I think I’m one of the few people who doesn’t care much for Out of the Past. It may be that for me the closer a movie gets to film noir, the less it appeals to me. I can’t argue with any of the superlatives used to describe this one. But despite all it does right in terms of noir, I can’t get terribly enthused.
There are certain movies I can make a reference to and people immediately know the film and usually recall it with a smile — if not outright laughter. Dirty Rotten Scoundrels is one of those movies. It didn’t change the world of movie making when it came out and didn’t win any awards. It simply did what most movies hope to do: get seen, be appreciated and remembered.
Ridley Scott likes his movies big. In 2005, he made one of them — an old school sword-and-sandals epic called Kingdom of Heaven that despite its action scenes and moments of brutal violence, is overall a surprisingly quiet, thoughtful cautionary tale about the hazards of extremes.
I remember the summer Jaws came out and I remember you couldn’t get away from it. Everyone did that John William’s four note theme: da-da, da-da … Everyone saw the movie; TV was filled with it; shark sightings were popping up like coffee shops. But that was over 35 years ago. The hoopla subsided. What is left is a movie that is a brilliant example of craft.
Last week I went on a run of watching and writing about some Myrna Loy and William Powell movies I have in my collection. I went through four five of them, three four of which I’ve had here, unwatched, for about five years.
It’s hard to think of John Wayne and romance at the same time. The image of one and the image of the other don’t rest well side by side; one seems to negate the other.
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