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 killing 1956 - A lastingly influential early Kubrick movie

IMDB Link
IMDB Rating: 8,1

Director: Stanley Kubrick
Main Cast: Sterling Hayden, Coleen Gray, Vince Edwards, Jay C. Flippen, Ted de Corsia, Marie Windsor, Elisha Cook Jr.

"Stanley Kubrick's third feature showed that he was no ordinary director, as he dispensed with traditional time structure to detail the planning and execution of a racetrack heist gone wrong. Combining a non-linear story with a unifying, matter-of-fact voice-over narration, Kubrick constructed an intricate yet lucid cinematic puzzle that shifted back and forth both in time and among the central characters, revealing the personal stakes for each participant by following their individual actions leading up to the fateful seventh race. Johnny the leader thinks he has it all under control, but, in true Kubrick fashion, his plan is not immune to human failure. While the fractured time frame and use of long takes and tracking shots signaled Kubrick's stylistic break from classical form, the sharp black-and-white photography, Marie Windsor's insidious femme fatale, and Sterling Hayden's doomed Johnny place The Killing in the mode of 1940s/1950s film noir. His first film made on a reasonable budget and with an established cast of pros, The Killing caught critics' attention and established Kubrick as a director to watch, especially for such future cinematic time-tricksters as Quentin Tarantino.  The Killing is based on the novel Clean Break by Lionel White." - www.allmovie.com

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Du rififi chez les hommes (Rififi) 1955 - An instant commercial success in Paris and worldwide

IMDB Link
IMDB Rating: 8,2

Director: Jules Dassin
Main Cast: Jean Servais, Carl Möhner, Robert Manuel, Janine Darcey

"Jules Dassin - in his second European film after being driven out of the United States during the years of the house Un-American Activities Committee hearings - directed this landmark caper film about the planning and execution of a nighttime robbery at a swanky English jewelry shop in the Rue de Rivoli. The pinnacle of heist movies, Dassin's Du Rififi Chez Les Hommes (1955) is not only one of the best French noirs, but one of the top movies in the genre. Crafting an archetypal noir story about how human weakness can sabotage the best-laid plans, Dassin masterfully emphasizes the skill and nerve-shredding delicacy that it takes for the central band of thieves to execute those intricate plans (without making a sound) in the classic half-hour heist sequence. The air of seediness and inevitable doom that lingers over the proceedings - shot on location in Paris - adds an existential weight to the suspense, turning Rififi into more than just a caper. Though Rififi's all-too-clear primer on how to rob a jewelry store and its then-excessive violence and decadence got the film in trouble in some countries, Rififi became an oft-imitated international hit and Cannes prizewinner for Dassin's direction. Barely seen in the U.S. since its original release, Rififi was restored to its full 35 mm visual glory in 2000, complete with new, more explicit subtitles (done in collaboration with Dassin) and a translation of the title song." - www.allmovie.com

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Kiss me deadly 1955 - A terrific film noir with the famously enigmatic ending

IMDB Link
IMDB Rating: 7,7

Director: Robert Aldrich
Main Cast: Ralph Meeker, Albert Dekker, Paul Stewart, Juano Hernandez, Wesley Addy, Marian Carr

"Regarded by many critics as the ultimate film noir, and by many more as the finest movie adaptation of a book by Mickey Spillane, Kiss Me Deadly stars Ralph Meeker as Spillane's anti-social private eye Mike Hammer in the ultimate Cold War paranoia investigation. With macho 'bedroom dick' Hammer using any violence necessary, this darkest of 1950s films noirs sends him on a search for the 'Great Whatsit', an ominously incandescent box encompassing America's nuclear nightmares, as well as man's deepest fears about unpredictably explosive female potency. Starring Ralph Meeker as the brutal Hammer, Kiss Me Deadly is shot through with Aldrich's anarchic sensibility, from Cloris Leachman's desperate opening run along a pitch-black road to the final apocalyptic conflagration. While the film was dismissed by U.S. reviewers, the French Cahiers du cinéma critics praised Kiss Me Deadly's hysterically expressionist style and singular power, as then-critic François Truffaut declared Aldrich the revelation of 1955. Later rediscovered by American film buffs, Kiss Me Deadly has since assumed its rightful place in the film noir pantheon, and films from Alex Cox's Repo Man (1984) to Quentin Tarantino's Pulp Fiction (1994) have paid homage to that evocatively glowing container. The apocalyptic climax is doubly devastating because we're never quite certain if Hammer survives (he doesn't narrate the story, as was the case in most Mike Hammer films and TV shows). Director Robert Aldrich and scriptwriter Jack Moffit transcend Kiss Me Deadly's basic genre trappings to produce a one-of-a-kind melodrama for the nuclear age. The 1998 restoration returned the final minute-and-a-half of footage to 35mm prints, dramatically altering the film's conclusion." - www.allmovie.com

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The ladykillers 1955 - Brilliant early black comedy

IMDB Link
IMDB Rating: 7,9

Director: Alexander Mackendrick
Main Cast: Alec Guinness, Peter Sellers, Cecil Parker, Herbert Lom, Danny Green, Katie Johnson

"It is almost impossible to find fault with any aspect of this film, from its opening shot of Mrs. Wilberforce's house at the dead end of a city street overlooking a train yard to the same closing shot. William Rose's script economically sketches the slightly lopsided world of a little old lady seemingly oblivious to anything complex or sophisticated, as Mrs. Wilberforce makes her way through her neighborhood to the police station, where her visits to report strange activities are quite well-known. Rose takes us quickly through the heist, and at the film's halfway point, the story turns on the discovery by Mrs. W. of the money inside the cello case. For all their bravado, however, the gang of robbers who would menace her are nearly as harmless as their intended victim. None of them relish the idea that Mrs. W. cannot live to report them to the police. They would do anything - even turn on each other - rather than bump off the only person who can finger them. Alexander Mackendrick's direction is remarkably restrained; the slapstick moments are believably set up and executed with finesse. Nothing feels frantic here, right down to the amazing choreography of bodies falling off the railroad bridge in the last act. Alec Guinness, playing a man who understands all too well how the 'human element' is the only variable in any master plan, and Katie Johnson, as a woman who is both sweet and determined, both carry the film; the looks that pass between Prof. Marcus and Mrs. Wilberforce when she realizes the truth about him and his friends are eloquent beyond description. Peter Sellers fans may be disappointed that he's not given more to do here, though it is amusing to watch him and Herbert Lom, future adversarial colleagues in the Pink Panther comedies, working together. The Ladykillers won an Oscar nomination for William Rose's screenplay, and a BFA award for veteran character actress Johnson." - www.allmovie.com

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On the waterfront 1954 - "I coulda been a contender. I coulda been somebody"

IMDB Link
IMDB Rating: 8,3

Director: Elia Kazan
Main Cast: Marlon Brando, Karl Malden, Lee J. Cobb, Rod Steiger, Eva Marie Saint

"Arguably the best movie ever released by Columbia Pictures and among the finest movies ever made in America, On the Waterfront's reputation has only grown across the decades since its release. Based on a series of articles about corruption on the New York/New Jersey docks, with a story and screenplay by Budd Schulberg (who also wrote a novel, Waterfront, to tell the story without the compromises necessary for the screenplay), the movie - directed by Elia Kazan - retains the feel of truth from the first frame to the last, down to the smallest nuances of the supporting players.
The acting in On the Waterfront has the aura of truth, and the decision to shoot on location in northern New Jersey gave the film the immediacy and realism of a documentary. Into that mix goes Leonard Bernstein's music (his only film score), which anticipates elements of West Side Story and, in its editing and mixing into the audio track, imparts a very subtle operatic quality to the otherwise hyper-realistic film. Just check out the interaction of the visuals and the music in the scene depicting the fight at the morning shape-up, especially the build up to the horn flourish at the moment when Terry's friend points out that he's fighting with Joey Doyle's sister. The film is an extraordinary mix of elements both coarse and refined - harsh realism and art at its most quietly elegant - in a coherent and compelling whole that still holds up more than a half century later.
Featuring Brando's famous 'I coulda been a contendah' speech, On the Waterfront has often been seen as an allegory of 'naming names' against suspected Communists during the anti-Communist investigations of the 1950s. Director Elia Kazan famously informed on suspected Communists before a government committee - unlike many of his colleagues, some of whom went to prison for refusing to 'name names' and many more of whom were blacklisted from working in the film industry for many years to come - and Budd Schulberg's screenplay has often been read as an elaborate defense of the informer's position.
On the Waterfront won Oscars for Best Picture, Best Director, Best Adapted Screenplay, Best Actor for Brando, Best Supporting Actress for Saint, Best Cinematography, Best Art Direction, and Best Editing." - www.allmovie.com

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Los olvidados (The young and the damned) 1950 - Gritty realism in the world of juvenile delinquents

IMDB Link
IMDB rating: 8,1

Director: Luis Bunuel
Main Cast: Estela Inda, Miguel Inclan, Alfonso Mejia, Roberto Cobo, Alma Delia Fuentes

"The winner of two Cannes Film Festival awards, Luis Buñuel's Los Olvidados (aka The Forgotten Ones and The Young and the Damned) was the director's first international box-office success. Yet Buñuel showed no signs of curbing the outrageous iconoclasm that made him famous in Europe and South America; one of the more lasting images of the film is the clash-of-cultures shot of a glistening new skyscraper rising above the squalid slums of Mexico City. The story concerns a gang of juvenile delinquents, whose sole redeeming quality is their apparent devotion to one another. Part of the film's perverse fascination is watching Buñuel's street punks cause misery to those less fortunate. The audience immediately identifies with Pedro (Alfonso Mejía), the youngest gang member, who evinces a spark of decency; yet Pedro, like the others, remains a victim of circumstances far beyond his control.Throughout, Buñuel maintains an objective tone; it is our responsibility, not his, to judge the gang members. In Buñuel's universe, mothers turn their backs on their sons and sleep with their friends, blind beggars play sexual games with young girls, wealthy men proposition young boys, and cripples are so venomous that one feels little or no sympathy for them when they're attacked. The film's sole compassionate adult, the warden of a juvenile home, is decent and caring but ineffectual, an easily surmounted obstacle to the corruption of the outside world.
Seasoned with haunting dream sequences, Los Olvidados was the opening volley in what would turn out to be Buñuel's most creative period." - www.allmovie.com

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Rashomon 1950 - A highly influential world-cinema masterpiece

IMDB Link
IMDB rating: 8,4

Director: Akira Kurosawa
Main Cast: Toshiro Mifune, Machiko Kyo, Masayuki Mori, Takashi Shimura

"Rashomon's winning the Golden Lion in the 1951 Venice Film Festival is one of the key events of world cinema. Not only did it establish director Akira Kurosawa as one of the masters of the medium, but it compelled European and American audiences to look seriously at non-Western cinemas. Without Rashomon, the international critical successes of Kenji Mizoguchi, Satyajit Ray, and others are difficult to imagine. The film's structure, which replays the same event though different characters' eyes, layers ambiguity atop ambiguity. The film comes precariously close to nihilism - the denial of all objective truth and the utter senselessness of existence. Yet Kurosawa pulls back from the abyss in the film's final moments. Though most of Rashomon is adapted from two short stories by famously misanthropic Japanese author Ryunosuke Akutagawa, Kurosawa himself penned the final sequence, an elegant summation of his signature humanism. The truth may be inscrutable, even unknowable, Kurosawa argues, but hope and compassion remain. This vision struck a chord in European audiences for whom the horrors of war were still fresh and the existentialist philosophies of Jean-Paul Sartre and Albert Camus were gaining popularity. Kurosawa's dynamic editing and swaggering camerawork seemed vibrant and sophisticated for a national cinema thought at the time to be second-rate, and the film proved influential to several generations of filmmakers. Ingmar Bergman included a sequence in The Virgin Spring (1960) strongly reminiscent of the film's most memorable sequences - the woodcutter's walk through the forest - and Alain Resnais acknowledged Rashomon's influence on the bold plot structure and existential content of his art-house classic Last Year at Marienbad (1961). In both artistic achievement and historical importance, Rashomon remains one of the masterpieces of cinema." - www.allmovie.com

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Strangers on a train 1951 - Compelling and stunning thriller masterpiece

IMDB Link
IMDB rating: 8,1

Director: Alfred Hitchcock
Main Cast: Farley Granger, Ruth Roman, Robert Walker, Leo G. Carroll, Patricia Hitchcock

"From the opening shots of two pairs of shoes walking, two train tracks crisscrossing, and those shoes accidentally bumping toes, Alfred Hitchcock's Strangers on a Train explores one of his signature concerns: the coexistence of good and evil in one person. In a story adapted from Patricia Highsmith's novel and structured through a series of doublings, Robert Walker's Bruno becomes the flamboyant homicidal id to Farley Granger's stiff arriviste Guy, obliging Guy's desire to eliminate his wife and expecting Guy to return the favor with Bruno's father. After the murder, dreamily reflected in a pair of eyeglasses, Bruno haunts Guy, menacingly popping into Guy's life in Washington and on the tennis court. Yet, with Walker's charisma and Granger's weakness, Bruno is the more charming figure, revealing the appeal of moral chaos even as that chaos must be punished. Hitchcock's persistent pairs - shoes, train tracks, crossed tennis racquets on Guy's lighter, two fateful carnival trips, two bespectacled women - point to the ineffable connection between Bruno and Guy, and the (literally) dark psychosis that lurks beneath everyone's bright, well-ordered surface. A popular success, Strangers on a Train was Hitchcock's return to form after several failures." - www.allmovie.com

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Gun crazy 1950 - One of the most fascinating and thought-provoking crime films of its era.

IMDB Link
IMDB rating: 7,8

Director: Joseph H. Lewis
Main Cast: Peggy Cummins, John Dall

"The definitive Joseph H. Lewis-directed melodrama, Gun Crazy is the 'Bonnie and Clyde' story retooled for the disillusioned postwar generation.
John Dall plays a timorous, emotionally disturbed World War II veteran who has had a lifelong fixation with guns. He meets a kindred spirit in carnival sharpshooter Peggy Cummins, who is equally disturbed - but a lot smarter, and hence a lot more dangerous. Beyond their physical attraction to one another, both Dall and Cummins are obsessed with firearms. They embark on a crime spree, with Cummins as the brains and Dall as the trigger man lacking the courage to kill. As they dance their last dance before dying in a hail of police bullets, the audience is half hoping that somehow they'll escape the Inevitable.
The best and most talked-about scene in Gun Crazy is the bank robbery sequence, shot in 'real time' from the back seat of Dall and Cummins' getaway car. Originally slated for Monogram release, Gun Crazy enjoyed a wider exposure when its producers, the enterprising King Brothers, chose United Artists as the distributor. The film was based on a magazine article by MacKinlay Kantor; one of the scenarists was uncredited blacklistee Dalton Trumbo." - www.allmovie.com

Download links:

(720p Blu-Ray rip, 3 GB)

http://rapidgator.net/file/a1498450d44506127cf6c6638567715a

OR:

(Blu-Ray rip, 700 MB)

http://rapidgator.net/file/3dbc8eb8d56c99ab157997b6e31e16e6

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The asphalt jungle 1950 - The 'perfect' crime and its consequences

IMDB Link
IMDB rating: 7,9

Director: John Huston
Main Cast: Sterling Hayden, Louis Calhern, Jean Hagen, James Whitmore, Sam Jaffe, John McIntire, Mark Lawrence, Marilyn Monroe

"The Asphalt Jungle is a brilliantly conceived and executed anatomy of a crime - or, as director John Huston and scripter Ben Maddow put it: 'a left-handed form of human endeavor'.
Recently paroled master criminal Erwin 'Doc' Riedenschneider (Sam Jaffe), with funding from crooked attorney Emmerich (Louis Calhern), gathers several crooks together in Cincinnati for a Big Caper. Among those involved are Dix (Sterling Hayden), an impoverished hood who sees the upcoming jewel heist as a means to finance his dream of owning a horse farm. Hunch-backed cafe owner (James Whitmore) is hired on to be the driver for the heist; professional safecracker Louis Ciavelli (Anthony Caruso) assembles the tools of his trade; and a bookie (Marc Lawrence) acts as Emmerich's go-between. The robbery is pulled off successfully, but an alert night watchman shoots Ciavelli. Corrupt cop (Barry Kelley), angry that his 'patsy' (Lawrence) didn't let him in on the caper, beats the bookie into confessing and fingering the other criminals involved. From this point on, the meticulously planned crime falls apart with the inevitability of a Greek tragedy.
Way down on the cast list is Marilyn Monroe in her star-making bit as Emmerich's sexy 'niece'; whenever The Asphalt Jungle would be reissued, Monroe is prominently in the print ads as one of the stars. The Asphalt Jungle was based on a novel by the prolific W.R. Burnett, who also wrote Little Caesar." - www.allmovie.com

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Night and the city 1950 - There's no escape from your own trap

IMDB Link
IMDB rating: 8,0

Director: Jules Dassin
Main Cast: Richard Widmark, Gene Tierney, Googie Withers, Hugh Marlowe, Francis L. Sullivan

"An adaptation of Gerald Kersh's similarly grim source novel, Jules Dassin's Night and the City opens with cheap grifter Harry Fabian (Richard Widmark) running for his life through the streets of London. Harry wants to be big-time, and he does not care how he raises cash for his schemes. Like a junkie, he uses and steals from his girlfriend Mary (Gene Tierney), a singer at the Silver Fox, a seedy nightclub owned by the physically grotesque Phil Nosseross Francis L. Sullivan. Harry, who also works for Phil steering unsuspecting customers to the club, comes up with a plan to wrest control of professional wrestling from promoter and underworld kingpin Kristo (Herbert Lom) by manipulating Kristo through his father, retired wrestling great Gregorius (Stanislaus Zbyszko). For financial backing, Harry turns to Phil and Phil's wife Helen Googie Withers, both of whom give him the money, but only to further their own ends. When Gregorius is accidentally killed by his protege's upcoming opponent, Strangler (Mike Mazurki), and Phil realizes that Helen is leaving him for Harry, the scheme quickly unravels. Truly a glimpse of hell, Night and the City's distorted visuals and dark symbolism depict an underworld from which there is no escape and in which redemption comes at a very high price.
Director Jules Dassin, forced to leave Hollywood because of the 1950s blacklist, effectively uses his London setting to create an urban nightmare. The film is dominated by its downbeat ambience and the moral ambiguity of its characters. There is a protagonist, but he is neither a hero nor an anti-hero. As might have been expected, the film did poorly in its initial US theatrical release. The performances are consistently strong, particularly the lead performance of Richard Widmark. While never greatly popular with audiences, Night and the City presages such intense urban films as Taxi Driver and Seven; the star of the former, Robert De Niro, also starred in a subsequent remake of Night and the City." - www.allmovie.com

Download links:

(480p Blu-Ray, mkv, 629 MB) -

http://www.filefactory.com/file/6nn61ead4twz/ 

Or:

(720p Blu-Ray, 1GB) -

http://uploaded.net/file/3ewz7mf8/Night_and_the_City_1950_720p_BluRay_x264_x0r.part1.rar
http://uploaded.net/file/ada6oibh/Night_and_the_City_1950_720p_BluRay_x264_x0r.part2.rar

Nora inu (Stray dog) 1949 - A stunning piece of international film noir

IMDB Link
IMDB rating: 7,8

Director: Akira Kurosawa
Main Cast: Toshiro Mifune, Takashi Shimura, Keiko Awaji, Eiko Miyoshi

"In his third film with Kurosawa, Toshiro Mifune plays young police detective Murakami. One summer day on a crowded bus in Tokyo, his gun is stolen by a pickpocket. Rather than face the shame of reporting his gun missing, he chooses to go out and find it himself (there were not many weapons on the streets of Tokyo immediately following WWII). While trying to locate the gun, he discovers an entire criminal underworld. He is eventually helped on his journey by superior officer Sato (Takashi Shimura), who seems to suggest that the young detective is indulging in his own criminal desires. The search becomes even more desperate when Murakami finds out that his gun has been used in several crimes, including murder. He then develops an obsession with finding both the gun and the killer." - www.allmovie.com

Download links:

http://uploaded.net/file/or5xsabo/Str.Dg.1949.BRRip.480p.TBD.part1.rar 
http://uploaded.net/file/fs4tgy9h/Str.Dg.1949.BRRip.480p.TBD.part2.rar 
http://uploaded.net/file/18fm68mp/Str.Dg.1949.BRRip.480p.TBD.part3.rar 
http://uploaded.net/file/arxp7ccm/Str.Dg.1949.BRRip.480p.TBD.part4.rar

Quai des orfevres (Jenny Lamour) 1947 - A great comeback for Clouzot

IMDB Link
IMDB rating: 7,6

Director: Henri-Georges Clouzot
Main Cast: Louis Jouvet, Simone Renant, Bernard Blier, Suzy Delair

"Following a three-year suspension from filmmaking after his Le Corbeau (1943) was judged too critical of his native France, director Henri-Georges Clouzot returned with this thriller that's equal parts crime drama and character study.
Suzy Delair stars as Jenny Lamour, an ambitious music hall singer who wants to be a star and is willing to befriend the lecherous old men who ogle her act, inspiring the jealousy of Jenny's husband Maurice Martineau (Bernard Blier). One particular fan of Jenny's is a wealthy financial backer who extends repeated invitations to the entertainer to join him at fine restaurants and his expansive mansion. Armed with a gun, Maurice goes to the estate to confront his rival one night but discovers that the master of the house is already dead, his wife having smashed a bottle of champagne over his head to stave off a sexual advance. Soon, a gruff but dedicated detective, Inspector Antoine (Louis Jouvet) is on the case, with Maurice taking the heat for Jenny." - www.allmovie.com

DVD links:

White heat 1949 - "Made it, Ma! Top of the world!"

IMDB Link
IMDB rating: 8,2

Director: Raoul Walsh
Main Cast: James Cagney, Virginia Mayo, Edmond O'Brien, Margaret Wycherly

"James Cagney made his name on screen as a criminal, and he gave his last truly great outlaw performance in White Heat, which may well be the most intelligent and striking work of his career. While Cagney always knew how to lend his characters a charismatic menace, his Cody Jarrett in White Heat is both menacing and uncomfortably bizarre. Given to strange semi-epileptic seizures, sudden bursts of horrible violence, and a bizarre attachment to his mother that stops just short of incest, Cody represents the criminal as head case, at once fascinating and disturbingly unstable. Cagney manages to lend Cody just enough of his traditional tough-talking, wise guy veneer that he seems like a conventional screen criminal at first, but it doesn't take long for Cody to reveal himself as a full-blown psychotic, and the perversely self-immolating 'Made it, Ma! Top of the world!' finale is only the most spectacular symptom of his madness. Raoul Walsh's direction is hardly as audacious as Cagney's performance, but it is crisp, efficient, and briskly paced, and in a way Cagney's portrayal may well be all the more effective in this context. While White Heat's narrative often seems like the traditional story of a charismatic bad guy who will be forced to pay for his crimes in the last reel, it instead houses a different and most puzzling sort of villain, who paved the way for the stranger, more brutal outlaws who would dominate crime cinema in the 1960s and 1970s." - www.allmovie.com

DVD links:

Kind hearts and coronets 1949 - An elegant black comedy with bravura performances

IMDB Link
IMDB rating: 8,2

Director: Robert Hamer
Main Cast: Alec Guinness, Dennis Price, Valerie Hobson, Joan Greenwood

"Kind Hearts and Coronets is an elegant black comedy that is perhaps too much remembered for the gimmick of having Alec Guinness play eight different murder victims and too little remembered for the fine performance of Dennis Price as the murderer. One of several comedy classics of the post-WWII era from Ealing Studios, the film is both ironic and bitingly funny. While the ending of the British version leads the audience to believe that Price will escape punishment for his crimes, American censors insisted that the criminal had to be punished for U.S. distribution, and so a less amusing ending was tacked on for the benefit of overly sensitive Yanks. Also of note is Joan Greenwood's performance as the murderer's childhood friend Sibella. Ealing was often an underfunded studio, so the production values are modest, though adequate. If there is an area in which the tech credits shine, it is the make-up and costuming of Guinness." - www.allmovie.com

DVD links:

Oliver Twist 1948 - Dickens and Lean: Triumphant combination

IMDB Link
IMDB rating: 7,8

Director: David Lean
Main Cast: John Howard Davies, Robert Newton, Alec Guinness, Kay Walsh, Anthony Newley

"David Lean's ambitious interpretation of this Charles Dickens classic is a powerful but flawed film. Guy Green's hyaline cinematography dominates the picture from its opening shots of a terrified young woman stumbling around in a stormy heath to its closing scenes of mob violence. His camera is perched above the characters, implying moral superiority to the many flawed characters, while making the ever-vulnerable Oliver look cowed and beaten. The turbulent world of mid-19th century London, with its incessant hustle and bustle of human industry, is recreated so carefully that the vibrant set designs almost overshadow the memorable characters that roam these streets. A smorgasbord of urban decay, social disorder, and class conflict imbues the film with a potent sensuality, as both natural elements and human architecture conspire to consume the disadvantaged. An unrecognisable Alec Guinness, endowed with pounds of prosthetics to mask his youthful vigour, creates a sympathetic Fagin out of a potentially racist caricature. Robert Newton's Mephistophelean Bill Sikes is exemplary, particularly in the scene in which he brutally murders Nancy then sits in tortured and hysterical contemplation of the deed. Dickens' faith in the human spirit is well-depicted in Oliver's ability to survive despite the cruelty of this unjust world. Both Dickens when he wrote the novel and Lean when he filmed it were men near the beginning of their careers whose optimism shone through the darkness of the material. However, the film closes with scenes of mob vigilantism and sentimentality that carry messages betraying the social commentary that precedes them." - www.allmovie.com

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Key Largo 1948 - Gangster melodrama in the guise of film noir

IMDB Link
IMDB rating: 7,9

Director: John Huston
Main Cast: Humphrey Bogart, Edward G. Robinson, Lauren Bacall, Lionel Barrymore, Claire Trevor

"John Huston's Key Largo - based on Maxwell Anderson's play - shares crucial similarities and differences with Archie Mayo's The Petrified Forest, also starring Humphrey Bogart but made 12 years earlier. The two plots are similar - a group of people held hostage in a remote locale by a gangster on the run - but the differences between the two movies, and Bogart's roles in them, reflect changes in the world and in perceptions of evil and how to deal with it. Where The Petrified Forest was steeped in romantic notions of self-sacrifice, rationalizing the loss of life in World War I, Key Largo implicitly questioned the right of any moral person to withdraw from the responsibility of taking moral action - and it even questioned the wisdom of self-sacrifice. The Petrified Forest's dreamy poet (Leslie Howard) nobly sacrifices himself to see the capture of the deadly sociopath played by Bogart. In Key Largo, Bogart plays embittered, disillusioned war veteran Frank McCloud, who starts the film with nothing to live for and discovers, in the course of fighting and killing old-time gangster Johnny Rocco (Edward G. Robinson), that there is a reason to remain engaged with the world and with his fellow human beings. The difference between the two movies was the intercession of World War II, in which society encountered the most monumental evil on as large a scale as was imaginable. Made in the wake of the war, with the Cold War and the Red Scare just getting rolling, Key Largo was almost a call to arms to any decent people watching that they were too important to withdraw from battlefields old or new, and that there were still battles to be fought that were worth fighting, as well as winning.
Claire Trevor's virtuoso performance as a besotted ex-nightclub singer won her an Academy Award - as predicted by her admiring fellow actors, who watched her go through several very difficult scenes in long, uninterrupted takes. While Key Largo sags a bit during its more verbose passages, on a visual level the film is one of the best and most evocative examples of the 'film noir' school." - www.allmovie.com

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The lady from Shanghai 1947 - The quintessential film noir with stunning visuals

IMDB Link
IMDB rating: 7,7

Director: Orson Welles
Main Cast: Rita Hayworth, Orson Welles, Everett Sloane, Glenn Anders, Ted de Corsia, Carl Frank

"The Lady From Shanghai, a complex, involving puzzle-within-a-puzzle mystery story, is a showcase for Orson Welles, showing his singular talents and sensibilities as few other films have. The story is superficially simple: a seaman Michael O'Hara (Welles) is hired as a crew member on the yacht of the wealthy Banister (Everett Sloane). His beautiful but mysterious wife Elsa (Rita Hayworth) has met O'Hara earlier, when he saved her from a mugging. What ensues is a complicated and bizarre pattern of deception, fraud and murder, with O'Hara finding himself implicated in a murder, despite his innocence. The film is best remembered for its final sequence when the plot comes to a literally smashing climax in the famous 'hall of mirrors' sequence, with Elsa and Banister shooting it out amidst shards of shattering glass. Orson Welles, who produced, directed, wrote and starred in the film, is sometimes self-indulgent in his use of visual tricks and techniques, which at times sacrifice plot for visual brilliance, but he pulls it together in the end to produce a stunning, difficult film. Rita Hayworth gives one of her best performances as the deceptive, seductive temptress, hard-edged and cynical. The film confounds, unsettles and disorients the viewer, very much as Welles intended to do. While not an easy film, it is well worth the attention required to follow it, and Welles offers no easy solutions or any false happy endings to his tour-de-force mystery." - www.allmovie.com

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Monsieur Verdoux 1947 - Brilliant black comedy with a serious message

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IMDB rating: 8,0

Director: Charles Chaplin
Main Cast: Charles Chaplin, Mady Correll, Marthy Raye

"With his controversial 'comedy of murders' Monsieur Verdoux, Charles Chaplin makes his final, definitive break with the Little Tramp character that had brought him fame and fortune. The story is a darkly disturbing allegory that contrasts the horrific acts of an individual with the horrific acts of society at large. In his own mind, the title character feels that his acts of murder are justified: they are simply a matter of business. As Chaplin's story challenges the conventional view of war as valiant and necessary, there was little chance that American audiences of 1947, still celebrating U.S. victories in World War II, would flock to see the movie. Similarly, Chaplin's visual style here is reminiscent of his fixed location work in the silent era, a style that seemed outmoded and dull to 1947 audiences. The original idea of Monsieur Verdoux originated with Orson Welles, who'd wanted to make a picture about notorious modern 'Bluebeard' Landru. Welles wanted to cast Chaplin in the lead; Chaplin liked the idea, but preferred to direct himself, as he'd been doing since 1914. It is possible that Chaplin might have gotten away with the audacious notion of presenting a cold-blood murderer as a sympathetic, almost lovable figure. Alas, Monsieur Verdoux was released at a time when Chaplin was under a political cloud for his allegedly Communistic philosophy; too, it came out shortly after a well-publicized paternity suit involving Chaplin and Joan Barry. Picketed in several communities, banned outright in others, Monsieur Verdoux was Chaplin's first financial flop. Today, it can be seen to be years ahead of its time in terms of concept, even though the execution is old-fashioned and occasionally wearisome. Monsieur Verdoux doesn't always hit the bull's-eye, but it remains one of Charles Chaplin's most fascinating projects." - www.allmovie.com

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