Just some thoughts on current happenings:

Classic film screenings from around the world is returning this month in a limited capacity. Due to the Corona virus pandemic, please contact the theatre of choice regarding any restrictions including masks, social distancing, limited seating or last minute cancellations.

In Los Angeles, California The Beverly Cinema will present a double bill of The Master (1992, a 35mm print) and L.A. Streetfighters (1985, a 35mm print) Monday, September 6, a double bill of Kiss Me Deadly (1955, a 35mm print) and Repo Man (1984, a 35mm print) Tuesday, September 7, Wednesday, September 8 and Thursday, September 9, Blade Runner: The Final Cut (1982/2007, a 35mm print) Friday, September 17 (at 2pm only), and a double bill of Double Indemnity (1944, a 35mm print) and The Big Sleep (1944, a 35 mm print) on Friday, September 24, Saturday, September 25 and Sunday, September 26.

Click on the respective image for more information. To see the rest of September’s schedule, click on The Beverly Cinema banner above.

In London, United Kingdom The Prince Charles Cinema will present An Autumn Tale [Conte d'automne] (1998, a 35mm print) Monday, September 6, Ocean’s Eleven (2001, a 35mm print) Wednesday, September 8, The Long Goodbye (1973, a 35mm print) Wednesday, September 8 and Thursday, September 16, Tokyo Story [Tôkyô monogatari] (1953, a 35mm print) Wednesday, September 8, Citizen Kane (1941, a 35mm print) Saturday, September 11 and Monday, September 13, The Killing of a Chinese Bookie (1974, a 35mm print) Thursday, September 16, Taxi Driver (1976, a 35mm print) Saturday, September 18, Sorcerer (1977) Monday, September 20, California Split (1974, a 35mm print) Tuesday, September 21, Paths of Glory (1957, a 35mm print) Thursday, September 23, The Red Shoes (1948, a 35mm print) Saturday, September 25, Casablanca (1942, a 35mm print) Sunday, September 26 and Heat (1995, a 35mm print as part of this film’s 25th Anniversary) on Sunday, September 26.

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

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In Auckland, New Zealand Academy Cinemas is presenting Klute (1971) Saturday, September 11, Black Narcissus (1947) Sunday, September 12 and I’m No Angel (1933) on Sunday, September 19.

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

In theatres across the U.S., TCM and Fathom Events are presenting Citizen Kane (1941, as part of this film’s 80th Anniversary) Sunday, September 19 and Wednesday, September 22 and Carrie (1976, as part of this film’s 45th Anniversary) on Sunday, September 26 and Wednesday, September 29.

Click on the respective film’s image for more information. To see this month’s entire schedule, click on The Fathom Events banner above.

In Los Angeles, California Secret Movie Club is presenting a double bill, Million Dollar Club matinee screenings of Rear Window (1954, a 35mm print) and Vertigo (1958, a 35mm print) Saturday, September 25 at downtown L.A.’s Million Dollar Theatre. For more information on this special screening, click on the above movie still.

To discover other screenings organised by this group, click on the above theatre image.

There are 20 recommended films to watch on Turner Classic Movies in the U.S. this month:

One of our Top Ten World Cinema Treasures is The Battle of Algiers (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, September 6 at 10:30pm PDT.

Dustin Hoffman’s breakthrough role occurred in 1967’s The Graduate, reviewed as a previous Blu-ray recommendation here. This young man’s trials and tribulations can be observed Wednesday, September 8 at 5pm PDT.

Rarely does an atmosphere of such overpowering dread subsume a cinematic story so completely as it does in 1943's The Seventh Victim.

A young woman (portrayed as a fetching innocent by Kim Hunter) goes searching for her missing sister (enigmatically played by Jean Brooks) in New York City's Greenwich Village and stumbles upon a satanic cult of devil worshipers putting both of their lives at risk. Mark Robson, who directed a number of these Val Lewton produced gems, is himself at the peak of his considerable creative powers. This devilishly striking combination of horror and film noir was a previous TCM recommendation and reviewed here. The fate of both sisters will be determined Friday, September 10 at 5pm PDT.

On Saturday, TCM is showing one of the most astute explorations of small town American life, The Last Picture Show, previously reviewed here. This is one of the finest films of the ‘70s and can be seen Saturday, September 11 at 11:45pm PDT.

(From left) Timothy Bottoms, Ben Johnson, Sam Bottoms

Director Howard Hawks excelled at capturing the exciting elements in all genres: gangster films, Scarface (1932), film noir The Big Sleep (1946) and westerns Red River (1948) just to name a few. Offering further proof of this is the hilarious screwball comedy Bringing Up Baby, previously reviewed here. The antics will begin on TCM Tuesday, September 14 at 8:30am PDT.

Next up is the remarkably understated albeit compelling racial drama Intruder in the Dust released in 1949. Still deserving of more critical acclaim, this filmed adaptation of literary giant William Faulkner’s novel will grace TCM (updated) Thursday, July 6 (2023) at (early morning) 1 am PDT and is reviewed as September’s DVD recommendation at the conclusion of this column.

"Complaining about the far-fetched circumstances in films noir is like objecting to the lack of realism in a Picasso painting. What I mean is that lovers of these criminally rich cinematic delights oughtn’t to bother picking out the implausibilities, since they are practically a hallmark of noir's style."

I've written this before when introducing Split Second, a film noir that presented some rather unlikely occurring situations and it certainly applies to my next recommendation as well, starring Humphrey Bogart: Dark Passage. This wildly engrossing yarn combines the best of romance with the best of noir in the best location for both: San Francisco. Previously endorsed as a Blu-Ray release here, Bogart will make his dark passage on TCM Thursday, September 16 at 11:15am PDT.

That's San Francisco's Coit Tower on top of the hill behind Bogart

Immediately following Dark Passage, TCM will present another film noir starring Humphrey Bogart. Despite its ridiculously hard to follow plot, this film's wildly entertaining detective yarn is worth waking up for.

Previously reviewed here, The Big Sleep will awaken Thursday, September 16 at 1:15pm PDT.

A most talented friend on Facebook, Leilani Roundtree, has graciously allowed me to post her own very special modernised trailer for The Big Sleep. This amazing work both spoofs contemporary coming attractions while paying homage to the early classic in a most delightful way! Enjoy!

"Loneliness has followed me my whole life. Everywhere. In bars, in cars, sidewalks, stores, everywhere. There's no escape. I'm God's lonely man."

These words come from the deteriorating and increasingly pressurised mind of a New York City insomniac in Martin Scorsese’s intoxicating Taxi Driver released in 1976. TCM will present this landmark film, previously reviewed as a Blu-ray recommendation here, Saturday, September 18 at 11pm PST.

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 Sunday, September 19 at 11:15am PDT and repeat again on Monday, September 27 at 5pm PDT.

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 ingeniously he 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, particularly in how some view their past.

I think those who look to a film like Citizen Kane for superficial entertainment qualities are apt to miss out on the profound relationship developments inherent in the narrative. These are rich, multilevel characters with complex emotions responding to their ever changing circumstances. To appreciate the kind of sophisticated delineation of character requires a substantial investment on the viewer's part, some may not be accustomed to giving. This is perhaps due to the overwhelming number of lesser cinematic fare providing simple and identifiable characters easy to assimilate as well as instantly gratifying resolutions to their dramatic conflicts. Others may be dismissive toward films like this one because they don't like seeing what are perceived as negative traits recognisable in themselves and/or other important individuals in their lives, plus the fact that, just like in real life, Citizen Kane’s populace tend to suffer through them rather than being provisioned with artificial heroic triumphs. Many films offer an escape from reality. Citizen Kane confronts us with it. Both types have value but when such an enlightening story is told with so much drive, innovation and passion, it transcends both categories.”

One of David Lean's more ambitious projects may have turned out less artistically accomplished than its director intended. Still, it has many attributes making Doctor Zhivago well worth seeing. Afterwards, I'd be truly appreciative if readers had a look at my review here. This epic scale romance will begin Sunday, September 19 at 1:30pm PDT.

Then there's Ingmar Bergman's masterpiece: the exquisite romantic-comedy Smiles of a Summer Night, one of the finest motion pictures ever made (listed in my Top Ten: World Cinema Treasures). This is scheduled to show on TCM Tuesday, September 21 at 1:15pm PDT.

TCM occasionally shows a lesser known movie that, although not able to stratospherically rise above its genre confines, still achieves a considerable degree of character insight, emotional investiture and reverberating conflicts within them. Tension at Table Rock (1956) is one such film.

The dark and hidden past of its central protagonist Wes Tancred (an imposing but smartly subdued Richard Egan), combined with its defeatist tone, earns this little RKO western a blazing brand of noir assimilation. The director is Charles Marquis Warren who typically ploughed this B-western terrain with inconsistent results, from the high fertile plains of Little Big Horn (his directorial debut and another noir western) to the low barren wasteland of Charrow (with Elvis Presley). There are recognisable signposts of Shane and later High Noon along the trail (Frank Gruber’s novel “Bitter Sage” was adapted by Winston Miller) but they do not diverge from the path chosen, allowing the events to take on a strong identity of their own. This is due to Warren’s even-handed approach in securing such innate but enlivened situations and resolute performances from his perfectly chosen cast, heightening the story’s unpredictable nature. The aforementioned Egan is adept at internalising his fervent feelings. Angie Dickinson and DeForest Kelley share brief but important roles and the family that awaits our anti-hero in the titular town, played with consummate authenticity by Cameron Mitchell, Dorothy Malone and Billy Chapin, add further dimension to this engrossing tale. Music (including another memorable ballad along the lines of High Noon and Gunfight at the O.K. Corral) is by Dimitri Tiomkin, and Joseph Biroc provided the Technicolor cinematography, both substantial contributions. Tension at Table Rock can be witnessed on TCM Wednesday, September 22 at 7:15am PDT.

Next is one of the western genre's finest and another excellent pairing of star James Stewart with director Anthony Mann: The Man from Laramie.

This was the last western the duo made together and perhaps their finest. Previously they collaborated on Winchester '73, Bend of the River, The Naked Spur, and The Far Country in that order. In this film, Mann's by now familiar themes of buried hostility, vengeance, familial loyalty and expectation seem developed in a more complex fashion, therefore affording the director a deeper exploration of his characters' conflicts, motives and desires. As always the situations are masterfully presented and infinitely captivating. The Man from Laramie has been previously reviewed as Top Ten Western #7 and will appear Sunday, September 26 at (early morning) 1:15am PDT.

For those who enjoy the best in creative romantic comedy, be sure to tune in for Pillow Talk (reviewed here) Sunday, September 26 at 11:30am PDT.

The unmissable Busby Berkeley extravaganza Footlight Parade is also a previous TCM recommendation here. Let the show begin Monday, September 27 at 7:15am PDT.

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Few biopics are as inspirational as Michael Curtiz’ Jim Thorpe - All American, a previous TCM recommendation here and one that can be appreciated again Tuesday, September 28 at (early morning) 5am PDT.

Another film well worth seeing is Network (1976), previously reviewed here. This “mad as hell” exposé of just how far some TV executives will go to exploit for profit, amongst other things, a former news anchor’s severe “on the air” mental breakdown, will itself air on TCM Tuesday, September 28 at 5pm PDT.

TCM will present Charlie Chaplin’s charming cinematic love letter City Lights (previously reviewed here) Wednesday, September 29 at 8am PDT.

One of the horror genre's finest achievements is The Innocents, reviewed here. You'll have a chance to see this extraordinary film Thursday, September 30 at 10:45am PDT.

(From left) Pamela Franklin, Deborah Kerr

TCM's current monthly schedule can be confirmed by clicking on any of the above TCM related 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 that solid director/producer and New York born Harold Becker, who turns 92 on September 25th.

He studied art and photography at the Pratt Institute in Brooklyn and began his career as a still photographer. Later, Becker tried his hand at directing, starting with television commercials and mainly short documentaries. His feature directing debut was The Ragman’s Daughter (1972). He went on to direct The Onion Field (1979), Taps (1981), The Boost (1988), Sea of Love (1989), Malice (1993), City Hall (1996), Mercury Rising (1998) and Domestic Disturbance (2001) amongst others.

The Soundtrack recommendation for the month is composer James Newton Howard's rugged and richly thematic score to 1993's Alive.

Disney’s Touchtone Pictures presents this dramatisation of the traumatic real-life event concerning a rugby team’s plane crash in the Andes mountains. The composer captures all of the intensity of perilous circumstances while highlighting the hope and resiliency of the crash victims with equal compositional prowress and creativity. This newly expanded 2-CD set from Intrada Records is available from the manufacturer while quantities and interest remain. More information including ordering can be obtained by clicking on the accompanying image.

September's DVD selection is Intruder in the Dust (1949).

(From left) Juano Hernandez, Claude Jarman Jr.

The long historical breeding ground of racial bigotry and injustice prevalent in America’s Southern States can become problematic for filmmakers who choose this as their story’s setting. Unlike literature, whereby the author maintains a firm grasp over narrative exposition film, by its expository or “show and tell” nature, has already dramatically enhanced its people and events even before anything happens. Our collective imagination is tasked to a greater extent when we read, unlike watching a movie. When a film’s subject matter concerns the horrifying consequences of such an intense, deep rooted prejudice and hatred perpetrated by one race against another, what was an integral but non exploited part of a literary work often appears as artifice to the discerning filmgoer intentionally heightened to elicit the desired emotional response. The courtroom scenes in 1962’s To Kill a Mockingbird, for example, accentuate racial divisiveness simply in the way the filmmakers present their opposing characters. The honest, meek, good natured black man unjustly accused by his lying, trashy and vile white accusers from moment to moment, both by appearance and deed, makes for an effective contrast on one level but manipulative dramatic overkill on another. Additionally, this blatant dichotomy glorifies the story’s white defence attorney Atticus Finch’s heroism with each word spoken. Speaking of contrast, the aforementioned characteristics of racial animosity are far less pronounced, better suited for cinema’s revelatory nature and therefore more naturally procured in 1949’s Intruder in the Dust.

As in To Kill a Mockingbird, the story concerns a black man charged with a crime he swears he did not commit. What is most remarkable about Intruder in the Dust’s elderly accused is his portrayal; a lion’s share of the credit goes to actor Juano Hernandez’ sincere and authentic performance. He refuses to be subservient to the white man even if doing so might help his legal disposition and, although denying the crime of murder, will not say what happened despite the fact that providing this knowledge might exonerate himself. The complexity of the situation at hand extends to its investigation, retributive response by way of a lynch mob, and all of the carefully layered characters. Clarence Brown’s thoughtfully subdued direction from Ben Maddow’s straightforward adaptation of William Faulkner’s novel, along with the genuine performances from a non-star cast, have created this unpretentious and therefore arresting storyline all the while honouring the vast communicative power of cinema.

(From left) Claude Jarman Jr., David Brian

The Warner Archive Region Free DVD can be ordered from Amazon.com by clicking on the image below.

A.G.

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