BrandoOnTheWaterfront Reviews

Pinky (1949)

Intriguing movie, but Crain is completely miscast.

[5/10 · 31 August 2021]

Just like Aunt Dicey's laundry service, "Pinky" completely whitewashes the horrors and systemic racism faced by black people in the United States - to the extent that a Caucasian woman is even portraying a light-skinned African American.

While it's commendable that Crain careers out of her safe lane by deviating from her all-American, ingénue roles, she is unquestionably out of her depth in this emotionally charged movie. Her superficial and shallow portrayal of Pinky, a young black girl who passes for white, is neither convincing nor endearing. Although you want to empathise with Pinky, it's impossible to escape the fact that the actress playing her cannot do her plight justice at all. I do not blame Crain for this - it is a casting error. Lena Horne or Dorothy Dandridge would have been better placed to take on the mantle.

The story is all over the place, and I'm not entirely clear what Kazan was trying to accomplish. The romantic subplot between Pinky and a white doctor - who knows nothing about her black heritage - is so secondary and almost forgotten until the end. It's like it's been shoehorned to make this movie not just about race, but about love. I felt "Pinky" was trying to be all things to all people and, in the end, became nothing to anyone.

However, the supporting performances by the two Ethels rescue this movie from becoming an unnavigable mess. They are terrific and thoroughly deserving of their Oscar nominations. Waters, especially, who plays Pinky's granny commands the screen with not only her physical presence, but sad eyes which, alone, bespeak the struggles, prejudices, and racism endured by black people in the United States.

I'm not sure what I expected from "Pinky" and having watched it, I still don't know what I got from it. It must be stressed that this was 1949, and Hollywood had (and still does have) a long way to go in authentic black storytelling. This movie did, and does little, to advance that cause.

State Fair (1945)

Splendid Technicolor production is like a vibrant painting coming to life on screen.

[8/10 · 23 August 2021]

Rogers and Hammerstein. Glorious Technicolor. Hit songs... It could only be another smash hit MGM musical! I thoroughly enjoyed "State Fair" - it is a story of young love, its ups and downs, and how everything will be alright in the end.

The Frake family heads to the Iowa State Fair with their prized hog Blue Boy and Mama Frake's pickles and mincemeat. Discontented with the state of their love lives, Margy (Crain) and Wayne (Haymes) find themselves entangled in whirlwind romances, but are they doomed to fail once the fair closes?

This Technicolor production is impressive for 1945 and was of course a hit with American audiences who craved a much-needed splash of colour following World War Two. The only thing matched by its exuberant screen visuals is its simple, yet catchy, music score. With memorable tunes "It's A Grand Night For Singing" and the Oscar-winning "It Might as Well Be Spring", you are catapulted to the young love scene of the 1940s.

It's so elegantly acted with Crain and Andrews' wholesome screen personas a treat for us all. Haymes and Blaine also excel. The supporting cast also delivers, especially Charles Winninger and Fay Bainter as the still-in-love Frake parents, and Donald Meek who's a scene-stealer as the eccentric pickle and mincemeat judge.

I couldn't summarise this movie better than John McCarten of "The New Yorker" who declares: "Nice, I believe, would be the word for it; I don't think you could use anything stronger." And it really is something nice!

The movie is a great entertainment and still easily watchable over 75 years on. I would highly recommend.

The Farmer's Daughter (1947)

Young's comedic talents bear fruit in this highly-watchable and wholesome comedy.

[8/10 · 21 August 2021]

Katrin (Young), a small-town farmer's daughter, heads to the city to fulfil her dream of becoming a nurse. To earn her tuition after being swindled, she is hired by the political Morley family as a maid and, unexpectedly, finds herself running for office and falling for the family's congressman son, Glenn (Cotten).

The movie is superbly cast. Barrymore hogs the screen as the Morley matriarch with her cutting one-lines, mischievous grin, and pensive stare. There are parallels between Mrs. Morley and the young Katrin - both are feisty, stick to their guns, and funny when they want to be. I read Ingrid Bergman, for obvious reasons, was initially considered for the role of the Swedish-American Katrin but I don't think it would have worked. Young's china doll face and youthful demeanour are just what her character needs. She is just like a little girl experiencing her first crush, which is surprising considering she was 34 at the time of filming.

There is an excellent camaraderie between the whole cast. It is a joy to watch, and everyone looks like they are having a swell time. Charles Bickford, who plays the doting Morley butler, takes Katrin under his wing and his comedic timing is impeccable. It is a stark contrast to his more serious roles in "The Song of Bernadette" and "Johnny Belinda". The chemistry between him and Barrymore is pleasant to see, too.

There are some stand-out moments throughout the movie. The scenes where Young is giving Cotten a Swedish massage following a fall in a frozen lake is hilarious, especially as Cotton's love interest watches on green-eyed. And the scenes preceding this where the pair are skating on the lake are very sweet.

While the focus of the story is the romance that develops between Katrin and Glenn, the political subplot is quite entertaining and an early cinematic glimpse of the unscrupulous goings-on behind a political campaign.

I'd watch it again!

The Lady from Shanghai (1947)

Overly exaggerated and too wordy, but fancy camerawork leaves you hooked.

[6/10 · 20 August 2021]

Everything about this movie is exaggerated. The acting, the plot (or more accurately plots), the script, the music, the camerawork... it's hard to keep up!

On the surface, the plot is brilliant. Irish sailor O'Hara (Welles) joins criminal lawyer Bannister's crew for a yachting trip after saving Bannister's wife (Hayworth) from a hooligan attack. The plot thickens when O'Hara is embroiled in a scheme to 'bump off' Bannister's legal partner in exchange for $5,000 which he plans to take and run off with Bannister's wife.

However, the many plot holes - fuelled by an unnecessarily complicated script - does this movie no favours. Is this Welles' doing or, upon further reading, due to the interference of the studio? We will never know for sure. It has the ingredients of a classic, but the proof is in the pudding and, for me, it just doesn't live up to the hype.

Welles' questionable Irish accent and rambling narration are incredibly unkind to the ear. I feel like he was trying to accomplish too much with this movie. I don't understand filmmakers who are compelled to direct, produce, write, and star in a single production. Less is more - Welles should have stayed behind the camera. I'm not convinced he nailed the working-class Irish sailor character at all. Ms. Hayworth, however, glows as the tempestuous temptress whose alluring presence, piercing eyes, and Eleanor Parker-style hairdo leaves no chance for O'Hara to resist.

The real star of the show is the cameraman whose superb, eerie cinematography is spellbinding. The scenes featuring Hayworth and Welles at the aquarium and in the hall of mirrors at the amusement park are out of this world. Intricately captured and dimly lit, the camera artistry heightens this jam-packed film noir and your eyes are fixed to the screen in anticipation.

It's a movie that has sharply divided movie boffins, but despite its flaws, it is a mostly enjoyable watch and the ending is superb and highly unexpected. I would recommend watching this movie, if not for the cinematography and set design alone.

Mr. Blandings Builds His Dream House (1948)

Bland! Bland! Bland! Is this supposed to be a comedy?

[5/10 · 19 August 2021]

Promisingly souped-up and fresh from their 1947 hit "The Bachelor and the Bobby-Soxer", Grant and Loy's next outing fails to live up to the same success in this bland, nothing-really-happens "comedy".

Blandings (Grant), an advertising executive, is fed up with New York life and his tiny apartment. He, along with his wife Muriel and two daughters, decide to up sticks and move to their "Dream House" in the country. But things go haywire, and the family finds the move more trouble than its worth.

The movie is totally barren of any belly-grabbing laugh out loud moments. Its script is lazy and lacklustre with most retorts a regurgitation of the previous character's dialogue. There is the occasional nugget, but they are too rare and easily forgotten.

Loy adds little, if anything, to the movie in which she portrays the party-pooping Mrs. Blandings whose one-liners mainly revolve around "Think of the children" or "Can we afford it?" The half-baked subplot between Loy and an old flame (Douglas) is bizarrely out of place and delivers no value. Perhaps, like the book, it was included to add length? I was also disappointed by Grant's performance - he looks like he doesn't want to be there. His usually on point, slapstick and sardonic humour is greatly missing. A real shame.

The best part of the movie for me was the family's maid Gussie (Beavers) giving Blandings the slogan for his cursed advertising assignment: "If you ain't eatin' Wham, you ain't eatin' ham!" - another subplot which is almost forgotten about until the movie's close.

I suspect this movie was lost on international audiences as it hypes up the "American Dream" - which, nowadays, you could say translates to the "Impossible Dream" for the average American.

It wasn't for me, but that's okay.

Rings on Her Fingers (1942)

Fonda and Tierney make an excellent pairing in this pleasant comedy.

[6/10 · 16 August 2021]

I stumbled across this movie on YouTube while trying to find something quick to watch that required little head thinking and I'm glad I did. It's a harmless, sometimes sweet, romantic comedy-crime story with a very good cast.

Two swindlers take Susan/Linda (Tierney), a girdle shop assistant who dreams of a life of glitz and glamour, under their wing and employ her for their money-grabbing schemes. Things get complicated when Susan/Linda falls for the small-time accountant John (Fonda) they are trying to con who parts with his life savings to impress her.

Fonda and Tierney's chemistry save this movie from becoming another unimaginative and dull comedy that relies on its star billing for top box office draws. Susan/Linda transforms herself from Brooklyn shop assistant to high society heiress with ease - cementing herself as the Grace Kelly of the 1940s. It is hard to believe she is only 21 years old in this movie. While he's no Cary Grant in the romantic comedy arena, Fonda plays the hapless and financially unsuccessful John perfectly who, like any man would, falls for Tierney in a heartbeat.

Although not a hit in its day and practically forgotten by today's audiences, "Rings on Her Fingers" is worth a watch for Fonda and Tierney's early comedic performances alone. They work well with the script and story they are dealt with.

Portrait of Jennie (1948)

A pioneering effort in one of the early fantasy movies - worth a watch!

[8/10 · 14 August 2021]

With a sharp script, brilliant performances, chilling music, and terrifying visual effects, "Portrait of Jennie" both shocks and entices you to uncover who Jennie really is, whether she's real, and what about her makes her so captivating.

In Depression-era New York, Eben (Cotten) is a blue and uninspired artist who comes across Jennie (Jones) and injects passion and meaning into his life again. Things become inexplicably complicated when Jennie appears to age faster than humanly possible, and her story doesn't quite add up.

The two leads thrive together. There is a dark and undefinable beauty to Jones's portrayal of the title character. She is intriguing, weird, and unfathomable - but there is something so alluring about her that leaves Eben (and us) yearning for answers. Cotten's humble portrayal is also commendable.

The supporting performances by Ethel Barrymore and Lillian Gish are also excellent. Barrymore as the spinster Miss Spinney who takes a shine to Eben and encourages him to pursue his infatuation, while Gish excels as Jennie's former convent teacher, Mother Mary of Mercy, and is pivotal in piecing together Jennie's complex story.

For its time, the visual effects are quite something. The cloud sequence during the sailboat scenes at the movie's climax is dramatic, shocking, and almost extra-terrestrial. The sharp green filter makes it even more terrifying - accompanied by a stellar music score. There are black and white movies, and then there is "Portrait of Jennie" which is so dimly lit, it's as if director Dieterle wants to keep the audience in the dark as much as its cast.

It is a gripping story and one that raises more questions than answers. It does beg the question: Was Jennie real or merely a figment of Eben's imagination? You can be the judge of that.

The Song of Bernadette (1943)

Incredibly watchable, moving, and thought-provoking.

[9/10 · 11 August 2021]

"The Song of Bernadette" chronicles the life of a small-town French girl (Jones) who reportedly witnesses Marian apparitions at Lourdes in 1858.

It is a powerful movie, especially as the townsfolk (and indeed the world) are in disbelief that such a 'miracle' could bless this tiny, unremarkable village. The silent pilgrimages to the site where Bernadotte saw visions of the Virgin Mary are incredibly poignant. I can't name a single movie based on a religious event that is more sensitively told than "The Song of Bernadette". Despite the global phenomenon it initiated at the time, the film is not overly dramatic or sensationalised - it simply tells a story.

There is no finer actress for the role of Bernadette Soubirous than Jennifer Jones. Jones is enchanting as she disappears into Bernadette. She is childlike, naïve, mysterious - and incredibly believable. I can't imagine another actress in the role - she really made it her own. You do end up feeling sorry for Bernadette. She is a simple girl who just wants to "work as a housemaid" but, as Father Peyramale declares, the Mother of Christ has "placed a responsibility on her... you can't suddenly play truant". She must be a servant of God.

The supporting cast is also a treat. Vincent Price as the sly politician, Anne Revere as the firm and doubting mother, Charles Bickford as the stern and cautionary priest, and Gladys Cooper as the green-eyed nun.

Alfred Newman's stunning film score must also be celebrated - especially during the point of Bernadette's first vision where the music supremely captures the emotion of this moment so beautifully. An Oscar thoroughly deserved!

While the movie is over two hours long, it doesn't matter. You are gripped from the very first scene. "The Song of Bernadette" doesn't feel like a movie it all. It feels like you're witnessing a remarkable moment in history. For anyone with any religiosity, it questions the very meaning of faith.

The Miracle of the Bells (1948)

Strange movie, I neither enjoyed it nor hated it.

[6/10 · 11 August 2021]

I can't quite put my finger on what I thought of "The Miracle of the Bells". I'm not sure what I liked and didn't like. It was neither terrible nor extraordinary. However you look at it, it's not a glowing endorsement.

The movie tells the story of Olga (Valli), an aspiring movie star who gets her first and only starring role as Joan of Arc before succumbing to tuberculosis before the movie is released. With the help of press agent Bill (MacMurray) and Father Paul (Sinatra), the pair conjure up a plan to ring the church bells in Olga's hometown for three days and three nights, as the studio hesitates to release the movie.

The movie is amazingly miscast with the three stars unconvincing in their roles. I found Sinatra's portrayal of the noble, do-good small-town priest hysterical and quite bizarre - possibly a reputation restoration exercise by the studio? Like his role in "High Society", Sinatra would have been best suited to the role of the cunning press agent with the plain and modest MacMurray as Father Paul. I also felt Valli was out her depth. If you're going to have an actress playing an actress playing Joan of Arc, you need someone with real star power who can command the screen. Hedy Lamarr, Olivia de Havilland, or Deborah Kerr would have been better cast.

I found the parallels of the showbiz and religious worlds quite confusing, too. Does the Heavenly Father really want to grant a miracle to draw national attention to a fallen actress and help a Hollywood studio promote its production of the year? Come on! Shockingly, the story is not a souped-up Hollywood original, it's actually based on the 1946 novel of the same name by Russell Janney. The movie is a Hollywood vanity project of the highest order - not one I'd watch again.

Holiday Affair (1949)

Innocent Christmas movie - I really enjoyed it.

[7/10 · 11 August 2021]

A Christmas love triangle with a heart of gold morale to the story. Steve (Mitchum) is an unsuccessful store clerk who falls for widowed commercial spy, Connie (Leigh). A car-crash of comedic and romantic mishaps ensues - much to the dismay of Connie's suitor Carl but delight of Connie's son, Timmy.

As far as cheesy Christmas movies go, "Holiday Affair" breaks the mould and etches towards becoming a holiday classic. Its simple, understated plot and relatable characters make for an endearing watch.

I read Mitchum was encouraged, even forced, by RKO to take the part to rehabilitate his image following a headline-grabbing marijuana bust. He certainly comes across as the noble, selfless 'spirit of Christmas' sort of character. He plays the part well.

Leigh, in the early stages of her career, plays the doting and loving mother to little Timmy perfectly. She captures the struggle of a single parent and her heart is in the right place. Although her character strings the two fellas along as she wrestles with deciding on the man she needs, or the man she wants, you still empathise with her. Her priority is her son, and he's clearly taken a shine to the charismatic Mitchum rather than the financially stable, but incredibly dull, Carl (Corey).

I must commend young Gordon Gebert's performance as Timmy. He is brilliant - excellent comedic timing, a scene-stealer, and holds his own with screen legends Mitchum and Leigh. The scenes where he travels alone to the department store to return Steve's Christmas present and meets the store owner are very sweet. I am surprised we didn't see his star rise further.

Is it the most original holiday movie? No. Is it garnished with Hallmark-esque cheese? Also no. It is, however, a calm and easy-to-watch Christmas movie with a good message, likeable characters, and waiting to be discovered by generations to come.

Letter from an Unknown Woman (1948)

Rich and melancholic romantic drama that pulls on your heartstrings.

[8/10 · 3 August 2021]

One of the quintessential black-and-white romantic dramas of the 1940s, "Letter from an Unknown Woman" has Joan Fontaine written all of it. Set in dreamy Vienna at the turn of the 20th Century, the picture opens with Stefan Brand (Jourdan) receiving a letter from an 'unknown woman' (Fontaine) and flashes back to reveal who this woman really is, and what he's done to her.

Fontaine wows us with her incredible versatility as she effortlessly transforms herself from a shy girl crushing on her pianist neighbour to an aristocratic lady of high society. While Jourdan is no match for Fontaine's captivating screen presence, he has his moments as the womanising, self-absorbed struggling pianist who moves from one woman to the next. The pair's chemistry is guarded, intense, and spontaneous all at the same time.

For a movie that's less than 90 minutes, it packs a lot in - without compromising on pace and storytelling. The performances throughout are very good. Fontaine thrives as the sweet girl-next-door with a schoolgirl crush, while Jourdan's portrayal of the rogue and vain pianist makes for an eclectic mix. Their love story is not reciprocal by both parties though. It's all Lisa, and Stefan is there for the ride reaping as much as he can get.

It is a revealing tale of an unorthodox love story. The solitary dancing scenes, the crisp winter walks, the tearful goodbyes at the train station. It has all the ingredients of a beautiful romantic drama, and then some. The moment Fontaine's Lisa leaves the opera and storms down the stairs in her commanding dress is both theatrical and telling of her desire to regain control and get what (and who) she wants.

I would highly recommend watching this movie.

The Bachelor and the Bobby-Soxer (1947)

Understated screwball comedy, but not totally devoid of laughter.

[7/10 · 2 August 2021]

Susan (Temple), an immature and impressionable bobby-soxer (teenage girl to non-American audiences) is infatuated by the debonair playboy Richard Nugent (Grant). After a quick spell in jail Nugent agrees to play along till the crush subsides, but all efforts fail, and a series of farfetched mix-ups ensue in this warm and watchable comedy.

Immensely popular in its day, largely due to its triple star billing - Grant, Loy, and Temple - the movie does more than rely on its stars to get in a few laughs. The chemistry is good, and everyone is having a swell time.

Grant excels and his comedic timing is on point throughout. Loy also does a fine job as the prim and unattainable Margaret who is the complete antithesis of her teenage sister, Susan. I felt Loy's character could have been developed a little further though. She is almost secondary to the plot and forgettable, but it is called "The Bachelor and the Bobby-Soxer" after all! All eyes are on Loy, however, where she and Grant's characters agree to go out for dinner, and she dons a fine-fitting black number. The supporting performances by Harry Davenport and Rudy Vallee are also a delight.

Although we know of Temple's struggle to transition from child star into adolescent actor, she does a good job with the part she's got. She plays the naïve 17-going-on-30 Susan satisfactorily. The sparks of charm that she so easily exuded during her heyday in the 1930s are sometimes there, as is her dimpled smile. But there is something restrained, even distant, about her performance. I'm not sure whether she's non-comital or she just genuinely found mature roles so difficult to master.

"The Bachelor and the Bobby-Soxer" is not the most inventive, trail-blazing, or daring of pictures. It's a harmless comedy, and that's absolutely fine. Innocent fun, and a perfect watch for a Sunday afternoon.

How Green Was My Valley (1941)

Powerful. Emotional. Unforgettable.

[9/10 · 29 August 2020]

There's no place like home. This phrase for me perfectly encapsulates the essence of this movie. Set in a small mining village in the Welsh valleys during the 19th century, "How Green Was My Valley" chronicles the lives of the Morgan family and their quest for a better life.

The cast playing the Morgans are exceptional. They don't have much, but they have each other. The tight-knit and tough-loving mining family exemplify what it means to be a struggling family in the South Wales Valley during the Victorian era. The story is incredibly moving. The picture-postcard rural setting along with the miners singing Welsh hymns up and down the valley is both chilling and endearing.

The cinematography is outstanding. It's hard to believe that, due to the Second World War, the movie was shot entirely in the Santa Monica Mountains in California. The crew did an excellent job. You feel transported to rural Wales and can empathise with the plights of the struggling miners and their families when economic and social hardship hits.

Maureen O'Hara is striking as the sensible, yet strong-willed, Angharad. She exudes the heartbreak we see as her character is forced to marry someone she doesn't love. The scenes after her wedding where her veil battles the valley wind is so dramatic. It's almost as if she wants to be swept off her feet and taken far away from the choice she's regrettably had to accept. Donald Crisp, who plays the Morgan patriarch, appears as a cold and unloving father in the beginning - at least by today's standards - but you warm to him as the story progresses. He is a man who simply wants to do all he can for his family, especially his youngest son, Huw (the movie's narrator), who has a chance to get an education and find a better life.

There's an innocence to Roddy McDowell's performance as the young Huw. What a terrific idea to tell this very serious story through the eyes of a child. When he has a chance to pursue a "respectable" profession, he decides that the mine is the place for him. It's all he's ever known.

What an incredible movie. One I'll never forget, and definitely worthy of the Oscar for Best Picture.

Suspicion (1941)

There, there, monkey face!

[7/10 · 25 August 2020]

Fontaine plays the shy and retiring Lina who suspects her husband, Johnnie (Grant), is trying to kill her. In what is probably Lina's first romance, she hurriedly marries Johnnie who is all talk and has questionable (if not, zero) career prospects.

Fontaine absolutely nails the always-suspecting Lina down to a tee. Whether it's a simple distrusting raise of the eyebrow or an icy, pensive stare, Fontaine portrays Lina's suspicions so terrifically that we're constantly pondering whether Johnnie is out to get her.

Grant does what he does best by playing the charming and sophisticated Johnnie Aysgarth. One scene where he carries a glass of milk to an unwell Lina - who suspects that the drink may be poisoned - is brilliantly captured on screen. The single glass, dramatically served by itself on a silver tray, glows against a dark and unnerving backdrop.

The car scene at the end is heart-stopping. To get her inheritance, will Johnnie bump off his new wife as the pair drive dangerously close to a cliff edge? I find it interesting that Hitchcock filmed two possible endings to "Suspicion" - one where Johnnie is the villain and the other where he saves Lina's life. At film previews, audiences would not accept Grant as a villain, so we get the happy ending with Johnnie and Lina driving into the sunset. Hitchcock keeps us guessing right until the very end though. The intensity of Johnnie's face as he grabs Lina just before she's about to fall out of the car is unforgettable. Is he wickedly trying to finish her off, or is he in total shock that his new bride is about to fall to her death?

Not the best Hitchcock movie, but certainly worth a watch for Fontaine and Grant's performances alone. They do a good job in portraying how marital life in the English countryside isn't as picture-postcard or uneventful as we might have thought.

Dragonwyck (1946)

This eerily gothic romance is just the ticket!

[7/10 · 22 August 2020]

At the outset, it appears that Miranda's (Tierney) wishes have all come at once. A simple Connecticut farmer's daughter, she jumps at the chance to join a distant and wealthy cousin (Price) who invites her to live at his Hudson Valley mansion to be his daughter's governess. The opportunity seems like the perfect one-way ticket out of the plain and simple, but the girl's dreams of a more fulfilling and opulent lifestyle quickly descend into a web of nightmares.

"Dragonwyck" has everything a good gothic thriller should have: low lighting, a moody score, and some creepy characters - all set against a spooky-looking mansion where the drama unravels. You sometimes feel like you're in a theatre watching a play, it's that dramatic.

This is the third Price-Tierney collaboration I've seen, and I'm blown away by Price's versatility as an actor. He is excellent as the evil and manipulative Nicholas Van Ryn who has Miranda wrapped around his little finger. His performance in "Dragonwyck" is a stark contrast to the weakling lover he played in "Laura" (1944) and the interrogating prosecutor in "Leave Her to Heaven" (1945).

Tierney is excellent as the naïve Miranda who helplessly falls for Nicholas's charm. It's easy to see why though. On the surface, Nicholas's almost Shakespearean-style vocabulary may appear tempting, but it's actually a disguise to cover up his true (and wicked) intentions. Walter Huston's character, who plays Miranda's father, sums up the smooth-talking baddie perfectly by declaring that he's nothing but a bunch of "pretty words".

Most of the supporting cast is great. Glenn Langan's rather wooden and lacklustre performance as the doctor adds nothing to the movie though. You can see him holding back and he's clearly out of his depth, unable to match his co-stars Tierney and Price. On the other hand, Spring Byington's performance as 'Mad' Magda, the house servant, is very convincing. Think of her as a looney version of Mrs. Danvers from Hitchcock's "Rebecca".

I highly recommend this movie - the perfect watch when you're stuck indoors on a rainy day.

Heaven Can Wait (1943)

A scrumptiously original comedy-drama with a perfect cast.

[9/10 · 17 August 2020]

"Heaven Can Wait" kicks off with Henry Van Cleve (Don Ameche) heading down the staircase to hell after his death. Before he reaches the underworld, he's stopped by Satan who asks Van Cleve to tell his life story to determine whether it's Hell or Heaven for the smooth womaniser. The movie flashes back to Henry recounting his life and all the women along the way before he summarises that his life's been "one continuous misdemeanour."

Set in the late nineteenth and early twentieth centuries, this stunning comedy-period drama is a terrific entertainment and easy watch. Captured in crisp Technicolour, "Heaven Can Wait" is a light comedy wrapped around one man's wayward life choices affects those around him.

Don Ameche and Gene Tierney are superb as the leads. Although their relationship blooms rather too quickly to be taken seriously, it doesn't matter, you want them to be together. The pair make an excellent couple and their romance is tender and not too lavish for a Hollywood hit.

You can't help but like Ameche's cheeky and smooth-talking portrayal of Henry Van Cleve - a man born with a silver spoon and never seen a hard day's work in his life. Despite his "all talk" manner and questionable moral compass, you seem to root for him. Tierney portrays Martha, a Kansas beauty, who's set to marry Henry's Poindexter cousin, but quickly changes her mind and elopes with Henry. Tierney plays the devoted wife who's far wiser and commanding beyond the actress's 22 years.

I also enjoyed Charles Coburn's performance as the lovable grandpapa. He embodies everything the perfect grandparent should be: devoted to his grandchild, always turning a blind eye to their shortcomings, and always taking their side over his parents'. He sees a lot of himself in the young and reckless Henry and the pair are kindred spirits.

My only complaint is that there wasn't enough of Miss Tierney!

Spellbound (1945)

You'll be spellbound for Bergman.

[7/10 · 15 August 2020]

"Spellbound" is a psychological thriller that tells the story of the new head of a mental asylum (Peck) who turns out to be an imposter. It's love at first sight for Constance (Bergman), a psychiatrist at the asylum, who falls for Anthony (Peck). However, his amnesia and dizzy spells reveal that he isn't the man he says he is, and he may have actually killed the man he's pretending to be.

As things begin to unravel and the situation becomes public knowledge, Anthony does a runner and Constance leaves the asylum to track him down. The pair reunites and Constance quests to prove the innocence of her new lover.

This movie has suspense written all over it. I'm a big fan of Hitchcock movies, especially the cinematography. I love it when the shot cuts to a new location or landscape - almost in complete silence. It gives a certain eerie 'what's going to happen here?' feel to it. Even in the opening titles with the bare tree branches rattling in the wind - you know you're in for a real treat with that spooky music.

At times Peck's character does come across a bit of wimp during his funny 'spells' where he flashes back to a time when he THINKS he may have committed a crime. You want him to pull himself together and snap out of it, yet it's part of the plot so all is forgiven.

When all the signs point to guilt Constance, in what we can only assume is her own delusion and blindness, refuses to believe that Anthony could ever do something so heinous. Her scepticism rings true towards the end when her psychiatric training comes in handy and we discover what really happened. She calls on the expertise of her former mentor, played by Michael Chekhov, who plays the part of the probing, and rather peculiar, psychoanalyst well.

Bergman and Peck make a terrific pairing. The love their characters have for each other is so convincing, you pray (and hope) that Anthony is innocent and it's all a misunderstanding. Bergman portrays Constance's desperation so well - she is desperate to prove Anthony is a good man despite his multiple admissions of guilt.

Leave Her to Heaven (1945)

Shot in glorious Technicolour, a stunning melodrama for the ages!

[9/10 · 11 August 2020]

"Leave Her to Heaven" is a stunning, nail-biting, heart-stopping thriller. On a chance meeting en route to a New Mexico holiday resort, writer Richard Harland (Wilde) meets the exotic Ellen Berent (Tierney) and the pair soon fall in love and impulsively marry. At first, everything points to a happy ever after with a lifetime of marital bliss on the horizon. However, the couple's lives descend into pain and misery as evil Ellen concocts a vindictive web of lies to keep Richard all to herself. "I can't bear to share you with anybody," she declares. Ultimately, events rapidly spin out of control for the newlyweds and everyone around them.

We're first introduced to Tierney on the train as the mysterious, yet enchanting, young lady with a book held up to her face. As she slowly reveals herself, you are blown away by her crystal-clear blue eyes, plump red lips, chiselled cheekbones, and poised demeanour.

Tierney and Wilde as the romantic leads are in different leagues. Tierney knocks it out of the park playing the calculating, obsessive, and pathological wife while Wilde delivers a weak and unmatchable performance as a writer unable able to see past Ellen's pretty and seemingly sweet exterior. He seems out of place and can't hold his own against a scene-stealing Tierney.

The movie is impeccably captured on film with landscapes akin to something Monet would have loved to paint. It does get a bit heavy and some scenes are difficult to watch; especially the events that unfold on the lake and following Ellen's pregnancy. It's unfathomable how Ellen will stop at nothing or no one to keep herself the sole object of her husband's desires. She's a conflicted woman and you see that she knows she's doing wrong, but she just can't help herself.

Crain performs well as Ellen's retiring and wholesome adoptive sister. What could have been a bland and forgettable part (at least compared to Tierney's), Crain gives the character depth and spunk - especially in the demanding courtroom scenes. The women also share an uncanny resemblance so kudos to the casting people.

I will watch this movie again and again! It's brilliant!

Notorious (1946)

Bergman delights in this 'Will they? Won't they?' spy romance thriller.

[7/10 · 8 August 2020]

Bergman and Grant star in this Hitchcock-directed post-war Nazi spy thriller. Grant plays Devlin, an American agent, who calls on Alicia (Bergman) to become a spy and infiltrate a Nazi group. Alicia's father has just been convicted because of his affiliations with the Nazis so Devlin believes her family connections will make her new role ever-more convincing. The assignment becomes tricky when Devlin and Alicia fall in love during the mission in Rio de Janeiro, and events take a complicated turn as the Nazi leader (who Alicia needs to get cosy with) keeps a watchful eye and eventually susses her out.

This is the first movie I've seen Bergman in, and she is excellent. You are truly exposed to the many layers of Alicia's personality. At first, she appears forthright and strong-willed as she refuses her assignment but then is forced to accept once Devlin plays a recording of her and her father fighting. As the movie progresses, she assumes her new role like a duck to water, before the mission takes a complicated detour as her new husband (the group leader) realises what she's up to. Alicia becomes helpless, vulnerable, and completely trapped.

Rains, as the evil Alex Sebastian who is the head of the Nazi gang, is a terrific baddy. His cunning, manipulative, and controlling performance is easily watchable. He comes into his own - especially as the movie reaches its climax. Sebastian's mother (Konstantin) also does a splendid job playing the mother-in-law from hell who will stop at nothing to protect her son and silence her new daughter-in-law.

The scenes where Bergman is in the wine cellar trying to figure out what her husband and his gang are up to are intense, especially as a bottle shatters and everything starts to make sense. Also, the scenes where Sebastian and his mother poison Alicia's coffee to finish her off slowly are also well-executed - particularly as the doctor almost drinks from the wrong cup!

"Notorious" is not a movie besieged with twists and turns, or whodunnits, it's a romantic drama set within the parameters of a spy film noir. It's definitely one to watch, and the cast is real treat. Highly recommend - it's not one to be overlooked!

Kitty Foyle (1940)

Slightly predictable plot but Rogers proves she can do dramas and musicals.

[7/10 · 2 August 2020]

Classic old Hollywood formula. A beautiful lady torn between two men who are heads over heels in love with her. Will she go for the guy she's adored for years or a new acquaintance who happens to be a doctor with no strings attached?

Rogers plays the title role in "Kitty Foyle" which kicks off with her packing her bags to run away with one of the two men. Will it be her hometown sweetheart (who is married) or the committed, yet struggling, but available doctor? Before we discover Kitty's decision, the movie takes us on a romantic trip down memory lane - with all of Kitty's high and lows in between - exploring how she met and fell in love with the two men.

Even though the plot is slightly predictable, and you know what's going to happen in the end, it doesn't really matter. The movie is a definitive '40s romance which was incredibly popular in its day and is, generally, worth investing your time. Romantic escapism at its finest.

You can't take away the fact that Rogers steals the movie as a forthright, no-nonsense New York career woman. The on-screen romances Rogers has with her leading men (Morgan and Craig) are so convincing; you feel like you're in the wine bar eavesdropping on their conversation or a passer-by in streets of New York enthralled by the madly-in-love couple(s). Having won the Oscar for this movie, I don't think Rogers' performance is on a par with two of her fellow nominees that year: Katharine Hepburn for "The Philadelphia Story" and Joan Fontaine for "Rebecca". In my book, Hepburn and Fontaine's performances have stood the test of time and, if I had to choose, Hepburn seals the deal for me.

Foyle remains an incredibly likable character throughout despite stringing out the decision she's got to make. You warm to her even more towards the end where, years later, she meets her hometown sweetheart's wife and son and entrusts the boy to secretly return the family heirloom his father gave her.

If you're looking for a movie that beautifully yet subtly captures the starry-eyed romances of yesteryear, "Kitty Foyle" will be right up your street.

My Favorite Wife (1940)

Dunne steals the show as a cuckoo wife who reappears after seven years AWOL.

[8/10 · 1 August 2020]

Watch this movie the next time you need a laugh. "My Favorite Wife" is the perfect recipe for a good screwball comedy - a stellar pairing, perfect comedic timing, a simple yet funny plot, and mishap after mishap that'll leave you not knowing whether you're coming or going.

The movie stars Dunne as Grant's wife who resurfaces after a seven-year disappearing act following a shipwreck - random, right? Inconveniently for Grant's character, Dunne's homecoming just so happens to coincide with the first day of her husband's honeymoon with new wife Bianca (Patrick). Dunne tracks Grant and his new missus down and, for the next 90 minutes, we witness his inability to tell Bianca the news where he'll inevitably have to choose between the two.

It's a funny movie, and Grant constantly putting off telling his new wife and getting himself into a pickle, makes for an easy watch. When the cat's finally let out of the bag Grant, Dunne, and their kids head to the family's mountain house retreat until the gossip dies down. The scenes towards the end where the audience is left guessing will they or won't they reconcile are equally warm and smirk-inducing.

Dunne's Kentucky roots are evident as her thick Southern accent creeps in every now and then - and at the perfect time. Especially when she first meets Grant's new wife and quickly hatches up a plan to pass herself off as an old friend from the South.

Scott's supporting performance as the man who was stranded on the desert island with Dunne during her hiatus is average. However, he does his bit to play the charmer who wants to rekindle whatever romance may have developed between them on the island. Patrick's part as the other woman is neither memorable nor entertaining, but the simple obstacle needed to keep Dunne and Grant from reconciling too early. Bates's performance as the judge who's just as flummoxed by the plot as the rest of us is alright but on the cusp of being annoying.

Laura (1944)

Tierney is Laura - the girl at the centre of a gripping whodunnit... Or is she?

[8/10 · 29 July 2020]

Based on the novel by Vera Caspary, "Laura" instantly sets the audience's hearts racing as the movie opens up with the alleged murder of Laura Hunt - a charming, sophisticated advertising executive with everything to live for. Think of the movie as Hitchcock meets film noir - simple plot, excellent performances, and plenty of twists and turns. Told in the first part through flashbacks, the movie documents how Laura has affected the lives of three men - one of whom has never actually met her but is investigating her murder.

Tierney's understated, cryptic, and cagy performance as Laura is just the ticket for this fine film noir. You just can't quite put your finger on her on what happened to her character, but halfway through the movie, it all seems to make sense. This is the first movie I've seen starring Tierney and she is mesmerising - whenever she's on screen, you can't take your eyes off her. The camera truly loves her. She has that air of mystery that will leave you toying between whether her character had it coming to her or whether she was a victim of her bad taste in men.

Webb's sly portrayal of Lydecker, Laura's egocentric mentor, is very entertaining - particularly when he discovers that Laura isn't dead and very much alive. The way he falls to the floor in shock is so staged, you begin to question whether he knows more than he's letting on.

Andrews is the chief investigator assigned to solve this crime and plays the part well. He commands the screen just as any detective should, keeping his cards close to his chest as the two other men in Laura's life (Webb and Price) try to implicate each other. Price also does a good job playing the wet blanket hopelessly in love with Laura while Anderson pulls off yet another crafty performance as his keeper (who happens to also be Laura's aunt).

All in all, the cast makes this movie what it is - a definitive classic of the 1940s. Tierney's captivating beauty and elegance, Andrews' unwavering determination to get to the bottom of this crime, Webb's blunt one-liners, and finally the Price-Anderson oddball double act, make this movie one you can watch over and over. Highly recommend.

Vivacious Lady (1938)

Rogers and Stewart shine in this genius comedic pairing.

[7/10 · 26 July 2020]

In one of Stewart's earliest leading roles, his character Peter falls in love with Rogers' Francey - a New York nightclub singer - and they practically marry overnight. After a whirlwind romance, the movie centres on Peter's inability to break the news to his conservative family and fiancée(!) back home.

This hearty comedy brings out the best in Rogers and Stewart as newlyweds who can't get a moment together to figure out how to publicly profess that they're married and in love. Various obstacles send the plan awry. Stewart's character is a professor at his father's university where prestige means everything. The family is at the pinnacle of American high society and a quickie marriage would be a scandal. Peter's mother has 'heart trouble' and any surprise or family drama could seemingly finish her off. And, to top it off, Peter already has a prim and proper fiancée waiting for him back home.

One scene where Peter's wife and fiancée (lucky guy, right?) come face-to-face and thrash it out at the university's faculty party is particularly entertaining. It all goes wrong. Francey gives it her all for the man she loves but ends up red-faced when she accidentally socks Peter's father before Peter's mother has one of her turns.

Despite good intentions and countless opportunities that end up down the toilet, it seems that Peter and Francey can't make it work themselves or Peter's family, so Francey decides to go back to New York. I won't spoil what happens after but certain scenes at the end where Peter and Francey, along with Peter's parents, are on a train are equally tender and rib-tickling. Is it sayonara for Peter and Francey's oh-so brief marriage? You'll have to watch it and see.

Stewart's parents in the movie, particularly his mother, give the Hollywood leading legends a run for their money in the scene-stealer department. Played by the talented James Ellison and Beulah Bondi, the pair have their own share of marital troubles and comedic mishaps to keep up with Rogers and Stewart.

Bringing Up Baby (1938)

A screwball classic that's still funny today as it was all those years ago

[9/10 · 25 July 2020]

Brilliant comedic timing, timeless jokes, a perfect Hollywood pairing, farfetched situations, oh, and a pet leopard... what more could you ask for in a comedy?

Usually, most reviews begin with a brief summary of the movie's plot, but with this, I won't bother. Just watch it! The movie's nonsensical narrative and random happenings are enough to keep you laughing and begging for more. It doesn't matter that the plot's a bit mad; if you're after a laugh - and with everything going on, who isn't? - this is the one for you!

Stand out moments for me are when Susan (Hepburn) annoyingly repeats (and echoes) David's (Grant) cries for pet pooch George who's got a very important bone before the pair follow George aimlessly around the garden as he takes the pair on a wild goose chase digging up things he's buried. The scenes where the couple are in a restaurant and get into a few wardrobe mishaps and misunderstandings with fellow diners are really funny too.

Grant, as usual, is the quintessential leading man for a '30s screwball comedy - easily flipping between being confused, flustered, cynical and at his wits' end in the hair-brained schemes his character (willingly) gets himself into.

Hepburn is superb. It's amazing how she was able to, in her early career, portray wealthy and spoiled New England girls brought down to earth following a chance meeting with a charming guy - usually played by Hollywood's cream of the crop (Grant, Tracy, Stewart, etc.). On the surface, these characters aren't the ones you typically root for, yet she makes them likable and entertaining. A class act!