40s movies youtube

Seven years before his powerhouse turn in The Big Heat, Glenn Ford played second fiddle to Rita Hayworth—how the hell could you not?—in Charles Vidor’s exotic thriller. Kindler has has moved to a small New England town and married the daughter of a Supreme Court Justice, teaches at a prep school—essentially has erased every possible trace of his former identity, save one: a longtime obsession with clocks. A film stuck in time, place and temperament, Miracle on 34th Street is one of the two heavy favorites, along ith It’s a Wonderful Life, in the battle for the title of “greatest Christmas movie ever,”. He’s nobody’s “sap.” Interestingly, Spade’s creator, Dashiell Hammett—who once worked as a P.I.—called the character “a dream man in the sense that he is what most of the private detectives I worked with would like to have been, and, in their cockier moments, thought they approached.” In Bogart’s brusque yet smooth hands, that sounds about right. To Have and Have Not is loosely adapted from Hemingway’s novel of the same name. Though only the film’s opening scenes were shot on location (the rest on the Warner Bros. lot), the exotic setting and meteorological fate render isolation to an extreme degree. (Everyone’s a critic.) Only one, a mime named Deburau (Jean-Louis Barrault), has pure intentions: Naturally, he’s the one who gets hurt. —J.V. —D.S. No high-suspense mystery here. Director Henri-Georges Clouzot treats as a given that the world is a crappy place, through and through, detailing how the denizens of a small French town (“anywhere”) are pitted against one another through a series of “poison pen” letters sent by the titular Raven. —A.S. As with Bacall here, it’s not Bogart’s finest collaboration with director John Huston, but the palpable sense of atmospheric dread and post-war disillusionment make this a trip worth taking. Critical opinion has settled pretty solidly on the “best” films of the cinematically prolific 1940s; look at ten lists and you’ll see a lot of overlap. —A.C. By contrast, Roberto Rossellini’s Rome, Open City denies its viewers the admittedly mild succor granted us by Bicycle Thieves, offering instead a raw, righteous outrage that stems from Rosselini’s national pride. Cattle ranch established, along with serious father-son issues. 40 movies you must watch before you die. Johnny and Gilda hurl emotional and physical hostilities as they love-hate on each other, both felt in equal measure. Honorable Mentions: The Shop Around The Corner (1940) The Letter (1940) Pinocchio (1940) His Girl Friday (1940) Fantasia (1940) The Lady Eve (1941) Dumbo (1941) The Palm Beach Story (1942) Cat People (1942) Bambi (1942) Day Of Wrath (1943) Shadow Of A Doubt (1943) Gaslight (1944) Arsenic And Old Lace (1944) Meet Me In St. Louis (1944) … Frank Capra’s adaptation of this darkly comedic Broadway play (some of the Broadway cast reprised their roles in the film) stars Cary Grant as Mortimer Brewster, one of a family of Mayflower bluestocking WASP types who have, over the generations, become—I think the phrase is criminally insane? Ultimately Clarence jumps into the river before George can do it; activating the suicidal man to save Clarence rather than kill himself. Robert Mitchum dominates, whether in his tête-à-têtes with Kirk Douglas or his simmering flirtations with Jane Greer. See more ideas about old movies, movies, youtube. An American thug in Buenos Aires, our narrator Johnny Farrell (Ford) cheats, and then cheats some more: first at the casino of an older businessman involved in a Nazi cartel, and then with the businessman’s young new wife, his ex, Gilda (Hayworth). You can’t, right? Can a storyteller tell a story that isn’t their own? (And it’s pretty brilliant now, for that matter.) Menu. In Stray Dog,  Kurosawa emulates the central feat of Jules Dassin’s The Naked City, the marriage between the stylized trappings of film noir and cinematic realism, but Stray Dog doesn’t copy Dassin’s work; rather, it absorbs and applies lessons taught by The Naked City in ways that only a filmmaker like Kurosawa could. Just watch the visual motif of that boudoir introduction recur in the “Put the Blame on Mame” musical number-turned-striptease. There were a lot of great noirs in the ’40s. If you’re of the impression that Quentin Tarantino invented the concept of a nonlinear crime story involving boxers and hitmen, Robert Siodmak’s adaptation of Ernest Hemingway’s celebrated short story is a must-watch. (That said, Chaplin later recounted that he could never have made the satirical film even a year or two later, as the extent of the horrors in German concentration camps became clearer.) —Jim Vorel, A melodrama set in a convent in British-ruled Himalayan India, directed by Michael Powell and Emeric Pressburger and starring Deborah Kerr and David Farrar, Black Narcissus provides a recipe for … well, strangeness. Still, Cagney is mesmerizing to watch self-destruct. His first feature, Citizen Kane earned him the ire of the influential media mogul William Randolph Hearst. It’s savage and sexual, deeply unsettling in its nihilism and yet not utterly without hope; the final shot offers a respite of sorts from Tourneur’s otherwise unblinking sobriety. When you think of Italian neorealist cinema, your mind probably zips straight right on over to Vittorio De Sica’s Bicycle Thieves, a beautifully made movie about the harsh realities of life in postwar Italy. The imagery of the dream ends up helping to resolve the case (go, psychiatry! Clarence is charged with pulling Bailey off the ledge, in return for which he will be granted wings. It’s difficult to adapt to the new surroundings. —A.G. The other thing that is likely to grate upon the sensibilities of modern viewers is the tacit understanding (whether Hawks deliberately placed it there or whether it happened by default) is the “white guys can take whatever they want” attitude that pervades the minds of the characters.

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