The Mr Moto series took a detour with this one - its not very exotic, being set in San Francisco, and concerns a good old fashioned rigged boxing match/death in the ring with gangsters. It's completely fine, just more familiar - explained by the fact it was a Charlie Chan film, which was rewritten as a Moto when Warner Oland fell ill (he later died).
So we have some Chan-like comic relief in the form of Chan's son, played by Keye Luke, and a dumb boxed played by Maxie Rosembloom. Lynn Bari is on hand as a wisecracking press gal who loves a boxer Dick Baldwin suspected of murder; Jayne Regan is the classy girl. I enjoyed the finale with a rigged gun and Moto using a father's love to expose himself as the killer.
I wish Bari's part had been bigger and she could've carried more of the comic relief. Lon Chaney Jr is apparently in it. Ward Bond is easier to spot, as a boxer.
Entertaining, solid mystery - just not really "moto".
Showing posts with label Charlie Chan. Show all posts
Showing posts with label Charlie Chan. Show all posts
Wednesday, November 07, 2018
Movie review - "Shanghai Cobra" (1945) **1/2
Maybe two and a half stars is a bit much but after the first couple of Charlie Chan Monogram Pictures the extra energy provided by director Phil Karlson came as a relief. I'm trying not to be too wise after the event, knowing Karlson went on to a very fine directorial career, but he's clearly putting in more effort than Phil Rosen - the camera actually moves around in a few scenes, there's some decent atmosphere with the murder via cobra.
The mystery is once again solid - I think George Callahan, whose name appears on a lot of these, was a decent writer. Sidney Toler tries to be animated in a few scenes but still isn't much chop. There's comic relief once more from Mantan Moreland and Benson Fong (as Tommy Chan).
Tuesday, October 30, 2018
Movie review - Chan#30 - "Black Magic" (1945) **
The third Chan film for Monogram is the third that teams Sidney Toler and Mantam Moreland - maybe the studio realised Toler was so dull he needed Moreland's energy. Chan doesn't have a son here but he has a daughter.
This actually gets off to a good start with a spookey seance sequence but soon bogs down into flat handling.It's a shame because the story is solid and Toler a little more animated than usual. The ending sequence is strong. With the world of fake seances and a decent script a good director could've really made something of this but Phil Rosen couldn't do it.
This actually gets off to a good start with a spookey seance sequence but soon bogs down into flat handling.It's a shame because the story is solid and Toler a little more animated than usual. The ending sequence is strong. With the world of fake seances and a decent script a good director could've really made something of this but Phil Rosen couldn't do it.
Movie review - Chan #28 - "Charlie Chan in the Secret Service" (1944) **
20th Century Fox dropped the Charlie Chan series but Mongram thought there were still a few pennies to be had and picked up the series. Production values and quality inevitably dropped though this has a serviceable script - it's about the murder of a scientist in an old dark house who was working on a U boat.
Unfortunately Sidney Toler is back as Chan. It's been a while since I saw a Chan film and forgot how much I didn't like him - he's bored, flat, uninvolving.
Comic relief comes from Chan's two Americanised children and a comic black butler (played by the very talented Mantan Moreland). The story is actually pretty good - solid mystery. It's done in by poor handling.
Unfortunately Sidney Toler is back as Chan. It's been a while since I saw a Chan film and forgot how much I didn't like him - he's bored, flat, uninvolving.
Comic relief comes from Chan's two Americanised children and a comic black butler (played by the very talented Mantan Moreland). The story is actually pretty good - solid mystery. It's done in by poor handling.
Monday, May 01, 2017
Book review - "Seven Keys to Baldpate" By Earl Derr Biggers
The novel which was later adapted by George Cohan into a popular play, filmed many times. It is very heavy going - not as good as the play - a very hard slog. It's got kind of the same characters and story but the pace is leaden and it's dull.
Tuesday, August 09, 2016
Book review - "Foxy Lady: The Authorised Biography of Lynn Bari" by Jeff Gordon (2010)
A biography of Lynn Bari - why? But, when you think about it, why not? Bari was a very likeable, capable performer who did sterling work over a number of years, and is still remembered by buffs today for some excellent "other woman" parts in Sun Valley Serenade and Orchestra Wives.
There was more to her career than that of course - a long apprenticeship in Fox's B unit, becoming known as Queen of the Bs: few of these films gathered any sort of serious critical renown (though she popped up in Charlie Chans, Mr Motos and Michael Shaynes). She never quite became a star - Gordon argues she was kind of was one around the time of The Magnificent Dope, Moon Over Her Shoulder and Tampico. But she never really headlined a big hit and crashed through to the next level the way, say, Jeanne Crain, Linda Darnell, Gene Tierney and Anne Baxter did.
Why that didn't happen is one of the things tackled by Gordon in his excellent, comprehensive biography, which benefits from extensive interviews with Bari. She was a co operative, hard working, highly professional actress who seemed to get along with most people. But her mother was a drunk who had a habit of calling the studio and complaining about her. She also had shocking taste in men, marrying agent Walter Kane who ripped her off and gave her bad advice, then Sidney Luft, who did exactly the same. Part of her appeal for producers was her placid nature but then she started complaining about roles and money at a time when (post WW2) the studios were reducing their contract lists.
Her decline as a film star/name was perhaps inevitable, even if she'd had that hit or two - but it's a shame she never got a great "second act" like a hit play or TV series. She tried a few series and did a lot of theatre and guest roles but never crashed through. Her protracted and vicious divorce/custody dispute with Luft may have had something to do with that, but it was also age and circumstance. Still she was rarely out of work.
The latter part of her life is depressing. After two dud marriages with agent types she hooked up with a shrink, who didn't like her to work, cheated on her, wasn't generous during the divorce settlement. She became an alcoholic, had a lot of health problems (an intense cigarette habit didn't help), stopped working... On the bright side, she had a lot of friends, had a good relationship with her son, kept her marbles to the end. And she became friends with Gordon, who interviewed her for what became this book, so that must have made her feel good.
This is a loving, affectionate look at Bari, with solid scholarship behind it. It presents a favourable interpretation of Bari's flaws (appalling taste in men, poor financial nous, etc) but doesn't obscure them. I particularly enjoyed the stuff about Fox's B movie unit, about which I knew little (apart from the Chans and Motos). It's a sad to read at times, but I'm glad she got a book.
There was more to her career than that of course - a long apprenticeship in Fox's B unit, becoming known as Queen of the Bs: few of these films gathered any sort of serious critical renown (though she popped up in Charlie Chans, Mr Motos and Michael Shaynes). She never quite became a star - Gordon argues she was kind of was one around the time of The Magnificent Dope, Moon Over Her Shoulder and Tampico. But she never really headlined a big hit and crashed through to the next level the way, say, Jeanne Crain, Linda Darnell, Gene Tierney and Anne Baxter did.
Why that didn't happen is one of the things tackled by Gordon in his excellent, comprehensive biography, which benefits from extensive interviews with Bari. She was a co operative, hard working, highly professional actress who seemed to get along with most people. But her mother was a drunk who had a habit of calling the studio and complaining about her. She also had shocking taste in men, marrying agent Walter Kane who ripped her off and gave her bad advice, then Sidney Luft, who did exactly the same. Part of her appeal for producers was her placid nature but then she started complaining about roles and money at a time when (post WW2) the studios were reducing their contract lists.
Her decline as a film star/name was perhaps inevitable, even if she'd had that hit or two - but it's a shame she never got a great "second act" like a hit play or TV series. She tried a few series and did a lot of theatre and guest roles but never crashed through. Her protracted and vicious divorce/custody dispute with Luft may have had something to do with that, but it was also age and circumstance. Still she was rarely out of work.
The latter part of her life is depressing. After two dud marriages with agent types she hooked up with a shrink, who didn't like her to work, cheated on her, wasn't generous during the divorce settlement. She became an alcoholic, had a lot of health problems (an intense cigarette habit didn't help), stopped working... On the bright side, she had a lot of friends, had a good relationship with her son, kept her marbles to the end. And she became friends with Gordon, who interviewed her for what became this book, so that must have made her feel good.
This is a loving, affectionate look at Bari, with solid scholarship behind it. It presents a favourable interpretation of Bari's flaws (appalling taste in men, poor financial nous, etc) but doesn't obscure them. I particularly enjoyed the stuff about Fox's B movie unit, about which I knew little (apart from the Chans and Motos). It's a sad to read at times, but I'm glad she got a book.
Sunday, August 11, 2013
Movie review - Chan#27 - "Castle in the Desert" (1942) **1/2
The last Charlie Chan movie made at 20th Century Fox before the series was booted off to Monogram. Its directed by Harry Lachman so it has a heavier quasi horror movie feel - but just to keep things weird it's also got a Western element, plus some house of horrors comedy.
Most of the action takes place at a castle in the middle of the Mojave Desert (based on a real one apparently) where the locals don't trust what's going on... And for good reason since it's very odd and straight out of The Cat and the Canary. There's Henry Daniell and Douglas Dumbrille, a batty old lady, some young lovers, battles over wills, a person obsessed with the Borgias, people running around in knight armour, a chamber of horrors.
It's all kind of nutty and actually a lot of fun - I went with this one, thought it was good.
Most of the action takes place at a castle in the middle of the Mojave Desert (based on a real one apparently) where the locals don't trust what's going on... And for good reason since it's very odd and straight out of The Cat and the Canary. There's Henry Daniell and Douglas Dumbrille, a batty old lady, some young lovers, battles over wills, a person obsessed with the Borgias, people running around in knight armour, a chamber of horrors.
It's all kind of nutty and actually a lot of fun - I went with this one, thought it was good.
Saturday, August 10, 2013
Movie review - Chan#26 - "Charlie Chan in Rio" (1941) **
Charlie goes on the road again, this time to Rio, which was a popular destination for Hollywood movies at the time. So it starts off in that Rio standby - a nightclub, with a Carmen Miranda type performing a number while Charlie and Number Two watch on. However it's as if the budget was blown by that one sequence because the rest of it mostly takes place in a hotel.
There's a murder, various suspects, and Charlie gathers them all in a room at the end. The Rio setting isn't really used (cf Panama in Charlie Chan Goes to Panama) but there is some different in a key plot point turns around hypnosis. There's also some romance for Number Two Son who flirts with a Chinese maid. (He wants to bring her back to Honolulu at the end but dad refuses because Number Two has been drafted - nice cockblocking, dad).
The support cast includes Victor Jory and B movie fave Mary Beth Hughes. Not bad - done professionally enough but really it all may as well have taken place in Honolulu.
There's a murder, various suspects, and Charlie gathers them all in a room at the end. The Rio setting isn't really used (cf Panama in Charlie Chan Goes to Panama) but there is some different in a key plot point turns around hypnosis. There's also some romance for Number Two Son who flirts with a Chinese maid. (He wants to bring her back to Honolulu at the end but dad refuses because Number Two has been drafted - nice cockblocking, dad).
The support cast includes Victor Jory and B movie fave Mary Beth Hughes. Not bad - done professionally enough but really it all may as well have taken place in Honolulu.
Movie review - Chan#25 - "Dead Men Tell" (1941) **
Director Henry Lachman really changed the look and feel of the Charlie Chans - more striking imagery, big close ups, use of "glowing" light. He goes all out here, in what is a really schizophrenic Charlie Chan film, with a whole lot of different elements: Lachman's film noir handling, a plot involving a search for treasure from the descendant of a pirate, a map that's split into four, close ups of supporting cast as opposed to the lead, and some horror movie esque scenes (such as what seems to be a murder with a hook but then turns into the more censor friendly "scared to death").
Charlie only gets involved because Number Two Son tries to stowaway on the boat - this doesn't feel like an organically Charlie Chan tale but I guess at least its different. It's not one of the best in the series - the mystery is okay - although it does provide some spooky sequences.A young George Reeves appears in the support cast.
Charlie only gets involved because Number Two Son tries to stowaway on the boat - this doesn't feel like an organically Charlie Chan tale but I guess at least its different. It's not one of the best in the series - the mystery is okay - although it does provide some spooky sequences.A young George Reeves appears in the support cast.
Tuesday, August 06, 2013
Movie review - Chan#24 - "Murder Over New York" (1940) **1/2
No exotic location this time, just good old New York - indeed, this is a more conventional Charlie Chan story, a straight up whodunnit (although it starts off as a secret agent war story it settles down to a more old fashioned mystery). He's looking into the death of a friend, a British secret agent (although the US was neutral at this stage, Charlie Chan is on the side of the Allies), and encounters some lively suspects including Richardo Cortez, John Sutton and Melville Cooper and Majorie Weaver. Clarence Muse is on hand in a sort of role black actors were often required to play: a scared servant.
Harry Lachman directed and brings a different feel - there are lots of close ups and sweaty faces and tough interrogation sequences. Its almost film noir-ish. The mystery has plenty of twists and turns and Toler still isn't any good; there are no surprises but it's well done.
Harry Lachman directed and brings a different feel - there are lots of close ups and sweaty faces and tough interrogation sequences. Its almost film noir-ish. The mystery has plenty of twists and turns and Toler still isn't any good; there are no surprises but it's well done.
Movie review - Chan#23 - "Charlie Chan in Panama" (1940) ***
A different sort of locale for Charlie to wind up in - Panama, which isn't often used as a setting for the movies, but World War Two had started and the canal's strategic importance had skyrocketed. Charlie Chan is being used as a sort of secret agent to investigate sabotage of the canal by unnamed foreign powers.
This is an enjoyable mystery - the spy/war angle gives it freshness, as does the fact it takes place in Panama; there's an entertaining collection of possible suspects, including a shady scientist, a spinster, a cigarette salesman, a singer. Lionel Atwill offers pleasing support and there's good pace.
This is an enjoyable mystery - the spy/war angle gives it freshness, as does the fact it takes place in Panama; there's an entertaining collection of possible suspects, including a shady scientist, a spinster, a cigarette salesman, a singer. Lionel Atwill offers pleasing support and there's good pace.
Thursday, August 01, 2013
Movie review - Chan#18 - "Charlie Chan in Reno" (1938) ***
The second Toler Chan epic has the novel setting among the divorcees of Reno, Nevada - who are depicted as smoking cigarettes and going to nightclubs. Chan gets dragged in because a divorcee accused of murder is an old friend from Honolulu - her divorcing husband is convinced she's innocent and asks Charlie to help, which gives this a different, more mature impulse because there's a subplot about a couple reuniting. Number Two Son takes a break from college studies in LA to help out and winds up arrested.
This was a lot of fun, being full of wisecracking divorcees, and Slim Summerville provides some amusing comedy as a slow talking local detective who uneasily teams with Charlie. There's also Richardo Cortez as a shady doctor, Number Two Son gets a romance, the mystery is strong with some hypodermic needle action, and Norman Foster directs briskly. Toler isn't that good as usual but it isn't as noticeable here because Summerville and Number Two carry as much of the action.
This was a lot of fun, being full of wisecracking divorcees, and Slim Summerville provides some amusing comedy as a slow talking local detective who uneasily teams with Charlie. There's also Richardo Cortez as a shady doctor, Number Two Son gets a romance, the mystery is strong with some hypodermic needle action, and Norman Foster directs briskly. Toler isn't that good as usual but it isn't as noticeable here because Summerville and Number Two carry as much of the action.
Tuesday, July 30, 2013
Movie review - Chan#17 - "Charlie Chan in Honolulu" (1938) ***1/2
After Warner Oland's death, 20th Century Fox wanted to keep the Charlie Chan series going so Sidney Toler slotted in instead. He was less warm than Oland, more like a wax figure, and no more authentically Chinese. His sidekick, number Two son, played by Victor Sen Yung, was less good than Keye Luke too.
However this is actually one of the best in the series - bright, energetic, and off the wall. Its set in Honolulu with Chan awaiting the birth of his first grandson (a good idea to introduce Toler because he's established as a family man and is on his home turf). A boat arrives with a dead body - Number Two Son amusingly pretends to be dad and tries to solve the case as him while Dad's at hospital; eventually Charlie figures out what is up and heads over.
I wonder why they used the pretending-to-be-Charlie Chan plot here... was Fox worried audiences would take to Toler and wanted to limit his time on screen? Anyway it actually suits the tone of the rest of the movie which throws in everything - it's mostly set on ship but feels like a haunted house story at times; there's an escaped lion and his comic relief tamer, George Zucco as a mad scientist experimenting on brains, a gruff sea captain, ever presence 30s gangster Marc Lawrence, a younger Chan son as well, constant cutting back to Charlie's son in law at the hospital.
It is a decent mystery, the finale has the suspects gathered, I didn't pick the killer (the young lovers are reasonable suspect) and the handling is vigorous. Lots of fun. I wish it had Oland instead of Toler but you can't have everything.
However this is actually one of the best in the series - bright, energetic, and off the wall. Its set in Honolulu with Chan awaiting the birth of his first grandson (a good idea to introduce Toler because he's established as a family man and is on his home turf). A boat arrives with a dead body - Number Two Son amusingly pretends to be dad and tries to solve the case as him while Dad's at hospital; eventually Charlie figures out what is up and heads over.
I wonder why they used the pretending-to-be-Charlie Chan plot here... was Fox worried audiences would take to Toler and wanted to limit his time on screen? Anyway it actually suits the tone of the rest of the movie which throws in everything - it's mostly set on ship but feels like a haunted house story at times; there's an escaped lion and his comic relief tamer, George Zucco as a mad scientist experimenting on brains, a gruff sea captain, ever presence 30s gangster Marc Lawrence, a younger Chan son as well, constant cutting back to Charlie's son in law at the hospital.
It is a decent mystery, the finale has the suspects gathered, I didn't pick the killer (the young lovers are reasonable suspect) and the handling is vigorous. Lots of fun. I wish it had Oland instead of Toler but you can't have everything.
Monday, July 29, 2013
Movie review - Chan#8 - "Charlie Chan in Egypt" (1935) ***
One of the best Fox Charlie Chans, though almost completely ruined by the presence of Stephin Fetchit, with his agonisingly painful slow drawl. Thankfully he's only in the movie a small bit so you can enjoy it. For the most part this is a lot of fun, with Charlie Chan entering on a donkey and investigating deaths associated with an archeological dig.
Pat Paterson and Thomas Beck are the inevitable dull couple who Chan helps out (thus limiting the pool of suspects), a young (and chubbier) Rita Hayworth (dubbed Rita Cansino) is a local girl, there are some colourful supporting characters, pretty much all of whom look to be up to no good. Louis King does a fine job of directing, getting plenty of spookiness out of the various tombs and darkened museum corridors - it's slower paced than others in the series (which had lots of running around) but that's not a bad thing as they go for the spookiness.
Pat Paterson and Thomas Beck are the inevitable dull couple who Chan helps out (thus limiting the pool of suspects), a young (and chubbier) Rita Hayworth (dubbed Rita Cansino) is a local girl, there are some colourful supporting characters, pretty much all of whom look to be up to no good. Louis King does a fine job of directing, getting plenty of spookiness out of the various tombs and darkened museum corridors - it's slower paced than others in the series (which had lots of running around) but that's not a bad thing as they go for the spookiness.
Sunday, July 28, 2013
Movie review - Chan#20 - "City in Darkness" (1939) **
An opening montage talks about the Munich Crisis, which gives this some real uniqueness. It's set during an air raid drill in Paris in 1938 - Paris is the City of Darkness. Charlie is attending a conference of crime fighters and someone is inevitably kid.
There is a strong support cast including Douglas Dumbrille, Leo G. Carroll, a young Lyn Bari... and Lon Chaney Jnr (in a very small role as an associate of Carroll's)! Sidney Toler is dull as usual but most of the detecting is actually Harold Huber as another cop - he fills the sort of Number One son role, constantly getting into trouble. There's a femme fetale and a killer who gets out of trouble because he kills someone in the name of France to avoid war! Also the ending has the characters hoping the Munich Crisis will mean peace, and Charlie not looking enthusiastic,
There is a strong support cast including Douglas Dumbrille, Leo G. Carroll, a young Lyn Bari... and Lon Chaney Jnr (in a very small role as an associate of Carroll's)! Sidney Toler is dull as usual but most of the detecting is actually Harold Huber as another cop - he fills the sort of Number One son role, constantly getting into trouble. There's a femme fetale and a killer who gets out of trouble because he kills someone in the name of France to avoid war! Also the ending has the characters hoping the Munich Crisis will mean peace, and Charlie not looking enthusiastic,
Friday, October 19, 2012
Movie review - Chan #29 - "Charlie Chan in The Chinese Cat" (1944) **
Charlie was over at Monogram by now and this is heavy going - Sidney Toler hadn't gotten any better and the action moves at a slow pace. The most interesting thing is the opening where a person is killed playing chess and no one knows why or how. There's an unfortunate comic black chauffeur.
Wednesday, October 17, 2012
Movie review - Chan#22 - "Charlie Chan at the Wax Museum" (1940) **1/2
This is my third Sidney Toler Chan film and I'm really not enjoying him - the make up is distracting and he's got none of the warmth of Warner Oland. I was hoping this would be better than it turned out to be because it has a great trashy 40s Universal horror movie set up: Marc Lawrence is a killer who escapes from a courtroom and is determined to get revenge on Chan so he takes refuge in a wax museum.
There's some creepy museum workers, plastic surgery, a snappy girl reporter who says things like "I've got to get this story filed", a 4F leading man (normally this didn't become prominent until much later), lots of running around the max museum getting confused with dummies. I kept expecting Lionel Atwill to appear - or at least Abbott and Costello. But the result is strangely flat and unexciting, lacking in atmosphere and pace. A real shame.
There's some creepy museum workers, plastic surgery, a snappy girl reporter who says things like "I've got to get this story filed", a 4F leading man (normally this didn't become prominent until much later), lots of running around the max museum getting confused with dummies. I kept expecting Lionel Atwill to appear - or at least Abbott and Costello. But the result is strangely flat and unexciting, lacking in atmosphere and pace. A real shame.
Tuesday, October 16, 2012
Movie review – Chan#21 - “Charlie Chan’s Murder Cruise” (1940) **
I’m really not enjoying Sidney Toler’s
Charlie Chan and I miss Keye Luke. Maybe other entries will cure me of this but
not for now. There are some effective moments on board ship drenched in fog as
it travels from Honolulu to Los Angeles and a murder is committed; Leo Carroll
and Lionel Atwill add a lot of class to the support cast; I liked the
suspenseful end sequence where a woman is blinded and talks about who did it;
there’s some cute stuff with Chan discussing a report card with his son. But
it’s a very average entry – some running around and spouting one liners without
any real atmosphere or interest. Despite three murders, it’s unexciting too.
Thursday, October 11, 2012
Movie review - Chan#19 - "Charlie Chan at Treasure Island" (1939) ***
After watching a bunch of Warner Oland Charlie Chans it s a jolt to see Sidney Toler in the role and no more Keye Luke. Toler seems to lack Oland's warmth and cunning, but maybe I'm just struggling to get used to him.
Still, he's helped by some nice touches like Number Two son being scared of flying in a plane and putting his head on his dad's shoulder. I also really loved the mystic aspect of this - it feels like it could do with a Bela Lugosi or Boris Karloff to make it a classic (we are given Cesar Romero). It took me a while to adjust to Toler but once I did I really enjoyed this.
Still, he's helped by some nice touches like Number Two son being scared of flying in a plane and putting his head on his dad's shoulder. I also really loved the mystic aspect of this - it feels like it could do with a Bela Lugosi or Boris Karloff to make it a classic (we are given Cesar Romero). It took me a while to adjust to Toler but once I did I really enjoyed this.
Monday, October 08, 2012
Movie review - Chan#16 - "Charlie Chan in Monte Carlo" (1937) **1/2
The last Charlie Chan that Warner Oland every made is a breezy, bright entertainment with Oland and Keye Luke in excellent form. It's given an extra fillip by being set at Monte Carlo (French police, casinos, shady ladies, desperate gamblers) and also in the relationship between Chan and the local head of police, charmingly played by Harold Huber.
It's a lot of fun even if the mystery isn't particularly memorable and by now the characters were becoming really hard to tell apart. It's also hilarious that the killer confesses the crime, then runs out of a building... and is hit by a speeding car. This isn't one of the best in the series - no Boris Karloff for starters - but it's a good one for Oland to go out on.
It's a lot of fun even if the mystery isn't particularly memorable and by now the characters were becoming really hard to tell apart. It's also hilarious that the killer confesses the crime, then runs out of a building... and is hit by a speeding car. This isn't one of the best in the series - no Boris Karloff for starters - but it's a good one for Oland to go out on.
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