Trimonthly Favorites 2024: From Anouk Aimée to Forgotten Noir and a Disney Adventure
Unpacking the most captivating classic films that I discovered this season
Welcome to the second installment of this year’s Trimonthly Favorites! In case you missed it, back in April, I posted seven films that I particularly enjoyed discovering in the previous three months of 2024. Now, once again, it’s the perfect moment to explore another set of great films that completely won me over. I have to admit, I’ve been deep in binge-watching mode over the past five months, catching up on all sorts of series, from The Last Movie Stars to Only Murders in the Building, and more. So, instead of splitting my second and third quarter favorites into separate posts, I’m rolling them into one. Consider this a double feature of all the best films I’ve discovered during that time!
Additionally, during these months, I managed to finish editing a new YouTube video that I’ve been working on since last May. It’s set to go live in the first week of September and will delve into What Ever Happened to Baby Jane?—so be sure to subscribe so you don’t miss it! Meanwhile, I’m excited to share another selection of films that particularly stood out for me. These aren’t just random picks; they’re a mix of titles I’ve been eager to watch for a long time and others I sought out for specific reasons, which I’ll explain in the post. I hope these films resonate with you as much as they did with me. So, let’s dive into these picks and explore what made them so memorable.
1/7. A Man and a Woman by Claude Lelouch
After years of wanting to see this Nouvelle Vague classic, I finally watched A Man and a Woman (Un homme et une femme, 1966) last April and was completely mesmerized by its storytelling, visuals, and performances. I was especially struck by Anouk Aimée, whose radiant and serene presence left a lasting impression on me. It was deeply moving to learn that she passed away only a couple of months later, on June 18th. Though I came to A Man and a Woman late, Aimée’s performance and the film itself truly took me completely by surprise.
Claude Lelouch’s seminal long métrage may have a straightforward premise, as its title indicates, but it delivers a tender, bittersweet exploration of love’s second chances. The film tells the story of a widow and a widower who meet by chance at their children’s boarding school in the seaside resort of Deauville and gradually fall in love. Lelouch’s innovative use of color and black-and-white cinematography creates a visually stunning experience that begs you to immerse yourself fully. I was particularly enamored with the first half of the film, where its light-hearted approach and beautifully crafted scenes had me awe-struck. The chemistry between Aimée and Jean-Louis Trintignant, coupled with the film’s striking visuals and evocative soundtrack, made me wish I could grab a camera and capture my own life in such a captivating way. If you can, watch the movie and let it happen to you.
📺 Watch A Man and a Woman trailer on YouTube | Watch it on Filmin (for Spain and EU)
2/7. The Locket by John Brahm
It is a truth universally acknowledged among classic cinema fans that 1939 is widely considered the greatest year in film history. While I certainly won’t argue with that, for me, 1946 was equally remarkable. Many of my all-time favorite films were released that year, including Notorious, The Best Years of Our Lives, Gilda, and It’s a Wonderful Life. And then there are gems like The Razor’s Edge, La Belle et la Bête by Jean Cocteau, or Powell and Pressburger’s A Matter of Life and Death. In terms of noir, 1946 delivered outstanding classics such as The Postman Always Rings Twice, The Strange Love of Martha Ivers, The Killers, and The Big Sleep, as well as Dragonwyck, The Spiral Staircase, The Blue Dahlia, or Humoresque. I think I’ve made my case but I could go on.
Another film from 1946 that continues to prove my point—and one I hadn’t seen until this year—is The Locket. I’m again admittedly late to the party on this one, as it has long been praised by Eddie Muller on TCM’s Noir Alley for its use of flashbacks, and many noiristas have already embraced it as an underrated classic. This gripping psychological thriller showcases Laraine Day in what might be her best performance, playing a woman whose traumatic childhood compels her to steal. As her past and present collide, the film draws us into a spiraling narrative of lies, theft, and murder. Nicholas Musuraca’s masterful cinematography amplifies the sense of unease that pervades this overlooked noir. I’m particularly drawn to films that explore gaslighting, as it offers powerful and harrowing analogies for struggles, especially in the case of women. The Locket features a brilliant and poignant role reversal in this theme, with Robert Mitchum being on the receiving end, adding depth to its already compelling story. Don’t wait to discover it like I did; it’s a wonderful film.
🎞️ Available for purchase on DVD through Warner Classics
3/7. Kiss the Blood Off My Hands by Norman Foster
The Lady from Shanghai, Where the Sidewalk Ends, The Night of the Hunter, Out of the Past—some film noir titles I find particularly evocative and enticing. Kiss the Blood Off My Hands (1948) belongs to this distinguished group, even if some have noted that it might sound more fitting for a horror film. In my view, it fits the noir canon perfectly. Based on Gerald Butler’s novel of the same name, it follows Bill Saunders (Burt Lancaster), an American ex-GI suffering from PTSD who accidentally kills a man and goes on the run. With the initially hesitant help of Jane Wharton (Joan Fontaine), a compassionate nurse, he tries to evade the police and his violent past, but fate has other plans. This forgotten noir is a moody, atmospheric thriller that deals with redemption and the struggle to readjust after the war.
Kiss the Blood Off My Hands was the first film produced by Lancaster’s newly formed production company, Norma Productions, which he co-founded with his agent and business partner, Harold Hecht. They hired Joan Fontaine as his co-star, and Robert Siodmak, who had successfully directed Lancaster in his debut, The Killers, was originally intended to direct. However, Lancaster faced several challenges during his first production. Fontaine was pregnant and fell ill at one point, and inclement weather caused further delays. Universal-International Pictures, which agreed to finance and distribute the film, kept pushing back the start of the shooting, ultimately causing Siodmak to be replaced by Norman Foster.
Additionally, the title that I find so enticing was deemed too lurid, leading it to be temporarily changed to The Unafraid at several stages. Despite these setbacks, Kiss the Blood Off My Hands performed well enough to cover its costs, and Norma Productions—later known as Hecht-Lancaster—went on to produce several notable films in the 1950s, including The Flame and the Arrow (1950), Marty (1955), Sweet Smell of Success (1957), and Separate Tables (1958). While Kiss the Blood Off My Hands has its flaws, it certainly has its winning points too. I was initially skeptical of the pairing between Fontaine and Lancaster, but I was pleasantly surprised by how well they complemented each other. Russell Metty’s cinematography—whom I particularly admire for his collaborations with Douglas Sirk—was also a bonus for me, masterfully creating its gloomy English atmosphere.
📺 Watch Kiss the Blood Off My Hands on the Internet Archive
4/7. The Best Man by Franklin J. Schaffner
Before mentioning more noir entries and a Disney adventure, let me also briefly recommend The Best Man (1964). Why briefly? Because the less you know going in, the better. I’m usually not drawn to movies that focus too deeply on politics, but I have two exceptions to that rule: Henry Fonda and films that ultimately deal with personal relationships. The Best Man hits both marks. This sharp political drama, based on a play written by Gore Vidal that had been a hit on Broadway in the 1960 electoral year, unfolds during a presidential campaign, making it especially relevant today as it delves into the vicious dirty tricks and moral dilemmas faced by two candidates running for the U.S. presidency.
Starring Fonda and Cliff Robertson, the film focuses on their characters’ rivalry as they vie for their party’s nomination. As the race intensifies, both men must confront their principles—or lack thereof—in a battle that is as much about integrity as it is about power. Although good and bad are distinctly defined and enriching ambiguity is not utilized enough, Schaffner’s film offers a timely examination of the complexities and compromises of American politics. Its supporting cast also features several actors prominent during the 1930s, such as Ann Sothern, Gene Raymond, and Lee Tracy (who reprises his role from the original play), along with Eddie Adams, Margaret Leighton, and Kevin McCarthy. If you enjoyed films like Advise & Consent (1962) or The Manchurian Candidate (1962), you will find a lot to like about The Best Man.
🎞️ Watch The Best Man on YouTube
5/7. The Moon-Spinners by James Neilson
I grew up loving Hayley Mills’ Disney live-action films, especially The Parent Trap (1961) and In Search of the Castaways (1962). Based on Mary Stewart’s best-seller, The Moon-Spinners (1964) was the only one of her collaborations with Walt’s studio that I hadn’t yet watched in its entirety. It felt different from her previous work, and perhaps due to the mixed reviews I’d read over time, I dismissed it as a title I wouldn’t enjoy. Well, I couldn’t have been more wrong. Watching it turned out to be a fantastic experience.
At 18, Hayley took on a more mature role in a film that blends romance with a web of intrigue set against the exotic backdrop of the Greek Isles. The chemistry between Peter McEnery and Mills worked wonders for the film that also featured Mills first onscreen kiss. There were many Hitchcockian elements that I certainly didn’t expect in a Disney film from that era but that very well integrated. The cast also features Eli Wallach as the villain, Joan Greenwood, Irene Papas (who is unfortunately underused), and the delightfully fun final film appearance of Pola Negri.
While neither the romance nor the mystery run very deep, The Moon-Spinners must be taken for what it is: a wonderfully enjoyable adventure that gracefully blends romance, suspense, with the scenic beauty of Elounda, Crete. It’s perfect for a late summer watch but equally worthy any time of the year.
📺 Watch The Moon-Spinners on the Internet Archive
6/7. Plunder Road by Hubert Cornfield
If you read my post on the pre-Code gems I discovered this year, you might recall that my viewing journey included a deep dive into Gene Raymond’s filmography after watching Sadie McKee (1934). That little rabbit hole led me to uncover the lesser-known noir, Plunder Road (1957), a film I knew absolutely nothing about. As I researched it a bit, one detail immediately caught my attention: the storyline of a frustrated heist attempt. Well, you had me at hello—this is one of my favorite noir subgenres, the kind that never fails to bring me both thrill and joy.
Directed by Hubert Cornfield this tight and tense, underrated title focuses on a group of five criminals who meticulously plan and execute a daring gold train robbery during a rain-soaked night. This situation presents the opportunity to offer a very stylish and taut atmosphere, enhanced by Ernest Haller’s expert, stark black-and-white cinematography, similar to the one he presented in What Ever Happened to Baby Jane? (1962) or Lilies of the Field (1963). The film’s tension doesn’t let up as the gang tries to evade capture while transporting their ill-gotten gains across state lines. Aside from its atmosphere, the cast of this B-movie has you invested in their every move. Led by Raymond, Elisha Cook Jr. and Wayne Morris truly stand out with two parts that are perfect for them. Also in the cast are several faces better known for their work on television, such as Jeanne Cooper, Stafford Repp, or Nora Hayden.
So what sets Plunder Road apart from other heist films? Definitely, its atmosphere and the psychological strain of the getaway rather than the heist itself. Coming next October 15th, Kino Lorber will be releasing the film in Blu-ray format along with The Scarlett Hour (1956) and The Enforcer (1951) in their series The Dark Side of Cinema. A great way to enjoy this forgotten noir in all its quality. The same goes for all the films I mention.
🎞️ Watch Plunder Road on the Internet Archive
7/7. Big House, U.S.A by Howard W. Koch
As always in these posts, I like to save the best for last, and in this case, the label goes to Big House U.S.A. (1955). Another case of late film noir that was a total shocker for me for several reasons.
For starters, Big House, U.S.A, is an intense and suspenseful experience that combines crime, police procedural, and prison drama elements with some bold, heartbreaking, and almost brutal scenes. The story follows the kidnapping of a young boy near a Colorado national park by Geraldo “Jerry” Barker (Ralph Meeker), who extorts the boy’s father for a substantial ransom. When his plan goes disastrously wrong, he finds himself incarcerated alongside a gang of hardened criminals, led by Broderick Crawford, who is plotting a daring prison escape. Barker, who is keeping huge secrets, gets into the midst of another disastrous plan. The cast is nearly perfect, featuring some of the era’s best “heavies” like Lon Chaney Jr., William Talman (a favorite of mine), and Charles Bronson.
Ralph Meeker deserves special mention for his chilling performance. Meeker, who garnered significant attention for his stage work, never quite achieved the full recognition he deserved on film, despite providing great performances in superb movies like Jeopardy (1953), The Naked Spur (1953), Kiss Me Deadly (1955), Paths of Glory (1957), and Run of the Arrow (1957). In Big House, U.S.A., I felt the story could have delved deeper into his character’s motivations, as well as Crawford’s, who were both written somewhat one-dimensionally. The film sticks closely to the police procedural or docudrama format, which limits the exploration of these complex characters and the powerful moments that arise. Despite these considerations, Big House, U.S.A., was a wonderful surprise and is definitely worth watching if you haven’t seen it yet. I decided to talk about it last because it left such a strong impression on me, and I thoroughly recommend it.
📺 Watch Big House U.S.A. on the Internet Archive
🎬 Thank you for reading this post and making it thus far. As always, you can find me on my YouTube channel where more videos are coming this September!
What have you been watching these past few months? Have you watched any of the films I mention in this post? Share with me in the comments, I would love to know!
I hope that wherever you are, the weather is lenient and that you enjoy some fantastic movies.
Miriam
Great round up, Miriam, I'm going to hunt down The Locket for sure as I've never seen Laraine Day in a movie. I have two recipes for her, Apricot Glazed Roast Pork and "Blushing Bunny" which sounds INTRIGUING! Love from the south coast of England - Jx
Thank you for this terrific post, Miriam! I've seen THE LOCKET and KISS THE BLOOD OFF MY HANDS (such a sweet little title!), but am looking forward to seeing the others, especially PLUNDER ROAD. Love heist films!