David De Souza
Unit Two films
In "Now, Voyager" Bette Davis plays Charlotte Vale, the spinster daughter of an domineering, high-society Boston matron. Charlotte is so completely under her mother's thumb that, in her first scene, we see her hiding cigarettes from her mother in her bedroom. Convinced that Charlotte is about to have a nervous breakdown, Charlotte's cousin, Lisa, calls a psychiatrist, Dr. Janquist (Claude Rains), to the house. In typical Hollywood fashion, Charlotte has the breakdown during his visit.
After a stay in Dr. Janquist's sanitarium, Charlotte decides to take a cruise to Nassau and Rio deJaneiro. As if she isn't already mixed up enough, everyone mistakenly calls her Renée Bon Chance, because she's borrowed a friend's ticket and clothes. She spends a beautiful day in Nassau with a man she meets named Jerry Durrance (played by Paul Henreid). They smoke their first cigarette together. He lights her cigarette for her; you can tell no one has ever done this for her before. He also orders Cointreau for both of them (which marks him as a stellar date in my book.) To add to Charlotte's confusion, Jerry introduces her to friends on the cruise as Camille. At this point, she has three d
Suddenly Orlando is looking in the mirror at her newly female form: "Same person, no difference at all. Orlando is a rather cool film, populated by characters who are so thinly developed that they're little more than walking ideas. Far more riveting than its more bullet-ridden kin, The Maltese Falcon is an experience you won't quickly forget. Resnais' use of unstructured, elliptical chronology creates a sense of timelessness and continuity. In essence, the architect is the catalyst: the receptive soul who guides her through the painful, introspective path that leads to closure. Essentially, Strangers in Good Company is just what its title says. We also get characters seen all too rarely on the screen. The supporting cast is also great -- Sydney Greenstreet, Peter Lorre, Ward Bond, and others. After this, "Now, Voyager" is all about half-requited love and a frumpy woman's declaration of independence from her overbearing mother. He is drawn to her melancholy, and seeks validation for their encounter - an intangible souvenir that transcends their short-lived, impossible relationship - an emotional connection. Of particular note is Mary Astor's performance as the female lead. One character tries to repair the bus.