When someone asks me what my favorite movie is, I feel a little sheepish admitting it’s probably Casablanca. It feels like a cliché to pick perhaps the most… Read more “Casablanca (1942)”
Tag: Classic Film
Scarlet Street (1942)
In the first scene of Fritz Lang’s 1945 film noir classic Scarlet Street we are introduced to Christopher Cross (Edward G. Robinson), a meek and diligent bank cashier who… Read more “Scarlet Street (1942)”
Cat People (1942)
The 1942 movie Cat People, the next film in our Third Floor Film Series, is a curious picture. The film is brief but beautiful, clocking in at only 73 minutes, and… Read more “Cat People (1942)”
In the Mood for Love (2001)
Simply put, In the Mood for Love might be the most visually beautiful film I’ve ever seen. At very least it is on the short list. Set… Read more “In the Mood for Love (2001)”
A Review of Gay Directors, Gay Films? by Emanuel Levy
Film critic Emanuel Levy‘s new book Gay Directors , Gay Films? is an excellent examination of the work of five gay filmmakers–Pedro Almodóvar, Terence Davies, Todd Haynes, Gus Van… Read more “A Review of Gay Directors, Gay Films? by Emanuel Levy”
The Cincinnati Kid (1965)
The Cincinnati Kid (1965) is one of my very favorite films, and I can’t wait to show it as part of the Third Floor Film Series in… Read more “The Cincinnati Kid (1965)”
The Treasure of the Sierra Madre (1948)
John Huston’s 1948 classic The Treasure of the Sierra Madre is ostensibly about greed and the way otherwise decent people change for the worse under its influence,… Read more “The Treasure of the Sierra Madre (1948)”
The Trains of Human Desire (1954)
I’m going to be writing more in depth about Fritz Lang’s great noir Human Desire (1954) later on, but for now I want to focus on one… Read more “The Trains of Human Desire (1954)”
His Girl Friday (1940)
Witty banter gets a bad rap. No, people don’t talk in real life like they do in Aaron Sorkin films. No, moms and daughters don’t exchange witticisms… Read more “His Girl Friday (1940)”
Pushover (1954)
The popular line on Pushover is that it’s a lukewarm reheat of classic noir leftovers, sporting a formulaic and staid plot and sleepwalking performances from the leads.… Read more “Pushover (1954)”
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