Just some thoughts on current happenings:

Classic film screenings from around the world this November include:

In New York City, New York, Film Forum is extending its presentation of The 400 Blows (1959, a new 4k restoration) to Thursday, November 3. Also continuing is Breathless (1960, a 35mm print, as part of an In Memoriam to Jean-Luc Godard) to Thursday, November 3. And finally, the last 2 films of ISABELLE HUPPERT: A series of films starring the French actress is being shown, consisting of Every Man for Himself (1980, a 35mm print) Tuesday, November 1 and Wednesday, November 2, and The Piano Teacher (2001) on Thursday, November 3.

To receive more information on The 400 Blows or Breathless, click on the corresponding image above. For the final programming in the ISABELLE HUPPERT series, click on the appropriate image. For information on all of the films playing this month, click on the Film Forum banner.

In London, United Kingdom The Prince Charles Cinema will present Seven (1995, a 35mm print) Wednesday, November 2, The Exorcist [The Theatrical Cut] (1973, a 35mm print) Wednesday, November 2, The Thing (1982, a 4k presentation), Wednesday, November 2 and Friday, November 11, Woman in the Dunes (1964, a 35mm print) Saturday, November 5 and Tuesday, November 15, The Killing of a Chinese Bookie (1974, the 108 minute version, a 35mm print) Saturday, November 5, A Hard Day’s Night (1964, a 35mm print) Saturday, November 5 and Wednesday, November 16, The Long Goodbye (1973, a 35mm print) Sunday, November 6, Heat [The Director’s Definitive Edition] (1995, a 4k presentation) Saturday, November 19 and Tuesday, November 29, and The Warriors (1979, a 35mm print) on Monday, November 28. * Note: Many of the above showtimes are matinees only.

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

In Melbourne, Australia The Astor Theatre is presenting a double bill of Once Upon a Time in Hollywood (2019, a 35mm print) followed by Easy Rider (1969, a 35mm print) on Thursday, November 3.

Click on the appropriate image for more information on this programme. To see the rest of November’s schedule, click on The Astor Theatre banner above.

In Los Angeles, California The Beverly Cinema will present Bullitt (1968, a 35mm print) Friday, November 4, Saturday, November 5 and Sunday, November 6, a double bill of Joe (1970, a 35mm print) and Where’s Poppa? (1970, a 35mm print) Monday, November 7, Dirty Harry (1971, a 35mm print) Friday, November 11, Saturday November 12 and Sunday, November 13, a double bill of Taxi Driver (1976, a 35mm print) and Rolling Thunder (1977, a 35mm print) Wednesday, November 16, Thursday, November 17 and Friday, November 18, a double bill of The Getaway (1972, an IB Technicolor 35mm print) and The Outfit (1973, a 35mm print) Tuesday, November 22 and Wednesday, November 23, and a double bill of The Wild Bunch (1969, an IB Technicolor 35mm print) and Deliverance (1972, a 35mm print) on Friday, November 25, Saturday, November 26 and Sunday, November 27.

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

In Valencia, Spain, Culturarts Generalitat IVAC – La Filmoteca at the Edificio Rialto will be presenting Pusher (1996) Friday, November 4, Pépé le Moko (1937) Tuesday, November 22 and Thursday, November 24, and Amarcord (1973) on Friday, November 25.

Click on the respective film’s image for more information on each screening. To discover more of November’s programming including films playing in Castelló Spain at the Raval Theater, click on the banner image above.

In Los Feliz (part of greater Los Angeles) California, The American Cinematheque Los Feliz 3 Theatre will present LUIS BUNUEL: AN AMERICAN CINEMATHEQUE RETROSPECTIVE. Highlights this month include The Exterminating Angel (1962) Friday, November 4, and Viridiana (1961, a 35mm print) on Thursday, November 17.

In Santa Monica (also part of greater Los Angeles) California, The American Cinematheque Aero Theatre Santa Monica will present Sunset Boulevard (1950) Saturday, November 19 along with a Q&A featuring co-star Nancy Olson Livingston, moderated by Alan K. Rode, and Singin’ in the Rain (1952) on Wednesday, November 23.

For more information specifically on each of these programmes, click on the corresponding above image. To see the entire month of November’s programming including other films showing at both the The Los Feliz 3 Theatre in Los Feliz and Aero Theatre in Santa Monica, click on the American Cinematheque banner.

In Los Angeles, California Secret Movie Club is presenting at the Secret Movie Club Theater as part of their JOHN FORD FUNDAMENTALS series, a double bill of The Iron Horse (1924, a 35mm print is being sought with DCP backup if necessary) and Three Bad Men (1926, a 35mm print is being sought with DCP backup if necessary) Friday, November 4, and Viridiana (1961, a 35mm print) on Thursday, November 10.

For more information on either of these special screenings, click on the appropriate movie image. To discover other screenings organised by this group, click on the above theatre image.

In Auckland, New Zealand Academy Cinemas as part of their STANLEY KUBRICK DIRECTOR SPOTLIGHT, is presenting Full Metal Jacket (1987) Sunday, November 6, and Zodiac [The Director’s Cut] (2007, as part of this film’s 15th Anniversary) on Saturday, November 12.

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

In theatres across the U.S. Flashback Cinema is presenting Singin’ in the Rain (1952, as part of this film’s 70th Anniversary) Sunday, November 6 and Wednesday, November 9, and White Christmas (1954) on Sunday, November 27 and Wednesday, November 30.

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

In San Francisco, California, the Roxie Theatre will host Mid-Century Production’s 9th annual The French Had a Name For It: French Film Noir. “This year: 15 films over four days split across two weekends including four ‘festival favorites’ to acquaint newcomers and please long-time attendees: Sunday, November 6, Monday, November 7, Saturday, November 12 and Sunday, November 13.”

For more information, click on the image above.

In Bergen, Norway The Cinemateket i Bergen will present Double Indemnity (1944) Thursday, November 10 and Tuesday, November 15, The Searchers (1956), Thursday, November 24 and Tuesday, November 29, and Dunkirk (2017, a 70mm print) on Sunday, November 27.

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

In Chicago, Illinois The Chicago Philharmonic Orchestra will present The Godfather (1972) with live musical accompaniment featuring Nino Rota’s unforgettable score on Saturday, November 12.

Click on the above image for more information.

In theatres across the U.S., TCM and Fathom Events is presenting To Kill a Mockingbird (1962, as part of this film’s 60th Anniversary ) on Sunday, November 13 and Wednesday, November 16.

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

In Vancouver, British Columbia, The Cinematheque will be presenting Fly Away Home (1996) on Sunday, November 20.

For more information about this screening, click on the upper image above. For other films scheduled this month at The Cinematheque, click on the theatre banner above.

There are 21 recommended films to watch on Turner Classic Movies in the U.S. this month:

My first pick is 1974's Freebie and the Bean. This is, however, a cautious recommendation since it is one of my personal Top Ten Guilty Treasures and is about as non-P.C. as a film can get. Previously reviewed here, viewers can catch this pair’s highly irreverent act Tuesday, November 1 at 11:30 pm PDT.

Make or Remake, which is better? Part 3: The Mummy (1932) or The Mummy (1999)

(For Part 1: The War of the Worlds (1953) or War of the Worlds (2005) in the series, click here).

The Mummy (1932) delivers a dark, serious and sincere tale of horror along with other distinguishable characteristics that set it apart from the admittedly impressive Universal produced monster movies released the year before, i.e. Dracula and Frankenstein.

This horror classic has a demure but audacious opening scene, not of terror so much as madness, delineated with subtle finesse and just the right touch of creative humour to capture our undivided attention. From there, the story’s grip (like the title character will demonstrate later on) just keeps tightening, enhanced by its strong visual acuity care of acclaimed German cinematographer Karl Freund’s unfaltering debut in the director’s chair. He’s abetted by his lead actor’s dominant performance: a mesmerising Boris Karloff as the revived Imhotep, now under the guise of an Egyptian scholar, the imposing and hypnotic Ardath Bey. Bey, like Bela Lugosi’s Dracula, harbours obsessional desires for one female in particular. The object of Bey’s penetrating attraction is Helen Grosvenor whom he believes is the reincarnation of his once beloved Princess Ankh-es-en-Amon. Karloff’s character, compared to Lugosi’s, has an added history largely revealed in a stunning flashback: a succession of nightmarish images full of intense passion (over illicit love), ominous intrigue (concerning religious sacrilege) and horrific sacrifice (an agonising loss of life) that makes Bey’s desire all the more immediate, severe and consequential. Matching Karloff all the way is stage actress Zita Johann who genuinely conveys Helen’s struggle with extreme oppositional forces adding further depth and emotional turbulence to this frightening, intellectually rich and impressively told tale.

(From left) Boris Karloff, Bramwell Fletcher

Worth noting as well is the uncredited contribution made by Jack P. Pierce who supplied the incredible make-up artistry.

A few of the other characters namely Bey’s youthful, handsome nemesis and the old, wise Doctor become far too behaviourally predictable and are of cursory value. Even here, however, thanks to the ingenuity of writers John L. Balderston adapting a story by Nina Wilcox Putnam and Richard Schayer, these rather routine characters are denied the often routinely applied opportunity to “save the day” at the story’s inventively supernatural, and just plain super, conclusion. The Mummy will be unwrapped on TCM Friday, November 4 at 7 pm PDT.

The Mummy is also November’s Blu-ray recommendation. See the last entry in this column for more information.

The Mummy (1999)

Compare this soulless and dispassionate CGI emblazoned romp to the darker, sincere and serious 1932 film of the same name. There is just so much emotion behind, and reason for, each character's actions in the earlier film making it the far more absorbing version. Given the technology available at the time, the Karloff vehicle even has the edge in visual and aural expressiveness and creativity. Jerry Goldsmith’s wondrous score can only go so far in enlivening a film that’s otherwise as anaemic as its title character before he’s brought back to life. One can see in the 1999 version all of its investors desperately concocting an “Indiana Jones” like formula to reap similar big rewards at the box office. Further proof of keeping this cash cow alive are its 2 sequels The Mummy Returns (2001) and The Mummy: Tomb of the Dragon Emperor (2008), a spin off inspired by The Mummy Returns called The Scorpion King (2002) including its numerous direct-to-video sequels, and finally another re-make The Mummy (2017) starring Tom Cruise.

Verdict: The Mummy (1932) is the far more genuine article

Director John Boorman has delivered with the precision of his film's title, Point Blank (1967), a Neo-noir masterpiece fortified with style and driven by purpose.

In preparing my recent review of Get Carter (1971), I was reminded of why that film and Point Blank share similar qualities of personal character identification that normally go missing in lesser Neo-noir and wrote: "In Point Blank, we feel Walker’s pain at having been betrayed by both his wife and dear friend through the economical but effective flashbacks presenting someone entirely different than the mechanical creature he’s become."

Lee Marvin's 'cold as a frozen corpse' Walker, is a machine-like man on a mission, appearing unstoppable as he charges through LAX possessed with unbridled vengeance. It's also quite ironic that despite Walker's hardened resolve, the considerable threat he poses, generous amount of punishment he dishes out, and the high body count he seems responsible for, doesn't directly kill anyone in the entire picture. "Was it a dream?" You be the judge when Point Blank (first acclaimed here) hits Saturday, November 5 at 3:15 pm PDT.

After World War II, many returning servicemen were disillusioned to find jobs were 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 his return 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 Sunday, November 6 at 7:15 pm PDT and again Friday, November 11 at 5 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 on TCM Tuesday, November 8 at 9:45 am PST.

My next TCM film to see is Fritz Lang’s 1952 Clash by Night which is reviewed as a DVD recommendation here. The clash will occur Tuesday, November 8 at 2:30 pm PST.

Viewers who dare to have their imaginations stretched considerably should be rewarded Where Eagles Dare, previously reviewed here and appearing on TCM’s radar Friday, November 11 at 11:15 am PST.

Next up is Alfred Hitchcock's dazzling thriller, Foreign Correspondent, previously reviewed here. His main character’s precarious globe trotting assignment will begin Saturday, November 12 at 12:15 pm PST.

Another of film noir's most satisfying sensations is provided by Tension, a prior TCM recommendation here and can be felt in Eddie Muller’s Noir Alley Saturday, November 12 at 9 pm PST and again on Sunday, November 13 at 7 am PST.

Some cinephiles take aim at those films identified as film noir if their stories’ setting occur during an earlier time than the classic period (1940 - 1959) in which they were made. They insist that this alone would disqualify a film from being categorised as such, even though the dark criminal surroundings and emphasis on character motive are present and accounted for. The Tall Target is such an example and for myself, joins other so called “period noirs” that are rightfully embraced in the film noir canon. Anthony Mann's 1951 effort, a prior recommendation here, is well worth checking out. Viewers should set their sights on The Tall Target Monday, November 14 at 11:15 am PST.

My next TCM recommendation is for many experts the final film noir released during the classification's classic time period (1940 - 1959), Orson Welles' stylistically aggressive Touch of Evil.

(From left) Orson Welles, Charlton Heston

I have previously written about how there came to be several different versions of this noir extravaganza especially as it concerns the ingenious opening sequence in Main Title Inspirations No. 2 Touch of Evil. Viewers can compare the introduction's bold visual display to the equally superlative use of sound at this film's conclusion when Touch of Evil airs Monday, November 14 at 5 pm PST.

For those who enjoy the best in creative romantic comedy, be sure to tune in for Pillow Talk (reviewed here) Monday, November 14 at 9:15 pm PST.

After her breakthrough role in Joseph von Sternberg's The Blue Angel made in Germany, Marlene Dietrich made six more films with the autocratic director in the U.S. The Scarlet Empress previously reviewed here, is arguably the duo’s most accomplished. Certainly this film is their most distinctive. She will rule Wednesday, November 16 at 7 pm PST.

My enthusiasm for the next film may be “icier” than say Howard Hughes’, however, viewers may find enough intrigue, suspense and supportive factors to make the journey to Ice Station Zebra, previously reviewed here and commencing at TCM Thursday, November 17 at 8:30 am PST, worth their while.

(From left) Patrick McGoohan, Rock Hudson

One of David Lean's more ambitious projects may have turned out less artistically accomplished than its director intended. Still, it has many attributes making Doctor Zhivago well worth seeing. Afterwards, I'd be truly appreciative if readers had a look at my review here. This epic scale romance will begin Sunday, November 20 at 1:30 pm PST.

If you like gutsy thrillers that surprise big time, then you don’t want to miss this month’s airing of The Manchurian Candidate (1962) previously reviewed as a Blu-ray selection here. He will appear Monday, November 21 at 5 pm PST.

(From left) Laurence Harvey, John McGiver

The expression "Don't judge a book by its cover" certainly applies to the film Kind Lady, a previous TCM recommendation here. She may be as the title says but her nemesis and his ghastly gang of home invaders will dominate this tensely twisted thriller Monday, November 21 at 11:15 pm PST.

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

After the dramatic seriousness contained in a few of the above TCM recommendations, it might be nice to indulge in a light-hearted and charming Christmas holiday treat: Ernst Lubitsch's The Shop Around the Corner.

Beneath an inventive situation comedy veneer, however, lies a serious underlying message regarding relationships and how concepts often get in the way of a more fulfilling union based on care and concern for one another. The Shop Around the Corner, previously praised here, will open Friday, November 25 at 8 am PST.

Raoul Walsh's Colorado Territory is the impassioned director's artistically superior western remake of his previous film noir High Sierra. Readers can discover why I make this claim here, and for those familiar with the earlier Humphrey Bogart vehicle, decide for themselves when Colorado Territory is explored Wednesday, November 30 at 8:30 am PST.

After directing Colorado Territory, Raoul Walsh’s very next film retained all of that film’s energy and even added some for White Heat, previously reviewed here. TCM's screen will heat up Wednesday, November 30 at 3 pm PST.

What better way for film lovers to celebrate cinema's vast diversity after watching a hard-hitting drama like the preceding selection, than to partake in the light-hearted, almost make-believe world of a Princess' Roman Holiday? One can indulge in this delightful fairy tale, previously reviewed here, Wednesday, November 30 at 5 pm PST.

TCM's current monthly schedule can be confirmed by clicking on any of the TCM related images above. 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 remarkable filmmaker Joel Coen who turns 68 on November 29th.

Together with his brother Ethan, this dynamic writing and directing duo have provided audiences with some truly original, creative and inspired storytelling. Examples include Blood Simple (1984), Miller’s Crossing (1990), Barton Fink (1991), The Hudsucker Proxy (1994), Fargo (1996), The Big Lebowski (1998), O Brother, Where Art Thou? (2000), The Man Who Wasn’t There (2001), No Country for Old Men (2007), A Serious Man (2009), True Grit (2010), Inside Llewyn Davis (2013) and The Ballad of Buster Scruggs (2018).

The Soundtrack recommendation for the month is Jerry Goldsmith's thematic and pulse-pounding score to one of its decade's most intriguing Neo-noir thrillers, 1997's L.A. Confidential.

This Deluxe Edition of Goldsmith’s 1950s evocative score features two programs: one with cues as heard in the film running 45 minutes, followed by the long ago released 30-minute soundtrack, for a total running time of 75 minutes. As usual, Goldsmith provides the appropriate compositional suspense, bluesy period feel (with a theme reminiscent of Leonard Bernstein’s for On the Waterfront), intimacy and driving aggression when required, all with his special brand of creative prowess.

The plot consists of a wide number of threads interwoven to form one helluva knotty tapestry, intelligent and well considered without sacrificing character behaviour or motivation… no small feat. Credit goes to Brian Helgeland and Curtis Hanson’s concise script of James Ellroy’s novel, Hanson’s measured direction and realistic performances by its perfectly chosen cast. Of course, having to sustain the mystery element behind the true origins of such a multitude of interlocking events and then sorting out the answers, concludes with none of our three cops, as distinguishable as they are from one another, eliciting as much empathy as it appears our storytellers would have preferred. Jerry Goldsmith’s emotionally infused score, however, is, in this regard, of invaluable assistance.

Information and ordering this limited edition C.D. (only 2,000 copies produced) is available directly from the manufacturer, Varese Sarabande, by clicking on the accompanying image.

1932’s The Mummy is this month’s, formerly reviewed >>> here <<<, TCM and current Blu-ray recommendations.

Click on the video image below for more information on this release from Universal Pictures Home Entertainment as well as ordering from Amazon.com

A.G.

The Cinema Cafe

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