Topper (1937)

While Roland Young entertains as the repressed-but-awaiting-release eponymous character, this movie dragged for me for most of its 97 minutes. A case of being in love with newfangled special effects, which won an Oscar, and not having much of a story as the film's foundation. I recommend #3 in the Topper flicks over this one. Two thumbs down. Only laughed aloud once.

Topper Returns (1941)

Even for a twenty-first century viewer, the Oscar-nominated special effects in this supernatural comedy whodunit were highly entertaining. Joan Blondell's performance made me want to seek out more of her movies. Roland Young played the titular Topper in this third outing with great aplomb. Small parts played by known horror/thriller actors added a depth to this otherwise light comedy. The mystery plot kept me guessing. Overall, a delightful flick.

Beyond Tomorrow (1940)

Veteran performer Charles Winninger steals almost every scene in this fantasy romance with a large ensemble cast. Definitely a B movie, but I enjoyed it, despite many missed opportunities to add comic touches. This BW movie is absolutely a drama, and contains downright morose moments. Again, Winninger saves it with his angelic acting (pun intended: he plays a spirit in the 2nd half). There's a lovely song about raining dreams halfway through, and the bowling sequence is fun. Overall, I would give it thumbs up.

The Killers (1946)

Burt Lancaster's first movie is a master class in film noir.  I almost didn't watch it, though, because of Burt's first scene. His overacting reminded me of the protracted death scene played by Paul Reubens in Buffy the Vampire Slayer, but without the humor. Yet I persevered and was rewarded with a bleak plot full of twists that kept me guessing until the very end and a femme fatale to lead them all in Ava Gardner (her first flick too!). What more could you want from a classic film noir? How did Burt Lancaster just become a movie star with his very first film? Wild.

Von Ryan's Express (1965)

Frank Sinatra was a really good actor. I enjoy his dramatic roles, including this war picture. At 117 minutes, it's a pretty big commitment, so I watched it in two sessions. I thought I had watched it many years ago, but I didn't remember the second half. Sinatra holds his own in scenes with Trevor Howard, and I can see why Frank's acting in other projects was acclaimed by the Academy. This movie relies on too much gun-play, even for a war picture, so I don't really recommend it, unless you're really into trains. In the second half, the train becomes one of the primary stars.

The Lady Eve (1941)

I adore Barbara Stanwyck.

Enough said?

In this 97-minute screwball romantic comedy, her chemistry with Henry Fonda makes the bw film positively shimmer. A fun plot, a great set-up, and a wacky conclusion that is also satisfying. Two enthusiastic thumbs up.

Some fun lines:

'Colonel' Harrington, Jean's father: "Let us be crooked but never common."

Jean describing another young woman on the ship, her competition for the eligible rich bachelor: "How'd you like that hanging on your Christmas tree?"

J, when the bachelor runs away from the ladies' attention: "Go soak your head, and see if I care!"

J. to "Hopsy" in the middle of trying to con him: "Don't you know it's dangerous to trust people you don't know very well?"

Colonel H, the card sharp: "It's the principle of the thing that bothers me."

Jean, soon to be Lady Eve to carry out her revenge: "I need him like the ax needs the turkey."

Costumes by Edith Head ... Cruise wear and this marvelous gown:

The Heiress (1949)

No one is allowed to be happy in a Henry James story. The extreme highs of first love and the dark depths of betrayal and abandonment gave Olivia de Havilland much to work with in her Oscar-winning role. This was another Ralph Richardson vehicle, playing her despicable father, which part he delivered with his usual aplomb. Baby Montgomery Clift is extremely winning and charming in his role as the fortune hunter. I found myself yearning for a kernel of truth in his professions of love. But, again, it's a Henry James story. While de Havilland's work is fabulous in this film, I despaired over the penchant of Hollywood to hire one of the most beautiful white women in the world at that time for this "Plain Jane" part. 

That last picture is a spolier, from the end of the movie. You can tell by her body language what she has decided to do. She spends a lot of the movie leaning away from him.

Appointment with Danger (1950)

"If you stay with it and work real hard, one of these days you may qualify for the human race."

Alan Ladd's postal detective (USPS) is as hard boiled as they come in this film noir. Henry (Harry) Morgan has a heart-wrenching scene as a criminal who fell in with the wrong gang.

While trying to solve the murder of another postal detective -- "Yeah, I knew him, but I didn't like him," says Al Goddard (Ladd) -- our intrepid investigator discovers a million-dollar heist plot against the USPS. Young Jack Webb of Sgt. Joe Friday in the Dragnet fame plays a psychopath who solves all his problems with murder.

This intense anti-heist flick starts with a long love letter to the USPS, but after that's out of the way, it's highly watchable. Phyllis Calvert's nun is a delightful foil for the heartless Goddard, who softens a tiny bit under her influence.