Explicit Ills

Directed By Mark Webber
2008

"Explicit Ills" is a trite, limp mess of a film that reminded me of "Do The Right Thing" done all wrong.

Both films followed various interweaving inner-city stories, building toward a climax that links them all together.

Though stylishly done, "Do The Right Thing" felt like a real lived-in environment.

"Explicit Ills" seemed like it was written by someone who drove through a rough neighborhood one afternoon. The characters are both cliche and unrealistic.
The poorer characters somehow have eating healthy as a higher priority than earning a living. One of the little boys is vegan... yet his surroundings show there's no way his family could afford that lifestyle.
The richer, gentrified neighbors (both black and white) also want to eat healthy, get colon cleansers and the like... yet counter these choices with drugs and alcohol. We've seen that people with money are hypocrites hundreds of times.

The film also has an unrealistic subplot of kindness to strangers. Anyone who's ever lived in an inner city environment knows people would barely look another in the eye, let alone help them. It's a cynical reaction on my part but... one of the (poor) boys wants to stop being bullied, so he buys the bully a new pair of Nike shoes. (as if)
People hand out free fruits and vegetables to the poor... but it's not just your standard lettuce, apples, oranges and the like... the exotic produce looks like they just raided a ritzy Whole Foods Supermarket instead of the cans of creamed corn that would normally be donated to a food bank. There are more examples of this unrealistic schmaltz, but I won't bore you.

"Do The Right Thing" built tension up all along that erupted into a riot that expressed the simple fact that the Civil Rights Movement didn't end racism.

"Explicit Ills" dully plods along until it ends in a march for healthcare.

I am a firm believer in the need for universal healthcare, but the film tackled the subject so poorly that an undecided intelligent viewer might even turn against it if they could see through its phony manipulative facade.

As a director, Mark Webber gets uniformly strong performances from the cast and the cinematography, etc. are well done... but with such an amateur afterschool special-worthy script, the film never climbs out of the dumpster it was written in.

2nd Birthday!!!

Two years ago today, Blues In The Night was launched. I want to thank you for making this all possible. I've really been busy and have been unable to update this site with regular posts lately, but it is not dead. There are still many, many films to tackle and present here. Stay tuned for big things in the future!
Andrew

The Legend Of The Lone Ranger

1952



SYNOPSIS

When a gang ambushes a group of Texas Rangers, an Indian named Tonto (Jay Silverheels) find one survivor and nurses him back to health. The survivor (Clayton Moore) recovers and rechristens himself "The Lone Ranger" and vows to bring down the gang.

MY THOUGHTS

A promising start quickly devolves into a crapfest.

The film was comprised of the first three episodes of the TV series The Lone Ranger (filmed in 1949.) I never knew how the Lone Ranger came to be, so this origin story piqued my interest.

The initial moments of the story are actually great. You feel for the characters and hope the sole survivor gets back at the all-evil gang. But once the survivor dons the mask of the Lone Ranger, the film quickly becomes cornier than a can of creamed corn and cheesier than Velveeta. The Lone Ranger and Tonto become infallible and undefeatable destroying any believability.

The film/TV episodes are poorly edited together.... with several unnecessary shots of heroes and villains riding horses from left to right of the camera endlessly linked together, clearly to pad the already short 70 minute runtime.

Both Moore and Silverheels give the iconic performances that they are best known for, yet it's clear very early into the simple revenge plot that the film will go their way. It quickly becomes tedious and boring... and practically unwatchable.

Rockin' In The Rockies

1945 Columbia Pictures
Directed By Vernon Keays


SYNOPSIS

Two vagrants (Larry Fine + Curly Howard) duck from the cops in a Reno nightclub. After accidentally winning some cash, they're approached by a prospector/huckster named Shorty Williams (Moe Howard.) He convinces them to invest their money in his new mine, as well as also snaring two nightclub singers (Mary Beth Hughes,+ Gladys Blake.) Shorty takes the four back to his ranch... and soon they learn the place actually belongs to Shorty's cousin (Jay Kirby.) A western swing band (The Hoosier Hotshots) is also staying at the ranch and team up with the two singers once they find out a Broadway producer is vacationing in Reno and try for an audition... all the while while they're looking for gold... and rustling cattle.
 

MY THOUGHTS

A western, a musical, a Three Stooges comedy, all rolled up into one big train wreck.

Rockin' In The Rockies is a departure for the Stooges. In nearly all of their output, they play a trio. Here their characters are split up (Larry + Curly, and a mostly solo Moe) much like the Marx Brothers were usually apart (Chico + Harpo, with Groucho alone or with Zeppo.)
Unlike the other two, Moe has a different character name and is often separated on screen as well, which changes the whole dynamic of the group. He even has a normal haircut! Larry spends his time bossing Curly around when the three aren't together. Their humor is more subdued than usual with a lot less slapstick.
The trademark Stooge shenanigans also take a back seat to some real stupid humor (a talking mounted deer head and a talking horse among others) that just make you groan.


Also look for frequent Stooge foil, Vernon Dent, who (for once) sadly doesn't get a chance to get pissed off at the trio. His role doesn't amount to much though.

The rest of the film is pretty much a mess.
-The other characters are uninteresting and you are never made to care about them.
-The film clocks in at about 65-70 minutes, so with a mining plot, a rustling cattle plot, and the Broadway producer plot all vying for screen time, none of them are really fully developed and fall into cliches. For once in a B movie, there's TOO much plot.
-And the film is a musical, so there are frequent songs also competing for time. The music is mostly western swing music, which is fine and enjoyable, but the songs just aren't memorable.

Rockin' In The Rockies is only interesting when the Three Stooges appear on camera... and I would only recommend the film to diehard fans. (It is not to be confused with the Three Stooges classic 1940 short Rockin' Through The Rockies.)

Rockin' In The Rockies is not available on DVD, but is currently streaming on Netflix.

Bamboo Gods And Iron Men

1974 - American International
Directed By Cesar Gallardo

SYNOPSIS

Boxer Cal Jefferson (James Iglehart) is on his honeymoon in Hong Kong with his new bride (Shirley Washington.) They purchase a wooden Buddha statue and have it shipped back to their hotel. On their way back, Cal rescues a drowning mute Chinese man, Charlie, (Chiquito) who dedicates his life to Cal. The couple (and stowaway Charlie) head to the Philippines with a secret stashed with their statue... a supposed ancient secret to world domination... and a group of people who will stop at nothing to get that secret are after them!

MY THOUGHTS

An obscure, fun kung fu adventure.

The fun stems from the action scenes and the comic tone of the film. Serious stuff may be happening, but the film never takes itself serious and a joke or gag is only a moment away. Much of the goofiness comes from Charlie. His humor is a bit too over the top at times, but it keeps things light.

Though Cal and his new bride are African-American, the film should hardly categorized as a blaxploitation film, due to it's setting and lack of racial politics. I would label it "All Kung Fu."

The fight choreography is not among the best of kung fu films but it is adequate. Same goes for the acting (especially the lame main villain.)
Shot on location in the Philippines, the cinematography is outstanding for such a low budget film. That country looks beautiful anytime the camera is outside.
The film is also well edited, keeping a decent level of suspense and intrigue throughout and well mixed with the comedy and occasional gratuitous nudity. The climax also works perfectly with the tone of the film.

It's not going to win any Oscars, but Bamboo Gods And Iron Men is a helluva lot of fun.

Bucktown

1975 - American International
Directed By Arthur Marks


SYNOPSIS
Duke Johnson (Fred Williamson) heads to a small scuzzy southern town for his brother's funeral. He's willed his brother's home and shuttered nightclub... and soon falls for his brother's girlfriend Aretha (Pam Grier) When he tries to reopen the club, he rubs the corrupt and redneck police the wrong way. He calls his old pal Roy (Thalmus Rasulala) who brings in some muscle and they take down the police. The overjoyed mayor makes Roy sheriff and soon Roy and his goons become worse than the old cops. Duke decides they must be destroyed.

MY THOUGHTS

A gritty, violent blaxploitation near-classic.


The story really works as a blaxploitation film, and would make a great western as well... but the film is not without faults. First, Duke, Roy and his posse never face any punishment for killing the redneck cops. They were bad men, but no one ever gets away scot-free for killing police. Did they not have any family angry over their brazen killing? Second, the level of violence leveled against the rednecks (and later, the posse themselves) is extreme, almost to the point of generating sympathy for the victims. It's hard to root for the hero who inflicts THAT much pain.


Still, Fred Williamson gives a standout performance. In other films, like Black Caesar, Williamson seemed humorless, almost stiff. In the first half of Bucktown, he's loose and funny and thoroughly seems to be enjoying himself. That makes the character a lot more relatable and (a bit ) easier to root for, especially during the second half of the film which is pretty much solid action and has little to no character development.

The solid Pam Grier is somewhat wasted in her supporting role. However, She and Williamson have a great chemistry... and like many of her movies, she gets topless.
The supporting cast is also sharp and memorable. Look for Carl Weathers, as one of the goons, just a year before Rocky.

The film ends in a brutal fistfight between Duke and Roy. The fight plays out better than your average movie fight. It feels less like a stylish, choreographed battle and more like a real slugfest. The pain and suffering is nearly equally dished out between opponents, so it helps to make you forget some of the weaker bits.

There are far better blaxploitation films... but Bucktown is still a very entertaining film for lovers of extreme action.

Sugar Hill

1974 - American International
Directed By Paul Maslansky


SYNOPSIS

When Sugar Hill's (Marki Bey) boyfriend refuses to sell his nightclub to a bunch of gangsters, they beat him to death. Sugar turns to an old voodoo queen (Zara Cully) for help and thanks to Baron Samedi (Don Pedro Colley,) she gets an army of the undead to help her exact revenge.

MY THOUGHTS

A great mix of a blaxploitation and a zombie film.

Rare for both genres, Sugar Hill managed a PG rating. It lacks excessive violence, nudity, strong language or gore that are commonplace for those films... and still manages to be exciting, tense and a lot of fun.
Also lacking was a big budget... but the filmmakers made due with what they had. The zombie makeup was low-tech but creepy as hell... especially the shiny brass eyes.

Plot-wise, the film is very simple... just your typical revenge story, without any unnecessary sub-plot. It gets right down to the story, tells it, and finishes it. Great economic storytelling.


B-movie giant American International was one of the leading studios making blaxploitation films in the '70s, most notably those starring Pam Grier (Foxy Brown, Coffy, etc.) I wonder why she wasn't cast in this. Marki Bey is fine as Sugar, but I think Grier would have been a better choice because she has a stronger screen presence.

The acting is not the strongest overall, but you don't look for master thespians in a film like this.

American International also was responsible for the 2 Blacula films (far better known blaxploitation/horror combos) but this film is far better than either.


Sugar Hill is a fun, well-made film that would definitely impress and entertain fans of both horror and blaxploitation.

Seven Chances

1925
Directed By Buster Keaton


SYNOPSIS

Jimmie (Buster Keaton) stands to inherit 7 million dollars from his deceased grandfather... if he is married by 7 o'clock on his 27th birthday... which is today! His girl (Ruth Dwyer) rejects his sudden and underwhelming proposal... so he tries to get any woman he knows to marry him with no success. After an article appears in the afternoon newspaper about the inheritance... every woman in town will stop at nothing to get him!

MY THOUGHTS

Seven Chances isn't as well known as some of Buster Keaton's films, but it should be.

The first half of the film is slow (almost boring,) setting up the plot. It features no action and a few mildly amusing moments. Then it dramatically shifts from first gear all the way to fifth and the film races to its finish... with Keaton literally running top speed the entire way. A mob of hundreds hungry brides chasing him... he jumps off a cliff onto a tree being chopped down. He then dashes down a steep hill, triggering a landslide with bouncing boulders threatening his life the entire way down. The entire sequence must be seen to be believed. (see above video) The shots and editing are as close to perfect as any scene could possibly be.


The premise, which came from a play, has been used before Keaton and many times after.
 
Fans of the Three Stooges will easily recognize the plot was later 'borrowed' for one of their most well known shorts 1947's Brideless Groom.


With as much success as the Stooges were able to have with the same plot... Keaton's take is still superior in every way.

No Direction Home: Bob Dylan

2005
Directed By Martin Scorsese

SYNOPSIS

The film chronicles Bob Dylan's path from being a young Minnesotan arriving in New York with a guitar in hand in 1961... to becoming 'The Voice Of His Generation' in just 5 years.

MY THOUGHTS

A fascinating look at Bob Dylan and the New York folk scene of the early 1960's.

Many a filmmaker and author have tried to tackle the life of Dylan... but they all failed to get one important interview that would lift their work above the pack... Bob Dylan himself. Director Martin Scorsese did just that... giving No Direction Home authority of the others. In most past interviews, Dylan is cryptic and comes off as an enigma. Here, Dylan is very straight-forward and doesn't act like a smart ass (like in some of the 60's interviews featured.)
Friends like Joan Baez, Allen Ginsberg, Pete Seeger, Liam Clancy, and Maria Muldaur (among others,) also share their recollections of that heady time... and as Dylan's career started to take off  Mitch Miller, Peter Yarrow and Al Kooper also chime in.

The 3 hour + run-time (divided into 2 parts) allows to delve deep into Dylan's story and can focus on extended music clips. Getting to see Dylan perform so many times really hits home his power as a songwriter and performer that a shorter documentary couldn't do without sacrificing narrative.

Any Bob Dylan fan, heck, any music fan will thoroughly love this.

Thirty Two Short Films About Glenn Gould

1993
Directed By Francois Gerard


SYNOPSIS

The life of pianist Glenn Gould is told in a series of vignettes.

MY THOUGHTS

Glenn Gould was an eccentric, enigmatic genius and a very unconventional man. It's apropos that Thirty Two Short Films About Glenn Gould is both enigmatic and unconventional. It's not anywhere near a conventional biopic. As the title claims, the film is divided into 32 parts, each briefly touching on one aspect of the pianist's life. Some parts are interviews with real people who knew him, some feature Colm Feore (as Gould) reenacting parts of his life, and others are just animated segments featuring his music.
The music takes center stage and is playing nearly constantly, the film's strength.

The film is unique and has a very experimental feel... but I feel it fails in giving an understanding of the genius piano player and later radio producer.
If you're searching for a more in-depth (and conventional) documentary of Gould, Genius Within: The Inner Life Of Glenn Gould is a far better way to learn about the man. Watching that documentary first will help explain some of the more cryptic parts of Thirty Two Short Films (like why Petula Clark's Downtown plays under one of the vignettes.)
Having seen the documentary first, I already had an understanding of Gould's life. Not having seen it, or had any knowledge of his life, I would most likely been very confused or even lost while watching Thirty Two Short Films.

Overall, Thirty Two Short Films About Glenn Gould is a bold experiment... but you might need to know something about Gould before going into it... to fully appreciate it.

King Of Cowboys

1943
Directed By Joseph Kane


SYNOPSIS
Nazi saboteurs are targeting American targets. A governor assigns a popular rodeo showman (Roy Rogers) to take them down... and some of them are his fellow performers!

MY THOUGHTS

An absurd piece of WWII propaganda.

The governor enlists Roy Rogers (who plays 'himself') because the saboteurs 'wouldn't suspect him.' This is completely ridiculous concept and it's hard to accept this as any form of reality. This isn't helped by Rogers' path to take down the bad guys being an extremely boring one... even if he has to diffuse a bomb and fight the baddies.

There are a few musical numbers (delivered onstage) to pad out the story. These are fine, but clearly exist as padding and add nothing.

The only worthwhile bit from the film is that it gave Roy Rogers his classic nickname, King Of The Cowboys.

Of Human Bondage

1934 - RKO
Directed By John Cromwell


SYNOPSIS
Phillip Carey (Leslie Howard) gives up an unsuccessful art career in Paris, moves back to London and goes to medical school. He soon falls madly in love with a cockney waitress named Mildred (Bette Davis.) She rejects him and goes off with another man (Alan Hale.) She later returns to Phillip pregnant and alone. Soon they're engaged but she soon runs off with Phillip's friend. (Reginald Denny.) Mildred returns, ruining Phillip's new relationship, destroying his apartment and his stock certificates, forcing him to leave medical school. He finds work as a salesman and falls for another girl (Frances Dee) but Mildred comes back into his life again.

MY THOUGHTS


W. Somerset Maugham's book comes across as a bit soap operatic on the big screen... but the lead performances make it memorable.


Bette Davis gives a complex and strong characterization. Her character is essentially the villain of the piece, but you feel more pity than hate for the detestable character. She's a bit over-the-top at times, but it works very well for the role. This is the role that made her a star.

Leslie Howard gave a thoughtful, sensitive performance (much like all of his other roles) and matches Davis' strong portrayal.

The two have an unusual chemistry and would star together two more times.

Definitely a pre-code film, Of Human Bondage tacked soon to be taboo topics like unwed pregnancy and general sluttiness.

Bondage moves at a crisp pace, but it does drag often, as many early talkies did. Still, it's great to see two great actors at the top of their game play off one another.

The Best Of Benny Hill

1974
Directed By John Robbins


SYNOPSIS
A best-of compilation of the long-running BBC TV series The Benny Hill Show released into theaters.

MY THOUGHTS

The Best of Benny Hill is a silly look at the classic TV show. It showcases all of the comic's most memorable strengths: silly songs, bawdy innuendo, mangling the English Language, poking fun at the upper class, and of course, chasing half naked women around.


The film could easily draw a comparison to Monty Python's first feature And Now For Something Completely Different, which also was a best-of of their series. The Pythons re-shot all of the sketches for the film and as a result, much of the film lacked the timing and punch of delivering the material fresh before a live studio audience. Benny Hill, on the other hand, just used the existing footage from the series, so that was not an issue.

I am so glad I never got to see this on the big screen. The primitive analog video would look absolutely horrible transferred to 35mm film and blown up to fill a cinema screen. It doesn't even look that great on DVD.

It looks bad and some of the humor is dated, but the film delivers a great variety of fun and is a great way to discover (or remember) the magic of Benny Hill.

And This Is Free

1964
Directed By Mike Shea


SYNOPSIS

A look at Chicago's Maxwell Street, the legendary open-air market, where you could find anything for sale.

MY THOUGHTS

A group of college students headed to the Maxwell Street Market over several Sundays in 1964 and were able to perfectly capture the feel of the place thanks to the Cinéma vérité style. The realistic style means there is no narrator telling you what is going on and no plot to follow. The camera is there as if it was just one of the crowd walking through the crowded melting pot, a sort-of fly-on-the-wall. It stops to hear several blues and gospel singers perform right on the street, hucksters, soap box preachers, kids begging parents for toys, and the famed Chicken Man, who performs with a chicken on his head.



Though the music is not professionally recorded with multiple mics, it still sounds great... and the performances are uniformly awe-inspiring.

The aimless way the vérité style is used in And This Is Free could easily get boring if it were feature film length, but it runs only 50 minutes.

I never went to the Maxwell Street, but I feel I have thanks to this excellent film.


BONUS:

Before it's demise in 1994, Maxwell Street's most famous appearance on film was in 1980's The Blues Brothers:



And This Is Free is included on this disc, which also includes other short films on the history and demise of the neighborhood.

Great Guns

1941 - 20th Century Fox
Directed By Monty Banks


SYNOPSIS

When their sickly boss Dan (Dick Nelson,) gets drafted, Stan and Ollie (Stan Laurel + Oliver Hardy) follow him into the Army to protect him. While Dan fits right in, gets healthy, and finds love.... Stan and Ollie get in heaps of trouble. The two are assigned to an important spy mission during war games exercises in order to redeem themselves.

MY THOUGHTS


This was the first time Laurel + Hardy worked directly for a major studio (20th Century Fox.) Purists say their Fox films are far inferior to their previous films, but I found Great Guns to have some truly brilliantly funny moments. Perhaps this one was an aberration, like Buster Keaton's The Cameraman. That was made after Keaton signed up with MGM, lost complete control of his work, and his films (as a whole) went downhill in quality. I will have to check out more L+H films from this era.

I noticed far less slapstick in this film than in Laurel + Hardy's earlier works. I'm not sure if this was an effort to tone it down by Fox... or because the duo were both about 50 years old (and looked it too. I'm not sure why the military would accept people that old!)

There's plenty of little bits of hilarity, like Laurel cutting the grass with small scissors, or trying to shave despite a troublesome light bulb. These combined with bigger and broader moments, like when the pair try to get Dan's girlfriend to stop seeing him, create a very lively first half of the film. Great Guns has the standard love story attached (that bogged down many of the Marx Brothers' lesser efforts) but it doesn't interfere with the rest of the film.

THE highlight of the film is during the General's inspection, Stan's pet crow (who refuses to leave him) lands on his helmet. Panicking to get rid of the black bird, he shoves him down the backside of Ollie's pants. I found myself literally choking because I was laughing so hard. The pacing of the scene and the performances make the scene work.


Apart from the driving scene above, the second half of the film drags... especially during the war games. The overuse of guns firing, tanks rolling through, planes flying, etc. are clearly a recruitment tool for the Army as the U.S. was gearing up to eventually enter World War II. (Pearl Harbor happened 2 months after this film was released.) The fast paced editing, made war look exciting and maybe even fun. Apart from some amusing bits the last half hour lacks the zaniness and humor of the film's beginning.

Great Guns is far from the best Laurel + Hardy film, but it is far better than its reputation.

Mad Love

1935 - MGM
Directed By Karl Freund


SYNOPSIS

An actress (Francis Drake) is leaving her stage show to spend time with her pianist husband (Colin Clive.) An obsessed fan (Peter Lorre,) who is also a surgeon, gets a break when her husband's hands are mangled in a train accident. The doctor transplants new hands on her husband... but those hands are from a killer... and they want to kill again! (or do they?)

MY THOUGHTS

The suspenseful American debut of Peter Lorre.

The fast paced thriller is from director Karl Freund, who completed his masterwork, The Mummy a few years before for Universal. Mad Love both looks and feels like one of the Universal classics and has all the echos of German Expressionism (in which Freund worked before coming to Hollywood.) This would be the last film Freund directed before resuming his regular duties as one of film's greatest cinematographers.


Mad Love is Peter Lorre's first American film. He is just as effective as his breakthrough role in 1931's M and his two roles for Alfred Hitchcock before heading west to avoid the Nazis. Lorre is at his creepiest here (especially with shaved head) yet also comes across as sympathetic. The role is equal to his pedophile killer in M.

Colin Clive, best known as Dr. Frankenstein (in Frankenstein and Bride of Frankenstein) gives another haunting performance in one of his last roles before his 1937 death.
The film was also one of the last of Ted Healy's who also died in 1937 after the results of head injuries sustained in a bar fight. Healy was a vaudevillian who split from his Stooges (Moe, Larry + Curly) the year before this was released. He is the unneeded comic relief.

Mad Love was one of the early films to directly tackle psychological themes. That would become more commonplace after World War II.

Plot wise, the film can be silly at times... but Lorre's performance, and the way it was shot, lift the film above the pack.

Mad Love is one of the many good films that has slipped through the cracks and into obscurity.

The Devil-Doll

1936 - MGM
Directed By Tod Browning


SYNOPSIS

Convict Paul Lavond (Lionel Barrymore) was once a prominent Parisian banker, locked up for 17 years after he was framed by his coworkers. He escapes with Marcel (Henry B. Walthall) and they hide out at Marcel's home. Marcel is a scientist who has perfected a way to shrink animals and men to a small size and control their actions with his mind. When Marcel dies, Lavond and Marcel's wife Malita (Rafaela Ottiano) head to Paris and set up a doll shop selling the shrunken animals. In Paris, Lavond assumes the character of Madame Mandilip, an elderly woman, to avoid the police. He begins exacting revenge on his former coworkers.

MY THOUGHTS


Master of 30's horror, Tod Browning, directs this under-seen film. He's most noted for Dracula and Freaks. His career was sadly in full free fall after the colossal commercial failure of 1932's Freaks, and would only make one final film after The Devil-Doll. Here, he crafts a suspenseful and very entertaining tale showing just how talented he was.

Devil-Doll successfully balances two vastly different storylines running throughout... one dealing with the fantastic and the other, with human emotion.

The fantastical elements are absurd. It's not explained how the shrunken animals and people can be controlled telepathically... or even how the shrinking is done exactly... but that doesn't really matter and would slow the film down. It's best to turn your mind off and watch the show!

A lesser studio would surely neglect to add a human aspect to the story, in favor of more science and horror. In between his evil deeds, Barrymore is also trying to reconnect with his family. He only reveals his true identity to his mother... and longs to speak to his daughter, who hates him and blames him for her mother's suicide. Maureen O'Sullivan plays the daughter, who's still very torn up about her feelings for her dad even after 17 years.

It's quite clear, Lionel Barrymore had a blast playing the unusual dual role. It's a bit of a humorous shock when you see him dressed as Madame Mandilip for the first time. After that shock wears off, you completely buy him as the sweet old lady, just like the cops and other Parisians do. The old lady is the opposite of his vindictive Lavond, making Devil-Doll a great showcase for his versatility.

The special effects are outstanding for the time period and (apart from a few shots) still hold up very well today.
Also despite its age, The Devil-Doll's story still seems fresh and unique. This, and Lionel Barrymore's great performance, makes the film a can't-miss.

Blu-Ray Review: Woodstock

1970 - Warner Brothers
Directed By Michael Wadleigh



The cultural landmark of the 60's generation meets the high tech 21st century.


The film looks as good as it possibly can. It was entirely shot in 16mm and never looked amazing blown up to 35mm. Like a Bob Dylan song... the voice is not pretty, but what the voice says is what's important. The blu-ray makes it look as good as it ever did.


The disc includes the 1994 Director's Cut along with some cool bonus features.

Instead of one long documentary covering the festival, the making-of documentary is chopped up into about 15 different segments (totaling about 1 hour and 20 minutes) on one topic (like the concert lineup, cameras used, production problems, the legacy.) This makes it easier to go through. Included is a Hugh Hefner interview of director Wadleigh on the TV show Playboy After Dark

One of the highlights of  Criterion's amazing Monterey Pop box set was the inclusion of roughly 30 performances not included in the original film. Woodstock's blu-ray follows this model and doesn't disappoint. 18 never-before-seen performances are included... with performers that never appeared in the original film (or director's cut) like Creedence Clearwater Revival (3 songs!) Paul Butterfield, Johnny Winter, and the Grateful Dead (a 37-minute take on Bobby 'Blue' Bland's "Turn On Your Lovelight.") Additional performances by bands in the film include The Who, Jefferson Airplane, Joan Baez, Country Joe McDonald, Canned Heat, Sha Na Na, Joe Cocker, Santana and Mountain. These can be viewed separate from the film and YOU can arrange and watch them in any order that you want!

A fluff piece on the Museum of Bethel Woods is also included... a museum that chronicles the 60's and the Woodstock experience.

For anyone who was there... or wishes they were... this blu-ray is the best way to live the Woodstock experience today.

The Return Of Doctor X

1939 - Warner Brothers
Directed By Vincent Sherman


SYNOPSIS

A wise-cracking reporter (Wayne Morris) goes to visit a socialite (Lya Lys,) but finds her dead. He breaks the story and is forced to apologize (and loses his job) when she shows up to the paper to complain, even though she's as pale as a dead person. His doctor friend Mike (Dennis Morgan) is called on to help investigate another murder with a bloodless body. Mike consults with his superior Dr. Flegg (John Litel,) where he meets a bizarre, clammy, pale faced blood expert Dr. Quesne (Humphrey Bogart.) The grotesque man piques both their interest... as more dead, bloodless bodies turn up.

MY THOUGHTS


Despite the name, Return of Doctor X is in no way related to the 1932 film Doctor X.

There are a few similarities. The unfunny, annoying-as-hell reporter and a trail of unexplained deaths are all that the two horror films have in common... except, of course, both films aren't very good.

'Return' is best known for being Humphrey Bogart's least favorite and most unusual role. The skunk-like white streak in his hair, the pale shiny complexion and that rabbit he always carries define the unusual character. Despite the unusual role, he meets his end in a remarkably similar way to all the supporting, snarly gangster roles he played at this time in his career. Bogie openly spoke of his hatred of the role, but he is effectively unsettling in it.

The plot is ridiculous. It relies on humor too much to balance the horror to appeal to a mass audience.
This is the most clear in Wayne Morris' role. He is far too annoying to be a good hero for the story. Thankfully, Dennis Morgan is able to fill that role as the no-nonsense doctor... but he is given little more than science and medicine to focus on.


'Return' is one of those so-bad-it's-good type of films and must bee seen to be believed.

Doctor X

1932 - First National
Directed By Michael Curtiz


SYNOPSIS

A wise-cracking reporter (Lee Tracy) yearns to solve the mystery of  "The Moon Killer." Someone has strangled several people and cannibalized them and used surgical equipment. The search for the killer turns toward the nearby surgical academy, where there are many potential suspects, including Doctor X (Lionel Atwill.) While investigating, the reporter falls for X's daughter (Fay Wray.)

MY THOUGHTS

A unique but flawed film.

Doctor X was one of the few films shot in the Technicolor two-strip process. Two-strip didn't give anywhere near a  complete range of colors, like later three-strip films such as The Adventures of Robin Hood. Greens, browns, yellows, and flesh colors are dominant, adding ample eeriness to the film.

But that's where most of the eeriness ends. Lee Tracy's role as the reporter is played for comedy. He's so over the top that he is annoying and obnoxious and you want the killer to get him. (sadly, this doesn't happen)
The whole middle of the film is devoted to people talking about the killer and little actually happens. The film draws to a crawl. You're more likely to nod off than experience any 'uneasy feelings.' There are also plot holes galore that are a mile-wide, never to be addressed.

The last few minutes are fun to watch. The plot thickens and the killer is revealed by transforming himself into a monster, smearing artificial skin over his face. A bizarre moment with outstanding makeup courtesy of Max Factor. And Fay Wray gets a few good screams in. Bu that's about it.

Doctor X is another obvious 'pre-code' film. Soon-to-be-taboo subjects like erotic magazines and cannibalism add spicy flavor to the film but ultimately don't help pull the film up to 'classic' status. Tracy's overly comic role and the lack of a strong middle keep the film from greatness, but it is still fascinating to watch at least for the primitive Technicolor.

Footlight Parade

1933 - Warner Brothers
Directed By Lloyd Bacon
Musical Numbers Directed By Busby Berkeley



SYNOPSIS

Musical theater in Chicago has fallen out of favor. The new flavor of the month is talking pictures. Show producer Arthur Kent (James Cagney) has to adapt to the changing times. The bigger theaters need short shows called 'prologues' to play before the films. In order to win a contract with a major theater chain, Kent must create and his cast and crew must learn and perfect three whole new numbers in just three days.

MY THOUGHTS

The performance of James Cagney lifts Footlight Parade above it being simply a 42nd Street knockoff.

Like 42nd Street, this musical is known as a 'backstager,' a story centering around the people putting on a stage show. The first film succeeded on its music, choreography and the freshness of the plot. 42nd Street was missing a charismatic lead character to help push the story along.

James Cagney was still riding high off the success of 1931's The Public Enemy, which made him a star. He plays his role here much the same as gangster Tom Powers. He's fast-talking, pushy, knows what to do and how to get people to do it. He brings a kinetic energy that propels the film along at a lightning pace.
He also gets strong comic support from Joan Blondell as his secretary who loves him, despite his ignorance of her obvious feelings.

Despite Cagney's magnetic performance, he still must take a backseat to the stunning choreography of Busby Berkeley. His work made 42nd Street memorable. We only gets hints, and bits and pieces of Berkeley's choreography throughout the film, but Parade ends with a bang. It culminates in three long, vastly different, but equally amazing musical numbers. All three are production numbers that are supposed to take place on a small theater stage, but are so massive and grand, the biggest stage in the world couldn't contain them!

My favorite was the middle piece 'By A Waterfall.' This is probably Berkeley's most famous and best realized work. It features many Berkeley trademarks: barely clothed women, overhead shots of kaleidoscopic dancers, and swimming pools. The surreal, beautiful choreography of that piece alone is worth the price of admission.

Here's a look at the scene on YouTube: http://www.youtube.com/watch?v=csG6MBYsmOU

The dynamic combination of Cagney and Berkeley are a definite do-not-miss!

The Mask Of Fu Manchu

1932 - MGM
Directed By Charles Brabin


SYNOPSIS

An Englishman (Lawrence Grant) uncovers the location of Genghis Khan's tomb. He plans an expedition, but is kidnapped by the fiendish Dr. Fu Manchu (Boris Karloff) and his sadistic daughter (Myrna Loy.) The duo want the mask and sword of the Mongol ruler to take over the world. The rest of the expedition sets out to uncover the riches of the tomb, and try to rescue their comrade.

MY THOUGHTS

MGM made few horror films during the golden age... and clearly the studio was trying to outdo Universal, who recently brought Dracula and Frankenstein to the big screen. One way was to make a kinkier and darker film. MGM achieved this with The Mask Of Fu Manchu.


Fu Manchu was released 2 years before the strict production code was enforced. Pre-code films were much freer to depict sexuality and other 'depravity.' Several torture devices, characters delighted at torturing others, an opium den, racially charged dialogue (against both Asians and whites) are just some of the soon-to-be no no's that this film dishes out one after another. Sure, they are tame by today's standards but they are still eye-opening at times, especially Fu Manchu's proclaimed desire to wipe out 'the white race.'

The movie is based on a series of pulp novels, and that spirit is captured perfectly on the big screen. Its scant 70 minute run time puts the film in high gear nearly the whole time, lacking the clunky pacing of many early sound films, like Dracula. The short run time would signify a "b" movie, but Fu Manchu's exquisite sets, make up, lighting and special effects say otherwise. MGM gave the little horror film the usual gloss it did to all of its 'classier' productions.

Boris Karloff, who brought humanity and sympathy to his role of Frankenstein's monster, relishes in pure evil here.
Myrna Loy's kinky, wicked role is light years from her most famous role as sophisticated Nora Charles in the Thin Man series. Both actors camp their roles up, knowing just how ridiculous the plot is. The film is truly alive when they are on screen and they are a delight to watch.



The Mask Of  Fu Manchu is far, far, far away from today's 'politically correct' climate, but is still fun and highly entertaining for fans of early horror.

Short Cut To Hell

1957 - Paramount Pictures
Directed By James Cagney

SYNOPSIS

A hitman (Robert Ivers) is double-crossed by the man (Jacques Aubuchon) who hired him to kill two city workers in Oakland. The hitman heads to Los Angeles to get revenge. On the train there he meets a young singer (Georgann Johnson,) who just happens to be the girlfriend of the head detective (William Bishop) who's after him.

MY THOUGHTS

A 'B'-movie remake of a film noir gem.

Short Cut To Hell is a remake of the 1944 film This Gun For Hire which starred Alan Ladd, Veronica Lake and Robert Preston. The remake lacks the pop, artistry, chemistry and the star-making performance of Alan Ladd.

The film is James Cagney's first and only effort as a director. He crafts a well paced film with tension building throughout. It's a wonder why he didn't direct another film. He shows some promise but it would have been better to see him tackle some more original material.

Cagney clearly shows he can handle actors. Robert Ivers is cold-as-ice as the hitman, exactly what you would expect from a real hitman. I found Georgann Johnson to be annoyingly cutesie in her role... almost to the point of being unrealistic, but it perfectly balances out Ivers' dour character. Johnson clearly went the opposite direction of Veronica Lake in the same role. In this Gun For Hire, Lake's character clearly falls in love-love with the hitman. Here, it's more of a motherly love.

Still despite it's good points, Short Cut To Hell is just a pale copy of a much stronger film.

Blu-Ray Review: The General

1926
Directed By Buster Keaton + Clyde Bruckman

One of the greatest of all silent films was one of the very first to make the leap to blu-ray.... and the transfer is amazing.
The added clarity of blu-ray adds so much to The General. The film has been the victim of poor, cheap public domain releases for decades. The first time I saw the film some of the nighttime sequences were so dark, you couldn't tell what was going on at all, while during the day, the focus was muddy or the film was brutally scratched up. Kino International's print cures ALL those ills.
 There is NOT ONE scratch on the film the whole way through. There are small white speckles throughout the print but they are minor and not distracting. What is distracting, is the added clarity and sharpness draws your eyes away from the action to stare at the beauty of the surroundings! (This is NOT a complaint!)

Accompanying the film is your choice of three completely different musical scores and several extras:

--- The General was based on an event during the Civil War known as the 'Great Locomotive Chase' when Union operatives stole the locomotive and several southerners raced to get it back. You can learn this history and get a tour of the real General, which resides in a Georgia museum. This is the longest special feature and runs nearly 20 minutes.
---'A brief tour of filming locations' is also included, though the 'tour' is just a few of black and white photos interspersed with footage of the film. At a scant 4 minutes, it barely scratches the surface.
--- Two filmed introductions of past TV airings are also included, one by Gloria Swanson, the other by Orson Welles.
--- A 5 minute montage of Keaton's many humorous uses of trains from his shorts and other feature films.
--- And last and probably the rarest, a minute of home movies taken of the making of the film. I doubt much behind the scenes footage exists from the silent era, so it's great to see this brief glimpse.

The extras are not exhaustive, but provide excellent support for this classic. Due to the high esteem the film has, I'm surprised there is no audio commentary by a film historian that could shed more insight on the making of the film. Did the various musical scores take up too much space on the disc?

This is the best possible way to see The General, until time machines are invented so we can see it pristine on opening day.

Go West

1940 - MGM
Directed By Edward Buzzell


SYNOPSIS

Two poor brothers (Chico + Harpo Marx) dream of going west, finding gold and striking it rich. They out-con a con man (Groucho Marx) and soon find themselves looking for fortune. For helping out an old man, the two get a deed for some land. Unbeknownst to them, the old man's daughter's boyfriend had intentions on selling the land to a railroad and being able to afford to get married and set them up for life. When the railroad company snatches the deed from the brothers, they, the con man, and the boyfriend team up to get it back.

MY THOUGHTS

Though it's not the Marx Brothers at top form, Go West still very funny and highly entertaining.


The characters the Marx Brothers play are way out of their element in the old west and that's why the humor works. Most of the classic comedic actors and groups headed out to the old west. The concept was still relatively fresh in 1940, but still Go West suffers from "been there, done that" syndrome:

--- The hilarious opening scene (where Groucho believes he is scamming Chico and Harpo) (see above video) plays way too much like the famed "Tootsie Frootsie Ice Cream" bit in A Day At The Races. Still, the long scene is nearly as funny as that epic classic.

--- Go West wraps up with an insanely crazy runaway train sequence that evokes Buster Keaton's The General. It's far from a direct copy... but when the brothers start chopping up the train for firewood... it gets a little close for comfort.  (Keaton did work as an uncredited gag-writer on this film.)

--- The film features some strong musical moments. As usual with their films, Chico plays a piano piece and Harpo also plays a song on the harp. These (as in all their films) slow down the film's madcap pace.

--- And, as with all their MGM era features, the trio must help out a pair of troubled lovers. That duo, John Carroll and Diana Lewis, are beyond bland. They make you pine for Allan Jones and Kitty Carlisle who played those type of roles best in A Night At The Opera.
So, much of the film feels like you've seen it before elsewhere, and better.

Still, the witty one-liners from Groucho, the dim-witted mangling of English by Chico and the surreal visual comedy of Harpo are all top notch. The brothers are at the top of their game, despite the material.

There are better western parodies and better Marx Brothers films, but Go West is still enjoyable. It's probably one of their better 'lesser' films.

Dark City

1950 Paramount Pictures
Directed By William Dieterle


SYNOPSIS

Cops shut down Danny Haley's (Charlton Heston) gambling joint, leaving him without income.  He and his pals (Ed Begley + Jack Webb) fleece a businessman (Don DeFore) for thousands of dollars. After losing everything, the businessman hangs himself. The businessman's unseen brother (Mike Mazurki) starts killing them off one by one, Danny ditches his girl (Lizabeth Scott,) heads to Los Angeles and then to Las Vegas to escape his fate.

MY THOUGHTS

It's amazing how many good little film noirs there are out there that are not well known, like Dark City.

Dark City marked the film debut for Charlton Heston, and its obvious from the start why he became a star. His strong, tough screen persona is there from the first frame. He's surrounded by many familiar faces that are nearly all uniformly good.
Much like with Humphrey Bogart in Dead Reckoning, Lizabeth Scott has little chemistry with her leading man and her nightclub singing duties take up too much time of the film. They really only needed to show her singing once to establish what she did for a living, though she does have a pleasing voice.


Dark City isn't as overly artsy with lighting or unique camera angles like Touch of Evil (also starring Heston) but is still identifiably noir due to its dark subject matter and less than heroic characters.

Not showing the psychopathic brother builds great suspense as the audience doesn't know what he looks like (apart from the ring on his hand) anymore than the cops or Haley and his crew do. Apart from that, the story and its execution is pretty pedestrian.

Dark City is far from a definitive noir, but fans of the style shouldn't miss it. There is plenty to like.
 

Dodge City

1939 - Warner Brothers
Directed By Michael Curtiz


SYNOPSIS

Dodge City is ruled by an outlaw Jeff Surrett (Bruce Cabot) and is the kind of place where it's not even safe for a kid to walk down the street during the day. Trail boss Wade Hatton (Errol Flynn) arrives with friends (Alan Hale + Guinn 'Big Boy' Williams) and is inspired by the extreme violence to take the vacant job of sheriff. He begins to bring law and order to the town, irking Surrett. Surrett's gang starts going after two newspaper reporters (Frank McHugh + Oliva de Havilland) trying to expose him as a crook... giving Hatton enough fuel to take down Surrett and bring peace to the town.

MY THOUGHTS



Westerns had long been the stuff of 'B' movies, but by the end of the 30's they'd come into vogue. Dodge City (along with Stagecoach and Destry Rides Again) rode the first wave of 'A' western pictures and it does it in style.

Practically every Warner Brothers film of the 30's moved at a breakneck speed. Apart from the main set pieces, Dodge City slows down to a more leisurely pace. One of the few Technicolor films of the era, the slower pace shows off the beautiful settings in vivid color even better than the fast-paced The Adventures of Robin Hood. Thanks to the expert direction of Michael Curtiz, even with the slower pace, it doesn't drag at all.

Dodge City plays with every western staple that we now call a cliche (except the duel at high noon.) The barroom brawl (see video above,) gun-play in the streets, a bad saloon girl, cattle drive, new sheriff in town, walking on top of moving trains, lynch mobs are all there and more. The filmmakers take these familiar scenes and make them epic. Most western barroom brawls usually only have about a dozen fighters, Dodge City has at least 50 people battling at once!

Errol Flynn is his usual dashing self and the top-notch production benefits from top-notch supporting players. Like most of their parings, Flynn and de Havilland hate each other but grow to like each other by the end.

Alan Hale usually supported Flynn as a sidekick. Here he gives one of his best comic performances.  Wanting to ditch alcohol, he joins a temperance movement with a bunch of old bitties. The temperance meeting is right next to the saloon and the brawl spills over to the meeting (again see above,) dragging Hale's character back into the fold of the 'sinners.' He's funny throughout the film.

Ann Sheridan seems to relish the 'bad saloon girl' role, but is given little to do apart from sing and dance on stage... but she looks good doing it.

Stagecoach and Destry Rides Again may stand a cut above Dodge City as works of art, but the Errol Flynn-starrer is more fun.

The Flying Deuces

1939
Directed By A. Edward Sullivan


SYNOPSIS


Spurned by love in Paris, Ollie (Oliver Hardy) is inspired to join the Foreign Legion. He drags his buddy Stanley (Stan Laurel) into joining with him, but they don't realize it's an army until after they've signed up. Now they must try and escape.

MY THOUGHTS 

A silly and entertaining outing for the great comedy team of Laurel & Hardy.

This is my first experience with Laurel & Hardy with sound, having seen many of their silent shorts. I found their physical humor to still be top-notch... but the dialogue weak. They deliver the jokes well, with quite a few laughs... but the writing lacks the sharpness of The Marx Brothers, Three Stooges, or Abbot and Costello.

The film moves at the same fast pace as one of their older two-reeler shorts. It's about 70 minutes, so it is like 3 two-reelers back-to-back-to back. It's structured much that way as well: pre-Legion/Legion/escape. Much of Deuces seems familiar, so it would not surprise me that some of the material was recycled from earlier works, making it a 'greatest hits' of sorts.

Speaking of the Marx Brothers, Laurel does a parody musical number playing the harp, a la Harpo. Hardy also apes Greta Garbo, with an unexpected "I vant to be left alooone."

The ending is unique, bizarre and a bit unexpected... but it sets up one last silly visual gag.

The Flying Deuces is far from a masterpiece, but it's a lot of fun and would be a great introduction to the team for people put-off by silent films.

The Naked City

1948 - Universal International
Directed By Jules Dassin




SYNOPSIS


New York detectives investigate the murder of a model and uncover that she was involved in a ring of jewel thieves.

MY THOUGHTS

A film noir classic!


The plot may seem tame today, compared with the hundreds of hours of police procedural TV shows that have come since (including the Naked City series that aired from 1958-63) but the film still remains entertaining and exciting. The characters are all dynamic and interesting, especially Barry Fitzgerald's somewhat aloof Det. Muldoon. But the real star was the city.

The film was entirely shot on location in Manhattan... many times with hidden cameras. So the actors did their thing on the streets of the city among an oblivious public. This brings an amazing sense of realism.
The voice-over, by producer Mark Hellinger, is dated, and cheesy at times, but it was common at the time  for film noir that was going for a docu-drama approach like The House on 92nd Street and many others.

All in all, the story keeps you interested and it builds suspense the whole way through to the action-packed conclusion. There are 8 million stories in the naked city... and this one is a pretty damn good one.

Blu-Ray Review: Bambi

1942 - Walt Disney Pictures
Directed By David Hand



Disney once again outdoes itself in bringing one of its greatest classics to high def.
The jaw-dropping animation has never looked better... from the opening pan through the forest, to the spring, to the winter snow, to the climactic fire. The fifth Disney animated feature build upon the previous four in quality and technical precision. The blu-ray highlights this astounding achievement.

To accompany the film, Bambi has an entire forest-worth of special features.
Two new (but not actually completed) cut scenes are included, along with a modern recording of a deleted song. Interactive Galleries let you look at production drawings and others... in a far more advanced way than those terrible photo galleries in the early days of DVD.

Inside Walt's Story Meetings is like taking a DVD commentary to the next level. Actors reenact the actual transcripts of story meetings between Disney, his animators, and writers right along with the movie. Plus, bonus content (like 2 Mickey Mouse cartoons) can be accessed when a pop-up message appears.

The disc also debuts the studio's new Second Screen feature which can sync a laptop or iPad to the film to provide even more bonus content. Not having either, I can't attest to how successful it works.

Yet more features include games and activities for kids.

And on top of all that, the extras from the previous DVD return, including a making of feature, trailer, 2 other deleted scenes, and more.

To take all of that in in one sitting would be beyond exhaustive... and that's why a disc like this is such a great deal... and a great celebration of a true classic.