Sunday, February 28, 2021

Movie review - "Good Times" (1967) ** (warning: spoilers)

 Sonny and Cher's only starring movie - though Bono made Chastity starring Cher - is a ramshackle effort with a everything-and-the-kitchen-sink-revue type feel, but has its charms. The 'Good Times' number is genuinely rousing: a fun song with a great dancing section (high kicks in bloomers on the bar). Sonny and Cher seem to be having fun. It's like a forerunner of their TV show - with send ups of Westerns, private eye films, Tarzan movies.

The middle plot is kind of serious (ish) - George Sanders insists they make a movie, Sonny signs, but has artistic doubts, Sanders insists they honour the contract, Sonny gets in a mood and things become all serious, he fights with Cher, then he sticks to his guns and Sanders lets him go... he respects the man, dammit. So, reality.

Sonny looks odd without a moustache.


Thursday, February 25, 2021

Movie review - "Targets" (1968) **** (rewatching)

 Maybe it's more naturally three and a half stars but considering the restrictions this is four star. Excellent debut from Bogdanovich, presented with, as Quentin Tarantino says, a puzzle... some footage from The Terror, a few days of Karloff.

Bogdanovich's luck was strong at this stage: he picked a great idea (to do something based on a spree killer), had Sam Fuller and Polly Platt in his corner to help him write the script (which I think gave him a false idea of his skill in that area).

Bogdanovich's acting is awkward - he had a lot on his plate - and the character should have been killed for shock value but his presence has film buff appeal. There's an Asian lead which might be more progressive if people didn't comment on the girl's Asian-ness all the time.

The director's style is apparent from the get go - long takes, languid takes, momentum that builds. People were idiots to say he was Ford/Hawks when he was his own man (or rather couple).

Wednesday, February 24, 2021

Movie review - "Voyage to the Planet of Prehistoric Women" (1968) **1/2 (re watching)

 The grade is too high objectively speaking but I took into account the circumstances under which it was made: a Soviet film bought by Roger Corman to cut up without sound. Curtis Harrington had a go but this one, done by Peter Bogdanovich and Polly Platt, is better.

It's frustrating that the characters cant talk. Yes there's a Soviet section but also one on Venus with Mamie Van Doren. The sexy Venus women promise more than they deliver. They clamber through the surf in shells, trying to hang on to dignity. It is silly and fun and you can sense Bogdanovich and Platt really trying hard.

Tuesday, February 23, 2021

Movie review - "What's Up Doc?" (1972) ***1/2

 I don't meant to be a Debbie Downer but looking back this comedy has some serious consent issues. Madeleine Kahn is bossy it's true but she doesn't really deserve the shocking treatment from Barbra Streisand who charges at Ryan O'Neal with rich girl determination.

It does help that Streisand rarely looked more luminous or was more lovingly shot. She's in brilliant form. Ryan O'Neal is a lot of fun too - he was best playing against strong women.

The clever script involves government agents and thieves and the support cast is of high quality: Austin Pendleton, Kenneth Mars, etc. I don't think it's as good as the others in Bogdanovich's four film hot streak but it's a lot of fun.

Movie review - "Paper Moon" (1973) ****1/2

 A stunningly good movie. Looks fantastic - brilliantly shot. Superb locations. Ryan O'Neal gives a career high performance. The show is stolen by Tatum of course but Madeleine Kahn is also superb, as is John Hillerman in a duel role... actually everyone is excellent. Tough, funny, sentimental in the best way. A classic.

Documentary review - "Picture This" (1991) ****

 The story of the making of Texasville is everything that film is not - brilliantly evocative of a place (love those whining cowboys who want to be in the movie), memorable characters (Larry McMurtry's worried mother, the original inspiration for Jacy, cuckolded Polly Platt, tormented Bogdanovich, awkward Tim Bottoms), and true drama (returning to the scene of a film where so much happened). Very well done.

Movie review - "Texasville" (1990) ** (rewatching)

 I saw it again after The Last Picture Show to see why that was so great and this so poor. Was it the adaptation? I read the novel... the novel is poor. Maybe that's unfair - it's nothing like The Last Picture Show. It feels like something Larry McMurtry wrote to write something: his style is always pleasant. One wonders if he did it with one eye on a book sale, with the novel being dedicated to Cybil Shepherd, who had come back with Moonlighting, and the bigger role given to Duane/Jeff Bridges rather than Sonny/Tim Bottoms.

The flaws of the film are the flaws of the novel: aimlessness, all the comedy, all the cartoons. Duane's kids are cartoons (root rat son, trashy daughter, wild twins).

The strengths of the film are the strengths of the novel: the character of Karla (played by Annie Potts brilliantly), the journey of Jacy an Duane, the problems of Sonny.

Compare the original: it had a sense of the past, a time and place, a universality (about being young and in love), the novelty of sex. The characters were all individual and had their moment: Jacy, Duane, Sonny, yes, but also consider the monologues given to Sam, Ruth, Ellen Burstyn (sorry can't remember character names). The details like the local pedophile and the stripping party.

This has none of that. A silly centenary celebration. A town recovering from a boom.

Jacy lost a child but she never gets a monologue about it. She and Karla (Potts) bond straight away. It seems like a threesome might be on which would have livened it up.

The townsfolk that Duane and his son sleep with are cartoons.

Compare it to the documentary made about the making of this - Picture This. That is much better.

Movie review - "They All Laughed" (1981) ** (re-watching)

 Liked this even less on second viewing. I know the film has its fans. The acting is strong, typical for a Bogdanovich film. His script is poor. And creepy. All these detectives following women for work and then falling for him. Audrey Hepburn's perm is awful. So too BJ Novak. There's so much smoking, or fondling cigarettes, or talking about smoking. The melancholy nature of it seems faked - I mean Ben Gazzara and Hepburn just met, if they wanted to be together they could. Everyone falls in love so quickly it's hard to care. Bogdanovich seems to think name repetition is funnier than it is. There's too much country music.

Ah, I'm in a grumpy mood. It's a cult movie let the fans enjoy it.

Saturday, February 20, 2021

Movie review - "The Last Picture Show" (1971) ***** (warning: spoilers)

 This could've gone wrong so easily - Texasville gives some indication how - but this just works. Every decision: location work, black and white, being set twenty years ago, a 1971 view of 1951 meaning sex and violence could be shown but it was still in present memory, the casting.

It meanders on a bit but always with point. At times I was thinking this is a four star or four and a half star film but the ending walloped me: the shocking death of Billy (Sam Bottoms) and Sonny (Tim Bottoms) going to see Cloris Leachman who goes him. Stunning.

Although specific to time and place it is universal - leaving school, falling in love, regret, the death of an old man. It focuses on two boys but the women all get a turn: Jacey is a vixen but a three dimensional one, motivated by her mother who gets a terrific monologue, Eileen Brennan the waitress gets a great monologue and Leachman's speech is divine. I love the matter of fact acceptance by Ellen Burstyn of Bottoms having a fling with Leachman ("it's a scratchy age").

So much great stuff: the plot about a preacher's son being a pedophile and the way it's dealt with (I forgot that whole storyline but it's well done), the second-rate-ness of the football team, the matter of fact nudity, John Hillerman trying to engage his school class. 

Better writers have written about this movie but it is just damn good. Why didn't Bogdanovich make more dramas?

All the actors are perfect: both Bottoms, Ben Johnson, Cybil Shepherd, the old faces, etc.

Sunday, February 14, 2021

Movie review - "The Cat's Meow" (2001) ***1/2

 A reminder how talented Peter Bogdanovich is and how effective his films when he doesn't write the script (Steve Peros did this one). It plays to his strengths: it's about show people, Hollywood, it's a period piece, it's about loss of a loved one, there's an Orson Welles connection via Davies/Hearst. The violence is brief and well done, the acting excellent.

Eddie Izzard's Charlie Chaplin is terrific, ditto Kirsten Dunst's Marion Davies but the film is stolen by the touching monstrosity of Howard Hessmann's Hearst... a man hopelessly in love but also ruthless. All the acting is very good by the way. Love the boat atmosphere.

Movie review - "Saint Jack" (1979) ****

 This film completely worked for me - maybe I saw it in the perfect mood or something but it just clicked. Bogdanovich films are about rhythm and this one nails it. It helps he had Paul Theroux's source material, he was keen to explore brothels in the far east, he had a surrogate in Ben Gazzara, Howard Sackler worked on the script, the budget was low enough for him to have freedom (even though it was a tricky shoot). It's one of the best New World Pictures.

Gazzara gives a subtle, laid back performance as Jack a man who seems to have all the answers but often gets in over his head. He works for some locals and dreams of setting up his own brothel; he succeeds only to fall victim to the local triads (a terrifying sequence... Bogdanovich doesn't do nearly enough suspense and violence he has a gift for it).

It is the story of white men in Singapore but he's constantly bested by the locals and the British don't come off too well - boozy whoremongerers singing songs. The female characters don't get much of a look in - more could've been done with Jack's Sri Lankan love - but the many virtues outweigh the flaws: the matter of fact acceptance of sex (so much so that to blackmail a man because he's gay is what makes Jack draw the line), the atmosphere, the fact it captured a Singapore now gone, Bogdanovich giving one of his best performances as a CIA man.  George Lazenby is effective in a small appearance as a senator who is a blackmail target. Denholm Elliot is perfect as a sweaty accountant who comes to be Jack's one genuine friend.

There's reference to Jack replacing Aussie beef with American to feed American GIs on leave during Vietnam.

Saturday, February 13, 2021

The Lost Roles of Ben Gazzara

 * In 1957 Sam Spiegel signed him to play the sheriff in The Chase - film not made for almost a decade later, when Marlon Brando played the part

* In 1957 it was announced MGM were talking to him about reprising his stage role in Cat on a Hot Tin Roof which Elizabeth Taylor was attached to... how genuine was this? In Gazzara's memoirs he says George Cukor was meant to direct and Cukor and Ben Thau wanted him, but Cukor left when the gay subplot had to be cut. Eddie Mannix pushed for Paul Newman and got his way.

* In 1964 he and Jack Garfein announced they had bought the screen rights to Calder Willingham's novel Natural Child - never made 

* In 1957 it was announced he turned down Wind in the Evergaldes

* In 1957 it was announced he had the rights to the novel The Bandit by Garvin Maxwell about the outlaw Guiliano (I think Gazzara played him on TV)

* In his memoirs he says he turned down the Henry Fonda role in the 1956 War and Peace.




Friday, February 12, 2021

1973 article on Nat Cohen

Great piece on Cohen at his peak


Movie review - "Nickelodeon" (1976) **1/2 (re-watching)

 This probably would have been better in black and white, like Bogdanovich (said he) wanted... ditto with younger actors in the leads like John Ritter and Jeff Bridges because it would've given a greater sense of young people trying to make it, whereas Burt Reynolds and Ryan O'Neal (both of whom are fine by the way) seem like they've been around a while. Cybil Shepherd would've been better than Jane Hitchcock who isn't that great.

But even that wouldn't have fixed other issues with the film... it's overlong running time, the fact it spans years, all the endless zappy talk that isn't particularly witty (a hall mark of Bogdanovich written dialogue), characters falling in love at the drop of a hat (ditto). The Tatum O'Neal part seems shoehorned in to recapture some Paper Moon magic... really this part needed to be played by a grown up who could be a rival to Jane Hitchcock. The John Ritter part seems shoe horned in to give Ritter a role... Stella Stevens at least winds up with Brian Keith at the end but Ritter doesn't get a subplot. Neither does Tatum O'Neal.

Every now and then the film captures a bit of magic that it is striving for but too often it never seems to click. It's played by a comedy then there's this dramatic stuff thrown in - I think we're meant to care more about the O'Neal-Reynolds-Hitchcock love triangle (a Last Picture Show throwback) more than we do. Maybe that was me (though I doubt it, it wasn't a hit).

This film isn't a disgrace it's just frustrating because it doesn't quite work and it should have.


Book review - "Stories I Only Tell My Friends" by Rob Lowe (2011)

 Rob Lowe is probably the brat pack star who surprised us the most - impossibly Ken Doll handsome he seemed to have "short term career" stapled on his forehead, and a few flops saw him on target to achieve that goal, but he kept managing to reinvent himself: as a comedy actor in the 90s, as a TV star in the 2000s and now as a very good writer.

I'm not sure Lowe was ever a proper movie star. People thought it was, execs did, off the back of his looks and appearances in Class, The Outsiders, St Elmo's Fire and About Last Night. I'm not sure he was ever a specific draw. 

Maybe that's unfair. He was in the right vehicle, like any star, but it was hard to get the vehicle. The public wouldn't go to any old thing like Oxford Blues and they wouldn't see him even in good movies like Masquerade and Bad Influence. They seemed to only really like him as a star in romances, and as a supporting actor in comedy.

Still he stuck around. Where he seems to really thrive is as a featured played in an ensemble - St Elmo's Fire, West Wing, Parks and Rec. He's marvellous with dialogue - it's a shame he doesn't do more Sorkin/Mamet.

It's been an interesting life - the book is very entertaining. Great snapshots like the making of The Outsiders. Many things I didn't know like he was friends with a French security guy who was murdered, and flew on the flight which was hijacked on Sept 11. Funny accounts of his romance with Princess Stephanie (who got her assistant to move her old boyfriend's stuff out the day after she met Lowe) and Fawn Hall, and hanging with Jane Fonda and Tom Hayden. Coy on Melissa Gilbert and the sex tape. Robert Wagner makes a crack to Cary Grant and co that Lowe is going to sleep with their daughters (indeed, he dated Jennifer Grant and there's a funny account of him meeting Cary). I knew he was offered the juvenile lead in Pirates but not in Dune (he turned it down)

It has its whiny actor-y moments (he seems a sook to leave The West Wing even in this account - "they left me out of the photo") and is full of all that narrative redemptive arc you see in a lot of people's personal stories in Hollywood (eg "I realised I had to be honest with myself" etc etc). But a grand read, and once again I underestimated Lowe. I'm sure he'll be relieved...

Movie review - "Mask" (1985) ****

 Peter Bogdanovich's comeback hit after some fallow years, his most successful film without Polly Platt, but he managed to stuff it up by whingeing that the producers/studio cut some scenes and wouldn't let him use Bruce Springsteen because it was too expensive. I watched his cut... there's a few Springsteen songs, which are fine, but not that essential. The two extra scenes are nice but cut-able: a funeral for Harry Carey Jnr (enabling Bogdanovich to do a bikies John Ford homage) and Cher and Eric Stolz singing 'Little Egypt' which is fine but does take you out of the movie because Cher is famed as a singer.

But Bogdanovich went and whined and sued Universal for millions and slagged off Cher even before the film came out. So his career was damaged again.

He did a lovely job. He worked from a superb piece of material, it's sentimental (romance with blind girl, a mute bikie manages to say "he's proud"), the bikies are cuddly... but it holds because it's so well acted (Eric Stoltz is excellent, Cher is perfectly cast, Sam Elliot is perfect, Laura Dern a delight), and it was based on a true story. The concept of a tough drug taking bikie chick who is devoted to her ill son is gold and it's wonderfully realised.

Movie review - "Noises Off" (1992) ***

 I know not many people saw this movie but for me it was a wonderful return to form for Peter Bogdanovich after Illegally Yours and Texasville. I think it helped that he didn't write it. Also, while it is basically a filmed stage play, the stage play is very funny, and Bogdanovich's preferences for long takes suits the action. He clearly has a lot of affection for show people and has an outstanding cast: Michael Caine, Christopher Reeve (so sweet), John Ritter, Carole Burnett, Marilu Henner (great to see her in a movie, she's always good), Denholm Elliot, Nicolette Sheridan.

It does lose something on screen because you don't have the fun of seeing people do it all live. It has the flaws of the stage show because it's three acts and the action feels repetitive... three acts of shambles acting. After a time it got wearying... for instance it was fun to see Sheridan in underwear but after a while I really wanted her to do something else.

Still, stylish and well done.  I loved mixing English and American actors, that worked well.

Tuesday, February 09, 2021

Movie review - "Illegally Yours" (1988) *

 Peter Bogdanovich made one of the all time great come backs with Mask - a hit film, great reviews, and without Polly Platt too. But then he stumbled again - fought with Universal, struggled financially, then made this for Dino de Laurentiis.

It's a spectacular misfire, a horrible film, absolutely unfunny. How much was Bogdanovich's fault? Rob Lowe says he rewrote the script and Bogdanovich was never a good screenwriter. Bogdanovich says the film was cut without his involvement. Isn't that what they all say? 

It has the hall marks of many of his flops - endless long takes of people yabbering without it being funny. The actors try, try so hard. Rob Lowe imitates Ryan O'Neal and does fine - he doesn't disgrace himself, he can talk fast, and in a better movie would have made a real impression. Colleen Camp I normally like but she's ten years older than Lowe, which matters in a movie where they were at high school together.

There's a hollow core at the centre because Lowe leaves one relationship, winds up on jury duty, Camp's on trial... then Lowe is obsessed with Camp. Why have the first girlfriend? And Camp doesn't remember Lowe so they have no connection it makes Lowe feel like a stalker.

They set up a possible alternate love interest with Kim Myer as this other girl involved but she has unfunny buddy comedy antics with Louise Stratten (Dorothy's sister and later Bogdanovich's wife, a part the director wrote in for her... she doesn't make much of an impression and spends a lot of time sleeping on the shoulder of her friend; they share similar haircuts).

There's all these characters: comic hit men, prosecutors, a judge, Lowe's bespectacled brother. Lowe's mother, some cop, Harry Carey Jn. But it's awful - they run around yapping lines in late 80s fashion.

The basic idea was actually solid - a juror tries to help a woman on trial. That was the plot of Murder! the Hithcock film and also Suspect with Cher. But this totally stuffs it.

There's lots of voice over which feels like something rushed in post production.

Sunday, February 07, 2021

LA Weekly article from 21 Nov 1985 on Blue City

 It's mean spirited I feel



Play review - "Money and Friends" by David Williamson (1991)

 I remember the hugely effective sales line when this came out - "would you lend a friend $10000?" That is a key point in the drama but not the whole thing. I thought it would come up the front and then explore the issues but what Williamson does, very cleverly, is set up the characters first, and their dilemma, dramatise the friendship the rich characters have for their friend, and then introduce the $10k request towards the end so it has real impact.

The characters are awful and self centered etc but Williamson sketches them with insight and affection. Also the core of this is warm and lovely, in an unexpected way: the platonic friendship between Peter and Margaret is very well done and acts as a counter balance to the selfishness of the others. It's sentimental but in a believable way because it's so razor sharp. The chopping between time and location is very well done.

Margaret is one of Williamson's best female characters - I wonder if this is his fantasia of how Kirsten would turn out if she left Dave, i.e. living down the coast and humping twentysomethings - and weak-but-nice Peter is very well drawn too. They all are. It's a much better play than I remembered.

I feel Williamson went back to the well a few times and tried to repeat this one with tales of the rich and awful by the beach (Amigos, Let the Sunshine, When Dad Married Fury) but never had the same luck.

Saturday, February 06, 2021

Play review - "The Perfectionist" by David Williamson (1982)

 After the misfire of Celluloid Heroes Williamson went back to personal works with this tale of a modern day (then marriage) resulting in one of his most personal plays. One assumes it's personal.

It is certainly peak boomer with its whining middle class leads, academics and well off but not as much as they want, dealing with kids and affairs and blaming their parents for their problems and doing secondments overseas.

But it has, not surprisingly, tremendous authenticity - Williamson goes there and the results are his most fleshed out leads, particularly one of his strongest female characters (uncertain, resentful, ambitious, adulterous, humorous), presumably because he's inserted Kristen.

Structurally he doesn't quite seem to nail it: it starts in Denmark, they meet Erik the babysitter, then it comes back to Australia, we meet Stuart's parents, then it becomes battle of the sexes in Australia and Stuart loses his job and it seems to go forward several years. But I couldn't think of how else to do what Williamson wants to do and the chopping between scenes works smoothly, better than say in Top Silk.

It's funny and the theme of how much a partner has to give up in a marriage hasn't dated. It's a fascinating, thought provoking, lumpy work. I don't think it should have been filmed though.

Play review - "Third World Blues" by David Williamson (1997)

 Williamson's re-do of Juggler's Three shores up the second half especially - the first scene seemed less impressive to me but that might be because I was more familiar with it, and also the original take had a ripped from the headlines quality. 

The second half tightens the structure and Graham becomes more of a driving force. The play is more sympathetic to him (he gets a big monologue towards the end) but it's still clear he's a horrible controlling nasty person, even before he went to Vietnam. 

A very good play.

Movie review - "When the Daltons Rode" (1940) **1/2

 Presumably Universal were hoping for their own Jesse James after the 1939 success of that movie, for this shares many of the same elements: based on the story of outlaw brothers who are pushed into crime by evil developers, a worried mother. Universal splashed the cash, provided a decent cast (including Randolph Scott, Kay Francis, Broderick Crawford, Brian Donlevy and Andy Devine) and budget, as well as one of their leading directors, George Marshall.

The action scenes are well staged, particularly a train robbery and the final shoot out, and it moves at a fair clip.

It doesn't entirely work. There's a dramatic flaw at the centre of the movie: it lacks lead characters for us to hook into. I guess Randolph Scott is meant to be the star but he doesn't do much: he's a fictitious character, a childhood friend of the boys who is working as a lawyer and tries to help them but doesn't (they go to crime in the movie). There's a plot where he falls for Broderick Crawford's gal (Francis) but it doesn't mean much since Scott and Crawford spend barely any time together (the brothers don't even remember him at the beginning when he comes into town) so Scott doesn't feel torn.

Crawford is excellent. Andy Devine is effective (I like these women fighting over him) and has a moving death scene. Brian Donlevy is wasted in his part - he looks dynamic and you expect him to play an important part but he doesn't. Francis doesn't have much to do but I did enjoy seeing someone with her star power in the role - and her acting is fine, she conveys "tormented" well.

Really the film should have been about brothers in love with the same girl and they all wind up dead. I wonder if that was the original concept.

Friday, February 05, 2021

Play review - "Top Silk" by David Williamson (1989)

 One of those Williamson plays I wish he'd try again because the central dramatic situation is so strong: a  leftie lawyer has become a top QC and clashes with his legal aid lawyer wife, and they have a son who is an underachiever. The central dramatic situation of the son of a brilliant man struggling to find his way in the world is very touching.

The ethical dilemmas aren't bad - the QC is tempted to represent a Rupert Murdoch type, the wife is tempted to pay a bribe to get an old flame out of trouble.

The treatment is disappointingly non theatrical, for a play involving lawyers. There's an excellent finale where the QC defends the old flame, which is well done and makes you wish Williamson had leaned into that more... more arguments, more legal showmanship. But there's a lot of short scenes for the most part - it's written like a film script.

And the "social issues" talk bits clunk - a thing that would become all too common in Williamson plays in later years eg talks on drug policy, media ownership. I'm not saying they're not worth treating or Williamson's heart isn't in the right place but as written here it has a "cut and paste" quality.

And the wife is far too perfect Kirsten surrogate - irresistible to every man in the play, a perfect mother, socially conscious.

But the core is strong. I wish he'd have another go, less on the nose social commentary, more theatricality, more legal arguments, less scenes.

Anyway it made a tonne of money. It tells a story, I couldn't pick how it was going to end, all that.

Thursday, February 04, 2021

Movie review - "The Perils of Pauline" (1947) **1/2

 I don't know much about Pearl White but this felt fictionalised... just a vibe. It does capture a spirit of silliness and fun and is ideal for Betty Hutton, as the plucky sewer who becomes an actor, isn't very good then becomes famous as a star of silent serials.

Hutton has spunk and energy. She doesn't look a great physical type - I didn't buy her doing stunts - but she's fun. 

The film focuses a lot on her relationship with actor John Lund. I dislike Lund as an actor generally - this movie didn't make me change my mind. Billy de Wolfe is ideally cast as a camp actor who works with Hutton and Lund, and William Demarest is a director. It is sweet how Hutton is mentored by an old time actor, Constance Collier - their friendship is lovely and unexpected.

Director George Marshall worked in the silent film era and the movie has a lot of engaging affection for that period. I might like this movie more if I was more familiar with the era. In 1947 it would've been very much in the common memory.

People occasionally break out into song so technically it's a musical but there aren't that many songs so it doesn't feel like one.

Wednesday, February 03, 2021

Movie review - "The Forest Rangers" (1942) ** (warning: spoilers)

 Paramount splashed a bit of cash with this - its got colour, extras, some forest fires. The film didn't quite work for me. The story is promising: Fred MacMurray is a forest ranger trying to figure out some arsonist, and also torn between two women, socialite Paulette Goddard and tomboy Susan Hayward.

But it didn't come together.

The arson mystery isn't much of a mystery: Albert Dekker is set up as the baddy and once Dekker is killed you know it's got to be Regis Toomey because Toomey is the only other character of substance. 

Also the romance isn't much because I never believed that Goddard was into Fred MacMurray or that MacMurray didn't notice Hayward wanted him or that Hayward was into MacMurray or Hayward's villanousness. Compare with Orchestra Wives another woman-marries-man-she-just-met story: I believed that because Ann Rutherford was a small town gal and George Montgomer was so glamorous. Here Goddard is glamorous and MacMurray a fire due. I mean, they could have made it work showing Goddard's life to be shallow and full of weak men so she likes he man MacMurray but we start off the story from MacMurray's point of view.

The clash between Hayward and Goddard felt contrived, in part because Hayward is so stunning, and shot stunningly, she never seems like a tomboy. I mean, that flowing hair, come on...

Maybe the real issue for me with this film is casting. Possibly these problems would have gone away with, I don't know, Sterling Hayden or John Wayne or Joel McCrea in the MacMurray role... I didn't buy Uncle Fred as a macho dude. Maybe it was needing to see more from Goddard's POV to make clear why she'd go for him. Maybe it needed Hayward to be the baddy and to have Goddard more active, to give an extra dimension to Hayward's hostility.

There is a catchy song and it's cool that it is in colour.

Tuesday, February 02, 2021

Box Office of 1943

 (according to Variety)



Movie review - "The Sheepman" (1958) *** (warning: spoilers)

 A flabby sort of shaggy dog movie but it has a lot of charm, starting with its central idea: Glenn Ford wins some sheep in a poker game and tries to run them but comes up against prejudice and a cattle baron (Leslie Nielsen).

Actually more could have been done with that idea - scenes with sheep, Ford could've had a relationship with particular sheep, some shearing comedy, etc. There was more potential. I think they should have started with the game instead of telling it in reportage.

But Nielsen is fine as the villain and Shirley Maclaine adds from freshness as the girl (even if she does seem too young for Ford) and I liked seeing character types like Edgar Buchanan, Mickey O'Shaugnessy and especially Pernell Roberts, excellent as a killer.

Has an enjoyable quasi comic tone that many films from writer Bill Bowers had. I loved that Ford sold the sheep in the end because he didn't like him. The Mexican hand who then went and died was a little predictable.