OUT OF THE PAST Aka BUILD MY GALLOWS HIGH (Dir: Jacques Tourneur, 1947).

OUT OF THE PAST aka BUILD MY GALLOWS HIGH (Dir: Jacques Tourneur, 1947).

Adapted from his novel by Geoffrey Homes, this classic thriller from the golden era of film noir stars Robert Mitchum as a former PI with a shady past and Jane Greer as the femme fatale he is hired to find by louche businessman Kirk Douglas in a star-making performance.

Mitchum has a new life and new girl in very un-noirlike rural Bridgeport California. But his past soon drags him back to his sordid big city life and back into the arms of his client’s cheating, murderous gal.

This terrific movie is like a film noir checklist with cutting dialogue, shadowy cityscapes and moody atmosphere to spare.

Out of the Past is a classic of it’s genre.

100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME! Link below.

RIP Dave Smith; founder of The Walt Disney Archives and its chief archivist from 1970 to 2010. He also authored some fine books on the Disney Studios.

THE WILD (Dir: Steve ‘Spaz’ Williams, 2006).

With animation farmed out to Toronto based CORE Feature Animation, The Wild is a Disney animation in name only.

The movie follows Sampson the lion as he breaks out of Central Park Zoo and heads to the wild in pursuit of his estranged son. He is joined on his quest by animal pals including a giraffe, a snake and inexplicably, an English koala. Cue some lessons in the value of friendship, of being true to oneself and some eventual father / cub bonding via lots of unsubtle humour.

The Wild was originally released within months of rival studio DreamWorks’ similarly themed Madagascar and as such feels incredibly derivative of the earlier movie. In truth, The Wild had been in production for much longer, dating back to the mid 1990s when production was delayed due to similarities with The Lion King.

With it’s theme of a lion father / son relationship, a gazelle stampede and a wildebeest song and dance number reminiscent of The Lion King’s ‘Be Prepared’, The Wild has a distinct air of over familiarity. In its favour the film does have a couple of genuinely impressive moments including the Lion King-esq ‘Really Nice Day’ musical number and a sequence where the animals take a nighttime ride through New York City in a dump truck. This scene is a rare welcome moment of calm in an otherwise frantic, noisy film.

While The Wild could not escape the shadow of the far more successful Madagascar, it is a visually more impressive feature. However, of the two, I think Madagascar is, ultimately, a lot more fun.

Visit my blog JINGLE BONES MOVIE TIME for more movie reviews! Link below.

Mouskouri Monday

SUSPICION (Dir: Alfred Hitchcock, 1941). 
Cary Grant is a decidedly dodgy geezer and Joan Fontaine his timid bride who suspects him of murder in movie number 11: Suspicion. Let’s be honest; this is not quite top drawer Hitchcock. It is, however, very, very good. Lacking much of the gallows humour and nail-biting set pieces which characterise Hitchcock’s later work, this is still a thoroughly entertaining romantic melodrama-cum-thriller. Some slightly artificial Hollywood sets stand in for the English countryside, but otherwise the whole thing is beautifully shot and expertly played by a stellar cast, especially Nigel Bruce as Grant’s bumbling, naive business partner. Highlights include a grizzly conversation about autopsy over a chicken dinner, a t
ense game of ‘Anagrams’ and the single most suspenseful glass of milk in movie history! Great stuff! 100+ movie reviews now available on my blog jinglebonesmovietime.blogspot.com

I CONFESS (Dir: Alfred Hitchcock, 1953).

While I Confess is one of Alfred Hitchcock’s lesser known films, it is certainly not one of his lesser works. The plot concerns a Catholic Priest to whom is confessed a murder which his oath prevents him from telling the authorities of. Knowledge of a pre-priesthood affair with a married woman who was being blackmailed by the victim implicates the priest as the culprit.

While Montgomery Clift is not the obvious casting choice as a Catholic priest he acquits himself well here. Nobody does angst like Monty and Hitchcock, famously not a fan of the method acting to which Clift subscribed, extracts a nuanced and believable performance from the star in a seemingly difficult part. Able support comes from Anne Baxter as his former lover and Karl Malden as the dogged investigating officer.

While not as showy as much of Hitchcock’s work - nobody dangles from the Statue of Liberty or is pursued across Mount Rushmore - it is beautiful shot in black and white on the Quebec locations on which it is set. This unfamiliar setting gives the film a decidedly un-Hollywood atmosphere, maybe a contributing factor to the film’s popularity in France while it was overlooked in the US.

While it is perhaps the most uncharacteristically Hitchcockian of the director’s work, I Confess holds up as a unique, unfairly neglected gem.

100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME! Link below.