[One to four stars. Four sentences each. No spoilers. Sources: Amazon Prime, TCM, YouTube.]
Jealousy (dir. Gustav Machatý, 1945). From the director of Ecstasy, and a great YouTube find. Jane Randolph of Cat People plays Janet Urban, an Angeleno married to an alcoholic émigré writer (Nils Asther) unpublished and unemployed in America. Janet’s work as a cab driver leads to a friendship with a dashing doctor (John Loder), and she soon finds herself in two love triangles, with her husband, the doctor, and the doctor’s assistant (Karen Morley). The dialogue is sometimes wooden — “I have a strange feeling of foreboding” — but odd camera angles and disorienting montages make this a far from ordinary low-budget movie. ★★★ (YT)
*
Always Goodbye (dir. Sidney Lanfield, 1938). Margot (Barbara Stanwyck) stands at the edge of a pier, ready to give up on life after the death of her fiancé, when she’s comforted by good-natured, unassuming Jim (Herbert Marshall), who works as a veterinarian. Margot is pregnant, and what follows is a story of the conflict between love and duty, as Margo gives up her child, only to have to choose years later between Jim and her child’s adoptive father (Ian Hunter). Stanwyck and Marshall are excellent as a shy, tentative couple. The one strike against the movie: too much of it is given up to Cesar Romero as an insufferable ladies’ man, whose (comic?) shtick soon gets old. ★★★ (YT)
*
Confidential Agent (dir. Herbert Shumlin, 1945). It’s 1937, and the agent is Luis Denard (Charles Boyer), who’s come to London to negotiate a purchase of coal for the Republican government in Spain. The last time I watched this movie I thought of it as looking back to The 39 Steps and ahead to Dark Passage. This time I saw as looking back to The Maltese Falcon and Casablanca. With Lauren Bacall as a helpful goddess; Katina Paxinou, Peter Lorre, and Dan Seymour as no-gooders; and James Wong Howe as cinematographer extraordinaire. ★★★★ (TCM)
*
Uncertain Glory (dir. Raoul Walsh, 1944). Like Confidential Agent, another winner from the Brothers Warner. Errol Flynn is Jean Picard, a Parisian criminal awaiting execution; Paul Lukas is Marcel Bonet, the police inspector who finally tracked Picard down. When Resistance forces destroy a bridge and the Nazi occupiers prepare to execute a hundred men unless the saboteur is found, Picard proposes to turn himself in as the saboteur and save a hundred lives. With a brief love affair (Picard and Jean Sullivan as a shopgirl), a deepening friendship of sorts between the two male leads, and danger everywhere. ★★★★ (TCM)
*
I Was an Adventuress (dir. Gregory Ratoff, 1940). I suspect that the title was meant to be recognized as slightly preposterous. Erich von Stroheim and Peter Lorre are Andre and Polo, a pair of crafty jewel thieves — almost romantic partners, really (Polo recites “for better, for worse,” and so on). The third person in their schemes is Countess Tanya Vronsky (Zorina), a ballerina who decides to give up crime when she falls in love with a man who was to have been one of the trio’s victims. Funny stuff, with some nice plot twists, and George Balanchine (then married to Zorina) as an orchestra conductor. ★★★ (YT)
*
The Man Who Played God (dir. John G. Adolfi, 1932). Bizarre, and still more bizarre when one learns that the 1912 short story that furnishes the plot was the stuff a play (1914), two silents (1915, 1922), and still later a movie starring Liberace (1955). George Arliss plays Montgomery Royle, a celebrated pianist who loses his hearing when a saboteur’s bomb explodes during a performance. Monty is saved from despair when he makes a new life scanning Central Park from his balcony, lipreading the conversations of visitors to the park, and finding ways to help them. Arliss is one strange-looking leading man: he’s sixty-four here, with lipstick and bad teeth, playing a man of fifty who has a young Bette Davis in love with him. ★★★ (TCM)
[See what I mean?]
*
Gangway for Tomorrow (dir. John H. Auer, 1943). Five defense-plant workers carpooling to work tell their stories in flashbacks: a singer who worked with the French Resistance; a race-car driver, injured and ineligible for military service; a former prison warden; a former Miss America; and a former hobo. Hokum, sure, but in 2025 such hokum can be appealing: it’s the hokum of a country in which everyone has a part to play and steps up to do so. Or almost everybody: did the filmmakers even consider adding a non-white character to the car? John Carradine, Margo, and Robert Ryan are the familiar faces here. ★★★ (YT)
[Margo was Latina, but here she plays a Frenchwoman. Nicholas Musuraca’s cinematography adds a star.]
*
I, Jane Doe (dir. John H. Auer, 1948). A Republic Pictures version of the so-called woman’s picture, with surprisingly high production values. The improbable story centers on a French civilian (Vera Ralston), an American pilot (John Carroll), and the pilot’s wife (Ruth Hussey). The story begins with a murder (there’s no doubt about whodunit) and moves both backward and forward from there. Though Hussey gets top billing, Ralston (not skating) is the emotional center, expressing great pathos, often without saying a word. ★★★ (YT)
*
The Second Woman (dir. James V. Kern, 1950). Architect Jeffrey Cohalan (Robert Young) lives an ultra-modern house with a painting of his dead fiancée; Ellen Foster (Besty Drake) lives in a spooky mansion with her aunt. The two meet by chance and a courtship begins, but Jeff meets up with one piece of bad luck after another: a statue breaks; a horse breaks a leg; a dog dies; crucial blueprints go missing. Who or what is behind it all? A variation on Rebecca, predictable in some ways but not in others. ★★★ (YT)
*
The Beast of the City (dir. Charles Brabin, 1932). The opening intertitle, with words from Herbert Hoover about “implacable support” for policing in “our great cities,” is jarring in 2025, but the targets here are top-tier gangsters. Walter Huston plays an uncorruptible police chief; Wallace Ford is his corruptible detective brother; Jean Hersholt is the chief gangster; Jean Harlow is a seductress. There’s considerable talk of greasy gangsters and greasy lawyers, and the chief rages about a gangster having killed “one of the finest white men that ever lived.” Pre-Code, with Harlow’s dancing and an insanely violent ending. ★★★ (TCM)
*
Street of Chance (dir. Jack Hively, 1942). Mild-mannered Frank Thompson (Burgess Meredith) is knocked to the sidewalk by falling construction material, and he comes to on that same sidewalk with someone else’s initials on his cigarette case and on the sweatband of his hat. And then he finds that his wife (Louise Platt) has moved out of their apartment; there’s a new woman (Claire Trevor) in his life; and an unknown man (Sheldon Leonard) is pursuing him for an unknown reason. From a novel by Cornell Woolrich, it’s truly Kafkaesque, at least until there’s an explanation. Adeline De Walt Reynolds steals the movie without saying a word. ★★★ (YT)
*
John Candy: I Like Me (dir. Colin Hanks, 2025). A portrait of a kind, generous, funny man who lived with considerable inner torment: “You don’t know what I have in my head,” Dave Thomas recalls him saying. The documentary is made of family photos, home video, clips from SCTV , movies, and interviews, and countless reminiscences, from Candy’s wife and children and from friends in the art: Dan Aykroyd, Mel Brooks, Eugene Levy, Andrea Martin. Steve Martin, Catherine O’Hara, Martin Short, and too many more to name. The comic moments are, of course, hilarious, but there’s real pathos too: I think you can see Candy hold back tears when interviewers ask him idiotic questions about his weight. Best moment: Catherine O’Hara recounts a dream in which she asks Candy why he had to die and he asks why she had to bring that up. ★★★★ (AP)
Related reading
All OCA “twelve movies” posts (Pinboard)