Aguirre, the Wrath of God (1972)

Wikipedia mentions that Werner Herzog wanted Klaus Kinski for the role of the title character after remembering his ‘terrifying and deranged antics’ during the three months he roomed with Herzog’s family. That statement truly sets up the expectations for this film about a crazed conquistador who stages a coup to lead a doomed mission searching for the treasures of El Dorado. There’s not much to say beyond that. The film is never boring and ever other character is overshadowed by Kinski’s madman.

The Prisoner of Zenda (1952)

I wouldn’t have watched this, particularly so close to viewing the one from 1937, except it was included in the DVD set that I had borrowed and thought I’d see if it had anything to offer. I shouldn’t have bothered as it holds so close to the earlier version that it could be treated as a colorized copy, except the acting is not quite as good despite having a cast with the likes of Stewart Granger, Deborah Kerr, and Louis Calhern. James Mason is one bright spot, bringing extra villainy to the character of Rupert of Hentzau, but also is pale in comparison to Douglas Fairbanks Jr. from the other version.

They Call It Sin (1932)

Traveling salesman David Manners sweeps church organist Loretta Young off her feet when he visits her small town. After her adoptive parents chase her away with accusations of being the wrong type of woman, she follows Manners to New York where she discovers he is already engaged. George Brent completes the love triangle while Una Merkel fills in as the sassy best friend who shows her the ropes in the big city. The shoestring plot, which includes a hokey last-minute exonerating medical procedure, is all held up with Young’s acting. She manages to convey the whole range of emotions as a small town girl dealing with the highs and lows of young love and navigating the alien, big city filled with villains willing to take advantage of every angle.

Love Crazy (1941)

Myrna Loy and William Powell start off married in this slapstick romp. When the planned celebrations for their fourth wedding anniversary get waylaid through a series of mishaps and misunderstandings, they find themselves on the verge of divorce, an outcome that Powell will do anything, including dressing in drag and trying to have himself committed, to prevent from happening. The chemistry between the two is near its highest in this, their eleventh film together. They are helped along the way by Jack Carson and Gail Patrick, both trying in their own ways to pull apart the couple.

Now, Voyager (1942)

While just as melodramatic as Dark Victory, Now Voyager entails the much more compelling story of Bette Davis as a woman who has been completely trampled by her mother to the point where she’s close to a nervous breakdown. With the intervention of a psychiatrist, she manages to find herself and a real purpose to her life. Gladys Cooper is truly a piece of work in role of the controlling mother. Bette does a magnificent job transforming from the bitter, closed-off young woman to a warm and open guardian and her acting is ultimately what makes the story a success.

Oscar Win: Best Music, Scoring of a Dramatic or Comedy Picture

Oscar Nominations: Best Actress in a Leading Role; Best Actress in a Leading Role

You’ll Never Get Rich (1941)

Robert Benchley enlists his friend Fred Astaire to help throw his wife off the scent of his womanizing ways by setting Fred up with Rita Hayworth. Rita is attracted to Fred , but understandably finds both men suspicious. Since the country’s in the middle of a war, all the action then has to move to an Army base after Fred is drafted. I enjoyed it somewhat better than the other Astaire-Hayworth pairing, but it’s also rather lazy in its story telling. There’s two very similar solo dance sequences with Astaire in Army jail. Fred grossly tricks Rita into marrying him. And, there’s a truly bizarre dancing extravaganza involving weird choreography and wedding dress costumes all while dancing on a tank. It’s lovely to see them dance together, but I don’t think I’ll be revisiting either film any time soon.   Musical

Oscar Nominations: Best Music, Original Song; Best Music, Scoring of a Musical Picture

I Love You Again (1940)

When William Powell wakes up after being hit on the head, he discovers that had previously been in an amnesiatic state which he has now been literally knocked out of. Suddenly remembering that he is a con artist whose last real memory is from 9 years previous, he decides to continue on with the other life, where he is married to Myrna Loy, to pull off bigger swindles. It’s all incredibly silly and a bit convoluted (they don’t even bother trying to explain what happened 9 years ago nor how he started a new life back then) but there’s still the wonderful Powell-Loy chemistry that makes it worthwhile.

Long Day’s Journey Into Night (1962)

The title of this is no joke. It is an excessively long and exhausting day in the life of the Tyrone family, four lost and broken adults who spend the entire day berating and blaming each other for their own failings and troubles. The acting from Katharine Hepburn, Ralph Richardson, Jason Robards Jr., and Dean Stockwell is incredible, but it’s all so very tiring.

Oscar Nomination: Best Actress in a Leading Role

Dear Heart (1964)

I’m generally not a fan of Glenn Ford, but this film is so wonderfully delightful that I can ignore all previous issues I have with him. Geraldine Page is a middle-aged postmaster visiting New York from Ohio for a postmasters convention. She is overly friendly, completely open, and brutally honest, completely the opposite of Ford’s fiancĂ©. The two have a number of random run-ins in their shared hotel and despite Ford’s reticence, they fall in love. I am a sucker for middle-aged romances and Page is so incredible in her role. I felt like all the random New Yorkers she met, overwhelmed by her purity at first and completely mesmerized in the end.  Romance

Oscar Nomination: Best Music, Original Song

Dark Victory (1939)

Bette Davis, as a flighty, young heiress who eventually changes her ways after receiving a fatal diagnosis, does what she can with the material here, but the story is exceptionally melodramatic and threadbare. George Brent plays her incompetent doctor who is unable to remove the tumor, then outright lies to Bette about her prognosis, and unethically falls in love and marries his patient. Humphrey Bogart also has a completely unnecessary role as a horse trainer.  Best Picture Nomination

Oscar Nominations: Best Picture; Best Actress in a Leading Role; Best Music, Original Score

Scroll to Top