Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
When powerful publishing tycoon Earl Janoth commits an act of murder at the height of passion, he cleverly begins to cover his tracks and frame an innocent man whose identity he doesn't know but who just happens to have contact with the murder victim. That man is a close associate on his magazine whom he enlists to trap this "killer" - George Stroud. It's up to George to continue to "help" Janoth, to elude the police and to find proof of his innocence and Janoth's guilt. Written by
"She's My Baby" is the English version of "Cosi Celeste" See more »
Killer Earl Janoth (Laughton) dispatches his employee Steve Hagen (Macready) to the crime scene to eliminate any evidence connecting him to victim Pauline York (Johnson). Hagen alters the broken clock time as well as removing the murder weapon and misc.incriminating evidence.George Stroud (Milland) subsequently enters the York apartment and changes the clock time again. What both fail to see and leave behind is the most incriminating evidence of all. A photo of the real killer, Earl Janoth, prominently displayed in the apartment. See more »
You know, Earl has a passion for obscurity. He won't even have his biography in 'Who's Who'.
Sure. He doesn't want to let his left hand know whose pocket the right one is picking.
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For some reason (despite a tendency to join forces to protect the first
amendment's freedom of speech), movies tend to make publishers look
venal and awful. Even that most sympathetic of publishers, Charles
Foster Kane, is a megalomaniac (albeit one robbed of a happy
childhood). Look at the news publishers in "Five Star Final" or even
"Unholy Partners"...anything for a story,for circulation, no matter who
gets hurt by the publicity. Look at Walter Burns in all the versions of
"The Front Page". Look at Sydney Kidd (Henry Daniell) in "The
Philadelphia Story". In this film the publisher is a trifle closer to
Charles Foster Kane. Earl Janoth does not own and run a newspaper or a
magazine, but a whole empire of different magazines with names like
"NewsWays" and "CrimeWays". He even centers it in one single building
in New York City. And he has no doubt about his prominence. When his
right hand man (George Macready) suggests he was not recognized by a
witness, Janoth moans (a trifle loud for affect), "Everybody knows me."
This film is a nice combination of film noir and study of a publishing
empire. Kenneth Fearing had worked in advertising in a magazine, and
had an idea of how they actually ran. His novel (which was recently
published in the two volume edition on noir novels in the "Library of
America" series of books) became a best seller and classic of that
field of writing. The movie (with some changes) is a classic too. The
issue of this film is can the hero (Ray Milland) manage to sabotage the
investigation he is ordered by Janoth (Charles Laughton) to conduct,
without Laughton or his ally Macready realizing he is the man they are
seeking. It is done with style and comic timing (thanks to Elsa
Lanchester, Philip Van Zandt, and several other character actors). Even
Laughton and Macready are used for humor, although their characters are
menacing. Macready has just set up the orders for Milland's
investigation, and Milland (confused but trying to buy time), says
"Right." Macready looks at him and says, "What do you mean "Right"?"
And look at Laughton's silent reaction to Lanchester's portrait of the
sort for witness Milland has to find.
This is one film noir that gets better with every new viewing. Watch it
by all means.
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