Bad movie I have TMC Greatest Classic Legends Marlon Brando It has A Streetcar Named Desire 1951, Julius Caesar 1953, The Teahouse of the August Moon 1956, and Reflecctions in a Golden Eye 1967
Edgar Allan Poe is credited with creating the American detective story, so putting him in a mystery-thriller would seem a natural idea. Right? Not judging by Fletcher Markle’s THE MAN WITH A CLOAK (1951, TCM). Joseph Cotten stars as a hard-drinking poet who calls himself Dupin and gets involved in the fight over dying expatriate Frenchman Louis Calhern’s will. Did he leave everything to his shady lady housekeeper, Barbara Stanwyck, or to the grandson who sent his fiancée (Leslie Caron) to beg for his support of the Second French Republic? The mystery is hardly as complicated as those in “The Murders in the Rue Morgue” or “The Purloined Letter,” and yet it still seems a leap when Cotten figures it out. But then, the whole film makes little sense. Why does Calhern plan to kill himself when he’s dying anyway? Why does Stanwyck flirt with Cotten? Does she think he can help her secure the inheritance? Is she attracted to him? Is she jealous of his friendship with Caron? Why has nobody in 1848 heard of Poe when he was already famous for his poetry and short stories? How can Cotton drink constantly and never get drunk? Why does the film treat the revelation of Cotton’s identity as a shock when anybody with a high-school education at the time would have known who he was within 20 minutes? Why did the studio and good actors look at this script and say, “This seems like a great idea?” Calhern, in a role offered to Lionel Barrymore, and Margaret Wycherly, as the cackling cook, come off best. They just disregard all the idiocy and have a high time nibbling on the scenery. Stanwyck and Jim Backus, as a friendly tavern keeper, manage to make the faux poetic dialog almost sound good, and she has a charming moment flirting with Cotton as she lip synchs a song. The music, by David Raksin, is both wonderful and far ahead of its time. If I were you, I’d skip the movie and pick up the soundtrack.
The Red Pony by LewisMilestone starring #RobertMItchum and #MyrnaLoy, "Every frame is a work of Technicolor beauty in this charmer"
LEWIS MILESTONE
Bil’s rating (out of 5): BBBB
USA, 1949. Republic Pictures, Lewis Milestone Productions, Chas. K. Feldman Group Productions Inc.. Screenplay by John Steinbeck, based on his novel. Cinematography by Tony Gaudio. Produced by Lewis Milestone. Music by Aaron Copland. Production Design by Nicolai Remisoff. Costume Design by Adele Palmer. Film Editing by Harry Keller.
This genuinely…
Jetzt haben wir offesichtlich all die Jahre nie High Society angeschaut, wohl weil ich vor allem in Erinnerung hatte, daß die Leute verglichen mit denen in der berühmten Nicht-Musical-Vorlage The Philadelphia Story allesamt etwas schwungarm daherhekommen (hier gibt es einige Bemerkungen dazu, anlässlich der Bühnenshow). Das stimmt auch durchaus, aber in der richtigen Verfassung, in der wir uns offensichtlich befanden, sind sie irgendwie auch alle ganz niedlich. Champagner hilft.
I'm in an interesting house. Handsomely upholstered in margue, with an old and dying reprobate as master, butler like a professional wrestler, and his housekeeper, she was once the toast of an era.
The Man with a Cloak - Fletcher Markle (1951)