Friday 9 August 2019

58 (used to be 36, but I did immerse myself in many of the ok.rued)

Women of All Nations (1931 - B/W) - Another all-star vaudeville mess.

The Lodger (1932 - B/W) - Inferior non-Hitchcock talkie version with Ivor Novello. Weird to see YOUNG Jack Hawkins.

The Lost Patrol (1934 - B/W) - Typical John Ford foreign legion masculinity with McLaglen and Karloff.

Mysterious Mr. Wong (1934 - B/W) - Bela Lugosi is an unconvincing bargain-basement Fu Manchu.

One Frightened Night (1935 - B/W) - Primitive Mascot old-dark-houser.

Crime and Punishment (-1935 - B/W) - Peter Lorre in a cliffnotes distilled version of the film.

Captured in Chinatown (1935 - B/W) - "Yellow" tedium with Tarzan the police dog.

Postal Inspector (1936 - B/W) - Bela Lugosi B-flick. Tries to make the post office exciting.

Its Never Too Late To Mend (1937 - B/W) - More period panto from Tod Slaughter.

I'll Give It A Million (1938 - B/W) - Amiable but forgettable comedy with Peter Lorre and John Carradine.

Service DeLuxe (1938 - B/W) - Ordinary screwball comedy with the novelty of Vincent Price as romantic lead.

They Made Me A Criminal (1939 - B/W) - Typical gangster/juvenile fluff with John Garfield and the Dead End Kids. At least, I consider it attractive fluff, but it's not my thing. Yes, I sound like a child.

All Through the Night (1941 - B/W) - Terrible, almost self-parodic Bogie Nazi-fighting noir. The fact it has both Jackie Gleason and Phil Silvers in it, too is interesting.
See also Passage To Marseille (1944 - B/W).

Among the Living (1941 - B/W) - Mediocre murder thing with Susan Hayward.

They Met in Bombay (1941 - B/W) - Rosalind Russell and Clark Gable do cheesy screwball adventure in India.

Whispering Ghosts (1942) - Milton Berle hunts for ghosts. Willie Best does black drama school acting.

Phantom Killer (1942 - B/W) - Mantan Moreland bugs his eyes in another old dark house thing.

Lucky Ghost (1942 - B/W) - Not much ghost, not much luck. William Beaudine directs a race pic with Mantan Moreland.

The Black Raven (1943 - B/W) - PRC house peril. George Zucco gurns as he is kidnapped. A cowboy wanders about.
See also Morey Amsterdam's The Ghost and the Guest (1943 - B/W).

A Game of Death (1945 - B/W) - A repackaged Most Dangerous Game.

Strange Illusion (1935 - B/W) -  Tedious "young man" noir from Edgar Ulmer.

The White Gorilla (1945 - B/W) - Oh, jaysus. Stock footage ahoy.

The Strange Mr. Gregory (1945 - B/W) - Typical Monogram mess.

Scared Stiff (1945 - B/W) - More Jack Haley squeamishness.

Leave Her To Heaven (1945) - Lush Sirkian noir, but never finds a handle beyond the look.

The Unseen (1945 - B/W) - Lesser, noirish, non-supernatural followup to the Uninvited, with Gail Russell, Joel McCrea, Norman Lloyd, and BBC sitcom star Richard Lyon.

The Cat Creeps (1946 - B/W) - Forgettable Universal darkhouser with Noah Beery Jr.

Swamp Fire (1946 - B/W) - Buster Crabbe vs Johnny Weissmuller! Not very exciting.

My Favourite Brunette (1947 - B/W) - Bob Hope goofs about in an uninteresting mystery.

Who Killed Doc Robbin (1948 - B/W) - Failed attempt to create a New Our Gang/Little Rascals.

Road House (1948 - B/W) - Typical rural Widmark/Lupino noir.

The Velvet Touch (1948  - B/W) - Rosalind Russell melodrama in noir drag. On DVD.

City Across The River (1949 - B/W) - Dingy urban noir.

Also ok.rued
The Verdict (1946),   paltry wartime-noir-romances Lancer Spy (1937 - Lorre and George Sanders in his starring debut), The Conspirators (1944 - B/W - Double-ok.rued), Hotel Berlin (1944 - Double-ok.rued) and Background to Danger (1943 - double ok.rued), Three Strangers (1946 - Lorre in a half-noir, half-Maugham-type anthology), Green Hell (1940), On Borrowed Time (1939 - double-ok.rued SCHMALTZ!),  Sirocco (1951, the Aldi Casablanca), The Phantom of Crestwood (1932), The Great Garrick (1937), the downbeat Dangerous to Know (1938 - Anna May Wong dies as Anthony Quinn plays chopsticks on the piano), The Web (1947), the nothingy Karloff-does-heroic Devil's Island (1939), Bluebeard's Ten Honeymoons (1960), I Thank A Fool (1962), and the truly awful Man of a Thousand Faces (1957 - Cagney way too old and sentimentalised). Plus Fritz Lang's You Only Live Once (1937), Hudson's Bay (1941 - faux-Canadian period romance with Paul Muni, Gene Tierney and young Vincent Price) and the unremarkable You and Me (1938). The Night Has A Thousand Eyes (1948 - B/W), the turgid Maria Montez vehicle Mystery of Marie Roget (1942), the third-rate comedy vehicle Genius at Work (1946 - B/W). All of which I found unmemorable. So I didn't quite finish them.

Pharaoh (1966) - A wondrous looking Polish epic set in Egypt, but I have never seen so much blackface in a serious context.

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