Just some thoughts on current happenings:

Classic film screenings from around the world is back this month but in a very limited edition due to the Corona virus pandemic and its possible last minute affects on actual presentations. The following screenings listed are less likely to be cancelled due to their Government’s or presenters’ success in responding to the crises.

In London, United Kingdom The Prince Charles Cinema is scheduled to reopen on Thursday, December 3 and will present Star Wars Episode V: The Empire Strikes Back (1980, as part of this film’s 40th anniversary) Thursday, December 3 through Monday, December 28, Citizen Kane (1941, a 35mm print) Thursday, December 3 through Wednesday, December 16, It’s a Wonderful Life (1946, both 35mm and digital presentations) Friday, December 4 through Thursday, December 24, The Shop Around the Corner (1940, as part of this film’s 80th anniversary with both 35mm and digital presentations) Monday, December 7 (35mm) and Wednesday, December 30 (digital), The Apartment (1960, as part of this film’s 60th anniversary) Monday, December 14 and Wednesday, December 23, A Christmas Story (1983, a 35mm print) Friday December 18, Remember the Night (1940, as part of this film’s 80th anniversary and a 35mm print) Monday, December 21 and Holiday (1938, a 35mm print) on Thursday, December 31.

Click on the respective image for more information on each film. To see December’s complete programming, click on The Prince Charles Cinema banner above.

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In Auckland, New Zealand Academy Cinemas will present Meet Me In St. Louis (1945, as part of Academy Cinemas' Christmas Programme this December) Sunday, December 6, We’re No Angels (1955) Sunday, December 13 and The Miracle on 34th Street (1947, *a colorised version* restored in 4K) on Sunday, December 20.

For more information specifically on each of these programmes, click on the corresponding above image. To see the entire month of December’s programming click on the banner above.

There are 18 recommended films to watch on Turner Classic Movies in the U.S. this month:

A sterling example of how to present complex and enthralling characters, all of whom develop naturally while still holding our intense fascination, is Citizen Kane,

a previous TCM recommendation here. This American film masterpiece, the only U.S. film represented on our Top Ten: World Cinema Treasures, will begin Wednesday, December 2 at 8:45pm PST.

Recently, in our Facebook chat room (all readers are welcome to join here), Citizen Kane came under significant fire for being boring and overrated. It seemed the best defence enthusiasts could muster was based primarily on the film’s technical achievements which prompted me to make the following response:

"Citizen Kane is, for myself, aside from all of the technical razzle-dazzle, an insightful, exploratory look into the human psyche. The relationships are chronicled with immense creativity and dynamism, having personalities rich in intellectual and emotional development, and yet remain consistent with each individual's temperament. It's not simply Welles' flashy style to admire here... it is how he ingeniously fuses those techniques into his narrative's progression that serves to enhance such a passionate overview of his characters while providing a thorough understanding of their experiences from each one's unique perspective. How anyone, much less a cinephile, could dismiss this extraordinary film, so relatable, revelatory and resonant, is beyond my comprehension.”

The next “must see” film is one of film noir's finest and boldest: D.O.A. previously recommended here. This "dead man running" will arrive on TCM Thursday, December 3 at 6:45am PST.

(From left) William Ching, Edmond O’Brien at L.A.’s famous Bradbury Building

This will be a really bad day for anyone who encounters Them! (the giant mutant ants that is). The motion picture, however, is an exhilarating creature feature, previously reviewed here. Them! will march on TCM Thursday, December 3 at 1:15pm PST.

Sandy Descher (last month’s Happy Birthday recipient turned 75)

Tomorrow Is Another Day, previously reviewed here, may sound like some forgotten Douglas Sirk melodrama, but certainly has its fair share of film noir qualifications delivered with assuredness by director Felix Feist. A couple of hard cases, played by Steve Cochran and Ruth Roman who slowly start to soften up to one another, informs this film’s compelling nature. This is the next stop in Eddie Muller’s Noir Alley Saturday, December 5 at 9pm PST and again Sunday, December 6 at 7am PST.

The next recommendation is another Hidden Gem (#40: Big Business 1929, U.S.A.), a Laurel and Hardy film in which a war takes place but instead of resulting in tragedy, all out hilarity ensues. Stan and Ollie are Christmas tree salesmen who pick the wrong customer (James Finlayson) to call on and the situation escalates from a simple misunderstanding to total annihilation. This is probably the duo's most brilliantly conceived and executed film of all and is only 19 minutes in length, airing (along with some other Laurel and Hardy shorts) Monday, December 7 at 11:45am PST and again Saturday, December 19 at 4:30am PST.

(From left) Oliver Hardy, James Finlayson, Stan Laurel

Every so often TCM shows one of the CC’s more obscure Hidden Gems. This presentation is especially rare since the film originates from Czechoslovakia. Diamonds of the Night a.k.a. Démanty noci is Hidden Gem #56 and will appear the night of Sunday, December 13 at 11:15pm PST.

Viewers who dare to have their imaginations stretched considerably should be rewarded Where Eagles Dare, previously reviewed here and appearing on TCM’s radar Wednesday, December 16 at 2:15pm PST.

(From left) Clint Eastwood, Richard Burton

Occasionally, there is debate among aficionados as to whether or not Alfred Hitchcock's Vertigo deserves to be in the film noir lexicon.

There is a substantial criminal element, the film was released during noir's classic time period (1958), and an acute observation of the central character's psychology remains the filmmakers' focus, an individual we witness becoming increasingly unstable and out of his depth as his investigation continues. All of these factors point to this film's inclusion. The criminal element is, however, not fully addressed until the end of the story, the main character's thoughts and behaviour and the mystery surrounding his person of interest are all exclusively tied to a romantic obsession throughout, even at this motion picture's spellbinding conclusion, which for myself, rules it out as film noir. Either way, Vertigo is one hell of a ride, loaded with multi-faceted insights and hidden rumination on human relationships, providing viewers with much to ponder long after this hypnotic tale ends. Previously written about at length in Opening Up a Treasure: Vertigo, Alfred Hitchcock's most profound work will be revealed on Wednesday, December 16 at 5pm PST.

After World War II, many returning servicemen were disillusioned to find jobs were scarce and their wives’ (or girlfriends’) faithfulness even scarcer. The Best Years of Our Lives addresses this reality head on when the Dana Andrews character finds it impossible to please either his previous employer or trophy wife upon his return to civilian life. Perhaps for this narrative distinction, authors Borde and Chaumeton referred to The Best Years of Our Lives in their highly respected book “Panorama of American Film Noir 1941 - 1953”, the first to be published on the subject.

Dana Andrews, holding the Mayo… Virginia Mayo that is

The film portrays no crime, the focus is not on Andrews’ experiences alone, and he comes out better off at the end without his superficial but admittedly gorgeous wife, which for myself, collectively place this film well outside of noir’s dark and gloomy world of illegal activity. Previously, I highly praised The Best Years of Our Lives for its exceptional musical score composed by Hugo Friedhofer in the first part of a series entitled Top Ten: Motion Picture Music Treasures. This emotionally powerful tour de force will commence on TCM Friday, December 18 at 1:45pm PST.

Along with The Shop Around the Corner this month, TCM is presenting another top Christmas Holiday classic, Remember the Night, previously recommended here. The stars of this delightful cinematic charmer re-teamed for the later-made Double Indemnity. The night to be remembered is Friday, December 18... at 5pm PST.

In the mood for a Christmas noir? Prepare to receive Kiss of Death, previously reviewed here. This is the next film to tumble down Eddie Muller’s Noir Alley Saturday, December 19 at 9pm PST and again on Sunday, December 20 at 7am PST.

After the dramatic seriousness of the above TCM recommendation, it might be nice to indulge in a light-hearted and charming Christmas holiday treat: Ernst Lubitsch's The Shop Around the Corner.

Beneath an inventive situation comedy veneer, however, there is a serious underlying message concerning relationships and how concepts often get in the way of a more fulfilling union based on care and concern for one another. The Shop Around the Corner, previously praised here, will open Sunday, December 20 at 1pm PST and again on Thursday, December 24 at 7pm PST.

In a Facebook film chat room, someone asked which film was better, Casablanca or Citizen Kane. This caused me to think about their differences, more specifically their varied approach to dramatic storytelling, to which I responded:

"I think Casablanca, for many, has a far more instantly recognisable appeal, including its characters some of whom possess highly emulative qualities. Its emotional pleas are up front and easy to assimilate. Citizen Kane has more complexity, flawed characters who are invested in the past, relationships that are changing and developing, mostly in a tragic way. Casablanca ends with heroic sacrifice and optimism. Kane is dire and ultimately about loss. Casablanca's highlights remind one of its pleasures, immediate and gratifying. Kane is a deeply contemplative journey, requiring a significant investment of thoughtful consideration on the viewer's part, in order to uncover its enormous wealth of profound insight into human relations."

Citizen Kane, previously recommended here, was shown earlier this month, Casablanca reviewed here, is on TCM’s itinerary for Saturday, December 26 at 5pm PST.

Next up is the wonderful Guys and Dolls, a previous TCM recommendation here. 'Both' will show at TCM Sunday, December 27 at 2:15pm PST.

MGM's 1952 musical Singin' in the Rain was not adapted from a theatrical production, though the film was later turned into one, being first presented on stage in 1983. Its abundant creativity, innovation and driving energy place this film at the top of all cinematic musicals ever produced. Singin' in the Rain has been reviewed as a past Blu-ray selection here and will joyously dance its way onto TCM Tuesday, December 29 at 8:45am PST.

(From left) Donald O'Connor, Debbie Reynolds, Gene Kelly

My next TCM and December’s Blu-ray recommendation (reviewed below) is 1967's The Graduate appearing (updated) Friday, April 26 (2024) at 9:15 pm PDT.

Anne Bancroft seducing Dustin Hoffman — Anne Bancroft trying to seduce Dustin Hoffman

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 Wednesday, December 30 at (early morning) 3am PST.

A film that severely rocked the Production Code in its time was Alfred Hitchcock's 1960 horror sensation Psycho, previously reviewed here. The terror will begin Wednesday, December 30 at 7:15pm PST.

TCM's current monthly schedule can be confirmed by clicking on any of the above TCM images. Due to errors on many of TCM’s other time regions, only the East Coast page is currently reliable. For the correct West Coast or PST showtime information, subtract 3 hours from the film’s East Coast or EST airtime.

A Happy Birthday shout-out to that most gifted Welsh actor, composer, painter, director, film producer and all around personable and down to earth human being Anthony Hopkins, who turns 83 on December 31st.

Just a few of his memorable film performances have enlivened The Lion in Winter (1968), Hamlet (1969), Young Winston (1972), Audrey Rose (1977), A Bridge Too Far (1977), The Elephant Man (1980), The Bounty (1984), 84 Charing Cross Road (1987), Desperate Hours (1990), The Silence of the Lambs (1991), Howards End (1992), Chaplin (1992), The Remains of the Day (1993), Shadowlands (1993), Legends of the Fall (1994), Nixon (1995), Surviving Picasso (1996), The Edge (1997), Amistad (1997), Hannibal (2001), The World’s Fastest Indian (2005) and The Two Popes (2019).

December's Soundtrack recommendation is William Ross' thematically rich score to 1998's IMAX film T-Rex: Back to the Cretaceous.

Previously only available as a hard to get promotional CD, this large scale, emotionally charged orchestral score is now available from Dragon’s Domain Records in an extremely limited edition (only 500 copies) and can be ordered from Intrada Records by clicking on the accompanying image.

This month's Blu-ray selection is The Graduate, director Mike Nichols' incisive blend of coming of age awareness, situational comedy and middle class mores. The film boasts a scintillating screenplay from Calder Willingham and Buck Henry based on the novel by Charles Webb, full bodied performances from a divinely chosen cast including stars Dustin Hoffman, Anne Bancroft and Katharine Ross, plus a delightful commentary-like soundtrack full of unforgettable songs by recording artists Simon and Garfunkle.

Before 1968’s The Swimmer depicted a kind of self-absorbed, materialistic attitude amongst America’s East Coast middle to upper-class suburbanites, a similar West Coast bourgeois environment revolved around our title’s subject in 1967’s The Graduate.

Unlike The Swimmer’s Ned Merrill, however, who has embraced society’s emblems of prosperity, the much younger college graduate Benjamin seems to have found little to no value in what those around him promote as life’s path to rich rewards (e.g. “Plastics”). Even Benjamin’s parents after carving out their own slice of the American dream pie have no hesitation in encouraging their son’s continued climb up the social indoctrinated ladder. People talk at Benjamin but not with him. His swimming pool experiences confirm Ben’s apathetic attitude regarding his parents’ expectations. Enter Mrs. Robinson, the wife of Ben’s father's business partner whose effortless seduction garners even Benjamin’s recognition, but with the added afterthought of “Aren’t you [trying to seduce me]?” that embodies his character’s gentle but naive nature, eliciting Mrs. Robinson’s (and the audience’s) amusement.

Adding to the film’s satirical edge, Mrs Robinson’s sexual conquest seems almost entirely motivated by the power she wields over her less experienced young man. Scenes of the couple together are honest and forthcoming (Mrs. Robinson, at one point, reveals a personally poignant backstory) but curiously, albeit humorously, absent of any real emotion for one another. Benjamin seems further confused by Mrs. Robinson’s lack of warmth, however, since no one else sees him as a real person, much less finds him desirable, Mrs. Robinson’s attention (if only to relieve her boredom) is welcomed, even if he remains perplexed by her casual indifference and dead-end prospects of their precarious affair.

Speaking of “dead end,” so far this situational outline is beginning to look like what one might find on television at the time even if it is delivered in a more sophisticated and skilful fashion. * Both of the film’s dramatic and comedic elements are about to be elevated, however, when Mrs. Robinson suspects that Ben might be interested in her daughter Elaine (and vice-verse). She insists that Ben immediately terminate any idea in that regard to which Ben is initially all for. It is in the following "dating" scenes in which Ben purposely tries to quash Elaine’s interest where new insights are revealed into Ben and Elaine's character. ** These pivotal moments, including their immediate aftermath, will substantiate the couple’s underlying affection for one another, exhibiting feelings that are genuine and highly relatable. Ben’s initial acts of purposeful obnoxiousness result in Elaine’s hurt response which indicates she truly cares what he thinks of her. She has potentially seen through his game plan, but her inner questioning of why he’s so cruel, underneath it all, awakens Ben’s and later Elaine’s hidden potential for true love... born out of concern and sacrifice, not to mention altogether absent in Ben’s relationship with her mother and Elaine’s with Ben’s rival suitor Carl. These are the qualities that Ben and Elaine will both find worth fighting for at this film's spectacular conclusion. ***

* Note the filmmakers’ revealing shot compositions particularly in how the zoom lens enhances the characters’ relationship to their surroundings.

** Otherwise, viewers may find it difficult to get a handle on Ben’s persona as the filmmakers too deliberately, and often, pull this character in opposing directions (confident and cocky in some scenes, naïve and nervous in others) perhaps to avoid his being typecast.

*** What is additionally so thought provoking in the film’s final moments are the wordless expressions of our couple in love. They seem elated about the rebellious actions they’ve taken but apparently have no clue as to what to do next. This last revelation is particularly symbolic in relation to Ben since we’ve followed his journey every step of the way. He’s really come full circle. In the opening scene he’s motionless, standing on an airport walkway that moves him along. And at the end of his travels, although he’s “graduated” once again in the sense of claiming his true love, is equally as inert as he sits on a bus whose destination is of no concern.

The Graduate is available from Criterion (North America Region A) and can be ordered from Amazon.com by clicking on the accompanying image.

A.G.

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