^th Street isn't my Christmas movie of choice. My most potent movie memory of Christmas is actually watching the Star Wars trilogy when it was broadcast on the USA network however many years ago. Accordingly, I make it a point of marking the holiday by watching some kind of Star Wars-like "deep reality" science-fiction or fantasy film, such as The Lord of the Rings, or Blade Runner. A couple years back, I watched The Passion of the Christ. But I digress. Of all the major Christmas movie cults--including those surrounding A Christmas Story, It's a Wonderful Life, Elf, and 1951's A Christmas Carol--the Miracle on 34^th Street cult is the one with which I'd most want to spend the holidays. The film manages to be irreverent without becoming sacrilegious and sentimental without becoming saccharine. It's a pretty silly film, but I guess you could say that it's serious about being silly. It values silliness for its restorative, therapeutic quality.

The Val Lewton Horror Collection - DVD

CAT PEOPLE (1943)
****/**** Image B Sound C+
starring Simone Simon, Kent Smith, Tom Conway, Jane Randolph
screenplay by DeWitt Bodeen
directed by Jacques Tourneur

THE CURSE OF THE CAT PEOPLE (1944)
****/**** Image B+ Sound B
starring Simone Simon, Kent Smith, Tom Conway, Jane Randolph, Ann Carter
screenplay by DeWitt Bodeen
directed by Gunther V. Fritsch and Robert Wise

I WALKED WITH A ZOMBIE (1943)
****/**** Image C Sound B-
starring James Ellison, Frances Dee, Tom Conway
screenplay by Curt Siodmak and Ardel Wray
directed by Jacques Tourneur

THE LEOPARD MAN (1943)
***½/**** Image C- Sound B-
starring Dennis O'Keefe, Margo, Jean Brooks, Isabel Jewell
screenplay by Ardel Wray, based on the novel Black Alibi by Cornell Woolrich
directed by Jacques Tourneur

THE SEVENTH VICTIM (1943)
****/**** Image C+ Sound C
starring Tom Conway, Jean Brooks, Isabel Jewell, Kim Hunter
screenplay by Charles O'Neal and DeWitt Bodeen
directed by Mark Robson

THE GHOST SHIP (1943)
***½/**** Image A- Sound B
starring Richard Dix, Russell Wade, Edith Barrett, Ben Bard
screenplay by Donald Henderson Clarke
directed by Mark Robson

THE BODY SNATCHER (1945)
***½/**** Image C- Sound C+
starring Boris Karloff, Bela Lugosi, Henry Daniell, Edith Atwater
screenplay by Phillip MacDonald and Carlos Keith
directed by Robert Wise

ISLE OF THE DEAD (1945)
*/**** Image B- Sound B-
starring Boris Karloff, Ellen Drew, Marc Cramer
screenplay by Ardel Wray & Josef Mischel
directed by Mark Robson

BEDLAM (1946)
*½/**** Image B- Sound B-
starring Boris Karloff, Anna Lee, Billy House, Richard Fraser
screenplay by Carlos Keith and Mark Robson
directed by Mark Robson

by Walter Chaw SPOILER WARNINGS IN EFFECT. It's not too much to speak of Val Lewton as the American Jean Cocteau. An enigmatic figure with his hand, like Cocteau, in more than one media (a novelist, he often did uncredited work on the screenplays for his films), the movies produced under his RKO watch are a repository of dream sleep, enough so that an overview of his key pictures--something made possible by Warner's rapturous DVD collection of his horror fare--uncovers a treasure trove of indelible nightmare images. Where Cocteau affected a studiedly casual mien and came to film in his sixties, however, Lewton (who died at 47) seems the product of financial expediency and, perhaps more impressively, stamped the products of his hand despite roadblocks placed in his way. Yet the similarities are striking: Above and beyond the dreamscapes affected, there's a common fascination with masks and false identities; an obsession with budding sexuality turned subtly aberrant; and a cycle of seduction tied to corruption in the move from innocence to experience. I see in these recurrent themes a man fascinated by the blinds that men throw before them to deny the unknowable tides governing their emotions and actions. It's that illusion of civilization that informs Lewton's pictures; the horror of them is in the ripping away to expose the insect underneath.

Fox Horror Classics, Vol. 2 - DVD

CHANDU THE MAGICIAN (1932)
***½/**** Image B- Sound C Extras A-
starring Edmund Lowe, Bela Lugosi, Irene Ware, Henry B. Walthall
directed by Marcel Varnel and William Cameron Menzies

DRAGONWYCK (1946)
**/**** Image A Sound A Extras B+
starring Gene Tierney, Walter Huston, Vincent Price, Glenn Langan
screenplay by Joseph L. Mankiewicz, based on the novel by Anya Seton
directed by Joseph L. Mankiewicz

DR. RENAULT'S SECRET (1942)
*/**** Image A Sound A- Extras B
starring J. Carrol Naish, John Shepperd, Lynne Roberts, George Zucco
story by William Bruckner and Robert F. Metzler
directed by Harry Lachman

by Alex Jackson SPOILER WARNING IN EFFECT. I confess to feeling a little insecure while reading the entry for Chandu the Magician in Leonard Maltin's Movie & Video Guide, wherein the learned film historian derides Chandu as "disappointing" and "not as good as most serials in this genre, and even sillier." The suggestion is that he's wholly sympathetic to the material and was actually hoping to see a good movie before being "disappointed." Mr. Maltin may very well be in a better position than me to determine the relative merits of Chandu the Magician. Speaking as a layman, I found it to be sublime pulp fiction. Prototypical of George Lucas's Indiana Jones and Star Wars franchises, the film is remarkably shameless in its goofiness, never veering into self-deprecation or camp. It's one of those rare pop entertainments that genuinely make you feel like a kid again.

The Frank Sinatra and Gene Kelly Collection - DVD

ON THE TOWN (1949)
**/**** Image C Sound B-
starring Gene Kelly, Frank Sinatra, Betty Garrett, Ann Miller
screenplay by Adolph Green and Betty Comden, based on the play
directed by Gene Kelly and Stanley Donen

TAKE ME OUT TO THE BALL GAME (1949)
**/**** Image B+ Sound A- Extras C
starring Frank Sinatra, Esther Williams, Gene Kelly, Betty Garrett
screenplay by Harry Tugeno and George Wells
directed by Busby Berkeley

ANCHORS AWEIGH (1945)
**/**** Image C+ Sound B- Extras D
starring Frank Sinatra, Kathryn Grayson, Gene Kelly, Dean Stockwell
screenplay by Isobel Lennart
directed by George Sidney

by Alex Jackson One of the cinema's most startling moments in recent years was a close-up of Paul Dano early on in There Will Be Blood. Dano was never meant to get that friendly with the camera. I'm not sure I can properly convey this notion, but his close-up created a dissonant effect. It felt as though director Paul Thomas Anderson had broken some unstated rule of filmmaking. I think the reason it's so jarring is that the Close-Up wasn't designed for actors like Paul Dano. It was designed for somebody like his co-star, Daniel Day-Lewis. To put it as delicately as possible, Dano wasn't blessed with a "movie star" face. He's a bit strange-looking. In contrast, Daniel Day-Lewis is traditionally handsome and truly "belongs" on the silver screen. In and of himself, he's as cinematic as anything you're ever going to find in the movies.

Shirley Temple: America's Sweetheart Collection, Volume 5 - DVD

MAURICE MAETERLINCK'S THE BLUE BIRD (1940)
**½/**** Image C Sound B-
starring Shirley Temple, Spring Byington, Nigel Bruce, Gale Sondergaard
screenplay by Ernest Pascal
directed by Walter Lang

THE LITTLE PRINCESS (1939)
**½/**** Image B Sound B
starring Shirley Temple, Richard Greene, Anita Louise, Ian Hunter
screenplay by Ethel Hill and Walter Ferris, based on the novel by Frances Hodgson Burnett
directed by Walter Lang

STAND UP AND CHEER! (1934)
***½/**** Image D+ Sound C+
starring Shirley Temple, Warner Baxter, James Dunn, Nigel Bruce
story by Will Rogers and Philip Klein, dialogue by Ralph Spence
directed by Hamilton MacFadden

by Alex Jackson As you might know, Shirley Temple had been considered for the role of Dorothy Gale in The Wizard of Oz but was eventually passed over either because her singing voice was inadequate or because MGM and 20^th Century Fox couldn't come up with a satisfactory trade. In an attempt to beat MGM at their own game, Fox bought the rights to playwright Maurice Maeterlinck's "L'Oiseau Bleu" ("The Blue Bird") with an eye on Temple for the lead. Ironically, The Blue Bird became her very first box-office dud and signalled the end of her career as a child actress.

Mr. Skeffington (1944) + The Star (1952) - DVDs

MR. SKEFFINGTON
½*/**** Image B Sound B Extras B
starring Bette Davis, Claude Rains, Walter Abel, Richard Waring
screenplay by Julius J. Epstein & Philip G. Epstein
directed by Vincent Sherman

THE STAR
*/**** Image B Sound B Extras D
starring Bette Davis, Sterling Hayden, Natalie Wood, Warner Anderson
screenplay by Katherine Albert and Dale Eunson
directed by Stuart Heisler

by Walter Chaw Biographers and geeks would be right to point out that Bette Davis spent her late career--on screen and, abortively, on stage--getting in her own way, while cynics and realists would be right to point out that the one most probably led to the other, if we're to take "the other" as autobiographical. Even people resistant to the auteur theory tend to recognize that matinee idols shoulder at least a fair share of the blame for picking vanity pieces and assorted flaming trainwrecks from the piles of projects offered them. If there's a fair modern, distaff analogue to Bette Davis's embarrassing epilogue in self-abnegating camp artifacts, it's Burt Reynolds's own squandering of his status as the biggest thing on planet Hollywood for a series of vainglorious redneck "gorsh!" spectacles that tied him eternally with Dom DeLuise and, oh my, Hal Needham. Consider that both have earned a small, rabid band of indefatigable defenders of their late, self-inflicted careers (gay men for Bette, assholes for Burt) for nothing more than confirming their respective lifestyles of bitchy flamboyance on the one side and dimwitted macho rebellion on the other. They're cults of personality by the very definition of "cultism," founded on the shale of limited appeal and the arrested desire to emulate someone you admire. (See also: the army of SAHMs shuffling after Oprah.) I guess you could say that although I get it, I'm not down with the cult of Bette.

The Bride and the Beast (1958)/The White Gorilla (1945) [Positively No Refunds Double Feature] - DVD

THE BRIDE AND THE BEAST
***/**** Image B+ Sound B
starring Charlotte Austin, Lance Fuller, Johnny Roth, William Justine
screenplay by Edward D. Wood, Jr.
directed by Adrian Weiss

THE WHITE GORILLA
***/**** Image C+ Sound B+
starring Ray Corrigan, Lorraine Miller, George J. Lewis, Francis Ford
screenplay by Jo Pagano
written and directed by Harry Fraser 

by Alex Jackson It would be easy to dismiss The Bride and the Beast and The White Gorilla, sight unseen, as dated trash encapsulating the lamentable racist attitudes of the era in which they were produced. Both films belong to a sub-genre of pulp fiction in which great white hunters penetrate the jungles of darkest Africa and quickly conquer the continent's great beasts, much to the awe of the childlike natives. Told directly and on the level, it's possible for this material to have a raw, primal power--this is the stuff of myth, right? The hero slaying the dragon and bringing peace to the land. I don't find the "White Man's Burden" position nearly as offensive as I find films like Jungle Goddess, where the white saviour passively conquers an African civilization and then just as passively leaves it behind. Certainly, you should be able to have a romantic fiction without marginalizing an entire race of people.

Thunder in the Pines (1948)/Jungle Goddess (1948) [George Reeves Double Feature] - DVD

THUNDER IN THE PINES
*½/**** Image B+ Sound B+ Extras C
starring George Reeves, Ralph Byrd, Greg McClure, Michael Whalen
screenplay by Maurice Tombragel
directed by Robert Edwards

JUNGLE GODDESS
*/**** Image C- Sound B Extras C
starring George Reeves, Ralph Byrd, Wanda McKay, Armida
screenplay by Jo Pagano
directed by Lewis D. Collins

by Alex Jackson Was George Reeves a talented or interesting enough actor to merit VCI digging up a couple of his 1948 demi-features and releasing them on DVD? Without the novelty of him later becoming television's Superman and the rumours of conspiracy surrounding his suicide, there's nothing particularly engaging about the actor. In Thunder in the Pines, it looks like Reeves might be the poor man's Kirk Douglas (whose star was rising at around the same time). The Douglas persona is jovial and heroic, sensitive but manly--essentially, for me at least, he's an idealized father figure. This seems to be what Reeves is going for, but he's only operating at half the wattage. He isn't a star and hasn't the confidence of Douglas, that audacity to dominate the picture whenever he's on-screen. He's just a small fry.

The Films of Kenneth Anger: Volume One - DVD

by Travis Mackenzie Hoover J. Hoberman once stated that the critic who forgoes the avant-garde "has as much claim to serious attention as a historian who never heard of the Civil War." If that's the case, Kenneth Anger is the avant-garde's Ulysses S. Grant. Lurking in the boho wilderness long before awareness of the New American Cinema spread, he's an influential figure not only in the underground but also in the mainstream. A young Martin Scorsese watched Anger's leather-boy opus Scorpio Rising, gasped at its radical use of popular music, and promptly swiped it for his Mean Streets, thus setting off a chain of events that would end up--somewhat unpleasantly--at the films of Tarantino. That director's incorporation of pop-cult detritus likewise has its roots in the camp underground of which Anger is a part--though our avant-gardist chose to pilfer from Crowley and Kabbalah in addition to the leftovers of pop.

The Rodgers & Hammerstein Collection (1934-1965) - DVD

THE SOUND OF MUSIC (1965)
*½/**** Image B Sound B Extras B+
starring Julie Andrews, Christopher Plummer, Richard Haydn, Eleanor Parker
screenplay by Ernest Lehman
directed by Robert Wise

THE KING AND I (1956)
****/**** Image A Sound A Extras A
starring Deborah Kerr, Yul Brynner, Rita Moreno, Martin Benson
screenplay by Ernest Lehman, based on Margaret Landon's play "Anna and the King of Siam"
directed by Walter Lang

SOUTH PACIFIC (1958)
*½/**** Image A+ (Theatrical) A (Roadshow) Sound B Extras C+
starring Rossano Brazzi, Mitzi Gaynor, John Kerr, Ray Walston
screenplay by Paul Osborn, based on Tales of the South Pacific by James A. Michener
directed by Joshua Logan

CAROUSEL (1956)
**/**** Image A Sound A Extras C
starring Gordon MacRae, Shirley Jones, Cameron Mitchell, Barbara Ruick
screenplay by Phoebe and Henry Ephron, based on the Ferenc Molnár's play "Liliom"
directed by Henry King

LILIOM (1934)
****/**** Image B Sound B Extras B+
starring Charles Boyer, Madeleine Ozeray, Robert Arnoux, Roland Toutain
screenplay by Robert Liebmann, dialogue by Bernard Zimmer, based on the play by Franz (a.k.a. Ferenc) Molnár
directed by Fritz Lang

STATE FAIR (1945)
½*/**** Image B- Sound B- Extras A
starring Jeanne Crain, Dana Andrews, Dick Haymes, Vivian Blaine
screenplay by Oscar Hammerstein II, based on the novel by Philip Strong
directed by Walter Lang

STATE FAIR (1962)
**/**** Image A Sound A Extras C
starring Pat Boone, Bobby Darin, Pamela Tiffin, Alice Faye
screenplay by Richard Breen; adaptation by Oscar Hammerstein II, Sonya Levien, Paul Green
directed by José Ferrer

OKLAHOMA! (1955)
***/**** Image A (CinemaScope) C (Todd-AO) Sound B+ Extras B-
starring Gordon MacRae, Gloria Grahame, Shirley Jones, Gene Nelson
screenplay by Sonya Levien and William Ludwig
directed by Fred Zinnemann

by Walter Chaw God, The Sound of Music is so freakin' nice. Nazis are the bad guys, no controversy there; raindrops on roses and whiskers on kittens--have you no heart, man? But when I like Rodgers & Hammerstein--and I like them quite a lot, truth be wrenched--I like their ambiguity, their irony, their goddamned fatalism in the face of eternal romantic verities. Consider the animal (jungle?) heat of "Shall We Dance," cut off like a faucet by the fascistic abortion of The King and I's secondary love story; or the persistence of love despite abuse and abandonment in Carousel; or the slapdash kangaroo court that justifies love in Oklahoma!. This is all so much more than the slightly shady (and ultimately redeemed) shyster of The Music Man--this is reality in the midst of the un-, sur-, hyper-reality of the musical form. Yet what The Sound of Music offers up is a military man shtupping an ex-nun with no corresponding sense of fetishistic eroticism. How is it that the two most popular adult Halloween costumes engaged in naughty Alpine sexcapades could be totally free of va-va-va-voom? It's so relentlessly wholesome that of course it's the most beloved artifact of its kind in the short history of the movie musical: If you're of a certain age, the plot of the thing is almost family mythology, resurrected every holiday like a dusty corpse at a decades-long Irish wake gone tragically awry. That ain't a grin, baby, it's a rictus.

Here Comes Mr. Jordan (1941) - DVD

**/**** Image A- Sound B+
starring Robert Montgomery, Claude Rains, Evelyn Keyes, Rita Johnson
screenplay by Sidney Buchman and Seton I. Miller, from the play "Heaven Can Wait" by Harry Segall
directed by Alexander Hall

by Travis Mackenzie Hoover Here Comes Mr. Jordan shakes your faith in the idea of Hollywood as Dream Factory. It's a film about a prizefighter (Robert Montgomery, playing Joe Pendleton) meeting an untimely end in a plane crash and having his consciousness transferred into the body of a murdered millionaire. (When his plane takes a nosedive via the magic of a camera off its axis, so, too, do the clouds in the sky.) There's a patrician, Mr. Roarke-ish afterlife overseer--the titular Mr. Jordan (Claude Rains)--and much switcheroo'ing involving bodies and identities and romance; it would take quite an effort for this to be less than light on its feet. But despite it all, the film hits the ground with a thud and sits there without a truly fanciful thought in its head. Not only is the script so impressed with itself that you can hear the writers crack up at every single feeble joke, but director Alexander Hall has also decided to shoot everything in cold, wide master shots that see everything and suggest nothing. It must be the least wondrous fantasy in Tinseltown history.

Sergeant York (1941) [Two-Disc Special Edition] - DVD

***½/**** Image A- Sound A Extras B
starring Gary Cooper, Walter Brennan, Joan Leslie, George Tobias
screenplay by Abem Finkel & Harry Chandlee and Howard Koch & John Huston
directed by Howard Hawks

by Travis Mackenzie Hoover Before it settles into the martial flag-waver it clearly wants to be, Sergeant York is a terrific movie. Its story of Tennessee-born WWI hero Alvin York, heavily supervised by the man himself, is one of not just a military coup, but an evolving conscience as well--and if that conscience eventually cons itself into supporting that most pointless of international conflicts, the film is nevertheless a moving story of personal growth. Though it barely betrays the hand of Howard Hawks (it lacks the team spirit that courses through his oeuvre), the director tells the tale with the kind of conviction and nuance a lesser director couldn't provide. The movie feels York's progress from alcoholic ne'er-do-well to industrious would-be farmer and prospective husband, and instead of taking his emotions for granted, it expresses them with a noted lack of condescension.

The Fountainhead (1949) - DVD

**½/**** Image A Sound A Extras D
starring Gary Cooper, Patricia Neal, Raymond Massey, Kent Smith
screenplay by Ayn Rand, based on her novel
directed by King Vidor

by Travis Mackenzie Hoover By now, it's tedious to recount the many intellectual sins of Ayn Rand. Anyone with the intelligence to put two and two together knows that her "radical individualism" is mere solipsism with a pretty face, but this of course has not stopped teenagers of all ages from thrilling to her Freudian, sexed-up literature, which preaches the "virtue of selfishness," i.e., whatever the audience decides is in its best interest. Still, one has to attest to the compelling nature of her screwball oeuvre, and the film version of her The Fountainhead pretty much sums up why she's so hilariously entertaining. The problem isn't that she's not acquainted with reason, but that she's not acquainted with human behaviour; her script is so outrageously presumptive of how the mediocre and the mob-driven think that it's impossible to keep from laughing long and heartily.

It's a Wonderful Life (1946) - DVD

***/****
OUV DVD - Image B+ Sound A- Extras C
AE DVD - Image A Sound A- Extras C
starring James Stewart, Donna Reed, Lionel Barrymore, Beulah Bondi
screenplay by Frances Goodrich, Albert Hackett and Frank Capra
directed by Frank Capra

by Travis Mackenzie Hoover The year was 1990. I was 17, and had managed to elude the silver-backed beast known as It's a Wonderful Life for most of my young life. Having heard of the corn factory known as Frank Capra, I, a hard-bitten cynic, naturally feared the worst--I was more interested in corrosive (and recent) films like Do the Right Thing or Drugstore Cowboy than in some schmaltzy old battleaxe starring Jimmy Stewart. But I was working in a video store at Christmastime, which meant only one thing: the constant rotation of It's a Wonderful Life on the store monitor. And I was shocked to discover that the movie is pretty disturbing; it may have come dressed as the lamb of sentimentality, but inside it was a howling wolf, seething with failure and loneliness and wishing for something to take it all away.

Dark Passage (1947) - DVD

**½/**** Image A- Sound A- Extras B-
starring Humphrey Bogart, Lauren Bacall, Bruce Bennett, Agnes Moorehead
screenplay by Delmer Daves, based on the novel by David Goodis
directed by Delmer Daves

by Travis Mackenzie Hoover Dark Passage not only begins but also keeps going with the tricky technique of subjective camera. Vincent Parry, you see, is an escaped convict framed for the murder of his wife; he's also about to get plastic surgery, which necessitates obscuring the fact that he's played by Humphrey Bogart until the bandages come off. There were surely better ways to make the concealment of Vincent's face some kind of metaphor, or at least give it a measure of aesthetic unity, but writer-director Delmer Daves merely sees that he has to hide Bogie's visage and throws on subjectivity as a catchall. Thing is, he's very slick (as in spit-shine clean) about how he does it, so it doesn't really hurt too much; you're dissatisfied because he didn't dig deeper. And that pretty much sums up the Dark Passage experience.

All the King's Men (1949) - DVD

**½/**** Image B- Sound B
starring Broderick Crawford, John Ireland, Joanne Dru, John Derek
screenplay by Robert Rossen, based on the book by Robert Penn
directed by Robert Rossen

by Travis Mackenzie Hoover All the King's Men is an entertainingly blunt-witted exploration of Hollywood's favourite activist cause: Corruption Bad. Taken from Robert Penn Warren's Pulitzer-winner (the inspiration for the current remake, recently trounced by our own Walter Chaw), it finds a juicy if pointless target in Willie Stark (Broderick Crawford), the Huey Long stand-in who rises from earnest, clueless nobody to governor of the state, leaving a trail of graft and destruction in his wake. Nobody ever stops to consider what cynical lessons we're learning about the futility of social change and the corruptibility of the individual: as its paragons of decency are a wealthy blueblood family with political ties, it's not exactly a Marxist/Leninist extravaganza. But no matter, as it allows a collection of people to sound off with the kind of melodramatic bull that only Tinseltown can provide.

Mildred Pierce (1945) - DVD

***/**** Image A Sound A- Extras B
starring Joan Crawford, Jack Carson, Zachary Scott, Eve Arden
screenplay by Ranald MacDougall, based on the novel by James M. Cain
directed by Michael Curtiz

by Alex Jackson The difference between Joan Crawford and her inextricably-linked contemporary Bette Davis is the difference between an icon and a mere actress. Davis was always acting and, in her lesser moments, downright hammy; Crawford simply was. A finished product, all she has to do is walk out and exude "Crawfordness." If it's not her best film, Mildred Pierce is certainly Crawford's best-known film, and one of the fascinating things about it is how it illustrates her screen persona blending together with her personal one. I'm fascinated with the idea of transforming from an inferior being into a superior one--the leap from ape to Star Child in Kubrick's 2001: A Space Odyssey, to put it in its purest form. This is mankind's most pressing drive, is it not--that is, to escape the banality of our mortal existence? Perhaps such philosophical musings are a function of my still living in young adulthood: I'm a year away from beginning a career in which I expect to spend the next forty years, and there is the persistent fear of this being "all there is." That there's nothing left; I'm going to spend the rest of my life attempting to maintain a constant state of security. The iconology of Crawford achieves such escape. She's embraced the cinema in a way Davis never did. She's drunk from the proverbial cup and is now immortal. Prick her she doesn't bleed, tickle her she doesn't laugh. She is beyond the flesh now, a creature of light and celluloid.