Years after her aunt was murdered in her home, a young woman moves back into the house with her new husband. However, he has a secret which he will do anything to protect, even if that means driving his wife insane.
The only son of wealthy widow Violet Venable dies while on vacation with his cousin Catherine. What the girl saw was so horrible that she went insane; now Mrs. Venable wants Catherine lobotomized to cover up the truth.
Joseph L. Mankiewicz
After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.
From the time John J. Macreedy steps off the train in Black Rock, he feels a chill from the local residents. The town is only a speck on the map and few if any strangers ever come to the place. Macreedy himself is tight-lipped about the purpose of his trip and he finds that the hotel refuses him a room, the local garage refuses to rent him a car and the sheriff is a useless drunkard. It's apparent that the locals have something to hide but when he finally tells them that he is there to speak to a Japanese-American farmer named Kamoko, he touches a nerve so sensitive that he will spend the next 24 hours fighting for his life. Written by
According to one biographer of Spencer Tracy, the script did not originally call for the lead character to be a one-armed man. The producers were keen to get Tracy but didn't think he'd be interested, so they gave the character this disability with the idea that no actor can resist playing a character with a physical impairment. See more »
McCreedy rents the U.S. Army quarter-ton truck (jeep) and drives it around with his one arm. That model truck only had a standard transmission. Yet you can hear the gears shift but McCreedy never engages the clutch or works the shifter. See more »
John Sturges directed this quintessentially tight-constructed masterpiece. This is how it was done in the good old days: nothing falls by the wayside. Tight, clear characterizations, with minimalist dialog, costume, manner, and facial expression all reflecting the inner lives of people in their self-constructed hell. Check out how Hector (Lee Marvin) uses the word "boy" to suggest racial overtones well in advance of the slowly-revealed background plot; how Macreedy (Spencer Tracy) in his dark suit and no-nonsense manner contrasts with everyone else's casual dress and edginess, perfectly reflecting his role as avenging angel; how Coley (Ernest Borgnine), trying to run Macreedy off the road, resembles (probably unintentionally) Joe McCarthy, especially as caricatured by Walt Kelly; and of course how the arch-villain, Reno Smith (Robert Ryan), suggests limitless power with his inimitable smirk and almost languid movements: he controls the town without actually doing anything overt--until Macreedy forces his hand. Nicely turned performances by other major players, too: Dean Jagger (the drunkard Sheriff Tim), Anne Frances (nervous Liz), and Walter Brennan (loquacious, self-justifying Doc). The suggestion that one man can--literally single-handedly--make a moral difference is inspiring (and how that one hand utterly confounds Coley is a nifty, low-key precursor of Bruce Lee-inspired acrobatics). This is a keeper.
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