Cinebug Reviews

Of Freaks and Men (1998)

Marvelous Psycho-Sexual Film With Authentic Period Atmosphere

[30 December 2001]

OF FREAKS AND MEN is a constantly interesting story and film-------very well photographed---------about a strange, psychopathic pornographer who makes movies of women being whipped by a "nanny" for the underground market at the turn of the century. The film is shot in a sepia tone to give a nice authenticity to the proceedings. If you've seen photographs from the fin-de-siecle, you realize what marvelous recreations of those romantic-------though risqué--------photographs the filmmakers have achieved. Many of them look very much like the photographs of Julia Margaret Cameron----------one of the finest photographers working after the Civil War, who specialized in photographing women in dream like, highly romantic, almost spiritual scenes. She never did photos like this, of course, but the same care was taken in the art direction of this film.

But most interesting of all is the psychological workings of the minds of the very respectable middle class characters who find themselves drawn to this seedy business against their wills, but are quite willing to pursue their newfound inner freedom after the pornographer has left. This is one of Image Entertainment's most artistic releases for 2001. More please.

Jay F.

The Beast (1975)

Over-Sexed Version Of BEAUTY AND THE BEAST

[30 December 2001]

POSSIBLE SPOILERS

I'm beginning to suspect the reason some of the more offbeat genre films that used to be so difficult to see were obscure because they weren't very good to begin with. My latest disappointment is Borowczyk's THE BEAST. It pretty easy to see which scenes contained the original footage and which were added to bring the film up to feature length.

I liked the original scenes, but found the added footage a rather dull elongation of the basic theme. And it certainly doesn't take an Einstein to figure out the conclusion.

A young girl, along with her mother, arrive at the villa of a seedy count whose only son seems to be girl shy. Around this point we see flashbacks about a female ancestor of the Count who was raped by a strange beast------who looks like a cross between a bear and a gorilla. The flashbacks showing the beast chasing the Countess and ejaculating constantly at the sight of her, take up most of the original footage. Oddly, if the struggles of the Countess to get away from the beast had been calculated to arouse him further, they couldn't have hit the mark any better. Regrettably for the future, the countess finds the beast is the man for her and excites him to a marathon encounter in the woods. Meanwhile, in the present, the son constantly keeps one hand bandaged with the excuse that he had an accident. Ahhh, the sins of the mothers.

OK. It's different. The romantically shot sequences with the Countess and the beast in the past are quite good. Too bad they weren't left in IMMORAL TALES (a fine film!) rather than being used as an excuse to add an hour to a film to bring it up to length.

Deleted sequences being beefed up to make a 90 minutes feature usually fail for the most part. The only exception I can think of is DESTINY (1944), which was the sequence cut from FLESH AND FANTASY (1943). Now there are two films worthy of a restored release.

Chu Chin Chow (1934)

Musical Version Of Ali Baba & The Forty Thieves

[10/10 · 26 August 2001]

CHU CHIN CHOW (1934) is one of the best films from Anna May Wong's British period. Disappointed that her career had been stuck in a succession of oriental vamp roles, she went to Europe and accepted an invitation from E. A. Dupont (director of VARIETY with Emil Jannings) to do PICCADILLY.

First filmed in 1925 with Betty Blythe, CHU CHIN CHOW is the Arabian Nights story of Ali Baba And The Forty Thieves, with musical numbers as you might expect to see them in a British music hall of the era---------including some pre-Busby Berkeley choreography. It was London's longest running musical and is given an elaborate screen adaptation. The production boasts sumptuous sets and lush cinematography, meant to suggest the Western view of the mysterious orient, and has a lavishness usually missing from the films of depression era Britain. The choreography, while interesting as a record of the time period, gave Busby Berkeley few sleepless nights.

An international cast, with wildly varying accents, lent CHU CHIN CHOW an odd otherworldly flavor, which fit nicely with the Arabian Nights fantasy. Besides the very beautiful and American Anna May Wong, the role of Ali Baba is played by comedian George Robey, known in Great Britain as "the Prime Minister of Mirth."

Austrian born Fritz Kortner brought a malicious enthusiasm to the role of Abu Hassan, the bandit chief. Kortner plays the part with his usual over-the-top expressionist style-------almost as if he were a very wicked little boy----------cruel and murderous one moment, cuddly and boyish the next. It was only in his American films that he approached a role with anything like restraint. He had been something of a popular curiosity in Europe for staging "eccentric" versions of Shakespeare. His right hand man in the film is Dennis Hoey, best known to American audiences as the baffled and long-suffering Inspector Lestrade opposite Basil Rathbone's Sherlock Holmes.

Pearl Argyle, one of the most beautiful leading ladies in British films, has the romantic lead of Marjanah, but is best known for her appearance as Katherine Cabal opposite Raymond Massey in THINGS TO COME. The part of Abdullah, the singer with the very low voice, is the famous Mr. Jetsam (Malcolm McEachern), the deeper half of the popular singing duo of Flotsam and Jetsam.

Most amusing of all, though, is Francis L. Sullivan, who specialized in comically pompous and officious types, playing the Caliph toward the end of the film. The famous story told about him is from the early days when British television was still live. He was reputedly playing a passenger on a plane in flight, but had evidently forgotten his lines. On camera, he blithely ad-libbed to the passenger next to him, "Excuse me, this is my stop" and left the set. But whatever his eccentricities, he and his broad girth gave an immensely enjoyable performance in one of the most fondly remembered British films of the 30's.

Jay F.

Dr. Mabuse, the Gambler (1922)

Dr. Mabuse and The Noir Moment

[10/10 · 12 August 2001]

WARNING: POSSIBLE SPOILERS AHEAD

What separates film noir from the standard crime or gangster film? Psychology. Where the common criminal is simply interested in money, the film noir villain has a profound understanding of human nature and enjoys playing with the lives of others as much for pleasure as for gain.

The year is 1922. The place is post WW I Germany. It was a time of inflation so great and so accelerated that a loaf of bread costing a mere 20 thousand marks in the morning could be priced at 5 million marks by evening. Restaurant prices skyrocketed while diners were eating. Businesses paid their workers twice a day so their money would have some buying power. By November of 1923, it took 4.2 trillion German marks to buy a single American dollar. Moral chaos ensued.

To set the amoral mood of DR. MABUSE, people are shown climbing the ladder of success by exploiting the vices of others. But no value judgments are made. We see only that vice is profitable, not that it is wrong or right. The economic instability of the period gives rise to extraordinary moral decadence: a dancer performs a stage show with blatant sexual imagery; drug addicts are everyday characters, and prostitute children are openly soliciting in the streets. It's indicative of this film's milieu that even the good characters are allowed to enjoy Schadenfreude-----------pleasure at the misfortunes of others. The Countess Tolst, for instance, enjoys watching the faces of gamblers when they lose at cards------suggesting that even angels can become devils when they live in the hell of social chaos.

The German people of 1922 needed a savior to believe in. But he didn't have to have wings and a halo. He could be a criminal mastermind. Dr. Mabuse is such a man. He has no compassion, no mercy, no friends------------no equals-------only servants. He's professor Moriarty and the insidious Dr. Fu Manchu rolled into one. He isn't simply a mastermind who sits in a sterile room directing his criminal activities; he's also a master of disguise who enjoys becoming a different person to commit his crimes. His cohorts are so dedicated to him that they willingly sacrifice their lives--------some by suicide----------so that he can continue his great work. He is convinced of his mental and psychic gifts and lesser humans are only toys for the various games he plays. But like a child, he's unaware that any harm can come to him and is unprepared for police commissioner Von Wenk to be as ruthless and as merciless as he is.

The film is filled with noir moments: One of the crisises of the film comes during the card game between Mabuse and Commissioner Von Wenk, when both men are heavily disguised. Mabuse tries to psychically overpower Wenk's mind and in a highly cinematic noir moment, the room totally darkens, obscuring everyone but them to emphasize the contest of wills. Another highly symbolic noir moment comes when Count Tolst-------who is socially disgraced because Mabuse hypnotized him into cheating at cards------------walks from the shadows, a defeated man, toward Mabuse, standing in a bright beam of light, symbolic of the German people's yearning for a savior. Still another is when Countess Tolst pretends to be arrested and is thrown into the same prison cell as Cara Carrozza, to get information on the man Von Wenk calls "The Great Unknown." Cara tells her of Mabuse's greatness and of her love for him, causing the Countess to admire her for protecting the man she loves. The noir moment comes when Cara sits alone in her cell---------wondering if Mabuse has betrayed her-----------the shadow of the prison bars shine on her face and we realize she is not only in a physical prison, but an emotional prison of Mabuse's making.

It's not difficult to see DR. MABUSE as the first film noir, and one of the finest films of the German silent period. Definitely a film of its time, it could have predicted the rise of Adolph Hitler had anyone been paying attention.

The message of the film is that theft and murder in pursuit of a great cause are permissible, but that cheating is dishonorable and will be punished by fate. Mabuse is a gambler who played with life. He lost because he committed a gambler's only sin. He cheated, and his punishment is to be haunted by the ghosts of his own misdeeds.

Originally, a two part film running nearly three and a half hours, but mostly seen in a highly edited version of half that length. While I haven't seen the upcoming Image DVD and can't comment on its picture and sound quality, it restores the film back to its original length and adds a music track. It's a film every student of cinema should see, especially if you enjoy film noir.

Jay F.

Dr. Mabuse, the Gambler (1922)

DR. MABUSE And The Noir Moment

[10/10 · 10 August 2001]

WARNING: POSSIBLE SPOILERS AHEAD

What separates film noir from the standard crime or gangster film? Psychology. Where the common criminal is simply interested in money, the film noir villain has a profound understanding of human nature and enjoys playing with the lives of others as much for pleasure as for gain.

The year is 1922. The place is post WW I Germany. It was a time of inflation so great and so accelerated that a loaf of bread costing a mere 20 thousand marks in the morning could be priced at 5 million marks by evening. Restaurant prices skyrocketed while diners were eating. Businesses paid their workers twice a day so their money would have some buying power. By November of 1923, it took 4.2 trillion German marks to buy a single American dollar. Moral chaos ensued.

To set the amoral mood of DR. MABUSE, people are shown climbing the ladder of success by exploiting the vices of others. But no value judgments are made. We see only that vice is profitable, not that it is wrong or right. The economic instability of the period gives rise to extraordinary moral decadence: a dancer performs a stage show with blatant sexual imagery; drug addicts are everyday characters, and prostitute children are openly soliciting in the streets. It's indicative of this film's milieu that even the good characters are allowed to enjoy Schadenfreude-----------pleasure at the misfortunes of others. The Countess Tolst, for instance, enjoys watching the faces of gamblers when they lose at cards------suggesting that even angels can become devils when they live in the hell of social chaos.

The German people of 1922 needed a savior to believe in. But he didn't have to have wings and a halo. He could be a criminal mastermind. Dr. Mabuse is such a man. He has no compassion, no mercy, no friends------------no equals-------only servants. He's professor Moriarty and the insidious Dr. Fu Manchu rolled into one. He isn't simply a mastermind who sits in a sterile room directing his criminal activities; he's also a master of disguise who enjoys becoming a different person to commit his crimes. His cohorts are so dedicated to him that they willingly sacrifice their lives--------some by suicide----------so that he can continue his great work. He is convinced of his mental and psychic gifts and lesser humans are only toys for the various games he plays. But like a child, he's unaware that any harm can come to him and is unprepared for police commissioner Von Wenk to be as ruthless and as merciless as he is.

The film is filled with noir moments: One of the crisises of the film comes during the card game between Mabuse and Commissioner Von Wenk, when both men are heavily disguised. Mabuse tries to psychically overpower Wenk's mind and in a highly cinematic noir moment, the room totally darkens, obscuring everyone but them to emphasize the contest of wills. Another highly symbolic noir moment comes when Count Tolst-------who is socially disgraced because Mabuse hypnotized him into cheating at cards------------walks from the shadows, a defeated man, toward Mabuse, standing in a bright beam of light, symbolic of the German people's yearning for a savior. Still another is when Countess Tolst pretends to be arrested and is thrown into the same prison cell as Cara Carrozza, to get information on the man Von Wenk calls "The Great Unknown." Cara tells her of Mabuse's greatness and of her love for him, causing the Countess to admire her for protecting the man she loves. The noir moment comes when Cara sits alone in her cell---------wondering if Mabuse has betrayed her-----------the shadow of the prison bars shine on her face and we realize she is not only in a physical prison, but an emotional prison of Mabuse's making.

It's not difficult to see DR. MABUSE as the first film noir, and one of the finest films of the German silent period. Definitely a film of its time, it could have predicted the rise of Adolph Hitler had anyone been paying attention.

The message of the film is that theft and murder in pursuit of a great cause are permissible, but that cheating is dishonorable and will be punished by fate. Mabuse is a gambler who played with life. He lost because he committed a gambler's only sin. He cheated, and his punishment is to be haunted by the ghosts of his own misdeeds.

Originally, a two part film running nearly three and a half hours, but mostly seen in a highly edited version of half that length. While I haven't seen the upcoming Image DVD and can't comment on its picture and sound quality, it restores the film back to its original length and adds a music track. It's a film every student of cinema should see, especially if you enjoy film noir.

Jay F.

The Virgin Suicides (1999)

What Is A Masterpiece?

[18 June 2001]

I watched the DVD of THE VIRGIN SUICIDES again last night in the hope that I had misjudged it the first time around. Like most people, I'm susceptible to movie reviews and after reading the words "magnificent" and "glorious" and "haunting" and "brilliant directorial debut" I wanted to love this film. Regrettably, it didn't improve with a second viewing.

Proclaiming any work of art a masterpiece may be the artistic equivalent of Einstein's' theory of Relativity in that it depends on the perspective of the viewer. I should state upfront that I'm not a teenager, so maybe I shouldn't be commenting on a film made from a famous book on the subject of teen suicides. And to be honest, this film may have poignancy to younger viewers that was lost on my mature sensibilities. I was brought up on the films of Ingmar Bergman and Stanley Kubrick, so I'm not hooked on thrill a minute, T & A festivals or on following Indiana Jones on another crusade. For me a film is either good or not good---------or great, when you're lucky enough to find one and awful when you're not. A film either has to have marvelous action/special effects, or have a good story and be intellectually engaging. I prefer the latter. I expected the latter in the case of THE VIRGIN SUICIDES. Instead I found suppressed hormones and five teenage girls who believe that being female is a liability. Almost as a religious pact, they decide to withdraw from the world permanently.

The Lisbons are a highly dysfunctional family. Dad is a socially inept math teacher, while mom is a strict disciplinarian who forgets she was once a young girl. I call the family dysfunctional, yet the nice middle class family I saw on the screen is quite common in American life. That may be the real and tragic message of this film.

I'd like the people who saw this as a masterpiece to look at Ingmar Bergman's CRIES AND WHISPERS, which also has deep sisterly emotions in a family crisis and let me know what they thought of it. If THE VIRGIN SUICIDES speaks to you, then this really may be a great film, but CRIES AND WHISPERS speaks to everyone----------and isn't that the definition of a masterpiece"?

Jay F.

The House of Mirth (2000)

A Fine Film With Great Emotional Depth

[7 June 2001]

POSSIBLE SPOILERS AHEAD.

Director Terence Davies sensitively directs a fine group of actors who portray the characters in Edith Wharton's most famous novel. THE HOUSE OF MIRTH is an excellent art house presentation with the added allure of Gillian Anderson in the uncharacteristic role of Lily Bart-----a beautiful, vulnerable, but shortsighted woman who knows what she wants but is driven to pass up every opportunity for a "brilliant" marriage to a scion of New York society. Miss Anderson's personality is a bit too modern for the role of Lily, but she does a commendable job in the part. There is perhaps a bit too much of a feminist message in her comments on a woman's role in society. We are, after all, seeing the events of a century ago, and judging the past by present day standards always gives the sense of belatedly condemning history. But despite the cross-cutting of emotions, class and subtle sexism, the general theme of the story is that most people find out the truth about themselves and their milieu too late.

Eric Stoltz is remarkably affecting as Lawrence Seldom, a man who understands Lily, the world, but not himself. The scene in the garden at the Trenor party where he and Lily almost declare their love for each other is one of the most memorable I've seen in years.

Anthony LaPaglia as the social climbing businessman and Dan Aykroyd as the lustful Gus Trenor are right on the mark with their characters. Terry Kinney as the weak-willed George Dorset has an understated intensity that few actors could successfully convey. Laura Linney as his malicious and scheming wife Bertha turns in an excellent performance as the woman who dramatically delivers the coup de grace to Lily's social ambitions.

The standout for me, though, is Jodhi May who plays Grace Stepney. Her face can show conflicting nuances of emotion that deeply affect the viewer. Where has this actress been hiding? There are scenes between her and other actors where she is saying one thing, yet conveying quite a different meaning to the audience through her facial expression that are positively heartbreaking. One scene in particular has her turning Lily down for a desperately needed cash advance in the full knowledge that her denial will end in tragedy for Lily. She denies her the money for supposedly moral reason, yet has tears of regret in her eyes because of the jealousy that is making her do it. Portraying a conflict of emotions in a single character is a rare talent and Miss May's ability is magnificent.

Let's hope we see more of this very gifted actress and that her next role will be more prominent. Hers is a performance not to be missed in a film of great emotional depth.

Jay F.

A Woman's Tale (1991)

A Life-Affirming View Of Dying

[6 March 2001]

A WOMAN'S TALE. A touching, sensitive, Australian film about an elderly woman dying of cancer (played by 78 year old actress Sheila Florance who knew she was dying of cancer when the film was being made) who has lost none of her joie de vivre and continues to live life to the fullest without the smallest hint of self-pity for her future death, which she knows is imminent.

The marvelous thing about this film is watching Florance's cheerful disposition, while those around her wear long faces. Through flashbacks, we see the tragedy of her past life; and in the present, the resignation of the other old people living in her apartment building who once led formerly productive, vigorous lives, but have now given up. She never gives up and this strength inspires much younger people------who only grudgingly tolerate her-----to admire her strength and see older people in a different way. This used to be referred to as a "small film" but with great feeling behind it.

Queen of Hearts (1989)

A Marvelous Film For Everyone To See

[6 March 2001]

One of the most charming films of the 80's. It's a happy, sad, tragic, comic and glorious film about an Italian immigrant family living in England, filled with the kind of characters that used to be so common in 30's and 40's films when we had character actors who played outrageous, over-the-top parts.

The story opens in Italy where Danilo steals Rosa away on her wedding day from the man her mother had chosen for her. Their escape plays with the action of a Republic serial but with a totally unexpected comic ending. The two flee to London where Danilo is given the secret to winning at cards from a talking stuffed pig on a meat platter. But his success is short lived and he and his family soon turn to running a coffee shop that is only marginally successful.

The rest of the film is taken up with marriage and family and the adventures of life that happened while they wait for that lucky break-----------and it happens with an extraordinary event that pulls joy from tragedy. I'll only tell you that for the men in her life, Rosa remains the Queen of Hearts.

The film has all the sweetness and heartache of FORREST GUMP------------and all the love and inspiration, too--------backed my lush romantic music that parallels the emotion of the characters.

If you buy only one film from the MGM Vault Classics, I'd recommend this one.

The Berlin Affair (1985)

A Fine Film From A Much Maligned Director

[6 March 2001]

It has long been fashionable in critical circles to bash the films of Liliana Cavani. Her films tend to show sleazy low life characters---------even when they live in palatial mansions. Her controversial NIGHT PORTER was unjustly accused of being deplorable, and insult to the intelligence of the average moviegoer, an offense to Jews and women, and generally condemned by everyone of cinematic importance. For me, she is the modern purveyor of film noir at it's darkest.

THE BERLIN AFFAIR tells the story of Mitsuko, daughter of the Japanese ambassador to Germany during the Nazi era. She is publicly quiet and demure, but in private, flamboyantly bisexual and seduces the wife of a high Nazi official-------and eventually the husband himself. This leads to a rather unusual ménage a trois with each member of the triangle becoming more and more jealous of the others. Eventually, this self-destructive relationship becomes harder and harder to resist in spite of the personal dangers to the individuals and their respective families and political causes.

It would be easy to dismiss this film as another sleazy sex opera from Cavani. But a great deal is going on in this film---------politically, sexually, socially, racially and artistically. There is a definite message for those willing to see it-------and it would be more fun for each viewer to find it for himself. Ignore Leonard Maltin's opinion and decide for yourself.

The Private Files of J. Edgar Hoover (1977)

Well Done Story Of America's First Top Cop

[6 March 2001]

Casting Broderick Crawford as Hoover was a stroke of genius on the part of the casting director of this film. He's perfect for the part. He brings out the gruffness and arrogance of the character, while simultaneously showing the insecure, low self-esteem inner man that Hoover is portrayed as being.

We see him first as a young idealist, working in the Justice Department, wanting to protect the legal rights of immigrants and fighting the internal corruption of the FBI in the 1920's. Then he becomes the "Top Cop" of the nation and a publicity seeker with the help of Walter Winchell. And finally as an old man jeolously guarding his power and firmly entrenched in the political system. But more importantly, we see the dual nature of his morality: on the one hand, his fastidious approach to sexuality and his ego crushing sensitivity to his own unattractiveness; and on the other hand, his sessions-------bottle in hand--------listening to the sexual encounters on FBI surveillance tapes.

The film is not without humor, however. Look for a scene about disposing of a fly in Hoover's office.

In some ways, a waxworks of a film with actors looking and sounding like famous political leaders, but more importantly a record------part fact, part fiction------of a very complex man, who's personality and inner demons helped to form the concept of justice in the American public's mind from the 1930's until his death.

A Quiet Place in the Country (1968)

Disappointing Filming Of What Should Have Been A Fascinating Story

[6 March 2001]

A mad artist can't separate fantasy from reality and takes us on a 106 minute, sleep-inducing journey through his own illusions, which include a vision of a girl who died twenty years ago in an Italian villa. Cinematic chloroform from what should have been a fascinating film. Had the music not been so frightfully avant-garde, I might have enjoyed this a little more. I got the point that the music reflected his inner turmoil, but it was just a bit too noisy and chaotic for me. Also, his imitation of a three year old who can't keep the same train of though for more than five minutes de-railed my interest in the story. Vanessa Redgrave, especially, and the rest of the cast give fine performances, but the movie just didn't work for me. This film was a real disappointment and I kept thinking what Mario Bava could have done with material like this!

Clownhouse (1989)

Darn Good Thriller. Where Has This Film Been Hiding?

[4 March 2001]

From the new MGM Vault releases, I decided to watch CLOWN HOUSE first. I was quite impressed with it.

The plot: A young boy has been frightened by circus clowns since he was three years old. His older brother, 14, is understanding; another brother, 17, is a mean jerk who constantly ridicules the boy about his fears.

The circus is in town, of course, and guess who doesn't want to go, but is bullied into it by his oldest brother. As fate would have it, three escaped mental patients kill three clowns, take their clothes and break into the home of the three boys when mom and dad are away.

It takes half the picture for the youngest kid to convince his two older brothers that the clowns aren't just in his imagination. Even the police won't believe him.

This is one of the best-choreographed horror films I've seen. The amount of times the two older brothers just miss seeing the clowns is amazing and done with extraordinary skill by the filmmakers. I wonder why this film isn't better known? I've seen worse become big hits at the box office. I'm not saying it's a forgotten masterpiece, but I don't think many will be disappointed if they give it a look.

Jay F.

The Amazing Mr. X (1948)

The Best Photographed "B" Film Noir Of All Time

[19 February 2001]

A convoluted story, exquisitely photographed, telling the tale of a widow who can't get the memory of her dead husband out of her mind. She and her kid sister become enchanted with a phony spiritualist who is only interested in picking up some easy money. A detective and the widow's fiancé investigate the situation and then unexplainable things start to happen. The widow is now drawn into a dream world where her own imaginings become her worst enemy.

What a film! This is my favorite "B" film noir. Helped enormously by John Alton's lush and subtle cinematography, this low budget film seems far more expensive than it is, keeping you enthralled with the question "how did he get that effect?" This film shows Alton's lighting techniques like no other. THE SPIRITUALIST a.k.a. THE AMAZING MR. X is prominently featured in PAINTING WITH LIGHT, Alton's most famous book on cinematography.

However, the curse of films in the public domain is that the original copyright holder------who no longer owns the rights------had no reason to preserve decent pre-print. The result is that the only existing 35mm print is in atrocious unprojectable condition and the few 16mm prints-----when they surface------are usually scratched and battered beyond enjoyment. What a shame that this masterpiece is not available in a quality presentation-------and probably never will be.

Harold Teen (1934)

A marvelous Unsung "B" musical from 1934!

[8/10 · 16 October 2000]

A marvelous unsung "B" musical from 1934. No breathtaking dance routines, no overpaid big names----just 68 minutes of fun, music and good humor. There are some familiar faces such as Guy Kibbee, Douglas Dumbrille, Rochelle Hudson and Pat Ellis in the cast. And it's your only chance to hear Chick Chandler SING! And you'll want to hum the songs by Sammy Fain & Irving Kahal. Get the DVD of 42nd Street and you can see the production short from this feature. The story----as if there needed to be one----concerns a cub reporter, based on the 1920's cartoon strip character HAROLD TEEN, who will do anything to get a big story, including learning how to dance from Hugh Herbert---a correspondence school dance instructor. Harold's a fast learner, considering that star Hal Le Roy was a Broadway dancer at the time. The usual complications occurs: a temperamental rich girl who wants to be the star of the show and her father who decides he's going to marry a girl young enough to be his daughter. Everything turns out well in the end, of course, especially for the audience who had a darn good evening at the movies.

Recommended!

On with the Show! (1929)

Charming Transition Talkie Musical

[8/10 · 16 October 2000]

OK, so it's the old story about what goes on backstage in the production of a Broadway musical----even to the cliché of the star getting sick and the understudy taking her place and becoming a big star. Many critics see this as the inspiration for 42nd STREET, but this film has the period charm that only the transitional talkie musicals could have. Part of it is quite stagebound-----including musical numbers as you probably would have seen them on the Broadway stage in the 1920's, so if you don't care for very early musicals, you'd better pass on this one.

This was the film that introduced the song "Am I Blue" sung by a very young Ethel Waters, and followed by the even better "Birmingham Bertha" with black dancer John Bubbles. You should be warned that there are black dancers in the cast who wear some outrageous politically incorrect costumes---including one number where their costumes have watermelon stripes on them! And seeing Joe E. Brown as a mean comedian who constantly argues with Arthur Lake (better known as Dagwood Bumstead in the BLONDIE Series) will be something of a revelation to his fans. The film was made in the early two-strip Technicolor process, which unfortunately has yet to be found, but is still quite enjoyable in B & W. Remember, although this is a very charming transitional talkie musical, modern audiences will only see it as a horribly dated antique.

Peter Pan (1924)

Peter Pan---An Enchanting Silent Film For All Ages

[19 December 1999]

After watching the Kino DVD of PETER PAN, I was delighted to have this most charming of silent films finally available in a quality video release.

The picture quality, which was subtly tinted amber and blue, will disappoint no one, although it looked more like a really good 16mm print than a 35mm to me. Perhaps I'm spoiled because I've never seen the film in any gauge but 35mm. A great deal of the magic in PETER PAN was supplied by cinematographer James Wong Howe. Scenes that could have been foolish in other hands became enchantment in his.

The actors are magically believable in their parts. Betty Bronson, who convincingly plays a child although we never forget that she's really a grownup woman, gives a performance that is unusually `fey' and she seems to have fully developed every muscle in her face that can cause an adorable look to radiate to the viewer. Ernest Torrence as Captain Hook will remind everyone of their grandfather while he comically menaces Peter and the Lost Boys, but remains the perfect gentleman with Wendy------complete with courtly bowing and a flourish of his handkerchief .

The animals in Never-Never Land are children in marvelously expressive fur costumes who look like stuffed animals come to life. But the largest and most expressive of all is Nana, the canine nurse maid for the Darling Children who will amaze everyone with her anthropomorphic gestures. She (played by George Ali) is the delight of the film.

PETER PAN is filled with magical touches that never seem to go too far or become foolish. Peter's heart to heart talk with the crocodile when they conspire to "get" Captain Hook was one of my favorites, as were the mermaids on the beach. The only point that has ever bothered me is at the end when Peter actually stabs and kills two of the pirates. Somehow I thought this was out of place and brought too much realism to a light hearted fairy tale. But this is very minor nit-picking of an otherwise flawless silent film.

Phil Carli's score works perfectly and has a "turn of the century, concert in the park on a Sunday afternoon" feel to it. It wouldn't have worked with many silent films, but for PETER PAN it was marvelous------a tribute to Carli's ability to match a narrative theme with it's programmatic musical compliment.

The "value ads" are production stills from the film along with a poster and lobby card. There are also interviews with Esther Ralston (one video and three audio), who plays Mrs. Darling. The things she has to say about Louis B. Mayer are more than just interesting.

A title card at the very beginning tells the audience that the acting may seem whimsical to an adult but that "all the characters are seen with a child's outlook on life.....even to the adults in the story. Pull the beard on a pirate and you would find the face of a child." So for 102 minutes, clap your hands and pretend you believe in fairies.

Jay F.

Blonde Ice (1948)

Obscure "B" Film Noir About Cold-Blooded Femme Fatal

[7/10 · 31 August 1999]

Coldly beautiful Leslie Brooks is well cast as Claire, who happily goes about marrying rich men so that she can kill them, get their money, and move on to her next victim. It's a bizarre little film noir, which must have seemed even more bizarre in the days when most films wouldn't touch a story about a woman who is so totally ruthless in getting what she wants.

Robert Paige, as the man who really loves her but can't overlook her hobby, was in the latter stages of his career when this poverty row noir was made.

BLONDE ICE was directed by Jack Bernhard and photographed by George Robinson, the unsung master cinematographer who gave such great atmosphere to the Universal "B" horror films of the '30's and 40's.

There are also many fine character actors playing the type of roles they were so well known for------even if their names were not. They showed up so often in the '30's and '40's------always playing the same character-------that we knew when they walked on the screen exactly what their personality was going to be.

Edgar G. Ulmer, the famous cult director of such admired "B" masterpieces as DETOUR, THE BLACK CAT and RUTHLESS claims to have written the story, though his name does not appear in the credits.

This is one of the most difficult "B" films to see, but is well worth watching if you get the opportunity.

The Chase (1946)

Dreamlike Film Noir Chase To Havana

[8/10 · 29 August 1999]

Chuck Scott, a returning WW II soldier, takes a job as driver to Eddie Roman, a vicious gangster who will typically stop at nothing to get what he wants. Roman, who has a particularly sadistic side to his nature, likes to test new drivers and so has an accelerator in the back seat of his car so that he can "take over" total control whenever he wants. This bizarre quirk drives Roman's right hand man, played by Peter Lorre, understandably crazy. Scott passes the test and gets the job.

He then proceeds to fall in love with Roman's wife, who is so frightened of her husband that she tries to commit suicide. The two decide to run away together, but Roman finds out about their plans and the chase is on. Or is it?

This is probably the most dreamlike film noir ever made, due in great part to the plot by Cornell Woolrich----the master of bizarre situations------from his novel THE BLACK PATH OF FEAR. It's a bit confusing, but that only adds to it dreamlike atmosphere.

Robert Cummings, Steve Cochran, Peter Lorre, Michele Morgan, and even Don Wilson, more famous as the announcer on the Jack Benny Television Show, are perfect in their roles. And Lloyd Corrigan has a small but dramatic scene where Roman and Lorre decide to put the bite on him in the wine cellar.

It's an obscure film noir that's seldom shown on televison and strangely isn't yet on video. What a shame.

The Whip and the Body (1963)

Horror Film With An S & M Twist

[8/10 · 20 December 1998]

Kurt Menliff (Cristopher Lee) returns home to his ancestral castle which he was forced to leave after he whipped a village girl nearly to death. He finds that his fiance (Daliah Lavi) has married his brother, as well as having become the mistress of his father. (Don't panic, there's worse to come). He follows her to the beach and whips her savagely. She loves it and they end the session making love. The next day Kurt is found dead and Daliah soon begins experiencing nightly flagellations at the hands of his ghost. Christopher Lee has stated that this is one of his best films. It is certainly one of the most brilliantly bizarre horror films ever made. Directed by cult icon Mario Bava, Italy's finest cinematographer (if not one of their finest directors), it rises as far above an S & M fantasy as can be imagined. It was censored in every country in the world for its sexual violence and what remained was almost incoherent for most audiences and re-released under various titles: WHAT! in the US; NIGHT IS THE PHANTOM in the UK, etc. Until video (with somewhat faded color) it was impossible to see in its original form. Even now it remains a profoundly misunderstood film and should be seen in a theater in its complete form instead of on video.

J.F.

Abdul the Damned (1935)

Sex, Lies and Political Intrigue in 1900 Turkey

[8/10 · 12 November 1998]

Abdul Hamid was the sultan of Turkey at the turn of the century. A dozen sultans before him had been murdered for political reasons. He lives in such fear of assassination that his chief of the secret police, Nils Asther (in an unusually menacing role), "removes" anyone who could possibly be a threat. Along comes Adrienne Ames as the star of a touring British musical. The sultan takes one look at her and falls in love. She won't give him the time of day. The chief of police has her fiancé arrested on a pretext and threatened with execution to "encourage" her to enter the sultan's harem (which interestingly and politically correctly contain women from every possible race: Black, European, Jewish, etc.). She agrees. Most of the film is concerned with the political machinations of the sultan and the chief of police. It's a political thriller and from that POV was quite ahead of its time. But it's a fascinating film in its own right. Not only because of Fritz Kortner and Nil Asther, but because of the fine acting by Eric Portman, Patrick Knowles, Esme Percy as the chief eunuch, and a brief but forceful appearance by George Zucco as the Captain of the firing squad. Added to all of this is an excellent musical score (with a rare filmed glimpse of a 1930's English musical production), brilliant editing and cinematography that will remind you of the German Expressionism movement------much of the crew, director, cinematographer, etc. were German immigrants. The film has as German a feel as SUNRISE. If you get a chance to see it, do. It's a favorite of mine.

Jay Fenton

The Mystery of the 13th Guest (1943)

A young girl arrives at her ancestral home and is...

[6/10 · 15 August 1998]

A young girl arrives at her ancestral home and is promptly murdered-- -or is she? Twelve years earlier the murdered woman, as a little girl, had attended a birthday party for her dying grandfather. Thirteen partygoers were invited but only twelve attended. The thirteenth guest was death.

Now, in the present, the original twelve guests are members of the family fighting over the will and someone wants the money badly enough to kill for it. Detective Dick Purcell is called in to solve the crime, aided by comic sidekicks and the usual inept policemen who only seem to inhabit "B" mysteries. Directed by William "One Shot" Beaudine, this 60 minute quickie is a darn good version of the Armitage Trail mystery and manages to be a little better that its 1932 predecessor-----though for some reason the 1943 film is much more difficult to see.

I'll Never Forget You (1951)

Romantic Fantasy About Traveling To The Past

[1 August 1998]

I'LL NEVER FORGET YOU is the remake of BERKELEY SQUARE and is about scientist Peter Standish (Tyrone Power) who has such a love of the past that he "wills" himself back to the eighteenth century. While there, he falls in love with a girl who never existed (Ann Blyth).

Since he knows about future events he is looked upon as a conjurer, at first; but as his predictions never fail, he soon comes to be seen as an emisary of the devil.

With his 20th century knowledge of science, he makes models of famous inventions: the electric light, the steam engine, and talks about splitting the atom and using chloroform in surgery. He believes he can speed up progress by a century and a half, and is surprised to find that people are afraid of his ideas. The 18th century is not at all as he expected. He is shocked by the filth and the cruelty he sees all around him. The only thing he loves about the era is Helen. But she too is taken away from him as he is mysteriously whisked back to the 20th century.

The film was made in the U.K.; was evidently poorly distributed in the U.S. and is quite difficult to see. I'LL NEVER FORGET YOU is superior to BERKELEY SQUARE (which seems very stagey when seen today). Along the way, many fine British character actors play wonderful cameos of Dr. Johnson (Robert Atkins) and the Duchess of Devonshire (Kathleen Byron, more famous as the sex mad nun in BLACK NARCISSUS).

If you like romantic films and you ever get the chance, see this film.