DESTINY (1944)

 

Movies have always been a big part of my life, whether going to theaters or curling up on the couch and watching them on television. But what actually turned me into a film fanatic was reading. It all started with Leonard Maltin's first TV Movies book, which was published in 1969, I believe. I read that book from cover to cover, A to Z. It opened my eyes to just how many films there were to see, and to the reality that I would need several lifetimes if I wanted to see them all, so I'd better get busy. During the 1970s, the decade when I was in my 20s, I saw as many movies as my crazy work/college class schedule would permit. As the decade was coming to a close, I began reading film books that suddenly were filling the shelves in bookstores. One of my early favorites was The Golden Age of B Movies by Doug McClelland, published in 1978. There were many films I had seen and a few others I'd heard of, but many titles were unfamiliar. One such title was DESTINY, a film made at Universal in 1944, starring an actress named Gloria Jean, whose name was only familiar because I'd seen it in Maltin's book.

Gloria Jean Schoonover was an operatic prodigy who began singing on the radio at age three. When she was twelve, she signed with Universal Pictures after auditioning for producer Joe Pasternak. Mr. Pasternak was responsible for making a major star out of another child opera singer, Deanna Durbin. Now that Miss Durbin was growing up, the studio was looking for another similar actress to, hopefully, repeat the success they'd had with Durbin. Gloria made her film debut in THE UNDER-PUP (1939), when she was thirteen. She followed this success with IF I HAD MY WAY (1940), co-starring Bing Crosby, A LITTLE BIT OF HEAVEN (1940), and possibly her most well-known film NEVER GIVE A SUCKER AN EVEN BREAK (1941), opposite the legendary W.C. Fields. She then showed off her singing talent in musicals such as GET HEP TO LOVE and WHAT'S COOKIN'?, both released in 1942. 

Gloria Jean during her years at Universal Pictures

In 1942, when she was sixteen, Gloria Jean was cast in the prestigious FLESH AND FANTASY, an anthology film directed by Julien Duvivier. The other stars were Edward G. Robinson, Barbara Stanwyck, Charles Boyer, Robert Cummings and Betty Field. Each story dealt with supernatural themes. The Gloria Jean segment, also featuring Alan Curtis, Frank Craven and Dorothy Vaughan, was the opening part of the film. Although this segment received positive responses during previews, Universal decided to cut it from the film, making FLESH AND FANTASY, released in 1943, a trilogy. Different reasons have been given for why the segment was cut, the film's overall length being the most likely explanation. Two years later, Universal decided to use the segment, with additional footage, as the feature film DESTINY, running a total of sixty-five minutes.

The cover art for Vinegar Syndrome's excellent release of FLESH AND FANTASY

The article about DESTINY made me very curious to see it. However, the film remained elusive. It never played on TV in my area, and it never seemed to be available as the home video era came into existence in the 1980s. But I recently was able to purchase a copy from an online seller. It turned out to be very watchable with decent sound quality, although not remastered in any way. It was most likely recorded from television or copied from a VHS tape. Still, the film appeared to be complete and proved to be a fascinating watch. The original footage, running about thirty minutes, is surrounded by scenes directed by Reginald Le Borg and using a different cinematographer. In the original segment, Cliff Banks (Alan Curtis), an escaped killer, takes refuge at a secluded farm where Clem Broderick (Frank Craven) lives with his blind daughter, Jane (Gloria Jean). Jane lives an almost enchanted life, totally attuned to nature, with animals and plants responding to her, and watching over her, as if she were an angelic creature. The evil Cliff has plans to take over the farm for himself and take advantage of Jane. When she flees from him and runs into the forest, he pursues her, only to be overtaken by the angry forces of nature and ending up drowning. This good vs. evil, light vs. darkness story plays out like a dark fairytale, with Jane even dressed to resemble Snow White. The B & W art direction and special effects are quite impressive, making me wish the film had the remastered treatment so as to better appreciate the imagery. By the way, one brief shot of the drowned body of Cliff at the beginning of FLESH AND FANTASY is all that's included from this excised episode.

The scenes added by Le Borg are more fast-paced and resemble a standard B crime thriller with a Noirish overtone. In these scenes, Cliff is a good guy who gets involved with the wrong crowd (femme fatale Vivian Austin and her criminal boyfriend Frank Fenton), ends up in prison, gets released, only to get caught up in crime once again and having to flee the police. All of these plot points are related in flashback sequences told to nice girl Grace McDonald who makes the mistake of giving Cliff a ride when he's running from the cops. When Cliff is double-crossed by another conniving female (Minna Gombell), he finds himself at the Broderick farm. Cliff's bad behavior with Jane and his ultimate demise are explained away as a bad dream. And then all the loose ends are quickly and neatly tied up, including Cliff being wanted by the police, and we are rewarded with a happy, sentimental ending. This all happens in sixty-five minutes. The big problem with DESTINY isn't that it plays like two different films awkwardly spliced together, but rather it seems like three different films. The first part setting up the complicated life of Cliff and his series of bad decisions moves at breakneck speed, as do many Noir programmers, but it nevertheless makes sense as a story, flashbacks and all. The emergence of Cliff into Jane's enchanted world is definitely a little hard to swallow, considering what has preceded it. But the Duvivier footage has its own foundation and integrity. What becomes quickly problematic is the obvious change in Cliff's demeanor. Up to now, he's been a hapless victim, a not terribly smart guy who lost his way, becoming somewhat cynical and mistrusting after his release from prison. In Jane's world, he turns into a shifty-eyed opportunist looking for a quick buck and some womanizing activity on the side. The "bad dream" explanation doesn't address this obvious dichotomy.

The third part of DESTINY is what ruins it. With Gloria Jean and Frank Craven brought back after nearly two years to shoot more footage, Cliff, having awakened from his horrifying dream in a cold sweat, has once again regained his nice guy persona. Gloria/Jane has obviously matured and is given the most stilted dialogue imaginable while the different parts of Cliff's confused life are quickly cobbled together and solved to, presumably, the viewing audience's satisfaction. Credibility is another matter. I'm not sure if DESTINY was intended as an A picture release, but it's obvious from the poster art that Universal was unsure of how to market the film. Some of the posters exploit a sexy image of actress Vivian Austin, the femme fatale in the expanded footage, even though Gloria Jean was the top-billed star.

The release of DESTINY didn't do much to promote Gloria Jean's career, and she was featured in B pictures from then on. Her final Universal film, RIVER GANG (1945) was released after she had already decided not to renew her contract. She made several films at different studios over the years and also worked on television, but by the early 1960s, her acting career was over. She became a receptionist for a cosmetics firm and died in 2018 at the age of 92.

Gloria Jean in 1947

Handsome Alan Curtis, with his dark, brooding gaze, had made a good showing of himself in HIGH SIERRA (1941) and in the excellent cult film PHANTOM LADY (1944). He worked in films until 1951, mostly supporting roles in minor films. He died in 1953 at the age of forty-three following kidney surgery.

Alan Curtis

I hope someday DESTINY is eventually given a proper release on Blu-ray. While Universal has generously provided fans with good quality releases of most of its horror film catalogue, B pictures included, it has a vault filled with other B pictures, including musicals, that it has chosen to ignore. Maybe this situation will change. DESTINY is an important film that deserves to be seen and given serious consideration.

Destiny • 1944 • Theatrical Trailer

THE ROSE (1979)

 

If you decide to choose THE ROSE as your evening home video entertainment, make sure your prescription for Xanax is filled and sitting on your end table within easy reach. You may need it before the movie is over. 

I hadn't seen this flick since my old Cinemax days back in the 80s, but I remember being very impressed with the energetic performance of Bette Midler doing a thinly disguised interpretation of legendary rock diva Janis Joplin. I also remember being impressed, and quite surprised, by her powerful singing. Miss Midler was nominated for Best Actress of 1979. During one of my recent visits to Disc Replay, my favorite place to purchase all the used DVDs that everyone else is throwing away, I picked up a copy of this film and looked forward to watching it again.

It's amazing how one's perceptions can change over time. I now find the movie exhausting rather than impressive, and more a wicked parody of Janis Joplin than a serious interpretation. There can be no doubt that Midler gave 100% of herself to this project, physically and emotionally. Perhaps she gave too much.

The film was supposed to be called PEARL, the nickname Joplin had given to herself. But her family refused to allow a biographical film. Therefore, the lead character, Mary Rose Foster, was known professionally as The Rose. Like Joplin, she was a famous rock star in the late 1960s who was burning herself out with too much touring, and too much wild living. She grew up in Jacksonville, Florida, whereas Joplin hailed from Port Arthur, Texas. The film's plot has The Rose getting ready to appear at a huge stadium concert in her hometown, a prospect that is causing her a great deal of insecurity, as she experienced a lot of pain during adolescence, including rejection from her peers. Her hard-driving manager, Rudge Campbell (Alan Bates), cares for her deeply, but is determined to make sure she is able to fulfill her contractual obligations and resists her pleas to take a year off in order to rest. When Rose meets a young limo driver, Huston Dyer (Fredric Forrest), and enters quickly into a romantic affair, she brings him along for the rest of her singing tour. The two lovers talk about having a future together, even though their association is volatile from the start. 

Bette Midler as The Rose, emoting with great effort.

As we follow The Rose on The Road, we are treated to a by-the-numbers depiction of what happens when rock stars work as hard as possible to destroy themselves. When Rose isn't performing onstage for her adoring fans, she keeps herself busy fighting, screaming, crying, drinking, smashing liquor bottles over the heads of total strangers and being generally unpleasant most of the time. When we first encounter Rose, she is onstage doing her blues-rock thing, including an incredible rendition of the song When a Man Loves a Woman. So far, so good. Then we see her in an argument with her manager during which she laments that, among her many other troubles, she can't get laid. (This detail, of course, is taken care of when she meets the limo driver.) The viewer can easily sympathize with this young woman being forced to continue touring and performing even though she's reached the point of exhaustion. Still, it's frustrating to watch someone who refuses to make even the slightest attempt to take care of herself.

Midler appears to be working hard to bring this character to life. Her stamina is quite amazing, I must admit. It takes a tremendous amount of energy to scream and cry for nearly 134 minutes of screen time. Maybe I've grown more cynical over the years, but this long delayed second watch made me feel that Midler was condescending to the character of Rose rather than trying to inhabit her. I felt like she was slumming. There are certainly good moments in her performance, mostly when she quiets down. But the close-ups of her agonized face, complete with copious amounts of running mascara, and all the Joplin-esque voice inflections, seem more calculated than sincere. Maybe the fault lies with the director, Mark Rydell, or maybe the actress is out of her element. 

After the film's somber finale, with Rose shooting heroin in a phone booth at her old high school football field and then dying onstage in front of her hometown audience, we are left with one of the most heartbreaking songs ever written: The Rose, composed by Amanda McBroom and beautifully sung by Midler, which became a major hit. This song is, for me, the shining moment of the film, even though it seems to have only a tenuous connection to what happened in the previous 2+ hours. Maybe, all things considered, it's best to skip the movie and just listen to the song. No Xanax required.

THE LEGEND OF LYLAH CLARE (1963)

 

You can discover the most amazing things on Youtube! Cultural artifacts you didn't even know existed. On May 19, 1963, The Dupont Show of the Week on the NBC television network presented this original one-hour play written by Robert Thom. The director was Franklin J. Schaffner.

Nineteen-year-old Tuesday Weld plays a 25-year-old unknown actress named Elsie Brinkmann who is given the chance to appear in a film based on the life of a flamboyant, self-destructive movie star from the 1930s named Lylah Clare. Elsie is upset about having her hair dyed platinum blonde and she feels troubled about playing a dead woman. Her agent convinces her to audition for the part because it might be her once in a lifetime chance to become a star.

Elsie is taken to Louis Zakin (Alfred Drake), a producer-director who worked with Lylah and was in love with her. Zakin hasn't directed a film since Lylah died mysteriously at the age of twenty-five. When he meets Elsie, he is struck by her resemblance to Lylah, but berates the young actress, saying no one could ever be like the legendary star. But Elsie begins speaking with Lylah's voice, repeating things the star had said to Zakin years ago. Zakin is shaken and grabs Elsie and kisses her on the lips. Elsie slaps him. Nevertheless, Zakin is so carried away by Elsie that he hires her for the movie. He tells Elsie that she is giving him her life, just as Lylah once did.

Zakin changes Elsie's name to Elsa Christie, and work begins on the film. It soon becomes evident that the spirit of Lylah Clare is taking possession of the young actress. Elsie is losing her own identity, becoming seductive and petulant, and drinking heavily. She becomes increasingly hostile toward Zakin, as more and more is revealed about his relationship with Lylah. The tension between director and star reaches a fever pitch. As the play comes to a close, we learn the truth about how the glamorous star met her demise.

This was pretty heavy material for prime-time TV in that era. I was twelve years old in 1963, but I managed to miss out on this show. Maybe the Golden Age of Television was a little racier than I remember. Tuesday Weld was developing into an amazing actress. But in those days, she was known more for her precocious image and wild lifestyle. At nineteen, she seemed older than her age and had already appeared in exploitation movies like SEX KITTENS GO TO COLLEGE and THE PRIVATE LIVES OF ADAM AND EVE. Occasionally, however, she would be given a chance to display her brilliance. In 1962, she received good reviews for her appearance on an episode of NAKED CITY and had a strong role in SOLDIER IN THE RAIN in 1963. It's tempting to wonder how much similarity the real actress had with her role as Elsie/Lylah, a sensitive young woman being manipulated by movie studio executives. In one heated confrontation, Zakin shouts at Elsie, now completely possessed by the spirit of Lylah: "Once you were my dream! Now you can be had in any movie house. You're a dirty little joke for dirty little boys!!" To which Lylah retorts: "You made me that!!"  Whatever the case, Weld is excellent in this teleplay, her strength and vulnerability showing through perfectly. While this play gives her the chance to show mature acting talent, she is also asked to exploit her sex-kitten persona, especially in an extended scene in a bathtub. Although the director wasn't initially happy with Weld's casting, he was "pleasantly surprised by her natural talent".

 Equally effective is Alfred Drake as Louis Zakin. I'd never heard of this actor before, and it seems he was primarily known for his work on Broadway, but he matched Weld for intensity in every scene. Also appearing are Sorrell Booke, Michael Tolan and Johnny Haymer. Director Franklin Schaffner ended up with quite an impressive filmography, including PLANET OF THE APES (1968), PATTON (1970 and PAPILLON (1973). The teleplay was made into a feature film in 1968, starring Kim Novak and Peter Finch and directed by Robert Aldrich.

Tuesday Weld and Alfred Drake.

The Youtube video is complete with the original commercials for the Dupont Company. We learn all about Lucite Paint, No. 7 Wax Wash for your car, Nylon, Orlon, Dacron, Antron and Lycra. 

"Better things for better living...through chemistry."

The Legend of Lylah Clare (1963) Tuesday Weld *Full Episode*

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.