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published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

Pine-Thomas Productions, the producers of Mr. Reckless, was a small filmmaking company that was able to produce classic and popular movies on shoestring budgets. They were so successful with so little that they were quickly snatched up by Paramount and made into an auxiliary studio, where their skill at creating entertaining films would continue. Here in Mr. Reckless, the streak continues with a fun and goofy daredevil adventure. Mr. Reckless is played by William Eythe, a hardworking oil digger whose girl gets stolen while he’s off on the job. When he returns home to find her with an older man, he decides to pull off a series of stunts at the oil field to win her back! Boisterously ridiculous, Mr. Reckless lives up to its name as Eythe tempts death in wonderfully creative scenes.

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

Director Robert Rossen was blacklisted from US filmmaking after he was accused of being a communist supporter. With few other options, the brilliant Rossen went to Italy and made Mambo, a stunningly subversive film with love, lust, and spectacular dancing. Dark and enigmatic, Rossen’s Mambo is the sordid story of young, desperate, and impoverished characters who are awe struck by the glamour of fame and fortune. Silvana Mangano, the lead actress, flows through the film with a sensuousness and sexual presence rarely captured on film. While trying to become a dancer, she is courted by two more or less reprehensible men who help bring her career to greater heights. In her travels, there are glorious scenes of mesmerizing and highly skilled dancing: prominently featured is Katherine Dunham, one of the greatest dance performers of all time. Mambo is provocative and powerful, as well as darkly artistic, a combination that weaves a beautiful nightmare.

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

The incomparable icon of beauty Elizabeth Taylor leads the way in The Last Time I Saw Paris, a delectable romance fraught with tragedy. Director Richard Brooks steers this delicate and deeply emotional film to lofty heights, letting his all star cast shine bright. Sweeping through elegant locales in Paris, Taylor meets the debonair Van Johnson and two are readily married. This creates friction with Johnson’s previous love interest, played beautifully by Donna Reed, sowing the seeds for future pain and suffering. But for the time being, Johnson and Taylor are a gorgeous couple on cloud nine living a luxurious life provided by a lump sum that Johnson received in inheritance. But as the two young lovers attempt to coexist, their inimical flaws become ever more divisive, causing sorrow. Based on F. Scott Fitzgerald’s “Paradise Revisited,” The Last Time I Saw Paris is a masterpiece of filmmaking that evokes powerful feelings of love and loss as well as giving viewers the pleasure of seeing a young ...

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

Jean Parker, one of Hollywood’s classic beauties, plays an innocent woman framed for murder in Lady in the Death House. This gritty noir-style film intricately traces Parker’s extraordinary circumstances that lead to her awful predicament on death row. Deftly flowing from past to present and everywhere in between, without ever leaving the viewer confused, Lady in the Death House builds tension and thrills the old fashioned way: with good storytelling. The final scenes are particularly harrowing, as every aspect of the film races towards its horrifying conclusion. Lady in the Death House has that black and white 1940s film noir electricity that infuses every shadow, every wry smirk, and every harsh word with an extra sharpness and sense of depth. A gem of classic cinema that deserves more recognition, Lady in the Death House is simply fine filmmaking.

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm

published courtesy of the excellent filmmaking skills of Miss Emily Malcolm