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Reviews
Animal Farm (1999)
utterly dreadful
To me, the saddest thing about this dreadful film is the presence of genuinely fine actors like Paul Scofield and Peter Ustinov. What these artists saw in the script that would make them want to accept it is something I simply cannot understand. It is understandable that non-talents like Grammar and Stewart would wish to be in anything, but Messrs Socfield and Ustinov?
Everything went wrong with this, from its surprisingly poor script, to charmless direction, the uninteresting and unhelpful music and camera-work that may work all right on a TV commercial for mouthwash but not in what is supposed to be a serious production.
A woebegotten attempt and a farrago. I could not recommend it at all.
Mr. Moto Takes a Vacation (1939)
Great Fun, as always
It's hard to dislike a Mr Moto film, not only because of the stylishness with which they were all made but because, of course, Peter Lorre is so ingratiating in a role tailor-made for him. He is just excellent in the part and it is a pity there were only eight entries in this charming series. As for MR MOTO TAKES A VACATION, I can recommend it quite highly.
Like others I will offer the one caveat: the rather irritating "comic relief" character. Hollywood had such marvelous actors available to play the typical "silly-ass" Englishman that it is a wonder why they allowed this gentleman to take the role and to overplay it so gratingly. The writing here could have been tightened up a bit, and the reliable Norman Foster could have toned him down a few pegs.
But much of this is balanced by other delights in the film, starting with dear, old Willie Best in a wonderfully funny (and beautifully directed) cameo. Bob Hope called Best one of the best actors he'd ever worked with. It's easy to see why here. He is as lovable as everyone's favorite bumbling Uncle, a sort of compendium of both Laurel and Hardy. Also distinguishing its interesting cast is the great Joesph Schildkraut, an actor incapable of giving a bad performance. He was one of the masters of his profession.
Charming, fun, and magnificently photographed in rich, lustrous black and white, I really don't think you could go wrong with this one.
A Lady Takes a Chance (1943)
superb
If it was only for the celebrated bar room brawl sequence in this delightful picture and nothing else it would still be remembered as one of the great comedies of the 1940s. But, of course, there's much more.
Produced by star Jean Arthur, whose performance in it is nothing short of excellent, A LADY TAKES A CHANCE is a real pip of a movie. The writing is first rate and the direction by that old master, William A Seiter (who goes back to the silent days) couldn't be better. The supporting players are all from the top drawer, too. Really, this is perhaps one of those rare, near-perfect films where everything works.
Seiter's jokes are mostly visual here, as in the aforementioned brawl scene, which in this writer's view is about the funniest one ever put on film, but also in many other moments. He was an extremely witty man and his flair for screen comedy can be well-observed here.
John Wayne is great as the somewhat dense but lovable lout who is "tamed" by the spunky Miss Arthur. He here displays a knack for comedy which, when under careful direction, could really shine.
I could go on and on but just sit down and watch it. Get yourself a big bowl of popcorn or some other favorite snack and enjoy this one with everybody in the family. You're in for a treat.
Hold the Lion, Please (1942)
A gem
Chuck Jones directed this excellent cartoon in 1942, when he was still heavily influenced by both Tex Avery and Bob Clampett, and it shows. It has some extremely good "gags" and dialog and has a wildness to it that Mr Jones would (sadly) avoid in his later cartoons. Because of this influence this cartoon remains one of Jones' cleverest and most inventive.
Jones' humor would become drier and more satirical in his 1950s cartoons and, of course, they are wonderful. But when he was under the Avery/Clampett influence some of those 1940s efforts were great, like this one.
Bugs Bunny had not quite yet reached his perfect design (which would occur the following year) but that is no detriment here simply because the action, words and story are strong. I was particularly pleased with the overall color scheme, which has a very pleasing pastel-like quality (especially if you see a good film print of it).
The dumb lion character is delightful and beautifully animated. I am at a loss to explain why others who have commented didn't care for this character. The humor conveyed by the character is quite sophisticated.
As others have mentioned Tex Avery provided one of the voices, that of the hippo, and he is terrific. Very, very amusing.
I cannot recommend this cartoon highly enough.
The Man Who Shot Chinatown: The Life and Work of John A. Alonzo (2007)
interesting
The work of the film cameraman is something that always carries a special interest for me. Their contributions to films are often, at the same time, underrated and overrated. Now while I admire the efforts that went into the making of this documentary I cannot enthuse over their choice of subject matter.
Mr Alonzo was a good, basic cameraman but not more than that. He was competent while not artistic, hard-working but not that interesting. Many cameramen of his generation went for easy gimmickry in their visuals instead of grounding their work in the best principles of motion picture photography. For example, placing yellow filters over the lens to suggest a 1940s (or historical) ambiance is something that many of these copycat DPs would do, but that isn't artistic cinematography. It is gimmickry. Often provided with photogenic background sets Mr Alonzo would light them not in the best interests of the story but merely to engage in display of visual pyrotechnics.
The producers of this documentary could have chosen so many more accomplished cinematographers as their subject. There are great names out there crying for a documentary like this: Robert Burks, Franz Planer, Robert Krasker, Arthur Miller, Joe August, Wilkie Cooper, Winton Hoch, Freddy Young, Osmond Borrodaile, Bert Glennon to name but a few. If we are going to try to encourage artistry in camera-work then we should be studying the artists.
Interesting documentary, but they could have chosen a more worthy subject.
A Unicorn in the Garden (1953)
delightful
A simple story told simply and well.
Director Bill Hurtz, who would later in his distinguished career go on to work on the brilliant and funny Jay Ward cartoons, does grand work here in tying the story together with great visuals and taught story-telling.
Alas as one of the reviews shows us there are thin-skinned people who will feign outrage because of Mr Thurber's desire to be simply humorous. While enjoying the film these people feel the inner need to throw out cant words like "misogyny" in order to boldly ride the righteous horse. Don't be put off the cartoon by observations like these. Just sit back and enjoy it.
And don't be mortally offended if someone tries to kid you a little.
Snowbound (1948)
good atmosphere, good story, good film
Here is a very enjoyable (and very underrated) little thriller from the golden age of British movie-making. I really don't think you could ask for much more when given an interesting story, an excellent cast and solid production values. It's one of those nice films that it is very difficult not to like.
Special mention must be made of the superb cinematography of Stephen Dade and the beautiful sets. These contributions will linger in your memory long after you see the picture.
I would have liked to see a little more of Robert Newton since he always gives an enjoyable performance, but that is only a minor quibble.
Seek this one out.
True Grit (2010)
sad
When at the dinner table with the family some months back news came in that TRUE GRIT was going to be remade, and with Jeff Bridges, no less, the immediate response from everyone present was a burst of derisive laughter and rolling eyes.
I'm afraid seeing the film confirmed the initial reaction.
The film is rubbish from start to finish and the only recommendation I can offer is that it may spark interest in Henry Hathaway's moving and vastly superior 1969 film.
The original is superior in every way: the screenplay. direction, sets, photography, music and acting. And even if we wince a little at the somewhat inadequate performance of Glenn Campbell in the Wayne original, we wince mightily at the embarrassing histrionics of the current actors.
Not recommended at all.
Munich (2005)
shameful
Having been instructed to sit down and view this film by one of its admirers I prepared myself to be told a good story about an historical event. As the movie unreeled, however, I found I was treated to a shameful falsification of history and what looked more like a propaganda tool for the Israeli government than a true story.
Mr Spielberg began his tale by eliminating a rather telling point: the reason why these militants decided to do what they did at Munich. That reason being the continued unrelenting bombing of innocent civilians in refugee camps by the Israeli military. When people see their innocent loved ones blown to bits they tend to get a little upset and want to have vengeance.
The dehumanizing way the Palestinians are depicted in this film, as if they are nothing but dirt under the fingernails, is sharply contrasted by the hilariously "noble" depictions of the Israeli assassins, even showing their concerned wives and children (do not the Palestinians have wives and children?). After awhile it was simply too much to bear and I felt sullied by having to sit through such rubbish, complete with sex and violence, made by a director who has never been known for taste, subtlety, story-telling ability or good judgment.
I cannot recommend this movie to anyone at all, certainly not to anyone who is interested in the truth of this matter.
Sherlock Holmes (2009)
the nadir
I guess what is more depressing than this abominable movie is the many laudatory reviews I have read here. Are audiences today so jaded, so utterly disconnected from even their recent past, so completely lobotomized that they would find kind words to say about such dreck as this? I had thought that the unspeakable 1979 pastiche of HOUND OF THE BASKERVILLES with Dudley Moore was about as low as one could get in the filming of a Sherlock Holmes story. I was clearly wrong. This is the end, the limit, the bottom of the calcium-encrusted barrel. Holmes admirers (those who understand and appreciate the fine originals) will stay away in droves if for no other reason than the hilarious miscasting of the lead characters. Mr Downey as Holmes and Mr Law as Watson rank right up there with such inspired casting choices as Tony Curtis playing a medieval knight and Sharon Stone playing a gunfighter of the old west. Ridiculous.
I doubt that Hollywood's renowned contempt for its audiences can be better illustrated than by this movie. Do moviegoers really enjoy having their intelligences insulted with such grand insouciance?
It is both pointless and useless to go on. We have given up what little culture we have left by allowing these amateurs to take great classics and turn them into idiotic roller-coaster rides. A paying public that can applaud, let alone part with the money to see, such a movie is clearly a public that can no longer recognize quality.
Some years ago, just before he passed away, the great producer Darryl Zanuck said "I know audiences feed on cr_p. But I cannot believe we are so lacking in ability that we cannot dish it up to them with a little style". Why bother, Mr Zanuck? Apparently anything thrown out to movie audiences today will be lapped up like cream.
Stay home and read a Conan Doyle original.
Thriller: Well of Doom (1961)
brilliant
THRILLER was, of course, one of the very best, if not the best, horror anthology series ever to hit television. The good news is that, at long last, this venerable series will see a 2010 DVD release from Universal. And high time.
THE WELL OF DOOM is one of those brilliantly moody episodes - a mood that only rich black and white photography can give (it is impossible for color photography to achieve this) - that curdles your blood, something that this series excelled at. The atmosphere is just sensational: you can literally smell the mould and feel the damp.
Among the striking aspects of this fine episode is the superb makeup on actor Henry Daniell; it is truly, genuinely frightening. And when coupled with that wonderfully rich voice of his you have a character that seems to have crawled out of the depths of Hell. He's that good (and, of course, Daniell is always good, no matter what the role).
Donald S Sanford wrote an excellent script, one of many well-constructed ones he contributed to this series. He was quite at home in the horror genre because every one of his scripts for THRILLER really caught the true essence of fine Gothic literature. The episode was very well directed by John Brahm, a German director who started in silent films and had a notable if not distinguished career behind the camera.
Dear old Torin Thatcher is always nice to see in anything and here again he doesn't fail us. And I was pleasantly surprised by Ronald Howard's strong performance since that actor was often, I think wrongly, given weakling parts to play. In this role he excelled.
This is one of the best episodes from that superb series which we anxiously await for a release this year. Let's hope that Universal doesn't wait around too long before releasing it.
Our Girl Friday (1953)
nice, amusing comedy
I'm not quite sure what film some of the reviewers were watching when they heaped their venom upon this unassuming and cute little comedy,but it wasn't OUR GIRL Friday (aka ADVENTURES OF SADIE). Perhaps they were watching one of the several dreadful video versions available, or one of the severely cut versions. But if they had seen a nice, clear and complete version of this film I feel certain they would find in it, as I did, a pleasant diversion.
Lovely photography of Majorca (a clear video copy required to appreciate this!) coupled with some fun acting by all concerned make this an amusing story of men shipwrecked with the beautiful Joan Collins. Good humor situations and good dialog abound.
I'd term this a good snack/popcorn movie. Find that good, clear copy (rumor has it that, at long last, a decent DVD of it is about to be released) sit down on the sofa with your spouse and enjoy yourself. I can't think of a higher recommendation than that.
A Christmas Carol (2009)
beyond belief
A kind friend did what he honestly thought was a favor by inviting me to a press screening of this movie. When we were into about seven minutes of it, we stared at each other in utter disbelief.
We had hoped that after the abysmal POLAR EXPRESS, an artistic disaster of the first magnitude, that Mr Zemeckis might have learned his lesson and started to re-think his outlook. Alas, EXPRESS - which was so overdone as to be stomach turning with its constant assault of eight-frame cuts and roller-coaster effects - was a mild drawing room comedy compared with this. Any sense of wonder, any idea of enchantment, any thought of storytelling was utterly and totally trampled underneath by a director who is apparently trying to hide a meager talent under an avalanche of digital effects. And the over-the-top gimmicks of Mr Zemeckis are matched by the equally over-the-top voice work of the usual crowd of thespians who confuse screaming at the top of their lungs with acting.
This is a dreadful, awful mess. It is charmless and stupid. A film lover's time will be much better spent by watching the Alastair Sim 1951 film. That film was made by artists, not amateurs.
Two Crows from Tacos (1956)
lovely humor, lovely caricature
From its opening scenes, which contain a very pretty rendition of a popular Spanish tune adapted by composer Carl Stalling, to its satisfying conclusion, we have here a good example of the Warner cartoon "machine" operating at peak performance. The caricatures, as embodied in the crows, are charming while the humor is quite sophisticated, especially if one pays close attention to the dialog.
Mel Blanc was, of course, famous for his delightful Mexican accent (which he often used to good effect on the old Jack Benny program) and here, having to voice both characters, he manages to give each a wholly distinctive personality. The wry humor of Blanc complements well with that of the writers.
The animation is on the same high level as all other Warner cartoons, not as frenetic, perhaps, as some others but always solid. Friz Freleng's direction in spot-on for he creates, really creates, a slow, idyllic Mexican countryside with beautifully observed backgrounds and situations.
This one is well worth a look and I can unequivocally recommend it.
Mine Own Executioner (1947)
highly recommended
I will simply concur with most everyone else who has praised this excellent film and add only that it certainly wasn't underrated when it came out: critics were unanimous in their praise and the film was even selected as the British entry in the 1947 Cannes Film Festival.
The only pity is that the only thing that seems to be available on DVD or video are horrible copies that do not do the film's visuals justice. It can only be hoped that this is corrected one day soon.
I must correct one of the writers who credits the film's fine cinematography to Freddie Francis. The cinematographer on the film was in fact Wilkie Cooper, who did so much brilliant work throughout his career. Mr Francis did work on the film, as Cooper's camera operator. But the lighting, composition and creating of visuals was the work of Cooper and that fine art director William Andrews.
See the film. You won't regret it.
Max asthmatique (1914)
Utterly charming
I am glad I discovered Max Linder. For over forty years I merrily watched silent films without once ever hearing of this man. But at last I saw some of his work and was instantly smitten. Here was a true cinematic genius (if I may use that clichéd phrase) who understood perfectly how to make films.
But what is perhaps his greatest quality is his charm; his films are, simply, charming. MAX ASTHMATIQUE is no exception. I will not add anything to the well-written critique that is found on this site. It was appreciative and very well written, and I concur wholeheartedly with the author.
The only advice I would offer to anyone who wants to not only have a good laugh but experience the utter joy of watching a fine comic mind is to seek out this and other Linder comedies. He was, as Chaplin labeled him, "the Master."
The Amorous Prawn (1962)
quite funny, well done and recommended
It is always a source of wonder to me that witty films find almost no audiences today, and the reason simply must be the ham-fisted, unsubtle, miles over-the-top Junior High School-level humor that is so much in vogue these days. Modern audiences must be so jaded by amateurisms that when something genuinely funny comes along their dulled senses simply can't get the jokes.
THE AMOROUS PRAWN is a case in point. Its humor is subtle and sophisticated and discerning audiences will appreciate the clever writing and directing. If your in the mood for a light, entertaining spoof with plenty of wit then you should have no trouble enjoying this energetic little farce. Don't be put off by some of the downright weird reviews of this little charmer that have thus far appeared on this site. See it and enjoy it.
Bacall to Arms (1946)
one of the classic ones
A first-class, extremely well done spoof cartoon, its high quality being very typical of the time. Audiences back then were more sophisticated than the audiences today, fed as they are on the rubbish that Hollywood flings out with abandon. They were more appreciative of charm and wit and recognized it when they saw it. BACALL TO ARMS has charm and wit and is deliciously funny from start to finish.
Animation fans will particularly enjoy the superb work of the Warner artists and the breakneck speed of the pacing. Writing, directing, music and editing are all as good as can be.
One of the great cartoons, definitely not to be missed.
A Date with the Falcon (1942)
a good series, and a good film
It would be hard to praise too highly these "Falcon" (and "Saint") films of the 30s and 40s, for in them was contained all the enjoyable trademarks of that fine era of movie making.
These films all had good writing, good directing, good acting, good photography, crisp editing and fast action. What more would you want? They also had plenty of charm and plenty of style.
A DATE WITH THE FALCON is one of the best of the bunch with a neat plot and some delightful set pieces. George Sanders and Wendy Barrie are fun to watch, and to listen to, but the supporting performances of folks like the great Allen Jenkins, James Gleason and Ed Gargan are just as entertaining. RKO had always made the best "B" pictures in town and for their production values alone it would hard to fault them. And a special "hats off" must go to director Irving Reis for some extremely amusing sequences very professionally staged.
Don't be put off by the one or two supercilious remarks by some of the above reviewers. Just go watch these films and have yourself a very good time doing so. You will quickly notice a brand of film-making vastly superior to what is being done today.
The Long Dark Hall (1951)
Nice, atmospheric and well-made
A very fine actress was Lilli Palmer - sensitive, thoughtful, moving - and this picture gives us another reason to admire her skill. And anyone wishing to learn how to create a believable performance would do well to study her work and profit by bit. In THE LONG DARK HALL she brings great strength to her role as a wife who wants to believe in her husband, come what may.
THE LONG DARK HALL was produced by Rex Harrison himself. For the film he brought together a fine group of artists to help him make it, among them screenwriter Nunnally Johnson, whose long and distinguished record in the film world needs no introduction. He chose a top British cinematographer, Wilkie Cooper, to bring the proper film noir look and mood to the film and commissioned Benjamin Frankel to compose another of his fine scores. The cast is extremely good. One always marvels at the effortless perfection of the likes of Denis O'Dea, Brenda de Banzie and Raymond Huntley who have never, to my knowledge, ever given a bad performance. The villainy in the film was in the very capable hands of Anthony Dawson, whom many will remember as the paid murderer in Hitchcock's DIAL M FOR MURDER.
While the ending is cobbled together a shade too quickly the great fun I had watching this drama made up for any disappointment. After all, the ending was a logical one, even if it could have been handled with a bit more cinematic flair. All in all, a nice, atmospheric, well-made thriller.
A Feather in His Hare (1948)
great fun
The world would indeed be a better place if we could just watch these simple, entertaining cartoons without the self-righteous breast-beatings of those who cry "racist" every time some ethnic group is lampooned. We are all sick to death of hearing that word and sicker still to see it applied to cartoons, especially cartoons as good as this one.
Don't go on a guilt trip when you watch this beautifully animated farce. Just enjoy it as the jokes come flying at you fast and furious. The Warner animators, always under ridiculously intense pressure by the money boys upstairs to get more and more footage out per week, were quick to learn that faster action and great jokes were the way to go. And they rarely misfired. This one is no exception.
It is readily available on video and is one every age group can enjoy. And if the humorless commissars wag their disapproving fingers at you for watching just happily ignore them.
A real gem of a cartoon from the terrific animators at Warners.
Geordie (1955)
a real charmer
One can only agree with most of the reviewers who found this film so utterly delightful. Which, of course, it is. I note that some sort of DVD release of the film is scheduled for September, 2008 but I am apprehensive that the quality of this release might not be that great. I hope I am wrong, of course.
Contrary to the opinion of one writer this film was beautifully photographed in the original, wonderful Technicolor process, not in black and white, as was erroneously stated. Those lucky enough to see an original Technicolor print are lucky indeed for the colour cinematography was one of the best things about that movie. Nowadays that the old Technicolor "imbibition" process is no longer used (it ceased in 1977) we are mostly left with pale, washed-out poor colour prints of this great movie. That is why I fear this upcoming DVD release may be a sad disappointment.
It is a pity that the original studio (British Lion/Columbia/Sony) doesn't spend a few dollars by going back to the film negative and giving us a nice restored version, as is done with so many other older films. Look what Warner Brothers recently did restoring the old 1937 Technicolor "Robin Hood" for DVD: it looks like the film was shot yesterday. And the same thing could be done to nearly every old Technicolor film, if the studios would make the effort.
"Wee Geordie" is a terrific film, so let's hope it one day gets a new lease on life with a proper transfer to DVD.
Charlie Chan in Egypt (1935)
another fine Chan mystery
I can highly recommend this delightful entry in the Charlie Chan series for its good story, fine sets and photography and all around good atmosphere. Warner Oland was by far the best of the Chans and his performance is thoughtful, introspective and, simply, a joy.
And I am not going to offer any sanctimonious (and very tiresome) criticisms of the role played by that wonderful comedian Stepin Fetchit, whose appearances in any film, very much including this one, were fun to watch. His skills and his ingratiating personality are always welcome in my home.
Seek this one out on a late Friday night with a bowl of popcorn and just have a good time.
The Great Gildersleeve (1942)
an absolute delight
You don't have to be an old-time radio buff to enjoy films like this. If you're simply an admirer of good comedy, that's enough.
All the GILDERSLEEVE films made by RKO in the 1940s were thoroughly enjoyable, and this first one of the series was one of the very, very best. Of course it all hangs on Harold Peary's performance as the blustering Throckmorton Gildersleeve and he doesn't disappoint for a single moment. His performance is fresh, original and warm and he brings to the part a believability that rises above the occasional well-handled slapstick interludes. Peary was one of a kind and, as they say, we shall not look upon his like again.
Jane Darwell, fresh from her Oscar-winning performance in John Ford's THE GRAPES OF WRATH, added solid support as Aunt Emma, while the rest of the cast (which included some of the original radio stars) added much to the fun.
This pre-babyboomer piece of Americana is highly recommended for its wit, its charm and its evocation of the better USA that once was. Let's hope Warner Brothers (who now own the RKO films) will get these onto blu-ray or DVD real soon.
The Franchise Affair (1951)
A most enjoyable movie
I would not be put off from watching this very enjoyable movie by some of the opinions posted here. THE FRANCHISE AFFAIR is a movie you should seek out because it is, simply, very well made.
The 1951 film was based on the Josephine Tey novel - recently voted by the Crime Writer's Association as one of the Top 100 Crime Novels of All Time - and her novel was in turn based on a true 18th century case, that of Elizabeth Canning. Canning was a woman who accused two other women of kidnapping her and forcing her to become a prostitute. As the evidence against them grows a lawyer very reluctantly agrees to take on their case.
The film was made in moody black and white, nicely photographed by Gunther Krampf, a cameraman who began his career shooting beautiful silent films in Germany before emigrating to Britain in the late 1930s. His work has graced many a film. The story was updated by author Tey to the present time and the movie presents pleasant views of English village life in the 1940s. The script is extremely well-written. True, it contains a good deal of dialog, literate dialog I might add, but I believe this enhances the story-telling in the picture rather than takes away from it.
The acting is, as always with films made in the golden years of British film making, top-notch. I was more than a little amused by the criticism of one writer on this site who disparaged Mr Denison's acting and of another who called the acting "stilted". I suppose if one is accustomed to the hilarious, idiotically over-the-top acting style of today it is hard to adjust to genuinely fine acting. Again, do not be put off by comments like this: the acting is first-rate all down the line. Look for future British film stars in small roles here and there, and relish the delightfully dotty performance of the great Athene Seyler as the lawyer's mother. Such witty and well-judged performances like those are always worth a look.
THE FRANCHISE AFFAIR is very highly recommended.