The 60s school of improvisational comedy is beautifully preserved in Theodore J. Flicker’s film, which pits LBJ’s shrink (James Coburn) against a plot for world dominance hatched by TPC (The Phone Company). The vague, shapeless paranoia of the period—a liberal distrust, rather than a radical disgust—is well conveyed through a series of barely connected skits, […]
Herbert Ross continues the venerable tradition of butting ballet and melodrama in a story of two old rivals (Shirley MacLaine and Anne Bancroft) squabbling over the artistic soul of MacLaine’s daughter (Leslie Browne). The musical question, as always (cf The Red Shoes), is whether to dance or to love. For a film ostensibly dedicated to […]
1 hour 48 min • 1955
2 hours 3 min • 1964
2 hours 11 min
A grimy, superior film noir by Andre de Toth (1948). Dick Powell is a foursquare family man who enjoys a harmless dalliance with model Lizabeth Scott, unaware that he’s risking the wrath of a psychotically jealous private eye, Raymond Burr. An iconographical plus is Father Knows Best‘s Jane Wyatt as Powell’s patiently beleaguered wife.
1 hour 21 min • 1936
1 hour 50 min • 1980
2 hours 8 min
A brilliant example (1926) of the baroque style by F.W. Murnau. Gösta Ekman is the man who sells his soul, and the buyer is magnificently incarnated by Emil Jannings. As atmospheric and menacing a work as the expressionist movement ever produced.
Billy Wilder’s ironic 1964 tale of a one-night exchange of partners, a cuckolded husband who is none the wiser and three others who are none the worse off for it. Damned at the time for being “dirty,” Wilder’s film is (according to the maestro himself) about the theme of human dignity and the sanctity of […]
A dim sitcom of the kind Universal turned out by the dozens in the early 50s, distinguished—if that’s the word—by the presence of Ronald Reagan, as a college professor who hopes to prove his theories of child development by bringing up a chimpanzee as a human baby. The film is never quite as bad as […]
This rigorous, compelling, radically stylized film represents the end point in a line of development that Otto Preminger had been pursuing since the late 60s. The prime qualities of Preminger’s mise-en-scene—logic, dispassion, distance—here reach their apotheosis in a ruthlessly flat, unruffled presentation: a visual and narrative style carefully designed only to express its own inexpressiveness. […]
Michael Caine stars as Carter, a London hood returning to his home in Newcastle to clear up some family unpleasantness in this 1971 feature. Directed by Michael Hodges (whose later collaboration with Caine, Pulp, proved to be much more satisfactory), with a flair for the wry evocation of genre conventions. Harold Pinter appears as a […]
PG • 1 hour 24 min