COLLECTION UPDATE: THE GHOST aka LO SPETTRO (1963)

 

You may have been noticing crowds of people gathering in the streets lately, all of them very excited and shouting at the top of their lungs. No, I'm not referring to the political protests going on all over the place. I'm talking about the thousands of dedicated Barbara Steele fans who are expressing their joy and rapture at the recent release of one of her classic horror films in remastered 4K and Blu-ray glory

OK, so no one is actually dancing in the streets. But there are plenty of fans who are thrilled about the new Severin Films release of Riccardo Freda's THE GHOST aka LO SPETTRO (1963), one of the greatest films in the Italian Gothic horror movement from the early 1960s, featuring Miss Steele doing possibly her best work. The movie has been available for years from several different companies in varied states of quality, most of them quite watchable. But fans have been hoping for a long time that some company would give this film the love and detailed restoration it has long deserved. The good folks at Severin are to be congratulated on the excellent work they've done here. This is, beyond any doubt, the definitive version.

As most fans are aware, this is the second collaboration between Freda and Steele, the first being 1962's THE HORRIBLE DR. HICHCOCK. This second film isn't exactly a sequel, but it does once again feature a Dr. Hichcock, this time played by a different actor. Steele and Harriet White are the only two returning cast members, playing characters very similar to those in the previous film.

The story has Dr. Hitchcock (Elio Jotta, billed in the credits as Leonard G. Elliot) being treated for a deadly disease by handsome young Dr. Livingstone (Peter Baldwin) who is experimenting with the use of curare, a poison. Margaret Hichcock, the elderly man's young, beautiful wife, is having an affair with Livingstone and begs him to murder her husband so they can run off together and make use of the old man's money. Livingstone does the dirty deed and things start to go south almost immediately. The illicit lovers begin to hear weird sounds and see strange occurrences, evidence that Hichcock's ghost is haunting them. The situation is made more complicated by the presence of Catherine (White), the mysterious housekeeper who also acted as the elder doctor's assistant and medium. Tensions rise. Melodrama ensues. Predictably, the two lovers begin to distrust one another and after quite an overload of colorful, creepy Gothic goings-on, we are rewarded with a very well executed twist ending.

The plots of these Italian Gothics aren't necessarily the most important factor. Besides, they all exploit pretty much the same dramatic points: lust, mad scientists, the occult, more lust, dead people who don't want to stay dead, possible supernatural happenings and, of course, endless lust. Also normally featured are either creepy castles or ornate manor houses, musty crypts well stocked with musty coffins, and at least one drop-dead gorgeous woman wandering through the castle/manor house carrying a candelabra. When the woman in question happens to be Barbara Steele, the film is elevated to the highest possible level of Gothic glory. So much has been written about Miss Steele being the Queen of Horror that there's nothing I can possibly add. Let me just say that when Barbara appeared in films outside of the horror genre, she had the versatility to be sexy, quirky and even very funny. However, when placed in one of those castle settings, she was transformed into an otherworldly presence that came to define the genre itself. That presence alone, that incredible face, that unnerving direct stare into the camera, would have been enough to make her a screen immortal. But Steele also had the acting talent to bring a startling reality to the almost unreal characters she was asked to play. Her role in THE GHOST requires her to suffer more than any other role in her career. Freda puts here through quite a physical workout, as she is pushed around, manhandled, getting injured and bleeding and even dragging a dead body through the house. In her previous outing for Freda, she found herself trapped inside a coffin, one of her most iconic scenes. In THE GHOST, she gets to push a coffin onto the floor instead of getting into it. (This brings to mind her legendary statement: "I'm never climbing out of another f***ing coffin as long as I live!!) And then there's the scene involving the use of a straight razor, a shocking display of violence energetically and intensely played by Steele. One of the most fascinating aspects of her performance is how she makes Margaret seem sympathetic: although she does evil things, Margaret doesn't seem to be evil. The viewer is able to sympathize with her desire to escape the dark, oppressive life she is forced to live. In some of her other horror films, Steele plays two characters, one good and one evil. With Margaret, she brings forth this duality and conflict within the same character, one reason why I consider this to be her best work.

Apart from the pleasures of watching Miss Steele, THE GHOST is beautiful to look at, perfect in its design and cinematography. What Freda was able to accomplish on a miniscule budget and accelerated filming schedule is nothing short of amazing. I watched the 4K version and was drawn into the movie as if I had never seen it before. As in many of the Italian horror films of the era, Freda's included, the story has a British setting, this time in Scotland in the early 20th century. Freda uses his pseudonym Robert Hampton, and all of the Italian cast and crew are given English names.

Severin gives us a four-disc set. Disc One has the movie in 4K along with a commentary by Kat Ellinger, an audio interview with Barbara Steele and the Italian and American trailers. Disc Two has the movie on Blu-ray, which I haven't yet watched. There is an interview with Harriet White Medin conducted by the popular Tim Lucas, who also presents a video essay about the film entitled Give Up the Ghost. There are two other video essays on the Italian Gothic genre, one of which focuses mainly on Miss Steele. One of the most enjoyable extras shows Steele presenting the remastered film at two film festivals, in Milan and Paris. Disc Three presents yet another fascinating essay entitled Executioners, Masks, Secrets: Italian Horror in the 1960s, conducted in French and Italian, featuring many film clips, many from films I've never seen. Barbara is featured and it's a special treat hearing her speak Italian. Disc Four is a CD compilation of music from Francesco Di Masi, who composed the lovely, somber music for THE GHOST. Also included is music for three of his other films, all contemporary, jazz-oriented compositions.

One interesting point about the trailer for the original Italian release is a brief scene featuring Barbara and another woman that isn't included in any version of the film that I've seen. I haven't yet listened to Kat Ellinger's commentary, so maybe she addresses this scene and why it was cut from the film.

For anyone new to the Italian Gothic horror genre, I would recommend THE GHOST as a good starting place. It's also the ideal introduction to the magic of Barbara Steele and a good way to fall under her spell. But be forewarned: once she has you, she won't let go.

BEST FILM DISCOVERIES IN 2025

 

THE PROWLER (1951)

This is a Film Noir that I managed to miss until watching it recently on Youtube. It's difficult to find on DVD or Blu-ray but is mentioned often by Noir fans and scholars. Directed by Joseph Losey, the screenplay was written by the blacklisted Dalton Trumbo, credited as Hugo Butler. Evelyn Keys stars as Susan Gilvray. As the film begins, Susan, alone in her house at night, sees a prowler outside her window. She calls the police. Two officers respond to the call, one of whom is Webb Garwood (Van Heflin). Garwood, cynical and cocky beyond all reason, is attracted to Susan. He comes back to her house alone to check up on her, and in no time at all, the two are involved in an affair. Susan's husband is a radio personality working the overnight shift, and the two lovers hear his voice as they tryst in Susan's house. The affair turns into obsession for both parties and Webb comes up with a plan to kill Susan's husband, making it look like an accident, and then have the two of them run off with his insurance money. You may think you know where this is going, but believe me, you don't. This movie is totally unique. One thing that makes it so different are the characterizations. Garwood is the epitome of a homme fatale and a master of manipulation. Susan Gilvray is a woman carried away by lust and desperation, and yet still manages to display a will to survive. There are enough twists and turns in this film to make it endlessly fascinating. Keyes and Heflin have never been better.

PLUNDER ROAD (1957)

Included in one of the Film Noir collections from Kino-Lorber, this is a film I'd never heard of. Many of the titles in these collections don't necessarily fit the strict definition of Noir, but nevertheless turn out to be enjoyable, well-made crime stories. My expectations weren't all that high. But after only a few moments, this movie had me hooked. Truly, this is one of the most fascinating crime caper thrillers I've ever seen. It compares favorably to Stanley Kubrick's THE KILLING (1956). In fact, someone should consider showing both films as a double bill, big screen revival. The film was directed by Hubert Cornfield and the screenplay was written by Steven Rich, who is also a member of the cast. The plot is deceptively simple: Five men (Gene Raymond, Wayne Morris, Elisha Cook, Jr., Stafford Repp and Steven Rich) execute a complicated plan to rob a train carrying a gold shipment. Then they drive off in three different directions after dividing the gold. Raymond teams up with his girlfriend, Jeanne Cooper, to melt down his share of the loot and install it as part of his luxury car as a cover until they can sell the gold. As any fan of Noir could predict, everything that could possibly go wrong with this plan is shown in exciting detail in the fast-paced 72 minutes of screen time. A gem of a picture from beginning to end. And what an ending it has! Lots of location footage adds a raw, realistic sensibility. Fans of Jeanne Cooper's longtime portrayal of matriarch Katherine Chancellor on the soap opera The Young and the Restless will find it a special treat to see her in one of her earliest appearances. Very highly recommended.

SAW (2004)

There was a thread going around on Youtube among some of my fellow film freaks. We were asked to post a video to give a list of popular films that we've never seen. My list included several horror movie franchises that I had little interest in seeing. Among them was the SAW series. As I've mentioned many times, probably ad nauseum, I'm not a fan of excessive violence and gore. It's just not my thing. I only had to look at the poster for SAW and read the general plotline to know it was way outside of my personal wheelhouse. After I posted the video, one of my Youtube friends challenged me to watch the first film in the series, claiming that it had a quality story and was very much worth checking out. I decided to take him up on his challenge. I found a used copy at my local Disc Replay shop for $3.33 and resolved to watch it with an open mind. It turned out to be a heavy experience. While I can't say I enjoyed the movie, I did get totally caught up in it. After it was over, and I spent some time thinking about it, I realized that I had seen something that was absolutely brilliant. These young filmmakers had succeeded in establishing a dark, morbid, tension-filled atmosphere from the time the film started until the unbelievably harrowing ending. Everything about it was first-rate. All of the actors were convincing, including Danny Gover, the only name in the cast I recognized. The locations, the music, the cinematography all helped create an atmosphere of relentless dread. I don't think I ever want to watch this again. Once is more than enough. But this is an amazing accomplishment.

LA STRADA (1954)

My experience of the films of Federico Fellini is somewhat limited. I have a habit of rewatching 8 1/2 (1963) over and over, but I've only seen a handful of his other works. When I bought the Fellini box set from the Criterion Collection a few years ago, I resolved to be a little more adventurous and work my way to being a Fellini completist. After watching JULIET OF THE SPIRITS (1965) and ROMA (1972), and subsequently suffering from a complete psychic breakdown, I decided to put the box set back on the shelf for a while. OK, I'm joking about the psychic breakdown. But those two films were exhausting to say the least. Eventually, I decided to go back in time to one of the director's earlier works, LA STRADA. Fellini worked his magic on me with this one. I wasn't prepared for the heartbreaking experience of watching Giulietta Masina being mercilessly abused by Anthony Quinn. (I don't know how anyone could be prepared for it.) Nor was I prepared for the film's ending, with Quinn's character collapsing in abject misery and regret for what he had done to this gentle, lovely woman. A masterpiece of filmmaking.

ANGEL FACE (1953)

I saw part of this movie years ago on cable but never saw it all the way through until I recently picked up a used DVD copy. Robert Mitchum still holds the Number One position on my list of favorite actors, so I was glad to finally get to see this well-made Noir from his RKO contract years. Otto Preminger directed. Mitchum plays Frank Jessup, an ambulance driver. On a call, he meets lovely Diane Tremayne (Jean Simmons), an heiress. There is an attraction between the two. Diane manipulates her way into Frank's life, and he breaks up with his girlfriend (Mona Freeman) to have an affair with Diane. He even takes a job as chauffeur at the estate where Diane lives with her father and stepmother, who soon die under mysterious circumstances. Frank begins to realize what a truly disturbed piece of work Diane really is, but by that time, he's in way over his head. This film takes the concept of femme fatale up several notches. Simmons expertly plays this treacherous woman who has such a gorgeous countenance and seems so totally controlled. Mitchum's character is a man who thinks he's in control of his life and emotions and never truly comes to terms with how he is being used. It's always interesting to see Mitchum, the very symbol of masculine strength, allowing himself to be victimized by an unscrupulous woman. Cathy Moffatt (Jane Greer), his nemesis from OUT OF THE PAST could take a few lessons from Diane Tremayne. The film is mainly a psychological drama with little action until a shocking ending that is guaranteed to blow your mind.

DODSWORTH (1936)

I saw DODSWORTH in a film class dedicated to the works of William Wyler, and it's another film I'd heard great things about over the years. The praise was justified. This story of the breakdown of a marriage was fascinating from start to finish. It was originally a stage play written by Sidney Howard and based on a novel by Sinclair Lewis. Howard also wrote the screenplay. Walter Huston, who starred in the play, reprises his role as retiring businessman Samuel Dodsworth who sells his automotive company after twenty years and sails to Europe with his wife, Fran (Ruth Chatterton) for a vacation. Fran is a vain and selfish woman who is bored with her life and marriage and wants to immerse herself in upper-class European social life. The marriage becomes increasingly strained. Both parties are drawn into other relationships and decide to divorce. This sounds like high-grade soap opera, but the writing and performances are so intelligent and superior that the film rises to a much higher level. Ruth Chatterton isn't usually listed among the legendary actresses of the 1930s, but she was extremely popular and respected at this particular time, having been a top stage actress for many years. This is probably the best film to see her at the top of her abilities. She is perfectly matched by Huston, Mary Astor, David Niven, Paul Lukas, Gregory Gaye, Maria Ouspenskaya and John Payne in his film debut. DODSWORTH won seven Oscar nominations. One of the best films from Hollywood's Golden Age.

THE SNOW WALKER (2003)

I saw this movie in a Canadian film class, having never heard of it before. What an incredible cinematic experience! Based on a short story by Farley Mowat entitled Walk Well, My Brother, the screenplay was written by Charles Martin Smith, who also directed. Smith is probably best known for his performances in AMERICAN GRAFITTI (1973) and THE BUDDY HOLLY STORY (1978). The story takes place in 1953. Barry Pepper stars as Charlie Halliday, a Canadian bush pilot based in Yellowknife. Charlie had been a bomber in WW2. On a routine job near the Arctic ocean, he meets a group of Inuit who ask him to fly a sick young woman, Kanaalaq (Annabella Piugattuk) to a hospital. He reluctantly agrees. The plane ends up crashing and the two of them are stranded in the middle of nowhere. Charlie has no idea how to navigate the wilderness and must rely on his Inuit companion to survive. Kanaalaq uses her native skills to provide them with shelter, food and ways to heal injuries. Charlie grows to have deep respect and affection for the young woman and the two slowly find ways to communicate. He soon realizes that her health is failing her. She teaches Charlie what he must do to prepare her for her death and the afterlife. This is a film that deserves to be shown and celebrated in as many places as possible. It's truly one of the most beautiful and moving stories ever told on film. And there is more than enough action and exciting special effects to hold one's attention. Barry Pepper is a fine Canadian-American actor with a long list of credits. He gets quite a physical and emotional workout in this movie. Annabella Piugattuk is a Canadian Inuit who has only one other acting credit: INTO THE WEST (2005). Her presence in THE SNOW WALKER is nothing short of amazing. See this movie if you get a chance.

Notes From the Movie Room December 31, 2025

 

🎬 Yesterday, I went to one of my local multiplex theaters to see SONG SUNG BLUE, the new film starring Hugh Jackman and Kate Hudson. There was a review in my local newspaper that got me intrigued enough to go out into the cold weather and check it out. When I first heard about this movie, I thought it was a Neil Diamond biopic, but, of course, it's actually about a real-life tribute band called Lightning & Thunder, dedicated to Diamond and his music. Having never seen a tribute band in my life, this is a culture I'm totally unfamiliar with. The two leaders of Lightning & Thunder were Mike and Claire Sardina, and a documentary, also called SONG SUNG BLUE, about their lives and experiences with the band, had been released in 2008. I don't know how much of the film was fictionalized, but this is one hell of a fascinating story. 

This movie had me pulled in from the very beginning. Hugh Jackman and Kate Hudson both gave fantastic performances. I knew Jackman was a good singer, but I had no idea Hudson could sing as well. She also surprised me with her acting talent. I'd only seen her in a few films and didn't find her all that impressive, but she really showed depth in playing this character. As for Jackman, I'd only seen him a few times as well, not including any of his famous superhero flicks. So, I need to explore more of his work. I'd also like to see the 2008 documentary about the real-life tribute band. 

Not only am I excited about the film, I was also pleasantly surprised by my theater experience. When I go out to see a movie, which is less and less frequently, I always go in the afternoon to avoid those evening crowds. Imagine my shock when I saw a full parking lot and hordes of people, including kids, going in and out of the multiplex. I don't know what was going on, but I guess the holiday had something to do with it. It had been quite a while since I'd seen that kind of a crowd. The movie was supposed to start at 3:15, which meant there would be 20 minutes of previews to begin with. When I went into my screening room, it was jammed. My seat on the aisle was occupied by a woman about my age. I told her in a matter-of-fact tone that she was in my seat. She replied that the woman in front of her was in her seat. I just stood there and looked at her, and she very nicely got up to discuss the situation with the lady in front. It all worked out amicably. If I'd found a disgruntled teenager in my seat, it may have turned out differently. Considering the large crowd, I anticipated some bad behavior. However, the crowd was incredibly well-behaved and quiet. No phones went off during the long run of the film. Maybe the audience was as engrossed in the film as I was. I have to admit this was a positive experience all the way around and I was reminded of the old days of enjoying a movie with a big crowd. A perfect way for a cinephile to close out the year. It gives me hope for the future. Happy 2026, everyone!!

Notes From the Movie Room. December 19, 2025

🎬 Imagine, if you will, a man, a self-identified cinephile, who ventures out to purchase a new television and a new Blu-ray player. Imagine further that this same man has been enjoying this electronic equipment for a few months before finally realizing that he is now in possession of 4k capability. A story this bizarre, this totally unbelievable, could only happen in...The Twilight Zone.

Full disclosure: this did not take place in The Twilight Zone, but right here in my real life, which, I have to confess, sometimes seems like The Twilight Zone. But that's another blogpost. A short while ago, I did pick up a new 43" Hisense TV at Wal-Mart and followed up by getting a Blu-ray player at Best Buy. I went to Best Buy because that's where I picked up the Sony player I use in my movie room, and I wanted to get the same player for convenience and familiarity. The only one they had on the shelf was a little more advance and more expensive, but I picked it up without even thinking about it. All I cared about was that I knew how to operate it. It was easy to hook up to the TV and I threw the box into a closet without really looking at it.

In other words, I didn't notice that little 4k-HDR symbol on the box. What can I say? I never claimed to be the sharpest knife in the drawer. But I could easily be classified as the most impulsive shopper whoever pulled a credit card out of his wallet. I swear, both the TV and the player were bought so quickly, I didn't ask any questions or waste any time looking at details on boxes. The TV was super cheap, and the player was the right one, so I grabbed, paid, and took them home.

It was only a few days ago when I picked up the Blu-ray player box, intending to recycle it, and noticed the 4k symbol. I wish I could say I jumped with joy and jubilation upon realizing I had entered the new world of home video, but, honestly, I just felt like a fool and managed to laugh at my lack of awareness. I have a few items on 4k that came in box sets, so I decided to try one out and see how it looked. I played the 4k of the Barbara Steele classic DANZA MACABRA from Severin Video, and it looked pretty good. I can't say it blew me away with its high-def perfection, but it looked good. I then played AIRPORT 1975, the new Kino release. By mistake, I picked up the duo-combo at Barnes & Noble, another example of impulsive shopping and not paying attention to what I was doing. It also played well.

So, it appears that I have inadvertently emerged into the 4k universe. This doesn't mean that I plan to drastically change my collecting habits. I still remain skeptical regarding the new format. But the opportunity to explore now exists, and I guess we'll see how things progress from here.

My new TV, player and stand in my living room.

 

UP THE DOWN STAIRCASE (1967)

 

This film, directed by Robert Mulligan, stars Sandy Dennis as a first time English teacher in a tough, overcrowded, run down high school in New York City. In 1966, Dennis had given an Academy Award winning supporting performance in the hit film WHO'S AFRAID OF VIRGINIA WOOLF?, playing a mousy, nasal-voiced neurotic. For the next few years, she would continue to play variations of that same character in a series of films that could only have featured Sandy Dennis, because there simply was no one else like her. In this film, her mousy, nasal-voiced character is less neurotic and even heroic. Still, it is a role tailor-made for Miss Dennis.

She plays Sylvia Barrett, a recent college graduate full of ideals and dreams of inspiring her students the way her teachers inspired her. What she finds upon entering the deteriorating hallways of Calvin Coolidge High School is a nightmare of noise, frustrating bureaucracy, and kids who are either apathetic, angry or downright dangerous. The story involves her encounters not only with students, but with parents, school administration officials and fellow teachers. The film is an updated version of previous works such as BLACKBOARD JUNGLE (1955) and BECAUSE THEY'RE YOUNG (1960), starring Glen Ford and Dick Clark, respectively, as young, idealistic teachers who attempt to reach out to their troubled students.

What's so surprising about UP THE DOWN STAIRCASE, and a point of contrast from the two previous movies, is that it has no violence. There are a few scenes where violence is threatened but not carried out. I find this surprising, not only because of the movie's subject matter, but because it was made in the Hollywood of the late 1960s where scenes of violence were becoming more commonplace and more graphic. Perhaps the reason for this restraint is because the protagonist is a woman. Maybe the filmmakers wanted to present a more feminine, even feminist, viewpoint. Compare, for example, the brutal attempted rape of a teacher (Margaret Hayes) in BLACKBOARD JUNGLE with the scene in UP THE DOWN STAIRCASE where Sylvia is cornered in her classroom after hours by a student (Jeff Howard) who tries to seduce her. Although the situation is very tense and frightening for Sylvia, the boy doesn't harm her physically. In fact, he barely touches her. Rather, his attempt at seduction is slow, erotic and mostly verbal. Sylvia is finally able to stop him by simply cupping his face with her hands and telling him no. And he walks away from her. Unrealistic, perhaps, but it's a novel approach that no one would have expected at the time, and certainly not in today's cinema.

It's also interesting to me that there is absolutely no profanity in this film. Cinematic standards in this regard were only beginning to change in 1967 and there was still a lot of restraint. All linguistic hell would break loose in the next few years.

As the story progresses, Sylvia deals with potential dropouts, disgruntled parents, racial conflicts, attempted suicides and cynical colleagues, all played by talented actors speaking believable dialogue. Dennis is supported by an excellent group of character actors like Patrick Bedford, Eileen Heckart, Sorrell Booke, Ruth White and Jean Stapleton. The students were played by non-professionals, many of them in high school themselves. Standouts were the aforementioned Jeff Howard, a 20-year-old college student, and Jose Rodriguez and Ellen O'Mara, both seventeen. Though the film did well critically and financially, it was somewhat outclassed, one might say, by the runaway British hit TO SIR, WITH LOVE, released later the same year, featuring Sidney Poitier standing in for Sandy Dennis.

NOVEMBER 2025 IN THE MOVIE ROOM

 The word "adventurous" isn't the word I would use to describe my movie viewing habits in November. This time of year usually finds me in a comfort frame of mind, which means rewatching old favorites that don't present much of a challenge, not requiring me to step dangerously out of my cinematic wheelhouse. However, I should give myself just a tiny bit of credit. While I may not have exactly stepped out of the wheelhouse, I did, on a couple of occasions, at least open the front door and peer out into that dark abyss of the cinematic unknown. Let's see what transpired as the world was getting colder.

ANEMONE (2025) Daniel Day-Lewis emerged from an eight-year retirement to be directed in this dark, brooding film by his son, Ronan Day-Lewis, in his directorial debut. Whether this is a one-off project for the actor or a full-blown return to his profession, we can be grateful that he decided to step back in front of the camera once again. Two brothers, estranged for many years are reunited because of a family crisis. One of the brothers, (Day-Lewis), has retreated into the woods with his dark secrets and bitterness. His brother (Sean Bean) comes to visit him and tries to convince him to end his voluntary exile and return to what can be described as a very convoluted family scenario. With Samantha Morton and Samuel Bottomely. This film is 126 minutes of depression and sadness with a brief ray of light and hope right at the end. Beautiful, haunting cinematography by Ben Fordesman. Filmed in Manchester and Cheshire.

No doubt there are many people who consider this 1984 Sergio Leone gangster epic to be a masterpiece. While I acknowledge that the descriptive word "epic" definitely applies, and although there are many impressive moments, I haven't joined the rabid fanbase. This was one of my $3.00 specials that I used to find at the now defunct Big Lots discount store, and it sat on my shelf for years gathering dust. I finally decided to give it a watch. And once will be enough. The film runs 229 minutes, although a shortened version was released in the US. The story follows a group of Jewish gangsters in New York City from their boyhood in 1918 and into the 1960s. They pretty much do what all cinematic gangsters have done since LITTLE CAESAR (1931), but with more blood and in living color. There are excellent performances by Robert DeNiro (Intuitive, understated and powerful. Quintessential DeNiro.), James Woods (Explosive and terrifying. One of the best things he's ever done.), Treat Williams, Tuesday Weld and Elizabeth McGovern. My primary fascination, of course, is Miss Weld, who proves herself to be a mature and brilliant character actress. She sheds completely her established image as a slinky sex kitten and exhibits an emotional control in her characterization that is stunning. There are two needlessly ugly, graphic rape scenes, one with Weld and one with McGovern. Both sequences could have been filmed in a much less graphic manner and still made their story points obvious to the audience. The director chose ugliness and raw violence over creative subtlety. No surprise there. The film was made in a non-linear fashion, going back and forth into different time frames. Some viewers may find the saga endlessly intriguing. I mainly found it exhausting. The movie ends with young DeNiro getting stoned in an opium den. Personally, I think he should have stayed there for the whole 229 minutes and saved us from all the anguish.

This is one of those times when the poster art for a film is almost more fascinating than the film itself. Directed by Damiano Damiani, the film stars Horst Buchholz as a failed, frustrated painter who pursues an affair with free-spirited Catherine Spaak. Spaak is not just free with her spirit, but with her body as well. Her character might be considered as a proto feminist, a symbol of the emerging sexual revolution. The attraction Buchholz feels for her becomes obsessive as he realizes he can't control her, that she will never be monogamous. His frustration leads to a suicide attempt. Before this occurs, we get to meet his mother (Bette Davis), a wealthy, domineering woman who wants to gain control over her son and have him come home to live with her in her opulent mansion. Not only does she support him financially, but she is also willing to provide a live-in sex partner, a gorgeous young servant girl, to keep him happy. While you're reading this somewhat sordid plotline, you might be surprised to learn that the original Italian title of this film, LA NOIA, translates into English as BOREDOM. Perhaps the filmmakers were anticipating the reactions of critics and audiences, or perhaps they were attempting to make a statement about life among the idle rich. Whichever the case, this film does have its moments. Buchholz and Spaak are both attractive, earnest young actors, and they give their best efforts in bringing their characters to life. As for Bette Davis, I have no idea how or indeed why she became involved with this project. But, nevertheless, here she is, playing a supporting role, dressed in gorgeous clothes, and presenting her legions of fans with an appearance by Miss Bette Davis, Film Actress. This is not to suggest that she brings nothing of interest to her role, but that isn't the point. Her function is to bring name star value to the film, and as a result, the film is a curiosity item as much as a grand drama about contemporary sexual mores. But I admit to experiencing no boredom while watching it.

Speaking of curiosity items, this movie could be the ultimate example of that particular term. I finally got around to seeing this landmark picture on Youtube after hearing about it for decades and seeing a few clips of Al Jolson speaking and singing. It's easy to see why this mostly silent picture thrilled audiences when Jolson said: "Folks, you ain't heard nothing yet!" with his voice synchronized with the film. It's also understandable that audiences of the era would have been moved by the sentimental story of a Jewish cantor's son who wants a career in show business instead of fulfilling his parents' dream of him succeeding his father in the synagogue. The story is meant to break your heart while the film itself is meant to provide entertainment and open your eyes to new possibilities for the cinema. Having finally seen it, I doubt that I will want to revisit THE JAZZ SINGER. The film can be tough to get through. While Jolson is an undeniably likeable personality, I'm not carried away by his musical performances, including the cringeworthy scenes where the actor puts on blackface, a popular, and unfortunate, entertainment tradition at the time. By 1927, silent films were entering an era of artistic sophistication regarding camerawork and acting styles, a sophistication not found in THE JAZZ SINGER. I respect its historical status, however.

This is a movie I saw only once when it played on television back in my lost youth of the 1960s, so I was glad to revisit it when I picked up a used DVD copy. All I remembered about the film were images of actress Betty Field, whose tragic character, Cassie, is just one aspect of this dark story. The film is based on a popular novel published in 1940 and deals with the lives of several people, rich and poor, in the 1890s town of Kings Row. As a billboard states at the beginning of the movie, Kings Row is "A good town. A clean town. A good town to live in and a good place to raise your children". However, billboards notwithstanding, we soon learn the dark secrets of the place. The story focuses mainly on five children, two boys and three girls, who grow up to be Robert Cummings, Ronald Reagan, Ann Sheridan, Nancy Coleman and Betty Field. We also learn something about their families, as well as their differing social statuses in the town. What happens to these five people as they reach adulthood must be seen to be believed, and I'm not going to spoil anything for you. Suffice it to say that Kings Row has a dark, sinister aspect that comes right out of Greek tragedy. When Warner Brothers decided to adapt the novel for the screen, there was a lot that needed to be changed if the censors were going to allow it to be released. Still, there is more than enough here to disturb the viewer and make you wonder why the studio would even consider taking on such a project. Top acting honors go to Betty Field, who stands apart from everyone else. Also excellent are Ronald Reagan, Claude Rains, Nancy Coleman and Charles Coburn. Robert Cummings has never impressed me as a dramatic actor, but he does his best. Ann Sheridan surprised me with the depth of her dramatic efforts. Seeing this movie makes me want to find a copy of the novel to see what they had to leave out.

This 1956 Doris Day vehicle, made by her own production company, was a first watch for me and thoroughly entertaining. Miss Day wasn't given many opportunities in her long career to show off her dramatic prowess, so it's a real treat to see her in this well-made film. Julie is an airline stewardess married to a concert pianist, played by Louis Jourdan. The film wastes to time in establishing him as an insanely jealous, possessive man who would do anything to prevent Julie from leaving him. We also learn that he murdered Julie's first husband in order to have her for himself. She attempts to leave him, getting help from a trusted friend, Barry Sullivan. What ensues is an early example of a "stalking" thriller, which shows this evil husband as almost superhuman in his ability to stay one step behind his terrified wife. Julie appears to have finally escaped the marriage, assumed a new identity and resumed her airline career. But guess who shows up on one of her flights? There is more than enough midair action and intrigue in the last segment of this film to rival anything in the AIRPORT series. Day plays it straight all the way through and will having you rooting for her. And hissing loudly at suave, deranged Louis Jourdan!

MEET JOHN DOE (1941)

 

A newspaper columnist, about to lose her job, comes up with a unique idea to get the attention of her readers and impress her employers. She writes a bogus letter from a non-existent man she calls John Doe. This man is so distraught with the inhumanity of modern life that he plans to kill himself by jumping off the city building on Christmas Eve. The public believes the story and newspaper sales skyrocket. The columnist not only keeps her job, but she and her employers, seeing big money possibilities, take the phenomenon one step further. They hire a homeless man, whose real name happens to be John Willoughby, a former baseball player, to portray the fictional John Doe for the public. He gives speeches written for him by the columnist. He becomes so beloved by the millions of people who believes he is "real" that a nationwide movement, based on "his" words, gets underway. The publisher of the newspaper, who has political ambitions, decides to use John Doe to form a new political party in order for him to gain power.

Does this scenario sound like a cautionary tale against modern-day AI? The ultimate fake news being passed off as truth? Frank Capra's brilliant, prescient and disturbing 1941 classic film is all that and much more. It's also a prime example of the fast-moving newspaper drama so popular in the Golden Age of motion pictures. And it can even be at least partly considered a woman's picture because of the powerful presence of Barbara Stanwyck's character, Anne Mitchell. This is also a Frank Capra populist statement, a picture focusing on the common man and woman of the time, a story about real Americans and what they were experiencing and feeling. But most importantly, it is also a realistic look at how easily people can be manipulated by the media.

This third film that was shown in my Barbara Stanwyck film class is one I've seen before, and it's one of those films that gets better with subsequent viewings. Capra's movies are so fast paced, so dialogue driven and so filled with supporting and minor characters that it's easy to be overwhelmed by too many faces and too much talking. The film is also loaded with star power, headed by the always watchable Gary Cooper as the title character. While Cooper may appear a little too healthy and physically fit to be a hobo living under a bridge, he brings so much warmth and humanity to his portrayal that the audience is on his side form his first scene. He is perfectly matched by the energetic, almost breathless Stanwyck. Also on hand is the eternal scene stealer, Walter Brennan as John's skeptical fellow hobo and best friend, who is the film's consistent voice of reason concerning the corruption of power, fame and money. Edward Arnold is effective as the power-hungry newspaper publisher, and the ever-dependable James Gleason is perfect as the hard-nosed newspaper editor with a conscience, a trait that is lacking in many of his peers, including his publisher.

As the story progresses, John begins to feel conflicted by the image he is being paid to portray and its influences on the masses. While initially he was happy just to finally have a warm, safe place to sleep and good food to eat, he starts to feel a certain responsibility to the folks who listen to him and take "his" words to heart. He is also falling in love with Anne, who begins to return his feelings. For Anne's part, she is the sole support for her mother and sister and is happy to have found both success and a steady income, factors that bring her very close to selling out for money and abandoning her principles.

Without giving away too many details that would spoil the experience for first-time viewers, let me just say that the film isn't without its flaws. While there are many effective and moving sequences, the film comes to a somewhat convoluted conclusion. Capra and his screenwriter, Robert Riskin, had problems deciding exactly how the story should end, which I can believe. But that doesn't take away from the pleasure of watching a movie that has long been considered a classic from the Golden Age.