Just some thoughts on current happenings:

Classic film screenings from around the world this January include:

In London, United Kingdom The Prince Charles Cinema will present Casablanca (1942, a 35mm print) Monday, January 1 and Thursday, January 11, Taxi Driver (1976, a 35mm print) Tuesday, January 2 and Wednesday, January 10, Goodfellas (1990, a 35mm print) Wednesday, January 3, Blade Runner [The Final Cut] (1982, a 4k restoration) Thursday, January 4, American Psycho (2000, a 35mm print) Friday, January 5, The 39 Steps (1935, a 35mm print) Sunday, January 7, The Shawshank Redemption (1994, a 35mm print) Tuesday, January 9, Singin’ in the Rain (1952, a 4k restoration) Friday, January 12 and Thursday, January 25, Tokyo Story aka Tôkyô monogatari (1953, a 35mm print) Sunday, January 14 and Wednesday, January 24, The Good, the Bad & the Ugly (1966, a 35mm print) Wednesday, January 17, The Mummy (1999, a 35mm print) Friday, January 19, His Girl Friday (1940) Sunday, January 21 and Tuesday, January 30, Heat [The Director’s Definitive Edition] (1995, a 4k presentation) Friday, January 26, Close Encounters of the Third Kind [The Director’s Cut] (1977, a 35mm print) Saturday, January 27, and No Country for Old Men (2007, a 35mm print) on Wednesday, January 31.

* Note: Some of the above showtimes are matinees only.

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

In New York City, New York, Film Forum will present The Third Man (1949, a 35mm print, a 75th Anniversary Screening) from Monday, January 1 – Thursday, January 4, and Days of Heaven (1978, a new 4k restoration) from Monday, January 1 – Thursday, January 4.

For more information on the films mentioned, click on the appropriate image above. For a complete calendar of all the films playing this month, click on the Film Forum banner.

In Los Angeles, California The Beverly Cinema will present a double bill of Mad Max: Fury Road (2015, a 35mm print) and Speed Racer (2008, a 35mm print) Tuesday, January 2, Wednesday, January 3 and Thursday, January 4, The Long Goodbye (1973, a 35mm print) Friday, January 5, Heat (1995, a 35mm print) Thursday, January 11, Friday, January 12, Saturday, January 13 and Sunday, January 14, a double bill of 42nd Street (1933, a 35mm print) and Gold Diggers of 1933 (1933, a 35mm print) Tuesday, January 16 and Wednesday, January 17, and a double bill of The Little Foxes (1941, a 35mm print) and Jezebel (1938, a 35mm print) on Tuesday, January 30 and Wednesday, January 31.

* Note: Some of the above showtimes are matinees only.

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

In Vancouver, British Columbia, The Cinematheque will be present Sunday Bloody Sunday (1971) Wednesday, January 3, and Diary of a Country Priest aka Journal d’un curé de campagne (1950, a new restoration) on Wednesday, January 3.

For more information about the individual screening mentioned, click on the appropriate image. For all of the films scheduled this month at The Cinematheque, click on the theatre banner above.

In Culpeper Virginia, The Library of Congress at the Packard Campus Theater is presenting Pillow Talk (1959) Thursday, January 4, 12 Years a Slave (2013) Friday, January 5, and Out of the Past (1947) on Thursday, January 25.

Click on the poster image for more information on each film’s screening. To see the rest of January’s schedule, click on the Packard Campus image above.

In Hollywood (part of greater Los Angeles) California, The American Cinematheque Egyptian Theatre will present Heat (1995, along with a Q&A with filmmaker Michael Mann) Friday, January 5, and Solaris (1972) on Sunday, January 7.

For more information specifically on each of these programmes, click on the corresponding image. To see the entire month of January’s programming including other films showing at The Egyptian Theatre in Hollywood, The Los Feliz 3 Theatre in Los Feliz, and The Aero Theatre in Santa Monica (the other mentioned theatres also part of greater Los Angeles) click on the American Cinematheque banner.

In Detroit, Michigan The Redford Theatre will present The Lady Vanishes (1938) Friday, January 5, and North by Northwest (1959) on Saturday, January 6.

Click on the respective movie image for more information. To see the entire month’s programming, click on The Redford Theatre banner above.

In theatres across the U.S. Flashback Cinema is presenting Airplane! (1980) Sunday, January 7 and Wednesday, January 10, and Titanic (1997) on Sunday, January 28 and Wednesday, January 31.

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

In Valencia, Spain, Culturarts Generalitat IVAC – La Filmoteca at the Edificio Rialto will be presenting Vivre Sa Vie (1962, along with a Presentation of the book XXXXX Edicions de La Filmoteca, 2023 by its coordinators, José Enrique Monterde and Maria Adell on Thursday, January 11 only) Thursday, January 11 and Friday, January 26, and Ride the High Country (1962) on Saturday, January 20 and Sunday, January 21.

Click on the film’s image for more information on each screening. To discover more of January’s programming including other films playing in Valencia, Spain at the Edificio Rialto, Castelló, Spain at the Raval Theatre and at the Paranimf of the Universitat Jaume I, and Alicante Spain at the Arniches Theatre, click on the banner image above.

In Auckland, New Zealand Academy Cinemas is presenting A Man Escaped (1956, as part of their Prison Break film series) Monday, January 15, I Am a Fugitive from a Chain Gang (1932, as part of their Prison Break film series) Monday, January 22, and Kwaidan (1964, a cult night screening) on Saturday, January 27.

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

In Melbourne, Australia The Astor Theatre is presenting Solaris (1972, a new 4k restoration) Thursday, January 18, a double bill of A Clockwork Orange (1971, a 35mm print) and Full Metal Jacket (1987, a 35mm print) Friday, January 19, and Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975) on Sunday, January 21.

Click on the poster image for more information on this film’s screening. To see the rest of January’s schedule, click on The Astor Theatre banner above.

Noir City will take place in Oakland, California from January 19 - January 28.

From the Noir City Site:

JAN 19-28, 2024

NOIR CITY 21

In a move taken in opposition to the nation's current wave of anti-immigrant sentiment, the venerable NOIR CITY film festival, celebrating its 21st year in the Bay Area, has declared "Darkness Has No Borders." The 10-day festival will feature a dozen thematically linked double bills, pairing foreign language films with movies made in the United States and United Kingdom. The festival runs January 19–28 at Oakland's Grand Lake Theatre.

NOIR CITY honcho and FNF president Eddie Muller, familiar to a national audience as the host of Noir Alley on Turner Classic Movies (TCM), credits preservation efforts by film archives worldwide, and the advent of digital distribution, as the reason "we're now able to recognize the global scope of film noir." At this year's NOIR CITY, he notes, audiences will experience familiar noir tales … but half will be from Argentina, Egypt, France, South Korea, Italy, Mexico, and Japan presented alongside English-language offerings. "Some are cultural one-offs," he explains, "like the 1958 Egyptian offering Cairo Station (shown with the 1950 Paramount thriller Union Station), while others are examples of noir from countries with a dark wellspring of films still waiting to be discovered." The 24-film program of thematically linked double bills includes heists, prison breaks, missing persons, cultural alienation, love triangles, and lots of plain old-fashioned murder.

“This year's NOIR CITY program is tailored to satisfy folks who love noir that's full of the colorful vernacular slang so essential to American and British noir—as well as adventurous viewers intrigued by a familiar story—a crime committed for passion or profit—playing out in cultures with different values, mores, and styles.”
— Eddie Muller

Kicking off the collection of rarities is the FNF's most recent restoration — 1952's Argentine film Never Open That Door (No abras nunca esa puerta) — based on two short stories by American master of suspense fiction, Cornell Woolrich. The picture was preserved by the Film Noir Foundation in 2013 and has now been completely restored by the FNF through UCLA Film & Television Archive, thanks in part to a grant from the Golden Globe Foundation (formerly HFPA). Fernando Martín Peña, Argentina's pre-eminent cinephile, will be on hand to introduce the film with Eddie Muller.

Included on the 2024 schedule are English-language rarities such as Black Tuesday (1954), Plunder Road (1957), Across the Bridge (1957), and Strongroom (1962). Little-seen international titles include The Human Beast (France, 1938), Aimless Bullet (South Korea, 1960), Bitter Rice (Italy, 1949), Four Against the World (Mexico, 1950), Zero Focus (Japan, 1961), and Smog (1962), a forgotten surrealist masterpiece by Italian director Franco Rossi freshly restored by UCLA Film & Television Archive.

To see Noir City 21’s complete schedule, click on the poster image above.

In theatres across the U.S., Fathom Events is presenting The Wizard of Oz (1939, as part of this film’s 85th Anniversary) from Sunday, January 28 - Wednesday, January 31.

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

There are 32 recommended films to watch on Turner Classic Movies in the U.S. this month:

My first suggested TCM showing to watch is the Marx Brothers' Monkey Business previously reviewed here. I have also posted 2 famous scenes from this film, Capturing a Golden Moment #6 and Capturing a Golden Moment #12. The shenanigans will commence at TCM Monday, January 1 at 5 pm PST.

(From left) Thelma Todd, Groucho Marx, Zeppo Marx, Harry Woods

"And then I saw her - coming out of the sun. And I knew why Whit didn't care about that 40 grand."

Out of the Past (1947) is one of film noir's finest and most highly recommended here. She will arrive Tuesday, January 2 at 5 pm PST.

Fans of film noir who haven't seen John Brahm's 1946 The Locket do not want to miss the opportunity to experience this hypnotically mesmerising drama. A previous recommendation here, The Locket is a dream-like journey crying out to be discovered. The locket can be found Wednesday, January 3 at 8:15 am PST.

TCM will present Charlie Chaplin’s charming cinematic love letter 1931’s City Lights (previously reviewed here) Thursday, January 4 at 11:30 pm PST.

The next two film noirs, both starring Belita and playing back-to-back, may be lesser known but are well worth checking out.

First, get ready for the appropriately titled Suspense (1946), previously reviewed here and making a rare showing on TCM Friday, January 5 at 11:15 am PST.

Immediately after Suspense, there’s The Hunted (1948) reviewed here. I mentioned writer Steve Fisher as a contributor to one of last month’s TCM recommendations Roadblock (1951). The Hunted was filmed from an original screenplay by Fisher, thus its noir qualities are amply evident. Plus, Roadblock’s star tough guy makes a cameo appearance. Be on the hunt for this engrossing film noir Friday, January 5 at 1:15 pm PST.

Barbara Loden's critically acclaimed directorial debut Wanda (1970) is Hidden Gem #29, and a previous TCM recommendation here. Her tragic but compelling journey will take place Tuesday, January 9 at (early morning) 1:15 am PST.

In my review of Casablanca, I made some criticism regarding its emotionally underwhelming Parisian flashback. Prior to this film, however, Casablanca's producer Hal Wallis and one of its contributing writers, Casey Robinson, made Now, Voyager where the romance witnessed from start to finish comes alive with fervour, maturity and elegance. Previously reviewed here, Now, Voyager will set sail Wednesday, January 10 at 12:45 pm PST.

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 Wednesday, January 10 at 11:30 pm PST.

Next is a sterling example of how to present complex and enthralling characters, all of whom develop naturally while still holding our intense fascination: Citizen Kane (1941),

a previous TCM recommendation here. This American film masterpiece, the only U.S. film represented on our Top Ten: World Cinema Treasures, will begin Thursday, January 11 at 6 pm PST.

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 individuality 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 personas easy to assimilate as well as instantly gratifying resolutions to their 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 people 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.”

A 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 a former news anchor’s severe “on the air” mental breakdown, will itself air on TCM Thursday, January 11 at 9:15 pm PST.

Many readers have taken me to task for my inclusion of Casablanca (1942) on a list of “All that Glitters”: The Overrated. I would simply ask that they read what I wrote about this revered classic before judging me too harshly. There is much to praise about the film contained in my review and the weaknesses I've observed are, I feel, worthy of consideration. In any event, please indulge in this motion picture's magic and let me know if my criticisms have merit. The journey begins Friday, January 12 at (early morning) 1:30 am PST.

Also on TCM’s agenda is the Neo-noir Bullitt (1968), one of Steve McQueen’s most iconic characterisations. Reviewed here, Bullitt will speed its way onto TCM Friday, January 12 at 5 pm 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 Friday, January 12 at 7 pm PST.

A motion picture from the ‘80s that approaches a most incendiary social issue and historical tragedy in typical Hollywood (dramatically forced) fashion is Mississippi Burning (1988) reviewed here, and playing twice this month: Saturday, January 13 at 5 pm PST and Saturday, January 20 at 11:15 pm PST.

There have been quite a few movies centred around boxing over the years from 1937’s Kid Galahad to 2018’s Creed II with plenty of standouts in-between such as 1947’s Body and Soul, 1956’s Somebody Up There Likes Me, 1962’s Requiem for a Heavyweight, 1972’s Fat City and 1980’s Raging Bull. None of these, however, get as straight to the punchline as 1949’s knockout noir The Set-Up, previously reviewed here and happening again Sunday, January 14 at (early morning) 1:30 am PST.

TCM is showing Guess Who’s Coming to Dinner (1967) on Monday, January 15 at 5 am PST. This is a film I’ve been rather dismissive of in my brief review which can be read here. On the plus side, all of the able-bodied cast members deliver solid performances.

David Lean’s magnificent 1962 epic Lawrence of Arabia will be presented on Wednesday, January 17 at 5 pm PST. I wrote a brief review here in response to some members of our chat room (all readers are encouraged to join here: https://www.facebook.com/groups/902349343110685) who also shared their thoughts on this important film.

This next TCM recommendation is made for its John Williams composed score more than anything else. Close Encounters of the Third Kind (1977) has been reviewed here, and will be shown Wednesday, January 17 at 9 pm PST.

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

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, Wednesday, January 17 at 11:30 pm PST.

After World War II, many returning servicemen were disillusioned to find jobs 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 returning 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 Thursday, January 18 at 2 pm PST.

One of the most prestigious American films ever made, is the subsuming anti-war drama Paths of Glory (1957) previously reviewed as a Blu-ray recommendation here. Paths of Glory will be forged Thursday, January 18 at 9:15 pm PST.

Next up is director John Frankenheimer’s subtle but evocative character study The Gypsy Moths released in 1969. I have previously written about some of this film’s exceptional qualities in a recommendation of its soundtrack here. The Gypsy Moths will take to the skies Saturday, January 20 at 7:15 pm PST.

(From left) Gene Hackman, Burt Lancaster, Scott Wilson

My next TCM recommendation is 1947’s Nora Prentiss portrayed by Ann Sheridan. This first-class film noir, previously reviewed here, will make its striking impression Sunday, January 21 at 3 pm PST.

“Yes, I can be very cruel. I have been taught by masters.”

Olivia de Havilland is The Heiress, previously reviewed here and appearing again on TCM Sunday, January 21 at 7 pm PST.

One of the most intelligent and illuminating documentaries ever produced is Robert Epstein's 1984 feature The Times of Harvey Milk previously reviewed here and making another rare showing on TCM Monday, January 22 at 11:30 pm PST.

(From left) Harvey Milk, George Moscone, Dan White

The next TCM recommendation has been reviewed in Opening Up a Treasure: The Night of the Hunter. This highly expressionistic Grimm-like fable, released in 1955, appears as if conveyed from a child's point of view. The "hunter" will call Tuesday, January 23 at 5 pm PST.

In 1966, one of the more challenging films to face off against the Production Code (mentioned in Exploring the Artefacts #3: Code Breakers) was that year’s Who’s Afraid of Virginia Woolf?, reviewed here. This film remarkably delivers all of the guttural force of its theatrical origin while creating a more intimate, and cinema appropriate, dynamic all its own. Let the “games” begin Thursday, January 25 at 2:45 pm PST.

“The mattress is soft and there're hangers in the closet and stationary with ‘Bates' Motel’ printed on it in case you want to make your friends back home envious.”

Still another Hitchcock artistic triumph was, at the time (including throughout its primary creator’s career), the most audacious cinematic assault ever perpetrated on the movie going public or the Motion Picture Production Code for that matter. 1960's Psycho was previously reviewed here. The terror will begin Thursday, January 25 at 9:15 pm PST.

Next on my list of films to watch is King Kong (1933), who's scheduled to make his grand entrance on Thursday, January 25 at 11:30 pm PST. I have previously reviewed this film with a focus on its musical score here.

1967’s Bonnie and Clyde is a seminal gangster saga heavily influenced by the French iconoclast Jean-Luc Godard. A prior review here includes a special contribution from Bob DiMucci who informatively reports on some of the film's critical responses at the time of its release. Following that, are my personal recollections at the age of 12 upon seeing this radically-new expeditious approach to American cinematic storytelling. The Barrow Gang will strike on TCM Monday, January 29 at 7:15 pm PST.

Both tension and fear are at their zenith in Cape Fear (1962) with Robert Mitchum once again playing southern bred evil incarnate as he did in 1955’s The Night of the Hunter. Viewers prepared to be terrified can visit Cape Fear Tuesday, January 30 at 7 pm PST.

Cape Fear is also January’s Blu-ray selection and is reviewed at the end of this column.

(From left) Gregory Peck, Robert Mitchum

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 formidable actor James Earl Jones who turns 93 on January 17th.

Motion pictures whose authenticity he’s helped elevate include: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964, pictured), The Comedians (1967), The Great White Hope (1970), The Man (1972), Claudine (1974), Deadly Hero (1975), Swashbuckler (1976), The Greatest (1977), Exorcist II: the Heretic (1977), Conan the Barbarian (1982), Gardens of Stone (1987), Matewan (1987), Coming to America (1988), Three Fugitives (1989), Field of Dreams (1989), The Hunt for Red October (1990), Convicts (1991), Patriot Games (1992), Sneakers (1992), Sommersby (1993), Clear and Present Danger (1994), Jefferson in Paris (1995), Cry, the Beloved Country (1995), Warning Shot (2018) and Coming 2 America (2021). Of course it’s his distinctive voice most will recognise being associated with the character Darth Vader in the first trilogy of Star Wars films: Star Wars: Episode IV- A New Hope (1977), Star Wars Episode V - The Empire Strikes Back (1980), and Star Wars: Episode VI - Return of the Jedi (1983) in addition to several later instalments namely Star Wars: Episode III - Revenge of the Sith (2005) and Rogue One (2016). Another popular character, this time animated, he lent his deep commanding vocal talents to was Mufasa in both The Lion King (1994) and The Lion King (2014).

The Soundtrack recommendation of the month is Jerry Goldsmith's sensually evocative score to the 1992 erotic thriller Basic Instinct.

Jerry Goldsmith’s music lends so much mystery, tension and other enveloping qualities, it would be shocking to imagine just how bereft of value Basic Instinct would be without his overwhelming contribution. This is a score that delivers all of the “basic instinct” otherwise missing from the film, my review for which (fans should proceed with caution) can be read here.

There have been several versions of this soundtrack made available over the years. At the time of the film's premiere in 1992, Varèse Sarabande issued a 45-minute CD. Ten years later, Prometheus Records released an expanded version, now out of print. The definitive version made by Quartet Records and Studiocanal is a 2-CD set, entirely remixed and remastered of Jerry Goldsmith's Academy Award nominated score. It was released in August of 2021 and is sadly out of print as well. Copies can be found, however, on the secondary market like the one from rarewaves in the U.K. that can be seen by clicking on the soundtrack image.

Cape Fear (1962) is January’s former TCM, and current Blu-ray, recommendation.

Both tension and fear are at their zenith with Robert Mitchum once again playing Southern-bred evil incarnate as he did in 1955’s The Night of the Hunter.

Director J. Lee Thompson generates a lavish amount of sustained anxiety that certainly would have impressed his mentor known as the ‘Master of Suspense.’ * Thompson’s suitably sinister surrounds full of psycho-sexual intensity are aided by the contributions of Alfred Hitchcock alumni Robert F. Boyle’s solid production design, George Tomasini’s precise editing and most prominently, Bernard Herrmann’s decisively deviant score.

The director also secures realistically grounded performances from his cast, particularly Robert Mitchum. He’s ex-con Max Cady who’s looking for payback from attorney Sam Bowden, played by Gregory Peck, since the latter’s testimony helped convict Cady landing him an 8 year prison sentence. The considerable threat Max Cady poses is enhanced by the actor’s ability to internalise such an ample amount of repressed hostility, held in like an overheated pressure cooker without an escape valve. Outwardly, his demeanour is southern politeness mixed with cynical indifference but there is never any doubt as to his violent capability. Aside from the meaty confrontations, there’s Cady’s contemptuous remarks of shock and awe. These responses include both big and small situations the parolee finds offensive, all the way from telling Bowden “I got somethin’ planned for your wife and kid they ain’t never gonna forget,” to when he finds out there are no salted peanuts in the shell: “Okay, forget it.” Mitchum is so convincing in this role, he almost single handedly overcomes the story’s main weakness: his character’s overly obscure motives, due in part to Bowden’s ancillary involvement. ** One thing is for sure: Cady is, mainly because of Mitchum’s performance, a force to be reckoned with and may in fact be so genuine as a man driven to commit such reprehensible acts, even his own comprehension of “why” becomes largely irrelevant.

* J. Lee Thompson previously worked as a dialogue coach for Alfred Hitchcock, the latter who even storyboarded an early treatment of Cape Fear before abandoning the project.

** This is a plot point rectified in Martin Scorsese’s 1991 remake where the character of Sam Bowden is made far more culpable in Cady’s guilty verdict and subsequent incarceration.

Click on the image below for more information on this Universal Pictures (Region Free) release currently available from amazon.co.uk Your purchase goes to help our friends at DVD Beaver.

A.G.

The Cinema Cafe

"Now Listen to Me..."

NOIR CITY 21