It’s a shame that One More Tomorrow is not a better film. Not that it’s bad, it’s just that the potential was there to be so much more than the sum of its parts. Based on Phillip Barry’s 1932 Broadway play, The Animal Kingdom that starred Leslie Howard, it was filmed for the first time under the original title with Howard recreating his role of the frivolous playboy Tom Collier. Added to the film’s cast was Ann Harding as Daisy Sage, a bohemian artist, and Myrna Loy, a money hungry socialite, as the two women in his life. Like other works by Barry, the theme of the free-thinking versus the conservatively privileged upper class is at work (Holiday, The Philadelphia Story). I have not seen the 1932 film which from what I have read is stronger in its social commentary but moves at a slower pace. That said, One More Tomorrow is an entertaining film with plenty on its mind. It does get a bit soapy, and its storyline ending is predictable, but given a chance, you will see there’s more to it. Continue reading
A dark Los Angeles night. A reckless speeding car is seen racing through the streets running a red light. When it comes to a screeching stop, a hunched over man gets out and enters the Pacific All Risk Insurance Co. Building. After looking at row after row of desk after repetitive desk, he goes into his private office. The man is hurt badly. Hunched over, perspiration running down his face, he begins to tell his tale into a dictaphone. His name is Walter Neff, and he is about to make a confession. Continue reading
Considering the subject matter, it’s amazing that the low budget, Who Killed Teddy Bear was released in 1965. The film is a smorgasbord of Production Code taboos broken one after another: incest, masturbation, homosexuality and more. It all set in the seedy lurid world of 1960’s slime filled Times Square. It’s an oddity for sure, and a definite bump up above the typical sexploitation movies that decorated the deuce and Times Square back in the day, if for no other reason than the cast includes Sal Mineo, Juliet Prowse, Jan Murray and Elaine Stritch. One other reason to watch is due to the gritty, noirish cinematography provided by Joseph C. Brun (Odds Against Tomorrow, Edge of the City). One word of warning. Though over fifty years old and not as graphic as films today, Who Killed Teddy Bear may still be unsettling for some. Continue reading
Clocks and time have played an important part in many films. They are a harbinger of things to come; deadlines to be met, deadlines that are missed, time moving too fast, too slow or even sometimes standing still. In many films, clocks are filled with symbolism. They can create and build tension, something which many of us can identify with in our own lives. We all learn there is always a limit on time. Continue reading
In a 1993 interview with The New York Times, Martin Scorsese talks about the influence Murder by Contract had on the then teenager. “It’s an example of an American B-movie that is 100 times better than the film it played with on a double bill.” He then went on to explain, “The film it was playing with when I saw it was ‘The Journey,’ by Anatole Litvak, with Yul Brynner. That film had nice color, but when ‘Murder by Contract’ came on the screen, it was surprising and lean and purposeful, and not like anything my friends and I had seen. Afterward, we talked about it on the street for days. When I saw it again years later, I was overwhelmed by the severity of the style, which was dictated by the budget.” Scorsese later said in the interview how he put a clip from the film in ‘Mean Streets, ‘ but he had to remove it out of the final cut of the film because it was too long. Continue reading
An almost forgotten film from the mid-1980’s, Heaven Help Us is a wonderfully executed coming of age story. While the film will definitely strike a chord with Catholics, I can say honestly it will speak to almost anyone who was once a teenager, and that’s all of us. Continue reading
My love for movies began after my parents and I, moved from Manhattan to Brooklyn. I was just a few days shy of my eleventh birthday and was, and still am, an only child. I was on the shy side in those days making it hard at times to make new friends. There were plenty of kids around my age in the apartment building we moved to; still, it was not an entirely smooth transition. Movies became my outlet. Nearby was the Loew’s Oriental, a large majestic theater within walking distance. My other movie outlet was TV. New York City television during those early years, long before home video, was a treasure trove, a repertory theater filled with old films…only with commercials. There was The Early Show, The Late Show, The Big Preview, The 4 O’clock Movie, The 4:30 Movie, The Late Movie, Five Star Movie, Chiller Theater, and the best of all, Million Dollar Movie.