The Trouble with Harry (1955)

The trouble with Harry is he’s dead and nobody in the small town knows what to do with his body. Capt. Wiles (Edmund Gwenn) thinks he killed him while out shooting rabbits. Miss Gravely (Mildred Natwick) knows she did it, but Harry shouldn’t have grabbed her. Jennifer Rogers (Shirley MacLaine) thinks she did it and Sam Marlowe (John Forsythe) didn’t but wishes he did.

This macabre murder mystery comes from director Alfred Hitchcock. Making The Trouble with Harry worth the trouble, is the gallows humor and the ‘will they or won’t they’ suspense from the ensemble cast. Poor Harry is buried and dug up over the course of a day in this nice little tourist town.

The production is, of course, top-notch. Hitchcock’s direction is unparalleled. He frames Harry’s death with autumn in Vermont making quite the juxtaposition. The Technicolor is brilliant making the scene oddly morbid. Unexpected shots, gory details and comedic timing to die for enhance superb performances by John Forsythe and Edmund Gwen.

As I see it, The Trouble with Harry is a clever unstated comedy—sadly, it’s probably lost on modern film fans. That’s too bad, because this is one of Hitchcock’s most twisted.

Invaders from Mars (1953)

Dated but solid sci-fi with Pro-American sentiment.  Classic.

Caged (1950)

Marie Allen (Eleanor Parker) has been sentence to prison for aiding in an armed robbery. The scared naïve 19-year old must survive the next 10 months amid hardened criminals to get her chance at parole.

It’s not often you find a movie this powerful despite its age. An impressive cast leads to amazing results. Marie’s evolution from girl to broad is brilliantly executed by Parker. Supporting her, but no less engaging is Hope Emerson as prison matron, Evelyn Harper. She is cold, calculating, and barbaric. She enjoys wielding her authority of her wards, but relishes punishment. Harper stands in grave contrast to the prison’s director played by Agnes Moorehead (Bewitched, Citizen Kane). As Ruth Benton, Moorehead is sympathetic and willing to rehabilitate her wards.

Director John Cromwell frames the prison wonderfully, making it claustrophobic and rote. But remarkably, he is able to imbue joy and sadness which the context of the B&W cinematography.

Caged was not at all what I expected. Provocative for it’s time, Caged remains an intense film thanks to incredible performances from all involved.

Desk Set (1957)

Bunny Watson (Katherine Hepburn) leads a small office of reference workers that clear facts and information for Federal Broadcasting Company. Enter efficiency expert, Richard Sumner (Spencer Tracy) who is looking to automate the work of Miss Watson’s office. These two strong personalities quickly clash beginning with lunch on a cold balcony. Rainy weathers leads to a nice evening together and Bunny rethinking her long-term relationship with a television executive.

They don’t make movies like this any more. Desk Set is more a vehicle for Hepburn/Tracy then anything else. The plot line, supporting characters, the philodendron are all set dressing to the onscreen chemistry of Hepburn and Tracy. Bunny is a utilitarian soul who feels threatened by Sumner, a methods engineer—who’s good with numbers, but not so much with relationships. Those two sparring onscreen can’t be matched.

Desk Set culminates with an office Christmas party to die for. You don’t see that any more either. Despite their overtly sexist remarks, there is a certain charm about films of this period that I just love. As such, Desk Set is a classic. But Guess Who’s Coming to Dinner still stands as the quintessential Hepburn/Tracy film.

31 More Days of Horror: Night of the Demon (1957)

Curse of the Demon and its better British counterpart, Night of the Demon is a classic bit of horror. It’s the story of a crazed cult leader/magician who curses a psychology professor—and the inspiration for this year’s Drag Me to Hell. Dr. Holden (Dana Andrews), gentleman scholar and man of science dismisses the whack job and continues the investigation of the magician’s cult. An unwarranted slip of parchment is the death knell.

Unlike most horror films, director Jacques Tourneur exposes the demon almost immediately. Given the period, the demon is remarkably well presented. The director then spends the remainder of his time advancing the darkness keeping our stoic protagonist and the viewers on edge as we investigate the supernatural. We’ve seen the demon and it is scary, but it’s the other creeping events that really thrill.

The B&W production plays head games with the viewers. Long dark corridors are filled with lurking shadows. The wind seems colder and the night is longer than ever before. Alongside intelligent dialogue and characterization, the series of eerie events culminate for a thrilling end. A malevolent score further cements the fright.

The cult leader and his crazy mom help in one of the tersest scenes. At the request of Dr. Holden, a séance is held. Calling back Dr. Holden’s dead colleague leads to a bone-chilling accusation. See the film for this sequence alone.

Beautifully atmospheric, Night of the Demon simply asks it’s viewers to discern reality from imagination. But with the tempest at hand, that task is easier said than done.

31 More Days of Horror: Invasion of the Body Snatchers (1956)

The inspiration for many films including two of its own remakes, the original B&W version still stands the test of time. Invasion of the Body Snatchers holds it’s own against modern horror thanks to masterful direction and the perfect build of paranoia.

Dr. Miles Bennell (Kevin McCarthy) is skeptical when he returns to his small town practice to find many of his patients complaining of the same story. A loved one is acting oddly, almost as if they have been replaced. A man of science, Dr. Bennell immediately dismisses the events, but before long strange things occur that don’t add up.

Dr. Bennell and the viewer begin to question everything. Who can we trust? Director Don Siegel delivers a tense, succinct classic that makes great use of minimalist elements. There’s no obvious demon. Instead we have a hunch. Acting on that hunch, the quest for truth will result in one of two things: insanity or death.

The casting is simply top-notch. Believability it key. The overall composition of the production is beautiful. Siegel makes great us of shadow to exhaust emotion. The score is another key element. Its ability to summon chills and drive the story subconsciously is the mark of a job well done.

A subversive attack on 1950s McCarthyism?  Maybe. I supposed you could project a number of social commentaries, but that takes all the fun out of it. Enjoy Invasion of the Body Snatchers for what it is—a thrilling scare.

Houdini (1953)

Before he became a legendary illusionist, Harry Houdini (Tony Curtis) was a mere sideshow when he first met Bess (Janet Leigh). But with extraordinary charisma, a natural skill, and unrelenting self-promotion, Houdini would slowly rise to fame with his beautiful ever faithful now wife and assistant. No matter Houdini's obsession in capturing audiences worldwide, Bess is nearby. As each illusion trumps the previous, Houdini's dance with death becomes even more daring.

This classic biopic from director George Marshall is a monument to Technicolor. Combined with the onscreen pairing of Curtis and Leigh and taut reenactments of Houdini's stunts, the film is exciting.

Tony Curtis is mesmerizing as the master escape artist. Aloof, brash, slightly obnoxious, Curtis is fun to watch. Janet Leigh, as Bess, dotes on Houdini/Curtis. It's cute, really--almost disgustingly so.

Houdini is dazzling. Director Marsall weaves dramatic sequences that are filled with suspense among lulls of romance and naysayers. But let's get back to the real reason Houdini is so dazzling--the color!! Each frame dances onscreen thanks to extravagant production values. Costuming and wonderful detail accent the couple beautifully.

As I see it, Houdini is an entertaining treat. Don't expect accuracy. Think romanticism and you'll enjoy the film for what it is: good fun.

The Searchers (1956)

When Ethan Edwards (John Wayne) loses his entire family at the hands of Comanche Indians, Ethan begins the search for his only surviving niece, Debbie (Natalie Wood). Don't ask me what else happens...he eventually finds her, but by then Debbie is one of them. Emote, emote, roll eyes, and scene.

Continuing my journey through Spielberg's rentals, I wondered what he's thinking with this selection. Often hailed as a masterpiece, The Searchers is a beautiful film with great cinematography. Technicolor is amazing! But...and this is a big one... the story doesn't hold up.

John Wayne is perfectly cantankerous as Uncle Ethan, but this is not his best performance. The myriad of supporting characters with similar subplots compete with Wayne's Ethan. Everything is diluted {sometimes non-sensical} and that causes the film to be insufferable long and disinteresting.

As I see it, this movie is lost on me. The Searchers is an essential classic in the western genre if you mind Speilberg and other industry greats. I, however, respectfully disagree and submit that the 'character studies' that are so often heralded are actually Bonanza rejects.

The Court Jester (1956)

Socially inept Hubert Hawkins (Danny Kaye) assumes the role of Giacomo, the "King of Jesters, Jester of Kings" to help the rightful king of England regain his thrown.

Yes, The Court Jester is deceptively simple. However, with Danny Kaye at the helm of this classic, also starring Basil Rathbone, Angela Lansbury, and Glynis Johns, the film is perfection. The film features Kaye's trademark tongue-twisting dialogue, musical numbers, and top-notch humor.

The success of this classic film is due whole in part to the exceptional Danny Kaye. He is mesmerizing onscreen. From his `vessel with the pestle has the pellet with the poison, the chalice from the palace has the brew that is true' to his tender songs, Kaye shines. Basil Rathbone is perfectly evil in a spoof of his own Sir Guy of Gisbourne (see Errol Flynn's Robin Hood). Angela Lansbury is striking as the king's daughter.

The film is a success on every level. The script is fun and witty, the casting is pitch-perfect. Visually, The Court Jester is a real treat despite the age. Costuming and choreography remain beautifully rendered. The underlying humor that's quite smart. They slapstick never ends, but the sharp eye and ear will catch the subtle jabs and spoofs.

As I see it, The Court Jester is genuine slapstick as its finest. The film is unquestionably quotable, entertaining, and undeniably, Danny Kaye's best work. Get it, got it, good.

White Christmas (1954)

Back then women were women, men were men and everyone was glamorous. White Christmas is a holiday classic in every sense of the word. Starring pop crooner Bing Crosby and Danny Kaye as war buddies who fall for a sisters played by Rosemary Clooney and Vera Ellen. Throw in an aging war hero and their genuine efforts to show they care and you've got yourself a movie!

White Christmas is a simple enough plot, but thanks to gorgeous set dressings and fabulous costumes, the film simply sparkles. Each musical number gives opportunity for our cast to step, tap, and sing their way into our hearts.

Growing up, I could never decided which sister was more beautiful. Judy (Ellen) or Betty (Clooney). Today, my money's on Clooney. Her number, 'Love, You Done Me Wrong' is classic vamp. Danny Kaye as Phil Davis is so fun to watch. His physical comedy and stellar dancing are perfect. Each musical number is a treat.

From Crosby's cardigan-wearing-pipe-smoking Bob Wallace to the odd-ball supporting characters {mutual, I'm sure!}, White Christmas is purely sentimental and delightful this time of year.

31 Days of Horror: The Tingler (1959)

Fear is an amazing thing. Fear portrayed in 1959 movie classic is called The Tingler. Starring Vincent Price as coroner/scientist Dr. Warren Chapin who discovers that a creature lives inside everyone, feeding on our fear, and controlled by our scream.

This, dear people, is B-movie surrealism--a classic in every form of the word. Price teams with William Castle (House on Haunted Hill) to bring this B&W camp-tastic treat to life.

For what it is, The Tingler is perfect. Using a mute woman to experiment on, Price is seedy, yet diabolical. He's so fun to watch as Dr. Chapin. Barbara (Judith Evelyn) is terrorized to death. Those sequences are trippy with a tinge of color and touch of creep. I love how inventive productions of this nature had to be.

Look, The Tingler is low-budget and hammy, but still provides the necessary scare. Who knows if it's still in print--my copy is VHS.

31 Days of Horror: House on Haunted Hill (1959) (1999)

In the 1959 original of House on Haunted Hill, Vincent Price starred as an eccentric and wealthy cad who invites six strangers over for a party of lifetime offering $10,000 to whomever survives the night. The B&W film is horror classic. Beautifully rendered by director William Castle and Vincent Price, the film is still terrifying and creepy to this day.

The 1999 remake starring Geoffrey Rush as the Price-esque millionaire, Steven Price is surprisingly effective. He plays perfectly to the camp of Price right down to the mustache. Famke Janssen plays his evil wife, Evelyn. Taye Diggs, Ali Larter, Peter Gallagher and Chris Kattan are among the guests. Thankfully, we don't linger on character development--we know enough--and quickly the chills begin.

While this film deviates somewhat, the thrills are equally creepy. The home, this time, was once the Vannacutt Psychiatric Institute for the Criminally Insane and was the scene of a horrible massacre by the mental patients that included the death of Dr. Vannacutt (Jeffery Combs). Price, offers one me-llion dollars each to the survivors.

The atmosphere of the home is perfectly diabolical with enough creep and substance to keep the viewer engaged. Price's homemade plans blend seamlessly with the murderous ones of the house. Inventive deaths and odd-ball gore keep the suspense building. The score adds a surprising taut layer as well.

Though clocking in at about 90 minutes, the film looses steam toward the end with the conclusion not quite as sustaining as I'd hope. {Stay past the credits for a touch more.}

House on Haunted Hill--whether the classic or the campy tribute--is spooky good.

31 Days of Horror: The Bad Seed (1956)

Autumn is here; as the leaves fall and the air turns crisp, let's turn to some of my favorite terrifying titles. Maybe you'll discover {or rediscover} a gem. Check back tomorrow for another gruesome must-see!

As I see it, The Bad Seed is an underrated B&W title that examines pure evil {much like Michael Myers}. Rhoda Penmark (Patty McCormack) is an adorable, grade-schooler that everyone adores. Unfortunately for everyone, Rhoda is also the spawn of some whacked-out genetics. No one suspects a thing as little Rhoda picks off her victims...except the simple janitor, LeRoy (Henry Jones). It's only when Rhoda's schoolmate dies suspiciously, that her mother, Christine (Nancy Kelly), begins to suspect her own daughter. For her, it just might be too late.

Thanks to a pitch perfect screenplay The Bad Seed is more than an effectual psychological thriller. Consider the limited set and the dialogue dependant story. Daringly different for its time period, this movie can still send chills up the spine. The way Rhoda flits from precocious to cold-blooded will have you sick to your stomach. LeRoy's taunting of Rhoda throughout the film gives another element to keep you on edge.

Whether or not The Bad Seed can be truly classified as horror is up for debate. While not gruesome or torturous by nature, any angelic creature with Beelzebub's soul is certainly scary.

An Affair to Remember (1957)

During a cruise from Europe to New York, international playboy Nickie Ferrante (Cary Grant) meets the stunning Terry McKay. The former night-club singer is travelling back into the arms of her monied boyfriend. Playboy Nickie is returning to his wealthy fiance. The two spend every last moment together, knowing full well that duty, not love, will send them back to New York. In the last minutes of their time together, the couple decide to meet at the Empire State Building six months later to determine if what they feel is true.

A grueling six months later, Nickie waits on the 102nd floor. Down below a hurried Terry is struck by a car and unable to meet him. Confined to a wheelchair, Terry refuses to contact Nickie unsure of what he might think. A chance meeting between the two, months later, re-ignites memories of the affair.

What a beautiful film! You don't find love stories like An Affair to Remember anymore. Much of the charm, I think, lies in the age of the film. Cary Grant {doesn't do much for me}, but as Nickie, is the consummate playboy charmed by the self-confident Terry. Deborah Kerr is amazing! Women of that time carried a mystique about them. The chemistry found between this two is spine-tingling. The softness of her words, the gentleness of his caress-- it's beautiful!

There are two brilliant scenes here from director Leo McCarey that sum the film up like nothing else: the reflection of the Empire State Building in Terry's window and Nickie's realization of the painting-- both are tear-wrenching!! Story-telling doesn't get any better.

In this day and age, it's difficult not to deem movies from this time period as 'too sentimental' or 'corny'. True romantics will find a timeless plot in An Affair to Remember that is all too deserving of the 'classic' moniker.