My pick this week is Olive Film’s release of Max Ophül’s Caught, a noir film that I haven’t seen but very much want to. I’ve seen several of Ophül’s French films, and Letter from an Unknown Woman (which I didn’t care for, but I think I’d like it better on rewatch), but I’ve never seen him do a genre film quite like this, and this looks like a great release from Olive to amend that. Seriously, Olive is really imitating Criterion lately, especially on cover art. I almost thought this WAS Criterion for a minute. They just need to get rid of the ugly blue snap cases and go with something sleeker. Here’s the description for the film from Olive’s site:
Caught is a tale of Leonora (Barbara Bel Geddes), an aspiring carhop who meets and marries a mysterious millionaire, Smith Ohlrig (Robert Ryan). Soon after the wedding, Laura realizes she’s trapped in a loveless marriage with a ruthless workaholic husband who torments her with twisted mind games. Unable to obtain a divorce from Smith, she moves out of the mansion and goes to work for a dedicated doctor, Larry Quinada (James Mason). The two quickly fall in love but the romance comes to an abrupt halt when Leonora learns that she is pregnant with Ohlrig’s child. Legendary director Max Ophüls and the top-notch cast masterfully navigate the ensuing complications through atmospheric cinematography by Lee Garmes (Duel In The Sun) and stylish art direction from Frank Paul Sylos (Suddenly).
More new (old) releases after the jump.
Criterion has announced their slate for September, and by far the most interesting one to me is Jack Clayton’s 1961 The Innocents, which is the very definition of atmospheric horror. It’s great stuff, and it’s going to look gorgeous in Blu-ray. Surprised it’s not coming in October, though – maybe they’ve got even more horror coming out then?
The Criterion Collection just announced their August titles. My pick is 1979′s All That Jazz, a thinly veiled autobiographical picture of director/choreographer Bob Fosse. Fosse is one of the greatest choreographers EVAR, and All that Jazz is his 8 1/2. Actually, I like it better than 8 1/2.
My Warner Archive pick for this week:
I’ve never heard of it, but Gable and Bennett are great, so I’d be down. The only thing is it’s from 1935, and I bet it would’ve been way better if it had actually been Pre-Code.
Excuse me while I geek out for a moment.
Okay, I’m cool now. Until this past year, I’ve never really been a comics or superhero type person (and I still don’t read much Marvel, though DC has their hooks into me something fierce), but Marvel’s movie series has been getting my business ever since I heard Joss Whedon would be directing The Avengers. But as the lead-ups have gone on, I’ve found myself more and more invested, even though I can definitely see flaws in Thor, Iron Man 2 (okay, I kind of hated Iron Man 2, but more on that in my April recap, hopefully coming shortly), etc. Would Whedon bring what I love about his work to such a big and bombastic franchise that’s been so long in the making, or would it end up being just another big summer blockbuster wanna-be?
The short story is I loved this film, almost from start to finish. It’s witty, funny, well-paced, well-shot, with plenty of thrills and applause-worthy action moments at all the right times. If you somehow haven’t seen it yet and it made $200 million last weekend without your $$$, then just stop there and go see it. The rest of this post will be spoilery as heck.