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myriamlenys
Reviews
Bye Bye Birdie (1995)
funny musical comedy
Popular singer Conrad Birdie is about to join the army. By way of publicity stunt it is decided that he will travel to a small all-American town, in order to kiss a female fan. This tender moment is supposed to represent his provisional goodbye to civilian life. Scores of fans faint with delight upon learning they're about to meet their idol in the flesh...
Since I had never seen "Bye Bye Birdie" before, in any shape or form, this 1995 version here represented my first introduction to the work. I quite enjoyed it for its merry blend of singing, dancing and comedy.
Much of the comedy consists of satire aimed both at teenage culture and at the savvy, knowing adults who exploit teenage culture for their own ends. Other targets include overbearing parents who maintain an iron grip on their adult offspring. (Actress Tyne Daly is memorably horrid as the kind of mother who has raised emotional manipulation to an art form.) Some of the lines are seriously savage, such as the remark about Joan of Arc made early on in the movie.
The late 1950's setting is emphasised by a series of beautiful costumes that transport the audience to an era of poodle skirts and petticoats. These costumes are so well-made that they do not impede the dancers' movements.
On the whole the intrigue hangs together reasonably well, although not all storylines seem to get resolved near the end. For instance : what happens to all those angry townspeople determined to root out adolescent vice ? Do they return to their respective homes after giving the kids a stern talking-to ? Do they surround the police station and the courthouse baying for Birdie's blood ? Do they contact the press for a tell-all exposé about the dangers of rock 'n roll ?
It's a pity that many of the actors and actresses playing teenagers are at least five to ten years too old for their role. This circumstance imbues some of the scenes with an involuntary surrealism. For instance, who's going to take issue with a lady in her twenties or thirties singing about her being an adult ? She IS a grown-up, isn't she ? Still, the problem is not unique to "Bye Bye Birdie" : many musical comedies suffer from the same defect. ("Daredreamer" is a classic example.) We're all supposed to swallow classroom scenes where the pupils look as old as the teachers, or romantic scenes where the misunderstood young lovers are old enough to have raised adolescent sons and daughters themselves...
Faibles femmes (1959)
Not bad, but could have been better
Athletic, clever and handsome, young Julien has a lot of success with the ladies. The fact that he hails from a well-off family doesn't hurt either. At one point he's juggling three different girlfriends. Upon comparing notes, the said girlfriends realize they've been hoodwinked. Then comes the news that Julien is about to tie the knot with yet another woman...
As a comedy, "Faibles femmes" tries very hard to be naughty and mischievous rather than wicked. It's a respectable ambition, but the movie might have worked better as a really sharp satire and/or a really black comedy. Another problem concerns the supposedly happy ending, which shows our Don Juan getting married. It is very hard to escape the impression that the bride would have been better off jumping in the Seine, since that would have saved her from a lifetime of weeping into her pillow. There's little doubt that the groom will continue to chase whatever moves him ; there's also little doubt that he will continue to lie about it. The man is just a disreputable old lecher waiting to happen.
Although "Faibles femmes" fails to catch fire, it contains some amusing finds. (Do watch the scene where the various ladies compare murder weapons.) The movie is probably most notable for uniting a number of extremely beautiful actors and actresses in the flower of their youth, such as a stunning Mylène Demongeot and a sublime Alain Delon.
People who like a good laugh at the expense of the fashion industry should take a look at the Julien character - his hairdo, his clothes, his accessories - before watching the haute couture menswear collections for Spring/Summer 2025. (At this moment there are quite a lot of runway shows being released.) According to some of our most prominent designers, Julien represents the very height of fashion.
Maytime in Mayfair (1949)
Great-Britain is back in business again
"Maytime in Mayfair" is a mix of comedy and romance, with some forays into musical comedy. The plot is very slight - most of us could manage to write something equally interesting in a few hours, while watching the football on the telly - and tells a tale about a man who inherits a fashion house from a distant relative. Rather than sell the fashion house, he decides to venture into the world of haute couture, mainly because he is charmed by the delectable manageress.
The movie seems to have been designed with two purposes in mind : firstly, to act as a showcase for the work of contemporary couturiers and secondly, to convince the public that Great-Britain was back in business again, after the horrors and austerities of World War II. According to the movie, prosperity and affluence have returned to British shores ; restaurant tables disappear under a succession of appetizing courses, socialites swan around bedecked with fur stoles and orchids, courting couples sip cocktails in bustling nightclubs and well-heeled businessmen pop across the Channel, quite casually, in order to take a look at consignments of silks and chiffons. Meanwhile newspapers are happy to talk eau-de-nil petticoats and intriguing little sleeves, to the point where the latest about hemlines can become a nation-wide scoop. It's a sparkling, gilded world of candelabra, chandeliers and floral arrangements.
So what does the movie offer to modern-day viewers ? Much, I suppose, will depend on the viewer's liking for, and interest in, British fashion circa 1950. People who appreciate the subject are likely to melt with delight every time a new costume appears - and there's A LOT of new costumes appearing. Viewers who wouldn't know Norman Hartnell from John Christie might be more critical.
I liked the movie, both as a window upon another time period and as a mildly diverting piece of entertainment. A few lines made me laugh, too. Still, I can't say that I took a liking to the male protagonist. In many ways the character represents an employee's worst nightmares. You work hard doing a job that you like, you know the business like the back of your hand, you maintain good relations with a whole network of clients and colleagues - and then suddenly some random fool shows up, declaring that he's the new boss and that his complete ignorance won't stop him from running the show. It's the stuff of nightmares - and of labor disputes.
The Intimate Stranger (1956)
compact little thriller
After a less than chaste youth a man has found love and stability with a British wife. The fact that the wife is the daughter of a studio boss is a welcome bonus. Apart from the usual stresses related to a busy career all goes well. Then the man starts receiving passionate love letters from a woman claiming to be his lover...
A mix of psychological thriller and drama, "The intimate stranger" comes with a nightmarish premise : out of the blue, an unknown person shows up in order to claim he or she is your lover. How do you prove to your spouse that the person is either lying or mistaken ? "The intimate stranger" starts somewhat slowly, but builds up a nice head of steam near the end. The finale makes good use of the setting, to wit a working film studio with various departments and facilities. Although the amount of physical violence shown is modest - for such an explosive subject, even surprisingly modest - the movie conjures up an unhealthy atmosphere of deceit and calculation. The emotional undercurrents are quite twisted too.
On the whole the plot is well-devised. Still, the solution depends very much on the villainess making a silly mistake. (You'll recognize it when you see it.) It is likely that a cool and collected woman would have been more prudent than that.
Messieurs les ronds de cuir (1959)
Based on Georges Courteline's blistering satire
One of the great black-and-white comedies, based on Courteline's full-frontal attack on the life bureaucratic. Courteline was writing about the bureaucrats and bureaucracy of France, but there was (and still is) much about the material that sounds universal.
The movie is structured, somewhat loosely, around one man's visit to the Paris-based Department of Donations and Legacies in order to talk about a specific file. While trying to speak to the civil servant in charge, he meets with the strange denizens inhabiting the premises. This involves, among other things, a meeting with two irascible duellists, a prankster impersonating a North-American Indian and a long-limbed madman wanting to cleanse France of its manifold imperfections. The building itself is weird too, what with corridors that trap the unwary and spiral staircases so steep that they constitute a health hazard. Thankfully there are also pretty balconies adorned with flowers where the male civil servants can discuss policy objectives with their girlfriends.
Unfortunately enough, the subject matter - however exaggerated for comic purposes - has not lost its relevance. Even today, anno 2024, many of the points being made are still valid, such as the fact that dislodging a bad civil servant is about as difficult as dislodging a recalcitrant clump of bamboo. This results in legions of lazy, incompetent or unhelpful people acquiring a feeling of invulnerability which does not enhance their charm.
Having been beautifully cast, "Messieurs les ronds-de-cuir" unites a splendid group of actors and actresses such as Jean Richard, Micheline Dax and Michel Serrault. The acting is great, with a stand-out performance by Philippe Clay as the volatile Letondu, self-proclaimed savior of the Nation. One would not like to meet a Letondu in a dark alley.
Viewers familiar with French and French-speaking cinema may recognize a thematic similarity to one of the challenges imposed in "Les douze travaux d'Astérix". The challenge in question consists of a visit to the House-that-drives-you-mad...
The Hour of 13 (1952)
a cracking good yarn
All is not well in the great city of London. An unknown murderer preys on policemen who are walking their beat. While the serial killer is busy terrorising the population, an ambitious gentleman thief continues to steal jewels. Purely by coincidence, evidence left by the gentleman thief is mistaken for evidence left by the serial killer...
"The hour of 13" is a well-made period piece set in Victorian times. (At least I suppose the times were Victorian, they may have been Edwardian.) The movie makes the most of the picturesque possibilities provided by train dresses, hansom cabs and gentlemen's clubs. Much attention was paid to the costumes, sets and locations. The direction is confident and the acting is good.
The movie might just as well have been called "When a serial killer cramps your style", since it deals with a charming, cultured gentleman thief à la Arsène Lupin who runs into an unforeseen obstacle. Now that his criminal career has gotten tangled up with the criminal career of a serial killer, he is forced into a perilous cat-and-mouse game with the police. Eventually he will have to face the killer himself.
The plot hangs together well, although it's not entirely clear why a man as clever and resourceful as the jewel thief would choose to hide a stolen gem under his very own roof. Surely an individual of his brilliance could have hidden the gem in a safe place that had nothing to do with his own home.
Interestingly, the crazed killer decimating London's police force is more of a background theme than a character. It is only near the end that the viewer will discover his name and motives.
People who like to compare and contrast can take a look at "Cop Hater", a police procedural based on a novel by Ed McBain. In "Cop Hater", increasingly frazzled police detectives search for the perpetrator who killed several of their colleagues. The whole is set during a sweltering heatwave.
Gérald K Gérald (2011)
Weak made-for-television comedy from France
With regard to police commissioner Gérald K. Gérald opinions are divided : some people see him as a multitalented sleuth of Sherlock Holmes-like stature, while others see him as a fool who owes his position to a combination of luck and nepotism. Both parties agree, however, that his chief claim to fame is related to the capture of a notorious criminal. When the said criminal escapes from prison, the news hits Paris like a bomb...
"Gérald K. Gérald" is a comedy that takes the mickey out of the French police. It also takes the mickey out of the idea of the super-shrewd, super-brave police commissioner promoted by newspapers or movies. (Think of the heroic character played by JP Belmondo in "Peur sur la ville".) Here, the supposed supersleuth is a deeply incompetent klutz who goes around spouting jargon and nonsense.
It's probably best to begin with the good. "Gérald K. Gérald" boasts a number of funny lines, gags and finds, such as the triplets composed of three adolescents with different skin tones. It also testifies to a sense of freewheeling, absurd humor.
However, the.narrative thread of Ariadne supposed to connect all of the themes and all of the characters is very weak indeed. Things happen to some people and then other things happen to other people ; go figure why. A sharper, tauter screenplay might have tied everything together, for instance by having the escaped convict fall foul of the dread Polish-Japanese gang. The same sharper and tauter screenplay might also have done a better job of introducing the various victims and suspects. That way the viewers could have enjoyed a bit of armchair detecting.
It's no wonder that the movie's ending falls flat : there was no dynamic leading up to a crackerjack finale or a killer revelation. But it might be wrong to say that the movie ends ; it just stops, more or less at a random point. The poor actors involved deserved better.
Minotauromaquia (2004)
stop-motion animation short about Pablo Picasso
In this homage to Greek mythology, an ageing Picasso runs into the various characters that have peopled his work and his world. One of these characters is the Minotaur, seen as an expression of primal passion in both its creative and its destructive aspect. Minotaurs figured largely in Picasso's oeuvre and it is believed by critics that they represented a form of self-portrait and/or an attempt at psychological self-examination.
If there's any truth in this hypothesis, then the ravenous bull-man seen in the animation short might function more as a guide, a muse or an alter ego than as a pursuer. (He might even be some kind of psychopomp, in which case we'd end up with a title like "Psychopompominotauromachia". Try pronouncing THAT after four beers.) By the same token the flight through the labyrinth might represent a voyage of self-discovery or a trip down memory lane, rather than an escape from a threat.
But who knows ? We could just as well be watching an allegory about an old man saying goodbye to the fierce lusts and fears that defined his youth. "Minotauromaquia" can be read in a variety of ways, which constitutes one of its charms.
Beware : while "Minotauromaquia" is undoubtedly beautiful, it contains some shocking scenes, such as the titular monster biting his female model/lover/prey. So this is not a little pre-bedtime treat for kiddies.
Ellery Queen: Don't Look Behind You (1971)
Unremarkable thriller/detective movie
"Don't look behind you" is a member of the sprawling "Ellery Queen" franchise, if franchise is the right word for it. The plot deals with the hunt for a seemingly unstoppable serial killer. This time around, Ellery Queen is a middle-aged man saddled with a grim-faced uncle who's a police detective. The nephew-uncle duo of sleuths seems less than harmonious. One dreads to think of the Queen family Thanksgiving dinners. Presumably relatives strongarm each other into passing the cranberry sauce.
"Don't look behind you" contains extensive opening credits. Much of the information provided in these opening credits should have been provided and/or recapitulated in the body of the movie itself, as part of the detection process. There's also a little animated segment about a hydra, which is nothing to write home about from an artistic point of view. Still, the nod to ancient Greek mythology is welcome.
As a thriller/detective movie, "Don't look behind you" suffers from the fact that there aren't all that many suspects to choose from. After a while it pretty much becomes a toss-up between person A and person B. The motive behind the crimes turns out to be both twisted and tragic. Unfortunately the movie doesn't do "twisted and tragic" all that well, keeping the material at arm's length as if afraid of contamination. This raises a basic question, to wit why go for a dark subject matter if you don't want to deal with the darkness ?
On the other hand the movie is not entirely without merit. A rating of about five stars seems right for a work unlikely to leave a lasting impression.
Murder at the Vanities (1934)
Vanity of vanities, all is vanity - and sequins, of course
In which the imminent performance of a musical show is threathened by disquieting incidents. Will the police be able to stop the mischief in its tracks before things get worse ? (A hint : the answer is no, in part because the police chief is dumber than a dead goldfish.)
"Murder at the Vanities" boldly mixes various genres. I gather that the revue being shown was based on a contemporary real-world revue. (Other reviewers should not hesitate to correct me, since my ignorance of 1930's musical entertainment is vast.) If this is correct, then I don't understand the thinking done by the various managers and promotors of the revue. Up to a point the movie does provide fame and publicity, but what about the unattractive characters peopling the backstage areas ? Wouldn't one want to present one's show in a favorable light, complete with happy, friendly collaborators whistling while they worked ? In the movie, the working environment is decidedly less than healthy, what with characters suffering from unrequited love, indulging in dastardly schemes or despising each other. Even murder and manslaughter raise their ugly heads. Lucrezia Borgia would have felt right at home.
But perhaps "Murder at the Vanities" expresses someone's belief that any publicity is good publicity. Anyhow, "Murder at the Vanities" provides an extensive overview of the kind of risqué revue material that was fashionable at the time. Dozens of scantily clad young ladies pose in tableaux vivants or swan around under kilos of ostrich feathers, while singers sing and dancers dance. Silks gleam and sequins sparkle. Much is made of the supposed fact that the various showgirls represent the finest the USA has to offer in terms of superb womanhood. Some of the numbers are strikingly weird, such as a hymn to marijuana - yes, marijuana.
So what to think of the movie ? I wouldn't describe it as good, since the thriller elements get lost in a sea of hoofing and warbling. It takes both an iron memory and an extra-long attention span, on the viewer's part, in order to follow the criminal intrigue from beginning to resolution. However, "Murder at the Vanities" does hold some interest as a curio, mainly for the revue-related segments. Viewers interested in Art Deco or in the history of revue, vaudeville and burlesque can give it a try. And of course there's ample material for a study on the male gaze...
The Judge (2001)
Clever and suspenseful thriller / courtroom drama
The miniseries is an adaptation - and in my humble opinion a good adaptation - of a source novel by Steve Martini. Like the novel it tells a twisty tale of intrigue and deceit. Fast-paced and lively, it demands the viewer's full attention. The plot deals with a defense attorney who finds himself defending a professional judge he doesn't particularly like. The trial in question unfolds against a wider background of rogue policemen branching out into full-blown criminality. Anybody trying to stop these enterprising souls becomes a target for knuckle sandwiches, sting operations and worse.
"The judge" works both as a celebration and as a critique of the modern-day American legal system. In the miniseries as in real life, the ideal attorney is an experienced insider who knows his way around, not just with regard to the law but also with regard to a specific social environment. Knowing whom to greet, whom to ignore and whom to needle during a Summer barbecue can be just as important as knowing how to introduce a piece of evidence or how to prevent an objection.
The miniseries also contains a "Who will guard the guards themselves" warning, stressing that the officials who maintain the great machine can also sabotage it. Policemen,prosecutors, lawyers, judges - all of them are capable of turning Lady Justice into a joke, should they wish to do so.
Well worth a watch.
Spellbound (1941)
Horror movie about the dangers of spiritualism
The village squire, a most promising young man, has fallen in love with a humble shopgirl. Tragically the shopgirl, who has always been frail, dies before a wedding can be celebrated. Distraught by the loss and estranged from his mother, the young man starts to dabble in spiritualism...
"Spellbound" is a horror movie about a distraught young man trying to contact his lost love. The movie goes by a variety of alternative titles, such as "The necromancers". The plot functions as a condemnation of spiritualism. Interestingly, spiritualism is not condemned because it is meaningless hocus pocus ; it is condemned because it opens a door unto a mysterious realm best left alone. Terrible things can travel through that door in order to batten upon the weak and vulnerable.
Still, sharp-eyed observers will wonder about the precise nature of the misstep the young squire is being accused of. Did the man fail by developing an interest in spiritualism or did he fail by choosing a partner from a modest background ? Imagine the distress of the squire's mother, forced to welcome a girl who has actually WORKED ! IN AN ACTUAL SHOP !! He might just as well have set fire to the ancestral pile.
Note the movie's happy ending, in which social order - God's order - is restored by the squire's union with a girl from his own class. Now there's a strapping gal any chap would be proud to present to his Mummy !
But I digress. "Spellbound" is a slow-burning psychological horror movie that relies more on the creation of an eerie atmosphere than on jump scares or special effects. Nothing wrong with that, but the movie may be too subdued for its own good. The finale in particular could have used a bit more panache or pizzazz. There's also a preachiness about it all that does nothing to elevate the level of suspense.
Unfortunately, "Spellbound" contains an annoying "rustic gardener" character whose function it is to spout platitudes about life. It is doubtful whether these characters would live to see forty if they were real-world individuals, given that they'd be at constant risk to get brained with a hoe. ("You're absolutely right, Constable, I did bury his corpse among the hollyhocks - I snapped when he told me that every cloud has a silver lining. He had only told me so three thousand five hundred times before.")
Unfaithfully Yours (1948)
Sophisticated black comedy
Before leaving on a trip, a world-famous conductor asks his brother-in-law to keep an eye on his wife. It's just a throwaway remark, but the brother-in-law, who is both fussy and silly, starts watching the said wife like a hawk. He even has her followed by a private detective. Upon his return, the conductor is quite angry at learning that someone spied on his immortal beloved...
I won't tell you more about the plot, since "Unfaithfully yours" moves in some unexpected directions. A sophisticated black comedy, "Unfaithfully yours" deals with themes like trust, infidelity, suspicion and revenge. Rex Harrison gives a fine lead performance and is quite easy on the eyes to boot. Much of the comedy arises from the interplay between the conductor's musings and the musical pieces he's conducting. (Mind you, it would take a peerless multitasker in order to direct an orchestra AND develop dark schemes at the same time.)
In its own way, "Unfaithfully yours" is also a gleeful send-up of all those thriller/detective movies in which a villain thinks up a diabolical plot and executes it with clockwork precision. Here, the murder plan devolves into complete chaos, with ever more obstacles rearing their head.
The movie ends on a happy note, although the more thoughtful viewers are likely to ponder the quality of the marital union being depicted. We seem to be dealing with the kind of marriage that's built entirely on rapture, romance and passion, with friendship nowhere to be seen. Talk about a disaster waiting to happen...
Great Performances: Dance in America: The Search for Nijinsky's Rite of Spring (1990)
Not to be missed by serious ballet goers
This programme consists of two parts : first comes a documentary about the arduous reconstruction of a lost ballet, then you get to see a performance of the resulting revival.
As the title already indicates, the documentary concerns the attempts at reconstructing the ill-fated "Sacre du Printemps" ballet. The music had survived, but Nijinksy's choreography had faded into the mists of time, as had other aspects such as the costume design and decors. Trying to reconstruct this seminal but unlucky masterpiece was a demanding process that saw a group of specialists dive into a variety of sources, from contemporary photographs to oral remarks remembered from dance classes and the like. Eventually a coherent whole was arrived at, mature and convincing enough to be staged.
In the second part of the programme the Joffrey Ballet dances the revived "Sacre". Whether it matches the original for a hundred percent is a matter of opinion, but it certainly represents a knowledgeable and respectful attempt at authenticity. Anyway, it is likely that Nijinsky would have been pleased, since the production still packs a powerful punch in terms of modernity, freshness and imagination.
The revived ballet also packs a powerful punch in terms of violence, what with its tale about villagers celebrating the arrival of Spring not only through games and rituals, but also through human sacrifice. The maidens dancing their lethal selection test still make the spectator's blood run cold, as does the torturous death of the chosen one. (Note a very fine performance by Beatriz Rodriguez.) One rather gets why the "Sacre" did not correspond to many people's expectations about a relaxing night out.
Yet a question arises. For artists who have created a bold and innovative work, which one would be the most devastating reaction ? To be greeted with shouts, hisses and boos, or to be greeted with polite indifference ?
Seven Days to Noon (1950)
Comes with a terrifying premise
In which a scientist working in a top-secret research facility steals one of the newest weapons and threatens to use it unless his demands are met.
"Seven days to noon" is quite a good movie about the increasingly desperate manhunt for a scientist gone rogue. The movie, which is painted on a vast canvas, contains various scenes depicting a mass evacuation of London. For a 1950's British audience these scenes must have cut very close to the bone, causing thousands upon thousands to remember how they had to leave behind houses, possessions and even much-beloved pets. But even foreign viewers living anno 2024 are likely to think "There but for the grace of God", since a similar scenario could unfold in real life in any of the great cities of the world, be it London, Antwerp or Turin.
Well-directed, well-written and well-acted, "Seven days to noon" radiates an unsettling plausibility. Probably one of the most frightening elements of all is the fact that the fugitive scientist looks and sounds so normal, so average. He is just one ageing, mild-mannered gentleman among a multitude of ageing, mild-mannered gentlemen.
Mind you, the policing and intelligence work shown in the movie leave something to be desired. At one point a lady steps forward in order to state, truthfully, that she gave shelter to the fugitive without realizing his identity or intent. As a result of her kind invitation the man had spent the night, quite chastely, sleeping on a spare sofa. The lady is thanked for her help and sent home. Why does nobody organize a long-term stakeout of the building in question ? Surely there was every chance that the man might choose to return to the premises ?
Le secret des Flamands (1974)
Historical series resulting from international cooperation
Young Antonello, a painter's apprentice, is fond of his teacher, who has always treated him with kindness. After a surprise meeting with an unusually accomplished painting, both men realize that artists in far-away Flanders have developed a revolutionary new technique. Gripped by a burning desire to pierce the secret behind the new technique, the teacher leaves his native Italy in order to undertake the perilous journey north. Antonello too travels to Bruges, as the protégé of a rich and willful young girl...
"Le Secret des Flamands" is a historical series resulting from a cooperation between various European countries. One of the countries was my native Belgium. This explains the beautiful images of cities such as Bruges and Ghent. (Many people call Bruges the Venice of the north, but here in Belgium we tend to think of Venice as the Bruges of the south.) The plot, which offers up a mix of romance, intrigue and murder, is set in a time period when the Flemish Primitives were the envy of the world. A number of the characters are based on real-life people, such as the celebrated painter Petrus Christus.
A recurrent theme is the way in which transcendent beauty can translate into money and thence into crime. Here, the development of a new painting technique gives rise to a variety of evils such as industrial espionage, murder, seduction and state-sanctioned violence.
The series was quite popular in its time. Even nowadays it's got its charms, such as a sweet medieval ballad theme and a luminous Isabelle Adjani, in one of her first roles. Moreover, the various creators of the series did not treat their intended audience as if it were composed of knuckle-dragging yahoos. We, the public, are supposed to possess at least some knowledge of art and history ; we are also supposed to possess a healthy attention span and an ability to read between the lines. Or, to put it another way, we're being treated like civilized adults.
Still worth a watch, although the plot is somewhat too dependent on lucky coincidences.
L'inspecteur aime la bagarre (1957)
A mix of espionage and boozing
As a Belgian I like to watch (and review) movies that possess some kind of link to my mother country. So on to "L'inspecteur aime la bagarre", part of which is set in France and part of which is set in Belgium.
I'd like to say that "L'inspecteur" is a jewel for the ages, but it isn't. It isn't even a particularly good movie.
To begin with the positive : "L'inspecteur" boasts a lively, energetic performance by the male lead actor, who plays a dual role. The movie is also sure to appeal to those viewers who like scenes (including stunts and races) involving vintage cars, ships and airplanes.
Unfortunately the intrigue is very thin. The plot deals with a weak-willed man who has fallen in with a dangerous and traitorous gang. When the water becomes too hot for him, he reaches out to his twin brother, who turns out to be an unusually successful combination of top police detective and secret agent. The brother bests the villains and restores the family honor, mainly through manly fisticuffs. The action moves from France to Belgium and back, because both countries lie next to each other anyway. The end.
Those of us with a nasty, suspicious mind might suspect some under-the-table deal with producers or distributors of strong alcohol. That's because many of the characters drink like fishes. After a while it feels like watching the "Before" part from a "Before and after" warning about the dangers of liver damage. ("Yes, Reginald thought nothing of downing half a bottle of scotch a day. He drank while blackmailing, he drank while plotting, he drank while throwing victims out of moving cars, he drank while accompanying his wife to the opera. A week before turning forty he found a hard lump in his abdomen - but by then it was already too late. Don't make the same mistake as Reginald, avoid the opera.")
By way of final remark I'd like to point out that there's an element of involuntary humor creeping in. According to the movie, the flawed, weak-willed brother was raised in France, while the strong, courageous, nearly invincible brother was raised in Belgium. Now I've always loved Belgian cuisine, but this is the first time I've seen anyone suggest that a steady diet of endive salad, mussels with fries and beef tongue in madeira sauce turns a lad into a stout-hearted superman. Or perhaps it were the Brussels waffles that did the trick ?
Alien Trespass (2009)
All dressed up and nowhere to go
Both a spoof and a homage, "Alien trespass" models itself on the great horror and science fiction movies of the 1950's. (Or perhaps 1950's and 1960's, I'm not going to quarrel about a year here or there.) The tale is also set in that time period. Where the visuals are concerned, "Alien trespass" scores very high indeed. The art direction, costume design, set design etcetera all deserve praise. The 1950's era springs back into colorful life, complete with diners, police cars and teenagers making out in lovers' lane. Remember girls, no ring means no zing !
However, the story and screenplay aren't all that good, especially when it comes to picking up the underlying themes of the predecessor movies. Many of the originals worked - one way or another - because they tapped into contemporary societal fears, such as the fear of nuclear warfare, the fear of advancing Communism or the fear of awakening something really nasty while exploring the solar system. No such luck with "Alien trespass", which is all about pleasing surfaces. For a pastiche, the work is also noticeably short on wit and humor.
The best thing one can say about the movie is that it looks great and that it is vaguely, mildly entertaining, in a placid way.
A sad waste of a charming and competent cast that deserved better material.
Split Second (1953)
suspenseful crime movie
In "Split second", a pair of convicts escape from prison, aided by an outside accomplice. Increasingly determined and desperate, they travel ever deeper into danger, disregarding warnings about an imminent nuclear test. Unfortunately for all concerned, they drag along a number of random innocents.
As you can see from the description above, "Split second" boasts the ticking clock motif to end all ticking clock motifs, for what can top an atomic blast ? It's a suspenseful crime movie/hostage drama where the stakes are very high indeed. Much of the movie's power derives from the well-thought-out characterizations. The individuals caught up in the escape and the subsequent hostage taking feel like distinct personalities with their own needs and priorities. Stephen McNally gives an electric performance as the remorseless chief villain. (The man's explanation about the long-time damages inflicted by war is quite interesting.)
Although not all of the characters act despicably, the movie seems to take a dim view of humanity as a whole, pointing out that homo sap exports violence wherever he goes. Human beings bash each other's brains out in big cities, in small towns, in abandoned mining settlements and even in the middle of deserts. And what to think of those who develop fearsome machines just by sitting behind a desk and working out calculations on a piece of paper ?
The ending may be too artificial, but it certainly delivers a titanic bang. However, knowing what we know now it is hard to imagine the lucky survivors walking away unscathed from all this. It is dangerous to find oneself so close to an actual detonation, just like it is dangerous to find oneself so close to the detonation's roiling aftermath. Thus arises a tragic question. Which would be best - to die in a blazing inferno in a matter of minutes, or to die after years of battling cancer and leukemia ?
Foil Arms and Hog: Swines (2022)
outstanding live comedy show
In which the popular Irish trio known as "Foil Arms and Hog" performs sketches in front of a live (and lively) audience. This is yet another successful show in a growing series. The interaction with the audience is great and the craic is impressive, conjuring up visions of a happy night at the pub joking around with friends, downing stout and devouring meat pies.
Other viewers and reviewers may pick their own favorites, but me, I'm rather fond of the luggage handlers sketch. Certainly the theory developed in the sketch would explain a lot, although many people will probably stick to their belief that airport facilities are haunted by poltergeists of unusual viciousness. I've also got a weak spot for the mother-son song, in which a sweet old dear is beside herself with fear at the thought that her son might get - o horror of horrors ! - a life of his own.
In short, a very funny and likeable show. Recommended.
The Walls Came Tumbling Down (1946)
the bloody hunt for a fabled treasure
In a rectory a terrible discovery is made : a priest is found hanging from the rafters, in an apparent suicide. A long-time friend, a reporter, is convinced that the priest did not kill himself. While investigating the case, he uncovers a strange tale about bibles containing clues to a great fortune...
"The walls came tumbling down" is a mystery thriller in which the reporter protagonist functions pretty much like a private detective. Along the way the reporter meets with a variety of disquieting or grotesque villains, such as a male/female couple of pseudo-preachers well-equipped with revolvers. The plot is ingenious and convoluted, though not very plausible. Still, the movie does offer a number of clever finds and sharp-tongued quips.
Perceptively, "The walls came tumbling down" states that human beings can commit terrible crimes over works of surpassing beauty, faith and wisdom. Imagine, say, a supremely gifted painter who pours his heart out in a work of staggering genius ; it's only a matter of time before some sharp operators resort to theft, fraud and worse in order to lay their hands on the painting in question.
One of the minor characters is a bishop. Had the bishop told everybody right at the beginning just what the priest had been worried about, the case might have been solved in half of the time. Maybe the good man was thinking of the economic needs of cinema owners, who depend not only on the sale of tickets but also on the sale of icecream, lemonade and popcorn.
The attentive viewer will notice how the reporter protagonist, at one point, opens up the grave of a complete stranger. He doesn't seem to have any kind of official permit or permission, he just disturbs the grave off his own bat. Now I've heard people describe the USA as the land of infinite possibilities, but.
Amnesia (2004)
Unsatisfying thriller/drama in two parts
"Amnesia" develops two main storylines. The first storyline deals with a police detective who loses his bearings after his wife leaves him. In between drinking, pining and suffering nightmares he still finds time to peruse "missing persons" notices. As a result of the last activity he starts focusing on an enigmatic man with amnesia. Enter the second storyline, which deals with a shipyard owner married to a tenderly devoted wife. The shipyard owner goes through life as an individual without a memory and - stranger still - without a past. So where did he come from ?
Viewed separately, each storyline is promising and intriguing. Taken in conjunction, however, the two storylines compete for the viewer's attention. Eventually they strangle and stunt each other like rival trees planted in the same small garden. The result is a confused mess.
Somewhere within the mess there's a terrifying theme to be found about a father who, like Saturn, devours his own offspring. Sadly the theme is not made full use of.
The poor actors do their best, but even they can't salvage this strange hodgepodge.
By way of final remark I'd like to point out that "Amnesia" overflows with police officers behaving badly, even towards their own. It's a veritable cornucopia of imprudent, counterproductive, unprofessional, unethical and/or illegal behavior. In case you, dear reader, happen to teach subjects like criminal law, deontology, police ethics and the like : clutch "Amnesia" to your bosom, it will provide you with a goldmine of "Never ever do this" cases.
The Ghost Goes West (1935)
Fresh and charming comedy
The fearsome leader of a Scottish clan dies happy in the expectation that his son and heir will wipe out an insult and cover the family in glory. Sadly, the said son is far too frivolous to distinguish himself in battle. Upon dying in a less than gallant way he gets cursed : instead of rejoining his ancestors, he needs to walk his native castle as a ghost until he finds a way of erasing the shame. Centuries pass...
"The ghost goes west" shines through its merry charm. Although it deals with topics like the ghost of a disgraced nobleman it is funny and light rather than scary. Much of the plot functions as a hilarious sendup of the twentieth-century alliance between impoverished European aristocrats on the one hand and moneyed American businessmen on the other. Both parties gain something in the process - the Europeans get cash, the Americans get cultural prestige plus a sense of history - but the results can be weird to the point of surrealism, such as the sudden appearance of a Baroque monastery in the middle of Idaho. Here, a full-blown Medieval castle is dismantled and carted off to the USA, complete with bricks, wall-hangings, paintings... and ghost.
The performances sparkle like champagne. Robert Donat, in particular, delivers an excellent performance in a dual role, playing both the disgraced ghost and a modern-day castle-owner. In both incarnations he is VERY easy on the eyes. (Some outstanding male costume design here, too.)
You Lie So Deep, My Love (1975)
Solid made-for-television thriller
A man lives in clover after having married a rich heiress. Since his wife is not only wealthy but beautiful and caring too, he should feel pretty content. However, a craving for risk and extravagance has led him into the bed of an ambitious mistress. None of this bodes well...
"You lie so deep, my love" is a suspenseful made-for-television thriller. In my humble the movie serves its purpose well enough, mainly thanks to the considerable on-screen chemistry between the lead actor and the lead actress. The movie also contains one of the great "Boy, was my face red !" moments in thriller history.
However, it needed something extra in order to become not just good but great. That something extra could have been an additional plot twist or an additional layer of misdirection.
The movie's ending suggests that poetic justice has been done and that we, the viewers, should all go home satisfied. It neglects to mention that the poor soul last seen telephoning emergency services might have to do a lot of explaining to the police. ("So you're involved with not one but two violent deaths ? And you had good reason to resent BOTH of the deceased ? Yes, yes, by all means, do take another cup of coffee - this is going to be a long night.")
I've Lived Before (1956)
Is there such a thing as reincarnation ?
After years of blameless service, an experienced pilot almost crashes his plane. His explanation - if it is an explanation - consists of stating that he was thrown back into World War I, trying to avoid enemy aircraft. This causes A LOT of problems, given that the pilot is far too young to have participated in that war...
In "I've lived before" a bemused pilot tries to find out what's happened to him. During his quest he meets with mostly well-meaning people who try to support, analyze or contradict his theories. On the whole it's a well-made movie, although it suffers from being too talky. Part of the information could have been provided through other, more visual means. Don't tell us, show us - show us a gaggle of badly shaken passengers stumbling through an airport hall, show us a psychiatrist's filing cabinet overflowing with case histories, show us a trembling hand stroking an old engagement dress.
Admirably, the movie does not work up to an overly happy "now let's all hug each other" ending. Both the characters and the viewers are left to ponder a great mystery, on a tone of bittersweet reflection.
Acting-wise, the laurel crown goes to Ann Harding, as a dignified older lady remaining true to the memory of her one great love.
Fun note : at one point, a psychiatrist remarks that there is no lack of patients who think they're Alexander the Great reborn. The imdb database contains at least one fantasy/action movie, namely "The swordsman" from 1992, that deals with a protagonist who may or may not be Alexander redivivus.