Inherit the Wind (1960)
3.30 out of 4stars
“Based on the real-life case in 1925, two great lawyers argue the case for and against a Tennessee science teacher accused of the crime of teaching evolution.”
A great historical drama that is grippingly told and more than just an example and debate on the unethical mixing of church and state, through a christian fundamentalist state law and court case on the Butler Act (or a defense of science). Based on the play and showcasing 2 powerhouse performances from Spencer Tracy and Fredric March with some top notch dialogue, you can see historically and legally the influence of a biblical God on the United States at varying levels, even in the simplest form of today’s currency still inscribed with the words “In God We Trust”. Most importantly, this trial was about protecting one’s freedom of thought and expression, which is protected by the Constitutional First Amendment, and showing the non-violent horrors of a close-minded mob mentality (and fallibilities of government). It’s quite ironic, how one’s right to freely express themselves, christian fundamentalists here, in turn becomes an aggressive and suppressive means to take away another’s right to do the same, believing and teaching Darwin’s theory of evolution. On a much larger scale, this simplifies what politics are as a whole, one side fighting against another side based on a topic stance they believe in on which they push to become declared legal or illegal, whether selfish, logical, moral, ethical, or otherwise based. Sadly, when laws and politics involve subjectivity, something that occurs often, “right” becomes a meaningless term in the world of gray areas. While I won’t give away a twist or the film, one event is smart and applaudable as the basis of the situation and transferable in an applicable manner. What I find ironic about everything here is that religion is all faith based anyway, depending on one’s harmonization of evolution and their religious beliefs aside, and exposure to temptation and sin exists everywhere in the world already and this is just “one possible example of it out of countless others”. Gene Kelly as the snarky one liner throwing comedic relief is spot on as well. Supposedly seen as an attack on the anti-communist policies of the time, of which co-screenwriter Nedrick Young was blacklisted for such ties in that era.
Arsenic and Old Lace (1944)
3.15 out of 4stars
“A Brooklyn writer of books on the futility of marriage risks his reputation after he decides to tie the knot. Things get even more complicated when he learns on his wedding day that his beloved maiden aunts are habitual murderers.”
A great dark comedy drama that is madcap funny, rapidly paced entertainment. Based on the play, the film is full of over the top frantic laughs, amply witty dialogue, and a sprinkle of danger created from its insanity, irony, and secrecy ladened script. The obvious theme is about upper class citizens being hypocritical and having many skeletons in their closets, while possibly having low views of their fellow lower class citizens. Arguably a message of the upper class being ignorant, negligent, or sadistic in their treatment of the lower classes is presented too. The themes feel mostly one note throughout the film, but the material is still quite funny and makes up for it. And while Carey Grant had easily starred in more than a dozen lesser films, he considered this one to be his least favorite and included a horrible performance from him. Something the vast majority of viewers would easily disagree on.
Death and the Maiden (1994)
3.05 out of 4stars
“A political activist is convinced that her guest is a man who once tortured and raped her for/under the previous fascist government and proceeds to kidnap and interrogate him alongside her lawyer husband.”
A great psychological mystery drama thriller that’s a tense and gripping discussion on justice, power, and trauma. Based on the play, Sigourney Weaver is great as the scarred hell-bent victim and Kingsley tip toes the line between innocence/guilt so well. There is a lot of entertaining food for thought brought up to the audience. Is circumstantial evidence worthy of guilty judgment? Witness testimony is falsifiable or speculative, so how worthy is it to be used in judgment/trials? Why are justice loopholes allowed to exist (example: criminal informants/plea bargains-negotiations /cover ups/etc)? Is living through rape and torture a fate worse than death? What is a true form of justice for torture and/or rape? What verbally said from or physically done to an offending party by or in regard to the victim must occur “to be made whole” again? Psychological/physical trauma like this is life altering and the acts of torture/rape themselves as arguably the most intimately severe and atrocious acts someone can commit. These are the most extreme points on the scale. Politics/A government that lets such abuses (of power) go unpunished in any way are themselves guilty as well in part of the crime. Of further interest, the accused rapist here, was in charge of monitoring the extremities of torture lest not to kill her, another darkest of the dark conundrum. I won’t give away the ending, but will say the finale’s answers are a worthy conclusion. Interestingly this situation feels oddly too close to home for director Polanski, who drugged and raped a 13 year old girl in 1977 and eventually fled the United States to France to avoid punishment/a lengthy jail time.
A Lizard in Woman’s Skin (1971)
2.90 out of 4stars
“The potentially unhinged daughter of a British politician, who regularly visits a psychologist, is accused of killing her hedonistic/sex-and-drugs-party neighbor after she witnesses the murder in a dream.”
A great giallo horror with style and suspense alongside some police procedural moments. Aside from uncharacteristically dealing with a single/non-serial murderer, this delivers all the elements and visuals one would hope from a giallo. Ranked #19 in Pranzo’s gialli thread, of which I agree that the film has some notable highs and a poor score, but disagree on the film's contents being cheesy at times and notably uneven. Also in agreement with Pranzo, Sorel acting as the husband is poor but you’re in luck because Bolkan in the lead is fantastic. The topic throughout is “is our protagonist crazy or not? And is she the killer or not?”, of which we see explored through police investigation, protagonist family members scrambling, and our protagonist facing weird encounters throughout it all. The highs are quite admirable, of which include 2 long sequences: the sanatorium chase and abandoned church chase, amongst a few other visually unique shots. The dream scenes and many portions of the film as a whole play on the surreal edge quite successfully. It’s all thrown together with ample red herrings and a great twisty story, especially the last 20minutes with a satisfying conclusion completely fitting the style of the subgenre. Of considerable note, the graphic pulsating insides-opened-up dogs scene was so realistic that director Fulci was charged with animal cruelty but saved from jail time when special effects artist Rambaldi presented the fake dog props used in the scene. Supposedly the first case of its kind, and if you watch the 95minute cut of this film you will not see this scene.
Four Flies on Grey Velvet (1971) (subtitles)
2.85 out of 4stars
“A musician is stalked by an unknown homicidal maniac, who blackmails him for the accidental killing of another stalker.”
A great giallo that is unorthodox and 100% unapologetically early Dario Argento. Separating itself from prototypical giallo, the film has lots of humor, minimal sex, and little gore. Some might dislike their giallo chock full of humor as it pulls focus from the suspenseful mystery at hand, but I relished it, especially from someone like Argento behind the camera bringing his other signatures. The coffin expo scene specifically is very funny. The camera work is brilliant as always, the oddities are gleeful, the plot twists worthy, the murder scenes top notch, suspense moments great, imagery memorable, stylish all around, some surreal touches, and a prog rock soundtrack of quality. Argento’s 3rd film is obviously not on his top tier with films like Deep Red, Suspiria, Tenebrae, or The Bird with the Crystal Plumage, arguably a little below his tier of Opera, Phenomena, and Inferno, but it’s still pleasantly what you would expect from Argento. Great and weird, and a must see for any real fan of the director.
