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Stan Laurel as Rhubarb Vaselino

100 Years of… Mud and Sand

Before Laurel and Hardy there was Laurel and Laurel, and in 1922’s Mud and Sand we get to see Stan Laurel’s original silent-movie partnership at work. The film is a longish short (40 mins) spoofing the Rudolph Valentino hit Blood and Sand, the story of a poor Spanish toreador who hits the big time and has his head turned by the wiles of a vampish older widow. Tragedy ensues. Turned out within three months of Valentino’s all-action spectacular – one of the biggest films of the year – Mud and Sand’s target is obvious, with Stan Laurel playing the slick-haired accidental toreador hero and irresistible love icon Rhubarb Vaselino. (The on-screen intertitles call him … Read more
John Steed and Dr King

The Avengers: Series 2, Episode 5 – Mission to Montreal

Mixing it up yet again, episode five of series two – Mission to Montreal – introduces yet another sidekick in a story set on board a cruise liner heading for Canada. Jon Rollason plays Dr Martin King and brings the number of Steed’s accomplices in this series to three (Honor Blackman and Julie Stevens being the other two). King is an echo of Ian Hendry’s Dr David Keel in that he’s a doctor, and also one only too happy to indulge in a bit of espionage and rough stuff if necessary – not exactly what you’d expect from a well paid follower of Hippocrates, but there you go. In fact he’s more than … Read more
Daniel and Anaïs

Anaïs in Love

Anaïs is hot. A pretty young French woman who wears a succession of dresses that show off her long legs, her bare arms, her lovely skin. With her hair cascading down her back, she’s a gorgeous, flighty, scatty, slip of a thing who, silly her, gets herself into the most terrible situations and then, skipping elegantly with an impish grin, escapes out of them back into her consequence-free existence. Anaïs has a boyfriend, Raoul, but she doesn’t seem particularly interested in him. She has commitments to a university thesis but seems to be treating that in the same take-it-or-leave-it way. Early on she discovers she’s pregnant and so, alors, pops off to the … Read more
Tom Hardy as Ivan Locke

Locke

Steven Knight’s movie track record so far: when he only writes (Dirty Pretty Things, Eastern Promises) very good; when he also directs (Hummingbird), not so good. For his latest film, Locke, he directs, and the results are enough to make you forgive Hummingbird, the misguided attempt to inject soul into Jason Statham. Because Locke is very very good indeed. And it’s so simple, a high-concept piece – perhaps what you’d expect from one of the brains behind the quiz format Who Wants to Be a Millionaire – which simply sticks a man in a car and has him drive and answer phone calls, drive and answer some more. One man, one car, some … Read more
Alison Brie, Sheila Vand, Dan Stevens and Jeremy Allen White

The Rental

Take your pick – The Rental is a deliberately confounding amalgam of genres or a film that can’t work out what it wants to be. It starts out looking like one of those cabin in the woods things, and we meet two couples – Charlie (Dan Stevens) and Michelle (Alison Brie), Josh (Jeremy Allen White) and Mina (Sheila Vand) – as they’re arriving at a secluded and fabulous place by the coast, complete with ocean view and hot tub. They also have a dog in tow, which the rules of the rental explicitly forbid. But they’re entitled “white privilege” kind of guys and so those rules don’t apply. Actually, one of them, Mina, isn’t white … Read more
An impeccably dressed Ellen in sunglasses rows a boat

Leave Her to Heaven

Psycho wife alert, Leave Her to Heaven is melodrama of the first order, dressed to the hilt, played to the max and with Technicolor looks so lush that they border on the histrionic. If there’s an award for the best-looking film ever made, this has to be a contender. It’s a Darryl F Zanuck production and it looks like he’s taking aim at rival David O Selznick’s Gone with the Wind in terms of production values and storyline – an unhinged woman whose psychosis is so destructive it leaves a trail of broken people in its wake. Poor unwitting writer Richard Harland (Cornell Wilde) glimpses beautiful Ellen (Gene Tierney) on a train and is … Read more
Laura Paredes as Laura

Trenque Lauquen

Long films are often thought to have something profound to say. I’m not sure Trenque Lauquen does, unless you’re counting what it has to say about the act or art of cinema itself. Philosophically there might not be too much going on here but artistically this is a remarkable film. Cahiers du Cinéma named this as their best film of 2023. It’s four hours and 22 minutes long, before we go any further, and a detective thriller kind of thing, opening with two men searching for a woman, then flashing back to tell the story of the missing woman and one of the men, all the while alluding even further back, to a … Read more
Dennis meets Vilma

Favolacce (Bad Tales)

Grim and matter of fact, Favolacce follows up the D’Innocenzo brothers’ Boys Cry, a grim and matter of fact mafia drama with a tale, a bad tale (it’s also released as Bad Tales) of kids cusping on teenagerdom living in intolerable family situations. Asshole dads, toxic family relationship and cowed kids make for a film that’s tough going and yet oddly through-the-fingers watchable. Perhaps because, like frogs being gradually brought up to a simmer, we are introduced to the awfulness by stealth. To start with it looks like we’re in the world of Raymond Carver. There’s even what looks like a reference to that Carver story Why Don’t You Dance, the one about … Read more
Tom Hanks

The Money Pit

Barely ever really funny, The Money Pit is something of a slapstick classic all the same, a triumph of a kind of Hollywood film-making and playing that’s so precise that you have to admire it… even though you’ll probably not laugh. The scenario is lifted wholesale from the 1948 comedy Mr Blandings Builds His Dream House, which starred Cary Grant and Myrna Loy as the couple who buy a doer-upper and realise there’s more to do up than they can possibly manage. Here it’s Tom Hanks and Shelley Long as the pair who leapt before they looked. Hanks, two years after his breakthrough in Splash, is in his high comedy phase. Two years later … Read more
Jeanne and Heinrich in bed

The State I Am In

Christian Petzold was 40 when he made The State I Am In (Die Innere Sicherheit in the original German) in 2000. Which means he’d have been in his mid-teens and at his most impressionable when the Baader Meinhof and Red Army Faction were at their most active. So-called left-wing terrorists whose main beef was that West Germany wasn’t dealing adequately with its Nazi legacy, the Baader/RAF big moment came in 1977 when they kidnapped and shot the German businessman, politician and former SS officer Hanns Martin Schleyer. Petzold and co-writer/mentor Harun Farock make two imaginative leaps from this historical starting point. The first suggests what might have happened to two such terrorists not … Read more
Leona and Harry on his boat

The Breaking Point

Released in 1950 two years before the death of its star, John Garfield, aged only 39, The Breaking Point played to all Garfield’s strengths – he’s the tough guy military veteran attempting to maintain masculine dignity in a world that doesn’t want him any more. It was his favourite role. Harry Morgan (Garfield) is scraping along in the business he set up after he returned from the Second World War, chartering boats out for fishing and whatever comes along. Times are hard and he owes everyone money, and so, in hock to his eyeballs, a disappointment to his loving wife (Phyllis Thaxter), bossed by an offstage father-in-law dangling a job with his successful company, … Read more
Brandauer and Duvall

The Lightship

The Lightship should be a great film but isn’t. It goes wrong somewhere, particularly towards the end, when there’s a mad rush for the exit (or, the filmic equivalent, a mad rush to get everything said that needs saying before the big finish). It was released in 1985 and stars Robert Duvall and Klaus Maria Brandauer, two actors at the peak of their drawing power. At this point you could still smell the napalm on Duvall after Apocalypse Now, and his character here is a variation on Colonel Kilgore, the insane verbose genius. Opposite him the Austrian Klaus Maria Brandauer. In the wake of the success of 1981’s Mephisto (a Best Foreign Language … Read more

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