It was always decided that I’d include I Married a Witch during my Halloween festivities. After all, it was the film that brought Veronica Lake into my life. To give some context, Sullivan’s Travels cemented my love for Veronica, but I Married a Witch was the first film I ever saw her in. I adore this movie and I adore Criterion for releasing a beautiful Blu-ray transfer of it. The film loosely inspired Bewitched and is one of the best witch films out there (sorry, Hocus Pocus). You can watch this on HuluPlus if you have it and I especially recommend buying it on DVD or Blu-ray because it’s sweet, funny, and possesses just a dose of magic.
Dragonwyck holds much in common with a lot of movies, maybe because author Anya Seaton spent a couple weeks locked up with Gothic romances. If you’ve sat and enjoyed Rebecca, Jane Eyre, or Wuthering Heights than Dragonwyck has a lot of merit with its sumptuous costumes and sets inhabited by a decadent Gene Tierney and Vincent Price. But there’s just as many comparisons one could make between this and Forever Amber, the turgid costume drama where an unbelievable Linda Darnell struggled to get up from under the tulle and numerous plot points of her own story.
Originally published on ClassicFlix.com
“Cinderella was a dark horse,” a phrase which best sums up the comedic romance, Girl Trouble. This effervescent comedy starring Don Ameche and Joan Bennett takes a simple premise, clocking in at less than 90-minutes, and turns into a screwball caper about the haves and the used to haves.
Much like the complete portrait, Portrait of Jennie is a lovely feature where lovely people act lovely. There isn’t anything negative about that, but with such an overly sweeping narrative about the power of love and watching the actors fawn and gush about how in love they are, a bolt of lightning and a massive tidal wave is the shock to the system this film needs. My review is probably going to sound cynical despite my overall enjoyment of the feature, but much like cheap art the whole thing feels flat.
Before today Philip Marlowe was Humphrey Bogart in The Big Sleep, and his ultra-masculine, hardboiled take on the character set a high precedent for me. You can’t fault the studios for feeling equally wary in 1944 about casting song and dance man Dick Powell, two years before Bogart took the reins, purely because it’s hard fathoming such an ebullient figure in a dark role. Murder, My Sweet, while not topping the pure star talent of The Big Sleep, is a cynical and sarcastic film noir where Powell proves he can do more than tap his shoes.
**This post is written in participation with the Build-Your-Own Blogathon over at Classic Film and TV Cafe. Visit the site to read the other amazing participants’ entries.
We diverge from Summer Under the Stars for a day to look a radio play turned film starring the double whammy of Barbara Stanwyck and Burt Lancaster. My mother’s listened to Agnes Moorehead’s original radio production – a role she tackled till the 1960s – and I’m interested in comparing these two. As its own film, Sorry, Wrong Number is a tidy noir with a few too many complications sustaining the runtime.
The Constant Nymph plays like the antecedent to 1946’s Humoresque telling the story of a tormented musician plagued by stress and insecurity hindering their creative juices, and the wrong woman who encourages and enables. Unfortunately, The Constant Nymph is constant in making one’s head hurt with a romance that, on paper, probably plays as realistic but upon execution is anything but.