Reviews

The title character, Wanda, is an aimless, rudderless, completely passive, child-like woman who's lower-working-class life is shutting down on all sides...and she doesn't care enough to even care. As the film opens, she's due in court where her husband is petitioning for divorce on grounds that she's abandoned him and their two small children. Arriving late, she seems too disinterested to contest the accusations, showing no remorse at the thought of walking away from her children.

After a series of small, typically bad decisions that serve to further establish her self-inflicted victimhood, she meets up with small time crook 'Mr. Dennis', expertly played by Michael Higgins, with whom she embarks on a bleak road trip comprised of car break-ins, roach motels, changing clothes in ditches and car-hood meals. Dennis is abusive, all business, non-nonsense ("I don't like friendly people!"), barking orders at Wanda, regarding her as nothing more than an instrument for him to use as needed. He has the feel of a washed-out former Goodfella who was lucky enough to be allowed to keep breathing. One gets the feeling he learned how to regard women from watching his farther treat- or more to the point, mistreat his mother.

But he has plans for this 'dumb broad', and he ends up giving her what is probably the only worthwhile task- and validation- she's had in her entire adult life. The action of the film ends appropriately, with the title character once again twisting in the breeze, at the mercy of users and abusers who have hemmed her in.

The look and feel of the film is completely authentic, there's not a false note to be found. The acting is totally natural, believable. One thing that is refreshing is the fact we are never told their background stories, what lead them to this point. We just have to take them as we find them, and it's up to the viewer to fill in the rest. Although a depressing and sometimes difficult film to take to, Wands is a quiet masterpiece.

A top-notch Film Noir achievement, and the debut effort for French director Louis Malle, this film is a treat for all the senses. Framed by the terrific Jazz score by Miles Davis, this is the story of two lovers, played by Jeanne Moreau and Maurice Ronet, who construct what should come off as the perfect crime- the murder of her arms sales dealer-husband. In what could later be termed 'a colossal failure of technology', the flawless execution of the crime quite literally suffers a power failure, putting unforeseen events into action.

At every turn the characters get tripped up not by the authorities, but by their own hubris, or just plain stupidity. An often-used element of good Noir is the concept of a character escaping blame for a crime they are guilty of, only to finding themselves trapped by charges of another crime they are innocent of. What makes this film a stand-out is the manner in which the most inane objects are used to weave an intricate twisting plot, yet not so much that it becomes convoluted. Yes there are some plot holes and glaring implausibilities. But it's all worth it by the final scene, when the unfaithful Moreau- in an attempt to exonerate her lover- discovers that the camera indeed never lies.

It's not often that someone gets the opportunity to solve their own murder, pre-mortem no less. Well that's the intriguing premise of D.O.A., certainly one of the more inventive Noir entries in a genre where intrigue is usually listed as the first ingredient.

Yes, the plot is a tad too convoluted, with one too many characters with one too many identities; or others who are blameless only for the fact they've been dead for six months. And there's also the crucial incriminating letter that gets conveniently discovered the day after it might have answered the crucial questions. But these are all easily excused, if one doesn't peer too closely into the standard number of plot holes.

The acting is overall good, although there is some degree of overacting as other reviewers have noted. DOA deserves the high regard it has earned in the Film Noir genre; it's inventive and doesn't necessarily end well, like all good Noir should.

Any veteran fan of either Film Noir or classic horror already knows: when Ann Todd is playing nice, nothing good can come of it! And it certainly doesn't in this worthy film. Starts off a little stodgy, with the usual "seeing-things" denials, but the plot and pace gather momentum soon enough. Good performances throughout, restrained and believable, meaning no one goes over the top.

Yes, there are plot holes aplenty for those who care to dwell on them; but whatever they may be, they are more than compensated for by an inventive array of twists and surprises in the final reel. The savvy viewer will anticipate some of them...but not all! That's the fun of it. Many consider this Hammer's finest effort. It definitely holds up beautifully.

Originally titled "Night Of The Eagle", this is a very effective chiller with fine acting throughout. Linda..err..Janet Blair plays a housewife with a hobby that proves too strange for her professor husband (Peter Wyngarde) to turn a blind eye to. When hubby makes his wife give up her spooky pastime, things start to hit the fan in short order. There are some nice touches here that foreshadow later horror masterpieces, "Rosemary's Baby" in particular.

Faculty life at the quaint northern England college is rife with not-so-petty jealousies and a back-stabbing or two. The main um...(pot)stirrer on the staff, wonderfully played by Margaret Johnston, makes it known early on that she's a witch with a capital "B".

A very attractive and more-than-capable cast, a good atmospheric production that does itself proud in black & white; and just when the suspense begins to sag a bit, a very good surprise twist. It's all here, and well worth your time.