Les Cousins (1959)

☆ ☆ ☆ ☆

Les Cousins (1959) -- C. Chabrol

When one studious cousin moves from the provinces to Paris, he is treated to some late 50s bohemian decadence by the other playboy cousin (and the long party scenes are handled surprisingly well here by Claude Chabrol). This is more than a good meets evil story (although that is part of it) because there is also somedesire for transference (or wish fulfillment) on the part of both cousins and the result of their sustained contact is unpredictable. As with many of the early New Wave films, there is an exuberant freshness here (even as tension and loathing mount).

Shoeshine (1948)

☆ ☆ ☆ ☆

Shoeshine (1948) -- V. De Sica

De Sica's brand of Italian Neo-Realism hardly seems naturalistic these days with its well planned shots, scripted melodramatic action, and occasionally intrusive music.  But viewed as an artistic creation rather than a glimpse at how Italy really was (which it may still capture through location shooting), Shoeshine still has the power to tug at the heartstrings.  Here we see two young boys caught up in the poverty of the post-war period and thrown into a juvenile jail.  It gets worse from there, as their loyalty is tested through a number of trials. Perhaps, in fact, it is all too much.

Les Visiteurs du Soir (1942)

☆ ☆ ☆ ☆

Les Visiteurs du Soir (1942) -- M. Carne

This Vichy-era period piece (escaping reality to the 15th century) by Carne and Prevert takes place in a dream world where envoys of the Devil can create mischief by casting romantic spells on those already devoted to others. True to any dream, the pacing is languorous but when you settle into its rhythm you might be swept along by its gentle ministrations. Here we see couples professing their love for each other -- but when the Devil himself shows up, can they defy his willful (and witty) efforts to tear them down?

Floating Clouds (Ukigumo) (1955)

☆ ☆ ☆ ☆ ½

Floating Clouds (Ukigumo) (1955) -- M. Naruse

Masayuki Mori plays a terrible cad (but soulfully) and Hideko Takamine is the woman who irrationally loves him. This is really a duet for two tremendous actors, who chart the ill fortunes of a romance that is not to be across many years starting in WW2 but mostly during Japan's rough period directly afterward. It is all his fault and, because this is Naruse, he finds out too late. Not the perfect masterpiece that When a Woman Ascends the Stairs would be, but right up there with his best.

The Magnificent Ambersons (1942)

☆ ☆ ☆ ☆ ½

The Magnificent Ambersons (1942) -- O. Welles

Even watched on my old VHS tape, you can see Orson Welles' attention to detail and "the shot" here in the remnants of his second film (slashed from 130+ minutes to 88 while he was in Brazil working for Inter-American relations on "It's All True"). The plot remains coherent (albeit with a tacked on "happy" ending), telling the story of the Amberson family, and George Minafer Amberson in particular (played brattily by Tim Holt), and their sad decline as progress comes to the American midwest in the early 20th century. A lot of bravura stylistic flourishes here, but they don't interfere or detract from the story. Rewards close scrutiny.

Oliver Twist (1948)

☆ ☆ ☆ ☆ ½

Oliver Twist (1948) -- D. Lean

David Lean's striking film of Dickens' novel is grimy yet handsome, full of ugly characters beautifully presented. But seriously, the cinematography and settings here (as with the earlier Great Expectations) are like etchings by Durer come to life in industrial Britain. Stereotyping aside, Alec Guinness submerges himself into Fagin, countering Robert Newton's drunken brutish Bill Sykes with a craftier evil type. Lean's direction carries us to a fine (and satisfying) crescendo.

The 39 Steps (1935)

☆ ☆ ☆ ☆ ☆

The 39 Steps (1935) -- A. Hitchcock

Seeing this on Blu-Ray (without blemishes, more or less) helps one to see the pictorial beauty that Hitch wasn't always known for (is this really Scotland or the studio, I wonder). In addition, he lets certain moments hold for a beat or two before fading to black which lends an extra emotional resonance to some scenes. These things lift what is already a pretty tightly plotted adventure story, which created a template for some of his later films (Saboteur, North by Northwest). Robert Donat is accused of murder and needs to expose an international spy ring in order to prove his innocence. A key work from Hitchcock's British period.

The Lady Vanishes (1938)

☆ ☆ ☆ ☆ ☆

The Lady Vanishes (1938) -- A. Hitchcock

I'd say this is Hitchcock's masterpiece from the British period -- a comic spy story that contains some clear warnings about the growing tensions in Europe and British diffidence toward them. Margaret Lockwood convinces Michael Redgrave to help her search for Dame May Whitty, a "whimsical" old governess who has gone missing on the train. Paul Lukas is the charming but possibly obfuscating brain specialist who helps them out. The screenplay manages to click along nicely, building suspense and providing the "answer" in a way that still leads to an exciting climax. Hitch's sly sense of humor is most definitely on display.

World on a Wire (1973)

☆ ☆ ☆ ☆ ☆

World on a Wire (1973) -- R. W. Fassbinder

Made for German TV in 1973, this is Rainer Werner Fassbinder's only sci fi effort (among 40 or so films made before he died in his thirties in 1982).  Shot quickly on a small budget but with a hell of a lot of flair and style (just look at how the camera moves and what it looks at).  It even feels like a 70s action show at times but it is deeper, more layered, more existential, and a lot more nutty than that.  Best watched across two nights (it was designed in two parts) to really let the "shattering" cliffhanger set in -- I was really looking forward to the second half.  To top it all off, this 40 year old film is so "modern" with its focus on the creation of a virtual reality and how the electronic beings in it might take on consciousness (and what might happen then).  The ending might knock you for a loop!