tag:blogger.com,1999:blog-80168168841868383422024-03-13T22:09:34.925-04:00Atomic SurgeryStaq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comBlogger583125tag:blogger.com,1999:blog-8016816884186838342.post-48808342023063668762023-08-31T20:18:00.043-04:002023-09-01T11:03:03.549-04:00Richard Conte in The Spider (1945)<p class="MsoNoSpacing" style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUrmw6PP_tthRy3kaV8EUkSDgbA6PD3t7VMmLIufi5TBdGnjuCTzh1AgGelYqEkXH6uTfOaBLdf2nOrjK1D2l6PuHr63z5Ms6DrcDzJna3OHi6s5S-bDi20Dhd3AflVz5ak39eyhyaCeSAE2Zarl3kPTI_c2F8vu-bkRbEmZNIAi_gVDjS1LTxXxwltZKx/s806/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="601" data-original-width="806" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUrmw6PP_tthRy3kaV8EUkSDgbA6PD3t7VMmLIufi5TBdGnjuCTzh1AgGelYqEkXH6uTfOaBLdf2nOrjK1D2l6PuHr63z5Ms6DrcDzJna3OHi6s5S-bDi20Dhd3AflVz5ak39eyhyaCeSAE2Zarl3kPTI_c2F8vu-bkRbEmZNIAi_gVDjS1LTxXxwltZKx/w457-h342/1.jpg" width="457" /></a></p><p></p><p class="MsoNoSpacing"></p>
<p class="MsoNoSpacing"><span style="font-family: helvetica; font-size: medium;"><span style="color: #ffa400;">Richard Conte stars in <i>The Spider</i> (1945),</span> a noir-ish, by-the-numbers murder mystery from 20th Century Fox that also features Faye Marlowe as the quasi-femme
fatale, and teases us with a brief appearance by noir-legend, Ann Savage. <br /></span></p><p class="MsoNoSpacing"><span style="font-family: helvetica; font-size: medium;">Chris Conlon (Conte) gets caught in the middle of a set
up by his dodgy partner, Flo Cain (Savage), to sell info to the not-who-she-appears-to-be ‘Judith Smith’ (Marlowe) proving that her long missing sister was murdered. When Chris goes to pick up the
proof, Savage ends up dead, and </span><span style="font-family: helvetica; font-size: medium;">Chris, of course, goes on the run to find the real killer with the police close on his trail. Poor Chris has the typical noir hero’s luck in that
every person he finds who could potentially help him gets murdered within minutes of his visit.</span></p><p style="text-align: left;"><span style="font-family: helvetica; font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbYD6zPP0cweJc5xqHB2GG7mNCRs4hd6_n2wjnHj1EPqOVSIE5PoUtaLdEnRUH0gBPMGOK0IBTx8QNG-vtlIsKfuf1P3WbGloASAuFwi61VwT8_D2_uGiC17XD99aFK1MzsdYX2o3IG2jvQJ6n81eXLDrIBbyRsfx8dkbFbwaXwuSrTtW0uSVeDjFRcBuv/s1000/2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="1000" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbYD6zPP0cweJc5xqHB2GG7mNCRs4hd6_n2wjnHj1EPqOVSIE5PoUtaLdEnRUH0gBPMGOK0IBTx8QNG-vtlIsKfuf1P3WbGloASAuFwi61VwT8_D2_uGiC17XD99aFK1MzsdYX2o3IG2jvQJ6n81eXLDrIBbyRsfx8dkbFbwaXwuSrTtW0uSVeDjFRcBuv/w495-h272/2.jpg" width="495" /></a></span></div><div style="text-align: center;"><span style="font-family: helvetica; font-size: medium;"> </span><span style="color: #ffe599; font-family: helvetica; font-size: small;">Faye Marlowe and Richard Conte</span><span style="font-family: helvetica; font-size: medium;"> </span><span style="font-family: helvetica; font-size: medium;"> </span></div><p></p><p><span style="font-family: helvetica; font-size: medium;">Given that the film runs just a quick 63 minutes, there aren’t quite enough characters to keep us guessing as to who the real killer is. Could
it actually be </span><span style="font-family: helvetica; font-size: medium;">sweet </span><span style="font-family: helvetica; font-size: medium;">'Judith', aka Lila Neilsen, who works as </span><span style="font-family: helvetica; font-size: medium;">The Spider Woman, a</span><span style="font-family: helvetica; font-size: medium;"> phony
mind-reader? Could it be her partner, The Great
Garoone (Kurt Kreuger), for whom Lila’s sister was the original Spider Women
before she suddenly (apparently) skipped town, breaking his heart? Or how about
the every creepy <a href="https://en.wikipedia.org/wiki/Martin_Kosleck" target="_blank">Martin Kosleck</a> (<i>The Mummy’s Curse</i>, 1944; <i>The Frozen Ghost</i>, 1945;
<i>House of Horrors</i>, 1946) as Garoone’s business manager, Mihail Barak, who is
always lurking in the shadows whenever one of the Chris’s leads is murdered? With a foreign name like </span><span style="font-family: helvetica; font-size: medium;">Barak</span><span style="font-family: helvetica; font-size: medium;"> he must be the bad guy! And was Lila’s
sister really murdered? Could all these new murders have something to do with
her mysterious disappearance? Of course they do!</span>
</p><p class="MsoNoSpacing"><span style="font-family: helvetica; font-size: medium;"><span style="color: #ffa400;">Fortunately, Chris has one thing working in his favour</span> –
his ever faithful assistant, Henry, played by the great <a href="https://en.wikipedia.org/wiki/Mantan_Moreland" target="_blank">Mantan Moreland</a> using
his patented scaredy cat act. Henry swallows his fear (reluctantly) to help Chris out
– even if means smuggling Savage’s corpse out of sight of the police. Moreland's style of black-sterotyped humour has been criticized as insensitive, but Mantan carries it off with enough dignity that he is never the butt of his own schtick. </span></p><p class="MsoNoSpacing"><span style="font-family: helvetica; font-size: medium;">In a
better version of this movie, Moreland would have remained Conte's sidekick throughout the film,
just as he did with Sidney Toler’s <i>Charlie Chan</i>. Instead Mantan gets dropped halfway
in so that Conte and Marlowe can play cute with each other until their
inevitable clinch at the finish. <br /></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo2NE8hOzFtzo26nh6k_DBh0tkXaIK2XoPw76Kdqnc4tcBU-FTMULaJ9aErCegEVvtAL2aEWwWTZ3zbQgnkJh1dLtZSknxqRPhysGfbcPKIQvkaZpadt0W2YdSgmD0_FcEYrtlYUaXr_wQTXAYQ8Df3XVba-_vcy8DUsmjIsbmXL5WbF_lbMFJ-dWIV5sv/s913/3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="913" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo2NE8hOzFtzo26nh6k_DBh0tkXaIK2XoPw76Kdqnc4tcBU-FTMULaJ9aErCegEVvtAL2aEWwWTZ3zbQgnkJh1dLtZSknxqRPhysGfbcPKIQvkaZpadt0W2YdSgmD0_FcEYrtlYUaXr_wQTXAYQ8Df3XVba-_vcy8DUsmjIsbmXL5WbF_lbMFJ-dWIV5sv/w429-h281/3.jpg" width="429" /></a></span></div><p><span style="font-family: helvetica; font-size: medium;">Given that Henry continually gets Chris out of one fix
after another, I was disappointed that he got relegated to the sidelines so
quickly. Ditto to Ann Savage’s brassy private eye who should have remained part of the action rather than being discarded just to get the story
rolling. </span><span style="font-family: helvetica; font-size: medium;">Savage
had just finished making the now iconic film noir <i>Detour</i> (1945) with Edgar Ulmer over at
poverty row studio, PRC, before starting her work on The Spider. Had the producers known what a classic that would become, I'm sure that Ann would have played a bigger part here. I would happily watch Savage playing a world-weary female version of Mike
Hammer. And how could no producer not have thought
of the teaming her with June Havoc in a <i><span style="color: #ffa400;">Savage & Havoc </span></i></span><span style="color: #ffa400; font-family: helvetica; font-size: medium;">–</span><span style="font-family: helvetica; font-size: medium;"><i><span style="color: #ffa400;"> </span><span style="color: #ffa400;">Crime Busters</span></i>
series? </span></p><p></p>
<p class="MsoNoSpacing"><span style="font-family: helvetica; font-size: medium;">The Spider doesn’t offer anything original in its plot or
script, but Conte has enough screen energy to hold our interest even when we
know how every scene will play out. All of the other players offer solid performances, with even the walk on character actors investing their roles with a spark - notably Jean Del Val and Ottete Vigne as the hotel manager and his wife.<br /></span></p><p class="MsoNoSpacing"><span style="font-family: helvetica; font-size: medium;">The film
is capably directed by Robert Webb who keeps the action moving through its </span><span style="font-family: helvetica; font-size: medium;">slightly dry, unsettling claustrophobic atmosphere. The Spider </span><span style="font-family: helvetica; font-size: medium;">looks
much better than it has any right to thanks to the <i><span style="font-style: normal;">chiaroscuro</span></i><i> </i>black & white cinematography of Glen
MacWilliams who had previously shot the original <i>Front Page</i> (1931) and had been
Oscar Award nominated for <i>Lifeboat</i> (1944), directed by
Alfred Hitchcock. The introduction of Lila as the Spider Woman is particularly impressive and shows the creative team squeezing the most out of their modest production budget. And, I enjoyed the film's closing button that called back to the opening scene between Marlowe and Moreland, giving a symmetry to the film that I had not expected from it.<br /></span></p>
<p class="MsoNoSpacing"><span style="font-family: helvetica; font-size: medium;">Conte made his Broadway debut in 1939 and became a
contract player with 20th Century-Fox in 1942, where he remained until the
1950’s. After featured performances in a series of ‘A’ pictures, he got his
first headline billing in The Spider playing the tough noir character
that he became noted for. Faye Marlowe (below left) only made eight films between 1945 –1955.
She is best remembered for her first film, </span><span style="font-family: helvetica; font-size: medium;"><i>The Lodger</i> (1944), </span><span style="font-family: helvetica; font-size: medium;">where she played the unsuspecting
girlfriend of Laird Cregar’s Jack the Ripper. <br /></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcX53L3X2OElsc9ECUd2oRe9hartCDFgBWsUOvYd39DLOMYrpEsh7-FDjPBl3FQgcrvV80ELbI8r2tjGdLlQHPZIa0ThUp1Uuk48p_crSWUIxuG7I91cVGJiOIhSWHAqN3VzUN_4DyGN4Kpht_b26psiirUiSBj9dOaoMrDINdkXTLE-VMpwKjtWaMfm9N/s1674/4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="755" data-original-width="1674" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcX53L3X2OElsc9ECUd2oRe9hartCDFgBWsUOvYd39DLOMYrpEsh7-FDjPBl3FQgcrvV80ELbI8r2tjGdLlQHPZIa0ThUp1Uuk48p_crSWUIxuG7I91cVGJiOIhSWHAqN3VzUN_4DyGN4Kpht_b26psiirUiSBj9dOaoMrDINdkXTLE-VMpwKjtWaMfm9N/w567-h256/4.jpg" width="567" /></a></span></div><span style="font-family: helvetica; font-size: medium;">Next to Mantan Moorland, the biggest scene-stealer in the
film is the pert and bubbly redheaded <a href="https://www.hollywoodreporter.com/movies/movie-news/cara-williams-dead-defiant-ones-1235061384/" target="_blank">Cara Williams</a> (above right) playing Savage’s attractive
neighbour. Conte uses her to good effect in distracting bit player James
Flavin’s ubiquitous cop. Williams excelled in these small roles early in
her career, but eventually graduated to meatier fare, highlighted by an Academy
Award nomination for her touching supporting role as a widowed mother in the
classic <i>The Defiant Ones</i> (1958) playing opposite Sidney Poitier and Tony
Curtis. You’ve seen <a href="https://en.wikipedia.org/wiki/James_Flavin" target="_blank">Flavin</a> in dozens of films (he has over 500 credited IMDB appearances!),
but he is likely best known for playing 2nd Mate Briggs in <i>King Kong</i> (1933) where
he announces<span> </span>the arrival of the giant gorilla (<i>Hey,
Look Out! It’s Kong! Kong’s Coming!</i>) just before Kong breaks down the wall on
Skull Island.</span><p></p>
<p class="MsoNoSpacing"><span style="font-family: helvetica; font-size: medium;">The Spider has been suggested to be a scaled down
remake of the 1931 film of the same name by directors Kenneth MacKenna and
William Cameron Menzies, but the two films have little in common, other than
featuring a phony mind reading act. The mind reading gag would be a prominent
plot point in the classic <i>Nightmare Alley</i> (1947), but it was already a common storyline
in films like <i>The Mind Reader</i> (1933) and <i>The Clairvoyant</i> (1935). Finally, The Spider is unrelated to the pulp
hero, <a href="https://en.wikipedia.org/wiki/Spider_(pulp_fiction_character)" target="_blank"><i>The Spider</i></a>, who had featured in two serials (1938, 1941) from Columbia,
both starring Warren Hull in the title role.</span></p>
<p class="MsoNoSpacing"><span style="font-family: helvetica; font-size: medium;"><b><span style="color: #ffa400;">Is The Spider Worth My Time?</span></b> For a relatively low budget
B mystery, The Spider will entertain you for its hour running time. It’s
essential if you’re a completest for seeing the output of Richard Conte, Ann
Savage or James Flavin (I almost am).</span></p>
<p class="MsoNoSpacing"><span style="font-family: helvetica; font-size: medium;"><b><span style="color: #ffa400;">Availability:</span></b> The film is in the public domain so watchable
copies are up on Archive.Org and other on-line platforms.</span></p>
<p class="MsoNoSpacing"><span style="font-family: helvetica; font-size: small;"><b><span style="color: #ffa400;"></span></b></span></p><blockquote><span style="font-family: helvetica; font-size: small;"><b><span style="color: #ffa400;">THE SPIDER</span><span style="color: #ffa400;">.</span></b> Fox, 1945. Starring Richard Conte, Faye Marlowe, Kurt
Kreuger, Martin Kosleck, Mantan Moreland, Ann Savage. Written by Lowell
Brentano, Anthony Coldeway, Irving Cumings Jr., Scott Darling, Jo Eisinger,
Fulton Oursler and Ben Simkhovich. Directed by Robert D. Webb. Distributed by<span> </span>Twentieth Century-Fox</span></blockquote><p></p>
Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-12957276349003754882023-04-01T15:26:00.020-04:002023-04-01T21:57:06.600-04:00GIRL MISSING (1933) with Glenda Farrell<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhguGDmVF0nyzUF6d8W0Ak_PXDSVm7-Q9lS0oF9Isemt3h1UXs4N4iMOIilbviy7erJJn-rGed3Mh5OaiFQc5R1hu6yNSHGdu0NH_8pWoG3kD8LVyW3z_sqxTXbQZwksqY9j5pMIbvONX6nZouEtE6mTAVoPNOAb6E88aSXHUx1VaF8KsnjUpQk7HNWQw/s835/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="835" height="363" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhguGDmVF0nyzUF6d8W0Ak_PXDSVm7-Q9lS0oF9Isemt3h1UXs4N4iMOIilbviy7erJJn-rGed3Mh5OaiFQc5R1hu6yNSHGdu0NH_8pWoG3kD8LVyW3z_sqxTXbQZwksqY9j5pMIbvONX6nZouEtE6mTAVoPNOAb6E88aSXHUx1VaF8KsnjUpQk7HNWQw/w515-h363/1.jpg" width="515" /></a></div><!--[if gte mso 9]><xml>
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<p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;"></span></span></p><blockquote><span style="font-size: small;"><span style="color: #fcff01;">“WE DIDN’T SAY WE WEREN’T MIXED UP IN ANY RACKET. WE SAID WE
WEREN’T MIXED UP WITH THIS RACKET”</span></span></blockquote><span style="font-size: small;"><span></span></span><p></p>
<p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Ex-chorus girls, Kay Curtis (Glenda Farrell) and June Dale (Mary Brian), are
gold digging their way through a Palm Beach holiday</span> when their frustrated sugar
daddy (Guy Kibbee) walks out on them leaving them stuck with a big hotel bill.
Seeing that their former chorine colleague Daisy Bradford (red-headed firecracker, Peggy Shannon) is
about to marry a rich playboy, Henry Gibson (bland
Ben Lyon), they put the touch on her, only to be rebuffed when she doesn’t want
to give away her true background. </span></span></p>
<p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;">When
Daisy goes missing on her wedding night and mafia bookie, Jim Hendricks (Harold
Huber), turns up dead outside her window, Kay smells a rat (“<i>There's
something haywire about this. Looks like a fake to me!</i><span>”). Kay then hatches a plan to figure out the
mystery of Daisy’s disappearance and snag the $25,000 reward offered by Henry. </span></span></span></p>
<p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">There
several possible scenarios.</span> Has Daisy really disappeared or, now that she’s slept
her way into a rich lifestyle, is she up to something more sinister? What’s up
with Daisy’s gigolo ex-boyfriend, Raymond Fox (Lyle Talbot), who’s suspiciously
drinking highballs in the background and is very anxious to settle Kay’s hotel
tab and pack her off out of town? Or, could it be that since Henry only received his inheritance
upon getting married that Daisy is now just a liability to be disposed of?</span></span></p><p class="MsoNoSpacing"><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnlIw4nAYJ49wb2DXnQmMnYEEFGllUyJi5U1ONq8V4eU5vueud7VhdM277q2om991kAJA9sRP_GLlHC6WqeyyhV87ZwiNqmCDfVdHBNd_AnNDVHw5WNw770MHpURC7OAvdCUNq3IyO21NeIb3ss1GkdTwmdO3Jr9ZC77DoGF9MTOViQ17NAQd5Oy8CfA/s521/3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="521" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnlIw4nAYJ49wb2DXnQmMnYEEFGllUyJi5U1ONq8V4eU5vueud7VhdM277q2om991kAJA9sRP_GLlHC6WqeyyhV87ZwiNqmCDfVdHBNd_AnNDVHw5WNw770MHpURC7OAvdCUNq3IyO21NeIb3ss1GkdTwmdO3Jr9ZC77DoGF9MTOViQ17NAQd5Oy8CfA/w459-h293/3.jpg" width="459" /></a></span></div><span style="font-size: small;"><span style="font-family: arial;">For such a short film (69 min.), not a lot happens in the first half of <i>Girl Missing</i>, with
Daisy not even disappearing until the halfway point. We get to know the characters
and their dynamics, and any time spent with the quick-tongued Farrell is time
well spent, but the film would have benefited from engaging with the actual
plot from the start. But, <i>Girl Missing</i> is more pasta salad than gourmet meal.
It’s not so much about solving the mystery, but rather enjoying an
uncomplicated and pleasant story when your brain needs a rest. The question
foremost in my mind while watching this film was how two down on their luck
chorines could afford all those gorgeous Orry-Kelly dresses that they wear in
every scene?</span></span><p></p><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSTF8THQjreKP74ETwJ7Ps6nY1q162DjubOK6AODAWTsS9jVu6ruJIudMtpocibCwD47cyzm4teHHxNZcySVHad4zFu0zAqOdThDOjwl7Hlt_-pwmNy9ocTR6W50j9M4uHVnbuvOKIkxRyObWaP4Od4wlnZXyOGnjFO3tYOHNiuMN5plC8yUi7ypHh4w/s847/2a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="847" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSTF8THQjreKP74ETwJ7Ps6nY1q162DjubOK6AODAWTsS9jVu6ruJIudMtpocibCwD47cyzm4teHHxNZcySVHad4zFu0zAqOdThDOjwl7Hlt_-pwmNy9ocTR6W50j9M4uHVnbuvOKIkxRyObWaP4Od4wlnZXyOGnjFO3tYOHNiuMN5plC8yUi7ypHh4w/w483-h305/2a.jpg" width="483" /></a></span></div><span style="font-size: small;">The film can be faulted for rushing supporting actor, Guy Kibbee,
off the screen too fast. Not only is he fun to watch, but he’s instrumental in
establishing our heroines as gold diggers trying to string along rich saps
without giving anything in return (“<i>I spent a lot of money on you. What
do I get? Nothing but promises</i><span>”). Mary is the shy, pretty bait while Glenda
is her expert handler (“</span><i>Don't bother Mother when she's making business</i><span>”) who
always steps in when things get too steamy. Kibbee specialized in playing characters
whose stallion-sized libido didn’t realize that it was stuck in the body of a
fat, red-faced, old man. Once he walks out on the girls leaving them with a
$700 hotel tab that they can’t pay, the plot of the film starts rolling, but it’s
also loses a red herring in a film that’s already too short on them.</span> <br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG0eIeFuYSeAKqZ8GouUj3NksXNBeGKX-aB8abpwpbN6y8fZofwUpch1rOCe8kHemjPva6Eg2FZ0rXuBjMl8ha7vhPd2LI2cMrVDyRmpHQ2z0SoaCl4NK3WaZ1BGybxXXL_Md2YqHKnVyRDN-qgPCgoSp75a8GY3rjLwYUUfgF1R-ZDKNa2qHSPI1oEw/s3500/2%20GlendaFarrell.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2280" data-original-width="3500" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG0eIeFuYSeAKqZ8GouUj3NksXNBeGKX-aB8abpwpbN6y8fZofwUpch1rOCe8kHemjPva6Eg2FZ0rXuBjMl8ha7vhPd2LI2cMrVDyRmpHQ2z0SoaCl4NK3WaZ1BGybxXXL_Md2YqHKnVyRDN-qgPCgoSp75a8GY3rjLwYUUfgF1R-ZDKNa2qHSPI1oEw/w493-h321/2%20GlendaFarrell.jpg" width="493" /></a></div><span style="color: #ffa400;"><i>Girl Missing</i> was Glenda Farrell's first top-billed role</span>, coming
after she had made her mark in supporting roles in <i>Little Caesar</i> (1931) and <i>I
Was a Fugitive from a Chain Gang</i> (1932). Farrell showed a natural comedic ability
at playing fast-talking, no-nonsense women who would get to the bottom of a
mystery faster than anyone else – especially her male counterparts who were
always two steps behind her. </span><p></p>
<p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;">Farrell stole the show in <i>The Mystery of the Wax Museum</i> (1933) with
this persona that Warner Bros formalized in her later run as the investigative
reporter, <i>Torchy Blane</i>, in <span>seven films between 1937 and 1939</span><span>. The
Torchy’s are all terrific fun thanks to Farrell, but also notably sexless,
especially in comparison to the Pre-Code <i>Girl</i> <i>Missing</i> that doesn’t sugar coat
the naughtiness happening off screen (“</span><i>Burn my clothes, here I come!</i><span>”). Another
sign that <i>Girl Missing</i> is a pre-code film is that Kay ends up with the reward
money AND gets to walk off to enjoy it without having to get married or sacrifice
her power to any man.</span></span></span></p>
<p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;">The 1930’s hosted a full slate of ‘gold diggers trying to score a sugar
daddy’ films that were all kicked off by the massive success of Warner Bros <i>The
Gold Diggers of Broadway</i> (1929), followed by <i>Gold Diggers of 1933, 1935, 1937</i>,
and finally ‘<i>in Paris</i>’ (1938). Teamed here with Mary Brian though, the Farrell-Brian
duo lacks the chemistry that Farrell would soon have with Joan Blondell
in their string of successful gold digger-buddy films like <i>Havana Widows</i> (1933),
<i>Kansas City Princess</i> (1934) and <i>Miss Pacific Flee</i>t (1935). Brian is fine, but
her subservient role to Farrell makes her almost unnoticeable except for the necessity of giving Farrell someone to talk to as she explains what’s going on in her
mind. Mary was dubbed "the sweetest girl in pictures", starting her
career in silents as Wendy in <i>Peter Pan</i> (1924) and may be best remembered as Pat
O’Brien’s jilted fiancé in <i>The Front Page</i> (1931). </span></span></p><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"></span></span></p>
<p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">In most films of this sort, the heroine (our Kay) would have her
own male sparring partner. Here that role is taken by Edward Ellis’ police
inspector who gives Kay enough rope to either hang herself or solve the mystery
(no spoiler - it’s the latter). Comedic murder mystery fans will recognize
Ellis as the ill-fated ‘thin man’ in <i>The Thin Man</i> (1934). And, keep an eye open
for the befuddled garage operator played by Walter Brennan who also performed
uncredited roles in 24 other movies in 1933.</span></span></p><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD4vuyW1lVRAuYD4514_1Ecn-MenY3CA2RZKTaM6PGtYJiPjgEChH3ARP4UTYhjbjybS074JsHSrolnZmrzARwfqhJNTYnDkCU0d7x6xwDZ7XXNErIxQn7OwcOP82i-SwEmK11OT_xdxHFo-6hBjSSwIOtUauXRf-rb4O1G_0dnCLFoeKWg4ZBdyhc-g/s817/lf.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="444" data-original-width="817" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD4vuyW1lVRAuYD4514_1Ecn-MenY3CA2RZKTaM6PGtYJiPjgEChH3ARP4UTYhjbjybS074JsHSrolnZmrzARwfqhJNTYnDkCU0d7x6xwDZ7XXNErIxQn7OwcOP82i-SwEmK11OT_xdxHFo-6hBjSSwIOtUauXRf-rb4O1G_0dnCLFoeKWg4ZBdyhc-g/w492-h267/lf.jpg" width="492" /></a></span></div><span style="font-size: small;">I have a soft spot for “That Red Headed Girl”, the doomed-to-die-too-young Peggy Shannon. She’s now faded into the oblivion that holds thousands
of other early actors, but if I survive the coming apocalypse, I hope that I end up
with someone as tough as Peggy's end of the world survivor, Claire Arlington, in <i>Deluge</i> (1933). </span><p></p>
<p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><i>Girl Missing</i> is efficiently directed by <span style="color: #ffa400;">Robert Florey who is best
remembered as the man who didn’t direct <i>Frankenstein</i> (1931</span>) with Bela Lugosi as
the Monster. Florey had a promising early career working with King Vidor and
Josef von Sternberg, and notably co-directed the first Marx Bros film, <i>The
Cocoanuts</i> (1929). But, </span></span><span style="font-size: small;"><span style="font-family: arial;"><i>Murders in The Rue Morgue</i> (1932; starring Lugosi), </span></span><span style="font-size: small;"><span style="font-family: arial;">his consolation prize from Carle Laemmle for losing
<i>Frankenstein</i>, was a flop,
and the remainder of Florey's career saw him studio hopping to work mostly on B-pictures
and later in television.</span></span></p>
<p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Is Girl Missing Worth My Time?</span> Yes. Whether you’re a fan of light,
comedic murder mysteries or just love the acerbic motor mouth of Glenda Farrell
that cuts everyone off at the knees, this is the movie for you. The film was
scripted by Carl Erickson and Don Mullaly, who also wrote <i>Mystery in the Wax
Museum</i> (1933) that introduced us to Farrell’s soon to be classic
mystery-solving powerhouse. I think that Torchy and her precursors, like this film's Kay Curtis, would
have given Sherlock Holmes a run<span> </span>for his
money. </span></span></p><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">A special nod to credited dialogue writer, Ben Markson, for filling the
film with memorable lines (“<i>S as in sardines. P as in peanuts. I as in
indigestion. E as in elephant. G as in gosh. A as in adenoids. L as in lumbago.
H as in hotcha. Another E. Oh, yes, that makes two elephants...</i>”<span>).</span></span></span></p>
<p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"></span></span></p>
<p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Availability:</span><span> </span><span>It was available
as a Warners On Demand DVD paired with <i>Illicit</i> (1931). It turns up on TCM and
intermittently on the interweb.</span><span></span></span></span></p>
<p class="MsoNoSpacing"><span style="font-size: x-small;"><span style="font-family: arial;"><span style="color: #ffa400;">Credits:</span> Producer, Jack Warner. Director, Robert Florey. Script,
Carl Erickson & Don Mullaly. Starring Glenda Farrell, Mary Brian, Ben Lyon,
Lyle Talbot, Peggy Shannon, Edward Ellis, and Guy Kibbee. Cinematographer, Arthur
L. Todd. Music, Bernhard Kaun. Produced by The Vitaphone Corporation & distributed
by Warner Bros. 69 min.</span></span></p>
<p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpZOl-cbzAkXTMk6aE9IP-kWrkgF5_lPkjNRMeISIS6te6bjXOWodVxVIoIz3hqbi8kuFNh8VaHUwZvn2JaEFdKHLtPbOPZS3j78ZLwshxxgd52VciwV69JF7rzqWPdNTT2wrgu4Ssy2ehk3go6Qh5pxcGVAuGQoQL5gCP38QyEvLRyx6_jB8q-bI1TQ/s476/4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="476" data-original-width="374" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpZOl-cbzAkXTMk6aE9IP-kWrkgF5_lPkjNRMeISIS6te6bjXOWodVxVIoIz3hqbi8kuFNh8VaHUwZvn2JaEFdKHLtPbOPZS3j78ZLwshxxgd52VciwV69JF7rzqWPdNTT2wrgu4Ssy2ehk3go6Qh5pxcGVAuGQoQL5gCP38QyEvLRyx6_jB8q-bI1TQ/w348-h444/4.jpg" width="348" /></a></span></div><span style="font-size: small;"><span style="font-family: arial;"> </span></span><span style="font-size: small;"><span style="font-family: arial;"><br /></span></span><p></p><p></p><br />Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-4678222663121128712023-03-04T20:25:00.011-05:002023-03-05T12:41:03.710-05:00PAULETTE GODDARD in THE CRYSTAL BALL (1943)<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqGgpvzezFoH-1zmPnEzp1zpEoB9KC32TvKvRoZ5YtvIc2fBQ7kT4Nm5Qy0ydIp5Ip6jrP7YfdB0ChAIMEBww4U7djDgb5zwzDGigX0WzpzltbhxYvGwafZUUs0gSZpg5F6fh3TjE90f-Z9zir3y1V9-EFjyO5ibMTCgJ5xPJCnfx5ZoFASflOa_1e1Q/s1200/1%20The%20Crystal%20Ball%20(1).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1000" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqGgpvzezFoH-1zmPnEzp1zpEoB9KC32TvKvRoZ5YtvIc2fBQ7kT4Nm5Qy0ydIp5Ip6jrP7YfdB0ChAIMEBww4U7djDgb5zwzDGigX0WzpzltbhxYvGwafZUUs0gSZpg5F6fh3TjE90f-Z9zir3y1V9-EFjyO5ibMTCgJ5xPJCnfx5ZoFASflOa_1e1Q/w342-h410/1%20The%20Crystal%20Ball%20(1).jpg" width="342" /></a></span></div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span><p></p><p class="MsoNoSpacing" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><i><span style="color: #fcff01;"> "SHE'S A GAL WITH A PAST WHO KNOW YOUR FUTURE!"</span></i><br /></span></span></p><p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;">The always likable Paulette Goddard stars with Ray
Milland in the rom-com THE CRYSTAL BALL (1943). </span>It’s a Paramount film distributed
by United Artists due to Paramount having too much product to get on the screen
during WWII.</span></span></p>
<p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;">Goddard plays Toni Gerard, a beautiful, sharp-shooting Texan redhead</span> who
is stranded in New York due to losing out to a blonde in a fixed beauty
contest. For the sake of the plot, Toni decides to spend her last 38 cents on fortune
teller, Madame Zenobia (Gladys George), a likeable low-rent grifter. Zenobia
takes pity on Toni, letting her a room in the back of her shop and then sets her up working
next door with shooting gallery owner, Pop Tibbots (Cecil Kellaway), who acts as her father
confessor and guardian angel. </span></span></p>
<p class="MsoNoSpacing"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_NqohV6npxRsoJUN1kUTNSqRj_9jeEcP89fAHkBZGRjsUmpW6KCAhgcQko81vYwbbkJfd_FXY9OPqdw7W7zukusex7rU0c154QZbAuNgfwEPwNctcGXrm-Rg4zuLcEt1jVE9kN4ELi9iFhRm0ChAqvOvrJIgrZSYl1R_0qYhaH11_58v_nKmE73Ftsw/s1106/2%20The%20Crystal%20Ball%20(2).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1106" data-original-width="935" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_NqohV6npxRsoJUN1kUTNSqRj_9jeEcP89fAHkBZGRjsUmpW6KCAhgcQko81vYwbbkJfd_FXY9OPqdw7W7zukusex7rU0c154QZbAuNgfwEPwNctcGXrm-Rg4zuLcEt1jVE9kN4ELi9iFhRm0ChAqvOvrJIgrZSYl1R_0qYhaH11_58v_nKmE73Ftsw/w354-h418/2%20The%20Crystal%20Ball%20(2).jpg" width="354" /></a></span></div><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;">When Toni is forced to masquerade as the veiled Madame Zenobia</span>, she gets
mixed up in a plot (largely irrelevant to the film) to get the haughty rich
widower, Jo Ainsely (Virginia Field), to buy into a crooked land deal. This
gets Toni involved with Ainsely’s handsome estate counselor, Brad Cavanaugh
(Milland). After this, the rest of the movie is a series of amusingly farcical scenes
where Toni juggles trying to win Brad away from Jo without revealing that she is
now also Madame Zenobia. No one will be surprized in how the story ends –
happily for everyone, except Jo.</span></span><p></p>
<p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;">The script by the soon to be Executive Producer of Columbia Pictures,
Virginia Van Upp (<i>Cover Girl</i>, 1944), from a story by Steven Vas, is bit too
complicated for its own good, but it maintains a solid pace for its 81 minutes. I enjoyed
two of the running gags that almost become their own subplots. This first
involves Toni getting a hapless waiter (you’ll recognize the face of Sig Arno) fired
from every job that she continuously runs into him (literally) at, all of which
he accepts with the frustrated good grace of someone who can’t afford to explode
with indignation. The second sees Toni, Brad, and Brad’s right hand man (the
always wonderful <a href="https://atomic-surgery.blogspot.com/2022/03/the-hairy-ape-1944-william-bendix-is.html" target="_blank">William Bendix</a>) mistakenly visiting the apartment of the squabbling Mr. & Mrs. Martin (Ernest Truex – Bensinger in <i>His Girl Friday</i>, 1940 & Iris Adrian –
Lola in <i>My Favorite Spy</i>, 1951), and getting tossed out on their ears by one of
the pair who mistakes each visitor as the indiscreet lover of the other. The
scene is made funnier by the quips of snoopy onlooker (Mabel Paige).</span></span></p>
<p class="MsoNoSpacing" style="text-align: center;"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwm3XyR8sSYJxMTzIpF4YrfIeRXRqGD8QaMvzzGOT08DcCd8262Gd9Nj8Z-lqvwh80z5vs7_vMlXO_HPGj-ZPE1RWhBfVWaJDiMqvisg4e_GLO419l3mOvp1GBFdreUsRoyIVZZE4bd-fQmbEN_lVfgWqFAz7YY_QjhbB_SRBeWFbDALu75zrZh_pXvw/s801/3%20The%20Crystal%20Ball%20(3).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="506" data-original-width="801" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwm3XyR8sSYJxMTzIpF4YrfIeRXRqGD8QaMvzzGOT08DcCd8262Gd9Nj8Z-lqvwh80z5vs7_vMlXO_HPGj-ZPE1RWhBfVWaJDiMqvisg4e_GLO419l3mOvp1GBFdreUsRoyIVZZE4bd-fQmbEN_lVfgWqFAz7YY_QjhbB_SRBeWFbDALu75zrZh_pXvw/w512-h323/3%20The%20Crystal%20Ball%20(3).jpg" width="512" /></a></span></div><div style="text-align: center;"><span style="font-size: small;"><i><span style="font-family: arial;">Ray Milland, </span><span style="font-family: arial;">Virginia Field, Paulette Goddard & Cecil Kellaway</span></i></span></div><p></p>
<p class="MsoNoSpacing" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">The story shares many similarities with Ann Southern’s <i>Maise</i>
series that ran for 10 installments from 1939 to 1947. Like Toni, Maisie is a southerner
who starts every film broke and out of work, but soon falls in love with
someone who she has to separate from an annoying girlfriend/fiancée. Toni’s wardrobe
and sharpshooter background also foreshadows Peggy Cummins’ doomed gangster,
Annie Laurie Starr, in <i>Gun Crazy</i> (1950).</span></span></p>
<p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;">The ex-Mrs. Charlie Chaplin</span>, Goddard might not have been an actress with a large range,
but she more than made up for it by the sincerity she brought to every role. I
can’t think of another actress from the 1940’s who had a more likable onscreen
persona than Goddard. She was nominated for one Academy Award, for Best Supporting Actress in <i>So Proudly We Hail!</i> (1943)<br /></span></span></p>
<p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;">Millard was the polar opposite talent-wise of Goddard,
with the ability to easily move from gut-wrenching drama to light comedy. He’s
quite enjoyable here and he and Goddard make fine sparring partners. Milland and Goddard
costarred in three other films together, <i>The Lady Had Plans</i> (1942), <i>Reap The Wind</i>
(1942) and <i>Kitty</i> (1945). Watch for Milland's comically small 2-cylinder Crosley convertible
that, as he mentions, would have been a good, gas-efficient vehicle during the
war. Paulette Goddard owned one in real life.</span></span></p><p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8LmJ0AVhcAFOot5TXVRm-Xc4zV6N4hJ_Rz3NrTHA3cFsOcPKGW77RIhtnrK3dBJm9aOT-eavQAJ4htRIOr71-KrTonJMgKmbl-JwvJB5TjO5tDZFV69M6_S6rfNlZo4Qcg6Ec3ywddk7GzI1QyTn7b2VH-rflNIrxKm8eCapNU3G9LGz3aSWUcsMDcA/s1280/4%20The%20Crystal%20Ball%20(5).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8LmJ0AVhcAFOot5TXVRm-Xc4zV6N4hJ_Rz3NrTHA3cFsOcPKGW77RIhtnrK3dBJm9aOT-eavQAJ4htRIOr71-KrTonJMgKmbl-JwvJB5TjO5tDZFV69M6_S6rfNlZo4Qcg6Ec3ywddk7GzI1QyTn7b2VH-rflNIrxKm8eCapNU3G9LGz3aSWUcsMDcA/w491-h276/4%20The%20Crystal%20Ball%20(5).jpg" width="491" /></a></span></div><span style="font-family: arial; font-size: medium;">Any cracks in the script are ably patched over by the
dozens of great uncredited actors who fill out almost every scene.
Top billed costars Gladys George, Virginia Field, Cecil Kellaway and <a href="https://atomic-surgery.blogspot.com/2022/03/the-hairy-ape-1944-william-bendix-is.html" target="_blank">WilliamBendix</a> deserve full Atomic Surgeon reports of their own. But keep an eye open
for a young Yvonne De Carlo (future Lily Munster) as Milland’s sassy secretary; Hillary Brooke (little Jimmy’s mom in <i>Invaders From Mars</i>, 1953) as Jo's catty friend; and Nestor
Paiva (Capt. Lucas in <i>Creature from the Black Lagoon</i>) as the restaurant owner caught in the middle of Toni's scheme (an imaginary mouse in a teapot) to meet Brad. I'd have watched a film about any one of these characters. If there was any justice in the world, Paramount would have given Milland and De Carlo's characters their own film series.<br /></span><p></p>
<p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The Crystal Ball was directed by Elliott Nugent, who had
previously directed Goddard opposite Bob Hope in <i>The Cat and The Canary</i> (1939)
and <i>Nothing But The Truth</i> (1941). Nugent started out as an actor costarring
with Marion Davies in <i>Not So Dumb</i> (1930) and Lon Chaney in <i>The Unholy Three</i>
(1930) before switching careers into directing. He specialized in light
comedies, notably directing Bob Hope and Harold Lloyd. It’s worth watching his
<i>She Loves Me Not</i> (1934) starring Miriam Hopkins and Bing Crosby
that helped establish Bing as a top Hollywood screen personality.</span></span></p><p class="MsoNormal"></p><p class="MsoNormal"><!--[if gte mso 9]><xml>
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<![endif]--><span style="font-size: medium;"><span style="font-family: arial;">The
director of photography was twice Oscar nominated Leo Tover. He was one of the
top cinematographers in the 40’s and 50’s working mostly for Paramount and 20th
Century Fox. He made the intergalactic robotic enforcer, Gort, look menacing
in <i>The Day The Earth Stood Still</i> (1951), and made us all want to <i>Journey To The
Center of The Earth</i>’s (1959) glorious CinemaScope lost world.<span><span> <br /></span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3OLh9m3rnCMIn3HAXN7inPBnZjoummkhl60ty2NxVkXS2-dh2WrtkudONxQ7Nn5nHB_Zdx0Vjxw3Vmi5j4npRYTOOvH9CbyyzGpwLdHXnz3mPlDeieQkqSoXNHEw1KYdhUv7xMO3X2U80FSKoO18EQjxxTv9tywia4VA2DpT7YrV3S9X2jXjyndwmHg/s1663/5%20The%20Crystal%20Ball%20(7).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1663" data-original-width="1443" height="373" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3OLh9m3rnCMIn3HAXN7inPBnZjoummkhl60ty2NxVkXS2-dh2WrtkudONxQ7Nn5nHB_Zdx0Vjxw3Vmi5j4npRYTOOvH9CbyyzGpwLdHXnz3mPlDeieQkqSoXNHEw1KYdhUv7xMO3X2U80FSKoO18EQjxxTv9tywia4VA2DpT7YrV3S9X2jXjyndwmHg/w324-h373/5%20The%20Crystal%20Ball%20(7).jpg" width="324" /></a></span></div><p></p><p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;">Is THE CRYSTAL BALL worth my time?</span> An unqualified yes.
While not quite an A picture, it delivers on the laughs with a fun, watchable
cast. Goddard is as adorable as ever (just look at that picture above!), and everyone in it shines.</span></span></p>
<span face=""Calibri", "sans-serif""><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;">Availability:</span> As a MOD (manufactured on demand) DVD
from ClassicFlix’s Silver Screen series. Check for availability, but very good copies of <i>The Crystal Ball</i> are currently watchable on many online platforms.</span></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC8w1wVbQiwPhx3ZWiT941bO9tyws3hbFSkXBKS_-RQVyd-Nzie9FREQEuzDlMIgzZooBc57a72wn3KxGFTriLdaqhGH4M3iJcIXPxVsZht5L3PvXRy25S0beXLMKZD_pFnS-W82jFyj7IWjI3j1MRuWko4Dy6ZyS2O7PPTlOe_n5-W2hifsw9ZjDaVg/s1280/4%20The%20Crystal%20Ball%20(5).jpg" style="margin-left: 1em; margin-right: 1em;">.</a><p></p>Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-48769711039511813222023-02-10T12:01:00.031-05:002023-02-12T15:47:30.656-05:00Joan Blondell in GOOD GIRLS GO TO PARIS (1939)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_WZaKMz5A8fHMpBlIwjqRsZK8L-Sw1LjPHcAJ9v1o_exNwAcKDBVi1PV5y2-BL6Hmxu_9cHG6o9FwFnIAp_cQ8kH6TqghKsDRgU5yS8SHbKen8C6slUlmtEqoKXYII3qwinbTVqIayRxGU-jigO_bzT1vhJB4WVZw1iMFyxNP99PIqyrq_xvAaAUAxw/s1920/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1920" data-original-width="1280" height="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_WZaKMz5A8fHMpBlIwjqRsZK8L-Sw1LjPHcAJ9v1o_exNwAcKDBVi1PV5y2-BL6Hmxu_9cHG6o9FwFnIAp_cQ8kH6TqghKsDRgU5yS8SHbKen8C6slUlmtEqoKXYII3qwinbTVqIayRxGU-jigO_bzT1vhJB4WVZw1iMFyxNP99PIqyrq_xvAaAUAxw/w284-h427/1.jpg" width="284" /></a></div><div style="text-align: center;"><b><span style="color: #fcff01;"><span style="font-size: medium;"><span><span> </span></span></span><span style="font-size: large;"><span face=""Calibri", "sans-serif"">A
GIRL’S GOTTA BE GOOD TO GET TO PARIS. </span></span></span></b></div><div style="text-align: center;"><span style="color: #fcff01;"><span style="font-size: large;"><span face=""Calibri", "sans-serif""><b>GOOD AND SMART</b>!</span></span></span></div><!--[if gte mso 9]><xml>
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<![endif]--><p></p><p><span style="font-size: medium;"><span><span style="color: #ffa400;">GOOD GIRLS GO TO PARIS<span> </span>(1939) is a Columbia Pictures romantic comedy</span> directed by Alexander Hall
and starring Joan Blondell, Melvyn Douglas and Walter Connolly.</span></span><span style="font-size: medium;">
</span></p><p class="MsoNoSpacing"><span style="font-size: medium;"><span>Jenny Swanson (Blondell) plays a good-hearted waitress who thinks
that she is not above a little harmless gold digging blackmail to fulfill her
dream of going to Paris. All that changes when she meets the Aesop-quoting,
English exchange professor, Prof. Ronald (‘Ronnie’) Brooke, (Douglas) who sets
her </span></span><span style="font-size: medium;"><span>conscious</span></span><span style="font-size: medium;"><span> – and heart – aflutter.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_rcON7T4x4XlldhVwg4hdhKznKvEZ9lGtYAfOtr4X2q1tlOaIHs0tF8uflGKGEeKtJOf9Im-aZSxXie5HjVW-Fq7Y4v24qs3yGG9K8g1kDiI2zEkd8tX35NTR4GHcNsRcIa5UJOqLMw5ovGcvfIpzPwv1XdBwHr3S6owVb27FibpO4XSgoA6EpNV4Mg/s1674/2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="951" data-original-width="1674" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_rcON7T4x4XlldhVwg4hdhKznKvEZ9lGtYAfOtr4X2q1tlOaIHs0tF8uflGKGEeKtJOf9Im-aZSxXie5HjVW-Fq7Y4v24qs3yGG9K8g1kDiI2zEkd8tX35NTR4GHcNsRcIa5UJOqLMw5ovGcvfIpzPwv1XdBwHr3S6owVb27FibpO4XSgoA6EpNV4Mg/w522-h297/2.jpg" width="522" /></a></span></div><span style="font-size: medium;"><br /><span>Jenny is working at the diner near the local college as she tries
to snag herself a rich student, extract a promise of marriage from him, and then
collect a big payoff from his father when he objects to the marriage. When
Jenny strikes up a friendship with Douglas’s professor and tells him of her plan,
he advises her that </span><span>"<i>good
girls go to Paris, too</i>" and that she should go straight back home to
Minnesota. When her blackmail plan seemingly blows up in her face, she heads for
the train station, but in a last minute decision buys a ticket for New York
City. </span></span><p></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span>On
the train she hooks up with the Tom Brand (Alan Curtis), brother of Brooke’s previously unmentioned fiancée,
Sylvia (Joan Perry), and soon ends up as the inadvertent house guest of the
wealthy Brand family. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdgx5e_PfDdnZ5N5lhYlL-LENlejMO_G8j_jZdbDtA3BCxb1VfmKuOktKEeLBHxKg6pFP35kszD6fGDRYvTOqgDWkm7i74WV3iJuS7ABeqYp4cWAjDOuoB0OnDb9fJFJ7FS1uk55zk3ZSYqp6MsI3ssrBk5T0ocY4cClUsnmY5sRrPxKrpdkNeuSfUxQ/s1216/4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="656" data-original-width="1216" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdgx5e_PfDdnZ5N5lhYlL-LENlejMO_G8j_jZdbDtA3BCxb1VfmKuOktKEeLBHxKg6pFP35kszD6fGDRYvTOqgDWkm7i74WV3iJuS7ABeqYp4cWAjDOuoB0OnDb9fJFJ7FS1uk55zk3ZSYqp6MsI3ssrBk5T0ocY4cClUsnmY5sRrPxKrpdkNeuSfUxQ/w481-h260/4.jpg" width="481" /></a></span></div><span style="font-size: medium;"><span>All
of the family have their secrets. Brooke’s fiancée, Sylvia, is really in love
with medical student Dennis Jeffers (Henry Hunter), the son of the Brand’s butler.
Mother Caroline (Isabel Jeans) has a not-so-secret paramour, Paul Kingston (Alexander
D’Arcy), and Tom has a $5000 gambling debt hanging over his head. All of their
problems stem from their inability to stand up to their overwrought, overbearing
and continuously apoplectic patriarch, Olaf (Connolly). </span></span><p></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="color: #fcff01;"><span style="font-size: medium;"><span>Can
our little Jenny untangle everyone’s problems and ensure that everyone –
including her and the professor – all end up with the right partners?</span></span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span>The
ending might not be a surprize, but the path that Jenny takes to get there,
constantly guided by her inner ‘flutter’, is a continuously unfolding delight. Jenny’s
every interaction adds a new complication that she has to solve by hook or by
crook – happily using the latter when she gets cornered into doing a little
well-meaning blackmail to save Tom’s hide from the gangster he owes money to. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span>By
the end of the film every male has proposed
marriage to Jenny at least once - <i>all except, of course, for Prof. Brooke!</i> </span></span></p><p class="MsoNoSpacing"><span style="font-size: medium;"><span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglhhFhk8QGnhTHSxkERmr3htonUQ89d6bSFSatL3-RKCXWDA-DPInw_bZrfJpvop63rTz6UFqh4JU7wAh_4GhYDx-AZGjXXFcUeCIHo9Gt2PKkclZfHVa4fDEK5_3sG8lMwmsZ_cvfaJAy2Ccf5TQ1ty1uwUroZQNdrReKz-_W5xZ7GSfo3c5uaFL0LQ/s765/5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="765" data-original-width="726" height="431" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglhhFhk8QGnhTHSxkERmr3htonUQ89d6bSFSatL3-RKCXWDA-DPInw_bZrfJpvop63rTz6UFqh4JU7wAh_4GhYDx-AZGjXXFcUeCIHo9Gt2PKkclZfHVa4fDEK5_3sG8lMwmsZ_cvfaJAy2Ccf5TQ1ty1uwUroZQNdrReKz-_W5xZ7GSfo3c5uaFL0LQ/w409-h431/5.jpg" width="409" /></a></span></div><p></p><p class="MsoNoSpacing"><span style="font-size: medium;"><span><span style="color: #ffa400;">If
you wanted to call this a screwball rom-com,</span> I would not argue with you. The
cascading series of comedic crises that drag Blondell’s character into the
Brand family’s orbit, and the sparks they generate, are the hallmarks of a good
screwball. But every really good screwball comedy needs a solid cast of memorable
(and often eccentric) supporting characters. Blondell, Douglas and Connolly all
have terrific screen presence and know how to get the most out of an almost A-quality script, but the rest of the cast are
so bland as to be interchangeable. While writing this review I had to consult
the IMDB a dozen times to keep these characters straight. Is Isabel Jeans
playing Olaf’s wife or another daughter? I had to rewind the film to confirm
that she’s his wife.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><i>Good Girls Go To Paris</i> is the second of three films that
Blondell and Douglas made together within two years, the others being <i>There’s
Always a Woman</i> (1938) and <i>The Amazing Mr. Williams</i> (1939). They would not
appear together again for almost thirty years until MGM’s <i>Advance to the
Rear</i> (1964). The two actors were probably initially brought together to try to
capture the Nick and Nora box office magic that William Powell and Myrna Loy had
generated in <i>The Thin Man</i> series. </span></p><span style="font-size: medium;">
</span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHQp-xpRrdQVBMdSuP9GZsGGIsgnsxEiR8fGUqIKBa3kKvFRbsCHwlLgJHwrmhPrZGoCQC5UytvyHLHDoHBj5-5hnlBG5k_pMQEdqRWY9B_sKDqbFBxn7MDHZQpixhB5ZBq-DkJ4mUO62dWTxUX7Ha5wjvlQ-4zbAqGUQv9CEkRonUbt4Sg5b9fyYixw/s1362/6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1362" data-original-width="1126" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHQp-xpRrdQVBMdSuP9GZsGGIsgnsxEiR8fGUqIKBa3kKvFRbsCHwlLgJHwrmhPrZGoCQC5UytvyHLHDoHBj5-5hnlBG5k_pMQEdqRWY9B_sKDqbFBxn7MDHZQpixhB5ZBq-DkJ4mUO62dWTxUX7Ha5wjvlQ-4zbAqGUQv9CEkRonUbt4Sg5b9fyYixw/w357-h430/6.jpg" width="357" /></a></div><p class="MsoNoSpacing"></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span style="color: #ffa400;">Blondell and Douglas make a great comedic team</span> & this
film is by far the best of their three 1938-39 films. Blondell exudes her natural
effervescence and quick tongue without any of the underlying tinge of
bitterness found in many of her best roles. Her Jenny may not have gotten any
breaks, but she’s not yet cynical. She is warm and loving, and any potential larceny
in her heart is totally without malice. </span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;">The director and the script give Douglas a break from his
frequent aggressive misogyny that he was forced to portray in many of his comedic
roles (see my previous review of <a href="https://atomic-surgery.blogspot.com/2020/11/greta-garbo-is-two-faced-woman-1941.html" target="_blank">Two-Faced Woman</a> (1941) where he plays opposite Greta Garbo) and
that mars both of the other two Douglas-Blondell pairings. Here his Ronnie is sympathetically
good natured, but too restrained to acknowledge the deep connection that he and
Jenny quickly make. We’ll soon learn that he’s engaged to be married to the rich
debutante, Sylvia Brand, which will be the spark that ignites the oncoming
farce. And, even though Douglas is supposed to be playing an Englishman, he
never attempts an accent, which I found funny in itself.</span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;">As in any well-constructed story, when things seem to be
happening too fast to follow, the film slows down to allow us some introspective
one-on-one moments between the characters. Jenny and the constantly agitated
Olaf bond over their shared love for their simple Minnesota upbringings. Jenny
works her way into Olaf’s heart by being the only one in the house not afraid
to speak her mind to him. Their scene together playing cards while Olaf is in
his sick bed reminded me of the gentle interaction between Deanna Durbin and
Charles Laughton in <i>It Started With Eve</i> (1941), where Deanna's warm charm soon lifts
Laughton from his proclaimed death bed. </span></p><p class="MsoNoSpacing"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjki7OBIGF12PNBqRm1sgpGdylj1khAoVfD4x0L7ndBtfXcBapnWgB13moXMkiehRgsYywHyaRvpbWOiTpL6WptsCTrv3IPSJ1DNrTeoKptZGtuEFkh7Yuc_uTu_goQHVw_YoVBwrvEPYgBqJfrr7tX48X7njGFef9ozzh9-DBPfiE3xGY-9Ld54NLaUg/s996/6a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="784" data-original-width="996" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjki7OBIGF12PNBqRm1sgpGdylj1khAoVfD4x0L7ndBtfXcBapnWgB13moXMkiehRgsYywHyaRvpbWOiTpL6WptsCTrv3IPSJ1DNrTeoKptZGtuEFkh7Yuc_uTu_goQHVw_YoVBwrvEPYgBqJfrr7tX48X7njGFef9ozzh9-DBPfiE3xGY-9Ld54NLaUg/w468-h368/6a.jpg" width="468" /></a></span></div><span style="font-size: medium;"> </span><p></p><p class="MsoNoSpacing"><span style="font-size: medium;">Jenny and Ronnie also get a few, but not enough, scenes where
they debate Jenny's plans to get to Paris. Their unacknowledged love grows as they gently spar back and forth. If Ronnie will
just say the word, she’ll give up her plans to go to Paris, at least by herself;</span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing" style="margin-left: 0.5in;"><span style="font-size: medium;">Ronnie: <span> </span><i>Jenny, have you lost your flutter?</i><br />
Jenny: <span> </span><i>Oh, no. I'm fluttering something
awful right now.</i></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span style="color: #ffa400;">Ronnie, just kiss the girl already!</span> <span> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;">The chemistry between the two leads is unforced and
enjoyable to bath in. Although Jenny is supposed to be younger than Blondell’s
real age at the time the film was made (she was 32, Douglas was 38), there does
not seem to be the usual awkward age gap between the female and males leads
that was so common in films of the era, where men in their 40’s are always
engaged to 17 year old girls. Such was the time.</span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="color: #ffa400;"><span style="font-size: medium;">As usual, I enjoy digging into the background of the
supporting characters.</span></span></p><span style="font-size: medium;">
</span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtS4_33eqE-AkWw9UTmW9C5WZpCB_ZqPhriNJwYI-zv-sdWkYvRxxFh_XUALXjhsvzKCBBvVUPvqssI1xoGTqXQEU_e_mNMUCZXyYAfpkC23KPvmWlCCE0V5clTHmdyhPJDLD9vupv0FAAFZ-aViyX7-KMLpSVj94DBRN8ZPX2-ZYrd-VWgVliJMXG3g/s767/8.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="445" data-original-width="767" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtS4_33eqE-AkWw9UTmW9C5WZpCB_ZqPhriNJwYI-zv-sdWkYvRxxFh_XUALXjhsvzKCBBvVUPvqssI1xoGTqXQEU_e_mNMUCZXyYAfpkC23KPvmWlCCE0V5clTHmdyhPJDLD9vupv0FAAFZ-aViyX7-KMLpSVj94DBRN8ZPX2-ZYrd-VWgVliJMXG3g/w486-h282/8.jpg" width="486" /></a></div><p class="MsoNoSpacing"></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;">Next to Blondell and Douglas, <span style="color: #ffa400;">Walter Connolly </span>(playing Olaf
Brand) is the biggest presence in the film, both physically and vocally – this
big man is always shouting. You’ll recognize him as the father of Claudette
Colbert’s character in <i>It Happened One Night</i> (1934) and as Frederic March’s
hot-headed editor in the classic screwball, <i>Nothing Sacred</i> (1937). Connolly’s specialty
was playing sweating, yelling, always outraged men who could not get the people around him to do what he wanted. Although a memorable character (your
enjoyment of his screen persona may vary), his main career in Hollywood was
short (1932 to 1940) after which he died at age 53.</span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span style="color: #ffa400;">Alan Curtis</span> (playing Tom Brand) was a handsome actor who
often got close to leading and supporting roles from the late ‘30’s until his death
(following surgery) in 1953. Some of his more notable parts were as Babe Kozak,
the hot-headed and inexperienced robber opposite Bogart and Ida Lupino in <i>High
Sierra</i> (1941) and the engineer whose loyal secretary (Ella Raines) needs to
find <i>The Phantom Lady</i> (1944) to save him from execution.</span></p><span style="font-size: medium;">
</span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq3b8vUxMsTJTQCeq0M7XyyjdVpY2WMFqRVPFaG2TaiLAyTURz4eMMbiesNCzxdGfKb42Z5p0FkMNWC-lLd65nmdH0ozyYmR0R9KIDDg-dR4RlIk8Ufu1qmy9lsr3Ir2QAepaaMg_Av45Yo8jVjv3lMWZPkSPzwKWgugCmdSW-ZmdlF5WYSd0BYKHceQ/s1000/9.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="1000" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq3b8vUxMsTJTQCeq0M7XyyjdVpY2WMFqRVPFaG2TaiLAyTURz4eMMbiesNCzxdGfKb42Z5p0FkMNWC-lLd65nmdH0ozyYmR0R9KIDDg-dR4RlIk8Ufu1qmy9lsr3Ir2QAepaaMg_Av45Yo8jVjv3lMWZPkSPzwKWgugCmdSW-ZmdlF5WYSd0BYKHceQ/w433-h260/9.jpg" width="433" /></a></div><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span style="color: #ffa400;">Dorothy Comingore</span> plays an uncredited tearoom hostess.
Can you pick her out in the lineup of cute waitresses that introduces us to
Blondell’s character? In two years time she would be acclaimed for playing the
feather-brained second wife of Charles Foster Kane in Orson Welles <i>Citizen Kane</i>
(1941). But her star quickly fell as she felt the wrath of William Randolph
Hearst who hated his inferred portrayal in the film and Comingore’s character
who was modeled after his mistress, Marion Davies. Hearst used his power to
destroy Dorothy’s career. Her fate was sealed when she was blacklisted for
refusing to cooperate with the House Un-American Activities Committee. She spent
time in an asylum, became an alcoholic and died at age 58. [I think that's her third from the right standing next to Blondell]<br /></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;">Although <span style="color: #ffa400;">Isabel Jeans</span> (playing Caroline Brand) did not
make much of an impression for me in this film, she soon had a much better role
playing<span> </span>Mrs. Newsham in Alfred Hitchcock’s’
<i>Suspicion</i> (1941). Sauvé <span style="color: #ffa400;">Alexander D'Arcy</span> (playing Paul Kingston), went on to
star in the underground cult classic, <i>Horrors of Spider Island</i> (1960). </span></p><p class="MsoNoSpacing"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhakLV1umVQ8IQctS_fZv6Nx0vUvgqLg3evSmLxEgY43qBmwrbDFem-Gr7tC2VXjF8DjgEbwkjwES0zwF7dFCujbaA_40VPUfqWY_NrxY5ltgaD1ykbho5IVM65AvKFWQB1aldPCoG4AmTXOO4CEfWWjYd8Q0MjTQtw_KiNtVZRQAoR9KNeZaOilNRQcA/s800/10.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="356" data-original-width="800" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhakLV1umVQ8IQctS_fZv6Nx0vUvgqLg3evSmLxEgY43qBmwrbDFem-Gr7tC2VXjF8DjgEbwkjwES0zwF7dFCujbaA_40VPUfqWY_NrxY5ltgaD1ykbho5IVM65AvKFWQB1aldPCoG4AmTXOO4CEfWWjYd8Q0MjTQtw_KiNtVZRQAoR9KNeZaOilNRQcA/w521-h231/10.jpg" width="521" /></a></span></div><p></p><p class="MsoNoSpacing"><span style="font-size: medium;">And finally, a tip of the hat to hard working actor <span style="color: #ffa400;">Sam
McDaniel</span> as the confused train porter trying to figure out where to put Jenny
up for the night. You’ve seen him in at least one of his over 200 roles, almost
all uncredited and almost all playing porters, janitors or servants.</span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><i>Good Girls Go To Paris</i> is from a story by Oscar nominated
Lenore J. Coffee (<i>Four Daughters</i>, 1938) and William J. Cowe (<i>Kongo</i>, 1932
[Director]), with a screenplay by Oscar nominated Gladys Leham (<i>Two Girls and a
Sailor</i>, 1944) and Ken Englund (No, No, Nanette, 1940). The script is
well-written and generates a lot of fun scenes for Blondell to show off her
innate comedic chops. Straight man Douglas manages to get in a few zingers as well, but his character is more reactive than proactive in driving the storyline.<br /></span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span style="color: #ffa400;">The direction by Alexander Hall (<i>Here Comes Mr. Jordan</i>, 1941) is fast-paced</span> and keeps
the 75 minute story in constant motion. One does tend to lose track of the
convoluted complications that come up between Jenny and almost everyone in the
Brand household, but – as in the best films of this sort – we’re having too much fun to be concerned with trying
to keep the plot straight. Has anyone ever figured out who killed Sean Regan in
<i>The Big Sleep </i>(1946)?</span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span style="color: #ffa400;">Is <i>GOOD GIRLS GO TO PARIS</i> worth my time?</span> A definite yes. If
you like 1930’s romantic comedy’s this is a probably a little gem that you’ve
overlooked. A nod as well to cinematographer Henry Freulich for his assured hand on
the camera and his unfussy, but well-chosen, set ups that never distract us
from story. He specialized in light fare and B comedies, being Director of
Photography on many of the <i>Blondie</i> films from the 30’s to the 50’s. The only
complaint I might have is that the film is TOO short at 75 minutes. I would
have enjoyed being with Blondell’s Jenny for another half hour.</span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"><span style="color: #ffa400;">Availability:</span> As far as I can determine, the film has
never had an official DVD release, which is a shame. It is available as a
print-on-demand DVD from the usual grey market sources, and watchable copies
are currently up on the interweb. Keep your eyes open for it to turn up on TCM.</span></p><span style="font-size: medium;">
</span><p class="MsoNoSpacing"><span style="font-size: medium;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmTWIkHMm5XHDtENdQFCi5LXNhvWqFiMU6U8R7gjf3cb-XS9m0UB1eUNHbasv76Gt_kfwRA_oaE758RDJ0znuCC05EfKboLjf3H9MdJKiuEKq_1M8lNNetd_muPcLaGenKNLbr_-db0JZsGKXjWdJKSbvFFONdwHCZ1tSL0oO-dN5nz5fCjSP0IhSffw/s1024/11.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="782" data-original-width="1024" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmTWIkHMm5XHDtENdQFCi5LXNhvWqFiMU6U8R7gjf3cb-XS9m0UB1eUNHbasv76Gt_kfwRA_oaE758RDJ0znuCC05EfKboLjf3H9MdJKiuEKq_1M8lNNetd_muPcLaGenKNLbr_-db0JZsGKXjWdJKSbvFFONdwHCZ1tSL0oO-dN5nz5fCjSP0IhSffw/w523-h398/11.jpg" width="523" /></a></span></div><span style="font-size: medium;"><br /></span><p></p>
<p></p><br /><br />Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-55718720248912371682023-01-29T17:13:00.007-05:002023-01-30T10:31:51.871-05:00PAT O’BRIEN & CLAIRE TREVOR in “CRACK-UP” (1946)<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLPo9rFwm8BMYRg1WB5MOkd3-pvN855zmDG9jydfMeNhcQP1mTCt6LNh0LvXlagvKFwTMHP0aWF3jad6OW4ilUVEsRIlehpvrNOPJ3Z6V2Rw_ndBUzXddQ_Ns-Jsvl71fU2cKM4shI2UpKY0KXK0GSplQFlNqhMHADcFAbvT84V13_P4NkqijZylSWeQ/s460/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="460" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLPo9rFwm8BMYRg1WB5MOkd3-pvN855zmDG9jydfMeNhcQP1mTCt6LNh0LvXlagvKFwTMHP0aWF3jad6OW4ilUVEsRIlehpvrNOPJ3Z6V2Rw_ndBUzXddQ_Ns-Jsvl71fU2cKM4shI2UpKY0KXK0GSplQFlNqhMHADcFAbvT84V13_P4NkqijZylSWeQ/w406-h317/1.jpg" width="406" /></a></p><p><span style="font-size: medium;"><span style="color: #fcff01;">Crack-Up (1946) is a film noir-ish crime drama from RKO starring Pat O'Brien, Claire
Trevor and Herbert Marshall.</span></span></p><span style="font-size: medium;">
</span><span style="font-size: medium;">
</span><p><span style="font-size: medium;">The film starts with a crazed George Steele (O'Brien) punching out a cop and
breaking into the museum where he works as an art critic and forgery expert.
Once subdued, he relates that he has just been in a train wreck – which he is
told never happened!</span></p><span style="font-size: medium;">
</span><p style="text-align: center;"><span style="font-size: medium;"> <span style="color: #fcff01;"><i>Is Steele cracking up or is he caught up in some elaborate plot?</i></span></span></p><span style="font-size: medium;">
</span><p style="text-align: center;"><span style="font-size: medium;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinFKzFiBEyH2GZC63gqvu89flJR8kNA_Au6GRZ9MEHdXcUvLzVzyALwkgwAsgkX0_d2hbOhWlqy5mSxhvVBQ8ECZg3lJerMk0toSaCiR4YxVkmzmukxIS_dHdXnLU26UuMJeYUJnJ9LfbMsiOqxIqu_BDBpnbqtdYHxXuUlYOP1aCe5FO0-oiTNy47Gw/s1226/2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1226" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinFKzFiBEyH2GZC63gqvu89flJR8kNA_Au6GRZ9MEHdXcUvLzVzyALwkgwAsgkX0_d2hbOhWlqy5mSxhvVBQ8ECZg3lJerMk0toSaCiR4YxVkmzmukxIS_dHdXnLU26UuMJeYUJnJ9LfbMsiOqxIqu_BDBpnbqtdYHxXuUlYOP1aCe5FO0-oiTNy47Gw/w444-h292/2.jpg" width="444" /></a></span></div><p></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-size: small;"><span style="color: #fcff01;">Pat O'Brien, Claire Trevor and Herbert Marshall </span></span><br /></span></p><p><span style="font-size: medium;">Driven to figure out the truth, Steele retraces his steps to the phantom wreck only to be caught
up in a web of mystery that includes murder and an art forgery cover up. Can he
trust his girlfriend (Trevor) who seems to know more than she is letting on and
what is her relationship with Traybin (Marshall) who is dogging his heels?</span></p><span style="font-size: medium;">
</span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_Kc6s0i6sk-U5jGymkZja2FMCguAq6b1QSm12_9p8VLTajpyfMCVjOSgEWTL6tfcOvqrkh3krB6vyvmn4NEXmSDQGqI25-K1B0f95hCzOQsLaJfi5PpZUtepn9XWGgcUpD3HdmvYgwwMrqY2JNZ3sXMPs7uGjFLraVvEpUqS5f56PQNJvdo6bh6eJYA/s1208/3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1208" data-original-width="942" height="451" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_Kc6s0i6sk-U5jGymkZja2FMCguAq6b1QSm12_9p8VLTajpyfMCVjOSgEWTL6tfcOvqrkh3krB6vyvmn4NEXmSDQGqI25-K1B0f95hCzOQsLaJfi5PpZUtepn9XWGgcUpD3HdmvYgwwMrqY2JNZ3sXMPs7uGjFLraVvEpUqS5f56PQNJvdo6bh6eJYA/w352-h451/3.jpg" width="352" /></a></span></div><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span style="color: #ffa400;">Crack-Up</span> was directed by Irving Reis who is primarily remembered for
directing many of <i>The Falcon</i> movies of the early 1940’s, with his highest profile
film probably being <span style="color: #ffa400;">The Bachelor and The Bobby-Soxer (1947)</span> starring Cary Grant, Myrna
Loy and Shirley Temple. Crack-Up is about on par with the best of The Falcon
films – solidly made and reasonably enjoyable to watch, but driven by too many
small implausible character choices required to keep the mystery afloat. </span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;">Although the movie moves along at a reasonable pace, many scenes in the
first two acts have enough lags in them for the viewer to question what is
going on rather than being swept up by the action. One can almost see the
actors straining to take their scripted lines in a better direction.</span></p><span style="font-size: medium;">
</span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbTJ5igGbXYqjN8ATHk2_3vFWLu122NfZDo4qxtADSoQGPAb9QXUL53bOj5D4OIvj0Zd80891wp5-DPiVggQJDGcsbUqiJW0-ZS9vaFDwz0W_F9a_bf90WUyONB4GXUeNRHV1QkqAJ1U-EMt5KuhkiRgEQUQ5AYq-r9qfu2aUhD-tEdVDW2Uyc1nDOlA/s811/4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="811" data-original-width="630" height="455" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbTJ5igGbXYqjN8ATHk2_3vFWLu122NfZDo4qxtADSoQGPAb9QXUL53bOj5D4OIvj0Zd80891wp5-DPiVggQJDGcsbUqiJW0-ZS9vaFDwz0W_F9a_bf90WUyONB4GXUeNRHV1QkqAJ1U-EMt5KuhkiRgEQUQ5AYq-r9qfu2aUhD-tEdVDW2Uyc1nDOlA/w354-h455/4.jpg" width="354" /></a></span></div><span style="font-size: medium;">
</span><p><span style="font-size: medium;">The third act picks up steam when O’Brien and Trevor finally team up to
uncover what art has been forged and why. At least one minor character does a classic
film noir about face leading to our hero once again being taken to
the edge of madness in the clutches of the finally-revealed, scene-chewing
villain. In an odd choice for a movie like this, Steele is largely sidelined for
the big finale, leaving the film to end on a flat note that has the various characters trying to explain why they otherwise inexplicitly acted as they did throughout
the movie. </span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;">O’Brien and Trevor both deliver solid performances even while they don’t seem
to be totally invested in the material that they have to put across. Herbert
Marshall’s few scenes don’t require him to be anything more than aloofly mysterious
in trying to keep the viewer off balance as to whether he is a foe or ally to
Steele.</span></p><span style="font-size: medium;">
</span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHnFVcpMLN-c6d-Jt4IfpMKGJgmtew088ONloeD2xsipH9NfSlR9BUq1mrR11UMKnxFezP_ZNqVvSW3q12LDqfYmFu5oNY9RIAM7fXwfO-M5r4O7EbkgsDq7o3ZoJYyFSqhI_Dn6ljjB3uG782uDdzPsO900rykXK0t1AAhzdOjUEXLngj6-eFpJEhbg/s1020/5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="564" data-original-width="1020" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHnFVcpMLN-c6d-Jt4IfpMKGJgmtew088ONloeD2xsipH9NfSlR9BUq1mrR11UMKnxFezP_ZNqVvSW3q12LDqfYmFu5oNY9RIAM7fXwfO-M5r4O7EbkgsDq7o3ZoJYyFSqhI_Dn6ljjB3uG782uDdzPsO900rykXK0t1AAhzdOjUEXLngj6-eFpJEhbg/w459-h254/5.jpg" width="459" /></a></span></div><span style="font-size: medium;">
</span><p><span style="font-size: medium;">Claire Trevor brings a riveting presence to her role, meaning that all eyes
are on her whenever she is on screen. One can almost sense her nascent film noir
muscles rippling under her skin, straining for a release that would only come in
her next two films - <span style="color: #ffa400;">Born To Kill (1947)</span> and <span style="color: #ffa400;">Raw Deal (1948)</span>. <span> </span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;">Other notable actors to watch in small, but pivotal roles, are Wallace
Ford as police Lt. Cochrane and Mary Ware as
Mary, secretary to museum trustee, Dr. Lowell.</span></p><span style="font-size: medium;">
</span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrzlwVpXkFArjVIFF48RQFy8pNoWrtue0i8JaIEwqzYTBxZkndT0Zmt-FsfvfsCEYfqoVHagPMJC2DT9FBwmWdoBHzCA1uVfVYjpLXRkD7Zrfz7s42jrcr9tGG-KoZfpvLLeLrH7q7BKUMrD6B5gLwJhdtT16L0EmVOgmypKm6v0ocWzO2YhFhxMyS1g/s630/6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="345" data-original-width="630" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrzlwVpXkFArjVIFF48RQFy8pNoWrtue0i8JaIEwqzYTBxZkndT0Zmt-FsfvfsCEYfqoVHagPMJC2DT9FBwmWdoBHzCA1uVfVYjpLXRkD7Zrfz7s42jrcr9tGG-KoZfpvLLeLrH7q7BKUMrD6B5gLwJhdtT16L0EmVOgmypKm6v0ocWzO2YhFhxMyS1g/w463-h253/6.jpg" width="463" /></a></span></div><span style="font-size: medium;">
</span><p><span style="font-size: medium;">Ford (above) is not not required to be anything other than a disbeliever in Steele's story and all too anxious to lock him up, but he's fun to watch in the role. Ford had the lead in Tod Browning’s <span style="color: #ffa400;">Freaks (1932)</span> and continued to have lead
roles in mostly B pictures throughout the 30’s and 40’s, later transitioning to
memorable supporting and character roles. He ended his career with a
Golden Laurel nomination for <span style="color: #ffa400;">A Patch of Blue (1965)</span>. </span></p><span style="font-size: medium;">
</span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPd-XB2W_k2joeHpDX7DVV4N621XpYGyckl2vF7WP8Nfcx4e8hdyRja1FYC6GPDRiwRBkrbQ5SoHoYeufr2VKegVQwUFS3bROP9vriMB6omAkqIEQIExaqjG9G1IUdmNuhBhFMpzSWVVCqiWA6vhhPj4r66SrNUipgp-MlIj90jU0Flx1iLBMR2CF_iA/s689/7.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="689" data-original-width="615" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPd-XB2W_k2joeHpDX7DVV4N621XpYGyckl2vF7WP8Nfcx4e8hdyRja1FYC6GPDRiwRBkrbQ5SoHoYeufr2VKegVQwUFS3bROP9vriMB6omAkqIEQIExaqjG9G1IUdmNuhBhFMpzSWVVCqiWA6vhhPj4r66SrNUipgp-MlIj90jU0Flx1iLBMR2CF_iA/w352-h394/7.jpg" width="352" /></a></span></div><span style="font-size: medium;">
</span><p><span style="font-size: medium;">Mary Ware is a real mystery. She only has five listings on IMDB (1945-1948)
and I could find almost no other information about her anywhere. But, she is effective
in her small role, with a memorable face that could have been used to good
effect in other noirs.</span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;">The shadowy cinematography by Oscar-nominated (<span style="color: #ffa400;">Vivacious Lady, 1937</span>) Robert de
Grasse is possibly the best reason to watch Crack-Up. Even when you’re
questioning the plot, de Grasse’s moody set ups and stylish chiaroscuro
shadings give the film a rain-soaked luster even when it’s not raining.</span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;">Crack Up is based on the short story ‘<i>Madman's Holiday</i>’ by prolific SF and mystery
writer Fredric Brown, published is the pulp magazine, Detective Story (July, 1943). Brown’s SF stories
are noted for their often humorous or satirical slants, although if they were present in the original story they didn't make it into the script. His short story <i>Arena</i>
was the basis for the much loved original Star Trek episode ‘<i>Arena</i>’ (1967) that
has Kirk face off against a Gorn. The story was also likely the basis for The
Outer Limits episode, <i>Fun and Games</i> (1964).</span></p><span style="font-size: medium;">
</span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTWRlqLVyR0HWINTDeSal6saYJ4nbLbt4hnr7Dm7GbAYyjg_CyshJF93YijOmHyRbVPPvk0hUxHJyJvAGTFhrOBDJJhAU35st4qSyvbGSpetwkrCAdHMezYxm2Q5mKvqSFJ8JKghUDaJ50X_Em_KnWvMKFIn07UZy9f7FJlfADYbL1Js7weG-3Kur_9Q/s2804/8.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2804" data-original-width="2568" height="455" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTWRlqLVyR0HWINTDeSal6saYJ4nbLbt4hnr7Dm7GbAYyjg_CyshJF93YijOmHyRbVPPvk0hUxHJyJvAGTFhrOBDJJhAU35st4qSyvbGSpetwkrCAdHMezYxm2Q5mKvqSFJ8JKghUDaJ50X_Em_KnWvMKFIn07UZy9f7FJlfADYbL1Js7weG-3Kur_9Q/w417-h455/8.jpg" width="417" /></a></span></div><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span style="color: #ffa400;">IS CRACK-UP WORTH MY TIME?</span> This is a film that you don’t need to seek out, but
if it turns up on TCM you can do worse than spend 93 minutes watching it. Although </span><span style="font-size: medium;">Claire Trevor</span><span style="font-size: medium;"> does not get a lot of screen time, she is the reason you’ll stay
with the film. I’m not sure if I believe Pat O’Brien as an art expert, but Robert
de Grasse’s cinematography makes him and film look great.</span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;">Watch for the scene early in the film where O’Brien’s character runs down
the surrealistic paintings of Salvador Dali who was well known in America by this
time. During 1946 Dali even worked with Walt Disney and animator John Hench on
the animated film <span><a href="https://youtu.be/y_TlaxmOKqs" target="_blank">Destino</a>
that was not released until 2003.</span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span style="color: #ffa400;">AVAILABILITY:</span> A <a href="https://youtu.be/4c3_9fiHdg0" target="_blank">very watchable copy</a> is currently up on YouTube if you can’t
find the Warner Archive DVD from 2010.</span></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoysIwaptAvHxTrKgEPzXUUxE7QczAOMyn57RalsGbz_On4PIqO55DcEZlsyez2YIVsJOTRyuxRI_9am04URQYCy3Edk-iMM2EaOTzHW_3lKfocG-4E-uEH1UnVbJP0IcXnMbSiqxpcECcbH-QLkYsjKYQHhwwfgnIF-DtZD-WP4tKX4rOKtBht5d0MA/s1096/9.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1096" data-original-width="894" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoysIwaptAvHxTrKgEPzXUUxE7QczAOMyn57RalsGbz_On4PIqO55DcEZlsyez2YIVsJOTRyuxRI_9am04URQYCy3Edk-iMM2EaOTzHW_3lKfocG-4E-uEH1UnVbJP0IcXnMbSiqxpcECcbH-QLkYsjKYQHhwwfgnIF-DtZD-WP4tKX4rOKtBht5d0MA/w382-h468/9.jpg" width="382" /></a></div><br /><p><br /></p>
<p></p>Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-91161721963832479392022-11-17T19:16:00.001-05:002022-11-17T19:16:17.270-05:00MADAM SATAN... Is Death!<p><span style="font-size: small;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioYhnNxENCGoJC4qQmBoS48PahqOZ3-LXm53C0dtsk77aq8USdhovC7raJ0QtgEzr1_-FuzYI99qlhnSdVj1bluDvVLxUKE-Jc0u6Tb-YEun7YcGr1xdU1VTixJz5GOcu8fpJuy-0l-HOuuXNJiTIPpeAebpStbyPRQf9ehrbT8cxIxesAcdg9nvkbHw/s1200/MS1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1198" data-original-width="1200" height="373" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioYhnNxENCGoJC4qQmBoS48PahqOZ3-LXm53C0dtsk77aq8USdhovC7raJ0QtgEzr1_-FuzYI99qlhnSdVj1bluDvVLxUKE-Jc0u6Tb-YEun7YcGr1xdU1VTixJz5GOcu8fpJuy-0l-HOuuXNJiTIPpeAebpStbyPRQf9ehrbT8cxIxesAcdg9nvkbHw/w374-h373/MS1.jpg" width="374" /></a></span></div><span style="font-size: small;"><span style="font-family: arial;"> </span></span><span style="color: #ffa400;"><span style="font-size: small;"><span style="font-family: arial;"><blockquote><i>"The Devil
searched far and long for an ally to wreak havoc amongst mortals…..then, the
black corrupt soul of a beautiful woman, a victim of her own fiendish plan on
Earth, left its bodily habitation to stand before the king of purgatory…..and
his search was at an end….the Devil had found himself a fitting mate and called
her……Madame Satan" </i>(from the origin of <i>Madam Satan</i> in <i>Pep Comics</i>
No. 16, 1941)</blockquote></span></span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;"></span></span></p>
<p class="MsoNormal"><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEBkvmQaQVZgDt-9ZZMxXuh4GgR7YtYuC6eHhoHQQxcRGJh8EfGTpotqnwFsgAagp_-WCVbgyl3EmZiXABG2GspEeO97qBpgClx_KRP47iahu3zGO35GuwwgFEriQQqrO52kEtQcFgKFUVhQpvwZ6DDE82z271FJL--qEWfPZwAGpCog396n2WKIqSPQ/s1200/MS2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="834" data-original-width="1200" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEBkvmQaQVZgDt-9ZZMxXuh4GgR7YtYuC6eHhoHQQxcRGJh8EfGTpotqnwFsgAagp_-WCVbgyl3EmZiXABG2GspEeO97qBpgClx_KRP47iahu3zGO35GuwwgFEriQQqrO52kEtQcFgKFUVhQpvwZ6DDE82z271FJL--qEWfPZwAGpCog396n2WKIqSPQ/w457-h317/MS2.jpg" width="457" /></a></span></div><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;"><i>Madam Satan</i> </span>was an
evil woman named Tyra who lured men to their destruction. During her first
appearance she dies and is recruited by Satan who returns her to Earth to
provide him with souls of good men that she would corrupt. As the ultimate
Femme Fatale, she used her unearthly beauty to lure unsuspecting men into her
clutches. As she prepares to kill them, her face is revealed to be an inhuman
green skull.</span></span><p></p>
<p class="MsoNormal"><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghrmkSNeXfoj4vsJ4_x5JUdinP3jlMq_nROhbrC8LpvrzIab23iXAslNPuoNFTq05g3lXLzBiGPtFaMwftB2EbnelpW_NxhCkwu4Njv13iODgMrZ7g5xvFlvWhmo2mJrIi1Vbre3bEAFxC9SYh4DCwuc9iWKRqKxxy1Ufc0Mu6yN3xlzSGacyTY7q3Hg/s1679/MS3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1679" data-original-width="1200" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghrmkSNeXfoj4vsJ4_x5JUdinP3jlMq_nROhbrC8LpvrzIab23iXAslNPuoNFTq05g3lXLzBiGPtFaMwftB2EbnelpW_NxhCkwu4Njv13iODgMrZ7g5xvFlvWhmo2mJrIi1Vbre3bEAFxC9SYh4DCwuc9iWKRqKxxy1Ufc0Mu6yN3xlzSGacyTY7q3Hg/w327-h456/MS3.jpg" width="327" /></a></span></div><span style="font-size: small;"><span style="font-family: arial;"></span></span><p></p>
<p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">The dark <i>Madam Satan</i>
stories contained elements of the violent crime comics </span>that were doing big
business on the newsstands at that time, but pre-dated the macabre EC horror comics
by over a decade. MJL Magazines Inc. was just one of many publishers vying for
display space in the Golden Age of Comics with the hopes of taking home a share
of the sales pie that was dominated by <i>Batman</i>,<i> Superman</i> and <i>Captain Marvel</i>. Publishers in the 1940’s where willing to try any
concept to see if they could accidentally create the next comic book sensation
– would <i>Madam Satan</i> make the cut?</span></span></p>
<p class="MsoNormal"><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhX7Xf_5XN932XM18gcZJAmLm7A8JCHn2hYmjt3Y7Hm7Gfx2XE0VMg9P55AWeg59yIpbaDFJo-w3PJsQwuAV10yKz8u06GClohep6l8mgKc_rReh7qhgMvhHjlrudUoNbqCeMTxXD0YuNoHVVI-sRXmtUDS9Jh6I_LfccwuIF2iS8nNhVzt4_8xWwvBg/s1200/MS4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="833" data-original-width="1200" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhX7Xf_5XN932XM18gcZJAmLm7A8JCHn2hYmjt3Y7Hm7Gfx2XE0VMg9P55AWeg59yIpbaDFJo-w3PJsQwuAV10yKz8u06GClohep6l8mgKc_rReh7qhgMvhHjlrudUoNbqCeMTxXD0YuNoHVVI-sRXmtUDS9Jh6I_LfccwuIF2iS8nNhVzt4_8xWwvBg/w438-h304/MS4.jpg" width="438" /></a></span></div><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Alas, <i>Madam Satan</i> only
had a short run in <i>Pep Comics</i></span> (Nos.
16-21, 1941), plus a preview cover appearance on <i>Pep</i> No. 15 that would suggest that her debut had been scheduled for
that issue, but was bumped to the next. When the first <i>Madam Satan</i> story appeared, the buying public did not know that in
a mere six issues she would be remembered only for being replaced by <i>Archie Andrews</i> and his friends (<i>Pep</i> No. 22). Archie’s inauspicious debut
eventually boosted MJL into one of the most successful publishing empires ever,
lead in a large part by the distinctive art of Harry Lucey, <i>Madam Satan</i>’s co-creator.<span> </span>MJL was officially rechristened
Archie Publications Inc. with issue <i>Pep
Comics</i> #57 (June 1946).</span></span><p></p>
<p class="MsoNormal"><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqVcWuXzyhQDTNbXi2ZruSmYyt4wrJ212I0XC3p91mYTMv5YNbh4f344UdaI_jxMCuln0JEwz9oTkQhHsoXFet3PeKkEz-xZZluXBtUzHkLEJp7eAkmoGo-YUc5TuOVEn7kWyYO9nemJeg8lbf2hcG6u_Ee0C_O6wrKsu-fuDQXr6U_uT1JxQd-Kh6Qw/s1200/MS5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="850" data-original-width="1200" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqVcWuXzyhQDTNbXi2ZruSmYyt4wrJ212I0XC3p91mYTMv5YNbh4f344UdaI_jxMCuln0JEwz9oTkQhHsoXFet3PeKkEz-xZZluXBtUzHkLEJp7eAkmoGo-YUc5TuOVEn7kWyYO9nemJeg8lbf2hcG6u_Ee0C_O6wrKsu-fuDQXr6U_uT1JxQd-Kh6Qw/w432-h306/MS5.jpg" width="432" /></a></span></div><span style="font-size: small;"><span style="font-family: arial;">Writer and co-creator Abner Sundell may have been influenced
by Cecil B. DeMilles’ film, <i>Madam Satan</i>
(1930) which is worth watching for Kay Johnson’s stunning outfit and the crazy Art
Deco dance performance on a doomed zeppelin. Sundell’s only other notable
Golden Age creation was <i>Steel Sterling</i>.
Sundell only wrote <i>Madam Satan</i>’s
first story, with all other stories being attributed to Joe Blair. Blair was a
regular MJL/Archie writer who co-created <i>The
Fox</i> with Irwin Hasen. </span></span><p></p>
<p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikXb27_vcaYxzNrTNPiFzrOKMsnK-cACpU0knqVN2qoj21XksJH8ba29YM4dh_BsQZk-Mh1wISYlHv12SpoYNqdaNqKUMM1ZhCxFxPFFmJXcjiRmvN-oT9nYCkKDCWkDdEi9yGOP9bqXMychllqshQdxB8cDixjc5Z-M72AN7jOm7-QsrQ7fVN2KdhOw/s2604/MS6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2604" data-original-width="2100" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikXb27_vcaYxzNrTNPiFzrOKMsnK-cACpU0knqVN2qoj21XksJH8ba29YM4dh_BsQZk-Mh1wISYlHv12SpoYNqdaNqKUMM1ZhCxFxPFFmJXcjiRmvN-oT9nYCkKDCWkDdEi9yGOP9bqXMychllqshQdxB8cDixjc5Z-M72AN7jOm7-QsrQ7fVN2KdhOw/w361-h448/MS6.jpg" width="361" /></a></span></div><span style="font-size: small;"><span>Artist Harry Lucey
(Nov. 13, 1913 – August 28, 1984) began his comic book career in the late
1930s. In addition to <i>Madam Satan</i>, he
drew <i>Magno</i>, <i>Crime Does Not Pay</i>, <i>Sam Hill</i><span> </span>and <i>Captain America</i>. From the
1950’s until the 1970’s, he was the primary artist for <i>Archie</i>, drawing
not only the flagship title, but also the in-house ads, covers and various
other comics for the publisher. Lucey named the character Betty after his
girlfriend’s sister. In 2012, Harry Lucey</span> was inducted into the Will
Eisner Awards Hall of Fame. </span><p></p>
<p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;"></span></span></p>
<p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">In the new millennia, <i>Madam
Satan</i> has had a remarkable rebirth</span>, appearing as a recurring character played
by Michelle Gomez on <i>The Chilling
Adventures of Sabrina</i> TV show (Netflix, 2018-2020) and in the comic book of
the same name, and in her own one-shot (2020), self-titled comic. <i>— The Atomic Surgeon</i>, March 2022 <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1xyJllNCdWU-Mv6yB937w_61DNsG3JJWqYwjm88KLo3kC1NmqrS9hKMKwAIXR_0rO6_l1SEPo9NqYtsx96TU-eB4UKUnEFWvRnbrai8H9zM6rpRMGWkEyYS7inqhR79LMxEN3LuN8iVGLKClt_BYAv1vJ8uaIyMd7UnfPsdrKqW4splibRV9WxhUbJA/s4200/MS7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1768" data-original-width="4200" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1xyJllNCdWU-Mv6yB937w_61DNsG3JJWqYwjm88KLo3kC1NmqrS9hKMKwAIXR_0rO6_l1SEPo9NqYtsx96TU-eB4UKUnEFWvRnbrai8H9zM6rpRMGWkEyYS7inqhR79LMxEN3LuN8iVGLKClt_BYAv1vJ8uaIyMd7UnfPsdrKqW4splibRV9WxhUbJA/w595-h251/MS7.jpg" width="595" /></a></span></div><span style="font-size: small;"><br /></span><p></p>
<p></p>Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-50158923322151414892022-08-29T14:00:00.020-04:002022-08-30T15:17:58.788-04:00ROSALIND RUSSELL is the HIRED WIFE (1940)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwD7SfUtdWgCQewkgPX21uhlaAb8-rjsBuRQvJQZDq29PfI8AW8gIV5EMexEl7COJ7OWLjGd-GWpjdZyGHiThaWWjkyv5Ceqtn2rb3TtmnDG_zv7RTzT6q9RPhHVfCpRyJ_MqEMKvVhPe02L2msBDJncNGnIyQlw7Asp5wuhxOskeY5iwrNReZKCY-xg/s1280/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="982" data-original-width="1280" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwD7SfUtdWgCQewkgPX21uhlaAb8-rjsBuRQvJQZDq29PfI8AW8gIV5EMexEl7COJ7OWLjGd-GWpjdZyGHiThaWWjkyv5Ceqtn2rb3TtmnDG_zv7RTzT6q9RPhHVfCpRyJ_MqEMKvVhPe02L2msBDJncNGnIyQlw7Asp5wuhxOskeY5iwrNReZKCY-xg/w414-h318/1.jpg" width="414" /></a></div><p></p><p class="MsoNoSpacing" style="text-align: center;"><span style="color: #fcff01;"><i><span style="font-size: medium;"><span style="font-family: arial;">HE'S GOT DOUBLE WOMAN TROUBLE! </span></span></i></span></p><p class="MsoNoSpacing" style="text-align: center;"><span style="color: #fcff01;"><i><span style="font-size: medium;"><span style="font-family: arial;">And it's the sex-plosion
of the season when they get together!</span></span></i></span></p>
<p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;">Cement Company CEO Stephen Dexter (<i>Brian Aherne</i>) is advised
by his best friend and lawyer Roger Van Horn (<i>Robert Benchley</i>) to get a quick
marriage to save his company from being bought out in a hostile takeover.
Dexter wants to marry his latest yearly fling, Phyllis Walden (<i>Virginia Bruce</i>),
but his secretary and brains behind the company, Kendal Browning (<i>Rosalind
Russell</i>) seizes the opportunity to land the man that she has been silently
pining for. Once the business need to be married is over, Dexter expects Kendal
to accept an all expenses paid holiday to Hawaii by way of a Las Vegas divorce
as ample compensation for her trouble. But Kendal has other ideas and enlists
the help of her charming lady-killer buddy, Jose de Briganza (<i>John Carroll</i>) to
break up the Stephen-Phyllis romance. From there the sparks fly and witty
repartee flows like champagne until the film’s inevitable happy conclusion.</span></span></p>
<p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;">The sharp tongue and gleaming personality of top-billed Rosalind
Russell is the reason to watch <i>Hired Wife</i>.</span> The film rests squarely on the over-sized shoulders of the power outfits that she wears, and Russell carries it with ease. She had established her comedic
credentials with her over the top performance in <i>The Women</i> (1939), and her fast
talking, take charge, independent woman persona in <i>His Girl Friday</i> (1940),
Howard Hawks' quintessential screwball comedy that she had made earlier in the year. It was a role she would return
to time and again throughout the 1940’s. As she said, </span></span></p><p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;">“<i>In all those types of
films I wore a tan suit, a grey suit, a beige suit and then a negligee for the
seventh reel near the end when I would admit to my best friend on the telephone
that what I really wanted was to become a little housewife</i>.” </span></span></p>
<p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsN1hV_V6W3-GRy96yq5vQ5al4i9ofON2rfl-KksCCpUTLmPDZ6jVX0WKGA16TuhP9TH6VkgAmbbGU8wjRUFGSzwYACYpRlMP3o4Vbmz20tI7HbvTsnMYtsgtHLMuTr1h_5t83DY85PefaezgEoXyrbacBWFblNVc_JiHp0fouaUgqvm2voo1_CtnUww/s737/2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="555" data-original-width="737" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsN1hV_V6W3-GRy96yq5vQ5al4i9ofON2rfl-KksCCpUTLmPDZ6jVX0WKGA16TuhP9TH6VkgAmbbGU8wjRUFGSzwYACYpRlMP3o4Vbmz20tI7HbvTsnMYtsgtHLMuTr1h_5t83DY85PefaezgEoXyrbacBWFblNVc_JiHp0fouaUgqvm2voo1_CtnUww/w510-h384/2.jpg" width="510" /></a></span></div><span style="font-size: medium;"></span><p></p><p class="MsoNoSpacing" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #fcff01;">Benchley, Aherne & Russell </span><br /></span></span></p>
<p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;">In <i>Hired Wife</i>, Russell is paired with Richard Aherne in
their first of four films together, with the three from the 40’s all being
variations on the same rom-com theme. For me, Aherne was always forgettable in his pairings with Russell, perhaps because she so dominates any scene she has with him. As hard
as Russell tries (and she’s great at it) to convince us that Aherne is the only
man for her, it comes across as just what it is – the plot device to drive the
story forward. However, I will grant that Aherne could deliver an excellent </span></span><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;">performance, such as he gave in <i>Merrily We Live</i> (1938) where</span></span></span></span><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"> he held his own </span></span>matching wits against the star power of Constance Bennett.</span></span><span style="font-size: medium;"><span style="font-family: arial;"> <br /></span></span></p>
<p class="MsoNoSpacing" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDwpfJWiMk5Uad65-8zvgOZkUCmhkJj7fGb_762suvWyq7gJNo9JnThb7Yc_jt3MCRuBKS1g3QfYFpyjhkYsmt6_g3sQkr3ZwYrRZO7EhqhddgtfGOURUqRzah7ugs0y5747DTFFemB4BfisaJ-HFbMVbRSgNvN9mX1vljZ7X3qylOfOO8LoBYS2_l3Q/s1475/3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="748" data-original-width="1475" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDwpfJWiMk5Uad65-8zvgOZkUCmhkJj7fGb_762suvWyq7gJNo9JnThb7Yc_jt3MCRuBKS1g3QfYFpyjhkYsmt6_g3sQkr3ZwYrRZO7EhqhddgtfGOURUqRzah7ugs0y5747DTFFemB4BfisaJ-HFbMVbRSgNvN9mX1vljZ7X3qylOfOO8LoBYS2_l3Q/w532-h269/3.jpg" width="532" /></a></span></div><p></p><p class="MsoNoSpacing" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #fcff01;"> Russell, Benchley & Bruce</span><br /></span></span></p>
<p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;">Much more engaging are the two secondary male actors, Robert
Benchley and John Carroll. The film jumps into gear when either is on the screen.
</span></span><span style="font-size: medium;"><span style="font-family: arial;">Algonquin Round Table regular Benchley plays his patented best friend sidekick role to perfection, his mere
presence buoying up the screen if the comedy is flagging. There’s frankly more energy
between Benchley and Aherne in any one scene than Russell and Aherne
have together in the entire movie.</span></span></p><p class="MsoNoSpacing" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhee4u7zJjRMt1HxKaVcrLt2X3JyZ1DWzoZxsUkS4xfhAmnRCQOdzjbCtO7owRVL0vTyoOihCtccAYUfjzCpBsk284nSnMQOcTp6AW_hgeLt_w81-4Aw2xzoJreps3nIUKo0i0cTmVW2MBmUoRCKx9PEqdjxuD7MyVRLK3cqX9zQXzkpwE76W43Om_2SQ/s800/4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="528" data-original-width="800" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhee4u7zJjRMt1HxKaVcrLt2X3JyZ1DWzoZxsUkS4xfhAmnRCQOdzjbCtO7owRVL0vTyoOihCtccAYUfjzCpBsk284nSnMQOcTp6AW_hgeLt_w81-4Aw2xzoJreps3nIUKo0i0cTmVW2MBmUoRCKx9PEqdjxuD7MyVRLK3cqX9zQXzkpwE76W43Om_2SQ/w488-h321/4.jpg" width="488" /></a></span></div><p></p><p class="MsoNoSpacing" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #fcff01;"> Russell & Carroll</span><br /></span></span></p><p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;">Next to Russell, the film’s real delight is John Carroll</span> (<i>Marx Bros Go West</i>,
<i>Flying Tigers</i>, <i>Only Angels Have Wings</i>) using a hilariously false accent to play Kendal’s ace in the hole for
breaking up the Stephen-Phyllis dalliance. One deftly acted scene in the back of
a cab quickly establishes the Kendal-Jose dynamic. He’s a
charming, perpetually broke, Clark Gable-ish lover of life and all women, who once tried to
romance her, got turned down, and is now is her loyal friend. She returns that
loyalty with a sibling-like love for his
magnetic joie de vie. As actors, Carroll and Russell have a comedic and
romantic allure that is rarely seen in films, and I’m sure that more than
one audience member was rooting for them to end up with each other. Every scene between them is a delight, especially their
near telepathic interplay whenever she is slipping him money to help maintain his
pretence as a wealthy Spanish playboy as he attempts to woo Phyllis away from
Stephen.</span></span></p>
<p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;">The script gives underused Virginia Bruce very little to work with in
the other woman role as Stephen’s girlfriend, Phyllis. Initially established as
a quasi-gold digger, the mechanics of the plot require her to also supposedly be
seriously romantically interested in Stephen. All her scenes are reactive – outraged
at being tricked into not marrying Stephen and then getting huffy when he’s
placed in a situation where he can’t get a quick divorce. As a pretty blonde we
can see Stephen’s physical attraction to Phyllis, but she’s clearly outclassed in
every category by Kendal – it’s baffling why Stephen does not recognize this as
well.</span></span></p>
<p class="MsoNoSpacing" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">With better material, Bruce was an extremely capable actress
with a wide range. She’s exceptional as the broken woman brutalized by Walter Houston in <i>Kongo</i> (1932), the talkie remake of Lon Chaney Sr.'s <i>West of Zanzibar</i> (1928),
or in her comedic role as <i>The Invisible Woman</i> (1940) next to John Barrymore in the underrated
third entry in Universal’s <i>Invisible Man</i> franchise. The part of Phyllis needed
an actress as charismatic as Jean Harlow who could have breathed her full-bodied
life into this underwritten role and given Kendal a worthy adversary in her pursuit
of Stephen. As it is, the film fails to generate any real concern over Kendal
not getting her man in the end. </span></span><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_8EeDGBvsRkGoVGbly7Xo759QM3x3u526W1rlD7CZr9BY0-7HCDjUYAl04HqAHcKcHgINsgD1HfjRYt4gVh62NiY0mZZ5-sA0w7LMHVgaAWD8MEXIXBa6ueZT4fs4T7C1G06VeW-KhWzeSMsPq2IFciveMB06ARgE4LrSUNSgp-oHq1Of0TzKXDX9Wg/s1024/5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="751" data-original-width="1024" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_8EeDGBvsRkGoVGbly7Xo759QM3x3u526W1rlD7CZr9BY0-7HCDjUYAl04HqAHcKcHgINsgD1HfjRYt4gVh62NiY0mZZ5-sA0w7LMHVgaAWD8MEXIXBa6ueZT4fs4T7C1G06VeW-KhWzeSMsPq2IFciveMB06ARgE4LrSUNSgp-oHq1Of0TzKXDX9Wg/w453-h333/5.jpg" width="453" /></a></div><p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;">This bright, but by the numbers, film is greatly enhanced
by the people behind the camera. It was directed by William Seiter from a
screenplay by Richard Connell and Gladys Lehman, based on an original story by
George Beck. Journeyman director Seiter made a number of well respected films
such as Laurel and Hardy’s <i>Sons of the Desert</i> (1933) and <i>Your Were Never
Lovelier</i> (1942) with Fred Astaire and Rita Hayworth. Connell was a two-time
Oscar nominee for <i>Meet John Doe</i> (1941) and <i>Two Girls and A Sailor</i> (1944; shared
with Lehman), but I remember him best for the screenplay for <i>The Most Dangerous
Game</i> (1932). The engaging, but unfussy cinematography was by seven-time Oscar nominee (and
winner for <i>Three Coins in the Fountain</i>,1954), Milton Krasner.</span></span></p>
<p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;">Bit players to look out for include Suzanne Ridgeway who
would go on to be dropped into quicksand by Baranga, the tree monster (stump?) in
<i>From Hell It Came</i> (1957), and Robert Lane who played Chester Morris’ not-too-bright
foil, Inspector Farraday, in the <i>Boston Blackie</i> film series. </span></span></p>
<p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;">Pretty blonde Janet Shaw had small parts in two Universal
monster flicks; a blink-and-you’ll-miss-it appearance in <i>The Mummy’s Tomb
</i>(1942) and as the first victim of the <i>Night Monster</i> (1942). Shaw’s role in
<i>Hired Wife</i> is tiny. She’s the blushing young bride getting married at the
Justice of the Peace ahead of Kendal and Stephen. But, how Kendal looks at her
during the ceremony is crucial to our understanding of what marriage, and
marriage to Stephen, means to Kendal, and why she later refuses to give him up -
she knows in her heart of hearts that it’s the best thing for both of them.</span></span></p>
<p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;">IS <i>HIRED WIFE</i> WORTH MY TIME?</span> Definitely,
especially if you enjoy a romantic comedy with well-written dialogue, if not a
very original script. Rosalind Russell is always wonderful and the film is
supercharged by Robert Benchley and John Carroll. At 96 minutes it would have
benefited from trimming away 10 minutes in the middle, and expanding the too
quick, “Oh no, we ran out of time” ending.</span></span></p>
<p class="MsoNoSpacing"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;">AVAILABILITY: </span>It appears to be available as a grey market
DVD and it turns up on TCM from time to time. Several nice copies are also up
on YouTube, which is where I watched it. <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPJwqtLz3O5O2FNTRT5hR2SSPc3dcQsOto7HpfTd4Vkq7llNvm3uVNjkFjwNe35yJBCGAUdqFaWaPT1-Sb8DusT6xUUnc86-TUzVGMfNADeiT47CQQ3Ht60jq4WLs8UglxxTzdT7HpJLwCtIMCwy_sCEEZY-_bDaptSg5WD35LsKOYAva8Yj8mAzvJfA/s1500/6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1163" data-original-width="1500" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPJwqtLz3O5O2FNTRT5hR2SSPc3dcQsOto7HpfTd4Vkq7llNvm3uVNjkFjwNe35yJBCGAUdqFaWaPT1-Sb8DusT6xUUnc86-TUzVGMfNADeiT47CQQ3Ht60jq4WLs8UglxxTzdT7HpJLwCtIMCwy_sCEEZY-_bDaptSg5WD35LsKOYAva8Yj8mAzvJfA/w444-h344/6.jpg" width="444" /></a></span></div><p></p>
<p></p>Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-7684711122652392802022-06-25T16:11:00.026-04:002022-08-29T14:49:59.650-04:00JANE WYMAN TURNS INVISIBLE in THE BODY DISAPPEARS (1941)<p class="MsoNoSpacing" style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMz3ES2F50Crl6q5JM80Yqzp5BI9eHxbiJkQzQ8lHZaBwTKFbhDKK9aP29FthoPuELV1EZEXZt0LLtFc2x_-dYQ8OlkenJSoQy9tPFiJ8DxYpU6hPHVYO7p-P3SZfWjkd3rsIxoVjAi5v9eWlcyl0w-Oai5-7S21LIlTgJVTq1kTWlbEfNyZxKcRpnhA/s1192/1%20The%20Body%20Disappears%20poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="925" data-original-width="1192" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMz3ES2F50Crl6q5JM80Yqzp5BI9eHxbiJkQzQ8lHZaBwTKFbhDKK9aP29FthoPuELV1EZEXZt0LLtFc2x_-dYQ8OlkenJSoQy9tPFiJ8DxYpU6hPHVYO7p-P3SZfWjkd3rsIxoVjAi5v9eWlcyl0w-Oai5-7S21LIlTgJVTq1kTWlbEfNyZxKcRpnhA/w396-h307/1%20The%20Body%20Disappears%20poster.jpg" width="396" /></a></p><p></p><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Imagine a movie where Willie Best plays Igor to Edward
Everett Horton’s Dr. Frankenstein who is trying to reanimate dead bodies. </span>Instead he creates an Invisible Man who falls in love with Jane Wyman who then ecstatically
sheds her undergarments to become The Invisible Woman. Well, imagine no more as
<span style="color: #ffa400;"><i>The Body Disappears</i> (1941)</span> is that film.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">With all those horror tropes mixed together in one story
you’d think that this fluffy Warner Bros. romantic comedy would be better known, or at least
better referenced by fans of the Universal Monsters whom this film is gently
riffing on. I suspect that if this film had of been made two years later, Willie Best would have turned into a werewolf as well!</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Alas, despite checking many of the iconic horror
touchstones (including a homage to the famous <span style="color: #fcff01;">‘It’s Alive!’</span> scene), its suburban
university town setting keeps it several steps removed from that genre. With no
crackling laboratory machinery or megalomaniacal rants due to the effects of
monocane, most audiences at the time would have probably completely missed the multiple
hat tips to the classic monster films.</span></span></p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOoyEevNSHDXbJzc1g-8C2-PLFIxzFl5iAN47RokSlVEz1_kalNS3OC20css8uXM-H7K0chCfxsJdskpn_CaWRyx16ELQIt8i5dq4gt-PqVtQlwf2tPdBG4sZrXdU1VU6sPJXACL9WuC7MLyQaSXSOjiEE-mjE2T8EeiRShF61PW9LPJ2D0OuyDLDHow/s915/2%20TBV_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="716" data-original-width="915" height="361" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOoyEevNSHDXbJzc1g-8C2-PLFIxzFl5iAN47RokSlVEz1_kalNS3OC20css8uXM-H7K0chCfxsJdskpn_CaWRyx16ELQIt8i5dq4gt-PqVtQlwf2tPdBG4sZrXdU1VU6sPJXACL9WuC7MLyQaSXSOjiEE-mjE2T8EeiRShF61PW9LPJ2D0OuyDLDHow/w462-h361/2%20TBV_.jpg" width="462" /></a></span></span></div><p></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">The story is only slightly more complicated than it needs
to be. Jane Shotesbury’s (Wyman) absent-minded professor father (EE Horton) is
working on a formula to bring the dead back to life. When he and his manservant
Willie (Best) borrow a corpse from the med school’s cadaver bank, it turns out
to be the ‘only wishes he was dead’, severely hungover Peter Dehaven (Jeffery
Lynn), placed there as a gag by his buddies after his stag party. Horton’s
resuscitating formula not only wakes Peter up, but turns him invisible which in
turn complicates the police search for him when Pete fails to turn up for his
wedding. Jane and Peter fall in love, of course, but they still have to deal with Pete's gold digging </span></span><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;">fiancé, Jane's father being suspected of murdering the disappeared Peter</span></span>, and Jane becoming invisible. All this leads to a lot of cross-purpose chaos that propels the
otherwise standard 1940’s ‘B’ movie romcom plot. <i>The Body Disappears</i> tries hard to reach screwball
intensity, but it never quite ignites. Despite that, it still makes for a pleasant,
although unsophisticated, diversion thanks to its modest 72 minute running time. </span></span></p><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">The most interesting parts of this film are those you don’t
see</span> (not a necessarily a bad thing) as the naked (but invisible) Jane and Pete scramble
to free her father. An invisible Jane flaunts her lingerie and then doffs it
while driving the rescue car, throwing it over the head and around the neck of poor Willie Best in
the back seat of the seemingly driverless vehicle. Despite the fast pace of the
film’s third act, <span style="color: #ffa400;">it’s hard to understand how the censors could have let an
unmarried, naked couple sit literally (butt) cheek to cheek</span> and in the presence
of a black man. </span></span><br /></span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="color: #cccccc;"><span style="font-size: small;"><span style="font-family: arial;"><span>Where the movie does succeed is thanks to the services of
Wyman, Horton and Willie Best.</span></span></span></span> </p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIrjcFjkS3sYTerVb-8nG3JgkfTI0TEmPY_MWfTbVboY6C9MMoJlsX_EklrY1M0QU_JWCoDBFsGEWou5JeSlrtG4b9bC9gQUviEwpER54p7dv0oKQE64cuozSTGucePJYqceSJTyBJnCKprqJY_vUNjGbAbBb5W_nx0bCyoDzBGxdMDurk3SwQvK5AGQ/s2537/3%20Annex%20-%20Wyman,%20Jane_NRFPT_04.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2537" data-original-width="2021" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIrjcFjkS3sYTerVb-8nG3JgkfTI0TEmPY_MWfTbVboY6C9MMoJlsX_EklrY1M0QU_JWCoDBFsGEWou5JeSlrtG4b9bC9gQUviEwpER54p7dv0oKQE64cuozSTGucePJYqceSJTyBJnCKprqJY_vUNjGbAbBb5W_nx0bCyoDzBGxdMDurk3SwQvK5AGQ/w336-h422/3%20Annex%20-%20Wyman,%20Jane_NRFPT_04.jpg" width="336" /></a></span></span></div><p></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Wyman has little to do here but look gorgeous</span>, which she
succeeds at with gusto. Her introduction is in a ‘designed-to-be-noticed’, cut
to the waist, backless dress that once seen makes one forget that her character
is as light and thin as a soap bubble. In the early 1940’s, Wyman was still trading
on her effervescing, scatter-brained, ray of sunshine persona that had originally gotten her
noticed. She used it to give Glenda Farrell a run for her
money as <i>Torchy Blaine</i> in the last official film in that series (<i>….Plays With
Dynamite</i>, 1940). For those of you who enjoyed her performance in that film (I
did!), I suggest that you check out <i>Private Detective</i> (1941). When that last
Torchy film failed to be a blockbuster, Warner Bros simply changed the
character’s name to ‘Jinx’ Winslow and filmed the next Torchy script with Wyman
playing essentially the same character.</span></span></p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV5L7rfERk5smBuYtycCpxi1L33h8RU3wBR3hde2diw-kgJmvKS91DadpiCI28JYI_6Ol0yE1pNVLYM-n_iIdvybZHS7Y4d8EvdSlBDTDyFCXcdsfJVLPXcDoIR0aePXvAagzlQeOqJhVvazSXaWQMAn9f0HMdM9tWDbZMamxJcIAiD2RySi-BuEwJZQ/s3500/4%20thebodydisappears1941.637.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2280" data-original-width="3500" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV5L7rfERk5smBuYtycCpxi1L33h8RU3wBR3hde2diw-kgJmvKS91DadpiCI28JYI_6Ol0yE1pNVLYM-n_iIdvybZHS7Y4d8EvdSlBDTDyFCXcdsfJVLPXcDoIR0aePXvAagzlQeOqJhVvazSXaWQMAn9f0HMdM9tWDbZMamxJcIAiD2RySi-BuEwJZQ/w469-h305/4%20thebodydisappears1941.637.jpg" width="469" /></a></span></span></div><p></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Most of the comedy in <i>The Body Disappears</i> is left to Horton and Best, either
separately or together.</span> No one played flustered, absent-minded, self-important
boobs like EEH. There is an entire scene towards the end of the film where EEH’s
character has to defend himself from insanity charges brought against him by
his university colleagues that feels tacked on in an attempt to pad out the film's
running time with extra ‘screwballiness’. As much fun as is it to watch EEH in
these situations, the script by Scott (<i>The Ghost of Frankenstein</i>, 1942) Darling
and Erna Lazarus does not give him much to work with (or against). It does, however,
accomplish the plot point of getting him into a sanatorium so Jane can use his invisibility
formula to break him out.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0WJDbL0TludFwVAA6LWjDNA3xWtLtDTZ8iq9caRE4ZUixOhdc-tlvk87CUWIGndnmWuftLnlD9zom23t98jDVy9AJzY6mRUcTXNcCPITolEIyUNHcHIVcFKV5xgI7NTlBVAeKOqZ9IOWDKTAFvz0D8C5NSgowr-Vh_XT7lkQL04llE9BhR4Wm9ACxBQ/s720/5%20videoPreview.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="720" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0WJDbL0TludFwVAA6LWjDNA3xWtLtDTZ8iq9caRE4ZUixOhdc-tlvk87CUWIGndnmWuftLnlD9zom23t98jDVy9AJzY6mRUcTXNcCPITolEIyUNHcHIVcFKV5xgI7NTlBVAeKOqZ9IOWDKTAFvz0D8C5NSgowr-Vh_XT7lkQL04llE9BhR4Wm9ACxBQ/w500-h281/5%20videoPreview.jpg" width="500" /></a></span></span></div><p></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">The real star of the film is perennial ‘Stepin Fetchit’
character actor/comedian, Willie Best </span>(above). Despite having as much, or more, screen
time than any of the other actors in the film, he is only 8th billed. Mercifully,
his stereotypical, dim-witted black comic relief is significantly dialed back and
he gets all the best lines in the film as he reacts (not inappropriately) to
the nonsense going on around him. I laughed out loud when he first comes upon Pete’s ‘corpse’
and mutters, “<i>This one's got a lily in his hands. He may be dead, but he's neat
about it.</i>” </span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">For Willie Best and most black actors of the day, serious
roles were mostly non-existent</span>, with women being relegated to, at best,
servants or nursemaids, and the men (e.g., Mantan Moorland) being confined to
the stereotype ‘scared & sputtering’ comic relief role. Although the
characters they played might now be repugnant, that doesn’t take away those
actors considerable skills in carrying them off. Best play this role to better
effect in the previous year's Bob Hope/Paulette Goddard film, <i>The Ghost Breakers</i> (1940) where
he ends up being the inadvertent hero of the story.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Some of the other actors in the film to call out here include
Herbert (<i>Dennis the Menace</i>’s father) </span></span><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;">Anderson </span></span>as Peter’s medical student-best
friend who puts Pete in the morgue after he carries out one too many practical
jokes at his stage party; Craig (<i>Peter Gunn</i>) Stevens as Peter’s fiancé’s secret
boyfriend; David (<i>The Mad Ghoul</i>, 1943) Bruce; Todd (<i>From Hell It Came</i>, 1957)
Andrews; and William (<i>20 Million Miles To Earth</i>, 1957) Hopper. Also watch for
Natalie (<i>Gillian’s Island</i>’s Mrs. Howell) Schafer in her first full length
feature film role, and blink-and-you’ll-miss-her Leslie Brooks from one of my
favourite poverty row noir’s, <i>Blonde Ice</i> (1948), as a bridesmaid.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnANIX0S86A6bpsTKkeZPNr-a63ZDRobThluV-2ay9oGZNJKFyXDc2KuMRtI6yC9v0MMhBTflrWhlTw64bgXCkjn8FUyQWBj8K3OmJxbO0y6LFcVgYsEsw04daSeFiVUMmZmfAs7PY8RM4Lj-CUP4QKTflTafa8ftGVeDg1FeZUTjpAmLfNgHG-geIMw/s904/6%20TBD.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="688" data-original-width="904" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnANIX0S86A6bpsTKkeZPNr-a63ZDRobThluV-2ay9oGZNJKFyXDc2KuMRtI6yC9v0MMhBTflrWhlTw64bgXCkjn8FUyQWBj8K3OmJxbO0y6LFcVgYsEsw04daSeFiVUMmZmfAs7PY8RM4Lj-CUP4QKTflTafa8ftGVeDg1FeZUTjpAmLfNgHG-geIMw/w413-h314/6%20TBD.jpg" width="413" /></a></span></span></div><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Is <i>The Body Disappears</i> Worth My Time?</span> It’s a nice Sunday
afternoon timewaster, especially for those who love the old Universal Monster
films. Willie Best steals the show, but Jane Wyman looks stunning and Edward
Everett Horton does his best to keep the comedy going. Top billed Jeffery Lynn
is so bland and boring that I forgot to mention him in this review. Since he’s
invisible for most of the film he’s easy to overlook.</span></span><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;">
The invisibility special effects are substandard, but they don't
distract from the story where their believability is largely irrelevant.</span></span> The direction by D. Ross
Lederman and the cinematography by Allen G. Siegler are both competent and
completely in keeping with their extensive, mostly B-picture work.<br /></span></span></p><p>
<span style="font-size: small;"><span style="font-family: arial;"><span><span style="color: #ffa400;">Availability:</span> I can’t confirm an official DVD release. Occasionally a nice copy will be posted (and taken down) on YouTube, so keep a look out for it.</span></span></span><br /></p><p></p>Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-6383515103530094472022-04-10T16:36:00.006-04:002022-04-10T19:13:40.967-04:00JOAN BLONDELL is BLONDIE JOHNSON (1933)<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWgYx3vzedkMKk45MwQiisVh4HcLO_NAIoc5u4VivwpqVaICZNsD1TjY5W-LllXsFoMsI1RkrM6nQEqJvzj9yE9AGqJ2aHMoQ3hQ5gXlAmGFWIoQ4SPa3cSCT9s5rLfiSjP_hyJaYpFB2ls7HxjL0vPsGLEUGc4Vh9HJbIBl8qaZXpWIB7x7M7jAp8UQ/s1356/1%20BJohnson.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1356" data-original-width="1000" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWgYx3vzedkMKk45MwQiisVh4HcLO_NAIoc5u4VivwpqVaICZNsD1TjY5W-LllXsFoMsI1RkrM6nQEqJvzj9yE9AGqJ2aHMoQ3hQ5gXlAmGFWIoQ4SPa3cSCT9s5rLfiSjP_hyJaYpFB2ls7HxjL0vPsGLEUGc4Vh9HJbIBl8qaZXpWIB7x7M7jAp8UQ/w252-h342/1%20BJohnson.jpg" width="252" /></a><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="text-align: center;"><span style="color: #fcff01;"><span style="font-size: small;"><span style="font-family: arial;">LOVE made
her beautiful… WANT made her daring… MEN made her ruthless!</span></span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Joan Blondell steps into her first big lead role for this
Warner Bros Pre-Code gangster film with a twist.</span> For the first time, it’s the
rags to riches story of a female criminal, but she gets there by using her
brains and not her body – and without any machismo strong arm tactics.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Victoria ‘Blondie’ Johnson’s backstory is told in a quick
secession of powerful opening scenes that lets Blondell show off her
considerable, although frequently underused, dramatic acting chops. At the end
of her rope like so many others during the Depression, a disheveled Blondie is
denied government assistance after she loses her job for not giving in to the
advances of her boss. Her sick mother dies, following on the heels of the death
of Blondie’s younger sister (from an implied, but unstated illegal abortion) who
had ‘got into trouble'. Lectured not to lose hope by a well meaning, but
clueless priest, Blondie now knows how to take on the world;</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing" style="text-align: center;"><span style="color: #fcff01;"><i><span style="font-size: small;"><span style="font-family: arial;"> “I know what it's all about. I found out the only thing
worthwhile is dough! And I'm gonna get it, see!</span></span></i></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJoaUlWGlmy6P-M9CYTOKrGKMwaH2xafYf9XKzIa89JKs7H9WKtCFct8YEUlpZTA-Mnr_9LPmo2sIQfFCCFgWPGGgDa0474xInwOGqLQpoKy8a3SmAafyPuGwuNgR9BPPlqkRIMObs9ibUuV3oqnoZOaHwpmwIZl9-GC05Hr4foRso9MbhNFdQsFst3A/s743/2BLJ%20(2).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="353" data-original-width="743" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJoaUlWGlmy6P-M9CYTOKrGKMwaH2xafYf9XKzIa89JKs7H9WKtCFct8YEUlpZTA-Mnr_9LPmo2sIQfFCCFgWPGGgDa0474xInwOGqLQpoKy8a3SmAafyPuGwuNgR9BPPlqkRIMObs9ibUuV3oqnoZOaHwpmwIZl9-GC05Hr4foRso9MbhNFdQsFst3A/w459-h218/2BLJ%20(2).jpg" width="459" /></a></span></div><span style="font-size: small;"><span style="font-family: arial;"> </span></span><p></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Scraping together enough money to buy a snappy looking
dress, but otherwise broke, <span style="color: #ffa400;">Blondie has one thing going for her – brains</span>.
She’s quick enough to figure out the best angle for whatever it’ll take to move
her ahead. Hitting town, she teams up with her taxi driver (Sterling Holloway, above)
to run a small scale sob story scam fleecing dough out of men dopey enough to
give her taxi fare, plus a bit extra for the sake of her big puppy dog eyes.
His leads to her meeting Danny Doyle (Chester Morris), the not-too-bright, but
handsome, right hand man to mob boss, Max (Arthur Vinton), who is running this
part of town. <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijTnO-4wbpzSCNxPMt0kzJmwMWgKjVjY5vzSrvdlvvPF4vqvmMrWXbInw7adfmLLcqrBfwGf-IG_2cdSE4fO7Prr3IkXNZYtL42p4jfyzLOWVmghawoDPHKC1f35cp5B3B0UM_hN_h2Z6cuAUgHZ0HKHpCXwFEBb933-5PwRhsdQHDMqLfV5-LFDvsPw/s703/3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="387" data-original-width="703" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijTnO-4wbpzSCNxPMt0kzJmwMWgKjVjY5vzSrvdlvvPF4vqvmMrWXbInw7adfmLLcqrBfwGf-IG_2cdSE4fO7Prr3IkXNZYtL42p4jfyzLOWVmghawoDPHKC1f35cp5B3B0UM_hN_h2Z6cuAUgHZ0HKHpCXwFEBb933-5PwRhsdQHDMqLfV5-LFDvsPw/w428-h236/3.jpg" width="428" /></a></span></div><p></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Blondie sees Danny as her next step up the ladder and so enters
into a business partnership with him to advance his career – with her pulling the
strings. Blondie and Danny are also clearly hot for each other, but Blondie won’t
give in to sentiment until she’s acquired her goal of being on top. </span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing" style="text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"> <span style="color: #fcff01;"><i>“I got plans. Big plans! And the one thing that don't fit
in with 'em is pants.”</i></span></span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"> Danny also wants a success, but he’s not smart enough to see
Blondie’s end goal – all he can see is a gorgeous blonde. His inability to
think with his head and not his dick will be the wedge that ultimately splits
the partnership apart, with potentially deadly consequences.</span></span><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYp77LYDT3Ujg5CHCmQLhw_FJzPAvvketne_S98VlqjF2Jfj0tdjBBbkv8T-RLWbNUW3yCs5jCn723OUQ-6lj9j7cSsiaIahUqSWol7ZAybPn-XUEYNVIvXtr7z7_iCQVZ8zsdHIgfUZPsuMDbnvigMdlMyNxJT3arguitx6QZcvMRNKil9yhV-Eb1eQ/s1200/4BLJ%20(2).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="904" data-original-width="1200" height="329" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYp77LYDT3Ujg5CHCmQLhw_FJzPAvvketne_S98VlqjF2Jfj0tdjBBbkv8T-RLWbNUW3yCs5jCn723OUQ-6lj9j7cSsiaIahUqSWol7ZAybPn-XUEYNVIvXtr7z7_iCQVZ8zsdHIgfUZPsuMDbnvigMdlMyNxJT3arguitx6QZcvMRNKil9yhV-Eb1eQ/w437-h329/4BLJ%20(2).jpg" width="437" /></a></span></div><p></p><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Blondie starts by engineering a courtroom stunt to free Danny’s
immediate boss, Louie (Allen Jenkins, above right), from an iron clade case against him. She
pretends to be Louise’s pregnant bride-to-be, and swings the jury to a Not Guilty
decision with a funny, over the top performance. Everyone is happy except Max, who
had intended for Louie to take a fall to get the heat off his back. When Max
plans to retaliate against Danny, <span style="color: #ffa400;">Blondie steps in to smoothly take control of
his gang and engineers to have Max rubbed out.</span></span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Blondie then starts up a large front operation with Danny
as titular head, but with her running the operation behind the scenes. The office
is massive, employing more staff than most large newspapers. What the business
is supposed to be is never clarified, but it’s related to the ‘insurance’ scam
that Max had been previously running. </span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Danny continually pushes Blondie to give in to his
advances. Even her girlfriends wonder why she’s holding out when she clearly
loves the big palooka. When she refuses, Danny’s man-child reaction is to be a
jerk. He takes up with Max’s ex-main squeeze (Claire Dodd) and neglects the
business. Things come to a head when the gang rallies behind Blondie as she
pushes Danny out of the gang and the head office, and into the gutter.<span> </span> <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhllR6Y2g1tQawvvtYrqbarQdimbAPJZ6o2epT10GOwcKNBLqMMfoqqfGL8rYOzfcgw06QEd7b4ixf9c-VNVnPzjiPzc0cjB6O9cUoxDSWPO5R0QTOhVwqep8Py-4COdq461pE3mhMK1GL213RHEv3eX4sncnLZPOGFlTChaQNovnsu19pqdlwKhEc00g/s801/5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="477" data-original-width="801" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhllR6Y2g1tQawvvtYrqbarQdimbAPJZ6o2epT10GOwcKNBLqMMfoqqfGL8rYOzfcgw06QEd7b4ixf9c-VNVnPzjiPzc0cjB6O9cUoxDSWPO5R0QTOhVwqep8Py-4COdq461pE3mhMK1GL213RHEv3eX4sncnLZPOGFlTChaQNovnsu19pqdlwKhEc00g/w435-h259/5.jpg" width="435" /></a></span></div><p></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">The business is running smoothing with Blondie now the official
public face until Louie gets fingered for Max’s murderer. Who sold him out? The
gang is convinced that Danny squealed and demands that Blondie give the order
to have him silenced. In a tense scene, we watch Blondell’s face display her
conflicted emotions at giving that order. But can she go through with it?</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Without giving too much away, the film ends two
minutes too late on a quasi-happy note, not dissimilar to Barbara’s Stanwyck’s
exit in <i>Remember the Night</i> (1940). The very long leash given to Blondie’s criminal
activities and her refusal to defer to a man throughout the film is suddenly snapped
back in what feels like a studio mandated ending designed to send the audience
away in an upbeat mood. The penultimate scene between Blondie and Danny would
have made for a very satisfying finale without betraying the arc of the film or
its characters. Alas, such ‘happy’ endings were <i>de rigueur</i> for many films of
the day and would certainly be the norm starting a year later when the Code
began enforcing its own rules.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><i>Blondie Johnson</i> gives Joan Blondell what might well be
her best sustained performance in any of her many films (she made an amazing 38 movies between 1930 and 1934). She gets to run the gamut
of emotions while still maintaining her high quotient of quotable quips that she was
noted for. Joan is believable both as both a beaten down waif and as the glamorous Queenpin
of a powerful criminal organization.</span></span></p><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWXVLoWXBnjrwmf6U1xKx_zKr3dA_agO4wnt7zg7YOzd-Kous5wS1xZ6U-5ucx1HTJyUi63b-iGgZCmng1XqmyHqQ92wPxUNqW4wJmlwAhJVZTphm2UuXttPTPI6ISbitbAbGpP0amgh0WWEAe5Le3j_q5D6ryIz8k4RaftRYj6VZEHsLizwymRntCiw/s520/5%20BJ.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="501" data-original-width="520" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWXVLoWXBnjrwmf6U1xKx_zKr3dA_agO4wnt7zg7YOzd-Kous5wS1xZ6U-5ucx1HTJyUi63b-iGgZCmng1XqmyHqQ92wPxUNqW4wJmlwAhJVZTphm2UuXttPTPI6ISbitbAbGpP0amgh0WWEAe5Le3j_q5D6ryIz8k4RaftRYj6VZEHsLizwymRntCiw/w360-h346/5%20BJ.jpg" width="360" /></a></span></div><span style="font-size: small;">Chester Morris is Blondell’s perfect match in the film.
Most noted for his long run playing the title character of the <i>Boston Blackie</i>
films in the 40’s, he is convincing as the semi-ambitious, handsome, but slightly
dumb lump of clay that Blondie can mold to get what she wants. Morris isn’t
required to show a very wide range of reactions, but that’s what you would
expect from a guy like Danny.</span><p></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">The film is stuffed full of great character actors, lead
by <i>The Falcon</i>’s (Tim Conway) sometimes right hand man, Allen Jenkins. Jerkins specialized
in playing sidekicks to detectives, cops and gangsters. Even though he arranges
to have his old boss rubbed out, you get the feeling that Jenkins could
never do you any real harm (watch him opposite Lee Tracy in <i>The Blessed Event</i>, 1932, as
an amusingly nonthreatening thug). Jenkins’s was born to play the comedic foil
and he will always have a special place in my heart for voicing Officer Dibble
on <i>Top Cat</i> (1962).</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Also keep an eye open for Tom Kennedy, who played the
poetry-reciting cop in the <i>Torchy Blaine</i> series and for Mae Busch who was Oliver
Hardy’s long suffering wife in several Laurel and Hardy films. I recently watched
her give a great performance as Lon Chaney’s girlfriend in <i>The Unholy Three</i>
(1925). Also spotted was the quintessential pencil-necked sourpuss, Charles
Lane, making a brief appearance as a cashier.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Although technically a drama, the actors deft handling of the script gives <i>Blondie Johnson</i> the feeling of an edgy romantic comedy, a
feeling greatly enhanced by Blondell’s sharp, acerbic dialogue. Minus the
gangster angle, the plot of the film parallels <i>Baby Face</i> (1933) that would open
just four months after <i>Blondie Johnson</i>. Barbara Stanwyck’s character in <i>Baby Face</i> also maneuvers
to the top of the world, but unlike Blondie, she’s explicitly gets there on her
back. The much darker and richer <i>Baby Face</i> would be one of the last straws for
the industry before the Code clamped down on ‘amoral’ female leads, shutting
them up and putting them back in the kitchen where it believe they belonged.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><i>Blondie Johnson</i> is perhaps the definitive feminist
gangster film, showing the world what a criminal organization run by a woman
would be like. Although Blondie is no less ruthlessness than her male
counterparts, her decisions are not ruled by testosterone. She gains the
complete loyalty of her gang not through fear and intimidation, but through the
good management techniques of treating them with respect and not welshing on
their share of the take. </span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO119roCQjNlp4dfz4_qa7j8wiOoY-hAgyW2VTZaux2SJVkKGecgRxpPl-jN0cOu-ZC6e55pirA6EdwGRLHSrrEQwdWBOUPMFaMg_WLsQjivGTcBy6QXTUQ2Xx-IDLqHQpgfgdlxzkDNQSfSuLT6GNPS8gDrS1TGmPLUXE02bSu26xZaWNW-2iKSEhfg/s573/6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="277" data-original-width="573" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO119roCQjNlp4dfz4_qa7j8wiOoY-hAgyW2VTZaux2SJVkKGecgRxpPl-jN0cOu-ZC6e55pirA6EdwGRLHSrrEQwdWBOUPMFaMg_WLsQjivGTcBy6QXTUQ2Xx-IDLqHQpgfgdlxzkDNQSfSuLT6GNPS8gDrS1TGmPLUXE02bSu26xZaWNW-2iKSEhfg/w495-h239/6.jpg" width="495" /></a></div><span style="font-size: small;"><span style="font-family: arial;">Blondie’s inner circle of confidants are two women who
were with her from the beginning – Mae Busch and Toshia Mori (<i>The Bitter Tea of
General Yen</i>, 1932)(both above). Pay attention to how they are framed whenever they appear
on screen. In their almost every scene, they are interacting only with Blondie
and without the presence of men, or at least putting them in the positions of
on-lookers. It’s never made clear as to what their role in organization is, but
they whatever they do, they clearly have clout.</span></span><p></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><i>Blondie Johnson</i> was directed by Ray Enright and Lucien
Hubbard from a screenplay by Earl Bladwin (<i>Doctor X</i>, 1932; <i>Wild Boys of The
Road</i>, 1933). </span></span><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;">Tony
Gaudio</span></span>, prolific cinematographer and frequent cameraman for Bette Davis, knew his way around a gangster story, having helped to establish the
Warner Bros look in the 1930’s. He won an Oscar for his work on <i>Anthony Adverse</i>
(1936), with his best-loved work probably being for the breathtaking Technicolor
cinematography of <i>The Adventures of Robin Hood</i> (1938).</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Is <i>Blondie Johnson</i> Worth My Time?</span> A two-thumbs up, yes.
Almost everything works in this 67 minute film that is a showcase for Joan
Blondell's huge talent. It’s relatively light touch also makes it the perfect 1930’s Warner
Bros gangster film for people who don’t like 1930’s gangster films.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: small;"><span style="font-family: arial;">
<span><span style="color: #ffa400;">Availability:</span> Warner Archive released <i>Blondie
Johnson</i> a few years ago on DVD. It’s also currently playing on a variety of
streaming services. </span></span></span></p><p><span style="font-size: small;"><span style="font-family: arial;"><span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQcbbw-vybbsNJudT-u_Qs92vKnwbqxOzZDNw7eubvPE07UMHVeEbodYyix_aJZBTOZs4rsYwTECgJEDb3ptM9uuxxn__TfTltxLnRyFrG7fb_XGVLwybTZhb4jiY3kL0gG3IJZg7p0qXE5W6DP_QC20MlDZztO1Cy43yTUpZp97-OyzH-6vm5GtGK6Q/s692/7.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="333" data-original-width="692" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQcbbw-vybbsNJudT-u_Qs92vKnwbqxOzZDNw7eubvPE07UMHVeEbodYyix_aJZBTOZs4rsYwTECgJEDb3ptM9uuxxn__TfTltxLnRyFrG7fb_XGVLwybTZhb4jiY3kL0gG3IJZg7p0qXE5W6DP_QC20MlDZztO1Cy43yTUpZp97-OyzH-6vm5GtGK6Q/w460-h221/7.jpg" width="460" /></a></span></div><span style="font-size: small;"> <div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="325" src="https://www.youtube.com/embed/kO95iUPOpms" width="390" youtube-src-id="kO95iUPOpms"></iframe></div><br /></span><p></p>Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-57359249342231350132022-03-28T16:58:00.035-04:002022-03-29T16:11:51.915-04:00I WALK ALONE (1947) with Burt Lancaster & Lizabeth Scott <p class="MsoNoSpacing" style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2peOnrxDUZ72PVPGOrAJcGlxgB9UeJPU2W4cu6ujbbUOufy9n2pdm-Mq4Nrjna_y6CAWE-osl-L-jq9H1MJu7R4C_TaRE9sX3ujSYyubwkyJAYKrd6J3j8s2qLSBs_r_A7tiuCykJQjz7faYezdysmL3NyKSnZnIECG1uYBwCF_qjY-H--HnddkwgKA/s1130/1%20title.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1130" data-original-width="800" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2peOnrxDUZ72PVPGOrAJcGlxgB9UeJPU2W4cu6ujbbUOufy9n2pdm-Mq4Nrjna_y6CAWE-osl-L-jq9H1MJu7R4C_TaRE9sX3ujSYyubwkyJAYKrd6J3j8s2qLSBs_r_A7tiuCykJQjz7faYezdysmL3NyKSnZnIECG1uYBwCF_qjY-H--HnddkwgKA/w289-h408/1%20title.jpg" width="289" /></a><br /></p><p class="MsoNoSpacing" style="text-align: center;"><!--[if gte mso 9]><xml>
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<![endif]--><span style="color: #fcff01;"><span style="font-size: small;"><span style="font-family: arial;"><span>ONCE
I TRUSTED A DAME... NOW I WALK ALONE!</span></span></span></span></p><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Fourteen years ago, Frankie Madison (Burt Lancaster) and Noll
‘Dink’ Turner (Kirk Douglas) were small time bootleggers</span> making a reasonable
living running whiskey to supply their little speakeasy bar. But, when one fateful
run goes bad, the two split up over a handshake promise to get the other a good
lawyer and a guaranteed 50% stake in their business if one of them gets caught & sent up the river.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Now it’s 1942 and prohibition has been over for nine years.
Frankie's released from prison and goes looking for the 50% cut of his 14 years of accrued
profits, plus interest. But times have changed. Dink has parlayed
the speakeasy into a respectable, high class joint, The Regent Club, which he has
no intention of splitting with his old partner. Frankie’s Age of Bootleggers &
Gangsters has now been replaced by a slick, post-war</span></span><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;"> </span></span> Brave New World where illegal
activities don't use</span></span><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;"> Tommy
guns, just</span></span> a fountain pen entry in a ledger book. Can Frankie’s old school strong arm tactics be enough to trump Dink’s
savvy brand of legalized corrupt capitalism? </span></span></p><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">A showdown is coming and the only wild
card in the scenario is, of course, a dame – Kay Lawrence (Lizabeth Scott). </span><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaYfmYc8zS7r08U7RuZZkLIrZJin_z2kvHAp2kqjiwtsNsVl7iHB8fsOl6q0ZP4D9LTGvN0KZ2TDZH2tO5zBN4i9RQRVV8KIO70i3AYnmbwTB3hg9nnrW-z00-dURBf7i6P0-hEaTSUeMqVTtEzC2zMIKIaOVLBeCSJUgBuf-3XS0O_RpVHLWZG4Uucg/s1082/2%20scott%20and%20burt.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="661" data-original-width="1082" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaYfmYc8zS7r08U7RuZZkLIrZJin_z2kvHAp2kqjiwtsNsVl7iHB8fsOl6q0ZP4D9LTGvN0KZ2TDZH2tO5zBN4i9RQRVV8KIO70i3AYnmbwTB3hg9nnrW-z00-dURBf7i6P0-hEaTSUeMqVTtEzC2zMIKIaOVLBeCSJUgBuf-3XS0O_RpVHLWZG4Uucg/w531-h323/2%20scott%20and%20burt.jpg" width="531" /></a></span></span></div><p></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">I Walk Alone (1947) </span>is based on the play <i>The Beggars Are Coming
to Town</i> by Theodore Reeves, with a an adaption by Robert Smith (<i>99 River Street</i>,
1953) & John Bright (<i>The Public Enemy</i>, 1931), and a screenplay by Charles
Schnee (<i>Red River</i> (1948) and <i>The Bad and the Beautiful</i> (1952)). The ‘I’ in the
title seems to be directly referring to the nation of disoriented WWII veterans
who had fought a war where the strength of their hands and spirit, derived from
generations of rugged pioneer life, was enough the win the Big Prize. But, like
Frankie, they’ve came home to find their former reality erased and replaced by
a capitalist system based not on success by hard work, but rather by manipulating
the rules and red tape that can conceal and legitimize any criminal activity. <br /></span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-FiJFsQZUFSZmFm4CyvTfwH7fa0kRzHX4NrtDrHxa2ogys_3Wn30ucnfKcRqg9_Kj_OKmWt0S-k8A3zmRdrkyBdz6qYAVJKcEogvKSggbmsl_VKdoiWzXNMVl9l8wStE1A2iSnufyn9bEtqq0479BySLCBHq62UL65jCTyF77LYKOO-QJZlFePd4FIQ/s1000/3%20Cory%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="1000" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-FiJFsQZUFSZmFm4CyvTfwH7fa0kRzHX4NrtDrHxa2ogys_3Wn30ucnfKcRqg9_Kj_OKmWt0S-k8A3zmRdrkyBdz6qYAVJKcEogvKSggbmsl_VKdoiWzXNMVl9l8wStE1A2iSnufyn9bEtqq0479BySLCBHq62UL65jCTyF77LYKOO-QJZlFePd4FIQ/w537-h322/3%20Cory%201.jpg" width="537" /></a></span></span></div><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">When Frankie pulls together a new gang to force Dink into giving him what he believes he deserves, the film shifts into
what amounts to a cold-hearted lecture aimed squarely at the ex-servicemen in
the audience about how the new post-war America actually works. The always boring to watch
Wendell Cory channels his own bland personality playing Dink’s accountant, Dave, as he dryly
explains the tangled shell game of dummy corporations that leaves Dink in charge
of his operation, but only owning a small percentage of it. Frankie’s gang slowly
realizes that there is nothing to muscle in on and drifts away – how do you
threaten a bunch of intangible laws and regulations? They even apologize
to Dink on their way out, probably hopeful for future work with his winning
side.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Can Frankie rally his now outdated skills to beat Dink at
a game he doesn’t really understand? Fortunately he has two things on his side –
the love of Kay who’s just been dumped by Dink as he sleeps his way up the
social register, and the finally pushed-too-far Dave, whose illegal second set
of ledgers for The Regent Club could end Dink’s high life career. <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUDPK6AVWBzsdPtIbciCYY4uGvPEOZhintJgyuy4FVN1lKAoL7iThRC3bn2Gc1bxsAi50U0m3xjdQvOn4fEZBmorZGI00Uvo24sNvMja8o0cU25rbfieTHSYtJPxU0fytIgruvwKURpXh8fKMpwMOkGm6CoODFx9Ku9ZoLXNDirmtHI0SJZ1vTEZ8HDQ/s1020/4%20climax.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="552" data-original-width="1020" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUDPK6AVWBzsdPtIbciCYY4uGvPEOZhintJgyuy4FVN1lKAoL7iThRC3bn2Gc1bxsAi50U0m3xjdQvOn4fEZBmorZGI00Uvo24sNvMja8o0cU25rbfieTHSYtJPxU0fytIgruvwKURpXh8fKMpwMOkGm6CoODFx9Ku9ZoLXNDirmtHI0SJZ1vTEZ8HDQ/w505-h273/4%20climax.jpg" width="505" /></a></span></span></div><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">In the fateful final showdown, it boils all down to this
statement by Frankie to Dink, <span style="color: #ffa400;"> </span></span></span></p><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">“<i>When it comes to stocks and papers, and books
that don’t balance, you’re better than me. But, when it comes to guns, you’re
down on my level</i>.”</span> </span></span></p><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">The last act of the film shifts into high gear after the
steady build up of its first two-thirds, making the audience hold on through multiple
sharp turns<span> </span>that will leave them guessing
(well, maybe not too hard) as to the final resolution. </span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Three main stars of the film – Burt, Kirk and Lizabeth </span></span><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;">–</span></span> were only one or two years into their careers at this point, but they already
had the charisma and acting chops would carry them on to their varying degrees
of stardom. </span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Burt Lancaster </span>plays Frankie as a man uncomplicated by any
deep understanding of his world – does a fish even notice the water it's
swimming in? Some reviewers have criticized Lancaster’s two note performance –
dumbfounded or rageful – as lacking depth, but I don’t see any other way that
the character could have been portrayed. What Frankie wants he takes by the
strength of his hands and a willingness to take big risks – easy to do when you
have nothing to lose. Lancaster would specialize in characters who didn't like to be pushed around.<br /></span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Kirk Douglas</span> was establishing himself as an actor who
could smoothly inhabit any cool & ruthless crime boss who always has an angle to
play. Douglas’s role as Noll (always 'Dink' to Frankie, but nobody else) is
just a slightly different take on the part that he had just played opposite Robert
Mitchum and Jane Greer in <i>Out of the Past</i> (1947). Aspects of this character
would be a hallmark of the rest of Kirk’s career. <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlgs8UBeNRLz7eHLB_cdVuBVMfXImhjgOLrg210OrZV6bKWkYFSnw7g3kuHA-an-BQ6Psrc-s0JfsjsQeZUpAl8LkDxH5ziAVOGKnIZhCjJ-dqp79t6p49R3UxoKjbJLjBk8dsfRf8Xya3h2kELxgzBd7EL7oXlXZ0gwE9eR05FW8eMNrsMLaRgfygNQ/s797/5%20Scott%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="769" data-original-width="797" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlgs8UBeNRLz7eHLB_cdVuBVMfXImhjgOLrg210OrZV6bKWkYFSnw7g3kuHA-an-BQ6Psrc-s0JfsjsQeZUpAl8LkDxH5ziAVOGKnIZhCjJ-dqp79t6p49R3UxoKjbJLjBk8dsfRf8Xya3h2kELxgzBd7EL7oXlXZ0gwE9eR05FW8eMNrsMLaRgfygNQ/w393-h380/5%20Scott%201.jpg" width="393" /></a></span></span></div><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Lizabeth Scott</span>’s unusual beauty and husky voice made her
a natural for the film noirs that she would become noted for. Groomed as a
Lauren Bacall clone, she and Bacall had one defining difference that would
always separate the two. No matter how down on her luck Bacall’s character may
have been, she could never help but radiate sophistication and class. In
contrast, Scott was always a ‘dame’ – and we loved her for it. Always on the wrong
end of bad deal, you knew that no matter how hard Scott tried, she was always
going to end up unhappy (e.g., <i>Pitfall</i>, 1948). <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEsv114i8AKNzHvQnk14VjG-DhJR8kRJQ0nD6cfY6XZhf_g1cX5HrJMSE8R2qvnr4V7c0Enj3BpJDTYZlO8924RGAiNlsd7bT86CWQmELjCnEFi9uMEL_S-FJbfHhXriLzk2CYSLQ117GU67zAT3h-U9sPgPSE6C3lnEiwnnPJNAzmPMRU7c_M-s8jDw/s1059/6%20Mike.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="607" data-original-width="1059" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEsv114i8AKNzHvQnk14VjG-DhJR8kRJQ0nD6cfY6XZhf_g1cX5HrJMSE8R2qvnr4V7c0Enj3BpJDTYZlO8924RGAiNlsd7bT86CWQmELjCnEFi9uMEL_S-FJbfHhXriLzk2CYSLQ117GU67zAT3h-U9sPgPSE6C3lnEiwnnPJNAzmPMRU7c_M-s8jDw/w500-h286/6%20Mike.jpg" width="500" /></a></span></span></div><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">I always enjoy watching the supporting actors with small
parts in these old films. Among the notables here is fan favourite, Mike Mazurki (Dan) (above), one
time member of the Frankie-Dink Gang, now holding down a job as Dink’s Doorman/Bouncer/Muscle. Mazurki was sort of the Dwayne Johnson
of his day. A former wrestler, the 6’5” Mazurki was a busy actor almost always
playing a beetle-browed heavy. He was likely hired for this part because he
would have been the only actor in Hollywood who could have been believable in
taking Burt Lancaster out with one punch. Also watch out for Former World
Middleweight Boxing Champion, Freddie Steele, as a member of Frankie’s short
lived gang. He may be best remembered for starring alongside Robert Mitchum in
<i>The Story of G.I. Joe</i> (1945).</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">The number one reason to watch this film is for the
storytelling skills of director Byron Haskin.</span> Every shot is perfectly composed
and lit for maximum noir-like effect. Normally I’d credit this to the
cinematographer <span> </span>– Leo Tover, the highly
regarded lensman behind a number of terrific films from the 40’s & 50’s –
but Haskin’s strong hand makes what is frankly an average, oft told story,
compelling. Every scene is a master class in how to have your characters
interact for maximum audience engagement, even when the dialogue seems more
theatrical than real.</span></span></p><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Haskin’s early career began with him directing in the 20’s
before becoming a cameraman and special effects expert. From 1937 to 1945, he
headed up the Special Effects Dept. for Warner Bros, earning four Academy Award
nominations. <i>I Walk Alone</i> was his first credited directorial role in the talkie
era, a career that lasted into the late 60’s. He was a frequent collaborator with
producer, George Pal (e.g., directing <i>War of The Worlds</i>, 1953), and is
responsible for directing arguably the two best Science Fiction stories ever
filmed, <i>The Outer Limits</i> episodes <i>Architects of Fear</i> (1963) and <i>Demon With A
Glass Hand</i> (1964). </span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Is <i>I Walk Alone</i> Worth My Time?</span> Definitely. While not a
true Noir (as I would interpret the genre), it pulls no punches in its depiction
of ruthlessness and treachery that end up getting their requisite karmic sting
in the end. At 97 minutes, it’s a nicely streamlined, if not original story,
featuring three great actors at the dawn of their careers and peak of their
beauty.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Availability:</span> <i>I Walk Alone</i> (1947) finally got a nicely
cleaned up DVD release from Warner Archives in 2018, having gone missing since
being in heavy rotation on television in the 60’s and 70’s.</span></span></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="327" src="https://www.youtube.com/embed/GdL9Ac8nkMQ" width="393" youtube-src-id="GdL9Ac8nkMQ"></iframe></div><br /><p class="MsoNoSpacing" style="text-align: center;"><br /></p>
Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-35515514342147455602022-03-21T19:14:00.049-04:002022-03-28T19:45:49.888-04:00THE HAIRY APE (1944) –William Bendix is King Kong!<p><span style="font-size: small;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXsx0bXtxy2FDM7ptsnXq68Ziuse7iUpQWNkFRZSBEUZyAoSfjEuoFPOSLBgomwoHVAvoBVXwOM5Oea5MWFNyWDjyshXyca-hNiNuG1FrQZX9VGeSJQtqfhIXE7q_WftXwZlg0AgHKRRuCK1UHCuTSjBF8xQXZv_3xlixBVhRz9t50zG4Vt7eIDyzKw/s2886/Hairy%20Ape%203.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2256" data-original-width="2886" height="349" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXsx0bXtxy2FDM7ptsnXq68Ziuse7iUpQWNkFRZSBEUZyAoSfjEuoFPOSLBgomwoHVAvoBVXwOM5Oea5MWFNyWDjyshXyca-hNiNuG1FrQZX9VGeSJQtqfhIXE7q_WftXwZlg0AgHKRRuCK1UHCuTSjBF8xQXZv_3xlixBVhRz9t50zG4Vt7eIDyzKw/w446-h349/Hairy%20Ape%203.jpg" width="446" /></a></span></div><span style="font-size: small;"><span style="font-family: arial;"> </span></span><!--[if gte mso 9]><xml>
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<p></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #fcff01;">"NO DAME'S GONNA CALL ME THAT!"</span><span> </span></span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;">Bestial steam ship coal-stoker Hank Smith (William Bendix)
is insulted by cruel, self-serving Mildred Douglas (Susan Hayward) and seeks
either revenge or self-understanding— maybe both! <i>Warning – spoilers head</i>.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Hank Smith is a brutal, non-thinking animal of a man</span> who
only lives to feed the furnace of the dilapidated steam freighter he thinks of
as his own, berating his fellow workmen to shovel ever harder & faster. On
rare shore leaves, he carouses with his only two companions – the older, philosophical
Paddy (Roman Hohnen) and beer-money providing Long (Tom Fadden) – who both care for Smith despite his abdominal behaviour towards them and the world. </span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;">Smith only has a dim understanding of women.
Attracted to a bar waitress who he has just casually roughed up, he does not know how to
deal with her come-hither response to his raw masculinity. The best he can do
is unerringly flip a coin across the bar into her cleavage. Clearly, Smith’s
only sexual outlet is his <a href="https://www.youtube.com/watch?v=tUiP5eyx3NM">machine-like shoveling</a> of coal into the insatiable
furnace of the ship, his one true love.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL2SxgFGd02r9cs3YYV6jRaldnz620rp6fei64GkX7OexFqEz2BeJYNdIqf8jxCfrgHBYZigmHDlq3g9U2mq1rmgyPV8pD30FYOQx38EKcAGT4SqrGHa1aiccRB2NEKaKTMJNN0qr9MstTWtQf2bhqob3ipXQLyQuC_xmHDQ_5vCr9IV8z2MbhqftpIQ/s1022/3%20Susan%20Hayward%20The%20Hiry%20Ape.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="794" data-original-width="1022" height="353" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL2SxgFGd02r9cs3YYV6jRaldnz620rp6fei64GkX7OexFqEz2BeJYNdIqf8jxCfrgHBYZigmHDlq3g9U2mq1rmgyPV8pD30FYOQx38EKcAGT4SqrGHa1aiccRB2NEKaKTMJNN0qr9MstTWtQf2bhqob3ipXQLyQuC_xmHDQ_5vCr9IV8z2MbhqftpIQ/w454-h353/3%20Susan%20Hayward%20The%20Hiry%20Ape.jpg" width="454" /></a></span></div><span style="font-size: small;"><span style="font-family: arial;"></span></span><p></p><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Mildred Douglas is a spoiled rich beauty</span> whose only use for
people is manipulating them into giving her what she wants. We’re introduced to
her as she is forced to book passage on Smith’s steam ship, captained by actor
Alan Napier – Alfred to Adam West’s Bruce Wayne – when she is all but thrown
out of Lisbon. Mildred had accompanied her childhood friend, Helen Parker
(Dorothy Comingore), to Portugal to help in some unspecified way with war relief,
but instead she partied as the city burned. When presented with
her exit visa, Mildred laughs off the harsh words leveled at her, and turns an
indifferent eye to the beaten down refugees whose place she is usurping on the
ship. Once on board, she coos her way into the best accommodations – the cabin
of Helen’s sweetheart, 2nd Engineer, Tony Lazer (John Loder). Tony becomes
helpless clay in Mildred’s hands and throws over plain, but sincere Helen thinking that vivacious
Mildred is actually sweet on him. </span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;">Mildred lies her way into getting a tour of the boiler room,
leading to the iconic confrontation between filthy, shirtless Bendix in all his sweaty
glory and the almost-virginal-in-white Hayworth. Locking eyes, the two are
stunned into silence. Never has a woman been in the furnace room and never has
Smith ever seen one so beautiful. The camera focuses and holds on
the bewilderment expressed on Bendix’s face as his Smith tries to process what he sees – something
that should not exist! Mildred is also stopped dead in her tracks. For once in
her life she does not have a snappy quip to defuse the situation. She has never
experienced anything like this primal fury inches away from her. Her eyes
betray a dozen emotions in a flash - shock, terror, fear, and is that…? Yes!
<span style="color: #ffa400;">Pure carnal lust! </span>Just as we saw in the abused, but aroused barmaid.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;">Mildred recovers in a second, hurls the title-generating insult,
“<span style="color: #fcff01;"><i>Don’t touch me you ape, you hairy ape!</i></span>” and bolts away. Both partners are left
shaken by the event. Mildred broods on deck in perhaps the only self reflection
she will ever do in her vapid life. But, she quickly recovers, dumps the
now-unless to her Tony, who is left spinning in the knowledge of how cruelly he’s
been exploited, and returns to her high society life of self-important
meaninglessness.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFH6t-bojr2v3zklefY0xICOgzUwwZAtRYY1PYG6K2H8m14EJpfKKcJkmtxzffasT7DaIXjONQ3zLq19kOsr44b3sgyybc7YJ6awKhbCUhnYxfzoi69vZCXYqDLfgUrDWXwTEe82ULrLELvZrcPiVkbS6Td1RZ7qZ7tnBucmiLJniGrOuNJML6ijQebA/s900/2%20Hairy%20Ape%205.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="631" data-original-width="900" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFH6t-bojr2v3zklefY0xICOgzUwwZAtRYY1PYG6K2H8m14EJpfKKcJkmtxzffasT7DaIXjONQ3zLq19kOsr44b3sgyybc7YJ6awKhbCUhnYxfzoi69vZCXYqDLfgUrDWXwTEe82ULrLELvZrcPiVkbS6Td1RZ7qZ7tnBucmiLJniGrOuNJML6ijQebA/w456-h319/2%20Hairy%20Ape%205.jpg" width="456" /></a></span></div><span style="font-size: small;"><br /><span style="font-family: arial;">Smith is more drastically affected. For the first time in
his life he sees himself as others see him. With a growing glimmer of thoughtfulness,
he struggles to understand what that means. We’re even shown him brooding in
the classic Rodin ‘The Thinker’ pose in a call back to a scene from the Eugene O’Neill
play that the film is based on. Mildred’s insult has eviscerated him to the
point that he becomes too limp and impotent to shovel enough coal to keep the
ship up to steam. With real consequences – the ship has fallen behind the protective
convoy it was sailing back to the USA with, leaving it vulnerable to (unnamed)
enemy attack.</span></span><p></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;">Once in New York, Smith stalks Mildred in an attempt to get
her to explain the meaning of her insult. This only lands him in jail where he’s
humiliated by the police and left like a broken zoo animal in a cage. Sprung on
bail by his friends, Smith ends up at a sideshow where he sees and acknowledges
himself as being no different than the caged gorilla (played by frequent ape
suit actor, ‘Crash’ Corrigan) in another call back to the play.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieOuPfkYXE77yzANWPZtZfj2Wq0aGkcZy9Z4-TVzNRKpxT4sB1tr95XkDn5XBTUF63GjJXfUJQocS3FYOMaBvvBuYoQrE0Wgn-Hy-bW5qW0rlkH-G40lNto5__h016TgoRRZtRCKwIjWxsMYzGCDD7gCPViqnPqy6_08VYljKaycG7PuOB7Fp7adNkPg/s2187/X%20hairy%20Ape.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2187" data-original-width="1696" height="403" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieOuPfkYXE77yzANWPZtZfj2Wq0aGkcZy9Z4-TVzNRKpxT4sB1tr95XkDn5XBTUF63GjJXfUJQocS3FYOMaBvvBuYoQrE0Wgn-Hy-bW5qW0rlkH-G40lNto5__h016TgoRRZtRCKwIjWxsMYzGCDD7gCPViqnPqy6_08VYljKaycG7PuOB7Fp7adNkPg/w313-h403/X%20hairy%20Ape.jpg" width="313" /></a></span></div><span style="font-size: small;"><span style="font-family: arial;"></span></span><p></p><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;">Smith eventually sneaks into Mildred’s luxury apartment. <span style="color: #ffa400;">Neither
the audience nor Smith knows what will happen next.</span> Overpowered by Smith, Mildred
displays the same range of emotions that she experienced at their first
meeting. Riveting Smith with a look of confusion and lust, the bewildered Smith seems
to actually believe in the possibility of some real connection with a woman. But,
the moment Smith lets his guard down, Mildred bolts for the door. Smith catches
her and throws her back on the couch. The scene crackles with expectation. What
will Smith’s next move be? After a long pause, he pulls out a coin and flips it
across the room, directly down Mildred’s décolletage. He exits a happy man,
knowing that underneath whatever facades we might have, <i>we are all just hairy
apes</i>. Whether Mildred has experienced any life-changing enlightenment is left
hanging.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeQccsJcDeENLGC_6cqCFH1Vfg7lrVPQS7Q0O8F3fDe4-MdSYZiNFMGNPueAU5BMKqfnhp5TOaakWeCG0w_CP8SCJ2dyk0c_jKIGcytnQWC8WHoHTegYgyWxPWMEQMSP-IsFQlIZQt-aLXKNZK8HGTA43LTjMwJpPPg8UkGn1teEaMdId0CLe8dD1u7g/s1440/4%20Hairy%20Ape%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="960" height="499" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeQccsJcDeENLGC_6cqCFH1Vfg7lrVPQS7Q0O8F3fDe4-MdSYZiNFMGNPueAU5BMKqfnhp5TOaakWeCG0w_CP8SCJ2dyk0c_jKIGcytnQWC8WHoHTegYgyWxPWMEQMSP-IsFQlIZQt-aLXKNZK8HGTA43LTjMwJpPPg8UkGn1teEaMdId0CLe8dD1u7g/w332-h499/4%20Hairy%20Ape%202.jpg" width="332" /></a></span></div><span style="font-size: small;"><span style="font-family: arial;"></span></span><p></p><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;">Based on the posters and press that I’ve seen for <i>The Hairy
Ape</i>, it was not marketed to 1940’s bohemian intellectuals who would have bought
tickets to the 1922 play, but rather squarely to an audience who were expecting
a ‘gorilla abducts white woman’ film in the long tradition of such movies – <i>The
Gorilla</i> (1921), <i>Murders in the Rue Morgue</i> (1931), <i>The Bride of the Beas</i>t (1958)
and dozens of others (for more on the history of this trope I recommend reading
the paper <a href="https://www.jstor.org/stable/20067130">Fremiet's Gorillas: Why Do They Carry off Women?</a></span></span><span style="font-size: small;"><span style="font-family: arial;"> </span><span style="font-family: arial;">by Zgórniak et al., 2006). <i>The Hairy
Ape</i> even follows the plot of King Kong (1933); ‘hairy ape’ meets beautiful girl
in exotic setting, followers her to Manhattan, gets imprisoned, breaks free & climbs skyscraper with girl in his arms. Fortunately our hairy ape realizes
that the ‘dame ain’t worth it’ and sails away back home, happy with his new
primitive understanding of the world and his place in society.</span></span><span style="font-size: small;"><span style="font-family: arial;">
</span></span></p><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><i>The Hairy Ape</i> (1944) is based on an infrequently produced
play by Nobel and four-time Pulitzer-Prize winning playwright, Eugene O’Neill. The
original existential 1922 play is, as I interpret it, about the plight of uneducated,
mostly immigrant workers trying to understand their place in American society
where they only exist to run the soulless machinery that keeps the elite
industrialists rich and their children spoiled (predating </span></span><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;">Fritz Lang's</span></span> similarly themed <i>Metropolis</i> by five years). Our protagonist gains a sort of
dim self-enlightenment as he tries to organize the workers to fight the
capitalists, only to realize the futility of his actions. Accepting his fate,
he meets his end in the arms of his mirror image – a gorilla that crushes the
life out of him. </span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">O’Neill specialized in painting unflinching portraits of
broken and often petty individuals as they reflected what he saw in society.
Much of his work – like <i>Long Day’s Journey Into Night</i> – was drawn from his jaundiced
views of himself and this family, which he often held in low esteem. Was O'Neill perhaps projecting part of himself into the play's lead? <br /></span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">The screenplay by prolific novelist and radio show writer,
Robert Hardy Andrews, and Decla Dunning is a rare example of a stage production
that probably would have been a difficult movie to watch being turned into a gripping film portrayal of lives unexamined. Andrews and Dunning kept the basic outline of the play, but dialed down its big picture class struggle plotline to a more focused version played out on an audience-relatable human level. Although O'Neill lived for more nine years after the the release of the film, I can’t find any
comments that he may have made about the it, good or bad.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Director Alfred Santell began his career in the Max
Sennett and Hal Roach studios, making a mark with his own self-branded comedy
shorts featuring a trained chimp—good experience perhaps for directing a movie
called <i>The Hairy Ape</i>. The storytelling is more than competent, but the
material deserved a director with a deeper appreciation of the source material.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">The film is amply aided by cinematographer Lucien Androit
who knew how to light and frame Bendix at his bestial best. Paris born
Androit had directed dozens of silent films starting in 1909 before moving easily into the talkies where he added a touch of class to mostly B films. Perhaps
his most notable work was for Edgar Ulmer, making Hedy Lamarr and George Sanders
look gorgeous in <i>The Strange Woman</i> (1946). He also gave a slick edge to one of my favourites, <i>Charlie
Chan at the Opera</i> (1936), where Warner Oland squares off against Boris Karloff. He even helped to make Peter Lorre look heroic in several <i>Mr. Moto</i> films for Twentieth
Century Fox. Of note to this review is the Androit-shot film, <i>Topaze</i> (1933), where another dim
(but gentle) soul (John Barrymore in a nicely nuanced performance) also has his eyes opened to the real world. But, unlike Bendix’s emotionally
limited Hank Smith, Barrymore’s Topaze embraces the corrupt capitalist
lifestyle, </span></span><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;">nabs Myrna Loy, </span></span>gets filthy rich and lives happily ever after (gotta
love them Pre-Code films!).</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Is <i>The Hairy Ape</i> Worth My Time?</span> Definitely. With an
underlying story by Eugene O’Neil and powerful performances from always great
actors William Bendix and Susan Hayward, this 92 minute movie only lags when
one of them is not on the screen, which happily is not often.</span></span></p><p><span style="font-size: small;"><span style="font-family: arial;">
<span><span style="color: #ffa400;">Availability:</span> Unfortunately, this public domain
film does not seem to have a decent DVD release. However, a very watchable copy
is on YouTube (embedded below).</span></span></span></p><p><span style="font-size: small;"><span style="font-family: arial;"><span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"><span><iframe allowfullscreen="" class="BLOG_video_class" height="338" src="https://www.youtube.com/embed/dEqa-pQa-WA" width="407" youtube-src-id="dEqa-pQa-WA"></iframe></span></span></span></div><span style="font-size: small;"><span style="font-family: arial;"><span><br /> </span></span></span><p></p><p><span style="font-size: small;"><span style="font-family: arial;"><span><br /></span></span></span></p>Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-20548287383978083142022-03-10T21:18:00.024-05:002022-03-11T13:13:19.149-05:00FOUR FRIGHTENED PEOPLE (1934): Claudia Colbert as Sheena!<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjhCu-Zu5zmkx5Pmn4ghJVykXPoXyHcexZ_hHCnBJNeeydpaSnqNVw7NqKoqUM325JqbQWBO5Hz6rAc8ga_anPDXvbUVueITx1t0RKP6EfLatdPQSKCATCrb2tpXr8_6j_hVdenfbWFEQHum-hB-mefZ5dAJpG7LbkKFnMhurN9yDFjI-XgA5ojYq_szg=s1000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="783" data-original-width="1000" height="328" src="https://blogger.googleusercontent.com/img/a/AVvXsEjhCu-Zu5zmkx5Pmn4ghJVykXPoXyHcexZ_hHCnBJNeeydpaSnqNVw7NqKoqUM325JqbQWBO5Hz6rAc8ga_anPDXvbUVueITx1t0RKP6EfLatdPQSKCATCrb2tpXr8_6j_hVdenfbWFEQHum-hB-mefZ5dAJpG7LbkKFnMhurN9yDFjI-XgA5ojYq_szg=w418-h328" width="418" /></a></div><span style="font-family: arial;"></span><p></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="text-align: center;"><span style="font-size: small;"><span style="color: #ffa400;"><span style="font-family: arial;">An almost Pre-Code jungle adventure by Cecil B. Demille – who
can resist it?</span></span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;">This film wastes no time with set up to get straight to the action. <span style="color: #ffa400;">Four
desperate people are thrown together as they shanghai a lifeboat to escape from
their bubonic plague-infected ship. </span>S</span></span><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;">elf-promoting newspaper reporter, </span></span>Stewart (William Gargan) and Arnold (Herbert Marshall), a chemical researcher
beaten down by his inconsequential life, grab unwilling accomplice, librarian Judy (Claudette
Colbert) and the unflappable </span></span><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;">wife of a British official, </span></span>Mrs. Mardick (Mary Boland), </span></span><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;">for their bit of self-justified piracy</span></span>. Just when they think that they have found safety onshore Malaya, they discover that the local
village is being burnt to ground </span></span>—<span style="font-size: small;"><span style="font-family: arial;"><span style="color: red;"><span> </span></span>the plague has reached land!</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiB3uRN8QofKNo5eKzMWWql64GxgitPwwlo21gpNCGFyMSaLo2rsfqLp4FR6sbBqS9mlzNgfjBCK_U-wlElOETrD9EJFhC87yGev8lCWup0K0X1a42EzbvYPR3lOstrLn5vPyE8XaNVpXd_WKEpKlV0OykkH0n_8PUZc_kHXTycHpeKh2JANBqEQJwQmQ=s812" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="522" data-original-width="812" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEiB3uRN8QofKNo5eKzMWWql64GxgitPwwlo21gpNCGFyMSaLo2rsfqLp4FR6sbBqS9mlzNgfjBCK_U-wlElOETrD9EJFhC87yGev8lCWup0K0X1a42EzbvYPR3lOstrLn5vPyE8XaNVpXd_WKEpKlV0OykkH0n_8PUZc_kHXTycHpeKh2JANBqEQJwQmQ=w412-h266" width="412" /></a></span></div><span style="font-size: small;"><span style="font-family: arial;"></span></span><p></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNormal" style="text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"> Gargan, Colbert & Marshall<br /></span></span></p><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;">Picking up white ex-pat (Leo Carillo) who has gone
native, they are forced to bush whack through the jungle to reach the next port in hopes
of returning home. They quickly become lost and have to contend with dangerous
animals and hostile natives. The two men are chauvinistic bores who continually
berate mousy Judy for being timid and having no sex appeal. But, by simply
taking off her glasses, letting down her hair and bathing nude in a waterfall,
<span style="color: #ffa400;">Judy is transformed into a <i>Sheena</i>-like, sexpot goddess, knowledgeable in all
jungle lore.</span> From here on in it’s a grudge match between the two men for Judy’s
affections. Just as the jungle has transformed Judy, indifferent Stewart rises
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of his readers back home to prop up his ego.</span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"> </span></span><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEicpejsehSCJurGPdJxhJVkoUTR2h1LfEsW_g_1edpzfqLnE3zhvdNO-h5tekxwBbo5CQ_QvMD_5wmL7z6RVErdheZ3zDhCw54yMY0rvblBcBtKXu5L7HfYE_F-40l4u786A9r8uvSlwfeJJPZZiqDA51Hn0Lfh-GiQIHWqiviP6l2wPlYN-QqEa1X5JA=s898" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="488" data-original-width="898" height="243" src="https://blogger.googleusercontent.com/img/a/AVvXsEicpejsehSCJurGPdJxhJVkoUTR2h1LfEsW_g_1edpzfqLnE3zhvdNO-h5tekxwBbo5CQ_QvMD_5wmL7z6RVErdheZ3zDhCw54yMY0rvblBcBtKXu5L7HfYE_F-40l4u786A9r8uvSlwfeJJPZZiqDA51Hn0Lfh-GiQIHWqiviP6l2wPlYN-QqEa1X5JA=w447-h243" width="447" /></a></span></p><p></p><span style="font-size: small;"><span style="font-family: arial;"></span><span style="font-family: arial;"></span><span style="font-family: arial;"></span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;">
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<![endif]--><span style="font-size: small;"><span style="font-family: arial;"><span>Written by Bartlett Cormack (<i>The Front Page</i>, 1931 and <i>Thirteen Women</i>, the 1932 film that made a star of Irene Dunn) and Lenore J. Coffee (<i>Evelyn
Prentice</i>, 1934) from a novel by E. Arnot Robertson, its 78 minute running time
seems overly long for a plot that was already tired by the 1930’s. </span></span></span><span style="font-size: small;"><span style="font-family: arial;">It mostly plays as
a comedy, but there are times it gets quite dark. The film gets points for
actually shooting in Hawaii, so the jungle feels authentic. </span></span></p><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Cecil B. Demille was always good
at feeding the Christian indignation of the censors to get away with a little
titillation.</span> Here Mary Bolland's character is a crusader for ‘fewer
babies' (i.e., no sex). In a fun scene after she’s been sidelined from the
main plot, she emancipates the women of a jungle tribe from their
baby (sex)-obsessed men. This very direct support for the suffragette
movement is something that you would not see in films a year later. Mrs. Mardick’s morality crusade disguised in terms of population control
let DeMille feature Colbert's nude shower (actually body double Annette Kellerman
in a flesh-coloured body suit) in a scene that must have had the men on the
edge of their theater seats, but it actually pales in comparison to Colbert’s milk
bath in DeMille’s <i>Cleopatra</i> of the same year.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;">Distinguished actor Herbert Marshall has the best and most
believable character arc in the film, moving smoothly from uninvolved, casual
cad to believable romantic obsession for Judy's unleashed libido. Despite having lost a leg in
WW1, Marshall navigates the real jungle set with ease.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">Comedic relief, Mary Bolland, acquits herself well as
a character that Natalie Schafer would perfect as Mrs. Howell years later on TV’s
<i>Gilligan’s Island</i>. Of note is that whenever our lost troop camps for the night. they miraculously produce a 3-star lodge to sleep in that The Professor would have been proud of.<br /></span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj-sYMVx8Y2unoVGJP5pwIBMJ8th3yx5JMKrG_-WbE8xEsTbRH2Ke9ew51MvcTLuYEUWYdkWK8EcZrl0eto-vNf6vuvu7ujcXHLcjZA0wAEtfWQd4bBqUQ06_O7iV0q93ZV0bHKMaS4b1mGb7ORVttauWr6Cq9E8gRiKV0V24meCNs304MhaAVqXo05QA=s640" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="352" data-original-width="640" height="254" src="https://blogger.googleusercontent.com/img/a/AVvXsEj-sYMVx8Y2unoVGJP5pwIBMJ8th3yx5JMKrG_-WbE8xEsTbRH2Ke9ew51MvcTLuYEUWYdkWK8EcZrl0eto-vNf6vuvu7ujcXHLcjZA0wAEtfWQd4bBqUQ06_O7iV0q93ZV0bHKMaS4b1mGb7ORVttauWr6Cq9E8gRiKV0V24meCNs304MhaAVqXo05QA=w462-h254" width="462" /></a></span></div><span style="font-size: small;"><span style="font-family: arial;"></span></span><p></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: arial;">The Ineffectual jungle guide is played by Leo Carillo
who would later become best known for playing <i>The Cisco Kid’</i>s sidekick, Pancho, for
6 seasons (1950-1956) on television. I fondly remember him from a few
Universal Horror films such as the mystery-comedy <i>Horror Island</i> (1941) and starring
in a better role next to Nelson Eddy and Claude Raines in <i>The Phantom of The
Opera</i> (1943).</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;"><i>Four Frightened People</i> was a one-off low point for Colbert
in 1934, a year which saw three of her films being nominated for Academy Awards
for Best Picture; <i>Cleopatra</i>, <i>Imitation of Life</i>, and <i>It Happened One Night</i>, the latter
winning her the award for Best Actress. Laura at <a href="https://laurasmiscmusings.blogspot.com/2021/07/tonights-movie-four-frightened-people.html">Laura’s Miscellaneous Musings</a> reviewed the recent BluRay release
of this film and notes that it “was not considered a success in its day,
which led to director DeMille being "locked in" to directing epics.”</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Is<i> Four Frightened People</i> Worth My Time?</span> If you've ever
wanted to watch Claudette Colbert cavort in a leopard skin bathing suit, catch
fish with a spear, hunt with a handmade bow, and order men around at the muzzle
of a pistol, than this is the film for you.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: arial;"><span style="color: #ffa400;">Availability:</span> The recent Kino Lober BluRay looks great and
has a nice a commentary track by Nick Pinkerton.</span></span></p><span style="font-size: small;"><span style="font-family: arial;">
</span></span><span face=""Calibri","sans-serif"" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiql34ubwq4haCSFYEjJHlZ45FqHuuRJMYRe0bSK1PItLUXSxNYWF1MQYVPkdMyqRrfsmPVWAuzC_18zHjrWh7fukiWorxGwBTqxliHIx2jZN7VFypsszUq5T0y3IayfjBVnk4SBN88vyM5JeMpYTnZq7d6WijPmiTyUaLmabemxK1b-dbkGZiP9UFPQA=s688" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="537" data-original-width="688" height="332" src="https://blogger.googleusercontent.com/img/a/AVvXsEiql34ubwq4haCSFYEjJHlZ45FqHuuRJMYRe0bSK1PItLUXSxNYWF1MQYVPkdMyqRrfsmPVWAuzC_18zHjrWh7fukiWorxGwBTqxliHIx2jZN7VFypsszUq5T0y3IayfjBVnk4SBN88vyM5JeMpYTnZq7d6WijPmiTyUaLmabemxK1b-dbkGZiP9UFPQA=w426-h332" width="426" /></a></div><br /><span style="font-family: arial;"><br style="mso-special-character: line-break;" />
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</span>Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-53940837622808568362020-11-27T12:56:00.005-05:002020-11-27T17:46:56.817-05:00Greta Garbo is the Two-Faced Woman (1941)<p class="MsoNormal" style="text-indent: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhAmJv4Tjrlja7fQt385fhRAwUe5FdzhMrg3nsT5sPyp08Ab3ydscIoaXt7v949i2zKAuwvyIMQGHl65GdahHtRAcBu1TW9yBxqQ3Rvf_Fo17iOF5Ve0YqtZUmLEJDgVp39nFmbvmBUSuY/s1000/MV5BOTMxMmJlY2UtNTQ3Yi00N2E2LTlmOGQtMDllNzJhYjM5NzlkL2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyMjUxODE0MDY%2540._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="1000" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhAmJv4Tjrlja7fQt385fhRAwUe5FdzhMrg3nsT5sPyp08Ab3ydscIoaXt7v949i2zKAuwvyIMQGHl65GdahHtRAcBu1TW9yBxqQ3Rvf_Fo17iOF5Ve0YqtZUmLEJDgVp39nFmbvmBUSuY/w452-h356/MV5BOTMxMmJlY2UtNTQ3Yi00N2E2LTlmOGQtMDllNzJhYjM5NzlkL2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyMjUxODE0MDY%2540._V1_.jpg" width="452" /></a></span></div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span><p></p><p class="MsoNormal" style="text-indent: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;">Greta Garbo’s last screen
performance </span>has her playing a prim ski instructor masquerading as her
gold-digging twin sister to undermine her wandering husband’s (Melvyn Douglas)
affair with Constance Bennett.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal" style="text-indent: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;">I can see why this George
Cukor-directed film flopped</span> at the box office; Garbo in a strictly comedic role
was just too much of a stretch for audiences used to their stern, aloof
heroine.<span> </span>However, she is great; today
she would be praised for stretching her boundaries.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal" style="text-indent: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"><i>Two-Faced Woman</i> is a lot like Barbara
Stanwyck’s <i>The Mad Miss Manton</i> (1938) in that it has lots of great parts that
don’t add up to a whole. The script is inadequate and the direction dull. The
fun in watching Garbo play polar opposite twin sisters is undermined by the
fact that her philandering husband (Douglas) knows who she is all the time. This,
for me, cuts the legs out from under the film, much like in <i>The Little Shop
Around the Corner</i> (1940), where of the two pen-pal lovers, Jimmy Stewart knows
who Margaret Sullivan is, but not vice versa. It becomes a bit painful watching
both Sullivan and Garbo make fools out of themselves for men like Stewart who
does not have the gumption to reveal his identity, or Douglas who is nothing
more than a smooth talking egotist who treats women like chattel. </span></span></p><p class="MsoNormal" style="text-indent: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6RE1A05FHSEs3Jx4ZlFNyg2H0EKYr2CiLpLlhp4CLpaWouyV-fRYiSfVVNCt6cVpOV1IoAFIAN5mmKnW1tzO7WRGqb036U_hdgbHcCB_JMIjq2h2P7oyIZwXZMBSSg94D2319Y7FSxR1n/s900/twofacedwoman1941.475.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="518" data-original-width="900" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6RE1A05FHSEs3Jx4ZlFNyg2H0EKYr2CiLpLlhp4CLpaWouyV-fRYiSfVVNCt6cVpOV1IoAFIAN5mmKnW1tzO7WRGqb036U_hdgbHcCB_JMIjq2h2P7oyIZwXZMBSSg94D2319Y7FSxR1n/w514-h295/twofacedwoman1941.475.jpg" width="514" /></a></span></div><span style="font-size: medium;">Douglas played this highly
unsympathetic role too many times opposite great actresses, e.g., Joan Blondell
in <i>There’s Always a Woman</i> (1937) and Myrna Loy in <i>Third Finger, Left Hand
</i>(1940), His character in these films is like watching a fine sports car trying
to accelerate with the emergency brake on. It’s hard to imagine women ever
falling for a cad like Douglas who is perpetually tittering on the edge of
being physically abusive. Such was considered comedic back in the day.</span><p></p><span style="font-size: medium;"><span style="font-family: arial;">
</span><span style="font-family: arial;">
</span></span><p class="MsoNormal" style="text-indent: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;"><i>Two-Faced Woman</i> is buoyed up by
Constance Bennett</span> in her supporting role as Douglas’s paramour. Her one scene
sparring with Garbo is worth the price of admission. Apparently most of
Bennett’s scenes were cut as she upstaged Garbo whenever they were together.
And one can see why. Although Garbo is excellent, she is clearly uncomfortable in
her uncharacteristically comedic role, whereas Bennett is like a well-oiled
machine playing the cool manipulator with a light comedic touch that she had
perfected over the previous decade. </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal" style="text-indent: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;">Kudos as well to the brilliant Ruth
Gordon</span> who sparkles as Douglas’s long suffering secretary. Did you know that in
addition to winning an Academy Award (<i>Rosemary’s Baby</i>) and an Emmy (<i>Taxi</i>) for
her acting, so had four Academy Award nominations for screenwriting?</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal" style="text-indent: 0in;"><span style="font-size: medium;"><span style="font-family: arial;">A print exists of the original uncut
& unaltered <i>Two-Faced Woman</i>, but, although it has been shown publicly, it
has never been released to TV or DVD. Come on Criterion! It’s Garbo with
Constance Bennett and Melvyn Douglas! If you can release <i>The Atomic Submarine</i>,
surely this is more deserving of a spiffy 4K restoration and release!</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal" style="text-indent: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;">Is It Worth My Time:</span> A qualified
yes. If you can sit through the first leaden 30 minutes, things pick up once
Garbo switches from Karin to her Katherine persona. And while Constance Bennett’s
knife-like hip bones are not on display, her razor sharp wit is undiminished.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal" style="text-indent: 0in;"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: #ffa400;">Availability: </span><span></span>From Warner Archives and the usual on-line
sources.</span></span></p>
Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-49969813747768665242020-11-05T18:25:00.004-05:002020-11-27T17:48:18.738-05:00Ball of Fire in the Jungle - Law of the Jungle (1942)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy9JxmkO_jguShyphenhyphenjUJmPVc3M1G3j21xaTYaVaBxRQg-7fGXYhdsExnpwCEm6kFP-gBgNO1uDW6N2SYYfPerOcdaocoIq_IZUgZ7ndulb137gasQW5DJ1_t3hUvPoYa_SzdQrc8FSeRVGmb/s490/Law+of+The+Junglwe+title.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="328" data-original-width="490" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy9JxmkO_jguShyphenhyphenjUJmPVc3M1G3j21xaTYaVaBxRQg-7fGXYhdsExnpwCEm6kFP-gBgNO1uDW6N2SYYfPerOcdaocoIq_IZUgZ7ndulb137gasQW5DJ1_t3hUvPoYa_SzdQrc8FSeRVGmb/w486-h325/Law+of+The+Junglwe+title.jpg" width="486" /></a></div>
<p class="MsoNormal"><span style="color: #ffa400;"></span></p><blockquote><span style="font-size: medium;"><span style="color: #ffa400;">Did anyone notice that a year after its release, Howard
Hawk’s BALL OF FIRE (1941) was remade as a low budget jungle adventure?</span></span></blockquote><p></p>
<p class="MsoNormal"><span style="color: #ffa400; font-size: medium;">In LAW OF THE JUNGLE (1942)</span><span style="font-size: medium;"> singer Nora Jones (Arline Judge)
is stuck in a small African town without a passport, singing for her keep at the
local watering hole run by the shifty Simmons (Arthur O’Connell). When Nazi
agents kill a British agent there, Nora hotfoots it into the jungle rather than
stick around to get pinned for the murder. Fortunately she stumbles into
palaeontologist Larry Mason (John King) and his assistant, Jefferson Jones
(Mantan Moreland). Mason, being the stereotypical scientist, just wants to get
rid of her so he can get back to his digging undisturbed. But Nora’s in a
pickle and will have none of that and so tries to warm Larry up with her
feminine charm. </span></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLUmY-1UofZO4hBTVDkOMZLXuVXyCtBvhYiwnd9hciCl4cd3NHQN3sCFMeWAqh2ECX5khU1eUMTpB9XuaTe04x2SpB2DtUNZtNGYhuQ_3zxYZMuxx1TzjUxJNIMlvyUKUEtZhqtni51tVR/s460/Arline+King+OConnel.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="260" data-original-width="460" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLUmY-1UofZO4hBTVDkOMZLXuVXyCtBvhYiwnd9hciCl4cd3NHQN3sCFMeWAqh2ECX5khU1eUMTpB9XuaTe04x2SpB2DtUNZtNGYhuQ_3zxYZMuxx1TzjUxJNIMlvyUKUEtZhqtni51tVR/w479-h271/Arline+King+OConnel.jpg" width="479" /></a></div> <span style="color: #fcff01;"> Arline Judge, John King & Arthur O'Connell</span><br /><p></p>
<p class="MsoNormal"><span style="font-size: medium;">Unknown to Nora, she’s carrying important papers from the
British agent that will blow the cover of her boss, Simmons, and his Nazi
colleagues. Before you can say ‘<i>Auchtung!</i>’ our heroes are running for their
lives, pursued by the Nazi’s and eventually captured by hostile tribesmen. Salvation
comes in the form of the Oxford educated Chief Mojobo played by Laurence
Criner, who you saw playing briefly opposite Fay Wray in <i>Black Moon</i> (1943) and
in <i>King of the Zombies</i> (1942). Criner turns out to be a Lodge Brother of
Jefferson’s with no love of nasty ‘foreign agents’, so, unsurprisingly,
everything works out on the end. Nora even thaws out Larry and snags her man!</span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieMgsmOZOC686qLAc1VbzhLaGrzES9lel0MnOFGnhIV0m_cJ5vN1DgOZW7oKzfntPvg3FhhOoEZGVjPkbAwWgCILW9CdoSiLQ3ckAQTWcoAl7rRn1L3cVo0pvCxplWQLmjXZb1-B_DHTY3/s439/Digging+fr+fossils.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="313" data-original-width="439" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieMgsmOZOC686qLAc1VbzhLaGrzES9lel0MnOFGnhIV0m_cJ5vN1DgOZW7oKzfntPvg3FhhOoEZGVjPkbAwWgCILW9CdoSiLQ3ckAQTWcoAl7rRn1L3cVo0pvCxplWQLmjXZb1-B_DHTY3/w414-h294/Digging+fr+fossils.jpg" width="414" /></a></div> <span style="color: #fcff01;"> Digging for fossils</span><br /><p></p>
<p class="MsoNormal"><span style="font-size: medium;">Plotwise, the only notable thing about the production is how
closely the Nora and Larry interactions mirror those of firebrand Barbara
Stanwyck to Gary Cooper’s bookish professor in the screwball classic <i>Ball of
Fire</i>. Arline Judge was a hard working B actress in the 30’s and 40’s, while John
King is noted for playing the singing cowboy, Dusty, in the long running
Monogram <i>Range Buster</i> series. King is a handsome stand in for Cooper, and dark-haired
Judge looks and sounds a lot like Stanwyck. I’ll bet good money that director
Jean Yarbrough noticed the similarities and directed Judge to delivery her
lines as if she was Stanwyck in <i>Ball of Fire</i>. I’d go further and suggest that
Judge and King were even hired for their resemblances to Stanwyck and Cooper. Or
maybe Yarbrough just thought up an interesting way to put a fun spin on an
otherwise pedestrian film.</span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9-BN2uG5H2QzLelLk2ZZJsGubank7xmS0-a9KTJQS4uB2_ExlrwUbRGVi2XUaazCSV01FMH8J07V-7Vm8iHoEfCpv1I5eABZbrCNxurfspFzuHw71xvtQhmdRXUKGLCRQQnB-qE-iWMvz/s449/Mantan.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="449" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9-BN2uG5H2QzLelLk2ZZJsGubank7xmS0-a9KTJQS4uB2_ExlrwUbRGVi2XUaazCSV01FMH8J07V-7Vm8iHoEfCpv1I5eABZbrCNxurfspFzuHw71xvtQhmdRXUKGLCRQQnB-qE-iWMvz/w440-h245/Mantan.jpg" width="440" /></a></div> <span style="color: #fcff01;"> The great Mantan Moreland</span><br /><p></p>
<p class="MsoNormal"><span style="color: #ffa400; font-size: medium;">The real star of the film is, of course, Mantan Moreland. </span><span style="font-size: medium;">The
brilliant comedian featured in dozens of Monogram films in the 30’s and 40’s,
usually taking at least second billing and stealing every scene that he appeared
in. Moreland perfected the pop-eyed, scared of his own shadow routine that was
often the only part available to black actors in films of that era. But, Mantan
made that part his own and, for all of his supposed cowardice, he more often
than not ended up saving the day. You laugh with him, never at him. And given
the predicaments that he usually finds himself in – chasing or being chased by
murders and other sundry criminals – I can’t but help agree with him that those
situations are best stayed out of!</span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij9WV2xO41IDCbSlIEBKrFu5dsSiR4W2dzxyz4TZN1RSVfI6oy-MN346QR1Kn3n_CRP2SZ09i7vhrZZclMAODC5odWLKBeVOQMUB_5Uz_DjsgyCw-PEwMD3DaAdwoWwTZ7XsZI-iix3YXE/s389/Simmons.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="215" data-original-width="389" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij9WV2xO41IDCbSlIEBKrFu5dsSiR4W2dzxyz4TZN1RSVfI6oy-MN346QR1Kn3n_CRP2SZ09i7vhrZZclMAODC5odWLKBeVOQMUB_5Uz_DjsgyCw-PEwMD3DaAdwoWwTZ7XsZI-iix3YXE/w430-h238/Simmons.jpg" width="430" /></a></div> <span style="color: #fcff01;"> Arthur O'Connell</span><br /><p></p>
<p class="MsoNormal"><span style="font-size: medium;">The other notable appearance is by Arthur O’Connell. His
role as the treacherous Simmons was a rare occurrence for him in a Poverty Row
B picture. He had a number of small-to-large roles in classic films such as
<i>Citizen Kane</i> (1941), <i>The Naked City </i>(1942) and <i>Force of Evil </i>(1948) before
earning Oscar nominations by recreating his Broadway role in <i>Picnic </i>(1956) and for
playing Jimmy Stewart’s drunken mentor in <i>Anatomy of a Murder</i> (1956). Readers
of a certain age will best remember him playing the pharmacist in a long
running series of Crest toothpaste commercials in the 1970’s.</span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjFyJt160CUcX3yxOu1k5csw6K5q5Kc-Z9cna5ZZoVHdEgQfEDM3BxaZu8Y5gavqe0PD0XVapUkTOzhiWwZQ4CSZt9yrU6s5Fl3dK7rZOiGUiTbDmXlVme44Dbit6L92hNGnpeJJ8jpHSU/s455/Chief+and+JOnes.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="261" data-original-width="455" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjFyJt160CUcX3yxOu1k5csw6K5q5Kc-Z9cna5ZZoVHdEgQfEDM3BxaZu8Y5gavqe0PD0XVapUkTOzhiWwZQ4CSZt9yrU6s5Fl3dK7rZOiGUiTbDmXlVme44Dbit6L92hNGnpeJJ8jpHSU/w444-h255/Chief+and+JOnes.jpg" width="444" /></a></div><p></p>
<p class="MsoNormal"><span style="font-size: medium;">Finally, film aficionados will know prolific director Jean
Yarbrough for his work with Abbott and Costello, and directing cult classics such
as <i>The Devil Bat</i> (1941) with Bela Lugosi, and the last (and least) of the
classic Universal monster films, such as <i>She-Wolf of London</i> (1946; the last of
the <i>Wolfman</i>-related films) and the iconic Rondo Hatton in <i>The Brute Man </i>(1946).</span></p>
<p class="MsoNormal"><span style="color: #ffa400; font-size: medium;">Is Law of The Jungle Worth My Time?</span><span style="font-size: medium;"> The presence of Mantan
Moreland and the thin<i> Ball of Fire </i>connection will make this of interest to
film buffs; otherwise I’m sure that there are hundreds of better films to spend
your time with. Also to be avoided if you cringe at the stereotypical depiction
of African natives.</span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="color: #ffa400; font-size: medium;">Availability:</span><span style="font-size: medium;"> Only on YouTube as far as I can tell.</span></p>
Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-61628810661705106702020-08-13T11:29:00.008-04:002022-03-11T11:31:05.606-05:00George Zucco is The Black Raven (1943)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSqtYIgH6a8UPlWAUGYdXBPbDmD_OhlnqYnk8Fq1SyinjROWkzs853n4z23TEJFutfaPN4yZecKBZix4CozH2Id_lAykBFB9CjSnPzhf9_iIkEQ1m5eIj9BxRoa95ikdSlz5cMwlBDxqYB/s480/1+Title.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="335" data-original-width="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSqtYIgH6a8UPlWAUGYdXBPbDmD_OhlnqYnk8Fq1SyinjROWkzs853n4z23TEJFutfaPN4yZecKBZix4CozH2Id_lAykBFB9CjSnPzhf9_iIkEQ1m5eIj9BxRoa95ikdSlz5cMwlBDxqYB/s0/1+Title.jpg" /></a></div><!--[if gte mso 9]><xml>
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<p></p><p class="MsoNormal"><span style="font-family: arial; font-size: small;"><span><span style="color: #ffa400;">GEORGE ZUCCO was born to play mad scientists and creepy bad
guys.</span> Although he was always able to slip between A, B and Z-grade productions
without getting ghetto-ized in the latter, he is probably best known for (typically)
chewing up the scenery in the post-Karloff Mummy movies from Universal and for playing
a long string of villains in Poverty Row films, e.g., Voodoo Man (1944), where his
part as voodoo priest is only slightly less embarrassing than that of John Carradine’s
role as Bela Lugosi’s imbecilic, bongo-playing henchman.</span></span></p><span style="font-size: small;">
</span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipEMOAbJ1NWpuIF-XDzHh7urGgFbUwd9PtXgj7-r8mXoxP2cGOGBm4BBz_611GhV-7hGW1lUPKB9m-QnEL8j0bT73swhtOSVt-3AWdCi1rX9SiTaYXjG5QCYXriY-8ZgUtlkwV0E3fbnNV/s480/2+George+Zucco.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="333" data-original-width="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipEMOAbJ1NWpuIF-XDzHh7urGgFbUwd9PtXgj7-r8mXoxP2cGOGBm4BBz_611GhV-7hGW1lUPKB9m-QnEL8j0bT73swhtOSVt-3AWdCi1rX9SiTaYXjG5QCYXriY-8ZgUtlkwV0E3fbnNV/s0/2+George+Zucco.jpg" /></a></span></div><p class="MsoNormal"><span style="font-family: arial; font-size: small;"><span><span style="color: #ffa400;">THE BLACK RAVEN (1943) is a PRC film </span>produced and directed
by super-prolific Sam Neufeld, starring Zucco in what is effectively an
anti-hero role as Amos Bradford (aka the villainous ‘Raven’). It’s a variation
on every <i>Old Dark House</i> plot where, over the course of one evening, the house
is question gets stuffed with dodgy characters and young innocents as the
murdered bodies stack up much to the bewilderment of the local hick sheriff (see
my review of the similar film, <i><a href="https://atomic-surgery.blogspot.com/2019/10/the-black-doll-1938-universal-crime.html">Black Doll</a></i>).</span></span></p><span style="font-size: small;">
</span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-LVn5PU8bz0CvPCc5KROWQkhatv2sgKcmZ5H25LfyyR9XvKajsRiypBUYP9l6N_D_FdEv6Z_2qwnOUD5AgSV3t6u7MBm2qXaxLvcVC7_QnUf3ZdIe6gP-eaw2dkbl9eyKx6cO28PShpzt/s480/3+Robert+Randell+and+Wanda+McKay.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="286" data-original-width="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-LVn5PU8bz0CvPCc5KROWQkhatv2sgKcmZ5H25LfyyR9XvKajsRiypBUYP9l6N_D_FdEv6Z_2qwnOUD5AgSV3t6u7MBm2qXaxLvcVC7_QnUf3ZdIe6gP-eaw2dkbl9eyKx6cO28PShpzt/s0/3+Robert+Randell+and+Wanda+McKay.jpg" /></a></span></div><p class="MsoNormal" style="text-align: center;"><span style="font-size: small;"><span style="font-family: arial;"> Robert Randell and Wanda McKay</span></span></p><p class="MsoNormal"><span style="font-family: arial; font-size: small;"><span>The Black Raven is a small inn just south of the Canadian
border that is the last stop for people trying to flee the US. Thanks to a
convenient storm, the only bridge in the area is washed out, so in trickle: mob
boss-on-the-run, Mike Bardoni (Noel Madison), mousy embezzler, Horace Weatherby
(Byron Foulger) and crooked politician, Tim Winfield (Robert MIddlemass) who is
hot on the trail of his underage daughter, Lee (Wanda McKay; she’s ‘only’ 20
years old) who is trying to elope with Allen Bentley (Robert Randall aka Bob
Livingston). Add to the mix escaped convict, Whitey Cole (I. Stanford Jolley)
who is trying to shake down and then rub out his two-timing former partner
(Zucco) and you’ve got a jar of hornets just waiting to be shook up. Shots are
fired, people die, the embezzled money vanishes, and soon all the characters
are running up and down stairs, and being chased in and out of rooms until all of
the bad guys eventually get what’s coming to ‘em!</span></span></p><span style="font-size: small;">
</span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVfzo9xTPIeJ_bcjRmshGRVNU-NYp4EoZKi8PQxFrBnpKkRYiDAeg09hiN70dIzhxBjcuomMihndp2e9-1I_EHcff5GUlpDLZ07CTPf01CljahjajNLzRPCWtJp8QknEPcbJSGwiuRCsNS/s480/4+Glenn+Strange+and+Bryon+Foulger.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="292" data-original-width="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVfzo9xTPIeJ_bcjRmshGRVNU-NYp4EoZKi8PQxFrBnpKkRYiDAeg09hiN70dIzhxBjcuomMihndp2e9-1I_EHcff5GUlpDLZ07CTPf01CljahjajNLzRPCWtJp8QknEPcbJSGwiuRCsNS/s0/4+Glenn+Strange+and+Bryon+Foulger.jpg" /></a></span></div><p class="MsoNormal" style="text-align: center;"><span style="font-family: arial; font-size: small;"><span><span>Glenn Strange and Bryon Foulger </span><br /></span></span></p><p class="MsoNormal"><span style="font-family: arial; font-size: small;"><span><span style="color: #ffa400;">Zucco gives a restrained, almost nuanced performance as the suave
proprietor of The Black Raven Inn</span>. He seems to take as much pride in running a
well-managed facility as he does in whatever his only-hinted at nefarious
activities might be. What else is he up besides being an innkeeper? For sure you
don’t get a cool moniker like The Raven without building up a significantly
notable past! <span style="color: #ffa400;">Did he once tangle with The Shadow or Doc Savage?</span> The Spider or
the Blonde Phantom? Did he once hold New York City for ransom with some exaggerated,
raven-themed explosive device? Perhaps he’s actually an alias of Professor
Moriarty that Zucco played in <i>The Adventures of Sherlock Holmes</i> (1939).</span></span></p><span style="font-size: small;">
</span><p class="MsoNormal" style="text-align: center;"><span style="font-size: small;"> </span><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8ASzZH0qinSGm4c7hBvicRRqd4xVCqMcikRvlPbTIH0Xk_2mVsP9ZoCiIGZvv9uk8kr1ay0onETKOdjSDeqkkMRf8aHK3JiaKjGwX0tYe41-rmuc_9-mMMsRw0IqAdS90xaOPy518C_Wm/s480/7+Zucco+and+McKay.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="282" data-original-width="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8ASzZH0qinSGm4c7hBvicRRqd4xVCqMcikRvlPbTIH0Xk_2mVsP9ZoCiIGZvv9uk8kr1ay0onETKOdjSDeqkkMRf8aHK3JiaKjGwX0tYe41-rmuc_9-mMMsRw0IqAdS90xaOPy518C_Wm/s0/7+Zucco+and+McKay.jpg" /></a></span></p><span style="font-size: small;">
</span><p class="MsoNormal" style="text-align: center;"><span style="font-family: arial; font-size: small;"><span> <span>Zucco and McKay</span><br /></span></span></p><p class="MsoNormal"><span style="font-family: arial; font-size: small;"><span>I can envision The Raven semi-retiring to the country after
a high profile life of crime in the big city, but still running his vast
organization without leaving his beloved inn. Occasionally he gets tangled up
with some local crime, such as the events of this movie, which allows him to
play amused amateur detective running rings around the less than competent law
officials. </span></span></p><span style="font-family: arial; font-size: small;"><span>
</span></span><p class="MsoNormal"><span style="font-family: arial; font-size: small;"><span><span style="color: #ffa400;">Like the best anti-heroes, The Raven is not without his own
moral code.</span> In this movie he does not want to see the lives of the two young
lovers destroyed by a stupid sheriff over anxious to pin the first murder on the
wrong man. In a better-written movie, Zucco’s character would have manoeuvred all
the bad guys to their own comeuppances and then settled back with a glass of
brandy to plan his next big scheme.</span></span></p><span style="font-family: arial; font-size: small;"><span>
</span></span><p class="MsoNormal"><span style="font-family: arial; font-size: small;"><span> I think PRC missed a great opportunity to kick start a franchise
with Zucco’s Raven character. The only other ingredient necessary would have
been a sympathetic, but sharp-tongued female foil (e.g., Gale Sondergaard) in
addition to The Raven’s comic-relief heavy, here played by the sometimes
Frankenstein monster, Glenn Strange.</span></span></p><span style="font-size: small;">
</span><p class="MsoNormal" style="text-align: center;"><span style="font-size: small;"> </span><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTb7FdeAGDb_VJzQNylXaq238oqhH7iTipcjls1lY7sYgenWct1EPUpiU74HuB43Qb2PRZxwb2EKl3WUlLhE6Mk1xbmC_odY3aA0rzRoA_DeqUrtJbGJgGTIX8Bw8hMeImG0Vfa-9-J3mJ/s480/5+Charlie+Middleton+and+Zucco.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="279" data-original-width="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTb7FdeAGDb_VJzQNylXaq238oqhH7iTipcjls1lY7sYgenWct1EPUpiU74HuB43Qb2PRZxwb2EKl3WUlLhE6Mk1xbmC_odY3aA0rzRoA_DeqUrtJbGJgGTIX8Bw8hMeImG0Vfa-9-J3mJ/s0/5+Charlie+Middleton+and+Zucco.jpg" /></a></span></p><span style="font-size: small;">
</span><p class="MsoNormal" style="text-align: center;"><span style="font-family: arial; font-size: small;"><span><span>Charlie Middleton and Zucco</span><br /></span></span></p><span style="font-family: arial; font-size: small;"><span>
</span></span><p class="MsoNormal"><span style="font-family: arial; font-size: small;"><span>As in so many Poverty Row films, almost all the actors in
<i>The Black Raven</i> had deep acting careers both in the theatre and on the stage.
Did you notice that the sheriff, Charlie Middleton, had already played opposite
Groucho Marx in <i>Duck Soup</i> (1933) and was soon to become Sci-Fi’s quintessential
baddie, Ming the Merciless, in Buster Crabbe’s three <i>Flash Gordon</i> serials during
the 1940’s?<span> </span>Perpetually nervous Byron
Foulger was part of Preston Sturges' stock company of actors and appeared in
almost all of his films throughout the 40’s. And, lovely B-actress Wanda McKay
is always a bright spot in any picture. Too bad her fetching role as the <i>Jungle
Goddess</i> (1948) is not more readily available as a good quality print.</span></span></p><span style="font-size: small;">
</span><p class="MsoNormal" style="text-align: center;"><span style="font-size: small;"> </span><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilIYr6QdhvVXA86IKuzGVOiWEOw8y7JpKwmWHFfKBQA2ImkuUMV_Rb-eFKHq31T5U0eziF2i7AottNXgtug1Mph62IZCsnDebTerGNZo9O6HT2G5_RWy8DqMpOoOSZSAg0aUNhaKhvyCl8/s480/6+I+Stanford+Jolley.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="331" data-original-width="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilIYr6QdhvVXA86IKuzGVOiWEOw8y7JpKwmWHFfKBQA2ImkuUMV_Rb-eFKHq31T5U0eziF2i7AottNXgtug1Mph62IZCsnDebTerGNZo9O6HT2G5_RWy8DqMpOoOSZSAg0aUNhaKhvyCl8/s0/6+I+Stanford+Jolley.jpg" /></a></span></p><span style="font-size: small;">
</span><p class="MsoNormal" style="text-align: center;"><span style="font-family: arial; font-size: small;"><span><span>I. Standford Jolley</span><br /></span></span></p><span style="font-family: arial; font-size: small;"><span>
</span></span><p class="MsoNormal"><span style="font-family: arial; font-size: small;"><span><span style="color: #ffa400;">Is <i>The Black Raven</i> Worth My Time? </span>Yes, especially if you’re
sympathetic to 64 minute poverty row programmers, which I clearly am. The
acting is well above average for this sort of movie with good performances by
Zucco, Noel Madison and Byron Foulger. Even Glenn Strange is enjoyable to watch
coming across as a more emotive Lon Chaney, Jr. (sorry, Lon, I still love you!).
I suspect that if its limited budget and shooting schedule had of allowed for
some rehearsal time and more than one take, <i>The Black Raven</i> could well have
risen well above its disparaging review in Leonard Maltin’s Classic Movie Guide
(one and a half stars!).</span></span></p><span style="font-family: arial; font-size: small;"><span>
</span></span><p class="MsoNormal"><span style="font-family: arial; font-size: small;"><span><span style="color: #ffa400;">Availability:</span> Watch it on YouTube, or watch it or download
it from Archive.org, the latter being a great resource for public domain films.</span></span></p><span style="font-size: small;">
</span><p class="MsoNormal" style="text-align: center;"><span style="font-family: arial; font-size: small;"><span> <span style="color: #fcff01;">Bonus: Wanda McKay is the <i>Jungle Goddess</i> (1948)</span></span></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7oJoVSkfyNn1PL0ItjGdEiJrtu0nkmWoXWHvHQZGU4lnZqrGo5P6mIcuwM2dG9xzAwO2-7TPpBfD73EyxrehhDK8CMsEVzQV_0hrIUimCuWJ7pL_hEhppaAd-wDbKMxggZGVsG5zduAN8/s357/Jungle_Goddess_-_poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="279" data-original-width="357" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7oJoVSkfyNn1PL0ItjGdEiJrtu0nkmWoXWHvHQZGU4lnZqrGo5P6mIcuwM2dG9xzAwO2-7TPpBfD73EyxrehhDK8CMsEVzQV_0hrIUimCuWJ7pL_hEhppaAd-wDbKMxggZGVsG5zduAN8/s0/Jungle_Goddess_-_poster.jpg" /></a></div> <p></p>
Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-71587105280230386382020-07-28T10:10:00.000-04:002020-07-30T14:08:40.462-04:00The Joker in The Lost Continent (1951)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcgYNA8kJkw_ZnV7I_mWbEy97xX2VHievCxy27WVumACv8F-u7roOlD39wr4dMyi0ThSZcZzI3o-FlkveU-80tkIuAPQUF__9mTKje1DATP0uSqVGSDRJHPN5eSxhHOnURsRfHGS9Fmt0z/s1600/1+Lost+Continent+1951+A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="583" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcgYNA8kJkw_ZnV7I_mWbEy97xX2VHievCxy27WVumACv8F-u7roOlD39wr4dMyi0ThSZcZzI3o-FlkveU-80tkIuAPQUF__9mTKje1DATP0uSqVGSDRJHPN5eSxhHOnURsRfHGS9Fmt0z/s400/1+Lost+Continent+1951+A.jpg" width="258" /> </a></div>
<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="color: orange;"><i>The Lost Continent </i>(1951) is an unfairly maligned Lost World story</span> starring Cesar Romero, today best remembered for creating the definitive (no arguing) version of Batman’s arch-nemesis, The Joker.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> <span style="font-size: large;">Romero plays Major John Nolan, the officer in charge of leading the expedition to recovery the data recorder from an atomic-powered rocket lost during a test flight. Nolan takes off with co-pilot and embittered former WW II comrade-in-arms, Lt. Daniel Wilson (Chick Chandler), and comic relief mechanic, Sgt. Willie Tatlow (Sid Melton). In tow are the scientists in charge of the rocket; its Russian designer, Dr. Michael Rostov (John Hoyt), the introspective Dr. Stanley Briggs (Whit Bissell) and the always chipper Dr. Robert Phillips (Hugh Beaumont), whose job is to carry the Geiger counter to track the rocket’s radioactive signature<sup>1</sup>.</span></span><br />
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<span style="font-family: "calibri" , "sans-serif"; font-size: 12.0pt;">Hugh Beaumont, Sid Melton, John Hoyt, Chick Chandler, Whit Bissell, and Romero</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Of course their plane crashes on an island in the middle of the South Pacific. They quickly meet a native (Acquanetta) who tells them that the rest of her people have fled because their gods are angry that a great ‘fire bird’ has landed on the top of their sacred mountain. Ascending to the plateau, our team finds a green-tinted prehistoric world populated with some not-too-badly animated dinosaurs. The boys battle a <i>Brontosaurus</i> and a couple of <i>Triceratops</i> before they reach their goal and escape as the whole island explodes.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;">Acquanetta and Romero</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>The Lost Continent </i>script pretty much hews to the basic plot of every Lost World movie, and if you read the on-line reviews, you’d assume that that it is just another badly made B movie not worthy of your time. <span style="color: orange;">But, I’m here to at least softly praise its good points.</span> The first being that as someone who has actually been on expeditions to exotic locales to find dinosaurs, albeit fossilized and not – alas – living ones<sup>2</sup>, I found the movie quite engaging, with many elements ringing truer than many bigger budget films.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Most scientific expeditions run relatively smoothly. They are organized and executed by professionals who know what they’re doing and hold the goals of the endeavor AND the safety of the crew in the upmost importance. However, there are times when despite your best plans you find yourself under the leadership of someone who puts their personal goals ahead of the safety of the team.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">This is the circumstance that our search party find themselves in once they crash land on the island<sup>3</sup>. Major Nolan immediately marches them off to find the missing rocket. When someone suggests that they should see if the plane’s radio is still working, Nolan cuts him off by saying that they are under orders to maintain radio silence until they complete their mission. Hmmm. With their plane destroyed, Briggs injured and no supplies, wouldn’t it be a good idea to see if the radio works? If it’s dead, how is Nolan planning to arrange to be picked up even if they find the rocket? Nolan’s actions suggest that he’s on a personal suicide mission and doesn’t care who he takes down with him.</span><span style="font-family: "calibri" , "sans-serif"; font-size: large; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"> </span> </div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 12.0pt;">Romero and Chandler</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">From his conversations with his buddy, Wilson, we learn that, like him, Nolan’s traumatic war experiences have soured him on the military. One can imagine a post-war scenario where a lack of jobs and an inability to fit back into civilian life has sent him back to the only thing he understands, the military. In such a scenario, Nolan can then be interpreted as a film noir ‘anti-hero’ driven to destruction in an effort to lash out at the institution/woman he loved, but who dumped him into a concentration camp for his devotion. The opening scene of the movie re-enforces Nolan’s frustration with the military. A rare opportunity to enjoy a romantic interlude with Marla Stevens (Hillary Brooks) is coarsely interrupted by a summons from his bosses to go find the rocket. Nolan’s frustration with life and the military in particular, bubbles through Romero’s portrayal of the character. Like every film noir anti-<span class="msoDel"><del cite="mailto:Michael" datetime="2020-07-28T08:58"> </del></span>hero, Nolan is bound by the heartless regulations of a game from which he can’t break free. Artist Mark (<i>Xenozoic</i>) Schultz had this to add during our recent discussion of the film,</span></div>
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<span style="font-size: large;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: medium;"><span style="font-family: "Arial", "sans-serif";">"<span style="color: orange;">Nolan is not only a solidly Noir protagonist, but the
fatalistic tone of the entire movie places it squarely in the Noir genre</span>. The
cataclysmic ending is echoed in Kiss Me Deadly. Noir expert Eddie Muller suggests
that non-crime genres, such as SF, do not belong in the film noir canon, but I
would argue that noir should be most significantly defined by nihilistic,
fatalistic themes that can overlap into almost any genre. If you substituted
the science mission with a heist, no one would argue that LC wasn't noir. The
character dynamics and the plotting would be the exact same. Even their
code-mandated grim fate at the end."</span></span></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-bidi-font-size: 12.0pt;">”</span></span> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Nolan pushes them upward over what must be at least 500 meters of shear vertical assent that would test the most experienced climbers, let alone a ragtag bunch that have no climbing gear other than a rope. At this point a good leader would sit back, evaluate the situation and realize that obtaining the rocket data is beyond the scope of their resources. Plus, they’ve technically achieved their goal of finding the rocket! A simple radio message would bring a properly equipped team to the island within 24 hours, bringing the medical help needed for Briggs, and rescuing the stranded crew.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">But Nolan and the plot insist that they all carry on, and it is their drawn-out ascent of the plateau that has been widely ridiculed by critics. At almost 20 minutes in length, it takes up about one-quarter of the film’s total running time. I’ll happily admit that it is there to simply pad out the film. However, for my money, it pretty accurately represents what most expeditions are all about <span style="mso-bidi-font-family: Calibri;">–</span> the countless hours it takes to get to your destination.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Having hiked and climbed over hundreds of kilometers of badlands, I can attest that the climbing sequence is a good approximation of what that’s like. Needing to watch your every footfall because a misstep could mean injury, which is often the same as death when you’re<span class="msoIns"><ins cite="mailto:Mark%20Schultz" datetime="2020-05-01T00:39"> </ins></span>miles away from help in a harsh environment. Coming to a dead end while trying to find the best path. Being pummeling by the nasty weather while perched in the most precarious of spots<sup>4</sup>. <span style="mso-spacerun: yes;"> </span>They’re all part of the expeditionary routine.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The film makes the most of its plaster rock cliff set, rearranging its pieces and shooting from different angles so that no shot replicates the last. The slow, deliberate climb parallels the progress of any average expedition. I’ve also had the bad luck to have to follow someone as crazy as Nolan on their self-proclaimed ‘Death March’ (the actual term used in my case). When he comes to a dangerous part of the pass, Nolan never looks back to see whether everyone else can make it across. His attitude is, “I’m better than you and if you can’t keep up with me, you deserve to die”. And people do. Nolan ignores Brigg’s injury that puts himself and, thus, everyone else in danger. Like the best noir anti-hero Nolan doesn’t care if he is the only one left standing in the end (or if he is standing at all).</span><br />
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</style> <![endif]--></a><span style="font-family: "arial" , "helvetica" , sans-serif;">The Lost World looks it was inspired by a Rudolph Zallinger Painting.</span></div>
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<br /></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Once the pinnacle is reached the team find themselves in a very effective set that gives the unsettling feeling of an alien, prehistoric environment. It’s obviously artificial, but that just adds to its unearthly atmosphere. However, the green film tint used for this portion of the movie doesn’t work for me – I prefer good old B&W, but, maybe, like the red tint used in another Lippert Production, <i>Rocket Ship XM</i> from the previous year (clips of which are recycled here), it was more effective in the theater.</span><br />
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<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The stop-motion dinosaur models are primitive, but are none-the-less charming. We’re treated to an almost modern interpretation of intraspecific <i>Triceratops</i> combat when two of them lock horns in a battle to the death. I would, however, quibble with the attack by the <i>Brontosaurus</i> that sees Hugh Beaumont climbing a tree to escape. Hugh obviously had not watched the original <i>King Kong</i> (1933). It did not work then, and it does not work here. Climbing a tree to escape the reach of an animal with a 6 meter long neck doesn’t make any sense. I’m always puzzled why an herbivore with the brain the size of peach pit would be driven to violently attack something that is non-threatening. I guess that King Kong set the rule of vicious sauropods that must be obeyed!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">In his book, <i>Keep Watching The Skies</i>, Bill Warren offers these insights in to the film’s animated sequences, </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">“For years, the identity of the stop-motion animator of the inadequate dinosaur scenes in <i>Lost Continent</i> was unknown. But then in <i>Filmfax</i> #105 (January–March 2005), William Fogg’s article on the movie basically answered the question, although who actually did the animation is still unclear. In December 1950, Robert Lippert signed a contract with Edward Nassour for “750 feet of black-and-white film featuring prehistoric animals.” Jay Baylor and sculptor Henry Lion often worked for Nassour in that period, so either or both may have been the actual animator—although there is no replacement animation of the type Nassour used in the later <i>Beast of Hollow Mountain</i>. The animation was done in a very short six weeks, explaining its deficiencies.”</span> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">After surviving all these threats, a nicely animated pterosaur leads the team to the rocket (bravo for the naturalistic look of it landing on a rock!). They manage to collect the precious data, but not before losing one more crew member (death by <i>Triceratops</i>!). On their descent, the surviving men are forced into a frantic race against the volcanic destruction of the island. They flee for their lives as the ground literally drops away beneath them in a sequence as exciting and well done as any big budget production could have<span class="msoIns"><ins cite="mailto:Mark%20Schultz" datetime="2020-04-30T15:58"> </ins></span>managed. At the last second the surviving men escape in a native outrigger canoe.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Their fate is unresolved. The film ends with the dazed men clutching their precious data as the remainder of land crumbles in to the sea. No food. No Water. No supplies. No one knows where they are as they drift helplessly<sup>5</sup>. Will they be rescued? Will the next generation of rockets get built? If only Nolan had radioed HQ their position before setting out on his suicidal mission!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">If there’s a moral here<span class="msoIns"><ins cite="mailto:Mark%20Schultz" datetime="2020-04-30T15:59">,</ins></span> it’s knowing to quit while you’re ahead. Having figured out where the rocket was and without the ability to mount a safe way to reach it, it’s best to call in help.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Sid Melton</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The cast of <i>The Lost Continent</i> is made up of a lot of familiar faces that helps to smooth over its admittedly many flaws. I have a soft spot for Sid Melton who had a long career in mostly comedic small parts, including playing <i>Captain Midnight</i>'s sidekick in the 1950’s and as part of the ensemble cast of the long running TV show, <i>Green Acres</i>. In the anthology parody movie, <i>Amazon Women on The Moon</i> (1987), Joey Travolta does a spot<span class="msoDel"><del cite="mailto:Mark%20Schultz" datetime="2020-05-01T00:55"> </del></span>on spoof of Melton in the segment of the same name, which is itself a spoof of <i>Fire-Maidens of Outer Space </i>(1956) and a dozen other 50’s space exploitation flicks (e.g., notably <i>Abbott and Costello Go To Mars</i>, 1953).</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Affable Hugh Beaumont (pre-<i>Leave It To Beaver</i>) had the magical ability to sail through cheapo movies like this with good humor and his dignity intact. A rule of thumb for characters appearing in these sorts of films would be to stick close to Hugh; I can’t think of one where he does not it make it out hale and hearty. And, I’m surprised that the producers did not give Universal’s <i>Captive Wild Woman</i> (1943), Acquanetta, a larger part. Most films like this would have her guiding the boys up the plateau and then either ending up with Romero or sacrificing herself so that he could escape. She’s wasted in this small role, but I hope she got away before the island blew up! </span> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-weight: normal;"><span style="color: orange;">Is The Lost Continent Worth My Time?</span> I might be in the minority, but I’ll highly recommend it to those that enjoy these quickly made, low budget Lost World flicks. The 83 minute production by Robert L. Lippert & Sigmund Neufeld, and Sam Neufeld’s (Sigmund’s brother) direction rises well above the expected cheapie cash grab. Cinematography by Jack Greenhalgh is sharp and rich adding a lush tone to the film, while the score (available as a stand alone track on the DVD) evokes the spirit of high adventure. Screenwriter Richard Landeau also co-wrote the screenplay for the exceptional <i>Quatermass Xperiment </i>(1955), so he clearly was capable of writing better material when given the chance. Notably, both films feature rockets stuck in the ground like darts--ludicrous but dramatically impactful visuals.</span><span style="font-size: 10.0pt;"> </span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="color: orange;"> </span></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="color: orange;">Availability</span>:<span style="font-weight: normal;"> The 2001 DVD from Image Entertainment is still available and offers a sharp, clean print with good sound.</span></span></span><br />
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<br />
<div class="MsoNormal">
<span style="color: orange;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Notes:</span></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">1. Do not accept any of the nonsense spoken about
radioactivity in this film as fact.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">2. I know that all birds are dinosaurs.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">3. Calling this unnamed island a continent is pushing it.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">4. Although no giant anole lizards have ever tried to eat
me.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">5. Given that the back-projecting ocean footage clearly shows
waves breaking on a beach, our heroes could simply have stepped out of the
canoe and walked home.</span></span></div>
<br />
<div class="MsoNormal">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1NlA36yutMUXNEQPy0ar2cGAZ7mGdi27ir9zyz1paaLYpiD5l-iNBSbRZMx4fSd_BIE-7cbil0Mq6YMQcNGgL567swbkRIsTVU8Dtc13Ggx9aZpIAYKnc-HUSfOw6_kvjEnYB19IKDLOD/s1600/12+Lost+Continent+1951+B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="531" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1NlA36yutMUXNEQPy0ar2cGAZ7mGdi27ir9zyz1paaLYpiD5l-iNBSbRZMx4fSd_BIE-7cbil0Mq6YMQcNGgL567swbkRIsTVU8Dtc13Ggx9aZpIAYKnc-HUSfOw6_kvjEnYB19IKDLOD/s400/12+Lost+Continent+1951+B.jpg" width="265" /></a></div>
<br />Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-87903775512963600862020-03-13T11:41:00.000-04:002020-03-13T11:41:21.077-04:00The Roots of Genndy Tartakovsky's PRIMAL (2019)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBiCN3JFpJPqBQzniuhlIVPoE0baPfCGLcZ-0EpUC1I4Tg0u4c7hIXlAwQ1V566KDX1EE0NJPZGI74Jf1_5vWnUWjYLJbKIe2Tm6Rz-iWL16LWUPRmmBQcbYKtcHSz3PSomCOJj1OSqKL0/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBiCN3JFpJPqBQzniuhlIVPoE0baPfCGLcZ-0EpUC1I4Tg0u4c7hIXlAwQ1V566KDX1EE0NJPZGI74Jf1_5vWnUWjYLJbKIe2Tm6Rz-iWL16LWUPRmmBQcbYKtcHSz3PSomCOJj1OSqKL0/s640/1.jpg" width="640" /></a></div>
<span style="font-size: large;"></span><br />
<blockquote>
<span style="font-size: large;"><span style="color: orange;">Q:</span> How many giant, blood-red, mutant bats does it take to carry an adult <i>T. rex</i> into the cave of a humongous spider-god?</span><br />
<span style="font-size: large;"><br />
</span> <span style="font-size: large;"><span style="color: orange;">A:</span> Is that an African or a European giant, blood-red, mutant bat?</span></blockquote>
<span style="font-size: large;">
</span> <span style="font-size: large;">Actually, the answer is ‘two’. </span><br />
<span style="font-size: large;"><br />
</span> <span style="font-size: large;"><span style="color: orange;">From this intro you can tell that I’ve finally caught up with <i>PRIMAL</i></span>, the latest series from Genndy (<i>Samurai Jack</i>) Tartakovsky on the Cartoon Network. The first five episodes of the first season aired last Fall and ended on a cliffhanger (spoiler – I’m betting that the <i>T. rex </i>is still alive).</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii5-BMCCZfYGM8uyrKd4GPRCCpev9FP1SiVRl8yXTdjF8kUa7pPQRGOhVRezWOQJZJU3O03LmC5kOjT2EedFEftSdvT3k2hGSYH8OLwUG2pJxOIfU_XYYIYNY7E2ZyufVQAVExlczpBNc1/s1600/1b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii5-BMCCZfYGM8uyrKd4GPRCCpev9FP1SiVRl8yXTdjF8kUa7pPQRGOhVRezWOQJZJU3O03LmC5kOjT2EedFEftSdvT3k2hGSYH8OLwUG2pJxOIfU_XYYIYNY7E2ZyufVQAVExlczpBNc1/s640/1b.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span style="color: yellow;">Spear and Fang</span></div>
<br />
<span style="font-size: large;">The show’s premise is simple – in a cartoon version of prehistory where only such things are possible, a caveman (‘Spear’) is befriended by a <i>Tyrannosaurus rex</i> (‘Fang’) and together they fight for survival. </span><br />
<span style="font-size: large;"><br />
</span> <span style="font-size: large;">The premise is not new or novel. Pop culture is clogged with hominids of some sort or another living in a world where both dinosaurs and prehistoric mammals all coexist. </span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYHYrQm17oUhwwrTbSDtrjTgvoBMgTSotCOuEAHEEMLFrz_TM2JmSVcKZ3OI905JdkdPIsdvmCBq7p14TI45gqpIROcdyxx8VEDwQiGmksYbO9sH3fSkkrZhobun2ndl3hyphenhyphen5d5qLrEew2h/s1600/1c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYHYrQm17oUhwwrTbSDtrjTgvoBMgTSotCOuEAHEEMLFrz_TM2JmSVcKZ3OI905JdkdPIsdvmCBq7p14TI45gqpIROcdyxx8VEDwQiGmksYbO9sH3fSkkrZhobun2ndl3hyphenhyphen5d5qLrEew2h/s640/1c.jpg" width="640" /></a></div>
<br />
<span style="font-size: large;">The most famous is probably the long running and much repeated, <i><a href="https://en.wikipedia.org/wiki/The_Flintstones">THE FLINTSTONES</a></i> (1960). Like Primal’s Spear, Fred Flintstone has a pet dinosaur, Dino, who I always thought must be some sort of prosauropod. But, The Flintstones, as great as it was, is just a variation on Jackie Gleason’s <i>The Honeymooners</i> (if that means anything to kids these days) and its prehistoric milieu is just a parody of modern society.</span><br />
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<span style="font-size: large;"><i>Primal</i>’s earliest, best-known antecedent would be the comic strip, <i><a href="https://en.wikipedia.org/wiki/Alley_Oop">ALLEY OOP</a></i>, featuring the caveman of the same name. Created by V.T. Hamlin back in 1932, Alley Oop lived in the mythical prehistoric land of Moo and got into all kinds of hijinks with his cavemen buddies, his pet dinosaur, Dinnie, and his girlfriend, Ooola (as in <i>Oh la la</i>!). <i>Primal</i>’s Spear even shares Oop’s thick body build, although not Oop’s <i>Popeye</i>-like upper arms and legs.</span><br />
<span style="font-size: large;"><br />
</span> <span style="font-size: large;">Next up is <a href="http://www.markbode.com/site/vaughnbode.html">Vaughn (Cheech Wizard) Bode</a>’s, <i>THE MAN</i>, featuring the adventures of a melancholic and confused-by-his-prehistoric world caveman. Broadly modeled after Alley Oop, <a href="https://bronzeageofblogs.blogspot.com/2009/05/man.html">The Man</a> is alone in his world except for his beloved stick (called ‘Stick’) to which he voices his inner thoughts and fears. In his neanderthal brain (not a slur), The Man perceives Stick as being as ‘alive’ as he is and even risks his life to save it when it is in danger. </span><br />
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</span> <span style="font-size: large;"><i>Primal</i>’s Spear shares a similar relationship to his own ‘Spear’ and goes to great lengths to retrieve it when it is lost. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi14JFCwnqz86XJtZjuhZ4v2uUke5VGkyUBM3a6eWT95JZqSxqJWjrsH_WvmC3vMCzXUVl9PG0Dr3HQc4ziocLYTltp5z8G6DEF0ILYQ3l18Cwd-GozhWUD8gyva6KeUq7huLxwNFj7CUCq/s1600/3a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="907" data-original-width="1375" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi14JFCwnqz86XJtZjuhZ4v2uUke5VGkyUBM3a6eWT95JZqSxqJWjrsH_WvmC3vMCzXUVl9PG0Dr3HQc4ziocLYTltp5z8G6DEF0ILYQ3l18Cwd-GozhWUD8gyva6KeUq7huLxwNFj7CUCq/s640/3a.jpg" width="640" /></a></div>
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<span style="color: yellow;">Vaughn Bode's The Man</span></div>
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<span style="font-size: large;">The Man’s existence is sad, lonely, scary, and desperate, and it is not at all your traditional comic strip. Spear’s adventures and almost suicidal despondency over the misery that is life in <i>Primal</i>’s first episode could easily be seen as a homage to what may be Bode’s most mature and poignant work. <i>The Man</i> was originally created in 1965 for Syracuse University’s student newspaper (Bode was just a sophomore!), the Daily Orange, and deserves to be better known. <i>The Man</i> can be found in a 1972 reprint by Print Mint or in <i>Schizophrenia</i>, an anthology of Bode’s work published by Fantagraphics in 2001.</span><br />
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<span style="font-size: large;"><span style="color: yellow;">Which brings us to <a href="https://www.marvel.com/comics/discover/801/jack-kirby">Jack (The King) Kirby</a>’s, <i><a href="https://atomic-surgery.blogspot.com/2006/06/devil-dinosaur-unseen-project.html">DEVIL DINOSAUR</a></i>, which is what<i> PRIMAL</i> is in all but name. </span></span><br />
<span style="font-size: large;"><br />
</span> <span style="font-size: large;">In 1970, Kirby left Marvel Comics after creating or co-creating almost their entire roster of super-heroes. Lured to DC with the promise of editorial control and presumably better pay, Kirby created his much praised, interconnected ‘<a href="https://en.wikipedia.org/wiki/Fourth_World_(comics)">Fourth World</a>’ series (<i>New Gods</i>, etc.), only to have them abruptly cancelled by unsupportive overseers (I’m looking at you, ghost of Carmine Infantino!). Kirby replaced these books with new (even better IMHO) characters (<i>The Demon</i>, <i>OMAC</i>, <i>Kamandi</i>) before giving up on DC and returning to Marvel in 1976.</span><br />
<span style="font-size: large;"><br />
</span> <span style="font-size: large;">Going back to Marvel must have been hard, but Kirby had a family to feed, so he swallowed his pride and returned to <span style="color: orange;">The House That Kirby Built</span>. He went on produce some of his best work, including an oversized ‘treasury’ version of <a href="http://sequart.org/magazine/20651/on-jack-kirbys-2001-a-space-odyssey/"><i>2001: A Space Odyssey</i> </a> that is a thing of beauty to behold. But perhaps his most notable creation (at least to this palaeontologist) is the curiosity that is <i>Devil Dinosaur</i>, his last hurrah for Marvel. Only running for nine issues (but since recently revived), it featured the adventures of the blue ape-man, Moon Boy, and his red <i>T. rex</i>, the aptly named Devil Dinosaur.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEkYnWFYbc5fRMNHvZ2BAFpv4IB_YBgQK51IqRLeS70FVaMHSo9RTl_lOHimJcM0MOzQj5GDIslgzBksZkw0_pvPMiYtaUArCyWF9BBApWyuUgdnCQoXl3dGWT85KPqNgEfhz6y0p3KFcy/s1600/5+jk_devildinosaursm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1198" data-original-width="1600" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEkYnWFYbc5fRMNHvZ2BAFpv4IB_YBgQK51IqRLeS70FVaMHSo9RTl_lOHimJcM0MOzQj5GDIslgzBksZkw0_pvPMiYtaUArCyWF9BBApWyuUgdnCQoXl3dGWT85KPqNgEfhz6y0p3KFcy/s640/5+jk_devildinosaursm.jpg" width="640" /></a></div>
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<span style="font-size: large;">Just like the world of <i>Primal</i>, Moon Boy and Devil Dinosaur lived in chaotic mixture of prehistoric beasts and danger, and featured adventures that only Jack Kirby could have conceived. Fans were never surprised when marauding aliens turn up or when Devil Dinosaur time traveled forward to the modern world.</span><br />
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<span style="font-size: large;"><span style="color: orange;">Tartakovsky's <i>Primal</i> embraces all things Jack Kirby</span>, only differing in its beautifully muted colour design and lack of dialogue (bravo for that stylistic choice – that must have been a tough sell to the network executives). As the series progresses, Spear and Fang battle progressively weirder protagonists until we finally fully arrive in Jack Kirby’s universe by episode 4. The giant mutant bats from this episode bear an uncannily resemblance to giant bats from his <i>Kamandi, The Last Boy on Earth</i> #9 (1973). The giant spider from the same episode was seen in <i>Devil Dinosaur </i>#2 (1978). And finally, <i>Primal</i>’s cliffhanger episode delivers the <i><a href="https://www.marvel.com/articles/comics/it-s-clobberin-time-the-thing-s-7-best-fights">Clobberin’ Time</a></i> punch of the giant wearing the <i>Triceratops</i> skull mask (above) from DD #3 (1978) battling one of Kirby’s first creations for Marvel, <i>The Incredible Hulk</i>. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiap-o6Nro-hbdCD52gnJ20wDE4VbVPsFLVAisu5dP_tDGU5jDS7ke5cIsyrqbe5cW6czc6Msq8bzKju7qDPrtx4ndFuSaSV-I9CEQr-Lu6xXFUnzY3kgJpvJ-E_I_CsCO_xoL9miUY1ztK/s1600/7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="491" data-original-width="1280" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiap-o6Nro-hbdCD52gnJ20wDE4VbVPsFLVAisu5dP_tDGU5jDS7ke5cIsyrqbe5cW6czc6Msq8bzKju7qDPrtx4ndFuSaSV-I9CEQr-Lu6xXFUnzY3kgJpvJ-E_I_CsCO_xoL9miUY1ztK/s640/7.jpg" width="640" /></a></div>
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<span style="font-size: large;"><span style="color: yellow;">Yes, you read that right – THE INCREDIBLE HULK.</span></span><br />
<span style="font-size: large;"><br />
</span> <span style="font-size: large;">To beat the giant ape-thing wearing the <i>Triceratops</i> skull and save his <i>T. rex</i> buddy, Spear drinks a potion that turns him into a giant (<i>giant!</i>), raging, out-of-control <strike>green</strike> blue hulk. <span style="color: yellow;">At this point the series has admitted that anything goes!</span> I fully support Tartakovsky engaging his inner Kirby as the series moves forward. I will be disappointed if I don’t soon see <a href="https://kirbymuseum.org/blogs/kinetics/wp-content/uploads/sites/11/2011/07/A-Kirb-Kin-ego-recorder.jpg">robotic Recorders from another galaxy</a>, Spear’s spear turning out to be a magic hammer when slammed on the ground, and a time machine that takes Spear and Fang to downtown Manhattan! At a minimum.</span><br />
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<span style="color: yellow;">Note the famous log from <i>King Kong </i>(1933)</span></div>
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<span style="font-size: large;"><span style="color: orange;">Is <i>Primal</i> Worth My Time:</span> A big five stars for entertainment value and <span style="color: orange;">I refuse to poke holes in its premise</span> by wearing my palaeontologist field cap. I can even believe the events that lead to Spear and Fang teaming up. But I will point out that only a ‘plot device’ could have Spear building his soon-to-be-eaten family’s hut in the middle of a plain full of carnivorous dinosaurs and not up on a safe cliff somewhere. Or, maybe, you know, being a <i>caveman</i>, why not put them in a nice defendable <i>cave</i>? </span><br />
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<span style="font-size: large;">Not every episode is over top adventure. The David Krentz storyboarded episode (#3) with Spear and Fang battling a winter storm and a herd of mammoths is touching and exciting at the same time. And kudos to the brilliant design and colour palate of the series, and the fine music and sound design that is all the more noticeable for the lack of dialogue (although there IS a lot of grunting, screaming and roaring).</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY6M68LCYJMLPZkQNvSrNcx0Rb6B35dDqn0kEoO0oC9M6f3ZfoSQsZ1F3YKPp0moarsUwjwSBBzbnSU7gy1kx1JZqzfN490va-UIUwcx0r8HJC7pjYnTh_eih2_70yCoDMI0rAmDwbSce_/s1600/8a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY6M68LCYJMLPZkQNvSrNcx0Rb6B35dDqn0kEoO0oC9M6f3ZfoSQsZ1F3YKPp0moarsUwjwSBBzbnSU7gy1kx1JZqzfN490va-UIUwcx0r8HJC7pjYnTh_eih2_70yCoDMI0rAmDwbSce_/s640/8a.jpg" width="640" /></a></div>
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<span style="font-size: large;"><span style="color: orange;">Availability:</span> Wherever you can watch the Cartoon Network.</span><br />
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<span style="font-size: large;"><span style="font-size: large;"><span style="color: orange;">____________________________________________</span></span> </span></div>
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<span style="font-size: large;"><span style="color: orange;">Ray Bradbury on <i>The Man</i>: </span>"<i><span style="mso-bidi-font-style: italic;">The Man</span></i> by Vaughn Bode is very sad and very touching and full of the loneliness that must have been beast/man's long before we knew more of love and what it could do to save us from the uncaring universe, and, often, ourselves." </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNs_9c22pd3iEqZErtgWaMLfY8u_kYSBTS_UZI35k0j-o3JKEjZZ0KpK8usL_36r6DSMy2MJAv5DgRvcPVcvsR7XYhxYddRcxBRzEqwqS0wRRsXWL31IHQ5xqiAnvcq8l_V8gSwWWZ0OL6/s1600/9c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNs_9c22pd3iEqZErtgWaMLfY8u_kYSBTS_UZI35k0j-o3JKEjZZ0KpK8usL_36r6DSMy2MJAv5DgRvcPVcvsR7XYhxYddRcxBRzEqwqS0wRRsXWL31IHQ5xqiAnvcq8l_V8gSwWWZ0OL6/s640/9c.jpg" width="640" /></a><br />
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<span style="color: yellow;">Contender for the greatest single frame in animation history</span></div>
Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-56064584739644044882020-03-10T12:09:00.001-04:002020-03-10T12:09:29.017-04:00Joe Dante's Top 50 Worst Horror and SF Films<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUqVy-xa-xbu1BVkN2u8LoZ5RTo2MJfFKd0xqMPQ0ZYsgDcpgS0h63B_iJih3FlUbbgSy_7AT0BR9KAaXzePwvffKIdixQhz_w8QAVyjm4pC2kwW260nwXdkTDg2-F5DsyjhlyTS0zTJZp/s1600/Famous+Monster+Of+Filmland+1972+36.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUqVy-xa-xbu1BVkN2u8LoZ5RTo2MJfFKd0xqMPQ0ZYsgDcpgS0h63B_iJih3FlUbbgSy_7AT0BR9KAaXzePwvffKIdixQhz_w8QAVyjm4pC2kwW260nwXdkTDg2-F5DsyjhlyTS0zTJZp/s640/Famous+Monster+Of+Filmland+1972+36.jpg" width="640" height="451" data-original-width="1600" data-original-height="1128" /></a><br />
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Read his 1972 article from Famous Monsters of Filmland over at the <a href=https://tinyurl.com/JoeDFM>AS FB page</a>Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-14094625342408659782020-03-03T13:23:00.000-05:002020-03-03T13:23:39.251-05:00Curse of The Abominable SnowmobileA classic from the brain and pen of Larry Todd (Brain Fantasy #2, Last Gasp).<br />
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<![endif]--><span style="font-size: large;"><span style="font-family: Georgia, "Times New Roman", serif;"><span><span style="font-family: Times, "Times New Roman", serif;">Although it’s not considered an essential Pre-Code
Film, <span style="color: orange;"><i>Picture Snatcher </i>(1933) may be the quintessential Pre-Code Film.</span></span><span style="color: orange;"> </span></span><span style="color: orange;"> <span style="background-color: orange;"></span></span></span>The presence
of James Cagney, whose popularity continues to transcend generations, and its
snappy script certainly makes it a great introduction to the world of Pre-Code
movies for the novice.</span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="color: orange;">Pick a category that the Code objected to and <i>Picture
Snatcher </i>has it.</span> Watch Cagney navigate through, or participate in:<span> </span>gangster shot outs, executions, police
abusing their power, women in lingerie, sexually aggressive women, violence
against women, children shot at, the seduction of underage girls – and the list
goes on!</span></div>
<span style="font-size: large;">
</span><div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><div class="MsoNormal">
<span style="font-size: large;"><span style="color: orange;">Picture Snatcher </span>has a demise that seems ripe for a Netflix
or HBO series. Head-of-his-mob Danny Kean (Cagney) gets out of Sing-Sing after
taking a 3 year rap for one of his gang. But, rather than return to a life of
crime he decides to go straight and get into the newspaper business. He kisses
off his old pals and takes his share of the loot (with interest; apparently his
gang was nice enough to invest his money while Danny was out of circulation). <span> </span>Although he’s going straight, the slippery Danny’s
not above using his ill-gotten gains to set himself up – after all, he’s earned
it!</span></div>
<div class="MsoNormal">
<br /></div>
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<span style="color: yellow;">Cagney and Ralph Bellamy</span></div>
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<span style="font-size: large;">Cagney convinces Al McLean (Ralph Bellamy), the alcoholic
editor of the scummiest newspaper in town to set him up taking the scandalous photos
that no one else can get. He’s then off and running (no one can move or talk
faster than Cagney), but never fast enough to shake off the women that are
drawn to him like honey.</span></div>
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<span style="color: yellow;">Cagney and Alice White</span></div>
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<span style="font-size: large;">Within minutes of turning in his first big photo, the Women’s
Page reporter, Allison (the saucy Alice White - <i>“I’m too much woman for any one
man”</i>) has dragged him into the back of the Women’s bathroom. He doesn’t object
until he later finds out that she’s McLean’s main squeeze. Allison forces
herself on Danny again only to suffer worse than Mae Clarke did in Public Enemy
(1931). Danny later
sweeps a former moll off her feet (<i>“I’m going to put on some silk so good that
you can see right through it”</i>) and throws her onto a bed – only to leave her
angry and frustrated when he instead walks out on her (he’s only using her for
information). </span></div>
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<span style="color: yellow;">Cagney, Patricia Ellis and Robert Emmett O’Connor</span></div>
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<span style="font-size: large;">The real girl for Danny is sweet Pat Nolan (Patricia Ellis),
described as ‘jailbait’ by Allison (Ellis could not have been more than 16
years old when the movie was shot). Unfortunately, her father Casey, played by Robert
Emmett O’Connor - who was born to play Irish cops - is the officer who sent Danny
up the river. When Casey first sees Danny, he chases him into the street in
full uniform firing at him with his police revolver. Danny shrugs this off, but
today Casey would be arrested for attempted murder (at least in some
jurisdictions).</span></div>
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<span style="color: yellow;">Lights out in Sing-Sing</span></div>
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<span style="font-size: large;">Cagney eventually gets his big break by surreptitiously
taking a photo of a female convict being electrocuted. This will give him the
raise he needs to marry Pat, but it also means demotion and public humiliation
for her father, Casey, whose good word let Danny join the other journalist observers
at the execution. Just as in his old criminal days, Danny only ever thinks of
himself. Self evaluation only comes when he hits rock bottom after losing his
job and his girl. <span style="color: yellow;">Can Danny redeem himself in the final act and win back Pat? </span></span></div>
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<span style="font-size: large;">Let’s just say that, other than a few bullet-ridden bodies,
almost everyone ends up happy. Except for Allison who ends up walking the
streets. <i>Tough break kid.</i> <span style="color: yellow;">Didn’t you know that even in a Pre-Code film the
sexually aggressive woman has to end up either married or in jail?</span> Unfortunately,
Alice White’s life mirrored that of her character in Picture Snatcher. She had
a moderately successful career in silent films, often being compared to Clara
Bow, but her work in the talkies was derailed by a 1933 sex scandal involving her
boyfriend, Jack Warburton, and producer, Sy Barrett.</span></div>
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<span style="font-size: large;"><span style="color: orange;">Is <i>Picture Snatcher</i> Worth My Time?: </span>Yes. Directed by Lloyd
Bacon, it’s an entertaining romp that careens from serious melodrama to farce.
Cagney almost seems to be spoofing himself here, performing and delivering
lines at such a breakneck speed that you except the film’s 77 minute running
time to be half of that. Ralph Bellamy is a great foil for Cagney, and your
heart has to break a little for feisty Alice White who just wants what she
wants, but is not destined to get it.</span></div>
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<span style="font-size: large;"></span><span style="font-size: large;"><br /></span>
<span style="font-size: large;"><span style="color: orange;">Availability:</span> <i>Picture Snatcher</i> is available as part of the Warner Gangsters Collection,
Vol. 3.</span></div>
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<span style="color: yellow;">Yes, Alice White, you are in a Pre-Code Film!</span></div>
Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-87597266828879031122020-02-19T12:22:00.001-05:002020-02-19T12:23:57.787-05:00Barbara Shelley is the Cat Girl (1957)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij-Cetg5PE6F_C5MVCMYauCId8Fdxew5piHf8UDIZw1s8SCxJud1YG91ImAsD1xxnsXury0t426mQSB62KqCFscDT7VkgBmP6DAtFAhQQM1d-R50JgKXO1nPo82jqF_3-zQkd8cQLFVaAD/s1600/Cat+Girl+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="770" data-original-width="1000" height="493" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij-Cetg5PE6F_C5MVCMYauCId8Fdxew5piHf8UDIZw1s8SCxJud1YG91ImAsD1xxnsXury0t426mQSB62KqCFscDT7VkgBmP6DAtFAhQQM1d-R50JgKXO1nPo82jqF_3-zQkd8cQLFVaAD/s640/Cat+Girl+%25281%2529.jpg" width="640" /></a></div>
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<i><span style="font-size: large;"><span style="color: yellow;">To Carcass Me Is To Tempt Death!</span></span></i></div>
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<span style="font-size: large;"><span style="color: orange;"><i>Cat Girl</i> (1957) is a B&W pastiche of every ‘Old Dark House’ story ever filmed and Val Lewton’s, <i>The Cat People</i> (1942)</span>, with the poster’s tag line referring directly back to that film. Directed by Alfred Shaughnessy, it has a suitably dark and spooky atmosphere, but <span style="color: orange;">it is most notable for the sharp performance by Barbara Shelley</span> who realistically expresses both the fear and carnal bloodlust that results when her family curse consumes her.</span><br />
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<span style="color: yellow;">Barbara Shelley, John Lee, Patricia Webster, and Jack May</span></div>
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<span style="font-size: large;">Leonora Johnson (Barbara Shelley) returns to her family’s ancestral home at the request of her uncle Edmund Brant (noted Shakespearean actor, Ernest Milton) to discuss her future inheritance, not knowing that it is actually the 700 year-old Brant curse. In tow, Leonora has brought along her calculating husband, Richard (Jack May) and their friends, perpetually drunk Allen (John Lee) and his wife, Cathy (Patricia Webster), who is in an on-going affair with Richard.</span><br />
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<span style="font-size: large;">But, even before we arrive at the house, <span style="color: orange;">there are signs the Leonora may not be completely stable. </span>Stopping at a pub, she is almost catatonic with the fear of seeing her uncle again. When she meets up with an old flame, hang dog psychiatrist, Brian Marlowe (Robert Ayres), it’s clear that’s she’s still carrying an overly obsessive torch for him. And, once at the house, she orders the elderly and infirmed servant, Anna (Lilly Kann), to carry their bags up to their rooms and fetch them coffee. Leonora! Anna she needs a cane to get around! Don’t be such a jerk! Well, we can chalk that up to nerves, I guess…. </span><br />
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<span style="color: yellow;">Ernest Milton and Barbara Shelley</span></div>
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<span style="font-size: large;">Later that night, the sleeping-in-the-nude Leonora (the camera lingers lovingly on her bare back and shoulders) is woken up and summoned to her uncle’s sanctum sanctorum to learn <span style="color: orange;">the family secret; that the head of the family has been cursed with werewolfism</span>, albeit of an odd sort where their spirit takes over a leopard that carries out proxy killings at its master’s command. When Leonora’s spirit possesses the cat, she undergoes a subtle, but effective transformation –her eyebrows become pointed and she acquires a more glamorous make-up designed to make her eyes look more cat-like. But, the best effect is how Shelley can convey a feral blood-thirst by simply contorting her face and hands.</span><br />
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<span style="font-size: large;">Initially appalled by her uncle’s claims, Leonora shows an instant affinity for the leopard. Taking up the ancient curse allows Leonora to shed her prim, uptight skin and give in to her raging hatred for her controlling uncle and unfaithful husband, and her lust for Brian. Uncle and husband are soon found clawed to pieces by some large beast, and when the police bring in Brian The Shrink to deal with Leonora’s seemingly irrational claim that she killed them both, we know that she will stop at nothing to reclaim her old lover. His pretty blonde wife, the canary-like, Dorothy (Kay Kallard), had better not perch too close to Leonora!</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkXDYdFqCKRC9hp5cAVrcBAdy7O3eOSE9Ifl5JT80-62CrCqI6CgsipoxJbti1gjbCi232cpXht-4sPqLZMt9phVOfOGTbX4uKVjdsiw5ziroLTXd9CgRTldHo_VDpY2BdS-JX7RAjq6cn/s1600/Cat+Girl+%25285%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkXDYdFqCKRC9hp5cAVrcBAdy7O3eOSE9Ifl5JT80-62CrCqI6CgsipoxJbti1gjbCi232cpXht-4sPqLZMt9phVOfOGTbX4uKVjdsiw5ziroLTXd9CgRTldHo_VDpY2BdS-JX7RAjq6cn/s640/Cat+Girl+%25285%2529.jpg" width="640" /></a><br />
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<span style="font-size: large;"><span style="color: yellow;">Barbara Shelley as Cat Girl!</span></span></div>
<span style="font-size: large;">Like the best Femme Fatale’s, Leonora is a provocative, empowered protagonist who is both hero and villain in her own narrative. Hammer Films would exploit this motif in many of their future horror films while never failing to showcase an array of Technicolor bosoms. Leonora’s ‘curse’ can been seen as a liberation from her repressed 1950’s lifestyle as she finally gives herself permission to take control of her life and eliminate all of the obstacles standing in her way. “<i>I am Woman. Hear my leopard roar!</i>” Unfortunately, she takes the ‘eliminate’ part literally!</span><br />
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<span style="color: yellow;">Robert Ayres and Barbara Shelley look for a cigarette</span></div>
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<span style="font-size: large;">Brian tries to cleanse Leonora of her crazy belief by burning her uncle’s old books (was I the only one to wince at the thought of 700 year-old manuscripts being so callously destroyed?). This leads to a heated physical confrontation between the two of them, followed by a chest-heaving, mussed up hair, post-coitus-like reconciliation in front of a burning fireplace that was apparently too subtle for the British censors, but not the astute viewer.</span><br />
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<span style="font-size: large;">After Brian commits Leonora to a sanitarium the film shifts into high(er) gear. The first night sees Leonora’s hands seemingly turn into maybe real claws (a nice touch!) and for a split second, a fuzzy, possible transformation into a were-cat, after which she proceeds (off camera) to tear up the room. Although he finally admits that Leonora is mentally disturbed, Brian still has her discharged (!) and proceeds to make his wife (!!) spend time with Leonora to in an attempt to help ‘normalize her’ (!!!). Hands up anyone who thinks this is a bad idea and that we should check where Brian got his medical degree?</span><br />
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<span style="color: yellow;">Barbara Shelley and Kay Kallard</span></div>
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<span style="font-size: large;">The climax of <i>Cat Girl </i>is a mostly effective variation on the famous bus stop scene from <i>The Cat People</i>. Threateningly dressed in a full-length black raincoat, our Polythene Pam-like Leonora plays cat and mouse with Dorothy through the dark alleys of the dockyards while the police search for an escaped leopard. Will Leonora channel her leopard avatar one more time? Will Brian arrive in time to save his wife? <i>Cat Girl</i> is worth watching to learn how the Brant family curse finally plays out.</span><br />
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<span style="font-size: large;">The statuesque Barbara Shelley started her career as a model before moving into films in Italy in 1953 under her real name of Barbara Kowin. By 1957 she was appearing in English language films in Britain as Barbara Shelly where she had a long career dividing her time between TV and movies. <i>Cat Girl</i> was her first English language movie and she can claim ‘Scream Queen’ status for having starred in a number of genre films including <i>Blood of the Vampire</i> (1958), <i>Village of the Damned</i> (1960), <i>The Shadow of the Cat </i>(1961), <i>The Gorgon</i> (1964), and <i>Dracula – Prince of Darkness </i>(1967), as well as appearing in many episodes of <i>The Avengers, Danger Man, The Saint</i>, and <i>The Man from U.N.C.L.E</i> during the 1960’s.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeOSy-kOzFZE5KpIMLVW_gpNJt4GaR7kBvTTX1sZrMAIlmnxV2mf61ciDKjqHdV6ut_Y_85GSySj7oiJSCtVlYpP_E7CfgLRFYIyIk02IYMjQuhhgUVclGVcuxuf9mHM_goygNYtlKjF-1/s1600/Wild+Hunt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="467" data-original-width="900" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeOSy-kOzFZE5KpIMLVW_gpNJt4GaR7kBvTTX1sZrMAIlmnxV2mf61ciDKjqHdV6ut_Y_85GSySj7oiJSCtVlYpP_E7CfgLRFYIyIk02IYMjQuhhgUVclGVcuxuf9mHM_goygNYtlKjF-1/s640/Wild+Hunt.jpg" width="640" /></a></div>
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<span style="font-size: large;"></span><br />
<span style="font-size: large;">Her best role arguably came as Barbara Judd in the film version of <i>Quatermass and The Pit</i> (aka <i>5 Million Years to Earth</i>, 1967). As the assistant to Dr. Michael Roney (James Donald), she channels the hallucinatory vision of the Martian ‘wild Hunt’ (above) after the discovery of the ancient spaceship in Hobbs End, London. This one scene shows just how good her acting chops were and how underutilized she was in most of her film appearances.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><span style="color: orange;">Is <i>Cat Girl </i>Worth My Time?</span> Yes. It’s an underrated, minor British classic well worth watching for Shelley’s almost hypnotic performance. The rest of the workman-like cast moves through their clichéd roles with a minimum of fuss, although prone to overacting. Barbara Shelley is the whole show here, but she’ll hold your attention for the entire film. It’s the sign of a well told story that it never lags and you never notice its 69 minute running time.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><span style="color: orange;">Availability</span>: <span style="font-family: "calibri" , "sans-serif";">It does not appear to be currently available on DVD,
but OOP copies are available on the
secondary market.</span> It’s ripe for a full BluRay restoration.</span><br />
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<br />Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-68283021955396873332020-02-11T11:17:00.000-05:002020-02-11T11:28:51.696-05:00Tailspin Tommy – Gets the Monogram Treatment in Sky Patrol and Danger Flight (1939)<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRqm_J0JZ__fFSan4LBoSvuhpLueTN9NaxUbPBdxUVvg7g0TUJBgtwz_NLq5XL2ZGPvLcA0u7DgrlBTU0CE6TJNcsQBedL5OUTxnKhSf31DhlTE8FmNAyKcnMX_he4QFHXhcOmtrcuFRHJ/s1600/1+Sky+Patrol+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="560" data-original-width="916" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRqm_J0JZ__fFSan4LBoSvuhpLueTN9NaxUbPBdxUVvg7g0TUJBgtwz_NLq5XL2ZGPvLcA0u7DgrlBTU0CE6TJNcsQBedL5OUTxnKhSf31DhlTE8FmNAyKcnMX_he4QFHXhcOmtrcuFRHJ/s640/1+Sky+Patrol+%25281%2529.jpg" width="640" /></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: large;"><span style="color: orange;">Mankind has always been fascinated by the possibility of flight. </span>When the Wright Bros got off the ground in 1903, even though it was only for a few seconds, they ignited an air race that eventually put a man on the moon.</span></div><span style="font-size: large;"> </span><br />
<div class="MsoNormal"><span style="font-size: large;">The early days of flight saw multiple individuals and companies competing with novel, sometimes outlandish plane designs that captured the public’s imagination. <span style="color: yellow;">When Charles Lindbergh crossed the Atlantic in 1927, America’s fascination with all things aviation caught fire.</span> <i>Tailspin Tommy</i> was the first of the newspaper comic strips launched to cash in on the crazy and was soon followed by <i>Skyroads</i>, <i>Scorchy Smith</i>, <i>Smilin’ Jack</i> and my personal favourite, <i>Flying’ Jenny</i>. During the war, strips like <i>Terry and The Pirates</i> and <i>Capt. Easy </i>that had not started out as aviation strips soon joined <i>Johnny Hazard</i> in putting their heroes into the cockpit.</span></div><div class="MsoNormal"><br />
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</style> <![endif]--> </div><div align="center" class="MsoNoSpacing" style="text-align: center;"><span style="color: yellow;"><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri;">From <a href="https://av8rblog.wordpress.com/2013/05/22/tailspin-tommy-comic-strip/tailspin-tommy-sunday-page">Pioneers of Aviation blog</a></span></span></div><br />
<div class="MsoNormal"><span style="font-size: large;"><span style="color: orange;">The <i>Tailspin Tommy</i> newspaper strip is all but forgotten </span>in the 21st century, but was immensely popular in its day. Written by Glenn Chaffin and illustrated by Hal Forest, it ran from 1928 to 1942. Notably, the legendary movie poster artist, Reynold Brown inked the strip from 1936 to 1942. Tailspin made his move onto film with two 12-part serials in 1934 and 1935. </span></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisBL4XemjwPAQ_9ySLsWcY-3oYqOhI2fyF-d-kO6sfON_V8v-mKCowNP6IKpxt_lP1UuUwWbE0lnN-bsrBowjxggFi_y5ItkzRVFyQjP-AAd2JMc9TM6B4bs7eWxw7o3hA9mcHOfVmLvxU/s1600/This+Island+Earth.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="648" data-original-width="900" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisBL4XemjwPAQ_9ySLsWcY-3oYqOhI2fyF-d-kO6sfON_V8v-mKCowNP6IKpxt_lP1UuUwWbE0lnN-bsrBowjxggFi_y5ItkzRVFyQjP-AAd2JMc9TM6B4bs7eWxw7o3hA9mcHOfVmLvxU/s640/This+Island+Earth.jpg" width="640" /></a></div><div class="MsoNormal" style="text-align: center;"><span style="color: orange;"> Artwork by Reynold Brown</span></div><br />
<br />
<div class="MsoNormal"><span style="font-size: large;">John Trent took over the roll for four low-budget Tailspin adventures for Monogram that were all released in 1939. He was a seemingly good choice for the character, having gone into acting after a career in commercial aviation. However, despite having the physical cut of a leading man (he co-starred with Ann Dvorak in the comedy, <i>She’s No Lady</i>, 1937), his acting skills were modest at best, and he eventually returned to aviation as a test pilot. </span></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieHijL7oMjr0XnYToRV6hF3S6JfTzqflXv-XN475Q50f63ncetp2nt9SVhXGhQLj4amgtMwhCApy0QjQk93z8hBzQxhBxTWGPHMbcYRo8G390VjwY7MEVkslzNTfgWg6TGN8Pli01bIYkM/s1600/2+Sky+Patrol+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="251" data-original-width="476" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieHijL7oMjr0XnYToRV6hF3S6JfTzqflXv-XN475Q50f63ncetp2nt9SVhXGhQLj4amgtMwhCApy0QjQk93z8hBzQxhBxTWGPHMbcYRo8G390VjwY7MEVkslzNTfgWg6TGN8Pli01bIYkM/s640/2+Sky+Patrol+%25283%2529.jpg" width="640" /></a></div><div class="MsoNormal" style="text-align: center;"><span style="color: yellow;">Jason Robards, Milburn Stone, John Trent, and Marjorie Reynolds</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: large;">Trent was backed up in the series by three actors who went on to much more substantial careers. Milburn Stone played Tailspin’s goofy pal, Skeeter Milligan, and Jason Robards was his boss/partner, Paul Smith, at Three Points Airline. The underutilized Marjorie Reynolds got second-billing as his girlfriend, Betty Lou Barnes, but she usually was only given a few lines per movie worrying about her hero, Tommy.</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrDr0jijF3_MmAc7OJzgb5MpyUtZmeGsSYEiIbAuellb-pL9KQDR8bj2X26nd3s52NUJ_mNYgKKft64hAk_ac2Q0pa4c5oJeUKjcq8kn_lgzy_qW4z58ov_51hhpy_OEtlF65JRWwcvpC2/s1600/ttta.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="211" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrDr0jijF3_MmAc7OJzgb5MpyUtZmeGsSYEiIbAuellb-pL9KQDR8bj2X26nd3s52NUJ_mNYgKKft64hAk_ac2Q0pa4c5oJeUKjcq8kn_lgzy_qW4z58ov_51hhpy_OEtlF65JRWwcvpC2/s400/ttta.jpg" width="281" /></a></div><br />
<div class="MsoNormal"><span style="font-size: large;"><span style="color: orange;"><i>Tailspin Tommy in Sky Patrol</i></span> (1939) predates the US entry into WW II, but has Tommy ‘drafted’ by the military into organizing a sky patrol to hunt for smugglers (read Nazi collaborators) on the west coast. Tommy is training the new recruits, but is having trouble with medical student, Carter Meade, who – surprise! - does not want to have to kill anyone. Unfortunately, he’s also the son of the commanding officer who sees his son’s aversion to killing as an ‘irrational phobia’ to be overcome. Tommy covers for Carter’s ‘weakness’ and gets him into the Sky Patrol, only to have him become the seemingly first causality of the team. However, it all turns out well when Carter is found alive, captured by the smugglers who are running guns in international waters. Carter saves Tommy by killing one of the bad guys, thus proving that he is really a man and not a peace-loving commie, or worse. Carter is played by a mid-career Jackie Coogan who does as much as he can with his brief, sketched-out part. Fans of his role as Uncle Fester in the 1960’s Addams Family TV show will only recognize the svelte Coogan here by his voice.</span></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYvnmEGoMf8EfPRO3knHsToa1uQktSAASgQpsMUT-efgY2zmNqR96UDrLkHuWrfevnkbKIEBGvUbk7m6-daKb2BUvrfrKwxuZ8HFPi15X9dv69pwe-AYkS0txqP8lwUO_JHoeU_oujxOlS/s1600/4+Sky+Patrol+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="256" data-original-width="462" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYvnmEGoMf8EfPRO3knHsToa1uQktSAASgQpsMUT-efgY2zmNqR96UDrLkHuWrfevnkbKIEBGvUbk7m6-daKb2BUvrfrKwxuZ8HFPi15X9dv69pwe-AYkS0txqP8lwUO_JHoeU_oujxOlS/s640/4+Sky+Patrol+%25282%2529.jpg" width="640" /></a></div><div class="MsoNormal"></div><div class="MsoNormal" style="text-align: center;"><span style="color: yellow;">Jackie Coogan</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: large;">The film has above average production values and script for a Monogram film, and even the ‘toy-boats-in-a-bathtub’ special effects are used sparingly and are not too distracting. Just don’t look too closely at the many holes in the story.</span></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEirHU3AaEyRoOnBUedwT2JjNoP-wbb0dhv4ujFEOySfN_kQ5W9FmT3pJUgF_QmaQZld9zqDbwXgLqu-uCz2SHJ4UgrsMWNEXTchV4kQb1ngSPC8S48eelogJ2aDNZuhCY6QKAKsL150qW/s1600/5+Danger+Flight+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="319" data-original-width="515" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEirHU3AaEyRoOnBUedwT2JjNoP-wbb0dhv4ujFEOySfN_kQ5W9FmT3pJUgF_QmaQZld9zqDbwXgLqu-uCz2SHJ4UgrsMWNEXTchV4kQb1ngSPC8S48eelogJ2aDNZuhCY6QKAKsL150qW/s640/5+Danger+Flight+%25283%2529.jpg" width="640" /></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: large;"><i><span style="color: orange;">Tailspin Tommy in Danger Flight</span></i> (1939) was the last in the series. <span style="color: yellow;">It has a crackling good first half </span>where Tommy becomes lost in a raging storm while trying to deliver medicine to a dam construction site that has suffered multiple injuries in an avalanche. Cutting between Tommy flying blind in the storm to Betty Lou and Skeeter desperately trying to help him from their radio room, <span style="color: yellow;">the tension ramps up as Tommy’s fuel runs down with no place to land. </span>Probably inspired by the flying sequences from the same year’s <i>Only Angels Have Wings</i>, with a healthy dollop of Clark Gable’s doomed flight to oblivion in <i>Night Flight</i> (1933), the first half of <i>Danger Flight</i> is as good as you’re going to get from any respectable B picture, and way above the norm for a Monogram film. However, the second half of the film pancakes back to earth as Tommy battles gangsters trying to steal the construction company’s payroll in what seems like a completely different film.</span></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAB3qHRCgTaOVIcfmEqjpS_Fp_JDH9EBx4mPLdll9biKpYVdcZWeztImPqtOeZUDvZGoEOsrM6vxeLeOQGMaUuhz1zMMzuddd-TjLm5WE0obhMBizUENvFDeRbCi4ImMnXRRwkdN-6LzcH/s1600/6+Danger+Flight+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="260" data-original-width="528" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAB3qHRCgTaOVIcfmEqjpS_Fp_JDH9EBx4mPLdll9biKpYVdcZWeztImPqtOeZUDvZGoEOsrM6vxeLeOQGMaUuhz1zMMzuddd-TjLm5WE0obhMBizUENvFDeRbCi4ImMnXRRwkdN-6LzcH/s640/6+Danger+Flight+%25282%2529.jpg" width="640" /></a></div><div class="MsoNormal"></div><div class="MsoNormal" style="text-align: center;"><span style="color: yellow;">John Trent as Tailspin Tommy</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: large;"><span style="color: yellow;">I honestly only watched as many Tailspin adventures as I did just to enjoy the presence of Marjorie Reynolds</span>, a pretty, button-nosed blonde with energy to spare. I suspect that Monogram used her as much as they did to help provide a much needed jolt to many of their otherwise lackluster productions. Playing the reporter Roberta Logan, she was the second best thing in the three of the six Boris Karloff-headlined <i>Mr. Wong</i> films (1939 – 1940) that she co-starred in. She also starred in a number of respectable poverty row crime/noir films before graduating to higher profile pictures at better studios in the early 1940’s (e.g., <i>Ministry of Fear</i> (1944) with Ray Milland). Although she never became a major star, <span style="color: yellow;">she did help Bing Crosby introduce the classic song, <i>White Christmas</i>, in <i>Holiday Inn</i> (1942).</span></span></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQsr3EVhnccq_6pxqpKtaOeoBZWs7sScUya2F-hS1mV-5kvjvvLPRcNp7wqAc88k_oAwy4pyb8uq54CS2lYZLtLjeISuMZ17WGYyeTlRQub8yxhXWT_1hDzXKNnaBle4pF5kxKR0Tg40au/s1600/ministry-of-fear-1944-ray-milland-marjorie-reynolds-fritz-lang-dir-D1HD7R.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="475" data-original-width="800" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQsr3EVhnccq_6pxqpKtaOeoBZWs7sScUya2F-hS1mV-5kvjvvLPRcNp7wqAc88k_oAwy4pyb8uq54CS2lYZLtLjeISuMZ17WGYyeTlRQub8yxhXWT_1hDzXKNnaBle4pF5kxKR0Tg40au/s640/ministry-of-fear-1944-ray-milland-marjorie-reynolds-fritz-lang-dir-D1HD7R.jpg" width="640" /></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="text-align: center;"><span style="color: yellow;">Ray Millard and Marjorie Reynolds in Ministry of Fear (1944)</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="color: orange;"><span style="font-size: large;">What about the rest of the Three Points Airline personal?</span></span></div><span style="font-size: large;"> </span><br />
<div class="MsoNormal" style="text-align: left;"><div class="separator" style="clear: both;"><span style="font-size: large;">Milburn Stone had a long career in show business going back to vaudeville in the 1920s. His film career consisted of mostly minor parts or bigger parts in minor films. Universal Shock Theater fans will recognize him from starring in <i>Captive Wild Women</i> and <i>Jungle Girl</i> (both 1943) and the Inner Sanctum film, <i>The Frozen Ghost</i> (1945) starring Long Chaney, Jr. Later in his career, Stone struck gold playing Doc in the long running <i>Gunsmoke</i> TV show. Appearing in 604 episodes, Doc became one of the most beloved characters in television history. <span style="color: orange;">Stone won an Emmy for the role in 1968. </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKZkO8S3KKTc8UJ2tPEoQFBKtDwTLIzRPk_zk3A-gz4_D4xuKxf00nhN_IMpcXZcagi_fuq3LR4xO8_WYCZPbdGcTNGx4Y6U6HouHrOxP19pGv9yB2_JgMJpngYGg5tlC4wMJyWCJf03f-/s1600/Milburn+Stone.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="719" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKZkO8S3KKTc8UJ2tPEoQFBKtDwTLIzRPk_zk3A-gz4_D4xuKxf00nhN_IMpcXZcagi_fuq3LR4xO8_WYCZPbdGcTNGx4Y6U6HouHrOxP19pGv9yB2_JgMJpngYGg5tlC4wMJyWCJf03f-/s640/Milburn+Stone.jpg" width="640" /></a></span></div></div><span style="font-size: large;"> </span><br />
<div class="MsoNormal" style="text-align: center;"><span style="color: yellow;"><span style="font-size: large;"><span style="font-size: small;"> Milburn Stone in Gunsmoke</span></span></span></div><div class="MsoNormal"><span style="font-size: large;">Jason Robards went on to be one the greatest stage and film actors of his era. After a decorated Navy career in WWI, his film career started slowly where he marked time in films like the Tailspin Tommy series until his talent was recognized. Amongst his many awards, <span style="color: orange;">he won a Tony, an Emmy, and two Academy Awards for Best Supporting Actor (<i>All The Presidents Men</i>, 1976 and <i>Julia</i>, 1977).</span></span></div><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvgsjjnNOBRfuMp5h7CVJr0eCrr5vDPMueSDno-leStGfxmQwP5qHAlwiuy9hPaabB2G1jPHGQuqolaiYwY75jKuSb_7qGAijCOBonL1blWsPSzLgpOa7A9_-FNfX6STI35BUBokNwNFhK/s1600/Jason+Robards.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="193" data-original-width="450" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvgsjjnNOBRfuMp5h7CVJr0eCrr5vDPMueSDno-leStGfxmQwP5qHAlwiuy9hPaabB2G1jPHGQuqolaiYwY75jKuSb_7qGAijCOBonL1blWsPSzLgpOa7A9_-FNfX6STI35BUBokNwNFhK/s640/Jason+Robards.jpg" width="640" /></a></span><br />
<span style="font-size: large;"> </span><br />
<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><span style="color: orange;"><span style="font-size: small;"> Jason Robards in Once Upon A Time in The West (1969)</span></span></span></div><br />
<div class="MsoNormal"><span style="font-size: large;"><span style="color: orange;">Is <i>Tailspin Tommy </i>Worth My Time?</span> Yes, if you’re a fan of the Monogram oeuvre or pulp serials. John Trent in <i>Sky Patrol </i>is about as flat as an actor can be and still be alive, but he is more animated in <i>Danger Flight</i>. The first half of that film is very engaging and would be a great introduction to the series. And, it’s fun to watch future stars, Reynolds, Robards and Stone early in their careers.</span></div><div class="MsoNormal"><br />
<span style="font-size: large;"><span style="color: orange;">Availability:</span> I watched these on YouTube as OK quality prints. The breaks in the films just add to the sensation of being at a Saturday afternoon matinee. <i>Sky Patrol</i> gets a B and <i>Danger Flight </i>a B+, bearing in mind the quality of films we’re dealing with. Both films benefit from their brisk 60 minute running times.</span></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRX19PrtPQp2oUTABJ4Tn0I7tAuMzta-GYqueip7FjSHX9pP4q3JTzIaPJxqa6KAYNJQ0ZXwYQQbx_-L2GCc4SryoInpwcX41WP1h7y29PPSbj0yPg3XqDkHr1rdPa4wGUAzEtvY0haaNB/s1600/War+Gods+Of+The+Deep+02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="662" data-original-width="900" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRX19PrtPQp2oUTABJ4Tn0I7tAuMzta-GYqueip7FjSHX9pP4q3JTzIaPJxqa6KAYNJQ0ZXwYQQbx_-L2GCc4SryoInpwcX41WP1h7y29PPSbj0yPg3XqDkHr1rdPa4wGUAzEtvY0haaNB/s640/War+Gods+Of+The+Deep+02.jpg" width="640" /></a></div><div class="MsoNormal"></div><span style="font-size: large;"><span style="color: yellow;">Bonus! More Reynold Brown poster art.</span></span>Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-54511969066239629242020-02-04T14:01:00.001-05:002020-02-04T14:01:26.402-05:00Robert Mitchum in Where Danger Lives (1950) and Angel Face (1952)<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
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<span style="font-size: large;"><span style="color: orange;">Robert Mitchum made a career out of playing characters that dominated the screen.</span> I don’t think I’ve ever seen him turn his head to look at anything. When Mitchum turns to look at you, his whole body turns. And you’d better be ready for what happens next, because good or bad, you aren’t going to escape it.</span></div>
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<span style="font-size: large;">And yet for all that implied control, a Mitchum character was often placed in a situation where he knows that no matter what he does, his fate is not his own and things are going to end up with him dead. Or worse - he might actually end up with that crazy women that he’s run off with. </span></div>
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<span style="color: yellow; font-size: large;"><span style="font-size: small;"> Faith Domergue (Where Danger Lives) and Jean Simmons (Angel Face)</span></span></div>
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<span style="color: orange;"><span style="font-size: large;"><i>Where Danger Lives</i> and <i>Angel Face</i> are both about the dangers of falling for crazy women.</span></span><br />
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<span style="color: orange;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghNCbs8mzosqSidXbp_V1la72-UVZThqI-63QmaqJaQnMNo1ZmM028cy09qLhkY6C9Fd3sjUYV8ajcFsFyOY8SNE0ahc4esn5QBbfT4wlqobCVYNoyD6hTuHoxCx_5Ke2ifgnLs31WJphh/s1600/Titles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="1440" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghNCbs8mzosqSidXbp_V1la72-UVZThqI-63QmaqJaQnMNo1ZmM028cy09qLhkY6C9Fd3sjUYV8ajcFsFyOY8SNE0ahc4esn5QBbfT4wlqobCVYNoyD6hTuHoxCx_5Ke2ifgnLs31WJphh/s640/Titles.jpg" width="640" /></a></span></span></div>
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<span style="font-size: large;">In 1948, Mitchum was the victim of a sting operation and busted for possession marijuana (later overturned). The skittish management reintroduced him to movie goers as the good guy in the relatively upbeat Christmas movie, <i>Holiday Affair</i> (1949), playing a war veteran who gets involved with war widow, Janet Leigh. Although Mitchum is never anything but gracious and accommodating in <i>Holiday Affair</i>, such is his presence that you are never quite sure where the film is going to end up. Will he get the girl or will there be a pile of dead bodies under the Christmas tree this year?</span></div>
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<span style="font-size: large;">Mitchum’s next movie was a move back into film noir with <i>Where Danger Lives</i> (1950) directed by John Farrow and starring Faith Domergue, with small, but critical appearances by Claude Raines and Maureen O’Sullivan. Shot by Nicholas Musuraca, who had photographed Mitchum in <i>Out of the Past</i> and the best of the Val Lewton RKO productions (i.e., the Jacques Tourneur directed, <i>The Cat People </i>(1942)), the film never looks anything less than gorgeous, with Muscuraca’s compositions and lighting effects driving the movie forward as much as Farrow’s direction.</span><br />
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<span style="color: yellow;"><span style="font-size: large;">Robert Mithcum, Claude Raines & Faith Domergue</span></span></div>
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<span style="font-size: large;">The plot of <i>Where Danger Lives</i> is simple. Dr. Jeff Cameron (Mitchum) falls for an enigmatic attempted suicide Margo (Domergue) and dumps his faithful girlfriend (O’Sullivan) to pursue her. In a drunken confrontation with her very rich, supposed father (Raines), Mitchum suffers a concussion. Raines dies and with Jeff in a fog from the concussion, Margo grabs him and makes a run for the Mexican border. But just before he died, Raines had tried to warn Jeff of Margo’s dark secret. I wonder what that secret might have been?</span><br />
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<span style="font-size: large;">Jeff just wants to call the police, but in his dazed condition he is can’t stop Margo’s desperate need to escape. On the run, the pair keeps falling prey to their own suspicions of being discovered when – at least initially - the authorities are actually unaware of what’s happened to Raines. At one point they are captured and arrested – for not having beards when their car breaks down during a small town celebration! In an effort to talk their way out of their troubles, they’re forced to get married by the intoxicated crowd as the only way to avoid revealing who they are. And so it goes until they end up at the Mexican border. There the truth comes out as a half paralyzed, bullet-ridden Jeff hears Margo proclaim, “<span style="color: yellow;"><i>nobody ever pities me!</i></span>” As great an exit scene as any femme fatale has ever made. </span></div>
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<span style="color: yellow; font-size: large;"> No way out for Faith Domergue In Where Danger Lives</span></div>
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<span style="font-size: large;">Mitchum rehashed almost the same exact plot two years later in <i>Angel Face</i> (1952) directed by Otto Preminger and starring Jean Simmons in the femme fatale role. Both films start with an ambulance taking Mitchum to the medical aid of someone (Simmon’s stepmom in <i>Angel Face</i>) only to dump his girlfriend when he falls in lust with the young daughter/wife of a much older rich man. When that man ends up dead, the lovers struggle to avoid murder convictions and in the process end up married. And then things get worse.</span></div>
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<span style="font-size: large;"><i>Where Dangers Lives</i> is a better film than <i>Angel Face</i>, although the latter has a much higher critical rating. <i>Where Dangers Lives</i> is a more satisfying movie with a polished, tightly written story. Each scene rackets up the tension as Jeff and Margo’s options exponentially diminish into a claustrophobic finale between a half dead Jeff and a mostly insane Margo. It was written by Charles Bennett who also wrote the screenplays for Hitchcock’s <i>The 39 Steps</i> and <i>Foreign Correspondent</i>, and who later joined The Cat People team of Jacques Tourneur and Nick Musuraca to write the classic British horror film, <i>Night of the Demon</i>. Although Domergue is not in Simmons league as an actress, she gives a compelling performance at the film’s climax where she becomes completely unhinged in one extended, single shot sequence. </span><br />
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<span style="font-size: large;"><span style="color: yellow;"> Mitchum falls for Simmons' angel face</span><i><br /></i></span></div>
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<span style="font-size: large;"><i>Angel Face</i>, by comparison, has a stop/start quality to it that makes its 69 minute running time seem 20 minutes too long. It succeeds on the strength of Mitchum and Simmons’ chemistry, and her riveting face that demands the viewer’s attention as much as Domergue’s playmate figure. In the end, however, <span style="color: yellow;">Angel Face scores more points where it really counts; it has a once seen, never to be forgotten ending.</span> Having watched <i>Angel Face</i> before <i>Where Danger Lives</i>, my shouted advice to Jeff was to not get in the car with Margo!</span><br />
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<span style="font-size: large;"><span style="color: orange;">Notably, both actresses were involved with legendary billionaire, Howard Hughes</span>, who had gained control of RKO studios in 1948. Hughes hooked up with Faith when she was just 17, buying her parents a house to keep them at arm’s length. But she eventually broke off with him when she discovered that he was also bedding Lana Turner, Ava Gardner and Rita Hayworth at the same time. She went on to star in a number of cult classics including <i>Cult of the Cobra</i>, <i>This Island Earth</i> and <i>The Atomic Man</i> (all 1955). She gives a credible performance as a Doctor of Invertebrate Zoology in Ray Harryhausen’s <i>It Came from Beneath the Sea</i> (also 1955) where at one point she uses a laboratory flask to replicate Veronica Lakes’ code-defying hairbrush scene in <i>Sullivan’s Travels </i>(1942). </span><br />
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<span style="font-size: large;">Jean Simmons also had her problems (contractual rather than personal) with Hughes. Apparently <i>Angel Face </i>needed to be made quickly as Simmons RKO contract was set to expire within 18 days of the start of production. Hughes’ instructions to Preminger were to make the shoot as difficult as possible for Simmons. You can see from her short bangs that Simmons had cut off her hair is an effort to dissuade Hughes from using her in a film and was forced to wear a wig during production. </span><br />
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<span style="font-size: large;"><span style="color: orange;">Character Actors of Note in <i>Angel Face</i>:</span> Watch for Gertrude Astor as the prison matron. She had a long career in silent films, with a large part as Cecily in Paul Leni’s genre defining <i>The Cat and The Canary</i> (1927). Also, the ubiquitous and wonderful Teresa Harris as a nurse at Simmons jailhouse bed side (above). Don’t blink or you will miss both!</span></div>
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<span style="font-size: large;"><span style="color: orange;">Are <i>Where Danger Lives</i> and <i>Angel Face</i> Worth My Time? </span>Yes to both. Although <i>Where Danger Lives</i> tells its story better, both films are solid B+ efforts. Each film in enlivened by small bits by lots of great character actors.</span></div>
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<span style="font-size: large;"><span style="color: orange;">Availability:</span> Both <i>Angel Face</i> and <i>Where Danger Lives</i> are available from <a href="https://www.wbshop.com/products/where-danger-lives-tension-mod">Warner Archives</a>, the latter twinned with Tension (1949)</span></div>
Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-10725610930869688962020-01-31T10:53:00.000-05:002020-01-31T11:02:52.911-05:00The Addams Family - The Best Film of 2019<br />
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<span style="font-size: large;"><span style="color: orange;">As a longtime Addams Family fan</span> – both the original cartoons and the TV show – I was surprized to discover that a new animated feature film about them had been released last Fall. A quick scan of the interweb revealed the reason; it was universally panned and slipped into and out of theaters like a ghost through a locked door.</span><br />
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</span> <span style="font-size: large;">Steeling myself for disappointment, I watched it the day after I had sat through the turgid <i>Frozen 2</i> (so many artificial plot twists! so many terrible songs!), only to be completely won over by the 10 minute mark with the introduction of the beloved butler, <i>Lurch</i>.</span><br />
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<span style="font-size: large;">The CGI animation is the most faithful reproduction on the screen, to date, of Charles Addams’ original drawings: mother <i>Morticia</i> (voiced by Charlize Theron) is the thin and dark version of Luna from Tod Browning’s <i>Mark of the Vampire</i> (1935); father <i>Gomez</i> (voiced by Oscar Issac) is squat and slightly greasy; son <i>Pugsley</i> (voiced by Finn Wolfhard) has his blonde hair finally restored from the cartoon; and daughter <i>Wednesday</i> (voiced by Chloë Grace Moretz, possibly the only weak spot in the film) is the suitably pallid, deadpan, deadshot-with-a-crossbow that Christina Ricci defined in the 1990’s live action films.</span><br />
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<span style="font-size: large;">The reviews I read criticized the films for not having the ghoulish underpinning of the cartoon or the TV show. Not so! The Addams haunted home and environment is true to the original cartoon – dark, gloomy, and completely captivating. A child of any age would LOVE to live there. I would! I suspect that reviewers are referring to the glaring harsh, artificial town of ‘Assimilation’ that the Addams’ are pitted against in all its pink and lavender artificial ‘beauty’. It’s the too-bright Ying that makes the Addams Family the just-right dark Yang. In truth, since their inception, the Addams Family has always existed to be a counterpoint to the modern world, pointing out its foibles and hypocrisies while producing a morbid chuckle. </span><br />
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</span> <span style="font-size: large;">I suspect, too, that despite their spooky trappings, the Addams Family are just too darn nice for a cynical 21st century audience. They all genuinely like AND love one another. No one is uncouth, no one swears, no one belittles or hurts anyone else. Sure Wednesday buries her brother alive and fires arrows through Uncle Fester’s head, but in their world they would expect nothing less. And, more importantly, they would never do that to anyone outside their family (or at least never succeed at doing it).</span><br />
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<span style="font-size: large;">The creators of the film know their <i>Addams Family</i> cartoon and TV lore and fill each scene to the brim with little touches that will delight the knowledgeable fan and simply enrich the viewing experience for the average viewers. Watch out for many of Addams’ original cartoon characters appearing as the Addams’ extended family. And, the addition of a hangman’s noose to the ends of Wednesday’s braids is a touch that I am sure Charles Addams would have approved of!</span><br />
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<span style="font-size: large;">Other nice touches: name checking <i>Monty Python</i>’s Holy hand grenades; making the lyrics of Harry Nilsson’s <a href="https://youtu.be/Tbgv8PkO9eo"><i>Coconut</i> song</a> the basis for Gomez and Morticia’s wedding vows; recreating the ‘It’s Alive!’ scene from Frankenstein (1931) when Wednesday reanimates the frogs in her science class and then sick’s them on the school bully with a Donald Sutherland shriek from <i>Invasion of the Body Snatchers </i>(1978); the spiders streaming out from under Morticia’s dress; the appearance of Lurch’s original cartoon incarnation (inspired by Boris Karloff in <i>The Old Dark House</i> (1932)) as the drummer in the band; Morticia’s crystal ball that looks like Jack Kirby’s burning planet of <a href="https://kirbymuseum.org/blogs/365fourth/2010/11/28/day-58-apokolips/">Apokolips</a> as she channels the spirits of her parents (Martin Short and Catherine O’Hara) , amongst many other delightful touches.</span><br />
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<span style="color: yellow;"><span style="font-size: large;">Behold! Apokolips!</span></span></div>
<span style="font-size: large;"> </span> <span style="font-size: large;">One scene features an animated cartoon reference so obscure that it actually made my jaw drop. As the Addams family try to introduce themselves to their newly discovered neighbouring town (previously obscured by swamp gas), Uncle Fester sings a short snippet of the song, “<i>I Haven’t Got a Hat</i>”. The only place that I’ve ever heard this song is in the <a href="https://www.dailymotion.com/video/x2ynh2d">1935 Warner Bros Merrie Melodie’s cartoon of the same name</a> that introduced a bunch of new characters, all destined for obscurity, except for Porky Pig (read more about it at <a href="https://trailersfromhell.com/porkyt-pig-101/">Trailers From Hell</a>). The song was written by Bob Bernier (lyrics) and Bob Emmerich (music). Emmerich was a pianist and composer for the Tommy Dorsey band and, together with Bernier, he wrote a number of popular jazz songs (now mostly forgotten) in the late 30’s.</span><br />
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<span style="font-size: large;"><i>The Addams Family</i> (2019) was directed by Conrad Vernon and Greg Tiernan, and written by Matt Leiberman and Pamela O’Brien, from a story by Vernon, Leiberman and Erica Rivinoja. It’s a delightful film, well worth your time whether or not you’re a fan of animated films. It certainly should make Frozen 2 shrink with embarrassment in comparison!</span><br />
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</span> <span style="font-size: large;"><span style="background-color: black;"><span style="color: orange;">Is <i>The Addams Family</i> Worth My Time?</span> </span>Yes, it’s a wonderful film that holds up over multiple viewings.</span><br />
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</span> <span style="font-size: large;"><span style="color: orange;">Availability: </span>Out now on DVD, BluRay and streaming from your usual sources.</span><br />
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Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.comtag:blogger.com,1999:blog-8016816884186838342.post-88814225917425672162020-01-22T12:44:00.002-05:002020-01-24T11:46:10.860-05:00John Agar Vs.The Mole People (1956)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirbvrXJ24GaiJgYs1l-0Ee0xqkRMWtOEk3CIN7QVjO-cMP8szl-vwcXVHMflwpTvcZF-MOULi5tDyOA2XB32YEeF7BRhohuXBgTIo-5uR0hrJ-GKDjJ7NzvHjm8FNKGuzwb0aE15YwjB1T/s1600/Mole+People+03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1238" data-original-width="1600" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirbvrXJ24GaiJgYs1l-0Ee0xqkRMWtOEk3CIN7QVjO-cMP8szl-vwcXVHMflwpTvcZF-MOULi5tDyOA2XB32YEeF7BRhohuXBgTIo-5uR0hrJ-GKDjJ7NzvHjm8FNKGuzwb0aE15YwjB1T/s640/Mole+People+03.jpg" width="640" /></a></div>
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<span style="color: yellow; font-size: large;">The Mole People is a 1956 SF film</span><span style="font-size: large;"> best known from the classic monster photos of the Mole Men that appeared in almost every issue of Famous Monsters of Filmland back in the 60’s. Starring John Agar and Hugh Beaumont, nothing else about the movie can be considered ‘classic’ as it tries to stretch 20 minutes of plot into an 80 minute movie. </span><br />
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<span style="font-size: large;"><span style="font-size: large;">Hugh Beaumont</span>, John Agar and Nestor Paiva</span></div>
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<span style="color: yellow; font-size: large;">Archaeologists Agar and Beaumont discovery an ancient tablet</span><span style="font-size: large;"> in what looks a lot like the Gobi desert of Mongolia (a place that I’ve been lucky enough to spend a lot of time in digging up dinosaurs) that leads them to climb a nearby mountain(!) in search of an ancient Sumerian civilization. And find it they do, in all of its terrible matte painting glory after most of their team (including seemingly dozens of their climbing support team) is killed on the trek. </span><br />
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<span style="font-size: large;">Agar, Beaumont, and the only other survivor of their ill-fated expedition, Nestor Paiva, discover a lost city of sun-phobic, albino Sumerians ruled over by a weak king and his crafty chancellor, Alan Napier (<span style="color: yellow;">TV <i>Batman</i>’s Alfred</span>) who want the interlopers dead so as to not disrupt their cozy lifestyle lording over their subjects. Although I’m not sure how cozy it is. They subsist off of mushrooms grown by their slave race of Mole People, with the occasional cave rat and lost goat thrown in to, I guess, provide some much needed vitamins and prevent scurvy.</span><br />
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<span style="font-size: large;"> Alan Napier (right)</span></div>
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<span style="font-size: large;">Our heroes keep the Sumerians and their mole people slaves at bay with the help of Agar’s flashlight (sun-phobic, remember?). But, eventually it all goes south and the city collapses on itself (of course). The heroes escape with the help of a plucky slave girl (Cynthia Patrick) and the mole people who rally at the last moment to turn the tables on their oppressors, inspired by Agar’s act of kindness that saved them from a Sumerian whipping.</span><br />
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<span style="font-size: large;">Other than the Mole People’s imaginative design – attributed to Bud Westmore, but more likely the work of an unnamed studio tech – there is little to recommend this film. The only interesting point for me is speculating on how the underground ecosystem could actually function. I’d like to think that the Sumerians exploited a naturally occuring symbiotic relationship between the Mole People and fungus they cultivated to establish a city-sustaining food source. </span><br />
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<span style="font-size: large;"> Dr. Frank Baxter, cashing a paycheck</span></div>
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<span style="color: yellow; font-size: large;">A few other things of note.</span><span style="font-size: large;"> The overlong opening by Dr. Frank Baxter explaining the multiple ‘worlds inside the Earth theories’ is painful watch. It’s hard to believe the Baxter was an award-winning TV presenter who appeared as “Dr. Research” (I want that as my new title!) in the Bell System Science Series of television specials that ran from 1956 to 1962, and whose TV show <i>Shakespeare on TV</i> won seven Emmy Awards, according to Wikipedia.</span><br />
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</span> <span style="font-size: large;">It’s also great to see hard working actor, Nestor Paiva, playing a respected scientist in a substantial role. Paiva is best known to most film buffs as the slightly dodgy Captain Lucas in <i>Creature from the Black Lagoon</i> (1954) and its first sequel, <i>Revenge of the Creature</i> (1955), but he also had small parts in <i>Mighty Joe Young</i> (1949) and as the Sherriff in <i>Tarantula</i> (1955). He also had a nice role in one of my favourite Tom Conway RKO ‘Falcon’ movies, <i><a href="https://en.wikipedia.org/wiki/Tom_Conway#RKO:_The_Falcon_and_Val_Lewton">The Falcon</a> in Mexico</i> (1944).</span><br />
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<span style="font-size: large;">I’d like to think that the Mole People race survived the cave-in that seemingly destroyed the Sumerian city. Being a subterranean race that can tunnel anywhere, I can imagine that they eventually popped up in Arizona where they developed a productive relationship with a race of giant ants. Hopefully they are peacefully living in the vast underground colonies, tending to the ants fungus gardens in exchange for protection from the cruel human surface world.</span><br />
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</span> <span style="font-size: large;"><span style="background-color: black;"><span style="color: orange;"><b>Is The Mole People Worth Time? </b></span></span>Only if you must see all of the 1950’s SF films associated with Universal (they only distributed this one). Otherwise, skip it.</span><br />
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</span> <span style="color: orange; font-size: large;"><b>Availability:</b></span><span style="font-size: large;"> I watched the recently released (2019) BluRay version from Shout Factory available from the usual sources. If you must watch the film, this is the version to see – the print is beautiful.</span><br />
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<span style="font-size: large;">Does anyone else think that the Mole People may have influenced the design of Futurama's, Dr. Zoidberg?</span></div>
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<br />Staq Mavlenhttp://www.blogger.com/profile/18237968344382228642noreply@blogger.com