Seconds (1966) **1/2

Based on David Ely’s 1963 novel of the same name, Seconds (1966) is a disturbing science fiction—and, I would go as far as to say horror—film about a man who completely takes on a new identity to escape his meaningless suburban lifestyle.  Director John Frankenheimer, along with cinematographer James Wong Howe, depicts a stark vision of a world where lives can be created or taken by an underground company headed by a man who looks and sounds...

Read More

Three Colors: Red (Trois couleurs: Rouge) *** 1994

The third installment in director Krzysztof Kieslowski’s Three Colors Trilogy, Red (1994), is by far the most philosophical and entertaining of the group.  I am a fan of films that interconnect the seemingly unconnected—this is why I so adore directors/producers like Alejandro Gonzalez Inarritu and Alfonso Cuaron—and Three Colors: Red not only artfully pulls together what appears to be two independent stories but also seamlessly unites all...

Read More

Three Colors: Blue (Trois couleurs: Bleu) 1993 **

  I find it odd that the editors of the 1001 Book only selected two films from director Krzysztof Kieslowski’s Three Colors Trilogy (Blue, White, and Red), as they are all connected in their exploration of the ideals of the French Revolution (and the French tricolor flag)--liberty, equality, and fraternity—and have overlapping themes.  Of the three films, I prefer Red (1994) because of the story arc and Irene Jacob’s phenomenal performance. ...

Read More

On the Town (1949) **

I’m a sucker for a good musical, but there’s one particular aspect of a Gene Kelly musical that I rather don’t like: the soliloquy dance number.  I can forgive the “Singin’ in the Rain” soliloquy because it’s absolutely breathtaking to watch, but the soliloquies in his two other notable musicals, An American in Paris (1951) and On the Town (1949),  really rankle me.  Kelly was an amazing dancer and choreographer, and so I understand...

Read More

The Wrong Man (1956) **

Had Alfred Hitchcock not appeared at the beginning of The Wrong Man (1956) to introduce it and to say that it was different than his other films you wouldn’t believe that the master of suspense directed it.  It doesn’t look like or develop like any other Hitchcock movie I’ve ever seen.  Yes, the Hitchcockian theme of the wrongfully accused man is the centerpiece of the story, but countless other directors also enjoyed employing this plot...

Read More

The Big Sleep (1946) **

There is no doubt that Humphrey Bogart and Lauren Bacall had oodles of chemistry, which jumped off the screen whenever they were paired together. And, they had a way of making risqué dialogue sound even more racier than it was probably intended. Yet, the fact remains that early in her career Lauren Bacall just wasn’t a very good actress.  Fortunately for her, she had two things on her side: her ability to project sexual tension with Bogart...

Read More

Mrs. Miniver (1942) ****

On most days I wouldn’t trade my parents for anyone, but if the stars aligned absolutely perfectly and I could pick my own I would choose Atticus Finch (Gregory Peck) from To Kill a Mockingbird (1962) and Kay Miniver (Greer Garson) from Mrs. Miniver (1942). For me, they are the epitome of good parenting.  Thankfully, they both have now found their way into the 1001 Book—he was an original and she was just added in the Tenth Anniversary edition. ...

Read More

Henry V (1944) **

Obviously I have been spoiled by Kenneth Branagh’s cinematic Shakespearian vision, not to mention producer Sam Mendes’ absolutely phenomenal Shakespearian endeavor, The Hollow Crown, because, hard as I try, I can’t bring myself to enjoy Laurence Olivier’s Henry V (1946).  Yes, yes, I know that Branagh and Mendes owe a debt of gratitude to Olivier for being the first director to make one of Shakespeare’s plays into a film that was both artistically...

Read More

Written on the Wind (1956) **

Of Douglas Sirk’s many heralded melodramas, Written on the Wind (1956) is probably my least favorite.  Yes, the Technicolor is as bright as ever and Sirk, generally, draws out  good performances from his cast, but the story and most of the characters fall flat for me.  If you take away Dorothy Malone’s scintillating performance, there is nothing compelling about the film. Based on Robert Wilder’s 1945 novel of the same name, Written...

Read More