mikhail080's reviews
by mikhail080
This page compiles all reviews mikhail080 has written, sharing their detailed thoughts about movies, TV shows, and more.
60 reviews
Well, I never remember seeing this DeMille blockbuster, so I was happy to see a screening of a restored "George Eastman House" print the other day. Certainly most everyone reading here at IMDb is familiar with the DeMille brand, and most would probably agree that he seldom disappoints his audience. DeMille liked to think big, and it shows by his making some really fantastic entertainments that even today pack a wallop. And obviously, Adolph Zukor invested big bucks to make DeMille's vision come to reality here.
No one would confuse DeMille's "Cleopatra" with a historical documentary. But he does lay out an interesting and nuanced storyline revolving around the Queen of the Nile and two of her lovers -- Julius Caesar and Marc Antony. The movie moves along very nicely, and the boredom sometimes associated with these kinds of historical epics is not apparent.
Colbert is extraordinarily sexy, sporting some of the most revealing costumes and looking just absolutely gorgeous. Her sometimes ironic and sometimes earnest delivery of dialog makes her Cleopatra both slyly humorous and sympathetic. She's absolutely fantastic and utilizes her huge eyes to great effect, being perfectly cast as this legendary vixen she expertly shoulders the weight of the film.
Amazing set pieces abound, and I won't discuss the specifics here, but needless to say, DeMille had the studio put in a gigantic effort to make the elaborate sets, costumes, battles, and every extra look genuine. Marc Antony's first visit to Cleopatra's barge becomes a marvel of choreography, with even Agnes DeMille involved! Yeah, the dialog might be somewhat hokey and dated, but always relevant and insightful into the characters. A slight downside was the obvious use of stock footage in the final battle scene, obviously taken from something filmed at least a decade before -- but that's a small complaint.
The supporting cast is led by Warren William as Caesar and Henry Wilcoxon as Antony who both fill out their roles admirably, and in a way that's not stereotypical. Colbert needs strong men to play off of, and these two are up to the challenge. And Ian Keith supplies a few powerful moments as Cleo's smoldering nemesis Octavian. A special mention too goes to Joseph Schildkraut who has a memorable little cameo as King Herod.
No one paying full admittance back in 1934 would have come away disappointed by DeMille's spectacular "Cleopatra." Wasn't that the core of his populist genius?
***** out of *****
No one would confuse DeMille's "Cleopatra" with a historical documentary. But he does lay out an interesting and nuanced storyline revolving around the Queen of the Nile and two of her lovers -- Julius Caesar and Marc Antony. The movie moves along very nicely, and the boredom sometimes associated with these kinds of historical epics is not apparent.
Colbert is extraordinarily sexy, sporting some of the most revealing costumes and looking just absolutely gorgeous. Her sometimes ironic and sometimes earnest delivery of dialog makes her Cleopatra both slyly humorous and sympathetic. She's absolutely fantastic and utilizes her huge eyes to great effect, being perfectly cast as this legendary vixen she expertly shoulders the weight of the film.
Amazing set pieces abound, and I won't discuss the specifics here, but needless to say, DeMille had the studio put in a gigantic effort to make the elaborate sets, costumes, battles, and every extra look genuine. Marc Antony's first visit to Cleopatra's barge becomes a marvel of choreography, with even Agnes DeMille involved! Yeah, the dialog might be somewhat hokey and dated, but always relevant and insightful into the characters. A slight downside was the obvious use of stock footage in the final battle scene, obviously taken from something filmed at least a decade before -- but that's a small complaint.
The supporting cast is led by Warren William as Caesar and Henry Wilcoxon as Antony who both fill out their roles admirably, and in a way that's not stereotypical. Colbert needs strong men to play off of, and these two are up to the challenge. And Ian Keith supplies a few powerful moments as Cleo's smoldering nemesis Octavian. A special mention too goes to Joseph Schildkraut who has a memorable little cameo as King Herod.
No one paying full admittance back in 1934 would have come away disappointed by DeMille's spectacular "Cleopatra." Wasn't that the core of his populist genius?
***** out of *****
There's much to enjoy in this joyous French swashbuckler, particularly since it doesn't contain one slow moment. The action is almost nonstop, and all the performers contribute hilarious and heartfelt moments that make "FanFan la Tulipe" a delightful romp. It was a huge box office hit in France, turning both the handsome and charismatic Gérard Philipe and the beautiful and voluptuous Gina Lollobrigida into big stars.
The story is set during the reign of King Louis XV, and the character Fanfan as played by the splendid Gérard Philipe is sort of a French "Tom Jones." He's a guy who can't help but get in trouble with the ladies, and the opening scene has him escaping a "shotgun wedding" by spontaneously enlisting in the French military. Unfortunately, soon this way of life doesn't agree with Fanfan, and he winds up getting himself even deeper into trouble. Gina Lollobrigida plays the seductive daughter of the Commanding Officer of Fanfan's unit, who inspires Fanfan by making an unusual prediction for his future -- one which she later comes to regret.
The choreography of the sword battles and the other physical confrontations are top-notch, very unpredictable and absolutely hilarious. A stunt double was hardly (if ever!) used for the athletic Philipe, and it's obviously the French star doing most of the work. I heard that the actual stunt men working the movie presented him with an certificate when the shooting wrapped, which named Philipe as an honorary stuntman himself. Most of what Philipe accomplishes here has to be seen to be believed. Jumping from rooftops, dangling from trees, wild horseback chases and so much more lend a wild energy to the proceedings.
Perhaps the only downside for me at least was that "Fanfan la Tulipe" is filmed in black and white. If ever there was a film that cried out for color -- this is the one. The locales, costumes, sets and props would have been magnificent in color, I think. In fact, on the Criterion DVD that I watched, they included one sequence that had been colorized. It looked great, and although I would never suggest that every b&w film would be better with color, this one certainly would. For those unaware, the colorization process has made great advances since the 1980's, and they can now make the colors look as vibrant or as subtle as the scene dictates it should be.
The supporting cast also provides lots of enjoyment, and I'd be neglectful not to mention a few of these fine European actors. Geneviève Page is supremely beautiful, icy with an undercurrent of passion as Madame Pompadour, Olivier Hussenot is wonderful as Fanfan's loyal sidekick who's saddled with six small children and an obese peasant wife. Nerio Bernardi makes a comically despicable antagonist who meets a poetic fate eventually.
So, I'd highly recommend this to fans of Errol Flynn movies, especially since Philipe conveys some of the same boyish and naughty charm of that classic star. Director Christian-Jaque formed an adventurous and romantic comedy that has loads of charm and thrills. Swashbuckling at its best!
***** out of *****
The story is set during the reign of King Louis XV, and the character Fanfan as played by the splendid Gérard Philipe is sort of a French "Tom Jones." He's a guy who can't help but get in trouble with the ladies, and the opening scene has him escaping a "shotgun wedding" by spontaneously enlisting in the French military. Unfortunately, soon this way of life doesn't agree with Fanfan, and he winds up getting himself even deeper into trouble. Gina Lollobrigida plays the seductive daughter of the Commanding Officer of Fanfan's unit, who inspires Fanfan by making an unusual prediction for his future -- one which she later comes to regret.
The choreography of the sword battles and the other physical confrontations are top-notch, very unpredictable and absolutely hilarious. A stunt double was hardly (if ever!) used for the athletic Philipe, and it's obviously the French star doing most of the work. I heard that the actual stunt men working the movie presented him with an certificate when the shooting wrapped, which named Philipe as an honorary stuntman himself. Most of what Philipe accomplishes here has to be seen to be believed. Jumping from rooftops, dangling from trees, wild horseback chases and so much more lend a wild energy to the proceedings.
Perhaps the only downside for me at least was that "Fanfan la Tulipe" is filmed in black and white. If ever there was a film that cried out for color -- this is the one. The locales, costumes, sets and props would have been magnificent in color, I think. In fact, on the Criterion DVD that I watched, they included one sequence that had been colorized. It looked great, and although I would never suggest that every b&w film would be better with color, this one certainly would. For those unaware, the colorization process has made great advances since the 1980's, and they can now make the colors look as vibrant or as subtle as the scene dictates it should be.
The supporting cast also provides lots of enjoyment, and I'd be neglectful not to mention a few of these fine European actors. Geneviève Page is supremely beautiful, icy with an undercurrent of passion as Madame Pompadour, Olivier Hussenot is wonderful as Fanfan's loyal sidekick who's saddled with six small children and an obese peasant wife. Nerio Bernardi makes a comically despicable antagonist who meets a poetic fate eventually.
So, I'd highly recommend this to fans of Errol Flynn movies, especially since Philipe conveys some of the same boyish and naughty charm of that classic star. Director Christian-Jaque formed an adventurous and romantic comedy that has loads of charm and thrills. Swashbuckling at its best!
***** out of *****
I watched this now for the first time being way past the age of its target audience. Heck -- I was over thirty when it was made! I wanted to get a little "Christmas Spirit," so I thought this might be the ticket. Or at least I was hoping for a campy and lively time, which wasn't really what I experienced.
Perhaps because it was made for an hour time slot, the proceedings here seem way too padded and overpopulated. Too many subplots -- not enough Santa! We're presented with elves of various stripes, and I guess their father who is a magician apparently. After rescuing one tiny elf from falling through the ice at the North Pole, the elves and their magician Dad grant Santa one wish. They're not too pleased when Santa, accompanied by Mrs Gretchen Claus, wishes for the ability to deliver a toy to every child in the world on Christmas. The plot then relates the efforts of the elves to satisfy Santa's wish. Some pretty dull mayhem ensues.
Don't expect any sparks from the voice performances here of Ed Asner or Betty White. They certainly failed to make any of this contrived story involving, and their voices seem distant and vague. And the flatness of the animation seems like almost something from the Paleolithic Age. And too, some of the characters looks suspiciously familiar, like the little elf who looks almost exactly like Disney's "Dopey." Other characters like the little soldier elves seemed lifted from something else.
Hate to be a Grinch or a Scrooge, but...
* out of *****
Perhaps because it was made for an hour time slot, the proceedings here seem way too padded and overpopulated. Too many subplots -- not enough Santa! We're presented with elves of various stripes, and I guess their father who is a magician apparently. After rescuing one tiny elf from falling through the ice at the North Pole, the elves and their magician Dad grant Santa one wish. They're not too pleased when Santa, accompanied by Mrs Gretchen Claus, wishes for the ability to deliver a toy to every child in the world on Christmas. The plot then relates the efforts of the elves to satisfy Santa's wish. Some pretty dull mayhem ensues.
Don't expect any sparks from the voice performances here of Ed Asner or Betty White. They certainly failed to make any of this contrived story involving, and their voices seem distant and vague. And the flatness of the animation seems like almost something from the Paleolithic Age. And too, some of the characters looks suspiciously familiar, like the little elf who looks almost exactly like Disney's "Dopey." Other characters like the little soldier elves seemed lifted from something else.
Hate to be a Grinch or a Scrooge, but...
* out of *****
Classic movie lovers and fans of fantastic Barbara Stanwyck would find this one hard to dislike. It's a nicely filmed and compact little melodrama that was recently aired on TCM. The storyline unfolds seemingly almost in real time, at a breakneck pace that's able to achieve a good deal of suspense.
Stanwyck and hubby Sullivan are roughing it in Mexico with their small son, and run into extreme difficulties. Through a series of bad decisions, Sullivan soon has his leg caught underneath the pylons of a dilapidated pier as the tide comes in, and frantic wife Stanwyck sets out to get help, but instead encounters unsavory criminal Ralph Meeker.
Exploitative and salacious in it's themes, "Jeopardy" has Stanwyck attempting to make a dirty deal with Meeker to rescue her trapped husband. Contrived as the plot may be, with the "ticking time bomb" element of the roaring tide that threatens Sullivan, what's here should please fans of Stanwyck and Meeker both. Although it may, in the final analysis, be one of her lesser efforts, Stanwyck displays a real commitment to the material. One physical scene displays the showbiz trooper that she was, as she desperately sprints through a deserted filling station (in heels) in an extended take that was certainly over a minute long. Remarkable how fit and slim this great actress was!
There are some unintentional humorous bits involving the young son, and a pot of hot coffee, but most of the action is centered around Stanwyck and her dilemma. And the intimidating Ralph Meeker really is impressive, as both an object of scorn and forbidden desire reminiscent of Brando in that same year's "The Wild One." The locations used are quite effective and convincingly dangerous, and actually play a large role in developing the suspense. And the ending certainly is thought-provoking.
This is no masterpiece but "Jeopardy" delivers seventy minutes of pure "old school" entertainment.
*** out of *****
Stanwyck and hubby Sullivan are roughing it in Mexico with their small son, and run into extreme difficulties. Through a series of bad decisions, Sullivan soon has his leg caught underneath the pylons of a dilapidated pier as the tide comes in, and frantic wife Stanwyck sets out to get help, but instead encounters unsavory criminal Ralph Meeker.
Exploitative and salacious in it's themes, "Jeopardy" has Stanwyck attempting to make a dirty deal with Meeker to rescue her trapped husband. Contrived as the plot may be, with the "ticking time bomb" element of the roaring tide that threatens Sullivan, what's here should please fans of Stanwyck and Meeker both. Although it may, in the final analysis, be one of her lesser efforts, Stanwyck displays a real commitment to the material. One physical scene displays the showbiz trooper that she was, as she desperately sprints through a deserted filling station (in heels) in an extended take that was certainly over a minute long. Remarkable how fit and slim this great actress was!
There are some unintentional humorous bits involving the young son, and a pot of hot coffee, but most of the action is centered around Stanwyck and her dilemma. And the intimidating Ralph Meeker really is impressive, as both an object of scorn and forbidden desire reminiscent of Brando in that same year's "The Wild One." The locations used are quite effective and convincingly dangerous, and actually play a large role in developing the suspense. And the ending certainly is thought-provoking.
This is no masterpiece but "Jeopardy" delivers seventy minutes of pure "old school" entertainment.
*** out of *****
Legendary silent screen superstar Gloria Swanson comes to the rescue of this tepid romantic comedy. Her screen appearances in talkies are rare enough to make every one of them a "must-see" for devotees of show business in general and films in specific.
Here, the iconic actress actually plays second fiddle to lead Adolphe Menjou. She gamely jumps into this very minor programmer lending it a glossy sheen with her unique charm and style. Never really an actress know for her comedic skills, Swanson here demonstrates her skill at it and it apparent that she enjoys the genre.
The plot may be as lightweight as a champagne bubble, but Swanson's melodious voice and her glamorous facade certainly elevate the proceedings to a very enjoyable eighty minutes. And old pro Menjou makes a good fit for her costar because of both his age and his height, and the audience can easily believe in their relationship. Able support also comes from dashing and boyish Desi Arnaz and droll Helen Broderick.
Swanson sports some fantastic and outrageous costumes sure to delight every fan of Hollywood fashion in the 1940's. The fur ensemble that she wears in the play within the movie is off the charts in terms of luxurious glamor and style. Anyone fascinated by the beautiful and impracticable costumes of Hollywood designers will have a field day here.
If not for Swanson, I'd give this movie four out of ten stars, but because of her -- I'll add two more!
Here, the iconic actress actually plays second fiddle to lead Adolphe Menjou. She gamely jumps into this very minor programmer lending it a glossy sheen with her unique charm and style. Never really an actress know for her comedic skills, Swanson here demonstrates her skill at it and it apparent that she enjoys the genre.
The plot may be as lightweight as a champagne bubble, but Swanson's melodious voice and her glamorous facade certainly elevate the proceedings to a very enjoyable eighty minutes. And old pro Menjou makes a good fit for her costar because of both his age and his height, and the audience can easily believe in their relationship. Able support also comes from dashing and boyish Desi Arnaz and droll Helen Broderick.
Swanson sports some fantastic and outrageous costumes sure to delight every fan of Hollywood fashion in the 1940's. The fur ensemble that she wears in the play within the movie is off the charts in terms of luxurious glamor and style. Anyone fascinated by the beautiful and impracticable costumes of Hollywood designers will have a field day here.
If not for Swanson, I'd give this movie four out of ten stars, but because of her -- I'll add two more!
I'd watch anything with the fabulous Karen Black, so I was more than a little excited to catch up with this forgotten film. The plot deals with an "absent-minded" professor who battles civil hall in an attempt to halt the demolition of his apartment complex. On an impulse he takes a U.S. Marshall as a hostage. The situation is exacerbated by a desperate female TV News reporter who becomes embedded with the professor and his family.
Suspend your disbelief at the door for this one, as the motivations of the characters are murky at best. The reason for the professor's obsession for holding on to his apartment isn't clear, although the audience is subjected to a few standard scenes establishing that the building houses some friendly but struggling neighbors.
Richard Harris as the professor is engaging enough, although the dialog is plenty dull at points. And Karen Black as the reporter seems surprisingly restrained, although she does have a couple of moments of histrionics. Quirky Dennis Christopher as Harris's son steals a few scenes with his great yellow mop of 70's styled hair and a pouty expression.
The best reason for taking this one in, is of course the wonderful and wacky fashions and decor of the era. Karen Black's character is enamored of hats and berets, and the clingy flame-red track suit worn by Charles Siebert is a sight to behold!
Suspend your disbelief at the door for this one, as the motivations of the characters are murky at best. The reason for the professor's obsession for holding on to his apartment isn't clear, although the audience is subjected to a few standard scenes establishing that the building houses some friendly but struggling neighbors.
Richard Harris as the professor is engaging enough, although the dialog is plenty dull at points. And Karen Black as the reporter seems surprisingly restrained, although she does have a couple of moments of histrionics. Quirky Dennis Christopher as Harris's son steals a few scenes with his great yellow mop of 70's styled hair and a pouty expression.
The best reason for taking this one in, is of course the wonderful and wacky fashions and decor of the era. Karen Black's character is enamored of hats and berets, and the clingy flame-red track suit worn by Charles Siebert is a sight to behold!
All the humor in this episode is purely unintentional. Who ever or what ever gave Lucille Ball the idea that audiences wanted to see her sing and dance? It was only funny in "I Love Lucy" because she was so terrible! Here she tries to play it straight with the help of a game but in-over-her-head Carol Burnett -- and the results are woeful.
And of course Lucy plops her untalented teenage kids into the middle of it all! It's only funny for the bizarre costumes and song choices. The writers stole a punchline from Mae West's "Belle of the Nineties" and gave it to Burnett! The aged Lucille Ball in a high school play? Backed up by Burnett and cart-wheel turning Gale Gordon? This doesn't work on so many levels!
And of course Lucy plops her untalented teenage kids into the middle of it all! It's only funny for the bizarre costumes and song choices. The writers stole a punchline from Mae West's "Belle of the Nineties" and gave it to Burnett! The aged Lucille Ball in a high school play? Backed up by Burnett and cart-wheel turning Gale Gordon? This doesn't work on so many levels!
For all us Joan Crawford fans, there's lots to like in "Susan and God." Her costumes by Adrian are fabulously outrageous, she delivers rapid-fire dialog, and she's supported by a A-list cast of actors, including Fredric March and Rita Hayworth. Crawford makes one of her best entrances ever in this movie, perched dramatically on the bow of a speedboat as it whisks her into the country estate of a socialite friend. It's an unforgettable image of glamour, grace and style. She looks fantastic throughout the movie, certainly at the height of her beauty -- more than enough to keep any Crawford fan glued to the screen.
But on the downside, there's tons of tedious dialog and far too many dull plot machinations from an overcrowded cast. There's also a cloying and obnoxious performance from Rita Quigley as Crawford's neglected teen daughter. One brilliant highlight is the cameo performance by Constance Collier as Crawford's religious guru. Collier -- much spoken about earlier in the movie -- appears late in the second act to demonstrate the power of her movement. Unfortunately, although this vehicle worked on the New York stage, but filmed here it really left at least this viewer cold.
Director Cukor appeared to be way out of his element, relating this story of a society woman's religious awakening -- a topic seldom handled in Hollywood. Everyone's motivations remain unclear, especially Crawford's as the intrusive Susan, who takes it upon herself to direct everyone's life to the religion that she has embraced. Poor Fredric March fares no better as Susan's estranged alcoholic husband.
At nearly two hours, "Susan and God" works well as a sedative, lulling audiences into a deep and restful sleep.
But on the downside, there's tons of tedious dialog and far too many dull plot machinations from an overcrowded cast. There's also a cloying and obnoxious performance from Rita Quigley as Crawford's neglected teen daughter. One brilliant highlight is the cameo performance by Constance Collier as Crawford's religious guru. Collier -- much spoken about earlier in the movie -- appears late in the second act to demonstrate the power of her movement. Unfortunately, although this vehicle worked on the New York stage, but filmed here it really left at least this viewer cold.
Director Cukor appeared to be way out of his element, relating this story of a society woman's religious awakening -- a topic seldom handled in Hollywood. Everyone's motivations remain unclear, especially Crawford's as the intrusive Susan, who takes it upon herself to direct everyone's life to the religion that she has embraced. Poor Fredric March fares no better as Susan's estranged alcoholic husband.
At nearly two hours, "Susan and God" works well as a sedative, lulling audiences into a deep and restful sleep.
Here's a pre-code romantic comedy that today seems extremely politically incorrect in its depiction of male/female relations. It's derived from a play by famous U.K. matinée idol Ivor Novello, and he contributed both the screenplay and "continuity" to the film. I would think that female audiences today will find certain scenes and undercurrents offensive in their depiction of the male as the dominate force in a relationship. Anyone today viewing But the Flesh Is Weak would wonder as to the mentality of Novello, and his views on the female gender. I would think that his "hit-her-over-the-head-and-drag-her-away" clichés should had become outmoded even in the 1930's.
Anyway, Novello did rise to the occasion of providing an interesting entertainment, penning some nice dialog and creating some amusing characters. Film centers on young Robert Montgomery and his dad, C. Aubrey Smith, who are two sophisticated men-about-town in London. They are both seeking some rich noblewoman to provide their next supper, and they make the rounds by blending in with upper class society. After charming one difficult and eccentric lady play by Heather Thatcher, Montgomery's character quickly falls in "love at first sight" with a widowed socialite he meets the same evening at Thatcher's house party. Complications ensue, not aided by a catastrophic gambling debt run up by so-called "Senior," C. Aubrey Smith.
I have very high regard for Robert Montgomery, in his ability to be so affable, charming and easygoing. He's one of the great screen actors, and I never miss an opportunity to see one of his films. Just because he's so easygoing and charming usually is what makes him so effective when he become volatile, or even angry. He has a nice showcase here, even if the script seems now very sexist, almost worthy of disregard in that aspect of the plotting, since Novello's writing has Montgomery really and actually forcing himself on the leading lady. He not only refuses to take "no" as an answer, he even slaps her and kicks her out of a moving vehicle! Mongomery's work here shouldn't be dismissed though, and both him and great character actor C. Aubrey Smith make the movie enjoyable. There's a scene early on with them in a small bathroom that's a two-shot containing both actors. Smith goes through some elaborate business in clipping his mustache, but it's all for naught, since right next to him is Robert Montgomery stripping out of his clothes to take a bath. Poor C. Aubrey would have to have been well aware that all eyes would be on Montgomery.
One weak element in the movie is leading lady Nora Gregor, a heavily-accented European import who appears to be out of her depth here. She isn't very pretty or charming enough to cause Montgomery to fall instantly head-over-heels in love with her, and she accomplishes very little to make her character memorable.
Much better is the support from Heather Thatcher, as a monocle-wearing socialite with some eccentric habits, a good heart and designs on Robert Montgomery. She's offbeat and very likable, with her scenes being such highlights in the movie, that it's disappointing the offhand way the film dismisses her character. Nice comic relief comes supplied by wonderful Edward Everett Horton as a rival suitor of Nora Gregor and there's also silent film star Nils Asther who's perfect as a decadent and lascivious European prince.
Pre-code fans will surely get a kick out of But the "Flesh Is Weak." *** out of *****
Anyway, Novello did rise to the occasion of providing an interesting entertainment, penning some nice dialog and creating some amusing characters. Film centers on young Robert Montgomery and his dad, C. Aubrey Smith, who are two sophisticated men-about-town in London. They are both seeking some rich noblewoman to provide their next supper, and they make the rounds by blending in with upper class society. After charming one difficult and eccentric lady play by Heather Thatcher, Montgomery's character quickly falls in "love at first sight" with a widowed socialite he meets the same evening at Thatcher's house party. Complications ensue, not aided by a catastrophic gambling debt run up by so-called "Senior," C. Aubrey Smith.
I have very high regard for Robert Montgomery, in his ability to be so affable, charming and easygoing. He's one of the great screen actors, and I never miss an opportunity to see one of his films. Just because he's so easygoing and charming usually is what makes him so effective when he become volatile, or even angry. He has a nice showcase here, even if the script seems now very sexist, almost worthy of disregard in that aspect of the plotting, since Novello's writing has Montgomery really and actually forcing himself on the leading lady. He not only refuses to take "no" as an answer, he even slaps her and kicks her out of a moving vehicle! Mongomery's work here shouldn't be dismissed though, and both him and great character actor C. Aubrey Smith make the movie enjoyable. There's a scene early on with them in a small bathroom that's a two-shot containing both actors. Smith goes through some elaborate business in clipping his mustache, but it's all for naught, since right next to him is Robert Montgomery stripping out of his clothes to take a bath. Poor C. Aubrey would have to have been well aware that all eyes would be on Montgomery.
One weak element in the movie is leading lady Nora Gregor, a heavily-accented European import who appears to be out of her depth here. She isn't very pretty or charming enough to cause Montgomery to fall instantly head-over-heels in love with her, and she accomplishes very little to make her character memorable.
Much better is the support from Heather Thatcher, as a monocle-wearing socialite with some eccentric habits, a good heart and designs on Robert Montgomery. She's offbeat and very likable, with her scenes being such highlights in the movie, that it's disappointing the offhand way the film dismisses her character. Nice comic relief comes supplied by wonderful Edward Everett Horton as a rival suitor of Nora Gregor and there's also silent film star Nils Asther who's perfect as a decadent and lascivious European prince.
Pre-code fans will surely get a kick out of But the "Flesh Is Weak." *** out of *****
Here's one for fans of the great Shelley Winters only. She makes the most of her limited screen time, and wears probably the biggest sombrero ever committed to film! Winters with legendary John Huston -- surely a match-made-in-heaven! He plays her brother who's the most elderly investigative reporter still out there muck-raking, while residing in a nice oceanfront cottage in California. A knee-slapping early scene have Winters mixing a Bloody Mary in her bathrobe, while Huston prowls about in a floor-length nightshirt. Here' a brother/sister act for the ages. Amazing!
May I briefly describe the opening scene of the movie? As the credits roll, we see shots of the ocean through the window of a moving vehicle. The camera pans to the inside of the vehicle, revealing it to be a yellow cab. The camera lingers on the two-way radio inside the cab, as the driver's hand adjusts the dials, and we listen to the undecipherable chatter broadcast from the radio. As the credits conclude, the cab stops at a sea side picnic ground, and the camera focuses on a pair of men's legs exiting the vehicle, sporting some distinctive fancy two-toned buckled shoes and white pants. This unseen figure steps over the curb and hobbles away across the grass, never to be seen again. In the background of the shot the camera finds a too stylish woman with her infant daughter picnicking near the water. The cab, its driver and passenger have no other function in the film. Now that's a real tip-off to the type film making to follow. This movie takes "filler" and "padding" to a entirely new level.
I guess a secondary theme in the movie seems to be showing people communicating on various radios and walkie-talkies. Winters spends about a third of her screen time shouting into one, albeit without any dialog heard from the screen. These scenes at the Solana Sailboat Race are fascinating in their ineptitude, like the stand-up comedian who fails to deliver the punchline to a lengthly joke or the freeze-frames on random extras listening to his act scattered throughout.
Women and gay guys might appreciate the Seventies handsome hunk who plays Bo Hopkins' assistant. Nice looking guy with great hair especially when underwater, and he gives the best performance here.
Only for unintentional laughs or Shelly Winters fanatics.
* out of *****
May I briefly describe the opening scene of the movie? As the credits roll, we see shots of the ocean through the window of a moving vehicle. The camera pans to the inside of the vehicle, revealing it to be a yellow cab. The camera lingers on the two-way radio inside the cab, as the driver's hand adjusts the dials, and we listen to the undecipherable chatter broadcast from the radio. As the credits conclude, the cab stops at a sea side picnic ground, and the camera focuses on a pair of men's legs exiting the vehicle, sporting some distinctive fancy two-toned buckled shoes and white pants. This unseen figure steps over the curb and hobbles away across the grass, never to be seen again. In the background of the shot the camera finds a too stylish woman with her infant daughter picnicking near the water. The cab, its driver and passenger have no other function in the film. Now that's a real tip-off to the type film making to follow. This movie takes "filler" and "padding" to a entirely new level.
I guess a secondary theme in the movie seems to be showing people communicating on various radios and walkie-talkies. Winters spends about a third of her screen time shouting into one, albeit without any dialog heard from the screen. These scenes at the Solana Sailboat Race are fascinating in their ineptitude, like the stand-up comedian who fails to deliver the punchline to a lengthly joke or the freeze-frames on random extras listening to his act scattered throughout.
Women and gay guys might appreciate the Seventies handsome hunk who plays Bo Hopkins' assistant. Nice looking guy with great hair especially when underwater, and he gives the best performance here.
Only for unintentional laughs or Shelly Winters fanatics.
* out of *****
Filmed on the cheap in South Africa, this low-budget affair at least features a likable Black actor in the lead role of Geoffrey Graves. The actor David Broadnax didn't have much of a career, but this is his show, and he even wrote the story it's based on. He's fit and thin, and sports some skintight jeans and groovy shirts throughout.
The confusing plot has dozens of minor characters either banding together or double-crossing one another or poor Graves, who seems to be caught up in a maelstrom of international intrigue. The unintentional humor abounds in the primitively staged fight scenes, third-rate acting, and ridiculous dialog. There's a hilarious scene set in a huge "computer control room," that has a bunch of beautiful models working some phone bank under the strict supervision of Stella Stevens, who exhibits a few lesbian tendencies. Soon explosions fill the screen, leaving the audience scratching their heads in wonderment.
The confusing plot has dozens of minor characters either banding together or double-crossing one another or poor Graves, who seems to be caught up in a maelstrom of international intrigue. The unintentional humor abounds in the primitively staged fight scenes, third-rate acting, and ridiculous dialog. There's a hilarious scene set in a huge "computer control room," that has a bunch of beautiful models working some phone bank under the strict supervision of Stella Stevens, who exhibits a few lesbian tendencies. Soon explosions fill the screen, leaving the audience scratching their heads in wonderment.
What we have here is a charming little drama from the Netherlands featuring talented actor/musician Michiel Huisman as a misfit brother in a family of football fanatics. Seems that his father's dream is to sire an entire team, and poor Johan is the eleventh brother born, but shows no interest in the sport. As the years go by, he develops his singing talents, and becomes involved in a love triangle with a free-spirited young girl and his professional footballer brother.
Many sequences are beautifully composed and filmed, and it's a pleasure to view the stunning locations and scenery. Early scenes of when the family was young are both humorous and poignant. The plot may be somewhat slight, but Huisman has the charisma to keep the audience involved all the way. And there's a fun turn by Leona Phillippo as Johan's best friend and confidante, Hester. She's the confidant and smart proprietor of a hair salon, who both inspires and shelters Johan in her shop, and her hairstyles are fabulous.
Many sequences are beautifully composed and filmed, and it's a pleasure to view the stunning locations and scenery. Early scenes of when the family was young are both humorous and poignant. The plot may be somewhat slight, but Huisman has the charisma to keep the audience involved all the way. And there's a fun turn by Leona Phillippo as Johan's best friend and confidante, Hester. She's the confidant and smart proprietor of a hair salon, who both inspires and shelters Johan in her shop, and her hairstyles are fabulous.
Here's a sweet little "oater" from Republic that probably entertained the girls in the audience more than their guys. It's really a Dale Evans movie all the way, told totally from her viewpoint and she appears in practically every scene.
The hook is that the entire cast plays dual roles: one in present day, and one in the 1890's in which may either be a flashback or a dream. The plot centers on unhappy career woman Dale who makes a fast break for the country to reconnect with her roots, namely her deceased Grandmother who was a notorious saloon hall songstress. Her aunt Margaret Dumont and her fiancé Hardy Albright follow, and they're not happy when Dale meets flirtatious cowboy Roy Rogers. He gives Dale a tour of the now deserted town of El Dorado, winding up in the saloon where Dale's granny sang. Sleepyhead Dale nods off, and dreams up an alternate reality where she's now playing her own grandmother, and all the cast members are there only with different costumes and names.
There's some shootouts and chases, all handled expertly by Roy Rogers at his athletic best. And of course, between the bullets, he sings a couple songs and two duets with Dale. The supporting cast is great, and it's a joy to see old pros Gabby Hayes and Margaret Dumont playing scenes together. There's a lot packed into the short running time, although the denouement seems a bit rushed.
So Dale Evans really proves that she has star quality in this, and looks fabulous in both the contemporary and gay nineties fashions. And not far away is Roy Rogers, leading Trigger and looking handsome in his trademark cowboy gear.
*** out of *****
The hook is that the entire cast plays dual roles: one in present day, and one in the 1890's in which may either be a flashback or a dream. The plot centers on unhappy career woman Dale who makes a fast break for the country to reconnect with her roots, namely her deceased Grandmother who was a notorious saloon hall songstress. Her aunt Margaret Dumont and her fiancé Hardy Albright follow, and they're not happy when Dale meets flirtatious cowboy Roy Rogers. He gives Dale a tour of the now deserted town of El Dorado, winding up in the saloon where Dale's granny sang. Sleepyhead Dale nods off, and dreams up an alternate reality where she's now playing her own grandmother, and all the cast members are there only with different costumes and names.
There's some shootouts and chases, all handled expertly by Roy Rogers at his athletic best. And of course, between the bullets, he sings a couple songs and two duets with Dale. The supporting cast is great, and it's a joy to see old pros Gabby Hayes and Margaret Dumont playing scenes together. There's a lot packed into the short running time, although the denouement seems a bit rushed.
So Dale Evans really proves that she has star quality in this, and looks fabulous in both the contemporary and gay nineties fashions. And not far away is Roy Rogers, leading Trigger and looking handsome in his trademark cowboy gear.
*** out of *****
I recently saw Hitchcock's "Rich and Strange" and really enjoyed it, so I was game for another go at this early 1930's British cinema, in my attempt to become a "Hitchcock completist." Please keep in mind that I'm an American with a pretty-good ear for British dialog, but there are some speeches contained here that I couldn't understand in the least. But only a fairly small portion that is. The early sound equipment doesn't help either.
The title "The Skin Game" refers to a heated altercation that leaves no holds barred, and no prisoners taken. The plot line is essentially a "Hatfields and McCoys" family feud over land rights, with a lot of dirt being dug up on both families involved. Like pretty much all early sound films, there is a heavy reliance on dialog and the spoken phrase, which makes "The Skin Game" obviously derived from the stage.
At the beginning there's a long take with probably ten pages of dialog in it, using a medium shot of three characters, with the camera panning between them. At least once, someone was speaking dialog while not on camera, which I always find distracting -- a minor flaw I admit, but noticeable. Hitchcock's pacing feels relatively quick considering, and he keeps interest in these scenes with dramatic exits and entrances of characters, and revelations of plot details.
Really some of these takes were so long that actors coughed, dropped things and retrieved them, and other apparent flubs that were never re-shot. Seems like once the director was five minutes into a scene he couldn't afford the film stock to begin again, so there are a lot of miscues and such, which kind of adds to the immediacy. Especially considering that I'm certain that even the young Hitchcock was keenly aware of every missed cue and dropped line, and it had to drive him to distraction! I was certainly impressed by this early Hitchcock effort and I'm sure that audiences back then went away from this one with the feeling that they got their money's worth. It was apparent that an extremely talented film maker was at work here, trying to keep the audience involved every step of the way. And he did succeed actually.
For instance, there is a scene at an auction house that lasts for about ten minutes, and Hitchcock sets it up in such a way to keep the audience anxiously awaiting the outcome. He has the camera making very fast pans from one bidder to the next, slowing down only when the bidding does. The audience has some background information about the proceedings, but not enough to spoil the surprise at the end.
It's early sound cinema -- so most viewers today can't bear this kind of thing, but if you're familiar with and enjoy films of the early 20Th Century, it's extremely enjoyable and does have a payoff at the end! *** out of *****
The title "The Skin Game" refers to a heated altercation that leaves no holds barred, and no prisoners taken. The plot line is essentially a "Hatfields and McCoys" family feud over land rights, with a lot of dirt being dug up on both families involved. Like pretty much all early sound films, there is a heavy reliance on dialog and the spoken phrase, which makes "The Skin Game" obviously derived from the stage.
At the beginning there's a long take with probably ten pages of dialog in it, using a medium shot of three characters, with the camera panning between them. At least once, someone was speaking dialog while not on camera, which I always find distracting -- a minor flaw I admit, but noticeable. Hitchcock's pacing feels relatively quick considering, and he keeps interest in these scenes with dramatic exits and entrances of characters, and revelations of plot details.
Really some of these takes were so long that actors coughed, dropped things and retrieved them, and other apparent flubs that were never re-shot. Seems like once the director was five minutes into a scene he couldn't afford the film stock to begin again, so there are a lot of miscues and such, which kind of adds to the immediacy. Especially considering that I'm certain that even the young Hitchcock was keenly aware of every missed cue and dropped line, and it had to drive him to distraction! I was certainly impressed by this early Hitchcock effort and I'm sure that audiences back then went away from this one with the feeling that they got their money's worth. It was apparent that an extremely talented film maker was at work here, trying to keep the audience involved every step of the way. And he did succeed actually.
For instance, there is a scene at an auction house that lasts for about ten minutes, and Hitchcock sets it up in such a way to keep the audience anxiously awaiting the outcome. He has the camera making very fast pans from one bidder to the next, slowing down only when the bidding does. The audience has some background information about the proceedings, but not enough to spoil the surprise at the end.
It's early sound cinema -- so most viewers today can't bear this kind of thing, but if you're familiar with and enjoy films of the early 20Th Century, it's extremely enjoyable and does have a payoff at the end! *** out of *****
This movie seems to provide a textbook example of the phrase "guilty pleasure." There's a pair of very big reasons for enjoying "Elvira, Mistress of the Dark," and they are of course, the intelligent script, and the fantastic acting. Yeah, right... Who am I kidding? The lovely Cassandra Peterson bounces across the screen in her incarnation of Elvira, a horror movie hostess who's part Vampira, part Valley Girl, part Mae West, and part Goth chick. True her act is almost a one joke routine, with the audience almost expecting a wardrobe malfunction at any time -- but she does make me laugh big time. The slight plot here has Elvira quitting her movie hosting job, and heading for New England to retrieve an inheritance from her great aunt. The townsfolk there, lead by self-righteous Edie McClurg take an instant dislike to her, and make great effort to drive her out of town. Elvira soon befriends local teenagers, flirts with a brainless hunk, has a confrontation with her evil uncle, and eventually takes on the entire town.
There are some pretty big laughs contained in here, and Peterson's delivery is always spot-on and her facial expressions are priceless. Most of the jokes are risqué, usually centered around her highly visible cleavage and her over-active libido. She makes the most of her talents in some very funny ways, like in the fantasy sequence at the beginning where she imagines herself as a winning contestant on a TV game show. She exhibits such excitement here that she can barely contain herself, leaping up and down repeatedly with her arms windmilling. It's quite a sight, and a testament to the strength of duct tape.
Edie McClurg supports Peterson nicely, playing "Chastity Pariah," the biggest prude in town, who has some very funny moments. There's even an homage to Carrie, a movie featuring one of McClurg's early film appearances. Jeff Conaway looks absolutely wasted here in his role as a low-life henchman, and considering what became public knowledge about his substance abuse -- he most likely was. A bonus is some cool musical sequences at the end, where Elvira does gymnastics, sings heavy metal, and, actually, raps. Fans of cheesy 1980's music video would really appreciate the poor to bad taste exhibited in these scenes.
It's surprisingly funny, and still delivers its obvious message of tolerance. "Elvira, Mistress of the Dark" is a 1980's cult classic that even today lets Elvira keep us all abreast of her remarkable talents.
*** out of *****
There are some pretty big laughs contained in here, and Peterson's delivery is always spot-on and her facial expressions are priceless. Most of the jokes are risqué, usually centered around her highly visible cleavage and her over-active libido. She makes the most of her talents in some very funny ways, like in the fantasy sequence at the beginning where she imagines herself as a winning contestant on a TV game show. She exhibits such excitement here that she can barely contain herself, leaping up and down repeatedly with her arms windmilling. It's quite a sight, and a testament to the strength of duct tape.
Edie McClurg supports Peterson nicely, playing "Chastity Pariah," the biggest prude in town, who has some very funny moments. There's even an homage to Carrie, a movie featuring one of McClurg's early film appearances. Jeff Conaway looks absolutely wasted here in his role as a low-life henchman, and considering what became public knowledge about his substance abuse -- he most likely was. A bonus is some cool musical sequences at the end, where Elvira does gymnastics, sings heavy metal, and, actually, raps. Fans of cheesy 1980's music video would really appreciate the poor to bad taste exhibited in these scenes.
It's surprisingly funny, and still delivers its obvious message of tolerance. "Elvira, Mistress of the Dark" is a 1980's cult classic that even today lets Elvira keep us all abreast of her remarkable talents.
*** out of *****
Here's a sprightly romantic comedy from MGM featuring elastic funny lady Charlotte Greenwood and pretty Leila Hyams. She gets top-billing playing one of two disgruntled Hollywood wives seeking revenge on their movie-producer husbands. Seems that the straying spouses, played by portly Harry Stubbs and dashing Reginald Denny respectively, have canceled their plans for an evening out with their wives. Under pressure from Stubbs, the reluctant Denny agrees to cavort with two beautiful starlets who hope to appear in their next picture.
So as payback, the disappointed but defiant wives decide to head to Mexico for some fun and games of chance. But they soon return home for a forgotten item, only to discover their husbands hosting a ribald pool party for the aspiring actresses. One of these starlets (Lillian Bond) goes by the rhyming stage name of "Cleo Del Rio," and the other has a penchant for piggy-back-riding. After being discovered, Denny's squirming and dissembling before his wife and this actress is amusing and nicely played by the actor with a usually unflappable persona.
Greenwood and Hyams continue on to Mexico anyway, with the added baggage of their husband's entire bank accounts, causing the desperate men to quickly follow. Complications ensue as the women flirt with a couple of flat-broke college guys (Cliff Edwards and handsome Kane Richmond) who are on the make, and suspect the women are wealthy. Comic mayhem ensues when the husbands surprise their wives as they entertain the other men for dinner in their Mexican bungalow.
There's lots of confusion and calamity as the two couples come to grips with the situation, and some expert physical comedy is on display by Greenwood and Edwards, who plays perhaps one of the most mature and balding college guys ever. There's even a nice little duet, with Edwards accompanying Greenwood on -what else -- the ukulele. And of course, it's de rigueur that Charlotte Greenwood display her signature brand of crazy-legged comedy schtick that still seems amazing and remarkable today.
"Stepping Out" contains a few funny and risqué lines of dialog, a likable cast, and some amusing situations, but fails to rise to the level of the great comedy produced by, say, The Marx Brothers or Burns and Allen. Experienced vaudevillian Charlotte Greenwood makes an unique screen presence, and she pulls out all the stops to make this somewhat slight material work. She's gangly and homely, yet with a sophisticated and fashionable exterior that creates a strikingly comic dichotomy.
Charmingly innocent by today's standards, "Stepping Out" at least offers the opportunity to experience veteran entertainers like Charlotte Greenwood and Cliff Edwards performing routines that made them famous.
** out of *****
So as payback, the disappointed but defiant wives decide to head to Mexico for some fun and games of chance. But they soon return home for a forgotten item, only to discover their husbands hosting a ribald pool party for the aspiring actresses. One of these starlets (Lillian Bond) goes by the rhyming stage name of "Cleo Del Rio," and the other has a penchant for piggy-back-riding. After being discovered, Denny's squirming and dissembling before his wife and this actress is amusing and nicely played by the actor with a usually unflappable persona.
Greenwood and Hyams continue on to Mexico anyway, with the added baggage of their husband's entire bank accounts, causing the desperate men to quickly follow. Complications ensue as the women flirt with a couple of flat-broke college guys (Cliff Edwards and handsome Kane Richmond) who are on the make, and suspect the women are wealthy. Comic mayhem ensues when the husbands surprise their wives as they entertain the other men for dinner in their Mexican bungalow.
There's lots of confusion and calamity as the two couples come to grips with the situation, and some expert physical comedy is on display by Greenwood and Edwards, who plays perhaps one of the most mature and balding college guys ever. There's even a nice little duet, with Edwards accompanying Greenwood on -what else -- the ukulele. And of course, it's de rigueur that Charlotte Greenwood display her signature brand of crazy-legged comedy schtick that still seems amazing and remarkable today.
"Stepping Out" contains a few funny and risqué lines of dialog, a likable cast, and some amusing situations, but fails to rise to the level of the great comedy produced by, say, The Marx Brothers or Burns and Allen. Experienced vaudevillian Charlotte Greenwood makes an unique screen presence, and she pulls out all the stops to make this somewhat slight material work. She's gangly and homely, yet with a sophisticated and fashionable exterior that creates a strikingly comic dichotomy.
Charmingly innocent by today's standards, "Stepping Out" at least offers the opportunity to experience veteran entertainers like Charlotte Greenwood and Cliff Edwards performing routines that made them famous.
** out of *****
The somewhat generic title "Mystery Street" offers no real clue as to what is contained therein, and belies the fact that this film exhibits some very contemporary themes and devices. It is partnered with "Act of Violence" on a "film noir" DVD which offers an excellent evening of entertainment from two lesser-known movies of that genre.
Ricardo Montalban plays a Portuguese-American police detective trying to piece together the clues left behind by a skeleton found buried in the sand dunes near Hyannis, Massachusetts. The proceedings are a definite precursor to TV's "C.S.I." and similar series devoted to police forensics and procedures, and a crime lab run by Bruce Bennett at Harvard University features prominently. It's no secret to the audience who the skeletal remains are, but it is for earnest, hardworking Montalban to discover for himself.
In the process, the youthful Montalban interacts with several potential suspects and witnesses, all the while treating us to his special brand of Latin charisma that made him so popular with female audiences. He's in fine form, confident and looking great in a trench coat and fedora, although sometimes his accent gets a tad in the way.
The stellar supporting cast includes fabulous Elsa Lanchester as an avaricious and corrupt landlady who soon finds herself in over her head. Her expert dramatics are priceless, and she is allowed ample screen time to flesh-out a unique character who is both compelling and repulsive. Next mention should go to beautiful Jan Sterling in a pivotal role of a cynical but desperate dance hall girl looking to strike it rich. Marshall Thompson and Sally Forrest appear as a young married couple with their share of problems and more than a few secrets. The rest of the cast is filled with great little cameo performances, most with one scene each in rapid-fire succession.
So fans of classic police drama will find much to enjoy in "Mystery Street," a movie which certainly foreshadows current trends in that genre, and gives fine actors a great showcase for their talent.
**** out of *****
Ricardo Montalban plays a Portuguese-American police detective trying to piece together the clues left behind by a skeleton found buried in the sand dunes near Hyannis, Massachusetts. The proceedings are a definite precursor to TV's "C.S.I." and similar series devoted to police forensics and procedures, and a crime lab run by Bruce Bennett at Harvard University features prominently. It's no secret to the audience who the skeletal remains are, but it is for earnest, hardworking Montalban to discover for himself.
In the process, the youthful Montalban interacts with several potential suspects and witnesses, all the while treating us to his special brand of Latin charisma that made him so popular with female audiences. He's in fine form, confident and looking great in a trench coat and fedora, although sometimes his accent gets a tad in the way.
The stellar supporting cast includes fabulous Elsa Lanchester as an avaricious and corrupt landlady who soon finds herself in over her head. Her expert dramatics are priceless, and she is allowed ample screen time to flesh-out a unique character who is both compelling and repulsive. Next mention should go to beautiful Jan Sterling in a pivotal role of a cynical but desperate dance hall girl looking to strike it rich. Marshall Thompson and Sally Forrest appear as a young married couple with their share of problems and more than a few secrets. The rest of the cast is filled with great little cameo performances, most with one scene each in rapid-fire succession.
So fans of classic police drama will find much to enjoy in "Mystery Street," a movie which certainly foreshadows current trends in that genre, and gives fine actors a great showcase for their talent.
**** out of *****