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Keeper of the Flame (1942)
Hepburn And Tracy Make This Political Drama Worth Watching.
Spencer Tracy and Katherine Hepburn appeared in nine movies together over the course of their careers, with quite a few of them going on to be regarded as cinematic classics. One of the films they appeared in together was this 1942 effort, which was released shortly after the U. S. entered World War II, which is considered to be among the lesser of their collaborations. With that said, the film is still enjoyable and the two of them managed to do their best with what they have, with them utilizing their talents very well.
Keeper Of The Flame is a decent and entertaining film with Tracy and Hepburn having more than a few opportunities to showcase their abilities. The film is certainly one of the weaker efforts that the two of them appeared in jointly, but there's no denying that the two of them work very well alongside each other, and that alone can make the film worth seeing, since those two always had a natural talent for bringing life to whatever story they were involved in, with a sense of charisma that always made them a pleasure to see.
The film opens with a car careening off of a broken bridge, with the driver perishing in the crash. The driver in question was a man named Robert Forrest, and national hero who is held in high regard. As expected, the whole country mourns his passing. Understandably, his widow, Christine, becomes a despondent recluse and refuses to see anyone, especially the press. However, it isn't long before a reporter by the name of Stephen O'Malley arrives from Europe to write a book on Forrest. Eventually, he meets Christine in an attempt to find out more, but the more he uncovers, the more likely it becomes that the hero was hiding a secret, and a dark one at that. What follows makes for an interesting story with a few surprising twists and turns at certain intervals.
As I previously stated, this film ranks among the lower tier of the Tracy and Hepburn collaborations. Although, that isn't to say that it's a terrible film, as there was much that the film had going for it. For the most part, the story was very interesting, and it might have worked better had it been approached differently. Most likely the result of America's involvement in World War II, there are some tones of patriotism and anti-fascism inside. In some instances, such tones feel like they came out of the blue, and at times, it becomes heavy-handed and even melodramatic. This is of no fault on the part of Tracy and Hepburn, as they both did the best with what they had, and George Cukor (who would later be dismissive of the film because of the aforementioned elements) did his best with he had also, and even manages to add some atmospheric and suspenseful elements. As a result, while the film could've handled its message better, that isn't to say that the film is bad, since it actually did very well in other elements.
As one would expect, the acting is the main reason to see the film. Spencer Tracy is a delight to see, with him bringing a sense of strength and subtlety to his role that makes him a likeable protagonist. While the role might seem somewhat uncharacteristic, Katherine Hepburn is radiant and has a tendency to take attention away from Tracy. Richard Whorf was great as the devious assistant to Forrest, who becomes determined to do whatever it takes to keep the secrets from reaching the public. There was also a short appearance from Margaret Wycherly as Robert Forrest's mother, who is a little unhinged, and though she appears only in this scene, she makes the most of what she has, and it's actually rather unnerving. So, if there's one thing that the film had going for it, the characters were certainly interesting, and the actors brought out some of their best potential in their portrayals of them.
To reiterate, Keeper Of The Flame doesn't quite reach the levels of greatness that some of the other Tracy and Hepburn collaborations managed to obtain, but with that said, it still has many things that make it worth a viewing. Also, the film's message is a rather important one in regards to the dangers of fascism. Could this message have been delivered better? Definitely. Nevertheless, it's still one that has remained rather relevant over the years. And, if nothing else, the film is worth seeing simply to see two legendary talents together, who both bring out their best abilities, and as mentioned, are always a pleasure to see whenever they appear in front of a camera.
Espionage Agent (1939)
A Rather Exciting And Entertaining Pre-World War II Espionage Thriller.
With the beginning of World War II, it would become a standard of the film industry to make thrillers with Nazis being the antagonists, with this film being released shortly after the war began. And, in contrast to other anti-Nazi films released by Warner Bros., this one was bold in the way that it wasn't subtle about portraying the Nazis as the enemy faction, which was something that other major studios were very hesitant about doing at the time.
Espionage Agent is a rather entertaining and exciting espionage thriller that was in some ways, rather bold in regards to how it portrays the Nazis. While there are better films of its type, this film still manages to be a good film that in some ways, can still be relevant in regards to the threat of spies within the borders of one's country. It's also worth mentioning that the film is different from some of the other films that followed because how it presents itself, with the fact that it puts more focus on the espionage factors.
The film begins with series of events taking place during World War I, in which German saboteurs and shown infiltrating and blowing up factories to undermine the American war effort. Around twenty years later, the threat of sabotage arises again, despite the fact that the United States desires to stay neutral. At one point, a diplomat for the U. S. State Department named Barry Corvall ends up becoming something of a counterspy agency when he finds out that his refugee wife, Brenda Ballard, is a spy for the Nazis. After resigning, Barry ends up working for the Assistant Secretary of State in order to uncover the Nazi spy ring operating in the United States, with his wife doing her best to assist him, as well as trying to avoid arousing suspicion in her Nazi colleagues.
As I previously said, one of the factors of the film that stands out is that it focuses more on the espionage factors and less on the action that one would usually expect from a film of its type. Granted, there is some action involved, but it primarily plays second fiddle to the more interesting espionage elements. Most notably, there's a scene that involves Joel McCrea infiltrating a Nazi headquarters to obtain important information, which is made difficult when the Nazis arrive while he's in the processes of obtaining said information, and forces him to crawl out on the ledge of the building to avoid being detected. There's also the fact that Brenda Marshall's character has to perform double duties, in which she helps her husband while having to prevent the Nazis from finding out about her activities. So, while there may not be as much action in the film as there are in similar films, whenever it does show up, it can get rather suspenseful. In fact, with many similar elements, it wouldn't be overestimating it if you were to say that it was a prelude to the 1941 espionage classic, Foreign Correspondent.
The film also benefits from the fact that with what they have to work with, the actors all put forth earnest efforts. In what seemed like a precursor to his role in Foreign Correspondent, Joel McCrea is very effective in his role as the hero who becomes conflicted in carrying out his objectives and his love for his wife. Brenda Marshall was also very good, in which she, as stated previously, performs double duty, in which she helps her husband while trying to avoid suspicion from the Nazis. There was also a great supporting role from Nana Bryant, who plays Barry's mother. I rather liked their interactions, because the way they do it, it's clear that she very cares for her son, and even encourages him to do whatever he can so that he and Brenda can remain together. Some of the other actors, such as George Bancroft and Jeffery Lynn were also very good, as was James Stephenson, who was quite effective as a villainous Nazi doctor and the leader of the spy ring. There's also a rather memorable supporting role from Martin Kosleck, who also plays a Nazi spy. While he does appear rather charming, he always has this sinister aura to him, that shows that he's a Nazi through and through.
To reiterate, while there are certainly better films of this type, Espionage Agent is still an entertaining action-romance thriller that, like I said, can still be relevant in numerous ways, in which the danger of spies can be a legitimate threat, which became especially more prevalent given how this film was released just after the start of World War II. Ultimately, the film shows that in a time of war, even the neutral countries can't afford to let their guard down, because there's always the possibility that they might get dragged into the war before long.
Bullets or Ballots (1936)
A Solid Warner Gangster Effort. Robinson And Bogart Are Great.
During the 1930's, if the public was interested in the gangster genre, Warner Bros. Was the studio to go for films that represented such a genre. Some of them seem rather formulaic, but there's no denying that they had the capabilities of being extremely entertaining. It was with these films that many actors would make names for themselves, with one of the most notable ones being Edward G. Robinson. Among the films that he appeared in was this effort from 1936, which may seem like the standard Warner Bros. Gangster picture, however, it's nevertheless a film that is certainly entertaining.
Bullets Or Ballots is another solid gangster effort from Warner Bros., it's a rather engaging film that utilizes the talent of those in it. The film might be different from some of the others of the genre, as it focuses more on the characters than it does on the drama and action. However, it still manages to be an entertaining film with some interesting characters, not to mention that the cast manages to put forth effective efforts in their roles. Furthermore, it's always a pleasure to see the usual lineup from Warner Bros. Use their talents for such entertaining pictures.
The film tells the story of Johnny Blake, an honest policeman who has zero tolerance for any type of criminal behavior, as a result, he tends to get a little triggered whenever he sees anything that could be considered criminal activity. In the meantime, the city that he resides in is in the grip of organized crime, and when a crusader against the rackets is murdered, a new police commissioner vows to eliminate them once and for all. Shortly thereafter, Blake is shocked to find out that he's suddenly been fired from his occupation as a policeman. Naturally, Blake is left seeing red, and eventually ends up becoming a member of the racket himself, in which he starts working for crime kingpin Al Kruger. However, everything is not as it seems. Is Blake truly a gangster at this point? Or is he trying to infiltrate the racket? The answer lies in a film filled with murder, intrigue, and even a few instances of espionage.
As I mentioned previously, this film is rather novel from some of the other gangster films from the decade, primarily because it doesn't exactly have the type of action that one would expect to see in such a film. While there are some rather exciting moments, the film instead appears to focus more on the characters and the dialogue. The film's primary driving force is Robinson's performance, in which he plays the "tough guy" type that he had played many times before during the decade. However, his efforts are always a pleasure to watch, whether he's a hero or a villain, with this film being a heroic role. While he might indulge in some rather shady activities, it's rather difficult to dislike him, because he's very charismatic and interesting to watch. Not to mention that there's never a dull moment whenever he's in front of the camera, which is a testament to who great an actor he truly was.
While there's no denying that Robinson was the main show of the film, the rest of the cast (which consists of the usual Warner Bros. Alumni) was also great to see. Joan Blondell was rather charming in her role as Robinson's love interest, with the two of them showing genuine chemistry whenever they were onscreen together. Barton MacLane was great in his role as the crime boss that Robinson ends up working for, one who doesn't necessarily have a great judge of character. After Robinson, probably the best performance was that of Joe King, the police commissioner very eager to bring an end to the rackets, one who has a strong sense of leadership and determination. In a role that was typical for him during his years at Warner Bros., Humphrey Bogart is superb as MacLane's lieutenant, who is ruthless, temperamental, and won't think twice about murdering someone, regardless of the repercussions that might happen. As par for the course with such films from Warner Bros., the main stars are usually supported by effective efforts from the other actors.
To reiterate, Bullets or Ballots may seem like the typical formula for the Warner Bros. Gangster genre, but even so, it's still very enjoyable and worth seeing, particularly for the actors, who are always great in films such as this one. Even if such films might have seemed systematic, one can't deny that they were extremely interesting films that managed to find popularity with audiences. And of course, it's always great to see someone like Edward G. Robinson play the type of role that he became known for throughout his great career.
Invisible Stripes (1939)
An Atypical Gangster Film. One Of George Raft's Most Interesting Roles.
It was a staple of the 1930's (particularly in the Pre-Code era) for crime and gangster films (while still being great) to glorify the lives that gangsters live. After the code went into effect, films would begin to show how such a life isn't as glamorous as it seems. This film was released near the end of the 1930's, and manages to be a standout because it shows that not only is said life not glamorous, it also shows a very interesting look at the parole system.
Invisible Stripes is a very effective and at times, dispiriting film that serves as a deconstruction of the typical 1930's gangster picture. In addition to showing that the life of a gangster isn't one to be living, it also takes a look at the parole system, and how it applies to those who try to reform. In many ways, the film shows that no matter how sorry one might be for what they've done, and no matter how hard they try to make amends, they can't completely leave their past in the dust, and it tends to follow them regardless of where they go.
The film is the story of Cliff Taylor, a man who has just been freed on parole, and goes home to live with his mother and brother. He is extremely eager to go straight, but it appears as if fate is against him, since almost nothing seems to go right for him. Because of his status as an ex-con, he has extreme difficulty trying to find employment. Further adding to the situation is the fact that his brother is miserable over the reality that there isn't enough money for any luxuries. When his brother begins to consider resorting to a life of crime, Cliff becomes determined to prevent him from doing so, and before long, he realizes that the only way for him to do this may be to return to the life he couldn't escape. Essentially, the film is a rather disheartening story about how difficult it is to leave one's criminal past behind them.
While resorting to crime isn't the correct course of action to get anywhere in the world, that might seem like the only option to those like Cliff Taylor and his brother. After being released, Cliff struggles to find and hold employment because nobody wants an ex-con working for them. This is true to real life, because it's very unlikely that somebody would want to take a chance on someone like Cliff when there are so many other more qualified individuals who need work. It's because of this that Cliff is hard to dislike, because while he's undoubtedly part of a life that no one should pursue, he tries hard to leave it, but finds that he can't. He's also rather likeable because of his selflessness, particularly in regards to his brother, Tim. As I stated, Tim is barely making money and is unable to marry his fiancée. When he considers resorting to crime, Cliff altruistically performs a sacrifice by deciding to return to his old life of crime so that his brother won't have to endure what he endured. So again, even though Cliff shouldn't have entered that type of life in the first place, one can't really dislike him because he does regret it in some ways, and he doesn't want his brother to end up like him.
The film also benefits from the notion that the characters are all very well acted. George Raft is superb at playing someone torn between the shady elements of life and trying to live normally. Raft's performance perfectly captures the torments that Cliff goes through, someone who can't move forward in life, and finds himself returning to his old habits to prevent someone he cares about from doing the same. A rather big surprise was a young William Holden, who plays Cliff's brother, who considers resorting to the life that Cliff had to get on with his. Holden was excellent as someone who is torn between his love for his family and being tempted to become a criminal to achieve dreams he can't have. Flora Robson was also excellent, in which she plays Cliff and Tim's mother, who very much loves her sons, and becomes increasingly worried about the latter's potential descent into darkness. Jane Bryan also was a pleasure to see, in which she's great as Tim's fiancée, who is also worried about the latter's descent towards the criminal life. And, the always great Humphrey Bogart was excellent as a friend of Cliff who was also in prison, but unlike Cliff, returns to his life of crime immediately instead of trying to go straight. So, even though Raft is the primary star, the supporting cast was also very much great in the roles they had.
To reiterate, Invisible Stripes is a very entertaining film featuring a very interesting story and some very fine acting. However, as I've said before, there are times when the film gets rather depressing because of the subject matter. With that said, it's nevertheless worth seeing, because of how it examines the parole system, and because of the fact that it shows that living the life of a gangster isn't as glamorous and thrilling as it might seem.
All the King's Men (1949)
A Powerful Film That Remains Relevant. Broderick Crawford Is Sublime.
There's a saying that goes like this: "The road to hell is paved with good intentions." It means that one can start out with the best of objectives, but somewhere along the way, that individual will end up forgetting what they set out to do, and will begin to corrupt themselves and before long, will do anything to hold on to the power they obtain. In regards to such a philosophy, you will find Willie Stark, someone who starts off with the best of intentions, and while he does do some great things, he ultimately becomes focused on only one person, himself, and this idea in the long run, leads to his downfall.
All The King's Men is a powerful film that divulges into the darker elements of politics, and shows how easy it is for someone to allow something to corrupt them, and how intentions of good are a façade for motives of evil. Not to mention that the film strongly benefits from a very engaging script, as well as some incredible performances from a superb cast. The film would end up winning three Academy Awards, including Best Picture, which in my opinion, is a win that was well deserved, because it's a very bold film that pulls no punches in regards to its subject.
The film tells the story of Willie Stark, someone who initially seems like someone who champions the common people, someone who is devoted to helping their causes. At first, he starts out as that, but eventually, he ends up shifting gears and becomes someone who is a man of the people, but only if those people suit his own self interests. As a result, in route to becoming Governor, he winds up embracing the vices that he previously rejected, such as bribery and corruption. Once he's in power, he puts forth ordinances that earn him popularity, while doing everything he can to remain in his position. What does it involve? Blackmail and intimidation. It isn't long before his opponents start suffering for being against him, with their lives being destroyed, and very brutally at that. The film is a very compelling story of how easy it is for someone to take the path of decadence, to embrace the foibles that one initially set out to bring down, which in many ways, makes the film still very relevant in the modern era.
While the film and the characters involved are fictional, the story draws heavy inspiration from the life of Huey Long, a Louisiana politician who started off with well and noble goals, but ultimately let the idea of power get to him, and almost became a dictator in the process. While Stark isn't exactly a carbon copy of Long, he emulates many of the latter's characteristics, someone who verifies himself as one for the people, but is really only for his own memo. Throughout the film, writer and director Robert Rossen manages to keep the audience engaged with some absolutely brilliant storytelling that's done in a very imaginative way. To specify, it isn't just an anti-dictatorship story, it shows that Stark didn't start out a power obsessed man, because he actually does make good on some of his promises to help the people of his state, but eventually forgets his aims and becomes obsessed with power, all while alienating everyone and everything he initially held dear to him, which is tragic, but is also a reflection of what politics can do to many real life individuals.
Prior to this film, Broderick Crawford's career was regulated to secondary pictures, particularly comedic ones. However, he gives the performance of a lifetime as Willie Stark, a role that would earn him the Academy Award for Best Actor. To say that Crawford deserved the award would be putting it lightly, because he was simply fabulous. Probably the most powerful scene involves him giving a speech about how he understands the suffering of the common man, particularly the "hicks", and vows that he'll do whatever it takes to improve their lives. The way he manages to captivate his audiences with his fiery and dynamic speeches is in many elements, rather chilling, one that mirrors the methods that many dictators use to entrance their audiences. It was also chilling to see Crawford's transitions as Stark goes from a man of the people to a self-centered dictator who doesn't tolerate criticism, to where one would find it rather chilling at how it progresses. It also helps that Crawford's efforts are buoyed by a brilliant supporting cast. Mercedes McCambridge would win the Oscar for Best Supporting Actress in her role as Stark's secretary, who is almost as merciless as her boss, as well as envious. John Ireland was stupendous as well, in his role as a reporter who decides to work for Stark, but eventually finds himself becoming disillusioned with the latter's dictatorial methods. Raymond Greenleaf was also outstanding, playing Stark's attorney general who eventually becomes an enemy because of the fact that the latter is protecting someone guilty of embezzlement. Joanne Dru was great as well, playing the wife of a doctor who also becomes disillusioned with Stark's practices. In other words, while Crawford is one of the main driving forces behind the film, the supporting cast put forth outstanding efforts to back him up.
To reiterate, All The King's Men is a powerful, and at times, disturbing film that still holds up, and in many aspects, has become more relevant than ever in today's era. The film shows the dangers of power, and how it's capable of corrupting even those who vow to perform only the best of intentions, to where they end up becoming the antithesis of their original goals, such as how Willie Stark did. It is said that good films last forever, and I definitely agree with that, as I believe that this film is well worth remembering, because of the message that it conveys, which as stated before, is that even if someone's intentions are good, they can become twisted. As a result, we should remember stories like this, of individuals like Willie Stark, so that they may be a cautionary tale for all who dare to tread in their path.
Citizen Kane (1941)
Perfect. A Film That Rightfully Deserves Its Reputation As One Of The Greatest Of All Time.
There's one question that has no wrong answer: "What is the greatest movie you've ever seen?" Whenever such a question is brough up, it can turn into a debate over what some consider to be cinematic greatness. However, the AFI ranked Orson Welles' 1941 film, Citizen Kane, as the greatest movie of all time, not once, but twice. Naturally, someone is bound to watch this with high expectations. However, there's still the possibility that they may view its reputation as well deserved, which it is definitely worthy of.
What else is there to say about Citizen Kane apart from that it's one of the greatest movies of all time? This film is an experience that is so powerful and magical, that you might even say that it's the very definition of cinema. The film is loosely based on the life of media tycoon William Randolph Hearst, who naturally, was livid with the film, and took every step to slander it whenever he got the opportunity. As a result, the film didn't receive the sort of appreciation upon its original release, and it wouldn't be until much later that it ultimately would.
The film tells the story of media tycoon Charles Foster Kane. Primarily told in flashback, the film begins with an elderly Kane dying alone in his luxurious mansion. As he dies, he weakly utters the word: "Rosebud." His death triggers a renewed interest in his life, and reports become interested in trying to figure out the meaning of "Rosebud." Throughout the film, Kane's life is shown, in which he leaves home at a young age, rises to the top of a media empire, and then experiences a downfall when he gives in to corruption and power. However, the film isn't merely the depiction of someone's life story, it's a thorough and in depth look at one of the most fascinating and complicated characters in cinematic history, a man who had everything. Right?
In addition to the story, the film exceeds in all other aspects. First of all, the acting is sublime. Welles portrays Kane in the best way imaginable, to where he keeps us engaged as we try to figure out what exactly makes him. What Kane does is primarily for his own self-interests and power, but he's portrayed in a way that makes his story interesting to follow. As mentioned near the end, Kane is someone who has everything, and then loses it. While he certainly manages to make it to the top, there's little if any indication that he's truly a happy individual. One sequence in the film that reinforces that is after he marries a woman named Susan Alexander, who he makes into an opera star with his power and wealth, despite the latter being unsuitable for it. Susan's life goes downhill because she clearly isn't enjoying it, and receives much criticism for the fact that her husband is basically bullying her into the spotlight with Kane's newspapers giving false praise. This definitely reinforces that you can have all the power and money in the world, but it won't bring you happiness, or fame for that matter.
However, as fabulous as Orson Welles is, it isn't exactly a one-man show, since everyone else involved made significant contributions. The supporting cast were superb in their roles, and in fact, many of them would go on to have great careers of their own, such as Agnes Moorehead, Joseph Cotton, Ray Collins among others. After Welles, probably my favorite performance in the film was that of Dorothy Comingore, who plays Susan, Kane's second wife, primarily because she becomes the one who's holding Kane together, and when things begin to go downhill, so does Kane. There's also much to be said about the film from technical aspects, particularly the editing and cinematography. The film was edited by future director Robert Wise, and his editing is among the best I've seen in any film. I also heard that the film's cinematographer, Gregg Toland, wanted to work with Welles for the opportunity of trying experimental camera techniques that other films did not allow, and his work definitely shows here, because the techniques in this film are impressive, to the point that it wouldn't be exaggerating if you were to call them revolutionary. As a result, even though Orson Welles deserves his fair share of praise, but the supporting cast and the crew also deserve praise, because they all combined their efforts in working to make such a cinematic masterpiece.
Another question asked is if it's possible for old movies to still be as relevant now as they were back then, and in my opinion, the answer is yes. The story of Charles Foster Kane seems to be a message primarily for those who desire to be on top of the world. Suppose they do reach the top, it doesn't mean anything if they can't find happiness along the way. The film also teaches us something important in regards to happiness, that is, everyone has what we consider a "Rosebud", which while it might not mean anything to anyone else, it means something to that person in particular, as "Rosebud" meant something to Charles Foster Kane. And I won't say exactly what it is, but you might be surprised to find out that "Rosebud" is something relatively minor at first glance, but it's actually much deeper, because it represents the sort of ideas that some tend to take for granted. So, to reiterate, while one's opinion may vary, there's still no denying that Citizen Kane has rightfully earned its reputation as one of the greatest movies of all time, it's one of the most authentic and breathtaking cinematic experiences that one will ever see, and as I also said, would be no hyperbole to say that it's the very definition of the word "cinema."
Detour (1945)
A Low Budget Gem That's One Of The Darkest Noirs Of The 1940's.
When a film has a large budget, it can go one of two directions. Either the film can become a massive success, or it could become a massive failure. Naturally, there's always the possibility that the film will be a lavish and grandiose extravaganza that will end up becoming an all-time classic. However, there's also the possibility that the film might end up being a disappointment, because even though it has a large budget, there isn't much else to it, in which it becomes a case of all show and no substance. Sometime in 1945, there was one film released from Poverty Row, which was filmed over a very short period of time. And if anyone would've said that this film would become a classic among the film noir genre when it was originally released, that would have been viewed as an extreme overestimation.
Detour is a film that affirms the idea that something doesn't always need a large budget to be effective. In a runtime that clocks slightly over one hour, the film proves itself to be one of the darkest noirs to ever come out of the 1940's. The film is riddled with technical mistakes and its low budget shows in numerous intervals. However, it more than makes up for it with its story, as well as the acting from a group of relatively unknown actors, all who make the most of what they have. As a result, we end up with a haunting film that manages to mesmerize with the audience even after its dark conclusion.
The film deals with the idea of how something seemingly innocent can transform into a dreaded nightmare. The story begins with an unemployed piano player by the name of Al Roberts, who while at a diner, has a rather disturbed reaction to a particular song that another customer plays on a jukebox. In a series of flashbacks, we proceed to see what Al's life was before arriving at the diner. Following a bout of depression after his girlfriend left New York to seek fame, Al decides to go to California to marry her, however, he ends up having to hitchhike across country since he has very little money. While in Arizona, a bookie ends up giving him a ride, but along the way, he ends up dying under strange circumstances. Although Al is innocent, he's afraid to report the bookie's death, as he believes that the police might think that he killed him. Nevertheless, he ends up taking the bookie's car, clothes, and identification before heading on. While in Arizona, he picks up a female hitchhiker who seems rather ordinary at first, but later turns out to be a very despicable woman who blackmails Al into going along with a scheme of hers for money. What follows is a low budget story that succeeds in doing what many films with larger budgets wish they were capable of doing.
For a film made on a minuscule budget, the film has a considerable amount of depth to it. However, that isn't to say that it's flawless on a technical scale. As I mentioned before, there are many intervals where the low-quality shows, with there being many imperfections and errors showing, which proves that the film's budget was very low. Nevertheless, the film succeeds in other aspects, particularly its story, which contains numerous twists and turns. Edgar G. Ulmar's directing is one of the main driving factors of the story, in which he manages to keep a grip on the audience's attention with how the story is presented. Al Roberts is a very interesting character, one who has a tendency to bring catastrophe with him wherever he goes. Ultimately, it's up to the viewer to decide the type of individual Al is. Is he a villain? Or is he someone who is a victim of some rather catastrophic circumstances?
Another major driving force behind the film comes from the performances from the actors involved. Tom Neal plays one of the noir genre's most memorable anti-heroes, one who is very easy to become invested in a follow, with the audience wondering what will happen to him as the story progresses. Ann Savage was in a class by herself as far as the acting went, with her turning in an incredible effort someone who would not be inaccurate to state is one of the most despicable female characters to appear in any film noir, she's a greedy and manipulative individual who decides to extort tom for her own selfish gains, and doesn't care what she does to get what she wants. A huge selling point for a film is that the audience is more likely to get involved if the characters are fascinating, which this film definitely had, as all of the characters in the film have something that makes them interesting to follow.
To reiterate, Detour is one of the finest noirs of the 1940's, and one of the best low budget films in the history of cinema. Even if a film has a large budget, there's always the possibility that it could still come up short if there isn't much of a story to work with. As this shows, a filmmaker can still do very much with the budget that's not even a fraction of some of the lavish epics released during the history of Hollywood. Even with its budget and technical flaws, Detour is one of those films that the audience is unlikely to ever forget, a film that will remain with them even after its dark and haunting finale.
Stagecoach (1939)
A Stupendous Western That Remains One Of The Best Of Its Genre.
Prior to 1939, the western genre was primarily looked on as something of a joke in Hollywood, with said films usually being categorized as B-Movies. Many of these films also starred John Wayne, who was likewise considered a B-Movie actor. However, that would all take a turn in 1939, when one film released that year would become a gamechanger in more ways than one. In regards to such a philosophy, a viewer will find John Ford's Stagecoach, which would ultimately become a classic in more ways than one.
Stagecoach is truly one of the finest westerns to ever come out of Hollywood. This film was a game changer, as not only did it make a major star out of John Wayne, but it also elevated the western genre to the form of A-Movies. Furthermore, it would also prove to be one of the most influential films of all time, with many directors citing it as an inspiration on some of their output, there's one particular scene (and I won't say what it is), that features some incredible stunt work, which Steven Spielberg would recreate for use in the first Indiana Jones film.
The film is essentially a tale of adventure and danger, but what makes it interesting is the fact that it puts an extra amount of focus on the characters. In the film, a stagecoach is en route to Lordsburg, New Mexico, from Tonto, Arizona. Before leaving, the passengers traveling on the stage are warned about a risk of an Apache uprising. The passengers include a variety of individuals, including a prostitute who's been thrown out of town by a group of women. She's joined by a pregnant woman (who's on her way to meet her husband), a whiskey salesman, a gentleman gambler, an alcoholic doctor, and probably the least sympathetic of the bunch, a crooked banker who's just embezzled some money from a bank (which he took advantage of thinking the telegraph lines were down). Completing the assortment are the coach driver and a marshal who's on the trail of a man who escape from prison. Along the way, the group meets the said escapee, who is looking for the ones who framed him for murder. Throughout the course of the film, we are given a perfect glimpse of the personalities of the characters, which are all brought to life by John Ford's sublime directing.
As I mentioned, what makes the film very interesting for a Western is the attention it focuses on the characters. Everyone one of the main characters have their own interesting quirks that make them very interesting to observe and become invested in. It also helps that all of them were played to perfection by their actors. In his star-making role, John Wayne shines as Ringo Kid, a man who accompanies the passengers so he can find the ones who framed him and got him sent to prison in the first place. However, it shouldn't be ignored that while he's yearning for his own-self-interests, he also comes to care for the needs of those around him, which make him a very likeable protagonist. George Bancroft was perfect as a sympathetic Marshal who becomes friends with Ringo, and because determined to keep him out of trouble. Claire Trevor was sublime as the sympathetic Dallas, who Ringo falls in love with, and in turn, she falls in love with him. Thomas Mitchell was a scene stealer in his role as the drunken doctor, a role that would win him a well-deserved Oscar for Best Supporting Actor. Mitchell's best moments involved many of his interactions with Donald Meek, who was also perfect in his role as the whiskey salesman. Louise Platt was also perfect at playing Lucy Mallory, the pregnant woman who is concerned about the well-being of her husband. John Carradine was also a pleasure to watch, as he was quite dashing as the gambler who takes a liking to Louise Platt's character. Andy Devine was also incredible as the driver, who, while he mostly provides some forms of comic relief, is given some opportunities to shine. And in probably the most unsympathetic role in the film, Berton Churchill is great as the banker who commits embezzlement just because he can. All of these actors could've potentially won an Academy Award, which Mitchell ultimately would. This is a testament as to how great and vital they were to the story, as not a single one of them felt out of place in their respective roles.
The film is also impressive from a technical viewpoint, featuring stunning cinematography of Monument Valley (this was the first of many films that Ford would shoot there), particularly the long shots of said location with the stagecoach traveling through it, which are especially breathtaking. There's also the exciting climatic chase scene in which the coach is attacked by Indians, which makes for one of the best chase sequences in any film. In regards to the portrayals of Native Americans in this film, it's important to remember that this was acceptable for the time the film was made. While it might not be viewed as acceptable today, it was perfectly acceptable back then.
On a side note, while he was preparing for Citizen Kane, Orson Welles watched this film over 40 times in attempting to prep himself. At another point, when he was once asked who his three favorite directors were, and he replied: "John Ford, John Ford, and John Ford." When someone like Orson Welles gives praise, that is as big an honor as one could hope to receive. And I agree with that, as John Ford was a master of cinema. Ultimately, Stagecoach is a revolutionary experience that shouldn't be overlooked, as not only did it help to make the career of John Wayne, one of the most iconic actors in film history, but it also revolutionized a genre and became a game changer for cinema in the long run.
Dr. Mabuse, der Spieler (1922)
A Superb And Brilliant Crime Drama That Represents The Peak Of Fritz Lang's Creative Zenith.
Fritz Lang was a director who was definitely ahead of his time, primarily because his films started numerous trends and elements that have inspired numerous films and filmmakers throughout the history of cinema. He technically created the espionage genre with his 1928 thriller, Spies. However, prior to that, he perfected a two-part film that is essentially a prelude to the film noir genre. Furthermore, it's a stupendous film that represents the peak of Lang's creative zenith, one that has solidified a status as one of the director's best efforts, and evidence that he was one of the greatest filmmakers of all time.
Der Spieler is a brilliant silent that represents another triumph for Fritz Lang. It's a suspenseful, gripping, and exciting film that was in many aspects, the portent of numerous techniques and plot devices that would be utilized in a myriad of crime thrillers that would be released in the future. In addition to the aforementioned elements, there are also several techniques utilized in regards to the psychological aspects that wouldn't seem out of place in a Hitchcock film. Furthermore, it's one of the best films to ever come out of Germany during the silent era, with it even being as great as some of Lang's other films, such as Destiny and Metropolis.
Dr. Mabuse is a brilliant criminal mastermind who runs a large operation in the Berlin underworld. In addition to that, he's also a master of disguise and is capable of using hypnosis to the point that it would not be an overestimation to say that he's something of the supernatural type. Furthermore, he also commands a system of minions who collaborate against establishments and individuals for the endgame of bringing wealth to himself. While there are more than a few who know about the Doctor's crimes, no one can really pinpoint them to him directly, which earns him the name of "The Great Unknown." However, the actions of "The Great Unknown" attract the attention of State Prosecutor Norbert von Wenk, who believes that the numerous crimes that have been occurring are connected, and are the result of this mystery saboteur. Despite Wenk's efforts, the elusive Mabuse utilizes more ominous techniques to stay one step ahead of the State Prosecutor. The end result is a film that would be no overestimation to say is one of the best German silents in the history of cinema.
Lang employs his skills in methods that were revolutionary for the time. The film was one of (if not the) the first to utilize the device of a mastermind presiding over a large criminal empire. The film was also legendary for the notion that it was also the first to effectively use nighttime driving techniques, which is used to stunning effects in a car chase sequence involving Wenk and the titular doctor. There are also numerous intervals where German Expressionism is utilized to a spellbinding effect, particularly whenever the Doctor resorts to his powers of hypnosis, whether it involves manipulating someone into cheating at cards, or even into killing themselves. It would not be an overstatement to state that the titular doctor is one of the greatest and most diabolical villains of the silent era. One might also be surprised that the film also contains some elements that predate the era of film noir. A standout would be a scene where Wenk and Mabuse have a card game, which also represents something of a mind competition. During this sequence, the camera focuses only on them, with the room itself going completely dark. In fact, there are many films in the noir genre that can trace many of their elements back to this film. While M may have been the first true "noir", this one was the film that might have essentially invented the genre.
While Lang was also known for using brutal methods to get his desired results, he also was able to bring out the best in the actors he directed. Frequent collaborator Rudolf Klein-Rogge shines in what is, in my opinion, his best role. Klein-Rogge had a seemingly natural ability that enabled him to play any role with ease. As with most of his roles, while he's definitely the villain, he is incredibly charismatic and even darkly intriguing. Bernhard Goetzke performs stupendously in what is probably his best role (after his role in Destiny), with him being a hero who is very easy to become invested in, with his character of Venke being around as fascinating as Klein-Rogge's doctor. Gertrude Welcker was also wonderful as the Countess who has tragedy befall her because of the Doctor's desire to have her. Welcker brought a strong sense of sympathy to her character, someone who becomes easy to sympathize with. She also has some noir moments when she's captured by the Doctor and is imprisoned in a cell. Watching her sense of hopelessness can be rather emotional, since not only is she physically imprisoned, but she's also mentally imprisoned in a cell of the Doctor's rendering. Alfred Abel was also excellent as Count Told, a man who also has tragedy befall him due to the Doctor's manipulating. In line with the typical Lang formula, while everyone in the film played a vital role, one could argue that the film was essentially a duel between two of the most iconic German actors of the silent era, Klein-Rogge and Goetzke.
To reiterate, Der Spieler is a superb drama that reaffirms Lang's status as one of the all-time great directors. Counting both parts, the film runs for over four hours, and yet during the course of its length, there's always something that makes it intriguing to see, as there's never a moment where the story drags or faulters. Ultimately, the film is an outstanding silent picture that serves that represents Lang's genius at its peak, and is definitely among the most intriguing of the films released in Germany during one of the greatest periods in film history.
Brother Orchid (1940)
A Delightful Film That Represents Robinson's Versatility And Ability For Comedy.
Edward G. Robinson is primarily known for playing gangsters, which made him one of the best-known actors in the genre alongside James Cagney, not to mention one of Warner Bros.' top stars. However, also like Cagney, Robinson could also be rather versatile, with him having a secret talent for comedy. This film is one of his most unusual roles, but in no way is such an idea a negative thing. As a matter of fact, I would consider this film to be one of my favorite films that Robinson appeared in, as he gives a performance that combines drama and comedy, and in some intervals, can be rather touching.
Brother Orchid is a very interesting role for Robinson, and it's also one that's got some heart in it. The film is a very novel blend of film noir, crime, gangster, and comedy all in one, and it makes for a very unique experience that showcases Robinson's versatility. It manages to combine suspense, action, and comedy all into one. The end result is a film that contains some action and even a few thrills, while at the same time, including some lighter comedic moments that are even endearing in some intervals.
Robinson leads the cast as a crime boss by the name of John Sarto in what appears to be another "tough guy" role. However, that's dashed when Sarto announces that he's going to be leaving the business, since he's made enough money to retire and go traveling. Before leaving, he passes the leadership to his friend, Jack Buck. Unfortunately, he ends up losing all of his money on a trip to Europe. Upon returning home, he decides to go back to his gang as if he never left. However, Buck has taken total command, and neither he, nor anyone else in the gang want anything to do with Sarto. Before long, Buck tries to have Sarto killed. Sarto manages to escape, and winds up in a monastery where he decides to join the "brothers" who run it. While there, he soon finds himself taken by their kindness and soon finds that he might change his ways, though some more problems ensue when he as trouble trying to move on from his gangster persona. The end result is a film that manages to be both touching and funny.
As one might expect, Robinson was the best. His performance is tough and touching in many points in the film. It's always a pleasure to see him play his signature gangster role, but I also liked seeing him playing a more friendly role during his scenes at the monastery. Humphrey Bogart was great as always, in which he plays a thoroughly detestable mobster who only cares about power for himself. Ann Sothern was rather lovely in her role as Flo Addams, the woman who loves Sarto. There's also some comic relief in the form of Ralph Bellamy, who plays Clarence Fletcher, a cowboy-like character who also vies for the affections of Flo. However, probably my favorite performance in the film after Robinson's was that of Donald Crisp, who plays the Brother who runs the monastery that Robinson hides out as. Crisp's performance was very touching, as his character shows the sort of kindness that more people in the world could probably use.
Like I also mentioned, the film combines mob drama with comedy and scenes that can be genuinely heartfelt. While on the surface, such an idea may sound unusual. However, it tends to make more sense once the film itself is seen, as the funny scenes are genuinely funny, and the dramatic scenes manage to play up the suspenseful aspects, and the touching scenes can be genuinely moving. As I also said, this film also shows that Robinson could be versatile, as he starts off as your typical gangster before he ultimately goes a complete turnaround and becomes a nicer and more caring individual, and the way Robinson handled it didn't feel unnatural in the slightest.
Ultimately, Brother Orchid is a rather pleasant film that's more than what meets the eye. It's a delightful and brilliant gangster film that's worth seeing. Even though it sounds unusual at first, you'll probably find it to make sense once you see it, and you'll also probably be surprised at how Robinson makes the many transitions that he does in the film, which was further proof in regards to how great an actor he truly was.
'G' Men (1935)
A Brisk And Exciting Gangster Film That's One Of Cagney's Best Roles.
Even though the gangster films of the pre-code era were very popular with audiences, there were some people who complained that they were glorifying criminals. In response to this, Warner Bros. Released this film in 1935, a film that doesn't glorifying the gangster lifestyle. Instead, it shows them as being dangerous and murderous individuals, and it shows the authorities out to stop them as being genuinely heroic and devoted to their objectives. These, combined with some superb acting, worked to make the film a very novel experience. And who better than Hollywood "Tough Guy" James Cagney to be the one to star in the film?
G Men is a superb film that is one of the best of its type, and it's definitely one James Cagney's finest roles. The film is a fast-paced and exciting crime drama that definitely manages to stand out from the others, particularly in regards to its subject. In addition to that, it's also buoyed by some tremendous acting, as well as some very intense scenes that play up both elements of action and suspense, which combine to form one of Warner Bros.' most thrilling efforts from the entirety of the decade.
In a role very different from his early gangster roles, James Cagney plays "Brick Davis", a lawyer who has difficulty finding clients, primarily because he wants to stick with his morals and refuses to do business with anyone shady. One day, he receives a visit from a friend of his, who tries to encourage him to join the FBI. Though he considers it, Davis turns down the offer. Shortly thereafter, his friend is murdered. After that, Davis reconsiders the offer and ultimately decides to join the and become a "G" Man. While in the FBI, he focuses on trying to take down various criminals, while also trying to make good graces with his boss, who doesn't appear to have any respect for him. Further internal complications ensue when Davis begins to take a liking to his boss's sister. All the while, crime is rampant, and at first, there's little the FBI can do to stop it. However, once they are granted the authority to carry their own firearms, the tensions are raised, and what follows is one of the best gangster films of the 1930's.
After playing several villainous roles in many of his prior films, it was invigorating to see Cagney play a heroic role for once. While "Brick" Davis has many of Cagney's "tough guy" elements, he's different because he isn't a common criminal, he's someone who is very much on the side of the law, and is determined to uphold it. Seeing Cagney shine in this role causes one to imagine what it would've been like had he played more similar roles. Cagney also has some backup from a great supporting cast, with one of them being Robert Armstrong, who plays Davis' boss, Jeffrey McCord. It's interesting to see how Davis and McCord's characters progress throughout the film. At first, McCord doesn't like Davis in the slightest, but as the film goes on, he begins to show appreciation for his efforts. Margaret Lindsay was also great, in which she plays McCord's sister, who Cagney becomes smitten with. Their scenes are rather delightful to see, because there was an abundance of chemistry between the two of them. Ann Dvorak also has a memorable role as a friend of Cagney's who also seems attracted to him. So, while Cagney definitely was the best out of everyone in the film, one shouldn't sell the others short.
Something else that's very interesting to notice, is how the film portrays the FBI itself. Although the film is fiction, it presents the FBI in a way that is surprisingly realistic. At first, they are shown being vulnerable. It may be hard to imagine, but there was once a time when the FBI weren't allowed to carry their own revolvers to defend themselves, which the film shows. The film is also very big on action, particularly some very intense shootout scenes which involve things such as cars exploding in a hailstorm of bullets. There's also a rather memorable moment when a gangster shoots his wife up close in a phonebooth after he finds out that she's informed the police about him. While the film is very heavy on action at certain intervals, it's appropriate in regards to the story and subject. It also helps that it's also very suspenseful and is bound to capture the audience's attention.
Reiterating, G Men is an exciting and brisk film that's one of the best from the crime dramas that Warner Bros. Released in the 1930's. Plus, it's also worth seeing to see Cagney show how versatile he was by playing a heroic role that contrasted with his gangster roles. It's very interesting that he stars in this film, which can be seen as an indictment of the gangster films that made people like Cagney famous in the first place. However, I suppose that it only goes to show that someone like Cagney was very adaptable if they could perfectly play heroes and villains alike.
Tagebuch einer Verlorenen (1929)
A Great Melodrama. Louise Brooks Is Positively Dazzling.
It would not be an overestimation to say that Louise Brooks was one of the greatest actresses of all time. She was highly esteemed not only for her beautiful appearance, but also for the almost supernatural way that she could captivate her audiences, with her acting having a quality that could be considered ethereal, one that has been almost impossible to replicate. In 1929, she appeared in two films directed by Georg Pabst. The first one is the classic Pandora's Box, while the second one was this effort, which, like the aforementioned film, is likewise a classic that proves that in regards to acting, Louise Brooks was truly unequaled.
Diary Of A Lost Girl is a powerful and rather emotional melodrama that represents the peak of German cinema during the 1920's, and is an absolute classic of the silent era. The combination of Pabst and Brooks was a match made in heaven, since both of the films they worked on are regarded as some of the best silents ever made. However, while they are both dark in regards to tone, they are different in regards to how the darkness is played up. While Pandora's Box had the darkness present at every interval, this one has a type of darkness that could be considered more cerebral. Nevertheless, the film is a silent tour de force in which Louise Brooks again proved why she was one of the best actresses of the 1920's.
The film is the story of abuse at the hands of society, and the hope of redemption. Louise Brooks stars as Thymian Henning, the naïve daughter of a pharmacist who seems to be living a relatively normal life. However, everything takes a dark turn when she is violated by her father's assistant, Meinert, and in the process, is made antenatal. When she refuses to marry Meinert because she doesn't love him, she is essentially disowned. More specifically, she is sent to a reform school where she faces brutality at the hands of the tyrannical woman in charge. Eventually, she escapes with the help of a Count who has also been disowned (his uncle disowned him for being unsuccessful at every school and trade). After that, she ends up turning to prostitution. And while she does end up making some friends, she wonders if it will be possible for her to redeem herself from what happened to her. The end result is a film that represents another milestone from the silent era, as well as one that continues a message that remains relevant in the present.
Much like her efforts in Pandora's Box, Brooks brings Thymian to life in a way that is unlike any other performance in film history. Brooks had an ability to reach the audience in a way that almost feels supernatural, with her expressions and movements saying everything. The film also seems to switch moods depending on the mood she's in. Whenever she's upbeat and smiling, her radiance seems to illuminate the screen. Whenever she's downbeat, everyone knows it. More specifically, there are many intervals in the film where she elicits sympathy from the audience. Such an interval would involve her time at the reform school, where one can feel the anguish she's suffering, and even when she does find some happiness, such as her tenure in prostitution, she's still not entirely thrilled, and is desperate to find herself after becoming lost. Also in a vein similar to Pandora's Box, Brooks is able to convey more with her expressions than someone else could with lengthy amounts of dialogue.
Even though Brooks commands the show here, there are also significant contributions from the rest of the cast here. Fritz Rasp was positively slimy as the pharmacist who violates Thymian, basically causing her to become a "lost girl." While Rasp was undoubtedly slimy in this film, like other German silents in which he played a villain, he also had the tendency to be very charismatic. André Roanne turned in a superb effort as the Count who Thymian becomes friends with, and one who also has tragedy befall him. Josef Rovenský put forth a great effort in his role as Thymian's father, who basically discards here without a second thought. And though he isn't credited, Arnold Korff has a very memorable moment in which he delivers a message that (without revealing too much) is still as relevant now as it was then. As was the case with Pandora's Box, Pabst utilizes his directing talents to bring out the best from the actors, who all employ their abilities to deliver performances that convey more with actions than they could've with words.
To reiterate, Diary Of A Lost Girl is a powerful experience that is one of the best silents from Germany, and probably one of the best silents overall. Furthermore, in addition to this film being a beautifully formed picture with a very compelling story and stupendous acting, it's also worth seeing to see Louise Brooks demonstrate the reasons why she was one of the greatest actresses in film history, one who had a type of luminousness and radiance that has remained unparalleled.
Pinocchio (1940)
A True Work Of Art. Brilliant For Anyone Who's Wished Upon A Star.
Following the release of the groundbreaking Snow White, Walt Disney's animation studio was off and running. The studio's second film was this one, which, while it might seem impossible to believe, was not a success upon its original release. However, the film has received acclaim since then, and has gone on to become a marvel in the field of animation, with some even referring to it as the "Citizen Kane of Animation." It's a film that further proves the idea that animation is a form of art.
Pinocchio is a momentous achievement in cinema, it certifies that When You Wish Upon A Star, you can expect to find greatness, and greatness is definitely what is found here. The film is a breathtaking experience that makes for an absolute classic that is one of the best animated features of all time, and is a film where your conscious should be your guide to seeing greatness, which this film has certainly achieved in the years since its release.
The film begins with a cricket by the name of Jiminy speaking directly to the audience, in which he tells them the story of a wish coming true. One night, he heads to a town in Italy, where he goes to the shop of a woodcarver named Geppetto, who lives with his Figaro and Cleo, his pet cat and goldfish respectively. Geppetto has created a wooden marionette that he names Pinocchio, and just before going to bed, he wishes that Pinocchio was a real boy. That night, a blue fairy visits Geppetto's shop and brings Pinocchio to life, although he remains a puppet. However, the fairy tells Pinocchio that he can become a real boy if he proves to be "brave, truthful, and unselfish." With Jiminy as his conscious, Pinocchio is primed up to head to school and start his foray into the world. However, things don't go as planned, and he ends up encountering a number of unsavory individuals, which represent temptation and the repercussions of wrong decisions. Not to mention that it provides viewers with an experience that is truly spectacular, one for anyone who's Wished Upon A Star.
The film features probably some of the finest animation that will ever appear in a film, which was definitely revolutionary for its time. The detail given to many of the sequences in the film is awestriking, particularly the entirety of the beginning at Geppetto's workshop. In addition to that, the characters are absolutely wonderful. There's of course, Pinocchio and Geppetto, have some of the most endearing and memorable interactions between two character in any animated film. Then, we have Jiminy Cricket, who, whenever he's not being the voice of reason, has some of the best comedic moments in the film. Honest John and his sidekick are also funny (whenever they're not being unsavory). Stromboli and the Coachmen are quite intimidating in villainous roles. And everything involving Monstro the Whale is also frightening. Another thing the film has going is the music, in which it produced some classics, most notably the award-winning, "When You Wish Upon A Star", which is one of the best known songs to appear in any film, and rightfully so, as like the film itself, it's legendary.
Something else that's worth mentioning is how dark the film can get, with many sequences having large senses of fear. Such a sense if perfectly conveyed in the scene where Pinocchio is under Stromboli's control, when he's in the latter's wagon, there's a very frightening feeling that is emitted from the scene, which is further driven by the fact that it's interspliced with a scene of Geppetto walking in a torrential downpour as he tries to find Pinocchio. Then there's also the scenes at Pleasure Island, where Pinocchio and some other boys who are taken there end up turning into donkeys. Immediately, one knows that something's not right, but that doesn't make it all the less frightening when it actually does happen. Not to mention that everything involving Monstro the Whale consists of an atmosphere filled with dread, as well as the climactic chase in which Pinocchio and Geppetto are being pursued by said whale, which is very exciting and intense.
To wrap up, Pinocchio is a monumental accomplishment in cinematic history, it's a masterpiece that is one of the best animated movies of all time, not just because of how fun it is, but because of how much attention to detail was put into it. It's a film that in many ways, can still be as relevant now as it was back then, mostly because of what it can teach us about trial and error, and about how we must learn from the wrong decisions we make to improve for the future.
Pinocchio is a prime standard of how "When You Wish Upon A Star", you can definitely expect to find something wonderful, and this film is something wonderful indeed.
Sergeant York (1941)
Positively Wonderful. Gary Cooper Is Sublime.
The story of Alvin York is one of the most famous in the history of the United States, at least, from a military standpoint. York started off as a poor worker from Tennessee, who mostly helped his family with manual labor. Upon being drafted in the Army, he became notable for an action of bravery during World War I, that earned him a place among the most famous heroes in U. S. history. Naturally, it would only be a matter of time before his story would be given a film adaptation. Like all historical films, it does take a few liberties with real life. Nevertheless, it does both York and his legacy proud.
Sergeant York is a superb film that is surprisingly one of the most accurate biopics I've ever watched. I mean that while it does take a few liberties with real life, it's still surprisingly accurate with the facts it presents. Not to mention that it also features some of the finest acting that you might see in any film. Much like John Ford, Howard Hawks certainly had a flair for developing his characters, and those abilities were on full display in this film, in which everyone is well developed, with them feeling like actual characters that are worthing getting invested in.
Gary Cooper leads the superb cast by playing Alvin York, who was personally selected by the man himself to portray him. Cooper would ultimately win the Academy Award for Best Actor for his performance in this film, and that, in my opinion, was a win that was definitely well deserved. I also agree with the real Alvin York's decision, as Cooper was the perfect fit. The type of characters that Cooper played throughout his career at something of what you might call the "aw shucks" mentality, and here, it fit like a key, as from what I read, the real Alvin York was very much like that back home. It's also worth mentioning the way Cooper progresses through the film, particularly on the subject of dealing with his consciousness when he joins the army, and comes to a certain type of terms on the subject of killing. He eventually learns that killing can only be justifiable if it's a way to end the killing and war as a whole. And this was something else that was true, as in real life, despite his heroic action, the real York was very much a pacifist at heart.
The film's supporting performances are also worth mentioning. Probably my favorite of the supporting actors is Walter Brennan, who plays a pastor in the area where York lives. Walter Brennan sometimes had a tendency to be typecasted in comedic roles because of his voice, but his performance here showed that he truly was a very talented actor, as every time he was onscreen, he was perfect. Joan Leslie was great as Gracie Williams, York's love interest. What also deserve a mention is her interactions with Cooper, because the way they interact with each other, you can feel a sense of genuineness and heartfulness. Then there's Margaret Wycherly, who play's Alvin's mother, who's character contrasts with how upbeat Gracie is. Instead, she's somber and lacking in emotion, and according to those who knew York's mother, Wycherly's portrayal was right on target. I also really liked the performance of Stanley Ridges, who plays Major Buxton, York's superior in the army, who in turn, as one of my favorite scenes in the film. In the scene in question, he helps York come to terms with his conscious. Though of course, Gary Cooper's performance was the best, but that doesn't detract from the talented supporting cast who backed him up.
What also deserves mention is the authenticity of the battle scenes. When York arrives at the trenches, he is immediately greeted by the familiar feeling of what the British had to undergo before the Americans entered the war, in which they had to wait in the trenches with long periods of stalemate while bombs rained down around them. Howard Hawks seemed to have an attention for detail in those scenes, because the way it's portrayed, you can actually come to understand the feeling that those soldiers had to undergo. And it's here where York is really put to the test, and if you know anything about the actual confrontation that happened, then you'll be surprised at how accurately it's portrayed in this film.
As I said, while the film itself does take a few liberties with real life, it's still an excellent film with a message that more people should probably pay attention to, and that lesson is, that the only justification for killing in action is to end the killing and the war itself, which is certainly what the real Alvin York seemed to feel. And above all, it's a great film that features outstanding performances and storytelling. If you haven't already seen the film, then you'd be doing yourself a favor if you did see it, because it's an example of filmmaking at its finest.
The Amazing Dr. Clitterhouse (1938)
A Rather Novel Film That Serves As One Of Robinson's Most Atypical Roles.
Edward G. Robinson primarily made a name for himself in the 1930's by playing villainous roles in gangster films. Then, in 1938, he would take on a role that for him, was something rather unusual. While it was a gangster role, it was rather different from the ones he usually played. And with that said, even though it was rather unique, there's no denying that he still managed to put forth a solid effort in his acting and was able to make the film rather atypical from the usual films of the genre.
The Amazing Dr. Clitterhouse is a rather interesting gangster film that stands out from some of the other gangster films from Warner Bros. While the film does follow the formula that was typical for these films, it presents a more psychological look, as it involves the infiltration of a gang to test the theories of the examination of criminal minds. In addition to that, it also features some very good acting from the usual Warner lineup, who were always very great to see.
The film is the story of Dr. Clitterhouse, a wealthy physician who indulges in a series of unusual experiments, in which he aims to study how criminals behave. Among these experiments involve him becoming one himself and pulling off several successful jewelry heists. However, he desires to do something for a larger test of his studies. Eventually, he ends up allying himself with a gang of thieves to participate in a few more heights in order to reach his goal, but finds himself potentially spiraling into what could be seen as insanity. At the same time, he also faces some problems from within the gang, particularly from their leader, "Rocks" Valentine, who eventually becomes wise to the doctor's activities. These elements combine to make for a rather entertaining and novel gangster picture that takes a different type of approach.
The movie combines elements of comedy, suspense, and drama into one for a very interesting picture. Most of the suspense revolves around the actions of the titular character, who seems to enjoy committing crimes. As the film goes on, the question arises: "Is he insane?" It's rather difficult to tell, because while there is the possibility that he is, it's also likely that he might not be. There's also some comedic moments in the film, with one of them being a scene where a detective is about to uncover some of the stolen jewels, and Robinson manages to outmaneuver him by making him show identification and even calling him out about how to properly do his job.
This was a very interesting role for Robinson, in which he plays something that isn't like the gangster roles that he was best known for. While he does technically play a gangster, he doesn't start out as one. Instead, he plays a very refined doctor with some rather unsavory qualities to him, which he surprisingly performed very well, and he also performed a rather convincing English accent. Though he considered it one of his least favorite roles, Humphrey Bogart was very good as a gangster who ends up working with the doctor on some heists, and at one point, tries to betray him by locking him in a freezer upon finding out who he really is. The role of an unlikeable gangster was typical for Bogart during the 1930's, however, as this showed, he was usually very good when doing it. Clarie Trevor was very good as well, in which she plays the leader of the gang that Clitterhouse joins, with her eventually becoming attracted to him. Probably the best performance besides Robinson was the one from Donald Crisp, who plays a police inspector who is assigned to investigate the crimes committed by the doctor, who also manages to make a few well transitions between comedy and drama, showing that he was also rather versatile in regards to his acting.
To reiterate, The Amazing Dr. Clitterhouse is one of the more novel and interesting of the gangster films made by Warner Bros. In the 1930's, primarily because of how it presents a more psychological examination of the genre. Even if the film isn't what one way consider spectacular, it's nevertheless a very entertaining gangster picture. To add to that, it's also worth seeing to see Robinson play a role that's quite different from the usual gangster that he played during this time.
Great Guy (1936)
A Decent Drama That's Worth Seeing For Cagney.
In the mid 1930's, James Cagney had a split with Warner Bros., the studio responsible for bringing him to stardom. Following said split, Cagney made two films for a studio known as Grand National Pictures, with this one being the first one. Both films were low budget, however, that doesn't necessarily mean that the films themselves were of completely low quality. Even if this film doesn't rank as one of Cagney's best efforts, there is still something that makes it worth seeing.
Great Guy is an unusual, but nevertheless enjoyable effort that's worth a viewing for Cagney. While the film isn't perfect (the story seems somewhat rushed in a few instances, and the production values show at a few moments), it's still an entertaining picture that has its charms. The film shows that Cagney didn't exactly need a large budget in order to show that a great actor he was, because in this film, he was definitely a delight to see.
In the film, Cagney plays Johnny Cave, an ex-boxer who becomes an inspector after his boss is severely injured in a car accident. Sensing right away that something's off, he becomes determined to flush out the corruption in the city. However, it isn't long before he becomes the focus of attention of a crooked politician by the name of Marty Cavanaugh, who opts to put a stop to Cave, one way or another. Furthermore, Cave's actions also threaten his relationship with fiancée, who accuses him of being pragmatic and hardheaded, which in some ways, could be a precursor to some of the roles that Cagney would play in the future, such as "Angels With Dirty Faces" and "The Roaring Twenties."
As one would expect, Cagney is the primary reason why the film works. The film itself isn't a masterpiece of cinema, but it still has many things going for it, with Cagney being the main one. While Johnny Cave is on the side of the law, he has many of Cagney's signature "tough guy" elements, particularly his fearlessness in the face of threats, and not being afraid to take risks to meet his goals. In comparison to some of Cagney's other "tough guy" characters, Cave first appears to be a rather unlikeable individual, but he does have well intentions, and Cagney's irresistible charm makes him hard to dislike. He's also got some great moments, such as a scene where he stages a confrontation with an acquaintance to steal something from a gangster, by pretending to punch somebody else, and then hitting the one he's aiming to steal from. There's also a very satisfying scene where he prevents one of his targets from being arrested just so he can give him a thrashing, which a policeman tries to stop, but then decides to just let him continue.
Another aspect the film has going for it, is that in addition to Cagney's efforts, the supporting cast also was worth seeing. Mae Clarke was a pleasure to see in her role as Cagney's love interest, with her and Cagney having some rather snarky and humorous interactions with each other. Robert Gleckler was also very good in his role as the corrupt politician who Cave makes an enemy of. Henry Kolker also was rather enjoyable in his role as Cave's fiancée's swindling boss, who is in league with the politician that Cave is out to bring down. If there's anything that can be said about the film, is that the acting was rather good, with Cagney of course, being the biggest standout. While I didn't dislike the film, I believe that it was Cagney's presence and performance that helped make it an enjoyable experience.
To reiterate, Great Guy isn't what could be considered a gem of a film and does show more than a few signs of age, but that doesn't mean that it's a terrible film on the whole scale. And as I said, it's worth a viewing to see Cagney play a role that's similar to most of his "tough guy" roles, but has it on the side of the law and not the criminal underworld. In fact, you could think of it as being a somewhat more determined version of his role in "G-Men."
Out of the Fog (1941)
A Very Atmospheric Noir. Ida Lupino Dazzles.
The 1930's and the 1940's were special times for Warner Bros., which during said times, became primarily known for their gangster and crime pictures. One such instance would be this effort from 1941, which in many aspects, is a film noir, as it contains the stark black and white cinematography with the atmospheric setting that are usual staples of such films. In addition to that, the film strongly benefits from the acting, which is possible from a very talented cast that manage to utilize their talents to very exceptional effect.
Out Of The Fog is an intriguing and atmospheric crime drama that is one of the more interesting outings from Warner. In many ways, the title is very true, as fog is employed heavily to add to the sense of unease that is present at every turn, which in turn, helps to play up the elements of suspense. However, the film is low on some of the exciting aspects that films like this one were usually known for. With that said, the film manages to perform strongly in other elements, all of which help to make the film one of the most novel outings from Warner Bros.
The film tells the story of Stella Goodwin, a woman who lives in a flat located near the docks of Brooklyn. Tired of living an ordinary life, she longs to see the world. At some point, a rather charismatic man named Harold Goff enters the picture. Goodwin takes a liking to Goff as a result of his ambitious charms. However, Goff is actually a ruthless blackmailer who preys on the financially dependent, with two of his victims including Stella's father, who spends most of his time fishing. Stella soon becomes more attracted to Goff, which earns the concern of her father, not to mention her fiancée. Not helping the situation is the fact that there isn't much that can be done to stop Goff, as he manages to find a loophole to stay out of the reach of the law. After trying to have him arrested proves futile, Stella's father eventually decides that in order to properly deal with Goff, he might have no choice but to take matters into his own hands. The end result is a very atmospheric drama that could be considered an early instance of film noir.
In comparison to some of the other crime pictures that Warner Bros. Released, this one lacks the action that one would expect to see. Instead, the film focuses primarily on the characters, which are all rather interesting in their own aspects. With that said however, there are some suspenseful elements to the film, with said elements stemming from the actions of the character of Goff, someone who might seem charming at first, but is actually sinister underneath, not to mention that he's also cunning, in which he exploits every angle to avoid being arrested. The film also has an immense atmospheric setting to it, with the cinematography helping to convey the sense of dread that takes place around the docks. Such settings are the result of Anatole Litvak's directing, who manages to maintain a grip on these devices, which results it a film that remains interesting throughout its length, and one that has a few twists and turns at key intervals.
The main driving point behind the film would be the performances of the talented lineup. Ida Lupino is positively dazzling in her role as the woman torn between her love for her father and wanting to see more of the world, even if it involves turning towards a world of darkness. Lupino was one of those actresses who always had an ability to capture the audience's attention whenever she appeared in front of the camera, and such an ability definitely showed in this film. John Garfield was smarmy and detestable in his role as the extortionist who doesn't have a single positive quality to him. He may seem rather charming, but beneath the façade, he's ruthless and slimy. Thomas Mitchell was also a delight to see, in which he plays Stella's sympathetic father, one who cares immensely for his daughter, while also getting on the wrong side of Goff. There were also some touching father-daughter moments between him and Lupino, which are rather endearing. John Qualen was also very effective in his role as Mitchell's fishing partner, who also suffers at the hands of Goff. There was also a very good effort from Eddie Albert, who plays the love interest of Lupino, who becomes worried about the latter's attraction to Goff. While the film might lack some of the action that would be expected from a noir, it makes up for it with some very committed acting from a talented lineup.
To reiterate, Out Of The Fog is another solid effort from Warner. Even if the film might be lacking in some of the categories that one would probably anticipate from a film like this, it excels in other elements, particularly the acting. Not to mention that most of the crime dramas that Warner Bros. Released during this period were usually worth seeing because of how compelling their stories were, with this one being among the most unique of the catalogue. Ultimately, it would be a detriment to see the film, since it's got just about everything that one would expect from such a film.
Lost in Alaska (1952)
Another Later Abbott & Costello Effort That's A Delight.
By 1952, Abbott & Costello were reaching the twilight of their success. It was at this point that their popularity was beginning to wane, as they found that they were no longer top box office attractions. But nevertheless, that didn't mean that they weren't still capable of being able to provide quality entertainment. Their 1952 Universal outing proved that even after 12 years and 30 moves, the two of them still had the ability to delightfully entertain their audiences.
Lost In Alaska is another later Abbott & Costello effort that definitely makes for a good time. It's a fast-paced and delightful film that features the duo continuing what they do best at, getting into difficult situations and trying hard to find a way out, only to get into further complications. Even though it doesn't rank among their best outings, it still manages to become a very pleasant experience that's worth seeing, and shows that the duo hadn't lost their abilities after over a decade, as there were some genuinely funny scenes in the film.
In the film, Abbott & Costello play a pair of firemen, who, on the job one night, save a prospector known as "Nugget Joe" from drowning. Unfortunately, Joe tells them that he wants to die, because his girlfriend, Rosette, doesn't love him. After getting a telegram from Rosette, who claims that she still does love him, however, Joe decides to return to Alaska. Unfortunately, the boys are suspected of murdering Joe, and they end up accompanying him. Upon arriving in Alaska, they find themselves walking into danger, as Joe is targeted by many of the townspeople, because he was once a local sheriff who had hanged many of their relatives. Also troubling is the fact that many of Joe's friends want him dead so that they can receive a large amount of gold from his will. Also interested is a saloon owner who wants to kill Joe so that he can gain a fortune. And along the way, Abbott & Costello get caught up in the situation.
As mentioned, the film is rather fast-paced. However, it features some very funny gags and sequences. There's a scene near the beginning where A&C keep an eye on Joe, by swapping places and sleeping, in which Abbott sleeps for two hours, and when Costello goes to sleep, Abbott sets a nearby clock forward two hours. There's also a sequence where Costello inadvertently wins a lot of money at Roulette, in which is talking to a lawyer, and whenever he names a number, the operator places his earnings on said number. And then, when he loses it, Costello, who is unaware of what happened, just shrugs it off like it's nothing. Another great moment involves Costello coming face to face with some crabs, as well as a scene where he and Abbott are fishing, and everything gets a little haywire.
Something else that's worth mentioning is that you might be surprised to see that this film is something of a throwback to Abbott & Costello's earlier films, as it contains two songs in it, both performed by Mitzi Green. However, I won't complain, because the music was legitimately good, and Mitzi Green was also rather lovely to watch, particularly in her second number, where she does a rather funny duet with Costello, which was something that didn't happen often in A&C's films, when one of them actually contributed to the music.
Ultimately, while Lost In Alaska is far from being among Abbott & Costello's best films, it's still a good film that has some very funny sequences in it. And, as I've said before, there's always something delightful about seeing Abbott & Costello get into the types of problems that they always find themselves in. Reiterating, the film is fast-paced, but such comedy can work if it's done right, and it was here, because when the gags do happen, they have a tendency to escalate, which is something that Abbott & Costello were perfect at.
Bud Abbott and Lou Costello Meet the Invisible Man (1951)
A Clever Comedy That's The Best Of Abbott & Costello's 1950's Output.
By the end of the 1940's, Abbott & Costello were starring in a few movies that featured their characters meeting various monsters that appeared in films released by Universal over the years. And while these films tended to be different from the typical Abbott & Costello formula, there's no denying that they were very inventive and clever, as this film showed, which is definitely among their more stellar and memorable outings, and undoubtedly their finest of their 1950's output.
Abbott & Costello Meet The Invisible is without a doubt the best of the films that the duo made in the 1950's. There have been some people I've known who have considered this to be among their favorite Abbott & Costello films, and that's something I can understand perfectly, because it's a brilliant and fun film. And as I said, it's a great departure from the type of films that they usually made. While I do enjoy the typical formula, it was nice to see a different type of film from one of the greatest comedy acts of all time.
The film opens with Abbott & Costello graduating from detective school, with Lou doing so because Bud "slipped them a few dollars." Afterwards, they are suddenly approached by Tommy Nelson, a boxer who is on the run from the law after being accused of murdering his manager after a fight, who thinks Bud and Lou can help him out. While Lou wants to help, Bud only wants to turn Tommy in for the reward. While visiting the home of his girlfriend (whose father is a scientist), the police arrive, and to avoid capture, Tommy injects himself with a serum that turns him invisible. Now, it becomes a race against time, a race for Bud (after being roped into helping Tommy) and Lou to help prove Tommy's innocence, and for the scientist to develop another serum to prevent Tommy from going off the deep end. The end result is an Abbott & Costello outing that tends to be ranked as among their most memorable.
Like I said, this film is different from the earlier Abbott & Costello films, because rather than focusing on many of their routines, the film relies primarily on sight gags. Probably one of the best moments involves a scene with Costello visiting a psychiatrist, and accidentally hypnotizes him during a hypnosis demonstration. There's also a great sequence in which Costello demonstrates his abilities at being a boxer, all while everyone else looks dumbfounded, as they are unaware that Lou has an invisible force helping him. There's also a hilarious sequence in a restaurant where Abbott & Costello are having dinner, but unfortunately, Tommy is with them, and naturally, he gets hungry, prompting Costello to grab the food away from him so that their waiter doesn't suspect anything. As mentioned, most of the humor consists of sight gags, all of which are helped buoyed not just by the performances of the cast, but also from some great visual effects.
In addition to Abbott & Costello, there's also some humor involving the supporting cast. One such example of that would be Arthur Franz, who plays Tommy Nelson, the boxer that A&C decide to help, but unfortunately, his actions while invisible sometimes tend to cause complications for the duo. William Frawley was hilarious as a detective on Nelson's trail, and who also gets into some spats with Costello over the idea of invisibility. There's also some big laughs from Paul Maxey, who plays the aforementioned psychiatrist that Costello ends up hypnotizing. So, while Abbott & Costello do provide a substantial amount of humor, there's also some great contributions from everyone else as well.
Ultimately, I can perfectly understand why this is some people's favorite Abbott & Costello film, because it certainly is one of their better efforts, as well as their best of the 1950's. In regards to the series where they meet various Universal Monsters, this one is second only to "Meet Frankenstein." Reiterating, this is definitely a film that Abbott & Costello fans will get a thrill with. In fact, I think that no matter who watches it, and what they're type of comedy is, there's something in here that they'll get a kick out of.
The Noose Hangs High (1948)
A Solid Abbott & Costello Entry That's Entertaining To See.
Throughout the 1940's, Abbott & Costello were the number one comedy act in the United States, in which they provided the country with much needed humor. During this time, they released around two dozen films, with some being more acclaimed than others. One of their lesser-known efforts is this film from 1948, which is something of a pity, because in my opinion, it's another one that certainly manages to be very funny.
The Noose Hangs High is another solid Abbott & Costello effort that's very entertaining to see. It's a frantic and fast-paced comedy that features the duo performing some of their best known routines, and also getting into some problems that they have to find a fast way out. The film shows that even after eight years and all the films they had released in that interval, Abbott & Costello still had the ability to produce laughter from the audience.
The film sounds like one's typical Abbott & Costello fare, but as mentioned, it's rather fast-paced. In the film, Abbott & Costello play a pair of window cleaners who find themselves in dire straits. More specifically, they are caught up in a situation involving a mobster and $50,000. After the money is mistakenly mailed to a woman who spends it on a new apartment, Abbott & Costello are given 36 hours to pay back the mobster, or face dire consequences. Naturally, the two of them must think fast to save themselves before it's too late, and of course, this turns out to be much harder than it sounds, especially with the fact that they are also trying to protect the woman who ended up with the money.
While the film doesn't rank among Abbott & Costello's best films, it's still a very funny experience. Some of the best moments include a scene near the beginning where Costello sees a rather unstable dentist in order to get a tooth pulled. There's also a rather hilarious variation of their "pack and unpack" routine, where Abbott contemplates whether or not they should escape while Costello puts his pants on and takes them off as instructed. There's also a recreation of the phone booth routine from Keep Em' Flying, which is still as funny this time around as it was in the aforementioned film. However, probably the funniest moment is a scene where the two of them are having dinner in a restaurant, and the two of them get into an argument over mustard. Another great moment involves the two of them making a bet with one of the mobsters over their present whereabouts, and it ends in way that's quite hilarious and different from how one would probably expect.
Something else that's interesting to notice, is, again, the fact that the movie is rather fast-paced in regards to the comedy, which is especially noticeable in the routines that are performed in this film. Frantic comedy can work if it's done right, and it was here. One thing I've noticed in many of their films, is that Abbott & Costello were masters of performing that type of comedy, which is one of the reasons why their routines are always fun to watch. This is simply my opinion, but I could watch them perform the same routines several times over and not get tired of them, which is a testament to how such comedy can still be as funny now as it was then.
In conclusion, the film may not be considered to be one of the best Abbott & Costello efforts, but nevertheless, it's still a funny movie that's worth every minute of its length, and as also stated, it's proof that the two of them still had it in them even after all the movies they had made up to this point. Though some might be surprised at how frantic the film gets in certain intervals, it wouldn't be detrimental to them if they were to see it.
Hit the Ice (1943)
A Rather Enjoyable And Fast-Paced Abbott & Costello Outing.
By the beginning of 1943, it was safe to say that Abbott and Costello had definitely hit their stride with the fact that they basically made themselves into Universal's top box office attractions, and it's rather easy to see why, as many of their movies were hilarious. Among the movies they made this year was this effort, which like the other films released in said year, is very funny.
Hit The Ice is another Abbott and Costello effort that manages to bring out the laughs as a result of the hilarious situations that the duo get themselves into. While I wouldn't consider it to be among their best efforts (such as Hold That Ghost and Abbott & Costello Meet Frankenstein), it still is effective in bringing out the laughs, as there are some big ones to be found here.
In this film, Abbott & Costello play a pair of photographers who get on the wrong end of a bank robbery. Things go from bad to worse when the police believe that they are the ones who robbed the bank, which ultimately prompts the two of them end up having to flee to a ski resort, where the real criminals are hiding out, who in turn, suspect Abbott & Costello of trying to frame them. All the while, the duo get into some rather funny situations, while Costello also tries to impress a singer that he's fallen in love with. All of this combine to make an Abbott & Costello outing that makes another success for the comedic duo.
As I said, I wouldn't rank this as being among the best of Abbott & Costello's output, but nevertheless, it still succeeds in doing what it's meant to do, which is provide laughter. There are many scenes in this film that definitely had me laughing. Near the beginning, there's a scene where Abbott & Costello try to avoid getting arrested by having the former carry the latter out of a bank on a stretcher, except that that doesn't happen, as someone steps on the covering over Costello to reveal that Costello is walking, but put his shoes on two poles to make it look like he was injured. It also features some of their classic routines, such as "Pack and Unpack", as well as a routine involving Costello pretending to play a piano to impress a woman he loves. There's also a hilarious scene where they sneak onto a train by pretending to be members of a band, with Abbott saying "Third Bass" and Costello saying "Shortstop."
And, as with some of the other films that Abbott & Costello made in the 1940's, there's some songs featured in the film, with the music primarily being performed by Ginny Simms, as well as Johnny Long and his Orchestra. One common criticism that these films received is that the musical numbers seemed to have been shoehorned in simply to add to the film's length. Personally, as I've said in some of my other Abbott & Costello reviews, I don't mind them at all, because if the musical numbers are genuinely good, then it would be a pleasure to hear them. There's also one that plays during a rather hilarious scene where Costello struggles to ice skate, which makes the scene rather fun due to the music, as well as Costello's attempts at skating.
On the large scale, Hit The Ice is another Abbott & Costello effort that features the two of them in fine form for comedy. Like I said, it may not rank among the duo's best, but it still has the capability of producing quality entertainment that will certainly make the audience laugh. If you like old comedy, as well as Abbott & Costello, then it wouldn't be detrimental if you were to watch this film, because it makes for a very good time. And above all, it's always funny to see Abbott & Costello get themselves into tough situations and then have difficulty trying to get themselves out.
A Dangerous Profession (1949)
An Entertaining Noir That Raft Manages To Carry Almost Singlehandedly.
Even though George Raft had a considerable abundance of talent as an actor, the same couldn't exactly be said in regards to his judgment. More specifically, he had a tendency to turn down many roles that other actors would end up taking, with many of Humphrey Bogart's most famous roles being perfect instances. Nevertheless, even when his career had mostly shifted towards B-movies, Raft was still able to make the most with what he had to work with. One of those films was this noir from 1949, in which Raft manages to carry almost singlehandedly.
A Dangerous Profession is an interesting noir that makes for an entertaining experience. Unlike other film noirs, this one doesn't exactly have the type of action usually associated with the genre, so some might be disappointed if they were expecting to see such elements. Instead, it's mostly driven by the actors and how they interact in the film. With that said, the movie is still worth seeing, and manages to rather effectively utilize what it has.
The film tells the story of bail bondsmen, with one of them being Vince Kane, who became one after leaving his previous profession as a police detective. One day, he receives a visit from a woman named Lucy Brackett, who requests that he help bail out her husband, Claude, whose bail is set at a large sum of $25,000. To his surprise, he sees that this woman in question is an old lover of his. After some initially reluctance, he ultimately contributes to the bail and before long, Lucy's husband is released. Shortly thereafter, Claude goes missing and eventually turns up dead. Upon finding out, Vince decides to basically return to his old profession and investigate on his own. However, this creates a few tensions with the police, who try to remind him repeatedly that he's out of his depth. What ultimately follows makes for noir film that proves to be engaging, with the contributions from the actors being the primary driving force.
As mentioned previously, George Raft makes the most of what he works with in this film. Much like some of the other films he was in at this stage of his career, his performance might seem on the low-key side, however, it works because it fits with the type of character he's playing, one who might seem cynical, but when things go south, he steps up to the challenge, showing the tough guy characteristics that he became known for during the 1930's. Something else that's interesting to point out is that while there are some exciting moments in the film, it focuses more on the interactions of the characters. While the film could have used some more action and scenes of excitement to it, that isn't to say that the focus on the characters was a detriment, because I did find many of their interactions to be engaging, such as whenever George Raft is interacting with Ella Rains.
In addition to Raft, the other actors in the film also manage to put forth some effective efforts. Ella Rains was a pleasure to watch, in which she plays Raft's ex-fiancée, who seems to be torn between her husband and the fact that she's still in love with Raft. While she and Raft do have some scenes of tension together, there are also a few scenes where they show genuine chemistry. Pat O'Brien was also effective, in which he plays Raft's partner in the bonds business. A rather pleasant surprise was the performance of Jim Backus, as a police lieutenant who has a few spats with Raft over the latter's actions, particularly when Raft decides to start investigating the death of his client. Ultimately, while George Raft might be the main star here, the rest of the cast manage to also make the most with what they have to work with.
To reiterate, A Dangerous Profession is an interesting noir picture that is worth seeing, if nothing else, for the performances of the cast. Had George Raft not had such poor judgement and turned down many roles that would become some of the most famous in film history, one can only imagine what his career would've been like. However, even if he did mostly become a secondary actor in the later stage of his career, Raft still was usually great in the roles that he ended up playing, as he still had the skills to carry a film.
Special Agent (1935)
A Rather Entertaining Gangster Film Bouyed By Effective Efforts From A Talented Lineup.
The 1930's were a productive time for Warner Bros., which was primarily the result of producing a high number of quality gangster and crime films, which usually tended to feature a big assortment of talent. One such film was this 1935 effort, which is heavily influenced by the case of notorious gangster Al Capone. The film might seem rather typical for the usual format that these Warner Bros. Pictures tended to follow, but even with that said, there's no denying that it's very entertaining.
Special Agent is a fast-paced but rather engaging gangster picture. While it might seem to be a standard effort in regards to the formula that such films usually applied, it has enough to make it stand out from some of the others. In addition to that, it also has just about everything that made these types of films worth seeing. With an interesting story, a talented cast, and some effective directing, this film manages to be another good entry in the studio's gangster series.
The film tells the story of a gangster based heavily on Al Capone. Alexander Carston is a crime kingpin who nobody can seem to touch, with his power seemingly being impenetrable. The Federal Government has been doing everything they can to bring him down, but try as they might, they can't seem to do anything about it. Before long, a newspaper reported named Bill Bradford is deputized as a treasury agent by the Interval Revenue Bureau to uncover enough evidence so that Carston can be hit with a charge of tax evasion. In order to do this, he has to infiltrate Carston's organization to achieve cooperation with Julie Gardner, Carston's bookkeeper, the only one who has access to Carston's records. What ultimately results is an effective crime drama that is rather different from the usual Warner Bros. Formula, but that is in no idea a detraction.
Compared to some of the other Warner Bros. Gangster films, this one is rather novel, because it doesn't have that much violence in it (although when it does, it does get rather violent). Instead, the film focuses more on the writing and the interactions with the characters. One of the best moments in the film involves Carston giving a speech of Bradford, in which he smugly gloats that somebody like him is above the law, and that no matter how hard the Feds try, they will never be able to convict him. However, there are some violent scenes in the film, such as moment where some of Carston's goons kill somebody who is going to be testifying against him, and in the process, they also kill a few bystanders who happened to be nearby. There's also the climax, which while brief, gets rather intense as the Fed close in one some more of Carston's minions.
The film also benefits from the fact that, par for the course for a film like this, the acting is great. George Brent gives a very good performance as the reporter turned agent who is tasked with bringing down Carston. Brent brings a sense of charm to his role that makes him easy to admire and hopeful that he will succeed in his objective. The always great Bette Davis is as usual, an absolute joy to see, with her having a tendency to steal the audience's attention whenever she's in front of the camera, not to mention that some of her interactions with Brent were rather delightful. Ricardo Cortez was positively brilliant as the Al Capone-esque Carston, a slimy and smarmy gangster who is lowkey, but nevertheless, extremely ruthless. Henry O'Neil put in a solid effort as the DA who recruits Brent for the task of getting Carston, with him having a sense of determination that shows he's quite confident that Brent's character will be the one to do it. Ultimately, as one would expect from a film like this one, the cast manages to utilize their talents to a positive effect.
To reiterate, Special Agent is a rather entertaining film that makes for another solid entry in the Warner Bros. Gangster repertoire. While the film might be less violent than some of the similar films of the era, it does get rather dark at certain intervals, and in other intervals, it manages to play up the more suspenseful elements. Furthermore, it's also worth seeing to see a talented lineup bringing out their talents.
Black Legion (1937)
A Bold Film That's One Of The Darkest Of Humphrey Bogart's Career.
Prior to becoming one of Hollywood's top stars in the 1940's, Humphrey Bogart established himself as one of the top actors among the alumni at Warner Bros. During the 1930's. As a result of this, he would appear in numerous pictures for them, in a variety of roles, with most of them involving him playing the tough type. However, in 1937, he would appear in a film that would make for a role that would be both one of his most unusual, and in addition to that, one of his darkest.
Black Legion is a very grim film, and when I say that, I don't mean that it's terrible, because it's actually a good film. However, it's grim in the way that it divulges into a substance that's always a complicated subject, xenophobia. On that subject, this film doesn't pull punches in regards to its approach. It would've been easy for it to become a heavy-handed film that preaches "racism is bad", but it's presented in a way that makes it feel genuinely frightening and unsettling. In other words, it is far different from the majority of the gangster films that Warner Bros. Produced during the decade, and one of the boldest at that.
Humphrey Bogart stars in a rather uncharacteristic role. Instead of the usual assertive role that he played during this era, he's a contemptible jerk, and one that's also cowardly. His character is Frank Taylor, a man who works in a factory somewhere in the Midwestern United States. When a promotion to the position of foreman becomes available, Frank is quite certain that he'll receive it. Unfortunately, his hopes are dashed when the one who does receive it is a hardworking Polish-American, who did deserve it. Frank is left seeing red, and shortly thereafter, he leaps at the opportunity to join a local gang known as the Black Legion. The Legion isn't just any type of gang, they're a hate group that specializes in terrorizing foreigners. As to what happens afterwards, the answer resides in a rather bold and daring film that's one of the darkest films released by Warner Bros. During the entirety of the 1930's.
As previously mentioned, this film is rather uneasy to watch, not because it's a bad film, but because of how dark and disturbing it gets. The titular legion is clearly inspired by the real Black Legion, as well as the KKK, with their outfits strongly resembling the robs that said Klan are usually seen wearing. The acts of violence that the Legion commits are also extremely unsettling, such as a scene where they torch the property of the Polish-American who won the promotion over Bogart, as well as a scene where they tie an Irish-American to a tree before they proceed to flog him. It's also rather terrifying to see how easily some of the members are recruited, which includes a moment where Bogart asks one of his co-workers to join the Legion. On an interesting subject, there supposedly was an intention to portray some of the political influence that actual Legion possessed, but this had to be downplayed to avoid legal repercussions. While the film would've been more effective had those been featured, that doesn't at all detract from the effectiveness of the message.
In addition to the powerful message the film conveys, the film is buoyed by the acting. In a very atypical role, Bogart is stellar as the pathetic and cowardly individual who doesn't look before he leaps in joining the Legion, and by the time he finally realizes his errors, it might be too late. It was rather chilling to see how he transitioned from someone who cared about his family and friends to becoming someone who is in so deep, he doesn't recognize himself. Dick Foran also stands out as the sympathetic friend of Bogart's, who becomes suspicious about some of his activities, only to have tragedy befall him. Ann Sheridan was great in her role as Foran's wife, who likewise, is sympathetic and easy to feel sorry for when she's stricken by tragedy. Erin O'Brien-Moore was similarly great as Bogart's wife, who also suffers as the result of her husband's disastrous actions.
To reiterate, Black Legion is a powerful film that's the one of (if not the) grimmest of the films that Warner Bros. Released during the 1930's. While the studio primarily dealt with crime drama, with most of them being gangster pictures, this one is a standout because it deals with a subject that many studios at the time were hesitant to touch. Even if the film's message might come off as preachy to a few, it's nevertheless, a very important message. It states that as Americans (natural and foreign alike), we all have liberties and rights, including rights to opportunity, and we should never take them for granted. The story of Frank Taylor is the type of story that we should remember, as an admonitory narrative to those who considering undertaking the route that he turned on.
The Mortal Storm (1940)
A Powerful And Emotional Film That Hitler Despised.
Even through there were numerous Anti-Nazi films made before and during World War II, there have been none quite so bold as this effort from 1940. This film is very notable for the fact that Adolf Hitler absolutely despised it to the point that he not only banned it in Germany, but he also banned all films from MGM for that matter. Such actions are testament to how powerful the film is, it's a film that dared to tell the truth about what the Nazis were truly capable of, one that was certainly brave for the time period.
The Mortal Storm is a powerful and emotional experience that is at times, very gut-wrenching to watch. Combined with masterful acting and a message for the ages, the film is one of the most powerful anti-Nazi films ever made. While the film takes a stance against the Nazis, it is surprisingly, free of propaganda, as it instead accurately depicts the actions that they were capable of doing prior to the start of the war.
The film tells the story of how totalitarianism can divide even the happiest of individuals. James Stewart plays Martin Breitner, a man who is friends with the family of Viktor Roth, a professor who teaches science classes at a university in Germany. On the evening of the professor's 60th birthday, Breitner is attending a celebration for him with his family, where everything is idyllic. Unfortunately, everything takes a sudden turn with the announcement that Adolf Hitler has taken power. It isn't long before the family finds itself divided when his steps sons, Otto and Erich join the Nazis, while his daughter, Freya, becomes worried about how non-Aryans will be affected, and Martin ends up getting entangled in the turmoil. As the film progresses, the Nazi influence takes a firm grip and Martin finds himself targeted by his former friends for his beliefs of free-thinking. The end result is what is the best anti-Nazi film released during the 1940's.
In addition to the powerful message that the film has, the acting is incredibly superb. James Stewart delivers a shining performance as someone who believes in the right to think freely, and. Margaret Sullavan was simply outstanding, delivering one of her best performances. Her abilities showed whenever she's on the verge of emotion, because the way she does it, one can almost feel her anguish. Robert Young was chilling in a role that was rather uncharacteristic for his usually "nice guy" persona, in which he plays someone who starts off as a very decent individual, but quickly becomes overtaken by the Nazi influence. The same goes for Robert Stack and William T. Orr, who play the brothers of Sullavan, both of who also start out as good people, but quickly turn into Nazis. Frank Morgan in what is probably his best role, plays the professor who also becomes a victim to the Nazi authority, in which his classes are boycotted, and his students participate in book burnings. All around, there wasn't a single performance in the film that felt out of place, as every single one of them made significant contributions to the film's effectiveness.
As also mentioned previously, the film is at times, almost too heart wrenching and bone-chilling to watch, particularly because of how accurately it portrays the type of influence that the Nazis had. It shows how easy it is for average and decent people to become monsters within the span of 24 hours, and is both frightening and gut-wrenching in every sense. One notable scene involves Professor Roth heading into his class where he finds that all of his rather fair-minded students are now wearing uniforms and call for boycotts of his class when he dares to challenge the idea of racial purity. There's also a scene where a friend of Martin's finds himself bullied by Nazis at an inn because he doesn't sing a patriotic anthem with them. There's nothing cliched or comedic about any of the actions that the Nazis perform in the film, instead, it's very disturbing. Most importantly, it's also disturbing at how very much like in reality, how even the happiest of friends and family can be torn apart by such ideologies, which also reflects just how frightening it was that the Nazis could be that influential.
Ultimately, it is very easy to see and understand why Hitler hated this film, because it dared to be courageous. It's courageous in the fact that it shows that people didn't start off as Nazis, instead, they started off as regular individuals who unfortunately allowed themselves to be corrupted by such a disturbingly powerful influence, which is something that could ultimately happen again in the future. In the end, The Mortal Storm is a moving and powerful film that contains a message for all of us, a message that tells us to beware of the power of corrupting influences, and to never forget the rights we have even in our darkest hours, or should I say, the darkest storm.