Dr. Herbert West Welcomes the Dead Back to Life in “Re-Animator”

At an institute in Switzerland, Dr. Herbert West (Jeffrey Combs) is discovered leaning over a man screaming in pain. Though the man dies, Dr. West tells the other doctors, “I gave him life.” West arrives at the Miskatonic Medical School in Arkham, Massachusetts, where he rents a room from med student, Dan Cain (Bruce Abbott). Dan’s girlfriend, Megan (Barbara Crampton), doesn’t approve of the doctor’s presence, particularly when finding Dan’s recently missing cat’s lifeless body in a small fridge. That night, however, Dan awakens to the sounds of a cat and, breaking into West’s makeshift lab in the basement, witnesses the doctor’s work. Utilizing a luminous lime-green serum, what he calls his “reagent,” Dr. West has successfully reanimated the feline corpse, which -- in a scene that’s both macabre and comical -- has already attacked West and latched onto his back. West convinces Dan of his reagent’s efficacy, and the student decides to join West in further research. The threat of Dr. West leaving the university and Dan having his student loan rescinded (not to mention possible criminal charges) cannot keep the two men from tiptoeing into the morgue for fresh subjects.

Re-Animator (1985) was directed by Stuart Gordon, his feature film debut. The script, by Gordon, William J. Norris, and frequent Gordon collaborator, Dennis Paoli, is an adaptation of a story by H.P. Lovecraft, “Herbert West--Reanimator.” Gordon, who co-founded the Organic Theater Company in Chicago with his wife, Carolyn Purdy-Gordon (who often appears in his films and has a small role as a doctor in Re-Animator), initially intended to adapt Lovecraft’s story for the stage. The writers then worked the story into a potential television series, writing a pilot and 12 accompanying episodes. Producer Brian Yuzna read the scripts and persuaded Gordon to make a feature film.

Upon its release, Re-Animator performed very well, earning back its small budget and garnering positive reviews. Gordon displays a flair for black comedy, creating a near perfect combination of horror and humor. The screenplay is stellar, consisting of sharp, intelligent dialogue, including this memorable line spoken by Dr. West (to a newly reanimated corpse): “Doctor, welcome back to life.” The performances are satisfactory, especially the leads: Combs, Abbott, Crampton, and David Gale as Dr. Hill, West’s nemesis. Combs in particular is outstanding. He has appeared in numerous horror films and has twice been nominated for a Saturn Award: his reprisal of Dr. West in Bride of Re-Animator (1990) and his scene-stealing role in Peter Jackson’s The Frighteners (1996).

A fan of Lovecraft, Gordon has made additional adaptations of the writer’s stories: From Beyond (1986), Castle Freak (1995, from “The Outsider”), Dagon (2001, from “The Shadow Over Innsmouth”), and an episode of the short-lived Showtime series, Masters of Horror, “Dreams in the Witch-House” (2005). He’s also adapted the work of another gothic horror author, Edgar Allan Poe, with 1991’s The Pit and the Pendulum (a composite of Poe’s story of the same name, “The Cask of Amontillado,” “The Premature Burial,” and other elements from his work) and another Masters of Horror entry, “The Black Cat” (2006). Combs appeared in From Beyond and Castle Freak (both also starring Crampton), as well as “The Black Cat.”

The distribution company which produced Re-Animator, Empire Pictures, was owned by Charles Band. After handling a number of movies, including the successful Ghoulies (1985) and other films directed by Gordon, Empire Pictures collapsed. Band formed Full Moon Features in 1989, specializing in low budget productions, most notably the Puppet Master series (the first film was produced by Empire but distributed by Full Moon in 1989). Though the company was defunct in 2002, Band continued to produce films under different titles. Full Moon apparently returned around 2005, and a new Puppet Master entry, Axis of Evil, was finally released in 2010. Band’s father, Albert Band, is also a producer/director. Charles Band’s brother, Richard Band, is an accomplished composer, having provided Re-Animator with a solid score, reminiscent of Bernard Herrmann’s work. He was nominated for a 2006 Primetime Emmy for his work on an episode of Masters of Horror -- Gordon’s “Dreams in the Witch-House.”

Producer Yuzna has worked with Gordon on a number of films. He’s also a writer and director, having co-written and directed Bride of Re-Animator, as well as directing a second sequel, Beyond Re-Animator (2003).

A third sequel, House of Re-Animator, has been rumored for some time. The plot was to deal with Dr. West being brought in to reanimate someone recently deceased at the White House (reportedly the Vice President).

In the film, above Dan’s bed, is a poster for the concert film, Stop Making Sense, featuring the band Talking Heads. This is a joke, with a literal interpretation of the band’s name later in the movie. The unrated version of Re-Animator has a running time of 86 minutes, whereas the rated R version is, interestingly, 95 minutes. The latter version includes additional scenes but has much of the gore trimmed. Some fans believe the longer running time adds depth to story and characters, while others believe it simply slows down a nicely paced film. In any case, Re-Animator is undoubtedly visceral, which may prompt some viewers to avoid it. Blood and gore notwithstanding, the movie is anything but lowbrow, an energetic cinematic draw that more than deserves its cult status.

A Scent of Mimosa Signals Ghostly Doings in "The Uninvited"

What makes a good ghost story?

1. A great setting.

2. An interesting back story.

3. Unusual happenstances.

4. An intriguing score.

5. Effective use of light and shadow.
6. A possible ethereal presence.

All of these criteria are on display in the 1944 ghost tale The Uninvited.

While vacationing along the coast of England, a composer (Ray Milland) and his sister (Ruth Hussey) discover a beautiful house located next to the sea, appropriately named Windward. They decide impulsively to purchase it, even though their terrier Bobby refuses to climb the stairs. (People would be so much wiser if they would take cues from their pets.) Bobby soon leaves, realizing that their presence in the house is “uninvited.”

Windward's previous owner (Donald Crisp) is cold and curious His granddaughter, Stella Meredith (Gail Russell), lives with him because her mother is dead. Stella is horribly upset to learn that the house has been sold. Her grandfather had forbidden her to go to the house, but the new owners welcome her warmly.

The house contains an artist’s studio which is decidedly colder than any of its other rooms. There is an occasional sudden smell of mimosa, and it is sometimes very strong. But it is the sound of a woman sobbing uncontrollably in the wee hours of the night that truly lets us know there is a mystery afoot. But is there really a ghost? And if so, who is she and what does she want?

The Uninvited relies heavily on music and visuals to create its haunting atmosphere. Victor Young composed the score, which features the lovely “Stella by Starlight” theme. His 220 film credits include Scaramouche, The Quiet Man, and The Blue Dahlia.

The cinematography is capably filmed through the lens of Charles Lang, Jr. who was also responsible for The Cat and the Canary, The Ghost Breakers, and The Ghost and Mrs. Muir. The IMDb reports that Leon Shamroy and Lang were nominated 18 times for Academy Awards. Shamroy won four times but Lang only once.

The cast features Alan Napier as a doctor. Napier had a long, successful film career, but is best remembered for playing the very reliable butler Alfred to Batman in the 1960s TV series.

One of the scariest characters of the movie is Miss Holloway (Cornelia Otis Skinner), who is unfortunately in charge of a sanitorium named for Stella’s mother, Mary, for whom she has an unnatural affection reminiscent of Mrs. Danvers to Rebecca.

Most of the performers are solid except for Gail Russell. The Uninvited is not a masterpiece, but it has all of the elements needed to make it a recommended viewing for those who enjoy a good ghost story.

Win a Free Download of The Maltese Falcon!

Whoever answers the most questions correctly (by midnight Tuesday October 19) from the following quiz about Humphrey Bogart will win a free digital download of The Maltese Falcon from Warner Bros. through iTunes. Click here to view additional Warner Bros. classic films available for purchase or rental as digital downloads from iTunes.

1. The female lead for this famous Humphrey Bogart vehicle was originally offered to Bette Davis in 1938, with David Niven as the male lead. It was offered to Davis again in 1947, with James Mason as the male lead that time, but she had to drop out due to pregnancy. Eventually the movie was made with Bogart and another actress. Name the movie and the actress.

2. Name the actor and actress who were Warner Brothers' first choices for Rick and Ilsa in Casablanca.

3. Humphrey Bogart named his daughter after this close friend, who once threatened to quit a film project unless Bogey was given a certain part. Who was the friend and what was the film?

4. Who was the first choice for the Bogart part in the film in #3?

5. Besides The Maltese Falcon, name another Bogart film with Mary Astor and Sydney Greenstreet that was directed by John Huston.

6. Name the directors of the 4 Bogart and Bacall films made at Warner Brothers.

7. Name two Warner Brothers' Bogart westerns and name the stars.

8. Name the two films Bogart made with the Dead End Kids.

9. Besides Casablanca, name a film that Bogart made with Conrad Veidt at Warner Brothers.

10. Bogart got the part in High Sierra under what circumstances, according to Raoul Walsh (be specific).

Trivia Time - Part 55

Everyone who participated last week did a phenomenal job! All of the questions were answered except for the bonus (free pass) question:

Name the rock group that has a similar name to the answer to question #1 and two of its members.

The group was the Rip Chords and the two original members were Ernie Bringas and Phil Stewart. Later they were joined by Columbia producers Terry Melcher (Doris Day's son) and Bruce Johnston (future Beach Boy).

Here is the 55th (gasp!) edition of Trivia Time....enjoy!

Who Are We and Which Film is This? We appeared together only once, in a movie released in 1953. We have a lot in common: we're both extraordinarily beautiful women, we were both born in the month of August (although we are ten years apart in age), and we were both born in Los Angeles County. Our mothers were both involved in the theatrical profession in New York before we were born. One of us trained primarily as a singer, while the other studied piano and dance, among other things. Who Are We and Which Film is This?

Who Are We? I began as a folk singer and song writer, just like my mom; we both wrote some huge hits. Later I added acting to my repertoire as well. Who Are We?

1. Name a hit written by the "mom" from Who Are We?#2.

2. One of the two women in Who Are We and Which Film is This? had a short-lived show in the '60s. Name the show and both stars (male and female).

3. Name two things these four movies have in common: Sergeant York, To Have and Have Not, Red River, and Rio Bravo.

4. Which "British Invasion" rock group took its name from a John Ford film?

5. Besides the Beatles and Rolling Stones, name three other "British Invasion" groups which had their own feature films?

6. Name the films in #5.

7. Name the continuity flaw in the film Jailhouse Rock (be specific!).

8. She, Jane Russell, Connie Haines and Beryl Davis were once part of a traveling gospel quartet which made an album that sold over a million copies. Name the actress/singer, the group, and the album.

9. He's an author, producer, and Academy Award winning actor. In the 1930s he made exactly two films with Errol Flynn. Name the actor and the films.

10. Because of their exposure on these two weekly CBS '60s sitcoms, bluegrass music was introduced to a whole new generation. Name the two bluegrass groups and the two shows their music was featured on.

What Are Your Favorite Movie Quotes?

I was watching the 1981 suspense film Eyewitness the other day. In one scene, Steven Hill and Morgan Freeman play a couple of police detectives trailing a loser named Aldo (James Woods), who may be a murderer. As they sit in their car, Hill's cop muses to his partner: "When he was a kid, Aldo must've wanted to be a suspect when he grew up."

"They call me MISTER Tibbs!"

What a great line of dialogue! It got me thinking about other memorable lines of dialogue. In 2005, the American Film Institute (AFI) compiled a list of its top movie quotes of all time (click here to peruse it). I always thought that was one of AFI's better lists; it was certainly entertaining. Of course, my favorite quote, spoken by Sidney Poitier in In the Heat of the Night, only managed to claim the 16th spot. And somehow, Michael Rennie's classic "Klaatu barada nikto" was omitted altogether (perhaps AFI didn't count foreign language quotes...to include those foreign to Earthlings).

Aside from the obviously famous film quotes, my personal faves include:

Auric Goldfinger (Gert Frobe), as a laser inches toward James Bond's private parts: "I don't want you to talk, Mr. Bond. I want you to die!"

As they duel with swords, Sir Guy of Gisbourne (Basil Rathbone) tells Robin Hood (Errol Flynn) that he's come to Nottingham once too often. Robin's retort: "After this, there'll be no need to come again."

In Jean Renoir's classic The Rules of the Game, after several people make extremely questionable decisions, one character explains at the conclusion: "Everyone has their reasons."

Sometimes, a single word can make a memorable quote, such as Marlon Brando crying out: "Stella!"

Other times, the dialogue is part of a routine, such as Abbott & Costello's "Who's on first?" bit (which originated offscreen, but also was used in The Gay Nineties). My favorite big screen comedy routine is from The Court Jester and features Danny Kaye trying to remember if poison is in the chalice from the palace, the flagon with dragon, or the vessel with the pestle.

What I'd like to know is:  What are some of your favorite movie quotes?

Bond Is Forever: “Moonraker”

A space shuttle known as Moonraker is commandeered in flight, its engines destroying the shuttle carrier aircraft in the process. MI6 agent James Bond (Roger Moore) is assigned to investigate, and he begins with Drax Industries, the company which had manufactured the Moonraker and is owned by Hugo Drax (Michael Lonsdale). Bond meets scientist Dr. Holly Goodhead (Lois Chiles) and subsequently uncovers blueprints for a vial. In Venice, Italy, 007 finds a laboratory and learns that vials are being produced for the distinct purpose of housing a deadly toxin. The spy and Holly Goodhead, who is more than a scientist, follow the investigation to Rio de Janeiro and evade assassination attempts, most of them courtesy of the apparently indestructible Jaws (Richard Kiel). Everything culminates in outer space, as Drax’ fiendish plot is one of worldwide proportions.

Moonraker (1979) was the fourth Bond film to feature British actor Moore as the dashing spy. The previous 007 film, The Spy Who Loved Me (1977), concluded with the disclaimer that Bond would return in For Your Eyes Only. However, producer Albert “Cubby” Broccoli opted to make Moonraker next, in the wake of the overwhelming success of George Lucas’ Star Wars, released in 1977. As with the previous 007 movie, Moonraker took very few elements from Ian Fleming’s source text, with the name of the villain being the only notable similarity. The Moonraker of the novel was actually a nuclear missile intended for Britain’s defense, not a space shuttle.

Roger Moore was not the only person to return to the Bond series in Moonraker. Bernard Lee as M, Lois Maxwell as Moneypenny, and Desmond Llewelyn as Q all reprise their roles from earlier films, as well as Walter Gotell as KGB head General Gogol, Geoffrey Keen as Sir Frederick Gray (the Minister of Defence), and even Kiel as Jaws. Director Lewis Gilbert had previously helmed You Only Live Twice (1967) and The Spy Who Loved Me, and screenwriter Christopher Wood had adapted The Spy Who Loved Me and additionally wrote the novelization of The Spy Who Loved Me and Moonraker (which is indicative of how much the screenplays differed from Fleming’s original novels). Editor John Glen had worked on preceding 007 films (and would direct the subsequent five movies), and Shirley Bassey performed her third song for the opening credits, after 1964’s Goldfinger and 1971’s Diamonds Are Forever (singer Johnny Mathis had worked on the title song with John Barry but dropped out of the project, with Bassey stepping in weeks before the premiere of Moonraker).

Moonraker is my least favorite of the Bond series. The film does include some exciting sequences, such as 007’s pre-credits drop from a plane (sans parachute, leaving the spy with no other choice than to steal one from a skydiving villain) and a thrilling chase on the water with Bond piloting a weaponized boat. But the film’s third act, taking place aboard a space station, is both trite and derivative. When Bond and Holly slip onto a shuttle’s prearranged flight, the launch and corresponding navigation to the station is lethargically paced with loud, accompanying music, much too similar to Stanley Kubrick’s 2001: A Space Odyssey (1968). A battle in space resembles Star Wars (mostly with firing lasers, both sight and sound), and one can’t help but associate the emotionless, baritone-voiced Drax with Darth Vader of Star Wars, or the lanky, rarely-speaking Jaws with Chewbacca (Jaws, who never uttered a word in The Spy Who Loved Me, speaks his solitary line near the end of Moonraker). To gain entry into the lab in Venice, a five-digit code must be inputted, which Bond discerns by the keys’ sounds. The five notes were taken (with permission) from Steven Spielberg’s popular 1977 sci-fi film, Close Encounters of the Third Kind. It’s less of an homage and more of another attempt to link Moonraker with the recently successful films of the science fiction genre.

Moonraker doesn’t simply borrow from other films but from its own series as well, more specifically the preceding entry. In The Spy Who Loved Me, Stromberg’s plot is to initiate a war and subsequently inaugurate a new civilization in an underwater city. Drax’ scheme in Moonraker is essentially the same thing, only he’s prepared to establish a society in outer space. Moonraker unnecessarily rehashes one of the villains from The Spy Who Loved Me. Jaws was a worthy, formidable opponent for Bond in the 1977 film, but he’s played for laughs in his second appearance, and by giving him both speech and a silly love interest, his villainy slowly dissipates, completely absent by the movie’s end.

It’s abundantly clear that Moonraker focused most of its energy (and budget, reputedly more than double the budget for The Spy Who Loved Me) on the sequences in space. Sadly, the characters suffered as a result. Hugo Drax is a one-dimensional antagonist, and although French actor Lonsdale is an accomplished performer (with an impressive filmography), he plays it straight and flat and comes across as bland. Likewise, Holly Goodhead is a drab Bond Girl, and actress Chiles typically sounds as if she’s going through a line reading, with little to no inflection in her voice. Supporting players, such as Drax’ bodyguard, Chang (Toshiro Suga), and Bond’s contact in Rio de Janeiro, Manuela (Emily Bolton), are of diminutive value. Chang is overshadowed by Jaws, and Manuela, after being attacked by the metal-teethed henchman (she’s standing outside a warehouse, waiting on Bond), is sent away to “rest” and is never seen again within the movie’s timeline.

This was the final appearance for Bernard Lee as M. The actor died before filming on For Your Eyes Only had begun. Moonraker ends by stating that Bond will return in For Your Eyes Only. This time the disclaimer proved true with said film appearing in 1981.

Despite its apparent flaws, the producers’ decision to jump on the sci-fi bandwagon was lucrative, as Moonraker became one of the top ten grossing films domestically and earned over 200 million in worldwide gross. It remained the highest grossing Bond film until GoldenEye in 1995. The film was nominated for an Academy Award for Best Visual Effects, losing to Ridley Scott’s Alien.

What does everyone think of Moonraker? Any fans of the film? Counterpoints to any criticisms? I would love to hear any thoughts.

Bond Is Forever will return next month with Thunderball (1965).

Just for Fun--Errol Flynn Photos

Last week's poll asked for a favorite Errol Flynn movie, not including The Adventures of Robin Hood, which would undoubtedly have won hands down.  The winner is Captain Blood, a personal favorite.  In honor of the winner and the two runners-up, Charge of the Light Brigade in 2nd place, and Gentleman Jim in 3rd place, here are stills from each film

Captain Blood
*Peter Blood and Arabella Bishop* 

Olivia begins by hating Errol, but finally comes to her senses in the end-with every woman in the audience wondering why it took her more than 60 seconds.

Charge of the Light  Brigade 
*Jeffrey Vickers and Elsa*
Here we have Olivia actually engaged to Errol.  Then she throws him over for his wimpy younger brother. Words fail me.

Gentleman Jim
*James Corbett*
Don't hold him back boys.  He's just late for a date with me.

And in honor of this week's poll asking for a favorite James Bond movie featuring Roger Moore, here is a wonderful picture of the original, Sean Connery, with Moore.  The two old lions still look good to me!

Trivia Time - Part 54

Seems like I stumped you last week! I really did think that some of these were easy....oh well. Thanks to everyone who played TT last week; I appreciate your efforts!

Here's what you missed (answers to unanswered questions from last week's TT):

Who Am I?#2 I was a writer for both Jack Paar and Johnny Carson and wound up with my own TV show. Who am I?

The answer is Dick Cavett.

1. Name three things that the following films have in common: Wake Island, Union Pacific, and Beau Geste (1939).

Gilby got two of the three correct: Robert Preston and Brian Donlevy. The third commonality was that Brian Donlevy "bought the farm" in all three movies.

2. This World War II movie is famous for having all of its characters, save one, die on camera. Name the film and the one cast member who doesn't die (at least not on camera).

The movie is Bataan; the cast member who doesn't die on camera is Robert Taylor.

3. Who directed the film in #3?

Tay Garnett directed Bataan.

4. Long before Emergency, there was another show about LA firefighters: name the show and the stars.

Rescue 8 with Jim Davis and Lang Jeffries (73 episodes).

5. He was the star of a "cop show" in the '50s. His mother was an actress who was better known for comedy. Name the actor and the TV show.

Broderick Crawford is the actor in question; he appeared on Highway Patrol. FYI: his mother was Helen Broderick, a former vaudevillian who appeared in number of films in the 1930s and 40s, including a couple of Fred-and-Ginger movies.

7. What do the Lone Ranger radio and TV shows and the Dick Cavett show all have in common?

Fred Foy as the announcer.

OK, this week's TT starts NOW:

Who are we? Neither of us ever won an Oscar, which many feel was a terrible mistake. However we have appeared in numerous Oscar-winning films. One of us was even nominated for an Oscar (but only once). We are male and female and appeared together just one time - in a Korean war movie that was made during the Korean war. Who are we and what was the name of the film in which we appeared together?

Who Am I? As a teenager, I excelled at tennis, and became National Junior Champion very quickly. Marlene Dietrich once referred to me as "Satan's Angel". Reportedly, my only true regret was being unable to play the piano. Who Am I?

1. Name a TV series Ken Curtis (aka Festus) appeared in before Gunsmoke.

2. This actor appeared in two Korean war films made in 1951, both directed by the same person. Name the actor, director, and the films.

3. Comedian Mort Sahl appeared in this 1960 Korean war film; name the film.

4. Who were the stars of the film in #3?

5. In the 1950s Robert Mitchum made two Korean war films; name the films and the directors.

6. This 1956 MGM film and this 1957 United Artists film dealt with collaboration with the enemy in Korean POW camps. Name the films.

7. Name the stars of the films in #6.

8. Who were the stars of the ABC series The Monroes?

9. Who played the doctor in the film Tammy and the Doctor?

10. Name two American International films starring both Peter Fonda and Bruce Dern.

What is Your Favorite "180-Degree Movie"?

In case you're wondering, a "180 degree movie" is one that you didn't particularly care for (or maybe even disliked) that became a favorite after watching it again later in life. Perhaps, this phenomenon has never happened to you...but I've experienced it on multiple occasions. My favorite 180-degree movie is Alfred Hitchcock's Marnie.

When I saw Marnie as a teenager, it made no impression at all. I thought Tippi Hedren was miscast and Sean Connery dull. The plot--what there was of one--was thin and the characters lacked interest. The cheap production values shocked me, especially the horrible use of rear screen projection during the fox hunt and the hokey set used for the closing "exterior" shot.

Flash forward three deacdes later. During a routine video store visit, I spotted Marine on the shelves. I had recently watched a slew of Hitchcock films during an AMC marathon and thus decided: "Oh, what the heck, I'll give Marine another try."

To my complete surprise, I loved it. Tippi Hedren's subtle detached performance made Marnie a vulnerable, intriguing character. The progressively complex relationship between Marnie and Mark (Connery) generated suspense--in its own quiet way--worthy of Hitch’s best man-on-the-run films. I was captivated by Hitch's finest use of color (especially during the opening scenes). And finally, there was Bernard Herrmann's incredible score (which, for me, ranks second only to Vertigo among his Hitchcock soundtracks). I've often wondered how I missed all of this the first time around?

The answer is a complex one, of course. It's easy to forget that "we" are a part of the movie-watching experience. Each time we watch a movie, we overlay it with our own emotions, our likes and dislikes, and even our remembrances of every movie we've seen. Our tastes in the arts naturally evolve over time. Had I not been exposed to  foreign-language films in college, would I be one of those people who never watch a foreign film because of those darn subtitles? I'd like to think not, but who knows!

I also think one can't underestimate the environment and state of mind when viewing a movie. If you're in the midst of a heavy romance, then Somewhere in Time may be an enchanting, tear-inducing experience. But watch it for the first time after a bitter breakup and one's assessment may be altogether different.

There are many reasons why a film may go from zero to favorite. But the question is: What is your favorite 180-degree movie?

Bogie on Blu-ray

Tomorrow, Oct. 5th, Warner Bros. will release on Blu-ray two classics starring Humphrey Bogart, The Maltese Falcon (1941) and The Treasure of the Sierra Madre (1948). This will be the Blu-ray debut for both films.

The Maltese Falcon was writer/director John Huston’s directorial debut. It was an adaptation of the novel of the same name by Dashiell Hammett and had already been brought to the big screen before, in 1931 and again in 1936 as Satan Met a Lady starring Bette Davis. Huston’s film was nominated for three Academy Awards, Best Picture, Best Supporting Actor (Sydney Greenstreet), and Best Adapted Screenplay, but was awarded none.

The Treasure of the Sierra Madre was also written and directed by John Huston, adapted from B. Traven’s novel of the same name. The film won three Academy Awards, Best Director, Best Screenplay, and Best Supporting Actor (Walter Huston, director Huston’s father), and was additionally nominated for Best Picture.

Bogart may have not been recognized by the Academy for either performance, but they are undoubtedly two of his best and make for a splendid double feature. The Blu-ray presentation for both films is outstanding. Skeptics, take note: the high definition transfer is not a glossy, superficial manipulation of the images. Instead, the movies are crisp and free of scratches, like they have simply been polished, and complete with strong, beautiful sound quality.

Each Blu-ray release comes loaded with special features. There are features on both films, as well as an audio commentary by biographer Eric Lax, who is thorough and highly informative. An hour-long radio broadcast of The Treasure of the Sierra Madre with Bogart and Walter Huston is featured on the Blu-ray, with two shorter radio shows of The Maltese Falcon (starring the film’s original cast) and a third one with Edward G. Robinson. There are also various shorts, cartoons featuring Bugs Bunny and one with Porky Pig, newsreels, and trailers (including one for Satan Met a Lady).

Standout features include a profile on John Huston on the Sierra Madre Blu-ray and Becoming Attractions: The Trailers of Humphrey Bogart on the Falcon disc, a TCM special hosted by Robert Osborne. My personal favorite of all the features is Breakdowns of 1941, which is essentially a collection of outtakes featuring James Stewart, Gary Cooper, Bette Davis, and Bogart in a couple of bloopers. James Cagney appears in the majority of the outtakes, from the 1940 film, Torrid Zone, and his outtakes, primarily with frequent co-star Pat O’Brien, are hilarious.

The special features vary in quality, and some of them have been included in previous DVD releases, but they are essential additions for Bogie enthusiasts. Many of Bogie’s fans may already own a copy of The Maltese Falcon or The Treasure of the Sierra Madre, but if one is looking to upgrade or is a Bogart completist, these Blu-rays will make wonderful enhancements to a Bogie collection.

For discussions on both films, see The Maltese Falcon and The Treasure of the Sierra Madre.

Trivia Time - Part 53

Answers to the unanswered questions from last week's TT:

1. This film was the first non-Disney film to be allowed to shoot scenes at Disneyland. Name the film.

The answer is 40 Pounds of Trouble (1962).

4. This David Janssen film has a "Star Trek" connection; name the film and explain the connection.

Answer is Hell to Eternity (1960); not only is George Takei in it, but the star is Jeffrey Hunter, who (as all Trekkies know), played Captain Christopher Pike, who was the original captain of the Enterprise in the show's pilot episode.

Here, in all it's glory, is Trivia Time 53:

Who Am I? I was born into poverty in Flatbush. I was one of hundreds of starlets who auditioned for the part of Scarlett O'Hara, which I did not get. But I had a very successful movie career, winning one Oscar and earning nominations for several others. I was the original choice to play Margo Channing in All About Eve, but was subsequently dropped because they felt I was too young for the part. Who Am I?

Who Am I? I was a writer for both Jack Paar and Johnny Carson and wound up with my own TV show. Who am I?

1. Name three things that the following films have in common: Wake Island, Union Pacific, and Beau Geste (1939).

2. This World War II movie is famous for having all of its characters, save one, die on camera. Name the film and the one cast member who doesn't die (at least not on camera).

3. Who directed the film in #3?

4. Long before Emergency, there was another show about LA firefighters: name the show and the stars.

5. He was the star of a "cop show" in the '50s. His mother was an actress who was better known for comedy. Name the actor and the TV show.

6. She was offered the role of Hildy Johnson in His Girl Friday (before Rosalind Russell) but turned it down. Name this Oscar-winning actress.

7. What do The Lone Ranger radio and TV shows and the Dick Cavett Show all have in common?

8. Who was the announcer on The Jack Benny Program?

9. One TV critic called this show, "Surfside 6 with a robot playing Troy Donahue's part". Name the show.

10. Who was "Cha Cha O'Brien"? Name the actress who played her and the TV show in question.

Underrated Performer of the Month: Peter Cushing

Peter Wilton Cushing finally achieved fame as an actor at the age of 44. Alas, his big break came in a horror film at a time when that genre was largely ignored by mainstream film critics. Hammer Films' Curse of Frankenstein, which is now regarded as a genre classic, was largely dismissed by critics when it was released. Britain's The Daily Telegraph stated simply: "For sadists only." What they missed was that the role of Victor Frankenstein was played superbly by Peter Cushing, a classically trained actor who once performed alongside Laurence Olivier.

His acting arc followed that of many of his British peers. He studied drama (at the Guildhall School of Music and Drama), performed in repertory theater, and tried his hand at Hollywood (with small roles in The Man in the Iron Mask and Laurel & Hardy's A Chump at Oxford). In 1948, he landed his best role to date as Osric in Olivier's Hamlet (1948), which featured another future Hammer star, Christopher Lee, in a bit part.

That didn't lead to bigger film roles, but did result in steady work in radio and early television. He achieved small screen success in fare such as a six-part Pride and Prejudice (as Mr. Darcy) and The Creature, an episode of the BBC Sunday-Night Theatre written by Nigel Kneale (and eventually adapted for the screen as The Abominable Snowman of the Himalayas starring Cushing). When Hammer's producers decided to make a Frankenstein film--which focused on the doctor, not the monster--they knew who they wanted.

Perhaps critics didn't fully appreciate his Hammer debut, but audiences did and he subsequently landed the plum role of Van Helsing in Hammer's next film, 1958's Dracula (US: Horror of Dracula). It was a bigger smash than Curse of Frankenstein and for the next two decades, Peter Cushing would remain a Hammer Films fixture in quality fare such as Brides of Dracula, Frankenstein Must Be Destroyed, and The Hound of Baskervilles. Indeed, his memorable turn as A. Conan Doyle's sleuth eventually led to a 1968 television series.

Cushing never talked down to horror film fans. In an interview with the magazine L'Incroyable Cinema, he said: "I don't mind at all that people may refer to me as a 'horror actor' because in this unpredictable profession, actors are awfully lucky."

In addition to his Hammer roles, Cushing also played Dr. Who in two big screen adaptations and was introduced to a whole new generation of moviegoers as Grand Moff Tarkin in Star Wars (aka Star Wars Episode IV: A New Hope).

His wife of 27 years, Helen Cushing, died in 1971, causing Cushing to withdraw from Blood from the Mummy's Tomb. He eventually returned to acting and was awarded the Order of the Britisth Empire in 1989. When he died five years later, colleagues and critics sang his praises as a fine gentleman, a loyal friend, and an underrated, exceptional actor.

Bond Is Forever: “Tomorrow Never Dies”

A British ship is deliberately sent off course into Chinese territory and sunk by a drill punching a hole in its side. Media mogul Elliot Carver (Jonathan Pryce), having initiated the scheme, hopes that sparking a war between the UK and China will result in such political upheaval in the latter country that he will be granted exclusive broadcast rights. When Carver’s company, the Carver Media Group Network, runs stories with particulars on the attack, MI6 agent James Bond (Pierce Brosnan) is assigned a new mission. He recovers a recently appropriated GPS encoder, while China sends its own agent, Wai Lin (Michelle Yeoh), to investigate Carver as well. The two work together to stop the megalomaniac and to prevent misguided retaliation from either side.

While GoldenEye (1995) was a financial success, it was not a wholly satisfactory film, and Tomorrow Never Dies (1997) is a notable improvement. The dashing and winsome Brosnan could play a role like 007 in his sleep, but he seems to have more fun with Tomorrow Never Dies, and he’s helped by a more engaging storyline and much more exhilarating action sequences. Judi Dench makes a welcome return as MI6 head M, and the always dependable Desmond Llewelyn is his typically charming self (and has one of his best lines in this film, spoken to Bond after the spy flauntingly masters a new gadget: “Grow up, 007!”). Bond’s gadgets include a heavily fortified car, a BMW 750, which can be controlled by a phone (resulting in an exciting chase, as Bond drives his car by remote, safe in the backseat from bullets and rockets). The phone also comes with a fingerprint scanner and an electric shock that can be emitted as a security measure. To be fair, China supplies its own agent with gadgets as well. Wai Lin has an earring with which she can pick locks and a grappling line that she can fire from a metal bracelet.


Tomorrow Never Dies, however, does has its share of more languid points. While the film’s satire of the media is cleverly implied throughout, the suggestive dialogue is anything but subtle. It gives the impression that the studio and/or writers did not believe audiences were intelligent enough to comprehend dialogue indirectly referring to Bond’s sexual escapades. Carver, as portrayed by Pryce, is one of the least interesting Bond villains, and the fact that his power will be obtained by his control of the media (he explicitly states that words are his weapons) makes him seem less menacing than perhaps he was meant to be (one of his henchmen, Mr. Stamper, played by Götz Otto, proves far more dangerous to Bond and Lin). Likewise, Carver is too blatant and too literal, a bad guy stripped of any personality. He’s like a villainous salad without the salad dressing. In a rather tasteless scene, Carver fervently mocks Lin’s fighting style, an act which borders on racism and which squanders any redeeming qualities he might have had as a villain.

One of the strongest elements of Tomorrow Never Dies is Brosnan’s co-star, Hong Kong actress Michelle Yeoh. At the time of the film’s release, U.S. interest in the Hong Kong cinema was soaring, bolstered by Jackie Chan’s Rumble in the Bronx playing on American soil in January 1996. That summer, Dimension Films released Chan’s 1992 Police Story III: Supercop (titled simply Supercop), which had been Yeoh’s comeback film after fives years of cinematic absence. Yeoh was immensely popular when she retired in 1987 (to marry film producer Dickson Poon), but one could hardly tell that she’d been away from the big screen for all those years, as she became a huge star once again (and managed to steal the film from Hong Kong’s most famous and most bankable actor). Yeoh embodies the essence of the Bond films: savvy, proficient, honorable, and, as it happens, astonishingly beautiful. Wai Lin is much more active than most Bond ladies, making her an exceptional and endearing character. Yeoh is my personal favorite of all the female counterparts to Bond, and did I mention that she was astonishingly beautiful?

Yeoh is not the sole representation of Hong Kong films in Tomorrow Never Dies. A Hong Kong cinematic influence is prevalent in parts of the film. Some of the hand-to-hand combat, particularly with Yeoh, displays an obvious Hong Kong flair, but one can also see traces of director John Woo (who had just achieved American success with Broken Arrow, released the previous year, and Face/Off, released mere months before the premiere of Tomorrow Never Dies). At one point, Bond slides on a dolly as a means of escape (and to dodge gunfire), and both he and Lin, during a lengthy action scene, employ a gun in each hand. These are two distinguished components of Woo’s movies, as, for instance, Hong Kong star Chow Yun-Fat slid with his back against a stairway railing while firing two guns in Hard-Boiled (1992).

This was the first Bond film for composer David Arnold. John Barry, the composer for well over half of the 007 movies (including the first, 1962’s Dr. No), reportedly recommended Arnold to producer Barbara Broccoli. Arnold has been the composer for every Bond film since Tomorrow Never Dies. He also wrote a potential theme song for said film, titled “Surrender” and performed by k.d. lang. It was one of a number of songs considered for the opening song. Unfortunately, the studio opted for the rather bland title song performed by Sheryl Crow, but Arnold’s song did play over the closing credits.

Bond has his well known Walthar PPK for a good deal of the film, but he eventually picks up a Walthar P99, which he takes from Wai’s personal archive. The P99 became 007’s gun of choice until the most recent Bond entry, Quantum of Solace (2008), when Bond reverted back to the PPK. Likewise, actor Brosnan was armed with the P99 in movie posters for Tomorrow Never Dies and subsequent Bond films.The title of the film allegedly came about by a mistake. A suggested title, Tomorrow Never Lies (referencing the name of Carver’s newspaper, Tomorrow), was sent to the studio. Apparently, the title was misread and was so well received that it was retained. Look for an early appearance by Gerard Butler, who has a small role as a crew member aboard the British ship at the film’s beginning. Butler would go on to star in A-productions such as Zack Snyder’s adaptation of the Frank Miller grahpic novel, 300 (2007) and, more recently, The Bounty Hunter (2010) with Jennifer Aniston.

This was the first 007 film produced and released without Albert “Cubby” Broccoli, who had died less than a year after the release of GoldenEye. Tomorrow Never Dies was dedicated to the producer.

In spite of its flaws, Tomorrow Never Dies is one of the more noteworthy films in the 007 series. But I will admit that Michelle Yeoh is the main reason that I can watch the film repeatedly. During a chase with Bond and Lin on a motorcycle, the two agents are handcuffed together, and Lin must continually climb around and onto her British counterpart. It’s breathtaking in terms of action but also provocative. When she first sits on Bond’s lap (so that she can see behind them), Lin tells 007, “Don’t get any ideas.” But, of course, by the time she speaks the line, it’s too late.

Any thoughts on Brosnan’s sophomore effort as James Bond?

Bond Is Forever will return next month with Moonraker (1979).

What's Your Favorite Classic Movie Plot Twist?

Warning: The following discussion may include plot spoilers.

Ending a film with a surprising twist isn't as surprisingly as it was once was. In the last 20 years, there have a plethora of movies with twisty conclusions, to include: The Game, The Usual Suspects, The Others, Fight Club, Primal Fear, The Prestige, High Tension, and most of M. Night Shyamalan's pictures.

It wasn't always that way, though. In the classic movie era (silents through the early 1980s), twist endings were far less frequent and perhaps more potent. Why? With today's mass coverage of the film industry, it's hard to go see a movie without knowing it contains a twist. As hard I tried to avoid it, I already knew the plot revelations in The Crying Game and The Sixth Sense before I saw the movies. Contrast that to moviegoers who saw William Castle's Homicidal in 1961 with no knowledge of what was in store for them (other than a "Fright Break",  a typical Castle gimmick).

So what are some of your favorite classic movie twist endings?  To get the discussion rolling, I'll include a few of the most famous ones plus some personal faves:

Planet of the Apes - What Charlton Heston finds in the sand in the closing shot turns this sci fi adventure on its simian head.

Soylent Green - Chuck Heston again. This time, he discovers the real composition of  the "highly nutritious" food of the title.

Between Two Worlds - Passengers aboard an ocean liner make a startling discovery about themselves. Based on Sutton Vane's play Outward Bound and filmed earlier under that title with Lesie Howard--though I prefer to this Warner Bros. remake with John Garfield, Eleaner Parker, and Sidney Greenstreet.

And Then There Were None and Witness for the Prosecution - Two clever twists from the pen of Agatha Christie. The latter depends on the acting ability of a single performer--who pulls it off convincingly.

Psycho - Hitchcock's personally helped market the twist in this classic (his trailer is almost as much fun as the movie). But actually, there are two twists--the first one happening about 1/3 of the way through the film's running time. For those who know what I'm referring to, the same twist was used the same year in Horror Hotel (aka The City of the Dead).

Les Diaboliques - This 1955 French classic is the quintessential mystery in which nothing is as it seems. Remade (somewhat) in the U.S. as Games.

Beyond a Reasonable Doubt - Fritz Lang's low-budget flick starts out as an indictment of capital punishment, but the twist puts it in a new light. Not Lang's best, but always interesting and the ending has been copied more than a few times.

The Sting - In a film created to capitalize on the charisma of its two stars, the twist is just icing on the cake...but still tasty icing.

There are just a few twisty samples, so what are your favorites? And would you call the climax to Hitchcock's Suspicion a twist or a just a case of a director changing his mind on how to end his movie?

Trivia Time - Part 52

I guess last week's TT was a little tougher than I thought! Here are the answers to unanswered questions:

Who Am I? #1: Dorothy Adams

Who Am I? #2: Hal Needham

1. The film is The Graduate, and the actors are Richard Dreyfus, Norman Fell, William Daniels, and Mike Farrell.

4. Dorothy Adams

6. Composer David Raskin

8. John Wayne and John Sturges

9. Rick got Eddie Albert and Diana Muldaur; still needed Clu Gulager and Colleen Dewhurst.

10(b). With Six You Get Eggroll

And here is TT #52:

Who Am I? I caused an international incident when I decided to stay in the United States during a brief visit. My wife chose to go back to our native land. In my short film career, I worked with Danny Glover, Viggo Mortensen, John McTiernan, and Patti LuPone, among others. I died at the age of 45 of "natural causes". Who Am I?

Who Am I? I was not an actress, nor did I want to become one. But I was pressured for more than a year by a film maker to star in his movie. After I finally agreed, I was sunburned to the point of blistering on the first day of shooting, injured my neck jumping out of a window, and was frequently suspended in harnesses in front of wind machines. My colleagues from my "day job" never quite trusted me again...from that day forward they viewed me as an "actress". I always felt that it had ruined my primary career. Who Am I?

1. This film was the first non-Disney film to be allowed to shoot scenes at Disneyland. Name the film.

2. Legend has it that this phrase from this John Ford film was the inspiration for a Buddy Holly hit. Give the phrase, the film, and the Buddy Holly song.

3. David Janssen had two TV series after The Fugitive; name them...bonus points for correct order.

4. This David Janssen film has a "Star Trek" connection; name the film and explain the connection.

5. What do these three films have in common: A Face in the Crowd, King Creole, and Fail Safe?

6. Name two future TV stars who had supporting roles in King Creole.

7. The director of this film originally wanted Frank Sinatra and Mitzi Gaynor in two of the main roles. It was one of the few American films ever rated "Condemned" by the Roman Catholic Legion of Decency and was initially banned from release in the state of Kansas. Name the film.

8. Which film features James Darren, Roger Smith and Dick York all in supporting roles?

9. During the making of this film, the female star, irritated by the male star's habit of French-kissing her during their love scenes, slapped him hard when the script called for a slap. The anger in his face is clearly visible in the movie....a true reaction to the wallop. Name the film and the stars.

10. What do these three films have in common: The Harvey Girls, The Valley of Decision, and My Friend Flicka?

I'll Have Some General Custer Grits, a Milkybar, and a Quickie Burger with My Movie

My wife and I are not global tourists, but we were fortunate enough to spend three weeks in Great Britain back in the 1980s--when airfares were cheap and our bodies were young. Armed with nothing more than our BritRail passes and backpacks, we trekked from London to Straford-Upon-Avon to York and deep into Scotland. The highlight of our trip was a visit with Leslie Halliwell, author of The Filmgoer's Companion--but that's another story. This one is about the movie theatres we encountered across the big pond.

We saw our first London film, Personal Services starring Julie Walters, at the Empire 4 in Leicester Square. A large urban theatre, the Empire sold tickets for 4 to 5 pounds, which was probably around $8. Patrons reserved seats on a computer (maybe that was done in NYC or L.A. back home...but not where we lived). The lobby included a bar--not just a snack bar, but one served that alcoholic beverages. There was a Baskin-Robbins in the lobby as well as a video gift shop. There were snacks aplenty, but with unusual names like General Custer Grits (I think they were pork rinds), Quickie-burgers, and Milkybars.  Interestingly, there were no loos (I mean...restrooms) in the lobby--they were located inside the auditorium.

The Empire 4 was a nice enough theatre...although 25 minutes of commercials prior to the feature seemed excessive (especially back then). The bottom line is that it was pretty much a big city movie theatre, not unlike, I suspect, what one would have found in Chicago, New York, or L.A. at the time.

In Bath, we found a movie house with much more ambiance: the appro-priately named Little Theatre. Its exterior, consisting  of whitish stone and old-fashioned framed movie posters, lacked the pizzazz of the ornate movie palaces. But it possessed its own distinct charm, helped immeasurably by its delightful fare of non-mainstream films. Of course, our movie-going experience may have been enhanced by the film we saw there: Claude Berri's tragic classic Jean de Florette. I'm glad to report that the Little Theatre in Bath is still flourishing today and has amassed 411 fans on Facebook.

I confess that I can't recall much about the movie theatre in Edinburgh where we saw John Boorman's Hope and Glory. I just remember that it seemed like the perfect film to see during our visit to Great Britain. When we returned to London at the end of our trip, we were lucky enough to catch Manon des Sources, the sequel (second half is perhaps a better description) to Jean de Florette. Again, the movie dominated its surroundings.

We didn't see a film at the Leicester Square Theatre, but I couldn't pass on the opportunity to snap this photo of its marquee with a statue of the Little Tramp in the foreground.

In the end, we didn't visit any elaborate showcases of cinematic splendor. However, we did get to experience watching a movie in another country, albeit one that speaks the same language. That left us with some great memories which come flooding back whenever we see those movies again. I haven't seen Jean de Florette in a few years, but just thinking of it makes me yearn for a Milkybar!

Dial H for Hitchcock: North by Northwest at the Rafael...free to the public

When I was a little girl, the only director whose name I was familiar with was Alfred Hitchcock. Though I didn't see any of his signature films of the era in a theater - Rear Window (1954), To Catch a Thief (1955), Vertigo (1958), North by Northwest (1959) - I must've seen the trailers, because I was well aware that he made exciting, colorful and glamorous movies.

Psycho (1960) was the first Hitchcock film I saw on the big screen, and it was a far cry from his elaborate VistaVision/Technicolor creations of the mid- to late 1950s. I saw Psycho second-run (I was finally old enough) at the local movie house, the Ritz Theater, with a friend who'd already seen it. Pal that she was, she nudged me just as Arbogast reached the staircase landing and a figure with a knife darted toward him...so, naturally, I shrieked long and loud ...

I was fortunate to be able to see Rear Window when it was re-released into theaters in 1984, but have seen most of Hitchcock's films on television. There's no question that his films come through powerfully on TV, but they were made to be seen on a theater screen.

This past July the Rafael Theater screened the silent version of Blackmail (1929). It was an incredible experience; the film exceeded my expectations in just about every way possible. I was surprised that it was so well-crafted and fluid and that it contained so many components that later became Hitchcock trademarks. Accompaniment by the Alloy Orchestra underscored the action and added dimension. And it was thrilling to be surrounded by an appreciative SRO audience.

Six weeks later, at noon on Sunday, September 5, the Rafael presented North by Northwest free to the public as part of its quarterly "Everybody's Classics" series. At 11:40 a.m. the line was long, but good seats were still to be had. By show time Theater 1 was packed and anticipation ran high.

Then Bernard Herrmann's pulsing score began and Saul Bass's title sequence of crisscrossing lines filled the screen. North by Northwest was upon us and in just a few exhilarating moments I was whisked into the adventure.

Possibly Hitchcock's quintessential thrill-ride, North by Northwest incorporates many familiar themes and plot elements - an innocent man accused, a romance complicated by mistrust and betrayal, a double chase - the police after the innocent man and the innocent man after the true villain(s), a backdrop of international espionage...

North by Northwest has been linked to two of Hitchcock's earlier classics, The 39 Steps (1935) and Notorious (1946), but by 1959 the director, at the height of his powers, was in a position to control just about every aspect of his films, much more so than he had been 10 and 20+ years earlier.

He was able to get his favorite actor/star, Cary Grant, for the lead. And though he was unsuccessful in enticing Princess Grace back to the screen as his leading lady, he transformed Academy Award-winning method actress Eva Marie Saint into a stunning and complex femme fatale. James Mason, Martin Landau, Leo G. Carroll and Jessie Royce Landis rounded out his first-rate cast.

Bernard Herrmann, who by now had worked with Hitchcock on several films, was just completing the score for the pilot of "The Twilight Zone" when he began work on North by Northwest. Ernest Lehman wrote a sophisticated and witty script for which he earned an Oscar nomination. Oscar winning cinematographer Robert Burks, production designer Robert F. Boyle (also Oscar-nominated for this film) and others with whom Hitchcock had worked over the years joined the collaboration.

All of these ingredients plus glorious VistaVision and Technicolor added up to create one of Hitchcock's most successful films.

I've seen North by Northwest countless times. I felt like I knew the film well, but to finally see it on a movie screen was to see it with new eyes.

Cary Grant's starpower was almost overpowering - his screen persona was that commanding. What grace, what aplomb! It's not surprising that Bernard Herrmann adjusted his score to match what he described as Grant's "Astaire-like agility."

As for special effects, the crop-dusting set piece with its truck-explosion finale and the moonlit chase across the face of Mount Rushmore have long been legendary. Via the big screen I could almost feel the heat of the explosion and smell the night air of South Dakota. As I watched, I was reminded of how the crop-dusting sequence was echoed in early James Bond films...and of Steven Spielberg's homage in Close Encounters (1977) when he nearly replicated the set design of Hitchcock's night-time Black Hills.

Of course, the suspense seemed magnified, but I also noticed the film's humor seemed more overt and the seduction scenes between Grant and Saint more intimate and...erotic. The film was so precisely paced, with suspense building, then relieved with either humor or romance, then building again...

Afterward, I couldn't help wishing I'd been able to see North by Northwest back in 1959 at the Ritz. The young girl I was then would've thought she'd been on the greatest rollercoaster ride of her life!

Alfred Hitchcock has been widely acknowledged for his amazing ability to, with the artful use of various techniques, easily maneuver an audience's emotions and point of view. It's hard to maintain much distance from Hitchcock's best films. This could be why I often enjoy experiencing his films a bit more than I enjoy understanding them.

As with all Hitchcock films, North by Northwest has a a thing or two going on beneath its glossy surface. But on that Labor Day weekend in San Rafael inside a darkened theater full of laughing, sighing, cheering people, I was a kid again for a while. Happily immersed in a suspenseful, clever, sexy adventure, I didn't even notice that, from the first note of Herrmann's score to the final shot of a darkened railroad tunnel, we were all being swept along as if aboard a sleek 20th Century Limited under the command of a brilliant and crafty locomotive engineer.