Witness for the prosecution 1957 - A courtroom drama with suprise twists and shocking climax

IMDB Link
IMDB Rating: 8,5

Director: Billy Wilder
Main Cast: Tyrone Power, Marlene Dietrich, Charles Laughton, Elsa Lanchester

"Witness for the Prosecution is multi-faceted director Billy Wilder's stab at the courtroom genre, and he handles it with aplomb. Reworking Agatha Christie's stage play, based on Christie's own short story, Wilder retools the play in order to develop a humorous subtext in the interplay between the physically fragile defense attorney (Charles Laughton) and his overbearing but well-meaning nurse (real-life wife Elsa Lanchester). Laughton and Lanchaster have great chemistry and give fully realized performances that transcend the limitations of the genre. Wilder also jiggers Marlene Dietrich's role, wife of the accused, to make use of moments from her personal life, particularly the wonderful "Berlin cabaret" flashback sequence. The twists and turns of the plot are allowed to emerge unobtrusively in this methodically paced drama, and while the finale stretches credulity in order to circumvent the inevitable Production Code restrictions, Wilder's film is a completely satisfying experience anchored by a handful of memorable performances, including the last in Tyrone Power's illustrious career.
A delicious Billy Wilder mixture of humor, intrigue and melodrama, Witness for the Prosecution is distinguished by its hand-picked supporting cast: John Williams as the police inspector, Henry Daniell as Robards' law partner, Una O'Connor as the murder victim's stone-deaf maid, Torin Thatcher as the prosecutor, Ruta Lee as a sobbing courtroom spectator, and Elsa Lanchester as Robards' ever-chipper nurse (a role especially written for the film, so that Lanchester could look after Laughton on the set).
The movie was nominated for six Academy Awards, but ran up against David Lean's The Bridge on the River Kwai juggernaut, and was shut out." - www.allmovie.com

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The night of the hunter 1955 - Laughton created a masterpiece of horror

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IMDB Rating: 8,1

Director: Charles Laughton
Main Cast: Robert Mitchum, Shelley Winters, Lillian Gish, James Gleason, Peter Graves

"Actor Charles Laughton directed only one movie during his 36 years in show business, and he certainly made his lone effort memorable; The Night of the Hunter is a strange, chilling, and uniquely compelling work that resembles no other American film of its era. Superbly shot by ace cinematographer Stanley Cortez, the film was obviously influenced by the look of German expressionist cinema, but Cortez and Laughton took the style's visual devices and reshaped them for their own purposes. The result is a film that resembles a reflected dream of childhood, foreign and troubling yet also very beautiful. Laughton drew a stunning performance from Robert Mitchum, who drops his usual veneer of casual cool and becomes disquietingly psychotic man of the cloth Harry Powell; his rapt sermon about the battle between love and hatred, and his murder of his new bride (Shelley Winters), rank with the most powerful and deeply etched moments of Mitchum's career. Legend has it that Laughton, who didn't care for children, instructed Mitchum to direct Billy Chapin and Sally Jane Bruce as the luckless Harper siblings, and, if it's true, Mitchum coaxed a pair of unusually naturalistic and affecting performances from his youthful co-stars, who never play "cute." Lillian Gish is a tower of both strength and compassion as Rachel Cooper, the saintly flip side to Mitchum's dark perversity; in a world where even the most loving and honorable adults have gone astray, Rachel alone offers love and protection without judgment to young people who need it, and Powell's venal, misogynist brutality are no match for her spiritual courage. It's a pity that Laughton never followed up on this remarkable debut; many long and successful careers have been launched by movies not half as impressive as The Night of the Hunter. Overlooked on its first release, The Night of the Hunter is now regarded as a classic." - www.allmovie.com

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The hunchback of Notre Dame 1939 - The best film version of Hugo's classic tale

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IMDB rating: 7,9

Director: William Dieterle
Main Cast: Charles Laughton, Maureen O'Hara, Cedric Hardwicke, Thomas Mitchell, Edmond O'Brien

"Few will argue with the contention that RKO Radio's 1939 adaptation of Victor Hugo's The Hunchback of Notre Dame was the best of the many screen versions of the Hugo classic.
Set in fifteenth century France, The Hunchback of Notre Dame captures the medieval era's tumult, as superstition and prejudice war with progress, both material and intellectual. Church and state unite to attempt to hold back the waves of change sweeping over Europe, as it rides the crest of the Renaissance. Charles Laughton's performance as Quasimodo, the misshapen protagonist, is every bit as moving as Lon Chaney's work in the earlier silent film. Overcoming his physical deformity and status as social outcast, Quasimodo represents all that is most noble and heroic about mankind, while the physically commanding Frollo, a man of immense political and religious power, acts as his morally corrupt and sexually repressed counterpoint. Maureen O'Hara's film debut is also memorable; the passions she inspires in the men around her are wholly believable. The recreation of medieval Paris is an awesome achievement, and the elegance of the production values is indisputable. Director William Dieterle manages a difficult task well, creating a film of both great sweep and remarkable intimacy. The film takes some liberties with the source material, but it captures the essence of Victor Hugo's novel very well. It was nominated for two Academy Awards (music and sound); Laughton's definitive performance was overlooked by the Academy." - www.allmovie.com

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Rembrandt 1936 - A portrait of a genius - by a genius

IMDB link: http://www.imdb.com/title/tt0028167/?ref_=fn_al_tt_3
IMDB rating: 7,1

Director: Alexander Korda
Main Cast: Charles Laughton, Gertrude Lawrence, Elsa Lanchester

"Looking uncannily like the real artist, Charles Laughton makes Rembrandt a memorable motion picture experience. Not that the film is without other assets. The script is literate (a bit too much so in places, bogging down in dialogue when it needs to soar a bit more), although it follows the grand cinema tradition of taking dramatic license with historical fact. And while it is hardly more than a series of vignettes, it does provide Laughton with the requisite big scenes and chances for character delineation. Director Alexander Korda and his cinematographers also do a fine job of giving the film a visual texture that is reminiscent of Rembrandt's work. And the supporting cast, especially marvelous Elsa Lanchester and the rarely-seen (on film) Gertrude Lawrence, are a definite plus. Still, the film rises or falls upon Laughton, and he is up to everything that is required of him. The tortured soulfulness that is underlie so much of Laughton's work - that feeling that there's an angel caught inside a monster's form - is given greater rein here. Laughton also perfectly captures the stubbornness (or determination, depending upon one's point of view), temperament, scorn and tenderness, and he takes full advantage of such showcase pieces as the declamations on the wonder of love and on the foolishness of humans that frame the film. Although the film could have used a more cohesive script, Laughton's performance alone makes it a not-to-be-missed classic." - http://www.allmovie.com/movie/rembrandt-v40892/

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Ruggles of red gap 1935 - McCarey's hilarious and heart-warming comedy

IMDB link: http://www.imdb.com/title/tt0026955/?ref_=fn_al_tt_1
IMDB rating: 7,8

Director: Leo McCarey
Main Cast: Charles Laughton, Mary Boland, Charles Ruggles, Zasu Pitts, Roland Young, Leila Hyams

"Previously filmed in 1918 and 1923, Harry Leon Wilson's novel achieved movie classic status when it was remade by Leo McCarey in 1935. Depression-era comedies don't get much better than this Leo McCarey effort , tailor-made to Charles Laughton's unique brand of deadpan, constipated charm. Ruggles of Red Gap sets up its central conceit at a leisurely pace, installing the title character in his Old West, nouveau riche setting with plenty of time for warm-hearted jabs at the recalcitrant socialite Egbert (played to perfection by the coincidentally named Charlie Ruggles) and his level-headed wife, Effie (Mary Boland). Even love interest ZaSu Pitts has a bumper crop of one-liners and turns of phrase (although her chemistry with the asexual Laughton is dubious at best). The movie gains momentum as the script fortifies Ruggles' backbone for the climactic, crowd-pleasing comeuppance of the picture's true snobs, shoehorns in a couple of high-spirited songs for good measure, and even manages to jerk some genuine tears along the way." - http://www.allmovie.com/movie/ruggles-of-red-gap-v42286/

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Les miserables 1935 - A lavish adaptation of Hugo's oft-filmed novel

IMDB link: http://www.imdb.com/title/tt0026725/
IMDB rating: 7,7

Director: Richard Boleslawski
Main Cast: Fredric March, Charles Laughton, Cedric Hardwicke, Rochelle Hudson, Florence Eldridge, John Beal, Frances Drake

"Les miserables is one of literature's most durable stories, and this 1935 Hollywood studio effort is one of the best of the numerous English-language film versions, featuring Fredric March and Charles Laughton at the height of their powers. Their battle of wills gives the film its emotional texture. Perhaps more than any other actor who has played Inspector Javert, Laughton captures the insanity of a person who holds concrete values even as those beliefs become a barrier to the happiness of both himself and others. Laughton's performance might be better remembered today were it not for his role as the similarly flawed Captain Bligh in Mutiny on the Boutny. Overall, Les Miserables received four Oscar nominations, winning none, and lost the Best Picture award to Bounty." - http://www.allmovie.com/movie/les-miserables-v28995

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Mutiny on the Bounty 1935 - The height of MGM film-making during the Thalberg era

IMDB link: http://www.imdb.com/title/tt0026752/
IMDB rating: 7,9

Director: Frank Lloyd
Main Cast: Charles Laughton, Clark Gable, Franchot Tone

"Filming on location in Tahiti, the studio spent $2 million in production costs, an astounding sum for 1935. Thalberg's boss, Louis B. Mayer, opposed the film, but the production chief prevailed, insisting that the public was fascinated by cruelty. Indeed, Charles Laughton's Captain Bligh is among the screen's most despicable villains, never mind that the historic Captain Bligh was a substantially more complex person, and the heroic Fletcher Christian (Clark Gable) of the film is hardly the Fletcher Christian of history who kidnapped Tahitian natives and forced them to work as slaves for his mutineers. Mutiny on the Bounty holds up well as a grand tale of adventure, beautifully filmed, with charismatic lead performances and the quality of production that made Thalberg's work legendary. It is a rarity in Academy Awards history: a Best Picture winner that won only that one Oscar. The bigger winner for the night was John Ford's The informer, which took four Oscars, all at Bounty's expense." - http://www.allmovie.com/movie/mutiny-on-the-bounty-v33980

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The Barretts of Wimpole Street 1934 - An appealing costume drama of Hollywood's golden age

IMDB link: http://www.imdb.com/title/tt0024865/?ref_=fn_al_tt_1
IMDB ratings: 7,1

Director: Sidney Franklin
Main Cast: Norma Shearer, Fredric March, Charles Laughton, Maureen O'Sullivan

"No studio other than MGM would have dared to mount such a sumptuous production of Rudolph Besier's highly flowery and romanticized 1930 play about the clandestine courtship and eventual marriage of poets Elizabeth Barrett (Norma Shearer) and Robert Browning (Fredric March). And only MGM employed a producer with enough taste, patience and eye for details like Irving Thalberg, who quite fortuitously substituted his exquisite wife, Shearer, for the studio's original choice to play Elizabeth, the highly unsuitable Marion Davies. The result is a surprisingly entertaining and quite cinematic version of a rather static play, teeming with the kind of supporting performances that became the trademark of Thalberg's brief reign as Hollywood's wunderkind. Here is a very young Maureen O'Sullivan as Henrietta Browning, bubbling with teenaged enthusiasm in spite of her dreary existence; stage actress Marion Clayton as the fluttery, lisping cousin Bella; Ian Wolfe as Bella's foppish intended ('Come, come, dear pet!'); and the amazing Una O'Connor as Elizabeth's maid and confidante Wilson, all but levitating across a room in humble servility. And towering above them all is Charles Laughton's manipulative, nearly incestuous Edward Moulton-Barrett. Borrowed for the occasion from Paramount, Laughton is never allowed to indulge in his usual scenery-chewing and Barrett remains among the very best of his early Hollywood performances.
Director Sidney A. Franklin also helmed a remake of The Barretts of Wimpole Street (1957); it was his last film." - http://www.allmovie.com/movie/the-barretts-of-wimpole-street-v3998

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The private life of Henry VIII. 1933 - The movie that put British cinema on the map

IMDB link: http://www.imdb.com/title/tt0024473/
IMDB rating: 7,3

Director: Alexander Korda
Main Cast: Charles Laughton, Robert Donat, Merle Oberon, Wendy Barrie, Elsa Lanchester, Binnie Barnes

"Charles Laughton became an international star by chewing both mutton and scenes in his Oscar-winning turn as King Henry VIII. Alexander Korda's British super-production also put the British cinema on the map, which, until this film, received precious little respect in the international film community. The film, with tongue planted firmly in cheek, details the private life of the famous British monarch.
Laughton's Oscar-winning performance as Henry VIII rises above the stuffy limitations of the period piece to give us a portrait as rounded and exuberant as any on film. Laughton is well-supported by fine actresses as his wives, particularly Wendy Barry as the doomed Jane Seymour and Merle Oberon as the dim but delightful Anne Boleyn. Director Alexander Korda is the chief beneficiary of Laughton's larger-than-life performance, as his conservative helmsmanship fails to provide the film with a distinctly personal stamp. However, the sensual gusto in the scenes of Henry's indulgences is enthusiastically presented, and Korda deserves credit for giving us a very human portrait of this controversial figure. The film also benefits from some insidious dialogue by Arthur Wimperis (based on the story by Lajos Biro) that punctures the pomp of the English costume drama with tongue-in-cheek humor. Particularly entertaining are the exchanges between Henry and his prospective and coquettish wives (and mistresses), while some of the minor characters deliver wickedly insightful social criticism directed more at the state of the world's economy in 1933 than at the film's period." - http://www.allmovie.com/movie/the-private-life-of-henry-viii-v39313

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The old dark house 1932 - A dark, gothic, one-of-a-kind macabre comedy

IMDB link: http://www.imdb.com/title/tt0023293/
IMDB rating: 7,4

Director: James Whale
Main Cast: Boris Karloff, Melvyn Douglas, Charles Laughton, Gloria Stuart, Raymond Massey

"Although little seen since its original release, The Old Dark House had by the 1960s attained a grail-like status among fans of director James Whale, whose beloved Universal horror films included Frankenstein (1931), The Invisible Man (1933), and The Bride of Frankenstein (1935). The least successful of this quartet of fright classics, The Old Dark House came to be reconsidered a cult gem, part of the renewal of interest in Whale's talents many years after his creative peak. Whale's protégé and friend Curtis Harrington, who went on to become a director in his own right, rescued The Old Dark House from oblivion in 1968, after it had languished on Universal's shelves. Harrington repeatedly asked the studio to locate the negative, then convinced Kodak's Eastman House to finance the creation of a new duplicate negative of the unsalvageable first reel. Without his intervention, The Old Dark House would probably not have survived in any form. Harrington's heroics complete, The Old Dark House was seen once again in its original form after many years of speculation based on recollections of those who had seen the original, some beautiful set stills that had become popular collectibles, and European critics who had viewed post-WWII prints. Predictably, some Whale fans were disappointed in the film's scant thrills and chills. The story, based on the novel Benighted by J.B. Priestley, indeed lacked the shocks and scares of Whale's three other horror standards, eschewing the fantastic for more psychological suspense. Nevertheless, The Old Dark House contained all the other essential ingredients of the director's style, including moody shot compositions, mocking humor, witty dialogue, and sly hints of sexuality. Critics hailed it as one of Whale's gothic masterpieces, and The Old Dark House rightly took its place among the director's best-regarded titles." - http://www.allmovie.com/movie/the-old-dark-house-v36123

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Island of lost souls 1932 - A taboo-flaunting, blood-curdling spectacular

IMDB link: http://www.imdb.com/title/tt0024188/?ref_=nv_sr_1
IMDB rating: 7,6

Director: Erle C. Kenton
Main Cast: Charles Laughton, Richard Arlen, Leila Hyams, Bela Lugosi, Kathleen Burke

"This first film version of H.G. Wells' Island of Dr. Moreau stars Charles Laughton as Dr.Moreau, a dedicated but sadly misguided scientist who rules the roost on a remote island. The Island of Lost Souls is that rarity, a horror film from the 1930s that still seems scary. While it may seem a bit creaky by contemporary standards, the film has retained its raw power to unnerve, thanks largely to Charles Laughton, who brings a vivid, sweaty amorality to his performance that's truly disturbing; lots of mad scientists in the movies have played God, but few made it seem more morally repugnant than Laughton. Make-up man Wally Westmore's creations genuinely resemble a grotesque middle ground between humans and animals; if make-up technique has improved considerably since this film was made, the crudity of the effects actually works in this context, giving Moreau's creations a rough, unpolished quality that suits the story perfectly. And while the film is extremely modest in its onscreen violence, the offscreen mutilations are quite shocking in context; the hideously pained overheard screams of Moreau's 'manimals' (and later Moreau himself) are as chillingly effective as a hundred Tom Savini-designed limb-loppings. In its day, The Island of Lost Souls was considered a film that went too far (it was banned in England until the late 1960s), and its rough audacity gives it a power that hasn't dulled all these years later; it's inarguably superior to its latter-day remakes, both titled The Island of Dr. Moreau, after the H.G. Wells novel on which the films were based." - http://www.allmovie.com/movie/island-of-lost-souls-v25463

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