Movie Review: The Red House (1947)

Directed by Delmer Daves

Starring Edward G. Robinson, Lon McCallister and Judith Anderson

When most people think of “film noir”, they think black and white crime dramas, chain-smoking  private detectives and mysterious beautiful women with scandalous intent. The Red House has none of these things but make no mistake, this is “film noir” of the highest caliber. A gripping murder-mystery where the cinematographer’s use of light and shadow are as important to the storytelling as the plot itself. Where the score sets the mood, tone and overall feel of every scene. This is the kind of movie that will simply sweep you off your feet and transport you to another time and place.

Cinematic Hell: White Pongo (1945)

by Hal Astell

Director: Sam Newfield

Stars: Richard Fraser and Maris Wrixon

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Even though we're about to visit West Africa, the opening music by an uncredited Leo Erdody feels rather Arabian. By the time we get through the introduction that tells about 'vast areas of dense forests and swampland as yet unseen by white men' and 'virgin territory penetrated only by the Congo river', we half expect to see a giant cobra being summoned out of a basket, but no, it's just a bunch of half naked savages leaping around a tiny campfire. What makes it special isn't the natives, or even the fact that the most recognisable name in this debacle, Guy Kibbee's brother Milton, is strung up by his wrists presumably waiting to be sacrificed. It's that there's some lunatic leaping around in a white gorilla suit pretending to be the missing link. He's actually Ray Corrigan, who worked inside most of the ape suits Hollywood put into movies, at least when he wasn't playing Tucson Smith or Crash Corrigan in western series.

Cinematic Hell: Test Tube Babies (1948)

by Hal Astell

Director: W Merle Connell

Star: Dorothy Duke, William Thomason and Timothy Farrell

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There's just something at once magic and awful about the old exploitation movies of the thirties and forties that offered up tantalising titillation under the pretense of educating the masses. The fake education angle had little to do with censorship, as these films weren't shown at reputable cinemas who were restricted to screening films with an official censor's seal of approval, and more about suckering in the widest possible audience. Mostly they were distributed roadshow style across the nation, an entourage breezing into town like a carnival or revival meeting to a blaze of lurid publicity, blitzing a local rented theatre and quickly moving on before the arbiters of morality in the area descended. Films were often the least important part of the show, given that they rarely delivered on their outrageous promises and the barkers made more money off the pamplets or overpriced Bibles that they hawked than they did from actual ticket sales.

Movie Review: The Stranger (1946)

Here is another amazing re-master from HD Cinema Classics. This collection is pretty oddball, featuring everything from Al Adamson’s most questionable head-scratcher (CARNIVAL MAGIC) to this, Orson Welles most accessible and readily-available classic, THE STRANGER (1946). Although it has long been probably the easiest to find of Welles’s films, I have never seen such a crisp and beautiful copy. For this Orson Welles freak, it was positively a reason to cheer.

 Buy The Stranger DVD or Blu-ray

Many Welles-ophiles consider THE STRANGER to be Welles’s sell-out movie, made to prove to Hollywood producers that he could deliver a standard Hollywood product on time and on budget. Although there were the usual battles over the final edit of the movie between Welles and studio bosses, The film did become a box office success and for a time did help Welles’s standing with Hollywood studios. The screenplay is credited to Anthony Veiller, but it is commonly reported that Welles and John Huston completely rewrote it. But slick Hollywood fare though it may be, it is not typical of the normal studio post-war dramas, and all of Welles’s trademark bravado is on display. It is a terrific movie, and stands very well on its own.