There have been a number of films I've watched during the period of the blog which for one reason or another I haven't written up for you. They all duplicate (and in some cases triplicate) years I've covered with other films, but for reasons of completism, here's a brief run-down.
Vertigo (1958)A third James-Stewart-starring Hitchcock movie, after my posts on 'Rope' (1948) and 'Rear Window' (1954). Of the three, only this one isn't confined to a single room, meaning it can roam up and down the steep San Francisco hills, mainly down. I was very taken by this film when I first watched it, as there's a point when it rather alarmingly reveals that it isn't in the genre you expected. Rewatching, I was surprised, and not pleasantly, at what a sinister jerk the hero becomes toward the end. And Kim Novak's eyebrows are strange and confusing throughout.
Bucket of Blood (1959)I watched this and wrote it up for you, but then I watched it again. It's good, it's short, and much of it is imitable. I made a page of notes the second time, but apparently I've lost it.
The Last Remake of Beau Geste (1977)This is an absurd comedy written and directed by Marty Feldman, and it's a real pity it isn't better known. It feels like a British Mel Brooks film, or a sillier and wider-ranging 'The Bed Sitting Room' (1969). It's either an adaptation of a classic novel, or (as the title suggests) a remake of the 1926, 1939 and 1966 films, which ignores the original's lack of laughs and somehow comes out with a more interesting and satisfying resolution than any of those versions managed. It stars Marty Feldman, Michael York and Peter Ustinov, and features (among many others) a memorable performance from James Earl Jones, who plays an Arab in the style of Terry Thomas.
Chariots of Fire (1981)
I picked up a copy of this film during the 2012 olympics. I didn't watch any of the sport, but the opening ceremony had impressed me, and a rendition of the theme from Chariots of Fire stirred something within me. It's music I've always associated with running in slow-motion, so I'd long held at least a little interest in watching the film. Besides, it got the oscar for Best Screenplay, which tends to mean a film is worth a look in. It's a fine thing, and well worth the attention given to it at the time, and isn't at all the film I'd expected.