guidon7 Reviews

Bad Lands (1939)

And Then There Was One -- Pod'ner

[7/10 · 3 November 2009]

I watched Bad Lands on TCM during the wee hours this morning and was favorably impressed with this remake of 1934's The Lost Patrol, so like it in many ways, however this time in a Wild West setting.

I found it enjoyable to watch many 30's & 40's villains play against type as heroes instead of their usual nasties. On the other hand Noah Beery, Jr. to my knowledge, played a bad guy for the only time in his film career. Noah was not the son of actor Wallace Beery, but of noted silent screen villain Noah Beery, Sr., Wallace's brother.

Anyone notice that actor Douglas Walton played in both Lost Patrol and Bad Lands? In Patrol he was the first of Sgt. Victor McLaglen's troopers to die, while somehow in Bad Lands he managed to be the last of Sheriff Robert Barrat's posse to bite the dust. One might say this to have been poetic justice, I suppose.

Oh yes, I wish to mention 6-footer John Payne,outrageously miscast as the Indian, Apache Jack. Let's face it: Geronimo he was not.

Gilda (1946)

It Just Ain't So

[10/10 · 12 August 2009]

Before I get to the main point of my comment let me first say that Gilda is without doubt one of Hollywood's greats, this due in no small measure to Hayworth, Ford and Macready who give the performances of their lives.

I note that some have claimed here that a homosexual relationship exists between Johnny (Ford) and Ballin (Macready), even so far as to include Ballin's sword-cane in the relationship. (Dr. Freud, please take note.) However, I maintain this premise to be totally false.

While these claims may just be a misunderstanding by those who make them, nevertheless I do have to wonder: could it be instead that those who make the claims have an agenda of their own to promote?

Timewise, as late as the 1946 Gilda at least, loyalty was alive and well and still considered a virtue by a majority of Americans. Alas, in today's world loyalty no longer seems to be held in such high regard; instead, in my estimation anyhow, examples of loyalty seem to be viewed with skepticism along with unfounded suspicions that ulterior motives are in play.

The relationship between these two is in fact a strong bond of friendship and loyalty; nothing more, nothing less. In spite of the obviously false attempts to read something else into Johnny and Ballin's relationship, I am sorry -- homosexuality is just not there.

The Live Ghost (1934)

Two Minds Without A Single Thought

[27 December 2008]

When the L&H Fan Club "The Sons of the Desert" was formed in the early 1960's, Stan, who had sustained a crippling stroke, nevertheless gave his blessing to the formation of the club and supplied the motto for it, which I have repeated above. (Another of his witticisms which I like is "You can lead a horse to water, but a pencil must be lead").

Theo Robertson in his comment above wondered whether either of the boys were fishermen. I don't believe Hardy was but Laurel in his younger days was a keen big game fisherman and fished regularly off Catalina Island for swordfish or marlin. Catalina Island, Theo, is about an hour boat trip from Los Angeles, for your information. He loved the water and had his own boat in those days.

In 1962 I visited Stan at his apartment in the Oceana Hotel in Santa Monica. A wonderful experience and a fond memory for this writer. One question I asked him was about Walter Long, the villain of villains in many of their films. His reply was that surprisingly, Long was one of the mildest men he had ever known and absolutely would not hurt a fly. That came as a big surprise for me.

Blade Runner (1982)

"He say you Brade Runnah, Mistah Deckah!"

[10/10 · 14 July 2008]

Phew! Looks like I got out of L.A. just in time.

What can I say about this gem that hasn't been said before? I'll try, nevertheless. How about -- THE science-fiction masterpiece against which all others have to be measured; a film that, remarkably, just seems to get better with each successive viewing. Having said that, I do have two comments/questions that (heaven forbid) appear to be the only major gaffes in an otherwise wonderous achievement in film-making.

1. The four year lifespan is winding down for our visiting renegade androids. They have only scant hours in their brief lives remaining to them. Why then is it an obsession with the paranoid authorities that these "elderly replicants" be located and retired post haste?

2. In the alternate ending Deckard and Rachel drive off into an idyllic paradise that is apparently just outside Los Angeles. Here I question what prevents the residents of contaminated, polluted L.A. from hopping on their bicycles or into their ancient Chrysler Imperials, etc., abandoning their hellish city and following Deckard and Rachel's tracks to the mountain paradise of Big Bear, or whatever destination it may be, that our hero and his replicant heroine flee?

Are these just goofs or have I missed something here? After all I've only seen the film 5-6 times.

The Thief of Bagdad (1940)

It's One of a Kind -- This Thief of Bagdad

[10/10 · 7 June 2008]

Am now the proud possessor of a DVD Thief of Bagdad version which has been digitally transferred. What a pleasure it is to watch, in spite of the fact that I have seen it easily 20 times, on the first occasion 68 years ago. Despite the color film being in its infancy and special effects rather crude in comparison to that of today, the effects of both are remarkably and convincingly well done. The clarity and color of this version have only enhanced the value of this singular film that dates from the Golden Age of Filmdom.

Conrad Veidt -- that incomparable film villain, Princess (June Duprez) more beautiful here, I am convinced, than Elizabeth Taylor ever was; genie Rex Ingram and of course the little "Thief" Sabu, only a short time before tending the elephants of the Sultan of Mysore, along with the rest of the cast, do a splendid job. Miklos Rozsa's musical score has to be one of the best in the annals of filmdom. I believe he won an Academy Award for it. All this and much more contribute to the ultimate in fantasy/escape cinema -- and who doesn't need escape these days, an item all too rare in contemporary films.

Including interviews, outtakes, and eclipsed scenes plus a wartime Brit propaganda film, undertaken and completed with Korda's crew due the delay in completing "Thief" because of wartime problems, make this Criterion Collection version a steal at about 40 dinars -- I mean 40 dollars. Could it conceivably be any better? The answer is Yes, it could -- on a full size screen in a darkened movie theater. Sadly, I must concede, something I am not going to hold my breath waiting for.

Fall of Eagles (1974)

A Momentous Turn in World History

[11 February 2008]

I was very impressed with Fall of Eagles. And what a distinguished cast of British actors!! (Including the German Curt Jurgens in a masterful performance as Prince Otto von Bismarck.) A contributor above remarks on the influence of General Ludendorff, not so much on World War One it would seem, but rather by his association with Adolf Hitler in the days after the Great War. While Ludendorff's impact during WWI was very great, the old man's influence afterwards was really only as a figurehead, a minor player, as an early adherent of Hitler.

One must keep in mind the condition of the German people at this period. The British sea blockade of Germany was not lifted until many months after the war had ended. The German people were starving and freezing. The Versailles Treaty demanded huge reparations from a prostrate Germany and limited the nation to a mere 10,000 man army, this with belligerent neighbors surrounding it, all eager for a piece of the helpless German state. Communism tried to gain power but failed in postwar Germany -- this not from any lack of effort on the part of the Communists themselves, but rather, I believe, that Marxist ideology itself does not have appeal to the German people per se. The successive Social Democratic governments were helpless to relieve the agony of the people. Is it any wonder that after the failure on the part of totalitarian Communism and the failure of democratic, liberal governments that, in their distress, the German people flocked to Hitler's banner, he who denounced and rejected the Versailles Diktat and who started the economy rolling again, meaning bread and jobs, where all these other political ideologies had failed so miserably?

I maintain that the rise of Hitler and all that followed in his wake was the direct result of the crushing demands by the victorious Allies forced upon a helpless nation in defeat. The victors of the First World War then, bear ultimate responsibility for Adolf Hitler's accession to power.

None of the above, however, detracts from this fine mini-series, the praises of which are not only from me, but also the other contributors here. Personally, my only criticism would be that rather than the archaic film clips shown from time to time throughout the production it would have been wiser instead to utilize Michael Hordern's commentary where deemed necessary for story continuity.

I, Claudius (1976)

"Wait Your Turn!"

[10/10 · 16 January 2008]

What could I possibly add to the laurels that "I, Claudius" has already accumulated? Along with ancient Rome's great generals, it also deserves a triumph. I could however, recap my favorite scene from the series.

In the last episode, Emperor Claudius sees the apparitions of his deceased relatives. One by one, they approach and address him.

Mother Antonia: "Claudius, your nose is still running!" Grandmother Livia: "You are an idiot and you will always be an idiot." Augustus: "Well done, Claudius! Emperor at last, eh? Who would have thought it?" Caligula attempts to speak but is shouldered out of the way by the grim Tiberius, who says to him: "Wait your turn!" Then looking directly into Claudius' eyes: "It wasn't worth it, was it? I could have told you that." And finally now Caligula: Uncle, I wasn't a god after all!"

Monsters and schemers nearly all, yet I am left with a twinge of sadness and nostalgia, realizing that I will see these remarkable personages no more. That this series will ever be equaled is hardly likely, therefore I say: "Ave! Ave! I, Claudius!"

The Mist (2007)

Gruesome and Gory

[1/10 · 8 December 2007]

A little background here. I first became an avid film fan nigh on to 70 years ago and it is perhaps due to the changes between generations that there appears to be a wide gap between what I perceive to be a good film and what today's viewers accept as such, this at least shown by the glowing praise from viewers here (I have not read all the comments, however). After the 1930's/1940's my attendance began to decrease to the point that in 2007 I have seen only two films. The second was "The Mist", and the reason I wanted to see it is that I read Stephen King's story a number of years ago and believed it to be then, as I do now, one of his best efforts. As I remember the storyline, this film generally follows it, if my memory serves me correctly. However, I was repelled by the filthy cursing throughout, by the extreme violence, and the fact that it is nothing but a bloody butcher's pen to boot. Undoubtedly, the main purpose of this film is to shock the audience, and although it may not have as much effect on today's "conditioned" moviegoers, it certainly was successful in my case -- I was disturbed by it for some time afterward. Certainly horror writer Stephen King is by no means a stranger to blood and violence but I can't recall reading any of his writings as manifestly gruesome as this film.

Also, the Christian religious fanatic, reading passages from her bible and inducing her adherents to kill, could very well be construed by some as an anti-religious/anti-Christian message aimed at the audience.

In conclusion I would like to have something positive to say about this film, and in this regard I would mention only the special effects, gruesome as they were. However, it is my earnest hope that there may be some rating attached to "The Mist" that will at least prevent children from viewing this extremely disturbing film with no redeeming qualities.

Libeled Lady (1936)

Watching Schubert's "Trout Quartet"

[10/10 · 2 October 2007]

The trout fishing fiasco is the most hilarious scene in film history while the film itself, is the best comedy ever made. There, I've said it. The four superstars (the word "superstar" unknown 70 years ago)obviously are enjoying what they are doing to the point that their performances do not seem to be work at all -- this a phenomenon I have never seen before in over 70 years of movie-going.

One scene, overlooked by the other contributors here, I believe deserves kudos. That one is the ocean-liner trip where Powell duels verbally and unsuccessfully for the most part, with Loy.

The final hotel scene mayhem is wonderfully funny with all the stars' previous machinations useless in the face of the final marriage revelation which upsets all their plans. All they can do at this point, like a group of children, is blabber incoherently to Walter Connelly, who unable to hear anything, screams "Quiet, please!!" A fitting ending.

Watch for Dennis O'Keefe, later a star himself, in a short uncredited role as a barker at the charity bazaar.

Notice at the beginning of the film the four walking arm in arm, from left to right: Harlow, Powell, Loy and Tracy. Following the storyline, Harlow should have been linked with Tracy but with a real-life twosome of Powell and Harlow at the time, it is likely the wishes of these two "superstars" to be linked together prevailed over MGM's probably mild protests.

Another on the list of those "the likes of which we will never see again".

Sons of the Desert (1933)

"We Ship-Hiked"

[10/10 · 26 September 2007]

Stan Laurel believed that the Laurel and Hardy short subjects were the duo's best works rather than their feature films, nevertheless I believe Sons of the Desert to be the best of all their prodigious output, for the laughs never, never stop for all 86 minutes of the film.

Years ago, for some reason, I happened to look in the Los Angeles phone book and lo and behold, there it was: Stan Laurel, with address and phone number. After a phone conversation with Stan he agreed to my visit. Living at the Oceana Hotel in Santa Monica, he had sustained a stroke sometime before but could still get around fairly well and was a very alert, intelligent man, so different from his on-screen persona. I wish I could remember more of our conversation but it was 45 years ago and memory fades. The L&H films were popular on TV at the time and Stan regretfully stated that he got no residuals for their showing, which was unfortunate. He also hated L.A. driving and referred in particular to "the bloody freeways". Questioned about their movie clothes; derbies,suits, ties, etc., he said that after Hardy died he gave them all away to the Salvation Army. I also asked him about one of my favorite movie villains and a regular in L&H films, Walter Long, which you regular L&H fans may remember. This guy's consummate portrayal of a vicious lout and bully was apparently nothing like his real off-screen personality. Stan said he was the mildest, gentlest man imaginable. He was quite touched as I mentioned the two's on-screen foil in a number of films, silent and sound, James Finlayson, who was deceased. He was very close to the canny Scot. Anyhow, with a photo of Stan and Ollie (autographed by Stan) in my hands, I regretfully took my leave.

Stan was one of the two originators of the L&H fan club "The Sons of the Desert" which at one time had "tents" all over the U.S. and also in Europe. The club's motto (Stan's brainstorm) was "Two Minds Without A Single Thought". As a member of the Orange County, Calif. "tent" I enjoyed the films shown and guest personalities at the meetings some 30 years ago. Three guests that I do recall were Darla Hood from Our Gang comedies, Roy Searight, special effects wizard who in addition to working on Laurel and Hardy films did such a remarkable job on 1940's "One Million BC" and also, the flapper who slips on a pie at the end of the silent "Battle of the Century", and actress in other L&H silents, beautiful Anita Garvin. Courtesy of the fan club, incidentally, I am in possession of a "Sons of the Desert" fez as shown at the beginning of the film. Replica, of course! Little chance of wearing it now.

I realize that the above may not be of great interest to some readers here, but I believe that died-in-the-wool L&H fans (like me) will find these off-screen reminisces of interest. Really, Stan Laurel and Oliver Hardy were the greatest. We will not see their like again.

The Desert Song (1953)

El Hadj Aleman -- Nicht Wahr?

[19 August 2007]

I'm afraid I must contradict one of the contributors above. El Khobar (The Red Shadow) was not based on Abd-el-Kader but instead on the exploits of one known as El Hadj Aleman, who gave the French Foreign Legion fits during the Riff War in the 1920's. El Hadj Aleman was in fact a Legion deserter (Otto Klems) of German nationality. Despite being a Legion officer, he hated the French, defecting to the Arabs and with his military skills became a very effective leader. His identity was a mystery to the Foreign Legion until nearly the end of the war. Surrendering, he was sentenced to death by the French, but he had become a romantic hero in the U.S. due to dispatches by American reporters (witness Romberg's operetta, The Desert Song, as a result). U.S. pressure was applied to the French and they at last quietly released Klems. Back in Germany and in prison for burglary, he committed suicide.

Just setting the record straight.

Beau Geste (1926)

Join the Foreign Legion and Forget

[10/10 · 13 August 2007]

Regarding the above title, I must digress here for a moment, for it reminds me of one of the best Laurel and Hardy short subjects "Beau Hunks"; obviously a takeoff on Beau Geste. Hardy, with Laurel in his footsteps (excuse the pun here), joins the Foreign Legion to forget -- believe it or not -- gorgeous Jean Harlow, and still carries her autographed picture with him wherever he goes. This great little film ends with searching the captured Arab chieftain who, under his burnoose surrenders an assortment of knives, then pleads not to take his last possession, which turns out to be the very same Jean Harlow photo. But to get on with Beau Geste. I have just obtained (with considerable effort) a VHS of this 1926 version, and while of disappointing quality, is still far better than nothing, especially to this writer, who has had a lifelong fascination with the Legion and a regret that I was not also able to wear the "kepi blanc". Other user comments here describe the film commendably, so instead, while I don't consider it nit-picking, I would still like to comment and question a few of the differences in the 1926 and 1939 versions. Unfortunately the 1926 film is silent with only organ accompaniment, nevertheless the film itself is exceptionally well done considering it is now all of 81 years young. A good print would be a joy to see.

Why, for instance, did the 1939 version have a villain "Gussie" playing off against the young Geste's, but no Gussie character in the 1926 film? I did read Beau Geste many years ago but do not remember if this character was included. Brian Donlevy, in the role of his life as Sgt. Markoff, instead of a French Legion sergeant, has now become a sadistic Russian, expelled from a Siberian penal colony (for cruelty) in the 1939 version. 1930's politics, I imagine. Also William Powell's 1926 Italian villain, Boldini, is renamed Rasinov (Russian again), ably played by J. Carrol Naish in the 1939 version. Noah Beery is outstanding in his role as the evil Sgt. Lejaune, nearly as good as his counterpart Donlevy in the later film. Digby Geste in the silent version wanders off to die in the desert, sacrificing himself to save brother John and two other legionnaires, one of these played by the strapping young Victor McLaglen in a minor role. The 1939 Digby meets his end differently, at the hands of an Arab rifleman while blowing his bugle, feigning a Legion attack. As the 1926 Beau Geste winds down John, now back in England, a Legion deserter, makes his confession to family friend and Foreign Legion Major de Beaujolais, expecting arrest. But no, the major, derelict in his duty, refuses to arrest him -- a highly unlikely action either in 1926 or today -- but then we must remember that we are dealing with Hollywood here.

Two great versions of P. C. Wren's novel, with Colman the Englishman more believable as Beau (even without sound, for who can forget that distinctive Colman voice) than the midwestern drawl of Montana cowboy Gary Cooper portraying an Englishman in the talkie. Hard to choose, but if I had my druthers I must go with the 1939 version, mainly because the Beau Geste story is ideal for sound, and also for it's stellar cast, dominated by Brian Donlevy's magnificent performance. He (Donlevy) was nominated for the Academy Award's best supporting actor for the film but lost, I believe, to Walter Brennan as Judge Roy Bean in The Westerner, also, as in Beau Geste, starring Gary Cooper.

Napoleon (1927)

Napoleon Par Excellance -- Oui

[10/10 · 26 May 2007]

Firstly, let me say that I believe Abel Gance's Napoleon to be without question the greatest film of all time. Unfortunately I have not seen the longer version but it is my earnest wish that it become available in the future on DVD. However, to echo the general acclaim previously noted in these user comments on the merits of this unique film is not my purpose today.

Instead, I would like to comment specifically regarding remarks above by *HARRY-76* regarding Napoleon Bonaparte: "barbarian....sick and warped mind in need of therapy while being institutionalized" and also the comment of *JAYBABB*: "Napoleon was a madman". I really wonder how deeply both of these film reviewers have actually delved into the persona of Napoleon the man and his life -- if at all -- or perhaps they have made their referenced opinions based on the film alone? Or maybe they are erroneously relying on the long standing joke about insane people believing they were Napoleon Bonaparte? That is a popular one, but an unfortunate one. The very real accomplishments of this man are far too extensive for me to go into here. I will note one or two of the more far-reaching events however. The Code Napoleon of 1804, which covered all of Napoleonic France, much of which is not only still in effect in modern day France, but also from which a number of our own U.S. civil laws are based. The Code Napoleon, conceived for the guidance and protection of French citizens, covered areas such as: Civil Rights of Citizens, Rights and Duties of Married Persons, Divorce, Paternal Power, Acquiring Property, Donations and Wills. All this, remarkably, was not created by a statesman known as a man of peace but produced under the aegis of an unquestionably talented warrior, while at the same time he was quite busy consolidating his dominion over most of the European continent. I might add here that while we all acknowledge the militarism of Bonaparte, he certainly had plenty of company in an era beset by European military conflict, even discounting his presence on the world stage. A common error here is that his actions needs to be seen in the context of his times, not of our time. Although his career was cut short before achieving his goal, his prophetic vision of a United Europe without borders while all within would be equal, would seem to be identical with the powerful movement we see today toward European unity 200 years later.

While there was no testing as such in the 18th Century, Napoleon is universally considered today to be among those notables in history who were geniuses; this man with a brilliant mind who could dictate to three secretaries all at the same time, on three totally different subjects.

I do not wish to take up too much space here with a subject which -- while I nevertheless find interesting personally -- I yet have the knowledge that it is not directly related to filmdom and IMDb, so I will therefore close. However I have a final question which I direct to both *HARRY-76* and*JAYBABB*, which is this: Assuming your criticism of Napoleon is based on that which is more publicized, his military career, I would be greatly interested to know if you also consider such figures as Julius Caesar, Alexander the Great and even a couple of home-grown Americans, Douglas MacArthur and George Patton, to be "madmen.....who should have been institutionalized"?

Il giovane Mussolini (1993– )

Propaganda from the Left

[3/10 · 11 May 2007]

BENITO -- THE RISE AND FALL OF MUSSOLINI. The feeling of being in pre-World War I Italy and Switzerland is quite well done and unfortunately the only redeeming feature I can see in this lengthy but incomplete film. As the new editor of his newspaper "Il Popolo d'Italiano" the film unexpectedly lets us down at the point where Mussolini's career is ascendant and he fights a duel.

Maybe there are another two DVD's on the way to me to reveal the later, more important episodes in this man's life? (I'm not going to hold my breath on this, however.) Antonio Banderas as an actor is passable but he has not become Benito Mussolini by the widest stretch of the imagination.

Where are the bombastic mannerisms and violence of the Duce? They are sadly non-existent in the performance of the rather genteel, Errol Flynn-like Banderas, and despite showing Mussolini's humble beginnings Banderas really does not behave as a man of the people. It would have been hard to find

an actor whose physical likeness or his characterization was less like the real Il Duce. Granted this is one of those "Docu-dramas" but even with this leeway, his performance is sadly lacking. How could these Italian filmmakers, whose familiarity with, and descendants of the legacy of Fascism have made this flick? Only the least important historical facts in Mussolini's life are shown, while those really significant are swept under the rug; namely the period from his newspaper editorship until the end of his life some 30 years later. Totally ignored is his military service in WWI, the rise of the Fascist Party, the March on Rome, Fascist Italy between the wars, the Lateran Accords, conquests of Ethiopia and Albania, Axis partnership with Nazi Germany and Italy's participation in WWII, and Mussolini's ultimate downfall, capture and execution by Communist partisans. Instead we are exposed to hours of endless petty debates by Socialist factions over "the betterment of the worker" that achieve nothing -- those debates that are historically revered by leftist organizations and by the way, all the while the "comrades" are demonizing the Catholic Church, the monarchy, and indeed, anybody and everybody holding any power and who are politically to the right of themselves -- the extreme Left. I have mercifully awarded this film three stars. Quite likely, Comrade Josef Stalin would have given it a big ten. All it needs is a Russian cast and it could instead have been a flick made by Soviet Russia's "SovFilm".

The Son of Monte Cristo (1940)

Rescued by George Sanders

[6/10 · 24 April 2007]

SON OF MONTE CRISTO, a swashbuckler with elements of ZORRO, ZENDA and SCARLET PIMPERNEL that, despite the familiarities, I found entertaining and watchable. However it would have been far less entertaining were it not for the performance of George Sanders as the villain, whose character is more than the two dimensional villains normally connected with films of this genre. He has human frailties in his makeup, yet comes across as a leader with charisma -- many would follow such a man. Really, I had forgotten over the years what a consummate actor George Sanders was. SON OF MONTE CRISTO is his film, and his film alone, no doubt about it. There are underlying political implications here, released as it was on the eve of World War II. The crew-cut Sanders with his military bearing and the ever present Iron Cross on his chest really represented Adolf Hitler; both of them highly ambitious self-made men from the lower class, contemptuous of aristocracy and fully determined to oust the old established order. Thru his determination and ruthlessness Sanders nearly accomplishes his goal. Louis Hayward turns in a fairly good performance as a Pimpernel-style hero with his best moments in scenes with Sanders, and the mental fencing between them both. I am always aware of Hayward's physical movements in his films; he moved like a cat. Heroine Joan Bennett, is, well, Joan Bennett. Enough said.

As an aside, I would like to comment on the fact that George Sanders hated dueling in his films, although when he had to, as here, he did well enough it seems. Later on in THE BLACK SWAN, he wore a red beard along with his dueling double to disguise the fact that it was not he with the sword against Ty Power, the latter incidentally, the second best duelist in Hollywood, in the footsteps of Basil Rathbone. One viewing of MONTE CRISTO will do for me, for it is not ZENDA, ZORRO nor the SCARLET PIMPERNEL.

The Manchurian Candidate (1962)

Ultimate Evil is Right-Wing GOP Evil

[7/10 · 29 January 2007]

The film does not portray communist Russians and Koreans as good guys, however the really monstrous evil is that of right-wing Republican Americans, as embodied by Angela Lansbury, an evil, reptilian mother no son could love. The plot is convoluted, with rightist Angela conspiring with the communists (of all people!) to use her brainwashed son as an assassin, the tool to send her idiot husband to the White House. The husband is a ludicrous copy of Senator McCarthy, ranting and raving about "245 Communists in the U.S. government" and causing an uproar in a congressional committee meeting. One liberal senator, invited to her house party, calls it "a fascist party" and Angela decides to have him taken out -- after all, he is "a communist". We learn her ultimate goal is to have her husband elevated to the presidency by assassination, whereupon they (she) will turn the U.S. into a totalitarian state and in a bloodbath, eliminate her communist enemies. Her home is tastefully furnished, and there are a number of Abraham Lincoln busts which the camera remains on for an inordinate amount of time. (Hey! We get the picture already -- Republican, Republican, Republican!)

For the record I am neither a Republican lover nor a Democrat basher, but an Independent in the political arena. I have no ax to grind with either Elephant or Donkey, per se, which is not to say that I do not disagree with both parties on occasion.

Incidentally, I did not see this film when it came out in 1962, but only last night for the first time, on Turner Classic Movies. I gave it a 7 out of 10 as an engrossing cold war-era drama, with the actors giving a good account of themselves. I recommend it for viewing, with the only caveat for viewers being that it carries a strong leftist message. This, depending on the viewer's inclination, may please you or on the other hand, just might make you a very unhappy camper.

The Firefly (1937)

"In Her Voice There's A Flaw" (but only in the song)

[10/10 · 31 December 2006]

Wonderful mix of music, romance and comedy but I concede a trifle too long, the length however acceptable with these two. Jeanette MacDonald could do everything; sing beautifully, act as well and surprisingly (I just watched this one after many years) a gifted dancer. MacDonald and Jones are quite compatible and I can see where, had fate taken a hand, it could have been these two and not Nelson Eddy, not to downgrade Nelson's resonant baritone in any way. Allan Jones was a better actor, and was one of the finest tenors in movie history. There was one brief comic bit I found hilarious -- it was so short it may have been overlooked by many. Don Diego (Allan Jones) is singing the famous Donkey Serenade to MacDonald as she rides along in a coach. He sings the line "But try as she may, in her voice there's a flaw", to this jibe at her voice, Jeanette's displeasure shows in a grimace! The expert supporting cast is up to MGM'S standards; Warren William, Billy Gilbert, George Zucco, Douglas Dumbrille, Henry Daniell and even a one-line appearance by Ralph Byrd (a.k.a. Dick Tracy in the 1940's). I highly recommend this film, especially to fans of light operetta. The music is delightful and Jeanette and Allan give it their all. Jones' last appearance was a 1980 role on the Love Boat TV program. Upon retirement from the screen (big screen and little) he became a dentist, quite a surprise. I wonder if he sang for his patients? If he did I'm sure his waiting list was the envy of his fellow dentists.

Custer's Last Stand (I) (1936)

Panorama of the Wild West (including Little Big Horn)

[7/10 · 18 December 2006]

For those old enough to remember Saturday matinée serials at your local movie theater this potboiler just might be for you. On the one hand, a fast moving and melodramatic tale, on the other, a dated film, surely considered "hokey" by today's younger set. The fictional hero is a scout for Gen. Custer and the main plot(also fictional)deals with a sacred medicine arrow coveted by both Red and White men. Custer himself remains primarily a background figure in the storyline until he ultimately achieves immortality surrounded by the dead at Little Big Horn. Popping in an out of the film are so many Western icons that the film is rather more like a Wild West show than "Custer's Last Stand" which is just one part of the film. Chief Thundercloud, a popular film actor of the 1930's, a Cherokee with Scots, Irish and German ancestry is a major player and at 6' he has a commanding presence. Custer exceeds him however, played by Frank McGlynn, Jr., at 6'4" or 6'5", with walrus-like mustachios and towers over the rest of the cast. What impressed me most was the authentic use of black powder in the guns, something we just do not see in today's westerns, and also the expert horsemanship by both Indians and Whites, which we also do not see in today's westerns. Much ongoing action. I can see why our pre-TV youngsters went back Saturday after Saturday for such as this. At the end, Custer's Indian scout Curley offers Custer an Indian blanket to disguise himself and escape, disdainfully refused by the general. We would expect nothing less from George Armstrong Custer, now would we?

A good film for old movie buffs (like me), or those who would just like to sit back, dim the lights, nibble on popcorn, and be transported back to that old movie theater and the Wild West as it was seen to be by the viewing audience so many years ago.

Dead End (1937)

An "End" That Comes In Dead First

[10/10 · 10 July 2006]

I recently watched this film for the first time in many years and I would like to comment in particular on Humphrey Bogart's performance as Baby Face Martin. In the Depression days of the 1930's many citizens admired top criminals who successfully opposed the law (i.e., John Dillinger), in the belief that the law itself was part of the corrupt, elitist system that brought Depression woes upon them and theirs. Martin's character fit this role to a "T" and it shows in his bravery, courage and hatred of the police. A many-faceted character, it also reveals his love for mother and former girlfriend and his gut desire to settle down to a normal lifestyle, abandoning his bloody career. Of course, it is too late for him to turn it around. I believe that although not yet a star, this was Bogart's greatest role, arguably on a par with The Treasure of Sierra Madre. Incidentally, a little known and seldom shown "B" film from the 1940's, the spooky Return of Dr. X, had Bogart as an absolutely chilling "Dr. X", resurrected from the dead. I highly recommend this for Bogie fans. This multi-talented actor could definitely have become a star of horror films had he been so inclined.

Allen Jenkins, as his devoted cohort "Hunk" in Dead End, gave a fine performance in probably his only serious role in a long career as a supporting actor in comedy parts. Really a shame. His fight, gun in hand, with Joel McRae in the alley could not have been more realistic, to my way of thinking. The rest of the cast, indeed, was flawless. And how about those Dead End Kids? Although only six years old when the film came out it was reissued frequently and I clearly remember the mothers of that day did all in their power to prevent their children from seeing the film, fearing, perhaps not unrealistically, that they would emulate the "Kids". Wouldn't happen today, now would it? One contributor here thought that Dead End should be remade, citing all the problems of today's youth. I totally disagree. This would only be duplication, ad nauseum, of the same third rate trash -- for the most part -- that never ends in today's films and on the tube. Dead End, however was the forerunner in showing juvenile delinquency and it's connection to -- and likely development into -- serious crime. This last is just another reason to heap praise upon this eminently laudable film. And in closing, I would like to say that while 1937 was not a particularly notable year for the country in general, being in the throes of The Great Depression, as far as the efforts of the film industry went, it was a very, very good year. I for one, am thankful for it.

Just recently I finished the 1971 autobiography "Cagney By Cagney". During the filming of "Angels With Dirty Faces" which one might say is a sequel to "Dead End", Cagney ran afoul of the Dead End Kids, in the person of Dead End Kid Leo Gorcey, who was proving uncooperative and insolent. Cagney, in reality a tough guy, gave Gorcey an elbow to the head that ended his behavior. Cagney says further that "in a film with the Dead End Kids" the Kids' took issue with a statement by Bogart and then took off his trousers. Bogart, the consummate gangster in film, was nothing of the sort in real life. The film would have to have been "Dead End" -- the idea obviously emanating from de-trousering the rich kid.

The Prisoner of Zenda (1937)

One of the Great Ones from the Golden Age of Movies

[10/10 · 1 July 2006]

I am not going to try to outdo the preceding remarks regarding "Zenda" with it's superlative cast and their matchless performances I will however, give my opinion of the high point of this great film. Colman enters the cathedral in the coronation scene masquerading as King Rudolf and is confronted by the king's brother, Duke Michael. The hatred that radiates from Massey's regard of Colman is so powerful that it can actually be felt by the viewer! Colman(being Colman)is not to be outdone. His response is to regard Massey with wonder and amazement at the level of hatred directed at him, now realizing the true extent of the duke's malice. A truly remarkable scene between two great actors, no dialog needed from these two. A rarely achieved moment in moviedom -- perhaps overlooked as a rule due to its brevity. Another scene like it in films does not immediately come to mind.

The Return of Doctor X (1939)

Has It's Spooky Moments

[6/10 · 27 October 2005]

The Return of Doctor X is undoubtedly a low budget "B" film. In spite of that I think that Humphrey Bogart's one attempt as a horror figure would rate a nine or ten, although I rated the film a six. He was positively creepy with his white, bloodless complexion and the white streak running thru his black hair. One just might imagine that a person brought back from the dead would look like that. Of course Bogie had a stellar career as a dramatic actor ahead of him and probably never did consider a horror role after Dr. X, but I would have liked to see him in a role perhaps, as Dracula, or some of the other roles made famous by Universal, for example. A fine versatile actor. The sequences with actress Angela Merova, who also required blood due to Dr. X, were also rather spooky and she played well against Wayne Morris in these. The ending was predictable and it fell flat, unfortunately, with the dying (again) Dr. X professing his sorrow that an expected chat with a medical colleague could not now take place. Well, at least Dr. X had two chances, that's one more than we will get.

The Third Man (1949)

A Masterpiece in It's Own Right

[10/10 · 25 September 2005]

I am not going to rehash what has been said in other comments other than that Orson Welles and Joseph Cotten were at their best. Rather, an aside or two about the film. At the time Welles was trying to make his own films and took the Harry Lime role only for the money. Anton Karras, the zither player, was found in a dingy, cellar cafe in Vienna. Becoming well known for the background music and then his "Third Man Theme" record which was a tremendous hit worldwide, he was talked into opening a nightclub in London. Even though the nightclub was successful, Karas yearned for his former life and packed it in, going back underground to the cellar cafe in Vienna to play his zither. In one scene in the film Cotten has finished a talk on American writers. He runs up the hotel stairs pursued by two assassins and enters an empty hotel room. He exits a window, but not before being bitten on a finger by a parrot. I suspect that this "nip" was not in the script, but it resulted in the only amusing scene in the entire film. When asked by military policeman Trevor Howard why his finger was bandaged, Cotten replies "A parrot bit me", invoking an exasperated reply from Howard. I believe this to be the only funny scene in the film and it was over very quickly. Interestingly there was no novel or play that the film was based on. Graham Green was asked to do a screenplay for a film idea, which he did. Who knows? If this was done more often as opposed to films based on books or plays we might have a better variety of films for our viewing these days.

Captain from Castile (1947)

They Don't Make 'em Like This Anymore

[10/10 · 16 August 2005]

A full review by me would just be an echo of preceding comments. I will more or less add some side comments. Certainly one of the greatest film scores of all time, very Spanish sounding, indeed. The final scene with Cortes' army marching across the plain with the background "Conquest" played on to a crescendo with massed drums is absolutely spectacular. Can't think of another like it, not a one. True, the film ends in the middle of the novel by Shellebarger, which is one of the most exciting novels in historical fiction. I'm afraid it would otherwise have been a four-hour movie. Power is at his best but perhaps a little long in the tooth to be playing against the young Jean Peters(Catana)and equally young and gorgeous Barbara Lawrence(Luisa de Carvajal). Ty Power, incidentally, was the second best duelist in Hollywood, his parents having operated a fencing school. Number one was Basil Rathbone. (They dueled each other in Mark of Zorro.) Outstanding supporting cast -- could anyone have played Hernan Cortes better than Caesar Romero? This role, incidentally, was his favorite. John Sutton as De Silva is evil incarnate and George Zucco in his element as the Marquis de Carvajal. Sadly, I must ask, where have all these wonderful character actors gone? (Don't tell me -- I know, really.) I believe this was the last big spectacle (1947) shot before Cinemascope was introduced and that is unfortunate. Captain from Castile shot in Cinemascope, and particularly with the last scene in mind, would have been sublime photography for this most entertaining film, one of the last of its kind, I believe.

South of Pago Pago (1940)

Adventurers in South Sea Island Paradise

[8/10 · 2 July 2005]

South of Pago Pago was an attempt to cash in on the success of The Hurricane, and again stars Jon Hall as a native islander. He does an adequate job in the role and certainly had the body of a Greek god. He was the king of the exotic adventure film genre of the 1940's with Turhan Bey running a distant second. When his film career was over, Jon expressed relief that he no longer had to exercise to keep in shape, and he was as good as his word. We also get a rare look at the beautiful and talented Frances Farmer, whose film career was all too short. However, it is not the "good guys" that dominate this film, but the bad ones, and they are bad. Victor McLaglen in a rare role as a villain, Bucko Larson, is a combative brute with no redeeming qualities, killing without qualm. However his leadership ability, his grim determination to acquire wealth and his fearlessness, along with his few crewmen in the face of the overwhelming numbers arrayed against them, gets my grudging admiration. In fact, despite knowing the outcome, I must admit I root for these corsairs rather than for the good guys. The final moments, where their corpses are tied to their ship before it is set adrift in retribution, is a memorable scene. The song, ""South of Pago Pago" is played (and sung) at opening credits and then only a few bars on occasion throughout the film. A pleasant Hawaiian-type song, I think it should have been used more frequently, as "Moon of Manakura" was in The Hurricane. "Manakura" was a smash hit in the 1940's and is still heard on occasion today.

South of Pago Pago was typical of the tropical escapist fare of the early 1940's and yes, we did escape for a time with these films, only to exit the theater onto the street and back into the real world, with all it's problems. Not always the greatest feeling -- that.

One Million B.C. (1940)

Exciting and Entertaining "Prehistory"

[22 June 2005]

I believe I saw One Million B.C. at the old Rialto Theater in New York City 65 years ago. "B" films always premiered at this small cinema, i.e., the Laurel & Hardy films were shown first here, along with others. Anyhow O.M.B.C. was a surprise hit in 1940. The special effects were crude compared with today, but nevertheless, they were well done for the period and all in all the film holds up very well today. The animal/"dinosaur" sequences are exciting: woolly mammoths, alligators with sailfins attached to resemble prehistoric Dimetrodons, the Rock People fighting hand to hand with horned animals -- all well done. Lon Chaney, Jr. has his best role (except perhaps for Lenny Small in Of Mice and Men) as the bullying, tyrannical leader of the Rock People that gets his comeuppance, Victor Mature, good as his son and the beautiful and athletic Carole Landis, an ideal cave-girl. Incidentally, I'd take Carole any day over Racquel Welch in her remake, One Million Years B.C.

The creatures are of course live, and recognizable as today's animals, despite attempts to disguise them. To me, the fact that they are living creatures adds excitement, whereas we know today's special effects, good as they are, are still only someone's artificial creation. The fight between the Dimetrodon (alligator) and the lizard is rousing and bloody and the finale "leecha" sequence --the giant dinosaur besieging the Shell People, provides excitement and is also well done.

Last but definitely not least, we should not forget the splendid musical background score for the film. While I give the 1940 One Million B.C. a 9 rating our of 10, the music deserves a 10 out of 10.