I've always despised Ayn Rand's philosophical ideas, so I avoided watching "The Fountainhead". I finally saw it today, and was shocked. As expected, it promoted her toxic viewpoints, but I was surprised to find that it is also a truly awful film. The screenplay (by Rand based on her novel) is ridiculous: the situations are absurdly extreme and the characters are nothing more than cardboard cut-outs who exist only to espouse Rand's ideas. Seriously, how could Cooper and Neal read that dialogue, which sounds like a high-schooler wrote it? Word is that Lauren Bacall was going to be cast, but backed out (probably after she read the hopelessly embarrassing script). How did this ever get made??
Reviews
16 Reviews
Unwatchable
9 September 2013
I tried watching this for awhile....but Mark Cousin is such a horrible narrator I had to give up. Not only is the language florid, but he goes up on the end of each and every sentence! Each one sounds like a question. It's so annoying that you want to stick your fingers in your ears. What a bad choice. A narrator for such a long series as this is critical, and it's literally impossible to listen to him for hours on end. In addition, much of the material covered has been covered better elsewhere. Perhaps with a better narrator I could slog through it, but I just couldn't take it with is voice droning on and on. Maybe I should try with the sound down and closed captioning on!
Great casting
24 September 2012
I have to disagree with the poster who wrote that Dean Stockwell doesn't look remotely Japanese. It was great casting, as Stockwell's eyes didn't require that much makeup to look Asian, and the work that was done on them was done extremely well. In fact, I caught this episode on TV in the middle and thought that they had cast a Japanese actor in the second part! The episode itself falls prone to Serling's not uncommon habit of hitting you over the head with his point. The American Stockwell and the Japanese commander are so extreme as to be cardboard cutouts. But I guess subtlety wasn't really the point of "The Twilight Zone".
Night Flight
(1933)
I can see why Saint-Exupéry pulled his rights...
11 August 2012
Other than a couple of tense flying sequences, it's pretty much a wasted 84 minutes of your life. John Barrymore has some fun chewing up the scenery, but the rest of the cast is wasted in clichéd melodrama. Lionel Barrymore scratches himself constantly in a vain attempt to give his character some defining quality. Helen Hayes plays a typical wire waiting for her man. Myrna Loy has basically one scene, playing the wife sending her man off. Clark Gable appears only in the cockpit and has about five lines, I think. Robert Montgomery probably has the most fleshed-out character, but in the end even he remains a cypher. Not all lost films are great...
A missed opportunity
8 May 2011
I thought the conceit of the film was to juxtapose a micro budget with a lush symphonic score and Godardish realism with tap dance numbers, but that never really happens. The musical numbers are few and far between, and the only real one (Boy in the Park) doesn't come until 3/4 of the way into the film.
If you establish a premise in a film (characters break into song to express their feelings), you must be true to it, not afraid of it. It felt like the filmmaker couldn't decide whether to go all the way - I wish he had. It would've made for a far more watchable film. What we get is a film that is unsatisfying for those watching for the fantasy and for those watching for the realism.
If you establish a premise in a film (characters break into song to express their feelings), you must be true to it, not afraid of it. It felt like the filmmaker couldn't decide whether to go all the way - I wish he had. It would've made for a far more watchable film. What we get is a film that is unsatisfying for those watching for the fantasy and for those watching for the realism.
Behind the Lines
(1926)
Refreshing
17 May 2008
This is one of the most watchable of the Vitaphone shorts included on the Jazz Singer DVD. Elsie Janis has an unaffected style and interacts with the soldiers in a natural manner. The songs are fun, as is the idea of pulling soldiers out of the crowd to share the stage with her. The soldiers demand a French song, and she tries it but doesn't know the words, so a French soldier is dragged on stage. It's strange that they don't sing together, but he does a good job. She then sings an American song, which includes these lyrics: "The Jews and Wops and the Burly Irish cops are all in the Army." She tells the troops she'll sing and then dance if they sing the second verse, but adds, "If you don't sing, I don't hoof!" One of the few shorts I didn't feel the need to use the fast-forward button to get through.
The Real Glory
(1939)
Offensive on so many levels!
14 July 2007
This film is typical of American films that present us as benevolent occupiers rather than the aggressive colonizers we were.
Contrary to the film's assertion, Filipinos were not simple people who were happy to have Americans occupying their country. The bloody Philippine-American War, during which Filipinos fought for their independence, lasted for four years. Some Americans, including William Jennings Bryan, Mark Twain, and Andrew Carnegie, strongly objected to the annexation of the Philippines. The U.S. declared victory in 1902, but in the south, Muslim Filipinos resisted until 1913, and the Americans never acquired complete control over the Muslim areas of Mindanao.
The word "moro" used in the film to refer to the Muslims is a pejorative term used by the non-Muslim (i.e., Christian) majority, and Muslims o that time would not call themselves "moro." While it is historically accurate that there were Muslims pirates that attacked coastal villages, this film represents most Muslims as "native devils" and the non-Muslim Filipinos s as frightened children who need brave Americans to teach them courage. The reality is that Muslim Filipinos refused to be subjugated by American rule and fought a drawn-ought guerrilla war, the first of its kind in modern history and the only kind possible when faced with the wealth and power of the U.S colonial machinery.
When you are fighting against troops that are illegally occupying your country, is that a rebellion or is it self-defense? The current situation in Iraq shows that not much has changed over 100 years later.
Contrary to the film's assertion, Filipinos were not simple people who were happy to have Americans occupying their country. The bloody Philippine-American War, during which Filipinos fought for their independence, lasted for four years. Some Americans, including William Jennings Bryan, Mark Twain, and Andrew Carnegie, strongly objected to the annexation of the Philippines. The U.S. declared victory in 1902, but in the south, Muslim Filipinos resisted until 1913, and the Americans never acquired complete control over the Muslim areas of Mindanao.
The word "moro" used in the film to refer to the Muslims is a pejorative term used by the non-Muslim (i.e., Christian) majority, and Muslims o that time would not call themselves "moro." While it is historically accurate that there were Muslims pirates that attacked coastal villages, this film represents most Muslims as "native devils" and the non-Muslim Filipinos s as frightened children who need brave Americans to teach them courage. The reality is that Muslim Filipinos refused to be subjugated by American rule and fought a drawn-ought guerrilla war, the first of its kind in modern history and the only kind possible when faced with the wealth and power of the U.S colonial machinery.
When you are fighting against troops that are illegally occupying your country, is that a rebellion or is it self-defense? The current situation in Iraq shows that not much has changed over 100 years later.
Double Harness
(1933)
Ann Harding rocks!
4 April 2007
Just saw this on TCM and I have to say I was floored by Harding's performance, who I saw here for the first time. It takes real talent to act in melodramatic scenes and deliver them so naturally that the viewer never questions your authenticity. Harding adds hundreds of little touches - a gesture here, an eye movement there, that make her performance show you what natural acting is all about. In fact, she makes everyone else pale by comparison - Powell is his usual charming self, but next to Harding he comes off as a typical Hollywood performer. And talk about sophistication! Harding has to be the ultimate in "cool". I can only guess the reason she didn't become as big as Hepburn or Davis is that she didn't fight for better films. I'll be sure to look for more of her work soon.
John Henry and the Inky-Poo
(1946)
Disappointing apology
24 October 2006
I'm a huge fan of Pal's Puppetoons - they remain some of the most outstanding examples of animated films ever made. But this later work appears to have been done mainly to make amends for Pal's series of "Jasper" films, which feature such strong racial stereotypes it is impossible to show them on television today.
"John Henry," while presenting African-Americans in a more favorable light, displays little of the inventiveness and style of Pal's earlier works. Perhaps concerns about being offensive limited his artistic choices. Whatever the reason, this is not one of his better works. Check out his earlier films, made in Holland and England, for extraordinary flashes of brilliance.
"John Henry," while presenting African-Americans in a more favorable light, displays little of the inventiveness and style of Pal's earlier works. Perhaps concerns about being offensive limited his artistic choices. Whatever the reason, this is not one of his better works. Check out his earlier films, made in Holland and England, for extraordinary flashes of brilliance.
Between Time and Timbuktu
(1972 TV Movie)
Could PBS ever do something this bizarre today?
8 August 2006
I was mesmerized by this strange film back in 1972, and it lingered in my memories for years until I was finally able to view it a few months ago. The parts that I recall held up beautifully, especially Bob & Ray's work (which was largely ad-libbed). Some of the Vonnegut stories work, some don't: the "Handicapper General" piece is quite scary and all too real, as is the section about ethical suicide parlors. But in the end it's Elliot and Goulding (and Hickey) who save the day.
I still can't think about "ex-astronaut Bud Williams, Jr." telling his story about Tang without smiling. Wish they would release this on DVD (and another early NET special - America, Inc. with Jean Shepherd).
I still can't think about "ex-astronaut Bud Williams, Jr." telling his story about Tang without smiling. Wish they would release this on DVD (and another early NET special - America, Inc. with Jean Shepherd).
The Late Late Show with Craig Kilborn
(1999–2004)
What a waste of talent
14 October 2005
I was a huge fan of Kilborn when he hosted "The Daily Show" - his spot-on impersonation of a pompous anchor meshed perfectly with the dumb-as-a-doorknob "correspondents" on the show. In fact, I initially disliked his replacement, Jon Stewart, because he didn't play a character, as Craig had.
But when Craig essentially brought that same character to The Late Late Show, I was skeptical. You can't be a snotty talk-show host - it just doesn't fit. Still, I watched because of Craig. But then I began noticing the that the show was shamefully pandering to TV's favorite audience: 18-34 year old males. It seemed like every joke, every guest, every bit, was designed to appeal to that group alone. Soon the humor got stale and I found myself forgetting to tune in. Eventually, I stopped watching altogether.
At the same time, Jon Stewart elevated "The Daily Show" to a pinnacle of social and political satire and commentary, something unseen since "That Was The Week That Was." And Craig disappeared. It's too bad for him that he left the spot that he was perfectly suited for, but good for us, since Stewart has created an entirely new, and better, show.
Good luck, Craig, wherever you are - next time I hope you'll drop the pandering in favor of pushing the envelope, as you did on "The Daily Show."
But when Craig essentially brought that same character to The Late Late Show, I was skeptical. You can't be a snotty talk-show host - it just doesn't fit. Still, I watched because of Craig. But then I began noticing the that the show was shamefully pandering to TV's favorite audience: 18-34 year old males. It seemed like every joke, every guest, every bit, was designed to appeal to that group alone. Soon the humor got stale and I found myself forgetting to tune in. Eventually, I stopped watching altogether.
At the same time, Jon Stewart elevated "The Daily Show" to a pinnacle of social and political satire and commentary, something unseen since "That Was The Week That Was." And Craig disappeared. It's too bad for him that he left the spot that he was perfectly suited for, but good for us, since Stewart has created an entirely new, and better, show.
Good luck, Craig, wherever you are - next time I hope you'll drop the pandering in favor of pushing the envelope, as you did on "The Daily Show."
Girl Crazy
(1943)
The Best Gerswhin score is given the MGM treatment
3 July 2005
Put aside any preconceptions about "Mickey and Judy" movies. In fact, put aside the film entirely. It's watchable, but who cares? The reason to see this film is for the fantastic arrangements of some of Gershwin's best songs.
Hugh Martin and Ralph Blaine, soon to be famous for their score for "Meet Me in St. Louis," gave the Gershwins' score (their best show), the five-star treatment with fantastic vocal arrangements - though I'm sure Roger Edens also had a hand in there.
What you get are versions that make these great songs sound even better. "Bidin' My Time," which can be a sleeper if done badly, turns into a rich counterpoint between Judy and a male quartet. "Embraceable You" is given an easy, lightly swinging full choral arrangement after Judy has her turn, and "I Got Rhythm" is taken over the top with Tommy Dorsey and the "Six Hits and A Miss" backing Judy perfectly.
But the piece de resistance is Dorsey's arrangement of "Fascinatin' Rhythm," presented first as a typical swing arrangement (and a great one at that), and then with Mickey playing (appearing to play, actually), a piano solo a la Gershwin's "Variations on I Got Rhythm," complete with hand-crossing and all George's piano tricks - fantastic! Add to this Judy's painfully tender version of "But Not For Me," June Allyson's debut performance of "Treat Me Rough," and you have one of the best film scores ever. ("Bronco Busters," unfortunately cut from the film, is available on CD - in stereo, as are all the tracks.)
If you are a Gershwin fan, this film is a treasure. Thank god they didn't throw out the best songs, as was done a few years earlier when Rodgers & Hart's equally impressive score for "Babes In Arms" was butchered for that film. I guess you had to be dead before your work was treated with respect in Hollywood!
Hugh Martin and Ralph Blaine, soon to be famous for their score for "Meet Me in St. Louis," gave the Gershwins' score (their best show), the five-star treatment with fantastic vocal arrangements - though I'm sure Roger Edens also had a hand in there.
What you get are versions that make these great songs sound even better. "Bidin' My Time," which can be a sleeper if done badly, turns into a rich counterpoint between Judy and a male quartet. "Embraceable You" is given an easy, lightly swinging full choral arrangement after Judy has her turn, and "I Got Rhythm" is taken over the top with Tommy Dorsey and the "Six Hits and A Miss" backing Judy perfectly.
But the piece de resistance is Dorsey's arrangement of "Fascinatin' Rhythm," presented first as a typical swing arrangement (and a great one at that), and then with Mickey playing (appearing to play, actually), a piano solo a la Gershwin's "Variations on I Got Rhythm," complete with hand-crossing and all George's piano tricks - fantastic! Add to this Judy's painfully tender version of "But Not For Me," June Allyson's debut performance of "Treat Me Rough," and you have one of the best film scores ever. ("Bronco Busters," unfortunately cut from the film, is available on CD - in stereo, as are all the tracks.)
If you are a Gershwin fan, this film is a treasure. Thank god they didn't throw out the best songs, as was done a few years earlier when Rodgers & Hart's equally impressive score for "Babes In Arms" was butchered for that film. I guess you had to be dead before your work was treated with respect in Hollywood!
The Mascot
(1933)
Now available for download!
27 August 2004
There is a complete copy now available at the Internet Archive - watch it or download it today!
http://www.archive.org/details/The_Mascot_Complete
One of the greatest animated shorts ever made. Starewicz is endlessly inventive and his techniques still astound animation fans 70 years later. We may have computer-generated techniques now, but all he had in 1934 was an imagination that wouldn't take "no" for an answer. Whatever he wanted to see on the screen, he created.
And he wanted to see some truly bizarre stuff - every imaginable piece of scrap is called up for service: old shoes, chicken bones, utensils, broken glasses, dolls, monkeys, rats....seems like there was nothing that was off limits.
A truly eerie, even unsettling film that should be seen by anyone with even a passing interest in animation. This film must be seen to be believed!
http://www.archive.org/details/The_Mascot_Complete
One of the greatest animated shorts ever made. Starewicz is endlessly inventive and his techniques still astound animation fans 70 years later. We may have computer-generated techniques now, but all he had in 1934 was an imagination that wouldn't take "no" for an answer. Whatever he wanted to see on the screen, he created.
And he wanted to see some truly bizarre stuff - every imaginable piece of scrap is called up for service: old shoes, chicken bones, utensils, broken glasses, dolls, monkeys, rats....seems like there was nothing that was off limits.
A truly eerie, even unsettling film that should be seen by anyone with even a passing interest in animation. This film must be seen to be believed!
Bye Bye Birdie
(1963)
Hollywood makes a Broadway classic its own
20 August 2002
The vitriol below from fans of the Broadway original is absurd. Yes, this is not a filmed version of the stage play - GET OVER IT! What we have is a funny, smart, classic film musical that gets virtually everything right. Dick Van Dyke reprises his Broadway role while at the peak of his career, Paul Lynde gives his best film performance, Maureen Stapleton milks her part for all it's worth, and Ann-Margret is simply astounding! The only casting error is Janet Leigh - but they needed a name, since everyone else in the cast was unknown at the time. While Leigh gives a solid performance, songs had to be cut since she could sing only with difficulty. But this is a minor flaw - everything else about this film is spot on, as demonstrated by the sad effort to redo it for TV in 1995. It captures the era perfectly - of course, it's dated: it's about America in the early 60s! If it wasn't dated, it wouldn't work! So if you haven't seen it, get it - I just watched in in NYC's Bryant Park with thousands of jaded New Yorkers, and it won over that audience completely. Enjoy!
The Judy Garland Show
(1962 TV Special)
Wow!!
3 March 2002
Just saw this on PBS, and I was blown away. I'm used to seeing Judy on her CBS show, which premiered the next year - with her voice sometimes showing the strain of years of abuse. But in this color special, she is in outstanding voice. The big notes are strong and clear, and she belts them like there was no tomorrow. If you want to see what Judy was like at the peak of her concert career, this is the tape to own.
Judy sings: Just in Time, When You're Smiling, Let There Be Love, You're Nobody Till Somebody Loves You, The Man That Got Away, among others, and then closes with a classic medley of: You Made Me Love You, The Trolley Song, Rock-a-Bye Your Baby, Swanee, and San Francisco.
Oh yeah, there are two guys named Frank and Dean who also sing some numbers with her...
Judy sings: Just in Time, When You're Smiling, Let There Be Love, You're Nobody Till Somebody Loves You, The Man That Got Away, among others, and then closes with a classic medley of: You Made Me Love You, The Trolley Song, Rock-a-Bye Your Baby, Swanee, and San Francisco.
Oh yeah, there are two guys named Frank and Dean who also sing some numbers with her...
Kukla, Fran and Ollie
(1947–1957)
The first great TV puppet show!
18 May 1999
"Kukla, Fran and Ollie" premiered on October 13, 1947 and had a continuous run until 1957. The Kuklapolitans continued to appear on television in various shows: "Kukla and Ollie" in the early 60s, and as hosts of The CBS Children's Film Festival from 1967 to 1984. They also had a show on PBS in the early 70s, and appeared in specials in the 70s and 80s. Burr Tillstrom created and performed all the characters and they still seem real to me today!
Tell Your Friends