In the Shadows (2026) *** – Seen at the Cinema

Sometimes you just get bushwhacked at the cinema. Turn up for one of these Secret Screenings at your local multiplex and you’ve no idea what’s going to be shown. I’d never even heard of this picture, much less seen a trailer (and it’s due for release on Oct 30) and never heard of the main character, a female Muslim refugee in Britain who turns into a world champion boxer and represents her country of origin, Somalia, at the Olympics.

In truth, the tale would have been much better told as a documentary because a) it is at least 20 minutes too long b) often relapses into airy fairy artistic shots and c) ain’t half as dramatic as the material could be. There’s a Chariots of Fire moment when our boxer beats the odds with a clever use, but otherwise it doesn’t seem to get beneath the skin of the main characters.

Ramla Ali (Jasmine Jobson) takes up boxing to lose weight. Her parents are kept in the dark because they’ll most likely object and are intent on marrying her off to a nice Muslim boy. She’s taken on at a gym by coach Clinton (Gershwyn Eustache Jr) and also meets Richard (Finn Cole) who takes a shine to her, though romance is off the table given he is white and non-Muslim. Interestingly, she’s not as dedicated to the sport as Clinton would like, in part because she’s ducking and diving to avoid her parents and strict older brother, but also in part because…we don’t know why. Eventually, however, she starts to get bouts and wins enough to come to the attention of the Team GB Olympics Boxing team. But she doesn’t make the grade there because…we don’t know why.

Anyways, Richard decides to convert to Islam and marries her, much to the fury of her family. And then in a Chariots of Fire moment she decides to set up a one-person boxing team for Somalia to compete in the Olympics which is where the film ends, family and community finally coming round. She doesn’t win an Olympic medal it has to be said so it’s not as triumphant as it might be. In fact, it’s not triumphant at all, how her career pans out ends up in the credits.

There are two main problems. Firstly, it’s too long and therefore too slow with too much time spent on artistic compositions that don’t have any impact on the narrative. But, more importantly, because Ramla comes across as a Jekyll and Hyde character. In the big wide world she can more than handle herself, ready with a barbed quip to deter anyone taking her for granted. But in her home she’s a mouse, never challenging parents or strict brother, just sneaking out in the early mornings and evenings to go training. Eventually, she’s rumbled because one of her fights is shown on television, to family outrage.

Films about female boxers have generally tanked at the box office and this looks as if it’s scarcely going to get a release in this country. Nobody wanted to see Sydney Sweeney as Christy (2025) or Michelle Rodriguez in Girlfight (2001) although Clint Eastwood made a bundle on Hilary Swank as the Million Dollar Baby (2004), which also scooped Oscars for Eastwood and Swank. So it’s a tough call to find a story that resonates enough to become a fulfilling drama.

And Ramla Ali wasn’t in fact the world’s first female Muslim boxing champ – that honor went to Australian Bianca Bam Bam Emir, born in Lebanon.

It’s definitely attempting to win the inspirational gold and in pure biopic terms that’s fine but as a proper drama comes up short.

Jasmine Jobson (Bird, 2024) is okay but her part is underwritten as is that of Finn Cole (Last Breath, 2025). Gershwyn Eustache Jr (The Man in My Basement, 2025) has the meatiest part.

Director Anthony Wonke is best known for documentaries so can be forgiven for padding this out with artistic flourishes. Written by Ursula Rani Sarma (A Beautiful Imperfection, 2024).

You’ll probably be able to catch this on streaming sometime soon.

Invitation to a Gunfighter (1964) ****

If ever a movie was in sore need of reappraisal it’s Richard Wilson’s western, which encountered both audience and critical indifference on initial release. If you’ve heard of Wilson at all it will, hopefully, either be down to his connection with Orson Welles or from his crime duo Capone (1959) with Rod Steiger and Pay or Die (1960) with Ernest Borgnine.  On the other hand, you may be more familiar with the name from the Ma and Pa Kettle series in the 1950s or perhaps raunchy comedy Three in the Attic (1968). Or because he was an unlikely contender for the triple-hyphenate position (writer-producer-director) held on the Hollywood scene by the likes of Billy Wilder and less-heralded figures such as John Lemont ( The Frightened City, 1961).

 Wilson was not first choice to direct since the western had been on the Stanley Kramer company slate since 1957 when it was planned for Paul Stanley before it moved in 1961 into Hubert Cornfield’s orbit with a script by James Lee Barratt and then repossessed by Kramer when Rod Steiger was briefly attached. The film, backed financially by Kramer, barely rates a paragraph in the director’s autobiography in which he describes the picture as “an adult western with a somewhat complicated plot.” There’s no getting past the fact that the plot is complicated, but it’s not the plot but the characters that held me in thrall.

Kramer thought the film contained elements of High Noon (1952). But for me the starting point was surely The Magnificent Seven (1960) and not just because Yul Brynner played a gunfighter complete with black outfit and cigar. It wasn’t Brynner’s look in the previous western that brought me to that conclusion, but the scene where the gunfighters sit around talking about where their career has taken them – to precisely nowhere: no wives, no family, no home.

Invitation to a Gunfighter makes more sense as an adult sequel to The Magnificent Seven than any of that movie’s other retreads. Imagine that Brynner, despite the boost to his esteem from beating the Mexican bandits, had not shaken off what we would most likely classify these days as a malaise or a depression. He is trying to make sense of a life that has proved unfulfilled. His options are salvation or suicide. At some point he will come up against a quicker gun, so it is suicide to continue in this profession.

But this gunfighter is also close kin to Clint Eastwood’s man with no name, the mercenary who takes full advantage of his power in lawless towns, and especially to the later embodiment of such a character in High Plains Drifter (1973). (Perhaps Eastwood got the idea of renaming the town ‘Hell’ and painting it red from the scene where Brynner, fed up with the hypocrisy of the righteous townspeople, goes on a drunken wrecking spree.) However, the hired gun Brynner is far from anonymous.

His name is so rich – Jules Gaspard D’Estaing – that the locals curtail it to the more peremptory Jewel. And he is cultured, plays the spinet (a kind of harpsichord) and the guitar, sings, quotes poetry and cleans up at poker. He is sweet to old ladies, but that is in the guise of righting wrongs. And he is defender of the under-privileged, in this case downtrodden Mexicans. He was himself the son of a slave. The most compelling aspect of this picture is that despite knowing so much about him he remains mysterious.

Brynner wasn’t the two-fisted kind of action hero, but more the guy who could disarm the opposition with a mean stare, and charm women with his brooding good looks. As mentioned, the plot is complicated so to get the best out of the picture you need to kind of set that to one side.

Simply put, Confederate soldier Matt (George Segal), returning from the Civil War, finds his farm has been appropriated and his sweetheart Ruth Adams (Janice Rule) has married someone else, the one-armed Crane Adams (Clifford David). D’Estaing is brought in to get rid of Matt whose principled stand is causing a nuisance to the immoral town.

So the story, rather than the plot, is the interaction between these four. Crane Adams clearly wants any opportunity to kill off his rival. Equally, Matt wants to win Ruth back. D’Estaing finds himself unexpectedly drawn to the sad, pensive Ruth, abandoning his planned stagecoach trip to Santa Fe on catching a glimpse of her, only hired when the townsfolk discover his occupation. D’Estaing has a fantasy of taking her away from all this, the pair of them riding off together, and there is no doubt Ruth is tempted as he implants himself in their household and shows himself to have everything her husband, or Matt for that matter, lacks.

Perhaps the best thing about the movie is that nothing is clear cut. Our sympathy shifts from D’Estaing to Matt to Ruth. Even when D’Estaing brings the town’s hierarchy to heel, there is no guarantee that will be enough to win over Ruth. And if he cannot have her, what does he have? The Eastwood loner never seems to care about emotional involvement, he just takes what he wants, but D’Estaing is more sensitive and does not want a one-sided relationship based solely on power.

For the movie to work at all, Ruth needs to engage our sympathies. Having clearly been somewhat mercenary herself in discarding Matt in favor of Crane Adams (presumably not originally disabled), she needs to come across as a woman who is not just going to jump at the next best thing. In this regard Janice Rule is especially good, far better than in more showy roles in Alvarez Kelly (1966) and The Chase (1966). Never given the opportunity to verbalize her emotions, nonetheless in scene after scene her quiet anguish is shown on her face.

Yul Brynner (Villa Rides, 1968) has a peach of a part and does it more than justice. Often derided or ignored for his acting, this shows him at the peak of his powers, portraying a contradictory and conflicted character, arrogance tempered by depression. George Segal (The Quiller Memorandum, 1966), a rising star at this point, has his meatiest role to date. In supporting roles are Pat Hingle, Brad Dexter (The Magnificent Seven), Strother Martin (Cool Hand Luke, 1967), Clifton James (Live and Let Die, 1973) and famed cinematographer John A. Alonzo (Chinatown, 1974).

Five names are attached to the screenplay: Richard and Elizabeth Wilson, Hal Goodman and Larry Klein credited for the story which they had originated as 1957 television drama directed by Arthur Penn, and Alvin Sapinsley for the adaptation.

I certainly saw a different picture to the “offbeat but confusing western” viewed by Variety’s critic and possibly, for once, because the passage of time has allowed this film to be seen in a new light. Rather than a morality play in the vein of High Noon, I recognized saw it as a character study of a gunfighter knocking on heaven’s door.

Wake Me When It’s Over (1960) ***

You could scarcely find a better example of the pleasant undemanding fare that constituted Hollywood’s bread-and-butter than this mild comedy. It takes 20 minutes to even get to first base, setting our hero on his journey to a distant land, and another 20 minutes before the narrative sets out a purpose, from which various romantic and dramatic complications can arise. It doesn’t boast any stars.

If top-billed Ernie Kovacs (North to Alaska, 1960), in his third movie (and first as the headline act) had any marquee attraction it was to a television audience following his output in various comedy shows, but those would carry no weight abroad.  The second-billed Dick Shawn (A Very Special Favor, 1965) carried even less appeal. He was best known as a guest star liable to pop up on television shows. Both comics were an acquired taste, belonging to the avant-garde, so their styles were not guaranteed to necessarily go down well. Not like, for example, more established comedians such as Bob Hope or Jerry Lewis.

The public was even less familiar with female lead Margo Moore (The George Raft Story, 1961). She only made three movies in total, this being the middle one.

This probably was greenlit thanks to director Mervyn Leroy who had helmed two very successful service comedies, Mister Roberts (1955), replacing John Ford, and No Time for Sergeants (1958), both based on hit Broadway plays.

Through a bureaucratic error, unassuming Gus Brubaker (Dick Shawn) is re-drafted into the U.S. military and dispatched to a remote island near Japan where, this being in the aftermath of the Korean War, there is nothing for the soldiers to do except laze around. Capt Stark (Ernie Kovacs), the unit commander, is as intent on doing nothing as anyone else.

Brubaker hits on the idea of utilizing the natural hot springs of the area to build a hotel using materials acquired very cheaply in order to capitalize on this wonder, offering hot spa treatments to visitors and recuperating soldiers.

The soldiers, including resident medic Capt Farrington (Jack Warden), sign on, seeing it as a business opportunity, involvement in which, somehow, does not run contrary to military regulations. Just when you’re waiting for the picture to develop some snap – it’s not going to be romance between Brubaker and Ume (Nobu McCarthy), daughter of the local mayor, because he’s already happily married to Marge (Noreen Nash) – up pops Lt Nora McKay (Margo Moore), bringing a female sensibility to the project and in charge of hiring the 40 local women to staff Hotel Shima.

With Brubaker off limits, it’s up to Stark and McKay to make romantic hay, though that ultimately encounters complication. Building the hotel would be the modern equivalent of a corporate team building operation because the solders soon revert to proper military ways and bond.

But word misleadingly gets out that far from being known for its healing properties, the hotel is actually a front for sexual encounters and Brubaker is court-martialed, leading to all sorts of shenanigans. After being found guilty, he is let off the hook due to the original bureaucratic error that led him to be re-drafted in the first place.

Once it gets going – and that’s quite a long time – it turns into harmless enjoyment and the two stars have ample opportunity to show they are not run-of-the-mill comedians. There are some good visual jokes, The cans of beer Brubaker has dropped in a pool to cool explode to demonstrate the water is actually a hot spring, the MacGuffin of the piece. On finding himself on the island, Brubaker plans to immediately submit a request to leave. The filing cabinet for a simple request is half-full, the one seeking a transfer full and the one demanding he be viewed as a special case overflowing.

Charming in its own way. Didn’t turn anyone into a star but proved that Hollywood could make this kind of small picture – what we’d call a “sleeper” – with enough going on to maintain interest.  

Guess Who?

Every now and then I come across a book and think this would make a good film. I’ve just finished this particular book and already I can see four movies in it.

A fellow, mostly what these days we’d term a nerd –  physically awkward, doesn’t have a girlfriend – a farmer’s son, but not in one of those rich prairie farms with corn as high as an elephant’s eye, but so dirt-poor there’s no electricity or running water, so poor he spend two years harnessed like a mule to a grader on back-breaking road work. His only education is a bare pass as the lowest grade of teacher’s college.

He takes a teaching job in a big town. The job is teaching public speaking and coaching the debating team. The debating team has never won anything, not even locally. Our fellow starts building student confidence. On his first day he has the students stand up in class and for ten seconds make animal noises. He encourages them to be silly – and not afraid. Everyone being silly is one way of helping the students bond. Even the shy kids don’t  mind being silly in public.

Then they were asked to make a 30-second speech on any subject. Then it was a minute, then five minutes. But by this stage, speeches had to be rehearsed. And kids couldn’t spout nonsense. They had to know their stuff. They had to research.

And once you were able to stand up in front of your fellow students for five minutes, the audience was encouraged to heckle and pick holes in your argument. But there was an odd thing, the kids liked the way he nagged away at them because it meant he cared. He had improved their social skills no end already and now he wanted to go further. Even the rebels sought his approval.

Of course, his fellow teachers had no idea what he was trying to do and mostly sniggered behind his back because he still looked like a gangly nerd.

Then the debating started. Kids willingly stayed in hours after class, declaiming, being heckled and nagged. Then our fellow did something unheard of. He sent his debating team out on tour, covering hundreds of miles. No one had ever seen the like, not even from the city or state champions. They went into informal “no-decision” contests with all the schools they might meet in a debating competition. The subject that year was the jury system so the teacher and the students researched the subject to death.

When the proper city championship began, the shy students discovered there was unexpected gold in all this hard work. They were treated as heroes. They were welcomed as visitors in other schools and when they came home the teacher ensured the local media was recording their success. They would get sent out individually to another school to talk on some subject and audiences were rapt. People applauded.

Initially, there was no public support. A debate on home soil might attract an audience of seven. But soon the debating hall filled up. Cheerleaders led the chanting and turned cartwheels the way they did for football games.

The city championship had been won by the same school four years in a row. This school had never, in its history, won. This time was the first.

Next came the state championship. The school was in a fever. They had never come anywhere near competing at state level. But after winning 67 consecutive victories they were on the brink. One more victory would do it.

Hollywood would have changed the narrative. They would have given our lonely fellow a girlfriend, who originally hated him but then grew to like him as much as his students. And Hollywood would have ensured they became state champions. But the truth is they lost.  Even so a banquet was held in their honor, the teacher won a pay raise.

The second movie is another underdog story. At any college in America, athletes are the top dogs. They get the preferential treatment. If there’s any easy jobs going round, or anything remotely beneficial, it goes to them. Even in a piss-poor low-grade college, the footballer is unchallenged.

Our fellow was never going to make a football team, too gangly, awkward, clumsy. The football team had a secret society to help them stay in control. Our fellow was always going to be blackballed. So he set up his own secret society. And he worked like a dog to become the top dog, stealing away those precious positions that gave a poor student breathing space.

But the third tale is best of all, in terms of a politician doing what he’s there to do, which is to improve the lot of his constituents. By this time our man is a politician and determined to help the farming community where he grew up.

There was no electricity where he grew up. The utility companies argued it was too expensive to install and in any case the dirt-poor farmers couldn’t afford it so it would be a foolish investment. No electricity meant no movies, no radio and no labor-saving devices like washing machines, pumps for running water, electric irons, machines for grinding corn or sawing wood or feeding the livestock.

Water came from a well 50-100 feet deep, nearly 100 yards from a house. It came up one bucket at a time, weighing 32lb. An average farm used 200 gallons of water a day. An average bucket held four gallons. Water was required for washing, cleaning, cooking, ironing.

Without electricity, fires for cooking, washing and heat came from wood stoves. They were hard to start and almost impossible to keep going. The room was a furnace in a land that in the summer was also a furnace. Since there was no electricity, there was no refrigeration. Fruit and vegetables had to be canned the day they became ripe, and not all fruit and vegetables conveniently ripened on the same day, all the fruit on one tree wouldn’t even ripen at the same time.

The women on these farms were all bent over, old before their time, from their arduous physical labor.

Barely 10 per cent of the nearly seven million farms in America had electricity. And even when the Government forced the utility companies to change their rules, that still left these piss-poor farmers out on a limb because they still didn’t fit the criteria.

So our fellow set out to change all that. He not only worked his socks off but proved he had innate political skills, knew how to get the best out of people who opposed him, and eventually – this involved also the building of a dam which he was instrumental in pushing through – he got his people water.

However, in terms of national impact, the fourth tale beats that. In 1940, without our fellow, the Democrats would have lost the Presidential election. Franklin D. Roosevelt was risking his personal popularity in any case by going for an unheard-of third term in office. Roughly a month before the election is looked like the Democrats were heading for a heavy defeat.

One of the reasons was that the party was hopeless at fundraising. Many of the people who chaired such committees were useless, promoted simply because they were next in line. Candidates desperate for cash to launch a campagn were denied any money. The Republicans, the party representing big business, were much better prepared in that line.

Our man, a very minor politician, somehow inveigled himself into a very minor position on the campaign committee and set about raising funds. He called in a lot of favors. He raised more money that the party had seen in a lifetime.

But he didn’t just hand out money willy-nilly. He targeted candidates whose seats were most at risk. He asked them how much they needed and gave it to them. But given he was in regular contact with the guys on the ground floor, he invented something new and incredibly useful. He got these guys to poll their guys and fed this information back to party HQ. Although rudimentary polling existed, it took weeks to be analyzed and disseminated, so virtually useless in the last few weeks of a campaign. He was able to provide up-to-the-minute information on the state of play in every state and therefore allocate more funds if necessary.

If I tell you our fellow – I hesitate to call him “our hero” – was LBJ, you’ll probably cringe. Because Lyndon B. Johnson was accused of all sorts in the Oliver Stone’s specious film JFK, and was condemned for escalating the war in Vietnam, something that cast a huge shadow over anything else he did, and virtually for succeeding generations destroyed his reputation at a stroke.

Robert Caro, the author of the book I’m reading, The Path to Power (The Years of Lyndon Johnson, Vol 1), doesn’t much like our fellow.  Caro spends acres of print space demolishing our fellow’s personality, as if being driven was a flaw and power was almost certainly abused.

Now there’s no doubt that LBJ stuck his nose in the trough, but so did virtually every other politician – it’s not a job these days that evinces much praise. But what he did do which 99 per cent of all other politicians did not was he got the job done. He had such energy and determination that he achieved far more than your average politician, and virtually always for the benefit of the common man, of which he was one. Nobody wanted to give his farmers electricity and if it hadn’t been for LBJ they wouldn’t have gotten any. Nobody had been asked to cough up to help a campiagn fund and if he hadn’t stepped into the breach Roosevelt would not have been elected.

This book is 800 pages long and there are four other volumes to come. But if LBJ achieved this much so early in his career, goodness knows what he’d manage later.

If nobody wants to make a movie, then a mini-series would get the job done. Our lovelorn fellow eventually does marry and have affairs with – gasp! – beautiful women and that’s long before he gets anywhere near the Presidency.

Apologies for venturing miles off  my determined course but I’ve been so absorbed in this book I’ve had less time to watch movies. I’m not American so my knowledge of longdead American presidents is scant, but this was an eye-opener.

Robert A. Caro, The Path to Power, the first volume of the LBJ biography, was first published to universal acclaim in 1982. Caro, now 90, is working on the final volume.

Question mark image by  Simone Secci on Unsplash

My Five-Star Picks, 2020-2026

Since I’m in celebratory mode and let’s face it everyone doing a blog has an educational bent, wanting to push subscribers into favoring the movies I favor, I thought I would crave your indulgence a little more and remind you of the films I think you should see. I was going to add, “if that doesn’t sound a little pompous,” until I realized that “pompous”, not to perhaps say, a tad “hectoring”, is exactly what it is.  

In reviewing close on 2,000 movies in the past five years, these are the movies I most thoroughly recommend –  the ones that achieve in my eyes at least the ultimate accolade in my eyes of being considered in the five-star bracket. Virtually every genre is represented – western, crime/thriller, drama, sci fi, fantasy, historical epic, war, horror, espionage, road films and comedy. The only exception is musical, though, admittedly, there might be some takers there if I’d actually got round to reviewing every musical made in the decade.

Of westerns, these are my top choices – John Wayne and Rock Hudson in Andrew V. McLaglen’s underrated The Undefeated (1969), Wayne again with James Stewart in John Ford’s The Man Who Shot Liberty Valance (1962), Sergio Leone’s immaculate Once Upon a Time in the West (1969), The Magnificent Seven (1960), John Huston’s modern western The Misfits (1961), Burt Lancaster in Valdez Is Coming (1971) and Lawman (1971), and the spectacular How the West Was Won (1962).

War is represented by Otto Preminger’s In Harm’s Way (1965) – John Wayne again – The Guns of Navarone (1961), Battle of the Bulge (1965), Tora! Tora! Tora! (1970), aerial epic The Battle of Britain (1969) and I guess Zulu (1964) fits in here more easily than historical epic.

Horror is represented by The Skull (1965) with Peter Cushing, Alfred Hitchcock’s The Birds (1963) and the ground-breaking Psycho (1960) and The Demon/Il Demonio (1963) with Daliah Lavi in mesmeric form.

You might say drama is over-represented once you take in Otto Preminger’s Hurry Sundown (1967) with Michael Caine and Jane Fonda, Marlon Brando and Fonda again in Arthur Penn’s The Chase (1966), Rod Steiger as The Pawnbroker (1964), Burt Lancaster and Deborah Kerr in John Frankenheimer’s The Gypsy Moths (1969), Lancaster again in The Swimmer (1969) and his Oscar-winning turn as Elmer Gantry (1960), Steve McQueen as The Cincinnati Kid (1965) and Jean Seberg as Lilith (1964).

In the crime/thriller department have a look at French gangster picture The Sicilian Clan (1969) headlining Alain Delon, Richard Burton in Villain (1971), Rock Hudson and Claudia Cardinale in Blindfold (1966), Hudson again in John Frankenheimers Seconds (1966), Alfred Hitchcock’s Marnie (1964), and Cary Grant and Audrey Hepburn in Charade (1963). Add in Claude Chabrol’s Les Biches (1968), Robert Redford and Faye Dunaway caught up in conspiracy in Three Days of the Condor (1973), Dunaway again tracking down thief Steve McQueen in The Thomas Crown Affair (1968), Fred Zinnemann’s Day of the Jackal (1973), Terence Stamp kidnapping Samantha Eggar in William Wyler’s The Collector (1965), Sean Connery and Nicolas Cage in The Rock (1996) and Jules Dassin’s Topkapi (1964)

It’s surprising that two road films – Easy Rider (1969) and Vanishing Point (1971) – have an existential bent. John Frankenheimer’s Grand Prix (1966) fits in more easily here I guess.

Sci fi is represented by Charlton Heston stranded on Planet of the Apes (1968), Matt Damon stranded on Mars in Ridley Scott’s The Martian (2015) and Ryan Gosling stranded who knows where in Project Hail Mary (2026).

Numbered among the historical dramas are include Luchino Visconti’s The Leopard (1963) with Burt Lancaster and Claudia Cardinale, James Cameron’s Titanic (1997), The Odyssey (2026) -though you might consider it more suited to fantasy – and Richard Burton and Peter O’Toole in Becket (1964)

In some genres, only one film gets a mention. For fantasy there is Jason and the Argonauts (1963) with Ray Harryhausen in majestic form. Dr No (1962) is the standard-bearer for spy pictures. Billy Wilder’s Some Like it Hot (1959) with Marilyn Monroe, Jack Lemmon and Tony Curtis performs the same role for comedy.

You might note that the star most often mentioned is Burt Lancaster.

Three-Quarters of a Million Views… and Counting – You Don’t Mind, I Hope, If I Give Myself A Pat On The Back

It took me five years to reach the half a million mark and less than a year since then to hit the 750,000 mark. Add to that another 110,000 from referrals to various of the social media – primarily X and Facebook – that have also come completely out of the blue. For my first-ever month I attracted a total of 179 views. Last month the tally was just short of 25,000 and my record month (in February this year) was 78,000.

My pleasure in cinema – the physical act of going to a cinema as well as the watching of movies – has not diminished. As you will be aware I still see around 2-3 movies a week at my local multiplex and another 4-5 sitting at home either catching them on a streamer or working my way through the huge stack adorning my shelves. I don’t know how many I’ve still got to get through before I run out of 1960s movies.

One of the benefits of a site like mine is that it draws attention to movies discarded as unworthy of academic attention or not fitting into some other sub-section of interest such as cult or horror or whatever star happens to still be attracting public interest. But, as you know, from my general astonishment at the movies that fill my twice-yearly Top 100 feature, I’m not chasing the popular vote. I’ve no idea, generally, how viewers will respond to the films I’ve chosen to watch.

I tend to be aware that one of the movies I’ve reviewed has turned up on a streamer somewhere in the world because suddenly one of the titles will generate a heck of a lot of views. In the last three months, for instance, ten films in particular have enjoyed massive spurts in the viewing figures.

And they could not be more varied. James Garner as the amnesiac Mister Buddwing/ Buddwing (1966) struggling with his identity rubs shoulders with Toys in the Attic (1963) where Dean Martin is battling to save his marriage. Sergio Leone’s majestic Once Upon a Time in the West (1969) headlining Claudia Cardinale and Charles Bronson duking it out with empire-builder Henry Fonda shares space with Carroll Baker as tempestuous Hollywood star Harlow (1965) and Gregory Peck also knocked sideways by identity issues in thriller Mirage (1965).

Frank Sinatra’s last top-billed role as a cop hunting a serial killer in The First Deadly Sin (1980) also jumped up the charts along with Montgomery Clift and Lee Remick in Elia Kazan’s Wild River (1960), Barbara Hershey leading a pack of teenagers enjoying an idyllic Last Summer (1969) before it turns sour on them, and George Roy Hill’s Period of Adjustment (1962) with rising stars Jane Fonda and Tony Franciosa.

For some reason, the remake of Stagecoach (1966) had continued in all three months to add substantial numbers to its figures – so much so that it is head-and-shoulders above any other film in the listings – and whether that is due to Ann-Margret in a straight role or maybe even Alex Cord or because audiences welcomed a Technicolor version of the John Ford classic is anybody’s guess.

Of course like any reviewer I’ve got an ego, but I’ve quickly learned that not everyone responds to my attempts to educate the public on the merits of a specific movie. It’s been glaringly obvious that my five-star picks rarely sit close to the top of the Top 100. I’ve pushed the boat out, for example, on Andrew V. McLaglen western The Undefeated (1969) with John Wayne and Rock Hudson on opposite sides of the Civil War fence.

Except for Vertigo, Alfred Hitchcock’s luster has foundered and even my enthusiastic response to The Birds (1963) and Marnie (1964) has not been shared by the larger section of my readers. Not that many have responded either to Burt Lancaster as the bewildered The Swimmer (1969), nor to a pair of steamy dramas set in the Deep South – Arthur Penn’s The Chase (1966) featuring Marlon Brando, Robert Redford and Jane Fonda and Otto Preminger’s Hurry Sundown (1967) starring Michael Caine and Fonda again and Faye Dunaway.

I hope that if I pick out some under-rated gems they might attract further notice. This week, for example, long-ignored Dear Heart (1964) with Glenn Ford has enjoyed a sudden spike in views as has underrated western Five Card Stud (1968) with Robert Mitchum and Dean Martin, Steve McQueen as Nevada Smith (1966) and Paul Newman drama From the Terrace (1960).

To be honest, it’s more interesting for me, as I keep going, to see how unexpectedly my Top 100 shapes up and which films almost come out of left field to give a good account of themselves in reader response.

Thank you all for reading the Blog and for passing the word.

Behind the Scenes: The Day The World Changed – The Odeon Triple Opens in Glasgow

It was a seismic event for cinemagoers. Although the twinning of cinemas in the U.K. and Europe had already begun – lagging way behind the cineplexes of America – the opening of a triple cinema in Glasgow on 2 October 1970 (where I lived) was groundbreaking in more ways than one. It completely altered the distribution landscape. In one fell swoop it permitted one cinema center in a major British city to run both roadshows and general releases at the same time and to hold onto general releases for far longer than previously.

It wasn’t the first cinema expansion in Glasgow. In 1968, the ABC in Sauchiehall St had split into two. But that was for a different purpose. The second, smaller, cinema was established to offer ABC a city center home for roadshows. Although in the U.S. roadshows might be coming to the end of their viability that wasn’t the case in Europe. The revamped 70mm version of Gone with the Wind ran for 30 weeks at ABC2 while David Lean’s Ryan’s Daughter a couple of years later would trump that with a run of more than a year.

In the U.K. twinning and tripling had been tentative. In London’s West End, for example, there wasn’t a single twin or triple except at the tiny Cinecenta which had barely 600 seats spread over four screens and primarily operated as a second run or specialist house.

The Odeon in Glasgow – the biggest cinemagoing city by capita in the whole of Britain – was a much bolder initiative. At a cost of £450,000 – (the equivalent to $£6.3 million today) the Rank Organisation turned the existing single-cinema operation into the biggest triple in Europe with seating for 2,500 – not a bad reduction from the original capacity of 2,784. The remodeling took over a year.

Odeon 1 had 1,124 seats including 64 luxurious pullman armchairs and projection facilities for both 35mm and 70mm. Odeon 2 had fewer seats with Odeon 3 limited to 555. The Odeon 1 launched with roadshow Cromwell starring Richard Harris and Alex Guinness. Odeon 2 featured the blockbuster Airport with Burt Lancaster, Dean Martin and Jacqueline Bissett heading the cast. Odeon 3 offered a more modest proposal, The Virgin and the Gypsy with Franco Nero and Joanna Shimkus.

The triplex completely altered city center cinemagoing. The three cinemas could afford to keep movies on for longer than before, even allow them to build an audience, rather than yanking them off screens before word-of-mouth had done its job.

Cromwell ran for nine weeks, Airport for six weeks and The Virgin and the Gypsy for three. But, gradually, the smallest of the three cinemas began to play a more important role in the operation. Roadshows that had question-marks against their potential longevity were able to open in Odeon 3 and be held over for longer than they might have been in Odeon 1.

So musical Song of Norway, celebrating the work of classical composer Grieg but without a single marquee name, completed an 18-week run at the Odeon 3 while historical drama Franklin J. Schaffner’s three-hour epic Nicholas and Alexandra, again without a significant marquee names, managed 21 and Charles Jarrott’s Mary, Queen of Scots – at least with actors worthy of top billing in Vanessa Redgrave and Glenda Jackson – 16. Launched in the more competitive environment of the larger Odeon 1, none of these would have lasted even a month.

The movies could also drop through the gears.Previously, a hit might have had to be pulled to accommodate a new booking in the bigger cinema. But now it could be shifted down to the Odeon 3. Ralph Neslon’s bloody revisionist western Soldier Blue starring Candice Bergen ran for 10 weeks in Odeon and another four in Odeon 3. Both Diamonds Are Forever, Sean Connery’s brief return to James Bond, and Norman Jewison’s musical Fiddler on the Roof played for 12 weeks, in Odeon 2 and Odeon 1 respectively.

There was even room for sleepers, Stanley Long’s purported documentary Naughty! ran for seven weeks in Odeon 3; Anthony Hopkins in Alistair MacLean actioner When Eight Bells Toll notched up six weeks in Odeon 2 and a reissue of David Lean’s Lawrence of Arabia was good for four weeks in Odeon 3.

The ability of the triplex to absorb a hit was no better demonstrated in 1976 when Milos Forman’s One Flew Over the Cuckoo’s Nest starring Jack Nicholson racked up a record run of 24 weeks at the complex. But this was spread over the three cinemas. It broke down into 14 weeks at Odeon 1, six weeks at Odeon 2 and four weeks at Odeon 3.

For cinemagoers like me it was game-changer. In the past it was very rare for a movie to run even three weeks at the Odeon. If you missed it first time round, you had to scour the papers to see when it might end up in second run or your local nabe. Even then, you might be talking it remaining in cinemas for a total of three or four weeks.

Now, you could count of having two or three months to catch a big new film at the Odeon. This was a more leisurely approach to cinemagoing. And, roughly speaking, it’s what happens today.

Behind the Scenes: All-Time Top 40

Waterloo (1970) holds on to the top spot but the Alistair MacLean revival gathers pace. The Satan Bug (1965) makes the biggest surge, shooting up to second spot, with Ice Station Zebra (1968) in fourth spot past The Guns of Navarone (1961) which drops slightly to sixth.

I’ve extended this from a Top 30 to a Top 40 so there are a goodly number of new entries. The previous rankings are from December 2025.

  1. (1)Waterloo (1970). No doubting the effect of Ridley Scott’s Napoleon in increasing interest in this famous flop that had Rod Steiger’s French emperor squaring off against Christopher Plummer.
  2. (5) The Satan Bug (1965). The problems facing director John Sturges in adapting the Alistair MacLean pandemic classic for the big screen.
  3. (2) In Harm’s Way (1965). Otto Preminger takes off the gloves to expose problems in the American military around Pearl Harbor. John Wayne and Kirk douglas head an all-star cat.
  4. (7) Ice Station Zebra (1968). A complete cast overhaul and ground-breaking  special effects are at the core of this filming of another Alistair MacLean tale. Second Alistair MacLean outing for John Sturges.
  5. (3)  Man’s Favorite Sport (1964). Howard Hawks back in the gender wars with Rock Hudson being taken down a peg by Paula Prentiss.
  6. (4) The Guns of Navarone (1961). Alistair MacLean created the template for the men-on-a-mission war picture. Gregory Peck, David Niven and Anthony Quinn topline. Nominated for five Oscars including Best Picture, Best Director (J. Lee Thompson) and Screenplay (Carl Foreman) and enough jeopardy throughout the filming to qualify for a movie of its own.
  7. (8) Barbarella (1968). Jane Fonda was fourth choice after Brigitte Bardot, Sophia Loren and Ira von Furstenberg. Should never have been directed by Roger Vadim who was out of favor with Paramount. One of the first movies to be given a global simultaneous release.
  8. (6) Battle of the Bulge (1965). There were going to be two versions, so the race was on to get this one to the public first. A Cinerama number.
  9. (10) Mackenna’s Gold (1969). Tortuous route to the screen for Carl Foreman-produced roadshow western, filmed in 70mm Cinerama, with an all-star cast including Omar Sharif, Gregory Peck and Telly Savalas.
  10. (15) The Misfits (1961). Robert Mitchum turned down the male lead. Clark Gable failed the medical, both Montgomery Clift and Marilyn Monroe had drug problems. It went 40 days over schedule and half a million over budget.
  11. (24) The Wicker Man (1973) at the Box Office. A flop on initial release, U.S. release delayed, it took a long long time before the movie achieved both cult status and came out of the red.
  12. (9) Cast a Giant Shadow (1965). Producer Melville Shavelson wrote a book about his experiences and this and other material relating the arduous task of bringing the Kirk Douglas-starrer to the screen are told here.
  13. (12) The Sons of Katie Elder (1965). First envisioned nearly a decade before, Henry Hathaway western finally hit the screen with John Wayne and Dean Martin.
  14. (14) The Trouble with Angels (1966). Less than angelic Hayley Mills sparring with convent boss Rosalind Russell. Directed by one-time star Ida Lupino.
  15. (11) The Girl on a Motorcycle / Naked under Leather (1968). Cult classic starring Marianne Faithful and Alain Delon had a rocky road to release, especially in the U.S. where the censor was not happy.
  16. (13). Tora! Tora! Tora! (1970). Richard Fleischer dispenses with the all-star cast in favor of even-handed verisimilitude.
  17. (16) The Bridge at Remagen (1969). British director John Guillerman hits trouble filming World War Two picture starring George Segal and Robert Vaughn.
  18. (17) For a Few Dollars More (1965). Sergio Leone sequel to first spaghetti western brings in Lee van Cleef to pair with Clint Eastwood.
  19. (20) Bandolero! (1968). Director Andrew V. McLaglen teams up with James Stewart, Dean Martin and Raquel Welch to fight Mexican bandits.
  20. (20) The Collector (1963). William Wyler’s creepy adaptation of John Fowles’ creepy bestseller with Terence Stamp and Samatha Eggar.
  21. (13) Sink the Bismarck! (1960). Documentary-style British World War Two classic with Kenneth More exhibiting the stiffest of stiff-upper-lips.
  22. (18) Bandolero! (1968). Director Andrew V. McLaglen teams up with James Stewart, Dean Martin and Raquel Welch to fight Mexican bandits.
  23. (19) The Train (1964). John Frankenheimer replaced Arthur Penn in the directorial chair to steer home unusual over-budget World War Two picture with Burt Lancaster trying to steal art treasures from under the nose of German Paul Schofield.
  24. (17) How The West Was Won (1962). First non-travelog Cinerama picture, all-star cast and all-star team of directors tackling multi-generational western and all sorts of logistical problems.
  25. (New entry) The Way West (1967). Burt Lancaster, James Stewart and Gary Cooper were the original cast. Charlton Heston turned it down. Robert Mitchum couldn’t make up his mind. Director Andrew V. McLaglen claimed it had been savaged by the studio.
  26. (New Entry) The Stalking Moon (1968). Should never have been made, according to existing legislation, even with Gregory Peck’s participation long delayed in part due to original director George Stevens pulling out.
  27. (New Entry) “Barbieheimer” Recalls the Old Double Bill. The perfect double bill aimed to attract different segments of the audience.
  28. (New Entry) Judgement at Nuremberg (1961). Laurence Olivier was first choice to play the role taken by Burt Lancaster. United Artists was not at all keen on the proposition. Innovative use of the camera. Judy Garland and Montgomery Clift overcame personal problems while Marlene Dietrich was acquainted with one of men on trial.
  29. (New Entry) The Thomas Crown Affair (1968). Sean Connery, Jack Lemmon and Brigitte Bardot turned it down. Director Norman Jewison thought Steve McQueen “completely wrong” for the part.
  30. (New Entry) The Cincinnati Kid (1965). Sam Peckinpah was fired. Spencer Tracy quit. Sharon Tate declined.
  31. (New Entry) The Appointment (1969). Booed at the Cannes Film Festival. Denied a release in the U.S., even with Omar Sharif as star and after being heavily edited by MGM. Only shown on American TV. The biggest financial flop of Sidney Lumet’s career.
  32. (New entry) The Birds (1963). Hitchcock sets an apocalyptic tone as Rod Taylor and Tippi Hedren are trapped by feral flocks.
  33. (New entry). Number One (1969). Charlton Heston as ageing pro football player desperately trying to hold onto to fame and its trimmings. Directed by Tom Gries.
  34. (New entry) Hollywood Bloodbath. Why 200 movies were scrapped or shelved.
  35. (New entry) Breathless / A Bout de Souffle (1960). The French New Wave made its name on the back of Jean-Luc Godard’s thriller starring Jean-Paul Belmondo and Jean Seberg.
  36. (New entry) The Top 40 Movies at the 1950s Box Office.
  37. (New entry) The Man in the Middle / The Winston Affair (1964). Robert Mitchum is the titular guy in trouble.
  38. (New entry) Yul Brynner vs Kirk Douglas on Spartacus (1961). The battle to bring the Roman rebel to the screen.
  39. (New Entry) Puppet on a Chain (1970). More Alistair MacLean thrills. This time in Amsterdam and that boat chase.
  40. (New Entry) The Glass Is Greener (1960). Cary Grant, Deborah Kerr, Robert Mitchum and Jean Simmons play the infidelity games.

Behind the Scenes: Whispering Smith Hits London / Whispering Smith vs Scotland Yard (1952)

Contemporary audiences will be accustomed to studios playing fast and loose with a successful  IP, all sorts of tricks to keep a series alive; although maybe the most famous occurred in TV soap Dallas when the death of a major character turned out to be only a dream.

Still, British studio Hammer, in its pre-horror days, takes some beating when it relocates Alan Ladd’s Whispering Smith (1948) 70 years into the future, and from the American Wild West of the 19th century to London in the 1950s and deletes the character’s, railroad detection, in favor of ordinary murder.

The first Frank H. Spearman western was published in 1908, triggering an extensive series. The four silent versions, Alan Ladd effort and a TV series in 1961 stuck to the original concept. British screenwriter John Gilling attempted to anglicize the idea, and though Smith remained a Yank there was no sign of railroad detection.

William Hinds founded Hammer in 1934 but the project was short-lived, going bankrupt three years later. However, in 1935 he formed Exclusive, a distribution company, with Enrique Carreras and that survived. The principals’ two sons, Michael Carreras and Anthony Hinds, were recruited, and Hammer was revived Post-War, embarking on low-cost crime pictures. As part of a deal with American outfit Lippert, Hammer cast Americans in leading roles. The company was still rooted in crime until its first horror venture in 1953.

Richard Carlson fitted the category of rising star rather than marquee name when hired for Whispering Smith Hits London. Though he had written for Collier’s magazine and written and directed plays, this as the actor’s first top-billed role and paved the way for him to become a leading figure in the 1950s sci fi cycle – It Came from Outer Space (1953) and The Creature from the Black Lagoon (1954).

Norwegian Greta Gynt was not as established a star as you might have expected, after a failed attempt by Rank to market her as the next Jean Harlow and following parts like the female lead in such British films as The Dark Eyes of London/The Human Monster (1939) opposite Bela Lugosi and Tomorrow We Live (1943). She had revived a failing career with the female lead in MGM’s Soldiers Three (1951) starring David Niven and Stewart Granger.

Herbert Lom also had another string to his bow, as co-editor of the magazine Clubman. He had been steadily rising up the supporting actor ranks, receiving good notices for State Secret (1950), Cage of Gold (1950) and Hell Is Sold Out (1951). Scot Rona Anderson was married to fellow actor Gordon Jackson.

John Gilling had five directorial credits – in the 1960s he specialized in horror most notably Shadow of the Cat (1961) – when he began work on the screenplay of Whispering Smith, envisaging this as the first in a series.

The Pressbook was typical for the period, four pages A4 with a color cover and one page in spot color. As far as B-picture British Pressbooks went, this was a step up – often they were only a double-sided A4 or four-page A5 and minus any colour. Unlike bigger budgeted productions there was little excess when it came to advertising and promotion.

There was only one tagline – “America’s Ace Detective in Britain’s Greatest Mystery” (the American distributor was a bit more adventurous in the tagline department – “Murder Nobody Can Prove…A Body Nobody Can Find” and “Mad Killers Stalk Yank Sleuth”).

And in terms of the advert, beyond Carlson puffing on a cigarette and a hint of the tunnel sequence, audiences were given very little to go on. Whether any moviegoers recalled the Alan Ladd version of four years previously and wondered at the change in style and locale is unknown. Unlike other Pressbooks, there was no attempt to offer cinema managers any advice in how to promote the movie.

One page of the Pressbook is devoted to a detailed synopsis, another shows six ads, all in the same style but in different sizes (that a cinema manager would cut out and take down to the local newspaper to make up an advert), and the final page  is given over to star biographies.

Sign of the times in that Greta Gynt confesses that her favorite hobby is “looking after her hobby” although Rona Anderson’s favored activity is “lazing in the sun.”

Turns out this Pressbook is something of a highly sought-after item, the combination of the names Hammer and Exclusive apparently the cause.

Behind the Scenes: Selling Movies To The Exhibitors

We tend to view movie marketing as the business of selling movies to the general public. What we forget is that in order for a cinemagoer to attend a showing of an individual film in a particular cinema, that the movie has to be rented by said cinema and before that can happen someone has to convince the cinema manager to take on the picture.

The most common method of selling movies to exhibitors was via the Pressbook/Campaign Manual. But this had three drawbacks. In the first place cinemas were flooded with Pressbooks that might arrive in the post at the rate of 10-15 a week. The other downside was that such items were generally only useful once a cinema had signed on to screen a particular movie and manager would turn to the Pressbook for hints on publicizing the movie and for the advertising blocks required to run a campaign in a local newspaper. The final problem was that Pressbooks appeared fairly close to a film’s launch so not that helpful in driving up interest.

So the studios turned to the trade magazines. They might embark on a well-planned long-term campaign running upwards of a year. It would kick off with an advert announcing a movie was being made or close to completion – Universal placed a four-page bound insert for Isadora in June 1968, five months prior to the world premiere. Then it would produce some artwork that was close to the posters being prepared for public consumption.

Then it would generate more material that explained how confident the studio was in the picture, demonstrating that money that had been spent on promotion in newspapers, magazines and television, and various tie-ins. The back page of a four-page ad for The Green Berets (1968) was devoted to the promotional activities surrounding its immediate upcoming launch. The sameheld true for Barbarella (1968).

After that it would harness the fact that the film was opening simultaneously in an exclusive number of first run houses in the major cities or that it was scheduled for a huge number of cinemas again simultaneously. These were intended to show that other exhibitors had demonstrated faith in the product, suggesting you had better get in line quick. The final avenue was advertising the box office figures that usually suggested the film was breaking some record or another.

Not all campaigns took all of these steps. In fact, most selected just two or three of them. And they were not always presented in the same fashion. The box office ads tended to be just printed on the same kind of paper as usual, perhaps with color or spot-color (i.e. some part of the ad picked out in blue or red and the rest in black-and-white).

But the ads used in the general build-up would be of a more expensive material. These would employ thicker glossier paper. They would usually be specially designed. They might run to four- six- or eight-pages and they might have some version of a gatefold (not just opening horizontally but potentially vertically). These adverts were printed separately and then inserted into the magazine at the production stage so were known as “bound inserts” meaning they weren’t loose inside the pages but part of the magazine.

There was a major, immediate, bonus from going down this route. I’ve got a massive collection of trade magazines and I always know the moment I pick up an issue whether it contains a bound insert. Not only does the magazine feel heavier but it automatically opens at the insert.

Sometimes, smaller distributors just stuck an entire Pressbook inside a magazine – The Devil’s 8 (1969) a gangster version of The Dirty Dozen (1967) – was promoted in this fashion and the 8-page insert for Doctor Zhivago (1965) contained nothing but promotional ideas and details of tie-ins.

Sometimes adverts that appeared in the trades were try-outs for the kind of poster ideas being considered by the marketing department for public distribution, the illustrations shown here for Tony Rome (1968) and Who’s Afraid of Virginia Woolf (1966) a good example.

Other times studios got it into their heads that, just as had occurred in the Hollywood Golden Age, that the studio name was somehow an imprimatur for good business and that if you stuck with MGM, for example, you couldn’t go wrong and to prove its point it would cross-reference in one advert films as disparate as Doctor Zhivago, Blow-Up (1966) and Grand Prix (1966).

It was pretty obvious to keen observers that studios sometimes placed movies in cinemas with smaller seating capacities in the hope that demand would outstrip supply and consequently they could crow about the box office. Often, studios chose specific outlets deliberately as a guide to other cinemas which were similar. But, mostly, it was just to have something to give a movie a boost.

You might have needed an adding machine (calculators not a thing then) to calculate from figures presented just how well a film was doing, but even just presenting the box office was seen as a sign of studio confidence and exhibitors, presented with a set of box office figures in a trade advertisement, tended not to question their validity.

The one shown for The Sand Pebbles (1966) was also in the nature of a teaser – here’s what’s it done in selected openings, guess what it’ll do for you – whereas for Divorce, American Style (1967) the range was much wider, suggesting the movie would do just as well in cinemas around your way, whether playing in first run or simultaneously in suburban showcase.

Occasionally, there would be more strategic purpose involved. When, in 1965, Twentieth Century Fox got ahead of the game in terms of television promotion and wanted to show exhibitors they were committed to this kind of advance, that was what dominated their 4-page insert in Box Office magazine’s “anniversary issue.” The studio claimed it was “pioneering a new era” promising to use network television (i.e. the “Big Three” of CBS, ABC and NBC) on a year-round basis.

It had committed to purchasing 189 one-minute commercials that would cumulatively attract nearly 800 million “viewer impressions” in 191 cities nationwide. Just to make sure cinema owners exhibitors were in no doubt about the importance of this development in their favor, the studio pointed out it was “the kind of continuing deep-sell no other company in the industry offers exhibitors

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