Dogs Bark

Space Noir - - Alien (1979, UK/USA, Color, 117 min) - - 16 October 2019

An essential.  Although the TCM Big Screen Classic 40^th anniversary screening of this happened more than a week ago, I delayed this until I saw Alexandre O. Philippe’s (78/52: Hitchcock's Shower Scene) excellent documentary, Memory: The Origins of Alien. I wanted to make sure that I wasn’t duplicating any of his insights. And I’m not, although his own insights are abundant. So, the reason to see Alien on the big screen with a giant Dolby sound system is that . . . it was made to be seen that way. The chest-bursting scene gets all the attention but it’s the preceding twenty minutes that must be experienced theatrically. Hopefully, you’ll be able to do this and note the BAFTA-winning contribution of Ridley Scott’s (Blade Runner) favorite sound editor, Jim Shields (Thelma and Louise), who provided the creepy rumbles on the left and right tracks. Shields recycled some of those effects in Blade Runner.   

Just Never You Mind - - The Last Picture Show (1971, USA, B/W, 118 min) - - 11 October 2019

An essential. Peter Bogdanovich’s The Last Picture Show is an iconic movie reflective of the raging bulls and easy riders of 1968 to 1977, the era when directors and screenwriters reigned and the suits and bean counters were cast down . . . temporarily it turns out. I’ll just focus of a few things. Read the cast list and know that this was the debut picture for at least seven major stars (and Randy Quaid) of subsequent films, with four supporting-actor nominations. Ben Johnson won his one and only Oscar thanks to his moving soliloquy, but this time I particularly appreciated Ellen Burstyn’s lovely, sad performance. This was also the first movie to rely exclusively on songs for its score, something now more common but here used to create a lonely, wind-desiccated mood, perfect and still haunting. Unbelievably, Robert Surtees did not win the Oscar for the rich, accompanying black-and-white photography.

Seen at the 4^th Annual Film Fest Tucson, during An Evening with Peter Bogdanovich

One Of A Thousand - - Winchester ’73 (1950, USA, B/W, 92 min) - - 11 October 2019

Strongly recommended. Every time I watch this movie . . . I like it more. First off, it was filmed almost in its entirety at Empire Ranch, in Old Tucson, and Mescal, making it even more local than Arizona. Second, the characterization of Shelly Winters (A Place In The Sun) as Lola, the dance-hall girl and ingenue, is adorable . . . in a uniquely hibernal way. She, and the entire supporting cast, is aided by the clever pen of Borden Chase (Red River). Easter-egg alert: look for two, soon-to-be, big stars in odd parts.  And most importantly, there is the strange, almost deranged, portrait of Jimmy Stewart (The Naked Spur) draws of the obsessed, vengeful Lin McAdams. Anthony Mann (Bend In The River) and Stewart made eight films - - five Westerns - - and in each of them Stewart methodically plays against type. For Mann fans, Winchester ‘73 is an essential and like its name sake . . . dead on.

Seen at the 4^th Annual Film Fest Tucson, during An Evening with Peter Bogdanovich

The Lady, Evil - - The Strange Love Of Martha Ivers (1946, USA, B/W, 116 min) - - 5 October 2019

Recommended. Feeling crappy the other day, I wanted Missy in the morning, and for my sins, they gave me some. Brought it up to me like room service. The Strange Love of Martha Ivers is just normal Barbara Stanwyck (Double Indemnity), with some sizzle between her and Van Heflin (3:10 From Yuma), playing a small-time gambler and lost love. The movie debuted Kirk Douglas (Spartacus) as “a scared little boy” aka, Mr. Ivers. Curious casting, as Douglas never played as craven a villain again. The first half of the movie is top-notch film noir and everybody is some part of a heel. The second part drifts and the ending seems awkwardly contrived. What’s not awkward is Lizbeth Scott (Dead Reckoning), who really shines as Stanwyck’s rival . . . a tough a role for any dame to play. Scott went on to make excellent noir right up through the 50’s, then - - sadly - - vanished.