"See, I'm with a guy who don't know where Wyoming is. You think you got problrms?"
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Suspicion 1941
Fontaine is stunning and gives a fine believable performance as the sheltered and nervy Lina. Grant shows a surprising gift for flashing menace out of cheeky charisma. Nigel Bruce is thoroughly enjoyable as the warm and clueless Beaky. Suspense winds effectively but the contrived ending tips the balance into archness and artificiality, stock Hitchcock elements kept in check in his masterworks by the darker strains.
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San Francisco 1936
Full-blooded studio entertainment, with Gable supremely comfortable in what is a plum role for him, MacDonald winsome and sympathetic, and Tracy nailing a very familiar part as a red-blooded priest and loyal childhood pal. It has to be said that MacDonald’s operatic warbling feels pretty dated by now, to the point where it can come across as unintentionally comic. The extended earthquake climax is still dramatic and impactful, skillfully employing a range of impressive effects, but the ending devolves into treacly sentimentalism.
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The Bitter Stems 1956
Argentine noir goes dark and darker; the unforgettable ending verges on horror. Beautiful black-and-white cinematography, deep-focus and heightened shadow, and a twisty plot that shocks and holds you in suspense.
It’s sometimes a struggle to remember that Liudas is not a good guy; he’s the mastermind. He will gleefully take advantage of the innocent people he regards as fools—that’s how you get ahead, after all. But he has a good reason for wanting the money, and a kindly side, and…
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