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On the 115th anniversary of his birth, I can safely claim that Alfred Hitchcock's name and work endure like no other director of Hollywood’s Golden Age. Today, many moviegoers in their teens and twenties may look blankly at you if you mention legendary helmers like John Ford, George Cukor, or Billy Wilder. Yet more than likely, they’ll know the name Hitchcock, and will have seen at least one of his pictures."Vertigo" (1958) the greatest movie of all time, toppling "Citizen Kane" (1941) from the number one spot. Not only do Hitchcock's movies stay evergreen, they seem to get better with age. (Much as I admire "Vertigo," my favorite Hitchcock outing is 1946's "Notorious" starring Ingrid Bergman and Cary Grant, the director's favorite leading man. See it if you haven’t.)

Just like the image of her fragile, unconventional beauty trapped within the glow of a tight spotlight, Judy Garland’s life as a performer was surrounded by a vast darkness. She gave the world her special gift, and it gave back not a shred of happiness. There was an overarching sadness about her that only grew more pronounced as the hard years went by. As Frank Sinatra put it, “When she sang, it always felt like she died a little.”   It was tragic pretty much from the outset. When overbearing show mom Ethel Milne found she was pregnant with her third child by husband Frank Gumm, she attempted to induce miscarriage by throwing herself down a flight of stairs. Failing that, she tried to get an abortion. This desire may have partly stemmed from Ethel’s growing suspicion that her husband was homosexual. Regardless, a family friend finally convinced the couple that this little one would be a blessing. They hoped for a boy. On June 10, 1922 they welcomed their third daughter – Frances Ethel Gumm – the combined hopes of her mother and father right there in her name.

Screenwriter, musician, composer, author, sometime actor, and man who never sleeps, Nick Cave is the epitome of prolific. From books to albums to movie scripts, Cave never seems to sit still. Today, we’re focusing on the music from an excellent film he had more than a hand in, “The Proposition.” With credit for both soundtrack and script, “Proposition” is very much Cave’s movie, a Western with a twist. Set in late 19th Century Australia and directed by John Hillcoat (who might claim it was his movie), you get the sweeping vistas and white-knuckle gun fights, only with kangaroos instead of rattlesnakes. 

The cinema has given us many great gangster films, showcasing some of the nastiest, shiftiest, most venal criminals in the world. On paper, their deeds are rotten, maybe even murderous, putting innocent people at risk and defying the forces of law and order.  Yet very often, you still sympathize with these characters; you may even root for them. After all, usually their backs are up against the wall. You sense that poverty and dysfunction placed them on the wrong side of society. Born into the right circumstances, they coulda been contenders. You glimpse a trace of honor, even goodness in them. Whenever there’s talk of the greatest films ever made, gangster pictures always figure in. You know the usual suspects, but we’ve rounded up ten of varying ages that we think are... well, for the ages.

I found it interesting (if not particularly surprising) that the top box office performers of the last several decades have tended to be longer movies. Scanning over tent-pole movies released since the millennium, blockbusters like the “Lord Of The Rings” series clock in at about three hours per installment, while “Avatar” and “The Dark Knight Rises” run well over the two and a half hour mark. Other more recent superhero franchises show the same trend. Examples: “The Avengers” (143 mins.), “Captain America” (136 mins.), and “The Amazing Spiderman” (142 mins.) Then there’s the talented but increasingly self-indulgent Quentin Tarantino, whose pictures most always go on and on. Most recently, “Inglorious Basterds” (153 mins.) and “Django Unchained” (165 mins.) prove my point.