Classic Actor Spotlight: Jack Lemmon – Timing is Everything

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Greetings, all and sundry! Allow me a few moments of your time to wax nostalgic, elucidate and point out some of the finer performances of an everyman character actor who achieved Stardom the old fashioned way. By working his way up through stage roles. To small, bit parts in television and onto the silver screen. Where he stayed comfortably ensconced for decades. Yet, making and taking the time to keep his talents fresh in the theater.

Allow me to introduce, or re-introduce you to:

Jack Lemmon: Timing is Everything

Though Mr. Lemmon first caught my eye as a Documentary film maker opposite Judy Holliday and Peter Lawford in George Cukor’s It Should Happen to You. Where the first inklings of his comedic timing and delivery began to peek out for all to see. it was Mr. Lemmon’s role as Ensign Frank Thurlowe Pulver in.

Mister Roberts (1955)

That really grabbed my attention. To be working with three proven heavyweights in Henry Fonda, William Powell and Jimmy Cagney. With John Ford at the wheel. And a very little changed Broadway stage screenplay by Joshua Logan and Frank J. Nugent. The film is tight. lean and sometimes spartan. Made for the stage. Describing the boring, mundane life aboard a aged. slow, stuck in the rear, away from harm’s way cargo ship stuck in the South Pacific of WW II, the USS Reluctant. “A floating delivery girl. Transporting its cargo from Tedium to Apathy and back again.”

With Mr. Cagney as the ship’s Captain, Lt. Commander Morton and Mr. Fonda’s Lieutenant Douglas Roberts as the ship’s XO and Cargo Officer. Who wants desperately to get into the war and shares a berth William Powell’s wise and cautiously calm, ‘Doc’ and Mr. Lemmon’s constantly scheming, yet overwhelmingly scared of the Captain, Ensign Pulver easily holding his own. While also managing to steal several key scenes. Especially when Pulver stutters an answer to Cagney’s Captain Morton asking how long Pulver has been aboard his ship. Rumor has it that Cagney and Lemmon had to rehearse the scene until it wasn’t funny and Cagney wouldn’t laugh. Though Pulver’s final confrontation after Mail Call with the Captain takes the cake. In a very early funny, frightened, yet humane role that earned Mr. Lemmon and Academy Award for Best Supporting Actor. Keeping Mr. Lemmon well in the comedic vein for.

Overall Consensus:

John Ford must have seen something in Mr. Lemmon’s abilities to attach him to the brilliant adaptation of a popular stage play. That was written by Josh Logan with Henry Fonda being the only choice for the lead role. Which gives the film a comfortable and relaxed feel. Smooth, though not quite serene with Fonda’s Mister Roberts wanting to get into the war. Needing the Captain’s signature on any of many transfer requests. While Mr. Lemmon’s offers superbly timed comic relief between William Powell’s wise and sage ‘Doc’ and Fonda’s Mister Roberts. As a perpetual kid with big dreams of getting at the Captain. Though constantly hamstrung by fear of retribution. It isn’t until the final five minutes of the film that Mr. Lemmon’s Ensign Pulver finally grows up, becomes a man and confronts the Captain.

Well worth Mr. Lemmon’s Academy Award for Best Supporting Actor. Giving the young talent time to practice and hone his skills for.

Operation Mad Ball (1957)

With Mr. Lemmon as a supply clerk in a hospital unit in Europe after the war has wound down. Unfortunately, the unit has a stickler for Army regulations in charge. Catcher’s mitt faced Ernie Kovacs as Captain Paul Locke. Who catches Mr. Lemmon’s Pvt.Hogan while on Guard Duty trying to make time (Fraternizing) with a nurse, Lt. Betty Bixby. Flirtatiously played by up and comer, Kathryn Grant. Explanations don’t assuage Capt. Lock. Who confines Hogans to his barracks pending a Court Martial.

Which puts a huge dent in Hogan’s plan for a wild ball and going away party for the reassigned Company Commander, Colonel Rousch. Endearingly played by fatherly Arthur O’Connell. Undaunted, Pvt. Hogan makes calls and deals with the black market, NCOs who run the Officers and NCO Clubs, musicians, procurers, purveyors and petty thieves as a location is staked out and divergent parts start coming together. Hustlers like Hogan connect and bring in Mickey Rooney as Master Sergeant Yancy Skibo (Pronounced ‘Skeee-bo!’). The darker, more lecherous, Southern Good Ol’ Boy side of a rhyming Andy Hardy. Who, with his cousin, Corporal Bohun. Well played by Dick York ages before ABC’s Bewitched. Go out of their way to feed Captain Locke faulty Intel on the upcoming events. Leaving more time for Pvt. Hogan to connect the dots while reintroducing himself to Lt. Bixby.

All the parts come together as Captain Locke is sent on a wild goose chase and Colonel Rousch is unwittingly, though gently kidnapped and brought to the secluded Mad Ball.

Overall Consensus:

Having been around the world in Active and Reserve uniform for decades. I have a soft spot for Service comedies and dramas. And Operation Mad Ball has the right look and feel of Tent City, just post-war Europe, even though it was shot on the back lots and sets of Universal Studios. Thanks to the Art and Set Direction of Robert Boyle and William Calvert under Richard Quine’s deft touch. Leaving plenty of time for Mr. Lemmon to work his near manic magic and almost letting the audience see the gears turn behind his eyes as the game changes from moment to moment. In a role that earned Mr. Lemmon top billing and a juicy, kind of oily role for Ernie Kovacs and a mixed bag of eager young and old solid talent.

Which brings us to…

Bell, Book and Candle (1958)

As part of a stellar ensemble cast including James Stewart, Kim Novak, Ernie Kovacs, Hermione Gingold and Elsa Lanchester and once again under Richard Quine’s direction. In what is once again an adapted stage play moved to New York’s Greenwich Village during the Christmas season. Where modern day witch Gillian Holroyd. Beguilingly played by Kim Novak wants to break up with her fiance and get to know her neighbor, Shepherd Henderson. Well brought to life by Jimmy Stewart. While Mr. Lemmon cooly entertains and runs interference as Gillian’s warlock brother, Nicky. Who advises Gillian not to fall in love or she will lose her witching powers. When not startling passers by making a block of street light wink out and back on with a snap of his fingers.

Love takes the upper hand, of course. With the aid of Gillian’s familiar. A lovely Point Berman cat named Pyawacket. The spell is cast, almost needlessly. Sending Gillian and Nicky and occult writer, Ernie Kovacs seeking aid from Gillian’s aunt, Queenie. Sublimely brought to life by Elsa Lanchester. While Shep finds coven leader, Bianca de Passe, wondrous Hermione Gingold, for ways to break the curse. I’ll leave it right there and leave the door ajar. For a superior, smart, well written and executed comedy that shows love conquers all. And spawned the popular television series, Bewitched in
the 1960s.

Overall Consensus:

Mr. Lemmon seems to be a cozy fit in another film adapted from a popular stage play. Well versed in the rhythms and sways of what the theater and later film could get to in the Greenwich Village world of coffee houses. Four and five piece post war jazz, poetry and Be-Bop. The cast and settings are definitely not Bohemian. Much more upscale and romantic.

Just the right, quirky environment for witches and warlocks living not quite in the shadows. Mr. Lemmon’s role is not big, but it is essential and the actor admirably makes the most of each scene. Building credentials and credibility for his next major step.

Some Like It Hot (1959)

Who else, but Billy Wilder could take a fifteen minute Vaudeville Drag skit. Let out a seam here and tuck a few in there and turn it into iconic, character driven comedy? Taking a sleepless three thirty in the morning idea and fleshing it out well with a soupcon of Roaring Twenties Chicago. Rival crime gangs. Cops. Detectives. Bootleggers, speak easiest. Then filling those arenas with a Who’s Who of stalwart, A-List talent. Including George Raft, Pat O’ Brien, Nehemiah Persoff, and Mike Mazurki. Along with and two jazz musicians, Joe (Tony Curtis) and Jerry (Mr. Lemmon); who can’t seem to catch a break. Trudging through the raw wind and snow of a wicked Chicago winter from agency to agency to get a gig.

One is gotten and is raided by the cops. Leaving Joe and Jerry on the run and looking for a place to lay up while their car is being gassed up in a warm garage. Only to hide when they recognize a local thug, ‘Toothpick’ Charlie in a shadowy card game. When what looks like a police sedan rolls in and a group of what look like uniformed cops shake the card players down and line them up against the wall for what has to be a sanitized version of The Saint Valentine’s Day Massacre.

Unfortunately, the gas nozzle slips from Joe’s car. The gangsters turn and looks are exchanged. Joe and Jerry are now eyewitnesses to the killing and they run for their lives amidst a hail of gunfire. Back to the booking agency, which happens to know an all girl jazz waiting at Union station. That is need of a Saxophonist (Joe) and a stand up bass player (Jerry) for their month long run through Florida. Backing up lead singer and Ukelele player, Sugar Kane Kowalczyk. Stunningly and ditzi-ly played by Marilyn Monroe.

All stirred into a shouldn’t have a snowball’s chance in hell of working film. But it does! Magnificently. Especially when Tony Curtis channels his best Cary Grant as a playboy pursuing Sugar. And myopic Joe E. Brown’s Osgood falls for Mr. Lemmon’s Daphne. Their Tango is not to be missed. Nor, is their final scene! Garnering Mr. Lemmon an Academy Award nomination for Best Actor amongst many. Though the film’s only Oscar was for Best Costume Design.

Overall Consensus:

Give credit where credit is due to Billy Wilder sticking with his and I. A. L. Diamond’s idea and screenplay adapted from the 1935 French comedy, Fanfare d’Amour when many doors were slammed in his face. Though, through persistence MGM finally expressed and interest and fronted Mr. Wilder close to a carte blanche budget to give life to this classic, though not quite screwball comedy.

Dues are also given to Mr. Lemmon and Tony Curtis for succeeding in a selection process that included Anthony Perkins and Jerry Lewis, amongst others. In roles that could either make or break their careers. Not as women, but as men imitating women. In this arena, both Mr. Lemmon and Curtis shine, but Mr. Lemmon, even more so. Once the principals were locked in, filling out the rest of the cast must have been a dream. And the talent shows all the way around.

Which brings us to…

The Apartment (1960)

Yea, though I have written about this film on several occasions. This is where Mr. Lemmon starts showing a flair for drama. Playing an office drone in a massive New York insurance company. A passive, cubicle bound Dilbert without a cubicle. One of countless, near faceless number crunchers. With a desk, hand crank adding machine, notepads and an endless supply of pens and pencils. Though Mr. Lemmon’s C.C. Baxter has an in. His apartment is close to the office headquarters that he allows four different office managers to use for extramarital activities.

Four soon becomes five when a new manager, Fred Mac Murray’s ‘Superb Louse‘, Jeff Shelldrake is assigned to Baxter’s section. Offering tokens, trinkets and Talismans to Baxter, to be cut in on the deal. Mr. Lemmon’s Baxter concedes and advances up the ladder. Smitten by elevator girl, Fran Kubilek. A subtle, light hearted love story starts to evolve and Mr. Lemmon’s humanity starts to shine. Topped off when the Holidays come around. When secrets and near tragedy rear their ugly heads.

Overall Consensus:

It’s a treat to watch the consummate Funny Man being given free rein to be as silly as he wishes in so many memorable scenes. Yet, take his first experimental plucks and strums at the dramatic. Letting his face and eyes grasp the thoughts and emotions that his words haven’t quite mastered yet. Especially with his first dinner with Shirley MacLaine’s fragile Fran Kubilek and the impromptu use of a tennis racquet to strain pasta. Then turning the coin when returning to his apartment with a quickly picked up, post company Christmas Party date. Only to discover Miss Kublilek has found his sleeping pills. Then, setting the crowning touch by finally and succinctly confronting Mr. Shelldrake.

Well-worthy of its Academy Awards nominations for Mr. Lemmon and Ms. MacLaine for Best Actor and Actress. And wins for Best Picture, Best Director, Best Writing, Editing and Best Art Direction. Which may have laid the groundwork for Mr. Wilder remembering Mr. Lemmon and acquiring his service in later projects that will be covered in the next installment.


Check out Jack’s profile page and links to his other reviews


What do you think of Jack Lemmon and what’s your favorite movie(s) from his illustrious career? Do share ’em in the comments.

Classic Flix List: Fred MacMurray – Superb Louse!

Greeting, all and sundry! After giving my cerebrum a well deserved respite which coincided with the release of The Avengers, I’ve decided to dive back in. Taking a hint from Ruth and applying it to the realm of lists while keeping within the arena of classic films and those involved.

To this end, allow me to introduce one of the most talented, yet under rated actors of the past century. Whom many may recognize as a poster boy for Disney during the 1960s and later as television’s proverbial Perfect Dad in My Three Sons. A worthy topic for another time. Though now, I would like to plunge back to the earlier times and films which firmly planted the subject of this dissertation on the Hollywood map while specializing in a specific and memorable type of character.

Fred MacMurray: Superb Louse!

Louses come in all shapes and sizes in film. From Richard Widmark’s Tommy Udo in Kiss of Death or Skip McCoy in Pickup on South Street. Talented, yet invisible people who seem to suffer from a delusional ego. To Peter Lorre, who made a cottage industry out of portraying such countless films. Today, Steve Buscemi would fill that niche comfortably with room to spare!

What makes a ‘Superb Louse’ is the ability to portray someone of lesser or low moral character while also making the character likable and memorable. Within these strict confines, for a brief period in time, Mr. MacMurray ruled the roost. Beginning his sojourn in one of the great classic Film Noirs directed by Billy Wilder:

1. Double Indemnity (1944)

Playing workaday insurance salesman, Walter Neff. Who drops by the home of Phyllis Dietrichson. Silkily and alluringly played by Barbara Stanwyck, to get some final signatures on Mr. Dietrichson’s car policy. Sparks sizzle at first sight. Which evolves into flirtation while negotiating a life insurance policy and its much larger payout for accidental death.

The avalanche begins and it’s too late for the pebbles to vote as Phyllis starts upping the ante. While Walter begins to bend the truth to his partner, Barton Keyes. Brought to low keyed, underplayed life by Edward G. Robinson. Who knows when something just doesn’t look or feel right. MacMurray’s strength is brought to the fore in his straight faced ability to lie and keep two plausible sets of facts straight. While fully aware that he is sinking deeper in deep in Phyllis’s ensnaring web. In a shadowy B&W that begins at the tale’s end and is told in flash backs as a slowly bleeding out Walter tells all into a recording Dictaphone Machine.

2. The Caine Mutiny (1954)

A decade had passed and Mr. MacMurray had the opportunity to pick up those few shiny pebbles to a high gloss for a pivotal supporting role that everyone thinks is a Humphrey Bogart film, but really isn’t. Though he owns the ball bearing assisted plum scene during the Court Martial before the final reel. No, the magic of The Caine Mutiny is that the film is solid ensemble. While the mutineers’ defense council, Lt. Barney Greenwald, magnificently played by Jose Ferrer captures every scene he is in.

That capturing would never have taken place without the connivance of MacMurray’s Lt. Tom Keefer. College man, self proclaimed intellectual and failed playwright. With an over sized ego, subtle condescension to match. Who lazily tolerates the Captain of the Mine Sweeper, Caine while taking fresh faced, young, naive Ensign Willie Keith under his wing. Once the Captain is reassigned to another ship, Keefer’s tolerance melds with wary caution in regard to the ship’s new Captain, Lt. Commander Philip Francis Queeg. A WWI hold over and very Navy. Who moves at his own speed with his own rules. Unwittingly supplying Keefer with a shopping list of complaints as he draws Van Johnson’s career minded Lt. Steve Maryk into the cabal.

Creating a series of accidents and mishaps that culminate in perhaps, losing the Caine to a tropical Typhoon. Setting the stage for a Court Martial where Keefer’s ego writes checks that can’t be covered. Walking the tight rope of settling perceived scores while tossing Queeg to the wolves and saving his own skin. Queeg is quietly ushered out. The mutineers are acquitted. And later at a celebratory party, Mr. MacMurray’s Keefer is solidly deserving of Lt. Barney Greenwald’s scathing dressing down and challenge to a fight.

3. Pushover (1954)

Ramping it up the sleaze and slime factor about four fold as Robbery Detective Paul Sheridan. Who starts out as honest and straight laced. A bit of of ladies’ man. Tipped to an opening scene bank robbery where people are killed and the robber, Harry Wheeler, fleetingly played by Paul Richards, escapes. Sheridan deftly disables the possible getaway car owned by robber’s moll, Lona McLane; sultrily played by Kim Novak in her debut role. Smoothly picks up Lona. Invites her for a drink and soon finds himself getting in over his head as Lona just as smoothly seduces Sheridan and suggests an easy way out with her and the bank’s stolen $200,000.

The film’s back lot, claustrophobic, shadowy, rain slicked look and Noir feel fit Mr. MacMurray’s Sheridan like a glove as he stakes out Lona’s tiny apartment in its U-shaped complex. With a plethora of high dolly shots that make Sheridan’s trench coated shadows stretch even longer. Selling his soul to the devil as he lies to his partner, Rick McAllister, well played by Philip Carey and paternal overseer, Paddy Dolan. Fudges reports to his by the book boss, Lt. Eckstrom, a sturdy, aspiring E.G. Marshall. Then slither away to see Lona and their plans quickly head south. Culminating with a few unexpected, noisy, greed motivated murders that leave no one the better.

4. The Apartment (1960)

We now find Mr. MacMurray again under the deft hand of Billy Wilder. As a rather major cog in a flawless Magnum Opus to very early 1960s Corporate America. Its hive of worker drones. The key to success and all its bells, whistles, vices and secret that are part and parcel of innovation, imagination and climbing to the top. Here, MacMurray reigns supreme as he toys with and sometimes taunts a new and possibly unwelcome addition to his fiefdom. Jack Lemmon, deftly mixing comedy and drama as naive, sometimes nebbish-y, C.C. Baxter.

MacMurray’s personnel director, Jeff Sheldrake is at the pinnacle of his appointed ladder. Basically content and more than somewhat amoral. He quickly adds his own name to the list of executives young Baxter loans his close by apartment to for late night, off the books assignations. Sheldrake dangles shiny totems and talismans of advancement before Baxter eyes. Private office and perks. While carrying on an affair with elevator girl, Fran Kubelik. Realistically brought to life by Shirley MacLaine.

Troubles ensue when Miss Kubelik catches Baxter’s fancy. Keeping relatively low key until Christmas Eve Night. While Miss Kubelik waits for Shelldrake at the company party. Only to see him enter with an earlier secretary, Edie Adams. on his arm. Miss Kubelik panics and runs to Baxter’s empty apartment and attempts a suicide with sleeping pills. Sheldrake remains, perhaps gleefully and deliberately oblivious of it all. Juggling multiple mistresses with a knowing, winning smile until the final few minutes. When Baxter quits and gives Shelldrake his surprising and well earned comeuppance. With a verbal berating and the returned keys to the executive washroom.

Overall Consensus:

Billy Wilder directing Barbara Stanwyck & Fred MacMurray in Double Indemnity

While being given many roles to play, I still believe that Mr. MacMurray was anxious to find a niche where he could stretch and flex his muscles and have some fum with particularly meaty roles under the guidance of tried and tested directors. More so with Billy Wilder, who gave the actor ample opportunities to deliver some of his best, most memorable work. Not as the hero, but the heel. Cunningly pulling strings in The Apartment and to a lesser extent in The Caine Mutiny. While also being able to flip the coin and portray an every man who takes a decision and winds up on an E Ticket to Hell in Double Indemnity and Pushover. Films revealing clever men you may not mind sharing a drink with. Though not much more.


Check out Jack’s profile page and links to his other reviews


What do you think of Fred MacMurray? Do share your favorite role(s) of this classic actor.

Classic Flix Review: Vertigo by Rockerdad

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VertigoPosterWell, FlixChatter readers, Ruth has kindly asked for another classic movie review – and with her encouragement, I picked a film I hope will end up in your DVD queues at home or the video store as one to watch over the weekend.

Thanks to prairiegirl, I recently got a chance to see the old, rarely-seen or shown Hitchcock thriller Young and Innocent (1937). As is the case with most of his pre-Hollywood films, it was full of dry, detached British humor, complete with a Hitchcock cameo and topped off with a touch of understated light romance. While excited at finally seeing this rare and wonderful early work (which climaxed with a black-faced jazz drummer having a heart attack), the experience paled in comparison to one I had seen the night before as the subject of this review – I’m referring to the fatalistic, romantic, suspense thriller Vertigo (1958).

It’s difficult to write about what may be my favorite Hitchcock movie, even out-pulsing the terrific North by Northwest. But Vertigo works on so many levels – cinematically, psychologically, psycho-sexually, that it is hands-down Hitchcock’s most complex work and arguably his masterpiece.

The film revolves around Scottie Ferguson (James Stewart), a police detective, suffering from acrophobia (fear of heights) after witnessing a fellow police officer fall to his death during a rooftop chase. Scottie, psychologically scarred from the traumatic experience, is forced to retire from the force but is somehow coaxed by old college buddy and shipping magnate Gavin Elster (Tom Helmore) to do some private eye work for him – specifically, to tail his wife, Madeleine (Kim Novak in a dual role). She is sporting some incredibly strange behavior, mysteriously (and glamourously) wandering aimlessly around San Francisco in a trance-like state. This leads Elster to fear she might be a danger to herself. As Scottie trails the beautiful Mrs. Elster, he develops an obsession towards her, much to the chagrin of Midge (Barbara Bel Geddes), Scottie’s ex-fiancee and confidant.

Vertigo iconic still photo
Vertigo iconic still photo

Scottie starts to believe that Madeleine is possessed by the spirit of a long dead woman, Carlotta Valdez, the subject of a historical painting she religiously visits at the local museum. After Madeleine jumps into San Francisco Bay in a seeming attempt to end her life, Scottie saves her and is tragically hooked. He is in love with her. Scottie tries to help her stave off her demons by revisiting Carlotta’s old haunts. In the conclusion of the film’s first act, Scottie and Madeleine drive to San Juan Batista, an old Spanish mission, from Carlotta’s past, in an attempt to cure her of her nightmares. Instead, Madeleine succeeds in taking her life, as Scottie fails to reach her, his vertigo or acrophobia preventing him from climbing the bell tower she leaps from.

Now we see Scottie’s mental state deteriorate into catatonia – his guilt, lost love, and trauma (now two-fold) too much to bear. His disintegration leads him to frequent Madeleine’s old haunts and is relegated into wandering the streets of San Francisco just as Madeleine had. One day, he stalks a simple shop girl, Judy (also played by Kim Novak) who has a slight resemblance to Madeleine if unrefined. As he courts her, his obsession overwhelms him. He starts to dress her up in Madeleine’s clothes, hair, and personal effects. Judy is reluctant with his desires to transform her, Scottie is immovable and takes an analytical precision in transforming her into the woman he desires…

The film was adapted by Alec Coppel and Samuel Taylor from Sueurs froides: d’entre les morts (“Cold Sweat: From Among the Dead”) by Pierre Boileau and Thomas Narcejac. It is rumored that the novel was specifically written for Hitchcock after he failed to secure the rights to their previous novel, Celle qui n’était plus, which became Les Diabolique (1955) by Henri-Georges Clouzot, a great film in it’s own right.

The film is shot beautifully in color, on location in San Francisco (with some shots on a soundstage), by longtime collaborator Robert Burks. In classic Hitchcock style, famous landmarks are part of the cast: Golden Gate Bridge, San Juan Batista, Mission district and Redwood National Park. The memorable title sequence was designed by notable Graphic Artist Saul Bass. But perhaps the most important element to the films cinematic experience is Bernard Herrmann’s incredible score. Without it, the film would lose its romanticism, mystique and tragedy. It is my favorite of all Herrmann’s work. The music itself stands alone as a complete work of art.

James Stewart & Kim Novak
James Stewart & Kim Novak

Also part of Vertigo’s genius is Stewart’s performance as Scottie. We see him go through the darkest of transformations – this isn’t George Bailey from It’s A Wonderful Life or Mr. Smith from Mr. Smith Goes To Washington. Here, Stewart plays a tortured, damaged soul. Kim Novak is excellent as the tragic femme fatale, playing both sides of a coin – refined and unrefined – but captivating in both. Hitchcock originally cast Vera Miles in Madeleine’s role, but a pregnancy and other commitments gave Novak a chance to shine.

The film has been restored in glorifying color and the soundtrack re-recorded (including some foley effects) according to Hitchcock’s original notes. Some purists prefer the scratchy mono version but this is a real treat to hear in stereo and surround.

Vertigo stands, in my book, as Hitchcock’s greatest film. It was misunderstood at its first release, with critics giving it mixed reviews. Its complexity, tone and unusual story arc confused some expecting predictable noir fare. But time has proven this to be a true classic, one that perhaps exemplifies the apex of the Technicolor noir film of the 1950s.

Check out the awesome trailer below:

– Thanks again to my pal Vince Caro for the review!


So what do you all think of Vertigo? Let us know what you think!