Reviews by Quote Unquote Sir

My brain and heart can't agree about this picture. It has the kind of cloying moppet that makes people hate movie kids, an obnoxious 'Latin Lover' stereotype, and a complex dilemma resolved in disappointingly contrived fashion. On the other hand, there's also a bittersweet romance between two of my favourite '30s stars. That alone is enough to win my heart, no matter how hard my brain protests.

I love how this picture made me feel like I was dropping in on lives of types I would never meet, with a distinct '70s aesthetic that seemed authentic to the streets. An older, wearier Robert Mitchum is still imposing, but also more vulnerable and piteous. The effectively staged bank robberies were actually less enthralling than quiet, sharply-written conversations between Mitchum and others.

Charles Boyer (inspiration for Pepe LePew) doesn't appeal to me in many dramas. I found him most palatable in this romantic comedy directed by Ernst Lubitsch, who had a knack for bringing the best out of actresses (this time an irresistibly sweet Jennifer Jones) and affinity for clever dialog. There's a line about plumbing that's among the funniest examples of sexual innuendo I've ever heard.

Like Garbo's "Camille", about a woman of lower social status loving a man whose parent disapproves of her. In an early career role, Barbara Stanwyck makes an otherwise unremarkable picture worth watching, her gift for being a sympathetic heroine and tough/cute quality already in bloom. As the best friend, Marie Prevost is shrill at first, lovably heroic at the end. The final scene feels tacked on.

Harold Lloyd's building climbing stunt is one of the most awe-inspiring spectacles I've ever seen in a movie, done with a dogged dexterity and lovable enthusiasm worthy of comparison to Buster Keaton and Charlie Chaplin at their best. This masterpiece of physical and slapstick comedy made me laugh at inspired gags and gasp at startlingly convincing danger in equal measure.

Marlene Dietrich plays a crafty jewel thief with her usual cool detachment, and Gary Cooper's jovial, playful engineer character is the right man to warm her up.

I love his bashful, little boy smile as she sings to him. When she began to feel affection for him, I cheered: "Kiss her, Gary! She wants it!"

One of the most provocative Pre-Code films I've seen. Ann Dvorak's intense performance rises to the challenge of a story that approaches adultery, drug abuse, suicide, negligent parenting, blackmail, and gambling addiction with surprising directness, especially for its time. Humphrey Bogart's bit part as a brutish thug makes his later transformation into a romantic lead all the more astonishing.

While I admire this picture's environmental message, I like it more for being a touching story of survival in isolation.

Like Tom Hanks in "Cast Away", I found Bruce Dern comforting as a quiet audience surrogate, with robot companions that (like Wilson) earn affection and sympathy despite being silent. Production design here is enchanting. The only misstep is grating songs.

Frederic March deservedly won an Oscar playing goodhearted, frustrated Jekyll and vile Hyde. His make-up and mannerisms paved the way for villains like Star Trek's Klingons - over-the-top, yet intimidating when serious. Here and in "Queen Christina", the director has visual flair with effective pans, close-ups, and P.O.V shots. Lusty, emotive Miriam Hopkins is well-cast as Hyde's terrified crush.

Barbara Stanwyck gives a passionate performance in this insightful drama about an idealistic nurse who cares tenderly for some young patients. Ben Lyon is droll as a bootlegger smitten with her.

Joan Blondell brings welcome comic relief as her wisecracking co-worker, and Clark Gable plays a villain with the fire and bravado that helped make him a star. A low-key, yet impactful gem.