My Man Godfrey
My first William Powell film and only my second Carole Lombard, and I have to say this was a complete delight. It’s zany and dry, while also managing to be classically romantic. Powell and Lombard have great chemistry, but they shine even better individually. Godrey’s mysterious backstory, Irene’s pathetic displays of overacting, and the Bullock family’s non-stop antics make for a full 90 minutes of comedy. I don’t normally enjoy movies of this era (the 30s) as much as I did this. I’ll definitely be revisiting this film and maybe more Gregory La Cava flicks in the near future.

His Girl Friday
Wow, another gem! Though I have had this movie on my watchlist for a while, I had somehow avoided knowing any details about the characters or plot. Imagine my surprise when I realized it’s a movie about a female journalist trying desperately to write an article about a convicted criminal on the night before his execution! This is one that definitely grew on me, even as I was watching it. Cary Grant is doing his Cary Grant thing (which I love, don’t get me wrong), but oh my goodness Rosalind Russell! I have never seen Russell before, so this was really a treat. Her character is supremely funny and elegant, upstaging the dashing Grant in almost every scene they’re in together. 

Additionally, I love the fact that the plot was not all about the romance. The death-row-escaped-convict-corrupt-politician stuff was great, and while I think Russell is still the star of this film, all the side bits only added to her character’s journey. The only real downside are the handful of dated racial jokes/references. Though it made me uncomfortable for sure, luckily it never rose past the level of tasteless banter (unlike Holiday Inn, *ahem*), so I don’t think it makes the movie unwatchable.

The Philadelphia Story
I love Jimmy Stewart. Now onto the review…

This one is unique because it actually has two sets of couples, which means four (count ‘em, FOUR!) movie stars you get to hang out with. Stewart and Hepburn are the standouts for me, since it kind of felt like Grant was in cruise control here, but Ruth Hussey was also quite charming. That said I don’t think I really loved this as much as I wanted to. The first act was a little slow and the story as a whole just felt a little weak to me. I still liked it a lot, especially all the identity switching and the romantic bits between Hepburn and Stewart after the party, but this mostly just felt like a bunch of super attractive, funny, famous people hanging out together… and there’s nothing wrong with that!

Ball of Fire
Awesome, amazing, astounding (synonyms)— oh, how I loved this film! Gary Cooper and Barbara Stanwyck are my favorite match-up thus far. The way Cooper’s heady professionalism clashes with Stanwyck’s sensual, care-free attitude makes for a relationship that is both hilarious and heartfelt, but what really hooked me was the set-up.

Ball of Fire has the most complex, unique, and poetic plot of any classic rom-rom I’ve watched so far. To summarize for those who might not be familiar with this terrific film— Professor Bertram Potts (Cooper) is a handsome but sheltered grammarian who seeks to venture outside his comfort zone in order to write a comprehensive encyclopedia entry for “slang.” As his project begins, he enlists the help of one Sugarpuss O’Shea (Stanwyck), a crafty nightclub performer who uses Potts to hide from the police after her mob boss boyfriend is arrested. In case you couldn’t tell by their obviously contrasting names, Bertram and Sugarpuss couldn’t be more different! And yet, they are perfect for each other. Oh, and also along for the ride are seven adorable old professors who work on the encyclopedia alongside Potts. In an effort to utilize some slang in this review, I must declare that this film is nothing short of a hoot and a holler!

Ball of Fire ranks up there with the best romantic comedies of all time, and it’s one of my favorite film discoveries in a long while. If you have never seen Ball of Fire, I recommend you watch it right now. I was surprised to have enjoyed it so much, especially since it is not talked about nearly as much as His Girl Friday and The Philadelphia Story.

P.S. I love the fact that a bunch of these romantic comedies also feature the mafia? Cool.

Some Like it Hot
Not much I can say that hasn’t already be said about Marilyn Monroe “and her bosom companions,” and I’m feeling musical, so here’s a little ditty for ya:
Jazz music, buttermilk,
Jack Lemmon’s cackle
Cary Grant cosplay
And lots of boat travel
Vassar girls, Daphne twirls
Marilyn sings--
These are a few of my new favorite things!

Sophie’s Choice
Meryl? Good.
Movie? Ok!

Sophie’s Choice is a classic case of “I see why it’s good, for the time it was made, but it simply just isn’t for me.” Meryl Streep’s performance is the obvious highlight and the other actors hold their own, but everything else was kind of a snooze. I was specifically turned off by the overly poetic narration, which permeates the entire film. Though I understand this dialogue is being read from the point of view of the novelist character, the highly stylized and melodramatic nature of the script wore thin for me. My other big complaint is that I don’t feel like the abusive relationship at the center of the film was portrayed with much nuance. It could just be that the movie is a product of its time, but this part of the storyline just felt a little too obvious to me and I wasn’t shocked that the film ended like it did. I suppose these flaws shouldn’t preclude anyone from experiencing Meryl’s tour de force performance, but just be ready to wait an hour and a half to get to the meat of it.

Death Becomes Her
Supremely wacky shit. The first act of the movie had me wondering if I was even going to like this, but as soon as the real plot shifted into focus I was totally on board. Meryl Streep is fabulously magisterial as the youth-obsessed actress, Madeline Ashton, and both Bruce Willis and Goldie Hawn match her campy energy perfectly. But most of all, I was just happy to revel in a film that is so knowingly ridiculous. There is no subtlety in Death Becomes Her, and even when I knew where the bits were going, the sight of three prestigious actors hamming it up did nothing but put a big old smile on my face! Factor in the music, production design, and special effects, and you get one hell of an experience. It may not rank among Meryl’s greatest performances, but her devilish pre-Prada persona serves the premise perfectly and is just one of the reasons why every film fan should check this out.

The Bridges of Madison County
Simple in its construction and execution, The Bridges of Madison County has the makings of a classic romance. The flashback framing device, period pastoral setting, and down-to-earth performances all come together to create a film that is utterly enjoyable, if not excellent. There aren’t too many Hollywood productions that romanticize extramarital affairs, and even fewer that focus on a couple over the age of forty, so there is definitely something unique about this kind of romance. Clint Eastwood’s acting is surprisingly sensitive (and a bit stale) and his direction feels self-assured, but you just can’t get through this thing without marveling at Meryl Streep’s believably vulnerable performance. By carrying this movie on her back, Meryl stays proving why she’s one of the greatest actors ever to grace the silver screen. It’s no wonder her performance garnered critical acclaim and film’s sole Oscar nomination.

The Hours
Though I don’t think there’s anything particularly wrong with this movie, I just didn’t really vibe with it. Nicole Kidman is virtually unrecognizable as Virginia Woolf, and that alone causes her to stand out among all her co-stars, but the rest of the cast didn’t really do it for me. I’d have to say Meryl is the next most interesting character, but she still doesn’t have a ton to do apart from a handful of emotional scenes. Still, the time jumping was kind of novel and Philip Glass’s score was perfectly melodramatic. Ultimately, I think The Hours is a perfectly good movie that’s just not my speed.

Doubt
I was honestly blown away by this! Meryl absolutely kills it, as do Philip Seymour Hoffman, Amy Adams, and Viola Davis. There are little moments here and there that hint at Shanley’s directorial prowess, but you’re kidding yourself if you think this is anything more than an actors showcase. The script certainly has its merits, but Doubt would be a mediocre film without its core four. In a perfect world, they all would’ve won Oscars for their respective performances, but I’m a simple man— I’ll settle for a hearty round of nominations.

One thing I find really surprising is that there’s a whole online community of film theorists who posit that Father Flynn was not actually a predator. To that I say, “phooey!” Yes, the ending was left slightly ambiguous on purpose, but in my opinion there’s really no space for the “Father Flynn is actually a decent guy” discourse— we’ve all seen Spotlight, we know the church has a problem. Shanley does a good job of grounding the film in Meryl’s character so that the film is not just about the predatory priest, but that doesn’t mean his actions aren’t there.
 

What is 5 Film Film Festival (5FFF)?
In short, 5 Film Film Festival is an ongoing personal project to help me watch more classic films. For each mini “festival,” I will choose a random theme (be it a genre, actor, director, etc.) and curate five movies that fit that theme to watch for the first time. When I started this journey, I posted my brief, unpolished thoughts on Letterboxd. I like this more informal, less pretentious mode of watching older movies, so as I begin documenting the project here on the site, don’t expect a lot of in-depth analysis— every “review” will read more like a “first reaction.”​

If you’re like me, and you have more than a few blind spots in your cinematic knowledge, then consider joining me on this lifelong endeavor. Watch along, recommend themes, and organize some mini festivals of your own!

Holiday
This is one of those movies where the credits roll and I immediately think, “hey now that we’re done with the intro, let’s get onto the actual romance, shall we?” *sigh*

This was not very Christmas-y at all, but it does take place in late December and the mere idea of going on holiday is an important plot point, so I’m going to let it slide. I liked this a lot in the first half, but it really dragged on the back end unfortunately. Obviously Katharine Hepburn and Cary Grant are great together (and on their own), but there was just not enough ingenuity and excitement in the plotting of this film. When you hear “Hepbrun-Grant holiday rom-com” you think physical gags, verbal gymnastics, and a relationship you can really root for— this had none of that. Maybe if I hadn’t already seen Bringing Up Baby I wouldn’t have gone in with such high expectations, but I have and I did. Oh well, I still had fun!

The Shop Around the Corner
I think I may be adding this to the Christmas rotation! 

Though it takes a minute to get going, once Lubitsch’s script kicks into high gear there is no stopping this delightful romance. Margaret Sullivan and James Stewart make a fine duo, but Stewart is especially magnetic as the prideful sales clerk. It’s nice to see Stewart in a holiday movie that’s a little sillier and more erratic than It’s a Wonderful Life. The supporting performances really bring it all home, with stand-out scenes from Felix Bressart, William Tracy, and Frank Morgan. Though The Shop Around the Corner could definitely be described as “Christmas-adjacent,” I think it captures just enough of the Christmas atmosphere to solidify it as a must-see holiday flick. 

Holiday Inn
On the one hand, “White Christmas” ❄️ 
On the other hand, blackface 😬

This movie starts relatively strong and ends relatively fine, but everything in between is boring as hell. Unfortunately, it takes all the way until halfway through the movie to realize that none of the characters (not even Bing Crosby) are remotely likable. Maybe if this movie didn’t have a prominent and uncomfortable blackface number (which may in fact be more prominent and uncomfortable than the Bojangles number in Swing Time), it could at least serve as some nice holiday background noise, but I’m not sure I can even grant it that. I guess I’d recommend this to “Old Hollywood” or Christmas movie completionists, but there’s nothing really worthwhile here for your average movie fan.

Meet Me in St. Louis
Only a fourth of this movie takes place during winter, and I’m supposed to accept this as a Christmas movie? I know this is the reason we have an all-time classic holiday tune (“Have Yourself a Merry Little Christmas”) but is that reason enough to cement this as a Christmas classic? I’m not sold.

The movie itself kind of waxes and wanes for me. I liked the opening sequences and the Halloween bits, but most of the really good stuff didn’t feel like it had much to do with Judy Garland’s character or her central romance. That said, Garland’s musical numbers are the clear standout here, and I suspect they are one of the primary reasons this is considered a classic. But for me, the whole thing was just alright.

Miracle on 34th Street
I can’t believe I had never seen this before! This is, without a doubt, one of the most classic Christmas films of all time and now I can see why. The premise is simple and cute without being too kiddish and the plot is laid out in a way that appeals to people of all ages. The idea of interacting with the real Santa draws in the kids, the somewhat sophisticated courtroom drama aspect draws in the adults, and BAM— you got yourself a family favorite. Though I will never have that nostalgic connection to Miracle on 34th Street that many people do, I look forward to many more rewatches in the years to come.

Harold and Maude
God, I love when old movies play their same original song over and over. “If You Want To Sing Out, Sing Out” is to Harold and Maude what “Danger Zone” is to Top Gun. I thought I’d be quick to get annoyed with Cat Stevens’s music, but by the end I came to appreciate all his little ditties. 

What connected with me most on first watch was the dark humor and sort of meandering plot. Looking scene-by-scene, the film definitely followed a formula. Still, there was a bit of forward momentum attached to every scene, or if not, at least a hilarious punch line (like Harold “exploding” in front of his date). Not sure this will be a frequent rewatch for me (as funny and comforting as it was, it was also morbid and philosophical), but I’m looking forward to see how this film affects me differently with age.

Autumn Sonata
“A mother and daughter— what a terrible combination of feelings and confusion and destruction.”

A sonata is most simply defined as a piece played rather than a piece sung (cantana), so it’s interesting to me that most of this film consists of conversations, monologues, memories, and meditations. But while some of these beautifully written sections stick out as being particularly memorable, the film’s most powerful moments lie not in the characters’ recitations, but in the reactions of those who are simply sitting there, listening. This is a movie about relationships (mothers and daughters, sonatas and cantanas) and it’s easily one of my favorite entries in the genre of “slow cinema” that I’ve seen in a while. 
I found the first half of the film was dominated by Ingrid Bergman’s intense energy, but as the film progressed I became more and more entranced by Liv Ullmann, who matched and exceeded Bergman’s (intentionally) oppressive presence. Though this movie is squarely focused on its actors and script, I think the technical team deserves a lot of credit. The directing and cinematography are both impeccable (as you should expect from Bergman), but the set design, costume design, and staging of the scenes also contribute greatly to the film’s success.

St. Elmo’s Fire
To me, St. Elmo’s Fire works a lot better as a historical artifact than an actual film. The acting is actually pretty good throughout, but the more exciting thing is just seeing all of these people on screen together. My favorite performance by far was Andrew McCarthy as Kevin, the sour puss anti-romantic who is revealed to be in love with his best friend’s girlfriend, Leslie. I haven’t seen him in much else before, but I know he is in Less Than Zero with RDJ, so I think I’ll move that up own the watchlist.

But back to St. Elmo’s Fire… It’s okay, I guess. Not great, but not terrible either.

Planes, Trains and Automobiles
Funny!

This is one of those rare films that is so predictable and so classically “correct” in its structure that it appeals both as entertainment and comfort— even on a first watch. Though I didn’t love it right off the bat, I will definitely be adding Planes, Trains and Automobiles to my November movie rotation. It strikes me as a film that will be much much more rewarding on a second, third, and fourth watch.

What more can I say that hasn’t already been said? This movie is just splendid! Steve Martin and John Candy are an impossibly perfect duo, and I just pray to the movie Gods that they never remake this, because if they did they would probably cast someone like Alec Baldwin as Neal and the insufferable James Corden as Del and it would just be terrible.

Dead Poets Society
“O Captain! My cap-  
…no, I can’t start the review like that. It would be way too cheesy. Plus everybody knows that bit anyways, whether they’ve seen the movie or not.

This really is another one of those classic films that I felt like I had seen before ever seeing it, and actually watching it for the first time didn’t really offer up any surprises. My initial reaction is that this is simply a good movie that features a smattering or truly excellent scenes here and there. I won’t call out all the best parts (because if you’ve seen the film, you know what they are), but I can confirm that Dead Poets Society is, overall, a fine film with fine acting and a fine script. I liked it, I really did, but I also have to admit to myself that it is really is just fine.

Is that fine?
​
Fine! 

Modern Times
This may be Chaplin’s best.

The comedy is top-notch (the introduction, prison scenes, roller skating, and finale song are all top-tier Chaplin bits), but for me, Charlie Chaplin is always funny, creative, and pioneering. But where Modern Times surpasses its predecessors is in its sincerity, as we see a side to Chaplin that I’m not sure had been captured before this. 

In his final film as the Tramp, Chaplin shares the spotlight with Paulette Goddard, the spunky “gamin” who easily secures herself as Chaplin’s greatest heroine. The relationship between the Tramp and the Gamin is sweet, romantic, and somehow plausible? All they want is to be in love, work a steady job, and make enough money to afford fresh food and a small house. And even though they never get all those things, they never give up, and the film ends with them smiling wide and holding hands as they walk along an empty highway, towards an uncertain future. Modern Times is the perfect cap to Chaplin’s decades-long portrayal of the Tramp, and quite possibly the highlight of his career.

The Maltese Falcon
“So, this orb has a real shiny blue suitcase, Ark of the Covenant, Maltese Falcon sort of vibe. What is it?”— Star Lord

Literally all I knew about this movie going into it was the MacGuffin (as referenced in the quote above by Chris Pratt in Guardians of the Galaxy), so naturally I was expecting some kind of old-timey adventure, maybe even something a little Indiana Jones-y… but this is straight-up noir, baby!

Though it’s certainly not the most complex film, there is value in doing a simple thing well. The plot is winding, the acting is cheesy, and the cinematography is deceptively smart. I think my favorite characters are actually the criminals— Peter Lorre (of M fame), Elisha Cook Jr. (who I recognized from Kubrick’s The Killing) and Sydney Greenstreet as the “Fat Man,” in his film debut. Of course Bogart carries the thing, but there are few mysteries with this many quality supporting characters (several of whom are queer-coded, I might add). The more I think about The Maltese Falcon, the more there is to unpack there, so I'd definitely recommend giving this one a watch (or multiple watches) if you haven't!

It Happened One Night
This movie premiered just FOUR MONTHS before the Hays Code was implemented, but pre-code is pre-code and this movie (which more or less invented the rom-com in 1934) is sultry as f**k.

Despite that fact that nobody wanted to make this movie and everybody thought it was going to be a flop, It Happened One Night is just a straight-up romp! Clark Gable and Claudette Colbert (who hated each other in real life) have fantastic chemistry, and the fact that this is a road movie, or more specifically, a bus movie makes it all the more exciting. I mean, what’s not to love? A sassy newspaper reporter and a runaway socialite navigating the weird world of hitchhiking, uncomfortable sleeping arrangements, and public showers? Count me in, sir!

Bonnie and Clyde
I get why this is an American classic— it’s super well-made, Dunaway and Beatty are charming, and the whole thing just screeeeams “America!” to me— but ultimately this didn’t really live up to my expectations. I guess I did appreciate how it didn’t play into the myth that Bonnie and Clyde were these mastermind criminals, but I still felt underwhelmed by the parts of the movie that were supposed to be “action-packed.” I think Bonnie and Clyde works best when it’s just the characters interacting with each other. In those moments, the movie is actually quite funny, and sweet. That’s why my favorite sequence is the hilarious carjacking and subsequent road trip with Gene Wilder (in his film debut no less). I’d definitely recommend this to any film buff or western/crime movie fan, but would I put it on the AFI Top 100? Or even 200? No.

Citizen Kane
This is the 200th film I have logged in my 5 Film Film Festival, and I’m so happy I can finally say that I HAVE SEEN CITIZEN KANE.

My biggest takeaway after watching this is that Citizen Kane is easily one of the most impressive films I’ve ever seen— and I’m not even saying I loved it that much! But between the awe-inspiring cinematography, unique story structure, and top-notch acting, it’s hard to overstate just how immaculately put together this movie is. It’s no secret that Citizen Kane is an incredible milestone in the history of cinema, but I still think it needs to be said that this was only released in 1941. This was released the same year as The Maltese Falcon and somehow it feels like this film is two decades ahead in terms of vision and execution. 
If I had one big critique of the film, it may just be that there is a lot going on. Is it too much? I’m not sure yet. There are so many ideas and little details in every single shot, it’s going to take a few more rewatches before I come to a decision. 

But either way, there’s no denying the sheer scope of this film. I’m looking forward to seeing more Orson Welles in the future, but even if this is his only great film, he’s a legend in my book.

Belladonna of Sadness
I love the unconventional, painterly animation style here. Though I was really impressed by the smooth, hand-drawn sequences, my favorite bits were the slow-moving tracking shots. In those sections, the perspective moves so slowly that it almost feels like you’re walking alongside a mural, taking in the story as you go. Apart from the recent Van Gogh film (Loving Vincent), this has to be the most beautiful painted/drawn film I have ever seen. Though the plot played out more like a myth or a fable than a fully fleshed out narrative, you just can’t deny the power of that imagery. Oh, and it’s also kind of a musical? Awesome.

Perfect Blue
This 1997 movie about an Internet persona that starts to take over a young celebrity's life didn't predict the future at all.

One really cool thing about this movie is how it just happens to be animated. Up until the last third of the movie, Perfect Blue just played like a really good psychological thriller. I still would have liked it if it stayed in that lane, but the final act of the movie really takes advantage of the animated medium in a way that elevates the film. Though it’s just an 80-minute anime film, Perfect Blue is a singularly fantastic drama. It was also the inspiration for Aronofsky’s Black Swan, so if you that piques your interest at all, I’d certainly give this one a watch.

Team America: World Police
Quite dated and not really my type of humor. This is the kind of movie that might be an effective satire for some, but show this to a 13-year-old boy and they will love it for all the wrong reasons. 

The fact that America keeps swooping in and ruining shit for the whole movie is clearly the best part, but those moments do little to offset the rest of this so-called comedy. This was probably pretty slick for 2004, but we can do better in 2020. 

The Secret of the Kells
This is my first experience with Cartoon Saloon, and if all of their films are animated this beautifully, I’m in for a real treat. If I’m being honest, I think my least favorite part of this was the ending, but everything that led up to it was so mesmerizing I can’t even fault it. One thing I was not expecting was how Irish this movie is. I haven’t seen a lot of Irish cinema, nor do I know much about Irish culture or folklore, so the stories portrayed in this film were completely foreign to me. The character design, fractal-like patterns, and gorgeous settings were enough to make me smile, and I think I’ll only grow to love this film with more viewings.

Rango
That Lots-o'-Huggin' Mayor went Immortan Joe on they ass...

Okay, so I didn’t vibe with this as much as I wanted to, but there were still moments I found really entertaining (the Man with No Name sequence comes to mind). The animation style is undoubtedly unique and the character design is easily one of the film’s greatest strengths, but unfortunately the narrative doesn’t really come into its own until the final act. Still, the voice performances, references to classic Westerns, and Roger Deakins’s cinematography are all top-notch. So with that in mind, if you’re an animation fan, definitely don’t skip out on this cult classic.

Diabolique
Country: France
While I did enjoy watching Diabolique, I have to say that a lot of my enjoyment came after the fact, when I learned just how influential the film has been.

Though many movie fans probably view Psycho as the genre-defining horror film of this era, it was actually Henri-Georges Clouzot’s Diabolique that inspired Hitchcock to make Psycho. Diabolique invented many horror and murder mystery tropes that we still see today, including the now commonplace “twist ending.” Though this quiet slow burn thriller may seem derivative to modern audiences (as it somewhat did to me), you have to remember that this movie is from 1955, so it predates nearly every other film of this style. Sometimes movies are simply entertaining and sometimes they act as historical artifact of film history. Diabolique is one of those films that happens to be both.

Black Sunday
Country: Italy
I was a bit disappointed by Black Sunday. Based on the poster and premise, I really felt like the film would build on the gothic styles of the Universal Classic Monster movies while adding something distinctly “1960s Italy” to it. Unfortunately, I found the movie kind of bland. The opening sequence was really fun, but everything that followed could have been boiled down into a generic fifteen minute film. Still, if you’re into gothic black-and-white imagery, I suppose Black Sunday would fit the bill.

The Vanishing
Country: The Netherlands/France
While I was surprised to see that Stanley Kubrick referred to The Vanishing as the most terrifying movie he had ever seen, upon reflection I think I’m starting to understand what makes this movie so good.

Movies like Se7en, Zodiac, or even Halloween amplify fear by keeping the killer’s identity a secret, but in The Vanishing, we see the killer and know exactly what he looks like/who he is from the onset. The Vanishing is not a whodunit, but a whydunit. By following both the kidnappers and the boyfriend of the victim, George Sluizer allows the audience to examine what happens beyond just the basic plot. By the end of the film, in the one truly harrowing scene that I will not spoil, you can’t help but feel like you are there as well. Sluizer preps the audience for his film’s final moments by letting them get close to both men.

Tetsuo: The Iron Man
Country: Japan
This brief, low-fi, steampunk body horror film is easily one of the most interesting and entertaining films I’ve seen in a while. I can’t really imagine a better way to watch this than just to watch it.

That said— don’t watch this if can’t handle an hour full of freaky shit! Sounds and visions of oozing wounds, scraping metal, and bloodcurdling screams saturate the film, and nearly everything will make you wince a little… a lot of it will make you wince a lot!
And I have to admit— this typically isn’t my type of film. I’ve been rather underwhelmed by most of the Cronenberg I’ve seen and I found David Lynch’s Eraserhead to be nearly unwatchable in parts— but for some reason Tetsuo really clicked with me. Can’t wait to delve into some more Japanese horror going forward.

P.S. After a brief bit of internet research, I see that this movie was partially inspired by Akira, which I watched last year for the first time. Maybe this is super obvious (especially considering that both movies have a main character named Tetsuo), but I found myself comparing this movie Akira a lot. Would make a great (though intense) double feature!

The Devil’s Backbone
Country: Spain/Mexico
The more I watch Guillermo del Toro’s films, the more I come around on the fact that the plot is rarely the most important element. Production design, aesthetic, atmosphere, music and genre all seem to be the motivating factors of a del Toro film, and The Devil’s Backbone is no different. What this movie really reminded me of is the 2017 Mexican gothic fantasy, Tigers Are Not Afraid. They’re both Spanish-language films about young kids who have to fend for themselves against adult tyrants, and they both use ghosts as a mode for exploring the characters’ psyches.

There are no pure scares in this, though there are plenty of events that should scare you. Running a secret school for abandoned boys in the middle of the desert during the Spanish Civil War comes with its fair share of danger. As far as horror movies go, this is sort of like “horror lite,” but if if a historical drama with a gothic-tinge is more your speed then definitely give this one a watch.

Frankenstein
I mean, this is just a straight up classic. As is the case with all the movies I watch for my 5 Film Film Festival project, I had never seen Frankenstein before. And yet, I felt like I had already seen it a million times. Is it predicable? Yes, but it is predictable in a really satisfying, almost nostalgic way. And I’m not sure who needs to hear this, but Boris Karloff gives a truly iconic performance as Frankenstein’s Monster. There are many things that make this movie a horror classic, but it starts and ends with Karloff.

The Mummy
The best things about The Mummy are its atmospheric qualities— the music, Egyptian imagery, and even the idea of the curse itself set the audience up for a spooky adventure that never comes to fruition. The opening scene (which I realized I had seen somewhere before, perhaps in my Gothic Lit class) was probably my favorite part of the whole film, but everything after that ten year time jump just sort of fell flat. I know this isn’t considered one of the better entries in the Universal Classic Monsters franchise, but I was still hoping it would turn out to be a misunderstood gem. Alas, it was not!

The Invisible Man
So happy to finally see this! It’s a bit weird how Jack Griffin just goes from wanting to find a cure to wanting to use his invisibility to become a murderer, but it was campy as hell and really fun! Obviously the crowning achievement of this movie is the visual effects. I was a bit disappointed when he was first seen without his face mask on (in the scene when he was eating), but every effect after that just got better and better! By the time he escaped The Lion’s Head Inn, I had fully bought into the idea that he was invisible under those robes. Though I don’t think this will end up being my favorite Universal Classic Monster movie, I do feel that it has the potential to grow on me with more rewatches. Definitely try and catch this one if you can!

The Bride of Frankenstein
I LOVE that they begin the movie with Mary Shelley, her husband Percy, and Lord Byron. It’s such a little detail and a short scene, but it ties back to the true origins of Shelley’s Frankenstein novel in a really cool way.
But beyond that, I think it goes without saying that The Bride of Frankenstein might be the crown jewel of the Universal Classic Monster franchise. Despite the fact that the film barely features its titular Bride, the added time we get with Karloff’s iconic monster is extremely rewarding. Karloff’s character has always been portrayed as a misunderstood beast thanks to the little girl scene from the first film, but the sequel successfully furthers his character’s emotional journey.

Compared to its predecessor, The Bride of Frankenstein is the more lighthearted, emotionally developed, and humorous take on Shelley’s classic character, and it may even be the reason why Frankenstein has remained one of the most memorable characters in cinema history. Though I would’ve loved to see more of the Bride (especially since her arrival in the final scene is as electric as any horror movie introduction), there is something undeniably satisfying about James Whale’s continuation of the Frankenstein story.

The Wolf Man
Though The Wolf Man was just as boring as The Mummy, it really didn’t have anything interesting about its concept, performances, or atmosphere. I know some people may like Lon Chaney’s performance, but for me he was just a bit dull and kinda creepy. There’s nothing straight-up bad about this movie (other than the gypsies maybe), but there’s nothing particularly great about it either. If I had to point to a few high points, I think the special effects makeup and score were both pretty good, especially for the time it was made— but that’s true of nearly every one of these Universal Classic Monster flicks, so the point is moot!

What is 5 Film Film Festival (5FFF)?
In short, 5 Film Film Festival is an ongoing personal project to help me watch more classic films. For each mini “festival,” I will choose a random theme (be it a genre, actor, director, etc.) and curate five movies that fit that theme to watch for the first time. When I started this journey, I posted my brief, unpolished thoughts on Letterboxd. I like this more informal, less pretentious mode of watching older movies, so as I begin documenting the project here on the site, don’t expect a lot of in-depth analysis— every “review” will read more like a “first reaction.”
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If you’re like me, and you have more than a few blind spots in your cinematic knowledge, then consider joining me on this lifelong endeavor. Watch along, recommend themes, and organize some mini festivals of your own!

Shivers
Shivers (aka The Parasite Murders, aka They Came from Within, aka Frissons, aka Orgy of the Blood Parasites) is a schlocky body horror film worthy of its many unique titles! As you may have deduced, this early Cronenberg effort follows an aphrodisiac parasite that tears its way through the population of a luxury apartment building. Once infected by this nasty bug, people act out their most animalistic sexual impulses. There’s not a whole lot more to it, but the over the top performances and grody special effects make for a fun and freaky B-movie outing.

Rabid
Another Cronenberg body horror-parasite movie, Rabid follows a young woman who is taken in by a plastic surgeon after she is severely injured in a motorcycle accident. When the surgeon’s unconventional skin grafting techniques causes the woman to crave blood, she breaks out of the clinic, leaving a slew of mangled bodies in her wake. With each new victim, the woman’s bloodlust spreads, leading to a dangerous outbreak of blood thirsty zombies. This one didn’t feel as fresh as Shivers, but I still thought there were some pretty fun moments, particularly the inclusion of a plastic surgery clinic, which is about the closest you can get to socially acceptable body horror in real life!

The Brood
This is the first of my Cronenberg watches where I really felt I wasn’t picking up on the deeper themes. I caught on towards the end that this is a film primarily about motherhood and mental illness, but I think this will benefit from a rewatch or two. The “kill scenes” in this movie worked really well on me, and there were a number of really amazing shots that have stuck in my mind since watching, but one of the best things about The Brood was the score by Howard Shore— in his film composing debut no less! This was easily the most sophisticated of my Cronenberg watches thus far, so I’m interested to see how he matures with some of his later films.

Scanners
I was expecting less sci-fi and more horror, but I’m not complaining! I thought Cronenberg may have been inspired by Ridley Scott’s Blade Runner, but it turns out this movie was released a year before Blade Runner. I know Cronenberg was probably familiar with the PKD’s book anyways, but Scanners reminded me more of the movie the novel.
Based on the concept and the opening scenes, I thought I’d be more into this. Though the beginning was intriguing and the ending was superb, everything in the middle just sort of fell short for me. Overall I liked it, but I didn’t love it.

PS. I find it interesting that this spawned a franchise of (I’m assuming) bad sequels. It feels like it would make a good franchise or mini-series, so I guess it makes sense, but it makes you think about the kinds of franchises they were willing to greenlight back in the 80s compared to today. Give us a low budget sci-fi franchise, damn it!

Dead Ringers
Anyone who knows my movie taste knows that I looooove doppelgänger movies. Even before watching Dead Ringers I was aware that many consider this one of the best doppelgänger movies. But while I loved the initial concept, performances, and twisted romance, the ending left me wanting more. I was more or less onboard until Claire exited the narrative, but after her departure I felt the film lost a lot of what made it great. Still, Jeremy Irons is amazing and Cronenberg knows how to deliver a shocking finale, so I suppose it was net positive overall.

M
An early example of sound in cinema, Fritz Lang’s M is an extremely crisp and delicate film that explores this new technology with ingenuity. While many directors may have utilized this innovation by simply adding some dialogue or music to their film, Lang did some innovating of his own, using voice over, off-screen sound, and even silence to enhance his storytelling. M is the simple story of a child serial killer that is brought to the next level.
Needless to say, Lang’s use of sound was extremely influential. One specific thing I noticed was how the police procedural/voice over montages are extremely reminiscent of Akira Kurosawa’s High & Low, so much so that I’d be shocked if Kurosawa wasn’t deeply inspired by M. For a film made in the early 1930s, I have to say this really held up!

Duck Soup
Having never seen a Marx Brothers movie before, I expected a lot more from this. My original assumption was that the Marx Brothers style of comedy was going to be more like Chaplin, Keaton, or Harold Lloyd, but what I ended up experiencing was sixty eight minutes of bad puns? I don’t mean to sound harsh, but I just think this style of comedy is not for me. I did really enjoy some of the more physical bits, like the mirror scene, but overall I just didn’t really vibe with this one!

L’Atalante
Jean Vigo’s only feature film is a soft, engaging, and extremely poetic. Though I personally didn’t love the film, I definitely see why Ebert and other critics hail it about one of the best films of all time. For a movie made in the 1930s, L’Atalante is undeniably beautiful. With gorgeous cinematography, detailed sets, and emotive acting, L’Atalante a true cinematic experience. It’s a shame Vigo didn’t live long enough to make more films, but I think this film is really good and a must-see for anyone interested in classic or foreign cinema.

Swing Time
This was my first time watching any Fred Astaire or Ginger Rogers movie and I had such a good time! Though the narrative was rather predictable, I thought the acting, comedy, and (of course) the dance numbers were superb. Obviously there’s a bit of discomfort that comes with the blackface number, “Bojangles of Harlem” (that was apparently meant to honor Bojangles Robinson), but I really loved everything other than that song. I’m interested to check out other Astaire-Rogers films, like the Best Picture nominee, Top Hat, because if it’s anything like Swing Time, I’m sure I’ll love it!

Stagecoach
Another first for me in this lineup, Stagecoach is the first John Wayne and John Ford movie that I’ve ever seen! I know it seems crazy that I’ve gotten this far without seeing any of Wayne or Ford’s classic westerns, but that will likely be the subject of an upcoming 5FFF. My favorite thing about Stagecoach was discovering all the ways it seems to have influenced modern movies. Most notably, I felt that the entire premise of this group of strangers riding in a wagon together was reminiscent of Tarantino’s The Hateful Eight. This motley crew of wise-cracking westerners obviously influenced Tarantino, even though his take on that premise was tonally very different.

Anybody who watched Stagecoach in 2020 is likely to admit that it feels very dated (its depiction of Native Americans specifically comes to mind). But one thing I thought was interesting were the more progressive politics at play in the plot, such as Ringo’s warmth and acceptance of Dallas, the disgraced prostitute played by Claire Trevor. Instead of slut-shaming her (as most of the characters within the film do), Wayne’s character comforts her and eventually falls in love with, leading to a sweet, albeit rushed, romance. Though I don’t think we should be patting Ford on the back for this nuanced little plot line, it was one of the most engaging elements of the plot for me.