The Amazing Dr. Clitterhouse (1938) A magnificent specimen of pure viciousness & pure scientific research… by a magnificent Screwball

THE AMAZING DR. CLITTERHOUSE (1938)

Dr. T.S Clitterhouse-“Crime and research.”

Dr. T.S. Clitterhouse-“The greatest crime of all!” ‘Rocks’ Valentine-“What’s that?” Dr. T.S.Clitterhouse“Why, Homicide naturally.”

Directed by Anatole Litvak (The Sisters 1938, Confessions of a Nazi Spy 1939, Out of the Fog 1941, Blues in the Night 1941, Snake Pit 1948, Sorry, Wrong Number 1948, The Night of the Generals 1967) With a screenplay co-written by John Huston and John Huxley. Based on the play by Barré Lyndon – Music by Max Steiner who lends a dark and dramatic flourish to the sinister & mordant essence of the narrative.

Cinematography by Tony Gaudio (The Mask of Fu Manchu 1932, Lady Killer 1933, The Man With Two Faces 1934, Bordertown 1935, The Story of Louis Pasteur 1936, The Life of Emile Zola 1937, The Sisters 1938, Brother Orchid 1940, The Letter 1940, High Sierra 1941, The Man Who Came to Dinner 1942, Larceny, Inc. 1942, Experiment Perilous 1944, Love From a Stranger 1947)

The Amazing Dr. Clitterhouse converges into several genres–black comedy with deadly dark overtones, crime drama, the gangster movie, suspense & psychological noir with classical horror elements evidenced by the duality of the schizophrenic hero.

Though absurd it’s an enjoyable Litvak’s direction, Huston’s screenplay and Gaudio’s arousing photography make it an enjoyable film to watch.

While watching Litvak’s film again, it suddenly hit me (smack between my green eyes) there is one significant trope that stood out so obvious, so clearly to me. Strange that I hadn’t realized it during my first viewing.

Dr. Clitterhouse is an archetypal Jekyll & Hyde figure, using his immersion into criminal activity rather than a smoky elixir to drink down his uneasy gullet, that would normally transform his outer appearance into a fiend, Clitterhouse still becomes transfigured as a criminal and a murderer by and because of his endeavors.

Edward G. Robinson as Pete Morgan in The Red House (1947) directed by Delmer Daves.

The story raises the question of the duality inherent in the protagonist J.T. Clitterhouse, where it is possible to tap into the dark side, the doctor diverges into a classical medical/science horror with personality traits being tainted by the evil/immoral tendencies that people are capable of. When exploring immoral activities that can ‘change a man’s personality’ there is always a fatalistic inevitability. The disambiguation of the situation-there are no horror props, no mysterious mad scientifically developed drug inducement– it is the single act, desire and curiosity of a scientist seeking answers concerning the criminal mind that literally subsumes the nature of the personality examining the questions. i.e. Dr. Clitterhouse becomes not a monster, but a criminal and ultimately a murderer.

Clitterhouse is seduced by the excitement he experiences, and embraces the darker side of himself without the use of a scientific ‘horror’ concoction. While presented as a gangster film, its conceptualization of medical/science experimentation on vicious human nature, aberrations in psychology and the criminal mind elucidates the clear philosophical themes of classical medical-science horror.

Night Has a Thousand Eyes (1948) written by Barré Lyndon stars Edward G. Robinson as a phony mentalist haunted by greed and a sense of impending doom. Co-stars Gail Russell and John Lund.

Film genres’ lines were often blurred in the 1930s & 1940s, in particular a few of Edward G. Robsinson and Humphrey Bogart’s films which intersected with crime, noir and horror narratives. In particular director Delmer Daves frightening The Red House (1947) and director Julien Duvivier’s Flesh and Fantasy (1943) and Night Has a Thousand Eyes 1948 starring Edward G. Robinson.

Then Humphrey Bogart’s exploration into the diverging genres were apparent in The Return of Doctor X (1939), and The Two Mrs. Carrolls (1947) directed by Peter Godfrey.

Humphrey Bogart in The Return of Dr. X (1939) directed by Vincent Sherman

As far as science horror goes -from the opening edge of The Amazing Dr. Clitterhouse -frames smoky bubbling flasks. Gothic science horrors would be replete with such laboratory paraphernalia.

The film stars the extraordinarily versatile Edward G. Robinson as Dr. T.S. Clitterhouse, co-stars Claire Trevor as the marvelous self-sufficient crime boss Jo Keller. And Humphrey Bogart as mean as spit ‘Rocks’ Valentine.

Included in the fabulous cast of characters actors are many other beloved Warner Bros. stock players. Alan Jenkins as Okay, Donald Crisp as Inspector Lane, Gale Page as Nurse Randolph, Henry O’Neill as Judge, John Litel as the Prosecuting Attorney, Thurston Hall as Grant, Maxie Rosenbloom as Butch, Bert Hanlon as Pat, Curt Bois as Rabbit, Ward Bond as Tug, Vladimir Sokoloff as Popus.

The film Warner Bros. released in 1938 is an adaption of a British play performed on stage in London a few years earlier with Sir Cedric Hardwicke in the title role.

Apparently Edward G. Robinson wasn’t happy with his role in the film, and Humphrey Bogart like it even less, referring to it as The Amazing Dr. Clitoris. Both actors appeared in three other gangster films where they played adversaries –Bullets and Ballots (1936), director Michael Curtiz’s Kid Gallahad (1937) and Brother Orchid (1940).

Bogart felt that The Amazing Dr. Clitterhouse was not advancing his career playing second fiddle to Robinson. Bogart would finally be taken seriously as a leading man in director Raoul Walsh’s They Drive By Night (1940) and High Sierra (1941) co-starring Ida Lupino.

The film stars the extraordinarily versatile every-man who can play it cruel and ruthless or unassuming and weak– Edward G. Robinson as Dr. Clitterhouse brings the perfect measure of seemingly invulnerable genius driven by his short-sighted crusade to study the criminal mind.

The film also stars the seductive and equally versatile actress Claire Trevor who won The Academy Award for Best Supporting Actress as the tragic Gayle Dawn in 1948 for Key Largo (Dead End 1937, director Robert Wise’s Born to Kill 1947 co-starring Laurence Tierney, Raw Deal 1948, Borderline 1950 ) As the gutsy crime boss Jo Keller who heads a gang of lovable miscreants. Jo finds herself drawn to Clitterhouse, partly because he’s not the kind of man she usually runs around with.

Humphrey Bogart brings his gruff hardened criminal type and mean as spit ‘Rocks’ Valentine, whose implacable toughness cuts through Clitterhouse’s sterile academic objectivity in the narrative. The two clash at every turn, until the force of their conflict creates a final verdict.

Robinson, Trevor and Bogart would reunite ten years later in John Huston’s Key Largo (1948) their working chemistry manifests splendidly in the crime genre. While Key Largo is the grittier story, The Amazing Dr. Clitterhouse lends these three stellar actors a playground to exercise their tremendous adaptability to any role.

Edward G. Robinson plays T.S. Clitterhouse an esteemed Park Avenue physician who is invited to some the city’s most affluent cocktail parties. What the polite set doesn’t know about their charming intellectual guest is that he is acting as cat burglar stealing fortunes in jewels (not for money, he is quite well off financially) but for the purpose of conducting his research and gaining insight into the pathology of the criminal mind and the physiological changes in the active criminal’s physical and mental conditioning during the commission of a crime which he hopes to publish in a medical tome that will help inform both psychologists and law enforcement.

To indulge in the criminal atmosphere to the fullest, he insinuates himself into the city’s toughest gang and the head of the organization that is able to fence such expensive quality jewels. Jo Keller (Claire Trevor) is the high stakes fence in charge of her gang of thugs and miscreants led by the gruff and vicious ‘Rocks’ Valentine (Bogart) The gang pulls jobs all the while trying to evade capture by one Clitterhouse’s acquaintances, Police Inspector Lewis Lang played by the wonderful character actor Donald Crisp (Jezebel 1938, Wuthering Heights 1939, How Green Was My Valley 1941, The Uninvited 1944.)

The film opens with dramatic music by Max Steiner, on the title screen there is a laboratory with smoking, bubbling flasks behind the credits to invoke the feeling of science, cut away to…

There is a woman singing opera as she is accompanied on a piano at a high brow cocktail party. The camera pulls back and through a window we see a flashlight and someone taking jewelry out of a safe, the flashlight is the only source of light in an otherwise pitch black room. During Mrs. Updyke’s party, it is Dr. Clitterhouse himself who manages to crack the safe full of priceless gems beating one of ‘Rock’s Valentine’s and Jo Keller’s gang to the vault. He examines the expensive jewels and loads them into his medical bag.

A second man, enters into the nearly black room. Later his identity is revealed as of a thief called Candy (Billy Wayne) who climbs into the already open window and Clitterhouse’s flashlight shines on his bewildered face. He is told to put his arms up and turn around and face the wall. He assumes that it is the police. Then Rocks Valentine (Bogart) appears in the window, and is stunned to see what’s going on — he ducks down then climbs back down to the ground.

Clitterhouse’s (Robinson) distinct voice in the darkness tells him to remain with his hands up, as the first intruder (Dr. Clitterhouse) leaves the room, opening the door, and moves toward the sound of the opera singer.

Dr. Clitterhouse appears amidst the guests now as the opera singer finishes her aria. Mrs.Frederick R. Updyke (Georgia Caine) tells him that she’s in good voice this evening- he humors her “Inspiring, simply inspiring Mrs. Updyke.”

As Clitterhouse has takes a snoot full of brandy and walks away rolling his eyes because the caterwauling vocalist has decided to grace the guests with another moving soprano rendition, he makes a phone call to check in with his service, he’ll be going to the hospital to check in on one of his patients soon. Suddenly he hears a scream from upstairs.

Apparently the maid has discovered the safe has been cracked. He remains on the phone calmly giving some prescriptive advice to his nurse, while the rest of the guests head toward the stairs like a herd of well dressed antelope. The maid, “A burglar -your jewels -he came in through the window.” While the guests and Mrs. Updyke are hysterical, Clitterhouse has an amused and knowing smile on his face, finishing his phone call composed and unaffected by the sudden chaos.

The next phone call Clitterhouse dials –police headquarters – “Hello, Good Evening, I want to report a robbery at Mrs. Frederick R. Updyke’s house.”

The third phone call Clitterhouse makes is for an ambulance– the butler has shot Candy one of Jo Keller’s gang and is now the suspected burglar. The comedy of Clitterhouse’s calm, collected and calculated phone calls is subtle and farcical.

Mrs. Updyke- “Are we all going to be frisked?” Officer-“Yes Ma’am I’m sorry.” Mrs.Updyke answers giddily“Oh don’t apologize, I think it’s thrilling.”

Laying on the stretcher Candy who was shot in the shoulder insists he didn’t do ‘nothin’. Clitterhouse examines the bullet wound and Candy looks at him strangely and says  “Say didn’t you and me meet someplace before?”

Clitterhouse’s pedigree shows-“I hardly think so.” Candy asks a guest standing over him –“Who is this fella?” The guest-“Why, Dr. Clitterhouse of course.”  There’s a hand on Clitterhouse’s shoulder, the doctor looks up and it’s Inspector Lane (Donald Crisp) he looks up at him- “Oh, Inspector Lane, Isn’t this a prosaic case for you to be on?” Lane-“It may look like nothing to you, but I’m hoping it’s the end of all my headaches these last few months.” He tells the suspect Candy to hand over the ice, but Candy tells Lane he’s never seen any ice. “I ain’t got no ice on me, your dicks’ll tell ya.” Lane’s officers tell him that they searched him but found nothing. “I’m telling you I never saw it, I never had a chance, somebody beat me to it.” Lane asks him who he’s working with. “Just a lone wolf. What about Rocks Valentine?”Candy tells him-“I never worked, (knowing pause) Rocks who?” “Don’t act dumb you slipped that jewelry to somebody. Come on spill it.”

Lane instructs his men to search everyone, the servants and even the guests. Clitterhouse for a moment looks worried. Lane keeps interrogating the suspect, who insists there was somebody else in the room who was already going through the wall safe when he climbed in the window. “That’s on the level.”

Clitterhouse gets a call, he needs to be at the hospital already for emergency surgery. Lane even gives Clitterhouse a motorcycle escort. Clitterhouse takes his medical bag that was on the floor of the closet from the butler who was certain he had placed it on the shelf above when Clitterhouse first arrived. And as he walks out the —the butler pauses as he ponders a second thought at what just transpired. He knows the bag was on the top of the shelf before the robbery. Curious…

Clitterhouse evades Inspector Lane’s suspicion, all the while holding onto the goods in his medical bag which he brings with him to surgery. His devoted Nurse Randolph (Gale Page) finds the jewels and winds up discovering that it’s been Dr. Clitterhouse who is responsible for all the Park Avenue jewel thefts in order to conduct his research, where he records his blood pressure, pulse, pupil reaction, during and after he commits the crimes.

Nothing hints at the duality of Clitterhouse’s conscience and his Jekyll & Hyde personality more than this cross fade into the next scene. The psychological noir iconography of the mirror symbolic of the dual personae and his conscience represented by the police reflected in the glass.

In the surgical arena Dr. Clitterhouse is about to perform surgery on Counselor Grant who has a serious back problem. Clitterhouse is shown as a highly regarded surgeon having friends in high places, which is convenient for insinuating himself into the investigations for the 4 inexplicable robberies.

Dr. Clitterhouse tells him to relax and not be so jittery. The cantankerous and agitated counselor argues with Clitterhouse- “My dear boy I’ve had over a hundred clients face the electric chair I’ve never been jittery yet.” Clitterhouse-“But your clients were.” Clitterhouse needs his glasses and asks Miss Randolph to fetch his glasses which happen to be in his medical bag.

Nurse Randolph looks in the bag, while the counselor is giving Clitterhouse a hard time about him operating. Randolph finds the bag filled up with a glittering fortune of jewels, she has opened Pandora’s Box. Nurse Randolph watches as Clitterhouse discusses with another doctor how without the elliptical surgery on the counselor’s back, it might result in paralysis. “Oh Miss Randolph… (he sees her with the bag) What are you doing?… aren’t you getting my glasses?” “Yes indeed I have them right here.” “I’m sorry if you had any difficulty finding them?” “Not at all doctor only your bag was unusually full.” Counselor Grant (Thurston Hall) interjects. “Can I interrupt that big medical conference to ask for a cigarette” Clitterhouse-“Oh nurse you won’t forget to keep an eye on my bag.”

He’s already established that Nurse Randolph is an ally, who isn’t planning on turning him in. She is showing her loyalty and respect for him. Nurse Randolph will keep Clitterhouse’s secret.

Give this crank a cigarette please!!!!!!

Continue reading “The Amazing Dr. Clitterhouse (1938) A magnificent specimen of pure viciousness & pure scientific research… by a magnificent Screwball”

Film Noir ♥ Transgression Into the Cultural Cinematic Gutter: From Shadowland to Psychotronic Playground

“Unexpressed emotions will never die. They are buried alive and will come forth later in uglier ways.”
Sigmund Freud

“Ladies and gentlemen- welcome to violence; the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains sex.” — Narrator from Faster, Pussycat! Kill! Kill! (1965)

Faster Pussycat
Tura Satana, Haji, and Lori Williams in Russ Meyer’s Faster, Pussycat! Kill! Kill! 1965
Cul-de-Sac
Françoise Dorléac and Donald Pleasence in Roman Polanski’s Cul-de-sac 1966
the Naked kiss
Constance Towers kicks the crap out of her pimp for shaving off her hair in Sam Fuller’s provocative The Naked Kiss 1964
Shock Corridor
Peter Breck plays a journalist hungry for a story and gets more than a jolt of reality when he goes undercover in a Mental Institution in Sam Fuller’s Shock Corridor 1963
CapturFiles_3 copy
Bobby Darin is a psychotic racist in Hubert Cornfield and Stanley Kramer’s explosive Pressure Point 1962 starring Sidney Poitier and Peter Falk.

THE DARK PAGES NEWSLETTER  a condensed article was featured in The Dark Pages: You can click on the link for all back issues or to sign up for upcoming issues to this wonderful newsletter for all your noir needs!

Constance Towers as Kelly from The Naked Kiss (1964): “I saw a broken down piece of machinery. Nothing but the buck, the bed and the bottle for the rest of my life. That’s what I saw.”

Griff (Anthony Eisley) The Naked Kiss (1964): “Your body is your only passport!”

Catherine Deneuve as Carole Ledoux in Repulsion (1965): “I must get this crack mended.”

Monty Clift Dr. Cukrowicz Suddenly, Last Summer (1959) : “Nature is not made in the image of man’s compassion.”

Patricia Morán as Rita Ugalde: The Exterminating Angel 1962:“I believe the common people, the lower class people, are less sensitive to pain. Haven’t you ever seen a wounded bull? Not a trace of pain.”

Ann Baxter as Teresina Vidaverri Walk on the Wild Side 1962“When People are Kind to each other why do they have to find a dirty word for it.”

The Naked Venus 1959“I repeat she is a gold digger! Europe’s full of them, they’re tramps… they’ll do anything to get a man. They even pose in the NUDE!!!!”

Darren McGavin as Louie–The Man With the Golden Arm (1955): “The monkey is never dead, Dealer. The monkey never dies. When you kick him off, he just hides in a corner, waiting his turn.”

Baby Boy Franky Buono-Blast of Silence (1961) “The targets names is Troiano, you know the type, second string syndicate boss with too much ambition and a mustache to hide the facts he’s got lips like a woman… the kind of face you hate!”

Lorna (1964)- “Thy form is fair to look upon, but thy heart is filled with carcasses and dead man’s bones”

Peter Fonda as Stephen Evshevsky in Lilith (1964): “How wonderful I feel when I’m happy. Do you think that insanity could be so simple a thing as unhappiness?”

Glen or Glenda (1953)“Give this man satin undies, a dress, a sweater and a skirt, or even a lounging outfit and he’s the happiest individual in the world.”

Glen or Glenda
Ed Wood’s Glen or Glenda 1953

Johnny Cash as Johnny Cabot in Five Minutes to Live (1961):“I like a messy bed.”

Dr. Moreau (Charles Laughton) Island of Lost Souls: “Do you know what it means to feel like God?”

The Curious Dr. Humpp (1969): “Sex dominates the world! And now, I dominate sex!”

The Snake Pit (1948): Jacqueline deWit as Celia Sommerville “And we’re so crowded already. I just don’t know where it’s all gonna end!” Olivia de Havilland as Virginia Stuart Cunningham “I’ll tell you where it’s gonna end, Miss Somerville… When there are more sick ones than well ones, the sick ones will lock the well ones up.”

Delphine Seyrig as Countess Bathory in Daughters of Darkness (1971)“Aren’t those crimes horrifying. And yet -so fascinating!”

Julien Gulomar as Bishop Daisy to the Barber (Michel Serrault) King of Hearts (1966)“I was so young. I already knew that to love the world you have to get away from it.”

The Killing of Sister George (1968) -Suzanna York as Alice ‘CHILDIE’: “Not all women are raving bloody lesbians, you know” Beryl Reid as George: “That is a misfortune I am perfectly well aware of!”

The Killing of Sister George
Susannah York (right) with Beryl Reid in The Killing of Sister George Susannah York and Beryl Reid in Robert Aldrich’s The Killing of Sister George 1960

The Lickerish Quartet (1970)“You can’t get blood out of an illusion.”

THE SWEET SOUND OF DEATH (1965)Dominique-“I’m attracted” Pablo-” To Bullfights?” Dominique-” No, I meant to death. I’ve always thought it… The state of perfection for all men.”

Peter O’Toole as Sir Charles Ferguson Brotherly Love (1970): “Remember the nice things. Reared in exile by a card-cheating, scandal ruined daddy. A mummy who gave us gin for milk. Ours was such a beautifully disgusting childhood.”

Maximillian Schell as Stanislaus Pilgrin in Return From The Ashes 1965: “If there is no God, no devil, no heaven, no hell, and no immortality, then anything is permissible.”

Euripides 425 B.C.“Whom God wishes to destroy… he first makes mad.”

Davis & Crawford What Ever Happened to Baby Jane?
Bette Davis and Joan Crawford bring to life two of the most outrageously memorable characters in Robert Aldrich’s What Ever Happened to Baby Jane? 1962

WHAT DOES PSYCHOTRONIC MEAN?

psychotronic |ˌsīkəˈtränik| adjective denoting or relating to a genre of movies, typically with a science fiction, horror, or fantasy theme, that were made on a low budget or poorly received by critics. [1980s: coined in this sense by Michael Weldon, who edited a weekly New York guide to the best and worst films on local television.] Source: Wikipedia

In the scope of these transitioning often radical films, where once, men and women aspired for the moon and the stars and the whole ball of wax. in the newer scheme of things they aspired for you know… “kicks” yes that word comes up in every film from the 50s and 60s… I’d like to have a buck for every time a character opines that collective craving… from juvenile delinquent to smarmy jet setter!

FILM NOIR HAD AN INEVITABLE TRAJECTORY…

THE ECCENTRIC & OFTEN GUTSY STYLE OF FILM NOIR HAD NO WHERE ELSE TO GO… BUT TO REACH FOR EVEN MORE OFF-BEAT, DEVIANT– ENDLESSLY RISKY & TABOO ORIENTED SET OF NARRATIVES FOUND IN THE SUBVERSIVE AND EXPLOITATIVE CULT FILMS OF THE MID TO LATE 50s through the 60s and into the early 70s!

I just got myself this collection of goodies from Something Weird!

weird-noir
There’s even this dvd that points to the connection between the two genres – Here it’s labeled WEIRD. I like transgressive… They all sort of have a whiff of noir.
Grayson Hall Satan in High Heels
Grayson Hall -Satan in High Heels 1962
mimi3
Gerd Oswald adapts Fredrick Brown’s titillating novel — bringing to the screen the gorgeous Anita Ekberg, Phillip Carey and Gypsy Rose Lee and Harry Townes in the sensational, obscure and psycho-sexual thriller Screaming Mimi 1958
The Strangler 1964 Victor Buono
Victor Buono is a deranged mama’s boy in Burt Topper’s fabulous The Strangler 1964
Repulsion
Catherine Deneuve is extraordinary as the unhinged nymph in Roman Polanski’s psycho-sexual tale of growing madness in Repulsion 1965

Just like Alice falling down the rabbit hole, Noir took a journey through an even darker lens… Out of the shadows of 40s Noir cinema, European New Wave, fringe directors, and Hollywood auteurs, brought more violent, sexual, transgressive, and socially transformative narratives into the cold light of day with a creeping sense of verité. While Film Noir pushed the boundaries of taboo subject matter and familiar Hollywood archetypes it wasn’t until later that we are able to visualize the advancement of transgressive topics.

Continue reading “Film Noir ♥ Transgression Into the Cultural Cinematic Gutter: From Shadowland to Psychotronic Playground”

Postcards From Shadowland no. 9

1933 das testament der dr. mabuse
The Testament of Dr. Mabuse 1933 Fritz Lang
Ace In The Hole
Ace in The Hole – Billy Wilder
Aroused 1966
Aroused 1966 Anton Holden
Bayou 1957
Poor White Trash aka Bayou 1957-Harold Daniels
Blues in the night
Blues in the Night 1941-Anatole Litvak
Edward G Robinson-Little-Caesar with Douglas Fairbanks jr. and Glenda Farrell
Directed by Mervyn LeRoy-Edward G Robinson is Little-Caesar (1931) with Douglas Fairbanks jr. and Glenda Farrell
Experiment in Terror Ross Martin as Red Lynch
Experiment in Terror – Blake Edwards directs -Ross Martin as Red Lynch
Gene Tierney Tobacco Road 1941
Gene Tierney Tobacco Road 1941 directed by John Ford
George Pujouly  Brigitte Fossey Forbidden Games Jeux interdits 1952 René Clément
George Pujouly Brigitte Fossey Forbidden Games (Jeux interdits) 1952 directed by René Clément
Granny-The Southerner
Granny-The Southerner-Jean Renoir
Jeux Interdits
Jeux Interdits
knock on any door
Knock On Any Door 1949 Nicholas Ray
Lena Cabin in The Sky
Lena Horne-Cabin in The Sky 1943- Vincente Minnelli
Lon Chaney in He Who Gets Slapped
Lon Chaney in He Who Gets Slapped 1924 Victor Sjöström
Modern Times Charlie Chaplin
Modern Times Charlie Chaplin 1936
Never Take Sweets From A Stranger
Never Take Sweets From A Stranger 1960 Cyril Frankel
Night of The Demon-Tourneur
Curse of The Demon- 1957 Jacques Tourneur
Peter Lorre in The Man Who Knew Too Much1956
Peter Lorre in Alfred Hitchcock’s The Man Who Knew Too Much 1956
Rashomon
Rashomon 1950 -Akira Kurosawa
Repulsion
Roman Polanski’s Repulsion 1965 Catherine Deneuve
The Cobweb
The Cobweb-1955- Vincente Minnelli
The Last Laugh-letzte mann and emil-jannings in
The Last Laugh 1924-with emil-jannings directed by F.W Murnau
the sweet smell of success
The Sweet Smell of Success 1957-directed by Alexander Mackendrick written by Clifford Odets
Viva Zapata with Marlon-Brando and Jean Peters-
Viva Zapata 1952 with Marlon-Brando and Jean Peters-Elia Kazan directs