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Home Town - (May 6th)
24 in 24- Last Chef Standing - (May 6th)
Naked and Afraid - (May 6th)
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Murders and Medicinal Mania. High Wall is directed by Curtis Bernhardt and adapted to screenplay by Sydney Boehm and Lester Cole from the play by Alan R. Clark and Bradbury Foote. It stars Robert Taylor, Audrey Totter, Herbert Marshall, Dorothy Patrick and H.B. Warner. Music is by Bronislau Kaper and cinematography by Paul Vogel. Suffering from a brain injury sustained during the war, Steven Kenet (Taylor) is further rocked by the realisation that he may have strangled his wife during one of his blackout episodes. Committed to a county asylum, Steven responds to treatment by Dr. Ann Lorrison (Totter) and comes to believe he just might be innocent of his wife’s murder. But can he convince the authorities? Can he in fact get out of the asylum to find proof? By 1947 film noir had firmly encompassed the plot strand involving returning veterans from the war. Plot would find them struggling to readjust into society, they would be battle scarred, emotionally torn or suffering some form of injury, such as a popular favourite of film makers of the time, the amnesia sufferer. High Wall is one of the better pictures from the original film noir cycle to deal with this premise. Where except for a daft method used to bring the story to its conclusion, it’s a well thought out and intelligent picture. The pairing of Taylor and Totter is one of the film’s strengths, they are helped no end by having parts that requires them to veer away from roles that they were accustomed to. Bernhardt and Vogel dress the picture up superbly, the camera glides eerily around the asylum, throwing impressive shadows across the drama, and the camera technique used for Kenet’s flashback sequences proves mood magnificent. Out of the asylum the visuals still remain beautiful whilst still exuding a bleakness befitting the unfolding story, with rain drenched streets the order of the night. While Kaper drifts a suitably haunting musical score across proceedings. It’s unhurried and cares about attention to details, and even though some of the ethics involved in story are dubious, this is a smart entry in the psychological film noir canon. 7.5/10
The film revolves around Davey Gordon, a 29 year old welterweight New York boxer in the end of his career, and his relationship with a dancer and her violent employer.
A hurricane swells outside, but it's nothing compared to the storm within the hotel at Key Largo. There, sadistic mobster Johnny Rocco holes up - and holds at gunpoint hotel owner James Temple, his widowed daughter-in-law Nora, and ex-GI Frank McCloud.
An American private-eye arrives in Alphaville, a futuristic city on another planet which is ruled by an evil scientist named Von Braun, who has outlawed love and self-expression.
When a sudden plague of blindness devastates a city, a small group of the afflicted band together to triumphantly overcome the horrific conditions of their imposed quarantine.
A nobleman with a literary flair, the Marquis de Sade lives in a madhouse where a beautiful laundry maid smuggles his erotic stories to a printer, defying orders from the asylum's resident priest. The titillating passages whip all of France into a sexual frenzy, until a fiercely conservative doctor tries to put an end to the fun.
Cliff is the leader of an enterprise he runs with his two best friends. His time in the life has taken a toll and he's eager to run away with his girlfriend Stephanie. They have a plan, but things take a dark twisted turn.
A mentally disturbed man takes residence in a halfway house. His mind gradually slips back into the realm created by his illness, where he replays a key part of his childhood.
An old-school butch lesbian, who has made the local cafe her everyday hangout, while ignoring the timid waitress that pours her cup after cup of coffee, is blindsided after meeting the high femme of her dreams.