kalbimassey
Joined Sep 2018
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kalbimassey's rating
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kalbimassey's rating
The improbable, far fetched nature of Stolen Face, along with the fact that it also manages to be fairly entertaining, has been alluded to by other reviewers.
Eminent, much sought after surgeon, Paul Henreid is crushed at losing the love of gifted concert pianist, Lizabeth Scott, following a brief, but torrid affair. At face value, its a match made in heaven, two highly talented, skilled intellectual people, at the peak of their careers - and not short of a bob or two! When Scott reveals that she is promised to another man, unsurprisingly, Henreid is inconsolable.
A most unusual lifeline is thrown to him, in the form of a commission to rebuild the face of badly disfigured convict, Mary MacKenzie. Certainly a challenge, one would imagine, in the context of 1950's surgery, involving numerous skin grafts. However, it's not the exceeding unlikelihood of creating a twin that trips the movie up, but the glib, obvious portrayal of the chalk and cheese personas of Scott's two characters: Concert hall to jazz bar, pristine professional to petty pilferer. The ex con unashamedly perpetuates her life of crime and association with rowdy, boozy friends.
In reality, one might have anticipated a scintilla of appreciation, a crumb of aspiration, having been lifted from the gutter, given wealth, security and being transformed from not quite The Elephant Woman, but certainly on the spectrum, to drop dead gorgeous.
The movie is largely notable for a comparatively rare big screen appearance by Arnold Ridley, as one of Henreid's medical colleagues. He deserves credit for never asking to be excused or making any reference to his sister Dolly!
Eminent, much sought after surgeon, Paul Henreid is crushed at losing the love of gifted concert pianist, Lizabeth Scott, following a brief, but torrid affair. At face value, its a match made in heaven, two highly talented, skilled intellectual people, at the peak of their careers - and not short of a bob or two! When Scott reveals that she is promised to another man, unsurprisingly, Henreid is inconsolable.
A most unusual lifeline is thrown to him, in the form of a commission to rebuild the face of badly disfigured convict, Mary MacKenzie. Certainly a challenge, one would imagine, in the context of 1950's surgery, involving numerous skin grafts. However, it's not the exceeding unlikelihood of creating a twin that trips the movie up, but the glib, obvious portrayal of the chalk and cheese personas of Scott's two characters: Concert hall to jazz bar, pristine professional to petty pilferer. The ex con unashamedly perpetuates her life of crime and association with rowdy, boozy friends.
In reality, one might have anticipated a scintilla of appreciation, a crumb of aspiration, having been lifted from the gutter, given wealth, security and being transformed from not quite The Elephant Woman, but certainly on the spectrum, to drop dead gorgeous.
The movie is largely notable for a comparatively rare big screen appearance by Arnold Ridley, as one of Henreid's medical colleagues. He deserves credit for never asking to be excused or making any reference to his sister Dolly!
There is nothing enigmatic about a smugly successful rock band deep into its career trundling out another in a string of safely formulaic, AOR chart fodder albums. But, ah......those formative years, when everything is new, exciting and awaiting discovery. Perpetuated by a meshing of egos, the kid in a sweet shop mentality takes over and a common goal of creative urgency prevails. The album, a blank canvas primed to have its microgrooves filled with something original and exhilarating.
Curiously, The Yardbirds, undeniably innovative and ground breaking, with the cream of British guitar heroes - Eric Clapton, Jeff Beck and latterly Jimmy Page filtering through their ranks, had never seized the moment, their influence resting upon half a dozen singles released during 1965 and 6. When that magical year of 1967 rolled around, under the 'guidance' of Mickie Most, all they could offer was Little Games, a disappointingly lightweight hotch-potch, with only the sleeve to recommend it.
Virtuoso player Page, veteran of numerous sixties sessions had a vision to take the band on a more experimental journey. The other members, clearly not on the same...er page, soon quit, leaving him with the rights to the name and a string of unfulfilled gigs in Scandinavia. Seeking a vocalist, Terry Reid was his first choice, only to find he had been snaffled by Mickie Most, but he suggested Robert Plant, eager to join, on condition that the drummer's stool be occupied by John Bonham. The group was completed by session bassist and arranger, John Paul Jones, The New Yardbirds were born. Treasured footage of each lineup is featured in this splendidly informative documentary.
The movie's defining moment arrives with their UK debut, as Led Zeppelin, at The Roundhouse in November 1968. With the amps turned up to the max and all the needles on red, the visibly dazed and confused audience were plainly unprepared for so shudderingly loud an aural assault. This was sensory overload on the next level. The name change emanated from a comment by Keith Moon, referring to The Who going down like a lead Zeppelin at recent gigs.
What made Zeppelin a great band was that they didn't grow up being blown away by heavy rock. Affording some credit to Blue Cheer, they largely invented it, in the process spawning a slew of similarly abrasive, hard edged outfits, often clumsier, clunkier and less worthwhile. Nonetheless, passing decades would whet the appetites of collectors and dealers alike, with copies of these mainly lesser entries exchanging hands at inflated prices under the banner of 'prog rock rarity' or 'heavy guitar psych'.
Early reviews were sometimes negative and it's arguable that they didn't make classic albums, but their refusal to release singles and capacity to include a smattering of 'must have' tracks made them the ultimate albums band. This absorbing story fittingly concludes with the release of Led Zep. 2, regarded by many as the seminal Zeppelin album.
Timing was crucial in their rise. Cream had just split and Hendrix' career went flat after Electric Ladyland, creating a niche for a power trio. With the addition of a dramatic, flamboyant vocalist, Zeppelin were the right band, in the right place at the right time. This impressive film documents their early days, with a telling final statement......the sixties were over.
Curiously, The Yardbirds, undeniably innovative and ground breaking, with the cream of British guitar heroes - Eric Clapton, Jeff Beck and latterly Jimmy Page filtering through their ranks, had never seized the moment, their influence resting upon half a dozen singles released during 1965 and 6. When that magical year of 1967 rolled around, under the 'guidance' of Mickie Most, all they could offer was Little Games, a disappointingly lightweight hotch-potch, with only the sleeve to recommend it.
Virtuoso player Page, veteran of numerous sixties sessions had a vision to take the band on a more experimental journey. The other members, clearly not on the same...er page, soon quit, leaving him with the rights to the name and a string of unfulfilled gigs in Scandinavia. Seeking a vocalist, Terry Reid was his first choice, only to find he had been snaffled by Mickie Most, but he suggested Robert Plant, eager to join, on condition that the drummer's stool be occupied by John Bonham. The group was completed by session bassist and arranger, John Paul Jones, The New Yardbirds were born. Treasured footage of each lineup is featured in this splendidly informative documentary.
The movie's defining moment arrives with their UK debut, as Led Zeppelin, at The Roundhouse in November 1968. With the amps turned up to the max and all the needles on red, the visibly dazed and confused audience were plainly unprepared for so shudderingly loud an aural assault. This was sensory overload on the next level. The name change emanated from a comment by Keith Moon, referring to The Who going down like a lead Zeppelin at recent gigs.
What made Zeppelin a great band was that they didn't grow up being blown away by heavy rock. Affording some credit to Blue Cheer, they largely invented it, in the process spawning a slew of similarly abrasive, hard edged outfits, often clumsier, clunkier and less worthwhile. Nonetheless, passing decades would whet the appetites of collectors and dealers alike, with copies of these mainly lesser entries exchanging hands at inflated prices under the banner of 'prog rock rarity' or 'heavy guitar psych'.
Early reviews were sometimes negative and it's arguable that they didn't make classic albums, but their refusal to release singles and capacity to include a smattering of 'must have' tracks made them the ultimate albums band. This absorbing story fittingly concludes with the release of Led Zep. 2, regarded by many as the seminal Zeppelin album.
Timing was crucial in their rise. Cream had just split and Hendrix' career went flat after Electric Ladyland, creating a niche for a power trio. With the addition of a dramatic, flamboyant vocalist, Zeppelin were the right band, in the right place at the right time. This impressive film documents their early days, with a telling final statement......the sixties were over.
Seldom has a comedy act been so revered, fondly remembered, or generated so much warmth and affection as Morecambe and Wise. The cherished memories kept alive by repeats, documentaries and tributes, which have served only to enhance their reputation. By the early '70's celebrities were queuing to be on their show, aspiring to star in one of the plays what Ernie wrote, or in the case of Andre Previn, reveal a previously unseen comedic talent in one of their many memorable sketches. Furthermore, The Morecambe and Wise Christmas Show became an integral part of the festive season.
It's a daunting challenge, capturing the essence and flavour of such iconic artists, especially when shedding light on a period prior to their peak. In this delightful, heartwarming production, the transition from childhood to young adult is seamless, rather than episodic.
Little Ern appears to have been born on a stage, while the more reticent Eric was more preoccupied with his airgun and being the class clown, as Mother, Sadie drove him relentlessly towards a life in entertainment. The key moments in their journey are all portrayed superbly, but Daniel Rigby and Bryan Dick are across the board magnificent, in voice, appearance and mannerism, as the duo in young adulthood.
Victoria Wood and Jim Moir impress as Eric's unflagging Mother and his equally easy going father, plus, there are some wonderful vignettes of immediate post war life; faltering Christmas tree lights, Sadie, opening the doors of a large, imposing cabinet to reveal.....a tiny television screen (shortly before the BBC start showing an interest in the pair). Oh, the picture wouldn't be complete without the sight of a Stanier Black 5 arriving at the platform!
Billed as a drama, there are a number of touching moments, but as one can imagine from the very nature of the subject matter, outbursts of laughter are never far away.
It's a daunting challenge, capturing the essence and flavour of such iconic artists, especially when shedding light on a period prior to their peak. In this delightful, heartwarming production, the transition from childhood to young adult is seamless, rather than episodic.
Little Ern appears to have been born on a stage, while the more reticent Eric was more preoccupied with his airgun and being the class clown, as Mother, Sadie drove him relentlessly towards a life in entertainment. The key moments in their journey are all portrayed superbly, but Daniel Rigby and Bryan Dick are across the board magnificent, in voice, appearance and mannerism, as the duo in young adulthood.
Victoria Wood and Jim Moir impress as Eric's unflagging Mother and his equally easy going father, plus, there are some wonderful vignettes of immediate post war life; faltering Christmas tree lights, Sadie, opening the doors of a large, imposing cabinet to reveal.....a tiny television screen (shortly before the BBC start showing an interest in the pair). Oh, the picture wouldn't be complete without the sight of a Stanier Black 5 arriving at the platform!
Billed as a drama, there are a number of touching moments, but as one can imagine from the very nature of the subject matter, outbursts of laughter are never far away.
