Three Cases of Murder (1955) Dir. David Eady, George More O'Ferrall, Wendy Toye

Three Cases of Murder

Director(s): David Eady, George More O'Ferrall, Wendy Toye

Writer(s): Sidney Carroll, Ian Dalrymple, Brett Halliday, W. Somerset Maugham, Roderick Wilkinson, Donald B. Wilson

Producer(s): Ian Dalrymple, Alexander Paal 

Original Music by: Doreen Carwithen 

United Kingdom  |  1955

99 Minutes  |  Black & White

With: Orson Welles, Alan Badel, John Gregson, Elizabeth Sellars, Emrys Jones, Andre Morell, Hugh Pryse, Leueen MacGrath, Eddie Byrne, Helen Cherry, Eamonn Andrews

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    Take an amazing cast, three unforgettable tales of foul play, the general skill of British filmmaking during the 50's, and an adept original score from an amazing, unknown woman (Doreen Carwithen), stir, and you have Three Cases of Murder. I was unaware of this picture before viewing and had no preconceptions, except that I am initially wary of murder tales. That's probably because of today's shock-factor offerings, which I readily avoid, although when you peruse the genre's history, stories of homicide were generally harnessed with power, mystery and emotion. Case in point.

  The first tale concerns a certain painting with fantastical qualities. In the spirit of The Twilight Zone, nothing is as it seems, and alternate reality follows it's own rules, as themes of imprisonment, enchantment and caution infuse. The second case, concerning business partners as close as brothers, revolves around jealously, extortion, and mistrust. The third is a psychological and surreal anecdote of a British Lord's nightmare's about a foreign correspondant he dismissed. 

  What must be said about Three Cases of Murder is that the stories, though unrelated, share a common belief that our actions have consequences, that there are unexpected effects to our decisions, that the debt cast by wrongdoing will return with sometimes deadly interest. Feelings can be dangerous, dreams are more than they seem, or less than they appear, and the bond of peace, when broken, results in shattered realities. These themes, carried to fruition, are pure joy to behold. Orson Welles gives a commanding and extraordinary performance as Lord Mountdrago, although Alan Badel receives top marks for starring in 2 of the 3 cases, appearing in all 3, and exhibiting an all-around masterful demonstration of the art of acting.

 In summary:

I. Impeccably acted and executed, Three Cases of Murder should shimmy up your "instant classic" list faster than a cat can meow. 

II. The music was effective and heightened the suspense without any loud tricks. I wonder why this was Doreen Carwithen's last score. Twas amazing. 

III. In each of the three sections, excitement builds and amounts to a satisfying payoff. Bravo!

IV. The cinematography was beautiful and engrossing given the mostly interior settings. 

V. This picture is memorable, fun, entrancing and stirring. 

    9 / 10 on the NORS [Night Owl Richter Scale]

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Pair With : Bulleit Kentucky Straight Bourbon Whiskey

Nice and smooth, sip slowly and be taken captive by the suspense. Get it at your local Spirits dealer. 

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Antonio Gaudi (1984) Dir. Hiroshi Teshigahara

Antonio Gaudi

Director: Hiroshi Teshigahara

Producer(s): Noriko Nomura and Hiroshi Teshihahara

Music by: Shinji Hori, Kurodo Mori, Tōru Takemitsu 

Japan  |  1984

72 Minutes  |  Color

With: Isidro Puig Boada and Seiji Miyaguchi

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    Here's an interesting concoction: take an avant-garde  Japanese filmmaker and watch him capture the surreal and stunning architecture of Spain's most audacious Catalan, Mr. Antonio Gaudi. The result is surprisingly appropriate, as the Japanese tone-poem method lends itself to further contemplation and wonder. A poignant exploration of Gaudi's body of work, it is best to let the images steep like fine tea, releasing various flavors and feelings as the timeless architecture informs your mood. This isn't difficult given the outstanding music from Shinji Nomura, Kurodo Mori and Tōru Takemitsu, resulting in sheer cinematic wonder. I felt as if I was watching a Brothers Quay film as weathered textures and tonal oddities combined and manifested in unceasing undulation. 

    So as to let the viewer fully experience the artful detail, precision and vision of Goudi, I will say very little of the architectural highlights, except that I was especially struck by the fact that Goudi fasted for 20 days before undertaking the amazing, yet unfinished Sagrada Familia cathedral in Barcelona. A devout Catholic, Antonio could not imagine embarking on such a spiritual project without first following Christ's example (before Jesus was tempted by the devil in the wilderness). An act of such extremity and resolve is very resonating and inspires one to take their art seriously. The expression of creativity is indeed a Holy one, and even in whimsical details and untamed extravagance, one can sense the hand behind the hand, the eye beneath the eye, the heart revealed through expression. 

 In summary:

I. Director Teshigahara crafts a commendable avant-garde salute to a transformative architect and artist. 

II. The music was spiritually alive and organic, advancing in undercurrents of contemplation and awe. 

III. Slow and meditative, the continuity of images and sound is precise, though we're happy not to overstay our welcome or grow weary of overstimulation.  

IV. The cinematography doesn't especially captivate. In investigating Goudi, there was want of more stylism.  

V. The film is an interesting art-doc, and while you may only play it once, it's refreshing that such a filmic tribute exists. 

    8 / 10 on the NORS [Night Owl Richter Scale]

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Pair With : 

Okunomatsu Tokubetsu Junmai

Ultra smooth and semi-dry with a fruity aroma, sip Tokubetsu Junmai slightly chilled for a satisfying Japanese take on the Goudi experience.   Get it at Columbus Wines & Spirits

<> excellent with <>

Red Bean Mochi (find it at your local Japanese market)

I still dream of the Red Bean (and Green Tea) Mochi I tasted from a street-cook along Shijo-Dori street in Kyoto, Japan.

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More Information

IMDb