Murder at the Gallop (1963)

Miss Marple (Margaret Rutherford) is back to investigate a murder that the police won’t. A wealthy old man is scared to death by a cat. Which one of his heirs is the murderer?

Marple’s buddy (and real life husband) is back as Mr. Stringer (Stringer Davis). It’s been a bit since I watched Murder, She Said (1961), but I feel he had a bit more to do in this film. Robert Morley is recognizable in his significant part. He seems to show up when a pompous Englishman is needed.

Based on the Agatha Christie novel After the Funeral, which is actually a Hercule Poirot story. Christie herself is mentioned by Rutherford, citing a fictitious book titled “The Ninth Life”.

While it’s amusing to watch Rutherford waddle around and poking her nose into someone else’s affair, Murder at the Gallop is not much of a mystery. There’s a lot going on and Marple just solves the murder, ex machina style. AMRU 3.

Roadblock (1951)

Straight-laced insurance investigator Joe (Charles McGraw) crosses paths with pretty part time grifter Diane (Joan Dixon). She wants the best things in life and always gets what she wants. Unfortunately Joe can’t afford much on his detective salary, so he reconsiders that whole “ethics” thing.

If there is anything interesting here, it's because it’s perhaps the first film to shoot in the Los Angeles river. Them! (1954), Chinatown (1974), and Grease (1978) and many others would follow suit.

Roadblock is a pretty lackluster Noir. The story is simple and the characters are rather dull. But the biggest issue is that the leads have little chemistry. I just don’t buy their attraction, and thus Joe’s motivation. Short and sweet, but otherwise uninteresting. AMRU 2.5.

What Else I Watched, 2026Q1

Here, at the end of April, are the other films I watched during the first quarter of the year. Films that don't fit into the criteria of my blog and classic films I've already written about, although there were none of those this quarter. And yes, it's taken me this long to finally post movies I watched through the end of March. I am very behind. Nevertheless ...

Wake Up Dead Man (2025)
The lack of a comma annoys me, but it’s significantly better than Glass Onion. It's no Knives Out, but I feel better about the franchise now.

Hundreds of Beavers (2022)
Early leader for best movie of the year. It combines aesthetics from silent film, Looney Tunes, and video games into a comprehensive and amusing story. Not for everyone, but I laughed out loud, which I seldom do.

Woman Walks Ahead (2017)
A naive widow (Jessica Chastain) travels to North Dakota to paint Sitting Bull’s (Michael Greyeyes) portrait and finds herself caught up with their cause. Based on a true story, but strays far from the historical record. It's watchable.

Joy Ride (2023)
An ambitious Chinese-American lawyer travels to China to close a deal and secure a promotion. Things don’t go as planned. This is a gross-out comedy a la The Hangover. I haven’t seen many female-centric films of the ilk so it is hard for me to compare it to anything. Just know, they pull no punches. This film is not for everybody.

The Birdcage (1996)
I’ve heard praise recently for The Birdcage but I remember it being amusing if unremarkable. Now years later, I find it equally amusing and unremarkable. It's not in Robin Williams' top ten.

The Life of Chuck (2024)
A very unconventional film and the less you know going in, the better. May not be for you if you don’t like dance. I honestly don’t know what to make of it.

Sinners (2025)
Gangster twins open a club in an old factory. Vampires arrive to spoil the party. Damn, what a crazy-ass film. There are themes of acceptance but a second viewing would be needed to make heads or tails of it.

My Sailor, My Love (2022)
A put-upon daughter hires a housekeeper for her retired sea captain dad. They fall in love. There are a lot of themes and emotions at play here.

Hundreds of Beavers is undoubtedly the best of these films. It's not for everyone, but I watched it with my sons and they were belly-laughing. It was a great experience. I don’t know what I would anoint the worst. Woman Walks Ahead might be the least interesting, but it wasn’t actually bad. But with three films in the chamber, I need to post quicker.

The Stranger (1946)

An agent (Edward G. Robinson) of the War Crimes Commission lets a convicted criminal escape in hopes he leads them to a notorious Nazi commander. This trail leads him to a small Connecticut town.

Character actor Billy House had a memorable role. Richard Long appears in his second screen credit. I will forever associate him with House on Haunted Hill (1959), but others may remember him from Big Valley or Nanny and the Professor. He did a lot of television before dying tragically young.

Faithful Mary (Loretta Young) is unknowingly engaged to marry the Nazi (Orson Welles). I found it peculiar that she refers to her father (Philip Merivale) by his first name, and he calls her "Sister". I wondered if this was a Quaker thing, but couldn't confirm it. Very strange. Another strange thing is when Mary returns from her honeymoon, little brother Noah asks “Did you remember to keep your knees together and your apparatus in?” This was in context to skiing, but I wonder if the screenwriter might be giving a wink to the audience.

Both may have been explained by the original edit. The producers gave the editor carte blanche to remove anything he felt was unnecessary. Cut and lost is thirty minutes of footage, much of it from the opening. Welles was furious.

Were I to criticize The Stranger, it would be that the story was rather linear, particularly for a Welles film. But it works and the performances are excellent. Robinson just got better as he aged and only Welles can deliver lines the way he does. I would love to see the two hour edit. AMRU 4.

Only Angels Have Wings (1939)

A cabaret singer (Jean Arthur) steps off her ship at a South American port and meets a couple American fly boys who deliver mail under dangerous conditions. After one of the pilots has an accident, she gets to know their boss (Cary Grant).

There are elements of Rom and there are elements of Com, but make no mistake. This is no Rom-Com. This is the most dramatic role I’ve seen Grant in up to and including North by Northwest (1959). The stakes are high and the outcome is not guaranteed.

Here is an early appearance of Rita Hayworth. The twenty one year old had already appeared in a ton of films. She wasn’t far from Hollywood immortality. Also Thomas Mitchell, who was having a spectacular year. His five films that year were nominated for thirty six Oscars, winning thirteen. One of them was for his performance in Stagecoach.

Only Angels Have Wings is a solid drama. It's refreshing to see Grant play a character not exactly the Cary Grant type. It's perhaps a bit clunky at times, but it's very effective. AMRU 3.5.

Dr. Cyclops (1940)

A mad scientist (Albert Dekker) with failing eyesight requests assistance from more mainstream (less mad) scientists. Three people make the arduous trek to his remote lab in the Amazon jungle and he asks them what they see in his microscope. After which, he thanks them and tells them to leave. They refuse to go, so he shrinks them to doll size.

The first thing to notice is the vocal style, specifically with Drs. Thorkel and Bullfinch. They speak in a stilted, awkwardly formal cadence. I'm guessing they didn't want the viewers to forget they were watching a B sci-fi flick.

Thomas Coley plays substitute Bill, whose presence on the excursion and in the movie remains a mystery. My only guess is there needed to be a young man to accompany the pretty scientist lady. This was his first screen credit and last feature film appearance. He had a large number of TV appearances starting eleven years after this film’s release. I’m sure his acting improved.

The first sci-fi film shot in three-strip Technicolor, it earned an Oscar nomination for special effects. And for good reason. The oversized sets match seamlessly with the regular sized ones. My only criticism is that footage of our heroes when small was much sharper than the enlarged rear projection. Other than that, the effects were quite good.

I had never heard of Dr. Cyclops prior to recording it, but it delivered on all promises. The science element here is wonky as all hell, but it’s without a doubt the best mad-scientist-shrinks-people-to-doll-size film I’ve seen so far. AMRU 3.5.

Brief Encounter (1945)

A married woman (Celia Johnson) crosses paths with a married doctor (Trevor Howard) during her visits to the city, and they begin a casual friendship. Slowly they realize that they are in love.

Here is yet another film told almost entirely in flashback. Wife Laura narrates the events inside her head. Her unsuspecting husband is the only person she can trust to tell, but the only person she can never tell.

Looking over a list of recorded films, I selected Brief Encounter on reputation, having been nominated for three Oscars and sporting an 8.0 on IMDb. But when I sat down to watch I discovered that Dr. Cyclops had been recorded. A film about a mad scientist who shrinks people! Sign me up! But I steeled myself, and watched the respectable film.

 Based on a Noel Coward play, it was an early success for directory David Lean. He would go on to direct a desert drama that I will eventually watch. Johnson hadn't done too many films at that point and would eventually star in the dreadful Holly and the Ivy. Howard played Major Calloway in The Third Man.

Brief Encounter is a pretty dull movie. A lot of conversations happen between our mostly chemistry-less leads but also between a rail employee and a cafe worker that doesn’t resolve. But it’s an unusual story and does hold your interest, more or less. But clearly it charmed other viewers much more than it did me. AMRU 3.

The Man Who Shot Liberty Valance (1962)

A young lawyer (James Stewart) from the East is robbed by the villainous Liberty Valance (Lee Marvin). Taken in by townsfolk, he plots a way to stop Valance without resorting to guns and violence. That doesn’t work out too great.

The story is told almost entirely in flashback with an elderly Ransom Stoddard (Stewart), now a senator, telling reporters the story of Tom Doniphon (John Wayne) at his funeral. The mystery of who actually shot Valance (the tenderfoot Stoddard or veteran gunfighter Doniphon) plays out well.

Wayne (54) and Stewart (53) compete for the affection of Vera Miles (31), revealing that the actors were much older than their characters. Not an uncommon occurrence for the Duke. Lee Marvin was recommended by Wayne after they worked on The Comancheros (1961) together, and he makes for an especially villainous villain.

The Man who Shot Liberty Valance is an entertaining tale, if not truly engrossing. It is considered one of John Ford’s latter masterpieces and did well at the box office. I found it a little better than watchable. AMRU 3.

The Skin Game (1931)

When a rich industrialist (Santa) eyes a valuable property with intent on building factories, an old money family is determined to stop him. The conflict has unintended consequences.

Come review time it had been several weeks since I watched The Skin Game, and truth be told, I didn’t remember much. I was forced to take drastic measures. I rewatched it.

The story mostly follows the old money Hillcrist family making them seem like the protagonists, but they are not without fault. Had they been more welcoming to the upstart Hornblowers, the whole conflict might have been avoided.

The central conflict is very much old money verses new money, a la The Gilded Age, or the Slobs verses the Snobs, if you prefer. Skin game is slang for a shady business deal, what Mr. Hornblower is accused of. But it is less the deal and more the conflict that is at the center of the story. And skin game takes on another meaning entirely at the climax.

Alfred Hitchcock was a little heavy handed with visual imagery early in his career. The Hornblower son and Hillcrist daughter meet at the beginning, teasing a love interest. She, on a horse, he, in an unusually loud car. When they separate, she follows a picturesque treed path, he, towards a more urban area. This kind of visual reinforcement is throughout.

Quite unlike latter Hitchcock, there is some sloppy dialog. Actors start speaking at the wrong time and correct themselves. Other times it feels like they are entirely improvising their dialog. It doesn’t detract from the film, however. Early talkies are pretty clumsy in general. Looking back, Hitchcock said about it in his interview with Francois Truffaut "I didn't make it by choice, and there isn't much to be said about it."

The Skin Game holds up to a second viewing. It could have been a two dimensional moral tale, but chooses a more nuanced path. AMRU 3.5.

The Giant Behemoth (1959)

In a presentation, marine biologist Karnes (Gene Evans) warns that nuclear testing in the world’s oceans will eventually lead to nature striking back. He is mostly dismissed, but lucky for him nature DOES strike back in the form of … something.

Initially the monster was to be a giant blob, but producers wanted another dinosaur. Elements more consistent with a radioactive blob remain. Willis O’Brien of King Kong (1933) fame was brought in, but budgets and deadlines were tight, and it shows.

Originally titled “Behemoth, the Sea Monster” which sounds a little like a kids show, it was later renamed to The Giant Behemoth. This I presume to distinguish it from those tiny behemoths we all know and love.

Eugene Lourie, who also directed The Beast from 20,000 Fathoms (1953), dispensed with the love interest part of the story, wanting to focus on science and monster mayhem. This decision may have contributed to the exposition heavy dialog. A young couple is introduced but disappears before the second act, despite being billed third and fourth.

The Giant Behemoth is a very by-the-numbers monster movie. Unfortunately it offers nothing new to the genre, and the stop motion effects were a half step down. The creature, unlike those created by Ray Harryhausen, lacked personality. AMRU 2.5.

Soylent Green (1973)

A cop (Charleston Heston) investigates the murder of an executive of the Soylent corporation, suppliers of much of the world’s food. Despite being told to let it go, he pushes on and discovers a disturbing secret. We all know. Go ahead, say the line …

I watched Soylent Green not long before I began the blog. It was on a library VHS tape and the quality was awful. Before the climax the video portion was completely shot. A quality copy makes an enormous difference.

Despite being set in the far off year of 2022, the filmmakers made no effort to give the world a futuristic look. The future isn’t ideal. It’s just like today except there is massive overpopulation, environmental disaster, and a worldwide food shortage.

Edward G. Robinson was dying during the production of the film, and in fact died the evening after his final scene. Early in the film is an improvised scene where Thorn and Sol (Heston and Robinson) feast on fresh food, practically non-existent in this world. It’s surprisingly impactful.

Elements of the story are a bit far fetched. The police just help themselves to items and furniture from a crime scene. Not that part. Climate change has devastated the environment and corporations control society. Not that either. We use the metric system. Seriously, what were they thinking?

Food, if you can call it that, is distributed in New York like it was a refugee camp. People sleep in hallways and staircases. Things like soap and pencils are a luxury. Soylent Green is an exceptionally prescient film. It could have been far preachier or leaned too far into levity. But it struck the right tone for 1973, and it strikes the right tone for now. AMRU 4.

Journey to Italy (1954)

A bickering couple (Ingrid Bergman and George Sanders) travel to Italy to resolve an estate they inherited. They discover that they do not enjoy each other’s company when not at home, so they bicker some more before exploring their own interests separately, nudge nudge.

Bergman made seven films during her “banishment” from Hollywood, most of which directed by her second husband, Roberto Rossellini. I hadn’t seen any of them and was eager to watch this, one of the highest rated.

Sanders and Bergman make an odd pair. Their acting styles were starkly different and had no chemistry. Sanders seemed to be in a different film from everyone else. He expressed a lot of frustration in his autobiography. This may be the only role of his I didn’t love. He was seriously miscast.

Journey to Italy wasn’t an unpleasant watch, but in the end it didn’t work for me. The majority of the film was a whole lot of nothing, and the ending felt unearned. I can’t express how little chemistry the leads had. They were to be a couple married with eight years of history together, but seemed like they just met at the start of filming. AMRU 2.5.

Young and Innocent (1937)

A man finds a dead woman on the beach and leaves to find help. He is seen “running away” so the cops make him the prime suspect and call it a day. He sneaks out of the courthouse and goes on the run. He convinces a pretty young woman to help him find the real killer. She is also the police chief’s daughter. Will love bloom?

Pretty Erica is very young (Nova Pilbeam was 17 during filming) and dashing Robert is innocent. She’s young and he’s innocent. Not a bad play on words. Much better of a title than “A Shilling for Candles”, the source material’s title. When it came to the US it was retitled “The Girl Was Young”, leaning hard into innuendo.

The setting isn’t very different from The 39 Steps (1935), with an accused but innocent man attached to a suspicious woman. Hitchcock revisited themes quite a bit. I’m surprised there wasn’t a scene on a train.

Young and Innocent was an unexpectedly fun watch. Two weeks on I admit I am struggling to recall the details, but I do remember being entertained. It’s a better “lesser Hitchcock”. AMRU 3.5.

The Quiet Man (1952)

A retired boxer (John Wayne) from America returns to his childhood home in Ireland in search of the quiet life. A beautiful hot-headed woman (Maureen O’Hara) catches his eye, but getting her brother’s permission to court her proves complicated.

Of John Ford’s four Oscars, none were for westerns. This was his last win and first when directing his old friend, Wayne. He was also nominated for Stagecoach (1939). While not a Western, The Quiet Man sports its fair share of Duke machismo. The only reasonable way to resolve your differences is a fist fight.

Victor McLaglen plays the aforementioned brother. His health wasn’t great so the big fight scene needed to be handled carefully. Barry Fitzgerald, everyone’s favorite leprechaun, is the village matchmaker. Frequent Ford collaborator Ward Bond is the village priest. Ford gave his older brother Francis a small part. Within nine years all four would be gone.

Romance is the primary story driver, and it is technically a comedy, so I suppose it’s a rom-com. Perhaps so, but it’s an unconventional one. While some story elements didn’t age particularly well, it’s still a very pleasant watch. AMRU 3.5.

What Else I Watched, 2025Q4, and 2025 Retrospective

I've managed to get myself way behind, so I decided to combine my I recap 2025 with my Q4 post. With five movies in the queue, plus a couple more for WEIW Q1. I need to get back to posting.

Dr. Jekyll and Mr. Hyde (1941)
Essentially a remake of the superior 1931 film. It didn't work as a horror film principally because it wasn’t one. The gorgeous cinematography, luscious sets, and performances, not to mention the trippy dream sequences, spoke of a period drama. wasn’t filmed much like a horror film and if you go into it with that expectation, you will be disappointed. Viewers of the day were. 

The Old Dark House (1932)
I watched this last in the summer of 2011 on VHS. I remembered little of the experience except that the audio quality was rather poor. A youtube video encouraged me to revisit it. I found a much better quality version streaming and enjoyed it quite a bit this time. AMRU 3.5. 

The Unknown (1927)
I heard that additional footage was found and professionally restored. I had to take a look. TCM normally runs the most recent restoration and this was no exception. Unfortunately, the only additional footage I noticed was at the beginning, showing a young boy watch people entering the circus. No additional backstory of Alonzo’s crimes, no details of the surgeon’s fate. Apparently additional scenes were lengthened with the return of additional cuts. 

The Invention of Cinema: Cinema Finds its Voice (2021)
A pretty good doc about the advent of sound cinema. There are a couple more in the series, so I will keep an eye out. 

The Apartment (1960) is better each time I watch it. 

Brazil (1985)
I’ve long wanted to watch Brazil and finally took the opportunity to see it when TCM ran the director’s cut. I shouldn’t have waited so long. It’s a master class in world building and its absurdist comedy is next level.

So, how did the year go as a whole? Not too shabby. Surprisingly, I managed four Alfred Hitchcock films with two more in the chamber. Six (I believe) foreign language films and only two silent. Need to watch me some more Buster.

I watched four noir or noir-adjacent films in November. One German, one Italian, one French, and an American. That was perfect. I may have been oversold on The Big Clock, but it was still excellent. I did try to hit some Christmas films in December, but events got in the way. Instead I watched films recorded on my cable provider DVR before I hand it in. They raised the TV portion of my bill by fifteen bucks to a frankly insane $150 per month. I intended to have done this before new years, but, well, life. Soon.

The best film I saw may have been Rebel Without a Cause, which definitely has the highest profile, or perhaps the Japanese horror film Kuroneko. More likely it was Brazil or The Apartment.

 I don’t know what the worst film I saw. There were a fair number of weak films but nothing particularly terrible. Hitchcock’s Mr. & Mrs. Smith might have been the most disappointing.

Backfire (1950)

War veteran Bob (Gordon MacRae) is recovering from a serious spine injury. He and Army buddy Steve (Edmund O’Brien) have plans to start a ranch. But after being administered a sedative Bob is visited by a strange woman who tells him that Steve has had a serious spine injury. Nobody believes him but he hasn’t heard from Steve in quite some time. After being discharged, Bob learns that Steve has been fingered for the murder of a notorious gambler. Bob sets out to find his buddy and clear his name.

It appears at first that the film will follow O’Brien’s Steve character, but follows Bob instead. But much of the film is told in flashback, so it follows both. Bob’s best gal is pretty nurse Julie (Virginia Mayo) who helps with the sleuthing. Ed Begley Sr plays a police captain.

Backfire spent two years on the shelf before release for reasons unknown. This noir-adjacent film kept me guessing and boasts a surprising high body count. Considered a middle of the road drama at the time, I found it a bit better than most. I don’t see how the title plays into the story, but who am I to judge. AMRU 3.5.

Zero Hour! (1957)

Because a former war pilot (Dana Andrews) can’t get past a raid he led that went wrong, his wife leaves him. Despite being terrified to fly, he buys a ticket on her flight. When the pilot and co-pilot become incapacitated with serious food poisoning, our hero has to step up and land the plane.

Sound familiar? This is exactly the plot of Airplane! (1980), and that’s exactly why I watched it. Jim Abrahams and the Zucker brothers essentially remade Zero Hour! but with jokes. If you are as familiar with the classic ZAZ comedy as I am, you will spot every setup to every joke. I had to see it.

Pretty Linda Darnell plays Dana’s estranged wife. She seemed very familiar but I haven’t seen anything she was in. She would die in a house fire at age 41. Elroy ‘Crazylegs’ Hirsch, the just-retired star wide receiver for the NFL Rams, plays the sickened pilot. Gruff Sterling Hayden plays the gruff Captain Treleaven.

Despite its reputation as a forgettable aviation drama, Zero Hour! isn’t that bad. Perhaps not great but better than its reputation. Rotten Tomatoes gives it some disrespect. And if you have seen Airplane!, you by and large have already seen Zero Hour! But give it a watch anyhow. ASMR 3.5.

The Invisible Ray (1936)

Eccentric scientist Dr. Janos Rukh (Boris Karloff) has made a great discovery. He invites the more establishment scientists to his home to present his findings. Using a telescope to zoom into the Andromeda “nebula”, he can look into the past and see the Earth millions of years ago, because science. He shows them that a great asteroid struck the early Earth, and also because reasons, it must contain an element that radiates one thousand times as powerful as Radium. He calls this element, Radium X. But first they need to go on an African safari.

The science is deliciously wonky here. I give a pass to calling Andromeda a nebula, because that was the science of the day, but much of the rest is silly and hard to follow. But say what you will about Rukh’s science, he puts on one hell of a planetarium show.

Charming Frances Drake plays Rukh’s young wife. She retired from acting after marrying into English aristocracy. Mother Rukh steals the few scenes she is in. Played by Violet Kemble Cooper, she was only 11 months older than son Boris.

This is chronologically the fourth of eight films featuring Karloff and Bela Lugosi, and it’s the fifth one I’ve seen. Left is The Raven (1935) and two silly comedies. Karloff plays the mad Hungarian scientist while Hungarian Lugosi plays against type as the rational French scientist. 

The Invisible Ray is a very early depiction of the utility and dangers of nuclear radiation. It's a lot of fun, despite or perhaps because of the science element. Perhaps I was just in the mood for this self-serious foolishness, but it really delivered on the premise. AMRU 3.5.