Rom-com is an ugly word. It groaningly prods memories of insipid ‘will they won’t they’ scenarios resolving unsurprisingly. It is not that this premise can not work, it becomes formula because it works far too well, but without disguising this format, the mantra ‘opposites attract’ is laid blatantly on show and leaves little interest in […]Read more "Trouble In Paradise (1932)"
Horror films have transformed an awful lot since the 1920 appearance of the great granddaddy The Cabinet Of Dr Caligari. Now, as we settle down with a box of popcorn, the lights yawn to darkness and the projector flickers to life, we ready our mental checklist; sudden bangs, creepy music, evil incarnate and blood by […]Read more "Vampyr (1932)"
Evening news harks the same catastrophes and human atrocities night after night. Terrorism, racial hatred, political corruption, and murder. Instantaneous internet uploads of brutal images on a twenty four seven basis has led to nothing but a melancholy cacophony. But when a killer is loose, especially one who’s modus operandi is child victims, the world […]Read more "M (1931)"
Limite has shown me my seemingly limitless capabilities of procrastination. The prospect of reviewing this visual puzzle unnerved me. Compounded, no doubt, by its praise as the Un Chien Andalou of Latino Cinema. Buñuel’s short is purposefully and immediately surreal. An eye sliced by a straight razor. Hands crawling with ants. Impossible geography. Limite is a […]Read more "Limite (1931)"
SPOILERS Jean Renoir is a name you either know from his films or have almost certainly encountered from current directors discussing inspirations. La Chienne or The Bitch is the first inclusion of Renoir’s work, his second sound feature, and an indispensable glimpse at a blossoming French perspective. In his own words ‘A director only makes […]Read more "The Bitch (1931)"
The lively Parisian district of Les Halles impressed upon young Rene Clair a picturesque image of Paris he would equally impress upon celluloid. Equipped with a degree in philosophy and the horrors of the front line of World War I, Clair harboured an disparate understanding of man’s capabilities. The far left of proud found thought […]Read more "The Million (1931)"
F. W. Murnau’s innovation and experimentation with ‘dramatic angles’ as he called them liberated cinema from static confines to new methods of expressing emotion and narrative, and led the director become one of the most respected artists of his time. Tabu: A Story of the South Seas was his first foray firmly in the sound era […]Read more "Tabu: A Story Of The South Seas (1931)"