Imagine if the 1984 classic Ghostbusters was made 30 years before. Here's an awesome fake trailer for a film that never was.
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On The Horizon: Cubs vs. Rockies series preview
5 years ago
Wednesday, July 29, 2009
Tuesday, July 28, 2009
The Dirty Dozen
The Dirty Dozen
1967 - MGM
Directed by Robert Aldrich
SYNOPSIS
Major Reisman (Lee Marvin) has been assigned a dangerous mission. He must select a group of dangerous military prisoners, train them, and lead them in a daring suicide raid against high-ranking Nazis at the height of World War 2.
MY THOUGHTS
There are chick flicks and there's guy flicks. There's guy flicks and there's guy flicks. This is the latter of the three.
The film displays a real dry and often hilarious sense of humor which balances the the horrors of war equally well. Those horrors are very evident in the film's final scenes. Those scenes with the Nazis in the bunker are extremely brutal and violent for the time and still have great shock value today.
Robert Aldrich's direction clearly steers this film towards an epic. His choice of camera angles are occasionally unusual but show a creative mind at work that is looking for something above and beyond the norm.
He also includes many lengthy, but never boring, training scenes that lead up to the big finale really add much to the audience's understanding of the characters.
Lee Marvin is simply amazing in this film. His character could kick the ass of anyone in the film and hold his own against most of the bad-asses of other films. Despite his military rank, you can see him as a rebellious anti-hero, like his 12 prisoners-turned-soldiers. They quickly learn to respect him. He turns in an iconic performance that is one of his best.
John Cassavetes got a deserved Oscar nomination for his role as one of the most rebellious of the dozen.
Jim Brown, Donald Sutherland, Charles Bronson, Telly Savalas and Clint Walker are just some of the tough guys that make up the dozen. They each bring something unique and different to the table. Their characters are each given many moments to shine and much of the humor derives from their interactions with each other. You really seem to get to know them, so when some of them don't make it you feel their loss. Few war films (that I've seen anyway) achieve this as well as the Dirty Dozen.
George Kennedy, Robert Ryan and Ernest Borgnine also provide memorable supporting roles.
If you're in the mood for a war film with lots of action and humor, you can't do better the The Dirty Dozen.
1967 - MGM
Directed by Robert Aldrich
SYNOPSIS
Major Reisman (Lee Marvin) has been assigned a dangerous mission. He must select a group of dangerous military prisoners, train them, and lead them in a daring suicide raid against high-ranking Nazis at the height of World War 2.
MY THOUGHTS
There are chick flicks and there's guy flicks. There's guy flicks and there's guy flicks. This is the latter of the three.
The film displays a real dry and often hilarious sense of humor which balances the the horrors of war equally well. Those horrors are very evident in the film's final scenes. Those scenes with the Nazis in the bunker are extremely brutal and violent for the time and still have great shock value today.
Robert Aldrich's direction clearly steers this film towards an epic. His choice of camera angles are occasionally unusual but show a creative mind at work that is looking for something above and beyond the norm.
He also includes many lengthy, but never boring, training scenes that lead up to the big finale really add much to the audience's understanding of the characters.
Lee Marvin is simply amazing in this film. His character could kick the ass of anyone in the film and hold his own against most of the bad-asses of other films. Despite his military rank, you can see him as a rebellious anti-hero, like his 12 prisoners-turned-soldiers. They quickly learn to respect him. He turns in an iconic performance that is one of his best.
John Cassavetes got a deserved Oscar nomination for his role as one of the most rebellious of the dozen.
Jim Brown, Donald Sutherland, Charles Bronson, Telly Savalas and Clint Walker are just some of the tough guys that make up the dozen. They each bring something unique and different to the table. Their characters are each given many moments to shine and much of the humor derives from their interactions with each other. You really seem to get to know them, so when some of them don't make it you feel their loss. Few war films (that I've seen anyway) achieve this as well as the Dirty Dozen.
George Kennedy, Robert Ryan and Ernest Borgnine also provide memorable supporting roles.
If you're in the mood for a war film with lots of action and humor, you can't do better the The Dirty Dozen.
Monday, July 27, 2009
The Toxic Avenger
The Toxic Avenger
1984 - Troma
Directed by Michael Herz and Lloyd Kaufman
SYNOPSIS
Uber-dweeb Melvin (Mark Torgl) is a janitor at the Tromaville Health Club. Four nasty members cause him to fall into toxic waste and become the super hero, the Toxic Avenger (Mitch Cohen.) He begins a quest to rid Tromaville of evil, and gains the support of the citizens. It's a mission that leads him all the way to the town's corrupt mayor, who calls in the national guard.
MY THOUGHTS
If you've never seen a film from Troma, you're in for a treat. Troma's films are high camp with extreme violence and very liberal nudity. They are cast with actors that were probably considered too 'out there' for a John Waters film. The Toxic Avenger is the main jewel in Troma's crown (its Citizen Kane.)
The film is a typical comic book movie origin story and is just as entertaining as any other... if you are in the mood for Troma's unconventional b-movie style. Troma always goes for an intentional bad movie. Most of the humor derives from this. The horribly bad cheesy acting, excessive to the extreme violence, and some very bad-taste humor generate tons of laughs and lift this above the usual drek you would have seen in the late 80's - early 90's on 'USA Up All Night' or today.
I have to be in the absolutely perfect mood to enjoy films like this and I'm glad I was tonight. The Toxic Avenger is an incredibly hilarious film, but clearly not for everyone.
1984 - Troma
Directed by Michael Herz and Lloyd Kaufman
SYNOPSIS
Uber-dweeb Melvin (Mark Torgl) is a janitor at the Tromaville Health Club. Four nasty members cause him to fall into toxic waste and become the super hero, the Toxic Avenger (Mitch Cohen.) He begins a quest to rid Tromaville of evil, and gains the support of the citizens. It's a mission that leads him all the way to the town's corrupt mayor, who calls in the national guard.
MY THOUGHTS
If you've never seen a film from Troma, you're in for a treat. Troma's films are high camp with extreme violence and very liberal nudity. They are cast with actors that were probably considered too 'out there' for a John Waters film. The Toxic Avenger is the main jewel in Troma's crown (its Citizen Kane.)
The film is a typical comic book movie origin story and is just as entertaining as any other... if you are in the mood for Troma's unconventional b-movie style. Troma always goes for an intentional bad movie. Most of the humor derives from this. The horribly bad cheesy acting, excessive to the extreme violence, and some very bad-taste humor generate tons of laughs and lift this above the usual drek you would have seen in the late 80's - early 90's on 'USA Up All Night' or today.
I have to be in the absolutely perfect mood to enjoy films like this and I'm glad I was tonight. The Toxic Avenger is an incredibly hilarious film, but clearly not for everyone.
Saturday, July 25, 2009
New Olivia de Havilland Interview
Here is a fascinating new interview with 93-year old Olivia de Havilland. She's one of the last legends of the golden age of Hollywood. You've seen her in 'Gone With The Wind' and the 'Adventures of Robin Hood' among others. Courtesy of The Independent:
Golden Girl: The Divine Olivia de Havilland
Golden Girl: The Divine Olivia de Havilland
Out Of The Past
Out Of The Past
1947- RKO
Directed by Jacques Tourneur
SYNOPSIS
A few years ago detective Jeff Bailey (Robert Mitchum) was hired by a gangster named Whit Sterling (Kirk Douglas) to find and return his woman (Jane Greer) who ran away. Bailey and the woman fell in love and hid out for a while. The two split up and Bailey quit the detective biz and runs a gas station in a small California town. Sterling's people track Bailey down and he goes to meet the gangster only to find the woman back with him. She's told Sterling everything. Sterling pressures Bailey into doing one more mission to recover some documents. Before long Bailey realizes it's a frame up. Now he has to turn the tables on Sterling.
MY THOUGHTS
If you had never seen a film noir before, this would be one hell of a way to start. Noir is a very nebulous style of film (it's not considered a genre) but this film has many essential elements.
The use of black and white cinematography with heavy contrast and shadow is probably the most important visual element in noir, and it rarely looks any better than this.
Noir is usually crime-heavy and this is no exception. Anyone can get bumped off at any time. The tone is hopeless and bleak, and the ending is equally bleak.
Robert Mitchum is the protagonist. Like countless others (The Maltese Falcon, The Big Sleep, etc.) the hero is a private dick. Mitchum plays Bailey indifferent and cool with a quick wit. He's also morally questionable. He willingly accepts a job by a gangster. He also knowingly steals a man's woman, not once but twice.
Jane Greer plays one of the stronger femme fatales, also an essential element. She can't be trusted (by anyone) and is willing to use a gun if needed.
The use of flashback, physical locations (including oft-used San Fransisco,) and voice overs are alo essential and present.
These elements come together to create a tight quick moving story that never drags. It's highly recommended.
1947- RKO
Directed by Jacques Tourneur
SYNOPSIS
A few years ago detective Jeff Bailey (Robert Mitchum) was hired by a gangster named Whit Sterling (Kirk Douglas) to find and return his woman (Jane Greer) who ran away. Bailey and the woman fell in love and hid out for a while. The two split up and Bailey quit the detective biz and runs a gas station in a small California town. Sterling's people track Bailey down and he goes to meet the gangster only to find the woman back with him. She's told Sterling everything. Sterling pressures Bailey into doing one more mission to recover some documents. Before long Bailey realizes it's a frame up. Now he has to turn the tables on Sterling.
MY THOUGHTS
If you had never seen a film noir before, this would be one hell of a way to start. Noir is a very nebulous style of film (it's not considered a genre) but this film has many essential elements.
The use of black and white cinematography with heavy contrast and shadow is probably the most important visual element in noir, and it rarely looks any better than this.
Noir is usually crime-heavy and this is no exception. Anyone can get bumped off at any time. The tone is hopeless and bleak, and the ending is equally bleak.
Robert Mitchum is the protagonist. Like countless others (The Maltese Falcon, The Big Sleep, etc.) the hero is a private dick. Mitchum plays Bailey indifferent and cool with a quick wit. He's also morally questionable. He willingly accepts a job by a gangster. He also knowingly steals a man's woman, not once but twice.
Jane Greer plays one of the stronger femme fatales, also an essential element. She can't be trusted (by anyone) and is willing to use a gun if needed.
The use of flashback, physical locations (including oft-used San Fransisco,) and voice overs are alo essential and present.
These elements come together to create a tight quick moving story that never drags. It's highly recommended.
Wednesday, July 22, 2009
The Iron Giant
The Iron Giant
1999 - Warner Brothers
Directed by Brad Bird
SYNOPSIS
A hundred-foot tall robot, presumably from outer space, comes crashing down in a rural Maine town in 1957. A young boy named Hogarth (Eli Marienthal) saves its life and the two overcome their size and language differences and become buddies... but Kent, a nosy government agent (Christopher McDonald,) threatens to destroy their friendship. Hogarth and his older friend Dean (Harry Connick Jr.) must try to keep the huge metal being out of sight.
MY THOUGHTS
When films are unanimously heaped with obscene tons of praise, without any dissenting opinion, I tend to avoid them like the plague. A movie can rarely ever live up to the hype. (especially when its trailer doesn't even hint on its greatness) How many movie ads in the newspaper have quotes from critics saying things like "an instant classic" and no one even remembers them 6 months later? The Iron Giant was one of those praise-heavy films and I managed to avoid it for just a few weeks shy of 10 years... but people still remember it and love it.
We live in a society of parents brainwashed by Disney and their own children and they make nearly every animated film released a success no matter the quality. This film scraped less than 25 million in its original release and that kept me vaguely interested in seeing the film. Was it too clever for the zombies?
I am very late in jumping on the bandwagon, but I now love this film.
The story is very moving and would appeal to kids of all ages, though some of the more disturbing images of violence may scare the youngest viewers.
The characters are believable and real even despite their animated-ness. Hogarth is a nice easy-to-relate-to kid. His relation ship with the robot reminded me of a boy trying to train a dog and it grew into a genuine loving friendship.
The character of Kent is never redeemed and that's more realistic than a cop-out Hollywood kids movie ending.
The old-school animation looks great. It was able to capture period details expertly, right down to the comic books and the past-futuristic design of the robot. There may have been a touch of some early computer animation to some of the scenes but it's not distracting, as some TV and movies of the 90's. The looks of the characters favor a classic Disney-style caricatures as opposed to a more realistic approach that could look potentially creepy (The Polar Express.)
Overall, this is a must for kids or fans of great animated films.
1999 - Warner Brothers
Directed by Brad Bird
SYNOPSIS
A hundred-foot tall robot, presumably from outer space, comes crashing down in a rural Maine town in 1957. A young boy named Hogarth (Eli Marienthal) saves its life and the two overcome their size and language differences and become buddies... but Kent, a nosy government agent (Christopher McDonald,) threatens to destroy their friendship. Hogarth and his older friend Dean (Harry Connick Jr.) must try to keep the huge metal being out of sight.
MY THOUGHTS
When films are unanimously heaped with obscene tons of praise, without any dissenting opinion, I tend to avoid them like the plague. A movie can rarely ever live up to the hype. (especially when its trailer doesn't even hint on its greatness) How many movie ads in the newspaper have quotes from critics saying things like "an instant classic" and no one even remembers them 6 months later? The Iron Giant was one of those praise-heavy films and I managed to avoid it for just a few weeks shy of 10 years... but people still remember it and love it.
We live in a society of parents brainwashed by Disney and their own children and they make nearly every animated film released a success no matter the quality. This film scraped less than 25 million in its original release and that kept me vaguely interested in seeing the film. Was it too clever for the zombies?
I am very late in jumping on the bandwagon, but I now love this film.
The story is very moving and would appeal to kids of all ages, though some of the more disturbing images of violence may scare the youngest viewers.
The characters are believable and real even despite their animated-ness. Hogarth is a nice easy-to-relate-to kid. His relation ship with the robot reminded me of a boy trying to train a dog and it grew into a genuine loving friendship.
The character of Kent is never redeemed and that's more realistic than a cop-out Hollywood kids movie ending.
The old-school animation looks great. It was able to capture period details expertly, right down to the comic books and the past-futuristic design of the robot. There may have been a touch of some early computer animation to some of the scenes but it's not distracting, as some TV and movies of the 90's. The looks of the characters favor a classic Disney-style caricatures as opposed to a more realistic approach that could look potentially creepy (The Polar Express.)
Overall, this is a must for kids or fans of great animated films.
The Endless Summer
The Endless Summer
1966
Directed by Bruce Brown
SYNOPSIS
Mike and Robert love to surf and set out on a world journey to find the best waves and ride them, living an endless summer. The set out for multiple places in Africa, Australia, New Zealand, Tahiti, and Hawaii.
MY THOUGHTS
I'd heard of this film for years, but never saw it. I'm not a surfer and would never get on a board, but I love to watch. I've seen other great surf films like 'Riding Giants' but never this one.
I was delighted by this film. It is so laid-back and unpretentious and a delight to watch.
The film's success lies in its simplicity. The film is primarily a silent film with a narrator and surf music playing along with it. The narration, by director Bruce Brown, is playful easy-going and humorous.
You will never have to sit through long interviews of surfers detailing their personal philosophies of surfing, or why they took it up. That's a breath of fresh air. Too many sports documentaries on tv and in film rely on this and are very pretentious.
The film appears to have been shot in 16mm, which is much lesser quality than the 35mm of regular feature films, but each scene looks jaw-droppingly amazing. This just may be the best looking 16mm images I've ever seen. The beaches and surf look great all over the world.
Some of the music comes across a little cheesy by today's standards, but with images so amazing, who cares?
Even if you don't surf, you should ride this wave!
1966
Directed by Bruce Brown
SYNOPSIS
Mike and Robert love to surf and set out on a world journey to find the best waves and ride them, living an endless summer. The set out for multiple places in Africa, Australia, New Zealand, Tahiti, and Hawaii.
MY THOUGHTS
I'd heard of this film for years, but never saw it. I'm not a surfer and would never get on a board, but I love to watch. I've seen other great surf films like 'Riding Giants' but never this one.
I was delighted by this film. It is so laid-back and unpretentious and a delight to watch.
The film's success lies in its simplicity. The film is primarily a silent film with a narrator and surf music playing along with it. The narration, by director Bruce Brown, is playful easy-going and humorous.
You will never have to sit through long interviews of surfers detailing their personal philosophies of surfing, or why they took it up. That's a breath of fresh air. Too many sports documentaries on tv and in film rely on this and are very pretentious.
The film appears to have been shot in 16mm, which is much lesser quality than the 35mm of regular feature films, but each scene looks jaw-droppingly amazing. This just may be the best looking 16mm images I've ever seen. The beaches and surf look great all over the world.
Some of the music comes across a little cheesy by today's standards, but with images so amazing, who cares?
Even if you don't surf, you should ride this wave!
Monday, July 20, 2009
The Jackie Robinson Story
The Jackie Robinson Story
1950 - Eagle Lion Films
Directed by Alfred E. Green
SYNOPSIS
The rise of future Hall Of Fame baseball player is recounted from youth to college to World War 2 service to the minors and on to breaking the major league color barrier for the Brooklyn Dodgers.
MY THOUGHTS
An adequate baseball film.
The film bravely tackles race, especially for 1950. A major studio may have glossed over this as Benny Goodman's very Jewish upbringing was whitewashed for the 'Benny Goodman Story.' This is not the case for this small b-movie production. Jackie faces racial slurs and angry whites who are enraged over his quick ascension to the minors and later to the majors. I'm sure they were worse in real-life than depicted here.
The film depicts Dodger owner Branch Rickey as nearly a saint which I'm sure he was not.
As for the acting, Jackie Robinson didn't break any barriers. His best skills are left for the on-field performances, but he is likable.
Ruby Dee plays Jackie's girl and you'd never expect her to become the great actor she did.
Overall, the film is passable and definitely one Hollywood would be smart to remake (with more care to the screenplay.)
1950 - Eagle Lion Films
Directed by Alfred E. Green
SYNOPSIS
The rise of future Hall Of Fame baseball player is recounted from youth to college to World War 2 service to the minors and on to breaking the major league color barrier for the Brooklyn Dodgers.
MY THOUGHTS
An adequate baseball film.
The film bravely tackles race, especially for 1950. A major studio may have glossed over this as Benny Goodman's very Jewish upbringing was whitewashed for the 'Benny Goodman Story.' This is not the case for this small b-movie production. Jackie faces racial slurs and angry whites who are enraged over his quick ascension to the minors and later to the majors. I'm sure they were worse in real-life than depicted here.
The film depicts Dodger owner Branch Rickey as nearly a saint which I'm sure he was not.
As for the acting, Jackie Robinson didn't break any barriers. His best skills are left for the on-field performances, but he is likable.
Ruby Dee plays Jackie's girl and you'd never expect her to become the great actor she did.
Overall, the film is passable and definitely one Hollywood would be smart to remake (with more care to the screenplay.)
Sunday, July 19, 2009
The Caine Mutiny
The Caine Mutiny
1954 - Columbia Pictures
Directed by Edward Dmytryk
SYNOPSIS
A new ensign (Robert Francis) reports to an insignificant mine-sweeping ship during the second world war. The captain runs a lax ship and soon is replaced by Lt. Commander Queeg (Humphrey Bogart) who runs it the complete opposite. A pattern of behavior begins to develop that leaves some of the senior officers on the ship doubtful of the captain's sanity. During a rough storm where Queeg cracks up, the first officer (Van Johnson) relieves him of his command. The first officer faces mutiny proceedings.
MY THOUGHTS
Several strong performances make Caine shine like she was a new ship.... especially Humphrey Bogart.
Van Johnson, Fred MacMurray and Robert Francis (who would tragically die in a plane crash a year later) are very believable in their roles. MacMurray is the tough Fred MacMurray of "Double Indemnity" and not of the light 'Flubber'-y kind he was later in his career.
Jose Ferrer is excellent as the Naval Prosecutor in the film's last half hour.
The love affair between Francis' ensign and the nightclub singer played by May Wynn brought nothing to the film. There was little chemistry between the actors and it seemed hokey. The whole thing smelled of a studio exec saying "there has to be a love story or we're not making the film." It's a poor way to open the film and the whole Yosemite scene, though beautifully shot, was wholly unnecessary.
Those scenes should have been replaced so we could get more of Humphrey Bogart's magnificent performance
The normal Bogart screen persona is a confident tough-as-nails character. A character you fear because he's got a gun and he's going to kill you.
Queeg is a complete 180 from that. You're afraid because he's so unstable, has ultimate power, and you don't know what he's going to do.
His unusual mannerisms and habits, like moving around the steel balls in his hand, give off a general unease about the character. This all leads to his expertly played final scene in the courtroom.
His breakdown is expertly handled and paced through the film. This is helped by the expert direction of Edward Dmytryk.
His use of camera angles and shots with a lot of movement really add to the storytelling, and keep it from ever being boring. The 'all hands on deck' scene on Admiral Halsey's ship is a perfect example.
This is an excellent film and I highly recommend you enjoy it with some ice cream and at least a gallon of strawberries (be sure to finish them.)
1954 - Columbia Pictures
Directed by Edward Dmytryk
SYNOPSIS
A new ensign (Robert Francis) reports to an insignificant mine-sweeping ship during the second world war. The captain runs a lax ship and soon is replaced by Lt. Commander Queeg (Humphrey Bogart) who runs it the complete opposite. A pattern of behavior begins to develop that leaves some of the senior officers on the ship doubtful of the captain's sanity. During a rough storm where Queeg cracks up, the first officer (Van Johnson) relieves him of his command. The first officer faces mutiny proceedings.
MY THOUGHTS
Several strong performances make Caine shine like she was a new ship.... especially Humphrey Bogart.
Van Johnson, Fred MacMurray and Robert Francis (who would tragically die in a plane crash a year later) are very believable in their roles. MacMurray is the tough Fred MacMurray of "Double Indemnity" and not of the light 'Flubber'-y kind he was later in his career.
Jose Ferrer is excellent as the Naval Prosecutor in the film's last half hour.
The love affair between Francis' ensign and the nightclub singer played by May Wynn brought nothing to the film. There was little chemistry between the actors and it seemed hokey. The whole thing smelled of a studio exec saying "there has to be a love story or we're not making the film." It's a poor way to open the film and the whole Yosemite scene, though beautifully shot, was wholly unnecessary.
Those scenes should have been replaced so we could get more of Humphrey Bogart's magnificent performance
The normal Bogart screen persona is a confident tough-as-nails character. A character you fear because he's got a gun and he's going to kill you.
Queeg is a complete 180 from that. You're afraid because he's so unstable, has ultimate power, and you don't know what he's going to do.
His unusual mannerisms and habits, like moving around the steel balls in his hand, give off a general unease about the character. This all leads to his expertly played final scene in the courtroom.
His breakdown is expertly handled and paced through the film. This is helped by the expert direction of Edward Dmytryk.
His use of camera angles and shots with a lot of movement really add to the storytelling, and keep it from ever being boring. The 'all hands on deck' scene on Admiral Halsey's ship is a perfect example.
This is an excellent film and I highly recommend you enjoy it with some ice cream and at least a gallon of strawberries (be sure to finish them.)
Saturday, July 18, 2009
Putney Swope
Putney Swope
1969
Directed by Robert Downey Sr.
SYNOPSIS
The head of a New York advertising firm drops dead and the board accidentally votes in the token black guy, Putney Swope (Arnold Johnson.) Swope fires most all the white board members and replaces them with militant blacks. He renames the company Truth and Soul, Inc. and creates some raw advertising campaigns that put the company on top.
MY THOUGHTS
I love bizarre films and this is one of the strangest I've ever seen. Director Robert Downey (Sr.) was a key filmmaker in the underground film scene in the 1960s, and the film leans that way rather than a conventional narrative film.
There is no doubt from the beginning that this film is a satire. The style of comedy doesn't lend itself to many laugh-out-loud moments but the script does deliver many tremendous one liners that do just that. Many of the laughs are of the "I can't believe they just said that" variety:
Mr Victrola Cola: I got this great window cleaner. Cleans good and doesn't streak. Smells bad, though. Cleans good, but smells bad.
Putney Swope: As a window cleaner, forget it. Put soybeans in it and market it as a soft drink in the ghetto. We'll put a picture of a rhythm and blues singer on the front and call it Victrola Cola.
Sometimes what is being satirized is way above my head and falls flat. I'm not sure if the film is hitting on dated period details that stayed back in 1969.
The racial satire is quite overt and some today may be offended, but you're supposed to be. There's a boldness to the offensiveness that would definitely keep it from being made today.
The performances are bizarre. All of Swope's dialogue was re-dubbed by director Downey. Many actors line reading sound like they're reading their dialogue and others repeat lines ad nauseum like parrots (Gotta Have Soul!) A viewer not expecting a film like this would be very oft-put and the film would likely be switched off in just a few minutes.
Look for future Huggy Bear Antonio Fargas as The Arab. He has a running gag through the film where he tries to get fired and fails.
The fake commercials (see video above) are funny but pale in comparison to those from Saturday Night Live (despite the language and nudity.) 1969 was still a time in the cinema where boobs and foul language were considered shocking. The ads lose their impact today because we are so desensitized.
Overall, Swope is definitely a unique film and anyone with adventurous taste should definitely check it out, brother.
Oh, and any movie that envisions the U.S. President as a German midget pothead who loves a good menage a trois can't be bad.
1969
Directed by Robert Downey Sr.
SYNOPSIS
The head of a New York advertising firm drops dead and the board accidentally votes in the token black guy, Putney Swope (Arnold Johnson.) Swope fires most all the white board members and replaces them with militant blacks. He renames the company Truth and Soul, Inc. and creates some raw advertising campaigns that put the company on top.
MY THOUGHTS
I love bizarre films and this is one of the strangest I've ever seen. Director Robert Downey (Sr.) was a key filmmaker in the underground film scene in the 1960s, and the film leans that way rather than a conventional narrative film.
There is no doubt from the beginning that this film is a satire. The style of comedy doesn't lend itself to many laugh-out-loud moments but the script does deliver many tremendous one liners that do just that. Many of the laughs are of the "I can't believe they just said that" variety:
Mr Victrola Cola: I got this great window cleaner. Cleans good and doesn't streak. Smells bad, though. Cleans good, but smells bad.
Putney Swope: As a window cleaner, forget it. Put soybeans in it and market it as a soft drink in the ghetto. We'll put a picture of a rhythm and blues singer on the front and call it Victrola Cola.
Sometimes what is being satirized is way above my head and falls flat. I'm not sure if the film is hitting on dated period details that stayed back in 1969.
The racial satire is quite overt and some today may be offended, but you're supposed to be. There's a boldness to the offensiveness that would definitely keep it from being made today.
The performances are bizarre. All of Swope's dialogue was re-dubbed by director Downey. Many actors line reading sound like they're reading their dialogue and others repeat lines ad nauseum like parrots (Gotta Have Soul!) A viewer not expecting a film like this would be very oft-put and the film would likely be switched off in just a few minutes.
Look for future Huggy Bear Antonio Fargas as The Arab. He has a running gag through the film where he tries to get fired and fails.
The fake commercials (see video above) are funny but pale in comparison to those from Saturday Night Live (despite the language and nudity.) 1969 was still a time in the cinema where boobs and foul language were considered shocking. The ads lose their impact today because we are so desensitized.
Overall, Swope is definitely a unique film and anyone with adventurous taste should definitely check it out, brother.
Oh, and any movie that envisions the U.S. President as a German midget pothead who loves a good menage a trois can't be bad.
Wednesday, July 15, 2009
Harry Potter And The Half Blood Prince
Harry Potter And The Half Blood Prince
2009 - Warner Brothers
Directed by David Yates
SYNOPSIS (short and spoiler-free since this is a new release)
Harry Potter (Daniel Radcliffe) and friends are back for their 6th year at Hogwarts School of Witchcraft and Wizardry. As the darkness masses, love is in the air, and teenage hormones are raging. Harry, Ron (Rupert Grint) and Hermione (Emma Watson) all find love, but not without some heartbreak. Harry, with help from headmaster Dumbledore (Michael Gambon,) learns more secrets about the evil wizard Voldemont's past.
MY THOUGHTS (may contain mild spoilers)
I initially approached the Harry Potter series with disdain, even before the first film was released. This was all just a bunch of garbage that was fodder for all the stupid kids of today. (wow I sound like an old man... get off my lawn) Sometime after the 4th film in the series was released in 2005, I happened to watch the first film and completely fell in love. By the end of that week I owned all 4 on DVD.
I eagerly went to see both the 5th and later (today) the 6th at Graumann's Chinese Theater in Hollywood (one of the best places anywhere to see a movie.)
I still have never read any of the books though, but someday I'll get around to them.
Half Blood Prince is the second consecutive film in the series directed by David Yates, and he'll helm the final one (split in two parts) to be released winter of 2010 and summer 2011. His direction is much improved over 'Order of the Phoenix.'
The script is also stronger this time around. Steve Kloves did not script 'Phoenix' but adapted all the others. Using the same writer gives the series a real unity. There were many allusions to previous Potter films (the wand shop, the spider, etc) that really tied them together. These scenes may have been in the book, but visually they're well done. The film also has a great sense of humor that has been declining in the series, as it's become darker.
Daniel Radcliffe, Rupert Grint, and Emma Watson have come along way since the first film. Besides the obvious aging the trio have grown up as actors. Daniel Radcliffe is a remarkable confident actor. He isn't playing Harry Potter. He IS Harry Potter.
Rupert Grint FINALLY gets more to do in the series. Ron gets a love potion meant for Harry and goes head-over-heels for a girl he's never even met. This is by far the funniest Ron scene in the series. He is primarily used as comic relief in the others, but here he's given much more to do. The Quiddich match and his budding love life are some examples.
I've thought in prior films Emma Watson was the weak link of the three as an actor. But she's grown remarkably even since the last film and provides solid support.
There's more Dumbledore and Draco Malfoy (Tom Felton) this time around.
Michael Gambon (like many of the who's-who of older British actors in the Potter films) is one of those actors who's always great in everything. With more screen time, Gambon is exponentially better and it makes the climax of the film even more meaningful.
Draco's role in previous films was mostly minor, in a standard schoolboy antagonist-type role. His character is also growing up and his showing more depth. Felton really shines with the increased role and shows promise that he could become a great dramatic actor after the series concludes.
Alan Rickman, as Snape, provides another great performance. His ability to be menacing, then turn on a dime and be funny never fails to get laughs. Snape is also much more of a prominent character in this film... and that's a good thing.
Voldemont does not appear in the film apart from childhood flashbacks. This would seem to be somewhat of a let down, but it is not and I'm sure it'll help build suspense for the final showdown.
Overall I would say the film is just about, if not equal to Prisoner of Azkaban, which is the my favorite of the series so far. This may even move into my most favorite slot after I've stewed it over in my brain for a few days.
2009 - Warner Brothers
Directed by David Yates
SYNOPSIS (short and spoiler-free since this is a new release)
Harry Potter (Daniel Radcliffe) and friends are back for their 6th year at Hogwarts School of Witchcraft and Wizardry. As the darkness masses, love is in the air, and teenage hormones are raging. Harry, Ron (Rupert Grint) and Hermione (Emma Watson) all find love, but not without some heartbreak. Harry, with help from headmaster Dumbledore (Michael Gambon,) learns more secrets about the evil wizard Voldemont's past.
MY THOUGHTS (may contain mild spoilers)
I initially approached the Harry Potter series with disdain, even before the first film was released. This was all just a bunch of garbage that was fodder for all the stupid kids of today. (wow I sound like an old man... get off my lawn) Sometime after the 4th film in the series was released in 2005, I happened to watch the first film and completely fell in love. By the end of that week I owned all 4 on DVD.
I eagerly went to see both the 5th and later (today) the 6th at Graumann's Chinese Theater in Hollywood (one of the best places anywhere to see a movie.)
I still have never read any of the books though, but someday I'll get around to them.
Half Blood Prince is the second consecutive film in the series directed by David Yates, and he'll helm the final one (split in two parts) to be released winter of 2010 and summer 2011. His direction is much improved over 'Order of the Phoenix.'
The script is also stronger this time around. Steve Kloves did not script 'Phoenix' but adapted all the others. Using the same writer gives the series a real unity. There were many allusions to previous Potter films (the wand shop, the spider, etc) that really tied them together. These scenes may have been in the book, but visually they're well done. The film also has a great sense of humor that has been declining in the series, as it's become darker.
Daniel Radcliffe, Rupert Grint, and Emma Watson have come along way since the first film. Besides the obvious aging the trio have grown up as actors. Daniel Radcliffe is a remarkable confident actor. He isn't playing Harry Potter. He IS Harry Potter.
Rupert Grint FINALLY gets more to do in the series. Ron gets a love potion meant for Harry and goes head-over-heels for a girl he's never even met. This is by far the funniest Ron scene in the series. He is primarily used as comic relief in the others, but here he's given much more to do. The Quiddich match and his budding love life are some examples.
I've thought in prior films Emma Watson was the weak link of the three as an actor. But she's grown remarkably even since the last film and provides solid support.
There's more Dumbledore and Draco Malfoy (Tom Felton) this time around.
Michael Gambon (like many of the who's-who of older British actors in the Potter films) is one of those actors who's always great in everything. With more screen time, Gambon is exponentially better and it makes the climax of the film even more meaningful.
Draco's role in previous films was mostly minor, in a standard schoolboy antagonist-type role. His character is also growing up and his showing more depth. Felton really shines with the increased role and shows promise that he could become a great dramatic actor after the series concludes.
Alan Rickman, as Snape, provides another great performance. His ability to be menacing, then turn on a dime and be funny never fails to get laughs. Snape is also much more of a prominent character in this film... and that's a good thing.
Voldemont does not appear in the film apart from childhood flashbacks. This would seem to be somewhat of a let down, but it is not and I'm sure it'll help build suspense for the final showdown.
Overall I would say the film is just about, if not equal to Prisoner of Azkaban, which is the my favorite of the series so far. This may even move into my most favorite slot after I've stewed it over in my brain for a few days.
Tuesday, July 14, 2009
The Big Heat
The Big Heat
1953 - Columbia Pictures
Directed by Fritz Lang
SYNOPSIS
Detective Sgt. Dave Bannion (Glenn Ford) is investigating the apparent suicide of a fellow veteran police officer. The cop's wife says the dead man was in ill health, but his mistress says he was alright. Bannion is suspicious. The mistress turns up dead soon after. Bannion noses around and visits the city's big crime bosses Mike (Alexander Scourby) and Vince (Lee Marvin.) Soon after his wife (Jocelyn Brando) is killed in a car bomb, Bannion is red hot with anger and quits the force. Vince's moll Debbie (Gloria Grahame) is also after Vince when he scalds her with hot coffee. The two plot their revenge separately.
MY THOUGHTS
Thousands of people have directed films through the years and only a handful of those can be considered masters of their craft. Fritz Lang is one of them. After masterpieces of 1920's German cinema like 'Metropolis' and 'M,' Lang was approached by the Nazi party to be their official film director. Like anyone with intelligence, he high-tailed it to Hollywood. He never achieved the artistic greatness he did with his early films, yet still managed to make some damn fine films like 'Scarlett Street' and The Big Heat.
Several of his Hollywood films were steeped in what would be known as 'film noir.' This is no exception. Though the film never drew any attention to the direction via overly flashy or arty camera shots or techniques, the film was well crafted and the editing kept it moving at a fairly swift pace.
The highlight of the film is Glenn Ford. He was cast against type and played a hard-ass. He usually played self-righteous morally strong, nice, good guy roles like in 'Blackboard Jungle.' Here he is pissed and wants to see the bad guys suffer greatly for the loss of his wife.
Gloria Grahame also provides a strong supporting role as the scarred woman looking for revenge against Vince.
This is one of the better film noir produced in the 1950's and should be on the 'must view' list to any fan of the genre.
1953 - Columbia Pictures
Directed by Fritz Lang
SYNOPSIS
Detective Sgt. Dave Bannion (Glenn Ford) is investigating the apparent suicide of a fellow veteran police officer. The cop's wife says the dead man was in ill health, but his mistress says he was alright. Bannion is suspicious. The mistress turns up dead soon after. Bannion noses around and visits the city's big crime bosses Mike (Alexander Scourby) and Vince (Lee Marvin.) Soon after his wife (Jocelyn Brando) is killed in a car bomb, Bannion is red hot with anger and quits the force. Vince's moll Debbie (Gloria Grahame) is also after Vince when he scalds her with hot coffee. The two plot their revenge separately.
MY THOUGHTS
Thousands of people have directed films through the years and only a handful of those can be considered masters of their craft. Fritz Lang is one of them. After masterpieces of 1920's German cinema like 'Metropolis' and 'M,' Lang was approached by the Nazi party to be their official film director. Like anyone with intelligence, he high-tailed it to Hollywood. He never achieved the artistic greatness he did with his early films, yet still managed to make some damn fine films like 'Scarlett Street' and The Big Heat.
Several of his Hollywood films were steeped in what would be known as 'film noir.' This is no exception. Though the film never drew any attention to the direction via overly flashy or arty camera shots or techniques, the film was well crafted and the editing kept it moving at a fairly swift pace.
The highlight of the film is Glenn Ford. He was cast against type and played a hard-ass. He usually played self-righteous morally strong, nice, good guy roles like in 'Blackboard Jungle.' Here he is pissed and wants to see the bad guys suffer greatly for the loss of his wife.
Gloria Grahame also provides a strong supporting role as the scarred woman looking for revenge against Vince.
This is one of the better film noir produced in the 1950's and should be on the 'must view' list to any fan of the genre.
Regeneration
Regeneration
1915 - William Fox Pictures
Directed by Raoul Walsh
SYNOPSIS
Owen Conway has had a rough life. His mother died when he was a child. His adoptive parents were abusive, so he took to the streets. By the time he was 25 Owen was a notorious gangster. Conway (Rockcliffe Fellowes) meets the pious Mamie Rose (Anna Q. Nillson) and falls in love. Giving up his gang, Owen devotes his time to Mamie Rose and her efforts to help the poor. But his past comes back to haunt him when the old gang shows up after stabbing a cop.
MY THOUGHTS
I was eager to see this since it was featured prominently in the documentary 'Public Enemies The Golden Age Of The Gangster Film' (featured in Vol. 4 of Warner Brothers excellent Gangsters series.) Although the film is primitive in every respect (due to its era) it remains an interesting view.
The actors give more realistic performances than you'd ever expect in a silent film... but the STAR is director Raoul Walsh. This was the first of his many, many feature films. He would work into the 1960's and work with everybody from John Wayne to James Cagney to Humphrey Bogart to Errol Flynn. It all started here.
His use of dolly shots, point-of-view shots and close-ups are surprising to see in a film of this era and must have been fairly innovative.
Each scene of Regeneration is tinted. Owen's youth is tinted sepia, night scenes are tinted blue, etc. The best use of this is during a scene where there's a fire on a boat. The scene starts out blue, then there's a shot of the fire and the screen turns red and everyone panics. It was very cleverly done.
The big brawl at the end was also well shot. Any western or other action film would die to have a massive melee like that.
The film is far from perfect.
The editing is a bit scattershot, due to the complete lack of editing technology at the time. Editors had to hold the film up to the light to look at it to edit.
The story is rather basic and lacks much depth and its themes have been handled countless times in film and literature before and since.
The film quality is badly deteriorated in some spots, causing it to look like a psychedelic light show at some 60's rock concert. This doesn't detract too much from the film.
As a fan of the gangster genre, I was a bit let down from the lack of doing anything 'gangsterish.' Sure, they drink, brawl and gamble but that's about it. It wasn't until prohibition, still a few years away, when the 'gangsterish' things started in earnest.
The one thing this film had over the 1930's gangster films was that it was shot on the streets of the lower east side of New York City. Many real life thugs and oddities lurk in the backgrounds as they would in any real slums... and this adds real flavor to the scenes, especially one shot in a bar complete with vaudeville show.
Though nowhere near what he would later achieve, Raoul Walsh presents a competent story shot in many creative ways that still holds up 94 years later.
1915 - William Fox Pictures
Directed by Raoul Walsh
SYNOPSIS
Owen Conway has had a rough life. His mother died when he was a child. His adoptive parents were abusive, so he took to the streets. By the time he was 25 Owen was a notorious gangster. Conway (Rockcliffe Fellowes) meets the pious Mamie Rose (Anna Q. Nillson) and falls in love. Giving up his gang, Owen devotes his time to Mamie Rose and her efforts to help the poor. But his past comes back to haunt him when the old gang shows up after stabbing a cop.
MY THOUGHTS
I was eager to see this since it was featured prominently in the documentary 'Public Enemies The Golden Age Of The Gangster Film' (featured in Vol. 4 of Warner Brothers excellent Gangsters series.) Although the film is primitive in every respect (due to its era) it remains an interesting view.
The actors give more realistic performances than you'd ever expect in a silent film... but the STAR is director Raoul Walsh. This was the first of his many, many feature films. He would work into the 1960's and work with everybody from John Wayne to James Cagney to Humphrey Bogart to Errol Flynn. It all started here.
His use of dolly shots, point-of-view shots and close-ups are surprising to see in a film of this era and must have been fairly innovative.
Each scene of Regeneration is tinted. Owen's youth is tinted sepia, night scenes are tinted blue, etc. The best use of this is during a scene where there's a fire on a boat. The scene starts out blue, then there's a shot of the fire and the screen turns red and everyone panics. It was very cleverly done.
The big brawl at the end was also well shot. Any western or other action film would die to have a massive melee like that.
The film is far from perfect.
The editing is a bit scattershot, due to the complete lack of editing technology at the time. Editors had to hold the film up to the light to look at it to edit.
The story is rather basic and lacks much depth and its themes have been handled countless times in film and literature before and since.
The film quality is badly deteriorated in some spots, causing it to look like a psychedelic light show at some 60's rock concert. This doesn't detract too much from the film.
As a fan of the gangster genre, I was a bit let down from the lack of doing anything 'gangsterish.' Sure, they drink, brawl and gamble but that's about it. It wasn't until prohibition, still a few years away, when the 'gangsterish' things started in earnest.
The one thing this film had over the 1930's gangster films was that it was shot on the streets of the lower east side of New York City. Many real life thugs and oddities lurk in the backgrounds as they would in any real slums... and this adds real flavor to the scenes, especially one shot in a bar complete with vaudeville show.
Though nowhere near what he would later achieve, Raoul Walsh presents a competent story shot in many creative ways that still holds up 94 years later.
Monday, July 13, 2009
Niagara
Niagara
1953 - 20th Century Fox
Directed by Henry Hathaway
SYNOPSIS
The Cutlers (Jean Peters and Max Showalter) honeymoon at a Niagara Falls motel. There, they meet George and Rose Loomis (Joseph Cotten and Marilyn Monroe.) Rose also has a lover and they hatch a scheme to kill her new husband. George winds up killing the lover and seeks out Rose for revenge. He kills her and tries to escape to the U.S. side of the falls by boat. The boat was to be rented by the Cutlers for fishing and Mrs. Cutler is on board. The boat drifts perilously close to the falls.
MY THOUGHTS
It's not technically a film noir, with all of it's Techicolor glory, but Niagara sure fits the mold with it's grim subject matter: betrayal, murder, and one bad femme fatal.
Joseph Cotten was always a fine actor and this is no exception. His intensity and vague creepiness reminded me of his performance in Hitchcock's 'Shadow of a Doubt.'
Marilyn Monroe surprised me in the film. I have only seen her previously in light comedic films like 'Some Like It Hot' and 'Gentlemen Prefer Blondes.' She had strong dramatic chops and plays a bad girl very well. She is radiantly beautiful in the film, but when wasn't she?
Showalter and Peters give solid supporting performances as the idealized prototypical 50's husband and wife who are thrown out of that world and into mayhem. The four main characters have great chemistry.
Henry Hathaway's direction helped put a lot of suspense into the chase scenes. The bell tower scene where Cotten stalks Monroe up the stairs and the boat's race against time at the end are excellent examples. Hathaway seems to be trying to ape Alfred Hitchcock's style and succeeds, but I think Hitch would have made it better.
The tight editing keeps Niagara moving like the water over the falls... fast.
Plus the Technicolor cinematography is beautiful. I've never been to Niagara Falls before, but the film makes me want to visit... as long as I don't meet anyone named Loomis.
Overall the film is solid and entertaining and definitely worthy to see, if not for just Monroe playing a different kind of role than usual.
1953 - 20th Century Fox
Directed by Henry Hathaway
SYNOPSIS
The Cutlers (Jean Peters and Max Showalter) honeymoon at a Niagara Falls motel. There, they meet George and Rose Loomis (Joseph Cotten and Marilyn Monroe.) Rose also has a lover and they hatch a scheme to kill her new husband. George winds up killing the lover and seeks out Rose for revenge. He kills her and tries to escape to the U.S. side of the falls by boat. The boat was to be rented by the Cutlers for fishing and Mrs. Cutler is on board. The boat drifts perilously close to the falls.
MY THOUGHTS
It's not technically a film noir, with all of it's Techicolor glory, but Niagara sure fits the mold with it's grim subject matter: betrayal, murder, and one bad femme fatal.
Joseph Cotten was always a fine actor and this is no exception. His intensity and vague creepiness reminded me of his performance in Hitchcock's 'Shadow of a Doubt.'
Marilyn Monroe surprised me in the film. I have only seen her previously in light comedic films like 'Some Like It Hot' and 'Gentlemen Prefer Blondes.' She had strong dramatic chops and plays a bad girl very well. She is radiantly beautiful in the film, but when wasn't she?
Showalter and Peters give solid supporting performances as the idealized prototypical 50's husband and wife who are thrown out of that world and into mayhem. The four main characters have great chemistry.
Henry Hathaway's direction helped put a lot of suspense into the chase scenes. The bell tower scene where Cotten stalks Monroe up the stairs and the boat's race against time at the end are excellent examples. Hathaway seems to be trying to ape Alfred Hitchcock's style and succeeds, but I think Hitch would have made it better.
The tight editing keeps Niagara moving like the water over the falls... fast.
Plus the Technicolor cinematography is beautiful. I've never been to Niagara Falls before, but the film makes me want to visit... as long as I don't meet anyone named Loomis.
Overall the film is solid and entertaining and definitely worthy to see, if not for just Monroe playing a different kind of role than usual.
Saturday, July 11, 2009
A Slight Case of Murder
A Slight Case of Murder
1938 - Warner Brothers
Directed by Lloyd Bacon
SYNOPSIS
Prohibition is over and people are happy they will never have to drink Remy Marco's beer again! So Remy (Edward G. Robinson,) decides to turn his illegal business legit. He faces one major problem... his beer tastes like crap, and he's not a drinker so he's never tried it. 4 years later and his business is about to be repossessed by the bank, and he's forced to withdraw his daughter (Jane Bryan) from her ritzy European prep school. The family heads to their summer home. His daughter falls in love with a cop (Willard Parker,) who tries to meet Marco and his wife (Ruth Donnelly) after he adopts a troubled punk (Bobby Jordan) from an orphanage. Before the Marcos arrive, Remy's thugs find 4 of 5 members of a former rival gang dead in the home. The gang just pulled a big armored car job... and the 5th member is still in the house. On the eve of his repossession, Remy throws a big party even though the dead gangsters are stashed in a closet in the home... and the dough is stashed elsewhere.
MY THOUGHTS
I'm biased. I believe this is Hollywood's greatest comedy of the 30's, apart from the Marx Brothers in 'A Night at the Opera' and a few screwball comedies. As a gangster movie fan, I see many of the subtle plot devices and cliches that the film plays with and subverts. And as each one comes up it makes me laugh harder.
The script is based on a play co-written by Damon Runyon. The classic Broadway musical/film 'Guys and Dolls' was based on several of his short stories and feature many similar larger-than-life lowlifes, and this film is just as fun or even more fun to watch. The script is filled with so many one liners it's hard to keep up.
Robinson is even better at comedy that as a straight tough guy, like his classic turn in 'Little Caesar.' This is one of several gangster comedies about his tough-guy persona 'seeking class,' and is the best of the bunch. He's got great comedic timing and plays a buffoon very well. His beer tasting scene is hilarious. He doesn't need to spit the beer out all over the camera to lets us know it tastes like sewer water.
His thugs, played by Allen Jenkins and Edward Brophy, among others, are even funnier than the dozens of goofy characters they played during their long careers. They can make me laugh without opening their mouths.
Other supporting characters like Ruth Donnelly and Bobby Jordan are also at their top game and generate many laughs. Donnelly is one tough moll, remembering she's has to be a high class society dame. She's like Mae West forced to transform mid-scene into Margaret Dumont's character from many of the Marx Brothers films... and is never short of hilarious.
Any scene in the film that pits Bobby Jordan versus Allen Jenkins is comedy dynamite.
Any fan of gangster films or classic comedies would be a fool to miss this one, see?
or featured in the great box set for only a few bucks more:
1938 - Warner Brothers
Directed by Lloyd Bacon
SYNOPSIS
Prohibition is over and people are happy they will never have to drink Remy Marco's beer again! So Remy (Edward G. Robinson,) decides to turn his illegal business legit. He faces one major problem... his beer tastes like crap, and he's not a drinker so he's never tried it. 4 years later and his business is about to be repossessed by the bank, and he's forced to withdraw his daughter (Jane Bryan) from her ritzy European prep school. The family heads to their summer home. His daughter falls in love with a cop (Willard Parker,) who tries to meet Marco and his wife (Ruth Donnelly) after he adopts a troubled punk (Bobby Jordan) from an orphanage. Before the Marcos arrive, Remy's thugs find 4 of 5 members of a former rival gang dead in the home. The gang just pulled a big armored car job... and the 5th member is still in the house. On the eve of his repossession, Remy throws a big party even though the dead gangsters are stashed in a closet in the home... and the dough is stashed elsewhere.
MY THOUGHTS
I'm biased. I believe this is Hollywood's greatest comedy of the 30's, apart from the Marx Brothers in 'A Night at the Opera' and a few screwball comedies. As a gangster movie fan, I see many of the subtle plot devices and cliches that the film plays with and subverts. And as each one comes up it makes me laugh harder.
The script is based on a play co-written by Damon Runyon. The classic Broadway musical/film 'Guys and Dolls' was based on several of his short stories and feature many similar larger-than-life lowlifes, and this film is just as fun or even more fun to watch. The script is filled with so many one liners it's hard to keep up.
Robinson is even better at comedy that as a straight tough guy, like his classic turn in 'Little Caesar.' This is one of several gangster comedies about his tough-guy persona 'seeking class,' and is the best of the bunch. He's got great comedic timing and plays a buffoon very well. His beer tasting scene is hilarious. He doesn't need to spit the beer out all over the camera to lets us know it tastes like sewer water.
His thugs, played by Allen Jenkins and Edward Brophy, among others, are even funnier than the dozens of goofy characters they played during their long careers. They can make me laugh without opening their mouths.
Other supporting characters like Ruth Donnelly and Bobby Jordan are also at their top game and generate many laughs. Donnelly is one tough moll, remembering she's has to be a high class society dame. She's like Mae West forced to transform mid-scene into Margaret Dumont's character from many of the Marx Brothers films... and is never short of hilarious.
Any scene in the film that pits Bobby Jordan versus Allen Jenkins is comedy dynamite.
Any fan of gangster films or classic comedies would be a fool to miss this one, see?
or featured in the great box set for only a few bucks more:
Fantastc Planet
Fantastic Planet
1973 - France
Directed by Rene Laloux
SYNOPSIS
On the far-off planet of Ygam, the planet's dominant species, the Traag, keep the OMs as pets. The OMs (humans) are tiny creatures from the planet Terra (Earth.) Many OMs have escaped from their masters and live in the wild. One OM named Terr is raised by a Traag girl named Tiwa. He later escapes. Terr takes a learning tool that helps educate the wild population. After the Traags attempt to exterminate the wild OMs, they rise up and kill a Traag and become a definite threat. Can these two very different species achieve peace?
MY THOUGHTS
The very best science fiction is a reflection of the current time. My head is still swimming from this insanely imaginative animated film and I'm uncertain of the exact reflections and I've likely missed many. Enslavement is handled vaguely reminiscent of 'Planet of the Apes' and the rise of the OMs can be likened to the Ewoks battling the Empire in 'Return of the Jedi.' I couldn't help thinking of 'Gulliver's Travels' during the killing of the Traag man, expecting him to be tied down rather than murdered. I'm not sure if the filmmakers were making any comment on the North Vietnamese overcoming the United States in the Vietnam War, which was raging and nearing its end when the film was released.
The film also seems to recount the history of humans. The wild OMs are very tribal and are led by a 'wizard,' much as early sun-worshiping human were. The common people are leery of latching on to new ideas, like the ones Terr brings. He's like a Galileo or a Martin Luther, thwarted by the people in power, but gains people's trust after awhile and dominates. With that knowledge, the people rise in power and take over control of their world (like the Renaissance through to today.)
The animation is one part Salvador Dali (and other surrealists,) one part 'Yellow Submarine,' and one part Terry Gilliam's cartoon segments on 'Monty Python's Flying Circus.' It's psychedelic and surreal. The bizarre alien imagery is like the creepiest elements of Dali's work alive and moving around. I wonder if this will lead to any creepy dreams and/or nightmares tonight. The animation style is very earthy and different from the CGI garbage we're force-fed today.
The musical score is also out of this world it's trippy acid jazz, with funk and some lounge music mixed in and is so different from the music of today it adds an extra element of the surreal (although it fit in at the time.)
The film is definitely a trip and one you should take soon... maybe with some 'enhancement.'
My real question with the film is... why would an advanced race of beings speak French? Highly logical creatures would learn a different language.
1973 - France
Directed by Rene Laloux
SYNOPSIS
On the far-off planet of Ygam, the planet's dominant species, the Traag, keep the OMs as pets. The OMs (humans) are tiny creatures from the planet Terra (Earth.) Many OMs have escaped from their masters and live in the wild. One OM named Terr is raised by a Traag girl named Tiwa. He later escapes. Terr takes a learning tool that helps educate the wild population. After the Traags attempt to exterminate the wild OMs, they rise up and kill a Traag and become a definite threat. Can these two very different species achieve peace?
MY THOUGHTS
The very best science fiction is a reflection of the current time. My head is still swimming from this insanely imaginative animated film and I'm uncertain of the exact reflections and I've likely missed many. Enslavement is handled vaguely reminiscent of 'Planet of the Apes' and the rise of the OMs can be likened to the Ewoks battling the Empire in 'Return of the Jedi.' I couldn't help thinking of 'Gulliver's Travels' during the killing of the Traag man, expecting him to be tied down rather than murdered. I'm not sure if the filmmakers were making any comment on the North Vietnamese overcoming the United States in the Vietnam War, which was raging and nearing its end when the film was released.
The film also seems to recount the history of humans. The wild OMs are very tribal and are led by a 'wizard,' much as early sun-worshiping human were. The common people are leery of latching on to new ideas, like the ones Terr brings. He's like a Galileo or a Martin Luther, thwarted by the people in power, but gains people's trust after awhile and dominates. With that knowledge, the people rise in power and take over control of their world (like the Renaissance through to today.)
The animation is one part Salvador Dali (and other surrealists,) one part 'Yellow Submarine,' and one part Terry Gilliam's cartoon segments on 'Monty Python's Flying Circus.' It's psychedelic and surreal. The bizarre alien imagery is like the creepiest elements of Dali's work alive and moving around. I wonder if this will lead to any creepy dreams and/or nightmares tonight. The animation style is very earthy and different from the CGI garbage we're force-fed today.
The musical score is also out of this world it's trippy acid jazz, with funk and some lounge music mixed in and is so different from the music of today it adds an extra element of the surreal (although it fit in at the time.)
The film is definitely a trip and one you should take soon... maybe with some 'enhancement.'
My real question with the film is... why would an advanced race of beings speak French? Highly logical creatures would learn a different language.
Thursday, July 9, 2009
The Wrestler
The Wrestler
2008 - Fox Searchlight
Directed by Darren Aronofsky
SYNOPSIS
Randy "The Ram" Robinson (Mickey Rourke) was the king of wrestling in the mid to late 1980's, best known for his legendary match against The Ayatollah. 20 years on, Randy is all washed up. Living in a trailer park and working during the week doing manual labor at a grocery store, he wrestles on the weekends, keeping his dreams of a comeback alive. When he's not in the ring, he eying a middle aged stripper Cassidy (Marisa Tomei) at the local strip club.
After a brutal match, The Ram suffers a heart attack, and bypass surgery. Doctors say he can never wrestle again. So he tries to start a new life. He tries to reconnect with his estranged daughter (Evan Rachel Wood) and fails. His budding relationship with Cassidy doesn't blossom as well. His steady job goes down the tubes. But there is one thing to keep him going... a 20th anniversary rematch with the Ayatollah.
MY THOUGHTS
There are a few acting performances where you can absolutely positively imagine no other actor in the role. Brando in 'A Streetcar Named Desire.' Jack Nicholson in 'One Flew Over The Cuckoo's Nest.' Daniel Day Lewis in 'There Will Be Blood.' This is one of THOSE performances. Mickey Rourke simply is The Ram. His performance is that realistic.
You feel his every emotion, whether it be pain from pulling barb wire out of his skin, or pain from his failed relationship with his daughter, or loneliness and desperation.
In his battered face you see every single day in those 20 years. No other known actor could have played that aspect of the part, they would have been too pretty.
You can also draw many parallels with the fictional Ram and real-life Rourke. Both were phenoms of the 80's. They suffered diminishing returns in the 90's, and fought to reclaim their lofty heights in the 00's. Rourke reclaimed that and even took it to new heights.
Marisa Tomei was also excellent. I loved the way the story compared and contrasted her character with The Ram. Both character's professions are frowned upon by most people. Strip club patrons made fun of her because of her age, yet The Ram never faced those criticisms in the ring.
Cassidy was a responsible both as a parent and with her finances, while Randy was the complete opposite.
He was lonely and needing companionship and she was quick to brush him off and keep her distance.
The cold, bleak weather and gray, gritty color palette added a real dimension to the story and showed Randy's depression after missing wrestling, without the need for words. This was a subtle mark of a great director at work. The film is very different from Aronofsky's other works like 'Pi' and 'Requiem For a Dream,' and shows this young director has great range.
It's a shame Rourke did not win the Academy Award... but Sean Penn's performance in 'Milk' was also one of THOSE performances.
2008 - Fox Searchlight
Directed by Darren Aronofsky
SYNOPSIS
Randy "The Ram" Robinson (Mickey Rourke) was the king of wrestling in the mid to late 1980's, best known for his legendary match against The Ayatollah. 20 years on, Randy is all washed up. Living in a trailer park and working during the week doing manual labor at a grocery store, he wrestles on the weekends, keeping his dreams of a comeback alive. When he's not in the ring, he eying a middle aged stripper Cassidy (Marisa Tomei) at the local strip club.
After a brutal match, The Ram suffers a heart attack, and bypass surgery. Doctors say he can never wrestle again. So he tries to start a new life. He tries to reconnect with his estranged daughter (Evan Rachel Wood) and fails. His budding relationship with Cassidy doesn't blossom as well. His steady job goes down the tubes. But there is one thing to keep him going... a 20th anniversary rematch with the Ayatollah.
MY THOUGHTS
There are a few acting performances where you can absolutely positively imagine no other actor in the role. Brando in 'A Streetcar Named Desire.' Jack Nicholson in 'One Flew Over The Cuckoo's Nest.' Daniel Day Lewis in 'There Will Be Blood.' This is one of THOSE performances. Mickey Rourke simply is The Ram. His performance is that realistic.
You feel his every emotion, whether it be pain from pulling barb wire out of his skin, or pain from his failed relationship with his daughter, or loneliness and desperation.
In his battered face you see every single day in those 20 years. No other known actor could have played that aspect of the part, they would have been too pretty.
You can also draw many parallels with the fictional Ram and real-life Rourke. Both were phenoms of the 80's. They suffered diminishing returns in the 90's, and fought to reclaim their lofty heights in the 00's. Rourke reclaimed that and even took it to new heights.
Marisa Tomei was also excellent. I loved the way the story compared and contrasted her character with The Ram. Both character's professions are frowned upon by most people. Strip club patrons made fun of her because of her age, yet The Ram never faced those criticisms in the ring.
Cassidy was a responsible both as a parent and with her finances, while Randy was the complete opposite.
He was lonely and needing companionship and she was quick to brush him off and keep her distance.
The cold, bleak weather and gray, gritty color palette added a real dimension to the story and showed Randy's depression after missing wrestling, without the need for words. This was a subtle mark of a great director at work. The film is very different from Aronofsky's other works like 'Pi' and 'Requiem For a Dream,' and shows this young director has great range.
It's a shame Rourke did not win the Academy Award... but Sean Penn's performance in 'Milk' was also one of THOSE performances.
The Trouble With Harry
The Trouble With Harry
1955 - Paramount
Directed by Alfred Hitchcock
SYNOPSIS
A young boy (Jerry Mathers) comes across a dead body in the woods in rural New England. He runs home to tell his mother. An older man (Edmund Gwynn) also comes across the same body and believes he shot it while hunting and decides to hide it. The boy returns with his mom Jennifer (Shirley MacLaine) and she seems glad the man (Harry) is dead. A middle aged woman named Miss Gravely (Mildred Natwick) happens by, followed by the town doctor (who doesn't notice) and lastly a drifter comes by and swipes the corpse's shoes. Both women also believe they contributed to Harry's death.
Unsuccessful local artist Sam Marlow (John Forsythe) goes into the woods, finds the body, and sketches it. The older man is still there and they agree to bury the body. The old man accounts for all his bullets, and realizes he didn't kill Harry, so the body is dug up. The body is buried and dug up several more times before the doctor is brought in and finds out what really killed Harry.
Meanwhile, Jennifer and Marlow fall in love, as do the old man and Miss Gravely.
MY THOUGHTS
This blacker-than-black comedy is a showcase for Alfred Hitchcok's macabre, twisted, definitely British sense of humor.
Ocassionally laugh-out-loud funny and sometimes too absurd and goofy, the film excells, offering a vastly different film than you'd expect from the Master of Suspense.
This almost operates as a parody of his standard fare. There's little action, suspense or mayhem. It starts like an atypical one, with the discovery of a body, but quickly veers off in another direction.
The 4 main character's situation seems a little ridiculous, and they handle it in an equally illogical way. Each of the actors display their character's quirks and bring a sense of realism. But there's more surreal in the story than real. There's no way that real people would react with as much indifference to seeing a dead body, or to repeatedly change their minds about burying it. But the direction and script are so good, the viewer suspends his/her disbelief and stays on board for the ride.
John Forsythe and Shirley MacClaine (in her debut) are great but are outshone by Edmund Gwynn and Mildred Natwick. Both couples have great chemistry.
Their two love stories are purposly made to be parallel to compare and contrast. The man and woman in each couple have never met, yet live in the tiny community where they know everyone else.
The main difference is young love vs. old. Forsythe is quick to ask for MacClaine's hand in marriage and there seems to be a lot of passion and lust there. The older couple moves slower and wiser and come across more as friends than impassioned lovers.
Some racy double entendres litter both of the courtships and create much of the non gallows-related humor.
The appearance of a pre-Beaver Jerry Mathers made me wonder why they could't have made a 'Leave it to Beaver' episode where the Beav found a corpse... or at least went around carrying a dead animal.
The photography is amazing. New England during the fall adds so much to the small town feel to the film.
The film is also noted for Hitchcock's first pairing with composer Bernard Herrmann, who delivers a solid score, but it doesn't stand out like his more well known ones later on like 'Psycho' or 'Vertigo.'
If you go into this film expecting to see a standard Hitchcock film you will leave disappointed, but there's a lot to like here. It isn't his best film, but it is fun seeing him experiment.
1955 - Paramount
Directed by Alfred Hitchcock
SYNOPSIS
A young boy (Jerry Mathers) comes across a dead body in the woods in rural New England. He runs home to tell his mother. An older man (Edmund Gwynn) also comes across the same body and believes he shot it while hunting and decides to hide it. The boy returns with his mom Jennifer (Shirley MacLaine) and she seems glad the man (Harry) is dead. A middle aged woman named Miss Gravely (Mildred Natwick) happens by, followed by the town doctor (who doesn't notice) and lastly a drifter comes by and swipes the corpse's shoes. Both women also believe they contributed to Harry's death.
Unsuccessful local artist Sam Marlow (John Forsythe) goes into the woods, finds the body, and sketches it. The older man is still there and they agree to bury the body. The old man accounts for all his bullets, and realizes he didn't kill Harry, so the body is dug up. The body is buried and dug up several more times before the doctor is brought in and finds out what really killed Harry.
Meanwhile, Jennifer and Marlow fall in love, as do the old man and Miss Gravely.
MY THOUGHTS
This blacker-than-black comedy is a showcase for Alfred Hitchcok's macabre, twisted, definitely British sense of humor.
Ocassionally laugh-out-loud funny and sometimes too absurd and goofy, the film excells, offering a vastly different film than you'd expect from the Master of Suspense.
This almost operates as a parody of his standard fare. There's little action, suspense or mayhem. It starts like an atypical one, with the discovery of a body, but quickly veers off in another direction.
The 4 main character's situation seems a little ridiculous, and they handle it in an equally illogical way. Each of the actors display their character's quirks and bring a sense of realism. But there's more surreal in the story than real. There's no way that real people would react with as much indifference to seeing a dead body, or to repeatedly change their minds about burying it. But the direction and script are so good, the viewer suspends his/her disbelief and stays on board for the ride.
John Forsythe and Shirley MacClaine (in her debut) are great but are outshone by Edmund Gwynn and Mildred Natwick. Both couples have great chemistry.
Their two love stories are purposly made to be parallel to compare and contrast. The man and woman in each couple have never met, yet live in the tiny community where they know everyone else.
The main difference is young love vs. old. Forsythe is quick to ask for MacClaine's hand in marriage and there seems to be a lot of passion and lust there. The older couple moves slower and wiser and come across more as friends than impassioned lovers.
Some racy double entendres litter both of the courtships and create much of the non gallows-related humor.
The appearance of a pre-Beaver Jerry Mathers made me wonder why they could't have made a 'Leave it to Beaver' episode where the Beav found a corpse... or at least went around carrying a dead animal.
The photography is amazing. New England during the fall adds so much to the small town feel to the film.
The film is also noted for Hitchcock's first pairing with composer Bernard Herrmann, who delivers a solid score, but it doesn't stand out like his more well known ones later on like 'Psycho' or 'Vertigo.'
If you go into this film expecting to see a standard Hitchcock film you will leave disappointed, but there's a lot to like here. It isn't his best film, but it is fun seeing him experiment.
Wednesday, July 8, 2009
Hollywood: Then And Now #2 The Big Lebowski
The Big Lebowski
1997 - Polygram
Directed by Joel Coen
Location 6700 block of Santa Monica Blvd between Highland Ave. and McCadden Place.
Then:
The Dude is picking up Walter and 'the ringer' at Walter's workplace.
Now: 7/2009
Walter's shop is now a medical marijuana dispensary. The Dude would be abide by that...
1997 - Polygram
Directed by Joel Coen
Location 6700 block of Santa Monica Blvd between Highland Ave. and McCadden Place.
Then:
The Dude is picking up Walter and 'the ringer' at Walter's workplace.
Now: 7/2009
Walter's shop is now a medical marijuana dispensary. The Dude would be abide by that...
Hollywood: Then and Now #1 Three Little Pigskins
This is a new segment where I will visit a classic filming location or other important sites and share then and now photos. First up is a hilarious early classic short from the Three Stooges:
Three Little Pigskins
1934 - Columbia
Directed by Ray McCarey
Location - 6315/6317 Yucca Street in the heart of Hollywood
Then:
Moe, Larry, and Curly get work promoting a football game and are carrying signs to promote it.
Now - 7/2009
The original building still remains, but large bushes (and presumably a fence) block the former storefronts. The building now houses The LA branch of the American Musical and Dramatic Academy. The school no doubt chose this location to call home from this classic display of dramatic acting... or they were just a victim of circumstance.
Three Little Pigskins
1934 - Columbia
Directed by Ray McCarey
Location - 6315/6317 Yucca Street in the heart of Hollywood
Then:
Moe, Larry, and Curly get work promoting a football game and are carrying signs to promote it.
Now - 7/2009
The original building still remains, but large bushes (and presumably a fence) block the former storefronts. The building now houses The LA branch of the American Musical and Dramatic Academy. The school no doubt chose this location to call home from this classic display of dramatic acting... or they were just a victim of circumstance.
Tuesday, July 7, 2009
13 Rue Madeleine
13 Rue Madeleine
1947 - 20th Century Fox
Directed by Henry Hathaway
SYNOPSIS
Bob Sharkey (James Cagney) is training new members of the U.S. Army Intelligence (OSS) during the height of World War II. Some of his new recruits include Jeff Lassiter (Frank Lattimore) and Bill O'Connell (Richard Conte.) Sharkey's superiors inform him that one of his students is a German agent. He soon concludes it is O'Connell, but doesn't let the spy know he knows and assigns him to a mission, all the while feeding him misinformation about the coming invasion of France (D-Day.) O'Connell accompanies Lassiter and a female French coworker (Annabella) to capture a man who designed a German missile site. O'Connell cuts Lassiter's parachute, and he tumbles to his death. Sharkey follows them and completes the mission, rescuing the Frenchman, but not before getting captured. The Nazis take him to Gestapo headquarters at 13 Rue Madeleine in Le Havre, trying to find the location of the coming Allied invasion.
1947 - 20th Century Fox
Directed by Henry Hathaway
SYNOPSIS
Bob Sharkey (James Cagney) is training new members of the U.S. Army Intelligence (OSS) during the height of World War II. Some of his new recruits include Jeff Lassiter (Frank Lattimore) and Bill O'Connell (Richard Conte.) Sharkey's superiors inform him that one of his students is a German agent. He soon concludes it is O'Connell, but doesn't let the spy know he knows and assigns him to a mission, all the while feeding him misinformation about the coming invasion of France (D-Day.) O'Connell accompanies Lassiter and a female French coworker (Annabella) to capture a man who designed a German missile site. O'Connell cuts Lassiter's parachute, and he tumbles to his death. Sharkey follows them and completes the mission, rescuing the Frenchman, but not before getting captured. The Nazis take him to Gestapo headquarters at 13 Rue Madeleine in Le Havre, trying to find the location of the coming Allied invasion.
MY THOUGHTS
The film industry's war machine was still in full effect for several years after WW2 ended. This war film was one of dozens that the studios churned out recounting heroic tales of the conflict in the years following the war.
Though not a true story, the film was shot in a documentary style, using a narrator and was shot at many of the actual locations the story takes place. This gives it a very real effect. The dry documentary style rarely creates suspense or excitement (until the end) and the script lacks action, apart from a few small fights. The film starts out achingly slow in the training stages but picks up pace after the new officers move into their missions. The final 30 minutes move fast as the characters discover their fate.
The last 30 or so minutes show director Henry Hathaway's strengths as a director. He's one of the best of the unsung directors of Hollywood's golden age.
The real highlight is the performances.
Cagney is in great form as usual. His acting is more subdued and subtle than his fast talking gangster parts he's known, but just as charismatic. He's as patriotic as he was in "Yankee Doodle Dandy," just not as in-your-face about it.
Conte is also excellent. He acts like two totally different characters from his easygoing faux-trainee to his evil Nazi, and comes across very cunning and sinister in the latter.
Cagney, Conte and the others excel, even though the script did a poor job of fleshing out the characters.
Still, the film's deficiencies are no match for it's lead star. James Cagney can practically do no wrong playing tough guy characters. He lights up the screen, and makes what could have been a ho-hum film a delight to watch.
That Gang Of Mine
That Gang Of Mine
1940 - Monogram
Directed by Joseph H. Lewis
(from my personal collection)
SYNOPSIS
Muggs (Leo Gorcey) dreams of being a jockey and making serious dough, even though he's never even been on a horse. As he and his fellow East Side Kids' clubhouse is getting painted, the group hangs out at an abandoned stable. Muggs lives out his dream riding a sawhorse, with the others cheering him on, as Danny (Bobby Jordan) plays an impassioned radio announcer calling the faux-race.
Muggs falls and literally lands on top of a Thoroughbred horse. The horse and his owner Ben (Clarence Muse) are taking refuge at the stable after a long trip from Kentucky. The kids get some money (legally) to get Muggs riding the horse (named Blue Knight) in a race. Ben trains Muggs, but Muggs isn't as fearless as he makes himself out to be. He's scared of speed.
Meanwhile, some crooked gamblers try to keep Blue Knight out of the race by burning down the stable. The horse escapes and Muggs pulls a gravely injured Ben from the blaze.
Muggs is forced to come to terms with his shortcomings as a jockey and convinces another racer to take his place, so Ben has a better chance of seeing his horse win, before he dies.
MY THOUGHTS
The East Side Kids films could be summed up in one word, horrible. The films were shot in less than a week for a budget of what looks like 25 bucks, none of which seemingly went to the screenwriters. I should frown upon them and have nothing but contempt for them... but I LOVE them. This was the third of the 22 films in the series.
The real key to their enduring success are the performances of Gorcey, Jordan, and Morrison (later Huntz Hall and Gabriel Dell.)
Leo Gorcey shows much more range than he really ever did before or after here. Muggs' inner struggle over his fears of racing and/or letting his friends down really humanizes him and seems less cartoonish than he usually did.
Bobby Jordan is insanely likable. His Danny is a great friend to Muggs and can be serious and quick witted. The two actors play off each other well, which you have to chalk up to their 5 year working relationship (by this point.) Jordan's a very underrated actor.
'Sunshine Sammy' Morrison is also a delight. He's the goofy comic relief here. The writers of the series often saddled him with nauseating levels of racism. Here he mentions that his 'pappy was from Kentuck.' This was only an inkling that was to come, which many would exclaim:
Character actor Clarence Muse is able to rise above any of the racial stereotyping based on his strong performance. Ben is a sagely teacher and Muse delivers what just might be the best 'guest' performance in the series.
There is a great bit of slapstick at the beginning of the film as Danny, Scruno, and the boys are 'redecorating' the outside of their club. Once Blue Knight comes into the picture the siliness takes a back seat to the drama, but the transition is done in a smooth manner.
The horse racing scenes are well shot, despite the time and budget constraints.
This is not one of the best of the series, yet not one of the worst. It is an entertaining way to spend 62 minutes.
A recent interview with the only surviving East Side Kid from this film, Eugene (Algy) Francis, can be found here, courtesy of www.filmsofthegoldenage.com
1940 - Monogram
Directed by Joseph H. Lewis
(from my personal collection)
SYNOPSIS
Muggs (Leo Gorcey) dreams of being a jockey and making serious dough, even though he's never even been on a horse. As he and his fellow East Side Kids' clubhouse is getting painted, the group hangs out at an abandoned stable. Muggs lives out his dream riding a sawhorse, with the others cheering him on, as Danny (Bobby Jordan) plays an impassioned radio announcer calling the faux-race.
Muggs falls and literally lands on top of a Thoroughbred horse. The horse and his owner Ben (Clarence Muse) are taking refuge at the stable after a long trip from Kentucky. The kids get some money (legally) to get Muggs riding the horse (named Blue Knight) in a race. Ben trains Muggs, but Muggs isn't as fearless as he makes himself out to be. He's scared of speed.
Meanwhile, some crooked gamblers try to keep Blue Knight out of the race by burning down the stable. The horse escapes and Muggs pulls a gravely injured Ben from the blaze.
Muggs is forced to come to terms with his shortcomings as a jockey and convinces another racer to take his place, so Ben has a better chance of seeing his horse win, before he dies.
MY THOUGHTS
The East Side Kids films could be summed up in one word, horrible. The films were shot in less than a week for a budget of what looks like 25 bucks, none of which seemingly went to the screenwriters. I should frown upon them and have nothing but contempt for them... but I LOVE them. This was the third of the 22 films in the series.
The real key to their enduring success are the performances of Gorcey, Jordan, and Morrison (later Huntz Hall and Gabriel Dell.)
Leo Gorcey shows much more range than he really ever did before or after here. Muggs' inner struggle over his fears of racing and/or letting his friends down really humanizes him and seems less cartoonish than he usually did.
Bobby Jordan is insanely likable. His Danny is a great friend to Muggs and can be serious and quick witted. The two actors play off each other well, which you have to chalk up to their 5 year working relationship (by this point.) Jordan's a very underrated actor.
'Sunshine Sammy' Morrison is also a delight. He's the goofy comic relief here. The writers of the series often saddled him with nauseating levels of racism. Here he mentions that his 'pappy was from Kentuck.' This was only an inkling that was to come, which many would exclaim:
Character actor Clarence Muse is able to rise above any of the racial stereotyping based on his strong performance. Ben is a sagely teacher and Muse delivers what just might be the best 'guest' performance in the series.
There is a great bit of slapstick at the beginning of the film as Danny, Scruno, and the boys are 'redecorating' the outside of their club. Once Blue Knight comes into the picture the siliness takes a back seat to the drama, but the transition is done in a smooth manner.
The horse racing scenes are well shot, despite the time and budget constraints.
This is not one of the best of the series, yet not one of the worst. It is an entertaining way to spend 62 minutes.
A recent interview with the only surviving East Side Kid from this film, Eugene (Algy) Francis, can be found here, courtesy of www.filmsofthegoldenage.com
Monday, July 6, 2009
Thunderhead - Son Of Flicka
Thunderhead - Son Of Flicka
1945 20th Century Fox
Directed by Louis King
SYNOPSIS
In this sequel to My Friend Flicka, (reviewed here) Ken McLaughlin (Roddy McDowell) is searching for Flicka who didn't return with the herd. He finds her with her young colt, who's quickly named Goblin. Ken dreams of having a racehorse and riding it to victory. Before that happens, the free-spirited Goblin needs to be tamed. Meanwhile, a wild albino horse has been taking mares from the McLaughlin farm and others, and causing severe hardship for Ken's family. Despite the financial problems, Ken's dad (Preston Foster) allows Ken and Goblin (now rechristened Thunderhead) to enter a local match. The horse is very close to winning the race when he injures a tendon in his leg, ending his racing career. Soon after the albino strikes again and gravely injures the alpha dog (horse?) of the herd. Ken, his dad, and their two ranch hands go off to kill the albino. During the night, Thunderhead escapes, waking Ken, who follows. The following morning the albino corners Ken when he spots all the kidnapped (horsenapped?) mares. Enter Thunderhead to the rescue and an epic battle to the death ensues... and Ken is forced to make an important decision.
MY THOUGHTS
This film takes the great first film and builds upon it, and delivers. The story remains simple and straighforward, but there's more story and a shorter run time so it moves at a brisk pace.
Most of the cast is back from the first and know their characters well. Roddy McDowell shows development as an actor, but his English accent somehow seems even thicker here (odd for the heartland of the USA.) The girl playing Hildy is still annoying. Ken's parents deliver solid performances again.
It's the nonhuman actors that really shine here. I have no idea how the horse wranglers/trainers were able to get such great performances from the horses. I'm sure there had to be some serious animal abuse. The horse fights seem like real ones and could never be done today. The ASPCA and PETA would be on the filmmakers with shotguns quick. The scene where Thunderhead encounters a porcupine was very humerous and well shot.
This film takes the camera deep into the wilderness, more than the first one ever did. The scenery is breathtaking, made even better in technicolor. Shots of the herd of horses running between canyons, a huge waterfall, and wide open valleys are some of the many visual treats for the eyes. These were shot in Utah and Oregon.
I believe horse racing is one of the top two sports that translate to film the best (the other being boxing.) The racing scenes looked great, but have been done far better in other films like "The Black Stallion."
My only real fault with the film is Flicka. She's there at the beginning of the film and promptly vanishes and is never spoken of again. Since Ken established such a strong bond in the first one, it's odd he would completely blow her off for Thunderhead. It don't recall if this was the same in the book (It's been WAY too long since I read it as a kid) or maybe her scenes were left on the cutting room floor. Either way, it's a head scratcher.
The film is an excellent one for the whole family, but you may be a little leery to show this to the real young due to a horse being put down, after it was attacked. It is shown off screen but the gunshot and reaction from Thunderhead and Ken may be upsetting. The climactic horse battle is violent and could be problematic as well. Otherwise it's terriffic.
1945 20th Century Fox
Directed by Louis King
SYNOPSIS
In this sequel to My Friend Flicka, (reviewed here) Ken McLaughlin (Roddy McDowell) is searching for Flicka who didn't return with the herd. He finds her with her young colt, who's quickly named Goblin. Ken dreams of having a racehorse and riding it to victory. Before that happens, the free-spirited Goblin needs to be tamed. Meanwhile, a wild albino horse has been taking mares from the McLaughlin farm and others, and causing severe hardship for Ken's family. Despite the financial problems, Ken's dad (Preston Foster) allows Ken and Goblin (now rechristened Thunderhead) to enter a local match. The horse is very close to winning the race when he injures a tendon in his leg, ending his racing career. Soon after the albino strikes again and gravely injures the alpha dog (horse?) of the herd. Ken, his dad, and their two ranch hands go off to kill the albino. During the night, Thunderhead escapes, waking Ken, who follows. The following morning the albino corners Ken when he spots all the kidnapped (horsenapped?) mares. Enter Thunderhead to the rescue and an epic battle to the death ensues... and Ken is forced to make an important decision.
MY THOUGHTS
This film takes the great first film and builds upon it, and delivers. The story remains simple and straighforward, but there's more story and a shorter run time so it moves at a brisk pace.
Most of the cast is back from the first and know their characters well. Roddy McDowell shows development as an actor, but his English accent somehow seems even thicker here (odd for the heartland of the USA.) The girl playing Hildy is still annoying. Ken's parents deliver solid performances again.
It's the nonhuman actors that really shine here. I have no idea how the horse wranglers/trainers were able to get such great performances from the horses. I'm sure there had to be some serious animal abuse. The horse fights seem like real ones and could never be done today. The ASPCA and PETA would be on the filmmakers with shotguns quick. The scene where Thunderhead encounters a porcupine was very humerous and well shot.
This film takes the camera deep into the wilderness, more than the first one ever did. The scenery is breathtaking, made even better in technicolor. Shots of the herd of horses running between canyons, a huge waterfall, and wide open valleys are some of the many visual treats for the eyes. These were shot in Utah and Oregon.
I believe horse racing is one of the top two sports that translate to film the best (the other being boxing.) The racing scenes looked great, but have been done far better in other films like "The Black Stallion."
My only real fault with the film is Flicka. She's there at the beginning of the film and promptly vanishes and is never spoken of again. Since Ken established such a strong bond in the first one, it's odd he would completely blow her off for Thunderhead. It don't recall if this was the same in the book (It's been WAY too long since I read it as a kid) or maybe her scenes were left on the cutting room floor. Either way, it's a head scratcher.
The film is an excellent one for the whole family, but you may be a little leery to show this to the real young due to a horse being put down, after it was attacked. It is shown off screen but the gunshot and reaction from Thunderhead and Ken may be upsetting. The climactic horse battle is violent and could be problematic as well. Otherwise it's terriffic.
Sunday, July 5, 2009
Prison Train
Prison Train
1938 - Equity Pictures
Directed by Gordon Wiles
SYNOPSIS
Frankie Terris (Fred Keating) is a major player in the numbers racket. he tells his associate Manny (Alexander Leftwich) he's getting out and giving it all to him. Manny's son gets fresh with Terris's younger sister (Dorothy Comingore) and Frankie attacks him and kills him. Soon he's convicted and on the train to Alcatraz... but not before Manny tries to shoot him. Manny creates an elaborate plan with many men to halt the train to prison and get his revenge on Terris. Frankie Terris is able to fell those plans but not fate.
MY THOUGHTS
There are B-movies that can make the most of their low budget and limited run time for storytelling... and then there's films like Prison Train.
Many tiny studios would crank out serviceable and occassionaly great film noir in the 40's and 50's. This could be considered a dry run for those, but it barely qualifies as serviceable.
The direction at times is very inept. (not on Ed Wood levels, but close) When Manny attempts to shoot Terris, it's shot in such a confusing manner, the viewer has no idea what on earth is going on. It's only until the old newspaper headline cliche tells us what we just saw.
At the end, Terris attacks the steward played by Clarence Muse. At least that's what may have happened. It is also shot poorly.
There are also frequent extreme closups of a frantic-looking Terris while riding in the train which are cast in shadows that were clearly shot elsewhere at a different time. By the fourth or fifth time that the shot is used, it becomes quite laughable.
Also, the prisoners are trapped in their train car, but the door in and out isn't even locked. I'm not sure if this was a sign of more innocent times, where the killers and other prisoners would have class and respect enough for the police not to attempt escape... or just a bad script.
The acting is very stiff, that you would expect from b-movies from the era except Clarence Muse, who is a standout here.
The film is a breath of fresh air in its depiction of African-Americans. Clarence Muse is a steward on the train also working for the villains. He has much more depth than the "yassir, nosir" stereotypes that litter films of the era. The role is actually respectable... and sinister.
I would only recommend this film only if you would want to rip apart an old bad movie a la Mystery Science Theater 3000.
1938 - Equity Pictures
Directed by Gordon Wiles
SYNOPSIS
Frankie Terris (Fred Keating) is a major player in the numbers racket. he tells his associate Manny (Alexander Leftwich) he's getting out and giving it all to him. Manny's son gets fresh with Terris's younger sister (Dorothy Comingore) and Frankie attacks him and kills him. Soon he's convicted and on the train to Alcatraz... but not before Manny tries to shoot him. Manny creates an elaborate plan with many men to halt the train to prison and get his revenge on Terris. Frankie Terris is able to fell those plans but not fate.
MY THOUGHTS
There are B-movies that can make the most of their low budget and limited run time for storytelling... and then there's films like Prison Train.
Many tiny studios would crank out serviceable and occassionaly great film noir in the 40's and 50's. This could be considered a dry run for those, but it barely qualifies as serviceable.
The direction at times is very inept. (not on Ed Wood levels, but close) When Manny attempts to shoot Terris, it's shot in such a confusing manner, the viewer has no idea what on earth is going on. It's only until the old newspaper headline cliche tells us what we just saw.
At the end, Terris attacks the steward played by Clarence Muse. At least that's what may have happened. It is also shot poorly.
There are also frequent extreme closups of a frantic-looking Terris while riding in the train which are cast in shadows that were clearly shot elsewhere at a different time. By the fourth or fifth time that the shot is used, it becomes quite laughable.
Also, the prisoners are trapped in their train car, but the door in and out isn't even locked. I'm not sure if this was a sign of more innocent times, where the killers and other prisoners would have class and respect enough for the police not to attempt escape... or just a bad script.
The acting is very stiff, that you would expect from b-movies from the era except Clarence Muse, who is a standout here.
The film is a breath of fresh air in its depiction of African-Americans. Clarence Muse is a steward on the train also working for the villains. He has much more depth than the "yassir, nosir" stereotypes that litter films of the era. The role is actually respectable... and sinister.
I would only recommend this film only if you would want to rip apart an old bad movie a la Mystery Science Theater 3000.
Saturday, July 4, 2009
Red River
Red River
1948- United Artists
Directed by Howard Hawks
SYNOPSIS
A man with a dream of building a cattle ranch (John Wayne) and his buddy (Walter Brennan) leave a wagon train bound for California. Heading to Texas, the two encounter a teenage boy who joins them. They cross the Red River and set up shop in Texas.
Cut to 14 years later where the boy has grown up (Montgomery Clift) and has just returned from the civil war. The war has devastated the cattle market in Texas and Wayne's character has decided to drive his now large collection of cattle to Missouri, to greener pastures (sorry.)
Stampedes and bad weather cause problems along the way. Some men quit. When they are brought back. Wayne orders them hanged. This triggers a coup, which leaves Clift in charge and Wayne out. Clift delivers the cattle for a good price... but Wayne is hot on his tail and that leads to an epic confrontation.
MY THOUGHTS
John Wayne give gives a strong performance. He is often belittled for playing essentially the same character in virtually every film he did, and this is no different. But he that role is perfect for this.
Clift gives a solid performance in his screen debut and hints of greater things to come (which did.)
The film is like a character actor greatest hits collection. Walter Brennan, Harry Carey Sr. AND Jr., Noah Beery Jr., Paul Fix, John Ireland all appear.
The 3-strip Technicolor process is similar to "The Adventures of Robin Hood" in that it gives to film a very child's illustrated storybook-like feel, and a sense of timelessness.
The direction of Howard Hawks is excellent as always. He's the man who gave us everything from the original "Scarface" to "The Big Sleep" to "Rio Bravo." His direction here equals those masterpieces.
One of the big screen's most enduring stars, a bevy of great supporting players and one of the best directors in history make this a definite classic.
1948- United Artists
Directed by Howard Hawks
SYNOPSIS
A man with a dream of building a cattle ranch (John Wayne) and his buddy (Walter Brennan) leave a wagon train bound for California. Heading to Texas, the two encounter a teenage boy who joins them. They cross the Red River and set up shop in Texas.
Cut to 14 years later where the boy has grown up (Montgomery Clift) and has just returned from the civil war. The war has devastated the cattle market in Texas and Wayne's character has decided to drive his now large collection of cattle to Missouri, to greener pastures (sorry.)
Stampedes and bad weather cause problems along the way. Some men quit. When they are brought back. Wayne orders them hanged. This triggers a coup, which leaves Clift in charge and Wayne out. Clift delivers the cattle for a good price... but Wayne is hot on his tail and that leads to an epic confrontation.
MY THOUGHTS
John Wayne give gives a strong performance. He is often belittled for playing essentially the same character in virtually every film he did, and this is no different. But he that role is perfect for this.
Clift gives a solid performance in his screen debut and hints of greater things to come (which did.)
The film is like a character actor greatest hits collection. Walter Brennan, Harry Carey Sr. AND Jr., Noah Beery Jr., Paul Fix, John Ireland all appear.
The 3-strip Technicolor process is similar to "The Adventures of Robin Hood" in that it gives to film a very child's illustrated storybook-like feel, and a sense of timelessness.
The direction of Howard Hawks is excellent as always. He's the man who gave us everything from the original "Scarface" to "The Big Sleep" to "Rio Bravo." His direction here equals those masterpieces.
One of the big screen's most enduring stars, a bevy of great supporting players and one of the best directors in history make this a definite classic.
Fillmore: The Last Days
Fillmore: The Last Days
1972
Directed by Richard T. Heffron
SYNOPSIS
Legendary concert impresario Bill Graham has had enough and decides to shut the doors of the legendary Fillmore West in San Francisco. The final week of shows was captured on film showcasing many of the Bay Area's finest of the era. Santana, the Grateful Dead, Jefferson Airplane, Hot Tuna (see video above) and the Quicksilver Messenger Service are just a handful of bands that perform. It is as much a concert film as it is a profile of Bill Graham, and the viewer gets to see what his life/ job was like and who he was as a person.
MY THOUGHTS
I'm your typical t-shirt and jeans guy and I have short hair, but at heart, I'm a long haired dirty hippie. This documentary took place a few years before I was even born, but I dug this, man.
Though this is far from the perfectness of concert films like "Monterrey Pop," "Woodstock" and "Gimmie Shelter," but the music in top notch. The film apes the side-by-side image style famously used in "Woodstock" and helps move the film along.
The performances kick off with Cold Blood delivering probably their most known song, a cover of Sam And Dave's 'You Got Me Hummin.'
Hot Tuna was another highlight, as was the Quicksilver Messenger Service. It's a shame classic rock stations don't play more of these groups. Lesser known groups like Lamb and It's A Beautiful Day (performing their only hit 'White Bird') also deliver.
The Grateful Dead deliver one of their most famous songs 'Casey Jones.' The Dead follow that with a rollicking performance of 'Johnny B. Goode.' I've listened to a lot of the Dead's music, but I'm not sure if I ever heard them do anything that uptempo.
The music concluded with 2 songs from Santana, including a cover of Miles Davis' 'In A Silent Way.'
Interspersed between the music throughout is a profile of Graham.
Bill Graham comes across as a very complex and difficult man. I'm not sure if he would have been someone I'd want to know but he's fascinating to watch.
At times, he's a hard-ass. Some of his intense telephone calls are equally hilarious and horrifying, especially (presumably) to the manager of Santana. (It's a shame they didn't get reaction shots from the other side of the phone.)
Other times, like when he's with his son, or telling stories, he seems like a very warm likable person.
I only knew OF the man prior to viewing this, and now I feel I know him and somewhat understand him.
(Graham wound up reopening the Fillmore in the mid 80's and ran it until his death in a helicopter crash in 1991.)
DVD
The images on this recently released DVD from Rhino are very grainy due to the film being shot on 16mm film, so visually it looks on par with "Monterrey Pop" or "Ziggy Stardust & The Spiders Of Mars." It doesn't detract from the film. The film's dual images may be a pain for those with standard-def televisions, but the anamorphic video helps to fill an HD screen nicely
The DVD is missing a supposedly electrifying performance from singer Boz Scaggs that many say was a highlight of the film. It's a shame it wasn't included.
If only this DVD contained gobs of bonus performances like the Criterion Collection's edition of "Monterrey Pop." It's not clear if any extra footage still exists, though the Jefferson Airplane music and Jerry Garcia's rehearsal with New Riders of the Purple Sage are apparently new additions to replace Scaggs.
There are no special features of any kind. This is sad. Not even a trailer or all-text production notes/bios that were common in the early days of DVD.
Hopefully Rhino can revisit this release in a few years and beef it up.
FINAL THOUGHTS
Though not a seminal event in rock history like "Woodstock," Fillmore delivers great music and the story of a fascinating man, and shoud not be missed.
The soundtrack offers even more great music from that week.
1972
Directed by Richard T. Heffron
SYNOPSIS
Legendary concert impresario Bill Graham has had enough and decides to shut the doors of the legendary Fillmore West in San Francisco. The final week of shows was captured on film showcasing many of the Bay Area's finest of the era. Santana, the Grateful Dead, Jefferson Airplane, Hot Tuna (see video above) and the Quicksilver Messenger Service are just a handful of bands that perform. It is as much a concert film as it is a profile of Bill Graham, and the viewer gets to see what his life/ job was like and who he was as a person.
MY THOUGHTS
I'm your typical t-shirt and jeans guy and I have short hair, but at heart, I'm a long haired dirty hippie. This documentary took place a few years before I was even born, but I dug this, man.
Though this is far from the perfectness of concert films like "Monterrey Pop," "Woodstock" and "Gimmie Shelter," but the music in top notch. The film apes the side-by-side image style famously used in "Woodstock" and helps move the film along.
The performances kick off with Cold Blood delivering probably their most known song, a cover of Sam And Dave's 'You Got Me Hummin.'
Hot Tuna was another highlight, as was the Quicksilver Messenger Service. It's a shame classic rock stations don't play more of these groups. Lesser known groups like Lamb and It's A Beautiful Day (performing their only hit 'White Bird') also deliver.
The Grateful Dead deliver one of their most famous songs 'Casey Jones.' The Dead follow that with a rollicking performance of 'Johnny B. Goode.' I've listened to a lot of the Dead's music, but I'm not sure if I ever heard them do anything that uptempo.
The music concluded with 2 songs from Santana, including a cover of Miles Davis' 'In A Silent Way.'
Interspersed between the music throughout is a profile of Graham.
Bill Graham comes across as a very complex and difficult man. I'm not sure if he would have been someone I'd want to know but he's fascinating to watch.
At times, he's a hard-ass. Some of his intense telephone calls are equally hilarious and horrifying, especially (presumably) to the manager of Santana. (It's a shame they didn't get reaction shots from the other side of the phone.)
Other times, like when he's with his son, or telling stories, he seems like a very warm likable person.
I only knew OF the man prior to viewing this, and now I feel I know him and somewhat understand him.
(Graham wound up reopening the Fillmore in the mid 80's and ran it until his death in a helicopter crash in 1991.)
DVD
The images on this recently released DVD from Rhino are very grainy due to the film being shot on 16mm film, so visually it looks on par with "Monterrey Pop" or "Ziggy Stardust & The Spiders Of Mars." It doesn't detract from the film. The film's dual images may be a pain for those with standard-def televisions, but the anamorphic video helps to fill an HD screen nicely
The DVD is missing a supposedly electrifying performance from singer Boz Scaggs that many say was a highlight of the film. It's a shame it wasn't included.
If only this DVD contained gobs of bonus performances like the Criterion Collection's edition of "Monterrey Pop." It's not clear if any extra footage still exists, though the Jefferson Airplane music and Jerry Garcia's rehearsal with New Riders of the Purple Sage are apparently new additions to replace Scaggs.
There are no special features of any kind. This is sad. Not even a trailer or all-text production notes/bios that were common in the early days of DVD.
Hopefully Rhino can revisit this release in a few years and beef it up.
FINAL THOUGHTS
Though not a seminal event in rock history like "Woodstock," Fillmore delivers great music and the story of a fascinating man, and shoud not be missed.
The soundtrack offers even more great music from that week.
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