Ride the High Country (1962), the second feature by Sam Peckinpah—and his first unqualified masterpiece—is a laconic tale about the end of the frontier that both celebrates and deconstructs the romantic view of old west nobility and heroism. He casts two old hands at the genre—Randolph Scott and Joel McCrea—as old friends and veteran lawmen […]
Orson Welles’ baroque border town murder mystery Touch of Evil (1958/1998) is a wild masterpiece, a sleazy, grimy, jittery, and ultimately dazzling work of cinematic magic. It’s considered the last great film noir and the bookend to the true noir era. It was also Welles’s last attempt at a career in Hollywood before he packed […]
Rock Hudson and Jane Wyman were so successful in Douglas Sirk’s Magnificent Obsession that they all reteamed for All that Heaven Allows (1955) as Sirk became Universal’s house melodramatist. He turned improbable plots into social commentary and pulling back the covers of middle class hypocrisy with an ironic visual style and an almost operatic emotional […]
James Cagney became an overnight sensation as the streetwise dynamo Tom Powers, a Chicago slum kid turned brutal mob goon in The Public Enemy (1931), William A. Wellman’s archetypal gangster classic. In the first depression-era films of the mob rats blasting their way to big screen glory like Molotov cocktails, Cagney’s Tom Powers was the […]
By all rights, the homecoming drama The Best Years of Our Lives (1946) should have been another well intentioned film left to the dated dustbins of history, but World War II vet William Wyler (working from an original Robert Sherwood script) put more soul into this picture than anything else in his career. Clocking in […]
