THE BAD AND THE BEAUTIFUL

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"The Bad And The Beautiful" is a great title for this fascinating self-reflexive triptych melodrama about the inner-workings of Hollywood's early '50s Studio era of success.

It's telling that the picture won seven Oscars back in 1953.

Vincente Minelli's direction is breathtaking.

Kirk Douglas plays Johnathan Shields, a big time Hollywood studio exec with an eye for talent, and all the charm in the world to attract those who fit the bill.

Jonathan is also an inveterate backstabber. In order for Jonathan to succeed it is imperative that those closest too him, fail.

We follow three of Jonathan's victims through flashback chapters that accumulate toward a rich character study of each one. The fraught relationship with their mutual frenemy is a tie that binds.

There's the former business partner (Barry Sullivan), the rags-to-riches starlet (Lana Turner), and a hometown novelist turned L.A. screenwriter (Dick Powell).

Lana Turner is out of this world as Georgia Lorrison, an upcoming star contender in debt to Jonathan's underhanded guidance.

Talk about sexy, Gloria Grahame brings sexy forward and back.

"There's always good and bad in everything," couldn't be truer than in this stylish, almost post-modern, look at narcissism in the days when men were men, boys were boys, and women were classy and able. 

Tragedy strikes in the cruelest of ways before Jonathan finally loses control of his manipulative powers.

Never drop your guard around those with an ounce of power. You have to be ready before the punch arrives.

Not Rated. 118 mins.

THE MAGICIAN — THE CRITERION COLLECTION

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Ingmar Bergman's 1958 masterpiece finds Max von Sydow inhabiting Bergman's alter ego as Dr. Vogler, a nineteenth century traveling magician.

Dr. Vogler's gypsy troupe consists of his wife Manda (Ingrid Thulin) disguised as a young man, Granny Vogler, a ninety-something witch, Tubal (Åke Fridell), an exuberant master of ceremonies, and Simon (Lars Ekborg), a young stage coach driver.

Bergman's social satire catches fire when the mute Dr. Vogler and his team are challenged in Stockholm by Dr. Vergérus (Gunnar Björnstrand), the royal medical adviser, who wants to be truly mesmerized, if not terrified, by the magician's performance.

Ingmar Bergman gradually peels back layers of social hierarchy to expose core truths regarding the myriad ways in which artists are abused and exploited.

More of a timeless parable than scathing attack against those of his own country who vilified Ingmar Bergman out of disrespect and jealousy, "The Magician" nevertheless takes sharp aim at authority figures as a whole.

Bergman tosses out sparks of laugh-inducing barbs of social humor while also turning the drama ice-water cold, as when Dr. Vergérus attempts to steal Dr. Vogler's wife from under his nose while the husband watches, standing by in the shadows.

Brilliant.

Max von Sydow puts Laurence Olivier to shame. Dr. Vogler's transformation of character provides the audience with rare entertainment experience.

This lush film is a stone-cold classic by any measure.

"The Magician" is a really fun movie to return to time and time again. There's just so much cinematic magic to savor.

Not Rated. 101 mins.

I MARRIED A WITCH — SHOCKTOBER!

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While this classic screwball comedy's obvious influence on inspiring "Bewitched," that great '60s/'70s television show, it's Veronica Lake who casts the longest shadow.

Talk about iconic.

Veronica Lake's undeniable sensuality is a marvel to behold. What man could ever hope to resist this feminine creature of dynamic poise and lithe beauty?

Veronica Lake is at her most seductive as Jennifer, a witch being chaperoned by her alcoholic witch dad (Cecil Kellaway). Daughter and dad travel by broom while resting as smoke plumes.

Jennifer is a fire starter in every sense of the phrase.

Ted Tetzlaff's black-and-white cinematography is so lush it could bring a tear to your eye.

Prolific French director René Clair sets a racy tone for the comedy to spike with sexy innuendo.

Jennifer is a shameless homewrecker to Fredrick March's upper class Jonathan Woodley, a small town politician on the verge of marrying local socialite Estelle (Susan Hayward).

René Clair allows his energetic actors to snap their dialogue into a modern rhythm that is contagious. We get swept up in the screwball promise of unreasonable romance and all of the destruction that it brings.

"I Married A Witch" is a high concept movie, especially for 1942. The comic absurdity carries a Frenchness in its lighthearted attitudes regarding relations between men and the women who enchant them.

Very witchy indeed.

Not Rated. 77 mins.