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Reviews
Kiss Tomorrow Goodbye (1950)
A good entry in the Jimmy Cagney collection
Here's a James Cagney flick that you may have missed---it doesn't come to mind as quickly as "White Heat", "Public Enemy", et al-but do yourself a favor and check it out.
He's as believable as ever, right from the get-go (he's in a prison camp, natch) and commands the screen as only he can. He has good support from the rest of the cast, with the tragic and ill-fated Hollywood starlet Barbara Payton a standout. She gives a moving performance as Cagney's moll, standing loyally by him even as he marries another woman for her money.
One thing about golden-age gangster movies that always makes me chuckle is how old the guys look: maybe it's just the way they groomed in the 1940's, but most of them appear to be pushing at least fifty, largely thanks to the suits, neckties and floppy hats in glorious black and white.
But that's irrelevant, because the story is involving, the acting swell, and Cagney doing a great Cagney. Check it out.
Boy, Did I Get a Wrong Number! (1966)
For fans of the Hope/Diller combo
The talents of the two lead comedians entertained people for decades. Being a massive movie freak since childhood, "Boy, Did I Get A Wrong Number!" was one of those that I'd watch every time it appeared on the late show or after-school feature 50-something years ago--due to the teaming of Hope and Diller. Their well-rehearsed wisecracks were the height of wit to this former tv addict.
Looking back decades later, it's clear that their onscreen chemistry is pretty much the main draw--the movie's plot is basically a stretched-out sitcom, extended to feature length; the characters one-dimensional; the action pure slapstick.
But as silly as it all is, the chemistry of the two leads remains as they trade wisecracks in their inimitable style. (Even in my 60's, I turn into that pudgy, pre-teen potato-chip freak, howling at Phyllis, with that hysterical laugh, as she squirts mustard at cops from her motor scooter.)
Hope/Diller fans can get a fix from this, but it's too bad the film didn't give more interaction between them and less attention to Didi's bubbles.
Key Largo (1948)
Good old-fashioned drama with a hurricane thrown in.
When thinking 'Bogie/Bacall movie' your head might automatically flip to "To Have and Have Not" or "Dark Passage" so if you haven't seen "Key Largo", be sure to give it a look. The plot isn't complicated or particularly original, but it's put together expertly, well-acted and atmospheric.
It also benefits from the strong supporting cast: along with the stars, the talents of Edward G. Robinson, Lionel Barrymore and Claire Trevor help make what could have been a rather bland tale into an intimate but engaging drama---and the menacing hurricane threat, lurking in the background, becomes a character that steadily raises the excitement level. Definitely worth a watch.
Rescue from Gilligan's Island (1978)
For fans (die-hard fans) only.
We Boomers who grew up on the original series were excited when this was first advertised on TV a half-century ago. The Castaways FINALLY rescued? Yowie! It was a ratings hit (the fact that there were relatively few channels compared to now, notwithstanding) but looking at "Rescue From Gilligan's Island" today: wow, were we ever naive.
I gave it a second watch this evening, to see if I remembered it accurately, and if the critics had been too hard on "Rescue" all those years ago. (Yes, I did--and No, they weren't.)
The plot and the writing of this sequel make the original episodes look like Shakespeare, and did no favors for the cast members who had more talent than their roles usually allowed them to display.
For the most part, 'Rescue' presents them one-dimensionally, and the silly dialogue doesn't help at all. Pretty but miscast Judith Baldwin has the most difficult assignment: she unsuccessfully attempts to fill Tina Louise's shoes, with her role written as something of an airhead--which the original Ginger most definitely was not.
The movie's ending was pretty much a given, and it's one that isn't particularly satisfying.
But it was nice seeing the rest of the cast again (Dawn Wells was still quite the dish) and the "Gilligan's Island" series--for all its silly plots---is a beloved part of tv-Americana. But they deserved a better reunion movie.
Death Becomes Her (1992)
Again, please
Funny how the reason I came upon "Death Becomes Her" is that I'd been disappointed with "She-Devil"--there, the main draw for me had been to see if Meryl Streep's comedy chops were as stellar as her dramatic ones.
But my interest waned early (very unlike me) and I blamed it on abrasive Roseanne Barr and skimpy writing.
Later, hoping for better things when Streep joined forces with Goldie Hawn, Bruce Willis and director Robert Zemeckis, I gave "Death Becomes Her" a watch and fell in love with it--as far-out as the plot is, it's completely buyable thanks to the clever script and performances.
As everyone knows, Ms. Streep could play a rock convincingly, and her performance here is matched every step of the way by Hawn. They have a field day dishing the witty dialogue to each other, and Bruce Willis is surprisingly funny as their resident nerd.
There are some movies you can see multiple times and love it as much as the first time. For me, this is one of those---give it a watch, it may be for you too.
H.R. Pufnstuf (1969)
The mayor is a top-heavy dragon with a Southern accent and white go-go boots.
Wow--this had been a favorite when I was a kid, and not having seen it in 50-some years.....it was a real kick rediscovering it recently. If you're new to Puf and co., you'll probably find it an acquired taste. In its first run, some viewers didn't get into the psychedelic look or the fast-paced humor; the rest of us loved it, especially if you paid attention the dialogue. Jack Wild, a talented and popular teen idol at the time, had top billing but gamely shared the spotlight with the Krofft characters--most notably the Mayberry-esque Pufnstuf himself, and Billie Hayes as the most hyperactive witch ever to inhabit a children's program.
Much of the humor can be appreciated by adults, and Witchiepoo remains my personal fave character from the program; Hayes--who had a long career--inhabits her role completely, is never still for more than a second or two, and on a scale of 1 to 10 is always at 20. She's a scream.
Despite its psychedelic look, "HR Pufnstuf" promotes positive messages--but isn't afraid to be a little trippy in the process. A pleasant look back.
Chappaquiddick (2017)
Oh, those rascally Kennedy boys...!
Those of us who were around at the time well remember the Chappaquiddick incident. For all the circus-like publicity it generated at the time, it faded into the background somewhat faster (though certainly not completely) than many such stories---much to Ted Kennedy's advantage.
This movie gives the generally accepted account, that there was much more effort put into protecting Teddy's career than into rescuing a drowning girl who likely could have been saved.
(The presence of the Boiler Room Girls at the Chappaquiddick party--while acknowledging the hard work they did over the years in Kennedy campaign offices---always left me wondering why there's little mention of the men's wives being there, particularly Joan Kennedy. Hmm.)
As a movie, it doesn't dive deep and only superficially covers the material, but it's well made and acted. As a child of the Sixties, I don't remember Ted being quite as soft-spoken as he's portrayed here, but he does have the accent.
The supporting roles are well acted too; but as Kennedy biopics go, it's Daddy Joe who should have another big-screen release. It was, after all, his example that began three generations of public figures known as much for their charisma and extramarital antics (while piously displaying their religious background) as they were for their governmental accomplishments.....a perfect threesome of Washington, Babylon, and Hollywood.
The Incredible Shrinking Woman (1981)
Worth at least one watch, for Tomlin's talent.
Somehow forty-something years have gone by, and I, a big Lily Tomlin fan, am just now getting around to seeing "The Incredible Shrinking Woman". Was it worth the wait?
Well--it has some good things going for it; a promising new director who would continue on to big things, reliable leading man Charles Grodin, a good solid supporting cast (including Elizabeth Wilson, who played Roz, Tomlin's office adversary, in '9 to 5') and multitalented Tomlin herself--all mixed in with a plot that goes from clever to silly.
Trying to buy the premise of a shrinking woman--who attempts to live a normal family life, escape kitchen drains and evil captors, and bond with a gorilla who's smarter than the bad guys---takes some doing. But even the ridiculous parts are bearable due to Tomlin's appeal and investment in her role. Much as I love her, seeing this once is enough for me, but I'm glad I did. You just may feel the same.
The Creeping Terror (1964)
Yes, it's terrible but see it anyway.
If you're fortunate, you'll see the copy that I just saw, with subtitles that frequently use the wrong words. (This just adds to the enjoyment.) The reviews here have given you a good idea of the plot, such as it is.
The backstory of the movie's making has it that something adverse happened to much of the soundtrack, thus the corny, near-total voiceover narration. All in all, that's probably a good thing, considering the level of talent on display.
One constant feature in the story is that many, if not most, of the monster's snacks are people with delayed reaction syndrome--they barely make an attempt to run away, especially the group of groovy hipsters in the dance club. No prob, just scream once or twice, then mill around the dance floor and give the slow-moving creature time to catch up with you. (This seems to be the logic of most of the human snacks throughout the film.)
And the monster itself absolutely has to be the cheesiest-looking space creature ever put in a b-movie.
Many reviewers rated "Creeping Terror" worse than "Plan 9", and that's pretty accurate. Ed Wood's messterpiece actually looks better compared to this, but it deserves a watch......if only to shake your head in disbelief.
The Beast of Yucca Flats (1961)
Eight stars for good badness.
Just when you think you'd seen all the "so-bad-they're-good" flicks from the 50's, along comes this one.
It's got all the proper ingredients for a schlock classic, even the slightly faded B&W photography, but to my surprise it was uncut: the opening scene featured a brief nude shot that must have been thrown in to fuel word-of-mouth when it was released. (Obviously the makers knew this turkey would need all the publicity it could get.)
There's a lot of chasing and shooting by middle-aged men in suits who look alike, ever-lumbering and mute Tor Johnson staggers through his beastly role as expected; the narration is delightfully bad; and the authorities don't ask any questions when they look for quarry; they just shoot whoever happens to be there.
The one constant in this flick: as serious and sober as these people seem to be, no one behaves with any common sense at all---which leaves a lot of room for riffing. I'll bet you come up with some good material of your own.
Meet John Doe (1941)
Politics were always dirty, but hope springs eternal.
There are likely many classics out there that even we so-called "classic movie lovers" have missed for one reason or another.
For some, this Frank Capra entry may not come as quickly to mind as "It's a Wonderful Life" or "Mr. Smith Goes To Washington", but it should be seen--if only to acknowledge the power of publicity and the effect it has on politics and people's lives. In real life, it's sad how that power is almost always misused in some way, but in Frank Capra's world there is an ever-present undercurrent of hope......that the John Does will make enough of a difference to change things for the better.
Idealism is nice, but in the 80-plus years since its making, the real world has shown that in spite of the efforts of some who try to emulate that hopeful spirit, a lot of others remain opposing forces. Optimism and hope continue to battle authoritarianism and greed, and it appears only superhuman power can ever really straighten things out permanently.
But in the meantime......optimists like Capra help inspire hope that those who really want to make a positive difference in their own lives, can-they don't have to be famous, or even in the political arena, but maybe just folks striving to be a better neighbor. The whole cast is very effective, especially the leads; Cooper is the epitome of the stoic Everyman, and nobody does intensity like Stanwyck (she bolts out of the crowd like a football player in that last scene, man.)
"Meet John Doe" can be found in colorized versions as well. (Some better quality than others.) It's worth a watch.
Who Will Love My Children? (1983)
A triumph for Ann-Margret-and Lucile Fray.
It's hard to believe that I--a die-hard Ann-Margret junkie, for sure--have gone 40 years without seeing this, one of her most acclaimed tv-movie roles. Glad I remedied that this evening.
A-M's performance was much-praised, and justly so: in place of the usual sizzling sensuality is a picture of a plain, careworn country wife and mother of ten, and she is totally believable. Director John Erman does a fine job guiding his cast. Frederic Forrest is poignant too, in his turn as husband Ivan; and he makes you forget what a monster he was as Blue Duck in "Lonesome Dove."
"Who Will Love My Children"s very title establishes the movie's serious tone (the 'bye Steven' scene had me practically bawling) but it's well-made, beautifully acted, and a story that deserves to be told. In a world where negativity so often takes center stage, it's good to be reminded of the quiet victories.....and the bravery of people like Lucile Fray.
Birdemic 3: Sea Eagle (2022)
You knew it would be like this
I'm so ooking forward to seeing this, after coming upon its two predecessors recently.
Thanks to Amazon Prime, we'll give it a look this evening:
--well, it felt like home: Birdemic's trademark opening tracking shots follow the main character sl-o-o-owly thru the credits; he spots the requisite comely blonde, and introduces himself (they're both as nerdy as their predecessors) and we're off!.......only this time the emphasis is directed toward environmental danger right away. There's no putzing around with trying to make a movie-within-a-movie; rather our hero seeks financing for a rejuvenating product.
In between, the environmental-crisis message keeps reappearing to remind us of the point of the film.
That message is fine and all, but there's absolutely no way philanthropic millionaires would appear on every corner, ready to give our hero oodles of money. Nor would young people ever, in any universe, spout dialogue like this.
But it's fun to see just how wooden the acting can be (with the lines they're given to say, I'm guessing the cast is trying to pretend they're anywhere else but in this movie) and it's a guessing game as to just how much walking around the main characters can do.
To break it up a little, an agonizingly long dance scene is included, a la 'Birdemic 2', along with the obligatory motel room hanky-panky.
Also like its predecessors, the bodies pile up all across town, in part because none of the people ever think to go indoors. But fortunately the main characters continue to be armed with an array of assault weapons and endless ammo.
In sum: in between the characters' endless walking around--encountering environmentalists everywhere they go, natch, and somehow neglecting to contact someone like the police or National Guard--the location photography is quite pretty, and you can enjoy that as you wait for the CGI fowl to finally make their appearance. Hopefully, they'll attack the offices of whoever wrote the script.
Birdemic 2: The Resurrection (2013)
2 stars, but see it anyway!
Well, this first sequel doesn't disappoint! While not quite up to (or down to) the level of its predecessor, it has inspired moments of incompetence that shouldn't be missed.
The young cast is attractive, even if they absolutely cannot act and it's hard telling them apart. The guys look alike and the girls look alike. So much for individuality, but they are all adept at pulling out large revolvers from nowhere, and firing an endless number of bullets---as opposed to trying to contact, like, the police or somebody who could actually help.
Fortunately, the dialogue and acting are wonderfully awful; so many preposterous things happen that it's hard to list them all, and logic appears nowhere in the entire running time.
You may not feel the high that the first 'Birdemic' gave (I didn't--the lack of RiffTrax is a minus ) but there is more than enough material in this sequel to inspire your own riffs and make you shake your head in delighted disbelief.
Somewhere in Time (1980)
An underrated romantic fantasy
There were varying reviews when this was released in 1980. You can almost understand why some critics couldn't get past the schmaltz that pops up at times......but it's warm, engaging, and beautifully photographed schmaltz, with a great cast and Mackinac Island location photography that looks good enough to eat.
Speaking of natural beauty, Jane Seymour is quietly dazzling as Elise, at first highly suspicious of Reeve's attentions. I've got to admit, I was a tad skeptical too, the first time I saw this.
"What?'' sez I to myself. The woman who would soon win a Golden Globe as the devil-spawn Cathy Ames in the "East of Eden" TV miniseries......romancing Superman?
Back in 1980 (yes, some of us were alive then, wise guys) I never would've pictured them as a love team, but they look great together and fill the bill splendidly.
It has beautiful settings, a lilting score that some found a bit sappy but many others loved (👋).......and is earnestly acted by the talented cast.
If you have a romantic vibe anywhere in your body, you should give it a watch.
Gable and Lombard (1976)
Fictionalized but pretty
If you're a fan of its subjects and haven't seen this feature --you either dodged a bullet, or missed a lighthearted but highly fictionalized biopic, depending on how you look at it.
This reviewer (practically from birth a Golden-Age-of-Hollywood geek) must agree with the majority, that the story---which was told better, and more factually, in the Warren Harris book---suffers from an overfictionalized screenplay and subpar writing, in spite of its big budget and capable actors.
If someone had to be cast in 1976 as the King of Hollywood, Brolin did look and sound more the part than most of the then-big names who'd been suggested--and he actually gives a decent impersonation of Gable. He even sounds like him, though he's kneecapped by some of the dialogue and the occasional appearance of a yokelly accent.
The talented Clayburgh, likewise, would have benefited from a better-written part. As it is, she spends nearly half the movie as a snobby hysteric, which by all accounts Lombard was not.
There are many, many moments of invention (Lombard disguising herself as a Confederate extra while Gable films a scene with Vivien Leigh in 'Gone with the Wind', for instance.) But there are effective ones too, like the camping/fishing scenes where the couple really begins to fall in love.
An amusing bit is Allen Garfield's portrayal of studio boss L. B. Mayer, as he "my boy"'s his way through a few paternal finger-wagging scenes, warning Gable of the risks of public backlash to adultery. (Rumor has it that the real L. B. wasn't one to preach that particular sermon.)
Likewise, Gable's being the fabled King of Hollywood eventually affected all his marriages----fidelity was all but impossible for him, though by all accounts Lombard was the big love of his life.
Overall, the moviemakers apparently believed that most people would buy this fictionalized account of their relationship if it looked pretty and had a lilting Michel Legrand score. That bet doesn't pay off for the most part---there are other sources from which to mine the real story---but if you love the era of Old Hollywood and you have a couple of hours to kill some night, you might give "Gable and Lombard" a watch, if only as a tip of the hat to a good cast and a fabulous era gone by.
Birdemic: Shock and Terror (2010)
8 of 10 for the Rifftrax version
For those of you who haven't yet experienced "Birdemic" but are contemplating a watch....check out the general message (or warning, depending on your viewpoint) in all these reviews.
They're nearly all in agreement: this flick, if not the worst nature-gone-amuk feature ever made ---and it probably is---then it's definitely in the top five.
It would take some research to go back and see if its makers sincerely were trying to make a standard thriller without any comic undertones, or were camping it from the start, but (assuming it's the former) be prepared to spend nearly the entire running time with eyes widened in disbelief.
In fairness, it's easy to be snarky with something like this......how many of us armchair critics have undertaken the effort, time, and costs of making a full-length movie for distribution?
But that said, you can still have confidence in most of the IMDb reviews of "Birdemic"--they cover the plot very adequately, and you may be assured that it lives up to its rep.
But that's the fun of movies like this, and I'm guessing more than a few of us have seen it more than once. We can hope the makers were having a major hoot behind the cameras, though, pushing to see how little logic and effort they could get away with.
The result is much more entertaining as is than it would have been as a straight 'thriller', if you see the RiffTrax version........because you WILL need the comic relief.
(I just became aware that there are sequels to 'Birdemic'....... I'll try and muster up the fortitude to check on that, and hope they've been Rifftraxxed.)
Dark Passage (1947)
Not Bogie's best but far from the worst. Give it a watch.
Many IMDb reviewers see the same drawbacks in this classic, chiefly the far-fetchedness of the plot.....traditionally, it trails behind many other '40's crime classics, but most of us agree that as a noir, it's well made and acted, and highly watchable. And that's what a classic should be.
It is, after all, Bogie and Bacall (their chemistry alone is a big draw) and the supporting cast is a strong one. As Vincent, Bogart goes from one nearly-impossible situation to another without missing a beat---in between, maneuvering a relationship with a beautiful mystery woman who is, for some reason, devoted to him. Bogie finds it worth the effort as he outruns the cops, outmaneuvers the bad guys and stops off for a quick total transformation of his appearance.
In between, both he and Bacall (and, well, practically everybody) try mightily to avoid Agnes Moorehead, who is a hoot as an irritating acquaintance --she's the human equivalent of a mosquito infestation.
But it's all done with verve and that unmistakable Warner Brothers gangster-drama style and well worth a watch.
RiffTrax: Tourist Trap (2012)
Lotsa good riff material
Fans of the Rifftrax team (motto: "snark-your-way-thru-the-movie-with-us") may well get a kick out of this. Illogical, low-budget thrillers are their specialty, and this one fits that description perfectly. You'll also get a look at latter-day Charlie's Angel Tanya Roberts.
Most of the casualties, natch, are attractive but expendable young adults who have the IQ's of raisins---but you have to give the makers some credit for imagination in the way 'Woody', the first victim, is dispatched. (In the next scene, as his buddies travel down a country road in a jeep looking for him, they pass one lone, nondescript car tire lying in the brush at least 100 feet away. As they go by, one girl points at it---100 feet away, remember---and remarks, "that's Woody's tire! He must have gone this way." That's some good spotting, yes sirree. Especially when it looks like ten bazillion other car tires.)
Sympathy for at least one of the characters should be an aim in most movies, but it's hard to muster up much of that for any of these teenage jugheads----they should have alarm bells going off in their empty little noggins, but they pretty much stand around getting Jason Voorhee'd with little, if any, resistance. Chuck Connors, a tv-golden-age icon, was undoubtedly in need of some quick cash.
Still, this is worth a watch for the sheer "shake-your-head-disbelief" quality and some good offscreen riffing by 'Trax's overaged schoolyard nerds--including a killer one (involving the 3 Stooges and Charlie's Angels) about a half-hour in. Fun with some popcorn and a brewski.
I Was a Teenage Werewolf (1957)
Landon does James Dean/Lon Chaney
Yes, here you will find considerable stereotyping (angry young man, harmless-looking doctor who manages to hide the fact that he's a mad scientist, clueless but virtuous girlfriend, supporting cast of overaged teenagers, monster makeup by Spirit Halloween )......all elements of those wonderful, tacky, low-budget B&W creepers that kept you awake at night when you were a kid.
The story moves a bit slowly, but as it progresses you want to find out what happens to Landon's character; if he had a good shrink, he'd probably turn out okay--but despite his loyal girl, his sympathetic father and school principal, poor Tony turns to the worst source of "help". (Although I ask you, without mad scientists, where would movie thrillers be?)
It's really a must-see, at least once--and it's kind of refreshing to see a little monster-teen-mayhem that isn't overloaded with graphic gore and profanity. Check it out.
Dead Ringer (1963)
Sometimes overlooked, but worth a watch
"Dead Ringer" doesn't always leap to mind when you think Bette Davis flicks, but give it a look-see if you haven't already.
There's more than the usual amount of talent involved here--in front of and behind the camera. It's fun seeing greats like Karl Malden, Jean Hagen (who achieved screen immortality as Lina Lamont in "Singin' In the Rain") and Estelle Winwood, all of whom give fine support to Davis. Peter Lawford, better remembered by some as a JFK sleaze-buddy, is also effective as Margaret's.....well, sleaze-buddy.
Attempts to fool everyone are rather unlikely but are highly watchable, and it's put together so neatly and is so well acted that it's well worth a look-see.
The Ape (1940)
Quirky Karloff fare
You may have stumbled upon this title, like me; it's one of Boris Karloff's less-remembered efforts. I really didn't think I'd stay with it after the first few scenes, but it was a long day and I was frankly too lazy to get up off the couch. "It's only about an hour long" sez I to mineself, so I gave it a watch.
Well, in that short time there's a lot of old fashioned theatrics: kindly mad doctor, wheelchair-bound damsel in distress, her intrepid but rather useless boyfriend, and a lot of really old, one-dimensional supporting characters. (Stock players back then seem to have an average age of 60--or at least, they looked 60. Even the kids.)
But despite the occasional silly moments and buck-and-a-half budget, the story is told adequately, and you want to find out how far the doc's paternal concern for his patient will take him. Pretty far, as it happens.
Boris Karloff was a better actor than many remember--his talent so often eclipsed by monstrous make-up and costumes. In between the corn, he knew how to make a connection with the audience. "The Ape" isn't at the top of his resume, but he gives it his own brand of heart.
Batman: The Movie (1966)
Yeah, it's mostly for us fans--and we're glad of it!
There are enough folks who pooh-pooh the whole '60's Bat-camp thing, so their comments are rather irrelevant regarding this movie. If you didn't like the tv show, don't see the big-screen version.
Real fans pretty much liked it--the plot is at least as engaging as any in the series. Back in the mid-Sixties, lots of us didn't have color television and had to watch ABC's twice-weekly "Batman" episodes in glorious black and white. Seeing our heroes in big-screen color splendor was dizzying, and the spirit of this movie pretty closely captures the appeal of the tv show.
There with some friends in our neighborhood movie house in 1966, excitedly watching our heroes come to life on the big screen, came a huge shock for me (a 10-year-old who had a major crush on Julie Newmar.) When the name of Lee Meriwether as Catwoman appeared in the opening credits, you'd think I had just witnessed somebody torching an orphanage. I was upset, guys. "WHO???!!! WHAT??? WHERE'S JULIE NEWMAR????" I groused loudly through the credits while the other kids told me to just shut up. (I reluctantly did, then pouted through the rest of the picture.)
Actually, Meriwether gives a very capable performance, though the loss of Newmar's unique Cat-quirkiness was way too evident.)
On the whole, this cinema version is a worthy companion to the tv series. Lots of priceless little moments, too--in one scene, the bad guys tie up Bruce Wayne and toss him onto a bed where Catwoman, as her alter ego, pretends to be likewise restrained. As they lie face-to-face, the still-bound Bruce responsibly shifts his feet to the floor. (Batman is nothing if not a gentleman.)
The star villains know their parts well, and the high camp is refreshing compared to all the heaviness of the '80's-and-later big-screen versions.
This one is just right for hardcore '60's-Bat-fans.
Bus Stop (1956)
Marilyn graduates from frothy musicals
Nearly 7 decades after it was made, this screen version of "Bus Stop" may be awash in "incorrectness" but it's still a whale of an entertaining story--largely thanks to its screenplay, stars, and a well-chosen supporting cast. They're all just right in their roles: a very young Hope Lange, sassy diner owner Betty Field (something tells me the oft-mentioned apartment upstairs got more than one visit from that bus driver) and Eileen Heckart as Cherie's sympathetic co-worker. It's hard to imagine anybody growing up as insulated from the opposite sex as Beau Decker, but apparently he didn't get out much. Arthur O'Connell turns in a good performance as guardian to Don Murray's naive and untamed cowboy. Their trip to the rodeo in the big city brings Beau a most unexpected-and hard-won-- prize. Worth a watch, especially because it features one of Marilyn's best performances as she progressed from glamor girl to real actress.
Mamma Mia! (2008)
Sometimes real life makes you say, "Mamma Mia!"
This was a considerable hit in our area when it was released in 2008. Many in our circle were big ABBA fans and enjoyed the familiar (and much-loved) music, combined with a surprisingly high-quality cast, an island setting to die for, and actions that often don't stray far from silly--but the nice kind of silly, that you could leave the theater afterward feeling good about.
For me, it was a very difficult period; I had just lost the love of my life, so at the time, the romantic antics on Streep's idyllic isle brought mixed feelings. Still, with a soundtrack like this, it was impossible not to tap some toes, and it remained a bittersweet memory.
A dozen years later--our stars realigned. They have happily remained that way, and undoubtedly always will. Time has a way of making you grow up if you're smart enough to learn from it.
"Mamma Mia" was on Amazon Prime, and I gave it a second run this evening. Yup, the casting is still a little odd; it remains a mystery why this wasn't made as a 90-minute TV special, with a veteran, professional musical-comedy cast. But it's a work about joy and celebration of regular folks. Streep, Brosnan, Baranski, and the others manage to convey all of that. The infectious soundtrack forgives any middling singing found among them.
However over-the-top it is, and however so-so a few of the voices are, they do what they're supposed to: they convey the joy that the ABBA song-scribes meant them to.
And for me, it was even more special all these years later--this time, I was able to enjoy it along with a second chance at love. It was a nice evening.