2 items from 2016
“A murderer would never parade his crime in front of an open window”.
Rear Window plays this weekend (July 15th and 16th) at The Tivoli at midnight as part of their Reel Late at the Tivoli midnight series.
As with so many of Alfred’s Hitchcock’s films, Rear Window (1954) is a wonderful example of how to take an almost absurdly simple idea and spin out the maximum tension, character, humor and drama from it. It should be boring (a movie set in one room with a guy who can’t move) and ludicrous (a killer who murders his wife and chops her up in front of his neighbors) but it’s quite the opposite – riveting and eerily plausible. If ever there was a film about voyeurism and its relationship to cinema, this is it; Hitchcock tells engrossing little silent movies of the tenants (the newlyweds, the sculptress, Miss Torso, »
- Tom Stockman
Two obscure Robert Wise titles reach Blu-ray release this month, both direct follow-ups to some of the auteur’s more iconic works. First up is 1962’s Two for the Seesaw, a romantic drama headlined by Robert Mitchum and Shirley MacLaine following the famed 1961 title West Side Story. But the decade prior would fine Wise unveiling one of his most stilted efforts, The Captive City (1952), a sort-of noir procedural which followed his sci-fi social commentary The Day the Earth Stood Still (1951). Providing John Forsythe with his first starring role (a performer who would find his most famous roles decades later on television, as Blake Carrington in “Dynasty,” and of course, the famous voice in “Charlie’s Angels”), it has to be one of the most unenthusiastic renderings of organized crime ever committed to celluloid. A scrappy journalist defies the mob ruled police force and a slick Mafia boss in a tired »
- Nicholas Bell
2 items from 2016
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