Martin Teller
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- Martin Teller
Yeah, it was on Blu. Obviously it looked really good, although I wouldn't say it knocked my socks off.
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Track the Films You Watch (2009) (1 Viewer)
- Thread starter Michael Elliott
- Start date
Yeah, it was on Blu. Obviously it looked really good, although I wouldn't say it knocked my socks off.
Chris_Richard
Supporting Actor
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Feature Films Watched in 2009
First-Time Viewings are in Bold
2009 films viewed in theater unless noted, pre-2009 viewed at home unless noted.
Ratings Guide
:star::star::star::star:= Exceptional
:star::star::star:= Good
:star::star:= Fair
:star:= Poor
BOMB = Worthless
001. 01/01/09 - Broadway Danny Rose; 1984 :star::star::star:
002. 01/02/09 - The Air I Breathe; 2008, dvd :star::star:
003. 01/03/09 - Bring Me the Head of Alfredo Garcia; 1974 :star::star::star: 1/2
004. 01/04/09 - Gran Torino; 2008 :star::star:
First-Time Viewings are in Bold
2009 films viewed in theater unless noted, pre-2009 viewed at home unless noted.
Ratings Guide
:star::star::star::star:= Exceptional
:star::star::star:= Good
:star::star:= Fair
:star:= Poor
BOMB = Worthless
001. 01/01/09 - Broadway Danny Rose; 1984 :star::star::star:
002. 01/02/09 - The Air I Breathe; 2008, dvd :star::star:
003. 01/03/09 - Bring Me the Head of Alfredo Garcia; 1974 :star::star::star: 1/2
004. 01/04/09 - Gran Torino; 2008 :star::star:
John Stell
Screenwriter
003) 01/03/2009 The Brain (1962) :star::star:1/2 (out of four)
This remake of Donovan’s Brain (1953) stars Peter van Eyck as Peter Corrie, a scientist working to keep animal brains alive once the bodies have stopped working. He is called to provide medical assistance to a plane crash survivor, and even though the survivor, a wealthy international financier whose plane was sabotaged, appears dead, Corrie realizes he can keep the victim’s brain alive. Problems arise when the strong-willed brain overtakes Corrie’s personality and has Corrie try to solve his murder.
More of a murder mystery with supernatural elements than an outright horror film, The Brain served as award-winning cinematographer Freddie Francis’ horror film directing debut. He adopts an eerie, noirish style to tell the story and maintains a taut pace. He uses close-ups on Eyck to signal the personality changes, but these are kept to a minimum. As a result, The Brain plays more like a detective story, with Corrie interviewing suspects and occasionally upsetting them by adopting Holt’s (the victim) mannerisms or voice. Still, the ending provides a surprise or two (at least as to motivation) and the movie is enjoyable if not particularly memorable. However, those looking for an outright horror tale will likely be disappointed.
004) 01/03/2009 The Cabinet of Caligari (1962) :star::star:1/2
When Jane’s (Glynis Johns) car breaks down, she seeks assistance from a nearby estate. Her host promises help, but the next day she wakes up and finds herself a prisoner. Who is this mysterious Caligari who wants to question her about her life and why is he holding her captive?
The 1960s were loaded with twisty, black and white thrillers thanks the success of Psycho (1960). Robert Bloch, on whose novel Hitchcock’s 1960 classic was based, wrote the script for this one, and it’s a mixed bag. Johns hits the right notes of hysteria and Dan O’Herlihy is captivatingly sinister as the mysterious Caligari. But the film itself is a half hour Alfred Hitchcock Presents or Twilight Zone episode stretched to an hour and forty-five minutes. There’s a two-pronged twist at the end that half works. But there are too many scenes that seem like the same ground is being covered again and again. The title suggests it’s a remake of the 1920 classic, but this is not the case. The Cabinet of Caligari is a modest success thanks to its cast.
005) 01/03/2009 The Flesh Eaters (1964) :star::star::star:
Pilot Grant Murdoch (Byron Sanders) is flying an alcoholic actress (Rita Morley) and her secretary (Barbara Wilkin) to the former’s next performance when they must make an emergency landing. Little do they know that the island they picked is home to a Nazi-inspired mad scientist (Martin Kosleck) and his flesh eaters.
This grandly entertaining low-budget feature serves as a showcase for Martin Kosleck, who became something of a second-tier horror star of the 1940s with performances in The Mummy’s Curse (1944), The Frozen Ghost (1945) and House of Horrors (1946). While the rest of the cast, most of whom spent their careers playing minor roles in episodic television, are merely adequate, Kosleck gets to pull out all the stops as the seemingly concerned and helpful biologist who is secretly plotting the unwanted visitors’ doom. The audience is well aware of the duplicity, and The Flesh Eaters is a lot of fun for those of us who have a taste for mad scientist pictures.
The other item worth noting is the rather gory nature of some of the deaths. This film and Blood Feast (1963) helped launch the gore films that started replacing the gothic horrors of the 1960s. The bloody effects, shown mostly in quick cuts, are effective if not spectacular. And while the presentation of the mammoth flesh eater won’t win any technical awards, it somehow suits the film given the subject matter and style. Add to all of this a dose of intentional humor, and The Flesh Eaters is any easy recommendation for fans of more outlandish horror fare.
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This remake of Donovan’s Brain (1953) stars Peter van Eyck as Peter Corrie, a scientist working to keep animal brains alive once the bodies have stopped working. He is called to provide medical assistance to a plane crash survivor, and even though the survivor, a wealthy international financier whose plane was sabotaged, appears dead, Corrie realizes he can keep the victim’s brain alive. Problems arise when the strong-willed brain overtakes Corrie’s personality and has Corrie try to solve his murder.
More of a murder mystery with supernatural elements than an outright horror film, The Brain served as award-winning cinematographer Freddie Francis’ horror film directing debut. He adopts an eerie, noirish style to tell the story and maintains a taut pace. He uses close-ups on Eyck to signal the personality changes, but these are kept to a minimum. As a result, The Brain plays more like a detective story, with Corrie interviewing suspects and occasionally upsetting them by adopting Holt’s (the victim) mannerisms or voice. Still, the ending provides a surprise or two (at least as to motivation) and the movie is enjoyable if not particularly memorable. However, those looking for an outright horror tale will likely be disappointed.
004) 01/03/2009 The Cabinet of Caligari (1962) :star::star:1/2
When Jane’s (Glynis Johns) car breaks down, she seeks assistance from a nearby estate. Her host promises help, but the next day she wakes up and finds herself a prisoner. Who is this mysterious Caligari who wants to question her about her life and why is he holding her captive?
The 1960s were loaded with twisty, black and white thrillers thanks the success of Psycho (1960). Robert Bloch, on whose novel Hitchcock’s 1960 classic was based, wrote the script for this one, and it’s a mixed bag. Johns hits the right notes of hysteria and Dan O’Herlihy is captivatingly sinister as the mysterious Caligari. But the film itself is a half hour Alfred Hitchcock Presents or Twilight Zone episode stretched to an hour and forty-five minutes. There’s a two-pronged twist at the end that half works. But there are too many scenes that seem like the same ground is being covered again and again. The title suggests it’s a remake of the 1920 classic, but this is not the case. The Cabinet of Caligari is a modest success thanks to its cast.
005) 01/03/2009 The Flesh Eaters (1964) :star::star::star:
Pilot Grant Murdoch (Byron Sanders) is flying an alcoholic actress (Rita Morley) and her secretary (Barbara Wilkin) to the former’s next performance when they must make an emergency landing. Little do they know that the island they picked is home to a Nazi-inspired mad scientist (Martin Kosleck) and his flesh eaters.
This grandly entertaining low-budget feature serves as a showcase for Martin Kosleck, who became something of a second-tier horror star of the 1940s with performances in The Mummy’s Curse (1944), The Frozen Ghost (1945) and House of Horrors (1946). While the rest of the cast, most of whom spent their careers playing minor roles in episodic television, are merely adequate, Kosleck gets to pull out all the stops as the seemingly concerned and helpful biologist who is secretly plotting the unwanted visitors’ doom. The audience is well aware of the duplicity, and The Flesh Eaters is a lot of fun for those of us who have a taste for mad scientist pictures.
The other item worth noting is the rather gory nature of some of the deaths. This film and Blood Feast (1963) helped launch the gore films that started replacing the gothic horrors of the 1960s. The bloody effects, shown mostly in quick cuts, are effective if not spectacular. And while the presentation of the mammoth flesh eater won’t win any technical awards, it somehow suits the film given the subject matter and style. Add to all of this a dose of intentional humor, and The Flesh Eaters is any easy recommendation for fans of more outlandish horror fare.
My DVD Collection
My Film Blog
John Stell
Screenwriter
006) 01/04/2009 The Greatest Show on Earth (1952) :star::star::star: (out of four)
This colorful ode to the circus and those who bring us “the greatest show on earth” stars Charlton Heston as manager Brad Braden who’s having problems with the circus’ Board of Directors. They want him to cut the circus’ season to maximize profits. Brad wants to do a full season so as not to demoralize the performers and deny smaller towns the joy of the circus. To this end he hires a notorious trapeze artist know as The Great Sebastian (Cornel Wilde), notorious because trouble seems to follow him everywhere. However, hiring Sebastian means Holly (Betty Hutton), the girl whom Brad loves, will lose center ring, the place where the most notable acts perform. Throw in a clown (James Stewart) with a secret (he’s never seen without his makeup), Sebastian’s old girlfriend (Gloria Grahame), some crooked circus folk, and some actual circus performances and you have what might be called, “As the Circus Turns.”
In a year that saw such classics as High Noon and The Quiet Man, The Greatest Show on Earth is looked upon by some as a blunder in voter thinking. But it’s not too hard to understand why the Academy went with this spectacle of a film. It’s lively, is well cast, features impressive feats from the performers, is ultimately upbeat, and features a spectacular catastrophe near films end. The cast is energetic and attractive. And James Stewart’s Buttons the Clown provides the pathos.
The film, however, sets up a challenge for itself that it cannot overcome. Watching the circus live is a totally different experience from watching a film of an audience watching the circus live. Or, to put it another way, we’re supposed to have fun watching other people have fun. The film clocks in at about two and half hours and there is too much time spent on just watching circus acts. Unfortunately, The Greatest Show on Earth does not successfully capture the atmosphere or sense of danger that a real circus provides.
There is intermittent suspense in scenes such as Gloria Grahame being threatened by a jealous elephant trainer (with a real elephant) and the battle of dangerous trapeze stunts between Holly and Sebastian. And the train crash provides excitement. But, The Greatest Show on Earth is an uneven film, trying to mix character stories with mostly unrelated circus acts. Nearly all of it is watchable but only occasional moments involve us emotionally. But man, now I want to go see the circus next time it comes to town.
My DVD Collection
My Film Blog
This colorful ode to the circus and those who bring us “the greatest show on earth” stars Charlton Heston as manager Brad Braden who’s having problems with the circus’ Board of Directors. They want him to cut the circus’ season to maximize profits. Brad wants to do a full season so as not to demoralize the performers and deny smaller towns the joy of the circus. To this end he hires a notorious trapeze artist know as The Great Sebastian (Cornel Wilde), notorious because trouble seems to follow him everywhere. However, hiring Sebastian means Holly (Betty Hutton), the girl whom Brad loves, will lose center ring, the place where the most notable acts perform. Throw in a clown (James Stewart) with a secret (he’s never seen without his makeup), Sebastian’s old girlfriend (Gloria Grahame), some crooked circus folk, and some actual circus performances and you have what might be called, “As the Circus Turns.”
In a year that saw such classics as High Noon and The Quiet Man, The Greatest Show on Earth is looked upon by some as a blunder in voter thinking. But it’s not too hard to understand why the Academy went with this spectacle of a film. It’s lively, is well cast, features impressive feats from the performers, is ultimately upbeat, and features a spectacular catastrophe near films end. The cast is energetic and attractive. And James Stewart’s Buttons the Clown provides the pathos.
The film, however, sets up a challenge for itself that it cannot overcome. Watching the circus live is a totally different experience from watching a film of an audience watching the circus live. Or, to put it another way, we’re supposed to have fun watching other people have fun. The film clocks in at about two and half hours and there is too much time spent on just watching circus acts. Unfortunately, The Greatest Show on Earth does not successfully capture the atmosphere or sense of danger that a real circus provides.
There is intermittent suspense in scenes such as Gloria Grahame being threatened by a jealous elephant trainer (with a real elephant) and the battle of dangerous trapeze stunts between Holly and Sebastian. And the train crash provides excitement. But, The Greatest Show on Earth is an uneven film, trying to mix character stories with mostly unrelated circus acts. Nearly all of it is watchable but only occasional moments involve us emotionally. But man, now I want to go see the circus next time it comes to town.
My DVD Collection
My Film Blog
Joe Karlosi
Senior HTF Member
- Joined
- Nov 5, 2003
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- 6,008
The Ace of Hearts (1921) :star::star::star:1/2
I had no idea at all what this movie was about when I sat down to watch it, and that can often benefit some films. This was certainly the case here, as it was suspenseful and mysterious from start to finish, and once again I am thinking I have often been too dismissive of silent movies and the power they have by conveying their emotion through visual gestures over sounds. More often than not it turns out that I am satisfied by most silent pictures and award them at least three of four stars, or else maybe I'm just getting lucky and am spinning only the more notable ones. Either way, I was dying to know what would happen next in ACE OF HEARTS and how the story would play out.
Lon Chaney is one of several members of a secretive organization who meet privately to decide which person among them will be the one to murder "the man who has lived too long". We don't know who that marked individual may be or why he has been targeted; all we see is that the method in deciding which man gets to kill is by having each draw a playing card, and whoever turns up the Ace of Hearts is assigned the task. The lone female participant (Leatrice Joy) seems to live strongly for The Cause, and Chaney and fellow member John Bowers both love her and eagerly hope they are chosen. As was the common ingredient in many a Chaney feature, Lon is a victim of unrequited love, and there are some touching moments here of his heartache. Chaney is very strong in the movie, though it doesn't seem to be exclusively his picture alone this time, and there are reasons to enjoy it other than just to watch his performance.
The outcome of the story cannot be told, but as I said it gripped me from the beginning. As an added example of how intriguing the film was, my wife had been out and arrived home for the last scene. She asked me the name of the movie and then when I decided to re-watch the entire thing again with the audio commentary by Chaney Historian Michael F. Blake, I was astonished that my wife sat through the entire film with me the second time. This is something she seldom does these days for one of my personal DVDs ... let alone a 1921 silent!
I had no idea at all what this movie was about when I sat down to watch it, and that can often benefit some films. This was certainly the case here, as it was suspenseful and mysterious from start to finish, and once again I am thinking I have often been too dismissive of silent movies and the power they have by conveying their emotion through visual gestures over sounds. More often than not it turns out that I am satisfied by most silent pictures and award them at least three of four stars, or else maybe I'm just getting lucky and am spinning only the more notable ones. Either way, I was dying to know what would happen next in ACE OF HEARTS and how the story would play out.
Lon Chaney is one of several members of a secretive organization who meet privately to decide which person among them will be the one to murder "the man who has lived too long". We don't know who that marked individual may be or why he has been targeted; all we see is that the method in deciding which man gets to kill is by having each draw a playing card, and whoever turns up the Ace of Hearts is assigned the task. The lone female participant (Leatrice Joy) seems to live strongly for The Cause, and Chaney and fellow member John Bowers both love her and eagerly hope they are chosen. As was the common ingredient in many a Chaney feature, Lon is a victim of unrequited love, and there are some touching moments here of his heartache. Chaney is very strong in the movie, though it doesn't seem to be exclusively his picture alone this time, and there are reasons to enjoy it other than just to watch his performance.
The outcome of the story cannot be told, but as I said it gripped me from the beginning. As an added example of how intriguing the film was, my wife had been out and arrived home for the last scene. She asked me the name of the movie and then when I decided to re-watch the entire thing again with the audio commentary by Chaney Historian Michael F. Blake, I was astonished that my wife sat through the entire film with me the second time. This is something she seldom does these days for one of my personal DVDs ... let alone a 1921 silent!
Michael Elliott
Senior HTF Member
I didn't care too much for ACE but I'm glad you did. And we all know words are for books; not films.
There are countless great silents you should check out but since you're on a Chaney-thon you certainly need to track down HE WHO GETS SLAPPED, which is perhaps his greatest film and performance.
There are countless great silents you should check out but since you're on a Chaney-thon you certainly need to track down HE WHO GETS SLAPPED, which is perhaps his greatest film and performance.
Joe Karlosi
Senior HTF Member
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Well, it might be said too that reading is for books; not films!
Don't know if you noticed, but I also watched LAUGH, CLOWN, LAUGH (last page).
Tarkin The Ewok
Supporting Actor
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- Brandon
1/4 TMNT (2007): :star::star::star::star:1/2
I watched this with my parents, who had never seen it before. They liked the movie, and I still enjoyed it. The story of families coming together and apart is well told, and the visual element is truly stunning.
I watched this with my parents, who had never seen it before. They liked the movie, and I still enjoyed it. The story of families coming together and apart is well told, and the visual element is truly stunning.
Pete York
Supporting Actor
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- 610
01/05/09
College Swing (1938) Dir: Raoul Walsh
Production: Paramount Pictures
Dim bulb Gracie Allen attempts to become the first person in her family to graduate from the college founded by her ancestor 200 years before. If she does, the deed to the college will stay with the family rather than some holding company headed by Everett Edward Horton and his lawyer, played by George Burns. Or something.
This musical comedy is not quite as good as its cast; Burns and Allen, Horton, Bob Hope in his second feature, Martha Raye, an adorable Betty Grable, John Payne, and brief appearances by Jackie Coogan and Robert Cummings. The good musical moments are few and far between—the best is a number between Hope and Raye that ends with them cracking each other up. Also, Coogan and Grable dance to the title song in a decent scene. The assorted comedy acts are dreadful. There’s a totally sexless romantic subplot between John Payne and some starlet I’ve never heard of (Florence George). But there are some good laughs generated by Hope and Raye. And Gracie Allen, with and without Burns, is very funny. One of the great comediennes ever, her impeccable timing is on display throughout, especially in a scene where she’s cheating her way through an oral exam given to her by Burns.
:star: :star: 1/2 out of 4
-----------------------------------------
RAOUL WALSH - "The Far Side of Paradise"
01/05/09: College Swing (1938) :star: :star: 1/2
College Swing (1938) Dir: Raoul Walsh
Production: Paramount Pictures
Dim bulb Gracie Allen attempts to become the first person in her family to graduate from the college founded by her ancestor 200 years before. If she does, the deed to the college will stay with the family rather than some holding company headed by Everett Edward Horton and his lawyer, played by George Burns. Or something.
This musical comedy is not quite as good as its cast; Burns and Allen, Horton, Bob Hope in his second feature, Martha Raye, an adorable Betty Grable, John Payne, and brief appearances by Jackie Coogan and Robert Cummings. The good musical moments are few and far between—the best is a number between Hope and Raye that ends with them cracking each other up. Also, Coogan and Grable dance to the title song in a decent scene. The assorted comedy acts are dreadful. There’s a totally sexless romantic subplot between John Payne and some starlet I’ve never heard of (Florence George). But there are some good laughs generated by Hope and Raye. And Gracie Allen, with and without Burns, is very funny. One of the great comediennes ever, her impeccable timing is on display throughout, especially in a scene where she’s cheating her way through an oral exam given to her by Burns.
:star: :star: 1/2 out of 4
-----------------------------------------
RAOUL WALSH - "The Far Side of Paradise"
01/05/09: College Swing (1938) :star: :star: 1/2
Michael Elliott
Senior HTF Member
Joe, I noticed the LAUGH CLOWN LAUGH review but there wasn't too much I could add. As for your question, things were different back then than they are today. I'm really not sure who makes us the "rules" on such things (just like that racial stuff) but while watching THE READER I noticed the crowd were okay with everything going on. No one minded a 36-year-old woman sleeping with a 15-year-old boy but I'm curious what their reaction would have been had it been the other way around and the girl was 15 and the guy 36. I'm not sure the crowd would have been smiling and having tears running down their face.
Captain Kidd's Treasure (1938) :star::star::star: Leslie Fenton
Part of MGM's "Historical Drama" series, this ten minute short takes a look at Captain Kidd (Stanley Andrews) and the possibility of him burying a vast treasure on an unknown island. History says he was an evil pirate but this film brings up the possibility that he might have been a good guy whose men took part in a mutiny and stole the treasure. As with other entries in the series, how much truth there is in this short is up for debate but today this is best looked at as entertainment and not some history lesson. As far as entertainment goes this isn't the best short in the series but it does manage a few good scenes in its ten-minute running time. Andrews is pretty good as Kidd, although he doesn't get too much screentime. There's one action scene with two ships doing battle, which comes off pretty well even though it's clear the swords they're using aren't real.
Unseen Guardians (1939) :star::star::star: Basil Wrangell
Passing Parade short takes a look at three professions people overlook yet these jobs are important to keeping safety. Postal inspectors looking out for fraud, underwriters who test for fire safety and the head of an orphanage who makes sure children go to the right homes. If you're familiar with this series then you know we pretty much just get images with narration by John Nesbitt. I found this entry to be among the best in the series just because these are jobs we all know exist but might not know what goes on with them. I'm sure a documentary today would be more detailed about the subject but it's important to remember when this was made. I found the story involving the postal inspectors to be the most interesting but film buffs would benefit even more by checking out the Bela Lugosi film Postal Inspector.
American Spoken Here (1940) :star::star::star: Basil Wrangell
Passing Parade short looks at American slang and asks whether it's good or bad. We get to hear where certain slang terms came from and these include "Fink", " mind your P's and Q's", "kick the bucket" and "I don't give a damn". It's funny to see how much new slang is around to day and I'm sure the debate on if it's good or not would be just as strong today as it was back when this film was released. I thought this was a pretty good short that tells several interesting stories as to where these terms came from. Perhaps someone who already knew this stuff would find this boring but it was new to me. I really enjoyed the "Fink" story, which of course is a man who is mean enough that he'd kill his best friend. The western settings were nicely done and the shooting contest had some nice drama.
Roy Orbison: Live from Australia 1972 (2005) :star::star::star:
October 3, 1972 had Roy Orbison hitting The Festival Hall in Melbourne backed by his band as well as an orchestra. This was part of a four month tour with this show being squeezed in the middle and featuring some rather rare songs performed by the legend. The classics like "Only the Lonely", "Crying", "Dream Baby", "In Dreams", "Oh, Pretty Woman" and "It's Over" are on display but we also get quite a few covers including "Too Soon to Know", "Blue Bayou" and "Bridge Over Troubled Water". I'm not an expert when it comes to Orbison so I had to do some reading before watching this and as I expected many fans and experts look at this as a changing period for singer/songwriter. I was curious as to why a great songwriter like him would be doing so many covers and apparently this tour was an attempt to bring in a new audience like what had happened with Elvis in his later days. Does it work? In a way it does. There's no doubt the highlights are the beautiful classics with "Only the Lonely" still sending chills down my spine no matter how many times I listen to it. Orbison's voice is excellent throughout the show and he give a very good performance so there's no fear on that part. The strange thing is seeing (and hearing) him do all these covers, some of which he nails while others come off pretty bad. "Bridge Over Troubled Water" is a great song but I can't say Roy handles it too well.
Lincoln in the White House (1939) :star::star::star: William C. McGann
Technicolor short showing Abraham Lincoln (Frank McGlynn, Sr.) taking office and leading up to his Gettysburg Address. This film runs just twenty-minutes so it doesn't have time to go into great detail but I thought it did a pretty good job and I'm sure those unfamiliar with these events would find this very entertaining. The Technicolor really adds a lot to the film and makes it stand out compared to other films and shorts from this era that took a look at the President. McGlynn seems to split opinions on his performance but I enjoyed it for the most part. I think he has some very awkward moments but I found most to these to be in his movements. The first time we see Lincoln and several scenes afterwards it appears the actor is walking around so stiff that the character had suffered a stroke. Dickie Moore does a nice job as Lincoln's son. Character actor John Harron co-stars.
Two Knights from Brooklyn (1949) :star::star:1/2 Kurt Neumann
Strange film from Hal Roach takes two other movies and edits them into this one. Joe Sawyer and William Bendix plays cab owners and at the start of the film they're getting an award when we see two flashbacks to their earlier days. The first, from the film Taxi, Mister has Bendix meeting and courting his future wife (Grace Bradley) while a gangster is also after her. The second flashback, from The McGuerins from Brooklyn, has the wife thinking that Bendix is cheating on her so Sawyer must pretend to be dating the woman, which then sets his girlfriend off. This series has been rather hit and miss for me but the clips from Taxi, Mister seemed very funny to me and they're certainly the highlight of this film so hopefully Turner Classic Movies will show that complete film at some point (as of this writing, I believe it's the only one that haven't shown). As far as this film goes, it's clearly very lazy because it just doesn't cut and paste scenes but the entire movie is a paste job. I'm really not sure what Roach was thinking but I guess some people might have forgotten that they had already seen these movies. The first half of the film has plenty of nice laughs but I found the stuff from the second film to be rather bland and boring. That film itself is rather disappointing so there's no shock that the stuff doesn't work here either. Alan Hale, Jr. and Max Baer appear.
Haunted House of Horror, The (1969) :star:1/2 Michael Armstrong
Frankie Avalon and a group of friends are bored hanging out in an apartment so they go walk around a haunted house when one turns up butchered. Was a member of the group or perhaps a ghost? The only way to find out is by the group going back there at a later date to see once and for all. This British film from the Trigon Productions has a few interesting items but for the most part this thing is deadly dull from start to finish. I have an issue with many British horror films and that's because they talk and talk and talk and don't ever know when to shut up. That curse follows this film as we get plenty of talk and most of it has nothing to do with the main plot point of the film. The subplot involves a young woman trying to break free from a married man, which seems to be more fitted for a soap opera so why on Earth throw it into a slasher movie? The performances are okay for this type of film with Avalon leading the way and I'm sure he was the first to cash his paycheck. The film is great to look out with the wonderful colors and set design but you still need a story to make all of that count. There are a couple very bloody murders, which I was surprised to see and I'll give the filmmakers credit for the ending, which doesn't go the way you might expect. Even with that said this is a very hard film to get through because of how dull it is.
Going Spanish (1934) :star: Al Christie
Bob Hope made his film debut in this God-awful short, which runs ten minutes too long. In the film he plays an engaged man who takes a trip to South America with his fiance. When the two get down there they both meet other people to whom they fall for. Rumor has it that Hope got out of his contract to Educational Pictures, the studio who made this, by insulting this film to a journalist who then put that quote in the paper. Thank God Hope did that or else we might not have the classic Hope of today. This film is incredibly bad from start to finish and I didn't laugh a single time. The movie is very poorly directed and Hope just looks lost in each of his scenes. Apparently the movie was re-edited after Hope became famous and the print I watched had the title Bob's Busy Day. This is only recommended to those who want to see where a comedy legend started.
Captain Kidd's Treasure (1938) :star::star::star: Leslie Fenton
Part of MGM's "Historical Drama" series, this ten minute short takes a look at Captain Kidd (Stanley Andrews) and the possibility of him burying a vast treasure on an unknown island. History says he was an evil pirate but this film brings up the possibility that he might have been a good guy whose men took part in a mutiny and stole the treasure. As with other entries in the series, how much truth there is in this short is up for debate but today this is best looked at as entertainment and not some history lesson. As far as entertainment goes this isn't the best short in the series but it does manage a few good scenes in its ten-minute running time. Andrews is pretty good as Kidd, although he doesn't get too much screentime. There's one action scene with two ships doing battle, which comes off pretty well even though it's clear the swords they're using aren't real.
Unseen Guardians (1939) :star::star::star: Basil Wrangell
Passing Parade short takes a look at three professions people overlook yet these jobs are important to keeping safety. Postal inspectors looking out for fraud, underwriters who test for fire safety and the head of an orphanage who makes sure children go to the right homes. If you're familiar with this series then you know we pretty much just get images with narration by John Nesbitt. I found this entry to be among the best in the series just because these are jobs we all know exist but might not know what goes on with them. I'm sure a documentary today would be more detailed about the subject but it's important to remember when this was made. I found the story involving the postal inspectors to be the most interesting but film buffs would benefit even more by checking out the Bela Lugosi film Postal Inspector.
American Spoken Here (1940) :star::star::star: Basil Wrangell
Passing Parade short looks at American slang and asks whether it's good or bad. We get to hear where certain slang terms came from and these include "Fink", " mind your P's and Q's", "kick the bucket" and "I don't give a damn". It's funny to see how much new slang is around to day and I'm sure the debate on if it's good or not would be just as strong today as it was back when this film was released. I thought this was a pretty good short that tells several interesting stories as to where these terms came from. Perhaps someone who already knew this stuff would find this boring but it was new to me. I really enjoyed the "Fink" story, which of course is a man who is mean enough that he'd kill his best friend. The western settings were nicely done and the shooting contest had some nice drama.
Roy Orbison: Live from Australia 1972 (2005) :star::star::star:
October 3, 1972 had Roy Orbison hitting The Festival Hall in Melbourne backed by his band as well as an orchestra. This was part of a four month tour with this show being squeezed in the middle and featuring some rather rare songs performed by the legend. The classics like "Only the Lonely", "Crying", "Dream Baby", "In Dreams", "Oh, Pretty Woman" and "It's Over" are on display but we also get quite a few covers including "Too Soon to Know", "Blue Bayou" and "Bridge Over Troubled Water". I'm not an expert when it comes to Orbison so I had to do some reading before watching this and as I expected many fans and experts look at this as a changing period for singer/songwriter. I was curious as to why a great songwriter like him would be doing so many covers and apparently this tour was an attempt to bring in a new audience like what had happened with Elvis in his later days. Does it work? In a way it does. There's no doubt the highlights are the beautiful classics with "Only the Lonely" still sending chills down my spine no matter how many times I listen to it. Orbison's voice is excellent throughout the show and he give a very good performance so there's no fear on that part. The strange thing is seeing (and hearing) him do all these covers, some of which he nails while others come off pretty bad. "Bridge Over Troubled Water" is a great song but I can't say Roy handles it too well.
Lincoln in the White House (1939) :star::star::star: William C. McGann
Technicolor short showing Abraham Lincoln (Frank McGlynn, Sr.) taking office and leading up to his Gettysburg Address. This film runs just twenty-minutes so it doesn't have time to go into great detail but I thought it did a pretty good job and I'm sure those unfamiliar with these events would find this very entertaining. The Technicolor really adds a lot to the film and makes it stand out compared to other films and shorts from this era that took a look at the President. McGlynn seems to split opinions on his performance but I enjoyed it for the most part. I think he has some very awkward moments but I found most to these to be in his movements. The first time we see Lincoln and several scenes afterwards it appears the actor is walking around so stiff that the character had suffered a stroke. Dickie Moore does a nice job as Lincoln's son. Character actor John Harron co-stars.
Two Knights from Brooklyn (1949) :star::star:1/2 Kurt Neumann
Strange film from Hal Roach takes two other movies and edits them into this one. Joe Sawyer and William Bendix plays cab owners and at the start of the film they're getting an award when we see two flashbacks to their earlier days. The first, from the film Taxi, Mister has Bendix meeting and courting his future wife (Grace Bradley) while a gangster is also after her. The second flashback, from The McGuerins from Brooklyn, has the wife thinking that Bendix is cheating on her so Sawyer must pretend to be dating the woman, which then sets his girlfriend off. This series has been rather hit and miss for me but the clips from Taxi, Mister seemed very funny to me and they're certainly the highlight of this film so hopefully Turner Classic Movies will show that complete film at some point (as of this writing, I believe it's the only one that haven't shown). As far as this film goes, it's clearly very lazy because it just doesn't cut and paste scenes but the entire movie is a paste job. I'm really not sure what Roach was thinking but I guess some people might have forgotten that they had already seen these movies. The first half of the film has plenty of nice laughs but I found the stuff from the second film to be rather bland and boring. That film itself is rather disappointing so there's no shock that the stuff doesn't work here either. Alan Hale, Jr. and Max Baer appear.
Haunted House of Horror, The (1969) :star:1/2 Michael Armstrong
Frankie Avalon and a group of friends are bored hanging out in an apartment so they go walk around a haunted house when one turns up butchered. Was a member of the group or perhaps a ghost? The only way to find out is by the group going back there at a later date to see once and for all. This British film from the Trigon Productions has a few interesting items but for the most part this thing is deadly dull from start to finish. I have an issue with many British horror films and that's because they talk and talk and talk and don't ever know when to shut up. That curse follows this film as we get plenty of talk and most of it has nothing to do with the main plot point of the film. The subplot involves a young woman trying to break free from a married man, which seems to be more fitted for a soap opera so why on Earth throw it into a slasher movie? The performances are okay for this type of film with Avalon leading the way and I'm sure he was the first to cash his paycheck. The film is great to look out with the wonderful colors and set design but you still need a story to make all of that count. There are a couple very bloody murders, which I was surprised to see and I'll give the filmmakers credit for the ending, which doesn't go the way you might expect. Even with that said this is a very hard film to get through because of how dull it is.
Going Spanish (1934) :star: Al Christie
Bob Hope made his film debut in this God-awful short, which runs ten minutes too long. In the film he plays an engaged man who takes a trip to South America with his fiance. When the two get down there they both meet other people to whom they fall for. Rumor has it that Hope got out of his contract to Educational Pictures, the studio who made this, by insulting this film to a journalist who then put that quote in the paper. Thank God Hope did that or else we might not have the classic Hope of today. This film is incredibly bad from start to finish and I didn't laugh a single time. The movie is very poorly directed and Hope just looks lost in each of his scenes. Apparently the movie was re-edited after Hope became famous and the print I watched had the title Bob's Busy Day. This is only recommended to those who want to see where a comedy legend started.
John Stell
Screenwriter
007) 01/05/2009 From Here to Eternity (1953) :star::star::star::star: (out of four)
A few months before the attack on Pearl Harbor, Private Robert E. Lee Prewitt (Montgomery Clift) arrives at his new station in Hawaii and immediately runs into problems. His captain (Philip Ober) wants him to box but Prewitt refuses, making him an object of harassment for the rest of the boxing team. Sergeant Milton Warden (Burt Lancaster), the second in command, doesn’t seem to care for “Prew” and his lone wolf attitude. Prew does find a friend in the happy-go-lucky Private Angelo Maggio (Frank Sinatra). When Maggio takes Prew with him to a social club, Prew meets and falls for Lorene (Donna Reed). Meanwhile, Warden starts an affair with the captain’s wife Karen (Deborah Kerr).
From Here to Eternity is an unexpectedly powerful film, unexpectedly because, on paper, the plot sounds like a traditional soap opera. But because of the strong cast, and because the film explores such various themes such as individualism versus group (Prew doesn’t want to box even though it may lead the company to victory, Warden resists becoming an officer), bigotry (Maggio encounters prejudice from the sergeant in charge of the stockade), and class discrimination (Lorene is saving money so she can return home and marry someone “proper”), the film becomes much more than simply a few soldiers and their love lives. And because we the audience know that the attack is coming, we are aware that the days of certain characters may be numbered. When the attack does come, it’s as compelling a sequence as in any film about the horrors of war.
The cast is exceptional. Sinatra and Reed won Oscars for their performances, while Kerr, Lancaster and Clift were nominated. Under Fred Zinnemann’s sure direction, all are utterly convincing in their roles, none are caricatures. The now classic scene of Lancaster and Kerr on the beach (as the waves sweep in and “consume” the lovers) remains one of the best visualizations of passion in the cinema. This moment will be hauntingly paralleled later when the Japanese bombers sweep over the military base claiming the lives of several soldiers.
The film ultimately poses several troubling questions once we know certain characters’ fates. Did Prew make the right decision, or should he have given in to Holmes’ request? What was Lorene’s motivation for the story she tells Karen on the boat, or was she repeating something Warden told her? From Here to Eternity is one of those rare films where we’d like to know how the characters’ lives turned out: did Karen and Lorene find happiness back in the States, what was Warden’s role in World War II and did he survive? Some movies leave our senses as soon as the film is over. From Here to Eternity leaves us wanting to know more.
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A few months before the attack on Pearl Harbor, Private Robert E. Lee Prewitt (Montgomery Clift) arrives at his new station in Hawaii and immediately runs into problems. His captain (Philip Ober) wants him to box but Prewitt refuses, making him an object of harassment for the rest of the boxing team. Sergeant Milton Warden (Burt Lancaster), the second in command, doesn’t seem to care for “Prew” and his lone wolf attitude. Prew does find a friend in the happy-go-lucky Private Angelo Maggio (Frank Sinatra). When Maggio takes Prew with him to a social club, Prew meets and falls for Lorene (Donna Reed). Meanwhile, Warden starts an affair with the captain’s wife Karen (Deborah Kerr).
From Here to Eternity is an unexpectedly powerful film, unexpectedly because, on paper, the plot sounds like a traditional soap opera. But because of the strong cast, and because the film explores such various themes such as individualism versus group (Prew doesn’t want to box even though it may lead the company to victory, Warden resists becoming an officer), bigotry (Maggio encounters prejudice from the sergeant in charge of the stockade), and class discrimination (Lorene is saving money so she can return home and marry someone “proper”), the film becomes much more than simply a few soldiers and their love lives. And because we the audience know that the attack is coming, we are aware that the days of certain characters may be numbered. When the attack does come, it’s as compelling a sequence as in any film about the horrors of war.
The cast is exceptional. Sinatra and Reed won Oscars for their performances, while Kerr, Lancaster and Clift were nominated. Under Fred Zinnemann’s sure direction, all are utterly convincing in their roles, none are caricatures. The now classic scene of Lancaster and Kerr on the beach (as the waves sweep in and “consume” the lovers) remains one of the best visualizations of passion in the cinema. This moment will be hauntingly paralleled later when the Japanese bombers sweep over the military base claiming the lives of several soldiers.
The film ultimately poses several troubling questions once we know certain characters’ fates. Did Prew make the right decision, or should he have given in to Holmes’ request? What was Lorene’s motivation for the story she tells Karen on the boat, or was she repeating something Warden told her? From Here to Eternity is one of those rare films where we’d like to know how the characters’ lives turned out: did Karen and Lorene find happiness back in the States, what was Warden’s role in World War II and did he survive? Some movies leave our senses as soon as the film is over. From Here to Eternity leaves us wanting to know more.
My DVD Collection
My Film Blog
ZacharyTait
Senior HTF Member
- Joined
- Aug 10, 2003
- Messages
- 2,187
Kung Fu Panda (2008) *** 1/2
Despite a conventional story, Kung Fu Panda succeeds because it does the story so well with awesome animation, great voice acting and inspired action sequences, in particular the prison sequence. Overall, an excellent animated adventure.
Righteous Kill (2008) **
In the Godfather Part II, Al Pacino and Robert DeNiro played criminals. In Heat, Al played a cop while Robert played a criminal. Here, in Righteous Kill, they both play cops. Unfortunately, the third pairing is nowhere near as good as the previous two masterpieces. Pacino and DeNiro are good as usual, but the uninspiring screenplay hamstrings them. A smart viewer will figure out the "twist" early on and then its just a matter of waiting for the movie to catch up. This movie is proof that star power can't overcome a weak script and pedestrian directing. Easily one of the biggest disapointments of recent years.
Despite a conventional story, Kung Fu Panda succeeds because it does the story so well with awesome animation, great voice acting and inspired action sequences, in particular the prison sequence. Overall, an excellent animated adventure.
Righteous Kill (2008) **
In the Godfather Part II, Al Pacino and Robert DeNiro played criminals. In Heat, Al played a cop while Robert played a criminal. Here, in Righteous Kill, they both play cops. Unfortunately, the third pairing is nowhere near as good as the previous two masterpieces. Pacino and DeNiro are good as usual, but the uninspiring screenplay hamstrings them. A smart viewer will figure out the "twist" early on and then its just a matter of waiting for the movie to catch up. This movie is proof that star power can't overcome a weak script and pedestrian directing. Easily one of the biggest disapointments of recent years.
Pete York
Supporting Actor
- Joined
- Dec 1, 2004
- Messages
- 610
Scraping some barnacles off the DVR...
01/06/09
Love Laughs at Andy Hardy (1946) Dir: Willis Goldbeck
Production: MGM
Penultimate entry in the 'Andy Hardy' series finds Andy (Mickey Rooney) returning from service in the war and ready to resume his freshman career at Wainright College. You don't go to an Andy Hardy film for any sensitive insight into the plight of the returning vet, but there is a rather surprising scene that hints at Andy's frustration in re-adjusting to his regular life. 'Hints' being a key word. Bonita Granville reprises her role as Kay Wilson from the earlier Andy Hardy's Blonde Trouble. In an inspired bit, Andy is paired off for a date to the freshman dance with a giantess (Dorothy Ford) who calls all the boys 'uncle' and refers to herself in the third person. Ultimately strays too far from the sweet spots of the series (no Polly, no juggling of MGM starlets, no cars, the Judge is minimized, no hi-jinks, no fun).
:star: 1/2 out of 4
01/06/09
Love Laughs at Andy Hardy (1946) Dir: Willis Goldbeck
Production: MGM
Penultimate entry in the 'Andy Hardy' series finds Andy (Mickey Rooney) returning from service in the war and ready to resume his freshman career at Wainright College. You don't go to an Andy Hardy film for any sensitive insight into the plight of the returning vet, but there is a rather surprising scene that hints at Andy's frustration in re-adjusting to his regular life. 'Hints' being a key word. Bonita Granville reprises her role as Kay Wilson from the earlier Andy Hardy's Blonde Trouble. In an inspired bit, Andy is paired off for a date to the freshman dance with a giantess (Dorothy Ford) who calls all the boys 'uncle' and refers to herself in the third person. Ultimately strays too far from the sweet spots of the series (no Polly, no juggling of MGM starlets, no cars, the Judge is minimized, no hi-jinks, no fun).
:star: 1/2 out of 4
Joe Karlosi
Senior HTF Member
- Joined
- Nov 5, 2003
- Messages
- 6,008
"Elvis Week", Day 1:
Live a Little, Love a Little (1968) :star::star:1/2
Began with a revisit. Always liked the "Edge of Reality" sequence.
Live a Little, Love a Little (1968) :star::star:1/2
Began with a revisit. Always liked the "Edge of Reality" sequence.
Michael Elliott
Senior HTF Member
Swing Your Lady (1938) :star:1/2 Ray Enright
Poor Warner comedy has a promoter (Humphrey Bogart) arriving in a small town to try and set up a match for his prized wrestler (Nat Pendleton). The promoter eventually finds him a match in a female blacksmith (Louise Fazenda) but the two fall in love before any wrestling can be done. This film blends romance with comedy and even throws in several musical numbers but when Bogart called this his worst film he wasn't lying. I usually enjoy these "B" movies from Warner but I found this one to be quite poor, which is rather strange considering the talent involved. Yes, Bogart is horribly miscasted but this wasn't the only time in his career that happened. He comes off looking good and I say that because you can tell he's giving it his all even though the material isn't suited for him. Frank McGugh and Allen Jenkins co-star as members of Bogart's troop and these two funnymen can't add any laughs either. Pendleton and Fazenda actually steal the film with their tough romance, which gains a few laughs but not nearly enough to keep the film moving. Director Enright doesn't do a very good job handling the subject matter as the film runs out of steam within the first ten minutes and never picks itself up. By the forty-minute mark I was yawning and the following thirty-two minutes didn't get any better. The whole concept of a man and woman wrestling was something that could have made for a good story but it's just a cheap trick here that doesn't pay off. Look fast for a young Ronald Reagan.
Battle Circus (1953) :star::star: Richard Brooks
MGM drama about a MASH unit in Korea and a doctor (Humphrey Bogart) who falls for a new nurse (June Allyson). This is a pretty strange film that didn't quite work with me and I think a lot of that is due to the rather poor screenplay that never knows what it's trying to be. It starts off as a war drama then moves into a romantic comedy and then at the end tries to turn into something else. The moods of the film are constantly changing to the point where you don't know what or how you're suppose to be feeling. Bogart was an interesting choice for the role here because he's having to put on the charm from scene one until the end. Many have found his performance bad here but I thought he handled it pretty well. The sweet talk stuff doesn't sound right coming from someone like Bogart but that's why I found it charming. Allyson isn't nearly as strong in her role but she's adorable enough. Bogart and her do a nice job together, although I had a hard time believing he'd actually fall so hard for her. I've read several comments that have attacked the film and Bogart's character because he's pretty much sexually harassing the woman throughout the movie. Even when she wants nothing to do with him he still uses his power as a doctor to touch her and so on. I personally didn't take this stuff that serious as I don't think it was meant to be seen as any sort of harassment. In the end, the film doesn't work and turns out to be one of the legendary star's lesser films.
I Am the Law (1938) :star::star: Alexander Hall
Disappointing crime/drama from Columbia has Edward G. Robinson playing a law professor who is hired by civic leaders to try and bring down gangsters as a special prosecutor. The prosecutor thinks this will be an easy job but soon he realizes that no one wants to testify and if anyone agrees to then they end up dead. I had high hopes going into this film but the end results were pretty disappointing as we've seen this story countless times before and this one doesn't offer up anything new. I'm really not sure why Robinson would leave Warner to do this film as this one has a lot to do in common with the various crime pictures he was doing already. Considering Columbia wasn't known for their crime pictures it goes without saying that this one comes off rather bland and watered down as the screenplay doesn't have any real gut to it. The screenplay goes from one cliche moment to the next and I honestly didn't see one surprise throughout the entire thing. Robinson is pretty good in his role but it's certainly far from one of his best performances. The highlight of the film is a scene where we get Robinson on the dance floor, which has to be seen to be believed. The supporting players are pretty rich with John Beal, Otto Kruger, Wendy Barrie and Barbara O'Neil offering up nice work.
Confessions of a Nazi Spy (1939) :star::star::star: Anatole Litvak
Better than expected propaganda film from Warner is probably more historically interesting than entertaining but there's still enough good stuff here to make it stand up well in today's times. The film centers on an FBI agent (Edward G. Robinson) who is trying to track down and break a Nazi ring working inside the United States. Watching this film today the subject matter is rather heavily handled and preachy. I'd go even further to say that the director and screenwriter are constantly beating their subjected over the head of the viewer but one has to remember that the Nazi movements in America were pretty much kept quiet back in the day and this film bravely threw them under the bus a few times. One has to applaud the film for trying what it did in 1939 and I'm sure the movie opened the eyes of many people (even though I've heard it wasn't a hit for the studio). The story told here is a pretty good one that will certainly grab your attention and keep you going throughout the film. The documentary-style telling doesn't work overly well but that doesn't matter too much. Robinson turns in a good, quiet performance as the main FBI guy. He doesn't shout or get too worked up, which is something I haven't seen from him in his earlier films. I really enjoyed how Robinson played the character and it really paid off in the end. Francis Lederer, George Sanders, Paul Lukas, Henry O'Neill and Joe Sawyer add nice supporting performances.
Dr. Ehrlich's Magic Bullet (1940) :star::star::star:1/2 William Dieterle
John Huston co-wrote the screenplay and won an Oscar for it for this bio-pic from Warner. Dr. Paul Ehrlich, played brilliantly by Edward G. Robinson, draws heat from his peers when he decides to try and find a cure for the morally incorrect syphilis. It's rather shocking to find out that Robinson never received an Oscar nomination and it's even more shocking after watching his brilliant work here, which is perhaps the greatest I've seen from him. He has to age several decades here but Robinson nails each stage of the doctor's life from his early days working in a hospital to his final days dealing with a trial over his syphilis serum. It's amazing to see how much Robinson transformed himself because he looks and acts unlike anything I've seen him in. He has a wig on, a strange beard and right from the start you see him as the doctor and not Robinson. There's no question the actor will always be remembered for his role in Little Caesar but his work here is so much better. The studio went all out and gave him a terrific group of supporting players including Otto Kruger, Ruth Gordon, Donald Crisp, Maria Ouspenskaya, Henry O'Neill and Donald Meek. The screenplay is very ambitious in that it tries to cover various aspects of Ehrlich's life and for the most part it works, although I thought that a few segments were rushed over so that the film could get onto other aspects of his life. The final trial didn't come off too well but it did make for a nice payoff through Robinson's touching final scene inside the courtroom.
Kid Galahad (1937) :star::star::star: Michael Curtiz
Edward G. Robinson plays fight promoter Nick Donati who thinks he has found a fighter (Wayne Morris) he can take to the Championship. The only trouble is Nick's hot tempered anger, which gets him in trouble with his girlfriend (Bette Davis) and a gangster (Humphrey Bogart) who he double crosses. Not to mention his anger when the fighter begins to date his sister (Jane Bryan). This drama from Warner plays a little too long but there's no denying the extreme fun it contains due to the three legends appearing together as well as the strong supporting cast. The story is pretty predictable if you've seen any of the 30's boxing pictures but then again the genre had pretty much wore itself out in terms of plot details by the end of the silent era. With that said, the story here of a hot tempered manager makes for some nice drama but the story isn't what's going to bring people to this movie. Seeing Robinson, Davis and Bogart together is where the fun is at and the reason why people will be drawn to this film. It's rather strange that the Elvis remake was more popular than this one for sometime but I'm going to guess that was due to this one not being available for so many decades. Robinson turns in a good performance but it's certainly not among his best. Bogart is a lot of fun in his supporting role as the tough gangster. Davis nearly steals the film and delivers a very good performance as the woman always having to keep Robinson's temperature down. The real surprise comes from Bryan and Morris who are perfect together and steal the show in the end. Film buffs might not find too many original ideas here but that doesn't really matter due to the wonderful cast being held together by the strong direction of Curtiz.
Poor Warner comedy has a promoter (Humphrey Bogart) arriving in a small town to try and set up a match for his prized wrestler (Nat Pendleton). The promoter eventually finds him a match in a female blacksmith (Louise Fazenda) but the two fall in love before any wrestling can be done. This film blends romance with comedy and even throws in several musical numbers but when Bogart called this his worst film he wasn't lying. I usually enjoy these "B" movies from Warner but I found this one to be quite poor, which is rather strange considering the talent involved. Yes, Bogart is horribly miscasted but this wasn't the only time in his career that happened. He comes off looking good and I say that because you can tell he's giving it his all even though the material isn't suited for him. Frank McGugh and Allen Jenkins co-star as members of Bogart's troop and these two funnymen can't add any laughs either. Pendleton and Fazenda actually steal the film with their tough romance, which gains a few laughs but not nearly enough to keep the film moving. Director Enright doesn't do a very good job handling the subject matter as the film runs out of steam within the first ten minutes and never picks itself up. By the forty-minute mark I was yawning and the following thirty-two minutes didn't get any better. The whole concept of a man and woman wrestling was something that could have made for a good story but it's just a cheap trick here that doesn't pay off. Look fast for a young Ronald Reagan.
Battle Circus (1953) :star::star: Richard Brooks
MGM drama about a MASH unit in Korea and a doctor (Humphrey Bogart) who falls for a new nurse (June Allyson). This is a pretty strange film that didn't quite work with me and I think a lot of that is due to the rather poor screenplay that never knows what it's trying to be. It starts off as a war drama then moves into a romantic comedy and then at the end tries to turn into something else. The moods of the film are constantly changing to the point where you don't know what or how you're suppose to be feeling. Bogart was an interesting choice for the role here because he's having to put on the charm from scene one until the end. Many have found his performance bad here but I thought he handled it pretty well. The sweet talk stuff doesn't sound right coming from someone like Bogart but that's why I found it charming. Allyson isn't nearly as strong in her role but she's adorable enough. Bogart and her do a nice job together, although I had a hard time believing he'd actually fall so hard for her. I've read several comments that have attacked the film and Bogart's character because he's pretty much sexually harassing the woman throughout the movie. Even when she wants nothing to do with him he still uses his power as a doctor to touch her and so on. I personally didn't take this stuff that serious as I don't think it was meant to be seen as any sort of harassment. In the end, the film doesn't work and turns out to be one of the legendary star's lesser films.
I Am the Law (1938) :star::star: Alexander Hall
Disappointing crime/drama from Columbia has Edward G. Robinson playing a law professor who is hired by civic leaders to try and bring down gangsters as a special prosecutor. The prosecutor thinks this will be an easy job but soon he realizes that no one wants to testify and if anyone agrees to then they end up dead. I had high hopes going into this film but the end results were pretty disappointing as we've seen this story countless times before and this one doesn't offer up anything new. I'm really not sure why Robinson would leave Warner to do this film as this one has a lot to do in common with the various crime pictures he was doing already. Considering Columbia wasn't known for their crime pictures it goes without saying that this one comes off rather bland and watered down as the screenplay doesn't have any real gut to it. The screenplay goes from one cliche moment to the next and I honestly didn't see one surprise throughout the entire thing. Robinson is pretty good in his role but it's certainly far from one of his best performances. The highlight of the film is a scene where we get Robinson on the dance floor, which has to be seen to be believed. The supporting players are pretty rich with John Beal, Otto Kruger, Wendy Barrie and Barbara O'Neil offering up nice work.
Confessions of a Nazi Spy (1939) :star::star::star: Anatole Litvak
Better than expected propaganda film from Warner is probably more historically interesting than entertaining but there's still enough good stuff here to make it stand up well in today's times. The film centers on an FBI agent (Edward G. Robinson) who is trying to track down and break a Nazi ring working inside the United States. Watching this film today the subject matter is rather heavily handled and preachy. I'd go even further to say that the director and screenwriter are constantly beating their subjected over the head of the viewer but one has to remember that the Nazi movements in America were pretty much kept quiet back in the day and this film bravely threw them under the bus a few times. One has to applaud the film for trying what it did in 1939 and I'm sure the movie opened the eyes of many people (even though I've heard it wasn't a hit for the studio). The story told here is a pretty good one that will certainly grab your attention and keep you going throughout the film. The documentary-style telling doesn't work overly well but that doesn't matter too much. Robinson turns in a good, quiet performance as the main FBI guy. He doesn't shout or get too worked up, which is something I haven't seen from him in his earlier films. I really enjoyed how Robinson played the character and it really paid off in the end. Francis Lederer, George Sanders, Paul Lukas, Henry O'Neill and Joe Sawyer add nice supporting performances.
Dr. Ehrlich's Magic Bullet (1940) :star::star::star:1/2 William Dieterle
John Huston co-wrote the screenplay and won an Oscar for it for this bio-pic from Warner. Dr. Paul Ehrlich, played brilliantly by Edward G. Robinson, draws heat from his peers when he decides to try and find a cure for the morally incorrect syphilis. It's rather shocking to find out that Robinson never received an Oscar nomination and it's even more shocking after watching his brilliant work here, which is perhaps the greatest I've seen from him. He has to age several decades here but Robinson nails each stage of the doctor's life from his early days working in a hospital to his final days dealing with a trial over his syphilis serum. It's amazing to see how much Robinson transformed himself because he looks and acts unlike anything I've seen him in. He has a wig on, a strange beard and right from the start you see him as the doctor and not Robinson. There's no question the actor will always be remembered for his role in Little Caesar but his work here is so much better. The studio went all out and gave him a terrific group of supporting players including Otto Kruger, Ruth Gordon, Donald Crisp, Maria Ouspenskaya, Henry O'Neill and Donald Meek. The screenplay is very ambitious in that it tries to cover various aspects of Ehrlich's life and for the most part it works, although I thought that a few segments were rushed over so that the film could get onto other aspects of his life. The final trial didn't come off too well but it did make for a nice payoff through Robinson's touching final scene inside the courtroom.
Kid Galahad (1937) :star::star::star: Michael Curtiz
Edward G. Robinson plays fight promoter Nick Donati who thinks he has found a fighter (Wayne Morris) he can take to the Championship. The only trouble is Nick's hot tempered anger, which gets him in trouble with his girlfriend (Bette Davis) and a gangster (Humphrey Bogart) who he double crosses. Not to mention his anger when the fighter begins to date his sister (Jane Bryan). This drama from Warner plays a little too long but there's no denying the extreme fun it contains due to the three legends appearing together as well as the strong supporting cast. The story is pretty predictable if you've seen any of the 30's boxing pictures but then again the genre had pretty much wore itself out in terms of plot details by the end of the silent era. With that said, the story here of a hot tempered manager makes for some nice drama but the story isn't what's going to bring people to this movie. Seeing Robinson, Davis and Bogart together is where the fun is at and the reason why people will be drawn to this film. It's rather strange that the Elvis remake was more popular than this one for sometime but I'm going to guess that was due to this one not being available for so many decades. Robinson turns in a good performance but it's certainly not among his best. Bogart is a lot of fun in his supporting role as the tough gangster. Davis nearly steals the film and delivers a very good performance as the woman always having to keep Robinson's temperature down. The real surprise comes from Bryan and Morris who are perfect together and steal the show in the end. Film buffs might not find too many original ideas here but that doesn't really matter due to the wonderful cast being held together by the strong direction of Curtiz.
Mario Gauci
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Epic Day #1:
01/04/08: THE GAUCHO (F. Richard Jones, 1927) :star::star::star:
Unusual but beautifully made and typically enjoyable Douglas Fairbanks vehicle, which finds the star at his most roguish (while still being his dashing and athletic self); with the Argentine pampas for backdrop, the film – whose full official title is DOUGLAS FAIRBANKS AS THE GAUCHO – can be considered a semi-Western. The narrative encompasses romance (supplied by fiery Lupe Velez), religion (via the presence of a miraculous shrine overseen by a saintly shepherdess – we even get a couple of visions of the Madonna herself, played by Fairbanks’ own equally popular actress wife, Mary Pickford!) as well as more characteristic action (in the form of The Gaucho’s opposition to the rule of tyrannical Gustav von Seyffertitz). A subplot which ties in with the element of faith sees the hero being deliberately contaminated by a carrier of “The Black Doom” whom he had previously slighted, though both are eventually cured. Fairbanks’ trademark pioneering spirit in the technical department is also well in evidence here – with matte paintings giving the illusion of a truly elaborate visual design, reversed film for one particularly showy leap by the star onto his faithful steed, and even the wholesale horse-driven transportation of a house at one point!
01/04/08: THE MYSTERY OF THE LEAPING FISH (John Emerson and, uncredited, Christy Cabanne, 1916) :star::star::star:
I know allusions to drug addiction in cinema date as far back as the Silent era, but surely none were as blatant as this bizarre Sherlock Holmes parody! From a story by future horror exponent Tod Browning and starring Douglas Fairbanks (as removed from his typical characterization as can be imagined), it deals with the exploits of master detective Coke Ennyday(!) who’s constantly lifting himself up – via the intake of drugs – from apparently chronic moroseness. He contrives nevertheless to accept the titular case, centering around a seaside ring of smugglers (whose leader is literally depicted as being covered in money); aiding the hero in thwarting their nefarious plans is Bessie Love, who shows to be perfectly capable of standing up to any man. While the detection in itself is nothing special, the sheer amorality on display lends the whole a decidedly grotesque quality – which, with the star’s perpetual drowsy/euphoric countenance, undeniably heightens the film’s comic quotient; the sheer fact that it’s all eventually revealed as merely a story being pitched to the studio by Fairbanks, but which is unsurprisingly rejected, clearly makes this a case of ‘having your cake and eating it’!
01/04/08: MAGNIFICENT DOLL (Frank Borzage, 1946) :star::star:1/2
Bizarrely cast and talky historical drama about the romantic and political involvement of the titular Southern belle (Ginger Rogers) with the then-U.S. Secretary of State James Madison (Burgess Meredith) and misguidedly ambitious Presidential nominee Aaron Burr (David Niven). Given that Niven ends up losing both the girl and the candidature (to Thomas Jefferson), he is understandably glum throughout – but the tragic fact that the beloved British actor had just lost his wife in a freak accident at home surely cannot have aided his countenance any! As usual, my fondness for films depicting political machinations perhaps made this appeal to me more than it would have otherwise but, while everybody concerned was clearly seen at a better advantage elsewhere, it must be said here that the narrative certainly wasn’t a familiar one and, consequently, it held my interest throughout.
01/04/08: GREYSTOKE: THE LEGEND OF TARZAN, LORD OF THE APES (Hugh Hudson, 1984) :star::star::star:
This begins a series (which I’ll hopefully keep up every week-end) of films that came out during my childhood – in this case, it’s one I’ve only managed to catch now. It was clearly intended as the last word on the subject, which basically had been debased to the level of hokum over the years; however, in its uncompromising striving for a serious-minded approach (a sure measure of which is that the protagonist is never once referred to by the name he’s been known all this time the world over!), the film-makers rather lost track of the fact that the thing was intended primarily as entertainment! Consequently, we get a decidedly staid representation of events – with more care given to meticulous period reconstruction than in providing a functional thematic environment for its mythic jungle hero! Even so, Christopher Lambert rose to stardom – as did another debutante, Andie McDowell, playing his love interest (named Jane, of course) – with the title role, which he handles creditably enough under the circumstances. However, Ralph Richardson (to whom the film is dedicated, this being his swan-song) steals every scene he’s in as Tarzan’s natural grandfather who, in spite of showing obvious affection for his long-lost kin, can’t bring himself to forget tradition in an effort to understand his predicament; the hero, in fact, is much more comfortable interacting with primates (even contriving, after having gone back home, to save his adoptive ‘dad’ from captivity). The film is otherwise very good to look at (with cinematography by Stanley Kubrick regular John Alcott, no less), features an appropriately grandiose score as well as remarkable make-up effects (by Rick Baker) – and, while essentially disappointing as a Tarzan outing, retains considerable value nonetheless as a prestige picture of its day.
01/04/08: THE GAUCHO (F. Richard Jones, 1927) :star::star::star:
Unusual but beautifully made and typically enjoyable Douglas Fairbanks vehicle, which finds the star at his most roguish (while still being his dashing and athletic self); with the Argentine pampas for backdrop, the film – whose full official title is DOUGLAS FAIRBANKS AS THE GAUCHO – can be considered a semi-Western. The narrative encompasses romance (supplied by fiery Lupe Velez), religion (via the presence of a miraculous shrine overseen by a saintly shepherdess – we even get a couple of visions of the Madonna herself, played by Fairbanks’ own equally popular actress wife, Mary Pickford!) as well as more characteristic action (in the form of The Gaucho’s opposition to the rule of tyrannical Gustav von Seyffertitz). A subplot which ties in with the element of faith sees the hero being deliberately contaminated by a carrier of “The Black Doom” whom he had previously slighted, though both are eventually cured. Fairbanks’ trademark pioneering spirit in the technical department is also well in evidence here – with matte paintings giving the illusion of a truly elaborate visual design, reversed film for one particularly showy leap by the star onto his faithful steed, and even the wholesale horse-driven transportation of a house at one point!
01/04/08: THE MYSTERY OF THE LEAPING FISH (John Emerson and, uncredited, Christy Cabanne, 1916) :star::star::star:
I know allusions to drug addiction in cinema date as far back as the Silent era, but surely none were as blatant as this bizarre Sherlock Holmes parody! From a story by future horror exponent Tod Browning and starring Douglas Fairbanks (as removed from his typical characterization as can be imagined), it deals with the exploits of master detective Coke Ennyday(!) who’s constantly lifting himself up – via the intake of drugs – from apparently chronic moroseness. He contrives nevertheless to accept the titular case, centering around a seaside ring of smugglers (whose leader is literally depicted as being covered in money); aiding the hero in thwarting their nefarious plans is Bessie Love, who shows to be perfectly capable of standing up to any man. While the detection in itself is nothing special, the sheer amorality on display lends the whole a decidedly grotesque quality – which, with the star’s perpetual drowsy/euphoric countenance, undeniably heightens the film’s comic quotient; the sheer fact that it’s all eventually revealed as merely a story being pitched to the studio by Fairbanks, but which is unsurprisingly rejected, clearly makes this a case of ‘having your cake and eating it’!
01/04/08: MAGNIFICENT DOLL (Frank Borzage, 1946) :star::star:1/2
Bizarrely cast and talky historical drama about the romantic and political involvement of the titular Southern belle (Ginger Rogers) with the then-U.S. Secretary of State James Madison (Burgess Meredith) and misguidedly ambitious Presidential nominee Aaron Burr (David Niven). Given that Niven ends up losing both the girl and the candidature (to Thomas Jefferson), he is understandably glum throughout – but the tragic fact that the beloved British actor had just lost his wife in a freak accident at home surely cannot have aided his countenance any! As usual, my fondness for films depicting political machinations perhaps made this appeal to me more than it would have otherwise but, while everybody concerned was clearly seen at a better advantage elsewhere, it must be said here that the narrative certainly wasn’t a familiar one and, consequently, it held my interest throughout.
01/04/08: GREYSTOKE: THE LEGEND OF TARZAN, LORD OF THE APES (Hugh Hudson, 1984) :star::star::star:
This begins a series (which I’ll hopefully keep up every week-end) of films that came out during my childhood – in this case, it’s one I’ve only managed to catch now. It was clearly intended as the last word on the subject, which basically had been debased to the level of hokum over the years; however, in its uncompromising striving for a serious-minded approach (a sure measure of which is that the protagonist is never once referred to by the name he’s been known all this time the world over!), the film-makers rather lost track of the fact that the thing was intended primarily as entertainment! Consequently, we get a decidedly staid representation of events – with more care given to meticulous period reconstruction than in providing a functional thematic environment for its mythic jungle hero! Even so, Christopher Lambert rose to stardom – as did another debutante, Andie McDowell, playing his love interest (named Jane, of course) – with the title role, which he handles creditably enough under the circumstances. However, Ralph Richardson (to whom the film is dedicated, this being his swan-song) steals every scene he’s in as Tarzan’s natural grandfather who, in spite of showing obvious affection for his long-lost kin, can’t bring himself to forget tradition in an effort to understand his predicament; the hero, in fact, is much more comfortable interacting with primates (even contriving, after having gone back home, to save his adoptive ‘dad’ from captivity). The film is otherwise very good to look at (with cinematography by Stanley Kubrick regular John Alcott, no less), features an appropriately grandiose score as well as remarkable make-up effects (by Rick Baker) – and, while essentially disappointing as a Tarzan outing, retains considerable value nonetheless as a prestige picture of its day.
Mario Gauci
Senior HTF Member
- Joined
- Jan 8, 2005
- Messages
- 2,201
Euro-Cult Day #1:
01/05/08: ALL THE COLORS OF THE DARK (Sergio Martino, 1972) :star::star:1/2
Typically convoluted but surprisingly average giallo with nods to ROSEMARY’S BABY (1968) which gets by largely on the strength of its stylish visuals (the narrative is set against attractive London backdrops) and an effective pounding score by the reliable Bruno Nicolai. Besides, it gives “Euro-Cult” starlet Edwige Fenech – who, by now, had grown comfortably into the mould of put-upon genre heroine – one of her more rounded parts; in fact, all the other characters (lover George Hilton, stalker Ivan Rassimov, high priest Julian Ugarte, duplicitous sister Susan Scott, neighbor/cult member Marina Malfatti, psychiatrist Georges Rigaud) basically revolve around hers. The film has an interesting and fairly ambitious structure (co-scripted by Ernesto Gastaldi from a story by Santiago Moncada, both of whose names are synonymous with the form) – starting off immediately with a surreal nightmare involving a pregnant Afro girl, an old hag dressed up as a marionette and a female murder victim and concluding with the heroine discovering to have the ability of second-sight, followed by the more familiar rooftop chase but re-affirming its intent with an ambiguous and downbeat fade-out. As ever, we get plenty of ladies willing to shed their clothes throughout – but, like I said, some care seems to have been applied to the characterization so that, at least, this isn’t as slapdash as they could have been!
01/05/08: THE CASE OF THE SCORPION’S TAIL (Sergio Martino, 1971) :star::star:1/2
This isn’t as popular as Martino’s other gialli, perhaps because his regular leading lady Edwige Fenech – who was indisposed – got replaced here by Anita Strindberg (and with her entrance delayed until almost the half-hour mark); in fact, the film adopts a PSYCHO (1960)-ish gimmick by having Evelyn Stewart’s character take center-stage for the first third of the narrative and then get bumped off! To make up perhaps for a fairly conventional plot – with a handful of characters after a missing $1 million in insurance money – the violence is laid on pretty thick throughout (though not so much the sex this time around); similarly, the director includes any number of preposterous camera angles to liven up proceedings and disorientate viewers. Frankly, such flamboyant measures (extending to the trailer, which absurdly likens THE CASE OF THE SCORPION’S TAIL to milestones of German Expressionism, Soviet propaganda cinema and Surrealist films maudits!) weren’t really needed as interest is generally maintained regardless with the sorting out of the various clues, twists and red herrings. In fact, the film keeps one guessing as to the killer’s eventual identity and this certainly add to the fun. The cast helps a lot, too: George Hilton gets one of his meatier parts, while Strindberg does well enough considering (in fact, I couldn’t quite visualize Fenech in the role!); apart from the requisite figures of authority – Alberto De Mendoza as an Interpol agent lending a helping hand (who also ends up getting the girl!) and Luigi Pistilli as the local cop on the case – two Jess Franco alumni, Janine Reynaud and Luis Barboo, surprisingly feature prominently among the suspects/murder victims. Other typical assets are the exotic Mediterranean setting (mainly Greece) and yet another solid score by Bruno Nicolai (coincidentally, himself a Franco regular).
01/05/08: ALL THE COLORS OF THE DARK (Sergio Martino, 1972) :star::star:1/2
Typically convoluted but surprisingly average giallo with nods to ROSEMARY’S BABY (1968) which gets by largely on the strength of its stylish visuals (the narrative is set against attractive London backdrops) and an effective pounding score by the reliable Bruno Nicolai. Besides, it gives “Euro-Cult” starlet Edwige Fenech – who, by now, had grown comfortably into the mould of put-upon genre heroine – one of her more rounded parts; in fact, all the other characters (lover George Hilton, stalker Ivan Rassimov, high priest Julian Ugarte, duplicitous sister Susan Scott, neighbor/cult member Marina Malfatti, psychiatrist Georges Rigaud) basically revolve around hers. The film has an interesting and fairly ambitious structure (co-scripted by Ernesto Gastaldi from a story by Santiago Moncada, both of whose names are synonymous with the form) – starting off immediately with a surreal nightmare involving a pregnant Afro girl, an old hag dressed up as a marionette and a female murder victim and concluding with the heroine discovering to have the ability of second-sight, followed by the more familiar rooftop chase but re-affirming its intent with an ambiguous and downbeat fade-out. As ever, we get plenty of ladies willing to shed their clothes throughout – but, like I said, some care seems to have been applied to the characterization so that, at least, this isn’t as slapdash as they could have been!
01/05/08: THE CASE OF THE SCORPION’S TAIL (Sergio Martino, 1971) :star::star:1/2
This isn’t as popular as Martino’s other gialli, perhaps because his regular leading lady Edwige Fenech – who was indisposed – got replaced here by Anita Strindberg (and with her entrance delayed until almost the half-hour mark); in fact, the film adopts a PSYCHO (1960)-ish gimmick by having Evelyn Stewart’s character take center-stage for the first third of the narrative and then get bumped off! To make up perhaps for a fairly conventional plot – with a handful of characters after a missing $1 million in insurance money – the violence is laid on pretty thick throughout (though not so much the sex this time around); similarly, the director includes any number of preposterous camera angles to liven up proceedings and disorientate viewers. Frankly, such flamboyant measures (extending to the trailer, which absurdly likens THE CASE OF THE SCORPION’S TAIL to milestones of German Expressionism, Soviet propaganda cinema and Surrealist films maudits!) weren’t really needed as interest is generally maintained regardless with the sorting out of the various clues, twists and red herrings. In fact, the film keeps one guessing as to the killer’s eventual identity and this certainly add to the fun. The cast helps a lot, too: George Hilton gets one of his meatier parts, while Strindberg does well enough considering (in fact, I couldn’t quite visualize Fenech in the role!); apart from the requisite figures of authority – Alberto De Mendoza as an Interpol agent lending a helping hand (who also ends up getting the girl!) and Luigi Pistilli as the local cop on the case – two Jess Franco alumni, Janine Reynaud and Luis Barboo, surprisingly feature prominently among the suspects/murder victims. Other typical assets are the exotic Mediterranean setting (mainly Greece) and yet another solid score by Bruno Nicolai (coincidentally, himself a Franco regular).
Pete York
Supporting Actor
- Joined
- Dec 1, 2004
- Messages
- 610
The DVR pruning continues. To the Cablevision rep who wanted to make sure that I really wanted the 100 hour hard drive, yes, the answer is still yes.
01/06/09
Andy Hardy Comes Home (1958) Dir: Howard W. Koch
Production: MGM
So twelve years after the last entry in the Andy Hardy series we get the final chapter. As it opens, one might notice the familiar theme song missing over the credits. It looks and sounds like an episode of ‘Leave it to Beaver’, which is appropriate, because the whole film has a TV-series-reunion-special feel. Now a grown man with a wife and kids (one of whom is Rooney’s real life son, mirroring an early Andy Hardy effort that had an appearance by Rooney’s father), we find out Andy is a cog in the military industrial complex, a lawyer for ‘Gordon Aircraft’. His position as surrogate death dealer has brought him to Carvel, where he is trying to buy land for his company to build a missile parts plant. The innocent lambs of Carvel initially resist the attempt to make their bucolic town a symbol of hate and destruction, but Andy Hardy, the silver tongued dark demon sprung from their womb, Carvel’s original sin, will surely conquer ultimately.
Alright, so I’m a little punch drunk after 16 Andy Hardy movies, a short, and a couple of promos. Suffice to say, if you've seen the other films, you might find this one of interest, maybe even a little bittersweet. Marian, Aunt Milly, and Ma are all represented, and although Lewis Stone had died a few years earlier (bizarrely, suffering a heart attack after chasing kids off his lawn), his presence is felt: Andy sits down and has a father-son chat with Andy Jr. in the Judge’s old study (right under his portrait, for those who don’t get subtlety). A couple of flashbacks featuring Judy Garland, Lana Turner and a stunning Esther Williams pad out the picture. In a counting-your-chickens-before-they-hatch move, the film ends with 'To Be Continued' on the screen, obviously intending the series to go on with Rooney and clan, but nothing came out of it.
:star: :star: out of 4
01/06/09
Andy Hardy Comes Home (1958) Dir: Howard W. Koch
Production: MGM
So twelve years after the last entry in the Andy Hardy series we get the final chapter. As it opens, one might notice the familiar theme song missing over the credits. It looks and sounds like an episode of ‘Leave it to Beaver’, which is appropriate, because the whole film has a TV-series-reunion-special feel. Now a grown man with a wife and kids (one of whom is Rooney’s real life son, mirroring an early Andy Hardy effort that had an appearance by Rooney’s father), we find out Andy is a cog in the military industrial complex, a lawyer for ‘Gordon Aircraft’. His position as surrogate death dealer has brought him to Carvel, where he is trying to buy land for his company to build a missile parts plant. The innocent lambs of Carvel initially resist the attempt to make their bucolic town a symbol of hate and destruction, but Andy Hardy, the silver tongued dark demon sprung from their womb, Carvel’s original sin, will surely conquer ultimately.
Alright, so I’m a little punch drunk after 16 Andy Hardy movies, a short, and a couple of promos. Suffice to say, if you've seen the other films, you might find this one of interest, maybe even a little bittersweet. Marian, Aunt Milly, and Ma are all represented, and although Lewis Stone had died a few years earlier (bizarrely, suffering a heart attack after chasing kids off his lawn), his presence is felt: Andy sits down and has a father-son chat with Andy Jr. in the Judge’s old study (right under his portrait, for those who don’t get subtlety). A couple of flashbacks featuring Judy Garland, Lana Turner and a stunning Esther Williams pad out the picture. In a counting-your-chickens-before-they-hatch move, the film ends with 'To Be Continued' on the screen, obviously intending the series to go on with Rooney and clan, but nothing came out of it.
:star: :star: out of 4
Mario Gauci
Senior HTF Member
- Joined
- Jan 8, 2005
- Messages
- 2,201
I'm with Michael on THE ACE OF HEARTS (1921) in respect of three things:
a) I was lukewarm on it myself
b) I'm pleased that Joe has gone for a Silent (apparently out of the blue) and loved it - and LAUGH, CLOWN, LAUGH (1928), too
c) HE WHO GETS SLAPPED (1924) is arguably Chaney's greatest film and performance
John Stell
Screenwriter
008) 01/06/2009 On the Waterfront (1954) :star::star::star::star: (out of four)
After years of glossy, polished Best Picture winners comes On the Waterfront, a gritty, stark look at corruption and murder plaguing a town that survives on its longshoremen trade. By shooting on location and utilizing multiple close-ups to provide a feeling of intimacy, director Elia Kazan makes the audience feel like they are participants in the action, not just witnesses.
Terry Malloy (Marlon Brando) is having a crisis of conscience. Having followed his older brother Charley (Rod Steiger) into the clutches of corrupt union boss Johnny Friendly (Lee J. Cobb), Terry has unwittingly participated in the murder of Tommy Doyle, a longshoreman who has testified against the union for the Waterfront Crime Commission. An emerging romance with Tommy’s sister Edie (Eva Marie Saint) and a determined priest (Karl Malden) urging the dock workers to unite and fight against Friendly cause Terry to reevaluate both his past and present circumstances.
On the Waterfront casts aside the typically attractive Hollywood aesthetics to provide a bleak, urgent look at characters seemingly caught in no win situations. Terry knows the danger he faces by becoming a rat. But he also knows that without telling the truth he will not be able to stay with the woman he loves. When Johnny asks Charley to “talk” to Terry about a potential betrayal, Charley knows if he doesn’t persuade Terry to keep quiet, it could mean both their lives. Later in the film we learn that Charley, on behalf of Johnny Friendly, asked Terry to take a few dives in the boxing ring, thereby ending what could have been a prosperous career for Terry. These two brothers’ demons are unleashed during the classic scene in a taxicab where Terry, teary-eyed, tells Charley, “You shoulda looked out for me a little.”
Brando is an actor who so immerses himself in his roles that he becomes the character. His Terry Malloy is character we feel for because we completely understand the circumstances that put him on the wrong path. Terry’s evolution into someone poised to risk his life to stand up against evil is one of the great character arcs of the cinema. Brando never overplays Terry. There are several instances where the actor could have delivered dialogue full of thunder and rage but instead chose quiet and sadness. It is a deservedly praised performance.
The rest of the cast is in top form. Steiger convincingly portrays a man who must decide whether to sacrifice his own for his brother’s. Karl Malden’s Father Barry delivers a stirring emotional plea to the dock workers after an “accident” claims the life of one of their own. And Eva Marie Saint perfectly balances her character’s naïveté and outrage.
In spite of the film’s bleak subject matter, On the Waterfront is ultimately an uplifting experience due to its resolution. The film plays as well today as it did more than fifty years ago since its subject matter is as timely as ever. What we need now are some more Terry Malloys.
My DVD Collection
My Film Blog
After years of glossy, polished Best Picture winners comes On the Waterfront, a gritty, stark look at corruption and murder plaguing a town that survives on its longshoremen trade. By shooting on location and utilizing multiple close-ups to provide a feeling of intimacy, director Elia Kazan makes the audience feel like they are participants in the action, not just witnesses.
Terry Malloy (Marlon Brando) is having a crisis of conscience. Having followed his older brother Charley (Rod Steiger) into the clutches of corrupt union boss Johnny Friendly (Lee J. Cobb), Terry has unwittingly participated in the murder of Tommy Doyle, a longshoreman who has testified against the union for the Waterfront Crime Commission. An emerging romance with Tommy’s sister Edie (Eva Marie Saint) and a determined priest (Karl Malden) urging the dock workers to unite and fight against Friendly cause Terry to reevaluate both his past and present circumstances.
On the Waterfront casts aside the typically attractive Hollywood aesthetics to provide a bleak, urgent look at characters seemingly caught in no win situations. Terry knows the danger he faces by becoming a rat. But he also knows that without telling the truth he will not be able to stay with the woman he loves. When Johnny asks Charley to “talk” to Terry about a potential betrayal, Charley knows if he doesn’t persuade Terry to keep quiet, it could mean both their lives. Later in the film we learn that Charley, on behalf of Johnny Friendly, asked Terry to take a few dives in the boxing ring, thereby ending what could have been a prosperous career for Terry. These two brothers’ demons are unleashed during the classic scene in a taxicab where Terry, teary-eyed, tells Charley, “You shoulda looked out for me a little.”
Brando is an actor who so immerses himself in his roles that he becomes the character. His Terry Malloy is character we feel for because we completely understand the circumstances that put him on the wrong path. Terry’s evolution into someone poised to risk his life to stand up against evil is one of the great character arcs of the cinema. Brando never overplays Terry. There are several instances where the actor could have delivered dialogue full of thunder and rage but instead chose quiet and sadness. It is a deservedly praised performance.
The rest of the cast is in top form. Steiger convincingly portrays a man who must decide whether to sacrifice his own for his brother’s. Karl Malden’s Father Barry delivers a stirring emotional plea to the dock workers after an “accident” claims the life of one of their own. And Eva Marie Saint perfectly balances her character’s naïveté and outrage.
In spite of the film’s bleak subject matter, On the Waterfront is ultimately an uplifting experience due to its resolution. The film plays as well today as it did more than fifty years ago since its subject matter is as timely as ever. What we need now are some more Terry Malloys.
My DVD Collection
My Film Blog
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