Reviews by fernando

(OK) Siodmak appeals to noir, but in a plot of old nazis as the triunphan badmen, and Brasseur as a baroque, sympatetique, hideous rascal. He is greta, Tiller is ok and Giller os just cool.

(YT) So delibarate bizarre, more naif than surrealist, the gags are not pointedo out, are a part of it, as the chapelier stealing hats, or the line for asking the milliardaire's daughter hand...

(OK) Too conventional, sauf the continuos jokes on Pons as tiny and not so pretty, as her partenaire young hot Fonda. Blore with a seal doesn't add too much.

(OK) 3 stars just for the magnificent technicolor landscape well framed in the windows of Nevada´s desert chalets. The finale is ok with Hodiak shooting debutante Corey (strange relation between them). Lancaster is wasted. Astor is not too wasted.

(OK) Thanks Lourcelles for pointing in his Dictionnair des Films Ludwig and this bizarre, complex, mixed in genres film, sort of journalisti police comedy, with the shouting editor (Thomas Mitchell always impeccable) and cool Joel McCrea. Well, anything with Jena Arthur in it is special.Don't know why I see an anticipation, in the scene of Jean and Joel in a bank at night facing NY skyline, of later Woody Allen...

(OK) Lean/Coward planning on british realism, in pale not disturbing technicolor; big performances (the best Newton) and some wonderful acting compositios scenes: the notice of the death of the son without seeing father Newton and mother Celia; the drunken Newton and Holloway with Celia and then discovering Kay Wlash letter...

(OK) Less than "The Wicked Lady", but a first study on a subgenre in historical melodramas. Lockwood is excellent provoquing Calvert's death. Mason is just good. Granger is alive and better.

(YT) Here there are the first signs of De Mille fastuosity before style. The wreckage scene, the mytic lion (just read in the great autobiography "Swanson on Swanson" 4 pages on it) in the forced Babylon segment, but he takes too much time in poor episodes. Later, he took the same time, but with more entertainment.

(OK) Gloria is excellent in the contrast between fighting Sadie and the repentful one. A pity the climx is lost and rebuild woth photos, but the whole is a great story

(OK) With Borzage is always the sublime love, here with war background but who cares with war in the great finale, or in the figure of tall Coop and tiny Helen. For anthology the sequence, from hurt Coop in stretcher point of view, seeing faces and the hospital ceiling till Helen appears...