I’m shocked, shocked to find any evidence of a cinematic soul that isn’t in love with the film we’re discussing today, CASABLANCA. It’s not only a film that many a classic film fan would describe as their favorite, but it’s easily a film that could be described as an essentially perfect film. In many ways, with the experience of working within a wide variety of … Continue reading A Film Study: CASABLANCA (1942)
Warner Brothers’ house style during the 1930s embraced gangster films, along with the occasional big production musicals. During the Pre-Code years of the early 1930s, those gangster films were gritty and violent and made James Cagney (THE PUBLIC ENEMY, 1931) and Edward G Robinson (LITTLE CEASAR, 1931) big stars. But once the production code became enforced during the second half of the 1930s, the studio … Continue reading A Gangster Morality: ANGELS with DIRTY FACES (1938)
In our Bette Davis journey, we have arrived at the year 1939, which history has claimed was the greatest in cinematic history. I tend to agree. It was also a pinnacle time in Bette’s career. As we discussed last week, she won the Oscar for her performance in JEZEBEL (1938) at the 1939 Academy Awards. Many films competed in 1939’s crowded array of offerings, in … Continue reading Bette Davis earned a DARK VICTORY
IN A LONELY PLACE (1950) This is one of many postwar films where Hollywood takes an introspective, and in the case of the film noirs like this, a darker view of itself. Not unlike private dicks such as Sam Spade, here it’s a Hollywood screenwriter who is showcased as the loner, cynical figure. Going deeper, darker, and more complex than Joe Gillis in Billy Wilder’s … Continue reading Nicholas Ray’s In A Lonely Place
Outspoken & Freckled 