The Comic Critic Reviews "Woman in the Window"

The Woman in the Window is a classic Noir film. You have the hero, who is also the anti-hero because his actions press against the rules of society. You have the femme fatale, whose appearance apparently dooms the hero. You have no-nonsense dialogue that’s sometimes slangy but always has an edge of flirtation. And lastly, you have cinematography that is consistently clever in its use of stark, contrasting lighting and shadows. The Woman in the Window meets all of those qualifications. It also delves into a premise, set forth at the beginning of the film, on the moral selection that defines a killing as murder. From that point on, it’s easy for the story to bring down a wrath-from-god judgment on the offender of the commandment: Thou shall not kill. The femme fatale can be seen as the alluring Eve offering the forbidden fruit that would lead to the breaking of yet more commandments. Our would-be-innocent hero is stepping along the edge of propriety and suddenly finds himself entangled in more than an academic exercise. Now, all that he is is at stake. The actors and actresses in this film provide all that is desired. The in-the-know audience sees beneath the poker face of Edward G. Robinson’s character, and gets to enjoy the superb micro-gestures of his eyes and breath showing the stress his character is under. The Woman in the Window was directed by Fritz Lang, and he masterfully provides a double ending to the film.  Lang admits the old trick. He argued that it was a compromise to the studio to comply with the Hayes Code, and still have a way for him to show one of the endings he wanted. He was proud that its construction was not just palatable, but entertaining, too. Certainly a laugh is generated when another potential femme fatale is introduced. Such an occurrence is highly unusual in Noir.

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The Comic Critic Reviews "Soylent Green"

The movie Soylent Green was based on Harry Harrison’s book “Make Room! Make Room!” which came off the presses in 1966.  The counter-culture movement is waving its freak flag high, in protest against the war in Vietnam, rampant pollution, and discrimination. It’s not at all surprising that writers wrote alarming forecasts of what the future might hold if mankind didn’t change its ways. And it’s not at all surprising that several save-the-environment-themed movies would also be produced. A few years later, 1973’s Soylent Green provided a glimpse of a filthy, dystopian future where the only thing left is humans sweltering in their juices. The audiences who first saw it were still in a war with Vietnam; Nixon’s Watergate was happening; and peoples’ voices were being heard. The newly created Environmental Protection Agency had begun taking action against polluters. This movie contains the final performance of Edward G. Robinson, one of the truly great actors from a golden age in film. Unknown to the rest of the cast, Robinson was dying of cancer, making his deathbed scene in the film even more poignant. Charleston Heston, who had worked previously with E.G. in The Ten Commandments, was moved to tears in his own performance as acted across from Robinson. Robinson’s performance alone is reason enough to watch Soylent Green. But what remains most striking about this film is that all of its dire social and environmental warnings are still relevant today.

The Comic Critic Reviews The Godfather

Everybody is always going on about how The Godfather is a fantastic gangster movie. And, yes, I do agree; The Godfather is a cinematic masterpiece. But I wanted my review to remind the readers that other terrific gangster movies exist. In fact, an argument could be made that the decades’ accumulation of movies featuring rackets, syndicates, and mob bosses educated the public enough about organized crime. When presented with a story line of an ethnic group assimilating its heritage into a new identity revolving around American capitalism, it could be easily understood in the setting of a gangster movie. Part of the reason The Godfather was so successful is that the book was well researched and finely written. The director, arguing with the studio every step of the way, created a rich view of the Corleone world with stellar performances, thoughtful sets, incredible sound, and a haunting musical score. The Godfather is one of those rare exceptions where the movie transcends the reading experience. Indeed, the movie has such strength that four decades later, The Godfather retains the same viewing power as it did upon its release, and consistently remains prominently placed as one of the One Hundred Best Movies of All Time. But would it hurt you to watch a James Cagney or Edgar G. Robinson movie, too?