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 is 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!