A Columbia quickie, on the Gothic end of the noir spectrum, directed with great flair by Joseph H. Lewis, director of Gun Crazy (1950) and The Big Combo (1955), and thus one of the most significant figures in noir. Nina Foch, pre An American in Paris is Julia Ross, a middle-class working girl on her uppers and desperate for a job. George Macready, pre-Gilda, is Ralph, quick to temper and overly interested in knives. His mother, Mrs. Hughes (Dame May Whitty) is the only who can control her son and is overly protective. She has set up a whole personnel agency just to find the right live-in personal secretary. There’s a great point made about no family and no attachments and we’ll soon learn why.
Julia goes to work one night and wakes up a prisoner in a rand cliff-side house in Cornwall, with the staff told she’s Ralph’s wife and so nuts they must ignore what she says. Why are they doing this to her? How will she escape? The film bears a loose resemblance to Rebecca and is worth seeing today for the ingenious ways Lewis figures a woman imprisoned in a world of shadows (see images below).
The Arrow Academy release features a very good introductory essay by Adrian Martin and an intriguing discussion by Nora Fiore, of Nitrate Diva Fame, on the relationship between the film and the social context it was made and released in.
You find us in contemplative mood, picking apart a film described by José as “genuinely puzzling” and Mike as “The House with a Doc in Its Walls”. The Little Stranger builds light gothic horror around class and ambition in 1940s Warwickshire, a stately home providing the setting of the action and focus of Domhnall Gleeson’s town doctor.
With some difficulty, we attempt to grasp the film’s themes and intentions, never quite feeling we get the full measure of it. It doesn’t help that it basks, to some extent, in ambiguity, and also that half the lines are mumbled so as to be rendered truly unintelligible. There are things we like, particularly its sure sense of era and class, and its rich production design, but we can’t overall say we recommend it.
What we can recommend, though, is a visit to Evesham’s Regal Cinema, where we saw the film. A multipurpose venue that hosts live shows as well as regular cinema screenings, it oozes charm and style. A leisurely Sunday drive amongst sunny A roads took us there, and what a lovely day was had by all. Even if the film was a bit disappointing.
The podcast can be listened to in the players above or on iTunes.
Jurassic World returns. J.A. Bayona, the director of The Orphanage and A Monster Calls, is in charge, transforming the colourful knockabout thrills of the previous instalment into a volcano disaster-cum-Gothic horror film. We both love the heightened drama of the mansion half of the film and how Bayona finds new life in what has, over the last 25 years, somehow become somewhat stale imagery of reanimated dinosaurs. José adores the casting of Geraldine Chaplin and Mike finds the reduced importance of love stories a positive thing. And seeing businessmen get killed is always fun. Cracking movie. Hugely enjoyable.
The podcast can be listened to in the player above or on iTunes.