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big house in los angeles in a brief pov shot before the opening credits we see her in her bathroom wearing a towel she looks out the window directly at the camera and screams the interesting thing about the prowler is that while that peeping tom looms large over everything that happens next we never see him and the viewer can never entirely be sure that he wasn t a figment of susan s imagination but whether or not he exists is beside the point because susan soon opens her door to a more insidious threat one of the two patrolmen who responds to the report of a prowler is webb garwood van heflin a slimy bitter superficially charming man who hates being a cop and is always looking for an angle so he can move up in the world as lapd superfan james ellroy is quick to point out in the supplemental features of the blu ray webb garwood is never specifically identified as a member of the lapd and his badge and certain identifying features of his uniform are different from the ones worn by lapd officers however garwood s black uniform and the fact that the prowler clearly takes place in los angeles seem to mark him as an lapd officer despite the filmmakers decision to err on the side of political caution but just like the mysterious and unseen creeper who sets things in motion it doesn t really matter whether webb garwood is a member of the lapd or not he s a rotten symbol of something much bigger he represents the worst possibilities of unscrupulous people who have the power of the state behind them he can sexually manipulate women commit murder and perjure himself but because of his badge juries and the general public will give him the benefit of the doubt the screenplay for the prowler based on the story the cost of living by robert thoeren and hans wilhelm was written by dalton trumbo who was no stranger to the cruel power of the state trumbo had been blacklisted but it didn t stop him from working throughout the 50s it just meant he got paid much less than he deserved his front for the prowler was hugo butler trumbo is one of the greatest screenwriters in hollywood history and the prowler is trumbo at his down and dirty best i ve seen the prowler several times and it gets a little better with each viewing evelyn keyes and van heflin embody their characters arthur c miller s black white cinematography is haunting and makes susan s hacienda look like the loneliest place on earth losey s direction is crisp lyn murray s music is powerful without being overbearing dalton trumbo s script is timeless the prowler is classic los angeles noir and one of the best bad cop movies of all time leave a comment posted in 1951 may 1951 and tagged arthur c miller dalton trumbo evelyn keyes film noir john maxwell joseph losey lyn murray s p eagle sam spiegel van heflin bookmark the permalink the idiot may 23 1951 posted on december 12 2016 by adam lounsbery the idiot hakuchi 1951 directed by akira kurosawa shochiku company as a nearly lifelong fan of director akira kurosawa the idiot is a difficult film to review watching it was an incredibly frustrating experience since major portions of the film have been lost and it s doubtful they will ever be found kurosawa s original cut of the idiot ran about four and a half hours and was intended to be released in two parts however the shochiku studio bosses trimmed it down to a little less than three hours which is the only existing version the idiot a k a hakuchi is an adaptation of the novel by fyodor dostoyevsky kurosawa followed the plot of the novel fairly closely but changed the setting from 19th century russia to postwar japan appropriately the film takes place in hokkaido the northernmost of japan s main islands the snowy landscapes give the film the look and feel of a russian novel kurosawa was always preoccupied with weather especially torrential rainstorms and the idiot is a beautiful portrait of a frigid and hostile environment the main problem with the idiot is that it appears to have been trimmed down in a completely arbitrary fashion the constant wipes a technique which usually conveys a sense of excitement and forward movement in kurosawa s films seem to always signify an elision in the idiot characters will move from one place to another with no explanation or the setting will change without warning watching the idiot in its current form is sort of like reading a novel and skipping various chapters at random the idiot is not a film i can properly review but i will say this if you have never seen a kurosawa film before make sure it s not this one however if you are a kurosawa fan it is a film you must see at least once it s a gorgeous piece of work with wonderful performances by the radiant setsuko hara who also appeared in kurosawa s no regrets for our youth 1946 and masayuki mori who gives a haunting performance as the idiot of the title a man deeply traumatized by war kurosawa mainstays toshiro mifune and takashi shimura have less to do but turn in dependably good work i wrote in my review of the quiet duel 1949 that it might be shimura and mifune s least interesting pairing for kurosawa but this one definitely is mostly because they don t really interact much leave a comment posted in 1951 may 1951 and tagged akira kurosawa foreign films fyodor dostoevsky japanese cinema masayuki mori setsuko hara shochiku eiga takashi shimura toshirô mifune bookmark the permalink the thing from another world april 27 1951 posted on december 1 2016 by adam lounsbery the thing from another world 1951 directed by christian nyby rko radio pictures winchester pictures i m probably one of the few people my age who fell in love with the original version of the thing before seeing john carpenter s 1982 version back in high school i d watch any piece of 1950s sci fi schlock at least once but the thing from another world was far from schlock and i watched my vhs copy at least six or seven times when i was a teenager maybe more in fact i loved the thing so much that i didn t really like john carpenter s remake the first time i watched it i loved the optimistic capable characters in the original and all their rapid fire overlapping dialogue and i found carpenter s version pessimistic and depressing however like most of carpenter s films from the 70s and 80s the thing gets better every time i watch it and it s now easily one of my favorite sci fi horror films revisiting the original version of the thing was a strange experience at least for the first 20 minutes i hadn t seen it in a long time and carpenter s version has in many ways replaced it in my heart once you ve seen the innovative gory special effects of carpenter s version it s hard to go back to james arness in a bald cap spacesuit and claw hands the 1951 version also lacks the central idea of a shape shifting alien who can mimic human form so there isn t the same level of paranoia which is a huge part of carpenter s version after the first couple of reels however i settled back into the rhythm of the original and enjoyed it as much as i always did it s a completely different movie from carpenter s version and what it does it does brilliantly it may not have much in the way of paranoia but it s a suspenseful film that establishes a real sense of isolation and claustrophobia one thing that struck me on this viewing of the thing is how much of its gruesomeness and horror is dependent on the viewer s imagination descriptions of things like a plant based alien humanoid who lives on blood or scientists hanging upside down with their throats slashed are only referred to in dialogue this probably played better for audiences weaned on radio dramas and i m not sure how well it will hold up for younger viewers accustomed to explicit shocks on the other hand the decision of the filmmakers to keep the alien monster mostly off screen has dated the film well the thing holds up as superior entertainment that is head and shoulders above most 50s sci fi movies the cast is full of actors who never became household names but they deliver deft character work and seem like real people what the film lacks in budget it more than makes up for with an intelligent script and tight pacing it s a terrific movie that i can watch over and over and it still feels fresh 1 comment posted in 1951 april 1951 and tagged christian nyby douglas spencer horror howard hawks james arness kenneth tobey margaret sheridan rko radio pictures robert cornthwaite science fiction bookmark the permalink tarzan s peril march 10 1951 posted on september 26 2016 by adam lounsbery tarzan s peril 1951 directed by byron haskin sol lesser productions rko radio pictures the lavish spectacle king solomon s mines 1950 rewrote the rules of the jungle adventure film since it was shot on location in sub saharan africa and instantly made all the b movies shot on soundstages and backlots look ridiculous first and foremost it showed that there was a lot less jungle in africa than kids raised on tarzan movies assumed there was the distant rolling plains we saw in king solomon s mines bore little resemblance to the dense jungles where tarzan swung on vines so producer sol lesser and rko radio pictures picked up the gauntlet and decided to shoot their next tarzan picture not only in color but on location in kenya unfortunately something went wrong with the color footage so tarzan s peril was released in black white a fair amount of the location footage found its way into the final product but it s not integrated very well into the main narrative we never see lex barker strutting in his loincloth through the grasslands of kenya for instance he mostly sticks to the soundstages and backlots clowning around with cheetah the chimpanzee and throwing knives at not very terrifying giant snake puppets as i said in my review of lex barker s previous tarzan picture tarzan and the slave girl 1950 barker s movies are probably only ever going to be watched by hardcore tarzan fans with nearly a century of tarzan flicks to choose from newcomers are advised to start with the johnny weissmuller movies particularly the first two tarzan the ape man 1932 and tarzan and his mate 1934 if you have kids and don t want to expose them to the dated and racist depictions of africans in the early weissmuller films you ll probably want to show them either disney s tarzan 1999 or greystoke the legend of tarzan 1984 which incidentally was the first tarzan movie i ever saw however if you re not a hardcore tarzan fan there is one reason to check out tarzan s peril it features dorothy dandridge as melmendi queen of the ashuba dandridge was the first african american to be nominated for an academy award for best actress and along with lena horne she was one of the only black leading ladies in hollywood in the 40s and 50s of course even for a beautiful and light skinned actress like dandridge good roles for black women were still hard to come by in the 50s and the roles she was offered like this one are fairly limited the problem is not just that tarzan s peril is a low budget picture i love b movies and this is a perfectly decent one with plenty of action it s that dandridge is given frustratingly little to do in fact after watching tarzan s peril i wished that jane hadn t even been featured as a character she s played by virginia huston and except for a bit of mutual splashing around in the water there s no erotic chemistry between her and barker mostly she comes off as an idealized version of a prim 1950s housewife chastising tarzan for eating food out of a pot on the stove and demanding he sit down to dinner given that huston was the third different actress to play jane in as many tarzan movies featuring lex barker i wished they had written her out of the movie entirely and just focused on dandridge s character melmendi anything like kissing would have been verboten with a white actor like barker but they could have beefed up her part and had plenty of erotic subtext that would have been really fun to watch tarzan s peril is ok but not great on the plus side it s got plenty of action some of the best location footage in an rko tarzan movie to date and a trio of memorable villains 1 comment posted in 1951 march 1951 and tagged byron haskin dorothy dandridge edgar rice burroughs lex barker rko radio pictures sol lesser tarzan virginia huston bookmark the permalink older posts recent posts beyond a reasonable doubt sept 13 1956 the violent years 1956 on the bowery september 1956 i vitelloni aug 26 1953 rock around the clock march 21 1956 search for 18th academy awards 19th academy awards 20th academy awards 20th century fox 21st academy awards 22nd academy awards action adventure alfred hitchcock anthony mann ben hecht bobby blake bob steele boris karloff british cinema bruce bennett charles mcgraw columbia pictures comedy dana andrews darryl f zanuck david buttolph drama eagle lion films earle snell espionage thrillers family films film noir foreign films fred 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