Seen in 2014

I know this wasn't creators intent, but thank them for making me laugh so much!

This movie is just so... pink. It may be silly and over-the-top, but one can not deny that Jerry Lewis was a versatile person. In any case, I'm glad to finally see who was an inspiration for Simpson's professor Frink. Wow, the same voice!

I went trough a strange experience during this movie. In the beginning it moved too quickly, narrator and characters were talking so fast that I had hard time catching up with them. At the same time, I felt like there's nothing happening thoughout all movie. Huh, that's weird.

It was really difficult for me to understand and care for characters and their actions and even to listen all the unnecessary yatter that gives you nothing. I liked this superficially, I must say. Some camera tricks and direction style are interesting, but that's far from enough for me.

"Now, Voyager" could be used as an ultimate definition of 'classic melodrama' genre. There's everything: virtuous but suffering hero, victim of ill family relationships, a lot of unlikely situations and bittersweet romance. All this wasn't bad actually, until additional plot complications near the end. I thought there's enough going on already and the whole 'daugher issue' only made movie leap into way improbable. The cigarette ritual was an interesting touch and I certainly gained more respect for Davis after seeing this very demanding role.

Despite cheap B production, "Cat People" seems ahead of its time to me. Direction excited me with clever uses of shadows, lighting and sound. Climatic pool scene (as well as the bus scene) is the best example of usage of all three at once.

Story was another thing appealing to me. Simone Simon plays psychologically tormented woman, a character who'll evoke different feelings from viewer, from pity to shivering. Her backgroung was particularly interesting to me, as she has Serbian descent and what tortures her is exatcly her past and heritage. In addition, there's a strange, cat-like woman who appears in single scene, saying only one sentence: "My sister." in Serbian. I thought it's fun how are Eastern European people presented with such aura of mystery and even creepiness.



There's a bunch of interesting stuff to experience here - eerie atmosphere, the dawn of psychosexual content in horrors and implied violence which is always more thrilling and impressionable to me than graphic slasher movies.

Very beginning is so cool and got me wondering: "Wait, am I watching a pre-code movie?" But no, it was false alarm. Babs' character surprised me with unusual approach for winning her heart's desire. It's fun nonetheless. The whole movie actually passes by in this very, very silly but entertaining manner. Beside leads, supporting characters deserves a lot of credit for laughter, in first Marshall's devoted butler Butch and temporarily mute Mr. Meggs. I musn't forget to mention most memorable scene - Stanwyck's and Marshall's boxing 'match'! So fun!

Cregar has quite intimidating stare, but I never felt any great tension here. Maybe because writers chose to present villain immidiately, which is suspense killer for me. There's cool settings of London's dark, foggy streets, making movie's atmosphere chillier. Merle Oberon gives "The Lodger" a lighter tone with a couple of very entertaining dance numbers.

When watching musicals with such great team like Astaire and Rogers, I tend to focus on shining dance scenes and story which led to those. According to that, I wasn't too interested in gags of secondary characters - in my opinion, there is a lot of room for those in here. I just wanted to see more of Fred & Ginger and I wished it didn't take SO much time to finally see them together, instead of solo dance scenes. Still, those were worth the wait, since I loved every single dance number, especially roller skating and surprisingly touching ferry scene.

I'm not surprised by such common pairing of Janet Gaynor and Charles Farrel - they share a gran' chemistry together. Honest and tender bonding between the characters is definitely the highest quality of the movie. Along with friendship, Farrell is trying to give a 'makeover' to unkempt and mannerless Gaynor. It's so endearing, heartwarming and at times has some father-daughter quality. Downside of movie is ending, VERY unrealistic, obviously made for happy-ending sake. But damn it, movie bought me long ago, I could forgive it almost any improbable closure!

"Told you 158 times I can't stand little notes on my pillow. "We're all out of cornflakes. F.U." Took me three hours to figure out F.U. was Felix Ungar! "

"The Odd Couple" requires some time until it really kicks in. After that happens it's all-time fun with excellent lead performances.

And talked they did. One of the most wordy movies I've seen, is in my eyes, an example of poorly made multi-genre movie. It mixtures comedy, mistery, drama and romance but it simply doesn't reach everything it wants to be. I had to see it, because I was cracked up by omnipotent Cary Grant's character. Here, he is: quick-witted, sarcastic, but noble doctor and healer, private clinic owner, university professor, and, my favorite - symphony orchestra conductor. Oh, and all women are in love with him. Feelings are returned to Jeanne Crain, for whom I had nice thoughts after watching "Leave Her to Heaven". Surprisingly, in this she isn't much interesting or even likable character. I also felt that romance between them wasn't developed enough. Drama part concerns jealous person who wants to disprove Grant's reputation and accomplishments. That part worked slightly better for me and I liked final dialouge.

"Nobody feels like an adult. That's the world's dirty secret."

At first, I felt like I was watching some extended "How I Met Your Mother" episode, considering that Radnor is basically the same character, who even wears the same plaid shirt over t-shirt like in that show. After some rather flat scenes to me, surprisingly, movie left a lot of room for intellectual conversations about literature, music, arts and growing up and made characters connect trough those conversations. I didn't like the whole movie because of some other characters who were less interesting or awkward to me. Still, it's nice to see a movie involving college students with more depth that usual.

"- There's no profit in sleeping at home.
- Ah, I must remember that!"

Wow, I'll never get tired of pre-code movies and their naughtiness. With its economical lenght (it's barely over an hour long), "Jewel Robbery" gathers pretty much everything that defines pre-code.

Kay Francis plays classy, but bored baronesse with fondness for jewels and infidelity, who gets all turned on by the robbery (and robber) she has just witnessed. The charming robber is William Powell, suave, cool and without a hint of jitter while pulling the robbery. He gives his victims marijuana, just to feel happier. Wow, how racy this is. I swear, almost every dialogue here is provoking in some way. Besides Francis and Powell's, I especially liked dialogues and scenes with Francis and her girlfriend, and the time when they're scared of someone's presence in the yard, but then got all excited when they realize that it's "some man!". Two of them are hilarious. I read that some reviewers are calling "Jewel Robbery" silly, immoral and its characters shalow, but I don't think this should be taken that seriously - I would rather describe it as a light, charming, playful and daring comedy, and it really is.

This is the kind of movie that kept me saying "Awww!" all the time, despite some minor plot issues. It stars Merle Oberon, whom I first see here, and she made quite an impression on me, playing tender, sophisticated, yet goofy and fun-thirsty socialite. Cooper's character is more than lovable here. Reserved at first, but proves to be utterly romantic, affectionate, and also very playful and child-like. Even more than usual.



Plot is quite simple, with my not-so-favorite false indentity device, but to avoid being simple as that it also has some social commentary and provides audience with few big Capra-like speeches about high classes and politics. By the end I felt like I was watching combination of several Coop's pictures seen over the years. Only bigger issue here, to me, was one comedic scene, for which I thought it dragged terribly, harming not only its charm and wit, but also the pace of the entire movie.

I've always been a sucker for 'celebration of life' messages in movies, but I prefer when it's being told by less eccentric individuals in less eccentric way (or someone I could connect to). I liked Ruth Gordon's performance, her energy and liveliness, and I was satisfied with the movie while relation between main characters was FRIENDSHIP. What happen afterwards was a big turn off and not to mention the ending which made a little sense to me. Plus for originality, but apparently, I'm more 'conventional stories' kind of person.

Storyline of this romantic drama is very simple, but I never object simplicity if it is portrayed delightfully like in this movie. So, sweet and kind country boy (played by handsome Charles Farrell, even too much handsome for all other actors here!) goes to town to sell wheat, meets perky young waitress (played by Mary Duncan - OK, why I'm not familiar with these actors, they're very good and I've just saw them here) along the way, marries her and goes back to countryside where he introduces her to his family. That is where the trouble occures, since his dominating father doesn't exatcly approve his choice.

Themes like this were subject of many movies, but not many of them were captured this beautifully. Director F.W. Murnau was skillful in that sense, since cinematography in "City Girl" is equally mesmerising as in "Sunrise". Even little details were very effective. Scene in which happy, lovesick couple is running through field of grain is among loveliest and the most engaging scenes captured in silent cinema. I completely loved it.



Aside from visual and artistic values, unfortunately, this movie wasn't perfect. I loved the first part entirely, so endearing and realistic. Yes, realistic even though it's early thirties. I firmly believe that this sort of thing would take place even today in some rural surroundings. But as the movie went towards the end, it became more frustrating and less realistic and for me that's the only bigger problem here (but problem, still). Even some parts that others may find problematic, have met my comprehension here. If it only wasn't for that sloppy last part, "City Girl" would be completely wonderful piece of early cinema.

I got a little tired of all the charade in the last minutes of the movie, but since I liked pretty much everything that preceded, my general impression is that this was highly entertaining movie. My favorite here is Powell, and Harlow of course, fun as always. Even her wardrobe cracked me up! Just look at those unpractical oversized furry sleeves on demanding and noisy Jean Harlow, and try not to laugh!

"No one's private life runs smoothly. That only happens in the movies. No traffic jams, no dead periods."

Man, is Charles Boyer annoying. It was really hard for me to stand him and the scenes in which he's trying to drive his wife insane. I don't think it's just on account he's a villain. By some coincidence, there was original "Gaslight" on TV just a day after I've watched remake, and I think their villain was less annoying (though worse is some other sense). Both movies have flaws, but each one different than another. Particularly in this one, I think that psychological abuse Bergman character experienced lasted for too long and at one point became really painful to watch. I wasn't to happy with the climax as well, and generally I feel like this could've been a better movie.

"He swings just like an old lady beating a carpet."

In this perfectly paced gangster comedy Edward G. Robinson plays an ex-mob who decided to "become a gentleman" and hit high society. In the process, his character is providing largely amusing combination of confidence and ignorance, to put it in the simplest. His comments on arts and literature were hilarious,
it's almost like listening to Homer Simpson trying to be smart.

"- I was listening to a lecture on tech...technocracy.
- What's that?
- Well, the guy's pan was all over his whiskers. He kept mumbling in them so I couldn't hear."

At the same time, he's clumsy and inept around girls, but lucky for him there's charming Mary Astor to help and tutor him. They share a few very sweet moments together. All strange traits for a gangster, yes. Only in the last minutes we get to see his tough side, as he's going "the Chicago style" and there are some great scenes and dialogues. Very entertaining movie, and also good to see Robinson's versatility. Really deserves to be better known.

It was interesting to see how Hedy Lamarr looked before the Hollywood glam, oh, it's a quite difference. And yeah, to see what was considered 'dirty' eighty years ago. Very subtle by today's standards. Although it's slow for me, I thought that direction was nice, there's a lot of artistic shots of nature and horses. The rest wasn't particularly exciting to me.

There is an interesting idea and intention behind this (to me!) unlikely romance. Cassavetes sublty suggests that, in life and love, you're certainly not going to get what you pictured, but possibly complete opposite, and not only you'll come to terms with, but love all the quirky flaws. There's one extensive dialouge I especially liked and that scene is one of my favorites in the movie. Here's part of it:

"You know, in movies it's never like this. I think movies are conspiracy. They set you up to believe in everything. They set you up to believe in ideals and strenght...and good guys and romance... and of course love. So, you believe it, you go out and start looking. It doesn't happen, you keep looking. There's no Charles Boyer in my life, you know. I never met Charles Boyer. I never met Clark Gable, I never met Humphrey Bogart... They don't excist, and that's the truth. But the movies set you up and no matter how bright you are, you believe it."

What bothered me here is Moskowitz. I thought he's too impulsive, loud and hysterical (at times even a psycho!) for me to like him, which lead me wondering why is she liking him too... But I believe that's the whole point. Though, I admit, his affection for Old Hollywood and one of the dialogues he had has softened my discontent with the character.

"Never let the seeds stop you from enjoying the watermelon."

Too much struggling and drama for me. Just when I thought they couldn't get more troubles, oh-oh, there's the big one coming. I count Lombard and Stewart in my favorite actors of the '30s and '40s, especially Lombard. I find she's handling drama very well, but I can't help but prefer her in comedies. The same goes for Stewart. They do get to share some nice moments in early movie, but all later the issues made it forgettable.

"It's called wisdome. It comes to some suddenly. We realize the difference between real, deep and lasting versus superficial payoff of the moment."

I'm not an expert on Woody Allen's movies. From all I've seen, I find "Crimes and Misdemeanors" to be deeper and even darker than all the others. It brings out important questions on life, religion and injustice one can witness every day. At one point, it is mentioned 'universe indifference' to human actions. It's something to think about. A lot of great dialogues.

Starts in the simplest way - the guy goes in another neighbourhood for a late night date - but it develops into nuttiest odyssey, mostly thanks to bizzare SoHo inhabitans he met along the way. Deserted dark streets and moody music made this movie very atmospheric and generally it feels like a fairy-tale. Griffin Dunne is great in lead role - I loved his reactions when encounter the oddballs.

OK, so this is the only Clara Bow movie I watched twice in a row (thankfully, it's quite short!). Reason is - this simple movie is everything I want to see when it comes to Bow's screen presence. It succesfully gathers all her qualities I love - she's lively, natural, goofy, flirty and believe me, there's nobody cuter when jealous than her! Sure, this movie is no great by any means. It's typical romantic comedy (with cool Hawaiian settings though) and it has similar premise like some of her other movies, but when it comes to entertaining Clara Bow's picture with her being consistently fun in it, I just couldn't ask for more.

How great is Jean Harlow? Her ability to make character worth despise (hysterical, shameless, trashy gold-digger) likable and fun is something to admire. I found this picture entertaining because it mixture immorality and drama with humor very well and, importantly, has great non-typical ending, hooray!

John Lund, could you be less exciting? I swear, at moments he looked like someone sucked the life out of him. So, this comedy with an unlikely plot had to depend on women. And I thought women here were great. Thelma Ritter in the first place, what a performance! She's embodiment of plain and caring mother who'll throw a few jokes here and there. Gene Tierney wasn't dissapointing too, she's sweeter here than in most other movies I've seen. Scene which started the whole charade was her funniest moment. And Miriam Hopkins suprised me. She's first introduced as snobbish high society woman and I thought that kind of role won't make room for fun and laughter. I guess I was wrong.

My general opinion is that this movie is so silly and requires turning off sense before watching. The beginning of this comedy/fantasy is quite entertaining. Fredric March shows up first and I like the way his characters were captured trough years - they're both funny and credible for certain period. Then Veronica Lake appeared and movie got even better. She's funny, flirty, a little brash and she had nice interaction with March. She's highlight here, no doubt about that.



I frowned at the middle of movie since became either more silly than I can handle or when it introduced some, to me, annoying characters. This however, remains good for some laughs and for seeing one of the few Lake's comedies. This genre siuts her.