One of the unofficial mottos at MGM in the 1950s seems to have been "remake an old hit and add colour". And sometimes it worked - All the Brothers Were Valiant, King Solomon's Mines, Mogambo. Sometimes it didn't this being a case in point.
Waterloo Bridge had already been filmed twice, both times successfully. It was reimagined as a vehicle for Leslie Caron, which was an okay enough idea (they had her under contract, they needed vehicles for her I suppose) but they picked John Kerr for her co star. Kerr was a bland all American type who had a brief vogue in the mid 1950s after appearing in Tea and Sympathy on stage; he was so "hot" he turned down roles in The Spirit of St Louis and Friendly Persuasion. He's disastrously miscast as the male lead.
It's not that Kerr is a terrible actor - he's okay - he's just so bland in something that needed a star. I kept thinking of John Gregory Dunne's book Monster about the making of Up Close and Personal when he asked Scott Rudin "what's this film about?" and Rudin said "It's about two movie stars". Gaby should have been about two movie stars, but there's only one, and a low voltage one at that.
John Kerr had no business being a movie star and MGM had no business propagating that. His golly gosh gee whiz routine feels half hearted - there's no chemistry with Caron, no heat.
Maybe the film didn't have to be about two movie stars - the 1931 version stars the low voltage combo of Mae Clarke and Kent Douglass. But it's made with sensitivity and care. Also there's a point to it because Clarke's character is a prostitute - it's about the last chance of romance of a hooker. In this one she's a ballet dancer who sleeps with a couple of dudes after she thinks her fiance is dead - which is a massive difference.
The 1940 version got by on star power. This film takes its cue from the 1940 version but doesn't have the stars.
There was no real reason to make this. I guess you could add colour, I guess you could set it in World War Two. Maybe if they'd turned it into a musical... there's a ballet number but apart from that Caron does precious little dancing. Maybe if they'd taken advantage of more relaxed censorship of the 50s, but... no, Caron isn't really allowed even to be a hooker (it's frustratingly vague). They give this one a happy ending... but that robs the piece of it's emotional weight. Maybe if there was location filming... but it looks as though it was all shot on the backlot. Maybe if there was some feminism... but no it's all about Caron's guilt at having "seen many men".
Taina Elg doesn't impress as Caron's fellow ballet dancer. Cedric Hardwicke is very unconvincing as Kerr's uncle. The whole thing's a bit pointless unless you're a Caron fan.
Friday, September 30, 2016
Book review - "Bela Lugosi and Boris Karloff: The Expanded Story of a Haunting Collaboration" by Gregory William Mank (2009)
A revised edition that really adds value - Mank's first version of this was pretty good but the expanded one is even better. This is an affectionate, well researched but accessible account of the collaborations between two of Hollywood's greatest horror icons. It focuses on their films together - The Back Cat, Gift of the Gab, The Raven, The Invisible Ray, Son of Frankenstein, Black Friday, You'll Find Out, The Body Snatcher - plus looking at their overall careers.
Lugosi and Karloff make two great protagonists, especially Lugosi with his exotic background (war hero, fleeing unstable Hungary) and unhappy life (poor finances, drug addiction, unhappy marriages) and career (descent into Bowery Boys and Ed Wood films) - but also Karloff was pretty colourful (sexually promiscuous, whip smart with money). The two contrast so well, which is presumably why they've gripped the memory of horror film fans.
It also helps that their key films were so different - The Black Cat was Edgar Ulmer weird arse masterpiece; The Raven was solid Universal horror; Invisible Ray was sci fi; Son of Frankenstein was a superb sequel; Black Friday was a weird gangster horror masterpiece with the leads miscast; The Body Snatcher was a Val Lewton masterpiece. So you don't get the feeling of repetition.
Mank has scored a nice amount of interviews (a lot of actors went on to have good lives... Don Dugan from Frankenstein III become a tough marine! several of the actresses married very well). I like the way Mank tries to couch some of his criticisms of Lugosi because he knows he's going to get his head bitten off by rabid Lugosi fans!
Lugosi and Karloff make two great protagonists, especially Lugosi with his exotic background (war hero, fleeing unstable Hungary) and unhappy life (poor finances, drug addiction, unhappy marriages) and career (descent into Bowery Boys and Ed Wood films) - but also Karloff was pretty colourful (sexually promiscuous, whip smart with money). The two contrast so well, which is presumably why they've gripped the memory of horror film fans.
It also helps that their key films were so different - The Black Cat was Edgar Ulmer weird arse masterpiece; The Raven was solid Universal horror; Invisible Ray was sci fi; Son of Frankenstein was a superb sequel; Black Friday was a weird gangster horror masterpiece with the leads miscast; The Body Snatcher was a Val Lewton masterpiece. So you don't get the feeling of repetition.
Mank has scored a nice amount of interviews (a lot of actors went on to have good lives... Don Dugan from Frankenstein III become a tough marine! several of the actresses married very well). I like the way Mank tries to couch some of his criticisms of Lugosi because he knows he's going to get his head bitten off by rabid Lugosi fans!
Movie review - "They Live By Night" (1948) ****1/2
Nicholas Ray may be an over-rated director in some circles (I still haven't made up my mind about that - need to see his entire output first) but this is a stunningly good debut movie. It's reputation was high, I wasn't sure how to take it... but it's lovely.
The movie begins like a trailer, with Farley Granger and Cathy O'Donnell looking lovingly into each other's eyes and words scrolling across the screen talking about them... but it's the actual movie, then it lunges into a helicopter shot of a fleeing car.
The plot is about three criminals on the run - the youngest, Granger, falls for O'Donnell, who's the niece of one of his mates. Their relationship is treated sensitively with great warmth and empathy, and the two leads are superb. Granger never became a top rank star (too passive, too sensitive) but in the right part he was gold and he is here - tormented, handsome, doomed, longing, dumb, easily led. O'Donnell is loving, caring, adoring; like Granger she was possibly too passive and weak seeming to be a star but she's magical here.
The supporting cast is also very fine - Howard da Silva and Jay C Lippen are outstanding as Granger's fellow crooks; Ian Wolfe is marvellous as the justice of the peace. All the support characters feel three dimensional and alive - except for that bald prosecutor guy who goes "tsk tsk" in his scenes about the seriousness of it all. Those moments pulled me out of the drama - that and the stuff about robbers becoming famous ("media fame" moments always clunk a little for me).
The movie dipped around the two thirds mark - I think when I doubted Granger's love for O'Donnell. But it rallied for the very moving ending.
I've been giving Dore Schary a hard time lately on this blog for his lack of ability when it came to producing commercial movies. But he deserves full marks for supporting Nick Ray's first effort - he and John Houseman. It's a moving, marvellous, emotional gut wrenching film.
The movie begins like a trailer, with Farley Granger and Cathy O'Donnell looking lovingly into each other's eyes and words scrolling across the screen talking about them... but it's the actual movie, then it lunges into a helicopter shot of a fleeing car.
The plot is about three criminals on the run - the youngest, Granger, falls for O'Donnell, who's the niece of one of his mates. Their relationship is treated sensitively with great warmth and empathy, and the two leads are superb. Granger never became a top rank star (too passive, too sensitive) but in the right part he was gold and he is here - tormented, handsome, doomed, longing, dumb, easily led. O'Donnell is loving, caring, adoring; like Granger she was possibly too passive and weak seeming to be a star but she's magical here.
The supporting cast is also very fine - Howard da Silva and Jay C Lippen are outstanding as Granger's fellow crooks; Ian Wolfe is marvellous as the justice of the peace. All the support characters feel three dimensional and alive - except for that bald prosecutor guy who goes "tsk tsk" in his scenes about the seriousness of it all. Those moments pulled me out of the drama - that and the stuff about robbers becoming famous ("media fame" moments always clunk a little for me).
The movie dipped around the two thirds mark - I think when I doubted Granger's love for O'Donnell. But it rallied for the very moving ending.
I've been giving Dore Schary a hard time lately on this blog for his lack of ability when it came to producing commercial movies. But he deserves full marks for supporting Nick Ray's first effort - he and John Houseman. It's a moving, marvellous, emotional gut wrenching film.
Thursday, September 29, 2016
Movie review - "She's Funny That Way" (2015) ** (warning: spoilers)
It's great to see Peter Bogdanovich helming a theatrical feature again and this passed the time pleasantly enough: a fantastic cast, gorgeous photography, and a loving homage to old Hollywood comedies. It feels very much in the vein of Woody Allen (it's set in New York, with an ensemble cast) and Bogdanovich's They All Laughed.
I liked this, but then I'm a film buff and got a lot of the jokes: the references to old movies, Bogdanovich in jokes (a character uses a pseudonym "Derek Thomas" which he would use). He wrote the script with Louise Stratten and it has some good ideas and bright moments but I really wish he would've gotten a proper writer to have a pass at it.
The story seems to lack reality - they're putting on a play and the director is put up at an expensive hotel and has masses of cash lying around; I never believed the young girl being so into old movies; cell phones don't play the role they logically would (the script feels dated in that regard, like it was written in the 90s). The drama and complications don't really build in the way it could/should.
But let's take a walk on the sunny side... Owen Wilson is always engaging, I liked the twist of him falling for escorts and giving them all this money to change their lives; Kathryn Hahn is always fun too; Jennifer Aniston is a stand out as a therapist who hates her patients; Austin Pendleton is a lot of fun as a love struck judge; Rhys Ifans does his Rhys Ifans thing well. The gag at the end was brilliant.
Imogen Poots doesn't impress terribly in her part - she's clearly sporting an accent and never seems to be as captivating as Bogdanovich thinks she is. Will Forte is undercooked in a role that feels underused. Richard Lewis and Cybill Shepherd feel wasted.
I'm glad Bogdanovich is back in the theatres, its pleasing to see this style of movie... I hope he gts the chance to do another one.
I liked this, but then I'm a film buff and got a lot of the jokes: the references to old movies, Bogdanovich in jokes (a character uses a pseudonym "Derek Thomas" which he would use). He wrote the script with Louise Stratten and it has some good ideas and bright moments but I really wish he would've gotten a proper writer to have a pass at it.
The story seems to lack reality - they're putting on a play and the director is put up at an expensive hotel and has masses of cash lying around; I never believed the young girl being so into old movies; cell phones don't play the role they logically would (the script feels dated in that regard, like it was written in the 90s). The drama and complications don't really build in the way it could/should.
But let's take a walk on the sunny side... Owen Wilson is always engaging, I liked the twist of him falling for escorts and giving them all this money to change their lives; Kathryn Hahn is always fun too; Jennifer Aniston is a stand out as a therapist who hates her patients; Austin Pendleton is a lot of fun as a love struck judge; Rhys Ifans does his Rhys Ifans thing well. The gag at the end was brilliant.
Imogen Poots doesn't impress terribly in her part - she's clearly sporting an accent and never seems to be as captivating as Bogdanovich thinks she is. Will Forte is undercooked in a role that feels underused. Richard Lewis and Cybill Shepherd feel wasted.
I'm glad Bogdanovich is back in the theatres, its pleasing to see this style of movie... I hope he gts the chance to do another one.
Wednesday, September 28, 2016
Good primer on best Orson Welles radio performances at AV Club
Article is at http://www.avclub.com/article/beyond-war-worlds-12-other-times-orson-welles-rule-240736 - very thorough, good solid cross section.
Missing Australian Movie Top Ten
Which are the top ten missing Australian films I'd actually genuinely like to see?
1) The complete The Story of the Kelly Gang (1906) - possibly the first feature film ever made... could have been terrible, at least we have some footage, but would be great to see
2) Ginger Mick (1920) - most Aussie silent films were bad, but this was the sequel to a great one
3) Two Minutes Silence (1933) - probably not a lot of laughs but a really anti war Aussie film from this era would be fascinating
4) The Magic Shoes (1935) - Peter Finch's first film. Red Sky at Morning is also missing but sounds painful... Magic Shoes was probably bad too but at least would be short.
5) The Fatal Wedding (1911) - Longford's first film as director, a big hit for Cozens Spencer. I'd actually like to see every film from Longford - they might have been good - so I have to be selective; I plump for this (or The Woman Suffers).
6) Captain Midnight (1911) - one of several lost films made by Alfred Rolfe. Possibly awful, it had a strong source material and was very popular... if I had to see any film of Rolfe's it would be this or Moora Neya.
7) It Is Never too Late to Mend (1911) - WJ Lincoln version of popular play/novel. Lincoln was unlikely to be much of a director, but this is the film of his I want to see.
8) Sweet Nell of Old Drury (1913) - I'm cheating including another Raymond Longford movie but this one starred Nellie Stewart, famous stage actress, in a rare appearance, so would be worth it for her alone.
9) The Martyrdom of Nurse Cavell (1915) - knowing John Gavin's other work this would probably be awful but it was so astonishingly popular it deserves to be seen. (You could say the same for The Man They Could Not Hang (1921)).
10) Riding to Win (1923) - Squizzy Taylor attempts to become a film star.
I'm aware I left Franklyn Barrett off this list but for whatever reason the thought of him makes me tired. Sorry Franklyn!
1) The complete The Story of the Kelly Gang (1906) - possibly the first feature film ever made... could have been terrible, at least we have some footage, but would be great to see
2) Ginger Mick (1920) - most Aussie silent films were bad, but this was the sequel to a great one
3) Two Minutes Silence (1933) - probably not a lot of laughs but a really anti war Aussie film from this era would be fascinating
4) The Magic Shoes (1935) - Peter Finch's first film. Red Sky at Morning is also missing but sounds painful... Magic Shoes was probably bad too but at least would be short.
5) The Fatal Wedding (1911) - Longford's first film as director, a big hit for Cozens Spencer. I'd actually like to see every film from Longford - they might have been good - so I have to be selective; I plump for this (or The Woman Suffers).
6) Captain Midnight (1911) - one of several lost films made by Alfred Rolfe. Possibly awful, it had a strong source material and was very popular... if I had to see any film of Rolfe's it would be this or Moora Neya.
7) It Is Never too Late to Mend (1911) - WJ Lincoln version of popular play/novel. Lincoln was unlikely to be much of a director, but this is the film of his I want to see.
8) Sweet Nell of Old Drury (1913) - I'm cheating including another Raymond Longford movie but this one starred Nellie Stewart, famous stage actress, in a rare appearance, so would be worth it for her alone.
9) The Martyrdom of Nurse Cavell (1915) - knowing John Gavin's other work this would probably be awful but it was so astonishingly popular it deserves to be seen. (You could say the same for The Man They Could Not Hang (1921)).
10) Riding to Win (1923) - Squizzy Taylor attempts to become a film star.
I'm aware I left Franklyn Barrett off this list but for whatever reason the thought of him makes me tired. Sorry Franklyn!
Movie review - "The Wings of Eagles" (1957) ** 1/2 (warning: spoilers)
The film John Wayne and John Ford made together right after The Searchers which is as well known as this is not, even though it has some interesting source material: it's a biopic of Spig Wead, a naval flyer who became a writer after being paralysed in an accident, then went back to the navy during WW2. That sounds like inherently depressing material, which is maybe why this movie lost money at the box office.
Surprisingly, the most depressing thing about this isn't the paralysis - this happens half way in, but Wead does recover reasonably well to be able to get around on crutches; he has a lively second and third act in his life, being a successful writer and fighting in the war. The downer is his family life. Wead's child dies in the first ten minutes. His marriage is poor - he neglects his kids, is estranged from his wife (Maureen O'Hara) who has a drinking problem. He's about to get back with his wife when the accident happens and he pushes her away. Then they're about to get back together when Pearl Harbour happens and he rushes off to war. He never gets back to his wife. He never connects with his two surviving kids. The film ends with Wead farewelling the navy after a heart attack (a dodgy ticker would kill him in real life shortly after the war)...
In an attempt to liven things up John Ford throws in a lot of horseplay - rivalry between army and navy officers, comic antics on planes including "funny" crashes, a brawl, Dan Dailey hopping around as Wayne's best friend (who seems to be in love with him), Dailey singing a song, a scene where Dailey encourages Wayne to "move one toe".
But there's no hiding it - it's a downer. The final moments are Wead realizing how important his family is... remembering walking along with his wife, being with the kids... but there's no reunion. He doesn't actually enjoy spending time with him - he loves his work, the men he hangs around with - he actually doesn't like his family that much. A lot of John Ford films are unexpected - this is one.
It's an interesting film - very unsympathetic about it's protagonist. Many writers have said that Ford treated the depiction of Wead in an autobiographical way - someone who loved his work and the military, who loved booze and mucking around, but who neglected his family... felt bad about that but never changed it.
Wayne gives a good performance with many layers. O'Hara's is less sure - though in her defence it's surprisingly short role (She and Wead are so estranged) and she never gets a real chance to sink her teeth into anything much. Dailey is "whatever". Ward Bond is enormous fun as a director based on John Ford, sending up his boss mercilessly - it's a fascinating depiction with so many of Ford's physical characteristics (supposedly) captured.
As a movie, the comic interludes are dull, some of the writing is poor, it's a dramatic mess which varies in tone. It is nicely shot and features two movie stars. But the people who will get most out of it are John Ford fans.
Surprisingly, the most depressing thing about this isn't the paralysis - this happens half way in, but Wead does recover reasonably well to be able to get around on crutches; he has a lively second and third act in his life, being a successful writer and fighting in the war. The downer is his family life. Wead's child dies in the first ten minutes. His marriage is poor - he neglects his kids, is estranged from his wife (Maureen O'Hara) who has a drinking problem. He's about to get back with his wife when the accident happens and he pushes her away. Then they're about to get back together when Pearl Harbour happens and he rushes off to war. He never gets back to his wife. He never connects with his two surviving kids. The film ends with Wead farewelling the navy after a heart attack (a dodgy ticker would kill him in real life shortly after the war)...
In an attempt to liven things up John Ford throws in a lot of horseplay - rivalry between army and navy officers, comic antics on planes including "funny" crashes, a brawl, Dan Dailey hopping around as Wayne's best friend (who seems to be in love with him), Dailey singing a song, a scene where Dailey encourages Wayne to "move one toe".
But there's no hiding it - it's a downer. The final moments are Wead realizing how important his family is... remembering walking along with his wife, being with the kids... but there's no reunion. He doesn't actually enjoy spending time with him - he loves his work, the men he hangs around with - he actually doesn't like his family that much. A lot of John Ford films are unexpected - this is one.
It's an interesting film - very unsympathetic about it's protagonist. Many writers have said that Ford treated the depiction of Wead in an autobiographical way - someone who loved his work and the military, who loved booze and mucking around, but who neglected his family... felt bad about that but never changed it.
Wayne gives a good performance with many layers. O'Hara's is less sure - though in her defence it's surprisingly short role (She and Wead are so estranged) and she never gets a real chance to sink her teeth into anything much. Dailey is "whatever". Ward Bond is enormous fun as a director based on John Ford, sending up his boss mercilessly - it's a fascinating depiction with so many of Ford's physical characteristics (supposedly) captured.
As a movie, the comic interludes are dull, some of the writing is poor, it's a dramatic mess which varies in tone. It is nicely shot and features two movie stars. But the people who will get most out of it are John Ford fans.
Tuesday, September 27, 2016
Movie review - "The Monster Maker" (1944) **
Horror entry from PRC which feels like its cobbled from elements of other, earlier successful films, including The Raven, The Phantom of the Opera and Mad Love. J Carroll Naish adds some class in the lead, a mad doctor (the type usually played by Bela Lugosi) who falls for the daughter (Wanda Mackay) or a pianist (Ralph Morgan).
The fresh (ish) gimmick here is the doctor experiments in acromegaly, a form of excessive growth - people like Richard Kiel, Rondo Hatton and Anthony Robbins have/had it. (Rondo Hatton appeared in The Pearl of Death in 1944, so the disease must have been "in the air" in Hollywood, so to speak.)
Naish wants to get Mackay into the sack so injects dad with the disease, which is pretty full on. There's also a gorilla on the rampage and a girl who loves Naish.
This wasn't bad - the story is nasty, but production values (for a low budget flick) aren't bad and the acting surprisingly good. With a bit more care it could've been a lot better, but then I say that a lot about PRC films.
The fresh (ish) gimmick here is the doctor experiments in acromegaly, a form of excessive growth - people like Richard Kiel, Rondo Hatton and Anthony Robbins have/had it. (Rondo Hatton appeared in The Pearl of Death in 1944, so the disease must have been "in the air" in Hollywood, so to speak.)
Naish wants to get Mackay into the sack so injects dad with the disease, which is pretty full on. There's also a gorilla on the rampage and a girl who loves Naish.
This wasn't bad - the story is nasty, but production values (for a low budget flick) aren't bad and the acting surprisingly good. With a bit more care it could've been a lot better, but then I say that a lot about PRC films.
Movie review - "The Prodigal" (1955) * (warning: spoilers)
Dore Schary tried to get MGM in on the biblical craze in the mid 50s, throwing a bunch of money and Cinemascope at this attempted epic. It lost a bundle, and no wonder, for it's pretty bad.
There's no reason why the parable of the prodigal son couldn't have made a good movie. Although it is only a short tale, there's three strong characters - good brother, wastrel brother, strict but loving dad - and a decent three act structure: son goes and blows money, gets forgiveness. You can easily see the chance for a female role - someone to tempt the prodigal.
The writers of this throw away the guts of the story. There's no brotherly conflict- John Dehner, who plays the brother, is hardly in it; he's upset for five seconds then forgives his brother. The dad, played by Walter Hampden, is barely in it too - he pops in at the beginning and the end.
Instead you've got Edmund Purdom making friends with a mute slave, James Mitchell, who used to be owned by Louis Calhern. Purdom gets the hots for priestess Lana Turner, and asks for his money and dumps dull but pretty betrothed Audrey Dalton for her. Then there's this subplot about Purdom and some beggars rising up against oppressors.
I was confused by this film. What should have been a simple story was needlessly complicated, bringing in this mute servant, and beggars, and priests. I wasn't sure what religion people were - I get that Purdom was Jewish but what was everyone else? Why were the baddies bad? Why did Turner have to die? She didn't do anything bad except be a priestess; she seems to like Purdom and was nice to that little girl. Why not use the brother/dad/good girl more? Why not be clearer what was going on? Why not redeem Turner?
The cast aren't up to it. Turner has a suprisingly small role and looks good but is too sympathetic - she needed to be a real vamp. As it is, when she's killed by a mob you feel depressed, and you hate Purdom. Purdom is weak and made me have fresh appreciation for Charlton Heston.
The production design is fantastic, costumes brilliant and Richard Thorpe keeps it banging along. But it's an awful story and I'm really starting to resent Dore Schary at MGM - he simply didn't have the knack for this sort of thing.
There's no reason why the parable of the prodigal son couldn't have made a good movie. Although it is only a short tale, there's three strong characters - good brother, wastrel brother, strict but loving dad - and a decent three act structure: son goes and blows money, gets forgiveness. You can easily see the chance for a female role - someone to tempt the prodigal.
The writers of this throw away the guts of the story. There's no brotherly conflict- John Dehner, who plays the brother, is hardly in it; he's upset for five seconds then forgives his brother. The dad, played by Walter Hampden, is barely in it too - he pops in at the beginning and the end.
Instead you've got Edmund Purdom making friends with a mute slave, James Mitchell, who used to be owned by Louis Calhern. Purdom gets the hots for priestess Lana Turner, and asks for his money and dumps dull but pretty betrothed Audrey Dalton for her. Then there's this subplot about Purdom and some beggars rising up against oppressors.
I was confused by this film. What should have been a simple story was needlessly complicated, bringing in this mute servant, and beggars, and priests. I wasn't sure what religion people were - I get that Purdom was Jewish but what was everyone else? Why were the baddies bad? Why did Turner have to die? She didn't do anything bad except be a priestess; she seems to like Purdom and was nice to that little girl. Why not use the brother/dad/good girl more? Why not be clearer what was going on? Why not redeem Turner?
The cast aren't up to it. Turner has a suprisingly small role and looks good but is too sympathetic - she needed to be a real vamp. As it is, when she's killed by a mob you feel depressed, and you hate Purdom. Purdom is weak and made me have fresh appreciation for Charlton Heston.
The production design is fantastic, costumes brilliant and Richard Thorpe keeps it banging along. But it's an awful story and I'm really starting to resent Dore Schary at MGM - he simply didn't have the knack for this sort of thing.
Book review - "The French Foreign Legion: A Complete History of the Legendary Fighting Force" by Douglas Porch (1991)
Comprehensive, excellent, near definitive history of one of the world's most famous fighting outfits. Porch has done a superb job - if you're looking for a one stop history this is probably the one.
Book review - "A Lotus Grows in the Mud" by Goldie Hawn (2005)
At first I was disappointed this wasn't a more standard bio - I would've loved to read more (actually, make that I would've loved to have read something) about films like Butterflies are Free, Shampoo, First Wives Club etc etc. This is less conventional - it's a series of non-chronological diary entries, reminiscences, encounters, reflections, poems.
Once I accepted the book for what it was, rather than what I wanted it to be, it was enjoyable - it feels authentically "Goldie" if you know what I mean: sweet, reflective, very hippy-new-age-ish like you'd expect from a former dancer and child of the sixties.
And there is plenty of solid memoir stuff: growing up, essays on her parents (very evocatively depicted), sexual harassment encountered while a dancer, an attempted molestation as a child, working on Laugh In, adventures making Cactus Flower (Walter Matthau was a grump, Ingrid Bergman a dream), turning producer with Private Benjamin, her side of the story on Swing Shift (she's defensive, argues the cuts were pushed by the studio, but agreed they were necessary), holidays with the kids, some gushing over Kurt Russell, brief mentions of her first two husbands, working with Peter Sellars. Some of it was a bit cringey (eg visiting Africa, India) but it was consistently interesting, like its writer.
Once I accepted the book for what it was, rather than what I wanted it to be, it was enjoyable - it feels authentically "Goldie" if you know what I mean: sweet, reflective, very hippy-new-age-ish like you'd expect from a former dancer and child of the sixties.
And there is plenty of solid memoir stuff: growing up, essays on her parents (very evocatively depicted), sexual harassment encountered while a dancer, an attempted molestation as a child, working on Laugh In, adventures making Cactus Flower (Walter Matthau was a grump, Ingrid Bergman a dream), turning producer with Private Benjamin, her side of the story on Swing Shift (she's defensive, argues the cuts were pushed by the studio, but agreed they were necessary), holidays with the kids, some gushing over Kurt Russell, brief mentions of her first two husbands, working with Peter Sellars. Some of it was a bit cringey (eg visiting Africa, India) but it was consistently interesting, like its writer.
Monday, September 26, 2016
Top Ten Ralph Thomas-Betty Box Films
In no particular order
1) Doctor in the House (1954) -the first of the popular series and still charming
2) Doctor at Sea (1955) - sweet sequel which benefits from Brigitte Bardot in the cast
3) Doctor at Large (1956) - I'm being lazy with this list aren't I? But seriously the first three were the best
4) The Wind Cannot Read (1958) - David Lean was going to make this originally and would presumably have done a better job but this is still pretty good
5) Conspiracy of Hearts (1961) - genuinely very good film about nuns during World War Two
6) Appointment with Venus (1950) - guys on a mission film with a girl and the target is a cow - great fun
7) The High Bright Sun (1965) - fascinating thriller set during the British "troubles" in Cyprus
8) Deadlier Than the Male (1967) - Bond spoof which has proved surprisingly influential
9) A Tale of Two Cities (1958) - excellent version of the classic novel
10) No Love for Johnnie (1961) -solid Peter Finch movie. Maybe a little overrated.
1) Doctor in the House (1954) -the first of the popular series and still charming
2) Doctor at Sea (1955) - sweet sequel which benefits from Brigitte Bardot in the cast
3) Doctor at Large (1956) - I'm being lazy with this list aren't I? But seriously the first three were the best
4) The Wind Cannot Read (1958) - David Lean was going to make this originally and would presumably have done a better job but this is still pretty good
5) Conspiracy of Hearts (1961) - genuinely very good film about nuns during World War Two
6) Appointment with Venus (1950) - guys on a mission film with a girl and the target is a cow - great fun
7) The High Bright Sun (1965) - fascinating thriller set during the British "troubles" in Cyprus
8) Deadlier Than the Male (1967) - Bond spoof which has proved surprisingly influential
9) A Tale of Two Cities (1958) - excellent version of the classic novel
10) No Love for Johnnie (1961) -solid Peter Finch movie. Maybe a little overrated.
Movie review - "Diane" (1956) **
Lana Turner's last film for MGM isn't that bad although it lost a lot of money at the box office. She's ideally cast as Diane du Poitiers. I admit my knowledge of this woman wasn't great beforehand - she was an influential mistress to the French King Henry II, apparently, and had a lot of power at court, and a rival to his wife, Catherine de Medici. This was presumably one reason why the movie wasn't that popular - these aren't that well known figures in the English speaking world.
There's no reason this film couldn't have changed that - I mean, who heard of El Cid outside of Spain before the movie was made about him? And these people did interesting things - Diane was beautiful and smart and posed nude; Henry (spoiler alert) died while jousting, which is cool. De Medici was a figure behind the St Bartholomew's Day Massacre, where a whole bunch of protestants were killed by Catholics.
More problematic I feel was the lack of star power. Roger Moore is too young and callow - he had the voice but hadn't grown into his looks and can't carry off the part which really needed stay Stewart Granger; he and Turner have poor chemistry, which is important in a film about a couple who can't keep their hands off each other. Pedro Armendariz I guess is okay as his dad - he has charisma, but doesn't look related to Moore at all. Marisa Pavan is terrible as Catherine - it's hard to understand what she's saying. Far better are support players like Cedric Hardwicke, Torin Thatcher and Henry Daniell, plus Michael Ansara as a knight.
The film is also hurt by censorship issues. It could have done with some sex, nude picturing posing and religious hatred. Actually it could simply have done with decent drama - what's here is undercooked. Don't get me wrong, there's plenty going on but you don't care - you don't really get why Turner loves Moore or he loves her (she teaches him a little about politics and fencing but that's it), or are overly sympathetic to cuckolded wife Pavan. There are costumes and a variety of accents and some bad acting and some okay acting and it's mostly dull. All too typical of Dore Schary era "commercial" films at MGM - under his aegis the studio seemed to forget how to make costume crap well.
There's no reason this film couldn't have changed that - I mean, who heard of El Cid outside of Spain before the movie was made about him? And these people did interesting things - Diane was beautiful and smart and posed nude; Henry (spoiler alert) died while jousting, which is cool. De Medici was a figure behind the St Bartholomew's Day Massacre, where a whole bunch of protestants were killed by Catholics.
More problematic I feel was the lack of star power. Roger Moore is too young and callow - he had the voice but hadn't grown into his looks and can't carry off the part which really needed stay Stewart Granger; he and Turner have poor chemistry, which is important in a film about a couple who can't keep their hands off each other. Pedro Armendariz I guess is okay as his dad - he has charisma, but doesn't look related to Moore at all. Marisa Pavan is terrible as Catherine - it's hard to understand what she's saying. Far better are support players like Cedric Hardwicke, Torin Thatcher and Henry Daniell, plus Michael Ansara as a knight.
The film is also hurt by censorship issues. It could have done with some sex, nude picturing posing and religious hatred. Actually it could simply have done with decent drama - what's here is undercooked. Don't get me wrong, there's plenty going on but you don't care - you don't really get why Turner loves Moore or he loves her (she teaches him a little about politics and fencing but that's it), or are overly sympathetic to cuckolded wife Pavan. There are costumes and a variety of accents and some bad acting and some okay acting and it's mostly dull. All too typical of Dore Schary era "commercial" films at MGM - under his aegis the studio seemed to forget how to make costume crap well.
Movie review - "Le Casse" (1971) (aka "The Burglars") ***
Jean Paul Belmondo never really made a stab at English speaking stardom, but this feels very aimed at the international market - it's a heist thriller, with large slabs of non speaking sequences and two Hollywood co-stars, Omar Sharif and Dyan Cannon.
It's a film of set pieces - an opening 20 minute credit and burglar set piece (shades of Rififi), a 13 minute car chase sequence (shades of French Connection), 10 minutes of Belmondo visiting a cabaret with Dyan Cannon, a superb chase scene on board a bus, a final shoot out at the docks.
Belmondo is always good in these sort of roles (i.e. likeable thieves). Cannon's part is decorative and not much else; she is treacherous (surprise, not) and gets slapped around by Belmondo (surprise, not). Sharif was the revelation for me - excellent as a bastard of a cop, genuinely threatening. He should have played more villains.
The plot has a simple concept - corrupt cop tries to rob crooks - but it got better as it went along. I wish the action set pieces had been better motivated. It was shot partly on location in Athens which means it looks different.
It's a film of set pieces - an opening 20 minute credit and burglar set piece (shades of Rififi), a 13 minute car chase sequence (shades of French Connection), 10 minutes of Belmondo visiting a cabaret with Dyan Cannon, a superb chase scene on board a bus, a final shoot out at the docks.
Belmondo is always good in these sort of roles (i.e. likeable thieves). Cannon's part is decorative and not much else; she is treacherous (surprise, not) and gets slapped around by Belmondo (surprise, not). Sharif was the revelation for me - excellent as a bastard of a cop, genuinely threatening. He should have played more villains.
The plot has a simple concept - corrupt cop tries to rob crooks - but it got better as it went along. I wish the action set pieces had been better motivated. It was shot partly on location in Athens which means it looks different.
Movie review - "Whiskey Tango Foxtrot" (2016) **** (warning: spoilers)
This wasn't a box office hit which is a shame because there are so many good things about it: the script is bright, smart and funny; Tina Fey is very good and ideally cast in a role that pushes her; there's impressive production details; it has a fresh take on the war in Afghanistan.
The casting of some of the support roles jarred. Maybe in real life Martin Freeman is suave and charming but to me he came across as Martin Freeman wearing a beard and a fake Scottish accent trying to be suave and charming. Margot Robbie felt too young, too pretty and too fake-English-accent for her part (which really required someone who looked as though they'd Been Around). I really wish the parts played by Alfred Molina and Christopher Abbott had been played by real Afghanis. I know (or at least can guess) why they weren't, but for this film I wish things had seemed more authentic.
I had no problems with Billy Bob Thornton, or Steve Peacocke - my main gripe for the latter was the reveal that he was Canadian... but they don't follow it up (it felt as though it needed a few other lines or something).
Still, it was a first rate movie, another impressive effort from the teams of Fey-Robert Carlock and Glenn Ficarra and John Requa (who directed).
The casting of some of the support roles jarred. Maybe in real life Martin Freeman is suave and charming but to me he came across as Martin Freeman wearing a beard and a fake Scottish accent trying to be suave and charming. Margot Robbie felt too young, too pretty and too fake-English-accent for her part (which really required someone who looked as though they'd Been Around). I really wish the parts played by Alfred Molina and Christopher Abbott had been played by real Afghanis. I know (or at least can guess) why they weren't, but for this film I wish things had seemed more authentic.
I had no problems with Billy Bob Thornton, or Steve Peacocke - my main gripe for the latter was the reveal that he was Canadian... but they don't follow it up (it felt as though it needed a few other lines or something).
Still, it was a first rate movie, another impressive effort from the teams of Fey-Robert Carlock and Glenn Ficarra and John Requa (who directed).
Troy Donahue Top Five
He didn't make enough movies for a top ten but there was enough for a top five so here we go, in no particular order
1) Imitation of Life (1959) - Donahue's role is only small but he's genuinely effective as a racist smacking his girlfriend around after finding out she's black
2) Godfather Part 2 (1974) - again Donahue's part is tiny but he is extremely well cast as Talia Shire's useless boyfriend and indicates that he might have had genuine success as a character actor had he gotten his act together in the 70s
3) A Summer Place (1959) - junky melodrama which has the courage of its convictions and remains watchable and Donahue teams well with Dee
4) Rome Adventure (1962) - sweet, undemanding romance which is more of a vehicle for Suzanne Pleshette but is fun to watch
5) Palm Springs Weekend (1963) - Donahue is too old for the film, but this is a likeable take off Where the Boys Are only set in the desert
1) Imitation of Life (1959) - Donahue's role is only small but he's genuinely effective as a racist smacking his girlfriend around after finding out she's black
2) Godfather Part 2 (1974) - again Donahue's part is tiny but he is extremely well cast as Talia Shire's useless boyfriend and indicates that he might have had genuine success as a character actor had he gotten his act together in the 70s
3) A Summer Place (1959) - junky melodrama which has the courage of its convictions and remains watchable and Donahue teams well with Dee
4) Rome Adventure (1962) - sweet, undemanding romance which is more of a vehicle for Suzanne Pleshette but is fun to watch
5) Palm Springs Weekend (1963) - Donahue is too old for the film, but this is a likeable take off Where the Boys Are only set in the desert
Script review - "All the President's Men" by William Goldman
Just re-read this once more... such a fantastic script, getting through massive exposition with pace, humour and accessibility. Feels a little different in some key scenes to the final film but not massively so. I can't be bothered doing a serious comparison with the film... hopefully someone has. One of Goldman's masterpieces.
Book review - "The Roman Emperor Aurelian: Restorer of the World" by John F White (2011)
Aurelian is one of my favourite Roman Emperors - a brilliant fighter, and quite canny politician, who only reigned for a short time but won a swath of battles and reunited the Empire after the Crisis of the Third Century. A great "what if" of history is what if Aurelian had hung on another decade or so... would he have stabilised things more? Maybe not - any Empire run by dictators was inherently unstable. But, you never know...
Aurelian still packed in a lot during his life time. He may never have been Emperor had it not been for the early death of Claudius II (a decent emperor, with a short reign, completely overshadowed in public memory by Claudius I). Aurelian lost an early battle but then had a run of victories few other Emperors ever matched; his best known adversary was Queen Zenobia (a one time Roman ally). He died in an interesting way - a dodgy assistant worried he'd be killed told some officers that Aurelian wanted to kill them, so they offed him.
This is a very good book, accessible and well researched, and I hope White gets to write a bunch more like it.
Aurelian still packed in a lot during his life time. He may never have been Emperor had it not been for the early death of Claudius II (a decent emperor, with a short reign, completely overshadowed in public memory by Claudius I). Aurelian lost an early battle but then had a run of victories few other Emperors ever matched; his best known adversary was Queen Zenobia (a one time Roman ally). He died in an interesting way - a dodgy assistant worried he'd be killed told some officers that Aurelian wanted to kill them, so they offed him.
This is a very good book, accessible and well researched, and I hope White gets to write a bunch more like it.
Sunday, September 25, 2016
Book review - "Coral Sea 1942: Turning the Tide" by Richard Freeman
Solid account of the famous naval battle, the first time the Japanese were stopped, really, on the water during World War Two. Technically the Japanese lost less than the Allies but the Japan failed in their overall goal, i.e. to invade Port Moresby. The battle was vital for Australia - we didn't play that massive a role in the battle, although we had ships there... they were waiting for the Moresby invasion force which never came. Freeman says that the force could have proceeded after the battle, but doesn't elaborate... one of several frustrating things about the book. I would've liked more maps and talk about intelligence operations. But some of this is very fine, such as the loss of the Lexington.
Book review - "Rising Sun, Falling Skies: The Disastrous Java Sea Campaign of World War Two" by Jeffrey Cox
You don't read that much about the Java Sea Campaign in English language war history, despite involvement of the US, British and Australia... mostly I guess because it was so disastrous for the Allies. And it involved defending the Dutch East Indies, so it didn't have the emotional devastation of say the loss of Malaya and Singapore did for the British Empire, and the Philippines did for the US.
But it was an important campaign and deserved a good book and Cox has produced and exhaustive, readable account. Sometimes it got bogged down in detail but there's some fantastic research and great stories in there. He sets the scene - background to the Pacific War, the early days after Pearl Harbour, the formation of ABDA, the consistent disasters: fall of Malaya and Singapore, loss of Force Z, the collapse of Bataan, the series of naval defeats one after the other...
Was Java Sea winnable? Cox defends the much maligned leadership of the time but there were some flaws which could have been dealt with better: bad personnel, too much politicking between competing Empires, ineffective US torpedoes, poor co-ordination between Allies, wavering strategy (hit and run tactics may have proved more effective).
Cox is sympathetic and scholarly. He's withering on MacArthur and full of praise for Admiral Hart. The Aussies are in it a bit but not much - mostly about the Yarra.
But it was an important campaign and deserved a good book and Cox has produced and exhaustive, readable account. Sometimes it got bogged down in detail but there's some fantastic research and great stories in there. He sets the scene - background to the Pacific War, the early days after Pearl Harbour, the formation of ABDA, the consistent disasters: fall of Malaya and Singapore, loss of Force Z, the collapse of Bataan, the series of naval defeats one after the other...
Was Java Sea winnable? Cox defends the much maligned leadership of the time but there were some flaws which could have been dealt with better: bad personnel, too much politicking between competing Empires, ineffective US torpedoes, poor co-ordination between Allies, wavering strategy (hit and run tactics may have proved more effective).
Cox is sympathetic and scholarly. He's withering on MacArthur and full of praise for Admiral Hart. The Aussies are in it a bit but not much - mostly about the Yarra.
Friday, September 16, 2016
Movie review - "Voodoo Man" (1944) **1/2 (re-viewing)
I enjoyed this more the second time I watched it - maybe my expectations adjusted accordingly, but it seemed more fun. Bela Lugosi has one of his best 40s roles as a man who arranges for kidnapping of women so he can transfer their essence to his dead wife. It's shades of many previous Lugosi films - Dracula, The Devil's Bat, The Corpse Vanishes.
Monogram splashed a little extra cash here - there's some quasi elaborate sets in the area where Lugosi and his men perform ceremonies, plus some costimes; Lugosi's priest sidekick is played by George Zucco, and his Dwight Frye esque assistant is depicted by John Carradine.
The nominal hero is a screenwriter of low budget movies; the abducted women include his fiancee and her cousin, both pretty and decently acted.
The pacing is off and it feels sluglishly directed. But their are plenty of compensations: Zucco chewing the scenery as the priest, Carradine out hamming him as the assistant, Lugosi in a wacky robe, a decent structure. There's some meta-ness with the hero screenwriter at the end suggesting the film be turned into a Bela Lugosi film. I forgave that joke; it was a close run thing though.
Monogram splashed a little extra cash here - there's some quasi elaborate sets in the area where Lugosi and his men perform ceremonies, plus some costimes; Lugosi's priest sidekick is played by George Zucco, and his Dwight Frye esque assistant is depicted by John Carradine.
The nominal hero is a screenwriter of low budget movies; the abducted women include his fiancee and her cousin, both pretty and decently acted.
The pacing is off and it feels sluglishly directed. But their are plenty of compensations: Zucco chewing the scenery as the priest, Carradine out hamming him as the assistant, Lugosi in a wacky robe, a decent structure. There's some meta-ness with the hero screenwriter at the end suggesting the film be turned into a Bela Lugosi film. I forgave that joke; it was a close run thing though.
Tuesday, September 13, 2016
Movie review - "The Loner" (1987) * (aka "Le Solitaire") **
Jean Paul Belmondo is probably best know still to English speaking audiences for his French classics but he made an awful lot of commercial crud that was popular in France. From the 70s to the 80s you could count on an annual Belmondo film where he'd play a secret agent or cop going around bashing people up. This one flopped and ended the cycle.
This one is best described as Belmondo's most "McBain" movie. He's a tough cop who discusses retirement with his partner - who is duly killed by a psycho baddie, leaving Belmondo to look after his cute kid. There's some other cops, a visit to a nightclub where they play hilariously awful 80s French pop songs, a visit to a brothel, tired action sequences that seem out of a TV show.
The relationship between Belmondo and the kid is undercooked, the villains are dull. It's a very ordinary movie.
This one is best described as Belmondo's most "McBain" movie. He's a tough cop who discusses retirement with his partner - who is duly killed by a psycho baddie, leaving Belmondo to look after his cute kid. There's some other cops, a visit to a nightclub where they play hilariously awful 80s French pop songs, a visit to a brothel, tired action sequences that seem out of a TV show.
The relationship between Belmondo and the kid is undercooked, the villains are dull. It's a very ordinary movie.
Thursday, September 08, 2016
Movie review - "Bad Neighbors 2: Sorority Rising" (2015) ***1/2
This wasn't as popular at the first. In part I think because it felt unnecessary - the first one had a point, in that Seth Rogen and Rose Byrne didn't want to be old and Zac Effron didn't want to grow up. So they're going back to the same old well. (It probably wasn't a good idea to start with the gag of Rogen and Byrne having odd sex again.)
However they've given it a fresh feminist twist by basing it around some girls who want a sorority because they're not allowed to party the way they want. There's some solid satire, with a real point, about the lecherous behaviour of boys and the importance of female friendship. (Also on a progressive note it was great how Effron was so matter of fact about the sexuality of old mate James Franco).
The teen boy audience who went to see the first one may not have enjoyed how they were mocked in this - maybe it would have done better if say there had been a college student who fell in love with one of the girls, or at least befriended them. I was also hoping for an older generation appearance - say Rogen's dad played by James Caan, a hard core partier or something (like Sean Connery in the third Indy film) But I'm fan fictioning now.
This is very funny. There are some brilliant jokes, and I found the script well structured. It lacks the freshness and energy of the first but was enjoyable.
However they've given it a fresh feminist twist by basing it around some girls who want a sorority because they're not allowed to party the way they want. There's some solid satire, with a real point, about the lecherous behaviour of boys and the importance of female friendship. (Also on a progressive note it was great how Effron was so matter of fact about the sexuality of old mate James Franco).
The teen boy audience who went to see the first one may not have enjoyed how they were mocked in this - maybe it would have done better if say there had been a college student who fell in love with one of the girls, or at least befriended them. I was also hoping for an older generation appearance - say Rogen's dad played by James Caan, a hard core partier or something (like Sean Connery in the third Indy film) But I'm fan fictioning now.
This is very funny. There are some brilliant jokes, and I found the script well structured. It lacks the freshness and energy of the first but was enjoyable.
Movie review - "Shoes of the Fisherman" (1968) **
Why did they give this the blockbuster treatment? I get that it was a bestseller, but surely in the late 60s MGM must have given pause as to whether a story of the Vatican set in the near-future deserved to be road-showed. At its heart this is a film about a bunch of character actors talking in rooms. It doesn't require spectacular locations or stars.
For instance, was there really a point for the opening sequence of a Siberian mining camp where we meet priest Anthony Quinn? Sure it looks cool but the film could've started with him arriving from prison. Actually the story doesn't really start until 50 minutes in when the Pope dies.
Not that it's much of a story: Quinn becomes Pope, gets asked to mediate between Communist Russia (in the form of Laurence Olivier) and Red China (in the form of Bert Kwouk). Quinn solves the problem by promising to give away all the Church's money. The end. There's a subplot about a priest mate of Quinn's, Oskar Werner, having controversial beliefs.
Opportunities for drama are missed wholesale. Quinn as a priest in a Siberian prison might have made an interesting story - but the movie starts with him getting out. Quinn as a Pope giving away all the Church's money (Mr Deeds Goes to the Vatican) could've been interesting (what would cardinals do, etc) - but the movie ends with that. Quinn as a Pope fighting dark forces in the Vatican could've been interesting - kind of hinted at by Leo McKern's political seeming cardinal - but it isn't really developed. Quinn having a friendship with a troublesome priest Oskar Werner could've been interesting - but I didn't get what the beliefs were, and there's no consequences because Werner dies of a convenient hemorrhage. Quinn as pope ducking out to meet ordinary people could've been interesting (Henry V, Roman Holiday) but he just meets one lady, gives her a homily and that's it.
There's an awful subplot about the marriage troubles of TV journalist (David Janssen, giving basically the same performance he did in The Green Berets), complete with a visit to a "fast" party with dancing extras and sixties music.
The inside-the-Vatican stuff was interesting to a non-Catholic - what happens when a Pope dies, the procedure when a priest is under attack for his teachings (Oskar Werner). Some of the visuals are striking - the final Papal procession, the voting cardinals.
I liked the cast. There's no compromises, really - Quinn is ideal as the cardinal, John Gielgud is an effective pope, Werner was excellent, Olivier can do this stuff in his sleep, McKern is an imposing cardinal who deserved a better film. The women are weaker but they have terrible characters to play.
The sheer fact this film exists is fascinating - a multi million dollar look at Vatican politics. I just wish it had been better.
For instance, was there really a point for the opening sequence of a Siberian mining camp where we meet priest Anthony Quinn? Sure it looks cool but the film could've started with him arriving from prison. Actually the story doesn't really start until 50 minutes in when the Pope dies.
Not that it's much of a story: Quinn becomes Pope, gets asked to mediate between Communist Russia (in the form of Laurence Olivier) and Red China (in the form of Bert Kwouk). Quinn solves the problem by promising to give away all the Church's money. The end. There's a subplot about a priest mate of Quinn's, Oskar Werner, having controversial beliefs.
Opportunities for drama are missed wholesale. Quinn as a priest in a Siberian prison might have made an interesting story - but the movie starts with him getting out. Quinn as a Pope giving away all the Church's money (Mr Deeds Goes to the Vatican) could've been interesting (what would cardinals do, etc) - but the movie ends with that. Quinn as a Pope fighting dark forces in the Vatican could've been interesting - kind of hinted at by Leo McKern's political seeming cardinal - but it isn't really developed. Quinn having a friendship with a troublesome priest Oskar Werner could've been interesting - but I didn't get what the beliefs were, and there's no consequences because Werner dies of a convenient hemorrhage. Quinn as pope ducking out to meet ordinary people could've been interesting (Henry V, Roman Holiday) but he just meets one lady, gives her a homily and that's it.
There's an awful subplot about the marriage troubles of TV journalist (David Janssen, giving basically the same performance he did in The Green Berets), complete with a visit to a "fast" party with dancing extras and sixties music.
The inside-the-Vatican stuff was interesting to a non-Catholic - what happens when a Pope dies, the procedure when a priest is under attack for his teachings (Oskar Werner). Some of the visuals are striking - the final Papal procession, the voting cardinals.
I liked the cast. There's no compromises, really - Quinn is ideal as the cardinal, John Gielgud is an effective pope, Werner was excellent, Olivier can do this stuff in his sleep, McKern is an imposing cardinal who deserved a better film. The women are weaker but they have terrible characters to play.
The sheer fact this film exists is fascinating - a multi million dollar look at Vatican politics. I just wish it had been better.
Tuesday, September 06, 2016
Movie review - "Backfire" (1964) **1/2
Most film buffs have seeb about Breathless, the first teaming of Jean Paul Belmondo and Jean Seberg. I'm willing to bet not many know about this one, their second collaboration - I'd never heard of it. Belmondo is a gold smuggler working for Gert Frobe who travels around Europe with Seberg, smuggling.
It feels very sixties with its crisp black and white photography, jaunty jazz soundtrack, lots of shots of cars driving around various locations in Europe, groovy chicks in groovy outfits, double crossing criminals, one scene set in a fashion photography shoot, a plot involving gold and double crosses. This could be a 60s British film with Michael Caine.
Belmondo gives a relaxed star performance that doesn't demand a lot of him. Seberg is pretty. They have nice chemistry. There's plenty of movement, mainly in the form of cars driving around. But really this is a "whatever" movie.
Parts are reminiscent of Breathless - Belmondo and Seberg being crooks and falling in love, the pace. It's a lot more schmick and a lot less fun.
It feels very sixties with its crisp black and white photography, jaunty jazz soundtrack, lots of shots of cars driving around various locations in Europe, groovy chicks in groovy outfits, double crossing criminals, one scene set in a fashion photography shoot, a plot involving gold and double crosses. This could be a 60s British film with Michael Caine.
Belmondo gives a relaxed star performance that doesn't demand a lot of him. Seberg is pretty. They have nice chemistry. There's plenty of movement, mainly in the form of cars driving around. But really this is a "whatever" movie.
Parts are reminiscent of Breathless - Belmondo and Seberg being crooks and falling in love, the pace. It's a lot more schmick and a lot less fun.
Monday, September 05, 2016
My Michael Crichton Top Ten
I'm going nuts with these top tens lately but anyway....
1) Jurassic Park - remains a top notch example of science faction, fiction and spectulation
2) Binary (1972) - novel - for me the best of his pulp novels
3) Westworld (1973) - script - a beautifully simple, yet also clever, sci fi tale
4) The Terminal Man (1972) - novel - Crichton does Frankenstein, very well
5) Travels (1988) - memoirs - marvellous collection of autobiographical pieces
6) Jasper Johns (1977) - book on the artist, very smart and accessible
7) ER (1998) - the pilot, set the template for the top series
8) Congo (1980) - badly filmed but the novel was great (like Timeline)
9) A Case of Need (1972) - interesting thriller with an abortion theme
10) Eaters of the Dead (1976) - I suppose The Andromeda Strain is better but Eaters is the one I keep re-reading
1) Jurassic Park - remains a top notch example of science faction, fiction and spectulation
2) Binary (1972) - novel - for me the best of his pulp novels
3) Westworld (1973) - script - a beautifully simple, yet also clever, sci fi tale
4) The Terminal Man (1972) - novel - Crichton does Frankenstein, very well
5) Travels (1988) - memoirs - marvellous collection of autobiographical pieces
6) Jasper Johns (1977) - book on the artist, very smart and accessible
7) ER (1998) - the pilot, set the template for the top series
8) Congo (1980) - badly filmed but the novel was great (like Timeline)
9) A Case of Need (1972) - interesting thriller with an abortion theme
10) Eaters of the Dead (1976) - I suppose The Andromeda Strain is better but Eaters is the one I keep re-reading
My Robert Aldrich Top Ten
1) The Dirty Dozen (1967) - one of the greatest guys on a mission films
2) Kiss Me Deadly (1955) - nihilistic film noir at its best
3) Vera Cruz (1954) - great adventure film
4) Too Late the Hero (1970) - flawed but enjoyable tough actioner
5) Four for Texas (1963) - not beloved by cultists but I've always loved this
6) Twilight's Last Gleaming (1977) - some terrible moments but lots of fantastic ones too
7) Whatever Happened to Baby Jane? (1962) - gothic horror with fantastic performances
8) Ulzana's Raid (1972) - bleak, full on Western
9) The Big Knife (1955) - sweaty, intense Odets melodrama, very interesting
10) Apache (1954) - expert sympathetic Indian tale
2) Kiss Me Deadly (1955) - nihilistic film noir at its best
3) Vera Cruz (1954) - great adventure film
4) Too Late the Hero (1970) - flawed but enjoyable tough actioner
5) Four for Texas (1963) - not beloved by cultists but I've always loved this
6) Twilight's Last Gleaming (1977) - some terrible moments but lots of fantastic ones too
7) Whatever Happened to Baby Jane? (1962) - gothic horror with fantastic performances
8) Ulzana's Raid (1972) - bleak, full on Western
9) The Big Knife (1955) - sweaty, intense Odets melodrama, very interesting
10) Apache (1954) - expert sympathetic Indian tale
Sunday, September 04, 2016
My Peter Bogdanovich Top Ten
1) Targets (1968) - a superb debut feature, strikingly different from everything Bogdanovich made later and makes you wonder why he didn't do more thrillers
2) Pieces of Time (1973) - wonderful collection of writings by Bogdanovich
3) The Last Picture Show (1971) - beautiful filmmaking
4) Paper Moon (1973) - I remember liking What's Up Doc? then disliking it but Paper Moon has remained consistently wonderful
5) Saint Jack (1979) - relaxed, unforced movie making
6) Mask (1985) - lovely film which should have marked more of a comeback for Bogdanovich
7) The Cat's Meow (2001) - a reminder of what a good director Bogdanovich could be
8) This is Orson Welles (1992) - superb collection of interviews, one of the best books on its subject
9) Who the Devil Made It? (1997) - another cracking book, focusing on interviews with directors
10) The Other Side of the Wind (1975 ish) -Bogdanovich isn't a great actor but his presence in this role in this film is so gutwrenching
Random Thoughts on Ryan O'Neal
Ryan O'Neal is a fascinating Hollywood actor - a pretty boy, the darling of the gossip columns in his hey day, and something of a joke now, a hard-drinking, hard-partying womaniser who looks like the boy next door, the head of a truly messed up family, an old lech, a long-time has been.
He became nationally famous with Peyton Place and technically a film star with Love Story. He reached the top of the A list with two Peter Bogdanovich hits, What's Up Doc? and Paper Moon; the latter also made a star of his daughter, Tatum.
O'Neal's luck ran out with a series of films that should have been successful/artistically fulfilling but which failed to make the grade:
* Barry Lyndon (1975) - playing the title role for Kubrick
* Nickelodeon (1976) - working for Bogdanovich on a comedy about silent movies
* The Driver (1978) - an exciting action film
* Oliver's Story (1978) - a sequel to Love Story.
All were surprising commercial disappointments.
He had a hit again with The Main Event but then found himself mostly in comedies, of decreasing appeal, including So Fine and the entertaining Irreconcilable Differences. He hasn't been a film star since the late 80s but his personal life gets him attention.
What happened to Ryan O'Neal? He was pretty, not that good an actor, really more of a girl's guy than a guy's guy... they don't tend to have long careers as stars. (The longest stars are liked by men and women.)
It's a shame he didn't try again with Bogdanovich and Streisand; I'm glad Barry Lyndon's reputation has risen in recent years. He was going to make The Bodyguard with Diana Ross... maybe that could have turned around. Or The Champ, which he turned down to do Oliver's Story. He seems to have been smart and charming and willing to take a punt on a newer director - Bogdanovich, Andrew Bergman, Walter Hill - or an artier film - Kubrick. But the sand ran out for him.
I think he shouldn't have walked off The Champ - he was ideal casting. He should've fought harder to get in The Thorn Birds - he would've been good in that role. Both were melodramas, in his wheelhouse. He may have clanked in The Bodyguard. I think he should've tried to make another film with Bogdanovich.
But who knows?
He became nationally famous with Peyton Place and technically a film star with Love Story. He reached the top of the A list with two Peter Bogdanovich hits, What's Up Doc? and Paper Moon; the latter also made a star of his daughter, Tatum.
O'Neal's luck ran out with a series of films that should have been successful/artistically fulfilling but which failed to make the grade:
* Barry Lyndon (1975) - playing the title role for Kubrick
* Nickelodeon (1976) - working for Bogdanovich on a comedy about silent movies
* The Driver (1978) - an exciting action film
* Oliver's Story (1978) - a sequel to Love Story.
All were surprising commercial disappointments.
He had a hit again with The Main Event but then found himself mostly in comedies, of decreasing appeal, including So Fine and the entertaining Irreconcilable Differences. He hasn't been a film star since the late 80s but his personal life gets him attention.
What happened to Ryan O'Neal? He was pretty, not that good an actor, really more of a girl's guy than a guy's guy... they don't tend to have long careers as stars. (The longest stars are liked by men and women.)
It's a shame he didn't try again with Bogdanovich and Streisand; I'm glad Barry Lyndon's reputation has risen in recent years. He was going to make The Bodyguard with Diana Ross... maybe that could have turned around. Or The Champ, which he turned down to do Oliver's Story. He seems to have been smart and charming and willing to take a punt on a newer director - Bogdanovich, Andrew Bergman, Walter Hill - or an artier film - Kubrick. But the sand ran out for him.
I think he shouldn't have walked off The Champ - he was ideal casting. He should've fought harder to get in The Thorn Birds - he would've been good in that role. Both were melodramas, in his wheelhouse. He may have clanked in The Bodyguard. I think he should've tried to make another film with Bogdanovich.
But who knows?
My Stewart Granger Top Ten
1) Scaramouche (1952) - Granger's best film and best performance - wonderful fun
2) Moonfleet (1955) - flawed but entertaining smuggler movie
3) All the Brothers Were Valiant (1954) - fun adventure tale with Granger an ideal villain
4) Caravan (1946) - outrageous Gainsborough high camp fun
5) Captain Boycott (1947) - intelligent well made period movie
6) Fanny By Gaslight (1944) - strong melodrama
7) The Man in Grey (1943) - the film that made Granger a star and it still holds up
8) The Prisoner of Zenda (1952) - it may have remade the Selznick version exactly but this is still good
9) Bhowani Junction (1956) - underrated post colonial melodrama
10) Waterloo Road (1945) - smug in many ways but Granger gives one of his best performances as a spiv
Richard Burton wrote in his diary that you couldn't have a Stewart Granger Film Festival. Is this true? Well, it would be a little low rent.
But thinking classy movies
- Some Launder and Gilliats: Waterloo Road, Captain Boycott
- Caesar and Cleopatra
- Some Gainsboroughs: Man in Grey, Fanny by Gaslight, Love Story, Madonna of the Seven Moons, Magic Bow
- MGM auteur pieces: Moonfleet (Fritz Lang), Bhowani Junction (George Cukor)
- Scaramouche!
So you could.
Movie review - "Ten Gentlemen from West Point" (1942) **1/2
Military movies of the early 40s all tended to share the same elements: two soldiers, contrasting personality types, who squabble over the same woman, but learn how to be good soldiers; the stern officer in charge learns to appreciate his troops; there's a battle at the end where heroism is proved.
It's a formula for a reason, offering chances for conflict, colour, comedy and all that - indeed, it was re-used in Top Gun. Here the girl is Maureen O'Hara, always likeable, never as effective in black and white (unfortunately the case here); the male stars are George Montgomery, 20th Century Fox's Clarke Gable imitator (an engaging actor) and wet drip John Sutton. You wish for John Payne or Henry Fonda or someone instead of Sutton.
Montgomery isn't entirely happily cast as a backwoodsman from Kentucky. Sutton is more comfortable as a rich kid, though he is a drip. O'Hara is at home in these sort of parts - a laughed at the opening sequence where she goes around kissing soldiers for the sake of West Point. You hussy, Maureen!
There is a strong support cast, including Laird Cregar (not the first actor you think of to play a military officer but he has an imposing presence), Ward Bond (always good as a sergeant type) and Henry Davenport. Some of these have decent roles to sink their teeth into - such as Cregar, as an officer who doesn't believe in West Point.
Its set in the 1800s, a period we don't see that often in Hollywood films - the era of funny hats, and random Indian battles. This one ends fighting Tecumseh and his men - though there's no mention of the War of 1812, which is technically when this took place. (Probably was a bit uncomfortable during World War Two to draw attention to the fact that really it was the US fighting the British).
It's very corny, but there are things that work: Sutton discovering his patriotism, the nephew of Benedict Arnold redeeming the family honour. The romance between Montgomery and O'Hara feels undercooked - I didn't like how he rejected her, then she tagged along anyway (it felt like a scene inserted after the first preview). The final action sequence is well done.
It's a formula for a reason, offering chances for conflict, colour, comedy and all that - indeed, it was re-used in Top Gun. Here the girl is Maureen O'Hara, always likeable, never as effective in black and white (unfortunately the case here); the male stars are George Montgomery, 20th Century Fox's Clarke Gable imitator (an engaging actor) and wet drip John Sutton. You wish for John Payne or Henry Fonda or someone instead of Sutton.
Montgomery isn't entirely happily cast as a backwoodsman from Kentucky. Sutton is more comfortable as a rich kid, though he is a drip. O'Hara is at home in these sort of parts - a laughed at the opening sequence where she goes around kissing soldiers for the sake of West Point. You hussy, Maureen!
There is a strong support cast, including Laird Cregar (not the first actor you think of to play a military officer but he has an imposing presence), Ward Bond (always good as a sergeant type) and Henry Davenport. Some of these have decent roles to sink their teeth into - such as Cregar, as an officer who doesn't believe in West Point.
Its set in the 1800s, a period we don't see that often in Hollywood films - the era of funny hats, and random Indian battles. This one ends fighting Tecumseh and his men - though there's no mention of the War of 1812, which is technically when this took place. (Probably was a bit uncomfortable during World War Two to draw attention to the fact that really it was the US fighting the British).
It's very corny, but there are things that work: Sutton discovering his patriotism, the nephew of Benedict Arnold redeeming the family honour. The romance between Montgomery and O'Hara feels undercooked - I didn't like how he rejected her, then she tagged along anyway (it felt like a scene inserted after the first preview). The final action sequence is well done.
Movie review - "The Avengers: Age of Ultron" (2015) **
Something inside me snapped while watching this film: I'm over Marvel. Over their smug, quippy films with their really good actors playing cutouts, with their celebration of fascist values not very artfully disguised, with their top secret organisations constantly recruiting new super heroes for their nefarious means.
This feels like a stock episode of a very expensive TV show. They only kill off one major person, someone we barely know. There's a little bit of urst between Scarlett Johanssen and Mark Ruffalo but not much; I expected Jeremy Renner's wife and kids to be killed or at least threatened, but they aren't - so why introduce them; they don't even kill off the villain they just keep introducing more and more characters; there's a little bit of conflict between the Avengers but not much. Joss Whedon has said he was inspired by The Godfather II - well, Fredo was killed in that film, and mum Corleone died... nothing that big happens here.
The action sequences feel generic. Everyone looks as though they eat well and go the gym. There's no emotion and lots of unpleasant political undertones. The cast is very strong and there are some bright lines.
This feels like a stock episode of a very expensive TV show. They only kill off one major person, someone we barely know. There's a little bit of urst between Scarlett Johanssen and Mark Ruffalo but not much; I expected Jeremy Renner's wife and kids to be killed or at least threatened, but they aren't - so why introduce them; they don't even kill off the villain they just keep introducing more and more characters; there's a little bit of conflict between the Avengers but not much. Joss Whedon has said he was inspired by The Godfather II - well, Fredo was killed in that film, and mum Corleone died... nothing that big happens here.
The action sequences feel generic. Everyone looks as though they eat well and go the gym. There's no emotion and lots of unpleasant political undertones. The cast is very strong and there are some bright lines.
Jeff Chandler Top Ten
1) Sword in the Desert (1948) - fascinating look at the British-Arab War of 1948
2) Broken Arrow (1950) - terrific Western with perhaps Chandler's best performance
3) Deported (1950) - interesting location Bob Buckner piece
4) The Great Sioux Uprising (1953) - very decent Western
5) Jeanne Eagles (1957) - entertaining biopic
6) Away All Boats (1956) -a bit run of the mill but decent production values
7) The Spoilers (1955) - there's been about a million versions of this story but I always enjoy them
8) Merrill's Marauders (1961) - Chandler gets a rare chance to work with a really good director, Sam Fuller
9) Red River (1948) - not the film... the radio version, where Chandler starred
10) The Steel River Prison Break (1951) - more good radio work from Chandler - he plays a gangster
2) Broken Arrow (1950) - terrific Western with perhaps Chandler's best performance
3) Deported (1950) - interesting location Bob Buckner piece
4) The Great Sioux Uprising (1953) - very decent Western
5) Jeanne Eagles (1957) - entertaining biopic
6) Away All Boats (1956) -a bit run of the mill but decent production values
7) The Spoilers (1955) - there's been about a million versions of this story but I always enjoy them
8) Merrill's Marauders (1961) - Chandler gets a rare chance to work with a really good director, Sam Fuller
9) Red River (1948) - not the film... the radio version, where Chandler starred
10) The Steel River Prison Break (1951) - more good radio work from Chandler - he plays a gangster
My Jerry Lewis Top Ten
1) Boeing Boeing (1965) - a not typical Jerry Lewis film but very funny
2) The Nutty Professor (1963) - excellent comedy, maybe Lewis' best
3) Who's Minding the Store? (1963) - Jerry runs riot in a store, with ensuing funny results
4) You're Never Too Young (1954) - top notch remake of The Major and the Minor with Lewis and Martin in strong form
5) Rock-a-Bye Baby (1958) - Lewis scores in another remake, this time of The Miracle of Morgan's Creek - strong comedy
6) Sailor Beware (1954)
7) Living It Up (1954)
8) Artists and Models (1956)
9) Pardners (1956)
10) Hollywood or Bust (1956)
2) The Nutty Professor (1963) - excellent comedy, maybe Lewis' best
3) Who's Minding the Store? (1963) - Jerry runs riot in a store, with ensuing funny results
4) You're Never Too Young (1954) - top notch remake of The Major and the Minor with Lewis and Martin in strong form
5) Rock-a-Bye Baby (1958) - Lewis scores in another remake, this time of The Miracle of Morgan's Creek - strong comedy
6) Sailor Beware (1954)
7) Living It Up (1954)
8) Artists and Models (1956)
9) Pardners (1956)
10) Hollywood or Bust (1956)
Jean Harlow Top Ten
1) Red Dust (1932) - sexy, sweaty melodrama which holds up very well
2) Red Haired Woman (1932) - racy pre code stuff with Harlow throwing herself at everyone and not being punished
3) Libeled Lady (1936) - very funny rom com with four excellent stars
4) Dinner at Eight (1933) - great MGM all star stuff
5) Bombshell (1933) - glorious screwball comedy, delightfully cynical
6) Beast of the City (1932) - little known gangster film which is remarkable for its toughness
7) Hell's Angels (1930) - amateurish in many ways, this is still a very interesting film
8) China Seas (1935) - not as much fun as Red Dust this is still pretty entertaining
9) Platinum Blonde (1931) - Harlow should have played Loretta Young's role but this isn't bad
10) Public Enemy (1931) - Harlow doesn't have much of a role but the film is good - better than many Harlow behicles
2) Red Haired Woman (1932) - racy pre code stuff with Harlow throwing herself at everyone and not being punished
3) Libeled Lady (1936) - very funny rom com with four excellent stars
4) Dinner at Eight (1933) - great MGM all star stuff
5) Bombshell (1933) - glorious screwball comedy, delightfully cynical
6) Beast of the City (1932) - little known gangster film which is remarkable for its toughness
7) Hell's Angels (1930) - amateurish in many ways, this is still a very interesting film
8) China Seas (1935) - not as much fun as Red Dust this is still pretty entertaining
9) Platinum Blonde (1931) - Harlow should have played Loretta Young's role but this isn't bad
10) Public Enemy (1931) - Harlow doesn't have much of a role but the film is good - better than many Harlow behicles
Saturday, September 03, 2016
My Errol Flynn Top Ten - Late Period (after World War Two)
1) The Adventures of Don Juan (1948) - brilliant swashbuckler
2) Against All Flags (1952) - sheer fun
3) Too Much Too Soon (1958) - Errol is excellent in an under-rated movie
4) Rocky Mountain (1952) - surprisingly good Western, one of his best
5) That Forsyte Woman (1948) - flawed film with much miscasting, but Errol effective
6) Kim (1950) - decent adventure tale
7) Silver River (1948) - not bad Western drama
8) The Master of Ballantrae (1953) - dramatically flawed but fun
9) Cry Wolf (1947) - entirely decent knock off of Jane Eyre
10) Roots of Heaven (1958) - not a good film but Errol is great
2) Against All Flags (1952) - sheer fun
3) Too Much Too Soon (1958) - Errol is excellent in an under-rated movie
4) Rocky Mountain (1952) - surprisingly good Western, one of his best
5) That Forsyte Woman (1948) - flawed film with much miscasting, but Errol effective
6) Kim (1950) - decent adventure tale
7) Silver River (1948) - not bad Western drama
8) The Master of Ballantrae (1953) - dramatically flawed but fun
9) Cry Wolf (1947) - entirely decent knock off of Jane Eyre
10) Roots of Heaven (1958) - not a good film but Errol is great
My Bob Ellis Top Ten
1) Goodbye Paradise (1983)
2) Newsfront (1978)
3) Letters to the Future (1987) - collection of writings
4) Legend of King O'Malley (1971) - play
5) Goodbye Jerusalem (1997) - collection of essays
6) Fatty Finn (1980) - film
7) Suddenly, last winter : an election diary (2010)
8) First abolish the customer: 202 arguments against economic rationalism (1998)
9) Man of Flowers (1984) - film
10) Top Kid (1985) - TV script
2) Newsfront (1978)
3) Letters to the Future (1987) - collection of writings
4) Legend of King O'Malley (1971) - play
5) Goodbye Jerusalem (1997) - collection of essays
6) Fatty Finn (1980) - film
7) Suddenly, last winter : an election diary (2010)
8) First abolish the customer: 202 arguments against economic rationalism (1998)
9) Man of Flowers (1984) - film
10) Top Kid (1985) - TV script
My Rod Taylor Top Tens
Performances:
1) Dark of the Sun
2) The Time Machine
3) The Birds
4) 36 Hours
5) Sunday in New York
6) Welcome to Woop Woop
7) Jacqueline Bouvier Kennedy
8) Hong Kong TV series
9) Ask Any Girl
10) Young Cassidy
For actual films I'd probably drop Woop Woop and JBK and replace with The Glass Bottom Boat and maybe The VIPs.
1) Dark of the Sun
2) The Time Machine
3) The Birds
4) 36 Hours
5) Sunday in New York
6) Welcome to Woop Woop
7) Jacqueline Bouvier Kennedy
8) Hong Kong TV series
9) Ask Any Girl
10) Young Cassidy
For actual films I'd probably drop Woop Woop and JBK and replace with The Glass Bottom Boat and maybe The VIPs.
My Walter Hill Top Ten
1) Streets of Fire (1984) - a mess, but fascinating and the reason I got into Walter Hill
2) The Warriors (1979) - stunning action film which even Hill never really matched again
3) Southern Comfort (1981) - tough nihilistic actioner full of great scenes
4) Alien (1979) - he didn't direct but rewrote the script and his stamp is all over it
5) The Getaway (1972) - more Peckinpah than Hill but still a Hill work
6) Undisputed (2002) - later Hill works aren't very good but this was a little gem
7) Hard Times (1975) - good tough debut feature
8) The Driver (1978) - if Bronson, Eastwood, McQueen or someone else tough had played the lead this would have been huge... Ryan O'Neal held it back - but it is one of his best movies
9) The Long Riders (1980) - loving Western with superb moments
10) Johnny Handsome (1989) - in all honesty 48 Hours is probably better made... but Handsome feels more Hill and it's lingered longer in my memory.
2) The Warriors (1979) - stunning action film which even Hill never really matched again
3) Southern Comfort (1981) - tough nihilistic actioner full of great scenes
4) Alien (1979) - he didn't direct but rewrote the script and his stamp is all over it
5) The Getaway (1972) - more Peckinpah than Hill but still a Hill work
6) Undisputed (2002) - later Hill works aren't very good but this was a little gem
7) Hard Times (1975) - good tough debut feature
8) The Driver (1978) - if Bronson, Eastwood, McQueen or someone else tough had played the lead this would have been huge... Ryan O'Neal held it back - but it is one of his best movies
9) The Long Riders (1980) - loving Western with superb moments
10) Johnny Handsome (1989) - in all honesty 48 Hours is probably better made... but Handsome feels more Hill and it's lingered longer in my memory.
My Tommy Kirk Top Five
Not enough decent movies for a top ten to be frank...
1) Old Yeller - yeah, yeah, I know, may as well get it over with
2) Swiss Family Robinson - probably his best made film
3) Pajama Party - genuinely one of the best beach party movies
4) Village of the Giants - insane sci fi film with unexpectedly great music
5) Escapade in Florence -cheerful fun American-teens-abroad film with Kirk teaming well with Annette Funicello
I guess you could do a can't-believe-he-made-that top five
1) Mars Needs Women - delirious Larry Buchanan fun
2) It's Alive - ditto
3) Blood of Ghastly Horror
4) Unkissed Bride
5) Ride the Wild Wind
Maybe a second top five
1) The Absent Minded Professor
2) The Misadventures of Merlin Jones
3) Ghost in the Invisible Bikini
4) Itz's a Bikini World
5) The Hardy Bothers
Top Ten K G Hall Films
My top ten films from Ken G Hall, in no particular order
1) Dad and Dave Come to Town (1938) - Hall's most charming, likeable film
2) It Isn't Done (1937) - the film that marked the big leap in professionalism for Cinesound's product, a great Cecil Kellaway star vehicle
3) Orphans of the Wilderness (1936) - was Hall Australia's most versatile director? This is a charming animal film with a great tough undertone.
4) 100,000 Cobbers (1943) - the best of Hall's featurettes during World War Two, this is a great Aussie version of The Way Ahead which so should have been a full length feature.
5) Kokoda Frontline (1942) - maybe I'm pushing it to call this a Hall film; the real genius is of course Damien Parer but Hall produced it, and it's great.
6) Smithy (1946) - slick biopic of the famed aviator - perhaps Hall's most polished film.
7) Dad Rudd MP (1940) - surprisingly more of drama than the other Rudd films but quite well put together.
8) Mr Chedworth Steps Out (1939) - gentle comedy-drama which gave another fine role for Kellaway; full of silly bits (gangsters, singing daughters) but a lot of sensitivity and insight.
9) Lovers and Luggers (1937) - enjoyable junky south seas melodrama notable for some fun character performances especially.
10) Let George Do It or Gone to the Dogs (1938) - I tend to see Hall's George Wallace films as the one movie - well crafted entertainments that showcase Wallace's abilities far better than Frank Thring's did.
1) Dad and Dave Come to Town (1938) - Hall's most charming, likeable film
2) It Isn't Done (1937) - the film that marked the big leap in professionalism for Cinesound's product, a great Cecil Kellaway star vehicle
3) Orphans of the Wilderness (1936) - was Hall Australia's most versatile director? This is a charming animal film with a great tough undertone.
4) 100,000 Cobbers (1943) - the best of Hall's featurettes during World War Two, this is a great Aussie version of The Way Ahead which so should have been a full length feature.
5) Kokoda Frontline (1942) - maybe I'm pushing it to call this a Hall film; the real genius is of course Damien Parer but Hall produced it, and it's great.
6) Smithy (1946) - slick biopic of the famed aviator - perhaps Hall's most polished film.
7) Dad Rudd MP (1940) - surprisingly more of drama than the other Rudd films but quite well put together.
8) Mr Chedworth Steps Out (1939) - gentle comedy-drama which gave another fine role for Kellaway; full of silly bits (gangsters, singing daughters) but a lot of sensitivity and insight.
9) Lovers and Luggers (1937) - enjoyable junky south seas melodrama notable for some fun character performances especially.
10) Let George Do It or Gone to the Dogs (1938) - I tend to see Hall's George Wallace films as the one movie - well crafted entertainments that showcase Wallace's abilities far better than Frank Thring's did.
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