Tonight's Movie: Under Arizona Skies (1946) and Range Justice (1949) - A Warner Archive Blu-ray Review

I spent my Sunday evening enjoying the Monogram Matinee Volume 3 from the Warner Archive Collection.

This one-disc Blu-ray set features two "B" Westerns, UNDER ARIZONA SKIES (1946) and RANGE JUSTICE (1949), both starring Johnny Mack Brown.

The first film, UNDER ARIZONA SKIES, runs 59 minutes and was directed by Lambert Hillyer.

Brown plays Dusty Smith, who as the movie opens breaks up a crooked card game. He saves money being swindled from a rancher (Frank LaRue) who's in ill health and is rewarded with the offer of a job. The rancher also hopes that Dusty can rein in his heir to the ranch, hotheaded Bill (Riley Hill).

Before long Bill reforms, to the relief of his fiancee Cindy (Reno Blair), and helps Dusty solve cattle rustlings.

The story, written by J. Benton Cheney from a story by John McCarthy, was the stronger of the two films in the set, and there was also some outstanding black and white location photography, by Harry Neumann; some of the film appeared to be shot at Iverson Movie Ranch.

The film features music by Smith Ballew and the Sons of the Sage. The supporting cast includes Raymond Hatton, Tristram Coffin, and Reed Howes. The cast all go through their paces in expected fashion, though Blair, in her film debut, seems more comfortable on a horse than delivering dialogue.

I'm a fan of Johnny Mack Brown, and while some of his films are better scripted, UNDER ARIZONA SKIES qualifies as a pleasant "B" Western with pleasing ingredients, including striking locations and enjoyable Western music.

RANGE JUSTICE is the shorter of the two films, running 57 minutes. It was directed by Ray Taylor and, like UNDER ARIZONA SKIES, it was filmed by Harry Neumann.

This time around, with a screenplay written by Ronald Davidson, Johnny Mack Brown takes a job working for elderly -- but very feisty -- Ma Curtis (Sarah Padden) and must protect her ranch from the villains.

Johnny Mack's helpful comic relief sidekick in this film is Max Terhune, rather than Raymond Hatton, but there are other familiar faces in the cast; Tristram Coffin is back for this one, and Riley Hill once again plays the younger male lead.

RANGE JUSTICE is fairly run of the mill, but for me any time spent with Johnny Mack Brown is worthwhile.

These are both modest but enjoyable films, shown to their very best advantage here thanks to the Warner Archive Collection.

The prints in this set come from 1080p HD masters from new 4K scans of the "best preservation elements." They look very good, though RANGE JUSTICE's sunlight scenes sometimes seem just a bit overexposed; that may be something inherent in the original print. Sound quality is strong.

Both movies have optional English-language captions; as an aside, Warner Archive fans may be aware that this is an upgrade from the Warner Archive's older Monogram Cowboy DVD Collections, which like most Warner Archive DVDs did not have captions. There are no extras.

I previously reviewed Brown's WESTERN RENEGADES (1949) in the Monogram Matinee Collection Volume 1, and I've also reviewed Monogram Matinee Collection Volume 2, which featured films starring Jimmie Davis and Jimmy Wakely. Here's hoping for more Monogram Matinee sets, and soon!

Thanks to the Warner Archive and Allied Vaughn for providing a review copy of this collection. This set may be purchased from Movie Zyng, Amazon, and other online retailers.

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Tonight's Movie: The Texas Rangers (1936) - A Kino Lorber Blu-ray Review

THE TEXAS RANGERS (1936), directed by King Vidor and starring Fred MacMurray, has just been released on Blu-ray by Kino Lorber.

Vidor also produced and teamed with Elizabeth Hill to cowrite the story; Louis Stevens wrote the screenplay of this 98-minute film. The story was inspired by a book by Walter Prescott Webb.

I'll add off the top that this film is not connected with the 1951 George Montgomery film of the same title, although Montgomery plays a character not too dissimilar from MacMurray's.

In this 1936 film MacMurray, Jack Oakie, and Lloyd Nolan play a trio of outlaws on the Texas frontier; MacMurray and Oakie are separated from Nolan when escaping a posse. Broke and hungry, the two men sign on with the Texas Rangers -- three meals a day! -- thinking their criminal careers will benefit from insider information.

Instead the men are changed by their new jobs -- and in the case of MacMurray, the love of sweet and spunky Jean Parker -- and decide to stick with law enforcement.

However, they haven't counted on being assigned to go after their old pal Nolan...

It's hard to believe I first saw this film 17 years ago this summer, in August of 2009. I thought it would be worthwhile to revisit this film, especially in the light of so many Westerns seen in the intervening years, and was glad to see it again.

When I reviewed it on DVD back then I found it "entertaining," if "a bit pokey," and that's pretty much where I landed this time; I do think I enjoyed it incrementally more now due to the fine Blu-ray print and having developed a greater appreciation for both Jack Oakie and Lloyd Nolan. It's a solid film which was worth a fresh look.

MacMurray is fine as the conflicted Texas Ranger, if a bit dour; it's a relief when his character shows a more lighthearted side in his interactions with Parker.

I particularly appreciated MacMurray's scenes with Nolan near the end, especially a moment where MacMurray tries to warn Nolan off to prevent future conflict. Nolan coming to MacMurray's rescue in a dicey situation is charismatically played, as only Nolan could do, and similarly Nolan's betrayal of an old friend is quite shocking.

Charming Parker livens things up as MacMurray's forthright love interest, and I only wish she'd had a bit more to do, especially as she helps MacMurray's character evolution.

The supporting cast includes Edward Ellis, George "Gabby" Hayes, Bennie Bartlett, and Fred Kohler Sr.

The film has more enthusiastic advocates, but I find it fairly average, though in the context of when it was made, in the pre-STAGECOACH (1939) era, it's polished and has good production values. The location shooting in New Mexico, with sweeping views of some impressive action set pieces, is a real plus.

THE TEXAS RANGERS was filmed in black and white by Edward Cronjager, shown to best advantage in Kino Lorber's outstanding Blu-ray print. It's a 4K restoration by Universal Pictures in collaboration with the Film Foundation, using 35mm nitrate fine grain material. This is definitely the way to see this movie; the excellent visuals really added to my overall enjoyment. I was impressed.

Disc extras consist of two commentary tracks, one by Toby Roan and the other by Heath Holland and Max Allan Collins. Also included are the trailer and a gallery of five additional trailers for other films available from Kino Lorber.

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

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Tonight's Movie: The Big Combo (1955) - An Ignite Films Blu-ray Review

I first saw THE BIG COMBO (1955) in 2012, as part of a special "noir" evening at the historic Million Dollar Theater in Downtown Los Angeles.

I was relatively new to film noir then, and THE BIG COMBO initially baffled me a bit, but before very long I was completely caught up in its magic.

As I wrote 14 years ago: "...as the film went on, I found myself falling under its spell, thanks to a combination of unforgettably staged set pieces and the stunning black and white cinematography of John Alton. For anyone who wants to know what film noir looks like, this film is Exhibit A. What at first had appeared cartoonish gradually seemed to morph into high style, taking the viewer on something of a noir thrill ride."

My love for THE BIG COMBO has only deepened with successive viewings over the years, so I'm especially happy to say that the film is now available in an impressive 70th Anniversary edition from Ignite Films.

The print is a digital restoration from the 35mm "fine grain," with audio sourced from a UCLA-Film Foundation restoration.

It's available from Ignite in four different formats, utilizing various combinations of 4K, Blu-ray, and steel books, as outlined at the Ignite site; this review is of the 2-disc Blu-ray Standard Edition.

It bears noting near the top of this review that this set also contains a separate feature film, THE CROOKED WAY (1949), starring John Payne and Ellen Drew, directed by Robert Florey and, like THE BIG COMBO, filmed by John Alton.

THE BIG COMBO, directed by Joseph H. Lewis and written by Philip Yordan, drops viewers right into the middle of dramatic conflicts, very memorably filmed by Alton and scored by David Raksin.

Lt. Leonard Diamond (Cornel Wilde) is obsessed with bringing down a mobster known in the film only as "Mr. Brown" (Richard Conte).

Diamond is also more than a little obsessed with Brown's troubled, gorgeous mistress Susan (Jean Wallace, who was then Mrs. Wilde offscreen). He's determined to bring down Brown and save Susan, despite budgetary pressures from his boss (Robert Middleton) and having a sometime girlfriend of his own (Helene Stanton).

That's really the entire plot of this fast-paced 87-minute film in a nutshell, but it's how the film is presented which makes it truly unique; as I also wrote in 2012, "The film has a constant capacity to surprise." This ranges from creatively staged murders to character relationships to one of the steamiest scenes ever put on film -- and it does all of this without being graphic in the least.

The superb supporting cast includes Brian Donlevy, Helen Walker, Lee Van Cleef, Earl Holliman, Jay Adler, and John Hoyt, who all sketch indelible characters.

Rather than reinventing the proverbial wheel, I'd like to suggest that readers briefly click over to my extensive 2012 piece for deeper character and performance analysis, while my main focus here is detailing Ignite's spectacular new set.

Ignite's restored print is outstanding, with excellent sound. Discs don't come any better, especially factoring in the wealth of extras along with a top-quality print.

As mentioned above, I've reviewed the two-disc standard Blu-ray edition. THE BIG COMBO and all new extras are on Disc One. The new supplements include a commentary track by the always-excellent historian Imogen Sara Smith and an interview with author Philippe Garnier, plus a featurette on the making of the film. Finally, Disc One includes the trailer.

Eddie Muller's commentary track, originally recorded for a 2018 Arrow Academy release, is also included on Disc One.

Disc Two features the film THE CROOKED WAY (1949), mentioned near the top of this review, along with older "legacy" extras on THE BIG COMBO, including a featurette on director Joseph H. Lewis and another featurette with film historian Geoff Andrew.

The Standard Edition Blu-ray comes in a plastic case with reversible cover art and a cardboard slipcover, which also features distinctive art on each side.

A glossy booklet with half a dozen essays on the film is included, as well as five postcards representing some of the movie's most memorable scenes.

Both THE BIG COMBO and Ignite's release are very highly recommended.

Thanks to Ignite Films for providing a review copy of this Blu-ray.

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New at Classic Movie Hub: Bend of the River (1952)

My newest Western RoundUp column is now up at Classic Movie Hub!

This month I've reviewed the beautiful restored Blu-ray print of BEND OF THE RIVER (1952) just released by Kino Lorber Studio Classics.

This release, a new 4K restoration by Universal Pictures and The Film Foundation, is an improvement on Kino Lorber's original Blu-ray release of the film which I reviewed here in 2019.  I highly recommend it.

Please click over to Classic Movie Hub for my full review, and thanks for reading!

Previous Classic Movie Hub Western RoundUp Column Links: June 2018; July 2018; August 2018; September 2018; October 2018; November 2018; December 2018; January 2019; February 2019; April 5, 2019; April 30, 2019; May 2019; June 2019; July 2019; August 2019; September 2019; October 2019; November 2019; December 2019; January 2020; February 2020; March 2020; April 2020; May 2020; June 2020; July 2020; August 2020; September 2020; October 2020; November 2020; December 2020; January 2021; February 2021; March 2021; May 2021; June 2021; June 2021 (No. 2); July 2021; August 2021; September 2021; November 2021; December 2021; December 2021 (No. 2); January 2022; February 2022; March 2022; April 2022; May 2022; June 2022; July 2022; August 2022; September 2022; November 2022; November 2022 (No. 2); January 2023 (No. 1); January 2023 (No. 2); March 2023; April 2023; May 2023 (No. 1); May 2023 (No. 2); June 2023; July 2023; September 2023; September 2023 (No. 2); October 2023; November 2023; December 2023; January 2024; February 2024; March 2024; April 2024; May 2024; June 2024; July 2024; August 2024; September 2024; October 2024; November 2024; December 2024; January 2025; February 2025; March 2025; April 2025; May 2025; June 2025; July 2025; August 2025; September 2025; October 2025; November 2025; January 2026 (No. 1); January 2026 (No. 2); February 2026; March 2026; April 2026; June 2026.

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Tonight's Movie: Cage of Gold (1950) - A Kino Lorber Blu-ray Review

On the heels of their terrific French Noir releases, Kino Lorber Studio Classics is now releasing Brit Noir Collections.

The first set was released a month ago, with Volume II due this coming week and Volume III a month after that, in late July.

Volume IV is said to be "coming soon."

Based on watching CAGE OF GOLD (1950), the first film in Collection I, I'm going to have a wonderful summer watching my way through these sets.

I'll mention at the outset that this film is particularly heavy with twists and turns, some of which will be discussed below, so anyone wishing to see the story unfold "cold" may want to return to this review after watching.

Jean Simmons stars as Judith, an artist whose quiet life in postwar London -- which includes dating an earnest young doctor, Alan (James Donald) -- is disrupted by the return of Bill (David Farrar) into her life.

Judith had had a crush on Bill during the war, and he quickly sweeps her off her feet. She ends her relationship with Alan to pursue romance with Bill, and when she discovers she's pregnant, she's overjoyed when Bill says they will marry immediately. She truly loves him and, of course, is also relieved not to be facing unwed pregnancy.

On their wedding night Bill reveals plans to invest in a business, anticipating that Judith's father will lend him the money. Judith explains that her father, who now lives in Canada, could never come up with even a portion of what Bill needs.

Bill is disappointed but says it's not a problem, he'll just have to come up with another career idea, but when Judith wakes up the next morning, Bill has cleared out, even taking the beautiful watch he gave her as a wedding gift.

While Bill races back to Paris and his old girlfriend Marie (Madeleine Lebeau, CASABLANCA), Judith goes to Alan for help. He pledges to support her through her pregnancy, and when Bill is listed as dead in a plane crash, Alan and Judith marry and raise little Nicky (Anthony Britton).

Some time passes, and when Nicky is a toddler, there's a knock on the door...Bill has returned like the proverbial bad penny, and he separately tries to blackmail both Alan and Judith, given that they're not actually married after all.

I found this a really interesting melodrama; it's well-paced, at just 83 minutes, with a terrific cast. The film reminded me somewhat of NO MAN OF HER OWN (1950), which was released in the U.S. within weeks of this film coming out in the UK; as with that film, in CAGE OF GOLD a family happily adopts a young woman's baby, and the crime-laden finale regarding the blackmailer was especially reminiscent of the U.S. film.

The unhappy wife who finds herself pregnant and aided by a doctor also had slight overtones of CAUGHT (1949). Given that I like both CAUGHT and NO MAN OF HER OWN, I enjoyed seeing the familiar themes in CAGE OF GOLD. CAGE OF GOLD, incidentally, wasn't released in the U.S. until January 1952.

I did wish that Judith and Alan communicated with each other more near movie's end, which would have solved some problems, but their motivations were understandable.

Simmons seems far more mature here than the 21 she was offscreen, and she's simultaneously frustrating and sympathetic -- in other words, quite human. She makes mistakes but then tries to move forward.

Simmons would marry Stewart Granger shortly after this film's UK release, a union which lasted for a decade. In some shots, such as one below, Farrar resembles Granger just a bit.

Farrar, who like Simmons was in BLACK NARCISSUS (1946), oozes sleaze here as the former pilot looking for money and excitement. He's soon stepping out on his loyal girlfriend with Antoinette (Maria Mauban), eyeing her wealthy banker father as another potential blackmail target.

Although I'd seen Farrar in several films, I wasn't familiar with James Donald, who was in a number of well-known movies including LUST FOR LIFE (1956), THE BRIDGE ON THE RIVER KWAI (1957), and THE GREAT ESCAPE (1963).

Donald plays the film's most sympathetic character, and while some reviewers have indicated he's bland, I'd suggest that's a "nice guy" stereotype and they're only looking at the surface; still waters run deep, as the saying goes, and Alan's love and loyalty are deep indeed.

The supporting cast starts with the very familiar Harcourt Williams as Alan's observant doctor father; I've seen him in numerous films, including the 1948 HAMLET (which of course costarred Simmons) and Robert Montgomery's British-made film EYE WITNESS (1950).

Then there's Herbert Lom as a lovelorn nightclub owner/crook, who wishes Marie would give up on Bill and come back to him, and best of all, Bernard Lee in a small role as a police inspector.

The screenplay for CAGE OF GOLD was written by Jack Whittingham, from a story he wrote with Paul L. Stein. It was filmed in black and white by Douglas Slocombe, making excellent use of London and Paris locations. I especially loved the opening sequence in the Underground station.

The movie was directed by Basil Dearden. I'm only starting to become acquainted with Dearden's work; I loved his ALL NIGHT LONG (1962) at this year's Noir City Hollywood Festival.

The print is very slightly worn in spots but overall is just fine, a crisp print without any seriously distracting flaws. Sound quality is solid. Some films with dialogue rendered by British actors can be a bit challenging for my hearing but this one was fine.

Disc extras consist of a commentary track by Bryan Reesman and Max Evry, plus a gallery of three trailers for other films available from Kino Lorber. I'm especially looking forward to this commentary and learning more about the film and British postwar cinema.

Like all Kino Lorber releases of recent years, this disc includes optional English captioning. I'm including this information in my reviews more frequently due to reader requests. 

I anticipate reviewing the other films in this set, THE RINGER (1952) and THE FRIGHTENED CITY (1961), in the near future, along with the next volumes.

Thanks to Kino Lorber for providing a review copy of this Blu-ray collection.

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Around the Blogosphere This Week

Miscellaneous bits of news and fun stuff from around the Internet...

 ...I was greatly saddened this week to learn of the passing of the marvelous Ann Blyth. She could truly do it all, from drama to comedy to musicals. She was one of the last living links to my beloved MGM musicals; the most notable MGM star still with us is probably Leslie Caron. Blyth was just short of turning 99 in August; I noted that this week her birth year was updated on many sites, from 1928 to 1927. Ann is now reunited with her husband, Dr. James T. McNulty, who passed on in 2007 at the age of 89; they are survived by their five children and numerous grandchildren and great-grandchildren. What a life!

...Please visit my 2012 birthday tribute to Ann Blyth for photos along with links to all of her films which I've reviewed. (And note that at that time I listed her birth year as 1928.) I also recommend my review of Jacqueline T. Lynch's wonderful book on Ann; my account of seeing Ann at the 2013 TCM Classic Film Festival screening of KISMET (1955); and the post where I wrote about seeing her at the 2013 TCM Classic Film Festival screening of MILDRED PIERCE (1945). Rest in peace, dear Ann.

...In other news, Kino Lorber's annual Summer Sale has begun. And for anyone who missed it, here's my post on the annual half-price Criterion Collection sale at Barnes & Noble.

...I missed Glenn Erickson's November mention of a new book by film historian Joseph McBride, I LOVED MOVIES BUT...; the book was published in November by Sticking Place Books and consists of conversations between McBride and Danny Peary. Glenn posted a little more on the book this week. I've been reading McBride's books since I was a teenaged classic film fan and was fortunate to meet him briefly at UCLA's 2018 Ernst Lubitsch retrospective.

...Mark Harmon and Leon Carroll Jr. have followed up their 2023 book GHOSTS OF HONOLULU with GHOSTS OF SICILY, about Naval intelligence and the Mafia during WWII. Barnes & Noble is currently selling a signed edition of the new book, which was published in April.

...Thanks to Keith Buczak for making me aware of the book STITCHED TOGETHER: A HISTORY OF THE NORWICH KNITTING COMPANY AND WALT DISNEY. It was published by the Chenango County Historical Society of New York. Author Christian L. Vischi wrote a bit on the book last summer for Colgate University. The interesting "nooks and crannies" of Disney history seem endless; other examples of books on relatively obscure Disney history include KEM WEBER: MID-CENTURY FURNITURE DESIGNS FOR THE DISNEY STUDIOS and A SPOONFUL OF SUGAR: THE STORY OF THE UPJOHN PHARMACY IN DISNEYLAND.

...Here's an article by Brady MacDonald on the restoration of Walt Disney's private plane, which I was fortunate to see at the 2022 D23 Expo. I hope to see it again the next time we visit the Palm Springs Air Museum, which I previously visited that same year.

...Notable Passing: Soap opera actress Ellen Weston has died at 87.

...For additional recent links of interest to classic film fans, please visit my June 20th column.

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Criterion Half-Price Summer Sale at Barnes & Noble

The annual half-price summer sale at Barnes & Noble is now underway!

This year's sale will last until July 26th.

I've noticed that Amazon also has numerous Criterion titles currently on sale.

This year's classic-era Criterion releases include CAPTAIN BLOOD (1935).

I'm also curious about the new Kinuyo Tanaka Directs Eclipse Series collection.

Unfortunately there aren't as many titles as usual to recommend, as Criterion has been leaning into many releases of more recent films or upgrading classics such as GILDA (1946) from Blu-ray to 4K.

4K is a "format too far" for me; having been through numerous formats over the decades, going all the way back to Beta tapes, I'm very happy with Blu-ray and have no plans for additional upgrades.

Happy shopping!

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Tonight's Movie: Toy Story 5 (2026)

It's hard to believe seven years have passed since the release of TOY STORY 4 (2019).

I sometimes complain about a lack of original ideas in modern cinema, but the newest film in the Disney-Pixar franchise, TOY STORY 5 (2016), presents viewers with the best of both worlds: Characters we love in a quality story on a very timely and original topic.

It's not a retread, but a funny-yet-serious take on modern technology and the fight to protect innocent childhood.

Since as I write this is a new movie, I'll mention at the outset that I'm discussing the plot with a fair amount of detail, so those who wish to see the movie "fresh" may wish to return to read this after seeing the film.

Bonnie (Scarlett Spears) still loves her toys but is shy and having trouble making friends.

Bonnie's well-meaning parents (Lori Alan and Jay Hernandez) get her the Lilypad, a tablet which will allow her to connect with other girls in the neighborhood, in the hope it will help her make friends. Unfortunately the Lilypad only makes matters worse; it not only distracts Bonnie from creative play, it leads to a situation where she's subject to peer pressure and online bullying.

Jessie (Joan Cusack), Buzz Lightyear (Tim Allen), and the gang resolve to help Bonnie and even call in reinforcements in the form of Woody (Tom Hanks), who's been spending his time with Bo Peep (Annie Potts), Duke Kaboom (Keanu Reeves), and others rescuing abandoned toys.

Speaking of reinforcements, there's also a giant shipment of Buzz Lightyear dolls on the way...

The toys are up against a chilling problem which goes beyond Bonnie's issues: They peek in neighborhood windows from a rooftop and see all the children on screens. Is the age of toys over for children everywhere?

I was intrigued when I first heard the movie's theme and think it's a rather significant film which will cause many parents and children to think about where we're all headed with children and devices. TOY STORY movies always have moments connecting with heftier, even darker, dramatic ideas, and what's addressed in this film is something important.

At the same time, it's a very funny film, as all TOY STORY movies are, and the film's 102 minutes pass quickly. Along with the humor, I especially appreciated the cute romance between Buzz and Jessie (who knew?!), and that Jessie has a wonderful moment of closure regarding her first owner, Emily.

I do have a handful of minor quibbles, starting with a complete lack of humorous moments featuring my favorite characters, the "little green men." They're only seen at the edges of toy "crowd" scenes. In fact, most of our old favorites have fairly limited screen time while the story focuses on new "device" characters.

Another issue I have is that the troubled Bonnie simply isn't appealing. Except for brief scenes playing with her toys or, at the end, her new friend Blaze (Mykal-Michelle Harris), Bonnie spends most of the movie sad, pouting, or zoned on her tablet. There's simply not a lot there to like or root for, other than she's a "child in need of help" placeholder we naturally want to see happier. In fairness, I'll mention that a couple younger people I've spoken with about the character were more sympathetic.

My final issue is the way even family movies such as this one time and again default to unpleasant "bathroom humor." In this case the scenes feature a toilet training device voiced by Conan O'Brien. No one, adult or child, needs ugly lowbrow jokes like these.

Sometimes it's easier to cite the small things which didn't work in a good movie, but on the whole it's a well-done film which I enjoyed very much; for the most part it's well-written and thoughtful. The voice acting continues to be superb and heartfelt, particularly by the three leads.

Some characters have new voices due to deaths; Ernie Hudson succeeds Carl Weathers as Combat Carl and Jeff Bergman replaces Don Rickles as Mr. Potato Head. Timothy Dalton is still very much with us, but Mr. Pricklepants is now voiced by John Hopkins.

TOY STORY 5 was written and directed by McKenna Harris and Andrew Stanton.

The movie is rated PG. A trailer is here.

Previously: TOY STORY (1995), TOY STORY 2 (1999), TOY STORY 3 (2010), TOY STORY 4 (2019).

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Tonight's Movie: The Man Who Reclaimed His Head (1934) - A Kino Lorber Blu-ray Review

THE MAN WHO RECLAIMED HIS HEAD (1934) is an odd yet interesting drama out on Blu-ray from Kino Lorber Studio Classics.

This film was released a few weeks ago, at the high of the classic film festival season in Southern California, and I was glad to now catch up with it.

The movie begins strangely as somewhat hysterical Paul Verin (Claude Rains) staggers through the streets of Paris carrying his little girl Linette (Juanita Quigley, billed as Baby Jane) and a valise.

It's World War I and Germans are bombing the streets, but Paul finally arrives at the home of his old school chum Fernand de Marnay (Henry O'Neill), a distinguished lawyer. Once Paul somewhat gains his mental bearings -- and shows the horrified Fernand the shocking contents of the valise -- he recounts his story in flashback.

Paul is a pacificist writer with a loving younger wife, Adele (Joan Bennett). In order to give Adele a higher standard of living, Paul takes a job writing anti-war editorials for newspaper publisher Henry Dumont (Lionel Atwill).

Paul is stunned when Henry eventually "sells out" to munitions companies and backs off pacifism. Meanwhile the war begins and Paul must join the military and is sent to the front.

Henry assures Adele that he will use his influence to have Paul reassigned to a safer position, but he doesn't actually do so, as he has designs on Adele for himself; Adele belatedly recognizes this with clear eyes. Just as Adele must physically fend off Henry's brutish advances, Paul walks in the door...

Although I struggled with the film's opening minutes, as Rains' Paul is frankly weird and rather pathetic, I was on board once the flashbacks began. I was fascinated by the relationship of Paul and Adele; while the younger Adele clearly longs for frivolity and better finances, her love for Paul is never in doubt.

Bennett, one of my very favorite actresses, manages a carefully nuanced performance without the assistance of much character background from the screenplay; her Adele straddles expressing longing for some excitement and life's "finer things" while simultaneously keeping Adele rather innocent and always appreciative of her husband and child.

A scene where Adele entertains Linette with puppets and rolls around with her on the floor looks almost as if there are two youngsters at play, rather than mother and daughter. At the start of the flashbacks we learn Adele and Paul originally lived in a farm village and have been married for five years; it would have been interesting to learn more about their early relationship.

Rains' character lives in a bit of a dream world as a pacifist with few financial desires, but again, he's also sensitive enough to want to meet his wife's needs and not resent her wishes. Both actors present a very interesting portrait of a balanced marriage which I enjoyed a great deal.

I also appreciated that the movie didn't drag things out but wrapped up promptly at the 80-minute mark. It's not a wholly successful film, being rather different and strange; the political angles didn't interest me overly much, but owing to the performances and character relationships described above, I ultimately enjoyed it.

The movie was written by Jean Bart and Samuel Ornitz from Bart's play; several uncredited contributors to treatment and dialogue. The film did a fairly good job "opening up" the story with multiple sets and locations.

Juanita Quigley was just three years old but manages a fairly substantial amount of dialogue for someone so young, not to mention multiple tearful scenes. Quigley would continue acting through 1950, including roles such as Kathryn Grayson's sister in THE VANISHING VIRGINIAN (1942) and Elizabeth Taylor and Angela Lansbury's sister in NATIONAL VELVET (1944).

As a young adult Quigley become a nun for a period of time before leaving the convent, marrying, and having children. She passed away in 2017. Quigley's older sister Rita was also an actress.

The cast also includes Wallace Ford, Henry Armetta, and Lawrence Grant.

THE MAN WHO RECLAIMED HIS HEAD was directed by Edward Ludwig and filmed by Merritt Gerstad.

The Blu-ray print is from a new HD master from a 2K scan of the 35mm finegrain. It's quite nice-looking, with an excellent soundtrack.

Extras include not one but two commentary tracks, one by David Del Valle and one by Troy Howarth. The disc also contains a gallery of trailers for five other films available from Kino Lorber.

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

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