An airborne virus infects the cogs in the capitalist machine in George Seaton’s What’s So Bad About Feeling Good? and makes people subversively happy.
Kwan’s art-house Center Stage and Cruze’s vulgar The Great Gabbo both touch on the tragic tropes of performers whose careers suck up their lives.
Lionel Jeffries’ film version of Edith Nesbit’s The Railway Children is rich with a charm rooted in a bedrock of social awareness as hard as Charles Dickens.
Frank Perry and Jerry Schatzberg jolted audiences who weren’t used to unsatisfied and belittled housewives starring in a film, or to the concept of such people existing.
Meant to divert wartime audiences with sheer escapism, René Clair’s ‘It Happened Tomorrow’ dives into a past where tomorrow looks troublesome.
Céline and Julie Go Boating transcends its mystic device of hijacked cinéma verité to present an authentic idea of truth in the contrived world of celluloid.
DeMille’s ‘The Greatest Show on Earth’ is about spectacle and how people make a living fabricating gargantuan, silly, and sometimes dangerous fodder for the gawping public.
Kino Lorber’s latest Forbidden Fruit crop yields The Lash of the Penitentes, The Wages of Sin, and Misery and Fortune of Women.
When skinny British music-hall comedian Stanley Laurel met portly American film comic Oliver Hardy, the result was cinema’s most enduring and beloved comedy duo.