In 1998 Jean Marc Barr cornered the market in exotic, romantic foreigners in British, period Romances. First in The Scarlet Tunic, based on a Thomas Hardy short story then in St Ives (also known as All for Love), based on an unfinished work by Robert Louis Stevenson, and it's easy to see why, he is handsome and has a easy charm and quiet charisma, allied to a relaxed screen presence that serves him well. This piece is not quite as serious as the former, as along with the romance, battle scenes and duels, there is also a welcome vein of comedy throughout that sometimes puts one in mind of the Richard Lester Musketeer movies. Much of this comedy comes from Richard E Grant as a lovelorn and tongue-tied major and Miranda Richardson as a witty local lady and their burgeoning courtship. Delightful stuff and these two effortlessly steal the film from under the noses of the aforementioned Barr and Anna Friel, the subject of his romantic gaze. That's not to say they don't do good work because they bring a great deal of their own wit and charm to the proceedings and anchor the film. There is also an embarrassment of riches in the supporting cast, all doing good work; Jason Isaacs as Barr's dastardly brother, Michael Gough as his grandfather, Tim Dutton as his staunch friend and Cecile Pallas as one of his earlier 'conquests', not to mention yet more 'name' actors featuring in quite small roles, such as Vernon Dobtcheff, Desmond Barritt and Adrian Scarborough. The romance is handled sensitively, the battle scenes and duels are excitingly brought to life and the comedy is chucklesome. The costumes, circa the Napoleonic wars are also superbly done. This film is highly recommended to fans of period drama.
Reviews
85 Reviews
The Ghost Comes Home
(1940)
Breezy, jaunty comedy
2 October 2023
Austrian director Wilhelm Thiele is not a notable name in the pantheon of great directors, most of his work was in German language films and he would probably be best known for a brace of Tarzan films in his Hollywood career, not comedy. But he does a very good job of marshalling a first rate cast here in a fun, quickie film version of an adapted stage play. Frank Morgan is the nice, but befuddled and bewildered pater familias at the heart of the story. So valuable was he to MGM, that he was given a lifetime contract! Just the year before, of course, he had memorably played the title role of The Wizard of Oz and interestingly Billie Burke had played Glinda, the good witch, in the same movie, they are reunited in this offering and work well together. Morgan brings his trademark milquetoast character back to good effect here but also is hugely enjoyable when a twist makes him a tongue in cheek, stern authoritarian. His daughter, played by Ann Rutherford is paired with John Shelton to provide the romantic interest and rather than being dull or insipid they spar wonderfully and strike comedic sparks off each other. Rutherford, in particular, is a marvellously spunky ingenue. But this is a cast that bats all the way down and character actors have a field day here; Reginald Owen is great fun as a musician who assumes a disguise, Donald Meek, a delight as a slimy and unscrupulous banker and Nat Pendleton as a lazy lunk and Renie Riano as a tomboyish suitor to him, provide an enjoyably off centre 'romance'. Even Richard Carle in a brief, one scene cameo, makes his Mark as "Old Fishface". Highly recommended to lovers of silver screen comedy.
The Bishop Misbehaves
(1935)
Gwenn Shines in a middling comedy thriller
29 September 2023
My reason for seeking out this film was the character men Edmund Gwenn and Reginald Owen. After Miracle on 34th Street Gwenn became a star but before this his chances to be a leading man were few so it is delightful to see him playing the titular role of the Bishop here, and he makes the film, bringing his trademark, twinkly avuncularity to a churchman who'd rather be a detective, shades of Father Brown methinks. Rather than bore us with exposition this sprightly 85 minute piece is wonderfully set up by showing us the principal characters with brief carded information about them and the plot. The plot, such as it is, is a bit of a Macguffin regarding a stolen patent to a priceless invention and thus we have the good guys ranged against a characterful gallery of underground rogues, although there are areas of grey in between. On the heroic side we have the spirited Maureen O'Sullivan (perhaps most famous for a series of films starring her as Jane opposite Johnny Weismuller's Tarzan) and a couple of beautiful eccentrics; Lucile Watson as the Bishop's garrulous sister, who desperately wants to be in on the 'fun' and Etienne Girardot as a nervous, superannuated clergyman who has the habit of champing his Jaws at moments of tension. On the distaff side, Dudley Digges makes a mark as a bad guy who isn't that bad really but Reginald Owen, whose work I normally admire, is rather one note of aggressive bluster here. If you're a fan of gentle, silver screen comedy, this is an agreeable enough piece of work.
Journey for Margaret
(1942)
Original angle for a wartime movie
28 May 2023
Curiously, directed by two individuals, W. S Van Dyke and Herbert Kline, this story is quite an original one, focusing in on the trauma suffered by children during the second world war. It was the film debut of the five year old Margaret O'Brien as the titular Margaret and the final film of co-director, Dyke, who was perhaps best known for some of the films in the Andy Hardy and Thin Man series. A useful man to Hollywood when you consider his "one take Woody" sobriquet, however, he was dead a year after the release of Journey to Margaret: diagnosed with heart disease and cancer, he tragically committed suicide. His cohort, Kline, was largely a documentary maker and indeed, the best scenes of the movie show hellish, nightmarish images of a blitzed London. To modern sensibilities, the action and dialogue are often melodramatic, but one must consider it is of its time and the war was still raging. In the acting stakes, Robert Young is a likeable enough presence as the leading man, Laraine Day is the nominal leading lady but really only bookends the film. Much of the heavy lifting is done by children-the aforementioned O'Brien and William Severn, the former, of course, went on to be a major star, particularly as a youngster, though her career had longevity. Here she is eerily precocious, 5 going on 45! Severn didn't take his acting career beyond childhood but is amusingly quirky in this outing. Amongst the adult supporting cast, the wonderfully characterful Halliwell Hobbes is wasted in a potential surrogate father role but Fay Bainter brings great warmth and a touch of enjoyable mischief to what, on paper, could have been a righteous, goody two shoes, as the lady in charge of a childrens' home and Nigel Bruce has an unusually straight and shrewd role as a friend and confidant to Young and though it is not the best of roles, he brings his trademark avuncularity and twinkle to proceedings. The film is short at 80 minutes and is worth watching for some memorable cinematography, touches of humour and able character acting.
The Chocolate Soldier
(1941)
Agreeable mish mash but overlong and dated
10 February 2023
Director Roy Del Ruth was a seasoned helmer of Hollywood musicals and does a decent job here in what is a bit of a mish mash; the music of The Chocolate Soldier (an operetta based on George Bernard Shaw's Arms & The Man) and the dialogue of Ferenc Molnar's The Guardsman. They get round this by having the lead characters singers and a married couple who are performing in the operetta as a show within the film. Nelson Eddy and Rise Stevens sing strongly but perhaps rather too often though there are some entertaining singing and dancing interludes including a comedic septet seeking a spy and later some abandoned cossack dancing in a cafe. Acting wise this is a star vehicle for Eddy and Stevens and something of a two horse race but this isn't all bad as both score in the comic bickering stakes and Eddy proves he is no one trick pony when he convincingly plays a disguised alter ego so effectively that you could think it was a different actor . Stevens brings a witty, tongue in cheek approach to the proceedings which is welcome but the pudding is over egged when Eddy becomes Vassily, far too many scenes and we are left thinking less would be more. As aforementioned, the supporting cast aren't given a great deal to do but Nydia Westman scores some laughs in the cameo of a ditzy maid and the married couple are given formidable supporting actors as confidantes. Stevens has Florence Bates (always remembered as the dragon lady Mrs Van Hopper in Hitchcock's Rebecca) and Eddy, Nigel Bruce. Bates is rather underused here and doesn't have a chance to shine, but it is still good to see her but Bruce has a little more to play with and brings his trademark avuncularity and endearing silliness to bolster up the action.
Coming Out Party
(1934)
More than a light hearted comedy
29 January 2023
John G Blystone is probably a name not known to many in this day and age but he was obviously a more than capable director with a long career in direction with stars such as James Cagney and Tom Mix. He also helmed a Charlie Chan movie and pertinent to this review worked ably in comedy, calling the shots with Buster Keaton and perhaps, most impressively, Laurel and Hardy in Swiss Miss and Blockheads. Going by the title one would envision a frothy, light headed farce with a gaggle of bright young things whooping it up and painting the town red, and it does fall under the comedy banner, but subtly goes beyond that, too. The plot concerns Joy Stanhope, played by Frances Dee, who gives a real leading lady performance, going from vivacity to despair and we are with her every step of the way. She is a privileged young woman about to come out as a debutante on her 18th birthday. Her dilemma? Her family want her to marry the eligible Jimmy Wolverton who is in reality, a hopeless drunk, but she's in love with Chris Hansen, a struggling but talented musician, not of her set. Unfortunately, these suitors, played by Phillip Trent and Gene Raymond don't match Dee in the acting stakes. They have their moments (particularly Trent when inebriated) but both are a little on the bland side. Fortunately there are a plethora of great character turns: Alison Skipworth is formidable and very watchable as a wedding planner, Jesse Relph brings warmth and twinkle to the housekeeper that dotes on Dee, Harry Green brings real drollery and likeability to his role of a bandleader, Harold Minjir (if I've identified him correctly) does an amazing and painful looking pratfall over a stepladder and Nigel Bruce, my reason for watching, plays it sort of straight (a comic interlude witb bagpipes aside) as faithful family retainer, Troon. His Scottish accent isn't always on the money (odd considering his ancestry) but he has some nice moments, particularly in his firm but dignified final speech to his master. The film is well shot with some great overhead views of the ballroom and there is a very effective, disturbing scene where the traumatised debutante, Dee is passed around from man to man in an excuse me dance (all of whom, for entrance purposes have had their hands 'stamped') which puts one in mind of a timid cow being preyed upon by lecherous bulls. This film is far better than I was expecting and it will only take up an hour and 20 minutes of your time. Not a masterpiece but recommended to those that enjoy the silver screen of the 30s.
Springtime for Henry
(1934)
Farce but not fun or frenetic enough
22 October 2022
Warning: Spoilers
A very important film for me, as a big Nigel Bruce fan. Bruce was in the original Broadway play of Springtime for Henry in 1931 and is the only cast member of that production to be cast in the film version, such was his success on stage in same. It set the template for his many appearances on screen as a lovable buffoon and set him off on the road to a very productive silver screen career as a character man and eventually principal player in the Sherlock Holmes films as Dr Watson opposite Basil Rathbone's Super sleuth. Back to the film version of 1934, one would think that the play would be opened out for film and this appears to be the case in that a cast of 4 become more than twice as many but belied by the fact that a three act farce, on stage, runs shy of 1 hour and fifteen minutes on screen. And it feels like a B movie. Bruce is by far the best thing in it and the screen is enlivened when he appears. Fellow principals Otto Kruger, Nancy Carroll and Heather Angel all have their moments and Herbert Mundin does a decent Job as a butler but for such a short piece it is rather muddled in the middle and lacks the frenetic pace a farce should have. The final scene is great fun but is rather too little, too late and considering the play had people rolling in the aisles and crying tears of laughter, it lacks belly laughs. Much of the humour of the last scene is of the blackly comic variety involving wife swapping, murder and an apparently strait laced character not being all she seems. But watch it for Bruce and a great last scene and if you don't set your hopes too high, you will get some enjoyment out of it.
Vendetta
(1950)
Dark and over melodramatic period thriller
1 May 2022
1825, Corsica. The French rule but many of the island's inhabitants cling to the old ways. A portentous voice over explains the nature of vendettas in this community, how if a man is murdered he must lie in unhallowed ground until his death is avenged by the killing of his murderer. Based on a French novel entitled Colomba, this piece does have an agreeably gothic atmosphere of stygian gloom and gnarled trees. In fact it is sometimes so dark it is hard to see what's going on! It clearly had a troubled production history; the named director, Mel Ferrer, much better known as an actor, added sequences and reshot the ending (still abrupt) and there was apparently an earlier release in 1946/47 that was unsatisfactory with this version making an appearance in 1950. Powerful film mogul Howard Hughes had already fired two directors and notable ones at that, Preston Sturges and Max Ophuls and another director, Stuart Heisler had been taken illl and substituted for by Paul Weatherwex before Ferrer came on to the scene, presumably to make something of the mess and bulk up the running time. The production values are fine but the acting less so, so it still feels like a B movie. The acting is never less than competent but only two actors shine. Fortunately one of them is Faith Domergue as the lead, Colomba. She is a Freudian dream or possibly nightmare as the woman obsessed with avenging her father's death and possibly also unhealthily obsessed with her brother, Orso, who she nevertheless pushes into danger. Domergue is a striking presence throughout and commands all the scenes which feature her in a committed performance. Also good is Nigel Bruce as an Englishman, Sir Thomas Nevil, droll in his talk of guns and hunting, though his role Peters out towards the middle of the film. This tale of Corsican bandits in the right but on the wrong side of the law and the villainous Barracinis, on the right side of the law purely because they are the establishment, feels like it deserves the epic treatment and its ambition seems to be headed that way before seemingly accepting its limitations as an interesting but flawed, melodramatic B movie.
Follow the Boys
(1944)
The plot-ho hum, the acts-hey hey!
26 April 2022
Warning: Spoilers
OK, so I doubt anyone went to see this for the plot which is just a wrap around device to showcase as many Hollywood stars as possible, doing what they do best in aid of the American war effort and morale boosting patriotism. But the plot for what its worth features George Raft as part of a washed up vaudeville act that tries his fortune in films and ends up winning over the leading lady in a film he features in, marrying her and reaching stardom himself as they become Hollywood's latest golden couple. Then war intervenes and an injury prevents him enlisting so he assumes responsibility for overseas entertainment for the troops, enlisting his illustrious Hollywood colleagues and rather neglecting his pregnant wife as a consequence. Vera Zorina is his leading lady but she is purely confined to the plot side of things which somewhat restricts her, whereas Raft gets to join in on the action too, so to speak. Most notably , following Louis Jordan and his orchestra's brilliant rendition of Is You Is Or Is You Ain't with a remarkable dancin' in the rain version of Sweet Georgia Brown. And for those who think Raft was just a gangster actor, wow, this shows the man was a hell of a mover! And the acts are what brings this film to life, they are delightful and one ponders whether it wouldn't have been a better idea to dispense with the plot and just present the piece as a Hollywood variety show. The acts keep coming and they get better and better; Leonard Gautier's dog act is sublimely surreal, Donald O' Connor and Peggy Ryan combine for some wonderfully physical and comic singing and dancing, The Andrews Sisters serve up sweet, cheeky harmonies in a great medley of their hits, W C Fields enacts some shtick with a billiards table, Carmen Amaya provides some extraordinary Latin heat in flamenco style and Orson Welles and Marlene Dietrich engage in a fabulously kooky magic show. All of these are first rate. If you tune in, as I did, to see a favourite star of the Hollywood silver screen in action, you may be disappointed though. In my case, it was Nigel Bruce, who sadly is just a face in the crowd in this, not even rating a single line of dialogue! That said, for the acts alone this film would rate a 10 but the plot being average brings things down a little. The one surprisingly strong plot aspect that gives this the lie is when a ship carrying Raft is hit by enemy torpedoes and we suddenly realise the importance of the war that has seemed like a backdrop for the majority of the film. This gives us a rather moving finale that adds dimension to the piece.
The Lady Is Willing
(1934)
Tongue in cheek, screwball comedy
25 April 2022
By no means a great movie but at only an hour and 15 minutes and played in a tongue in cheek, screwball comedy style, it romps along nicely. Curiously this is the one and only directing credit for Gilbert Miller, which is a shame as he showed potential here. The plot concerns an unscrupulous financial magnate who has swindled three men and causes them to be poverty stricken. They enlist the help of their old army captain and together they kidnap the magnate's wife for ransom, to restore their lost fortunes. Leslie Howard as the captain leads from the front here bringing a marvellous touch for light comedy to the proceedings and he spars and sparks with Binnie Barnes as the kidnapped wife very entertainingly. Cedric Hardwicke, a usually dull screen presence in my opinion rises to meet Howard and although he doesn't match him has some good moments of comic rotteness, being a cold hearted philanderer. Speaking of which, Kendall Lee also does good work here as his attractive mistress. Howard dons disguises throughout the film and so it is fitting that in one of them he assumes the persona of a doctor; When we meet the real doctor, he is played by Howard's real life brother Arthur in a nice portrayal. Howard's three cohorts are given little chance to shine, which is a pity as one of them is Nigel Bruce, who gets more prominence than the other two but is still rather underused. Likewise, Claud Allister, generally great fun as a chinless wonder type is given little to play with here as a business associate of Hardwicke. But this is an agreeable B movie comedy that you will enjoy of you are a fan of classic Hollywood fare.
Julia Misbehaves
(1948)
Agreeable 40s Romcom
25 April 2022
This is a slight story and it's obvious where it's going but the fun of it is the journey getting there as we follow the exploits and misadventures of the titular Julia, wittily and intelligently played by Greer Garson. She has good chemistry with Walter Pidgeon's masculine everyman type and the young pairing of Peter Lawford and Elizabeth Taylor are appealing enough, but what really makes this film is an embarrassment of riches in the ranks of the character actors present here. Lucile Watson and Mary Boland are shown to good effect as very different types of matriarch, Henry Stephenson and Aubrey Mather are fun as a twinkly Lord and a endearing vicar respectively and Reginald Owen, Edmund Breon and Fritz Field all have nice moments as a put upon pawnbroker, a cheery Scots ghillie and a money grabbing informant. But leading the field in this illustrious company are an amusing Cesar Romeo as a muscle bound, love-lorn acrobat and Nigel Bruce as a lecherous but still loveable old roue. Arguably the highlight of the film are the music hall scenes that include the acrobatic troupe, a cheeky contortionist and even a performing seal. Great fun.
The Perfect Alibi
(1930)
Of some interest but over talky and of its time
13 April 2022
Warning: Spoilers
Directed by Basil Dean and based on a play entitled The Fourth Wall by A A Milne, famous of course for Winnie the Pooh. It also marked the film debut of Jack Hawkins, but you'd have to be eagle eyed to spot him as a household servant. The problem with it is, it is more or less a stage play photographed for the screen and oustays its welcome in terms of running time. The story is simple and could easily be wrapped up in an hour but here it is 90 minutes with way too much dialogue and some mannered acting that is difficult to take seriously in this day and age. British film making in 1930 wasn't yet on a par with American production. Frank Lawton and Dorothy Boyd as the young romantics and amateur 'detectives' of the piece, are rather mannered and affected and Robert Lorraine as one of the bad guys, is intermittently good but can't help but over act on occasion. His partner in crime, Warwick Ward gives an interesting performance in that we see the guilty conscience of a murderer. There is an interesting idea of the police being a father and son team with the father (Tom Reynolds) being a local Constable and the son (David Hawthorn) being a Scotland Yard Sergeant. My main reasons for tuning in were Nigel Bruce and C Aubrey Smith but the former, simply billed as Major is given far too little to do and the latter is effective and brings his usual gravitas but is polished off far too early. Of the remaining cast, Ellis Jeffreys and Audrey Carten do a lot with a little.
Jalna
(1935)
Pedestrian but has moments of charm and humour
29 March 2022
John Cromwell is a name that is forgotten today but he was a good class actor/director who helmed a number of prestige projects with A list casts including Anna and the King of Siam, The Enchanted Cottage and The Prisoner of Zenda amongst other notable movies. He does good work here, too in the curiously named Jalna, which refers to the central family's house name. It is a quaint little piece and only runs an hour and 17 minutes and plays like a soap opera with moments of humour. The plot is pretty much centered on the young men of the house and the love triangles between them and the women they marry. Kay Johnson and Molly Lamont do well as the two women and Ian Hunter is quietly effective as the eldest brother but David Manners and Theodore Newton are rather insipid as brothers two and three. The slack could be taken up by top class character actors; C Aubrey Smith, Halliwell Hobbes and Willie Best, but they are sadly given too little to do (particularly Best who has less than a spit and a cough!). Hooray then for Nigel Bruce and Peggy Wood who do good work both together and apart as a couple who were destined to be together 20 years previous to the action of the piece and perhaps might get together yet. They share a wonderfully fun inebriated scene and Bruce is also in fine Baritone voice round the piano as well as delivering a decent pratfall. But the film is stole from under the noses of all by Jessie Ralph, memorable and funny as the 100 year old matriarch of the family with and without her talking parrot!
Lillian Russell
(1940)
Sanitised but highly enjoyable biopic
25 January 2022
Prolific actor/director Irving Cummings had past form with biopics and big musical extravaganzas and was also used to helming vehicles for big female stars such as Betty Grable, Shirley Temple and the leading lady here, Alice Faye. This is a lavish, big budget affair but a highly sanitised account of American songstress and actress Lillian Russell's life. She is depicted here as nothing short of a saint and though one wouldn't wish a hatchet job, it stops her from being a fully rounded, complex human being. That's not to say that Faye is bad, the fact we buy into this saintliness, shows how magnetic her presence is. Director Cummings marshalls a superb cast and does just enough with the musical segments without over egging the pudding. There are too many good performances for me to list them all here but in the main cast Henry Fonda is wonderfully earnest and Edward Arnold wonderfully hearty as two of her suitors, Helen Westley brings cheekiness and twinkle to Russell's grandmother and Leo Carillo is charismatic as the man who 'discovers' her and gives her her stage name. The support is no less good with Weber & Fields appearing as themselves and Eddie Foy Jr playing his own father in thoroughly enjoyable music hall skits (even though we don't really need them!). Una O'Connor also pops up and gives warmth to her role as a maid and finally, Nigel Bruce and Claud Allister are great fun as a bickering Gilbert & Sullivan who put you in mind of Waldorf & Statler! Bruce is on particularly good form, cantakerous but still loveable and funny. The duo have three short scenes and it is a pity we don't see more of them. Recommended viewing then but look elsewhere if ou want the true story!
Adventure in Diamonds
(1940)
Uneven style but when it's witty, it works!
24 January 2022
Warning: Spoilers
At only an hour and a quarter, this is evidently a B feature and despite its uneven tone it's a good watch with some lovely attention to detail in the character acting stakes. There is a great deal of wittiness and comedy to be found and when this is front and centre, it is a really enjoyable piece. One's attention drifts when it becomes po faced and takes itself too seriously, and we can certainly do without the in depth documentary style lecture on the refinement of diamonds. But the casting from the leads down to the cameos is exceptional. George Brent has an easy charm as a leading man and a good sense of humour. Certainly an underrated star, though Bette Davis realised his quality, he was her favourite leading man and appeared opposite her 11 times! Isa Miranda as the bad girl turned good, has exoticism, great chemistry with Brent and spars with him delightfully throughout. Chemistry is also shared between Brent and Nigel Bruce, the latter flitting between fun, roguish charm and stern authoritarianism. Elizabeth Patterson is also good value as an incorrigable old crim. One of the most enjoyable sequences is when Brent and Miranda are charged with infiltrating a diamond smuggling gang and are given the tip off that their contact is a whistler, which leads to some jolly mix ups, including a meeting with a dour old couple played by E E Clive and Vera Lewis in a gem of a comic cameo appearance. When they finally meet the real contact, it is Rex Evans, a pianist who specialises in comedic songs at the keyboard and even improvises his dialogue in the form of song in a real scene stealing turn. If you ignore the occasional jarring notes of style, there is a great deal to enjoy here.
Light romantic comedy a good showcase for Colman
24 January 2022
Warning: Spoilers
Based on a famous music hall song of the same name, the title of this film is fulfilled in the first scene! Ronald Colman clears the casino out and then gives a newspaper interview condemning gambling. The casino then puts Machiavellian plans into action to get him back into the casino and relieve him of his money. Colman is suave, debonair and has charisma as his middle name in this outing, sadly his co-star and the object of his affections, Joan Bennett does not match him and even taking into account the 'twist' in the plot, gives rather a cold performance. Colin Clive, 30's leading man and ever to be remembered as Dr Frankenstein, gives rather a one note performance as a conniving baddie and already looks a little care worn from the TB and chronic alcoholism that would lead to his demise just two years later. Nigel Bruce pops up now and again as Colman's right hand man and has his moments but the piece doesn't particularly play to his strengths. Colman as a Russian nobleman is quite preposterous anyway but he gets away with it with charm. The casino scenes are strong and at an hour and a quarter the film doesn't outstay its welcome.
The Mezzotint
(2021 TV Movie)
Slow burner but atmospheric...
25 December 2021
Warning: Spoilers
Christmas should be about ghosts and I was really looking forward to this new BBC ghost story for Christmas. Mark Gattis has a love for the genre and much past form in this area and I think this is his best effort to date as a writer/director for this strand. At only half an hour it is still a slow burner but this works in its favour as it builds atmosphere subtly and brings a sense of creeping dread. It is well cast, Rory Kinnear is very watchable as a stuffy English academic and Robert Bathhurst has some of the best lines of the piece, well delivered, as a friend. Frances Barber manages to be both amusing and slightly sinister and Tommaso Di Vincenzo brings a chilling physicality to the denouement (though perhaps we didn't need to see the face of the ghost?).
Carmilla
(2019)
A gothic horror film, undoubtedly but perhaps not a supernatural film
17 September 2021
Warning: Spoilers
I had the pleasure of seeing this on a big screen at Portsmouth's Making the Waves film festival with writer/director Emily Harris in attendance for a Q and A. She says it is loosely based on Sheridan Le Fanu's original novella of the same name but it is certainly true to the spirit of his tale of Sapphic vampires (interestingly pre-dating Stoker's Dracula). To start with, Harris's background in fine art is evident throughout and present in nearly every frame. It looks beautiful. From the muted candlelight of the interiors to the filtering sunlight of the exteriors to characters framed in windows or in nature. Speaking of nature, this is compared and contrasted with human nature and we get close ups of both in all its beauty and ugliness. It is superbly cast with newcomers Hannah Rae as a convincingly wide eyed innocent and Devrim Lingnau bringing a mesmerising, feline, otherworldly quality to the title role. They anchor this tale of female sensual awakening superbly and they are backed by the better known names of Jessica Raine and Tobias Menzies, the former bringing an effective cold puritanism to the proceedings and the latter an incisive charisma. If there are any monsters in this film they are them, carrying out a horrific act based on scant evidence and like many wrongs in the world, 'for the best of reasons'. Greg Wise also has good moments as the patriarch of the house. The ambiguity of whether Carmilla is or isn't a vampire is judged perfectly-she rises late, has a fetish for blood, a dog is unsettled by her, her choice of reading matter seems to consist of black magic and eroticism and her 'victim' seems to be drained of life and vigour (and we have hints she might have been responsible for the fate of another young maiden) but we have cheeky little nods to vampiric movie tropes when we see her reflected in a mirror, handling a cross and walking in clear daylight. One gets the feeling the film maker is saying she is not but still leaving it up to us to decide. Shades of The Turn of the Screw and My Cousin Rachel occur to one. This film won't be for everyone, it is a slow burner, which I feel works in its favour, but may be exasperating to some and if you are expecting horror, it is certainly present, not in a supernatural form but in a more chilling, human one. The nod is given in some Freudian dream scenes featuring bloodletting and a mysterious man who turns out to be the acceptable face of magic, a village conjuror (Scott Silven). It certainly has all the trappings of a superior gothic drama and is a fresh and exciting addition to the genre. Previous film versions based on the novella include Hammer's The Vampire Lovers which is closer, bizarrely, to the original story, but it has an exploitative undertone that makes this subtler and more pensive film truer to the spirit of Le Fanu's piece.
Lord Camber's Ladies
(1932)
Interesting film oddity
30 June 2021
For all sorts of reasons, film buffs will find this an interesting piece. The only film produced by Alfred Hitchcock and not also directed by him. The named director, Benn W Levy was actually a writer and this was his sole screen directing credit which makes one muse as to how little creative control he may have had and how much Hitchcock did. Certainly there are odd Hitchcockian flourishes such as Lady Camber's face collapsing into the frame. It is also a rare chance to see two giants of the British stage on screen in Gerald Du Maurier and Gertrude Lawrence and we get a glimpse of their talent, certainly the latter, though it is clearly not their preferred medium. It is also a rare leading role for Nigel Bruce, sort of the title role as Lord Camber (along with Benita Hume and Lawrence as the titular ladies), before he became the silver screen's most loved Dr Watson. This is also the first of his three films with Hitchcock-Rebecca and Suspicion were far superior of course and those films exhibited him at his very best. Here he is a roguish philanderer and a brute, very unlike his usually benign, and comedic types. Oddities aside though, this is a simple and rather melodramatic tale of a love triangle with a crime angle based on a hit play of the time. It is rather dated and the sound, primitive and its 80 minute run time seems longer. The four above mentioned leads all do good work without being outstanding and Claire Greet is warm in support but all the assembled artists had done better work or would would go on to do better work.
Escape!
(1930)
Well photographed and fun little chase picture
29 June 2021
An early Ealing chase thriller starring Gerald Du Maurier. Made in 1930, it has some of the typical stilted screen acting of that period and Du Maurier also pulls out some rather theatrical gestures, too, on occasion. What sets this apart to a degree, is how well filmed it is with meaningful close ups, shadow and camera special effects. There is also a vein of humour that runs through it and at times it feels like an early run at Hitchcock's The 39 Steps. Du Maurier, though not a natural screen actor, is very watchable and the characters he runs into are rather fun, everything from a hooray Henry to spunky young lasses and a empathetic man of the cloth. Of course, despite being a convict he is a thoroughly decent English gent and there are those who try to help and those who try to hinder him after his prison break. Of the latter, Nigel Bruce has a nice little turn as a Cornish constable who arrests him, complete with an authentic accent.
So So Mountain Melodrama
29 June 2021
Directed by Henry Hathaway, most famous for True Grit and with a true film acting heavyweight in Henry Fonda, one might expect more of this. Fonda is actually only billed third in this but adds some gravitas and poignancy as one third of a love triangle that also involves Sylvia Sidney and Fred MacMurray. Sidney as the nominal star is alternately affecting and irritating in her emotional scenes but is watchable and has presence throughout, whereas MacMurray is square jawed and masculine as the outsider who gets caught up in the middle. The plot concerns an age old feud between mountain families the Tollivers and the Falins and riches that come their way when the railroad wishes to gain a path through their territory. In the supporting cast "Spanky" McFarland of Our Gang fame, is fun as a junior member of the Tolliver clan, Fuzzy Knight is amusingly eccentric and in good voice as Tater and Nigel Bruce, though mostly sidelined has a couple of amusing moments as MacMurray's right hand man.
Suez
(1938)
Workmanlike Biopic
17 June 2021
Warning: Spoilers
Director Allan Dwan evidently had a good work ethic, with over 400 screen credits to his name! On reviewing those credits, nothing really jumps out and impresses you. The same can be said for this biopic; workmanlike and though it has its moments, not particularly engaging. Leading man, Tyrone Power is likeable but lacks a certain je ne sais quoi, perhaps charisma? The film suggests the sweep of history when we are introduced to the likes of Napoleon III, Disraeli, Victor Hugo and Franz Liszt but doesn't offer much dimension in the person of Ferdinand De Lesseps, who's brainchild the Suez Canal was. And the script is to blame here as much as Power. His 'love' interests are portrayed by Loretta Young and Annabella and there is more chemistry between him and the latter, undoubtedly due to their marriage in real life. But she also brings a sensual cheekiness and a zest to her role and we miss her after her demise, which makes her voiceover at the end of the picture even more poignant. For my money, she steals the show. The other major plus point is the special effects, particularly in the devil wind that wreaks havoc amongst the protagonist and his workers and nearly scuppers the plans for the titular canal. The supporting cast has a number of major character names of the period such as Nigel Bruce, Henry Stephenson and George Zucco but they are given little opportunity or material with which to shine. Faring slightly better are Sig Ruman in an amusing turn as an army sergeant trying to keep his greying hair under control with dye and Miles Mander as the foxy, aforementioned Disraeli.
Hong Kong
(1952)
Influencer/forerunner of Indiana Jones!
11 June 2021
Not a great film in its own right but it certainly was responsible for a later greater franchise of films starting with Raiders of the Lost Ark. A brief checklist proves the point: fedora and leather jacket wearing hero that is a good, all action guy but sometimes strays into morally grey areas? Check. His name is Jeff Williams but his love interest comes from Indiana, so substitute another Welsh name for his surname and add a bit of geography and we have Indiana Jones. An orphaned oriental boy as his sidekick? Check. A feisty heroine and romantic interest that joins him on his adventures? Check. Dastardly foreign villains? Check. A sought after golden statuette? Check. A plane running out of fuel that is forced to 'crash' land? Check. Actually this is a fun little film and largely because of noting all these influences and Director/co-writer Lewis R Foster was no slouch having directed a number of early, classic shorts starring Laurel and Hardy. Ronald Reagan and Rhonda Fleming in the leads are both likeable and have decent chemistry together and Nigel Bruce and Mary Somerville, as an older upper crust couple and Claud Allister as a beleaguered Hotel manager, all add moments of welcome, gentle comedy. As it is set in Hong Kong, we would expect to see a number of Asian actors in prominent roles but that is not really the case. Danny Chang is the moppet, Wei Lin who adds heart to the story and Marvin Miller is a suitably oily Eastern bad guy. But the stakes never feel particularly high and it relies too much on obviously stock footage. That said, it passes an hour and a half of time agreeably enough.
Badland
(I) (2019)
Low budget oater with starry cast and good action
16 May 2021
Warning: Spoilers
There is no doubt this is a low budget independent Western. It is evident sometimes in the production design and first and foremost in an often clunky sounding and amateurish script. That it deals in clichés is less troublesome because aficionados of oaters, in which I count myself, not only don't mind cliche in this genre, they positively welcome it. And in this piece, you can tick them off easily, bad guys greedy for land, a corrupt sherriff, backed by an army of deputies, holding down a town by provoking fear with violence, gunfights (complete with close ups of eyes and henchmen who break cover to put themselves in the line of fire) , fist fights, wise native Americans and of course a protagonist that speaks low, speaks slow and doesn't say too much, rather letting his prowess with firearms, do the talking for him. In this role, Kevin Makely is channeling Clint Eastwood all the way down to his cheroot, albeit not as convincingly or as effortlessly coolly. He is the star and essays the role of a Pinkerton detective, sent by a governor, to bring Confederate war criminals to justice, played by respectively Trace Adkins, Bruce Dern and Jeff Fahey. The cast is packed with name actors, nearly all of whom have previous western form and/or make their mark in this one. The big, gravelly voiced country and western star, Adkins, makes an immediate impact in an exciting prologue which ends in a gun battle. Wes Studi brings gravitas to a bounty hunter that is set up as a potential nemesis but becomes a Samaritan, James Russo glowers as a bad guy and Candyman's Tony Todd is wasted in an extraneous role as a senator. Given slightly more to do are Dern and the Oscar winning Mira Sorvino as a father and daughter, the former, part of the hero's quarry and the latter, a romantic interest for the said hero. Both bring depth to the proceedings and manage to make a silk purse out of a sow's ear of a script. Jeff Fahey, too, as an evil sheriff, brings presence in the form of insouciant menace and deadly proficiency with firearms. His finale duel with Makely, refreshingly sees them both hit the deck as they discharge their pistols simultaneously on target. To summarise then, an excellent cast and good action manages to save a poor script. Director Justin Lee is clearly a fan of the genre and makes it all very watchable. Not the best Western you will ever see but it will fill a gap for fellow horse opera followers until the next one comes along.
Son of Lassie
(1945)
Lassie or should I say Laddie (?) Vs the Nazis!
9 May 2021
Warning: Spoilers
Universal had been producing films with titles such as Son of Frankenstein and Son of Dracula in the 40s so MGM got in on the act to produce their Lassie sequel, Son of Lassie. As the title suggests, though, it is her offspring, Laddie who is our focus, though as he is played by Pal who played Lassie in the original film, Lassie Come Home, that point is immaterial. Peter Lawford and June Lockhart play the young adult roles that were originated, as children, by Roddy McDowall and Elizabeth Taylor in the previous film. Lawford is likeable enough and is most watchable whilst delivering comic prat falls in the early part of the film. He, Laddie, Eily Malyon and a washing tub and line provide some amusing slapstick comedy as does a collision with Lockhart and a cake leading to a brilliantly funny line from Nigel Bruce: "Bloomers cause rumours!" (more on him, later). Lockhart is sweetness personified as Lawford's romantic interest. Donald Crisp returns as Lassie's owner and brings warmth to the table as well as a great characterful face, unfortunately his Yorkshire accent is as terrible as ever! The other returning cast member is the aforementioned Nigel Bruce as the Duke of Radling. He, of course, famously played Dr Watson in 14 films for Fox and Universal and this is the only other recurring role of his film career. He brings delightful comic disgruntlement and avuncular twinkle to the role and the film loses something when the action moves from England to Norway. Gentle comedy and romance is replaced with derring do as Lawford's plane crash lands in Scandinavia and he and Laddie find themselves on the run from the occupying German forces. We know they are despicable Nazis because they shoot and wound Laddie! Before being reunited with his master, Laddie is temporarily adopted by a group of local children who name him Mr Simply and a freedom fighter (Well played by Nils Asther). The interesting thing about the canine hero of this film is he is originally written off as lacking in intelligence and does, from time to time drop his master into trouble, inadvertently. But the message of true love overcoming and a underdog (literally!) coming through and having his day, are warmly presented without too much of a a sacchariney feel. There are also nice turns from Moreton Lowry as a blind P. O. W and Robert Lewis as a chubby German sergeant with an inferiority complex. Colourwise, the film is gorgeous to look at and it is good enough fare for an afternoon's viewing.
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