The Cinema Cafe

Serving Cinema's Tastiest Treasures

Top Ten Treasure Maps: Best Movie Trailers Part 6 The Good, the Bad and the Ugly


Top 10: Best Movie Trailers

These previews entice viewers of the wealth to come. 

The choices are by a young Mr. X.

#5. The Good, the Bad and the Ugly (1966)

This trailer creatively engages us with the film's 3 distinctive title characters whose monikers basically define how far each is willing to go to secure their self-interests. The backdrop of America's Civil War promises the film's greater scope, a promise for which the film delivers. 


A Trivia Question: What is the most significant difference between this trailer and the film's theatrical release?


(Links to Parts 1 - 6 are here.)

Exploring the Artefacts #14: Jewels of Admiration Part 2 (Of 2)

Exploring The Artefacts is a series in which I examine some unique and significant components, or by-products, of cinema storytelling that are often under-appreciated. 

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"Now Listen to Me..."



Just some thoughts on current happenings: 


There are 12 recommended films to watch on Turner Classic Movies in the U.S. this month:


(From left) Ruby Dee, Marshall Thompson, Dick Powell, Paula Raymond

(From left) Ruby Dee, Marshall Thompson, Dick Powell, Paula Raymond

June's first selection is Anthony Mann's 1951 period noir The Tall Target, a briefly recommended prior showing here. The conspiratorial plot will thicken Friday, June 2 at 3:30pm PST. 






A true romance film and of the highest artistic calibre has been reviewed in Opening Up a Treasure: Brief Encounter. Director David Lean's brief but passionate encounter will begin on Saturday, June 3 at 5pm PST.






No film, especially in the noir canon, is more aptly named than Out of the Past, one of the genre's most exemplary entries. 

Paul Valentine

Paul Valentine

For one thing, the film is permeated with a fatalistic "come what may" mood. The three primary characters, each in their own way, exhibit time and again an awareness that their actions no matter how determined, will have little bearing on the more enduring results. It's as if they instinctively know that despite their concerted effort, chance alone will make the final, and somehow inevitable decision. This is especially true of our main character, Jeff Bailey, played by the iconically laconic Robert Mitchum, perfectly cast. Jeff has reinvented himself, or is trying to, as a small-time gas station owner, hiding in the quaint California town of Bridgeport. Jeff Bailey was a private detective, formerly known as Jeff Markham, who once became romantically involved with a client's girl on the run: Together they engaged in the most serious foul play imaginable. Sure enough, out of the past comes the client's underling and to the concerned but resigned Bailey, almost as if expected. 

Jane Greer, Robert Mitchum

Jane Greer, Robert Mitchum

Mitchum's performance is so nonchalant, apathy oozing out of every pore, his famous line "Baby, I don't care", uttered here to the femme fatale he was hired to find, might as well be his character's moniker throughout the entire story. It's a performance so naturally relaxed and indifferent, he effortlessly improvised his "smoking" response to Kirk Douglas' offer of a cigarette, as Mitchum had entered the scene without realising he had one in hand. Douglas as the criminally self-employed Whit Sterling, provides a perfect counterpoint to Mitchum as his under-the-surface scheming, acerbic boss. There's also the smooth, confident, and "boy does she know it" gorgeous Jane Greer as Whit's unpredictably dangerous mistress Kathie Moffat whom Jeff was hired to find and return to him, even though she tried to kill Whit and is suspected of stealing $40,000 of the gangster's dough. 

(From left in foreground) Kirk Douglas, Robert Mitchum, Paul Valentine

(From left in foreground) Kirk Douglas, Robert Mitchum, Paul Valentine

A persistently heightened sense of mystery, tension, shock and complexity for both the people portrayed and their situations enrich Out of the Past. The film also possesses a dream-like quality: As diverse as the atmospheres are, they appear to be serendipitously transitioning albeit ever so seamlessly, from one inexorable type of circumstance and setting to another. The mystical past keeps intermingling with the present throughout this spellbinding story not only for our central three individuals, but for many of the supporting players as well, and in typical noir fashion with most of its hard lessons hardly ever learned. 

Rhonda Fleming, Robert Mitchum

Rhonda Fleming, Robert Mitchum

The dialogues are choice A1 too, completely in tune with the often despairing noir-like events that transpire and the pessimism-infused characters who deliver them. Most symbolic of the film's downbeat philosophical theme is when Kathie, while casino gambling, asks Jeff "Is there a way to win?" to which he replies "There's a way to lose more slowly." After Jeff has fallen for the dreamy looking, not to mention dreamily inspiring Kathie, she states that she's sorry Whit didn't die to which Jeff optimistically retorts "Give him time." After realising just how low her depravity can sink, however, Jeff says to Kathie about her deadly impulsiveness, "You can never help anything, can you? You're like a leaf that the wind blows from one gutter to another." And later when his new honest and wholesome Bridgeport girlfriend Ann (upon hearing Jeff's recounting of his prior sordid affair), says about Kathie, "She can't be all bad. No one is," Jeff's quick and dismissive "She comes closest" sums her up beautifully. This is but a sampling of the film's smart but poetic phraseology that stimulates the noir senses, spoken by the supporting, and even the most incidental (though rich and memorable), participants, apart from the primary Jeff, Whit, and Kathie. In addition, this trio's consistent untrustworthy words will require each to determine what's really going on to try and stay one step ahead of the other, even while all remain dogged by uncertainty, failure, and disillusionment.  

(From left) Ken Niles, Robert Mitchum

(From left) Ken Niles, Robert Mitchum

Kirk Douglas, Jane Greer

Kirk Douglas, Jane Greer

Keep an eye out for the ever darkening wardrobe worn by Jane Greer's Kathie in keeping with her character's growingly wicked acts of self-preservation and how noir genius Nicolas Musuraca's photographic depictions of the Bridgeport countryside's scenic tranquility so sizeably contrast with his practically jet-black displays of San Francisco's sordid underworld. All of these aforementioned elements: Writing (a bravura screenplay by Daniel Mainwaring under the pseudonym Geoffrey Holmes taken from his novel), performances, cinematography, are, including Roy Webb's appropriately nostalgic, melancholy-tinged score, harmoniously moulded together with prominence by master stylist Jacques Tourneur directing for RKO after Warner Bros. turned down the project.  

Jane Greer, Paul Valentine

Jane Greer, Paul Valentine

Robert Mitchum, Virginia Huston

Robert Mitchum, Virginia Huston

A last but important reminder that the list of untrustworthy characters here courageously includes our hero Jeff Bailey who almost right from his story's beginning, betrays both his client and investigative partner for a mirage of unattainable beauty and unsustainable romance. Jeff's personality flaw of self-deception, however, adds genuineness, sincerity, and most important of all, empathy when later he attempts to atone for his wrongful ways. At the same time, he shares an undeniable recognition with us, that one's trying to leave a troubled past behind, especially as we've seen before in this kind of intensive noir universe, is a pipe dream of extreme futility. The past will arrive on TCM Sunday, June 4 at 7am PST.

Dickie Moore, Virginia Huston

Dickie Moore, Virginia Huston






Katharine Hepburn, Cary Grant

Katharine Hepburn, Cary Grant

Although it aired just last month, TCM (perhaps by popular demand), is bringing back Bringing Up Baby previously recommended here. "Baby" will be brought back and up on TCM Friday, June 9 at 1:45pm PST. 






Another of my past TCM recommendations, previously reviewed here, is The Lost Weekend. Billy Wilder's portrayal of a struggling alcoholic contains a powerhouse performance by Ray Milland. The bottle can be found on TCM Saturday, June 10 at 5pm PST.





Occasionally, TCM offers up a rare opportunity for viewers to bask in an emotionally consuming film, hardly ever shown, under-appreciated and so far unavailable on any type of home video format. Nagisa Oshima's 1969 feature Boy a.k.a. Shonen, is a masterful amalgamation of the director's later career subject of rebel outcasts photographed in a cinema-verite style, with the artist's earliest more straight-forward neo-realistic approach, especially as it concerns his title character. 

Tetsuo Abe

Tetsuo Abe

Our deepest sympathy extends to this 10-year old mainly because Oshima doesn't noticeably solicit any. There's an inspired performance from real-life orphan Tetsuo Abe in the title role, who conveys a natural resiliency while subtly suggesting his character's emotional vulnerability, that provides an additional most accomplished dramatic contribution. The story is based on a real-life case, whereby a family's sole income is derived from extorting money from drivers they have faked injuries from. They stay on the move, plotting new towns to ply their trade and eventually involve the boy in this most diabolical of schemes. The young one's only respite from this cruel exploitative world beyond his understanding is an imaginary alternate reality which he matter-of-factly conveys to his baby brother. As the authorities get wind of his parents' scam, the tension mounts as the boy's father and step-mother increasingly bicker over his dad's refusal to work, a dangerous criminal dependency, not to mention the enormously stressful "hand to mouth" existence "on the run"... one that seemingly has no end. Our tragic 10-year old's life and especially his heart-breaking retreat to a make-believe world where space aliens actually care for one another, offers an emotionally devastating cinematic experience not to be missed. This is Hidden Gem #30 and will appear on TCM Sunday, June 11 (late evening) at 1am PST.    






One of the Top Ten World Cinema Treasures is The Battle of Algiers a.k.a. La battaglia di Algeri. The intensity of resolve and emotional dedication is so resolute on both sides of the conflict portrayed, it'll take a miracle for the invested viewer to fully recover after witnessing this stunning cinematic spectacle. The battle will commence Monday, June 12 at 10:45am PST.  






Next is Todd Browning's shockingly bold and terrifying 1932 film, Freaks, previously reviewed here. They will appear on TCM Wednesday, June 21 at 8:45pm PST. 






Elizabeth Taylor, Brian Keith

Elizabeth Taylor, Brian Keith

John Huston's Reflections in a Golden Eye is a film I have mixed feelings about. The rather strange inhabitants of these southern-Gothically tinged surroundings may remain underdeveloped but the performances from its superbly chosen cast compensate by genuinely conveying their characters' frustrations and desires making this an engrossing film-watching experience. It is a previous TCM recommendation here, and is worth eyeing Thursday, June 22 at 11:30am PST.






1960’s Psycho was at the time (including throughout its primary creator’s career), the most audacious cinematic assault ever perpetrated on the movie going public.

Alfred Hitchcock acutely focuses on office worker Marion Crane’s sole decision to commit an opportunistic bold and daring theft of $40,000 and ensuing getaway, all the while analysing her thought processes down to every minute detail. She checks into a motel during a heavy downpour. After having a chat with the manager, Marion returns to her room, decides to give back the money, and symbolically takes a shower to “come clean” and wash away her sinful past deeds. What happens next is the stuff of legend, not just for the stylistically overt, technically spectacular way the following incident is portrayed but for the drastic narrative upheaval it represents. As much as the director in many of his films and during interviews, liked to downplay the seriousness of the violence he presented, this intense scene of vicious disruption, cannot in any way be taken lightly. Afterward, the point of view shifts to a new and highly disturbed character, the previously incidental motel proprietor Norman Bates: A gangly and nervous fellow with a deep and influential mother fixation. As we witness Bates’ attempts to curb a subsequent investigation, the opening crime which so consumed the female protagonist will become a mere afterthought as the unrelated horrific events witnessed continue to overtake, and become absorbed into, our consciousness: Scenes that are guaranteed to linger there, by a seriously intentional master cinematic storyteller, for a long time to come. Destinies will be decided Thursday, June 22 (late evening) at 12am PST.  






What better way for true film lovers to celebrate cinema's vast diversity, after watching the preceding selection, than to indulge in the light-hearted, almost make-believe world of a Princess' Roman Holiday?

Audrey Hepburn, Gregory Peck

Audrey Hepburn, Gregory Peck

This charming, comedy-romance has Audrey Hepburn as the bored, cooped-up young royal escaping her guardians for an anonymous, free-spirited day's adventure in Rome. Gregory Peck is a reporter who stumbles on to her scheme but without letting on as to his, or knowledge of her, true identity. Their joyful escapades together benefit from the on location filming, and have a naturally spontaneous feel due to the actors' impassioned performances, including Eddie Albert as Peck's photographer friend. William Wyler's assured direction provides the perfect balance of fantasy and realism, emotional sincerity with subtle restraint and is based on a mature but creatively inspired script by blacklisted writer Dalton Trumbo. This dreamy little fairytale is the perfect holiday to enjoy without leaving home. The affair begins Friday, June 23 at 11:45pm PST.   






My last TCM pick is 1974's Freebie and the Bean

(From left) Alan Arkin, James Caan

(From left) Alan Arkin, James Caan

Like Reflections in a Golden Eye, this is a highly cautious recommendation since it too is one of my personal Top Ten Guilty Treasures. Whatever these 2 San Francisco cops, irreverently played by James Caan and Alan Arkin, are up to is irrelevant compared to the havoc they wreak on everyone around them including one another. This nonsensical, anti-politically correct "buddy" picture is wild, messy, and pretty damn funny if you ask me. If you enjoy this film half as much as I do just thinking about it, you'll have a blast. These two clowns will join forces Tuesday, June 27 (late evening) at 1am PST.  


TCM's current monthly schedule can be confirmed by clicking on any of the above images. For those who live in parts of the U.S. other than the western region, the time zone can be adjusted in the upper right-hand corner of TCM's programme.






This month's Happy Birthday shout-out goes to one of the most highly recognised cinematographers in the world, the legendary Vittorio Storaro, who turns 77 on June 24th. 

“Cinematography is motion, we need a journey and to arrive at another point. We don’t create a beautiful frame, but a beautiful film. That's why I say ‘writing with light.'"

“Cinematography is motion, we need a journey and to arrive at another point. We don’t create a beautiful frame, but a beautiful film. That's why I say ‘writing with light.'"

Some of his more famous accomplishments include The Conformist, Last Tango in Paris, 1900, Apocalypse Now, Reds, The Last Emperor, and Cafe' Society, plus he has four motion pictures in the works!









June's Soundtrack recommendation is to Die Hard composed by Michael Kamen.

This is another limited reissue (only 2000 have been produced) of a 2 CD set by La-La Land Records, Twentieth Century Fox and Fox Music. Composer Michael Kamen's thunderous score takes centre stage, driving the action all the way to this mega-blockbuster's exciting conclusion. It is currently available from Intrada Records. For more information including international ordering, click on the accompanying image.








This month's Blu-ray selection is the previously reviewed Out of the Past, available from Warner Archive (North America Region Free) and can be ordered through by clicking on the image.








21st Century Treasure Quest #12

Our contributor Renard N. Bansale has completed 10 more contemporary film reviews for your consideration. The rating system he'll use is devised primarily to give those who are trying to decide which films to see, a fun and easy way of (hopefully) choosing a more pleasurable movie-going experience. For a further introduction to this series please see 21st Century Treasure Quest #1. (A.G.)

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End Credits #65: Cinema's 2016 Lost Treasures Montage Part 3

Some of Cinema's 2016 Lost Treasures. The music by James Horner is from the film Legends of the Fall.

(A link to Part 1 is here).

21st Century Treasure Quest #11

Our contributor Renard N. Bansale has completed 12 more contemporary film reviews for your consideration. The rating system he'll use is devised primarily to give those who are trying to decide which films to see, a fun and easy way of (hopefully) choosing a more pleasurable movie-going experience. For a further introduction to this series please see 21st Century Treasure Quest #1. (A.G.)

An 89th Academy Awards Special Edition

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Sterling Silver Dialogue #21

Sterling Silver Dialogue From The Movies: 

Do you know where they're from? Answers coming soon.








(realising the pianist has composed the music he is playing) "You made that up?"

(response) "Yes."

(reply) "You must be brilliant."

(response) "Oh, dazzling. People have to wear sunglasses."



“You have a point. An idiotic one, but a point.” 



“Don’t wipe it away, Nat. Let me have my little vicious circle. You know, the circle is the perfect geometric figure: No end, no beginning."



"The only question I ever ask any woman is 'What time is your husband coming home?'"



"You ever been married?"

(response) "Not so you'd notice."



"You bastard."

(response) "Yes, sir. In my case an accident of birth. But you, you're a self-made man."



"You know, Jill, you remind me of my mother. She was the biggest whore in Alameda and the finest woman that ever lived. Whoever my father was, for an hour or for a month, he must have been a happy man."


"Tell me, was it necessary that you kill all of them? I only told you to scare them."

(response) "People scare better when they're dying."



"This country is crawling with Indians, and you're going fishing."

(response) "There are lots of ways to die. Starving to death isn't my favourite."



(about to be killed) “Don’t you want to hear my last words?”

(response) “I just did.” 



“What’s your name or what do they call ya?” 

(response) “My name’s Maxine and they call me Maxine. What are ya, a dick?”

(reply) “What are you scared? My name’s Hammer and they call me Hammer.”

(response) “And just as subtle.”



"Is there too much of a draft? Should I roll up the window?"

(response) "Just roll up your mouth, you talk too much. If I had known how much you talk I'd never have come out of my coma."



"You make me sick to my stomach."

(response) "Well use your own sink."



"Leo's got the right idea. I like him, he's honest and he's got a heart."

(response) "Then it's true what they say. Opposites attract."



"I've been hoping to run into you."

(response) "What for? To recover the knife you stuck in my back?"



“There’ll always be a bottle of champagne burning in the window.”