Song of the South (1946)

I'm probably going to catch a lot of heat for this one, but here goes ...

Believe it or not, I think I can honestly say that I've never sat down and watched a Disney film in its entirety from start to finish.  Hard to believe, I know.  I'm just not that into Disney, and never have been.  I don't really know why.  I have seen bits and pieces of Disney films throughout my life that maybe , if they were all pieced together, would add up to a complete film here and there.

I've always heard stories about Song of the South and how some people think that it's a very racist film and don't agree with its portrayal of slavery and African Americans.  It made me very curious as to what all the hype was about so I figured, "what the heck, I have 90 minutes or so to kill, I'll just sit down and watch it."  And guess what ...  It was a pretty good film.  I'm not going to say that it was the best I've ever seen, but it was pretty good.  It was a great combination of animated and live action characters which doesn't sound like much now, but remember this film was released in the 40s and the animation is hand drawn not CGI.  The soundtrack and musical score are very catchy, you'll find yourself singing along in no time.

Some critical viewers think that the portrayal of slaves singing and being happy is insulting and unrealistic.  I'm not condoning slavery in any way, shape, or form, and I'm not a history expert, but I believe that the film takes place after the Civil War had ended, and that even though slaves had already been freed, many chose to stay where they were currently living and sharecrop and work the land that they were accustomed to working.  The film was not released as a historical documentary glorifying slavery in the South, it's for entertainment purposes, and that's the context in which it should be viewed in. 

The plantation setting should be viewed as just that, a setting for the story to take place.  A story about a frightened, confused young boy named "Johnny" (wonderfully played by Bobby Driscoll) coping with the separation of his parents, with the boy being helped through this difficult period in his life by a kind and gentle old man "Uncle Remus" (again, a wonderful job by James Baskett) who uses fascinating stories, songs, and folk tales to convey meaningful life lessons and morals to the children, all children, who gather around him.  This is especially important to Johnny now that his father is absent from his life.  Uncle Remus is based on a character created by Joel Chandler Harris who initially began using this fictitious character in the Atlanta Constitution newspaper in 1876.  The stories Uncle Remus told, fables of animals who behave like humans, were all based upon African-American storytellers he had known and grown up with as a child.

I'll say one thing  --  I find films that are currently being released much more offensive than Song of the South.  I'm not into the crude, vulgar, and gross insulting humor (including racial insults and innuendos) found in a lot of the newer releases, I just don't find it funny or entertaining.

Watching Song of the South I saw nothing but people showing the utmost respect for each other, regardless of their race.  I'm reminded of the words that Pope John Paul II used to describe the film The Passion of the Christ (2004) after he viewed it.  This was another film that many were offended by.  The Pope stated, "It is as it was ..."   And that's how I feel about The Song of the South, it is as it was, and nothing is going to change the past.  I think it would be more of a disservice not to eventually release this film on DVD for people to enjoy, the Disney CEO and board has the ultimate decision on whether it will be released or not and they have no intentions on doing so any time soon. 

If I sound like I'm rambling, I apologize, but I really don't see what people find offensive about this film.  Throughout film and television history there have been examples of films and shows with controversial subject matter and content including Birth of a Nation (1915), General Spanky (1936), Gone With the Wind (1939), some of the Our Gang shorts, early Shirley Temple films from the 30s, and the Charlie Chan series of films which offended members of the Asian American community, as well as the many, many Westerns which portray Native Americans as savages.  Not to mention television shows like All in the Family, The Jeffersons, and Sanford and Son.  There are far more distasteful and insulting DVDs available on the market now than Song of the South, which shouldn't even be put into the same category.

And that's what I think ...

A Few More Laurel & Hardy Shorts (1933)

Me and My Pal (1933) - This Stan Laurel and Oliver Hardy short costars regular James Finlayson as the father of the bride.  Finlayson also starred in about 30 shorts and features with the boys and also originated the phrase "d'oh" many years before Homer Simpson made it popular. 

As Oliver prepares to get married to a rich man's daughter, Stan who is his best man arrives at the house with a bag of rice and a wedding present -- a jigsaw puzzle which becomes the nucleus of the short. 

Everyone that sees the puzzle has to have a hand in helping  to put it together including Stan, Oliver, the butler, a telegram delivery man, a cop on his beat, and the cab driver who all in turn make them late for the wedding.  When a piece of the puzzle is discovered to be missing, the policeman refuses to let anyone leave until the piece is found.  When Oliver's future father-in-law shows up to find out why they are so late, the riot that follows wrecks the house and gets everyone arrested, except of course for Stan and Ollie.

Busy Bodies (1933) - Produced by Hal Roach Studios (actually all the shorts in this posting were from Roach Studios in 1933) this short features costar and familiar foe Charlie Hall who starred in about 50 shorts and features with Laurel and Hardy. 

The short begins with Stan and Oliver on their way to work at a saw mill.  Listening to music on the "radio", which is is actuality a Victrola under the hood of the car.  Some of the running gags include getting knocked down by boards and Stan hammering a nail into a wall for a coat hook and hitting a water pipe. 

In one of their funniest scenes Oliver gets his hands caught in a window frame and Stan breaks out some blueprints to try to get him out. This scene practically had me in tears.  You've just gotta love the physical slapstick humor.   Stan also offers a cigar to a coworker who's been harassing them and then turns him in for smoking on the job.  If I had coworkers like these two guys I wouldn't care where I worked.

The Midnight Patrol (1933) - Criminals beware ...  In this short Stan and Oliver star as two policemen in car #13 new to the force attempting to get through their first night on the beat. 

Stan and Oliver start their shift how?  By having lunch  of course.  After they retrieve their lunch from a police call box  they get their first call ...  someone is trying to steal their spare tire while they're sitting in the car.  Stan gives the crooks a stern talking to and gets a couple of windows broken in the process.  The pair get a call to a house break in progress, forget the address, and then can't get their patrol car started.  Stan's expressions while Oliver tries to get the car going are incredible.  But anyway the boys finally get to the house and get their man only to get a big surprise in the end. 

I'm trying to recall if there is any short or feature that doesn't involve Oliver getting wet in one way or another.  I don't think there is.  All three of these are great, classic, Laurel & Hardy shorts and the running time on them is about 20 minutes each.   I really wish they would make the entire L&H collection available to the public at some point.  For now I guess we just have to try to enjoy them anyway we can.

End of the MonsterFest ...

Hope you enjoyed the posts ...
But don't worry, lots more great stuff and more marathons to come ...  Enjoy !!

The Beast From 20,000 Fathoms (1953)

Again nuclear testing brings doom and gloom to human civilization.  "The Beast From 20,000 Fathoms" (a.k.a. "The Monster From Beneath the Sea") is based on story by Ray Bradbury that appeared in the Saturday Evening Post on June 23, 1951.  Some argue that this film was also one of the main inspirations for the film "Gojira" (1954).

Nuclear testing in the Arctic causes a prehistoric dinosaur to awaken from hibernation.  At first no one believes team member "Professor Tom Nesbit's" (Paul Christian) claim that he saw the creature while trying to rescue a fellow scientist and Nesbit is sent to a hospital back in the states for observation.  After reading about ships being sunk and claims of sightings of "sea serpents" he seeks the help of a skeptical paleontologist (Cecil Kelloway) and his assistant (Paula Raymond).  Nesbit also asks for help from the military through "Col. Jack Evans", (coffee drinking and cigarette smoking Kenneth Tobey of "The Thing From Another World", 1951) who was at the testing site.

The monster makes its way from the Arctic down the North Atlantic seacoast with brief stops to terrorize and demolish the coastline and sink ships in Nova Scotia, Maine, and Massachusetts, and then stomps and smashes its way through New York City culminating in a final epic battle on Coney Island.  One of my favorite scenes is when the monster topples a lighthouse on the coast of Maine which came directly from the illustration that accompanied Ray Bradbury's Saturday Evening Post story.

This film has incredible stop-motion effects by the master Ray Harryhausen and was his first solo project creating creatures for low budget films.  I find it amazing the way that Harryhausen makes these creatures seem so lifelike that, in a way, I sometimes feel sympathetic toward the monster. (I know, crazy right?)  He was once told that "his monsters die like tenors in an opera."  The film was made by an independent studio with a budget of $200,000 and was later sold to Warner Brothers for between $400,000 and $450,000.

Watch for a couple of quick scenes with James Best ("Jim Lindsey" on the Andy Griffith show) as "Charlie" the radar technician.

The Black Scorpion (1957)

At least this time it's not the carelessness with the nukes that unleashes the next threat to mankind.  "The Black Scorpion" is a standard 1950s monster feature about giant prehistoric scorpions being released after an increase in the number of earthquakes and volcanic activity in Mexico.  Two geologists "Hank Scott" (Richard Denning) and "Arturo Ramos" (Carlos Rivas) are travelling through the Mexican countryside on their way to investigate the volcanic activity in the area.  They stumble upon a deserted gas station where they find an abandoned baby and a wrecked police car with no occupants.  After hearing strange sounds off in the distance the geologists expand their search and find the remains of a missing policeman.

After continuing on to the village of San Lorenzo the pair, now with the baby, find survivors of the volcanic eruptions and earthquakes.  But while in the village they hear about mysterious deaths and disappearances.  The villagers also speak of superstitions involving a "demon bull" that attacks and kills the locals.

The film keeps you interested until about halfway through when the two geologists, one of them carrying a camera the size of a small microwave oven, descend down into the crevasse in search of the monsters.  Then the film seems to drag.  The producers try to throw a love story involving local "Teresa Alvarez" (Mara Corday) into the mix without much success.  And the visual effects can't compare to stop-motion animation pioneer Willis O'Brien's (King Kong, 1933) special effects.  The creature sound effects are very similar, if not identical, to those used in the film "Them!", (1954).  Close ups of the drooling giant scorpion are a little over the top and very repetitive, and in some scenes scorpions are only shown as a sort of black silhouette apparently after the project went over budget.

A few of the characters are more irritating than entertaining, you'll know exactly which ones I'm talking about when you watch the film.  There are some tense moments, but not many, and the ending actually had one moment that made me laugh out loud.  Overall the film is "ok" and worth watching if only for the stop-motion animation effects and the miniatures.

Murders in the Rue Morgue (1932)

You know, it's been a while since I've seen "Murders in the Rue Morgue."  And the first thing I thought as the music from Swan Lake was playing and the opening credits were being displayed was "who is Sidney Fox, and why is she getting top billing over Bela Lugosi ?"  It's actually a very interesting and tragic story.  But first the film ...

The film is based on a story by Edgar Allan Poe and takes place in Paris in 1894.  A group of friends are enjoying an evening out at "Carnival" and are wandering about observing the various sideshow attractions.  Members of the group include "Mlle. Camille L'Espanaye" (Sidney Fox) and her escort "Pierre Dupin" (Leon Waycoff, aka Leon Ames).  The group of friends decide to enter the tent of "Dr. Mirackle" (Bela Lugosi) to see what spectacle the doctor has to offer.  As they enter the tent Camille sees the doctor and exclaims "what a funny looking man, he's a show in himself."

As the show begins, Mirackle claims to be able to communicate with "Erik" his pet ape and to be able to translate what the beast says.  He asks the spectators "Do you understand him, or have you forgotten?" Mirackle translates to the crowd how Erik was taken from his home, away from his family, and how lonely he is.  He then proceeds to lecture on the theory of evolution and human's descent from the apes.  People in the audience become offended and insulted, and begin heckling Mirackle, who then exclaims that he will prove the theory by "mixing the blood of man and ape."  What no one knew was that the doctor's experiments had already begun.  And his next subject would be the object of his and Erik's obsession, Mlle. Camille.

Director Robert Florey had a unique approach to filming his scenes with the ape.  He used close up shots of a real chimpanzee and edited them in with shots of the man in the gorilla suit for more realism.  Charles Gemora played the role of "Erik" the ape and also had the distinction of playing the part of the chimp (uncredited) in the Laurel and Hardy short "The Chimp" (1932), and also played one of the aliens (uncredited) in the sci fi classic "War of the Worlds" (1953), among the many other roles throughout his career.  In an early role Arlene Francis appears briefly as a "woman of the streets", one of the doctor's victims.  The film is a Bela Lugosi tour de force and he is at his menacing and sneering prime.  The film was produced by Carl Laemmle Jr. which brings us to the story of Sidney Fox.

According to his book "Women in Horror Films, 1930s" author Greg Manks writes that there may have been some favoritism shown to Sidney Fox at Universal because of Laemmle Jr. who "discovered" her and became infatuated with her, which in turn gave her the top billing over Lugosi.  There were also rumors that there was some kind of affair between Fox and Laemmle Sr. at some point, and that many people were not happy with Fox's acting talents in general.  Ms. Fox denied all the gossip but in reality she actually did have a tumultuous personal life including a troubled marriage, and poor performance reviews throughout her brief career.  All this culminated in a "probable" suicide after consuming a large quantity of sleeping pills on November 14, 1942 at the age of 34, only ten years after this film was released.  Another tragic Hollywood ending for a young actress with a promising career.

Godzilla Raids Again (1955)

Godzilla Raids Again, aka "Gigantis, the Fire Monster" (1955) is an "ok" sequel to the original Gojira (1954) film.  This entry in the series finds a second Godzilla battling another monster called "Anguirus" that kind of looks like a giant turtle with spikes on his shell.  The only familiar face that I spotted from the first film was Takashi Shimura making a reappearance as "Dr. Yamane."  Unfortunately this film seems more amusing at times than "terrifying" or "exciting."  This time the heroes are two pilots who work as spotters for a Japanese fishing fleet, and the city of Osaka has the misfortune of being the battlefield for the two monsters.

One thing I really did like about the film is the nice work that the production team does with miniatures.  They do a really nice job, again keeping in mind the budget and time of production.  The editing and scene transitions are not as smooth as they were in the first film and translation of the subtitles is a little rough in some spots.  I think the problem may be with the actual storyline.  The military and local authorities seem to be on the verge of constant retreat. The prison escape scene and the getaway are like something straight out of a "Keystone Cops" slapstick short.  And the ending is very long, dragged out, repetitive, and not very suspenseful.  Again, not even close to the previous film.

Hiroshi Koizumi stars as "Tsukioka" and Mindru Chiaki as "Kobayashi", the two pilots.  With Mayuri Mokusho as "Yasuko" the radio operator.

If you're a fan of the series then it's definitely worth watching.  It's not broadcast very often but it shouldn't be too hard to find a copy.

Let the MonsterFest continue ...

And now ...  Back to our regularly scheduled blogging ...

Guest Reviewer Today --

I'm guest reviewer today on MovieFanFare.com for my review of  "14 Hours" (1951).  It's a great website, check it out.  Same review I posted here on May 24.  Maybe I'll be famous someday ...   : )

On Screen -- The Monster That Challenged the World (1957)

Well, you know, they can't all be great ...  Good, but not great.  For me, I think it's more a personal thing.  I'm not fond of slimy creatures that crawl out from the depths of the ocean floor to suck all the moisture out of their victim's bodies, I'm just kind of funny like that.

"The Monster That Challenged the World" is a good film.  Again we're back with atomic/nuclear testing and the human race's total disregard for nature and the environment being the basis for the monster and the reason the creature is even bothering anybody.

The film takes place in the Salton Sea (mostly filmed around Catalina Island) where an earthquake releases creatures that have been trapped below the sea bed.  People begin disappearing and some are discovered drained of all body fluids.  "Lt. Cmdr. John "Twill" Twillinger" and "Lt. Bob Clemens" (Tim Holt and Harlan Warde) investigate, and with the help of "Dr. Jess Rogers" (Hans Conreid) and his assistant "Tad" (Casey Adams aka Max Showalter) soon find themselves face to face with the monster and trying to discover a way to destroy it.  Amid all the death, as usual, a small love story begins to unfold between Twill (couldn't they come up with a better name for this guy) and the Professor's secretary "Gail MacKenzie" (Audrey Dalton).

You might recognize some of the faces but not recall the names of the players like I did.  The acting is "ok".  The special effects are "ok".  I thinks it's just the slimy monster thing that just didn't grab me.  Definitely still worth watching especially if you're a fan of the genre.  And Audrey Dalton makes it a little easier to watch ...

On Screen -- Them! (1954)

During the 1950s the effects of nuclear and atomic radiation helped to spawn many monster films from around the globe.  One of the best, with one of the most recognizable sound effects of any science fiction/monster film, is "Them!."  There's a great cast to keep the film moving along and at no time does it leave the viewer bored.  And there are a couple of fun surprises if you really pay attention.

The story begins in the New Mexico desert.  Two policemen, Sgt. Ben Peterson and Patrolman Ed Blackburn (James Whitmore and Chris Drake), find a young child wandering in the desert apparently suffering from shock.  As they investigate where the child could have come from they discover mysterious and unexplainable deaths, disappearances, and property damage.  When the local authorities find strange animal prints at all the crime scenes they call in FBI agent "Robert Graham" (James Arness) to help.  The FBI in turn seeks the help of two scientists, "Dr. Harold Medford" and his daughter "Dr. Patricia Medford" (Edmund Gwenn and Joan Weldon), who are Department of Agriculture entomologists.  As the investigation progresses everyone's worst fears come to light and the search begins for "Them."  The tension builds until the final showdown which takes place in the claustrophobic system of storm drains beneath the streets of  Los Angeles.

All the starring actors do a great job as do the supporting players.  The script and dialogue is exceptional and very prophetic at times.  The elder Dr. Medford quotes "'And there shall be destruction and darkness come upon creation and the beast shall reign over the earth."  And to balance out the serious overtones of the demise of the human race, some dry humor seeps through unexpectedly.  In my opinion the film comes across as fairly believable, probably because the theories seem to be based on actual scientific fact.

As for the surprises, see if you can spot a young Leonard Nimoy as an Air Force sergeant, and look for a quick glimpse of the "Superman building" from the opening credits of  "The Adventures of Superman" (in reality it's the LA city hall) in the distance of a shot of downtown Los Angeles.  And don't forget one of the hardest working people in the business William Schallert in a brief appearance as an ambulance attendant and Fess Parker in a small role as pilot "Alan Crotty."

On Screen -- Gojira (1954)

A flash of light ...  There's an eruption beneath the surface of the sea ...  People scramble about on board a ship screaming in terror ...  Ship sinks engulfed in flames ...  A handful of survivors are discovered floating about clinging to debris ...  So begins the story of Gojira.  I think this is actually the first time I've seen the actual Toho uncut Japanese version of the film.  It seems to flow and have better continuity than the American version with the scenes of an American news reporter (Raymond Burr) spliced in.  But no Mr. Burr in this version.  There also seems to be more references to the atomic and nuclear bomb testing that I hadn't noticed in the American version.

I'm sure everyone knows the basic storyline.  Superstitious old islanders believe an ancient myth has come to life.  Japanese scientist believes monster was released from the depths of the sea due to nuclear testing.  One scientist wants to study the creature, others want only to destroy it.  In the mean time Godzilla rampages around flattening every building in its path and setting Tokyo ablaze with his radioactive breath.  The film does have really good special effects for its time and since most of the action takes place at night, the rubber suit on the star is not as noticeable as in the future Godzilla films.  I personally think the suit adds something that you can't get from any CGI.

One other thing I'd like to mention is the score.  The music is really moving and kind of came to be known as "Godzilla's theme song", like the opening music in the film "Jaws", because it was reused in later Godzilla films.  Some very well known Japanese actors include the guy in the suit Haruo Nakajima starring as "Godzilla", Akira Takarada as "Hideto Ogata", Momoko Kochi as "Emiko", Akihiko Hirata as "Dr. Serizawa", and Takashi Shimura as "Dr. Yamane".

Trivia  --  The clock tower that Godzilla tears down is the Wako department store clock tower in the Ginza district of Tokyo and still stands today.

So if you're only going to pick one of the many Godzilla films to checkout , stick with the original.  And if this one isn't available to, you then the 1956 "Godzilla, King of the Monsters" Americanized version is almost as good.  Enjoy ...

Monsterfest. -- Stay tuned

I'm feeling a Monsterfest coming up so stay tuned everybody. Of course I'm talking about classic monster films so keep checking in for the next couple of weeks ...

On Screen -- 14 Hours (1951)

"14 Hours" is a great, suspenseful, noir type film.  The film is based on the story "Man on a Ledge" and according to the folks at Fox, the film is actually based on an incident in 1938 in which a gentleman stood out on a ledge threatening suicide for approximately 16 hours.  The first thing I'd like to mention is the spectacular editing, art direction, set decoration and cinematography.  Everything is top-notch, from the sets to the sound engineering of the opening score to the lack of any soundtrack other than the strategically placed street sounds throughout the film.  Set designers were nominated for an Academy award for their recreation of NYC.  There are also a great number of well known actors with a sprinkling of very recognizable character actors in the film who all come together as a single cohesive group.

It's the story of "Robert Cosick" (Richard Basehart) a despondent man who's reached his limit and feels he has exhausted all options except for one.  A very nervous Cosick pays a waiter for the room service for his breakfast and as the waiter turns back around after making change, he finds Cosick missing.  But after a brief search of the apartment soon discovers him out on the ledge.  After a woman's scream alerts traffic cop "Charlie Dunnigan" (Paul Douglas) to what's transpiring 15 floors above, Dunnigan races to the scene and begins a dialogue with the jumper.  The rest of the film is basically shown from this perspective, alternating from police and psychologists within the apartment, to Cosick on the ledge, and then to street shots of the crowd gathering far below watching the spectacle unfold.

There are a few subplots that take place at street level such as the cabbies who pool their money and bet on what time the man is going to jump, and a young man and woman (Jeffrey Hunter and Debra Paget) who meet and become interested in each other as they seem to be the only people who show any sympathy for the jumper.  Agnes Moorehead and Robert Keith also costar as Cosick's mother and father with Barbara Bel Geddes as "Virginia" the jumper's exgirlfriend.  This film also marks Grace Kelly's film debut and the beginning of her somewhat brief career in Hollywood.

The dizzying and superb camera angles are the highlight of the film.  It also has an air of cynicism and a heavy theme of media exploitation reminiscent of  Billy Wilder's "Ace in the Hole" also from 1951.  Many members of the cast are veterans of some of the greatest noir films such as "Panic in the Streets" (1950), "House on Telegraph Hill" (1951), and "House of Strangers" (1949).

Director Henry Hathaway is more famous for his noir documentaries, "House on 92nd Street" (1945) and "Call Northside 777" (1948), as well as a couple of my favorites "Kiss of Death" (1947) and "13 Rue Madeleine" (1947).  Most of these films are available as part of the Fox Film Noir series.

As you can see there's a lot of talent packed into this one film, so get ready for some "high" suspense.  Enjoy ...

On Screen -- Steamboat Bill Jr. (1928)

I have to say, I think "Steamboat Bill Jr." is one of the funniest films I have ever seen.  Like I've said before, if first impressions of a film mean anything to you then you know you're in for a great one.  Riverboat captain "William Canfield" (Ernest Torrence) is awaiting the arrival of his son "William Canfield Jr. aka Steamboat Bill Jr." (Buster Keaton) whom he hasn't seen since he was a child.  With Keaton's first appearance in the film standing on the wrong side of the train platform while his father is trying to find him, and then his proceeding to go from one stranger to another showing his carnation like an ID badge the laughs are practically nonstop.  He told his father that he would recognise him because he would be wearing a white carnation, but so is everyone else on the train.

  Much to the captain's dismay Bill Jr.'s  arrival is somewhat of a disappointment to him and his crew.  Bill Jr. turns out to be totally unskilled and unmotivated as far as joining his father in the operation of his riverboat business.  As his father tries to whip him into shape by getting him shaved and buying him a new wardrobe, Bill Jr. meets and falls in love with "Kitty" (a petite and perky Marion Byron), who also happens to be the daughter of  Bill Sr.'s business rival.  Anyone who can take the simple task of trying on a hat and turning the action into a comedy masterpiece is a genius.  Despite both men's objections Bill Jr. spends the rest of the film trying to prove himself to Kitty.

The film is chock full of signature Buster Keaton stunts, some so daring it's been said that even some of the camera crew had to "look the other way" while filming some of them, and Keaton executes them with surgical precision.  The special effects and stunts in the storm scene are remarkable given what they had to work with and the technology available to them at that time.  The musical score by the Alloy Orchestra works well with the film but seems a little overpowering at times.  I'd like to try to find a version of the film with the original score and compare the two.

This was the last film by Buster Keaton while working as an independent film producer and was released one year after the first "talkie", The Jazz Singer (1927).  It was really the last film that Keaton would have total control over because he usually financed his films with his own money as an independent filmmaker.  He went on to sign with and work for the MGM film factory, the studio that frequently boasted that they had " more stars than there are in heaven ...", so obviously they couldn't concentrate their attentions on only one performer no matter how popular they were.  Unfortunately the quality of following Keaton films were not up to par with this one due to his limited power.

It's not too often that I actually laugh out loud during a film, but there are a barrel full of laughs here.  For me, Buster Keaton remains one of the undisputed kings of slapstick.  Enjoy ...

On Screen -- Waterloo Bridge (1931)

"Waterloo Bridge" (1931) is my favorite version of the film because it's a little grittier and not as polished as the 1940 film starring Vivien Leigh and Robert Taylor, and the story is told a little differently.  I think I read that the '31 film storyline is closer to the original story.  It's a really sad, romantic, and tragic story all at the same time.  The film was released before the production code went into effect in 1934 so to some viewers it may seem a little risqué or racy but it's still very tame by today's standards.

The film takes place in London during World War I.  "Myra" is an American chorus girl who followed a show to Europe but is now out of work resorting to street walking to make ends meet.  "Roy" is a naive young American who went to Canada to join the military so that he could fight in the war.  Roy meets Myra out on the street during a zeppelin attack on London and he immediately falls in love with her not realizing that Myra is a prostitute, while she misleads Roy explaining to him that she's a chorus girl.  The pair becomes very friendly as Myra invites him back to her apartment but then avoids Roy's questions about her history and background.  When he tricks her into spending the weekend with his family at their estate in the country, Myra begins feeling comfortable in her surroundings and around everyone in Roy's family, but then gets scared and runs off back to the city where she resumes her work.

Mae Clarke is beautiful and brilliant in her portrayal of "Myra", Kent Douglass stars as "Roy", Doris Lloyd stars as "Kitty, Myra's neighbor and "coworker."  And in one of her first roles Bette Davis costars as "Janet Cronin", Roy's sister.  The film is directed by James Whale in one of his first few directorial efforts... , yes, the same James Whale that directed "Frankenstein" (1931), "Bride of Frankenstein" (1935) , and "The Invisible Man" (1933).

From the Auction -- A couple of new things ...

Marion Davies as "Peg" in Peg O' My Heart , 8"x10" autographed photo, (MGM, 1933) - A vintage, gelatin silver, double weight, linen finish photo.  The photo is signed "Sincerely, Marion Davies."  I love Marion Davies, and I was really excited to pick this up.  In my opinion Ms. Davies was the first screwball comedy actress and helped define the genre for everyone else who followed.  She made her first film in 1917 and continued through the 1930s.  Unfortunately, for most people, the thing that comes to mind when they hear her name is the long romantic relationship that she had with newspaper magnate William Randolph Hearst that lasted until his death in 1951.

Alice Faye (Fox, 1934), (2) 8"x10" autographed photos.  Vintage, gelatin silver, single weight, glossy photos.  The two photos have Advertising Advisory Council stamps on the verso.  One has printed studio information, and the other has printed name with birth date and original name. Both photographs have been signed "Alice Faye."  Ms. Faye starred in films and musicals for 20th Century Fox in the 1930s and 1940s like "George White's Scandals" (1934) and "In Old Chicago" (1938).  But for most people today she's more well known for her singing talents than her acting.

On Screen -- Rage in Heaven (1941)

A car passes through large iron gates and a visitor arrives at a Paris insane asylum.  An inmate, under an assumed name, who was being treated there makes his escape disguised as the visitor.  This is the first scene and our introduction to "Rage in Heaven."  So if first impressions mean anything to you when watching a film, then you know you're in for a good one.  It's a taut thriller with a top notch cast.

The escapee "Philip Monrell", a great performance by Robert Montgomery, returns home to his mother and somewhat prominent family in England, but on route there he runs into his friend "Ward Andrews", played by George Sanders, whose identity he's been impersonating.  He invites the friend to go home with him and when they arrive there he finds that his mother has hired a beautiful caretaker/companion named "Stella Bergen", a radiant and enchanting Ingrid Bergman.  All the characters in the deadly love triangle are now in place.  Philip loves Stella and marries her after a very short time.  Stella is married to Philip but secretly loves Ward and never admits it to anyone.  And last but not least, Ward is in love with Stella and can't say anything because she is married to his friend, Philip.  Watch the film, it's not as bad as it sounds.  When Philip tells Stella "I would die for you ... I would even kill for you", you know he really means it.

As I started watching the film I first thought Montgomery was a little stiff in playing the part of Philip.  But as the story continued I noticed that it was just the nervous tension in the part of the character that he was portraying.  And he does portray the part very well, every jealous, manipulative, paranoid, cold, and calculating bit (I don't think I left anything out).  The extremes that this twisted, disturbed and delusional character goes to to try and entrap his wife and friend are amazing.  I'm definitely sensing a "Hitchcock" type of influence in some of the scenes whether it be from the storyline or just from the cinematography and set decoration in general.  Also watch for Oscar Homolka in a smaller but very crucial role as "Dr. Rameau."  A nail-biting and satisfying ending wrap things up very nicely and overall this is a really, really good film.  It's strange that this film isn't mentioned more often when people speak of great drama and suspense films, it is without doubt, absolutely good enough.

The film is directed by W.S. Van Dyke who also brought us favorites like most of the films in the "Thin Man" series.  I would say that this film is suspenseful enough to satisfy even the most hardcore Hitchcock fan and definitely worth spending some time with.  Enjoy ...

On Screen -- The Thing From Another World (1951)



"The Thing From Another World" is a great classic 50s science fiction film.  Directed by Christian Nyby and Howard Hawks the film features Hawks' signature rapid fire dialogue and character mannerisms, as in the way the characters light and pass cigarettes.  The story takes place in and around a military base in Anchorage, Alaska.  A group of military personnel and scientists track and investigate a UFO that lands near the base.  As the group searches for the object, they locate a craft assumed to be of extraterrestrial origin and then locate a possible occupant from the craft frozen in the nearby ice.  They return to the base with the body of the alien entombed in a block of ice.
I hate giving away too much of the storyline, I imagine there are some folks out there who actually might not have seen this film yet, but the alien manages to get free from the ice and terrorizes the group at the base.  The scientists don't want to harm it because they want to study it, and the military people are just trying to kill it with the base inhabitants' survival being the first priority.  It's a great story with excellent stunts and special effects.

The film stars Kenneth Tobey as "Captain Henry", Margaret Sheridan as "Nikki", Robert Cornthwaite as "Dr. Harrington, and Douglas Spencer as "Scotty."  Also listen for the unmistakeable voice of Paul Frees as "Dr. Voorhees."  His voice can be heard in, and narrating, some of the best sci fi films including "The War of the Worlds" (1953), and "When Worlds Collide" (1951) as well as other films and animated programs.

On Screen -- Out of the Past (1947)



  If you watch only one film from the noir genre in your lifetime, make sure that one film is "Out of the Past" (1947).  Every fundamental element used in the making of a great noir film is present in the production of this classic.  Viewers are introduced to a dark and gritty atmosphere with the directors' superb use of light and shadow, and to the seemingly never-ending nights which contrast with the few bright and picturesque countryside scenes that make the characters seem as though they exist in two separate worlds.  Also, thrown in for good measure are the usual staples of any good noir film including the obligatory private eyes and hoodlums in trenchcoats and the story being told in retrospect and flashbacks as "Jeff Bailey" attempts to explain to his girlfriend "Ann" about his mysterious and questionable past.

I'll be the first to admit I'm not the biggest Robert Mitchum fan around, but after watching Out of the Past again I'm probably going to have to rewatch some of his other films and rethink my position.  Mitchum gives a rock-solid performance as private eye "Jeff Bailey aka Jeff Markham" and seems to be a natural for the part.  Jane Greer sparkles like a diamond with her portrayal of "Kathie Moffat" the quintessential femme fatale who made me wonder throughout the film what I would do if I were in Mitchums' place.  I came to the conclusion that I would probably do the exact same thing,  Greer is just too irresistible. 
When costar Virginia Hustons' character "Ann" tells Jeff  "She can't be all bad, no one is ...", Bailey replies "Well, she comes the closest ..."

The story grabs you and doesn't let go, right from the beginning when a mysterious stranger with a message arrives in a small town looking for Jeff Bailey who has changed his name and established a small business in order to try to escape his past.  Former business associate, boss, and gambler "Whit Sterling", played by Kirk Douglas, wants to hire Bailey to track down and bring back the woman who shot him and stole a large sum of money.  Bailey accepts the job with great skepticism and right from the beginning has a feeling as though he's being set up.  With this acceptance Baileys' spiral down into a deadly game of cat and mouse begins as he searches for, and finally finds Kathie and the tension between everyone involved builds like a rubber band being slowly stretched to its limit.

The film has some of the best writing and dialogue that I've ever heard. With lines like "A dame with a rod is like a guy with a knitting needle ...", and "You're like a leaf the wind blows from one gutter to another ...", anyone who's seen Out of the Past doesn't soon forget it.  And if you haven't seen it yet, I envy you because you're in for a real treat.

If you enjoy the moody atmosphere of Out of the Past, you might want to check out director Jacques Tourneurs' collaboration with legendary producer Val Lewton in "Cat People"  (1942) and "I Walked With A Zombie" (1943), I guarantee you won't be disappointed.