FILMS
The following is a list of past film we’ve enjoyed:
Film Salon Archive - 7 years of classic films
 |
 |
| Shadow of a Doubt Teresa Wright, Joseph Cotton, Hume Cronyn Dir. Alfred Hitchcock 1943 108 mins Thriller, Crime Screened on Dec 3 2011 |
| |
| |||||
|
 |
| Suspicion Joan Fontaine, Cary Grant, Nigel Bruce Dir. Alfred Hitchcock 1941 99 mins Romance, Thriller Screened on Nov 5 2011 |
| |
| |||||
|
 |
| Foreign Correspondent Joel McCrea, Loraine Day, George Saunders Dir. Alfred Hitchcock 1940 120 mins Thriller, Drama Screened on Oct 1 2011 |
| |
| |||||
|
 |
| Rebecca Laurence Olivier, Joan Fontaine, Judith Anderson Dir. Alfred Hitchcock 1940 130 mins Drama, Mystery Screened on Sep 3 2011 |
| |
| |||||
|
 |
| Kiss Me Kate Kathryn Grayson, HOward Keel, James Whitmore, Keen Dir. George Sidney 1953 109 mins Comedy, Musical Screened on Jul 2 2011 |
| This modern show-biz retelling of Shakespeare’s The Taming of the Shrew has once married Howard Keel and Kathryn Grayson playing opposite one another onstage and bickering every chance they get behind the scenes. Add in Ann Miller’s long, long legs and some colorful local gangsters looking to collect on a debt (Keenan Wynn and James Whitmore almost steal the show), and you’re in for lots of dancing, singing and fun with the Cole Porter songbook on full display! |
| |||||
|
 |
| Henry V Lawrence Olivier, Leslie Banks Dir. Laurence Olivier 1944 137 mins Action, Drama Screened on Jun 4 2011 |
| Olivier would produce, direct and star in this morale-boosting adaptation of Shakespeare’s tale about an underdog nation and king with Olivier picking up an honorary Oscar in 1945 for the film and performance. |
| |||||
|
 |
| Meet John Doe Gary Cooper, Barbara Stanwyck, Walter Brennan Dir. Frank Capra 1941 122 mins Drama, Comedy Screened on Apr 2 2011 |
| In the 1930’s Frank Capra was the king of Columbia Pictures, turning out successful films focused on the plight of an average “everyman” who overcomes political and corporate obstacles. It was a formula that made millions of dollars at the box-office, brought Capra several Oscars and transformed Columbia into a major studio. Capra may have moved on to Warner Bros. for his first film of the 1940s, but his style and formulae are still apparent. Barbara Stanwyck is a down-on-her-luck reporter who concocts a letter from a “John Doe” decrying society’s ills and threatening suicide. The public eats it up and demands to meet Mr. Doe, so Stanwyck and her publisher (the ever dependable Edward Albert) run a casting call and pick an unemployed and injured baseball player for the part. A grass-roots national political movement swells around the fresh faced Mr. Doe, Cooper is groomed to run for office and the rest is pure Capra. It’s almost as if Frank Capra could see the future. |
| |||||
|
 |
| Mr. Smith Goes To Washington James Stewart, Jean Arthur, Claude Rains Dir. Frank Capra 1939 129 mins Comedy, Drama Screened on Mar 5 2011 |
| By many accounts, 1939 was a high water mark for Hollywood films. For Frank Capra, the year marked a subtle turning point with his latest film, Mr. Smith Goes to Washington. Jimmy Stewart, plays another Capra “everyman”, selected to fill a vacancy in the U.S. Senate and ultimately targeted by Washington’s media establishment and corrupt political machinery. Jean Arthur is Stewart’s Chief of Staff and eventual romantic interest who helps pilot him through the capitol’s murky waters. Originally conceived as a follow-up to Capra’s hugely successful Mr. Deeds Goes to Town, the film raises the stakes and brought real-life scorn on Capra from the country’s ruling elites (and made lots of money at the box office). The film ultimately shows Capra’s view of the world turning slightly more pessimistic with his dramatic sense less balanced by comedy - but his belief in the possibility that one passionate individual can make a big difference hadn’t lessened any. |
| |||||
|
 |
| You Can't Take It With You James Stewart, Jean Arthur Dir. Frank Capra 1938 126 mins Comedy, Romance Screened on Feb 5 2011 |
| Based on the Pulitzer-prize winning play of the same name, James Stewart and Jean Arthur fall hard for one another but find the task of knitting their two families together - one high establishment and the other eccentric - increasingly difficult. You Can’t Take It With You became the highest grossing film of 1938 (and the Academy’s Best Picture) and Capra received his third Oscar for directing in just four years, further cementing his “golden boy” status at Columbia Pictures. |
| |||||
|
 |
| Mr. Deeds Goes To Town Gary Cooper, Jean Arthur Dir. Frank Capra 1936 115 mins Comedy, Romance Screened on Jan 8 2011 |
| Gary Cooper plays the Mr. Deeds of the title, a small town bumpkin who inherits 20 million dollars and is beset by every manner of opportunist and schemer, including the lovely Jean Arthur. After many trials (literal and figurative) it turns out Deeds is a pretty sharp fellow, humbling or beating those who would do him harm and finding a fitting use for his windfall. It’s hard to imagine 1930’s Hollywood without Frank Capra. Indeed, his unique optimism and focus on the common man were just what the Depression-era, pre-War decade needed – so much so, his particular style and outlook didn’t easily translate into later years. But Capra had few peers in the decade leading into WWII. |
| |||||
|
 |
| The Furies Barbara Stanwyck, Wyndell Corey, Walter Huston, Gi Dir. Anthony Mann 1950 109 mins Western, Drama Screened on Dec 4 2010 |
| |
| |||||
|
 |
| Sorry, Wrong Number Barbara Stanwyck, Burt Lancaster, Wendell Corey Dir. Anatole Litvak 1952 89 mins Drama, Crime Screened on Nov 6 2010 |
| |
| |||||
|
 |
| Ball of Fire Barbara Stanwyck, Gary Cooper Dir. Howard Hawks 1941 111 mins Comedy, Romance Screened on Oct 2 2010 |
| |
| |||||
|
 |
| Stella Dallas Barbara Stanwyck Jim Boles, Anne Shirley, Alan Hal Dir. King Vidor 1937 106 mins Drama, Romance Screened on Sep 4 2010 |
| |
| |||||
|
 |
| White Heat James Cagney, Virginia Mayo Dir. Raoul Walsh 1949 0 mins Crime, Action Screened on Jul 3 2010 |
| By the mid-forties, the actors who played the biggest cinema gangsters of the 1930s, had largely moved on to higher profile dramatic roles, as smaller budget “film noirs” replaced the straight up gangster film. But in 1949, James Cagney was game to play the unforgettable Cody Jarrett – a ruthless, mentally unstable leader of a crime gang. After a train robbery goes bad, Cagney bides his time in the slam, while on the outside his right-hand man moves to take over his turf – over Cagney’s corrupt mother’s body! Before you can say “inferno”, Cagney’s busting out of the joint and leaving a trail of bodies in his wake. With Virginia Mayo and Edmund O’Brien and a great score by Max Steiner, White Heat gives a nod to the great ‘30s gangster pics but is firmly rooted in the more explicit, darker tones that marked crime films of the late forties. “Top of the world, Ma!” |
| |||||
|
 |
| Scarface Paul Muni, Ann Dvorak Dir. Howard Hawks 1932 0 mins Crime, Drama Screened on Jun 5 2010 |
| Scarface could have been among the first important gangster films of the sound era (and made a lot more money), but it’s realistic and high-body-count depiction of organized crime brought on the meddling of film censors and protracted re-shoots. Loosely based on the notorious Chicago gangster Al Capone (whose nickname was “scarface”), the film charts the quick rise of the unstable street criminal-turned-crime boss Tony Camonte, played by Paul Muni. Shocking for its time, numerous changes to the film were ultimately unsuccessful in pleasing the censors and Hawks, and studio boss Howard Hughes, decided to release the film without a “censors stamp” – to much success and critical acclaim. With Ann Dvorak, George Raft and Boris Karloff. |
| |||||
|
 |
| To Be or Not To Be Carole lombard, Jack Benny, Robert Stack, Lionel A Dir. Ernst Lubitsch 1942 99 mins Comedy, Drama Screened on Apr 3 2010 |
| By the early 1940’s, with the Second World War raging, the golden age of the Screwball Comedy was coming to a close. A marvelous late entry in the genre, German émigré director Ernst Lubitsch’s war-time theater piece displayed a startling (and sophisticated) use of comedy in a time of war. Carole Lombard and Jack Benny play married and frequently feuding darlings of the Warsaw stage. The pair, along with their theatre and acting troupe, fall on hard times when their new comedy, “Gestapo,” gets shut down in 1939. Their stock production of “Hamlet” helps temporarily appease Poland’s new German occupiers and along the way, Hamlet’s famous line (and the film’s title) acquires multiple meanings as Lombard, Benny and troupe are dragged deeper into intrigue and danger. All the world’s a stage and before long the little band of thespians must take their acting skills out of the theater and into the streets if they’re to help a downed pilot elude capture (and keep themselves one step ahead of the Nazis). Their situation becomes dire when Hitler visits Warsaw, and there’s nothing left for them to do but impersonate der Fuhrer and his guards, commandeer his motorcade and hijack his plane. While Hollywood’s wartime studio machinery became devoted to patriotic films; it rarely dealt with the realities of fascism. To Be Or Not To Be is a marvel for tackling the enormity of Nazi evil by subversively using comedy. Lubitsch’s legendary “Touch” is evident throughout the film, especially when one of the troupe’s aspiring Jewish actors distracts the Gestapo, performing Shylock’s famous soliloquy on the universality of human existence: “If you prick us do we not bleed, tickle us do we not laugh, if you poison us do we not die…” Lubitsch’s master class in comedy-as-resistance and a brilliantly executed bookend to Lombard’s prolific, but all too brief career. |
| |||||
|
 |
| Nothing Sacred Carole Lombard, Frederic March Dir. William Wellman 1937 77 mins Comedy, Romance Screened on Mar 6 2010 |
| Another blistering and cynical comedy from screenwriter and former newspaperman Ben Hecht. Nothing Sacred follows small-town girl Lombard, who may or may not be dying of radium poisoning, as she’s catapulted to media stardom (and receives an immense amount of public sympathy) thanks to the melodramatic reportage of sensationalist New York newspaperman Fredric March. A film full of comeuppances, irrational romance and characteristic screwball dialog, audiences today will find Nothing Sacred’s observations about the media and the public’s fascination with the melodramatic, disconcertingly sharp. |
| |||||
|
 |
| My Man Godfrey Carole Lombard, William Powell Dir. Gregory La Cava 1936 94 mins Comedy, Romance Screened on Feb 6 2010 |
| In this Depression Era comedy, Carole Lombard plays the happy-go-lucky daughter of a wealthy New York family, who picks up the homeless “forgotten man” William Powell during a high-society scavenger hunt (apparently collecting human beings is more fun than objects). After Powell dresses down the party-goers for their inconsideration for the inhabitants of Manhattan’s lower depths, Lombard feels ashamed and hires him as her family’s butler. While Lombard takes on the task of “rehabilitating” Powell, the pair quickly challenge each others’ tightly held beliefs about their respective stations in life, and of course, fall in love. One of the great comedies of the 1930s, My Man Godfrey gave audiences a send-up of the idle rich, a parable about judging "books by their covers", and succeeds thanks to the chemistry and timing of Lombard and Powell. |
| |||||
|
 |
| Twentieth Century Carole Lombard, John Barrymore Dir. Howard Hawks 1934 91 mins Comedy, Romance Screened on Jan 2 2010 |
| 1934 was a year that saw the emergence of a new kind of movie – the screwball comedy – whose hallmark was the unpredictable and often volatile chemistry of its romantic leads. The great american director Howard Hawks had seen something of this nature in the young actress Carole Lombard - and challenged her to show her real mettle on screen. John Barrymore plays a svengali-like broadway director who molds and crafts Lombard into a theatrical sensation. They become lovers, have wonderful fights and after their eventual split, she goes on to Hollywood and stardom as his stage success falters. Years later, they meet aboard a train – the Twentieth Century Limited – and Barrymore tries to woo Lombard back (and resurrect his career) amidst dialog and emotions that hurdle headlong down the tracks as fast as a locomotive. Ben Hecht’s script and Hawks’ direction were an early run at the over-lapping dialog and swift delivery that would become a hallmark of the “screwball” genre and Hawks’ comedy films, with Twentieth Century launching Lombard on her path to becoming the highest paid actress in Hollywood by the end of the 1930s. |
| |||||
|
 |
| Touch of Evil Charlton Heston, Janet Leigh, Orson Welles Dir. Orson Welles 1958 112 mins Drama, Action Screened on Dec 5 2009 |
| Touch of Evil<1/> is Welles' baroque border drama which, along with Alfred Hitchcock's Vertigo, is often cited as the terminus of Hollywood's "film noir" cycle. Appropriately, the picture has more than a little darkness in it. The film straddles a lazy stretch of western border, with Welles playing a rotund and corrupt police captain increasingly at odds with a Mexican narco-cop – played by Charlton Heston! During a joint investigation into a car bombing at the local border crossing, Heston becomes progressively suspicious (and in danger of becoming a victim) of Welles’ nefarious methods. Janet Leigh plays Heston's wife, who winds up kidnapped and held in a desolate motel (eerily previewing her stay at the Bates Motel in Hitchcock's Psycho, two years later). To add to the dark carnival, Marlene Dietrich plays Welles’ old flame and owner of a Mexican bawdy house and Mercedes McCambridge is a menacing leather-clad gang leader…what more could you ask for? Now considered an important work of the cinema, Touch of Evil was, like most of Welles' previous films, heavily edited by the studio, and the film was released in the "B" slot of a double bill. In 1998, Universal premiered a new "restored" version of the film edited by Walter Murch (who was guided by a forty-year-old memo Welles had written to Universal describing scene-by-scene what he thought should be done to the make the film acceptable). Not quite the director's cut, but far preferable to the original release version, we'll present the 1998 restoration as we conclude our discussion of one of the cinema's most independent and original filmmakers. |
| |||||
|
 |
| The Lady From Shanghai Orson Welles, Rita Hayworth Dir. Orson Welles 1946 87 mins Thriller, Drama Screened on Nov 7 2009 |
| Throughout his life, Orson Welles had trouble with money. Despite periods of great success in his early career, Welles’ ambitions always outpaced his resources, leaving him stretched thin while supporting his elaborate radio, theatre and film projects (as well as his personal appetites). In 1946, Welles was again short on funds - this time to finish his stage production of Around The World in Eighty Days – and turned to Columbia Pictures with a deal. Columbia would front him some quick cash for his stage work and in return, Welles would write, direct, produce and star in a film for free. And such is the creation story of The Lady From Shanghai. Made quickly in late 1946 and early 1947, the studio would delay release of the film for more than a year as it trimmed Welles’ film to a manageable length (a recurring pattern in Welles’ life). The Lady from Shanghai was based on the pulp novel If I Die Before I Wake by Sherwood King and in Welles’ hands, became a twisting tale of insurance scams, adultery, frame-ups and murder. The director cast his then-wife Rita Hayworth in the title role and created one of the cinema’s iconic femme fatales (notoriously cutting Hayworth’s trademark long red hair and dyeing what remained blond). The film’s famous finale in an amusement park house of mirrors is a perfectly refracted analog to the film’s convoluted plot, and Welles’ own fragmenting artistic approach as a film magician. |
| |||||
|
 |
| Jane Eyre Joan Fontaine, Orson Welles, Maragaret O'Brien Dir. Robert Stevenson 1944 97 mins Romance, Drama Screened on Oct 3 2009 |
| In 1939, Orson Welles was a golden boy, but by 1944, Hollywood's reverse alchemy had turned him to lead. After RKO broke Welles' contract after the commercial failure of his second film, The Magnificent Ambersons, 20th Century-Fox hoped to remake him as a leading man (he was still in his 20s, after all). Based on the popular 19th century novel by Charlotte Bronte, Joan Fontaine plays the orphan Jane who suffers abuse and privations during a difficult upbringing and finally falls for her moody, and older, employer Edward Rochester (played by Welles). The film's setting in a large manor house surrounded by fog-bound moors, lends an appropriate gothic air - there's more than skeletons in Rochester's attic. Welles would continue throughout his career to act in films that he neither wrote, directed or produced - often as a way to raise money for his increasingly independent productions. Despite Orson Welles' position as "just an actor", Jane Eyre still reflected some of Welles' creative influence - if only tangentially. The production was based on Welles' own radio adaptation of the Bronte novel and was assisted by a few of his familiars: friend and screenwriter John Houseman, supporting actress Agnes Moorehead and composer Bernard Herrmann. Of the many filmed versions of Jane Eyre, this production remains among the best and most atmospheric. |
| |||||
|
 |
| Citizen Kane Orson Welles, Joseph Cotton, Dorothy Comingore Dir. Orson Welles 1941 119 mins Drama, Historical Screened on Sep 5 2009 |
| For a brief moment in the late 1930s, Orson Welles was a golden boy. A closely-followed writer, producer, actor and director of the New York stage, as well as one of the most recognizable voices on national radio, Welles' abilities seemed boundless. Following the great disturbance of 1938 - his infamous War of the Worlds radio program - RKO finally lured Welles to Hollywood in 1939 and gave him complete artistic control and one of the most astounding contracts ever written to make movies. Two years later he premiered his staggering achievement, made enemies in powerful places and began his decades long nomadic journey to become America's most famous independent filmmaker. Citizen Kane continues to hold down the top slot on perennial greatest-films-of-all-times lists and introduced the enigmatic "rosebud" to our lexicon. Welles co-wrote, directed and starred in this tale of one man's unbounded appetite, ambition and excess (something he knew more than a little about), taking a not so veiled swipe at billionaire-publisher William Randolph Hearst. Citizen Kane and Welles would bear the wrath of Hearst for many years and he would never again have the popular attention and extraordinary resources that he found at the ripe age of 25. As Welles would later say, "I began at the top and worked my way down..." - not quite. |
| |||||
|
 |
| Night and the City Richard Widmark, Gene Tierney Dir. Jules Dassin 1950 101 mins Crime, Thriller Screened on Jul 3 2009 |
| Night and the City could have been called “The Running Man.” From the first long shot of an empty London square at dusk, to its finale, at dawn, on the Thames, Richard Widmark is always running (either with his mouth, mind or legs). And so was the film’s maker, the under-rated Jules Dassin. Hastily sent to London to avoid being subpoenaed by the House Committee on Un-American Activities, Dassin later revealed he never had time to read the crime novel his film is based on. From the gritty realistic night scenes of London’s back alleys and public squares (including still un-repaired war damage), to the dim interiors of its nightclubs and wrestling arenas, the folds of the great city’s underbelly are probed by Dassin and the high-contrast, black and white photography of Max Greene. It may be a shadowy London, replete with professional beggars, prostitutes, black marketers and mobsters, but it’s an American swindler played by Widmark that’s the engine of the film. He’s a hustler and (unacknowledged by him) small-fish-in-a-big-pond, about to be swallowed whole by the crumbling, dark city. Under-seen for years, Night and the City is an extraordinary film and an important entry in the film noir canon. With Gene Tierney. |
| |||||
|
 |
| Out of the Past Robert Mitchum, Jane Greer, Kirk Douglas Dir. Jacques Tourneur 1947 97 mins Drama, Thriller Screened on Jun 6 2009 |
| Robert Mitchum is a man with a past, hired to track down Kirk Douglas’ double-crossing girlfriend, played by Jane Greer. This could have been a standard take-the-money-and-run film, but director Jacques Tourneur scrambles the motivations, and time itself, producing a seminal work of film noir. Mitchum’s heavy-lidded eyes are a perfect match for the sometimes dreamlike qualities of this film. His projection of indifference slowly gives way to a hope that he might yet be able to escape his past and start anew with Greer. But this is a noir, and fate isn’t so easily cheated. The two aren’t just running from Douglas, but time itself. |
| |||||
|
 |
| Love Me Tonight Maurice Chevalier, Jeanette MacDonald Dir. Rouben Mamoulian 1932 104 mins Musical, Comedy Screened on May 2 2009 |
| Maurice Courtelin, a Parisian tailor (Maurice Chevalier), is owed a great sum of money by a viscount (Charles Ruggles). Stalling for time, the titled but penniless nobleman moves Maurice into the family chateau and passes him off as a baron. The beguiling Maurice soon charms the entire aristocratic household, except for the haughty Princess Jeanette (Jeanette MacDonald), who remains suspicious of him. But suspicion eventually gives way to love. |
| |||||
|
 |
| A Star Is Born Judy Garland, James Mason, Jack Carson Dir. George Cukor 1954 181 mins Drama, Musical Screened on Apr 4 2009 |
| Four years after being let go by MGM, Judy Garland was back in pictures with George Cukor’s epic-length musical for Warner Brothers. James Mason is a past-his-prime movie star who discovers Garland and promotes her talent and career. As she steadily rises in fame and fortune, he descends into alcoholism and self-loathing – in real life, the two actors’ trajectories were almost the reverse. Markedly darker in tone and subject matter than most musicals of the era, A Star is Born is heartbreakingly magnificent and was included in the Library of Congress’ National Film Registry in 2000. |
| |||||
|
 |
| On The Town Gene Kelly, Frank Sinatra, Betty Garrett Dir. Stanley Donen & Gene Kelly 1949 98 mins Comedy, Musical Screened on Mar 7 2009 |
| MGM’s specialty musical unit, headed by legendary producer Arthur Freed, struck gold year after year in the ‘40s and ‘50s. In 1949, the rising star Gene Kelly was signed to not only star in, but direct (along with Stanley Donen), MGM’s latest color extravaganza about a trio of sailors on brief shore leave in New York. The film teamed Kelly with heart-throb Frank Sinatra, the leggy Ann Miller and the ace writing team of Adolph Green and Betty Comden. Based loosely on a Broadway hit from 1944, the film version retains some of Leonard Bernstein’s original stage music, but added many new songs by Roger Edens. Look for some great location shooting in New York City and enjoy a Technicolor night out – and on the town. |
| |||||
|
 |
| Swing Time Fred Astaire, Ginger Rogers Dir. George Stevens 1936 120 mins Comedy, Musical Screened on Feb 7 2009 |
| With this 1936 RKO production, Fred Astaire and Ginger Rogers would hit their artistic and box-office peak. After standing up his fiancé at the alter, Astaire hopes to win her back by making something of himself in New York. The only problem is, he quickly falls for dance instructor Rogers and the two make beautiful music (and dance) together. The film features some of Astaire/Rogers’ best performances to songs including Pick Yourself Up, The Way You Look Tonight, A Fine Romance and Never Gonna Dance. Swing Time was included in the Library of Congress’ National Film Registry in 2004 and is a lasting testament to this singular dance partnership. |
| |||||
|
 |
| Gold Diggers of 1935 Dick Powell, Adolphe Menjou, Gloria Stuart Dir. Busby Berkeley 1935 98 mins Comedy, Musical Screened on Jan 3 2009 |
| Warner’s finally saw fit to give Busby Berkeley full directing control over the third of five “Gold Diggers” films - but this was no freshman outing for the former Army parade director. Berkeley had already mined plenty of gold for Warner’s, acting as architect of some of the biggest dance constructions put to film (42nd Street, Footlight Parade and Gold Diggers of 1933). In this outing, he would further develop his interest in vast geometric compositions, telescoping scale and a surrealist’s eye for dislocation. But Berkeley also revealed a cynic’s understanding of the realities of the Depression-era. Gold Diggers trips along so effortlessly that one might miss the human compromises amidst the opulence and inconsequence of an upstate resort and its self-absorbed guests. Dick Powell’s a hotel manager working his way through medical school and Gloria Stewart is the cloistered daughter of a miserly heiress; Adolph Menjou is a delirious Barrymore-esque Russian director hired to stage a benefit show for the “Milk Fund”; and the film’s enormous set pieces were Berkeley’s own private Work Projects Administration, employing hundreds of showgirls, craftsmen, actors and set constructors. |
| |||||
|
 |
| The Fugitive Henry Fonda, Dolores del Rio Dir. John Ford 1947 104 mins Drama, Thriller Screened on Dec 6 2008 |
| Henry Fonda plays a wandering Latin American priest who travels the back roads of an anonymous country, escaping religious persecution. Ford regular Ward Bond is an American on the lam, himself a fugitive, who assists Fonda in hiding and escaping the authorities. Following World War II, Ford increasingly retreated to western location films in order to escape the demands, expectations and politicking of Hollywood. The Fugitive took Ford and Fonda south of the border and into a rare collaboration with prominent Mexican artists, both in front of and behind the camera. Mexican stars Delores Del Rio and Pedro Armendariz share the screen with Fonda and Bond, Emilio Fernandez co-produces and the great Gabriel Figueroa supplies the extraordinary photography. Based loosely on the Graham Greene novel, The Power and The Glory, The Fugitive exposes some of John Ford’s most personal beliefs and was the closest he came in his later period to making a self-conscious “art film”. Audiences and critics would punish him for it. |
| |||||
|
 |
| They Were Expendable Robert Montgomery, John Wayne, Donna Reed Dir. John Ford 1945 135 mins Drama, War Screened on Nov 1 2008 |
| Released on December 20th, 1945, They Were Expendable was John Ford’s Christmas gift to a war-weary and recovering America. The film stars Robert Montgomery and John Wayne as a pair of PT Boat commanders, stationed in the Philippines and in love with the same nurse (Donna Reed). Romantic sparing is kept to a minimum however, as their obvious affection is for the crews of their high-powered torpedo boats (the boats themselves are stars of this film) as they face an ever-encroaching Japanese invasion force. What makes the film so potent is Ford’s almost documentary approach to much of the action-sequences, and the film’s conclusion at arguably one of the lowest points of the American campaign in the Pacific. A tribute to those who fought, the film gracefully acknowledges that the audience knows how the story ends. John Ford often created mythic films about some of this country’s historically significant moments, but with They Were Expendable, the great director tackled memorializing the monumental struggle just concluded (and still raw), and They Were Expendable gave Ford the opportunity to create a mythic film, ahead of the history books. |
| |||||
|
 |
| Young Mr. Lincoln Henry Fonda, Alice Brady Dir. John Ford 1939 100 mins Drama, Historical Screened on Oct 4 2008 |
| A nice bookend to last month’s rarity The Prisoner of Shark Island (about the trial and imprisonment of Dr. Samuel Mudd, who aided an injured John Wilkes Booth just after the assignation of Abraham Lincoln). This month’s film, Young Mr. Lincoln, backs up a few decades and takes a close look at the life and times of a young lawyer from Illinois – Henry Fonda plays Abraham Lincoln. The film is also a nice primer (and reminder) on how our political leaders used to be honed for public service. |
| |||||
|
 |
| The Prisoner of Shark Island Warner Baxter, Gloria Stuart Dir. John Ford 1936 96 mins Drama, Historical Screened on Sep 6 2008 |
| A few short hours after President Lincoln has been assassinated, Dr. Samuel Mudd gives medical treatment to a wounded man who shows up at his door. Mudd has no idea that the president is dead and that he is treating his murderer, John Wilkes Booth. But that doesn't save him when the army posse searching for Booth finds evidence that Booth has been to the doctor's house. Dr. Mudd is arrested for complicity and sentenced to life imprisonment, to be served in the infamous pestilence-ridden Dry Tortugas. |
| |||||
|
 |
| The Thief of Bagdad Conrad Veidt, Sabu, June Duprez Dir. Ludwig Berger, Michael Powell 1940 106 mins Fantasy, Family Screened on Aug 2 2008 |
| With familiar elements from the famous omnibus 1001 Arabian Nights, The Thief of Bagdad’s pioneering special effects and Technicolor extravaganza make this film essential viewing. When Prince Ahmad is blinded, imprisoned and cast out of Bagdad (yes that’s how the film spells it, and yes, Iraq) by his evil adviser Jaffar, Ahmad joins forces with the scrappy thief Abu in a scheme to win back his royal position and the heart of a beautiful princess. Along the way Ahmad stumbles upon a very special bottle, and a Genie… Producer Alexander Korda spared no expense to bring this tale to the big screen, and along the way he employed multiple directors, including Michael Powell (who would develop into one of Britain’s finest filmmakers). The film was ground-breaking for its time and continues to amaze and delight decades later. If you’ve only seen the relentless Disney/Robin Williams version of this tale, The Thief of Bagdad is essential viewing. |
| |||||
|
 |
| Sleeping Beauty Mary Costa, Bill Shirley, Eleanor Audley (Voices) Dir. Clyde Geronimi 1959 75 mins Family, Animation Screened on Jul 5 2008 |
| Another classic story re-told by Walt Disney and his famous animators, Sleeping Beauty is a noteworthy classic for a number of reasons (not the least of which was its nearly decade long production schedule). Based on the famous Brother’s Grimm tale, there’s a beautiful girl, a curse, three fairies, one prince charming and a witch that becomes a dragon. The film boasts music adapted from the Tchaikovsky ballet, sublime special effects work and an incredible widescreen tapestry of background art with a different “look” than other Disney titles. Sleeping Beauty would be Disney’s first animated film shot in a widescreen format and the studio took the opportunity to cover all of the film’s frames with gorgeous detail evoking medieval art and formalism. If you find yourself distracted from the classic tale of love and treachery because of the amazing background art, you can thank Disney production designer Eyvind Earle (to whom Disney gave uncharacteristic freedom). The result is a storied film as notable for its tale as its execution. |
| |||||
|
 |
| La Belle et la Bête (Beauty and The Beast) Jean Marais, Josette Day Dir. Jean Cocteau 1946 96 mins Fantasy, Romance Screened on Jun 7 2008 |
| For anyone looking to experience the cinema’s full potential for poetry and lyricism, you would be hard pressed to find a greater example than Jean Cocteau’s 1946 masterpiece – La Belle et la Bete, or Beauty and The Beast. The story of a magic rose, a beautiful daughter’s sacrifice to save her father and her vow of self-imprisonment on the dark estate of an actual “Beast” is a familiar one. But, to anyone who knows their fairy-tales and the classic Disney film – you’ve never seen this story of love’s triumph as elaborately and beautifully revealed, as in Cocteau’s film. Produced and released in France just after the end of World War II, the film is ripe with metaphoric and psychological nuances. In addition to its hauntingly beautiful sets, costumes, lighting and cinematography, the film also presents one of the greatest of film scores by Georges Auric. Beauty and the Beast is truly one of the self-evident masterpieces of world cinema and perfectly approachable by young and old audiences alike. |
| |||||
|
 |
| The Apartment Jack Lemmon, Shirley MacLaine, Fred MacMurray Dir. Billy Wilder 1960 125 mins Romance, Comedy Screened on Apr 5 2008 |
| |
| |||||
|
 |
| Some Like It Hot Marilyn Monroe, Tony Curtis, Jack Lemmon Dir. Billy Wilder 1959 120 mins Comedy, Romance Screened on Mar 1 2008 |
| After witnessing the St. Valentine’s Massacre, two down on their luck musicians, played by Tony Curtis and Jack Lemmon, flee from the mob by joining an all-girl band. Seems funny enough - but Wilder and his frequent writing partner, I.A.L. Diamond, mined more than laughs from this simple premise, unleashing gender-bending mayhem, and a bursting-at-the-seams Marilyn Monroe, on audiences in 1959. Lemmon and Curtis dive into their female personas with such abandon they set the high water mark for all man-in-a-dress comedy roles. But the genius of Wilder is that he can’t leave well enough alone, and each scene and entanglement trumps the last as Curtis falls for Monroe (and famously spoofs Cary Grant) and a wigged Lemmon is pursued by a lecherous old man -finally succumbing to his advances with the ingenious summation - “Nobody’s Perfect”. Perhaps not, but Some Like It Hot comes awfully close. |
| |||||
|
 |
| Stalag 17 William Holden, Don Taylor Dir. Billy Wilder 1953 120 mins Comedy, Drama Screened on Feb 2 2008 |
| |
| |||||
|
 |
| Double Indemnity Fred MacMurray, Barbara Stanwyck, Edward G. Robins Dir. Billy Wilder 1944 107 mins Crime, Thriller Screened on Jan 5 2008 |
| One of Billy Wilder's first films as a director in America, Double Indemnity would anchor the start of a long and successful career for the Polish-born writer-turned-director. Wilder was already an accomplished screenwriter in Europe when he emigrated to the US in 1933, and he had steady work in Hollywood into the war years. But it would be the opportunity to combine his writing abilities with a sharp eye for directing that would set Wilder on a path to creating some of the most important and sophisticated films in American cinema. In 1944, however, his American career was still just beginning... And what a beginning: Based on a novel by pulp luminary James M. Cain, and with Raymond Chandler assisting Wilder on the screenplay, Double Indemnity would go on to seven Academy Award nominations, marking the arrival of a major new talent (threat) in Hollywood. Now considered a central title in the film noir tradition, Wilder's film about an amoral insurance agent who's sucked into an insurance fraud and murder scheme, is among the most uncompromising of the early noirs - with Barbara Stanwyck and Fred McMurray playing unredeemed co-conspirators. |
| |||||
|
 |
| Rio Bravo John Wayne, Dean Martin, Ricky Nelson Dir. Howard Hawks 1959 141 mins Western, Romance Screened on Dec 1 2007 |
| The term masterpiece often frightens (rather than entices) viewers away from important works of the cinema. In the case of Rio Bravo, Howard Hawks not only created a late masterpiece, but produced a film that gathered together many of the elements of his previous work into one sprawling, and accessible, drama/comedy/action film. The film stars John Wayne, Dean Martin, Ricky Nelson, Angie Dickinson, Walter Brennan, Ward Bond and a host of other familiar faces in what Hawks once called his response to that other sheriff-in-trouble film - High Noon. That Rio Bravo is a central film in the American Cinema goes without saying, but it’s also one of the most entertaining important films you’ll ever see – a multi-layered, multi-generational, subtle and subversive western. If Hawks is underappreciated outside of cineaste circles, it’s probably because his films are so easy to digest, his mastery always in service of the audience’s enjoyment. But if that’s not enough enticement to watch this great film, I’ll end with this – to the best of my knowledge, Rio Bravo also represents the only instance where John Wayne kisses a man, on-screen! |
| |||||
|
 |
| The Man From Laramie James Stewart, Arthur Kennedy Dir. Anthony Mann 1955 104 mins Mystery, Western Screened on Nov 3 2007 |
| One of seven westerns directed by Mann to star James Stewart, The Man From Laramie would be the pair’s final film together. Befitting the occasion, the film is among their strongest work, and Mann elaborates a complex drama with his signature elements: obsessive behavior, physical and psychological pain, bursts of unpredictable violence, and the isolation of characters in a larger context (in this case the broad landscape of New Mexico). Like last month’s featured director Andre De Toth, Mann had made his share of film noirs (T-Men, Raw Deal, Side Street), and he infused his westerns with many of the noir themes he explored in his crime films of the ‘40s. In Stewart, the director found an actor loved by movie-goers for his portraits of the courageous every-man, but increasingly confident to explore the darker side of his leading roles (during this same period, Stewart partnered with Alfred Hitchcock in Rear Window, The Man Who Knew Too Much and Vertigo) and together they helped reshape the tone and subject matter of Westerns for many years to come. |
| |||||
|
 |
| Thunder Over The Plains Randolph Scott, Lex Barker Dir. André De Toth 1953 82 mins Romance, War Screened on Oct 6 2007 |
| |
| |||||
|
 |
| Red River John Wayne, Montgomery Clift Dir. Howard Hawks, Arthur Rosson 1948 133 mins Western, Action Screened on Sep 1 2007 |
| Hawks’ first foray into the western genre (and, uncharacteristically for him, a location-heavy outdoor film) remains one of the finest in the genre. Starring John Wayne as a hard-driving (and sometimes tyrannical) rancher, Red River surveys many of Hawks’ favorite themes – male competitiveness, individualized ethics, professionalism and loyalty under fire. Epic in scope and rousing in its assemblage (with some excellent editing by Academy Award Nominee Christian Nyby), the film is of central importance to any appreciation of the American Cinema and was added to the Library of Congress’ National Film Registry in 1990. Red River also stars Montgomery Clift (in his first film role), Joanne Dru and a host of Hawks and Western notables – Walter Brennan, Harry Carey (Sr. and Jr.), John Ireland and Noah Beery, Jr. |
| |||||
|
 |
| The Nutty Professor Jerry Lewis, Stella Stevens Dir. Jerry Lewis 1963 107 mins Comedy, Sci-Fi Screened on Aug 4 2007 |
| |
| |||||
|
 |
| Who Done It? Bud Abbott, Lou Costello Dir. Erle C. Kenton 1942 77 mins Comedy, Mystery Screened on Jul 7 2007 |
| |
| |||||
|
 |
| Duck Soup Marx Brothers Dir. Leo McCarey 1933 68 mins Comedy, Musical Screened on Jun 2 2007 |
| Groucho, Chico, Harpo and Zeppo are slippery as ever in this fast-paced political farce that lampoons fascism with enough screen anarchy to fill several comedies. Duck Soup was the last and best film the Brothers made at Paramount Studios and its box-office failure, in hindsight, reveals a film far ahead of its time and audience. Along with the Brothers’ 1935 MGM film, A Night At The Opera, Duck Soup marks the high point of their particular brand of comedy subversion. Almost 75 years later, it is hard to resist. We were especially pleased to be present Duck Soup from a fine 16mm print and began our program with the rarely seen 1963 Oscar-winning animated short, The Critic. |
| |||||
|
 |
| Gentlemen Prefer Blondes Jane Russell, Marilyn Monroe Dir. Howard Hawks 1953 91 mins Comedy, Musical Screened on Apr 7 2007 |
| |
| |||||
|
 |
| The Band Wagon Fred Astaire, Cyd Charisse Dir. Vincente Minnelli 1953 111 mins Comedy, Musical Screened on Mar 3 2007 |
| |
| |||||
|
|
| Meet Me in St. Louis Judy Garland, Margaret O'Brien Dir. Vincente Minnelli 1944 113 mins Family, Musical Screened on Feb 3 2007 |
| The director Vincente Minnelli, and MGM’s legendary musical film producer Arthur Freed, had a long-lasting and fruitful partnership, creating some of the most memorable musicals in film history. With their 1944 film, they took a thoughtful backwards glance to a simpler time, and war-time audiences were treated to the full MGM treatment - in Technicolor. Meet Me in St. Louis stars Judy Garland (the future Mrs. Minnelli) and a cast of memorable character actors in a nostalgic look at the life of an upper-middle class family in turn of the century St. Louis. While the film is marvelously entertaining period piece, it also represented an important evolution in the art of the big-screen musical – it had a plot! |
| |||||
|
|
| Top Hat Fred Astaire, Ginger Rogers Dir. Mark Sandrich 1935 101 mins Comedy, Musical Screened on Jan 6 2007 |
| |
| |||||
|
 |
| Invasion Of The Body Snatchers Donald Sutherland, Brooke Adams, Jeff Goldblum Dir. Philip Kaufman 1978 115 mins Horror, Sci-Fi Screened on Dec 2 2006 |
| |
| |||||
|
|
| I Walked With A Zombie James Ellison, Frances Dee Dir. Jacques Tourneur 1943 69 mins Horror, Thriller Screened on Nov 4 2006 |
| |
| |||||
|
 |
| Cat People Simone Simon, Kent Smith Dir. Jacques Tourneur 1942 73 mins Horror, Thriller Screened on Oct 7 2006 |
| |
| |||||
|
 |
| Island of Lost Souls Charles Laughton, Richard Arlen Dir. Erle C. Kenton 1932 70 mins Horror, Sci-Fi Screened on Sep 2 2006 |
| |
| |||||
|
 |
| Vertigo James Stewart, Kim Novak Dir. Alfred Hitchcock 1958 128 mins Crime, Thriller Screened on Aug 5 2006 |
| |
| |||||
|
|
| The Man Who Knew Too Much James Stewart, Doris Day Dir. Alfred Hitchcock 1956 120 mins Adventure, Mystery Screened on Jul 1 2006 |
| |
| |||||
|
 |
| Rear Window James Stewart, Grace Kelly Dir. Alfred Hitchcock 1954 112 mins Crime, Thriller Screened on Jun 3 2006 |
| |
| |||||
|
|
| The Killers Burt Lancaster, Ava Gardner, Edmond O'Brien Dir. Robert Siodmak 1946 103 mins Crime, Mystery Screened on Apr 1 2006 |
| |
| |||||
|
|
| The Big Sleep Humphrey Bogart, Lauren Bacall Dir. Howard Hawks 1946 144 mins Crime, Thriller Screened on Mar 4 2006 |
| |
| |||||
|
|
| Murder, My Sweet Dick Powell, Claire Trevor Dir. Edward Dmytryk 1944 95 mins Crime, Thriller Screened on Feb 4 2006 |
| |
| |||||
|
|
| Laura Gene Tierney, Dana Andrews Dir. Otto Preminger 1944 88 mins Crime, Mystery Screened on Jan 7 2006 |
| |
| |||||
|
|
| The Lady Eve Barbara Stanwyck, Henry Fonda Dir. Preston Sturges 1941 94 mins Comedy, Romance Screened on Dec 3 2005 |
| |
| |||||
|
|
| Bringing Up Baby Katharine Hepburn, Cary Grant Dir. Howard Hawks 1938 102 mins Comedy, Romance Screened on Nov 5 2005 |
| |
| |||||
|
|
| The Thin Man William Powell, Myrna Loy Dir. W.S. Van Dyke 1934 91 mins Comedy, Crime Screened on Oct 1 2005 |
| |
| |||||
|
|
| Twentieth Century John Barrymore, Carole Lombard Dir. Howard Hawks 1934 91 mins Comedy, Romance Screened on Sep 3 2005 |
| |
| |||||
|
 |
| Fort Apache John Wayne, Henry Fonda, Shirley Temple Dir. John Ford 1948 125 mins Western, Adventure Screened on Aug 6 2005 |
| |
| |||||
|
|
| Gunga-Din Cary Grant, Victor McLaglen, Douglas Fairbanks Jr. Dir. George Stevens 1939 117 mins Action, Adventure Screened on Jul 2 2005 |
| |
| |||||
|
|
| The Adventures Of Robin Hood Errol Flynn, Olivia de Havilland, Claude Rains Dir. Michael Curtiz, William Keighley 1938 102 mins Action, Adventure Screened on Jun 4 2005 |
| |
| |||||
|
|
| Sweet Smell of Success Burt Lancaster, Tony Curtis Dir. Alexander Mackendrick 1957 96 mins Drama, Drama Screened on Apr 2 2005 |
| |
| |||||
|
 |
| The Bad and the Beautiful Lana Turner, Kirk Douglas Dir. Vincente Minnelli 1952 118 mins Drama, Romance Screened on Mar 5 2005 |
| |
| |||||
|
|
| In a Lonely Place Humphrey Bogart, Gloria Grahame Dir. Nicholas Ray 1950 94 mins Drama, Mystery Screened on Feb 5 2005 |
| |
| |||||
|
|
| The Hollywood Ten Alvah Bessie, Herbert J. Biberman Dir. John Berry 1950 15 mins Documentary, Historical Screened on Feb 5 2005 |
| |
| |||||
|
|
| Sullivan’s Travels Joel McCrea, Veronica Lake Dir. Preston Sturges 1941 90 mins Adventure, Comedy Screened on Jan 1 2005 |
| |
| |||||
|
|
| West Side Story Natalie Wood, Richard Beymer, Russ Tamblyn Dir. Jerome Robbins, Robert Wise 1961 152 mins Musical, Romance Screened on Dec 4 2004 |
| |
| |||||
|
|
| Singin’ In The Rain Gene Kelly, Donald O'Connor, Debbie Reynolds Dir. Stanley Donen, Gene Kelly 1952 103 mins Comedy, Musical Screened on Nov 6 2004 |
| |
| |||||
|
 |
| 42nd Street Warner Baxter, Bebe Daniels Dir. Lloyd Bacon 1933 89 mins Musical, Romance Screened on Oct 2 2004 |
| |
| |||||
|
|
| Love Me Tonight Maurice Chevalier, Jeanette MacDonald Dir. Rouben Mamoulian 1932 120 mins Musical, Comedy Screened on Sep 4 2004 |
| |
| |||||
|
 |
| The African Queen Humphrey Bogart, Katharine Hepburn Dir. John Huston 1951 105 mins Adventure, Romance Screened on Aug 7 2004 |
| |
| |||||
|
|
| Treasure of the Sierra Madre Humphrey Bogart, Walter Huston, Tim Holt Dir. John Huston 1948 126 mins Adventure, Drama Screened on Jul 3 2004 |
| |
| |||||
|
 |
| To Have and Have Not Humphrey Bogart, Walter Brennan, Lauren Bacall Dir. Howard Hawks 1944 100 mins Adventure, Thriller Screened on Jun 5 2004 |
| |
| |||||
|
|
| Rebel Without A Cause James Dean, Natalie Wood Dir. Nicholas Ray 1955 111 mins Drama, Romance Screened on May 1 2004 |
| |
| |||||
|
 |
| East of Eden Julie Harris, James Dean Dir. Elia Kazan 1955 115 mins Drama, Drama Screened on Apr 3 2004 |
| |
| |||||
|
|
| On The Waterfront Marlon Brando, Karl Malden, Rod Steiger Dir. Elia Kazan 1954 108 mins Crime, Romance Screened on Mar 6 2004 |
| |
| |||||
|
|
| All About Eve Bette Davis, Anne Baxter Dir. Joseph L. Mankiewicz 1950 138 mins Drama, Drama Screened on Feb 7 2004 |
| |
| |||||
|
|
| Mildred Pierce Joan Crawford, Jack Carson Dir. Michael Curtiz 1945 111 mins Mystery, Romance Screened on Jan 3 2004 |
| |
| |||||
|
|
| The Philadelphia Story Cary Grant, Katharine Hepburn, James Stewart Dir. George Cukor 1940 112 mins Comedy, Romance Screened on Dec 6 2003 |
| |
| |||||
|
 |
| 2001: A Space Odyssey Keir Dullea, Gary Lockwood, William Sylvester Dir. Stanley Kubrick 1968 141 mins Sci-Fi, Adventure Screened on Nov 1 2003 |
| |
| |||||
|
 |
| Dr. Strangelove Peter Sellers, George C. Scott Dir. Stanley Kubrick 1964 93 mins Comedy, War Screened on Oct 4 2003 |
| |
| |||||
|
 |
| The Day the Earth Stood Still Michael Rennie, Patricia Neal Dir. Robert Wise 1951 92 mins Sci-Fi, Drama Screened on Sep 6 2003 |
| |
| |||||
|
|
| North by Northwest Cary Grant, Eva Marie Saint Dir. Alfred Hitchcock 1959 131 mins Adventure, Thriller Screened on Aug 2 2003 |
| |
| |||||
|
|
| To Catch a Thief Cary Grant, Grace Kelly Dir. Alfred Hitchcock 1955 106 mins Crime, Thriller Screened on Jul 5 2003 |
| |
| |||||
|
|
| Notorious Cary Grant, Ingrid Bergman, Claude Rains Dir. Alfred Hitchcock 1946 101 mins Romance, Thriller Screened on Jun 7 2003 |
| |
| |||||
|
|
| Sunset Boulevard William Holden, Gloria Swanson Dir. Billy Wilder 1950 110 mins Drama, Comedy Screened on May 2 2003 |
| |
| |||||
|
|
| The Night of the Hunter Robert Mitchum, Shelley Winters, Lillian Gish Dir. Charles Laughton 1955 93 mins Drama, Thriller Screened on Apr 4 2003 |
| |
| |||||
|
|
| The Third Man Joseph Cotten, Orson Welles Dir. Carol Reed 1949 104 mins Mystery, Thriller Screened on Mar 7 2003 |
| |
| |||||
|
|
| Maltese Falcon Humphrey Bogart, Peter Lorre Dir. John Huston 1941 101 mins Crime, Mystery Screened on Feb 7 2003 |
| |
| |||||
|
|
| His Girl Friday Cary Grant, Rosalind Russell Dir. Howard Hawks 1940 92 mins Comedy, Romance Screened on Jan 3 2003 |
| |
| |||||
|
|
| It Happened One Night Clark Gable, Claudette Colbert Dir. Frank Capra 1934 105 mins Comedy, Romance Screened on Dec 6 2002 |
| |
| |||||
|
|
| Forbidden Planet Walter Pidgeon, Anne Francis, Leslie Nielsen Dir. Fred M. Wilcox 1956 98 mins Sci-Fi, Thriller Screened on Nov 1 2002 |
| |
| |||||
|
|
| The Searchers John Wayne, Natalie Wood, Vera Miles Dir. John Ford 1956 119 mins Adventure, Western Screened on Oct 4 2002 |
| |
| |||||
|
|
| Stagecoach Claire Trevor, John Wayne Dir. John Ford 1939 96 mins Action, Western Screened on Sep 6 2002 |
| |
| |||||
|
|
| Only Angels Have Wings Cary Grant, Rita Hayworth Dir. Howard Hawks 1939 121 mins Drama, Adventure Screened on Aug 2 2002 |
| |
| |||||
|
|
| Casablanca Humphrey Bogart, Ingrid Bergman Dir. Michael Curtiz 1942 102 mins Drama, Romance Screened on Jul 5 2002 |
| |
| |||||
|
|
| Lost Horizon Ronald Colman, Jane Wyatt Dir. Frank Capra 1937 118 mins Adventure, Drama Screened on Jun 7 2002 |
| |
| |||||
|
|
| Citizen Kane Joseph Cotten, Orson Welles Dir. Orson Welles 1941 119 mins Drama, Mystery Screened on May 2 2002 |
| |
| |||||
|
|
| Suspicion Cary Grant, Joan Fontaine, Nigel Bruce Dir. Alfred Hitchcock 1941 99 mins Thriller, Romance Screened on |
| |
| |||||