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judy holliday propagandist has written 124 reviews for films rated ★★★ .

  • Affair in Trinidad

    Affair in Trinidad

    ★★★

    So obviously a Notorious (1946) knockoff that it's actually sort of commendable— stole the plot right down to the party scene and the missing key. Rita Hayworth is also a standout, as always!! All the Jean Louis gowns she wears are to die for.

    2.75/5

  • Violent Saturday

    Violent Saturday

    ★★★

    Nothing beats the look of 1950s color films— Violent Saturday especially has the glossy, mid-decade color that paints everything so vividly. That’s really the main attraction for me here, because the rest of the film is surprisingly pure melodrama. None of the storylines bar the bank robbery really resonate on a deep level (the peeping tom one is so bad!!), and the titular Saturday is kinda anticlimactic I have to say…

  • Party Wire

    Party Wire

    ★★★

    Starts off quite playful, but ends up being a pretty sobering look at how gossip in a small town quickly turns to cruelty. Jean Arthur is a vision of springtime in this film, and I absolutely hate seeing her upset. Anyone who makes Jean Arthur cry deserves jail time I think.

  • Private Lives

    Private Lives

    ★★★

    "It doesn’t suit women to be promiscuous!"
    "You mean it doesn’t suit men for women to be promiscuous."
    "That's very modern, dear, very modern!"

    Norma Shearer continually calling Robert Montgomery a “ridiculous ass” and then getting into a full-on wrestling match with him. Thank you, Noël Coward.

  • Supernatural

    Supernatural

    ★★★

    The maniacal laughter in old, spooky movies is a lost art form.

  • Bed of Roses

    Bed of Roses

    ★★★

    "You’re a woman-hater?"
    "Wait a minute, wait a minute, I didn’t say anything of the kind."
    "Oh, that’s alright, I’m a man-hater."

  • Paris Blues

    Paris Blues

    ★★★

    Still have my same problems with this one. On the surface it feels so modern and invigorating, but it presents itself so lifelessly. No spirit. No vitality. Nothing. And I feel even more frustrated after learning that the original book was mainly about Sidney Poitier and Diahann Carroll’s characters, while the movie added the white character played by Paul Newman. (And, according to Wikipedia, the film was supposed to include interracial romances, but the studio refused, so what's left is…

  • Whirlpool

    Whirlpool

    ★★★

    1930s movies really loved the phrase “I’m free, white, and 21”, huh?

  • Three on a Match

    Three on a Match

    ★★★

    I almost never make this complaint, but this film is too short. The opening sequence sets up an interesting, intertwining story about Joan Blondell, Ann Dvorak, and Bette Davis’ characters, but it feels like two of these women aren’t even that relevant to the plot by the end. Bette Davis’ character is just there, like an afterthought. Still an entertaining watch, with so much pre-codeness on display, from the drug use, casual references to sex, graphic violence— it felt like I was playing pre-code bingo.

  • Marriage Story

    Marriage Story

    ★★★

    ray liotta's character is named JAY MAROTTA

  • The War of the Worlds

    The War of the Worlds

    ★★★

    The 1950s manifested all that atomic paranoia through weird H.G. Wells adaptations and neon cinematography.

  • Summer Stock

    Summer Stock

    ★★★

    This film reminded me of how much I love meta musical numbers, where the artifice of the stage is contrasted by the makeshift, seemingly spontaneous performances of the actors. A musical inside a musical show inside a rehearsal, with no prepared sets and the characters stumbling over their lines. Or Gene Kelly's character discovering a creaky floorboard and newspaper and devising an entire dance routine around those two props. There’s a fun irony in knowing all the “unrehearsed” moments of the stage were only achieved through meticulous preparation behind the scenes.