Movies on the Big Screen as They Were Meant To Be Seen.
BLUEBEARD’S EIGHTH WIFE
Dir: Ernst Lubitsch
Gary Cooper plays multimillionaire Michael Brandon, who changes wives as if they were underwear (or, in this case, pajama tops) until he marries the daughter (Claudette Colbert) of an impoverished marquis. As lucrative as divorce would be, the young woman is determined to be the final Mrs. Brandon. Director Ernst Lubitsch’s first pairing with the Charles Brackett-Billy Wilder writing team was a match made in heaven.
Dir: Henry Koster
When a bishop (David Niven) trying to build a cathedral prays for divine guidance, he gets it in the form of a charismatic angel named Dudley (Cary Grant). Focused on raising construction funds, the bishop neglects many things - including his wife (Loretta Young), to whom Dudley is eventually drawn. This delightful Christmastime comedy was nominated for five Academy Awards, winning one for Best Sound.
Dir: Otto Preminger
In Otto Preminger’s haunting film (adapted by Arthur Laurents from Francoise Sagan’s novel), the underrated Jean Seberg plays a precociously spoiled teen whose wealthy reprobate father (David Niven) decides to settle down by marrying repressed Deborah Kerr, with catastrophic results. Exquisitely filmed (by Georges Perinal) in CinemaScope and shifting between black-and-white and deeply saturated color, Preminger’s film sensitively manifests the mysteries of growing up. When Seberg’s character finally makes the difficult transition from teenager to adult, it is with a tragic resonance that gives poignant meaning to the film’s title (which translates, "Good Day, Sadness").