A couple of recent disappointments from Indicator – excellent editions of two mediocre movies (Guy Hamilton’s Force 10 From Navarone  and Paul Annett’s The Beast Must Die ) – are offset by the terrific French television series of adaptations from the Maigret novels and stories by Georges Simenon, fifty-four feature-length movies centred on a magisterial performance by Bruno Cremer as the famous detective.
When my friend Howard came over for an evening of movie-watching recently, we ended up with a highly idiosyncratic double-bill of problematic features, one representing self-conscious art, the other polished commercial craft – neither entirely satisfying: Josej Von Sternberg’s The Saga of Anatahan (1953) and Sidney Gilliat’s Endless Night (1972).
To mark our emergence from the Covid lockdown, my friend Steve and I ate barbecued bratwurst and watched a couple of movies which emerged from his big 3D TV screen: Owen Crump’s Korean war docudrama Cease Fire (1953) and John Brahm’s B-movie horror The Mad Magician (1954), Vincent Price’s threadbare follow-up to the hit House of Wax.
In 1964, Sidney Lumet’s serious movie about nuclear paranoia, Fail-Safe, had a tough time competing with Stanley Kubrick’s manic black comedy Dr. Strangelove, but it holds its own today as a portrait of a particular moment in social and political history. Meanwhile, Franklin Adreon’s pair of no-budget time travel thrillers from 1966, Cyborg 2087 and Dimension 5, are empty-headed entertainment which offer a touch of nostalgia to genre fans.
Revisiting movies from the early 1970s, I recently watched Howard W. Koch’s rather ugly cop feature Badge 373 (1973), with Robert Duvall as a rule-breaking, racist misogynist NYC detective; Willard (1971), Daniel Mann’s adaptation of Stephen Gilbert’s dark horror novel Ratman’s Notebooks; and two features by George Roy Hill, his faithful adaptation of Kurt Vonnegut Jr’s Slaughterhouse-Five (1972) and his most personal, and best, film The Great Waldo Pepper (1975).