The Postman Rings Four Times

by Brent Calderwood

The Lana Turner / John Garfield classic The Postman Always Rings Twice opened 75 years ago in US theaters. Based on James M. Cain’s bestselling 1934 novel about a wife who colludes with her lover in an attempt to pull off the perfect murder, Postman had to gloss over the grime to get past the censors, but it remains one of the best-loved film noirs of all time, and its huge box office success has been credited with cementing Turner’s status as a top-billed star. 

While The Film Experience isn't set to celebrate the movies of 1946 until June, Postman belongs to multiple years. Here's a rundown of the four most famous screen adaptations of Cain’s crime novel, listed more or less in order of their critical reputation today...

Click to read more ...

Streaming Revisit: "Bound" is 25

Please welcome guest contributor Brent Calderwood... 

by Brent Calderwood

I first saw Bound in 2000 at a special screening at the Castro Theatre in San Francisco, four years after its initial release. The audience was rapt, cowering in their seats or nervously laughing in all the right places. Back then, my college friends and I were so desperate for LGBTQ content that we’d hold house parties to watch pirated VHS tapes of the original ten-episode British series Queer As Folk, converted from imported PAL-format tapes by a friend of a friend in our school’s AV department. Given the dearth of queer representation, we convinced ourselves that we loved everything we saw no matter what, down to the neutered gay characters serving up puns on Will & Grace. Fast forward to 2021—would Bound live up to my memory and expectations?

I was nervous about how Lana and Lilly Wachowski’s debut would hold up 25 years after it was first released, but as it turns out I didn’t need to worry. The 1996 noir, which just began streaming on Hulu, remains as fresh and edgy as ever...  

Click to read more ...

Gene Tierney @ 100: Leave Her To Heaven

by Jason Adams

The surface of the lake is calm -- almost, but not quite, like a mirror. It's a clinical aquamarine color, not much different from Gene Tierney's own eyes. Not that we can see her eyes -- she's just put on her sunglasses. They too act as mirrors -- dark mirrors, reflecting darkness. Ellen Berent Harland (Tierney) watches as the annoying little "cripple" Danny (Darryl Hickman) breaks the sheen of the lake's surface, as if slipping through into some unseen Wonderland -- they say repeatedly the water is warm, so warm, so very warm, but it looks to us cold, ice cold, and indeed the actor Hickman got pneumonia from the filming of this, Leave Her to Heaven's most infamous scene.

But then that's a sense that suffuses all of John M. Stahl's 1945 technicolor Noir masterpiece -- the feeling that something that sounds warm and inviting on its surface might actually be hiding an icy purgatory of horrors just beneath...

Click to read more ...

Gene Tierney @ 100: "Laura"

by Nathaniel R

Dear reader, we had such fun doing the Montgomery Clift Centennial that we want to do more of them. Of course not every movie star inspires the same passion in cinephiles, nor has a cooperatively small enough filmography to be completist about. For instance I put out the feelers on Gene Tierney, who made 37 films in her career, and received only 2 volunteers. And herewith a confession: I, myself, despite my love of Old Hollywood, was unfamiliar. I had seen only two of her movies and so long ago that I had next to no recollection. So I queued up her most famous picture, Laura (1944), which I'd somehow never seen even when I was a uncool kid in the horrific "colorizing" days of pop culture who relished seeing old black and white movies... 

Click to read more ...

Bad Education / Great Movie

by Nathaniel R

Gael García Bernal as "Juan & Ignacio & Angel & Zahara" simultaneously.

Heads up that I had the beautiful opportunity to talk Pedro Almodóvar as the guest on this week's Water Cooler podcast over at Awards Daily. It was a true pleasure to revisit his twisty provocative melodrama Bad Education (2004). Almodóvar movies nearly always improve on revisits (and they're great the first time so that's quite a feat). My theory is that it's because they're often so novelistic and twisty with plot and layered with meaning. That's true of this trans noir in particular as it's a movie (period drama - but are they flashbacks or the fictional movie?) within a movie (scripted/filming) within a movie. Multiple actors play the same roles... only not exactly. The head spins. The pulse races (Gael García Bernal looks ...um... good... in wet underwear) Longtime readers may recall that Bernal was nominated at TFE for Best Actor that year. He's playing multiple characters in a way that's both intentionally performative and cleverly obfuscated. It's a pretty remarkable star turn and it's tragic that Pedro and Gael never worked together again! Give it a listen.