THE DEVIL IS A WOMAN
1935, Universal, 79 min, USA, Dir: Josef Von Sternberg

Coquettish Spanish vixen Concha (Marlene Dietrich) toys with long-suffering lover "Pasqualito" (Lionel Atwill, in a surprisingly sympathetic role) while entertaining the advances of hot-blooded revolutionary Cesar Romero, in what would prove to be the last of the Dietrich/Von Sternberg films. Von Sternberg also worked as cinematographer here (with uncredited help from Lucien Ballard), and the images are among the most insanely baroque in the entire cycle.


INFERNO
1953, 20th Century Fox, 83 min, USA, Dir: Roy Ward Baker

It’s the essential film noir plot: Illicit lovers hatch a “foolproof” scheme to bump off the woman’s rich, domineering husband. But what if the husband, left for dead in the scorching desert, doesn’t die? What if that husband, crippled but hell-bent on revenge, is played by the indomitable Robert Ryan? Watch as unmerciful nature takes on unbreakable man in amazing 3-D! Toss in titantic, Titian-tressed Rhonda Fleming as the deceitful, voluptuous vixen, and you’ve got perhaps the best 3-D movie of the original Hollywood stereo-optic craze!


NEW FACES
1954, 98 min, USA, Dir: Harry Horner, John Beal

A young Mel Brooks got one of his first writing credits on this film of the hit Broadway revue about a producer trying to keep his stage show alive. It features a series of dynamic musical performances from Robert Clary and Eartha Kitt, and hilarious sketches with Ronny Graham, Alice Ghostly and Paul Lynde (who also shares writing duties).


Syndicate content