There’s not much to recommend here. The plot is dull and doesn’t hook up well, and the characters are cardboard cut-outs, but the artificiality of the whole thing suits Raft’s stiff personality so at least that’s a match. Bari, as always, is interesting and attractive.

Scale of 10: I give it 2.

This is an interesting movie because the pre-code boldness of its story line would not have been permitted a year later, nor would some of its suggestive dialogue and visuals, to say nothing of the leading lady’s naughty eyes.

Director Michael Curtiz (“Casablanca”) keeps things moving right along and Chatterton is fascinating throughout. Don’t expect nudity or four-letter words, however, and don’t expect the story to be very credible. The whole thing is pretty much of a hoot but worth watching if you’re curious about what passed for sophistication back in the day.

Scale of 10:  I give it 6.

A sizzler for its time, this is one of the best of the film noirs. Taylor fits his role perfectly, and Turner is at her sexiest. Plus, she shows she can act. Who knew?

 The story is engrossing, the characters are solid and played by an outstanding cast while Mervyn LeRoy’s direction is top-notch. Heflin won an academy award for his supporting role. In addition to the actors mentioned above, Patricia Dane adds to the movie’s sizzle as “Garnet” while Leona Maricle is striking in two very brief appearances as “Miss Mines”.

This is one of my all-time faves.

Scale of 10:  I give it 9.

This big flashy musical has some novel features but the plot is lame. the script flat, and the songs non-memorable.. Benny, a great comedian, is asked to play someone other than himself and flops. Armstrong shines briefly, Raye is spirited, and Boswell sings well though in almost total darkness. As for Canova, I cannot help but wonder who in the world ever thought she had ANYTHING to offer as a comic, singer, or actress? This film is hardly worth the time it consumes.

Scale of 10…I give it 3.

Since this tongue-in-cheek expose of “wicked Hollywood” was made 86 years ago, it depicts a very different world from the one in which we live. A big, rambling picture, it includes glimpses of other movies in production, one being directed by Charles Chaplin. There’s a spectacular finish, and the whole thing is full of hokum. For instance, an ambitious young actress snuggles up to a casting director and, when he asks her if she is trying to “vamp” him, the title has her replying, “I must have work; I know that I must pay the price!”

There is some mild spice sprinkled in and some scenes in primitive color. If you have a couple of hours to spare, you may find this trip to the world of 1923 quite entertaining. I did. (The film may not be scheduled again on Turner Classic Movies for some time, but they say a dvd is available.)

Scale of 10: I give it 6.

Let’s see…there’s drunken Doc Boone, a mild-mannered whiskey drummer named Peacock, a gal they just call Dallas, crooked banker and blowhard Elsworth H. Gatewood, a sauve gambler and gunslinger named Hatfield, the stagecoach driver Buck, the guard Curley, and an escaped outlaw known as the Ringo Kid. Add to these an Army officer’s wife who gives birth en route

Masterfully molded by screenwriter Dudley Nichols into totally credible human beings, these multi-faceted characters are played to perfection by an outstanding cast, none of whom gets billing above the title. However, his role as Ringo set Wayne on a path to super-stardom, and Mitchell earned an Oacar as Doc.

The characters and acting are but portions of this film’s greatness. The theme, the plot line, the tense action and, yes, the love story all are memorable. Add awesome scenery (though in black and white), some great atmospheric touches, legitimate bits of humor, and a music score that is an amalgam of American traditional melodies, and you have a splendid motion picture directed by a master, John Ford.

If you were to call this the greatest Western ever made and perhaps one of the five most entertaining films of all time, I would not offer an argument.

Scale of 10: I give it 10.

This very early film musical is hopelessly antiquated, the sound isn’t good, and the numbers are dull (except for Waters singing “Am I Blue?”). Though pre-code, the only titillation is a brief peek into a dressing room where the showgirls are changing. Fashions and chatter are interesting, but be warned: the thing drags on and on.

Scale of 10: I give it 3.

This jungle romp has a primal erotic quality which is progressive for its time, and the principals couldn’t be better in their roles. Kelly’s subtle sexiness is powerful without being overt, Gardner is lusty and smart, and Gable’s maturity suits his character well. Skilled director John Ford turns what might have been a tawdry tabloid piece into a dramatic spectacle. The gorilla scenes are excellent.

Not a classic, but quite entertaining.

Scale of 10: I give it 7.

This pointless film from the hippie days contains excellent acting and will probably hold your interest while you wonder where it is going and why. Alas, these questions are never answered, so for me it was nearly two hours wasted. It does have a certain realistic validity, however, and if that is enough for you, have a go.

Scale of 10: I give it 4.

Speaking of “pre-code” musicals as we were in our last review, this is one of the friskiest of the films that were being put out just before the puritans clamped down. It also has some awesome Busby Berkeley production numbers and a plot that unrolls smoothly under Mervyn LeRoy’s direction. The weakest link in an otherwise highly competent cast is young Keeler, but she and Powell made such a delightful couple that the country fell in love with them and they did two or three more films together.

Even though this movie is 76 years old, it still delivers a good measure of entertainment.

Scale of 10: I give it 8.