Just some thoughts on current happenings:

Classic film screenings from around the world this August include:

In London, United Kingdom The Prince Charles Cinema will present Taxi Driver (1976, a 35mm print) Wednesday, August 3 and Friday, August 5, The Age of Innocence (1993, a 35mm print) Wednesday, August 3, The Sacrifice (1986, a 35mm print) Saturday, August 6 and Wednesday, August 10, Cabaret (1972, in celebration of this film’s 50th Anniversary) Saturday, August 6, Heat (1995, a 35mm print) Sunday, August 7, The Conformist aka Il Conformista (1970, a 35mm print) Monday, August 8 and Thursday, August 11, Goodfellas (1990, a 35mm print) Tuesday, August 9, Reservoir Dogs (1992, a 35mm print) Friday, August 12, Sunday, August 14, Tuesday, August 16 and Wednesday, August 17, Star Trek: The Motion Picture [The Director’s Edition] (1979, a 4k presentation) Friday, August 19 though Wednesday, August 31, Thief (1981, a 35mm print) Saturday, August 20, and Nostalghia (1983, a 35mm print) on Tuesday, August 30.

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

In New York City, New York, Film Forum (as reported last month) is continuing with “1962…1963…1964” to August 11: A 3-week, 35-film series spotlighting the rich 3-year period in cinematic history. Just a few of the highlights remaining include Lolita (1962) Wednesday, August 3 and Thursday, August 4, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) Friday, August 5, Saturday, August 6 and Thursday, August 11, Contempt aka Les mepris (1963) Tuesday, August 9, The Manchurian Candidate (1962) Wednesday, August 10, and The Servant (1963) on Wednesday, August 10.

From Friday, August 12 - Thursday, August 25 Film Forum will be presenting ALAIN RESNAIS 100: A two-week, 21-film retrospective in commemoration of visionary Left Bank director Alain Resnais' centennial year. The series includes his most significant works including HIROSHIMA MON AMOUR, LAST YEAR AT MARIENBAD, MURIEL, JE T’AIME JE T’AIME, NIGHT AND FOG, MON ONCLE D'AMÉRIQUE, STAVISKY, and more.

To discover all of the remaining films to be shown in the “1962…1963…1964” series, click on the top image above. For information on the highlighted films in the “1962…1963…1964” series, click on the specific image. To discover all of the films in the ALAIN RESNAIS 100 series, click on the appropriate image. For information on all of the films playing this month, click on the Film Forum banner.

In Los Angeles, California The Beverly Cinema will present a double bill of The Killing (1956, a 35mm print) and Kansas City Confidential (1952, a 35mm print) Wednesday, August 3 and Thursday, August 4, and double bill of Breathless aka À bout de souffle (1960, a 35mm print) and Band of Outsiders aka Bande à part (1964, a 35mm print) on Monday, August 29 and Tuesday, August 30.

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

Mad Max: Fury Road - Black & Chrome Edition

In Los Feliz, (part of greater Los Angeles) California, The American Cinematheque Los Feliz 3 Theatre will present Sorcerer (1977) Thursday, August 4, Hour of the Wolf (1968, a 35mm print, as part of their ‘Cinematic Void’ Series) Monday, August 8, Night of the Living Dead (1968, a 35mm print, as part of their ‘Cinematic Void’ Series) Monday, August 15, Spider Baby (1967, as part of their ‘Cinematic Void’ Series) Monday, August 22, and Mad Max: Fury Road [Black & Chrome Edition] (2015, as part of their ‘George Miller: An American Cinematheque Retrospective’ with a Pre-recorded Introduction by George Miller) on Friday, August 26.

For more information specifically on each of these programmes, click on the corresponding above image. To see the entire month of August’s programming for both the The Los Feliz 3 and The American Cinematheque Aero Theatre Santa Monica (the latter also part of greater Los Angeles) click on the American Cinematheque banner.

In Auckland, New Zealand Academy Cinemas is presenting Carnal Knowledge (1971, a special 4k restoration, as part of their director spotlight on Mike Nichols) Friday, August 5, The Graduate (1967, a 4k presentation, as part of their director spotlight on Mike Nichols) Monday, August 8, Cabaret (1972, in celebration of this film’s 50th Anniversary) Friday, August 12, and Suspicion (1941, in celebration of Alfred Hitchcock’s 123rd Birthday) on Saturday, August 13.

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

In San Francisco, California The San Francisco Symphony will present The Goonies (1985) with live musical accompaniment featuring Dave Grusin’s exciting score on Saturday, August 6 and Sunday, August 7.

Click on the above image for more information.

In Valencia, Spain, Culturarts Generalitat IVAC – La Filmoteca at the Filmoteca d'estiu will be presenting Cabaret (1972, in celebration of this film’s 50th Anniversary) on Thursday, August 11, Friday, August 12 and Saturday, August 13.

Click on the film’s image for more information. To discover more of August’s programming, click on the banner image above.

In Reykjavík, Iceland The Orchestra - Harpa - Eldborg will present The Lord of the Rings: The Return of the King (2003) with live musical accompaniment featuring Howard Shore’s spectacular score Thursday, August 11 and Friday, August 12.

Click on the above image for more information.

In Los Angeles, California Secret Movie Club is presenting at The Million Dollar Theater Movie Palace Part 1 of their SUMMER SPEAKER series consisting of The Bride of Frankenstein (1935, a 35mm print) followed by Mike Mignola: Drawing Monsters (2022) and finally a Q&A with Mike Mignola, Jim Demonakos, and Kevin Konrad Hanna on Saturday, August 13.

For more information on this screening, click on the above movie image. To discover other screenings organised by this group, click on the theatre image above.

In theatres across the U.S., Fathom Events is presenting Dirty Dancing (1987, as part of this film’s 35th Anniversary) Sunday, August 14 and Wednesday, August 17, and Dr. No (1962, as part of this film’s 60th Anniversary, including “Being James Bond”, where Daniel Craig candidly reflects on his fifteen-year tenure as James Bond and never-before-seen archival footage spanning from ‘Casino Royale’ to ‘No Time to Die’) on Sunday, August 21.

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

In Bergen, Norway The Cinemateket i Bergen will present Dr Strangelove or: How I Learned to Stop Worrying and Love The Bomb (1964, a 4k presentation) Tuesday, August 23, The Day After (1983, TV movie, with a Q& A after the film in English) Thursday, August 25, and The Thing (1982) on Tuesday, August 29 and Wednesday, August 30.

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

In Melbourne, Australia The Astor Theatre is presenting A Star Wars Marathon consisting of Star Wars (1977, a 35mm print) followed by The Empire Strikes Back (1980, a 35mm print) and Return of the Jedi (1983, a 35mm print) on Saturday, August 27 (beginning at 4 pm).

Click on the Star Wars image for more information. To see the rest of August’s schedule, click on The Astor Theatre banner above.

In theatres across the U.S. Flashback Cinema is presenting American Graffiti (1973) on Sunday, August 28 and Wednesday, August 31.

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

Noir City will take place in Chicago, Illinois from August 29 - September 1. Highlights will include an opening night tribute to the late James Caan consisting of Thief (1981, a 35mm print) and Flesh and Bone (1993, a 35mm print), The Argyle Secrets (1948, a 35mm print), Sorry Wrong Number (1948, a 35mm print), Southside 1-1000 (1950, a 35mm print), Scandal Sheet (1952, a 35mm print), and 711 Ocean Drive (1950, a 35mm print).

Click on the poster image for more information.

There are 25 recommended films to watch on Turner Classic Movies in the U.S. this month:

TCM’s “Summer Under the Stars” continues with the late great Sidney Poitier, an amazingly authentic actor. One of his most persuasive film roles occurs in the lesser known but exceptional cold war thriller The Bedford Incident Hidden Gem #32 and previously recommended here. The hunt will begin Wednesday, August 3 at 1 pm PDT.

Tomorrow Is Another Day, previously reviewed here, may sound like some forgotten Douglas Sirk melodrama, but certainly has its fair share of film noir qualifications delivered with assuredness by director Felix Feist. A couple of hard cases, played by Steve Cochran and Ruth Roman who slowly start to soften up to one another, informs this film’s compelling nature. A previous stop in Eddie Muller’s Noir Alley, Tomorrow will arrive Thursday, August 4 at 7 pm PDT.

From the same director who brought us Citizen Kane comes another kind of cinematic hero (of sorts). Michael O'Hara, like the deeply flawed Kane, is flawlessly played by his creator Orson Welles. Unlike Citizen Kane however, this film fell under its producer Harry Cohn's butchery with considerable footage lost and destroyed forever. Nevertheless, what survives is vastly entertaining and not to be missed. The Lady from Shanghai was previously recommended here and will arrive at TCM Friday, August 5 at 7 pm PDT.

Immediately following The Lady from Shanghai is sterling example of how to present complex and enthralling characters, all of whom develop naturally while still holding our intense fascination: Citizen Kane,

a previous TCM recommendation here. This American film masterpiece, the only U.S. film represented on our Top Ten: World Cinema Treasures, will begin Friday, August 5 at 8:45 pm PDT.

In our Facebook chat room (all readers are welcome to join here), Citizen Kane came under significant fire for being boring and overrated. It seemed the best defence enthusiasts could muster was based primarily on the film’s technical achievements which prompted me to make the following response:

"Citizen Kane is, for myself, aside from all of the technical razzle-dazzle, an insightful, exploratory look into the human psyche. The relationships are chronicled with immense creativity and dynamism, having personalities rich in intellectual and emotional development, and yet remain consistent with each individual's temperament. It's not simply Welles' flashy style to admire here... it is how ingeniously he fuses those techniques into his narrative's progression that serves to enhance such a passionate overview of his characters while providing a thorough understanding of their experiences from each one's unique perspective, particularly in how some view their past.

I think those who look to a film like Citizen Kane for superficial entertainment qualities are apt to miss out on the profound relationship developments inherent in the narrative. These are rich, multilevel characters with complex emotions responding to their ever changing circumstances. To appreciate the kind of sophisticated delineation of individuality requires a substantial investment on the viewer's part, some may not be accustomed to giving. This is perhaps due to the overwhelming number of lesser cinematic fare providing simple and identifiable personas easy to assimilate as well as instantly gratifying resolutions to their conflicts. Others may be dismissive toward films like this one because they don't like seeing what are perceived as negative traits recognisable in themselves and/or other important people in their lives, plus the fact that, just like in real life, Citizen Kane’s populace tend to suffer through them rather than being provisioned with artificial heroic triumphs. Many films offer an escape from reality. Citizen Kane confronts us with it. Both types have value but when such an enlightening story is told with so much drive, innovation and passion, it transcends both categories.”

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, Saturday, August 6 at 5 pm PDT.

MGM's 1952 musical Singin' in the Rain was not adapted from a theatrical production, though the film was later turned into one, being first presented on stage in 1983. Its abundant creativity, innovation and driving energy place this film at the top of all cinematic musicals ever produced. Singin' in the Rain has been reviewed as a past Blu-ray selection here and will joyously dance its way onto TCM Sunday, August 7 at 1 pm PDT.

(From left) Donald O'Connor, Debbie Reynolds, Gene Kelly

A film well worth seeing is Network (1976), previously reviewed here. This “mad as hell” exposé of just how far some TV executives will go to exploit for profit, a former news anchor’s severe “on the air” mental breakdown, will itself air on TCM Tuesday, August 9 at 8:45 pm PDT.

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 Thursday, August 11 at 5 pm PDT.

Make way for the rapturous Stanley Donen directed musical Seven Brides for Seven Brothers, reviewed here, Friday, August 12 at 7 pm PDT.

Another musical worth checking out is Guys and Dolls, previously reviewed here. Both will arrive at TCM Saturday, August 13 at 10:45 am PDT.

Immediately following Guys and Dolls, is another film with Marlon Brando that showcases this actor’s creative versatility, 1966's The Chase (reviewed here), happening Saturday, August 13 at 1:30 pm PDT.

John Huston's Reflections in a Golden Eye is a film I have mixed feelings about. The rather strange inhabitants of these southern Gothically-tinged surroundings may remain underdeveloped but the performances from its superbly chosen cast compensate by genuinely conveying their characters' frustrations and desires making this an engrossing film-watching experience. It is a previous TCM recommendation here, and is worth eyeing Saturday, August 13 at 11 pm PDT.

Next, is a cinematic portrait of a powerful historical female leader, Cleopatra (1963), previously reviewed here. Her reign will begin Sunday, August 14 at 12:30 pm PDT.

Just missing out on my list of Top Ten Westerns (in favour of another Bud Boetticher directed/Burt Kennedy scripted film The Tall T) was Ride Lonesome, a highly distinctive and concise story told with a strong sense of purpose and sophistication. This must-see film starring Randolph Scott was previously reviewed here and will arrive on TCM Monday, August 15 at 5 pm PDT.

Another fine western with Randolph Scott, Top Ten Western #4 in fact, will be presented a little later on Monday: Sam Peckinpah's elegiac Ride the High Country, which will ride into TCM territory Monday, August 15 at 8 pm PDT.

Randolph Scott as Gil Westrum (on the left) and Joel McCrea as Steve Judd

The more psychologically disturbing, (than monstrously horrifying) 1941 version of Dr. Jekyll and Mr. Hyde has Spencer Tracy in the title role. This was previously critiqued here. The Dr. will begin his transformation Wednesday, August 17 at 11 pm PDT.

This next hypnotic but terrifying entrancement is a highly expressionistic fable that appears as if conveyed from a child's point of view. "Fairytale noir" is what Film Noir expert Eddie Muller calls it, noted author Preston Neal Jones describes the film as “Mother Goose with goose bumps” and in my review the description reads: “… like a Grimm fairy tale only a whole lot grimmer.” Previously reviewed in Opening Up a Treasure: The Night of the Hunter, this extraordinary tale awaits your interpretation Thursday, August 18 at 7:15 pm PDT.

Next is Strange Cargo which I previously listed as one of my TOP TEN Guilty Treasures. "Strange" is the word for this uneasy but fascinating blend of religious parable, hardened convicts, a test of survival and wisecracking romance. Strange Cargo will dock at TCM Saturday, August 20 at (early morning) 4:30 am PDT.

(From left) Clark Gable, Joan Crawford, Peter Lorre

One of cinema’s most quintessential performances by an actress can be seen in 1947’s Possessed by the film’s star Joan Crawford. Crawford’s thorough commitment is bolstered by the actress, along with the film’s director Curtis Bernhardt, having visited several psychiatric hospitals observing patients and interviewing doctors regarding the script’s authenticity. Possessed is a prior TCM recommendation here, and can be thoroughly absorbed Saturday, August 20 at 8:15 am PDT.

Next up, is a WW II film that can only be defined by its setting. There are just too many dispersed ideas regarding tone and perspective to communicate what kind of film Kelly’s Heroes is, let alone how any of its numerous genre types are successfully represented. Discover for yourself when Kelly’s Heroes (previously reviewed here) arrive at TCM Sunday, August 21 at 2:30 pm PDT.

Viewers who dare to have their imaginations stretched considerably should be rewarded Where Eagles Dare, previously reviewed here and appearing on TCM’s radar Sunday, August 21 at 11:45 pm PDT.

One of Steve McQueen’s most iconic characterisations appears in Bullitt, reviewed here. Bullitt will speed its way onto TCM Wednesday, August 24 at 3 pm PDT.

The caper film first laid its roots in The Asphalt Jungle previously reviewed here. The depth of its characters and their fascinating interactions as the drama builds to a cathartic resolution, is why this film has become one of America's finest cinematic achievements. The 'planning' will start on TCM the morning of Saturday, August 27 at 4:30 am PDT.

(From left) Sterling Hayden, Brad Dexter, Louis Calhern, Sam Jaffe

My next TCM film to see is Fritz Lang’s 1952 Clash by Night which is reviewed as a DVD recommendation at the end of this month’s column. The clash will occur on TCM (updated) Sunday, July 28 (2024) at 1:15 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 Monday, August 29 at 12 pm PDT.

TCM's current monthly schedule can be confirmed by clicking on any of the above TCM related images. For those who live in parts of the U.S. other than the western region, the time zone can be adjusted in the upper right-hand corner of TCM's programme.

This month's Happy Birthday shout-out goes to the talented actor David Paymer who turns 68 on August 30th.

David can be depended upon to provide highly effective characterisations and has done so in countless films including Irreconcilable Differences (1984), No Way Out (1987), City Slickers (1991), Mr. Saturday Night (1992), Searching for Bobby Fischer (1993), Quiz Show (1994, as Dan Enright, a personal favourite), Get Shorty (1995), The American President (1995), Nixon (1995, as Ron Ziegler), City Hall (1996), Amistad (1997, as Secretary John Forsyth), The Hurricane (1999), State and Main (2000), Ocean’s Thirteen (2007), Jack Ryan: Shadow Recruit (2014), and Bad Therapy (2020). He’s also made numerous TV appearances, more recently in The Good Wife (2009-2016), Dave (2020-2021), The Marvelous Mrs. Maisel (2017-2022), and directed episodes of Grey’s Anatomy (2006), The Mentalist (2013), Hart of Dixie (2011-2015), Recovery Road (2016), and Lucifer (2016) among others.

The Soundtrack recommendation for the month is Elmer Bernstein's hauntingly elegant score to director Martin Scorsese's tale of illicit romance The Age of Innocence released in 1993.

I’ve written before about stories of earthly desires taking place in the American South being magnified by their setting alone. Just the opposite affect seems to take hold when those same forbidden feelings are aroused in a much earlier time and place of high society etiquette and posh manners. It would be natural to assume that the restrictive, prim and proper atmosphere accepted by the inhabitants of upper class nineteenth-century New York would have those same stifling results on their ability to express feelings of longing when already committed to another. This inhibitive atmosphere, in turn, influences our ability to relate to just how measurable those internally contained passions are, emotions that, in this world, are likely to come across as “much ado about nothing.”

Which brings me to my overall mixed impression of The Age of Innocence. There’s the faultless recreation of its setting, advanced literary quality to the spoken word, and maturity of direction and performances. These capable qualities should, however, be weighed against the overall narrative’s dramatic ineffectiveness.

One thing is for certain: Elmer Bernstein's binding contribution, from his 'Brahmsian' opening all the way through to its final poignant moments, is truly inspirational, suffusing the director's film with a most becoming emotional sincerity. Bernstein, as much as any character or creative contributor, forms the heart and soul of this motion picture.

The soundtrack can be ordered from Amazon.com by clicking on the accompanying image.

August's DVD recommendation is Fritz Lang's fiery melodrama Clash by Night released in 1952.

On the subject of "Noir or Not", Clash by Night is a tough one. Crime is an essential element. In the U.S. film noir movement first recognised in the 40s crime, in some form or another, was the one inherent subject transitioned over from the predominant so called "gangster" films of the previous decades. The question is: does a crime actually have to be committed in order for a film to be classified as noir? I think not.

Mae Doyle, as played by acting lioness Barbara Stanwyck, has acid running through her veins when returning to her California home town fishing village after a string of romantic disappointments in New York. She’s staying with her brother Joe Doyle (played in a suspicious, unwelcoming fashion by Keith Andes) and is soon courted by Jerry D’Amato, a bear like “salt of the earth” kind of guy (a perfectly cast Paul Douglas). While Mae is attracted to Jerry’s strong stability (he owns a fishing boat) his friend Earl Pfeiffer, a theatre projectionist (Robert Ryan, suitably fervent), vies for her attention and seems better suited for Mae’s pessimistic outlook on life. Trouble is, Jerry likes Earl far too much and is blind to the attraction brewing between Mae and Earl. Mae seems initially repulsed by Earl and accepts Jerry’s marriage proposal. Later, the married couple have a baby girl. The flames of passion that Earl has ignited in Mae, no matter how strongly she tries to deny it, take over and this is where the kindling turns into a noir-like inferno. ***(Spoiler Alert)*** Jerry is so chummy with, and admiring of, his buddy Earl and naively devoted to his wife Mae, when he learns of the pair’s romance and plans to runaway together, he strangles Earl with a rage that could only happen in the film noir universe. No, Jerry stops just short of murdering Earl but his internally harboured motive to do just that is unquestionable and forms the dark criminally related psychological element that distinguishes films noir from the vast majority of their earlier U.S. crime film counterparts. So, returning to the opening question: “yes,” even though no criminal act of substance has occurred, Clash by Night is film noir.

(From left) Paul Douglas, Barbara Stanwyck, Robert Ryan

Mention should be made of Clifford Odets’ ultra distinctive dialogue (Alfred Hayes expertly adapting Odets’ stage play). One would be hard-pressed to find nearly as much unbridled cynicism, words soaked in vitriol of tenacious bite in any one film unless, perhaps, it’s another of the author’s wordy wonderments e.g. 1957’s Sweet Smell of Success. Fritz Lang’s visual aesthetic smoothes out the film’s theatrical origins, furthering its noir attributes by highlighting the narrative’s ambient surrounds, foreboding nature and venomous vibe.

There is also the natural beauty of Marilyn Monroe and Monterey locale to savour (both, by the way, perform their parts superbly) in this film noir treat.

The DVD has been issued by Turner Home Entertainment and can be ordered from Amazon.com by clicking on the image below.

A.G.

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