Out of Africa (1985)

Of the 92 Academy Best Pictures I've seen, this was the one I remembered least -- mainly just that Meryl Streep's fake accent was so thick the DVD had subtitles on by default. You may take that as a reason not to rewatch it, along with its reputation as perhaps the weakest link in the weakest decade for Best Pictures. (Those who praise '80s cinema usually don't have award-winning dramas in mind.) But I wanted a refresher, especially now that I've visited the same area of Africa myself. This time, I forwent the subtitles, without trouble.

In 1913, Danish future writer Karen Dinesin (Streep) marries Swedish baron Bror Blixen (Klaus Maria Brandauer) for convenience, planning to start a dairy in the Nairobi region of British East Africa. Bror alters the deal to a coffee farm without consulting Karen, unaware of the difficulty of growing coffee at high altitude. This is one of many signs that they will never fully love or trust each other. As Bror is rarely home and Karen finds undeniable signs that he sleeps around, she herself strays to his fellow hunter, Denys Hatton (Robert Redford).

Dishonored (1931)

This movie has a lot of the same people involved as the next year's Shanghai Express. Maybe that's why it was recommended to me. At any rate, I moved it up in my queue because it probably won't be streaming anywhere soon.

In 1915 Vienna, Marie (Marlene Dietrich) has turned to prostitution to make ends meet after her husband died in the war. When the Austrian Secret Service chief (Gustav von Seyffertitz) overhears her declare that she fears neither life nor death, he tests her patriotism and then invites her to become a spy a la Mata Hari. In particular, she is to seduce suspected Russian mole Col. von Hindau (Warner Oland) until she can intercept his intel. His correspondent, Col. Kranau (Victor McLaglen), is a tougher nut to crack....

Séance on a Wet Afternoon (1964)

This is pretty rare: a movie that was highly esteemed when new, both at home and overseas, but did so poorly at the box office that the production company folded. I don't recall how it got my attention, but it did receive a Best Actress Oscar nod, losing to Mary Poppins. Well, at least Julie Andrews didn't have to fake a British accent.

In London, alleged medium Myra Savage (Kim Stanley) badly wants money, which doesn't come easily when husband Billy (Richard Attenborough) is too asthmatic to hold a job. She persuades Billy to kidnap Amanda Clayton (Judith Donner), preteen daughter of aristocrats. Instead of the typical scheme of simply pocketing ransom money, Myra plans to fake a séance to determine where to find Amanda, hoping to gain renown and thus so much business that she can pay back the "borrowed" ransom. Charles Clayton (Mark Eden) doesn't believe in her powers, but his wife (Nanette Newman) does, and Charles has to admit that no other method is making headway.

Nightmare Alley (2021)

I had already heard of a 1947 film noir of the same title. This Guillermo del Toro project isn't a remake so much as a second adaptation of the novel. Alas, the original is more highly rated across sites yet much harder to find. Anyway, this is the only version that was nominated for Best Picture.

In 1939, shortly after covering up a murder, Stan (Bradley Cooper) finds work that will have no one inquiring into his background: a traveling carnival's barker. There he learns how to fake being a psychic, and he and stunt-performing girlfriend Molly (Rooney Mara) eventually leave for a classier venue. He then takes an unfaithful interest in a distinguished audience member, psychologist Lilith (Cate Blanchett), and asks her for confidential information that can help him fool a rich, widowed, somewhat unhinged ex-client of hers, Ezra (Richard Jenkins). Stan does not care about Molly's discomfort with his endeavors, nor does he heed the warning of his mentors (Toni Collette and David Strathairn) that moving from mind reading to seances is dangerous -- or Lilith's warning that Ezra is.

Old Acquaintance (1943)

Had I realized that the title evoked "Auld Lang Syne," I would have saved this viewing for New Year's. But while the song is played at the beginning and ending, no part of the film takes place at that time of year. We are to think of its actual meaning, not its holiday association.

The story begins in 1924 small-town America, when Kit (Bette Davis) has become a celebrity for her first published novel. Her long-time friend Millie (Miriam Hopkins, not dissuaded by previous experience with Davis) takes inspiration and becomes a novelist in her own right, far less favored by critics but far more prolific and financially successful. Alas, by 1932, Millie's husband Preston (John Loder) feels neglected enough to leave her and daughter Deirdre (Francine Rufo, later Dolores Moran). He courts Kit, but she declines for the sake of Millie's friendship. Most of the rest happens in 1942, when Kit and Preston meet again through the war effort, by which time Kit is finally if tentatively dating someone, the younger Rudd (Gig Young).

Imitation of Life (1934)

This is a bit lesser-known than its 1959 remake but almost as popular. At one time, it was widely preferred. I figured I ought to see both someday and might as well start with the first.

Delilah (Louise Beavers) goes to a wrong address to apply for a housekeeping job but persuades Bea (Claudette Colbert), broke widowed mother to toddler Jessie (Juanita Quigley, later Marilyn Knowlden and Rochelle Hudson), to let her work for room and board for herself and daughter Peola (Dorothy Black, later Fredi Washington). When Bea learns what uniquely excellent pancakes Delilah makes, she shows her own persuasiveness and opens a pancake restaurant, "Aunt Delilah's." After five years, fan Elmer (Ned Sparks) recommends selling the pancake mix; Bea hires him as an exec, and the brand takes off. She and Delilah have never been richer, yet money won't take care of their social difficulties.

Daughters of the Dust (1991)

I had rejected this option once before, but a Meetup group was set to discuss it. You can tell it's a small group, because they rescheduled when I couldn't get the disc as soon as estimated. I made a point to wait until the day of our session to watch so the details would stay fresh in my mind. Let's hope I remember enough of the discussion now.

In 1902, much of a large Gullah/Geechee family prepares to move from what is best known as St. Simons Island, Georgia, to the mainland for better opportunities. Among other things, this includes a visit from relatives who have already been away for quite a while, and it shows, especially with the Christian convert (Kaycee Moore). The old matriarch (Cora Lee Day) is too traditional to leave, and her grandson (Adisa Anderson) has trouble deciding.

The Great Lie (1941)

Hmm, Bette Davis and George Brent. When did I last see them together? Oh yeah. And before that? Yup. I think they were in a rut, because there are definite similarities herein.

Aviator Peter (George Brent) learns on his "honeymoon" that his marriage is null and void, partly because he was drunk but mainly because Sandra (Mary Astor) was mistaken on when her divorce from her prior husband could be finalized. Since she would rather go back to work as a concert pianist than hold another wedding at the first opportunity, Peter returns to his ex-girlfriend, aristocrat Maggie (Bette Davis). Sandra hopes to win back Peter all the same by having his baby, but then he and his plane go unaccounted for in a dangerous region. The two women agree that Maggie will meet Sandra's fiscal needs and raise the baby as her own. But you know what usually happens when someone is missing and presumed dead on screen....

Shock Corridor (1963)

I already had this near the top of my queue when someone invited me to a (virtual) Meetup session to discuss it. The disc arrived in the nick of time, so the following review incorporates a few insights from other viewers.

A murder at a mental hospital has gone unsolved for a while, with only uncooperative patients as witnesses. Reporter Johnny Barrett (Peter Breck) hopes to get through to one of them and tell the world...by getting himself "involuntarily" committed, the staff having no idea that he faked his way in. Johnny has had a lot of training for this, but he underestimates how hard it will be to hold onto his sanity in those conditions.

Secrets & Lies (1996)

For a movie so highly rated all around, this was surprisingly elusive. I couldn't find it at the video store back when I lived near one, and I'm pretty sure it wasn't offered via Netflix as soon as I wanted. Late to the DVD party, perhaps?

Cynthia (Brenda Blethyn) hates her life as a middle-aged London box factory worker and mother to Roxanne (Claire Rushbrook), whose surliness seems immature for a woman about to turn 21. Cynthia never leaves the flat except to work or shop and rarely hears from her nearby brother, Maurice (Timothy Spall), because of an even more strained relationship between her and his wife, Monica (Phyllis Logan). But this predictably bleak life takes an unforeseen turn when Cynthia gets a call from Hortense (Marianne Jean-Baptiste), an older daughter she had given up immediately for adoption, whose adoptive parents are now dead and who's curious about her. At first, Cynthia wants no further contact, but then she warms up to the idea of connecting with someone who truly welcomes her -- albeit not letting the rest of her family in on it right away.

A Woman's Face (1941)

Once again, George Cukor directs an MGM feature with a feminine focus in the title and a nasty role for Joan Crawford. This one has a tighter plot and is set in Sweden, thanks to the play on which it's based. (OK, I'm having trouble finding good info on the play, but there was a Swedish adaptation in 1938.)

Blackmail ringleader Anna (Crawford) has spent most of her life with burn scars on the right half of her face, aversions to fire and mirrors, and misanthropy, especially toward beautiful people, tho she makes an exception for seductive Torsten (Conrad Veidt). When she unexpectedly meets a great and charitable plastic surgeon, Gustaf (Melvyn Douglas)...well, see how Crawford usually looked on screen in those days. Anna's a lot less bitter once people admire her appearance, but wickedness doesn't dry up overnight, especially if you've been keeping wicked company. In particular, Torsten hopes she still has what it takes to serve as a governess to his four-year-old nephew, Lars-Erik (Richard Nichols), only to bump him off to secure Torsten a bigger inheritance from Uncle Magnus (Albert Bassermann).

Somewhere in Time (1980)

I had never seen Christopher Reeve in any non-Superman movie except The Remains of the Day, where his role was too minor for my synopsis. Indeed, no other titles in his filmography rang a bell for me, not counting TV shows and lesser remakes. So I opted to check out a cult classic from early in his career.

Chicago playwright Richard Collier (Reeve) is approached by an unfamiliar old woman (Susan French) who hands him an antique watch, implores, "Come back to me," and leaves without explanation. Years later, on a whim, he checks into a Michigan hotel and sees a photo of her as a young adult (Jane Seymour). Obsessed with her beauty, he does research and learns that she, now dead, was Elise McKenna, an actress once quite famous but with little known of her private life. Richard recalls a theory of time travel and implements it in order to court Elise in 1912, when she was a guest at the hotel.

A Woman Under the Influence (1974)

Gena Rowlands has been one of those actors I've heard of repeatedly but couldn't place. It made sense to remedy this by seeing the first role for which she got an Academy Award nomination, in a movie significantly more popular than the one for her second, Gloria. Incidentally, both were directed by her husband, John Cassavetes, who got an Oscar nod only for AWUtI.

In what might be a New York suburb, Mabel (Rowlands) lives with husband Nick (Peter Falk), their three prepubescent kids, and Nick's fairly active mom (Katherine Cassavetes, John's mom). Despite this crowd, she spends more time alone than she's comfortable with, leading her to bad behavior -- not that she's such a winner around others either. In fact, midway through the movie, after some inappropriate child supervision, she gets involuntarily committed. We don't see her at the institution; the third act skips ahead six months to her release, which might just be premature.

Cold War (2018)

It's been a while, Paweł Pawlikowski. I see you're still writing and directing B&W tragedies set in post-WWII Poland and running less than 90 minutes. Well, I respected the last one well enough....

OK, this story takes place only partly in Poland and across more than a decade. Wiktor is a music director rapidly smitten with a vigorous younger singer, Zula. The main hangup between them comes in the form of politics: While neither is fond of the communist regime, Zula prefers her homeland to France, Germany, or Yugoslavia. She marries another man and Wiktor takes up with another singer, but Zula and Wiktor still have feelings for each other. Both their lives get messy.

In Harm's Way (1965)

This picture must have felt familiar to John Wayne. Twenty years earlier, he had played a major role in They Were Expendable, another naval story that pretty much begins with the Pearl Harbor attack. Only this time, however, does he get the very top billing, which is saying something when second goes to Kirk Douglas.

Both Rockwell Torrey (Wayne) and Paul Eddington (Douglas) have trouble staying in the military's good graces, Rock for using non-textbook maneuvers to ill effect and Paul for being generally unruly after learning of his wife's unfaithful debauchery. Still, at times like these, the Navy can't be too choosy in whom it retains if not promotes. While on shore, Rock meets his ensign son, Jeremiah, for the first time since Jere was four; their interactions are awkward, of course. All three of these men take special interest in at least one nurse (Rock's nurse being played by Patricia Neal), but war makes having a girlfriend hard even when she's within the same armed force.

The Razor's Edge (1946)

Despite having seen Of Human Bondage and The Letter, I've had a hard time remembering any of what W. Somerset Maugham wrote. My memory of this film may break that pattern, because he himself is a supporting character in it (played by Herbert Marshall). The character's role is roughly that of Nick in The Great Gatsby, for perspective and exposition rather than influence on the plot.

The story begins in 1919 and ends an indefinite amount of time after the crash of '29. Larry (Tyrone Power), a shell-shocked WWI vet, abandons a lucrative job offer to travel in search of meaning. To Isabel (Gene Tierney), his fiancee and the niece of proud aristocrat Elliott (Clifton Webb), this is absurd, so she turns over the ring. When they meet again, Larry has found what he craved and Isabel has married his friend (John Payne) for money, which didn't turn out so well. Now she wants Larry again, but marital status aside, there's the obstacle of his feelings for long-time friend Sophie (Anne Baxter), who needs emotional healing of her own....

Woman in the Moon (1929)

One of the most esteemed Fritz Lang movies is Metropolis, a rare silent sci-fi classic. Unfortunately, he didn't stick with the genre much (the Dr. Mabuse series is better described as fantasy in my book), but his wife, Thea von Harbou, had another sf story in her. It would not be a longer version of Georges Méliès' A Trip to the Moon, because Lang prefers dark to fanciful.

IMDb says it runs 95 minutes, but that's only for the U.S. theater cut; the one I received runs 209 minutes. I suspect that the cut parts were mostly in the first half, before the journey to the moon even begins. That part is dominated by a question of who exactly will go. Old, largely discredited Professor Mannfeldt will, because it was his idea to search for gold in lunar mountains. Entrepreneur Helius, arguably the protagonist, is the first volunteer. His assistant and crush, Friede, won't brook his objections to her coming along, and her new fiance, fellow assistant Windegger, would hate to have them leave without him. Then there's Turner, a suave gangster (there's the Lang I know) who coerces his way into the mission so his gang can claim the gold. Only after launch do they learn of the sixth passenger, preteen stowaway Gustav, whose ideas of the moon and space come from magazines.

In This Our Life (1942)

This film is notable in part for inspiring the name of Barack Obama's mother, Stanley. Many viewers, as well as readers of the original book, wonder why Stanley Timberlake (Bette Davis) and her sister Roy (Olivia de Havilland) have masculine names; none of my sources provide a definite answer. My guess is that at least one of their parents or grandparents really wanted a son.

Regardless, at least one of these Virginian aristocrats has something wrong with her: Stanley, engaged to Fleming (George Brent), instead runs off with her brother-in-law, Peter (Dennis Morgan). Once the divorce is finalized, Peter and Stanley marry, and Roy tries taking up with Fleming. That could've been the end of it, but things don't work out so well with Peter, and spoiled Stanley, quite used to taking whatever she wants, makes another play for Fleming....

Picnic (1955)

For all my interest in old movies, I haven't reviewed many Academy Best Picture nominees from before 2014 on this blog. That's because I've already seen most of the promising ones and don't normally review what I saw years ago. But I got in the mood for another one.

Hal (William Holden) hitchhikes to small-town Kansas to ask old friend Alan (Cliff Robertson) to pull nepotistic strings and get him a job. It works, but their friendship gets put to the test, particularly at and after the titular picnic, when Alan's girlfriend, Madge (Kim Novak), gets too close to Hal for others' comfort. People are concerned about Hal's alleged past behavior....

Nosotros los pobres (1947)

This may be the most foreign DVD I have ever used. The menu is in Spanish; you have to either know some already or recognize cognates to find the subtitles, which contain a handful of errors. The extras offer no subtitles at all. But I'm something of a Hispanophile, so I felt a bit drawn to the movie.

Set in a Mexico City slum (the title means "We the poor," after all), the story follows quite a few characters, but mostly a lady's-man carpenter nicknamed Pepe el Toro and his family. They include a preteen called Chachita, who has to adopt an unusual amount of responsibility in her mother's longtime absence; Pepe's quadruplegic mother; and Yolanda, diagnosed with consumption, who doesn't live with Pepe but shows up pretty often. Things get much worse for the already poor heroes before they get better, usually thanks to scumbags rich or poor. Don't expect much in the way of justice.