🎥 Review: The Hitch-Hiker (1953)

"You wanna be all over that windshield. You haven’t got a chance. You guys are gonna die, that’s all. It’s just a matter of when.” – William Talman in The Hitch-Hiker (1953).

A few weeks ago, I finally got around to seeing the riveting film noir- The Hitch-Hiker (1953). Directed by Ida Lupino, it was the first American mainstream film noir directed by a woman. The heat of the Mexican sun and the isolation of a desolate highway form the backdrop for this masterful noir. Roy Collins (Edmond O'Brien) and Gilbert Bowen (Frank Lovejoy) two longtime friends whose lives are consumed by war and marriage, set off on an adventure, looking to reclaim their masculinity. But it all turns out wrong when they run into the crazed and creepy Emmet Myers (William Talman), an ex-con who threatens to shatter their emerging freedom.

Lupino never relaxes the tension for a second, making The Hitchhiker her finest film. Based on Billy Cook's true-life road trip murder spree, this suspense thriller speaks eloquently about the psychological effects of confinement.

Instead of hiking in Arizona's Chocolate Mountains, they travel to Mexico for a fishing vacation and possibly more. Bowen pretends to be sleeping in order to avoid temptation, whereas Collins appears to be planning a night of drinking and women in Mexicali. Their escape from domesticity, however, places them in a newly constrained role when Myers turns his gun on them, forcing them to submit to his will.

"I'd love to see more women working as directors and producers."


Ida working with Edmond O'Brien and Frank Lovejoy on the set of The Hitch-Hiker (1953)

On the Set with Edmond O'Brien, William Talman & Director Ida Lupino

Co-written by Lupino, her former husband Collier Young, and Robert L. Joseph. Based on a story by blacklisted Out of the Past screenwriter Daniel Mainwaring. I highly recommend you check it out!

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🎥 Review: Key Largo (1948)

"When your head says one thing and your whole life says another, your head always loses." John Huston directed this film-noir masterpiece with an incredible cast which included the legendary Humphrey Bogart, Lionel Barrymore, Lauren Bacall, Edward G. Robinson, and the fabulous Claire Trevor - who won an Oscar for her outstanding performance. The movie is set in Key Largo, where a hurricane is fast approaching, adding to the already-tense atmosphere inside the hotel. The sadistic mobster Johnny Rocco storms in and takes the hotel owner, James Temple, his widowed daughter-in-law Nora, and ex-GI Frank McCloud, hostage at gunpoint. Fun fact: When Claire Trevor asked John Huston for some insight into her character, he gave her a hilarious description of "a drunken dame whose elbows are always a little too big, voice a little too loud, and a little too polite. Very sad, very resigned." And to top it off, he even showed her how to embody the character by leaning on the

🎥 Review: Shoot the Moon (1982)

There have been motion pictures made about the collapse of marriages. Scenes froth with denial, anger, depression, to bitter custody battles and destructive emotions of jealousy and abuse. Some that comes to mind like Scenes from a Marriage (1974), Kramer vs. Kramer (1979), An Unmarried Woman (1979), and more recently A Marriage Story (2019). But none of them in my opinion quite captured the confusion, heartbreak, and turmoil like Shoot the Moon (1982). The phrase "shoot the moon," comes from the card game hearts. It refers to taking a risk when playing your hand to achieve a higher score. Directed by Alan Parker (Bugsy Malone, Midnight Express, Fame) and written by Bo Goldman (One Flew Over the Cuckoo’s Nest, Melvin, and Howard). The film depicts an intense look at marital disintegration from the perspective of both parents and their children. Parker and Goldman called upon their marriages to create the screenplay. The late Albert Finney and Diane Keaton are The Dunlap

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🎥 Review: Three on A Match (1932)

“I suppose I should be the happiest woman in the world. Beautiful home, a successful husband, and a nice youngster, but . . . somehow, the things that make other people happy leave me cold. I guess something must have been left out of my makeup.” Today marks the 90th anniversary of the enforcement of the Production Code on this day in film history. The Hayes Code, or Hays Code as some like to call it, was established in 1930 but didn't start cracking down on those filmmakers until 1934. Its main goal was to keep films squeaky clean and avoid government interference. But before mid-1934, some movies were rebels who didn't care about those guidelines. This era gave us some raw and unfiltered cinema that truly captured the essence of the time. I'm low-key obsessed with pre-code flicks, there's just something so refreshingly honest about them. I recently introduced the pre-code classic Three on a Match from 1932, to my boyfriend, who had never seen it before

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🎥 Review: Dog Day Afternoon (1975)

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