#411: The Black Cat

Directed by: EDGAR G. ULMER

1934, TSPDT Rank #987

How I ever got so lucky to watch and review not one but TWO masterpieces in the same day is beyond me. I almost hope I get to review something I consider terrible in the near future so that any new readers don't think I write exclusively in hyperbole. However, you can trust that I am a discerning viewer (see reviews of The Lord of the Rings trilogy in the archives), and that I really do mean it sincerely when I call a film a masterpiece. Anyhow, on with the review.

The Black Cat is by far my favorite of the '30s Universal horror films that I've seen so far. And what's more, it seems to be basically unknown to the majority of viewers, save the more serious film buffs (including myself, I suppose). It far surpasses the two most famous films of this group, Dracula and Frankenstein, but however, the respective stars of those films (Bela Lugosi and Boris Karloff) share the screen together here - and with very great success. The chemistry between all of the actors, especially the two leads, is nothing short of miraculous. Edgar G. Ulmer's direction of this brilliant, twisted material is just perfect - the pacing seamless, and all of the insane plot twists advanced with delicate subtlety - which makes the material all the more potent. Watching this today, and knowing it was made it the 1930s, would cause most to assume it was a pre-code film, but shockingly enough - it wasn't! Pay attention during the entire climax and final encounter between Karloff and Lugosi, and marvel at the fact that The Black Cat was passed with no argument by the ultra-conservative Hays Code. How that ever happened, I have no clue, but I guess it just adds another layer to the mystique this bizarre gem has already built up for itself. So if you happen to watch this film, consider yourself one of the lucky ones - you will have just watched one of the great early American horror films.

(Rating: 10/10)

#416: The Lord of the Rings: The Two Towers

Directed by: PETER JACKSON

2002, TSPDT Rank #951

The Two Towers is, in essence, another in a very long line of overblown, bloated epics that Hollywood has been cranking out quite consistently in the past 100 years. These films piss me off, because the production values are so grand, and the premise so ambitious that these films never cease to win loads of awards and top every best of list the modern film geek can come up with, even though they aren't that interesting. The Lord of the Rings films are so beloved and sacred in pop culture because .... I actually have no idea why. I thought Fellowship of the Ring was quite good when I reviewed it probably about a year ago, but I found The Two Towers to be dull, empty, and frankly, quite a waste of three hours of film (or more if you watch the extended version, which I happily did not). There were some very beautiful shots scattered throughout the film, and those I really liked. And giving credit where credit is due, the battle scenes are quite visceral and well-done. But the film consists basically of either battle scenes, discussion of impending battles, or scenes involving some fantastic creatures (during which the talents of the CGI department are well displayed, as usual). I know this is meant to be entertainment, but whoever this entertainment is geared toward, I am not that person. As far I'm concerned, despite a climactic battle in which the stakes are supposedly the fate of mankind, the film ends up not in that different of a place than it was at the beginning. Maybe it's tough being the middle film in a trilogy about an epic journey, but either way, I did not enjoy this film. Which reminds me - coming soon is The Return of the King. I have that to look forward to.

(Rating: 4/10)

#351: Now, Voyager

Directed by: IRVING RAPPER

1942, TSPDT Rank #619

One of Bette Davis' better performances in my opinion, outside of All About Eve. Her being a "fat, ugly duckling" is a little hard to believe, but out of all the Hollywood stars at the time, she was the most able to play a role like that I suppose - and the transformation from ugly duckling to beautiful swan is breathtaking nonetheless. The romance with Paul Henreid is in the foreground early on, but then takes a backseat until the end, to Davis' volatile and traumatic relationship with her mother. Domineering and psychologically consuming mothers practically made the psychoanalytic profession, and this is one of many notable movies to feature them (although I'd rather take Psycho anyday). A bit melodramatic of course, but interesting and enjoyable anyway. Now, Voyager has aged considerably well, and other than Davis, features another great character role for Claude Rains, who can be seen in so many wide-ranging supporting roles around this period. An above-average romantic classic.

(Rating: 7/10)

#335: Duel

Directed by: STEVEN SPIELBERG

1971, TSPDT Rank #876

Some people find this movie to be great, but personally, I don't find it great - I find it rather silly. Frankly, I don't think it belongs on this list. But that's obviously not under my control. The film is significant for reducing the action mainly to a man in his car, and sustaining the action for a full 90-minute TV movie. Now I'm not saying it's terrible, but it doesn't show Spielberg as being great then or afterwards. It's not that Spielberg is terrible either, but the way he is hyped up is just wrong. The word 'Spielberg' is practically synonymous with 'great director/producer/etc.' these days. I think that if people think that, they haven't explored enough. Enough said. Now about the film, the buildup (of which almost all of the film is) is okay/fair, the ending is extremely anticlimactic. And that makes everything that came before it worse.

(Rating: 4/10)

#331: Rose Hobart

Directed by: JOSEPH CORNELL

1936, TSPDT Rank #953

This short film is a great idea in every way, and has immortalized its star and namesake more than her average films like East of Borneo would have on their own. Which brings us to the concept: the film is basically shots from the film East of Borneo (starring Rose Hobart and made a few years earlier in the decade) edited down to mainly erotic gazes and atmospheric shots. We don't know who the characters are, don't hear them speak, but we intercept their strong feelings and emotions (don't confuse with melodrama). I can tell, even without seeing the film, however, that this film works much better and presents the beautiful star much better than the source material did. How do I know this? Because if East of Borneo on its own emitted this type of energy and effect, then it would be a lot better known than it is today - and better known than Cornell's Rose Hobart because it would have been able to do what was potentially possible with the footage that it didn't do. Goes to show how powerful the art of editing and shot juxtaposition can be. It's not a surprise Salvador Dali kicked over the projector when he saw this because he had had the same concept in mind shortly before watching this film. A landmark of experimental film.

(Rating: 8/10)

#328: Safety Last

Directed by: FRED C. NEWMEYER & SAM TAYLOR

1923, TSPDT Rank #937

One of the new additions to the list, Safety Last has a welcome (and hopefully permanent) spot here, which is great, because before this film entered the list, Harold Lloyd (the least known of the so-called three kings of silent comedians - the title he shares with Chaplin and Keaton) was not represented at all on the list! Personally, I think this should be blamed on the fact that Lloyd's films just don't have much circulation at all these days. The DVD box sets of Lloyd's work have been out of print for years, and many of his famous films are not accessible to watch online either (again, unlike those of Chaplin and Keaton). In fact, I've been waiting to see this film ever since I started watching silent films - and just happened to catch it recently as it made a rare television appearance on TCM.

Looking online, I realized that, for how well known Safety Last seems to be, not many seem to have actually seen it. The image of Lloyd hanging on the arm of the clock is so iconic, that many who don't know Harold by name, or may never have even seen a silent film, recognize this image and at times even think they have seen it themselves. True, the plot isn't spectacular in itself compared to other silent comedies, but the way Lloyd arranges the entire film and plays out the various jokes and action sequences is nothing short of genius. But the whole first section of the movie all leads up to the final 30 minutes - which consists basically of Harold climbing a building. This is one of the most suspenseful and consistently thrilling sequences I've ever seen, in any genre. After watching the entire film, capped off by the grand finale sequence, anyone left unconvinced of Harold Lloyd's incredible, unique talent and feel for his material (and his work's ability to complete stand up to that of his more famous peers, if not better) is not likely to be convinced by anything, ever. Please get yourself a sense of humor and joy if you are that sorry shell of a human being. If you are not, watch this movie whenever possible. A great example of prime silent comedy from one of the underrated masters!

(Rating: 9/10)

#316: Dead Poets Society

Directed by: PETER WEIR

1989, TSPDT Rank #741

Peter Weir is a director of whom I have been largely unaware of up to this point. However, this will not be the case after seeing Dead Poets Society. It's basically a top-tier artistic film with mainstream sensibilities and fairly widespread appeal. As much as I (usually) like Robin Williams, most of his roles fail to break out of his comedian persona and become something more. This film definitely proves an exception, and this performance, along with his strong performance in Good Will Hunting, will cement his place in film history. I think the film itself earns its place as one of the great youth-centered films. It is inspirational in its message against the disease, still plaguing today's youth culture, that is conformity - at times heavy-handed and sentimental in its approach, but not as much as you would expect. The cinematography is brilliant, and draws on the film's poetic, serene, nostalgic, and haunting aspects. I could say a lot more on this film, and although it's not perfect, it's definitely worth checking out.

(Rating: 9/10)