Tag: Mystery

“Beyond a Reasonable Doubt” (1956) starring Dana Andrews & Joan Fontaine

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Tom Garrett (Dana Andrews) is a reporter on leave from his newspaper to write his second book. Since he has writer’s block, his publisher/friend, Austin Spencer (Sidney Blackmer), suggests an idea for a non-fiction book on capital punishment. Austin thinks the local DA, Roy Thompson (Philip Bourneuf), is using the death penalty in the hopes of getting into the governor’s mansion. Tom and Austin decide to frame Tom for a murder he didn’t commit, in the hopes of showing how easily a man could be found guilty (w/ only circumstantial evidence). They decide to keep Tom’s fiancee/Austin’s daughter, Susan (Joan Fontaine), out of the loop.

Austin: You get engaged to my daughter, and all you can think about is capital punishment?

This was the last American film made by Fritz Lang (an iconic noir director) before returning to his native Germany; he fled in 1934 b/c of the rise of the Nazis (being Jewish). Lang chafed against the Hollywood studio system when producers wanted to impose their ideas on his vision. This film (shot in only 20 days- wow) is a legal drama and noir rolled into one. Instead of a cop, we follow a journalist (which was common for the noir genre). Though it’s not in Lang’s usual style, I thought it was riveting from the start. Some viewers said the movie looked more like a TV show; TV was on the verge of becoming big in the mid-1950s. The dialogue is smart, pacing well-done, and the acting is good (down to the small roles).

Dolly: This guy’s got a lot of class.

Terry: Yeah? If he’s got so much class, what’s he doin’ with you?

Andrews and Fontaine make an elegant couple; they’re also fine actors who understand subtlety. Fontaine gets some classy outfits to wear, too. I think she looked more interesting in her 30s and somewhat baby-faced in her 20s. I wish she had more to do. One of the burlesque dancers, Dolly Moore (Barbara Nichols), brings some humor to the story. Moore looks/acts like a taller a and more streetwise version of Marilyn Monroe; she was in Sweet Smell of Success (1957) opposite Tony Curtis and Burt Lancaster.


[1] The main strengths of this movie… its lively pace, its wonderfully bizarre plot and the unexpected twists which make it so intriguing and enjoyable to watch.

[2] Andrews and Fontaine are not a bad pair—both are matched in calm and sophistication, and beauty, even, though Fontaine seems like an accessory until the very end. Andrews rules the plot, which makes him out to be a writer desperate for a new story.

[3] This is perhaps Lang’s best assault on the American justice system; he has created a story that is interesting and very plausible and it works a treat in that it gets you thinking about the fact that with this kind of law; someone really could be killed for something they didn’t do.

It is efficient story telling at it’s best and this is one of the highlights of the film noir era.

-Excerpts from IMDB reviews

Spoiler-Free Reviews of Trending Movies (OCT 2020): “Borat 2,” “The Trial of the Chicago 7,” & “Rebecca”

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Borat Subsequent Moviefilm (Amazon Prime)

Yes, Rudy is in this mock documentary (and doesn’t come off as so innocent)! Of course, y’all can see and judge if you’re curious. This is NOT the type of humor for sensitive viewers, as some of it is quite gross, vulgar, and cringe-y. This time, Borat (Sacha Baron Cohen) is joined by his wide-eyed teen daughter, Tutar (24 y.o. Bulgarian actress Maria Bakalova), who may be interested in becoming a journo also. Bakalova may be the breakout star here, as she can go toe-to-toe w/ the British comedian/filmmaker! Look out for a touching scene involving Borat and two elderly Jewish women. There is also a Black woman (babysitter) who gives Tutar some good advice. If you’re already a left-of-center (liberal) individual, you may be LOL-ing at the politically-charged stuff. I almost couldn’t believe that Cohen snuck into CPAC (which took place in FEB 2020 in DC)!

The Trial of the Chicago 7 (Netflix)

In Chicago 1968, the Democratic convention was met w/ protests from activists like the moderate Students for a Democratic Society led by Tom Hayden (Eddie Redmayne) and the militant Yippies led by Abbie Hoffman (Sacha Baron Cohen) and Jerry Rubin (Jeremy Strong from Succession), which led to violent confrontations w/ police. Seven of the accused ringleaders are arraigned on charges like conspiracy by the hostile Nixon administration, incl. Bobby Seale (Yahya Abdul-Mateen II- a rising star in Hollywood) of the Black Panthers (who wasn’t involved in the incident). What follows is an unfair trial presided by Judge Hoffman (veteran actor Frank Langella) and prosecuted by a reluctant, but duty-bound Richard Schultz (Joseph Gordon-Levitt). Two of the defense lawyers are William Kunstler (Mark Rylance- a British theater star) from the ACLU and Leonard Weinglass (character actor Ben Shenkman), an expert on constitutional law.

I saw this last week; I’m a big fan of Aaron Sorkin’s writing (though haven’t seen all of his shows). Sorkin was approached by Spielberg several years ago re: writing this film- WOW! If you’re into US history, costumes, legal drama, and politics- you’ll enjoy the movie. Otherwise, it could come off as a bit boring; the directing style Sorkin uses is simple/straightforward. I liked the humor (which was mainly provided by Baron Cohen and Strong) and I learned some new things, too. I enjoyed seeing the subtle acting from Gordon-Levitt (now almost 40- whoa), Rylance, and Shenkman (who you may know from Angels in America).

Rebecca (Netflix)

Here was the (short) review I shared via Twitter last FRI night: Not sexy, not suspenseful, not one bit scary- just cliched, colorful, & clueless! Fans on my Alfred Hitchcock Facebook group were (mostly) reluctant to watch this version, though it’s not a remake. This is an adaptation of the novel (which I didn’t read); I suspect it’s not totally faithful. Though it delves into class issues, there is very little age gap between the leads. Viewers looking for the LGBTQ element to be explored further (w/ Mrs. Danvers) will be disappointed. The director (Ben Wheatley) doesn’t do much w/ light and shadow- a missed opportunity!

I don’t love or hate Lily James, but I don’t think this role suited her. The same goes for Armie Hammer (tall/conventionally handsome); he acts wooden, lacks mystery, and has no romantic chemistry w/ James. His accent is way off- it’s more Mid-Atlantic than British. I haven’t seen much of his acting, but I thought he’d be a LOT better than this! I did enjoy seeing Ann Dowd (The Handmaid’s Tale) and the (still gorgeous) Kristin Scott Thomas. What we have is a movie where the costumes and scenery overtake the people in the story. The supporting actors did well w/ what they were given, esp. the prosecutor (in the third act). The ending scene looks like it belongs in a different movie- MANY viewers were confused!

Hitchcock’s “Stage Fright” (1950) starring Jane Wyman, Marlene Dietrich, Michael Wilding, & Richard Todd

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Commodore Gill: The best thing you can do, my girl, is go back to the Academy; practice your soul-shaking antics in surroundings where they can’t do any harm.

Jonathan Cooper (Richard Todd) is wanted for questioning by the police who suspect him of killing the husband of a famous theater actress. His friend Eve Gill (Jane Wyman), offers to help him hide; she’s infatuated w/ Jonathan. He says that his lover, actress Charlotte Inwood (Marlene Dietrich- fabulous at age 49), is the real murderer. He even carries a dress smeared w/ blood! Eve’s father, Commodore Gill (Alistair Sim- famed as Scrooge in A Christmas Carol), reluctantly decides to let Jonathan stay in his seaside cottage. Eve wants to investigate the murder herself! She follows one of the cops in charge of the case, Detective Inspector Wilfred Smith (Michael Wilding- who later became one of Elizabeth Taylor’s husbands), to a pub. To get close to Charlotte, Eve becomes a substitute for her maid/dresser, Nellie Goode (Kay Walsh). Eve’s unsuspecting mother, Mrs. Gill (Sybil Thorndyke), thinks that her daughter is busy w/ classes at R.A.D.A.

D.I. Smith: Perhaps you’re allergic to bars. Look, would you feel less uneasy if I sat with you? Or, more uneasy? Perhaps you’re allergic to strange men too.

Eve Gill: No, I love strange men! I mean, I’m very fond of them.

Sir Alfred Hitchcock’s 21 y.o. daughter, Patricia, was studying at R.A.D.A. (one of the settings for the movie) at this time. He wanted to spend some time w/ her (after being based in Hollywood for several years); Pat has a small part in the movie. Hitch also had Pat double for Wyman in the early scenes that required “dangerous driving” in the opening. Pat is given the unflattering name of “Chubby Bannister,” which was a term of endearment according to Hitch (b/c she was “a girl you could always lean on”).

Charlotte Inwood [to Eve]: Oh, darling, don’t confide in me. Pour some tea will you?

The novel upon which this movie was based, Man Running by Selwyn Jepson, appeared in serial form in Collier’s Magazine (August 9, 1947 to September 13, 1947). Hitch thought of Stage Fright as “more than a murder mystery, it is a critical examination of the acting craft” (a subject that long fascinated him). Eve wears costumes, puts on an accent, and creates a role for herself. This movie is significant b/c it broke a (long-established) cinematic convention that flashbacks were always a true account of earlier events. In Stage Fright, the opening flashback turns out to be a lie, which confused then angered viewers of that day (as they felt cheated)!

Ladies must be well fed. -Hitch commented, having steaks and roasts flown in from the U.S. for his two leading ladies (while food was being rationed in London)

Wyman (who had achieved success the previous year at the box office) worked for weeks in to perfect her Cockney accent; Walsh coached her each day after filming was completed. Wyman was required to appear frumpy/dowdy when acting as the maid, but she was reluctant (when Dietrich appeared so glamorous). Hitch said that Wyman would cry when she’d see Dietrich looking glamorous on-set when she had to wear her maid’s disguise. Much to Hitch’s bemusement, Wyman secretly wore make-up or tried other tricks to improve her appearance (so failing to maintain character).

Eve Gill [in disguise]: My Dad says that man on the run might turn up here. Might even get into the dressing room. Might even murder me, madame.

Charlotte Inwood: The scene of the crime, the murderer returns to – not the theater.

In a rare move, Hitch allowed Dietrich creative control, esp. in how her scenes were lit. Dietrich learned re: cinematography from directors Josef von Sternberg (also one of her exes) and Günther Rittau; so Hitch let her to work w/ the film’s cinematographer, Wilkie Cooper, to light and set her scenes the way that she wished. Dietrich’s costumes were designed by Christian Dior. One of the songs that Dietrich sings is Édith Piaf’s signature song, La Vie en Rose. Dietrich and Piaf were close friends; Piaf granted her permission to use the song. Dietrich’s The Laziest Girl in Town (written by Cole Porter) is spoofed in Blazing Saddles (1974). According to Dietrich’s autobiography, she began her love affair w/ Wilding while making this movie.

I heard she’d only wanted to do it if she were billed above me, and she got her wish. Hitchcock didn’t think much of her. She looks too much like a victim to play a heroine, and God knows she couldn’t play a woman of mystery, that was my part. Miss Wyman looks like a mystery nobody has bothered to solve. -Dietrich on working w/ Wyman

[1] It is the masterful presence of the great Alastair Sim, however, that makes Stage Fright one of Hitchock’s most enjoyable to watch. He is equally at home playing comic relief as he is to serving as the plot glue that makes Eve’s capers possible.

[2] Great use of silent sequences, close ups, slow motion, black humor, and mood lighting… this murder mystery offers all kinds of plot twists and sly humor even though you know the outcome long before it unspools.

[3] The performances here are all excellent, especially Jane Wyman and Marlene Dietrich as Charlotte Inwood, perhaps the laziest girl in town, but also the most flamboyant. The secondary characters are also in fine form and make memorable impressions that adds to the enjoyment factor of this film.

-Excerpts from IMDB reviews

Hitchcock’s “Suspicion” (1941) starring Joan Fontaine & Cary Grant

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Johnnie: Your hair’s all wrong. It has such wonderful possibilities that I, well, I got excited. For the moment I became a passionate hairdresser.

Johnnie Aysgarth (Cary Grant) is a handsome/charming man who meets shy/straight-laced Lina McLaidlaw (Joan Fontaine) on a train. He’s a playboy who is seen in the society pages; she has a sheltered life and reads a lot. Soon, Johnnie sees Lina again in the English countryside; she looks lovely and carefree riding her horse. He goes w/ some local ladies to call on Lina; she is pleasantly surprised to see him. Lina’s parents (played by Cedric Hardwicke and Mae Whitty) caution her, as he’s son to a gentleman they knew, and considered to be “wild.” In no time, Johnnie and Lina (who he nicknames “Monkeyface”) fall in love and decide to elope. After a long honeymoon in Europe, the earnest young bride discovers her new husband’s true character; Johnnie is immature, a gambler, and deep in debt! He gets a job w/ an older cousin (played by Leo G. Carroll) as an estate agent, but that turns out badly. Eventually, Lina starts to become suspicious when Johnnie’s older/wealthy friend, Beaky (Nigel Bruce), is found dead while on business in Paris.

Johnnie: What do you think of me by contrast to your horse?

Lina: If I ever got the bit between your teeth, I’d have no trouble in handling you at all.

Sir Alfred Hitchcock said that an RKO executive ordered that all scenes in which Grant appeared menacing be cut from the movie. When the editing was completed, the movie ran only 55 mins. The scenes were later restored, b/c the director shot each piece of film so that there was only one way to edit them together properly. Hitch wanted Johnnie to be guilty, but the studio decided that the public wouldn’t accept Grant as a murderer. Hitch’s original ending had Johnnie killing Lina by poisoning her milk, but then convicting himself by mailing a letter that Lina had written. Donald Spoto, in The Dark Side Of Genius, disputes Hitch’s claim to have been overruled on the ending. Spoto writes that the early RKO treatment and memos between Hitch and the studio show that he desired to make a movie about a woman’s fantasy life.

He [Cary Grant] did kill me in the original cut, but at a preview, the audience simply refused to accept him as the murderer. -Joan Fontaine

Provokingly irresponsible, boyishly gay, and also oddly mysterious, as the role properly demands. -Bosley Crowther, NYT film critic, describing Grant’s character

This is the first time that Hitch served in the role of producer. I learned from movie critics/fans that Fontaine’s performance is the only Oscar-winning performance that Hitch directed! Grant (who became Hitch’s favorite leading man) felt that the director gave Fontaine preferential treatment to the detriment of his character. This movie was a big success, earning $1.8M at the box office. The couple’s pet dog is a Sealyham Terrier named “Johnnie,” and on of Hitch’s own dogs.

[1] The tension keeps building, and Fontaine’s performance allows the viewer to feel all of her fear and anxiety. Not everyone likes the way that it all ends, but it is worth seeing and deciding for yourself what you think about it.

[2] Grant is a perfect choice to play Johnnie Aysgard. He has the dark, handsome looks, that gleaming smile and loving charm and he literally sweeps Lina off her feet. His presence only vaguely suggests the menace hidden underneath and this is perfect for a convincing psychological, cerebral thriller.

And his presence is the reason this movie works as an excellent psychological thriller even if the ending is a letdown. Using an actor like Grant misleads the public into being sucked into the lighthearted tone of the first third of the story.

[3] We think we are watching the action unfold in the way typical of most Hollywood films… but in Suspicion we are watching the action from Lina’s point of view… from a very subjective POV. And we assume that Lina is the more mature, stable character in the film. But we then begin to see just how unstable she is, as she interprets every event to be an indication of Johnnie’s criminal nature, as her suspicion grows to paranoia. And let me tell you, Grant’s acting is top notch as he is loving and playful one minute, and menacing the next. Just the way he walks up a flight of stairs with a glass of milk is frightening. His demeanor completely cooperates with Lina’s imagination.

-Excerpts from IMDB reviews

“The Blue Gardenia” (1953) starring Anne Baxter, Richard Conte, & Raymond Burr

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In LA, on her birthday, telephone operator Norah Larkin (Anne Baxter), dresses up and makes a nice dinner at home. She sits w/ the picture of her fiance (a soldier in the Korean War) and starts to read his most recent letter. It turns out that he’s in love w/ an Army nurse who helped him recover and plans to marry her! Norah, though very upset/vulnerable, accepts a blind date from a man that calls up her place (wanting to reach one of her roommates). This man is an artist and noted “wolf” w/ women- Harry Prebble (Raymond Burr). He and Norah chat, eat Chinese food, and drink at the Blue Gardenia Club. Norah has some strong cocktails w/ rum (Polynesian Pearl Divers) and gets drunk. Harry takes her to his place and forces himself on her; Norah hits him w/ a poker on the head. The next morning, she wakes up at her own apt, but can’t remember what happened the previous night! In the newspaper, Norah reads that Harry is dead; also the police have her handkerchief, black pumps, and the blue gardenia she wore. Casey Mayo (Richard Conte), a star columnist, takes an interest in the murder case. Norah starts suffering from anxiety, thinking that she killed Harry.

The iconic musician, Nat “King” Cole, is seen at the piano singing the theme song- “The Blue Gardenia”- in the club. The police captain who has a friendly rivalry w/ Casey is played by George Reeves (who gained fame as TV’s Superman). Norah’s divorced/wise roommate, Crystal (Ann Sothern), notices her friend’s change in mood/behavior. Their quirky younger roommate, Sally (Jeff Donnell), prefers bloody thrillers by Mickey Mallet to a night out. This is an obvious spoof on Mickey Spillane, known for his Mike Hammer novels. There is another Hammer connection which noir-istas might notice; the photo of Norah’s fiance is that of actor Ralph Meeker (who played Hammer in Kiss Me Deadly).

This is considered a lesser noir from a master of the genre, director Fritz Lang; it was shot in only 20 days. Lang and cinematographer (Nicholas Musuraca) developed a revolutionary dolly for the camera that allowed for sustained tracking shots and intimate close-ups. Lang liked tracking into a close-up shot of an actor over cutting to a close-up later in editing. I liked the interplay between the roommates, the chemistry between Baxter and Conte, the music, and the mood. The ending is wrapped up too neatly and feels rushed. The story was by Vera Caspary, who also wrote Scandal Sheet, Laura, and A Letter to Three Wives. I saw it (for free) on YouTube.

[1] Fritz Lang made a specialty in harassed and harried protagonists getting themselves into some real jackpots… These are people who in fact were guilty. For the first time however Lang’s harried protagonist is a woman and Anne gives a great performance.

[2] One thing this film has going for itself is atmosphere. Making it all seem relevant is the featured song, more than just a theme, an integral part of the movie, sung by the enchanting man with the melodious voice, Nat “King” Cole, who makes a much too brief appearance…

Besides the hypnotic melody, the interplay among the three room mates, Norah Larkin (Anne Baxter), Crystal Carpenter (Ann Sothern), and Sally Ellis (Jeff Donnell), represents the apex of this enjoyable Fritz Lang outing… If “The Blue Gardenia” is to be classified at all, it would possibly be labeled lighter Noir.

[3] I am surprised that so many people who review it here seem not to grasp it. They complain about lack of suspense… It’s about Anne Baxter, the world through her point of view. Her life is a beautiful dream of hopes of love and happiness for the future, which turns into a horrible nightmare that spirals downward with sickening realism and pathos.

-Excerpts from IMDB reviews