film noir – The Movie Gourmet

NOIR CITY returns, bringing darkness from abroad

January 15, 2024 by movie gourmet

Photo caption: Jeanne Moreau in ELEVATOR TO THE GALLOWS

The Noir City film fest, always one of the best Bay Area cinema experiences, returns January 19-28 at the Grand Lake Theater in Oakland. The program for each night (or matinee) will present a double bill – one classic film noir from the US or UK, matched with one from Argentina, Mexico, France, Italy, Egypt, Japan or South Korea. This year’s tagline is Darkness Has No Borders.

Noir City is the annual festival of the Film Noir Foundation, spearheaded by its founder and president Eddie Muller. The Foundation preserves movies from the traditional noir period that would otherwise be lost. Noir City often plays newly restored films and hard-to-find movies.

One of Noir City’s greatest gifts to noiristas, and to cinephiles in general, has been introducing us to previously unfamiliar foreign noir classics. It is ONLY because of Noir City that I’ve seen some of my favorite movies: Los tallos amargos (The Bitter Stems), Black Gravel, El vampiro negro (The Black Vampire), Ashes and Diamonds, La noche avanza (Night Falls), …And the Fifth Horseman Is Fear and Girl with Hyacinths.

These titles from this year’s Noir City program are NOT available to stream, so Noir City is your best chance to see them:

Street of Chance (US)
Cairo Station (Egypt)
Victims of Sin (Victimas del pecado) (Mexico)
Black Tuesday (US)
Aimless Bullet (South Korea)
Plunder Road (US)
Without Pity (Italy)
Four Against the World (Mexico)
Across the Bridge (UK)
Strongroom (UK)
Murder by Contract (US)
Smog (Italy)

Not all the program is obscure. Here are three Must See classics:

Elevator to the Gallows: This is such a groundbreaking film, you can argue that it’s the first neo-noir. It’s the debut of director Louis Malle, shot when he was only 24 years old. In 1958, no one had seen a film with a Miles Davis soundtrack or one where the two romantic leads were never on-screen together. Totally original.
La Bête Humaine (The Human Beast) and Human Desire: In this Murder-The-Jealous-Husband double bill, Jean Renoir’s classic La Bête Humaine (The Human Beast) with the charismatic Jean Gabin and Simone Simon is paired with Fritz Lang’s remake, starring Gloria Grahame, Glenn Ford and Broderick Crawford. Grahame projected an uncanny mixture of sexiness, vulnerability and unpredictability, perfect for this hard luck femme fatale; (the fact that Gloria was a Bad Girl in real life doesn’t hurt.) I have the Australian version of the Human Desire poster in my living room; the tag line is “She was born to be bad…to be kissed..to make trouble“, and the Aussie authorities have labeled it “NOT SUITABLE FOR CHILDREN“.
Le trou: This is the all-time best prison break movie, combining a riveting real-time escape procedural with a fear of betrayal that crescendos. Le trou is a true crime story, with three of actual participants consulting on the film and one of them playing the mastermind. It was the last film by Jacques Becker, who had directed Casque d’Or and one of the very best film noirs in any language, Touchez pas au grisbi.

Elevator to the Gallows and Human Desire are on my list of Overlooked Noir; check it out, along with my Overlooked Neo-noir.

Make your plans now. Review the program and buy tickets at Noir City. I’ll be there.

Gloria Grahame and Glenn Ford in HUMAN DESIRE.

THE NARROW MARGIN: murderous hide and go seek on a train

November 22, 2023 by movie gourmet

Photo caption: Charles McGraw and Marie Windsor in THE NARROW MARGIN

The overlooked film noir masterpiece The Narrow Margin (1952) is a taut 71 minutes of tension. Growly cop Charles McGraw plays hide-and-seek with a team of hit men on a claustrophobic train. Marie Windsor is unforgettable as the assassins’ target. It’s on my list of Overlooked Noir, and it’s coming up on Turner Classic Movies on Friday, November 27 – set your DVR.

McGraw plays a cop assigned to protect a gangster’s widow on her way to testify against the mob. He immediately loses his partner to an ambush and will have to protect his cargo all the way from Chicago to Los Angeles by himself. His only edge is that the hit men don’t know what his target looks like.

The Narrow Margin has two very special elements. The first is the hardboiled dialogue between McGraw and Windsor and their performances. The second is director Richard Fleisher’s imaginative staging of the woman-hunt up and down the tight corridors and compartments of the train.

The screenplay is easily the best of veteran Earl Felton’s career, and he was nominated for an Oscar for this B picture. When McGraw, still in shock, reflects on the sudden death of his longtime partner, Windsor hisses, “Some protection they send me – an old man who walks right into it and a weeper”. McGraw resents having anything to do with her: “Sister, I’ve known some pretty hard cases in my time, but you make ’em all look like putty”. Later he snarls, “He’s dead and you’re alive. Some exchange.” But they’re both trapped together, and they’re not the kind to make the best of it – the great lines just keep coming: “Relax, Percy, I wouldn’t want any of that nobility to rub off on me”.

The Narrow Margin opens with trench coats and fedora, cigarettes and shadowed faces; when there’s gunfire, we know for sure that we’re in a noir. But then Fleischer moves it all onto the train, and we hear the sound from railroad airbrakes. Fleischer makes an early use of handheld cameras to maneuver around the tight spaces. There’s an especially innovative moment when a fight breaks out in a cramped train restroom – the bottom of a shoe flies up to camera level, then we’re under the sink as head is banged into wall.

The cast is uniformly good. I especially like David Clarke as a (gay?) hit man and Paul Maxey as a very fat traveler who keeps blocking the narrow corridors.

Of course, this is all fifty years before cell phones, and there’s a retro lo-tech moment where a slow-moving train leaves a message via hook to be wired.

Fleischer was a very versatile (and underrated director). When he shot The Narrow Margin, he was a 35-year-old rising director. The Narrow Margin was his sixth noir in five years. After The Narrow Margin, he moved to epics (20,000 Leagues Under the Sea, The Vikings, Barabbas). He later made one of the very best WW II movies, Tora! Tora! Tora!, and the ahead-of-its-time dystopian sci-fi cult favorite Soylent Green. He even made the second Schwarzenegger Conan movie. His noir body of work (Bodyguard, Follow Me Quietly, Trapped, Armored Car Robbery, His Kind of Woman) is impressive, and, in my opinion, The Narrow Margin is his masterpiece.

The Narrow Margin plays frequently on Turner Classic Movies. It’s available to stream from Amazon, AppleTV, Vudu and YouTube. (Don’t confuse it with the inferior 1990 remake, Narrow Margin.)

xxxx — Director Richard Fleischer’s use of reflection

DECOY: the MOST FATALE femme fatale

November 15, 2023 by movie gourmet

Photo caption: Ed Norris, Jean Gillie and Herbert Rudley in DECOY.

The obscure, low-budget Decoy is the first film that I’ve been unable to write about without spoilers, but you’ll still be able to appreciate it, even when you know some of what’s coming. It’s coming up on Turner Classic Movies on Friday night, November 17. Decoy, one of my Overlooked Noir , is not available to stream, so set your DVR.

Decoy, from 1946, stands out from the rest of film noir (and from much of cinema) for two elements. The first is the most hysterically evil femme fatale ever. The second is that the plot pivots on a preposterous premise.

The ill-tempered Frankie Olins (Robert Armstrong) is on California’s death row because he killed a cop in a robbery. The robbery netted a huge fortune, which Frankie has hidden. Frankie refuses to disclose the location of his loot, because he wants to maximize the incentive for others to work for his release. Frankie’s girlfriend, Margot Shelby (Jean Gillie), is two-timing him with another vicious hood, Jim VIncent (Ed Norris), who is bankrolling Frankie’s legal appeals, They hope to get Frankie out of prison to recover the loot, and then steal it from him. Alas, the appeals go for naught, and Frankie is about to be executed in San Quentin’s gas chamber, taking his secret with him to the grave.

At this point, things get ridiculous. Margot and Jim revise their plan, pivoting to stealing Frankie’s body AFTER the execution and reviving him with a dose of methylene blue, an antidote for the cyanide used in the gas chamber. Now, the kernel of truth here is that methylene blue CAN be used as an antidote to cyanide poisoning in someone who is ALIVE. But, of course, methylene blue CANNOT reverse death by cyanide poisoning. But, indeed, the rest of Decoy’s plot is based on the resurrection of Frankie.

Margot and Jim manage to smuggle out Frankie’s corpse, and they force the earnest, do gooder Dr. Lloyd Craig (Herbert Rudley) to bring him back to life with methylene blue. Frankie unwisely draws a treasure map and is promptly removed from our story. Margot and Jim, with Dr. Craig driving his own car at gunpoint, head off to find and dig up the money.

At this point, Margot takes over the film. In Decoy’s final eight minutes, Margot is not only remorselessly murderous, but she’s sadistic as well. And she can even take pleasure in humiliating a man from her deathbed.

As outlandish as Margot’s behavior becomes, Jean Gillie’s performance is fully committed. Her Margot actually rejoices in her own perversity. I’m serious when I rate Gillie’s Margot as the most evil femme fatale in cinema. Even compared to the Anne Savage role in Detour, and to the parts played by Cleo Moore in the Hugo Haas movies, she is the most depraved.

Gillie was an English actress who was married to Decoy’s otherwise undistinguished director, Jack Bernhard. That marriage broke up, and she didn’t like Hollywood. After her one major Hollywood movie, The Macomber Affair, supporting Gregory Peck, Joan Bennett and Robert Preston, she returned to England. Gillie promptly died of pneumonia at age 33.

Robert Armstrong is appropriately nasty as Frankie, and has a fun scene when he discovers that he has been resurrected. Thirteen years earlier, Armstrong played the human protagonist, along with Faye Wray, of King Kong.

The character of Jim Vincent is a one-dimensional thug, and Norris doesn’t add any other touches (as Dan Duryea would have).

Potentially, the best role in Decoy would have been Dr. Craig, who is a moral and decent man forced into misdeeds (and that resurrection) by evil people. He is psychologically ruined before he meets his end. There’s even a corny scene where the doc looks across his office, and the camera highlights the section of his medical oath that he is forced to transgress. By the midpoint of the movie, Herbert Rudley staggers around like a zombie as a Dr. Craig who is unable to fathom how his life could have been ruined in just one day. A better actor than Rudley could have brought more heartbreaking depth to this role.

One of the greatest delights in Decoy is Sheldon Leonard as the cop nicknamed Jojo, Police Sgt. Joe Portugal. Having put away Frankie, Jojo is watching Margot and Jim, waiting for the chance to nab them, too. He keeps showing up to pressure them, and he’s there at the end to pick up the pieces. Nobody could do out-of-the-side-of-his-mouth sarcasm like Leonard.

Leonard earned 109 film credits as an actor, the most memorable being the bartender Nick in It’s a Wonderful Life, Lt. Coyo in To Have and Have Not and Harry the Horse in Guys and Dolls. Although he was a perfect fit for film noir, he was rarely as prominent as he was in Decoy and, a year later, The Gangster. Leonard’s biggest mark on American culture came as a television producer – he produced some of the most popular and iconic TV shows ever: The Danny Thomas Show, The Dick Van Dyke Show, The Andy Griffith Show, Gomer Pyle, USMC and I Spy.

Decoy concludes with a startingly vicious act by Margot and then a very ironic ending (think Treasure of the Sierra Madre) when Frankie gets the last laugh.

Decoy is not a very good film, but it moves so quickly, and its two major elements are so astoundingly outrageous, that it’s fun to watch. Decoy is not currently available to stream. I watched Decoy on Turner Classic Movies.

Herbert Rudley, Jean Gillie and Ed Norris (around Robert Armstrong on the table) in DECOY.

NOIR CITY returns – and returns us to 1948

January 18, 2023 by movie gourmet

The Noir City film fest, always one of the best Bay Area cinema experiences, returns IN-PERSON January 20-29, 2023 at the Grand Lake Theater in Oakland – and for the first time since the 2020 pandemic – for its traditional full ten days.

Past Noir City fests have been built around themes, like international noir and heist cinema. In this year’s fest, all of the films were released in 1948. As an audience, we get to sample films from peak year in the Noir Era and appreciate film noir as a distinct movement within American filmmaking.

These titles from this year’s Noir City program are NOT available to stream, so Noir City is your best chance to see them:

Larceny,
The Spiritualist,
Road House,
So Evil My Love,
Sleep, My Love,
The Hunted,
I Love Trouble,
Night Has a Thousand Eyes,
All My Sons,
The Velvet Touch,
Kiss the Blood Off My Hands, (my favorite title this year).

If you can make it for just one night, I’d recommend one of these four:

Friday, January 20 (Opening Night): Two classics that are famous for a reason – Key Largo (Bogart and Bacall, Edward G. Robinson, Claire Trevor’s heartbreaking performance as a gangster’s moll aging out of her looks and an underappreciated supporting turn by Thomas Gomez) and The Lady from Shanghai (Orson Welles’ noir adventure with his glamorous ex, Rita Hayworth, and the stunning hall-of-mirrors climax). You’ve almost certainly seen both of these, but probably not in a vintage movie palace with hundreds of other noiristas.
Saturday, January 21: Three movies that I have not yet seen and are not streamable – Larceny (John Payne, Dan Duryea), The Spiritualist and Road House (Richard Widmark, Ida Lupino, Cornell Wilde) – are sandwiching a more well-known film, The Big Clock, with Ray Milland being hunted down by the minions of the nefarious Charles Laughton.
Monday, January 23: Two more non-streamable films which I haven’t seen: So Evil My Love (Ray Milland) and Sleep, My Love (Claudette Colbert and Don Ameche in a noir?).
Saturday, January 27: Two of my favorite Overlooked Noir: Raw Deal (some of the best dialogue in all of film noir, a love triangle and the superb cinematography of John Alton) and He Walked By Night (more John Alton, with the LAPD hunting down a nerdy wacko).

Make your plans now. Review the program and buy tickets at Noir City. I’ll be there.

Claire Trevor in KEY LARGO

on TV: ASHES AND DIAMONDS: a killer wants to stop

November 13, 2022 by movie gourmet

Photo caption: Zbigniew Cybulski in ASHES AND DIAMONDS

Coming up November 15 on Turner Classic Movies, a masterful director and his charismatic star ignite the war-end thriller Ashes and Diamonds, set amidst war-end treachery. It’s one of my Overlooked Noir.

It’s the end of WW II and the Red Army has almost completely liberated Poland from the Nazis. The future governance of Poland is now up in the air, and the Polish resistance can now stop killing Germans and start wrestling for control. Maciek (Zbigniew Cybulski) is a young but experienced soldier in the Resistance. His commanders assign him to assassinate a communist leader.

Maciek is very good at targeted killing, but he’s weary of it. As he wants out, he finds love. But his commander is insisting on this one last hit.

This is Zbigniew Cybulski’s movie. Often compared to James Dean, Cybulski emanates electricity and unpredictability, Unusual for a leading man, he often wore glasses in his screen roles. He had only been screen acting for four years when he made Ashes and Diamonds. Cybulski died nine years later when hit by a train at age forty,

Andrzej Wajda fills the movie with striking visuals, such as viewing Maciek’s love interest, the waitress Krystyna (Ewa Krzyzewska), alone amidst the detritus of last night’s party, through billows of cigarette smoke. Wajda’s triumphant signature is, literally, fireworks at the climax; the juxtaposition of the celebratory fireworks with Maciek’s emotional crisis is unforgettable.

Wajda adapted a famous 1948 Polish novel into this 1958 movie. In the adaptation, the filmmaker changed the emphasis from one character to another.

Ashes and Diamonds was the third feature for Andrzej Wajda, who became a seminal Polish filmmaker and received an honorary Oscar. US audiences may remember his 1983 art house hit Danton with Gerard Depardieu.

Ashes and Diamonds can be streamed from Amazon and AppleTV. It was featured at the 2020 Noir City film festival.

Previewing this weekend’s Noir City

March 21, 2022 by movie gourmet

The Noir City film fest, always one of the best Bay Area cinema experiences, returns IN-PERSON January 20-23, 2022. What’s new in the 2022 edition of Noir City:

As usual, Noir City will be held in a vintage movie palace – but it will be the Grand Lake Theater in Oakland (not San Francisco’s Castro).
This year’s program contains all American movies from the classic film noir period; (no international titles or neo-noirs this year).
The festival will be compressed into four days from the usual ten.
Masks and proof of COVID vaccination will be required.

Muller, host of the popular Noir Alley franchise on Turner Classic Movies, explains, “The Grand Lake provided Noir Alley with a temporary studio during the pandemic, and I realized its vintage movie palace atmosphere, and the care and upkeep of the venue, would work perfectly for the type of show NOIR CITY loyalists have come to expect. Plus, I love Oakland. It hurts that the town has lost the Warriors and the Raiders, so I’m happy to give a little something back to the city’s cultural life.“

The 2022 Noir City will host the world premiere of the Film Noir Foundation’s 35mm restoration of The Argyle Secrets. The Argyle Secrets (1948) is not available for streaming, nor are these Noir City titles:

The Accused (1949)
Open Secret (1948)
The Sniper (1952)
Force of Evil (1948).

I particularly recommend the unfortunately prescient The Sniper, which presages the Texas Tower shooting, the Zodiac Killer and all manner of overtly misogynistic violence. Journeyman television actor Arthur Franz comes through in a career-topping performance as a woman-hater who can’t control his compulsions. Director Edward Dmytryk enhances the drama, Marie Windsor unleashes dazzling charm and the San Francisco locations are vivid. This is your best chance to see the rarely-seen The Sniper; (I have the French DVD).

The rest of the program includes the more familiar titles On Dangerous Ground, The Prowler, Odds Against Tomorrow, No Way Out, T he Killer That Stalked New York, All the King’s Men and Crossfire. The 2022 program, subtitled “They Tried to Warn Us!“, offers movies that address contemporary issues: racism, anti-Semitism, sexual predators, serial killers, police brutality and a KILLER CONTAGION. Muller describes them as “warning flares about issues that still plague our culture more than seventy years later.”

Make your plans now. Review the program and buy tickets at Noir City.

THE SNIPER: lethal mommy issues

January 26, 2022January 16, 2022 by movie gourmet

The Sniper is an unfortunately prescient film noir that tracks the loner Edward Miller (Arthur Franz), whose misogyny drives him to murder a series of San Francisco women in what seem like random shootings.

From the beginning, it’s very clear that 1) every encounter with a woman pushes Miller’s buttons, and 2) he is trying to control a compulsion to shoot them.

When ER doctor treating him for a burn asks, “Can I ask you a question? Were you ever in a mental institution?”, Miller replies, “Only when I was in prison – in the psycho ward.” Uh oh.

Understandable public hysteria triggers a manhunt, led by a seasoned detective lieutenant (Adolphe Menjou) and his snarky assistant (Gerald Mohr), a guy who is never witty but thinks he is. The embattled police chief is played by Frank Faylen (cabbie Ernie in It’s a Wonderful Life). The cops don’t understand who they are looking for or how to track him down.

If The Sniper is any indication, the SFPD’s police methods of communications, investigation and crowd control were very primitive in 1952.

A police psychologist (Richard Kiley) educates the cops about the killer’s profile, and they finally close in. The weakest part of The Sniper is a talky “message picture” segment where the psychologist tries to convince some civic dinosaurs that the mentally ill need treatment to keep them from killing the rest of us. It’s as lame as the Simon Oakland epilogue lecture in Psycho.

It’s notable that The Sniper was released in 1952, before “active shooter” was a thing. This was 14 years before the Texas Tower shootings and 16 years before Peter Bogdanovich’s similarly-themed fictional narrative Targets. The Zodiac Killer, a real life anonymous serial killer who communicated directly with the police, first struck 16 years after The Sniper (and also terrorized the Bay Area).

The Sniper is also an early exploration of misogynistic attitudes and violence. Even the casual remarks from the folks on the street illustrate unconsciously sexist attitudes on gender.

The Sniper depends on the performance by Arthur Franz, and he is excellent. Of course, he gets to play full psycho, but he is best when he is observing women and silently registering disgust and repulsion. With his countenance otherwise placid, the look in Franz’s eyes changes at the instant that he is triggered into antipathy; you can see him thinking Bitch! Slut! This performance is Franz’s career topper.

I had a vague recollection of Franz, but couldn’t place his other screen work, which was primarily in amiable supporting roles. Franz was the young corporal who narrates The Sands of Iwo Jima, a young ship’s officer in The Caine Mutiny and had a supporting turn in the fine Fritz Lang/Dana Andrews noir Beyond a Reasonable Doubt. But most of his 152 screen credits came in 1950s and 1960s television, including five guest appearances in Perry Mason.

Marie Windsor and Arthur Franz n THE SNIPER

The most dazzling performance in The Sniper is Marie Windsor’s as one of Miller’s laundry delivery customers, the singer in a bar. Windsor is at her most charismatic; her sexy charm, however, is exactly what rubs Miller the wrong way.

Menjou is solid, but these are not Mohr’s or Faylen’s best performances. Jay Novello sparkles in a very small role as the tavern owner who employs Marie Windsor’s songstress.

The Sniper is directed by the accomplished Edward Dmytryk (Murder My Sweet, Crossfire, The Hidden Room, The Caine Mutiny). Dmytryk elevates the tension with dramatic shots from the sniper’s and victim’s points of view. Dmytryk even gets a lttle showy when Miller shoots someone and the fatal bullet breaks the glass on her publicity poster.

The San Francisco locations are superbly detailed in the blog ReelSF, an essential for Bay Area cinephiles. (However, the boardwalk carnival was shot in Southern California, not at San Francisco’s Playland-at-the-Beach.)

The Sniper is very hard to find. It is not available to stream, and I needed to buy the French DVD. The Sniper is scheduled to screen at the 2022 Noir City film festival.

Adolphe Menjou and Gerald Mohr in THE SNIPER

THE ARGYLE SECRETS: racing for a politically explosive Macguffin

January 16, 2022 by movie gourmet

Marjorie Lord and William Gargan in THE ARGYLE SECRETS

The Argyle Secrets is a fast-paced 63-minute espresso noir, a race to find a politically explosive Macguffin. That Macguffin is the Argyle Album, a list of those Americans playing footsy with the Nazis, just in case Hitler might win the war. This list has obvious value, both as a news media exposé and as blackmail leverage. value.

The Argyle Secrets starts out with voice-over exposition, flashes of the characters to come, and some rapid voice-over exposition from our protagonist, the investigative reporter Harry Mitchell (William Gargan).

Mitchell has the opportunity to meet a visiting national columnist (George Anderson), who tells him about the existence of, but not the content of the Argyle Album. When the columnist suddenly dies amid suspicious circumstances, Mitchell comes under suspicion and goes on the run to solve the case and prove his innocence. Of course, he also wants the Big Scoop for his own newspaper.

George Anderson and William Gargan in THE ARGYLE SECRETS

But Harry Mitchell is not alone in his pursuit of the Argyle Album. Just like in that Macguffin classic The Maltese Falcon, he is racing devious characters with multiple aliases. In pursuit of the Argyle Album themselves, they’re now in pursuit of Harry. There’s even a fat man in a white suit (Jack Reitzen).

The fat man is a solo operator, but there’s also a gang with an accented leader (John Banner, 20 years before his Sgt. Schultz in Hogan’s Heroes) and sunglasses-wearing muscle (Mickey Simpson) – and they’re willing to use a blowtorch on Harry. Plus a shifty fence (Peter Brocco).

There’s also the alluring Marla (Marjorie Lord), a sexy femme fatale who may or may not be loyal to the gang. Fondling Harry’s lapels, she puts on her best Brigid O’Shaughnessy and coos, “You think I’m really rotten, don’t you? I am. I really am.”

The plot transpires over 24 hours. Who will find the Argyle Album? Is Marla playing Harry? Will Harry survive?

William Gargan carries the story as Harry. Gargan made a career of playing fictional detectives – Barrie Craig for four years in the popular radio series Barrie Craig, Confidential Investigator, then Ellery Queen in three movies and Martin Kane in 51 television episodes.

Marjorie Lord, who considered herself primarily a stage actress, did massive amounts of television, especially 227 episodes playing Danny Thomas’s wife in The Danny Thomas Show (plus another 24 episodes as the same character in in Make Room for Granddaddy).

However, Lord is right at home playing a movie femme fatale in The Argyle Secrets, exuding sexuality and unashamed self-interest.

The Argyle Secrets was written and directed by Cy Endfield, then a 34-year-old Orson Welles protege, in what he called his first film as an auteur. Blacklisted in the US, Endfield went on to direct the fine 1957 British noir Hell Drivers and the 1964 hit Zulu.

The Argyle Secrets has been newly restored by the the Film Noir Foundation. The world premiere 35mm restoration of The Argyle Secrets will be at the 2022 Noir City film festival.

The Argyle Secrets is very hard to find and is not available to stream; I expect that a Film Noir Foundation DVD will become available.

NOIR CITY returns in-person in January

December 12, 2021 by movie gourmet