And Then There Were None (1945)

Eight people are invited for the weekend to an island mansion. Including two servants, the ten guests discover the mystery host has ulterior motives, and the ten proverbial Indians are killed off one at a time.

Based on Agatha Christie’s Ten Little Indians, not the novel but her play adaptation. Interestingly, when she first tried to publish the book in the US, publishers insisted she change the title. Apparently the original title was too racist, even for 1940’s America. Go figure.

Essentially an Old Dark House mystery, the viewer is sent off in many directions, and everyone has their suspicions. Many great character actors are here but I want to point out Roland Young. He didn’t make an amazing number of films, but is always memorable when we cross paths. Also Judith Anderson who appeared in even fewer films, but some really good ones. I most remember her as the creepy Mrs. Danvers in Hitch’s Rebecca. Her big scene was the best thing about that movie, by far. And I must mention Angelica’s grandpa.

As mentioned, two of the ten guests were hired as servants. That was just a ruse to get them into the house, but they continued to function as servants, even after the killings began. I suppose British class structure is more rigid than I thought.

And Then There Were None is a better than fair mystery. Sure, details are kept from the audience to make it work but nothing felt deceitful. It was fun and amusing, and my mom would have loved it. AMRU 4. A slightly better copy would have been nice.

The Great McGinty (1940)

A drunk in a third world bar laments how, before losing it all, he was on top of the world. The bartender replies that he was once the governor of the state. This is his story.

Preston Sturges, already a successful screenwriter, had trouble getting a screenplay made, at least in the form he wanted it. So, he offered it for ten dollars under the condition that he was allowed to direct. That script won the Academy Award. And it turns out, he was a pretty good director as well.

Here, I believe, is the film I was thinking of when I watched The Miracle of Morgan’s Creek, the film Sturges would direct four years later. For the life of me, I do not understand what happened there. Anyhow … Brian Donlevy (McGinty) appeared in quite a few films, very few of which I have seen. One was the aforementioned Morgan’s Creek where he played Governor McGinty. Go figure. Also here is classic character actor William Demarest, who appeared in quite a bit more films.

The Great McGinty is a pretty amusing watch, but maybe I’ve grown tired of traditional, old Hollywood fare. That’s not to say I didn’t enjoy it. I did. But there are reasons why I am shading towards foreign films and more so-called American New Wave. As for McGinty, AMRU 3.5.

“Never mind the applesauce. How do I get the bucks?”

Through a Glass Darkly (1961)

Karin is released from a mental hospital and meets with her brother, father, and husband (Max von Sydow) vacationing on an island. She still has mental issues and everyone has family issues. Roll credits.

A lot more is going on than what my synopsis implies, but this is a film that's very hard to, you know, synopsize. Through a Glass Darkly was shot on Faro island, later nicknamed Bergmen Island, where the director would later take up residence. Interestingly, only four actors ever appear on screen. Even when another character is implied, they are not even glimpsed. This is a four person film.

So, once again Ingmar Bergman tries to come to terms with faith and death, and again falls short of a conclusion. But that, I believe, was the intent. We deal with life’s unknowable mysteries, and life goes on, until it doesn't.

Writer Josh Olson recently mentioned on his podcast that, essentially, all of Bergman’s films are horror, and he has a point. Add a few traditional horror elements and tone down the subtly, and you are definitely in the ballpark. I can see how some people, in the right environment, could find parts quite creepy.

Through a Glass Darkly is a slow think piece that will leave many people wondering what, if anything, even happened. Bergman is not for everyone. One measure I've come to use to rate films is to consider how long it will stay with me. This film will stay with me a while. AMRU 4.

Man Beast (1956)

For purposes of the plot pretty Connie travels to the Himalayas to find her brother, Jim. She brings along her wet blanket boyfriend. It seems Jim is on an expedition to capture an abominable snowman, what the natives call the Yeti. They team up with a random hunky guy and start searching. They first meet up with Jim’s associate Dr. Erickson, then the mysterious Varga, who served as Jim’s guide. And, apparently, the only survivor of his expedition. Sorry, Jim.

Here is the lowest of low budget films and the directorial debut of schlockmeister Jerry Warren. I will not ding it for the obvious flaws. The long shots don’t match the close-ups, there is no snow on Everest much of the time, and continuity errors galore. But give him credit, this is his first go with no budget, sets, or even experienced actors, and he got a watchable film into the can. And make no mistake, it is watchable. Borderline enjoyable.

This was pretty Asa Maynor’s first screen appearance, so therefore they got her name wrong. She was once married to Vince Fontaine. Kookie. They also got hunky Lloyd Nelson’s name wrong in the credits. This was also Rock Madison’s film debut and they DID get his name right. Didn’t matter, though, because he doesn’t exist.

The Amazon Prime copy is several minutes shorter than what IMDb lists, and I suspect that explains the two abrupt jump cuts. One came at a particularly critical moment. I wonder if there were more I didn’t notice.

I don’t normally make these accommodations but I feel it’s warranted here. The budget is plain to see on every frame. I’ve seen worse. Man Beast was short and managed to hold my interest, plus had a little mystery to it. I’m curious to watch Warren’s other films. I understand they are terrible. AMRU 2.5.