posted on: October 19, 2020
Best Drama Movies of 1950s ranked list. Whether his style delights or annoys you, Cocteau was indisputably a genius, and this expressive, magical, rather haunting film probably approaches poetry as closely as the medium of film can. —Christina Newland. Grant plays a widowed father who takes his rather bratty and coddled children to live on a busted-up houseboat, ends up with Sophia Loren as his housekeeper and falls in love with her.
Maybe it’s just her lot in life to hurt. Judy Garland, James Mason, Jack Carson, Drama • Marriage Drama • Musical Drama, Joseph L. Mankiewicz
—Amy Glynn, Horror of Dracula is either the second or third most iconic “classic vampire” film ever made, trailing only the 1931 Bela Lugosi Dracula and possibly the original Nosferatu.
Eventually everything works out for Kenneth and the spies are caught or dead. Robbed of proper context, that particular bit of connective tissue is meaningless, and the film remains nothing more than a tale of broken ambitions and a powerful ode to the plight of New York’s longshoremen (as screenwriter Budd Schulberg alleges he intended); that and, of course, a testament to Brando’s preternatural thespian abilities.
He was shot down in 1941, he survived but was captured. Even an invisible bunny. The story is a well-worn classic, Shakespeare’s script has so thoroughly infiltrated the American lexicon that you’ve probably quoted it without even knowing you were doing it, and Mankiewicz’s directorial style is clean, concise and understated, giving as much space as possible to the actors.
A teenager will even take the only chance he has, the night of Buzz Gunderson’s death from vehicular explosion, to court Buzz Gunderson’s girlfriend, the self-described “numb” girl next door (Natalie Wood). Rarely do documentaries ask such questions. But I digress … Hepburn was already a star, having won an Oscar for her breakout role in 1953’s Roman Holiday and here she shines once again. —Amy Glynn, It’s amazing, isn’t it, how something so seemingly childish and flat-out dopey on paper could be as substantive, and as enduring, as Ishiro Honda’s Godzilla?
While the passing decades have distilled critical opinion to a fairly reliable “Required Viewing” roster for films of the prolific 1950s, the era remains more difficult to pin down than the1930s or ’40s, largely due to an explosive diversity in both subject matter and cinematic technology. Starring:
He makes his latest delivery and finds his criminal pal has a new job for him. Joseph Mankiewicz’s original screenplay earned him an Oscar nomination and the film is considered one of the quintessential “Hollywood” high-glamor Golden Age films, although in fact it was entirely produced in in Italy. Her side career performing at Greenwich Village clubs gets a jump start when her husband leaves her, and she is forced to make ends meet on her own. Tommy Steele plays a song. It’s a warmhearted and funny look at parent-child control struggle, anxiety, and confronting the need to let go, and a poignant picture of family life in the postwar United States. It’s also on the American Film Institute’s list of the 100 Best American films of all time.
I first saw Kenneth in The 39 Steps when I was a boy and that version remains a favorite of mine to this day. The characters aren’t so memorable as in John Carpenter’s 1982 remake, but the setting and sheer creepiness fill the gap. Of course, when the suspicious old bird catches wind of their scheme, her own life is thrown into the fray, and a startling, ever-mounting string of double and triple crosses begins to thin the ranks of the criminals.
Regardless, the film found release and is today, even at only 31 minutes, an eviscerating account of life in the camps: their origins, their architecture and their inner-workings. This film proves it. When we talk about the classics of cinema, we talk about influence, and one note worth making about influence is that it comes in all shapes and sizes: Some movies have impact on a micro scale, others on a macro scale.
—Amy Glynn, Prior to reinventing filmic language with their playful genre experiments, the members of France’s New Wave movement got their start as film critics. —Amy Glynn, If you have a buddy who isn’t into Ingmar Bergman, and really, don’t we all, then maybe point them to The Magician as an introduction to the Swedish master’s filmography: It’s a minor but great work, as expected from Bergman, from whom even minor efforts are as worthy as major ones from lesser filmmakers. In a wealthy Southern family, Big Daddy (Burl Ives) is unaware he’s on the way out from cancer—but that fact isn’t lost on the rest of the family, who are hovering and drooling over his fortune. Beverly Garland and Skip Homeier are a couple, he's in sales and she's running up the bills. Feel free to comment on my choice of movies. We know well the dour chiaroscuro of Swedish cinema, the arch-symbolic pretension of art house stuff that squeezes all mirth from every orifice of the viewer.
Masters of Sex focuses on the relationship between William Masters (Michael Sheen) and Virginia Johnson (Lizzy Caplan), two pioneering sex researchers who conducted the first studies on human sexual response at Washington University in St. Louis.
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