Inferno (Roy Ward Baker, 1953)

Robert Ryan in Inferno

Cast: Robert Ryan, Rhonda Fleming, William Lundigan, Larry Keating, Henry Hull, Carl Betz, Robert Burton. Screenplay: Francis M. Cockrell. Cinematography: Lucien Ballard. Art direction: Lewis H. Creber, Lyle R. Wheeler. Film editing: Robert L. Simpson. Music: Paul Sawtell. 

Inferno is a smartly written, capably acted, and crisply directed thriller that deserves to be better known. The reason it isn't, I think, is that it was made during the early 1950s fad for 3-D movies, but happened to appear just at the end of that era, and it loses something when it's shown in 2-D. The story begins almost in medias res: The first characters we meet are the villains, Geraldine Carson (Rhonda Fleming) and Joseph Duncan (William Lundigan), who have just left her husband, the millionaire Donald Whitley Carson III (Robert Ryan), in the desert with a broken leg. Will he survive, and will the cheating lovers be caught? You probably can guess the answer, but there's a nice little ironic twist at the end. The movie's 3-D origins show in the usual way, with things getting thrust or flung at the camera, but they're usually integral to the action. Where it fails in the 2-D version is in its use of the Mojave Desert setting: Carson has been left at the top of a ridge, and to save himself he has to descend a steep and rocky hillside with a painfully fractured leg he manages to immobilize with a makeshift splint. There are shots of the slope from the top of the hillside, but they lose their vertiginous steepness when the movie is shown flat. The other obvious legacy of its 3-D origins is an "Intermission" title card that appears in mid-film. Inferno runs only 83 minutes, so it hardly needs an intermission for the audience's sake, but one was provided there for the projectionists. The 3-D movies of the '50s used two projectors running in sync, but most movie houses had only two projectors, which usually ran in alternation, with one showing the film and the other queued up with the next reel. When both projectors were running simultaneously, as they did for 3-D movies, theaters needed a time-out to swap out the reels. Still, unlike a lot of the era's 3-D movies, Inferno holds up well today. 

The Story of O (Just Jaeckin, 1975)

Udo Kier and Corinne Cléry in The Story of O

Cast: Corinne Cléry, Udo Kier, Anthony Steel, Jean Gaven, Christiane Minazzoli, Martine Kelly, Jean-Pierre Andréani, Gabriel Cattand, Li Sellgren, Albane Navizet, Nadine Perles, Laure Moutoussamy. Screenplay: Sébastien Japrisot, based on a novel by Dominique Aubry as Pauline Réage. Cinematography: Robert Fraisse, Yves Rodallec. Art direction: Jean-Baptiste Poirot. Film editing: Francine Pierre. Music: Pierre Bachelet. 

The interiority of novels is what makes them so difficult to film. The characters and action of a novel exist only in the mind of the reader encountering them on the page. When we see those characters and that action on the screen, they usually have a very different effect, especially when the novel and the film deal with sex. When The Story of O, a novel written by a woman, was transferred to the screen by a director who's a man, the "male gaze" inevitably informed the movie, particularly because the story is about a woman submitting to sadomasochistic discipline. So the film, whose subject matter and abundant female nudity got it banned in Britain and labeled NC-17 in the States, was also subject to charges that it was antifeminist. There are those who assert that it's actually a feminist fable, since O (Corinne Cléry) is given frequent opportunities to escape from her submissive role and asserts her equality, if not dominance, at the film's end, but they seem to be in a minority. In any case, The Story of O is not a very good movie. It's drenched in soft-core porn clichés and its soft-focus photography gives it a candy-box ambiance. On the page, the novel could be intellectually and erotically provocative. But on the screen it's just tedious and repetitive.   

Licorice Pizza (Paul Thomas Anderson, 2021)

Cooper Hoffman and Alana Haim in Licorice Pizza

Cast: Alana Haim, Cooper Hoffman, Sean Penn, Tom Waits, Bradley Cooper, Benny Safdie, Skyler Gisondo, Maary Elizabeth Ellis, John Michael Higgins, Christine Ebersole, Harriet Sansom Harris, Ryan Heffington, Nate Mann, Joseph Cross. Screenplay: Paul Thomas Anderson. Cinematography: Paul Thomas Anderson, Michael Bauman. Production design: Florencia Martin. Film editing: Andy Jurgensen. Music: Jonny Greenwood.

Ever seen a movie that you liked but a couple of years later couldn't remember a thing about it? That's what Licorice Pizza was for me. Which is odd, because one of the things about Paul Thomas Anderson's movies is that they're so memorable, if only for certain moments, like the rain of frogs in Magnolia (1999) or Daniel Day-Lewis threatening to drink Paul Dano's milkshake in There Will Blood (2007). But there's something comparatively low-key about Licorice Pizza, at least for the first half of the film. It's basically a boy-meets-girl story, or rather a boy-meets-woman story: A more-than-usually assertive 15-year-old boy meets a slacker twenty-something woman. Teenager Gary Valentine (Cooper Hoffman) is an actor and an entrepreneur; Alana Kane (Alana Haim), who is either 25 or 28, depending on which you believe of the ages she gives at one point in the movie, lives at home with her parents and her sisters (played by Haim's real-life family). Gary and Alana meet when he's standing in line to have his high school yearbook photo taken; she's an assistant to the photographer, a job she dislikes. They begin a relationship that turns co-dependent and evolves into an off-beat (and possibly illegal) romance. And for a time that's all there is, until after the excursions of the two into the waterbed and pinball machine business put them in contact with some big name Hollywood types: Sean Penn plays a very thinly disguised version of William Holden, and Bradley Cooper a very broadly caricatured Jon Peters. These extended cameos throw the film out of whack for a while until the main story gets its balance back, though it ends with a sequence that's a cliché out of the romcom genre. I think one of the reasons Licorice Pizza is so unmemorable is that Anderson hasn't quite figured out how to turn the autobiographical elements of his story, drawn from growing up as an actor's son in the San Fernando Valley, into a narrative that connects with the audience. It had the same effect on me as Steven Spielberg's The Fabelmans (2022), another film that doesn't rise out of autobiography into common experience. Both movies were fun to watch but they didn't quite stick with me.  

The Savages (Tamara Jenkins, 2007)

Philip Seymour Hoffman, Laura Linney, and Philip Bosco in The Savages

Cast: Laura Linney, Philip Seymour Hoffman, Philip Bosco, Peter Friedman, David Zayas, Gbenga Akinnagbe, Cara Seymour, Tonye Patano, Guy Boyd, Debra Monk, Rosemary Murphy, Margo Martindale. Screenplay: Tamara Jenkins. Cinematography: W. Mott Hupfel III. Production design: Jane Ann Stewart. Film editing: Brian A. Kates. Music: Stephen Trask. 

The Savages are a dysfunctional family who live disjointed lives. The mother abandoned them at some point in their childhood, and Wendy (Laura Linney) and Jon (Philip Seymour Hoffman), well into middle age, are both unmarried. Wendy is having an affair with a married man and Jon is in a relationship with a woman who is about to return to Poland because her visa has expired. Their father, Lenny (Philip Bosco), lives in Sun City, Ariz., with a woman he hasn't married, and when she dies he has already begun to sink into dementia. He has also signed an agreement that he has no stake in the legacy of the woman he lives with.This means that Wendy and Jon, who live in New York -- she in New York City, he in Buffalo -- have to drop everything and go tend to a parent from whom they are estranged. (He is said to have been abusive, although we're given no specifics.) Wendy is just a bit flaky: She's an aspiring playwright who supports herself by working as an office temp. Jon is just a bit withdrawn: He's a professor of English whose specialty is drama, particularly Bertolt Brecht. When Wendy comes up with impractical ideas about how to deal with their father, Jon tends to retreat into his shell. As for Lenny, he's just lucid enough to be cantankerous, especially at inconvenient moments. Such a story needs skilled actors to bring it off, and it gets them. There's just enough comedy in Tamara Jenkins's screenplay to keep the film from being a downer, and Linney, Hoffman, and Bosco know precisely how to balance the elements of pain and humor in their stories. Even though the predicament faced by the Savages is heightened by distance and alienation, the basics of the narrative are familiar to almost everyone who has aging parents, which makes The Savages something of a fable for our times. 

Apart From You (Mikio Naruse, 1933)

Cast: Mitsuko Yoshikawa, Akio Isono, Sumiko Mizukubo, Reikichi Kawamura, Ryuko Fuji, Yoko Fujita, Tomio Aoki. Screenplay: Mikio Naruse. Cinematography: Suketaro Inokai. Art direction: Tatsuo Hamada. 

One of Mikio Naruse's earliest surviving silent films, Apart From You is a fable in support of filial devotion. An aging geisha, Kikue (Mitsuko Yoshikawa), is trying to raise a teenage son, Yoshio (Akio Isono), but he has become ashamed of his mother's profession. When she discovers that Yoshio has been cutting school and has joined a gang, her friend and fellow geisha, the pretty young Terugiku (Sumiko Mizukubo), tries to help Kikue by showing Yoshio what her own dysfunctional family is like. The contrast with his own self-sacrificing parent inspires him to give up his adolescent rebellion. Though the film teeters on the edge of sentimentality, it's saved by the complexity of the characters, the performances of the actors, and the fluidity of the direction and camerawork.   

Cairo Station (Youssef Chahine, 1958)

Cast: Farid Shawqi, Hind Rustum, Youssef Chahine, Hassan el Baroudi, Abdulaziz Khalil, Naima Wasfy. Screenplay: Abdel Hai Adib, Mohamed Abdel Youssef. Cinematography: Alevise Orfanelli. Art direction: Gabriel Karraze. Film editing: Kamal Abul Ela. Music: Fouad El-Zahry. 

Movies usually treat train stations as venues for the passengers' romantic meetings and partings, but they rarely focus on the lives of people who work there. Youssef Chahine's absorbing Cairo Station is different. It swarms with indigenous life, that of the people who serve the passengers, loading their luggage or selling them newspapers and food and drink. It focuses in particular on a porter, Abu Siri (Farid Shawqi), his girlfriend, Hanuma (Hind Rustum), who peddles soft drinks, and a crippled newspaper vendor, Qinawi (Chahine). Abu Siri is something of a bully, but his chief aim, besides courting (and sometimes abusing) Hanuma, is to organize a labor union for the other luggage handlers. Hanuma doesn't have a license to ply her trade, so she and her fellow drink vendors are always scurrying to hide from the police. Qinawi is the lowest of the lowly, living in a shed that he decorates with cutout pictures of women that remind him of the object of his desires, the voluptuous Hanuma. Eventually, Qinami's desire will turn into a sinister obsession, especially as he's goaded by other men at the station who mock him for not having a woman. But the darkness of the plot of Cairo Station is not what makes it an exceptional film, it's the vivid portrait of the station, as lives work themselves out amid the never-ending movement of people and trains.  

Dangerous Crossing (Joseph M. Newman, 1953)

Cast: Jeanne Crain, Michael Rennie, Carl Betz, Max Showalter, Mary Anderson, Marjorie Hoshelle, Willis Bouchey, Yvonne Peattie. Screenplay: Leo Townsend, based on a radio play by John Dickson Carr. Cinematography: Joseph LaShelle. Art direction: Maurice Ransford, Lyle R. Wheeler. Film editing: William Reynolds. 

Someone disappears in a public setting -- a train, a hotel, a passenger ship -- and the person who saw them last discovers that no one else claims to have ever seen them. It's a nice trope for a thriller, like The Lady Vanishes (Alfred Hitchcock, 1938) or So Long at the Fair (Antony Darnborough, Terence Fisher, 1950), so who can blame 20th Century-Fox for taking it out of the mothballs for a low-budget picture like Dangerous Crossing? Ruth (Jeanne Crain) boards a ship for a honeymoon ocean voyage with her husband, John (Carl Betz), who takes her to their stateroom and then goes to make a deposit of some money with the purser. He'll meet her in the bar, he says, but he doesn't show up. When Ruth goes to the stateroom to look for him she finds it locked, and when an attendant opens it for her, their luggage is gone. Ruth has them find the maid (Mary Anderson) who was preparing the room when the couple entered and saw John carry her over its threshold, but she swears she didn't see them and that the room has always been vacant. As Ruth becomes more distraught, everyone begins to suspect she's lying or insane. Only the ship's doctor (Michael Rennie) is willing to put up with her frantic assertions that she really is married and that her husband must be somewhere on board. Naturally, since Rennie gets top billing with Crain, we know that some kind of relationship between Ruth and the doctor is going to develop. Unfortunately, the doctor is such a know-it-all male and Ruth such a basket case that it's a dull romance, not helped by a lack of chemistry between the actors. Crain does a nice job from the start at suggesting that there's something fragile and off-balance about Ruth, so even though we've seen her with John, we feel there's something she's not telling us. There is, but as the story unfolds, the movie gets routine and predictable.  

One Hour Photo (Mark Romanek, 2002)

Cast: Robin Williams, Connie Nielsen, Michael Vartan, Dylan Smith, Gary Cole, Evie Daniels, Paul Kim Jr., Eriq La Salle, Clark Gregg. Screenplay: Mark Romanek. Cinematography: Jeff Cronenweth. Production design: Tom Foden. Film editing: Jeffrey Ford. Music: Reinhold Heil, Johnny Klimek. 

Robin Williams gives a fine performance in One Hour Photo, but it remains just that: a performance, a tamping down of his familiar manic presence into the persona of the repressed, furtive Sy Parrish. He works in the photo processing department of SavMart, a vast and impersonal big box store. He lives alone, and his chief human contact is with his customers, who bring him their rolls of film to be developed. Their snapshots give him a glimpse into the lives of people who have families and children and celebrate events like weddings and birthdays. He also gets a glimpse of the secret lives of people, who bring in shots revealing their sexual proclivities, but he chooses to concentrate on the happy families, especially the Yorkins: the beautiful Nina (Connie Nielsen), her handsome husband, Will (Michael Vartan), and their cute 9-year-old son, Jakob (Dylan Smith). His admiration for the Yorkins grows into an obsession, and from that writer-director Mark Romanek spins the plot. One Hour Photo is supposed to be a thriller, in which we watch uneasily as Sy's obsession curdles into something malevolent. But by showing us Sy talking to the police at the start of the film, he deprives us of that surprise. There's a slackness in the narrative that works against the suspense, and Sy's breakdown and eruption into violence feels less like an integral part of the character than a plot device. Romanek also gets distracted into making a satiric point about the soullessness of the megacorporate entities embodied by SavMart, turning the store manager (Gary Cole) into the villain who pushes Sy over the edge. For many people, however, watching Williams perform is enough to overcome the movie's flaws. 

25th Hour (Spike Lee, 2002)

Cast: Edward Norton, Philip Seymour Hoffman, Barry Pepper, Rosario Dawson, Brian Cox, Anna Paquin, Tony Siragusa. Screenplay: David Benioff, based on his novel. Cinematography: Rodrigo Prieto. Production design: James Chinlund. Film editing: Barry Alexander Brown. Music: Terence Blanchard. 

Spike Lee's 25th Hour is a "day in the life" movie, and a very good one. The day is the last one of freedom for Monty Brogan (Edward Norton) before he goes to prison for seven years. He spends it with his girlfriend, Naturelle (Rosario Dawson), his friends Jacob (Philip Seymour Hoffman) and Frank (Barry Pepper), and his father (Brian Cox), and also makes a visit to the Russian mobsters who got him into the business of pushing drugs. It's also one of Lee's best films, less celebrated than Do the Right Thing (1982) or Malcolm X (1992), but worthy of being mentioned in their company. The only reservation I have about the movie is that Lee doesn't let his powerhouse cast bring their solidly written characters to life without indulging in a few distracting cinematic tricks. He and his longtime editor, Barry Alexander Brown, can't seem to resist techniques like freeze frames and moments in which the action is repeated from a different angle. There are showy montages and tour de force episodes, some of which work, like the "fuck you" episode in which the embittered Monty anathematizes almost every racial, social, and economic group in New York City. And the film ends with a beautifully realized sequence in which Monty's father proposes to help him escape and imagines the life he might live. But other episodes don't quite work, like the long take in which Jacob and Frank talk about their friendship with Monty, a scene that must have involved careful preparation on the part of Pepper and Hoffman, But it's staged in front of a window in Frank's apartment, which somewhat improbably overlooks Ground Zero, where crews are clearing away the rubble of the World Trade Center. I couldn't help being distracted by the scene outside the window instead of concentrating on their dialogue. Still, the movie, which was planned before the 9/11 attack and completed and released afterward, beautifully integrates that event into the theme and tone of the film. 

Brainstorm (William Conrad, 1965)

Cast: Jeffrey Hunter, Anne Francis, Dana Andrews, Viveca Lindfors, Stacy Harris, Kathie Browne, Philip Pine, Michael Pate, Robert McQueeney, Strother Martin. Screenplay: Mann Rubin, Lawrence B. Marcus. Cinematography: Sam Leavitt. Art direction: Robert Emmet Smith. Film editing: William H. Ziegler. Music: George Duning.

The vertiginous Brainstorm starts off in one direction, with the sadistic industrialist Cort Benson (Dana Andrews) gaslighting his employee, Jim Grayam (Jeffrey Hunter), who is having an affair with Benson's wife, Lorrie (Anne Francis). But then it turns in another direction: Benson may be trying to make Grayam think he's going mad, but Grayam may actually be insane. He plots an intricate scheme to kill Benson and get away with it, and he almost does. It's a whipsaw premise for a thriller that in the hands of Alfred Hitchcock might have been a classic. Unfortunately, William Conrad was a better character actor than director, and he doesn't quite bring it off. Part of the problem is that Hunter is a little too handsome for the role and doesn't balance the attractiveness of Grayam with enough darkness: We ought to feel more ambivalent about the character from the start. The script has some distracting inconsistencies of plot and character that a more sure-footed director might have overcome, the way Hitchcock covers up the plot holes in Vertigo (1958). There are still some good performances, especially from Viveca Lindfors as a psychiatrist who plays her own ambivalent role in Grayam's case. I think it's the off-balance narrative that has allowed Brainstorm to develop into something of a cult film after its initial rejection from the critics.