Rita Wilson meets epidemiologist Chris Claybourne and they fall in love with each other. When Claybourne leaves for the tropics to find a cure against a disease, Wilson gets her revenge by marrying Claybourne’s brother although she still loves him. Written by Mattias ThuressonRead More »
Disgusted by having to pass “pinhead” football heroes in order for his college to soar to football victory, Professor John Hathaway (Don Ameche) takes his leave of Digby College. With his wife Julie (Rosalind Russell) in tow, Hathaway sets out to conquer Manhattan’s literary circles, his scholarly manuscript on the subject of “jealousy” tucked under his arm in the romantic comedy The Feminine Touch (1941).Read More »
Reviewed by Dennis Schwartz
A brisk romantic/comedy Joan Crawford vehicle capably directed by W.S. Van Dyke and gamely written but not one of the better scripts by Joseph L. Mankiewicz. It’s from the short story “Claustrophobia” by A. Carter Goodloe. It’s the usual class warfare Joan Crawford film of that era with the good looking actress dressed chic and defending her free-spirited upper-class superficial lifestyle in her argumentative romance with the commoner Brian Aherne, who thinks the high society crowd are idlers and lightweights.
Bored heiress Kay Bentley (Joan Crawford) travelling with her dad (Frank Morgan) on his yacht meets on the Greek island of Naxos handsome Irish archaeologist Terry O’Neill (Brian Aherne), who’s on an archaeological dig for the Pygmalion statue. Learning that he thinks very little of the society jet set Kay tells Terry she’s Ann Morrison, the secretary of Mr. Bentley. They kiss and he falls madly in love, surpisingly following the attractive secretary to New York where he hopes to marry her. Learning the truth, the two have a spat but nevertheless grow fonder of each other.Read More »
Old friends Ward and Phillip both become smitten with Phillip’s mother’s attractive young secretary Stella. But Stella marries Phillip and stands by him as his behavior becomes more and more erratic and his jealousy of Ward increases.Read More »
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By now, Myrna Loy’s enduring portrayal of Nora Charles in the Thin Man series has pushed the fact that she was hardly an overnight success into the recesses of movie history. Loy served one of the lengthier movie star apprenticeships, appearing in over 70 films before she caught on with the public (for a more recent example of eventual-star stamina, check out Jack Nicholson’s pre-Easy Rider [1969] resume.) Given Loy’s immense gifts as a comic actress, and her obvious sex appeal, it’s surprising it took her so long. However, until she appeared in the mob comedy-melodrama, Penthouse (1933), she was typecast either as a “bad girl” or as a multi-cultural exotic with a non-specific accent. Some producers even tried to pass her off as Asian!Read More »
Plot
In this detective drama, a prosecutor investigates a murder and finds that it is connected to a recent mugging. In the end, he is led to convict a high-ranking crime lord.Read More »
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Also known as TWO TONS OF TURQUOISE TO TAOS TONIGHT, and even as JIVE, this is a movie you’ve most likely never seen. Highly personal and at the same time completely illogical, this cacophonous comedy has virtually no semblance of a storyline or plot. The great Elsie Downey, the director’s then-wife and the mother of his children (who are featured prominently throughout), drives the film with her boisterous performance in what may very well be more than 10 roles. Shot and edited piecemeal over a few years, MOMENT TO MOMENT is a collage of everything from staged scenes to home movies, and features a soundtrack by the legendary Jack Nietszche and David Sanborn. No matter what you call it, this film is surely Downey at his most avant-garde and absurd.—Anthology Film Archives.Read More »
Panning shots describe the space of a room as a succession of still lives: a chair, some fruit on a table, a collection of solitary, waiting objects. Sitting on the bed there is the presence of a young woman: the filmmaker herself, eating an apple.Read More »
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There’s something liberating about director Robert Downey’s films, even when by rights they should be put on a leash by their small budgets and settings. Never was the case truer than in POUND, the kind of project that major studios would run a mile from. Long out of circulation, Downey’s film populates a dog pound with different human characters who pace about their cage, uncertain about their future. Some wait in hope for their owners to redeem them, others plot to escape, but most wait to see if they will make it to the end of the day without getting ‘The Needle’. It seems like a cute gimmick to have human characters playing dogs, but Downey has never been one to play by the rules, even if they would provide an interior logic to his story. The dog-human switcheroo isn’t as straightforward as it should be: the first camera angle inside the pound shows us the characters as dogs, the second shows them again as people. But are we still to treat them as ‘dogs’? They have a TV set in their cage; can understand human speech; and are revealed in flashbacks as having human lives outside of the pound.Read More »