As a representation of colonial Sierra Leone, where the whole story takes place, it isn't especially illuminating...except of course for the marked absence of black characters or local events impinging on the plot in any way. If you're not much interested in colonialism, it's a wonderful film.
Lang is a master of mood and lighting (assisted by some fantastic cinematographers), and this carries "Secret." It doesn’t hurt that it stars Joan Bennett (a sometime Lang favorite) and Michael Redgrave, but the plot is so goofily Freudian that if Bennett and Redgrave weren’t adrift in Lang’s parallel universe, it probably wouldn’t work.
One of the great—and somewhat overlooked—films about World War I was originally made for television in Britain, filmed entirely on a claustrophobic set with a small budget and a tight schedule (just under a month). Directed in 1964 by Joseph Losey, an American ex-pat across the pond, "King and Country" is based on a fictionalized memoir.
The story is predictably and blissfully ludicrous. Thomas (Jackie Chan) and David (Yuen Biao) are cousins running a food truck in Barcelona. Perhaps this is because David's father (Paul Chang) is in a Barcelona loony bin. Perhaps not. Don't ask questions—according to the film, there was a large HK ex-pat community in 1980s Barcelona.
The main character, the Peeping Tom of the title, is Mark Lewis (Karlheinz Böhm), a focus-puller (assistant cameraman) at a British film studio. But this is merely cover for Mark’s real calling—documentarian. The artistic child of a scientist, he documents the murders of women he commits using a dagger hidden in his camera’s tripod.
Tativille looks suspiciously similar to our world but is plainly not. Each object, each line and curve has the potential to come to life at any moment. By the end of the film, no matter how much accidental destruction has taken place (a lot), you are likely wishing his world were the real world.
The Brackett-Wilder team have all the parts of a perfect screwball comedy in "Bluebeard"—formal wear, cocktails, witty wordplay, and a married couple slapping, spanking, and biting each other. Nicole De Loisel (Colbert), daughter of Edward Everett Horton’s penniless Marquis, and Michael Brandon (Cooper), capitalist extraordinaire, are meant to be together, like all screwball couples.
As much as Lino Ventura’s Gerbier grounds “Army of Shadows,” Simone Signoret is its heart, insofar as anyone is allowed a heart in the underground world of the French Resistance. She is, as her colleagues remark, a magnificent woman—among other things, she engineers two extraordinary escapes for her comrades.