Lafayette College Library

Hud (1963; Paul Newman, Patricia Neal)

Something about December makes Irene yearn for an anti-hero, and she found a doozy in Hud Bannon, a Texas rancher who is amoral and irresponsible yet also has a seductive charm. Housekeeper Alma, a world-weary woman with intelligence and a seductiveness of her own, is drawn to him but knows better than to get too close. Even if you're not a fan of bleak Westerns, the stunning black-and-white cinematography will keep you watching.

Eat Drink Man Woman / Yin shi nan nü (1994; dir. by Ang Lee)

At a series of elaborate Sunday dinners, widower Chu and his three daughters make surprising announcments of life-altering decisions. A light-hearted drama that Irene recommends watching on a full stomach—and even then your mouth may be watering.

(Is Irene dreaming or is some of the music in this film the same as the theme from "Sex and the City"?)

All about My Mother / Todo sobre mi madre (1999; dir. by Pedro Almodóvar)

Almodóvar dedicates his film, in part, "to all women who act," and he more than suggests that this covers all women, even those who have never set foot on a stage. Irene (who has done some turns in front of the camera herself) loved these characters—strong, emotional, flamboyant, supportive, trusting, and forthright—and found the whole film as absorbing as a good soap opera.

The Shop around the Corner (1940; Margaret Sullavan and James Stewart)

It pains Irene to think that viewers may have seen "You've Got Mail," the remake of this Ernst Lubitsch film, but not know the original, which is superior in every way. It offers decent, likable characters and plenty of romance but never stoops to schmaltz. Almost makes Irene long to spend Christmas eve in 1940s Budapest with a bow-legged store clerk.

The Station Agent (2004; dir. by Thomas McCarthy)

Irene promises that she'll soon move beyond indy, slice-of-life films with quirky characters, but first she has to recommend "The Station Agent." The story—a man mourning the death of his friend moves to an abandoned train station—doesn't sound promising, but the characters have a compelling emotional depth and their friendships, though unlikely, have a gentle warmth and honesty. On top of that, the film is set in deepest New Jersey and features a cute, young library employee. How could Irene resist?

Another "thumbs up" from one of Irene's readers: "Greetings Irene, I just wanted to send you a quick note to thank you for your pick of 'The Station Agent.' My wife and I thoroughly enjoyed the movie."

Muriel's Wedding (1994)

This film inspired Irene to pen a musical tribute to the tune of the ABBA classic "Waterloo":

My, my, what can be said about Muriel’s Wedding?

Oh yeah, the ABBA tunes are infectious and so are the girls' attitudes.

Through ups and downs they endure.

This film’s not a downer, for sure!

Check it out. I was uplifted, you will be too.

Check it out. Promise you’re singing before it’s through.

Check it out. Couldn’t escape the occasional scream.

Check it out. Knowing the tune in the wedding scene.

Oh, oh, oh, oh. Check it out. Finally facing I like Dancing Queen.

What's Up, Doc? (1972; Barbra Streisand, Ryan O'Neal, dir. by Peter Bogdanovich)

Some readers out there will be reluctant to watch this film because they aren't fans of Barbra Streisand. Irene says, "Watch it anyway." If you don't, you'll be missing one of the few films inspired by the screwball comedies of the 1930s that doesn't pale by comparison. It has everything a great screwball comedy should: a free-spirited woman chasing a nerdy but adorable man, fast-paced dialog, and more than a touch of wackiness. Plus there's an unforgettable performance from Madeline Kahn and a chase scene through the streets of San Francisco that always leaves Irene crying with laughter.

(If you're a fan of schmaltzy '70s films, watch for the jab at "Love Story" in the final scene.)

The Lady Eve (1941; dir. by Preston Sturges)

Irene once fell hard for a man who did card tricks, so it wasn't difficult for her to warm to the clueless ophiologist and ale heir played by Henry Fonda in this screwball comedy. Of course it's Fonda who does the falling in this movie—over outstretched ankles, various furnishings, and Barbara Stanwyck (three times). Fonda's "Hopsie" Pike is no match for the beguiling Jean Harrington, who learned well her father's maxim: "Let us be crooked, but never common." And, as in all Preston Sturges films, the supporting cast is anything but common.

Summertime (1955; Katharine Hepburn, dir. by David Lean)

For those who can't get to Venice this month, Irene recommends "Summertime." The plot is nothing special and the stereotypes are dated, but the views of the city—and Hepburn's reactions to them—are dazzling. And Rosanno Brazzi's ravioli speech is a hoot. (Can anything be more seductive than a man comparing himself to a plate of ravioli? Irene could think of a long list...)

For trivia buffs: Irene's colleague informs her that after Hepburn fell into a canal for one of the scenes in this film, she contracted an eye infection that affected her for the rest of her life.

Sweet Hereafter (1997; dir. by Atom Egoyan)

Irene is in search of a good comedy (recommendations welcome), but in the meantime continues to watch dark, exquisite films like this tale of a small community coping with a school bus accident that leaves most of its children dead. Parallels to the "Pied Piper of Hamlin" lend an eery undercurrent to all of the sadness.

My Life as a Dog / Mitt liv som hund (1985; dir. by Lasse Hallström)

Irene has a pronounced aversion to any film that can be described as heartwarming, so was reluctant to watch "Mitt liv som hund" since she knew it was about a boy with a seriously ill mother and had the word "dog" in the title. (Children and animals seem to be a dangerously heartwarming combination.) But instead of a film that uses cliches to manipulate emotions, she was delighted to find one filled with episodes of wry humor as well as poignancy, characters who march to their own drummer, and what sounds like a Swedish version of "I've Got a Lovely Bunch of Coconuts."

All or Nothing (2003; dir. by Mike Leigh)

Irene hesitated before adding this film of life in a lower class London apartment building to her picks page because, she says, "It's a real downer." It's not just that the characters are barely scraping by but that most are so resigned to their situations. Yet the acting is impressive and the emotions both so raw and understated that the film feels unscripted and at times irresistible. An antidote to Hollywood's sea of pretty faces and pat endings.

Hint: The characters' accents are strong, so consider turning on the English subtitles.

The Ladykillers (1955; Alec Guinness, Peter Sellers)

Irene decided to watch the original rather than heading to the theater to see the new Coen brothers remake starring Tom Hanks. Her verdict: "It was a cunning plan until they ran into 'Mrs. Lopsided.'"

Blue Gardenia (1953; dir. by Fritz Lang)

Can a classy lady be a "murderess" or is it the desperate dame who ends up wielding the murder weapon? If you're a fan of film noir like Irene, you already know the answer to that one, but it's still worth watching this thoroughly entertaining though lightweight film by one of the masters of the noir genre. Bonus features include Nat King Cole crooning in a tiki bar, Ann Sothern simultaneously smoking a cigarette and washing the dishes, and a Spillane-reading roommate who thinks murdered men are romantic.

Ali, Fear Eats the Soul / Angst Essen Seele auf (1974; dir. by Rainer Werner Fassbinder)

Having read that this film was inspired by Douglas Sirk's "All That Heaven Allows," Irene was primed for a good melodrama when she slid it into her DVD player. Instead she was drawn into a dark social commentary revolving around a German widow who marries a much younger Moroccan immigrant. The precise framing of shots and the long, watchful pauses underscore the alienation and isolation of the main characters. Presents a disaffected view of society, yet is not without beauty.

The Unbelievable Truth (1989)

Pearl: "Josh seems like a nice man."

Audry: "After he killed your father and sister and all?"

Pearl: "People make mistakes."

Irene is drawn to people with a past, especially when they don't seem to have much to say about it. That most of the film's other characters share no such reticence in voicing their opinions (with some of the most wooden delivery imaginable) makes it all the better.

Bringing Up Baby (1938; Katharine Hepburn, Cary Grant, dir. by Howard Hawks)

Irene is so fond of this film that on several occasions she's tried to convince her colleagues to name the library catalog "Baby" after the film's title character. It has something for everyone—snappy dialog, the star power of Hepburn and Grant, lots of physical comedy, and a famous fox terrier as well as a leopard—so can please viewers of many ages and tastes, as Irene proved at a recent family gathering.

One of Irene's colleagues who is a fan of screwball comedies and obscure references points out that the jail scene in "Baby" includes an allusion to "The Awful Truth," a 1937 screwball comedy with Cary Grant. Another connection between the two films is Asta, the terrier of "Thin Man" fame, who appears as George in "Bringing Up Baby" and Mr. Smith in "The Awful Truth".

The Stranger (1946; Orson Welles)

No, not based on the story by Camus. This is a little known film noir recently released on DVD that Irene spotted. Orson Welles, who also directed it, is perfect as the man with a mysterious past masquerading as a professor; Loretta Young plays his unsuspecting Connecticut bride. Lots of suspense and interesting camera work save it from what otherwise might have been called "I married a ____!" (You'll have to watch it or at least read the box cover to find out.)

In a Lonely Place (1950; Humphrey Bogart)

Gloria Grahame, better known as town-tart Violet Bick in "It's a Wonderful Life" or "cain't say no" Ado Annie in "Oklahoma!", gives a convincing performance as a woman who can't decide if her boyfriend (Humphrey Bogart) is a murderer. (He certainly seems to have a bad temper, which might be reason enough not to date him.) Irene usually doesn't like it when films change the endings of books, in this case a pulp novel written by Dorothy B. Hughes, but finds this ending noir-ishly preferable.

Party Girl (1994; Parker Posey)

Irene likes to begin each year by watching "Party Girl." She so identifies with the title character—an energetic but floundering New York City girl who spends her days organizing raves and cataloging her clothes and her friend's record collection until she realizes that she was born to be a hip librarian—that at this point she can't tell if it's art imitating life or vice versa. One of the few movies about librarians that gets it right.

Planet of the Apes (1967; Charlton Heston)

The original version, of course, without commercial interruptions. Irene suggests taking advantage of the DVD's easy-to-select option for French dialog, particularly for the final scene. You can add the English subtitles if you don't understand what Heston is ranting about.

Watching this film in French is particularly fitting since, as one of Irene's colleagues informed her, it's based upon a French book, La planéte des singes by Pierre Boulle (which, alas, is not in Skillman's collection).

Umbrellas of Cherbourg / Parapluies de Cherbourg (1964; Catherine Deneuve, dir. by Jacques Demy)

Irene recommends this film for those who are redecorating their homes and feeling timid about using color. Although every word of dialog is sung, it's really the use of color that makes the film remarkable. The wallpaper and paint (gilt and magenta, lime green, purple) are astonishing, work well with the melodramatic narrative about young love, and prove that Catherine Deneuve looks elegant against any backdrop.

Third Man (1949)

This film simply oozes the atmosphere of post-war Vienna and is best viewed on a cold winter night. Starring Orson Welles, Joseph Cotten, and a radiant Valli (maybe stars with one-word names are especially memorable). Written by Graham Greene and Alexander Korda, directed by Carol Reed, with haunting zither music by Anton Karas. Irene, a sometime-trivia fan, says Welles wrote Harry Lime's "cuckoo clock" speech and didn't hang around for filming the final sewer scenes. Oh, and she just loves the extra features found on our Criterion Collection DVD.

Irene's reader writes

"I think your picks are just fantastic (and I'm glad to find another fan of 'Les Parapluies...')! Keep up the good work."

Irene's reader writes (again)

"It seems that each and every time I set out earnestly in search of a book for my research or teaching, I am simply overcome by the siren call of your new picks. I find I must run to the library and then return home to spend several perfectly good hours with a bag of marshmallows and Irene's summer viewing. When will the madness stop????"

And again...

"I meant to add (since you are in search of comedys) that my favorite Cary Grant is Charade. The opening credits alone should have won an award, and young Walter Matthau is a treat (would that be a liverwurst treat?). But still, darn you, Irene. Darn you to the unfinishest part of the unfinished basement of Skillman."

Irene welcomes your comments. Send them to her care of the Skillman Library Reference Desk.