DON'T BOTHER TO KNOCK (1952)

Starring: Marilyn Monroe, Richard Widmark, Anne Bancroft &

Elisha Cook

Director: Roy Ward Baker

Those who consider Monroe an actress of limited range should take a look at Don't Bother To Knock, in which the sex symbol is cast in a most un-Monroe-like part and turns in a quite impressive performance. Monroe's talent was considerable, and while she shown in the lighter roles that emphasized her obvious sexual allure, she was quite capable of handling meatier roles. Knock is also interesting to watch because Monroe's part is a surprising one for a star to take -- a psychotic who is not especially sympathetic. Knock has lots to recommend it aside form Monroe, include a script that, while it often stretches credulity, is nonetheless tightly structured and features some great dialogue, as well as an across-the-courtyard-through-the-windows scene that is engrossingly voyeuristic. A very young Bancroft turns in a solid performance, as do Cook and Widmark is less solid; he's fine, but he doesn't seem to be totally engaged in his part and thus can't fill out some of its more two-dimensional qualities. Knock could have been a truly top-notch little thriller had director Baker given it a bit more sizzle. Unfortunately, he's a bit cautious, and so Knock doesn't build up the head of steam and the tense suspense that it needs to. Nevertheless, it's well worth a look, especially for Monroe fans. (76 mins.)

My Rating: ***

THE SHINING (1980)

Starring: Jack Nicholson & Shelley Duvall

Director: Stanley Kubrick

Eliminating most of the supernatural episodes from the original Stephen King novel, Kubrick's version, is at once a coolly ironic near-parody (with a Nicholson performance that defines "over the top") and a genuinely chilling dissection of how a family breaks down when the father cannot (or does not want to) perform his duties as provider and protector. Making the most of the then-new Steadicam technology for intricate camera movements, Kubrick renders the hotel and maze palpable as Danny moves through them, while turning the Overlook itself into an eerily threatening entity, punctuated by Danny's vividly disturbing shinings. It isn't just Jack who is psychotic: it is the hotel and all it represents about the American system. Positioned to be a summer hit, The Shining was released to decidedly mixed reviews (including from King, who vocally objected to Kubrick's alterations of his novel); although it was the most successful movie Kubrick had made, it did not become the blockbuster that he had hoped. Despite this checkered reception, Kubrick's ability to combine icy detachment with visceral dread makes The Shining a profoundly creepy interrogation of madness, memory, and familial disintegration. (146 mins.)

My Rating: ***1/2