The Big Clock (1948)

For someone who loves books with as much passion as she does old cinema, it’s hardly surprising, perhaps, that I get especially excited when I discover a screen adaptation of a book I like—or vice-versa.

Earlier this year, I stumbled upon Kenneth Fearing’s novel The Big Clock. I had never heard of it before, and the first couple of chapters of the book didn’t endear me to it: too dry, too full of journalistic jargon, too business-y. But I persevered, and suddenly, the story took a turn that caught me by surprise. And then it became such a gripping, unputdownable book that I ended up racing through it, eager to see where it would go.

… which was why, when I found it had been also made into a film, I approached the cinematic The Big Clock with some trepidation: would they have been able to do justice to it?

As it turned out, yes. More than justice.

The Big Clock centres round a mammoth publication company, named Janoth Publications, after its owner, Earl Janoth (Charles Laughton). Janoth Publications is housed in a multistory building, each floor being devoted to one publication churned out by the behemoth: Styleways, Sportways, Newsways, and so on—and, the publication which becomes the focus of this story, Crimeways. As its name suggests, Crimeways is devoted to crime reporting, and is headed by George Stroud (Ray Milland).

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Kab? Kyon? Aur Kahaan? (1970)

If you’ve been reading this blog for a while, you’ve probably realized by now that I’m a sucker for suspense films. And that I have a soft spot for Dharmendra. And Helen. And Pran. Bring all of those together, and I’m pretty much willing to give it a try. Kab? Kyon? Aur Kahaan? is a film I’d watched many years ago, and liked, so I decided it was time for a rewatch [especially since I’d forgotten pretty much everything of it except for one very taut and tense section]. As it turned out, this was one of those films that make me realize how much more forgiving I was in my younger days. I’d forgotten, for instance, how Babita’s eyebrows managed to give Dharmendra’s a run for their money in the bushiness department.

Babita and Dharmendra in Kab? Kyon? Aur Kahaan?

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Rear Window (1954)

Friend, blog reader and sometime fellow blogger Harvey nudged me gently last week with a bit of information I hadn’t remembered. August 13th, 2014 was the 115th birth anniversary of Alfred Hitchcock. Was I planning to post something Hitchcock-related to mark the occasion?

And how could I not? Hitchcock – in my opinion, one of the best directors cinema has ever seen, regardless of time and place – is a firm favourite of mine. I’ve reviewed several of his films; in fact, one of the first films I reviewed on this blog (The 39 Steps) dates from Hitchcock’s early British period. I’ve reviewed a hilariously black comedy (The Trouble with Harry); I’ve reviewed classics like Rebecca, and relatively little-known ones (among those not Hitchcock aficionados, I hasten to add) like Strangers on a Train or Lifeboat.

Time (and occasion) therefore, I concluded, to review one of my favourite of Hitchcock’s colour films, in the classic suspense mould. Rear Window, about a photographer stuck in his tiny apartment with a broken leg…

James Stewart as LB Jefferies 'Jeff' in Rear Window

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Spellbound (1945)

When I posted my review of Charade a couple of weeks back, I ended up being reminded of this film. Firstly, because Charade is referred to as ‘the best Hitchcock film Hitchcock didn’t direct’. Secondly, because in the comments, a couple of readers mentioned a film in a similar vein, the Gregory Peck-starrer, Arabesque. My mind did a quick jump ahead, and came up with this: Hitchcock + Peck = Spellbound.

And, as if fate itself had decreed it, I realised just as I was beginning to write this review, that today – August 29 – is the birth anniversary (and, oddly, death anniversary, too) of Spellbound’s leading lady, the lovely Ingrid Bergman. This was the day she was born in 1915, and this was the day she died, in 1982. Happy birthday, Ms Bergman – and RIP.

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The Train (1970)

While, in the world of Hindi films, songs are often sung on trains, alas – trains too are occasionally dangerous places to be in. And I’m not simply talking about a train in which a heartbroken and lonely hero or heroine is travelling [such trains invariably have frightful accidents in which the hero(ine) is about the only person left alive and whole, though he/she has lost his/her memory, leading to interesting complications].

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Nau Do Gyarah (1957)

Memsaab’s excellent review of the Dev Anand-Waheeda Rehman starrer Solva Saal reminded me of this film. Also Dev Anand, also a suspense thriller, and also with great music. And, may I add, like Solva Saal, extremely entertaining.
So I rewatched this and enjoyed myself all over again, ogling Dev Anand, humming along with the songs, and wishing there were more films like this.

Dev Anand and Kalpana Kartik in Nau Do Gyarah

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