brtor222 Reviews

All Creatures Great and Small (2020– )

I should only have given this rating a 1/2*--it is really that bad.

[1/10 · 26 February 2021]

And they say this is only series #1 of this remake? Maybe the pandemic will kill it off and let the actors go on to other things--otherwise this remake will drag on for years and years like did with Downton Abbey. The only good thing I can say about this remake is that it will make others (like me) go and search out the original BBC series from the late 1970s--which I did and binge-watched the entire series, after watching the remake 7 parts on PBS, and yes, the original is light-years way more excellent!! You can see in this remake how much has changed. This new version is way more commercialized in all aspects, the production, the writing, the so-called acting! Yes it's not another detective murder series and has a sort-of quaint charm, but the pleasantries and goofing are just too forced upon the audience and Mr. Woodhouse (who could never filll Peter Davison's shoes) is just too smiley-faced too often to be real. Mr. West is wooden but the part is not a kind one. And Mr. Ralph, I can't imagine how he was cast, I guess for none other than an original Scottish accent! Christopher Timothy has way charm and grace. Mr. Ralph again seems to be uncomfortable with a "lead" role. I won't say anything about Helen, her role so far is very "reactive" = cypher. And the lady playing Mrs. Hall is way too young. Dear thoughts go out to Mary Hignett. And as for the photography, why do we need so many aerial shots by drones to show the dales. One is fine but not every three minutes. And I am guessing if this what North American audiences think merry old England looks like, it's wrong. The color shots have been enhanced and they are many fake CGI backgrounds, because that's the way producers do these shows today...much cheaper and to make it look so beautiful. When I was in Yorkshire years ago I never so much drab countryside. And it rained way more than on this remake...too much unrealistic sunshine.

Like I said, this remake will make many audiences old and new seek out the original BBC series and see why the latter is so much better.

The Rite (1969 TV Movie)

wild but amazing Bergman

[8/10 · 16 December 2020]

I just saw this online and it was definitely an amazing experience. But I wish it had been longer!!

What was even more amazing was the version I watched had the most incredible and sometimes ridiculous English subtitles I've ever seen for a foreign film. I don't know who did the translation, but they are priceless! You have to see it to believe it.

Fourteen Hours (1951)

What music score?

[9/10 · 6 February 2020]

Great film and the equally great Alfred Newman is credited with the music score. What score? It must have cut from the final film, because there is only music at the beginning and end.

But I think the film works its tension best without a backround score, it would have been too distracting and makes it seem more like a docu-drama not having an underscore throughout.

The Steel Trap (1952)

one the most ridiculous noirs ever

[1/10 · 17 February 2019]

There are so many crazy things about this film, I just can't count them all! But the most insane of all is the ending with the poor wife (Teresa Wright), welcoming Joseph Cotton home with smiles,hugs and kissies!! A real noir ending would be that he returns the money, comes home to find a note that wife and daughter have left him as they can't trust him anymore (telling all the lies, stealing the money, breaking into the consulate office, need I go on?). That would be a more fitting ending, even if he did return the money, he is still a cheat and liar and was willing to go through with his idiotic plan about staying in Brazil for the rest of his life. But I guess in 1952 the producers wanted a happy ending since he did return all the money. Sorry I feel it's still one of the worst films ever.

The Woman in White (2018)

another comment

[1/10 · 22 November 2018]

Someone here commented on what has happened to BBC drama. I think the main problem is the medium being used. Today everything is on film. That means some choppy editing sometimes and distracting jerky camera movement, and then too much background underscore music. But the main problem with film for the Brits is that the actors can't seem to do the scenes in full. In film, there are lot of takes, re-takes, cuts to move the cameras around, lots of time in between takes for the actors to lose their momentum. In the heydey of BBC period dramas, most of the scenes were in studios where the directors could use multi video cameras and the actors could do their whole scenes uninterrupted in one take, thus giving the scene more immediacy and almost like a stage play. Yes, there are downsides to that. But IMHO that is what has changed over the years in terms of the acting. The jarring switch from interior studio scenes to outdoor scenes shot on film upsets a lot of viewers today. But at the time (1970s-1980s) it was easier to shoot as much on studio videotape, than on film. Look at I,Claudius for example, totally shot on interior sets on video...no film shots at all. Look at the acting in that series!

The Woman in White (2018)

pretty dismal

[1/10 · 22 November 2018]

The original one that aired on PBS Mystery back in 1985 was so much better and a better cast that kept the plot moving. This one grinds to a snail's pace halt midway, and you can tell the producers kept padding this film with scenic elements that contribute nothing but filler to make it a 5 part thing. Ben Hardy (Hartwright) should go back to East Enders.

Whispering Footsteps (1943)

nice quiet little noir (until that girl screams again and again!)

[19 September 2018]

That scream as others have noted gets not only predictable but annoying as well. A short little early noir, at least it's classified as a noir if at best a sub-par one. Not sure why but this film made it to the list of "Classic Period Film Noir". The title implies the gossip (whispers) but the footsteps doesn't really fit. Would like to have actually seen the guy who did the murders meet face to face with Marcus. Hitchcock did it better with The Wrong Man.

Maigret (1991–2005)

fantastic series!

[10/10 · 18 August 2015]

I never saw this on any TV channel, but was able (finally) to view the entire 54 episodes thanks to my local library. Initially they only had sets 1 - 6, but then I kept nagging them to get sets 7,8 and 9 and I think they only finally got them all just to get me off their backs! I figured I've done them a favour, as other library customers will hopefully be able to discover this great series and enjoy them as much as I did!

Now, normally I would not go for such a slow-moving series like this, and let alone with French dialogue and all the subtitles. But once you get used to the pace and the understated title role acting of Mr. Cremer's characterization, then it feels great to just settle down and watch how he solves each new mystery. At around 85-95 minutes each episode, the writers have the luxury time to let each story evolve. I have not read any of Mr. Simenon's novels, so I can't comment if any liberties were taken with plots and characters. (I have heard liberties were indeed taken by the Granada (UK) producers with their version which starred Michael Gambon, but as good as that series was, they only made about 12 episodes and were only given about 55 minutes per show). This French version allows so much more time to tell each plot. And like I said, if you get used to the slow pace, it will be fine and definitely worth your viewing time spent.

Mr. Cremer is a very talented actor and while not a household name in North America, I can't imagine a more fitting actor for Maigret. One day, some production company will try to remake them and maybe all of them this time, but it would be hard to find another actor of this calibre to take on the role. Like David Suchet's commitment to Poirot over many years of filming, for an actor to take on Maigret would be an equally demanding assignment. It's no good to make just a few episodes like Granada did--(OK I heard they ran out of production money, and maybe Mr. Gambon didn't want to get stuck for many years either.) But still, Mr. Cremer's commitment must be recognized for the achievement and be forever remembered in TV history's books.

The production values are superb, placing them in the late 50's,mid 60's I am guessing. No intrusive loud music, or dizzying camera movements with equally irritating sound effects. Just plain simple on-film story-telling. Not much on-screen violence or blood, but then the real star of the plots is the solving of Maigret.

I love all the supporting cast (although poor Madame Maigret is only seen once if I recall). But he certainly talks to her a lot on the phone to remind us she exists. But the other actors are great (Lachenal,Christiani,etc.)

I could go on and on, so I will stop here. I don't have a favourite episode, all I can say to other TV mystery lovers out there, is, if you get a chance to see these on TV, or rent them, or whatever, give this series a chance and I'm sure you will feel well rewarded!

The Agatha Christie Hour: The Red Signal (1982) Season 1, Episode 8

excellent cast and great video

[14 March 2015]

What I like about these early UK programs is the acting, and the acting is superb because they were recorded with multi cameras as if it were a "stage play". And because it's using the video cameras the camera movement is much smoother than film cameras would have been.

In particular in this episode "The Red Signal" at the very end scene, just at the struggle to grab the knife from the table. Watch how the director uses several quick "cuts" of facial expressions of each of the actors in succession. It only lasts a few seconds, but in that time, the directors crams in at least 8 - 10 shots!! Heightens all the tension of the scene and is a simple use of multi-cameras..looks easy but actually very tricky to pull off...It happens so fast and is so excellently done, I have no idea how the switcher did all those quick shots in that short of time, but it is proof how excellent are the British cameramen and the staff at switcher and video control.

Just a small technical comment, but if you watch it again and pay attention to this scene, you will admire what the director did here.

Hello, Dolly! (1969)

wonderfully scored

[9/10 · 18 June 2014]

I agree mostly with the poor casting of roles in this film. But knowing some of the background of the casting woes and battles on the set, everyone in the film appears to be trying their best.

The things that I admire most about this film, as it is one of the last great Hollywood musicals, first is the musical scoring. Lennie Hayton and Lionel Newman are the credited Oscar winners among 5 or 6 others who worked on the musical side of things. If you can ignore the spoken scenes and just concentrate on the orchestral parts of the songs and dance numbers, you will hear the lush scoring and great playing of Fox orchestra--the great Fox music department and orchestra that for many years previously headed by the great Alfred Newman! The two big dance sequences (Dancing and The Waiters gallop), plus the big parade number and all the numbers have great accompaniments. The sound quality of the recordings also are top-rate. High commendations to all the players.

The second thing is the tremendous art direction,production design and costumes. Obviously here is where a lot of money went. Great period detail, yes a bit over the top sometimes, but this was done all before the modern tech of CGI and the visual effects used today. This was 1968-1969, so all the sets, props, etc. were done by the great art directors of the time.

Thirdly, Michael Kidd's choreography is stunning. Roger Edens is also credited here as consultant for musical numbers.

As for the cinematography, it is the great veteran of musicals, Harry Stradling. Cameras have to follow the dances (not the opposite) and all this is handled quite well by the cameras. The parade sequence is also impressive.

So if you can put all the casting problems aside, and watch a great visual film with a great musical score, it's well worth it.

Mr Selfridge (2013–2016)

Non-masterpiece for Masterpiece PBS

[1/10 · 18 July 2013]

I waited until I saw the entire 8 parts of this before commenting.

Here is how to make a terrible TV production. Have the lead role so badly miscast and add horrible writing. Dump into a pot of another Edwardian period England stew, sift in a large supporting cast of upper elites and lower classes, and you have a too familiar and predictable over-long series that is just plain boring in the end.

Piven could not give a worse performance of pearly white teeth smiles and forced grimaces and stock method pouting. He is not just in the wrong show, the scripts are just terrible for his part. Ditto for his "family".

The most interesting parts of this series, end up belonging to the shop working class employees (just like in the original Upstairs,Downstairs where the "family" that toiled below stairs were the people who won our hearts most.)

If only the producers of this show had left well enough alone.

Another problem with these modern "period" productions: too much music (they call it "dramatic underscore"--OK, but why so much of it? Ironically, the music for the series was the only Emmy award nomination for 2013. No acting nominations, none for art direction, nor costumes etc. Just the music. That tells a lot what the Emmy judges thought of this, and no surprise.

Other problems (besides using too many vernacular idioms script-wise), is the continual reliance on gimmickry camera shots, and wild moving camera swings around the interior set of the store, quick little fast-edited reactions shots and short little snipped scenes of dialogue--the overall effect is dizzying and annoyingly distracting. Why can't they just shoot a scene as a normal scene without all the gimmicks and shaky camera effects and once again, without all the background music??

And there will be a second season. That is sad,sad,sad. Shame on the producers of Masterpiece for feeding us tripe and promising more to come. Sad,sad,sad.

Moontide (1942)

this is noir?

[1/10 · 21 April 2013]

I would have wanted to see what Fritz Lang would have given us. As it is, I found it a big yawn.

And what is that love music that we hear over and over to the point of nausea? It is not credited on the opening credits..but that same music was heard in Fox's 1954 Irving Berlin epic "There's No Business Like Show Business"...I think it might be called "Remember" ??? Can anyone confirm this and why it was not credited? Why is it so over-used in this film..I can't believe Lang would have done that.

Rains is wasted talent here, when he did so many other great roles. Gabin is fine but this role is not a strong enough part, he just looks like a country bumpkin. Give me M.Hulot!! ;-)

I Became a Criminal (1947)

Fantastic Brit noir

[10/10 · 4 March 2013]

Great rarely seen picture filmed in the style and era of American film noir. Why this film doesn't appear in the Film Noir Encyclopedia (even under its alternate title), I cannot say, but it's a great shame it was by-passed.

Everything about this film IS noir! The great cinematography, the shady characters, the excellent (and sometimes darkly funny) dialogue. Even the settings of the undertaker shop with those "empty" coffins and the eerie RIP rooftop set!! Hitchcockian effects galore.

Crisply edited and slick production never lets up for a minute and deserves repeated viewings to catch all the great photographic angle effects and evocative lighting. It belongs with the great noirs.

Guess you can tell I REALLY liked this film? Watch for yourself and I hope you'll agree. A great suspense pic for a rainy Sunday afternoon!!

I Wake Up Screaming (1941)

nice little noir but...

[9/10 · 12 January 2013]

How many millions did Fox pay MGM to use Over the Rainbow throughout this film without being sued??? It used way too much and overkills it. And it doesn't even fit with the movie anyway. Also overused is the Street Scene music--it seemed to play everywhere--the apartment scenes, nightclubs,on the streets. And neither Harold Arlen nor Alfred Newman (the composers of each) are even mentioned in the opening credits. I guess back then studios didn't have to legally give credit for using music from other sources? The other thing I didn't get about this is the title (later to be simply Vicki). Who wakes up screaming in this?? A better title might have been "A View to A Frame Up" or "How to Marry A Fight Promoter". ;-) I like both the leads in this, although Mature does grimace too much, which he seemed to do in all his roles. And Grable gets to wear a nice swimming costume, however briefly. I loved the seedy scenes where the two leads hide out in the 24 hour porn cinema watching something called "Flames of Passion"!! And the cop who yells to Grable, to put her shoes back on. At least that was all she had taken off in that place! Fox Noirs always have a slick polished look to them, and loved the lighting in this one. For an early noir, it has all the elements.

The Onedin Line (1971–1980)

an interesting (if sometimes flawed) series

[9/10 · 2 November 2012]

I have finally been able (thanks to a generous poster on YouTube) to watch all 91 episodes of this series, having given up waiting for them all to be released on DVD in Region1. I know that a company called BFS Video released the first 8 episodes on DVD, but that was it. I emailed them to ask why they didn't release the rest, but did not get a reply.

I vaguely recall seeing a few episodes of this series on TV in the 1970's as a kid. I don't know if it was on PBS at the time, because I think there were commercials cut into the programs.

But at long last to be able to see every episode has been a treat. I found the earlier seasons the best and more interesting, but as it wore on to the later seasons, the flaws began to appear. Certain characters (who either got tired of their roles) were written out (or killed off) from the series too hastily and never appeared again. That is the writers fault and leaves unfortunate gap explanations.

But the attention to detail in terms of production design, costumes, and the ship scenes are standard quality for BBC programs during this period. As usual with these British productions during the 70's, they interweave (through editing) studio set videotaped scenes with outdoor filmed sequences, which is a bit annoying at times. Some gaffes here and there with continuity in terms of the characters clothing not matching in some of these spliced-together scenes.

Kudos go to Peter Gilmore who appears in all 91 programs and has to carry the whole series. He did an excellent job. Also to Anne Stallybrass, Howard Lang, Jessica Benton and Mary Webster. The Onedin offspring were not great actors, and I don't recognize them having appeared in subsequent BBC productions.

91 episodes is quite long and probably would never happen today. I used to think the original Upstairs,Downstairs was quite long at 63 parts or Poldark, until this one.

I recommend this series highly especially as I said, the earlier seasons.

Reilly: Ace of Spies (1983)

great series and incredible cast

[12 April 2012]

Like a great mystery book, this series is hard to put down (or stop watching). Some mystery series lull me to sleep. This one didn't. It is definitely slow-paced as they did series this way in the 80's and PBS allowed for longer series then and allowed the writers to take their time. Longer series (like this one at 12 episodes) allows for a more leisurely pace, allowing us to sink into the stories and plots and the characters! I haven't read the book Ace of Spies on which this series is based. But these TV episodes unfold in a chapter like pace which is great. All credit to the directors, the writer and the cast.

Sam Neill definitely looks like a Bond-study role. But the weight of an actor to carry a whole series like this on one's shoulders is tremendous, and Neill does an excellent job, being in almost every scene. And then to be surrounded by a great supporting cast surely helps too. Norman Rodway, Leo McKern, Hugh Fraser, Ian Charleson, John Castle, Peter Egan, Tom Bell, Lindsay Duncan, many of whom would have major roles of their own in other PBS British imported series. It is a bit odd to hear Kenneth Cranham's Lenin and David Burke's Stalin with English accents, but forgivable since none of the other actors as Russians try for any accent.

The usual attention to detail in this period piece, production designs, costumes, etc. all add to this excellent series.

If Thames TV/PBS tried to remake this today, it would be probably watered down to just a couple of episodes and the scenes would be cut to the quick edits and many of the smaller supporting characters would be totally eliminated and there would for sure be much more on screen violence and gore and lots of loud sound effects. So for me this version is more enjoyable. I highly recommend it.

The Scarlet Empress (1934)

amazing, amazing and even more amazing for 1934

[10/10 · 15 January 2012]

Rarely do I respond like this to a film from this era! How on earth this piece of surreal art got made is astounding! The art direction, the costumes, the huge sets and outlandish props, the lighting (so many candles!), the visual effects, the great camera movement. All way ahead of its time.

And Paramount executives approved all this grotesqueness? Well, someone at Paramount had the sense to allow it all to get the green light! And Sternberg--what medications was he on? The horse symbols well, we can all speculate what was going on there. But insanely as everything is, it is great cinema indeed. Several references I checked called this an historical drama! I was laughing so much through this film, I thought for sure it must be high comedy. The category doesn't matter today...it's just a great camp film and absolutely requires multiple viewings to take it all in.

I loved Dietrich so much here...those eyes! What actress today would dare to be so effective in non-speaking camera shots...she is so demure and quiet in the opening half of the film!..so subtle and smouldering underneath and beautiful..Glennon filmed her so exquisitely with his lighting camera-work (Sternberg was also a master of lighting). Just like William Daniels whose camera fell in love with another goddess (Garbo).

I can't recommend this film enough!! My only complaint is that the opening credits did not credit the art directors,costumes,film editing, etc. nor the great music used (yes they are re-arranged selections from Tchaikovsky,Wagner, etc.) but who arranged it all in the first place? Was it Sternberg? Anyway, superb use of the music for its time.

An absolutely unbelievable film and the pace never lets up for one minute!!! Some earlier Sternberg entries lagged in places and made me sleepy. Not this one! We will never see anything like this again!

Love Is a Many-Splendored Thing (1955)

beautiful film....but...

[29 July 2011]

...what director today would dare have that love theme music (as lovely and beautifully haunting as it is) play over and over again on the soundtrack??? I'm sorry to say by today's standards too schmaltzy when overkilled like this.

Don't get me wrong...I think Alfred Newman was one of Hollywood's greatest, but there is time when too much of the same theme is just too much.

The cinematography (Leon Shamroy, who btw also did South Pacific) is gorgeous,and like a film from Fox released around the same time (Island in The Sun by Freddie Young) helps save this one.

Island in the Sun (1957)

Beautifully photographed film

[29 July 2011]

by one of the greats in the cinematography field (Freddie Young, credited as many of his films were as F.A. Young).

But isn't it amazing when you are watching a film and suddenly an actor pops up who you just know you've seen before in a similar role???? It took me awhile but just before Mason turns himself in, I figured out that John Williams also played a detective inspector (although in this film a Colonel), in Hitchcock's Dial M For Murder...typecasting? Maybe, but Williams is just so good in a role like this, you can just see how he gets the criminal to confess to the crime by slow insinuation and guilt-tripping. Mason is caught up in the trap just like Ray Milland.

Apart from that small side plot, the rest is so trivially done and I'm sorry but Joan Fontaine tries just too hard with all her practised smiles to look as young as Mr. Belafonte, more an aunt or mother. Why did she do this role is beyond me.

This could have been greater film if Miss Dandridge's storyline had been more developed. And Stephen Boyd (although pre-Ben Hur) is equally wasted (as he was in some other Fox films (see The Best of Everything,Fantastic Voyage). Was he really considered for Anthony in Cleopatra??? (with Joan???) That might have been fun.

The Greatest Story Ever Told (1965)

a few comments about this film's music

[12 March 2011]

Yes, the great Alfred Newman and yes he was a great film composer no doubt in my mind. But for those viewers who are not familiar with classical music, Mr. Newman did NOT write all of the music in this film.

Newman even borrowed from himself...just before the intermission around the Lazarus scene, I am sure that Newman quotes from his own score for The Robe (from 1953). The music and choral parts sound so similar to the scene at the cross in The Robe. Then later in the Lazarus scene, the film score brings in parts of the Hallelujah Chorus from Handel's oratario The Messiah. Parts of this return at the end,too.

The procession of Jesus with the Cross includes selections from the opening section of Giuseppe Verdi's Requiem Mass, albeit it is repeated over and over which does not happen in Verdi's score. And its editing in the film is quite butchered too.

What bothers me in the film's credits is that I couldn't see any reference that material was being credited to neither Handel nor Verdi. That would not happen today, but I am surprised in happened in 1965! The producers should have known better to give credit to the composers besides Mr. Newman.

I have not seen the restored DVD version, so I don't know if this oversight was rectified in the credits or in the notes. The notes for the soundtrack CD of the score (Varese Saraband) only mentions Handel, not Verdi.

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Speaking of Alfred Newman's score for The Robe, film music fans might also like to know that parts of The Robe score I have also heard in earlier films (David & Bathsheba and The Hunchback of Notre Dame). For The Robe, it is Newman self-borrowing again, and most likely lost him the Oscar nomination for The Robe.

The Umbrellas of Cherbourg (1964)

I don't get the praise for this one

[27 January 2011]

Yes, the song that later became known as "I Will Wait For You" is a wonderfully melodic piece and becomes a thematic one too during the film. It is beautiful, but the rest of the music??? Not so memorable.

Deneuve and Castelnuovo are beautiful people too and they do fairly well. But the latter pars of the film are too rushed, I felt. We only got a glimpse of his despair at the news that Deneuve had remarried. Why didn't he ever try to find her after the death of his aunt? He seemed to accept the situation too easily..he asks about the child, but gets no answer and that's that. He doesn't try to find out for himself about his child.

And Demy should have tied things symbolically at the end by having it rain, not snowing!!! The papapluies disappear and never come back! Deneuve should have got out of that car with her Cherbourg umbrella and he should have come out to fill er up carrying his umbrella and they meet again under the umbrellas as their love theme music swells!!!

Anyway, with the unmemorable recitatives (to borrow a word from opera, which is amazing that Legrand even wanted to compose to the mostly small talk of the script, I found this film a big yawn. And some of the ugliest wallpapered walls ever put on film!!! The set designers must have gone through a lot of those big discontinued wallpaper sample books to find such hideous colors and patterns...the kind when you see them and say to yourself "who would ever put that on their walls"!!

Carefree (1938)

Yam Yam Yawn

[14 September 2010]

While this A/R outing has some fine tender moments, it is ruined by one of the most absurd songs (YAM). No wonder FA didn't want to sing it, but GR should have refused to do it as well.

The rest of the film's non-musical moments just are a bore...FA does the hypnotist act so well (with the yawn of dialogue) that I was soon out like a light.

Woke up just in time to see GR get punched in her face by some thug (oops that was her finance I think!) Then she is waltzing down the aisle with FA and that's the end...she must have still been doped up! What exactly was in that anesthetic they gave her? Maybe I will give this film another chance next time I have trouble sleeping.

The Gang's All Here (1943)

love them bananas

[31 August 2010]

Several summers ago, I was at a summer trailer camp. They staged an amateur night at the camp and boy was it "campy"! A few DQs had been invited to participate. They staged the TuttiFrutti number from this movie. Complete with plastic fruits in big fluffy hats a la La Divina Miranda! And lip-synching to the soundtrack song. Their piece-de-resistance were 2 big inflatable Chiquita bananas!!! (They also lip-synched the number "Mamae Eu Quero" (sp.?) from "Down Argentine Way" (I think). (Question: Didn't Lucy lip-synch this on an "I Love Lucy" episode???)

Anyway, I had never seen this movie (TGAH) at that point, but after their hilarious routine, someone told it was from an old Fox musical, but couldn't remember the film's title!!

So one night's bout of insomnia cured that, as I caught TGAH on TV, and there was Miranda and her dancing bananas!!! Fantastic!! The rest of the film is forgettable really. So just get it for the TuttiFrutti!!! It's a classic.

The ending of the film is hilariously inane. But that's the Berkeley way. Busby really missed his chance though. For the last dance sequence with the chorines and their fluorescent light-up rings, the big plastic bananas should have made a re-appearance, this time wielded by some big beefy marines in their swimwear. Then the rings and bananas could have all come together for a big Freudian finale with Carmen strutting her stuff as the Earth Mother once again.

My Blue Heaven (1950)

sorry this is not a good one

[3/10 · 31 August 2010]

Usually I love the Fox musicals...but this one is just boring. The dancing and the songs can't save this one.

And how nice to know that they actually had color TV video cameras and color TV receiver sets in 1950!!! The special effects people couldn't make the spliced-in TV images in B&W I guess???? Bad editing. And don't you just envy Betty Grable's push-down monitor. Wow, wish I had one (not).

And that "baby" that the Morans illegally "adopt" (then they get her back later, still under suspicious circumstances)...and the Morans never had given "baby" a name? Unless I missed it along the boring way. Then old Miss Adoption Agency has a quick change of heart and offers them a boy. Then Betty is pregnant again after all!!!!

All this makes for a very unbelievable story.

Carousel (1956)

best musical

[20 August 2010]

I can't remember how old I was when I first saw this on TV, but it was a long time ago (we had a B&W TV!)...but even though I saw it in B&W, it had an impact that has lasted. This musical has the most gorgeous score by the great Richard Rodgers. Also believe this music got me hooked onto opera later in my youth and that opened an entirely other world of music to me.

But back to Carousel, the story is beautiful and moving, sad and romantic. The stuff of great musicals. And the music is wonderfully scored by the Fox maestro of the time, Alfred Newman and the superb Fox orchestra!! I think that if Fox had made this film earlier (like in the 40's, the orchestrations might have been sparser. In 1956, with bigger production spending (to get audiences away from their TVs and back into theatres), the musicals are also beefed up orchestrally (with improved stereo recording techniques) to make the most of the score. (The soundtrack is also an enjoyable one to experience on its own.)

I loved the scenery of the Maine coast...I have even travelled to Maine and made a special stop in Boothbay Harbor--much changed since 1956 I am sure, but it felt wonderful to visit there. I only wish that the town would make more of an effort to promote the fact that Carousel's location filmwork was done there.

The cinematography is splendid and lush. I love the way the camera is used in the Carousel Waltz sequence, with the music dominating any dialogue. Modern directors wouldn't dare try that today!

I can live with the juxtapositional mixes of location photography vs. the in-studio filming. Not all the dancing could be done on a real beach. And I was very pleased that the entire Soliloquy scene was shot outdoors, very beautiful camera-work following Mr. MacRae's movements. And he sings that song like it was written for him. I agree with most other reviewers here, that Mr. Sinatra was not right for this part.

Shirley Jones is just gorgeous to look at and so believable in this role. Too bad, she only really has two songs, one being the duet with MacRae. Claramae Turner's rendition of the classic You'll Never Walk Alone always brings tears to me, even now after all these years.

Even at the end, I am teary-eyed. That tells me this movie is timeless.

I hope anyone who has never seen it, and reads the reviews here, that you will be able to find as much joy and love from this great music and story that we all have.