More from InSession Film!

 

More InSession Film Action! 

It's been awhile since we've done an update on our moonlighting at InSessionFilm.com, and there's much to share – including film reviews, podcasting, and merchandise!

First, here are some of our horror essays and retro lists at the new look InSession website:

SHE WILL addresses women's fears.

Review by @vampfamwriter https://t.co/vrMvppuTb7 pic.twitter.com/aWmEsmEtFl

— InSession Film (@InSessionFilm) April 5, 2023

She Will

Cool Eighties Comedies

The Banishing

Kick Ass Women's Comedies

The Underseen Rachel Weisz

Speaking of Women, don't forget you can hear our analysis on classic actors, film directors, and more on the Women InSession Podcast:

If you have yet to listen to an episode of Women InSession, you NEED to. The passion and intellect they bring to each episode is both enlightening and enjoyable. So thankful for their contribution to @InSessionFilm. https://t.co/dJAIIFG9bj

— Brendan Cassidy (@BrendanJCassidy) March 9, 2023

Favorite Films of the 1940s

John Huston

Musicians Turned Actors

Cate Blanchett

Adventures and Swashbucklers

Our Cinematic Blind Spots

Sydney Pollack

William Holden

Top 5 Worst Best Picture Nominees

Julianne Moore

Robert Mitchum

It's been such a blessing to be part of the InSessionFilm Family, and you can show your love, too, by checking out some of the InSession Merchandise – including Women InSession T-shirts!

Wowie Women InSession Merch! 🙋🏻‍♀️

Thank you @InSessionFilm & @RealJDDuran for amplyfiying Diverse Film Criticism & Female Voices!

What a great #PodernFamily #PodNation @Zita_Short @athomasson11 @eRockReviews @ShadanLarki @filmswithamy @EveOnFilm

ICYMI: https://t.co/ZUgErts5XW

— Therefore I Review 📺🌻 (@thereforereview) May 22, 2023

 

Classic Blu-Ray Joy!

Classic Blu Ray Joy!

By Kristin Battestella

I’ve written previously on the fountain of youth and magical restorative powers of blu-ray for classic film.  Thanks to plenty of Christmas and birthday gifts, I have even more must see evidence!

Ben-Hur – I’ve spoken briefly on this spiritual essential before, but the massive 3 Disc Limited Edition 50^th Anniversary set needs a conversation all its own-and then some.  Not only is the 1925 silent Ben-Hur also restored on blu-ray, but the 1959 1080p feature glory takes two blu-ray discs along with two commentaries and an isolated score. Sweet Jesus indeed the three documentaries are long, and there are more storyboards, vintage trailers and newsreels, screen tests, 1960 Oscar footage, and 2 books!  Of course, we can’t forget the rousing main attraction itself- Best Actor Charlton Heston’s embittered quest for revenge and his freeing encounter with Christ never looked so good.  I’ve seen this film- low balling it- at least fifty times, and I’m finding things I have never seen.  From the grand Overture’s first bars to the final chorale, it’s as if we’re watching a contemporary film made to look old.  Yes, there’s mid century over acting and melodramatic stylings that perhaps give it away, but 50^th Anniversary my foot.  We believe this is real stonework, vintage armor, and truly a cast of thousands- for now you can count every single one of them hearing the Sermon on the Mount.  Such clarity and attention to detail- the patina on the golden plates, the stitching on Judah’s robes, sweat and dirt flinging from men and horse, oh heck even the eyebrows!  Already colorful and full of zest, the opening Nativity sequence is stunning, the galley scenes and naval battle epic- models and painted backdrops this cannot be!  CGI cannot recreate this kind of atmosphere. Do you believe I found myself tilting my head to the rocking of the Arrius’ ship?  The white stallions in Ilderim’s tent, the Roman mosaics, sets and locations- you just have to witness the chariot race for yourself because I’m running out of adjectives! Director William Wyler knew how to use the scope of his physical sets, and it finally shows as it was meant to be. The internal depth of scenery, perspective, performance, and inspiration is incredible- distant plants and Roman plumes blowing in the breeze, townsfolk in the far marketplace and the hills of Jerusalem beyond, the awesome healing power of God- this is how you make a film three-dimensional!  Avatar?  F*ck Avatar! You haven’t seen anything until you’ve seen Ben-Hur on blu-ray.  Jesus wept…and so did I.

Casablanca – The package design of this Ultimate Collector’s Edition Blu-Ray is cumbersome, but the treats are so, so delightful.  Two discs worth of features, with introductions and commentaries from Lauren Bacall and Roger Ebert, deleted scenes, audio and score accompaniments, trailers, and television adaptations.  Not to mention four documentaries, cartoons, a photo book, reproduction poster cards, and Warner production notes, wow! Of course, this Best Picture winner is already spectacular as far as the spectacular of cinema spectacularness goes- and yet this digital renewal adds a new pinnacle. The onscreen locales are simple awesome; the smoke and arching walls of Rick’s Café create a physical illusion to represent the tense claustrophobia of the titular town and times.  Remember, this film was made during World War II with a lovely international supporting cast of expatriates and refugees, and the tragedy, danger, and heart of it all still comes across stunningly. Everyone looks so suave yet untouchable, too- white dinner jackets, uniforms of all flavors and every button, medal, and insignia upon them.  It’s so formal and yet reckless- the perfect shadows and lighting design say everything that can’t be said in this most amazing Oscar screenplay. You can practically feel every slick in the men’s hairs and wipe Peter Lorre’s sweat from his brow. It’s so easy to be swept up in the incredible music, too. The layered montages are clear and defined as well, but somehow hazy and hypnotic- as if we are going back to Paris, too. Seeing all these details anew…it’s just like watching a new film for the first time! Just to think, I haven’t even mentioned the performances yet. That sparkle from Ingrid Bergman’s earrings, the tears in her eyes, the fog as she and Bogie…well, I can’t give everything away to the two people on the planet who haven’t seen Casablanca!  What’s wrong with you two? “Play it!”

The Maltese Falcon – Also already reviewed at length previously, you would think I have nothing more to say- or that black and white doesn’t cater to the wonders of blu-ray.  But no.  The palette from director John Huston is crisp and truly silver, indeed. The depth of the monochrome breaks free from the colorless full screen frame with dimension and layers for every fabric and decoration onscreen.  The pinstripe in Humphrey Bogart’s suit, the pattern in Mary Astor’s fur stole- Bogie looks better than that Tales from the Crypt stunt!  The classic uses of shadow and light are increased ten fold, and I feel as though I can walk into this picture ala Pleasantville. Okay, the white subtitles are tough to see in some spots, but the sound is pitch clear to hear all the double-talk and melodrama.  And the features! There’s a ‘One Magnificent Bird’ half hour retrospective with author Dashiell Hammett experts and stars of today singing their praises, a 45 minute TCM collection of Bogart’s film trailers and dozens more vintage previews. Radio clips; commentaries; forties bloopers and outtakes with the likes of James Cagney, Gary Cooper, and Jimmy Stewart; test shots, and more. These rarities look sweet and are a real treat – and it’s all subtitled, too!  Thanks to this lifelike facelift and appreciation, it’s very easy to be caught up in the quintessential noir mystery all over again. This disc is a must for any classic film connoisseur.

The Ten Commandments – And you thought I talked too long on Ben-Hur! Another epic that needs to be recognized again and again- and usually is thanks to yearly network airings for Passover- this 2 disc blu-ray release is simply magical! Growing up, I think I was actually more partial to this 1956 Cecil B. DeMille magnum opus over any other Biblical epic. From the dirty Vincent Price with his silk hanky ready to wipe any offending grease and his wicked snake successor Edward G. Robinson to the dry and bitchy perfect Judith Anderson versus the snarky and wonderful Anne Baxter, top to bottom everyone in this awesome cast comes to play.  Beautiful Lily Munster- er Yvonne De Carlo, true flower Debra Paget, strong Henry Wilcoxon- I’ve shown my share of Heston love! Though I confess, I do prefer Yul Brynner’s voice and presence. I still speculate his 1956 Best Actor Oscar is really for his work here and in Anastasia in tandem with The King and I. And oh my, look at that oil lathered up on John Derek! Despite the 1956 over the top acting style, the script is profoundly solid with touching quotations and sentiments.  This is a vivid world of inspiration, love, jealousy, and deliverance.  It’s a perfectly personal and intimate drama amid an epic, ancient scale with one of the best booming, rousing, almost voluptuous scores ever to tidy it all up!  All these classics on blu-ray have very pleasing, easy to navigate menus and presentation, I must say; one more thing the modern jumbled and flashy discs should learn.  Although DeMille’s introduction would never fly today.  After all, he tells us how long we have, that there’s an intermission, and it’s all divinely inspired.  Any one of those would scare contemporary audiences!  Fortunately, the Oscar winning color cinematography and divine scale speak for themselves on blu-ray: inlaid stonework, Egyptian jewelry, what color and flamboyant hieroglyphics! That fire upon Mount Sinai, the glow of the Burning Bush, the plagues and that freaky green mist coming for the first-born. I can’t stop- the Exodus, Ramses’ chariot pursuit, and that parting of that so, so blue Red Sea.  The blues alone in this picture- every shade of the spectrum indeed for Edith Head’s costumes. Of course, dramatic liberties are taken, the sound is big and the voices are low, and framing lines on the matte paintings are visible. There’s a simplicity to the original editing as well, with the master track only cut for a reaction or spectacle shot. It might jar some today, but this style allows longer stage drama scenes to play. The Ten Commandments is not without flaws, no, but it’s a truly complete picture nonetheless.  Who knew that a little grain, sand, mud, and water could do so much for a viewer’s soul?  

Yes, the prices of these collector and special edition blu-ray sets only seem to be getting higher, and they are delicate indeed.  Quicker editions are cheaper, but often deny the viewer all the bells and whistles. However, for the classic enthusiast or film historian, the movie restoration and complimentary material are essential pieces in the celebration and preservation of vintage cinema. 

For more classic blu-ray evidence, here are a few more of our reviews (so far!):

Gone with the Wind

Planet of the Apes

The Searchers

Wizard of Oz

Fall Suspense and Thrillers

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Autumn Suspense and Thrillers

By Kristin Battestella

What better way is there to spend a stormy autumn evening then with some cool mystery, heady suspense, classic thrillers, or spy hijinks? 

The Asphalt Jungle – John Huston’s (The Maltese Falcon, The Treasure of the Sierra Madre) brooding 1950 noir starts slow, but the wonderful cast twists and turns this complex, intricate heist tale into a grand, sharp tongued classic.  Sterling Hayden (Johnny Guitar, Dr. Strangelove), Supporting Oscar nominee Sam Jaffe (Gunga Din, Ben Hur), and a budding, forties styled innocent but no less femme Marilyn Monroe (Some Like it Hot) lead the viewer on the murderous city scene as the dark, intricate lives and crimes blur together into one tragedy and double cross after another.  The ensemble is exceptional, everyone’s corrupt, you can’t trust anyone, and it makes for damn fine film.

Color of Night – Yes, the uncensored glimpse of Bruce Willis’ (Die Hard, Moonlighting) wang brought a lot of negative attention to director Richard Rush’s (The Stunt Man) 1994 thriller.  The psychological run around and build up of hints, however, outshines the kinky drivel and the more obvious plot points here.  The poor editing and numerous chopped up editions hurt this mystery more than anything else did, but not all the steamy nineties erotic scenes have stood the test of time either. Thankfully, the ensemble cast- including Leslie Ann Warren (Clue), Scott Bakula (Quantum Leap), Brad Dourif (Lord of the Rings), and Lance Henriksen (The Terminator) is very good-especially when plot holes and weak dialogue fails them.  There’s not a lot of repeat value once you’ve figured this one out but it’s a lot of fun guessing the twists or shouting at the inconsistencies on that first viewing. Although there’s yet to be a definitive DVD edition, give this one a chance.

Red Riding: 1974, 1980, 1983 – Directors Julian Jarrold (Brideshead Revisited), James Marsh (Man on Wire), and Anand Tucker (Shopgirl) have crafted an exceptional trilogy based on the novels by David Peace and adapted by Tony Grisoni (Fear and Loathing in Las Vegas).  This morbid tale based on real life events captures the scope of corruption, gruesome violence, depression, and emotions.  Each film can be viewed separately, but this is indeed a trilogy with all three completing a much larger puzzle. The varying styles, great period music, and Yorkshire brooding are wonderfully filmed. Performances by Andrew Garfield (The Social Network) Sean Bean (Sharpe), Paddy Considine (Hot Fuzz), Mark Addy (The Full Monty), David Morrissey (Blackpool) and the rest of the ensemble are exceptional.  We follow each of our protagonists even though they can’t possibly surface in these disturbing waters much less win out.  This series is not for the faint of heart, and subtitles are required thanks to plenty of whispers and soft sounds. Although Red Riding is a very heavy series, depressing, and confusing in some spots, Americans should definitely see this fine multi layered piece twice if you can stand it.  Law and Order: Special Victims Unit wishes it could get away with this kind of disturbing magic.  Hollywood simply does not know how to make this kind of film, and I can’t imagine Ridley Scott attempting to top this wonderful piece with a big screen remake. Please don’t bother! This may be the best recent series on either side of the pond-I haven’t looked forward to an ending and jumped up and down for it this much since Trainspotting.

The 39 Steps (2008) – No, this is not the Hitchcock classic, but I don’t know why this recent adaptation starring a Cary Grant-esque Rupert Penry-Jones (MI-5) and lovely Lydia Leonard (Jericho) gets no love.  Director James Hawes (Doctor Who) takes some historical liberties, absolutely, but the period music and World War I styles add to the Scottish action and locales.  An American version would have Hannay and the hottest 18 year olds updated to today with terrorism in L.A., oil mania, and more transportation chases then you can shake a stick at.  Though silly, fun, and too fast in some places, the mystery and chemistry keep this one entertaining from beginning to end.  I could have done without Penry-Jones’ super bleachy blonde hair, but the period espionage action here makes me again wish that the Bond reboot had been period as well. And why not continue the good here in another Hannay telefilm?

Touch of Evil – Orson Welles’ 1958 noir classic has its fair share of cinema history and infamy.  Unprecedented tracking shots and Charlton Heston (The Ten Commandments, Ben-Hur) as a Mexican-what the heck is going on here?  A damn fine, complex thriller that’s what.  Naturally, the editing and pacing suffers from all the studio interference and recuts, but Welles’ (Citizen Kane) corrupt Captain Quinlan and the ambiguous mistreatment of Janet Leigh (Psycho) keeps the suspense wonderfully seedy.  Oscar winner Henry Mancini’s (Breakfast at Tiffany’s, The Pink Panther) music also ups the onscreen ante.  All this heady crime and its Marlene Dietrich (Morocco, Witness for the Prosecution) who almost steals the show along with a creepy Mercedes McCambridge (All the Kings Men).  I could do without all the aforementioned Mexican stereotypes, but the 112 minute restored version honoring Welles’ original vision is worth another look.

The Usual Suspects – I suppose now everyone knows how this 1995 thriller directed by Bryan Singer (X-Men) and starring Oscar winner Kevin Spacey (American Beauty, L.A. Confidential) ends.  Yes, repeated viewings may pick up a few flaws, but if you haven’t seen this one in awhile, give it a second look with fresh, intelligent eyes.  Better yet, if you can find a viewing virgin who doesn’t know the end thanks to all the spoofs or parodies- make the popcorn and turn out the lights.

The Maltese Falcon (1941)

How Can You Not Love The Maltese Falcon?

By Kristin Battestella

Generally, one should always begin any form of article or essay with an introduction. Unfortunately, this may be my shortest introduction ever-for there’s film noir and then there’s Humphrey Bogart and The Maltese Falcon.

Detective Sam Spade (Bogart) finds himself in plenty of hot water after the death of his investigative partner Miles Archer (Jerome Cowan, Blondie, Miracle on 34th Street). Mrs. Archer (Gladys George) was hoping to leave her husband for Spade anyway, but the lovely and misunderstood Brigid O'Shaughnessy (Mary Astor) traps spade in a search for the legendary Maltese Falcon. Unfortunately, Kaspar Gutman (Sydney Greenstreet) and Joel Cairo (Peter Lorre) are also after the treasured bird. Each offers to buy the statue from Spade, but Lieutenant Dundy (Barton MacLane) and Detective Tom Polhaus (Ward Bond) are sniffing around, too. Will Spade find the Falcon, ditch the coppers, and save the dame?

First time director but longtime screenwriter John Huston (Sergeant York, The Treasure of the Sierra Madre, The Asphalt Jungle, The African Queen) helms his own 1941 adaptation of Dashiell Hammett’s novel with mystery, suspense, and all the staples of film noir. At face value, The Maltese Falcon should be stereotypical and obvious- not only does it have one of our most famous detectives, but also the silver screen’s original MacGuffin. However, fine performances and complex mystery twists keep this film above the imitators. The script is witty and tight-we don’t know who to trust yet we like-or love to hate- each of the players involved. The Maltese Falcon is global-with talk of the Orient and historical treasures-yet it’s a relatively talkative piece with not a lot of action. Huston keeps us tugging at our collar with claustrophobic double crossings and high priced, deadly debates. Though confusing to some and a little tough to follow thanks to some old school fast talking, The Maltese Falcon is an intelligent ride that takes every ounce of cat and mouse to tell its tale.

Of his many exceptional films, Humphrey Bogart (The Petrified Forest, Casablanca, The Desperate Hours, The African Queen) some swear by The Maltese Falcon above others. No matter how many times you’ve seen it, Bogart’s infamous Sam Spade walks the walk and talks the talk. He is fast, slick, and just as coy as all the folks meddling in his business. This is not a film to be viewed casually, thanks to Bogart’s complex dialogue, double duty deals, and shear visual presence. We think we know Spade and what he’s going to do, but Bogart keeps us guessing right up to the end. Though a little subservient and ‘in their place’, the dames in The Maltese Falcon add to the spice and mystery. Oscar winner Mary Astor (The Great Lie, The Prisoner of Zenda, Little Women) is perfection as the quintessential femme fatal who wavers between playing the helpless damsel and using her pretty face to get what she wants. Likewise, Gladys George’s (Valiant Is the Word for Carrie, Best Years of Our Lives) Widow Archer would be the typical faux grieving woman in black if it weren’t for her beautiful charm and deceptive grace. Lee Patrick (Topper, Mildred Pierce) is also great fun as the wise secretary who knows how to handle Spade.

The Maltese Falcon is a star-making vehicle there’s no doubt, but the ensemble is also masterful in the onscreen wit and deception. I swear Peter Lorre (Mr. Moto, Casablanca, The Raven) plays the same part in the same style over and over, and yet he’s always so juicy and captivating onscreen. Maybe it’s those Bette Davis eyes or that nasal little voice, but his Joel Cairo is delightful to watch. ‘The Fat Man’ says so much about Sydney Greenstreet (Casablanca, The Flamingo Road) and yet he is so much more. This debuting Supporting Actor nominee would steal the show-if every other performance in The Maltese Falcon wasn’t a scene stealer, too. Ward Bond (Wagon Train, It’s A Wonderful Life, The Searchers, My Darling Clementine, The Quiet Man-somebody stop me!) and Barton MacLane (I Dream of Jeannie) are also delightful as the cops who like Spade, but are also trying to solve two murders. Who is going to best whom-Spade, the cops, the gals, or the ‘Fat Man and Little Boy’?

I must say, The Maltese Falcon isn’t without controversy. The 1931 edition has been edited and censored over the years thanks to clashes with the uptight Hollywood Code, but comparisons between the versions could be a lot of fun. Thankfully, the 1931 version and the 1936 comedy adaptation Satan Met A Lady- are restored and packaged with the 1941 feature on its special 3 Disc Special Edition DVD. If you’re looking for some of the novel’s supposedly scandalous gay subtext, you can find it here. However, to the mature film student or young classic fan, there isn’t anything shocking. No, what’s worse is that The Maltese Falcon has the dubious distinction of a few dastardly colorizations attempts. The horror!

Oh, but for the cigarettes that are real cigarettes, clutches and pillbox hats, the fedoras and the trench coats- any fashionista of post Depression styles will be in heaven watching The Maltese Falcon. The colloquialisms and mannerisms may be dated and stereotypical, yes, but they are also a great freeze frame of the times. Some of the music is also as over the top as the acting, but other times the crescendos are perfectly timed with those moments that make you gasp. Even though we’ve had seventy years to memorize The Maltese Falcon and every other cheap film noir imitation, the clichés aren’t even that bad. Even if we expect something to happen, there’s still plenty of juice in how it’s all going to play out. In this day of constant updates, reboots, and sequels, I’m surprised someone hasn’t attempted to make another big screen The Maltese Falcon. Thankfully, there is one very good reason why this tale hasn’t been done since. The 1941 version of The Maltese Falcon simply can’t be beat.

Classic fans who know the ending of The Maltese Falcon can still enjoy this timeless noir again and again due to critical suspense and fine performance. If you are lucky enough to find someone who is a completely clueless virgin about this film, God bless you as you tie him to a chair and make him watch. Trust me; he will thank you for the experience. Young folks might be deterred by the black and white, sadly, but you can’t be classic film lover or scholar of film without knowing and loving The Maltese Falcon. As the Fat Man says, ‘if you loose a son, it’s possible to get another. But there is only one Maltese Falcon!’

Classic Leading Ladies

Classic Leading Ladies

By Kristin Battestella

I love classic leading men- as you can see by my mentioning of Gregory Peck, Montgomery Clift, and Clark Gable below. Unfortunatey, I don’t often obsess over an old picture based upon its leading lady. These classics, however, are a quick glimpse at some of the best dames the silver screen has to offer. If you’re looking for a few goddess of old, it’s tough to beat the ladies here.

Queen Christina (1933) – Some of this Greta Garbo costume drama is tough to swallow in pacing and melodrama, but the infamous Swedish actress shows her stuff as the titular 17^th century monarch torn between religion, war, love, and the throne. Though not entirely historically accurate, the fashions look great-and the politics here shed light on a lesser-known time and place. Who else but Garbo could take on medieval Sweden and single handedly steal the show?

Gaslight (1944) – Ingrid Bergman’s Oscar winning performance leads an all-star cast in this psychological turn of the century murder mystery. Is she crazy? Will Joseph Cotton solve the crime before it’s too late? Some of Gaslight is a bit obvious to today’s wiser audiences, but Bergman’s (another Swedish dynamo) delightfully mental performance makes the getting there so sweet.

Double Indemnity (1944) – Is Oscar nominee Barbara Stanwyck trying to kill her husband for the insurance money? This chilling film noir serves up the quintessentials of the genre with mood, atmosphere, and a chilling performance by Stanwyck-who actually isn’t one of my favorites. Once you see Double Indemnity, however, you almost don’t need to see another Stanwyck picture. Well, of course, there’s The Lady Eve, Meet John Doe, and Christmas in Connecticut, but Stanwyck is the definitive conniving temptress here.

The Heiress – Oscar winner Olivia de Havilland has never been as delightful. Is Montgomery Clift pursuing the mousy, bland, uninteresting Catherine Sloper merely for her wealth? How could he adore the made to look ugly and meek de Havilland? Should Catherine run away with him or listen to her stern Father Dr. Sloper (Ralph Richardson)? The Heiress is a pathetic, yet somehow lovely 1840s styled gem with fine performances and a bittersweet air.

A Place in the Sun – “Tell Mama. Tell Mama all.” Elizabeth Taylor’s beautiful and tragic performance seeps into our collective consciousness without even having to try. There are so many lines, iconic scenes, and wonderful performances in this George Stevens’ 1951 classic also starring my favorite underrated leading man Montgomery Clift. Based on the popular and scandalous novel An American Tragedy by Theodore Dreiser, this fifties time capsule still resonates today.

Roman Holiday – Reporter Gregory Peck woos the fish out of water Princess Audrey Hepburn in this romantic time capsule of fifties filmmaking and Roman splendor. The black and white photography sometimes hinders the Edith Head costumes and royal grandeur, but it’s still enchanting decoration nonetheless. Though coming from an aristocratic background herself, Audrey’s Oscar winning debut is charming, delightful, and still relatable to audiences high and low almost sixty years on.

Johnny Guitar – This female laden and colorful guilty pleasure western stars Joan Crawford as a saloon owner caught between the law and her love-the titular Johnny Guitar. This film takes itself way too seriously and serves up one over the top scene after another-but it’s also great fun seeing the harsh Crawford give it back to the boys with some Arizona romance and melodrama. Maybe it’s not her best role; but in many ways, Johnny Guitar stands out in Joan’s repertoire for its fashion, departures, and innuendo.

The Misfits – This 1961 statement making western from Arthur Miller and John Huston has the dubious distinction of being the final picture of two Old Hollywood icons: Clark Gable and Marilyn Monroe. Round out the lead trio with my man Montgomery Clift (who himself only made three more pictures), behind the scenes drama, onset conflict, and then add the sale and slaughter of the American mustang onscreen and you have a bittersweet cult classic. Despite her increasing personal difficulties, Monroe proves she’s more than a pretty song and dance filly here with melancholy in her wispy pout and presence against the boys.

Not all of these classics are currently available on DVD or blu-ray, and sacrilegiously Queen Christina, Gaslight, and The Misfits are not on the National Film Registry! Nevertheless, keep your eyes peeled for these gems and more from these and other Hollywood leading ladies of old. You can’t go wrong with a good classic or a fine doll can you?