Dames (Ray Enright, Busby Berkeley, 1934)

Mabel Anderson: Joan Blondell
Jimmy Higgens: Dick Powell
Barbara Hemingway: Ruby Keeler
Mathilda Hemingway: Zasu Pitts
Horace Hemingway: Guy Kibbee
Ezra Ounce: Hugh Herbert
Bulger: Arthur Vinton

Director: Ray Enright, Busby Berkeley
Screenplay: Delmer Daves, Robert Lord
Cinematography: George Barnes, Sidney Hickox, Sol Polito
Art direction: Robert M. Haas, Willy Pogany
Film editing: Harold McLernon
Music: Heinz Roemheld

Utterly inane and completely delightful, Dames is mostly a showcase for three great Busby Berkeley dance spectacles, each giddier and more kaleidoscopic than the one that went before. The big numbers -- "The Girl at the Ironing Board," "I Only Have Eyes for You," and the title song -- are clustered at the end of the film, the supposed (if impossible) production numbers in a Broadway musical. Until we get to them, there's a lot of nonsense about multimillionaire Ezra Ounce's moral crusade and his cousin Horace Hemingway's kowtowing to Ounce in order to get a sizable chunk of his millions, which involves keeping his daughter, Barbara, from marrying her 13th cousin, Jimmy, who is banking on his ability to put on the big show, which supposedly offends Ounce's moral code. Got that? Fortunately, the bluenoses are played by such grand grotesques as Hugh Herbert, Guy Kibbee, and Zasu Pitts, and there's a lot of silliness about Ezra Ounce's hiccup cure, which is something like 70 percent alcohol. There's also the invaluable Joan Blondell as a chorus girl on the make. Unfortunately, we also get a couple of songs from Dick Powell, in his sappy tenor avatar, and some clunky tap-dancing from Ruby Keeler. But Berkeley's extravaganzas are worth the wait, including the title number, which features chorus girls riding a miniature Ferris wheel. Standing. Backward.

Citizen Ruth (Alexander Payne, 1996)

Laura Dern and Kurtwood Smith in Citizen Ruth

Ruth Stoops: Laura Dern
Diane Siegler: Swoosie Kurtz
Norm Stoney: Kurtwood Smith
Gail Stoney: Mary Kay Place
Rachel: Kelly Preston
Harlan: M.C. Gainey
Dr. Charlie Rollins: Kenneth Mars
Blaine Gibbons: Burt Reynolds
Jessica Weiss: Tippi Hedren

Director: Alexander Payne
Screenplay: Alexander Payne, Jim Taylor
Cinematography: James Glennon
Production design: Jane Ann Stewart
Film editing: Kevin Tent
Music: Rolfe Kent

"Fanaticism consists in redoubling your effort when you have forgotten your aim," said George Santayana, a statement quoted by Chuck Jones in commenting on his inspiration for Wile E. Coyote's futile pursuit of the Road Runner. It applies equally well to most of the characters in Citizen Ruth, with the exception of Ruth herself, whose only clear aim, getting high, she never forgets. Director Alexander Payne and co-screenwriter Jim Taylor crafted an audacious satire on political fanaticism, focused specifically on the American furor over abortion, but still applicable 22 years later to almost all of the many political controversies, from gun control to collusion with foreign powers, that dominate our divided discourse. Ruth Stoops is a hopeless case, too addled by whatever she can get her hands on to produce a state of narcosis and too much a product of societal breakdown to ever be the focus of anybody's cause. But when a judge, learning that Ruth is pregnant with a fifth unwanted child, suggests that he might go easy on sentencing her if she'll have an abortion, she is first snapped up by right-to-life advocates and then blunders her way into the opposing camp of freedom-to-choose proponents. Eventually, her decision (which Ruth is incapable of arriving at rationally) begins to be swayed by a bidding war between the two groups, each of which offers her money -- a rather paltry $15,000 that seems like a fortune to the indigent Ruth -- either to have the baby or to abort the fetus. There are those who find the plight of Ruth no laughing matter, and they're right. But Payne manages to stay on the far side of reality in his treatment of the subject, and he benefits from a company of actors capable of teetering on the edge of caricature without actually lapsing into it. Laura Dern manages to find something sweetly naive in Ruth that makes her headlong self-destructiveness both touching and funny. She is a hopeless case, just as a resolution of the abortion debate seems hopeless, too.

Feu Mathias Pascal (Marcel L'Herbier, 1926)

Ivan Mozzhukhin in Feu Mathias Pascal 

Mathias Pascal: Ivan Mozzhukhin
Romilde: Marcelle Pradot
Adrienne: Lois Moran
Mathias's Mother: Marthe Mellot
Aunt Scholastica: Pauline Carton
Sylvia Caporale: Irma Perrot
The Widow Pescatore: Mireille Barsac
Jérôme Pomino: Michel Simon
Terence Papiano: Jean Hervé
Scipio: Pierre Batcheff
Batta Maldagna: Isaure Douvan

Director: Marcel L'Herbier
Screenplay: Marcel L'Herbier
Based on a novel by Luigi Pirandello
Cinematography: Jimmy Berliet, Fédote Bourgasoff, Paul Guichard, René Guichard, Jean Letort, Nikolas Roudakoff
Art direction: Erik Aaes, Alberto Cavalcanti, Lazare Meerson

Feu Mathias Pascal takes nearly three hours to demonstrate the truth of Kris Kristofferson's observation that "Freedom's just another word for nothing left to lose." Mathias is a studious young man working on a magnum opus, The History of Freedom, while the world around him begins to crumble: His widowed mother is cheated out of her home by an unscrupulous magistrate in their small Italian town. Meanwhile, his shy, homely friend Pomino wants him to court Romilde on his behalf, but she secretly has a crush on Mathias, who falls in love with and marries her. Because Romilde is under the thumb of her shrewish, demanding mother the marriage quickly sours, and when the two people Mathias loves more than any others, his mother and his infant daughter, die, he decides to leave town. In Monte Carlo, he wins a fortune at roulette, but after deciding to go home he learns that he has been declared dead. Embracing this new opportunity for freedom, he goes incognito to Rome, where he spots the pretty Adrienne and, following her home, takes a room that her father has for rent. There's much ado involving a plot to marry Adrienne to the odious Terence, and in the course of it Mathias realizes that you can't have your freedom and enjoy it too. It's a fascinating mess of a film, with startling shifts in tone from pathos -- the death of Mathias's mother and child -- to Kafkaesque surrealism -- Mathias's stint as an assistant librarian in a dusty, rat-filled jumble of a library -- to romantic comedy -- his rescue of Adrienne from the clutches of Terence and his fake-spiritualist cohorts. The narrative gets a little elliptical, especially toward the end, when Mathias exposes the corrupt magistrate who cheated his mother. But the Russian actor Ivan Mozzhukin is adept at both the pathos of Mathias's life and the Buster Keaton-like deadpan comedy of much of the film, and he's well-supported by the cast, including Michel Simon in one of his earliest roles as Pomino. Filmed on location in San Gimignano, Monte Carlo, and Rome, the movie provides glimpses of such familiar places as the Spanish Steps, the Trevi Fountain, and the Forum, strikingly free of traffic and tourists.

Hacksaw Ridge (Mel Gibson, 2016)

Andrew Garfield in Hacksaw Ridge

Desmond Doss: Andrew Garfield
Sgt. Howell: Vince Vaughn
Capt. Jack Glover: Sam Worthington
Smitty Ryker: Luke Bracey
Tom Doss: Hugo Weaving
Dorothy Schutte: Teresa Palmer
Bertha Doss: Rachel Griffiths
Lt. Manville: Ryan Corr
Col. Stelzer: Richard Roxburgh
Milt "Hollywood" Zane: Luke Pegler

Director: Mel Gibson
Screenplay: Robert Schenkkan, Andrew Knight
Cinematography: Simon Duggan
Production design: Barry Robison
Film editing: John Gilbert
Music: Rupert Gregson-Williams

Hacksaw Ridge doesn't shy away from biopic or war-movie clichés, it embraces them: There's on the one hand the familiar bullying sergeant, and on the other the typical shy romance. But it succeeds in being a well-made action movie, after spending a little too much time on the shy romance and other bits of Appalachian backgrounding for the character of Desmond Doss, a real person who was both a conscientious objector and a Medal of Honor winner for his heroism as a medic during the Battle of Okinawa. To play Doss, the movie needed the equivalent of a young James Stewart or Gary Cooper, and found him in Garfield, who received a best actor Oscar nomination. The movie also provided a measure of redemption for its director, Mel Gibson, who had been persona non grata in Hollywood after a 2006 drunk-driving arrest in which he made antisemitic remarks to the arresting officer, a capper on a string of homophobic and extreme right-wing statements he had reportedly made over the years. He was nominated for best director for Hacksaw Ridge, and the film was also up for best picture and for film editing and two sound awards. It won for film editing and sound mixing. Gibson remains something of a problematic figure in the industry, and has yet to find a followup in his would-be comeback. Hacksaw Ridge demonstrates some of his known flaws, such as his violent delight in mayhem and bloodshed, and it's a bit heavy-handed in its endorsement of Doss's simple (not to say simple-minded) faith, but it provides some very old-fashioned movie gratifications.

The Inheritance (Masaki Kobayashi, 1962)

Keiko Kishi in The Inheritance

Yasuko Miyagawa: Keiko Kishi
Senzo Kawahara: So Yamamura
Kikuo Furukawa: Tatsuya Nakadai
Satoe Kawahara: Misako Watanabe
Naruto Yoshida: Seiji Miyaguchi
Junichi Fujii: Minoru Chiaki
Mariko: Mari Yoshimura
Sadao: Yusuke Kawazu

Director: Masaki Kobayashi
Screenplay: Koichi Inagaki
Based on a novel by Norio Najo
Cinematography: Takashi Kawamata
Art direction: Shigemasa Toda
Film editing: Keiichi Uraoka
Music: Toru Takemitsu

Looking as chic and mysterious as Anouk Aimée, Delphine Seyrig, or Monica Vitti ever did in the French and Italian films of the era, Yasuko Miyagawa steps from her car, dons her sunglasses, and goes for a bit of window-shopping. But in front of a jewelry store window, she is stopped by a man she once knew. She agrees to join him in a cafe, where the flashback that constitutes most of Masaki Kobayashi's The Inheritance unfolds in her narrative. When they knew each other, she was a secretary and he was a lawyer for the wealthy businessman Senzo Kawahara, and both of them had key roles in determining who would benefit from Kawahara's will. The rest is a noir fable, based on the oldest of plot premises: Where there's a will, there are people scheming to benefit from it. Upon learning that he has cancer and only a short while to live, Kawahara set his managers the task of locating his illegitimate children: He and his wife, Satoe, have none from their marriage. And in the search for the heirs, even the searchers are prone to make deals with the potential legatees. By law, Satoe stands to inherit a third of her husband's 300 million yen estate, but she of course wants more, which means making sure that none of her husband's offspring earns his favor. And then there are the offspring, some of whom have adoptive families that would benefit from being included in the will, while others have come of age and want to curry favor with the father they've never met. No holds are barred: not only fraud but also murder and rape. But mainly the film is the story of Yasuko, beautifully played by Keiko Kishi, transforming from the self-effacing secretary into the consummate schemer, motivated at least as much by revenge as by greed. It's a nasty tale, but an involving one.

Tropical Malady (Apichatpong Weerasethakul, 2004)

Sakda Kaewbuadee and Banlop Lomnoi in Tropical Malady

Keng: Banlop Lomnoi
Tong: Sakda Kaewbuadee

Director: Apichatpong Weerasethakul
Screenplay: Apichatpong Weerasethakul
Cinematography: Jarin Pengpanitch, Vichit Tanapanitch, Jean-Louis Vialard
Production design: Akekarat Homlaor
Film editing: Lee Chatametikool, Jacopo Quadri

Tropical Malady comes in two not-quite-discrete segments. The first is a more-or-less realistic account of the romance of Keng, a soldier, with Tong, a farmboy Keng meets during a mission to recover a body. The second part is an elaboration on a kind of ghost story in which a soldier (also played by Banlop Lomnoi) goes into the jungle to search for a missing villager, and there encounters the spirit of a shaman (also played by Sakda Kaewbuadee) who can turn himself into a tiger. Although the first part is mostly a love story, it is as shadowy in its way as the second part, beginning with the discover of the body -- and the soldiers' glee in having their photographs taken with the corpse -- and ending with Tong's disappearance into the dark, after which Keng rides his motor scooter past a group of men beating up another man and then pursuing Keng. Although the narrative of Tropical Malady is more conventionally handled than that of Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives (2010), there are some clear links between the two films, including the fact that Kaewbuadee plays a character named Tong in both, and in Tropical Malady refers to his uncle who can recall his past lives. There's also a key scene in both films set in a cavern, along with an obvious preoccupation with the spirit world. If there's a theme that runs through both, it's that of the thinness of the boundary between civilization and the primitive world, or between body and spirit.

Kind Hearts and Coronets (Robert Hamer, 1949)

Dennis Price and Joan Greenwood in Kind Hearts and Coronets

Louis D'Ascoyne Mazzini: Dennis Price
Edith D'Ascoyne: Valerie Hobson
Sibella: Joan Greenwood
Ethelred, Lord Ascoyne/Rev. Lord Henry/ Gen. Lord Rufus/Admiral Lord Horatio/Young Ascoyne/Young Henry/Lady Agatha D'Ascoyne: Alec Guinness
Louis's Mother: Audrey Fildes
The Hangman: Miles Malleson
The Prison Governor: Clive Morton
Lionel: John Penrose
Lord High Steward: Hugh Griffith

Director: Robert Hamer
Screenplay: Robert Hamer, John Dighton
Based on a novel by Roy Horniman
Cinematography: Douglas Slocombe
Art direction: William Kellner
Film editing: Peter Tanner
Costume design: Anthony Mendleson
Music: Ernest Irving

Kind Hearts and Coronets is best known for Alec Guinness's tour de force as the entire D'Ascoyne family, but that's hardly the greatest of pleasures the film affords. Dennis Price's performance as the suavely lethal Louis is as much a demonstration of how to act sophisticated comedy as one could wish, and who can resist Joan Greenwood as Sibella, especially in hats that seem to contain an entire florist's shop? It evokes her definitive Gwendolen Fairfax in Anthony Asquith's 1952 filming of The Importance of Being Earnest. In fact, Oscar Wilde's play is the essential background reference for Robert Hamer's screenplay -- it apparently also influenced the novel on which the film is based -- and you hear Wilde's voice in such lines as Mazzini's "It is so difficult to make a neat job of killing people with whom one is not on friendly terms." Hamer's staging also provides the necessary distancing from Mazzini's murders, as in the scene in which he offs Young Henry D'Ascoyne: While Mazzini is taking tea with Edith in the garden we hear a whump that neither character acknowledges as Henry's darkroom explodes with him in it. Then smoke begins to arise beyond the garden wall, and Mazzini comments that someone must be burning leaves. Not this time of year, Edith replies, and Mazzini rushes off to "investigate" what he knows has happened. Kind Hearts and Coronets seems to me the best of all the classic British comedies of the late 1940s and the 1950s.

The Terminator (James Cameron, 1984)

Arnold Schwarzenegger, Brad Rearden, Bill Paxton, and Brian Thompson in The Terminator

The Terminator: Arnold Schwarzenegger
Sarah Connor: Linda Hamilton
Kyle Reese: Michael Biehn
Lt. Ed Traxler: Paul Winfield
Detective Hal Vukovich: Lance Henriksen
Ginger Ventura: Bess Motta
Matt Buchanan: Rick Rossovich
Dr. Peter Silberman: Earl Boen
Pawn Shop Clerk: Dick Miller

Director: James Cameron
Screenplay: James Cameron, Gale Ann Hurd
Cinematography: Adam Greenberg
Art direction: George Costello, Maria Caso
Film editing: Mark Goldblatt
Music: Brad Fiedel

Watching The Terminator a week after the school shootings in Parkland, Florida, is a different experience than it might have been, especially when the Terminator goes into a pawnshop to get his weaponry and is told by the owner, "There's a 15-day wait on the handguns, but the rifles you can take right now." Still, although the movie's promiscuous mayhem may feel a bit off at the moment, it serves its purpose. The Terminator is a film of ideas about humanity and artificial intelligence, about machismo and law and order and survival -- maybe not as much as it's a film about things blowing up, but still enough that many of us can watch it and not feel the deadening effect that some action films produce. It's also a movie whose old-fashioned special effects like stop-motion puppetry feel oddly fresh and real when contrasted with the slick computer-generated effects of most sci-fi films now -- including most of director James Cameron's later work. The performances are good, the pacing is right, there's just enough humor in the dialogue, and even the time-travel gimmickry manages to make enough sense to be plausible within the confines of its fable.

The Parallax View (Alan J. Pakula, 1974)

Joseph Frady: Warren Beatty
Bill Rintels: Hume Cronyn
Lee Carter: Paula Prentiss
Austin Tucker: William Daniels
Sheriff L.D. Wicker: Kelly Thordsen
Deputy Red: Earl Hindman
Senator Carroll: William Joyce
George Hammond: Jim Davis
Former FBI Agent Will: Kenneth Mars

Director: Alan J. Pakula
Screenplay: David Giler, Lorenzo Semple Jr.
Based on a novel by Loren Singer
Cinematography: Gordon Willis
Production design: George Jenkins
Film editing: John W. Wheeler
Music: Michael Small

This somewhat elliptical political paranoia thriller was a critical and commercial dud in its day, but time has been kinder to it than it has to more conventional films in its subgenre, such as Three Days of the Condor (Sydney Pollack, 1975), which looks rather slick and self-satisfied by comparison. The story, about a reporter's investigation of a shadowy company that seems to provide fall guys for political assassination, is framed by shots of a panel of judicial figures delivering their conclusion that the most recent assassination was the work of a "lone gunman." We think "Warren Commission" without hesitation. Although the main story is somewhat fragmented and the film occasionally seems rushed, there are some terrific action sequences and an overall feeling that the director and screenwriters are on to something real. The "downer" ending leaves us with that sinister panel floating in darkness, and although conspiracy theories are thicker than fleas these days, who doesn't think there might be one or two of them that have merit?

Arsenic and Old Lace (Frank Capra, 1944)

Cary Grant, Raymond Massey, and Peter Lorre in Arsenic and Old Lace

Mortimer Brewster: Cary Grant
Abby Brewster: Josephine Hull
Martha Brewster: Jean Adair
Elaine Harper: Priscilla Lane
Jonathan Brewster: Raymond Massey
Dr. Einstein: Peter Lorre
O'Hara: Jack Carson
Mr. Witherspoon: Edward Everett Horton
Teddy Brewster: John Alexander
Lt. Rooney: James Gleason

Director: Frank Capra
Screenplay: Julius J. Epstein, Philip G. Epstein
Based on a play by Joseph Kesselring
Cinematography: Sol Polito
Art direction: Max Parker
Film editing: Daniel Mandell
Music: Max Steiner

This may be Cary Grant's worst performance. Certainly director Frank Capra put no restraints on Grant's lurching, mugging, groaning, and whinnying as he tries to portray Mortimer Brewster's reaction to the discovery that his beloved maiden aunts have been killing old men and burying him in their basement. But then Capra doesn't bother to restrain anyone else in this too-frantic version of the very popular Broadway farce. It's a film in which nobody listens to anyone else, producing complications that are supposed to be hysterically funny but are just hysterical. The Epstein twins do a fairly good job of adapting Joseph Kesselring's one-set stage play into a slightly opened-out movie -- though some scenes, such as the opening baseball park sequence and the bit at City Hall where Mortimer and Elaine get their wedding license, seem to be staged just for the sake of getting out of the confines of the Brewster house. No one covers themselves with comedy glory here, with the possible exception of Peter Lorre, who remains on the fringes of most of the action, providing a wry, restrained point of view on the nonsense. The film was made in 1941, but was held from release for three years because it couldn't be exhibited before the play had ended its Broadway fun.