Just some thoughts on current happenings:

Classic film screenings from around the world this September include:

In London, United Kingdom The Prince Charles Cinema will present Star Trek II: The Wrath of Khan [Director’s Cut] (1982, a 4k presentation, in celebration of this film’s 40th Anniversary) Friday, September 2, Sunday, September 4, Wednesday, September 7 and Thursday, September 8, Star Trek: The Motion Picture [The Director’s Edition] (1979, a 4k presentation) Thursday, September 8, Mulholland Drive (2001, a 35mm print) Saturday, September 10 and Sunday, September 11, The Killing of a Chinese Bookie (1974, a 35mm print) Tuesday, September 13 and Monday, September 26, Paris Texas (1984, a 35mm print) Thursday, September 15, Blue Velvet (1986, a 35mm print) Friday, September 16, Saturday, September 17, Monday, September 19 and Thursday, September 22, Lady and the Tramp (1955, a 35mm print) Saturday, September 17, Blade Runner [The Final Cut] (1982, a 4k presentation) Sunday, September 18, and Heat [The Director’s Definitive Edition] (1995, a 4k presentation) Saturday, September 24, and Citizen Kane (1941, a 35mm print) on Tuesday, September 27.

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

In New York City, New York, Film Forum is presenting HIGHSMITH ON SCREEN from Friday, September 2 to Thursday, September 8: A one-week series of films based on Patricia Highsmith’s novels. Highsmith On Screen showcases five of her psychological dramas, often rooted in consuming desire and love triangles who populate her fiction. Just a few of the highlights include Purple Noon (1960, a 35mm print) Friday, September 2 and Tuesday, September 6, and Strangers on a Train (1951) on Saturday, September 3 and Wednesday, September 7.

There are still 2 matinees left in the ALAIN RESNAIS 100 series: Hiroshima Mon Amour (1959) Tuesday, September 6, and Last Year at Marienbad (1961) on Wednesday, September 7.

Also being shown this month is Carnal Knowledge (1971, a new 4k restoration) from Friday, September 2 - Thursday, September 8, Ed Wood (1994) with co-screenwriter Larry Karaszewski appearing in person following the screening for a conversation with Bruce Goldstein, Film Forum Repertory Artistic Director, and an audience Q&A Wednesday, September 7, and The 400 Blows (1959, a new 4k restoration) from Friday, September 23 – Thursday, October 6.

To discover all of the films being shown in the HIGHSMITH ON SCREEN series, click on the top image above. To learn more about the films remaining in the ALAIN RESNAIS 100 series, or the other screenings mentioned here, click on the appropriate image. For information on all of the films playing this month, click on the Film Forum banner.

In Santa Monica (part of greater Los Angeles) California, The American Cinematheque Aero Theatre Santa Monica will present as part of “Robert Bresson: An American Cinematheque Retrospective” a double bill of Diary of a Country Priest (1951, a 35mm print) and A Man Escaped (1956, a 35mm print) Friday, September 2, a double bill of Pickpocket (1959, a 35mm print) and A Gentle Woman (1969) Thursday, September 8, Au Hazard Balthazar (1966, a 35mm print) and Mouchette (1967, a 35mm print) Thursday, September 15, and a double bill of Les Dames du Bois de Boulogne (1945, a 35mm print) and The Devil, Probably (1977, a 35mm print) on Thursday, September 22.

In Los Feliz (also part of greater Los Angeles) California, The American Cinematheque Los Feliz 3 Theatre will present as part of the same “Robert Bresson: An American Cinematheque Retrospective” Four Nights of a Dreamer (1971) on Saturday, September 24.

For more information specifically on each of these programmes, click on the corresponding above image. To see the entire month of September’s programming including other films in the “Robert Bresson: An American Cinematheque Retrospective” series for both the The American Cinematheque Aero Theatre Santa Monica and The Los Feliz 3 theatres, click on the American Cinematheque banner.

In Auckland, New Zealand Academy Cinemas is presenting Butch Cassidy and the Sundance Kid (1969, as their Father’s Day Western Program) Sunday, September 4, and Pickpocket (1959, an Auckland Film Society screening for Auckland Film Society members) on Monday, September 12.

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 Melbourne, Australia The Astor Theatre is presenting A Star Wars Marathon consisting of Star Wars (1977, a 35mm print) followed by The Empire Strikes Back (1980, a 35mm print) and Return of the Jedi (1983, a 35mm print) Sunday, September 4 (beginning at 2 pm), and The Thing (1982, a 4k presentation, in celebration of this film’s 40th Anniversary) on Monday, September 5.

Click on the Star Wars image for more information about the marathon and The Thing poster for more information on that screening. To see the rest of September’s schedule, click on The Astor Theatre banner above.

In theatres across the U.S., TCM and Fathom Events is presenting Star Trek II: The Wrath of Khan [Director’s Cut] (1982, a 4k presentation, in celebration of this film’s 40th Anniversary) Sunday, September 4, Monday, September 5 and Thursday, September 8, and Poltergeist (1982, in celebration of this film’s 40th Anniversary) on Sunday, September 25, Monday, September 26 and Wednesday, September 28.

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

In theatres across the U.S. Flashback Cinema is presenting The Blob (1958) on Sunday, September 4 and Wednesday, September 7.

Click on the poster image for more information. To see the entire month’s programming, click on The Flashback Cinema banner above.

In Perth, Western Australia The West Australian Symphony Orchestra will present “The Music of James Bond” with George Lazenby in attendance and being interviewed on Saturday, September 10.

Click on the above image for more information.

In Alicante, Spain Culturarts Generalitat IVAC – La Filmoteca at the Arniches Theater will present as part of their Charlie Chaplin series A Woman of Paris (1923) Thursday, September 15, and as part of that same series The Gold Rush (1925) on Thursday, September 29.

Click on the film’s image for more information. To discover more of Septembers programming, click on the banner image above.

In Singapore (Singapore) The Singapore Symphony Orchestra will present Psycho (1960) with live musical accompaniment featuring Bernard Herrmann’s thrilling score on Thursday, September 22 and Friday, September 23.

Click on the above image for more information.

In Los Angeles, California The Beverly Cinema will present a double bill of Murder by Contract (1958, a 35mm print) and City of Fear (1959, a 35mm print) Thursday, September 22 and Friday, September 23, and The Last Picture Show [The Director’s Cut] (1971, a 35mm print) on Friday, September 30, Saturday, October 1 and Sunday, October 2.

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

Noir City will take place in Detroit, Michigan from Friday, Sept. 23 - Sunday, Sept. 25. “Spend the weekend at The Redford with 8 film noir titles hosted by Eddie Muller, FILM NOIR FOUNDATION founder and host of TCM’s NOIR ALLEY.”

Click on the poster image for more information.

In Los Angeles, California Secret Movie Club is presenting at The Million Dollar Theater Movie Palace as part of their SUMMER SPEAKER series Lost Highway (1997, a 35mm print) followed by a Q&A with Editor Mary Sweeney on Saturday, September 24.

For more information on this screening, click on the above movie image. To discover other screenings organised by this group, click on the theatre image above.

In Paris, France The Palais des Congrès de Paris will present Le Grand Bleu (The Big Blue) (1988) with live musical accompaniment featuring Eric Serra’s sensational score with the composer himself conducting the orchestra on Saturday, September 24 and Sunday, September 25.

Click on the above image for more information.

In Bergen, Norway The Cinemateket i Bergen will present Vertigo (1958) on Tuesday, September 27, Thursday, September 29 and Sunday, October 1.

For more information on this film’s showing, click on the movie image above. For more information on the other films showing at The Cinemateket, click on the banner image above.

In Philadelphia, Pennsylvania The Philly Pops Orchestra will present The Godfather (1972) with live musical accompaniment featuring Nino Rota’s memorable score on Thursday, September 29.

Click on the above image for more information.

There are 23 recommended films to watch on Turner Classic Movies in the U.S. this month:

First up is The Treasure of the Sierra Madre with Humphrey Bogart portraying perhaps his darkest and most psychologically troubled character. Watching his slow transformation from an honest and idealistic adventurer to a tormented, paranoid psychotic is one of the art's most stunning, dramatically forceful experiences perfectly matched to a magnificent and fatalistically ironic conclusion. My further thoughts on this film are here. This treasure can be discovered Thursday, September 1 at 10:45 pm PDT.

(From left) Walter Huston, Humphrey Bogart, Tim Holt

Despite its ridiculously hard to follow plot, this next recommendation's wildly entertaining detective yarn is worth waking up for.

Previously reviewed here, The Big Sleep will awaken Friday, September 2 at 5 am 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!

Immediately following The Big Sleep is another film noir with Humphrey Bogart, Dark Passage, a wildly engrossing tale that 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 Friday, September 2 at 7 am PDT.

That’s Humphrey Bogart as Vincent Parry standing at the crossroads of Greenwich Street (behind him leading to Coit Tower) and Hyde where he will soon board the Hyde cable car. This will take him to its final stop: the turntable turnaround at Powell Street and Market (seen below).

Patterns is Hidden Gem #54 with Ed Begley as a displaced executive whose shameful bullying at the hands of his superior corporate officer (Everett Sloane) is slowly starting to anger Begley's younger ally and (unbeknownst to himself) replacement, played by Van Heflin. All three male leads exhibit voracious appetites for their Rod (The Twilight Zone) Serling created dynamic parts. The dramatic fireworks are set to go off Saturday, September 3 at 1 pm PDT.

Ed Begley (Far left), Everett Sloane (Centre), Van Heflin (Centre on the right)

If I was in charge of choosing a single film noir for someone only willing to see one in the entire canon, I would select Double Indemnity as its most fulfilling and accomplished representative. It has been previously reviewed in Opening Up a Treasure: Double Indemnity. Thoughts of adultery, greed and murder will manifest themselves on TCM Saturday, September 3 at 5 pm PDT.

After WW II, the great Douglas Slocombe became a camera operator for Ealing Studios and made a most auspicious debut as director of photography on perhaps the studio's finest: the horror movie Dead of Night.

Douglas Slocombe (February 10, 1913 - February 22, 2016)

His work with light and shadows contributed as much creative artistry as any other element, especially considering that Dead of Night is a portmanteau with more than several directors coming and going. Slocombe, however, is our guide throughout the entire journey, enveloping us in an ominous atmosphere informed by his creative aplomb. One has an opportunity to take this amazing odyssey with him (the film previously reviewed here) on TCM Tuesday, September 6 at 5:30 pm PDT.

The unmissable Busby Berkeley extravaganza Footlight Parade is also a previous TCM recommendation here. Let the show begin Friday, September 9 at 3:15 pm PDT.

My next TCM film to see is Mike Hodges’ 1971 Neo-noir triumph Get Carter which is reviewed as a Blu-ray recommendation at the end of this month’s column. Viewers can get Carter (updated) Thursday, October 17 (2024) at 2:45 pm PDT.

Next there’s Baby Face the Pre-Code sensation starring Barbara Stanwyck, reviewed just a few months ago here, and making another appearance on Monday, September 12 at 6 am PDT.

(From left) Theresa Harris, Barbara Stanwyck

1967's Hotel was taken, like 1970's Airport, from a novel by Arthur Hailey and is the far better crafted of the two films. This proficient and underrated motion picture was previously reviewed here and will open its doors Monday, September 12 at 12:30 pm PDT.

(From left) Rod Taylor and Richard Conte

The next two recommendations, playing back to back, are taken from literary works by Carson McCullers.

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 Wednesday, September 14 at 8:45 am PDT. *Note: TCM will be showing the wide-release technicolor version of this film.

(From left) Marlon Brando, Elizabeth Taylor, Brian Keith

Immediately following is The Heart is a Lonely Hunter, a previous TCM recommendation here. Viewers can realise a wealth of emotion by tuning in Wednesday, September 14 at 10:45 am PDT.

Next on my list of films to watch is King Kong (1933), who's scheduled to make his grand entrance on Friday, September 15 at 7:15 am PDT. I have reviewed this motion picture with a focus on its musical score here.

One of the most prestigious American films ever made, is the subsuming anti-war drama Paths of Glory, previously reviewed as a Blu-ray recommendation here. Paths of Glory will be forged Saturday, September 17 at 12 pm PDT.

From 1947, director Michael Curtiz brings inspirationally to life the unsuspectedly stylish film noir The Unsuspected, previously reviewed here, Wednesday, September 21 at 8:15 am PDT.

Casablanca is a film I've often recommended in the past. Occasionally, however, I catch some flack for not being as enamoured with this adored classic as the vast majority of viewers. For those who consider Casablanca to be one of the finest motion pictures ever made, just the inclusion in my series entitled “All that Glitters…”: The Overrated can be objectionable enough to completely ignore my critique. In my defence, there are many qualities attributed to the motion picture contained in my review. In any event, please have a look at both the film and my write-up to see for yourself if my appraisal has merit. Casablanca is on TCM's itinerary for Thursday, September 22 at 7:15 pm PDT.

Don't miss Nicholas Ray's character study In a Lonely Place with Humphrey Bogart perfectly cast as Dixon Steele whose unpredictable explosions of anger make him a prime suspect for the killing of a young ingénue. This highly probative film noir, previously recommended here, is scheduled to arrive Thursday, September 22 at 11:15 pm PDT.

One of cinema’s most quintessential performances can be seen in 1947’s Possessed by the film’s star Joan Crawford. Crawford’s thorough commitment is bolstered by the actress, along with the film’s director Curtis Bernhardt, having visited several psychiatric hospitals observing patients and interviewing doctors regarding the script’s authenticity. Possessed is a prior TCM recommendation here, and can be thoroughly absorbed Saturday, September 24 at 3 am PDT.

Just missing out on my list of Top Ten Westerns (in favour of another Bud Boetticher directed/Burt Kennedy scripted film The Tall T) was Ride Lonesome, a highly distinctive and concise story told with a strong sense of purpose and sophistication. This must-see film starring Randolph Scott was previously reviewed here and will arrive on TCM Saturday, September 24 at 10:45 am PDT.

Film noir has few representatives as dourly defeatist or as forcefully communicative on the subject of human relations than 1945's Scarlet Street, previously reviewed here. Edward G. Robinson as Christopher Cross will take his fateful walk down that dark and foreboding street Tuesday, September 27 at 7 am PDT.

The expression "Don't judge a book by its cover" certainly applies to the film Kind Lady, a previous TCM recommendation here. She may be as the title says but it is her nemesis and his ghastly gang of home invaders who will dominate this tensely twisted thriller Tuesday, September 27 at 10 am PDT.

(From left) Maurice Evans, Ethel Barrymore, Keenan Wynn, Angela Lansbury

When affairs of the heart are so well integrated with thoughts of murder as they are in the Humphrey Bogart starrer Conflict, we have the makings of an exceptional film noir. This is because the emotional cause behind the actions infuses motive into these types of films and thus absorbs the viewer on a deeper level. Conflict, previously reviewed here, and a former visitor to Eddie Muller's Noir Alley, will present itself Thursday, September 29 at 7 pm PDT.

A pre-code charmer sure to delight fans is Blonde Crazy with Jimmy Cagney and Joan Blondell enchanting as a couple of cons. This recommendation was previously made here. The fun will begin Friday, September 30 at 3:30 pm PDT.

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 the classically trained, award winning British actor Ian McShane who, no matter the role, always makes a most welcome formidable impression. Ian turns 80 on September 29th.

He made his motion picture debut in the U.K. film The Wild and the Willing (1962) along with his lifelong friend, the late John Hurt, also making his first big screen appearance in the same film. McShane went on to perform in Sky West and Crooked (1966, giving Hayley Mills her first onscreen kiss) If It’s Tuesday, This Must Be Belgium (1969), Battle of Britain (1969, part of an all star cast including Michael Caine, Trevor Howard, Laurence Olivier, Christopher Plummer and Michael Redgrave), Villain (1971, portraying Richard Burton’s bi-sexual partner Wolfe Lissner), The Last of Sheila (1973, a cast including James Mason, James Coburn and Dyan Cannon), Ransom (1974, opposite Sean Connery), The Fifth Musketeer (1979, as Fouquet in a remake of 1939’s The Man In the Iron Mask), Exposed (1983, written and directed by James Toback, starring Nastassja Kinski), Soul Survivors (1995, TV movie), Sexy Beast (2000, as menacing Cockney mobster Teddy Bass opposite Ray Winstone and Ben Kingsley), Woody Allen’s Scoop (2006, as Joe Strombel), 44 Inch Chest (2009, and an Executive Producer), Pirates of the Caribbean: On Stranger Tides (2011, with Johnny Depp), Snow White and the Huntsman (2012), John Wick (2014, plus all its sequels as Winston), The Hollow Point (2016), Hellboy (2019), and Deadwood (2019, TV movie, and an Executive Producer, perhaps his most colourful TV character Al Swearengen based on the TV series Deadwood from 2004 - 2006). Other notable TV roles occurred in Jesus of Nazareth (1977, as Judas Iscariot), Disraeli (1978, as Benjamin Disraeli), Lovejoy (1986 - 1994, as the title character, and directing 4 episodes), Kings (2009), American Horror Story (2012), Ray Donovan (2015, as Andrew Finney), Game of Thrones (2015, as Brother Ray), and American Gods (2017 - 2021, as Mr. Wednesday, and Executive Producer of 8 episodes). In addition, McShane has performed most impressively on stage.

The Soundtrack recommendation for the month is Miklos Rozsa's sweepingly melodic and suspenseful score to Alfred Hitchcock's Spellbound released in 1945.

Few motion picture scores are packed with as many memorable themes as this one, each perfectly enhancing the emotions swirling around the romantic and psychoanalytical intrigue on display. Unfortunately, these aforementioned elements tend to compete with the mystery surrounding murderous culpability, relieving tension and diminishing the gravity also in play. It doesn’t help that Gregory Peck’s lacklustre portrayal creates a character about as threatening as Pollyanna. Rozsa’s music is, therefore, of additional importance in bridging and enlivening the drama and he succeeds in doing so spectacularly. Also highlighting Spellbound is a dream sequence created by famed artist Salvador Dali.

This is a re-recording to be sure (Allan Wilson conducts The Slovak Radio Symphony Orchestra) but has the subsequent benefit of being recorded in full 24 bit/96 kHz audio from original manuscripts at the Selznick estate. The soundtrack C.D. is currently (and only for a few more days) discounted at Intrada Records. Click on the accompanying image for more information and ordering.

Film noir’s most distinguishing characteristic, the exploration of its criminal subjects’ dark psychology, is also present in the best of Neo-noir: i.e. those appearing after the movement’s 1940’s and ’50's heyday. There are two, both directed by Brits, that share this quality of communicative drive and focus as it relates to a singular individual but with such abundance, they have forever secured their top-shelf status:

1967’s Point Blank and 1971’s Get Carter, the latter being one of this month’s former TCM recommendations, as well as November’s current Blu-ray selection.

(In foreground from left) Michael Caine, Ian Hendry

Michael Caine’s Jack Carter exudes so much confidence, bull dog tenacity and vile viciousness, that if he said he’d just overcome an army of angry adders, you’d (at least better) believe him. Carter, a ruthless but poised gangster, returns to his North East England hometown (what he calls a “crap house”) to look into and avenge those responsible for his brother’s so called “accidental” death. His polished London based upper-class demeanour and hardened professional facade slowly start to crack amidst these semi-uncomfortable, although regrettably familiar, squalid surrounds. Carter’s disdain toward his own working class roots and having to interrogate a gang of former lowlife associates, not to mention the mostly unappealing answers he solicits, trigger an ever growing contempt toward just about everyone who crosses his path. Furthermore, the appreciable animosity over his brother’s demise is exacerbated when Carter’s superiors send orders for him to start packing, and later, when he uncovers evidence of his now fatherless teenage niece’s participation in the same scummy enterprise a few of his underworld affiliates have routinely been involved in. To top it off, this latest discovery looks as though it contributed to his brother’s death. It seems that after each new piece of the tragically consequential puzzle Carter puts together, he emerges like a powder keg without a fuse. No amount of violent retaliation appears to be enough to fully extricate his inner torment and fury. Not to say he doesn’t try to “keep calm and carry on.” Still, a “vengeance is mine” attitude sparks acts of rabid retribution that reach brutally biblical proportions. At the conclusion, both deeds and their setting are as grim, grimy and grotesque as one could imagine: a fusion that finally provides the catharsis our ‘twenty minute’ hard-boiled protagonist has been seeking. Carter is content.

In Point Blank, we feel Walker’s pain at having been betrayed by both his wife and dear friend through the economical but effective flashbacks presenting someone entirely different than the mechanical creature he’s become. Similarly, Carter, expresses why he’s been so consumed by the events being investigated even though they are often sentiments that oppose his tough guy persona and therefore ones he’d rather not show. Observe Carter’s face when he watches the little home projected film his niece appears in and viewers will readily suss out why this anti-hero is so determined to walk in Walker’s shadowy footsteps.

Motive this keenly felt not only provides cause for the decisively deadly actions witnessed, it adds that crucial ingredient to creating a superior and impactful film noir narrative. Writer, director Mike Hodges adapting Ted Lewis’ novel “Jack’s Return Home” along with his “right at home” crew of actors and savvy technicians (notably Roy Budd’s theme, as coolly composed as Carter himself), have accomplished just that.

Without Get Carter’s influential template, so many semi-contemporary filmmakers dabbling in stories of the “left-handed form of human endeavour” variety, such as Quentin Tarantino and Guy Ritchie, would hardly be taken seriously.

The Warner Bros. produced Blu-ray, currently at a reduced price from Amazon.com, can be ordered by clicking on the image below.

A.G.

The Cinema Cafe

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