Films / October 30

Blazing Saddles (1974) / The BFG (1974) / Bank Holiday (1938) / The Odd Couple (1968) / The Trial Of The Chicago 7 (2020) / The History Of Mr Polly (1949) / Dracula (1958)

Blazing Saddles (1974) Parody of Westerns, satire on racism, crude and smart at the same time, a structural mess that endures. Uninhibited by taste or correctness, Mel Brooks throws a non-stop succession of verbal and visual comedy at the screen, ably supported by a terrific cast.

The BFG (1974) All the elements are present, yet somehow none of them coalesce. Where there should be emotion and magic, instead it feels tired and flat. Beautiful visuals, and the sequence with the Queen delivers humour and wonder, yet there's no tension. An opportunity lost.

Bank Holiday (1938) The slight narrative focuses on a variety of people heading down to the coast for a long weekend. Its success derives from the detail and the portrayal of British society, a fascinating blend of docu style observation and human empathy. Solidly made and performed.

The Odd Couple (1968) The strength of Neil Simon's writing and the vitality of Jack Lemon and Walter Matthau's personification of neurotic Felix and slobbish Oscar maintain the comedy and even empathy. Effectively a series of carefully honed set pieces, including the always delightful arrival of the Pigeon sisters.

The Trial Of The Chicago 7 (2020) As finely crafted as expected from Aaron Sorkin, with a rounded narrative that though slow to open pays off in the courtroom. An impressive ensemble delivers on the script and the contemporary allusions hit home, though there is a strangely impersonal visual approach. The rousing finale is a divisive matter of taste.

The History Of Mr Polly (1949) Handsomely produced, with evocative and lively sets and locations, HG Wells' Alfred Polly is brought to life with intelligent simplicity and empathy by John Mills. Supporting cast, especially Megs Jenkins, are equally good, though tonal shifts between comedy and drama aren't always successful.

Dracula (1958) Shot in glorious, lurid colours, crafted to highlight shocking horror as well as sexual desire, a still jolting and mesmerizing vampire tale. Christopher Lee and Peter Cushing embody the battling forces and James Bernard provides the thunderous score. Essential Hammer.