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!