Movies in 2026 157

 

The 39 Steps (Alfred Hitchcock, 1935)

Clearly, it was an eclectic film day in the cabin yesterday. Janet was out of town, and I had knocked off some work in the morning, so I gave myself away to a long movie marathon. I wanted to get the taste out of my mouth of Frankenheimer's dreadful 52 Pick-Up, so I finished the evening with a re-watch of Alfred Hitchcock's classic 1935 film The 39 Steps. I think that The 39 Steps is my favorite Hitchcock film, which is not to say that it's my choice for best Hitchcock film, but it's definitely the one that I will happily take every chance to watch. Robert Donat (as Richard Hannay) and Madeline Carroll (as Pamela, initiating the long Hitchcockian tradition of the icy blonde) give wonderful performances, including a fair bit of slapstick. Highly recommended.

Movies in 2026 156

 

52 Pick-Up (John Frankenheimer, 1986)

The Criterion Channel features an extraordinary amount of films that I love (obviously), but sometimes I can't imagine why they featured a certain movie. Sometimes, it's just part of an odd collection, and thus I find it sort of charming - at other times I'm mystified. Last night I watched John Frankenheimer's 52 Pick-Up, which definitely fell into the category of: What were you thinking, Criterion? Beyond nice performances from John Glover and Clarence Williams III as villains, this was just a dog. I'm assuming the category must have been: Wow, John Frankenheimer Was Truly Dreadful In The Second Half Of His Career. It's hard to believe that this was the same guy who directed Birdman of Alcatraz, The Manchurian Candidate, and Seven Days in May. Avoid at all costs.

Movies in 2026 155

 

The Thing From Another World (Christian Nyby, 1951)

And this is about as far removed from Blue Is the Warmest Color as you can imagine (and such is the cinematic life of the cabin): Christian Nyby's 1951 classic film The Thing From Another World.  I don't know how many times I've watched this film, but it never grows old. It's part of the current Criterion Channel featured collection on 1980s remakes, where they tie the original to the 80s version - as I mentioned previously, the later remakes are all pretty dreadful, with the notable exception of John Carpenter's reworking of this film (which I will doubtless watch again before it disappears). Over the years, people given Nyby little credit for directing this film, and instead proposing that was really Howard Hawks (who produced it) who did the directorial heavy lifting. On some level I think I believed that, mainly because I've just heard people say it so often (including Michael Weldon in his Psychotronic Guide to Film), but Nyby always kicked back against that notion - and, rightly so, found it insulting. Nyby had worked with Howard Hawks for years, serving as an editor on some of Hawks's classic films, and he proposed that of course his film would have felt like a Hawks's film because of the influence of his mentor. It's a good argument, and I think people haven't given Nyby enough credit for this effort. Anyway, highly recommended.

Movies in 2026 154

 

Blue Is the Warmest Color (Abdellatif Kechiche, 2013)

I actually own a copy of Abdellatif Kechiche's 2013 film Blue Is the Warmest Color, which means that I don't have to wait for the Criterion Channel to feature it in a collection. Of course, I own it because the Criterion Collection snared me with one of their great sales, which is why I'm going to have to find a way to get a ton of DVDs overseas (Janet is doing a much better job culling out books than I'm doing culling out DVDs). The film was controversial - not to the French, because, thank God, they're French - but to an American audience, and it swept the French film awards.  Adele Exarchopoulos (as Adele) and Lea Seydoux (as Emma) play two women locked in an intense love affair, and their performances are extraordinary. I think people got caught up in the lesbian love affair aspect of the story, and somehow overlooked the love affair side of the story. Anyone who has been in a passionate/intense/painful love affair will recognize the emotions, no matter the form that your partner took - and if you haven't experienced an affair as passionate/intense/painful as the one experienced by Adele and Emma then I pity you. Highly recommended.

Evil Twins

 When you see this formation - that is Cici and Mollie - sitting right next to each other on my lap in the morning that only means one thing: Janet had to go out of town for a couple days. Without their mother to follow around, I suddenly get lots of attention. Mollie usually follows me around, as she is the ultimate lap whore, but Cici is either hiding in the walls or keeping Janet company. With Janet missing, I'm suddenly a popular choice.

Happily, Janet will be back today, which means that the cats' long national nightmare will be at an end.

Movies in 2026 153

 

After the Curfew (Usmar Ismail, 1954)

Last night I watched Usmar Ismail's wonderful 1954 Indonesian film After the Curfew. There's a great collection associated with Martin Scorsese and his attempt to preserve classics of world cinema, which has led me to several great films. A.N. Alcaff plays Iskandar, a former freedom fighter against the Dutch who tries to return to a normal life after independence. He has a lovely fiancée, Norma (played by Netty Herawaty), but he's drawn instead to his ex-colleague Puja (Bambang Hermanto) and a prostitute, Laila (Dhalia).The entire film takes place in the space of one day, as he unsuccessfully tries to re-engage into a society that only seems to be interested in him as potential criminal muscle. Highly recommended.

Movies in 2026 152

 

The Black Cat (Edgar Ulmer, 1934) 

And here's another viewing after a space of way too many years: Edgar Ulmer's 1934 The Black Cat. This is a result of Janet and I going down an Edgar Ulmer rabbit hole the other night, although I'd hate to think how many times I watched this movie on Saturday night horror movie slots (I'm sure the Cool Ghoul played some role in my first viewing). The was the first of eight films that co-starred Boris Karloff and Bela Lugosi, both fresh off of their star-making roles in Frankenstein and Dracula. Karloff (as Hjalmar Poelzig) and Lugosi (as Dr. Vitus Werdegast) as old enemies, who had both been in love with the same woman, who finally meet up to settle the score. There's a connecting story about a young married couple (David Manners and Jacqueline Wells as Mr. and Mrs. Allison, but nobody showed up at the theater to watch them). It's pre-Code, so it's a bit over the top and included scenes and themes that would have been unheard of a couple of years later. Required. "Supernatural, perhaps, Baloney, perhaps not."

Movies in 2026 151

 

D.O.A. (Rudolph Mate, 1950)

Over the last couple days I watched two movies that I've seen quite a few times over the years, although not for a while. First off, Rudolph Mate's 1950 D.O.A.. As should be very well-documented by now, I love film noir (as all right-thinking individuals do). The film never makes my short list of greatest films noir, but it's still a must see, obviously. There are things that annoy me about the film, mainly the portrayal of Paula (Pamela Britton), Frank Bigelow's (Edmond O-Brien) girlfriend, although that's more a critique of 1950s America and not her performance, which is fine. Rudolph Mate includes this odd trick early in the film where every time that Frank sees a woman there's this annoying whistle sound, almost as if he was immediately and uncontrollably attracted to the woman, but then changed his mind (it's almost like a measurement of erectile functionality, which I'm sure was not their intent in 1950, but I think that every time I hear it). Once the film hits its stride it's a thrill ride all the way to the finish. Obviously, everyone knows the story: Frank Bigelow, for no particular good reason, is poisoned, and spends his last couple days on earth trying to solve his murder. It's been remade a few times, and I think I should check them out; the Criterion Channel is pairing it with the 1988 Dennis Quaid remake right now, so I guess I'll start there. Recommended.

Movies in 2026 150

 

The Love That Remains (Hylnur Palmason, 2025)

I guess you are kind of a film nut, if not a film whore, if not also a big whopping nerd, when you come up from downstairs and your wife asks, "What did you watch?," and you reply, "Another Icelandic film." Last night I watched Last night I watched Hylnur Palmason's 2025 film The Love That Remains. Last year I had watched Palmason's Winter Brothers (2017) and Godland (2022), both of which I loved - and both of which, especially the former, were pretty grim. The Love That Remains definitely has a lighter touch, although it has some sobering moments. It tells the story of a couple, Anna (Saga Gardarsdottir) and Magnus (Sverrir Gudnarson), who are splitting up, and how they continue to are devoted to each other and their three kids (played by Palmason's own children). There are moments that are very funny and other that are very sad - and other that are more surreal, including the attack of a giant, revenge-seeking rooster. Palmason fashions some scenes that will definitely stay with me, including the large human-like doll hanging from a pole, overlooking the North Sea, that is shown throughout the entire year, and is essentially a character in its own right (including coming to life, sort of, at the end) and an image of Magnus floating in the ocean at the end (real or metaphor, it's left up to you). You get the sense of loss and anger and frustration, but also of enduring love. Highly recommended, as are Winter Brothers and Godland.

Movies in 2026 149

 

Seven Chances (Buster Keaton, 1925)

I'm continuing my deep dive into silent movies, and am becoming a huge Buster Keaton fan in the process. Yesterday morning I watched his 1925 film Seven Chances. Somehow I had never seen it, although I had seen clips of the utterly (and justifiably) iconic scene of him running down a hillside while dodging boulders (how he kept from killing himself is anybody's guess). The more of his films that I watch, the more I understand why he's considered one of the greatest directors of all time. Highly recommended. I'm trying to convince my good friend David Rous that he's a dead ringer for Buster Keaton, which he doesn't see yet, but doubtless will as I pester him about it. 

Potential for Growth

 I just wanted to post a great picture of Gary and Ali that I snapped the other night at the wonderful retirement party that my friends threw me the other night at Queen City Brewery. Their speeches were so heartfelt and loving (and clearly far effusive than can be justified by my meagre virtues), that in the end I was not in the position to thank them. at least collectively, I talked to everyone face to face, as thoroughly as they deserved. I gather pictures and have more to say about this - and the other party - later. I feel very loved and appreciated.

Having Gary and Ali there topped it off. I love them both so much, and will miss them terribly.

Movies in 2026 148

 

Detour (Edgar Ulmer, 1945)

It was definitely Old School night at the cabin last night. After watching silent shorts from Chaplin and Keaton, Janet joined me to re-watch Edgar Ulmer's utterly classic 1945 film noir Detour. It's a film that we both absolutely love, and compete to jump in with the lines as they're spoken.  Ulmer is sometimes referred to as the King of the Bs, as in he's always associated with B movies, but that's pretty unfair. He ended up in that niche and could never quite climb out of it, but he directed the hell out of what he was given and his budgetary restraints. After it was over we started watching a related documentary on Ulmer (the documentary was two and half hours, while Detour is an hour). Ulmer's filmography is amazing, including a series of tuberculous informal films (he was a working director, and he took what was available). Ann Savage completely steals the show as the vindictive, psychopathic Vera - it's an absolutely stunning performance. The movie has aged remarkably well and is now considered a classic, and Savage's performance is the stuff of legend; it's the reason why Guy Maddin cast her as his mother in his docu-fantasia My Winnipeg. This is beyond highly recommended, it is required viewing. I've used it over the years in my Japanese film noir class (as we started the classes by discussing foundational aspects of film noir) and even my students loved it.

Movies in 2026 147

 

Sherlock Jr. (Buster Keaton, 1924)

I'm becoming quite the Buster Keaton fan, and it's about time. I've always liked Keaton, but never really watched enough of his films in a row to truly get an appreciation of him. He's wonderful, and it's hard to imagine a filmmaker who more consistently makes me laugh and gasp than him (while watching, I'm often amazed that he didn't kill himself). Last night I watched his 1924 film Sherlock Jr., which, in addition to some utterly crazy physical stunts, included some truly meta film mischief (his character, who shows movies, walks into the movie he's showing - which has been copied endlessly throughout the years). Highly recommended.

Movies in 2026 146

 

A Day's Pleasure (Charlie Chaplin, 1919)

I'm continuing my exploration of short and silent films, and this included last night's viewing of Charlie Chaplin's 1919 A Day's Pleasure. A good family man takes his wife and kids out for a boat ride, which leads to some inspired shenanigans. It's not the best Chaplin, but it's still awfully good, and you should check it out. 

Movies in 2026 145

 

Anatomy of Hell (Catherine Breillat, 2004)

It does seem like I'm re-watching several films (although I've also watched a lot of new ones, obviously), and one of them is Catherine Breillat's 2004 film Anatomy of Hell. I watched it for the first time a couple years ago and didn't like it, and decided to give it another watch and confirmed my initial opinion (although I think I liked it more this time). That said, I don't think it's a film that is meant to be liked, but rather a film that is meant to be experienced, and which is meant to make you uncomfortable. Amira Casar (in a very great and brave performance) plays a woman who tries to slit her wrists in a gay nightclub. She's saved by a gay man, which leads to the first words in the film: Man: "Why did you do that?" Woman: "Because I'm a woman." So, yeah, you know you're in for a bumpy night. The woman hires the gay man (played by Rocco Siffredi, an actual famous porn actor) to watch her for four nights and tell her what he sees. It's very graphic, which I guess explains why Breillat hired an actual porn actor for the role. Actually, I was less put off by the graphic nature of the scenes than by much of the pretty leaden dialogue, especially from the character of the man. Sort of like Belle de Jour, at the end you're not quite certain of what happens, that is, does the man commit an act or imagine that he'd like to commit an act. I can't recommend it, although I've also watched it twice, so clearly I see something there. I think I like the idea of Catherine Breillat making films more than her actual films, to which she'd no doubt say, quite rightly, "who cares?" Maybe I'll check back here later when I inevitably watch it again in three years.

Movies in 2026 144

 

Belle de Jour (Luis Bunuel, 1967)

My latest Luis Bunuel film is one I've actually seen several times: his 1967 masterpiece Belle de Jour. As I've stated previously, I go back and forth on Bunuel, but Belle de Jour is a film I've always liked, and tend to like more upon every new viewing. Catherine Deneuve plays Severine, a bored and sexually frustrated or frigid wealthy woman, who has elaborate sadomasochistic fantasies. At times it's difficult to tell what's reality and what are her fantasies, especially at the end, which can be read different ways. She grows bored and begins working at a brothel in the afternoon, which opens her up sexually, but also leads to disaster (if that's not simply another fantasy). This time the scene that jumped out at me was her killing time in between tricks. Another prostitute is working on a crossword puzzle, and asks, "Carries his father, six letters?" The well-educated Severine replies, "Aeneas, A-E-N-E-A-S." The other woman replies that it makes sense, since the third letter is an N, causing Severine to have a pained expression at the ignorance of her friend, although they are both working at a brothel. It instantly found its way into my book on the Epics. Recommended - that is, Belle de Jour, and not by book, although it would be nice if you bought it if it's ever published.

Sono In Pensione

 Recently I signed up for an online Italian class, because, well, it's time to get serious about beginning to learn Italian.  It's time partially because we'll (if the Italian government and court system play nice, which is probably a big if) be in Italy in a few months, but also because I'm now retired and am more in control of my time from now on (although I have lots of projects lined up, although I guess they're more my personal projects, and I will doubtless prove to be a more harsh tyrant than Champlain). I've tinkered with Duolingo, but I don't think it's really a system that's going to effectively teach you a foreign language, but it's OK for those stretches of five or ten minutes when you have some free time and you want to do something other than doom scroll. Over the last year or so I've also paid for Pimsleur, which I like and don't like. I certainly get more out of it than Duolingo, which may only partially relate to the fact that I'm paying for it, and it has less video game content. What I don't like about it is that you have to listen to a half-hour discussion all the another language before you can begin to get text. I understand that it's just a different way to approach learning a foreign language, but it just doesn't seem to fit with how I learn. Essentially, I need to see the text earlier, which relates to simply not being very good at foreign languages, but also because I'm increasingly hard of hearing. So, if I just listen to it the first time without having access to the text, I simply don't pick up the words. I'm going to keep it, at least through the end of the current term, because it might be useful to hear a different approach, especially during down times in my Italian course. My first course in the online class starts on Monday, and I need to get used to the idea of sitting in a chatroom, and this fills me with dread. It's exactly what I need to do, but I know I'm going to hate it at the beginning because it's going to inspire a ton of embarrassment. That said, I'm not going to survive in Italy by just reading text, I need to be able to chat, so I'll just have to plow ahead. I was watching a video today and how to prepare for our first chatroom discussion, and one of the first important phrases was "sono in pensione" or "I'm retired."

Movies in 2026 143

 

I Am Not a Witch (Rungano Nyoni, 2017)

One of the corners on the Criterion Channel website (which, again, offers me more films than I can ever watch) is the section on Films Leaving This Month. I don't want to be that idiot who had the chance to watch a classic film and somehow missed the opportunity because I didn't get around to it. It also foregrounds films or directors that may have gotten lost in the shuffle, and also puts me on the clock. And I'm glad the Criterion Channel put me on the clock, because this morning I watched one of the best films I've seen in years: Rungano Nyoni's 2017 film I Am Not a Witch. It's a Zambian film that focuses on a nine year old girl who is accused of being a witch, but it's really much more broadly about misogyny and corruption in Africa. Shula(Maggie Mulubwa) ends up accused of being a witch, and ends up being sent to a camp for witches, which is one part tourist trap of one part source for slave labor. Mr. Banda (Henry B.J. Phiri) plays the government official is charged with looking after Shula, but in the end exploits her. The film gets its point across, but it's never clumsy or preachy, and it's both funny and also heartbreaking. I suppose all the time I've spent in Africa, including far too briefly in Zambia, help me appreciate some of the more subtle points, but I think anyone would love this film. Highly, highly recommended.

Movies in 2026 142

 

Viridiana (Luis Bunuel, 1961)

As I work my way through the Luis Bunuel collection - or at least the Bunuel films available on the Criterion Channel - I recently re-watched his 1961 film Viridiana. This is a film that routinely makes Best Of lists, not only of best Bunuel films but more generally of all films, but it's also one that I've never warmed to. It has fine performances (including Silvia Pinal in the title role) and some classic Bunuel moments, but it's also a film that seems almost determined to crowd the screen with as many unlikeable characters as possible. Viridiana is set to take her vows as a nun, but she's ordered by the mother superior to go home to visit her allegedly dying uncle. She gives in, even though she feels nothing towards him and wants to stay in the nunnery. Her uncle Jaime is utterly depraved, and his son Jorge, who eventually arrives with his girlfriend, is just about as bad.  Viridiana decides not to return to the nunnery, but instead brings in as many local beggars as possible in an attempt to do a good deed. While Viridiana and Jorge are away from the house the beggars break into the main house, embark on a drunken orgy, and then almost kill Jorge and rape Viridiana when they return. At the end of the film it is made to appear that Viridiana has given up on her loftier ambitions, and seems to have agreed to a threesome with Jorge and the servant Ramona (how the censors let that one get through is beyond me, which is especially amazing considering that it was the revised ending after the censors balked at the original ending). It's as if the message is that life is simply horrible and irredeemable and it's not worth the effort of trying to fix it. I appreciate the criticism of societal hypocrisy, including another classic Bunuel shot at the church, but, like I said, I've simply never warmed to it. Maybe it's because in the end I do think it's worth the effort to try and make the world a better place, or my lack of sophistication caused by growing up in Indiana leaves me too much of a dope to appreciate the film. No matter what, you should definitely check it out, and feel free to reach out to me and explain my ignorance. It is recognized as a classic film, and, if for no other reason, it's worth a viewing.

A Child's Doll

"No empire justifies breaking a child's doll. No ideal is worth the sacrifice of a toy train."

Fernando Pessoa, The Book of Disquiet, text 454

I think these lines jumped out at me because of the Vermont Public Philosophy Week talk that I gave a couple weeks ago, but also because of the Trumpian horror story that we're living through. My talk focused on Thucydides, especially his Melian Dialogue and how power and empire negatively impacted the Athenians. Many Greeks at the time thought that the Athenian slaughter of the Melians cursed them, but Thucydides wasn't willing to go that far. However, he did make it clear that endless war and aggression and ambition would corrupt human nature. I keep watching these news reports which complain that Trump's unlawful war on Iran was driving up gas prices and how this aggravated people. Somehow, the price at the pump is more important than bombing a girls' school and killing over a hundred children. This is exactly what Thucydides was warning us against. I'm now sixty-six, and it seems like that for my entire life the US has been at war, almost universally punching down at weaker countries. It has so corrupted our soul that we can no longer feel, let alone realize that we have become the bad guys.