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Sung by Jack Jones (1938-2024) youtube.com/watch?v=psAzTh…

Gary Indiana, 1950-2024

The elegiac opening half of J Kane's COME ON, RANGERS (R Rogers's 3rd starring vehicle) where the Texas Rangers are disbanded in favor of a futile cavalry has many Ford-worthy moments, including Rangers & soldiers singalongs. All evocatively shot by J Marta w/his spectral shadows

Just as you think things can't get any wilder, along comes the body language of ribald L Damita & her aunt (S Jimenez) as a one-woman Punch & Judy show. A cousin to WHAT DID YOU DO IN THE WAR, DADDY?, the film is so energetic, that the battle action sequence is almost a respite.

There are sight & sound gags w/in sight & sound gags in & out of the frame, licentious musical interludes & the greatest array of gestures, intonations & facial expressions you've ever seen from a pair of actors. Boisterously, McLaglan's vocal inflections prefigure C Grant's.

It's bracing how R Walsh basks in the constraints of early talkies to crush them in his existential, rambunctious 1929 THE COCKEYED WORLD w/V McLaglan & E Lowe perfecting their standup Flagg & Quirt vaudeville antics, competing for skirts in Russia, Brooklyn & a Banana Republic

Pajama Party (Teri Garr, 1944-2024)

Large crackerjack Jane Dickson paintings (2000-2024) on astroturf & small drawings on canvas will close at Karma, WeHo, Nov. 2. Dickson (long married to filmmaker Charlie Ahern) is famed for her 80's Times Square nightscapes in day glow color. Reproductions don't do her justice.

R Florey's shrewd gangster-ridden THE CROOKED WAY holds together through its self-reflexive genre fragments where amnesiac J Payne (stone faced as the Terminator) gets knocked about into finding himself w/in J Alton's jazzy dirty work & seeks a dicey sanctuary from P Helton & cat

J Carson is at his nimblest in D Butler's charming, goofy 2 GUYS FROM TEXAS, pitting him & D Morgan as a lower rent Crosby & Hope (singer & comic) when they are also a transition to Martin & Lewis. Carefree & more & more fun as it goes on, w/brunette D Malone in her 1st lead role

Implacable force J Havoc moves inexorably a la J Crawford from crime madam to prison to redemption in C Wilbur's bustling STORY OF MOLLY X, where her character actress inmates steal the show as if they were eccentrics in a sewing bee. Foxy D Hart on hand as Havoc's wicked nemesis

Co-scripted by famed hard-bitten writer H McCoy (Kiss Tomorrow Goodbye, They Shoot Horses), PIH grafts the Machine Gun Kelly kidnap plot onto the Bonnie/Clyde tale & is 1 of 4 films made (2 by King) from J E Hoover's autobiography (ghosted by C R Cooper, who hung himself in 1940)

Though low-rent, L King's compact PERSONS IN HIDING, of a Depression years odd couple bandit duo, merits notice alongside GUN CRAZY & BONNIE & CLYDE & not just for the potency of P Morison's taunting bad-girl film debut; a love-addled J C Naish adds piteous support as her enabler

Quincy Jones, 1933-2024 The New Centurions

S MacLaine, poised in her 1st role, strikes a perfect balance between practicality & desire; B Hermann's schizy debut Hitch score may be his most articulate; R Burks's outlandish autumn photography is renowned & the closingl title ("The Trouble W/Harry is over") tweaks THE COBWEB

As 1 of cinema's most heartfelt farces (beside THE GOLDEN COACH), TTWH, a farce of shared guilt & absolution through art, is benign but insinuating & carefully composed as a Lubitsch work. Harry's body, like the LONG, LONG TRAILER is receptacle for the sins & burdens of humanity

Like THE BIRDS, its flip side, Hitch's fanciful THE TROUBLE WITH HARRY befalls in a small, insular, puritan community where the indifference of nature dominates over mankind. It's a self-contained wonderland of L Carroll logic, but more primal w/a gentle interplay of sex & death.

F Lang's gorgeously gothic SECRET BEYOND THE DOOR may be his most hallucinatory American film w/the spookiest Old Dark House in captivity. J Bennett's dread in a reckless marriage is palpable as she unearths a new horror a minute. But finally, the spell deflates into psychobabble

Thanks to R Zemeckis's technical & emotional wizardry, his energetic tearjerker HERE, a pungent riff on Beckett's THE FOURPOSTER, where mood shifts come so quickly there's barely time to react, is so ominous, it's stimulating. T Hanks & R Wright play deeply together w/out pushing

In J Yarbrough's tidy, expedient SHED NO TEARS, J Vincent joins the ranks of forgotten 40's low-rent bad girls (L Brooks, J Gillie, D Hart) but gets superseded in sleaziness by mincing private dick J White, barely credited. W Ford brings some weight to a cast of abject characters