Happy Valentine's Day!

Happiest wishes to all for a very special Valentine's Day!

Countless classic Hollywood actresses posed in front of heart designs for Valentine's Day publicity portraits. This year's post features the wonderful Ann Blyth, who is currently 97.

Best wishes to Ann, and to all my readers, for a very happy Valentine's Day!

Previous Valentine's Day posts: Anne Gwynne (2014), Dorothy Hart (2015), Lynn Merrick (2016), Debbie Reynolds (2017), Marsha Hunt (2018), Dianne Foster (2019), Ann Rutherford (2020), Piper Laurie (2021), Arlene Dahl (2022), Cyd Charisse (2023), Gail Patrick (2024), and Olivia de Havilland (2025).

Additional Valentine's Day classic movie reading: Ten Movies for Valentine's Day and Ten Movie Valentines for Valentine's Day.

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TCM in February and March: 31 Days of Oscar Highlights

It's time for the annual 31 Days of Oscar movie series on Turner Classic Movies!

I previously covered highlights for the first part of February here, and now we'll be looking at 31 Days of Oscar, which runs this year from February 13th through March 15th.

The Academy Awards ceremony will be held March 15th, the same day TCM's Oscars movie series concludes.

As always, every film shown during 31 Days of Oscar was either nominated for or won an Academy Award.

This year the movies are grouped around themes such as Paris, New York City, the desert, crime, and scientists, to name just a few.

A printable .pdf is currently available through March 7th, with more to come closer to March.

As I note every year, there typically are few movie surprises during this series as most of the films tend to be well known. At the same time, the vast majority of films are worthwhile; it's a great month to revisit old favorites or finally catch up with some previously unseen films.

Below are a handful of recommendations for this year's schedule. Please click on any hyperlinked title for a complete review.

...Valentine's Day features films set in Paris, including Woody's Allen's entertaining MIDNIGHT IN PARIS (2011). I've seen seven of the films showing that day, and it's a great lineup.

...Crime films on February 15th include the Hitchcock classics REAR WINDOW (1954) and STRANGERS ON A TRAIN (1951). This is an especially great opportunity for those who might be newer to Hitchcock films to watch two of his best back to back.

...I loved revisiting I REMEMBER MAMA (1948) for the first time in years last year and recommend it on February 16th. Irene Dunne leads an impeccable cast, directed by George Stevens.

...The desert theme on February 17th is particularly fun. The lineup includes Bing, Bob, and Dorothy in ROAD TO MOROCCO (1942), which received two Oscar nominations.

...A lineup of films set in the theater on February 18th includes Jack Benny and Carole Lombard in Ernst Lubitsch's TO BE OR NOT TO BE (1942).

...A day of war films on February 22nd includes William Wellman's BATTLEGROUND (1949), which features a superb cast and remarkable outdoor filming which makes the viewer feel cold just looking at it.

...George Folsey's great Technicolor cinematography was nominated for ALL THE BROTHERS WERE VALIANT (1953), airing on February 23rd. Robert Taylor, Stewart Granger, and Ann Blyth star. I especially like the score by Miklos Rozsa.

...Oscar-nominated remakes on February 25th include MGM's LITTLE WOMEN (1949), with Janet Leigh, June Allyson, Margaret O'Brien, and Elizabeth Taylor as the March sisters.

...There's a fantastic lineup of Oscar-nominated Westerns on February 28th, including favorites such as STAGECOACH (1939), SHANE (1953), and HONDO (1953).

...Moving into March, I also love the March 1st lineup, which focuses on dancing. There are many great films deserving of mention that day, so I'll limit myself to a top favorite, MGM's SEVEN BRIDES FOR SEVEN BROTHERS (1954).

...My favorite Hitchcock film, FOREIGN CORRESPONDENT (1940), airs on March 3rd. Joel McCrea, Laraine Day, and George Sanders star.

...I sometimes think Brian Donlevy's ability to swing from drama to comedy and back again is underrated. He's superb in Preston Sturges' THE GREAT MCGINTY (1940), being shown on March 5th.

...There's a strong lineup of various types of adventure films on March 7th, including one of the greatest movies ever made, THE ADVENTURES OF ROBIN HOOD (1938).

...Films set in New York City on March 8th include Harold Lloyd in SPEEDY (1928), which I enjoyed at the 2017 TCM Classic Film Festival.

...The 1933 version of LITTLE WOMEN, featuring Katharine Hepburn, Joan Bennett, Frances Dee, and Jean Parker, will be shown on March 9th.

...Ginger Rogers, David Niven, and Charles Coburn star in the delightful comedy BACHELOR MOTHER (1939) on March 10th.

...Clark Gable and Jeanette MacDonald star in SAN FRANCISCO (1936) on March 11th. The earthquake sequence still thrills, and Gable and MacDonald are the essence of movie stardom.

...I just reviewed THE NARROW MARGIN (1952), one of my favorite movies, which is part of a day of films about train travel on March 12th.

...Another terrific early '50s crime film, MYSTERY STREET (1950), is on March 13th. Ricardo Montalban stars.

...Comedies on March 14th include another classic Clark Gable film, IT HAPPENED ONE NIGHT (1934). He's well-represented by Oscar-nominated films in this schedule! Claudette Colbert costars.

...The series comes to an end on March 15th with films about the movie industry, including the delightful SUSAN SLEPT HERE (1954) with Dick Powell and Debbie Reynolds.

TCM has released a promo video for this year's 31 Days of Oscar festival.

For more on 31 Days of Oscar, please visit my Quick Preview of TCM in February and TCM's online schedule.

I'll have a brief preview of what's coming in late March posted here soon, with more detailed information on highlights published here around March 15th.

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Tonight's Movie: Witness in the City (1959) - A Kino Lorber DVD Review

I'm very much enjoying exploring French film noir thanks to Kino Lorber Studio Classics.

Most recently I really enjoyed Lino Ventura in THE BEAST IS LOOSE (1959), part of Kino Lorber's French Noir Collection II.

I was interested to see more of Ventura's work and chose WITNESS IN THE CITY (1959) as my next French noir, from Kino Lorber's earlier French Noir Collection.

WITNESS IN THE CITY, known in its native France as UN TEMOIN DANS LA VILLE, begins in abruptly startling fashion, as Pierre Verdier (Jacques Berthier) throws his mistress Jeanne Ancelin (Francoise Brion) off a train to her death. This sequence takes place before the credits even roll.

Verdier gets away with not being prosecuted due to a lack of evidence, but Jeanne's husband, Ancelin (Ventura), metes out his own punishment and promptly murders Verdier.

Ancelin commits what he's planned as the perfect revenge crime, only to find that he's been seen at the dead man's house by Lambert (Franco Fabrizzi), a taxi driver.

Ancelin quickly realizes he's also going to need to kill Lambert, as he's a witness who could place him at the scene of the murder, and so Ancelin stalks him through the streets of Paris.

I was of two minds about this film. The prolonged sequence in which Ancelin murders Verdier is very dark, to the point I briefly fast-forwarded because it was getting to be a little much for me to watch. It's not gory, but it's disturbing.

As his plans spiral out of control, Ancelin then goes on to cause the death of other characters we've come to like over the course of the film, so it's also a tough watch in that regard.

All that said, there were also aspects I quite liked. The lighting and design of the taxi business is fantastic, and I also loved the camaraderie depicted among not just the drivers but the dispatchers, who include Lambert's girlfriend Liliane (Sandra Milo).

It's interesting that all of the dispatchers work in a circle around a large table; it seems like it would have been difficult to hear with so many people talking. However, this becomes very effective when all of the dispatchers listen to a driver's radio broadcast over a speaker, in a sequence which is both surprising and moving.

I also loved the way the taxi drivers came together to try to protect one of their own and chase down the killer.

The latter section of the film, with the taxi drivers going after the murderer, reminded me rather of M (1951), although the group chasing down a child murderer in that film was comprised of criminals. Here they're just hardworking men (plus a woman!), but the way they work together in this sequence is similarly exciting.

Ventura is as unpleasant here as he is sympathetic in THE BEAST IS LOOSE, where he's working for the government and then righteously angry as he looks for his stolen child. The initial sympathy we feel for Ventura's character as he seeks revenge on his wife's killer quickly dissipates, first due to the cruelty of his murder method and then as he seeks to kill an innocent, purely likeable young man.

Fabrizzi and Milo are appealing as the young lovers inadvertently caught up in Ancelin's plot, and the rest of the cast is good as well. I recognized Janine Darcey, who plays an observant hotel clerk, as the mother of the kidnapped little boy in RIFIFI (1956).

In the end I felt like I will want to watch this film again, but I'll pick up the story after the killing of Verdier and skip rewatching the film's opening scenes.

WITNESS IN THE CITY runs 89 minutes. It was directed by Edouard Molinaro and filmed in black and white by Henri Decae.

Kino Lorber's DVD print is excellent. This collection is also available on Blu-ray.

The lone extras are a gallery of five trailers for other films available from Kino Lorber.

I previously reviewed SPEAKING OF MURDER (1957) from this set, in which Lino Ventura appears in support of Jean Gabin.

The third film in the set is BACK TO THE WALL (1958), starring Gerard Oury and Jeanne Moreau. The director was Edourard Molinaro, who as noted above also directed WITNESS IN THE CITY.

Thanks to Kino Lorber for providing a review copy of this DVD collection.

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Tonight's Movie: The Narrow Margin (1952) - A Warner Archive Blu-ray Review

THE NARROW MARGIN (1952), one of my all-time favorite films, has just been released on a beautiful Blu-ray by the Warner Archive Collection.

I first saw THE NARROW MARGIN on DVD in 2009 and have seen it many more times since then, including at the 2013 TCM Classic Film Festival, with costar Jacqueline White present, and at a 2014 memorial tribute to the film's producer, Stanley Rubin. I rewatch it regularly, which is easy to do given that it's only 71 action-packed minutes.

It was a particular treat to watch the movie on this new Blu-ray, which is a superb print with excellent sound.

THE NARROW MARGIN is an RKO film which was shot in the spring of 1950 but then held back from release for close to two years, not because of its quality but because of Howard Hughes' legendary penchant for "tinkering" with the studio's movies. He even considered re-shooting it with bigger stars! Thankfully it was finally released in its original form, as it couldn't be more perfect.

The movie tells the story of Los Angeles Detective Walter Brown (Charles McGraw) who is tasked with delivering the widow (Marie Windsor) of a mobster safely from Chicago to Los Angeles to testify at a hearing.

Brown's partner (Don Beddoe) is killed before they even get on the train, which is crawling with assassins looking to take out the widow before she can spill the beans to investigators. Brown has his work cut out for him...and surprises are in store.

The excellent screenplay by Earl Felton was based on a story by Martin Goldsmith and Jack Leonard. It boasts some classic dialogue -- every film noir fan probably knows the line "strictly poison under the gravy" -- and I love offhand bits of dialogue that convey an earlier time, such as Brown sending a telegram: "Straight wire. Urgent."

It's true there are some things about Marie Windsor's character which don't quite make sense in retrospect, but I'm not going to discuss it to avoid spoilers. The movie may have been around for decades, but there are still people who will enjoy seeing it for the first time so caution is warranted.

I also especially like Jacqueline White's spunky passenger, who jokes with the detective about his nerves and has very definite ideas about how she wants to do things.

McGraw, of course, is top notch as the cynical yet hardworking detective committed to his job and his mission. He's stressed out and mourning his partner's death, yet he is also kind, including taking the time to joke around with White's energetic little boy (Gordon Gebert).

The marvelous cast also includes David Clarke, Queenie Leonard, Peter Virgo, Paul Maxey, Harry Harvey, Peter Brocco, George Chandler, and Don Haggerty.

The movie was directed by Richard Fleischer; IMDb also lists the uncredited William Cameron Menzies, best known as a production designer.

THE NARROW MARGIN was filmed in black and white by George E. Diskant. Locations included Union Station in Los Angeles, standing in for the station in Chicago, and the Santa Fe Railroad Depot in San Bernardino.

I want to note that, as I write this, Jacqueline White is still with us at the age of 103. White was about 90 when I saw her, and absolutely charming relating how she was unexpectedly cast in this film when visiting the studio lot. It was White's last movie; she retired for marriage and motherhood, having five children. Among her stories, she called McGraw "a perfect gentleman." She's seen here with Eddie Muller in a TCM press photo.

In addition to seeing White in person in 2013, I've also been fortunate to see Gordon Gebert, who played White's son Tommy, in person at the 2015 Arthur Lyons Film Noir Festival.

Gebert recalled Charles McGraw as a "very funny guy" and especially remembered crew members rocking the train back and forth to simulate movement.

Blu-ray extras include the trailer; an 11-minute Joe McDoakes short, SO YOU NEVER TELL A LIE (1952); the cartoon THE SUPER SNOOPER (1952); and an archival commentary by William Friedkin, incorporating clips by Richard Fleischer.

Both THE NARROW MARGIN and this Blu-ray are very highly recommended.

Thanks to the Warner Archive for providing a review copy of this Blu-ray. Warner Archive Blu-rays may be ordered from Movie Zyng, Amazon, and other online retailers.

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Tonight's Movie: Skylark (1941) - A Universal Blu-ray Review

SKYLARK (1941) is one of four recent Claudette Colbert Blu-ray releases from Universal Pictures.

The other titles are MAID OF SALEM (1937), ZAZA (1938), and I MET HIM IN PARIS (1937). I reviewed the latter film last month.

SKYLARK focuses on the floundering marriage of Lydia Kenyon (Colbert) and her husband Tony (Ray Milland).

Tony is a workaholic, though in his defense he's provided Lydia with a lovely home. When Lydia meets charming Jim (Brian Aherne) on her fifth wedding anniversary, she's all too eager to be wooed by him and decides to walk out on her inattentive husband.

The apologetic Tony wants to reconcile, but Lydia seems intent on divorce, and perhaps a future with Jim...but this being a romantic comedy of sorts, a viewer can guess how things will turn out in the end.

Still, despite a satisfying conclusion after 92 minutes, this isn't precisely a relaxing romantic comedy. When I reviewed it in 2010 I wrote "There's a little too much pain and not enough champagne bubbles in the mix."

I was curious to see if I would feel differently after over 15 years, but I found myself feeling pretty much the same. Colbert is too impatient, Milland is too initially dense, and Aherne plays a homewrecker. I love spending time with the cast, and yet...the film is unsettlingly dark.

As I noted back in 2010, individual pieces of the movie are excellent. The screenplay by Allan Scott, adapted by Zion Myers from a play by Samson Raphaelson, has good dialogue; the performers are charming; and it's a stylish film with fantastic sets and a strong supporting cast, including good players such as Walter Abel and Binnie Barnes.

In the end, the film is worth seeing for the positives mentioned above, especially via this very nice Blu-ray, but I think everyone involved has made more enjoyable films.

The movie was directed by Mark Sandrich and filmed in black and white by Charles Lang. The score is by the great Victor Young. Colbert's gowns are by Irene.

The supporting cast also includes Mona Barrie, Grant Mitchell, Ernest Cossart, Leon Belasco, Warren Hymer, Hobart Cavanaugh, James Flavin, Patricia Farr, and Fritz Feld,

SKYLARK was released on DVD in the Universal Vault series in 2014. I haven't seen that print for comparison, but the new Blu-ray sparkles and definitely ups appreciation of the film a notch. Sound quality is strong.

There are no extras on this disc, but it includes optional English-language captions.

For an even deeper dive on this film, please check out my 2010 review.

Thanks to Allied Vaughn and Universal for providing a review copy of this Blu-ray. It may be purchased from Movie Zyng, Amazon, and other online retailers.

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Around the Blogosphere This Week...

...is taking the weekend off.

Today I'll be at the sold-out D23 25th Anniversary Celebration for the Disney California Adventure theme park.

My day will include attending an Imagineering panel discussion at the Disneyland Hotel in the afternoon, followed by an evening dessert party and reserved seating for the World of Color show.

Around the Blogophere This Week will return on Saturday, February 14th.

For recent links of interest to classic film fans, please check out my January 31st column.

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Tonight's Movie: Seven Ways From Sundown (1960) - A Kino Lorber Blu-ray Review

One of my favorite Audie Murphy movies, SEVEN WAYS FROM SUNDOWN (1960), was released on Blu-ray last year by Kino Lorber Studio Classics.

It's part of the Audie Murphy Collection V along with BULLET FOR A BADMAN (1964), which I reviewed last fall, and WALK THE PROUD LAND (1956), to be reviewed in the future.

It's no reflection on the movie whatsoever that I'm only now reviewing it! (So many movies, so little time...) Indeed, I was extremely glad to revisit SEVEN WAYS FROM SUNDOWN, which I first reviewed for my Classic Movie Hub Western RoundUp column in 2020.

That post provided a detailed look at the movie itself; I encourage readers to click over to read my in-depth analysis and then return here for more on the new disc.

The story, in a nutshell, is about the improbably named Seven Ways From Sundown Jones (Murphy), a "green" young Texas Ranger whose boss Lt. Herly (Kenneth Tobey) sends him after a dangerous killer, Jim Flood (Barry Sullivan).

Herly is curiously unconcerned about the seemingly high probability that the inexperienced Jones will end up dead chasing Flood. Jones is only aided by an older sergeant (John McIntire) who does his best to teach Jones some of the skills of the trade; this includes handling a sidearm. Jones is great with a rifle but doesn't have experience with pistols.

Jones ends up capturing Flood single-handedly, but the journey to "bring him in" is fraught with peril...and, surprisingly, a degree of camaraderie with the killer.

But there are key facts Jones doesn't know: Flood killed Jones's older brother, Two, and was successful in part due to the cowardly behavior of Lt. Herly.

This is a very strong and entertaining 87 minutes, with excellent performances by Murphy and Sullivan and a solid screenplay by Clair Huffaker based on his novel. The dialogue crackles, and Sullivan just about steals the picture in a well-developed role as a man who is clearly a killer, yet Jones also can't help kinda liking the guy.

The film was well directed by Harry Keller. The widescreen cinematography by Ellis Carter was partly shot in St. George, Utah, and Nevada's Red Rock Canyon. (Not to be confused with California's Red Rock Canyon!)

The supporting cast also includes Venetia Stevenson (DAY OF THE OUTLAW) as a young girl who takes a fancy to Seven, with favorite character actress Mary Field as her mother.

Don Collier (THE HIGH CHAPPARAL), Ken Lynch, Suzanne Lloyd, Jack Kruschen, Don Haggerty, and Claudia Barrett also have roles. A little boy in one scene is played by Teddy Rooney, son of Mickey Rooney and Martha Vickers.

For many years those of us in the U.S. could only see this film thanks to cable TV -- in my case, usually with commercials -- or thanks to the kindness of friends who happened to have a copy. I can't say how thrilled I am to have this movie available on Blu-ray and be able to watch it in a nice-looking print whenever desired.

The widescreen print looks very good and also has excellent sound.

Blu-ray extras consist of a commentary track by the always-informative Toby Roan; the trailer, newly mastered in 2K; and four additional Audie Murphy trailers.

Highly recommended.

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

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Tonight's Movie: Shelter (2026)

This afternoon I went to see the latest Jason Statham movie, SHELTER (2026), at my local Cinemark theater.

The movie opened last Friday. I'm a definite Statham fan, and I was immediately intrigued by trailer, as well as a positive review in The Hollywood Reporter.

Statham movies tend to follow definite themes -- this one, with a child in danger, isn't too dissimilar from Statham's SAFE (2012) years ago -- but time and again the actor gives his audiences what we want, and SHELTER is extremely well done.

Statham plays taciturn Michael Mason, who lives on a remote island in the Outer Scottish Hebrides. His only companion is his faithful dog.

Each week a boat arrives with supplies, rowed to the island by young Jessie (Bodhi Rae Breathnach, HAMNET) from her uncle's boat.

Jessie attempts to befriend the forbidding man but he warns her away. He passes the time talking to his dog, playing chess with himself, and drinking a little too often.

Then one week a storm capsizes both Jessie and her uncle's boats; her uncle drowns, but Mason saves Jessie and nurses her injured foot.

A trip by Mason to the mainland for supplies to treat Jessie's injury goes amiss when M16 spots his image on a camera. Mason's past is about to come back to haunt him in a big way, resulting in him fleeing the island with Jessie, with assassins on their heels.

I thoroughly enjoyed this 107-minute film and will happily see it again in the future.

The story is ideal for Statham and his persona, and he's well matched with the spunky young Breathnach as Jessie.

I loved a scene early on when he discovers the frightened girl has armed herself with his knife and, rather than be annoyed or insulted, he appreciates her gumption and tutors her in how to properly use it as a defensive weapon. This builds trust, rather than the knife coming between them.

I also appreciated that, unlike some films of this type, Jessie never does anything stupid to exasperate Mason and cause him trouble. When he tells her to hide or take cover, which needless to say happens multiple times in the film, she does it. It was refreshingly non-manipulative in that regard. She also finds ways to help him in a couple situations.

My husband suggested a theory about their relationship which, after contemplating it, I think is correct, but I'm not going to share it at this point to prevent spoilers.

Harriet Walter (1995's SENSE AND SENSIBILITY) has what amounts to a cameo as the prime minister; she's effective but her role is all too short.

Bill Nighy (ARTHUR CHRISTMAS, THEIR FINEST), on the other hand, has considerable screen time as the former head of M16 who has created a class of rogue agents. He's extremely creepy in the role as he attempts to take out both Mason and Jessie, while also battling wits with the new M16 chief (Naomi Ackie) who is quickly on to his bad intentions.

There are a number of good action sequences, including one featuring Mason's SWISS FAMILY ROBINSON style island defenses. The movie is well balanced between Statham displaying his talents as a one-man killing machine and quieter, more emotional moments as his relationship with Jessie deepens.

The movie was directed by Ric Roman Waugh and filmed by Martin Ahlgren. The gray-blue skies on Mason's island and the contrasting bright lights of London combine to give the film nice touches of atmosphere.

Parental Advisory: This film is rated R. It is violent, but other than a couple brief scenes, as well a disturbing shot of a drowned man, it's not particularly graphic. Language isn't bad -- perhaps some of it was drowned out by gunfire! -- and there are no other common R-related issues. It's not for young children, but with a few seconds of judicious editing, this could easily have instead been rated PG-13.

Positive themes include loyalty and doing what's right in the face of innumerable obstacles.

I quite liked SHELTER and found it a perfect "popcorn movie." Recommended.

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