It's ridiculous but totally worth seeing to get a sense of the generally cheerful lunacy that seems to guide a lot of pre-code films. "Murder at the Vanities" is a clown car of bat-shittery, with one misbegotten scenario after another tumbling out.
#2 You probably don't spend as much time as I do thinking about how amazing Robert Ryan is, but you might, if you watched this movie. One of Ryan's specialities is a barely suppressed rage that's constantly in danger of erupting into violence.
Although the "message" of "The House on Trubnaya" (1928) (aka "The House on Trubnaya Square" aka "The House on Trubnaya Street") is, predictably, that the Soviet state is just super, the film does not throw its hands up in the air, in classic Russian fatalism. "The House on Trubnaya" is a hoot.
The clothes are, well, you can see the pictures. Unfortunately, although the fashion-forward Aelita may be a queen, she is not the ruler, as Tuskub (Konstantin Eggert), the ruler, likes to remind her. People on Mars are very frowny, if the two of them are anything to go by.
One of the great pleasures of blogathons is discovering an actor or director and realizing that there's still so many wonderful classic films yet to see. It's sort of like knowing that there's still a bunch of Graham Greene novels I haven't read. Maybe the Graham Greene thing is just me.
"Second Chance" is (I assume) one of the only action movies about pool. Yes, that kind of pool, where you stand around a table and firmly poke a series of colored balls. The Taiwanese film, directed by Wen-yen Kung, may not frothy exactly, but it's definitely bubbly.
Describing much of the plot will spoil things. I can tell you that it boasts the worst school counselor I've ever seen on film. In one of the few meetings she bothers to have with kids who've found the (bloody) body of a schoolmate, she tells them, "If things come up...deal with them yourself."
Violet keeps her wedding dress hung over the only mirror in her bedroom, looking at the dress rather than at herself in the mirror. The dress is one of the many signs that, for Violet and her sisters, Juliette and Antoinette, time stopped somewhere in the late 60s, when they each lost so much.