Olivia Proves A Decent Movie And An Interesting Historical Artifact

Going to a new school, that's always a daunting experience. That's been especially true for Olivia (Marie-Claire Olivia), the star of the 1954 Jacqueline Audry film Olivia. She just arrived at a finishing school in France, one run in a more open-minded way than the restrictive educational facilities she's previously attended. The headmistress of this school is Miss Julie (Edwige Feuillere), who also serves as the object of fascination of an invalid woman named Cara (Simone Simon). As Olivia goes on, Miss Julie and Olivia become closer. In fact, they become quite close. Apparently, this isn't the first time Miss Julie has developed a close bond with a student. Is Olivia just the newest object of brief fascination for Miss Julie or is there something deeper bonding the two together?

Dial M For Murder Is More Constrained But No Less Thrilling Hitchcock Feature

This review originally appeared on The-Solute as part of their Year of the Month series.

Like Jackass 3D or Hoodwinked Too!: Hood vs. Evil, Dial M for Murder was made in 3D. The brief 3D craze of the 1950s included this Alfred Hitchcock directorial effort, though, apparently, test audiences reacted so negatively to the 3D that it was primarily shown in 2D. It’s odd to watch Dial M For Murder and imagine it being thought of as ideal for the process of 3D. Rarely do objects come towards the camera or other similar gimmicky moments associated with 3D movies of this era, it’s all mostly a restrained dialogue-reliant affair that would seem ill-suited for this format. After all, a crackling thriller like Dial M for Murder doesn’t need a gimmick like 3D to be extremely immersive!

Sublime Performances And Writing Make Sabrina An Absolute Delight

Eight years before Sabrina the Teenage Witch debuted in a 1962 issue of Archie's Madhouse, the most famous Sabrina in pop culture had to be the titular lead character of Sabrina. This feature film was quite the impressive assemblage of classic Hollywood talent, with the fact that it was Audrey Hepburn's first starring vehicle after Roman Holiday put her on the map alone being a mighty noteworthy feat. But then you pair her up with legendary leading man Humphery Bogart under the direction of Billy Wilder, a pro at delivering top-shelf witty romantic comedies and it's no surprise to see that Sabrina is such a delightful feature.

The Original Godzilla Has Some Weak Lead Characters But An Impressively Realized Ominous Tone

If you had told any of the members of the cast and crew of the original 1954 Godzilla film that what they were working on would end up being one of the most influential features of the 20th century, they likely would have thought you were batty at best. But that's just what happened, as a somber exercise in contemplating the consequences of nuclear warfare through the prism of a monster movie turned out to be something that resonated with audiences across the globe to such a profound point that the monstrous Godzilla is still making new movies in both his home country of Japan and in the United States of America.

Journey To Italy Is A Quietly Tragic Romantic Drama NOT A Concert Movie About Journey Performing In Italy As I Thought

Sight & Sound Voyage Entry #31
Placement On Sight & Sound Top 50 Movies List: #12

We have plenty of movies about people falling in love, with the subgenre thriving because of people of all genders getting to live vicariously through the characters on-screen engaging in a perfect romance they know can't possibly exist in the real world. There's plenty of those movies I like but I also tend to gravitate heavily towards movies with more realistic depictions of romance, specifically, one's that show people in either romantic partnerships or marriages that are crumbling and how that deteriorating relationship affects both people. That's why Richard Linklater's Before Midnight is so excellent, among many many other reasons!

How Much Is That Doggie In The (Rear) Window?

While his most famous films (mainly the annual holiday TV fixture It's A Wonderful Life) have given Jimmy Stewart an image in mainstream pop culture as a loveable good o'l boy, it is interesting to see Alfred Hitchcock's collaborations with the actor (in Vertigo and the subject of this review, Rear Window) dive into darker territory, ones that show off both different sides of Stewart and demonstrate what a versatile actor he is. Rear Window also serves as a splendid opportunity to take witness of just how much of a maestro Hitchcock is at conducting suspense in the most restrained circumstances. All he needs is a window, a neighborhood of various personalities and one man peeping at the world around him to create something truly gripping.