mmtoucan Reviews

July 14 (1933)

Roger Ebert's "idiot plot" epitomized

[4/10 · 16 May 2019]

Ebert characterized films with "idiot plots" as those "containing problems that would be solved instantly if all the characters were not idiots." Clair seems to love the Parisian types he depicts, though they are barely functional and knee-jerk belligerent. There's never an attempt at resolving a misunderstanding or solving a problem - well, perhaps sometimes, but only as a last resort. And yet Parisian life and love perseveres, and this is Clair's big statement. One that I found aggravating, as the film is overloaded with loud, stupid noise and senseless arguing. Ha Ha. Meanwhile, the thin thread of a romantic plot is overwhelmed by Clair's exaggerated focus on Parisian cultural dysfunction leaving me annoyed and dissatisfied. Clair's drunken millionaire is clearly borrowed from Chaplin's City Lights (1931), and this was made before Modern Times (1936), often cited as being Clair-inspired. Coincidentally, Paul Ollivier, with white hair and a black mustache is the spitting image of Chaplin's stage character in Limelight (1952).

Song of the Saddle (1936)

The Roots of Vengence

[7/10 · 1 December 2018]

In 1931, at Columbia, Buck Jones sang a song before becoming "The Avenger," outfoxing the villian and his two henchmen and orchestrating thier doom, one by one. The backstory is quite different here, as Jones played an adult Mexican who witnesses his brother's brutal murder and Dick Foran is a singing cowboy who witnessed his pioneer father's murder as a child. Before this, Ken Maynard, Bob Steele, Johnny Mack Brown and others had also used this kind of childhood preface. The audience has a strong emotional stake in the hero's quest for vengence and at the same time can't condone his out-right murder of the villians. Buck Jones as a Mexican couldn't get justice in white man's California, and our singing cowboy can't because "It happened too long ago" and he has no proof. Like Buck, though, he writes the three villians names on a wall, to be checked off. As in The Avenger, their fates are are almost identical. So this Warners' B+ western qualifies as an unofficial remake, getting no points for originality. But in the B's especially, "it ain't what you do, it's the way that you do it," and Song of the Saddle does it very well. I loved best Charles Middleton, dark-souled and merciless as ever. Too frail for fights and lassoing, but larger than life in the scarey man dept.

Roar of the Press (1941)

Depressing snore

[3/10 · 28 November 2008]

Someone, perhaps veteran B director Phil Rosen, created okay, one-scene moments for former A stars, Dorthry Lee (Wheeler and Woolsey pics), Evelyn Knapp and Betty Compson. Someone also just saw His Girl Friday, so lots of pressroom reporter comraderie with one a star reporter with marriage issues. There's too much battle of sexes, verbal sparrage between reporter Ford and wifey Parker. Unfortunately, instead of capable, adult feminest Roz, we have the beautiful, but insipid Jean Parker, at home twiddling her thumbs and fuming. She complains he's missing dinner. He whines and lies.

Not fascinating.

Fury at Showdown (1957)

Low budget, but high quality

[7/10 · 8 August 2007]

Excellent collaboration between Oscar-winning cinematographer Joseph LaShelle and competent director Gerd Oswald tip the scales on the plus side for this B+ western. The big old Columbia western town set never looked more authentic. Dig the dogs harassing the stagecoach horses. The tracking shots and camera set-ups are all A picture quality. Note the use of the extras. Not the usual aimless wandering, but natural and with attitude. We often see the action from their point of view. Good stuff. The story needs it because their ostracizing of the young hero strains credulity. John Derek is a misunderstood hothead who wants to cool off but they won't let him. Very 50s. He and Nick Adams are very good and quite believable as brothers. The action (aka violence) is unpredictable, well-staged and bloody. The good musical score, played mainly by a lonesome harmonica and guitar, is by another Oscar winner, Harry Sukman. Was the last shot a happy accident or planned? It works.

Riders of the Rio Grande (1943)

Edward Van Slaon last big role

[7/10 · 8 November 2006]

Edward von Sloane is the town's benevolent,paternalistic banker and he thankfully holds the dramatic center of this played-for-laughs final Three Mequiteers entry. So great in Universal horror movies, Dracula and The Mummy, this is his last big role. As the movie opens, we follow him through the main town street. The heroic trio doesn't appear until minute 13 of this 1 hour movie. Jimmie Dodd (of Mickey Mouse Club fame)is the most animated of the three and gets to invent a very clever jailhouse blues song that summarizes the plot. Western cult favorite Bob Steele gets to spar with his all-time favorite "dog heavy" punching bag, Charles King. King, despite being portly, was expert at faking fights. Steele, a small but brilliant fighter, was as a result, very popular in the 30s B westerns which otherwise often featured horrendously phony fisticuffs. Eventually, Steele's morose persona would be memorable in supporting roles, most notably, The Big Sleep. A chain-smoker, he died of emphysema. Sloane's banker character has two wayward offspring. Rick Vallin, the son, is familiar from late-era serials and 50s TV. The sole female character is played by beautiful Lorraine Miller, top-billed above Sloane. Ultra-dependable heavy Roy Barcroft is here at the very beginning of his lengthy Republic Studios tenure.

Bridal Suite (1939)

Primo Robert Young ably supported

[6/10 · 14 September 2005]

Before the paternalism and the pipe, Robert Young played charming, rich wastrels and heavy-drinking womanizers, all charming and sympathetic. MGM put him in quality B+ productions of which this is one, a light romantic comedy that borders on screwball with Young the screwy one. He is in top form, as is the entire excellent cast. MGM's typical blitheful avoidance of little old WWII, alluded to twice in jest, as the setting shifts from wartime England to Switzerland to transatlantic liner is a big downer. That and supposed-to-be-funny-but-never-is Arthur Treacher in a small role. Oh, and the whole lame and overworked premise that honest work will cure Young of his scalawag ways, though it provides Annabella material for her one and only laugh in the finale. It's big enough to keep you happily laughing as the end credits appear.

Incidentally, how many movie feature musical numbers with zithers. The Third Man, of course, and Sunnyside Up with Janet Gaynor (an extremely great movie musical moment) and this movie (not so memorable).

Torchy Gets Her Man (1938)

Brassy Glenda is the greatest

[7/10 · 1 July 2004]

With the fifth of Glenda Farrell's seven Torchy Blaine films, the Warner Bros. series would begin to drift away from knotty whodunits to more cops-and-robbers action with which the series would remain, incl. the two non-Farrell Torchys made after hers. Too bad, because now, instead of two sweethearts partnering to solve a murder, Torchy and Barton MacLane's Detective Steve McBride relationship now becomes adversarial reporter vs cop. Ho hum. Still, it was fun while it lasted. The chief pleasure of the series remains; Glenda Farrell as the brassy, intuitive and unstoppable newshound, Torchy Blane - greatest of all 30s Hollywood B movie female reporters.

Torchy Blane in Panama (1938)

Torchy in name only

[5/10 · 1 July 2004]

Wide-eyed, beautiful brunette Lola Lane assumes the role of Torchy Blaine, a role Warner Bros. created for the blonde and brassy Glenda Farrell. She starred in the previous seven. No longer the smartest person in the room, this Torchy is probably the most athletic: parachuting, jitterbugging, jumping ship and climbing walls. The character is now more adventuress than working girl. Comedy now dominates the series, with Tom Kennedy's part expanded. A parade of his goofy Lodge of the Leopard opens the film. Briefly seen is a float of black-faced white guys in leopard skins. Lola was one of the Lane Sisters that Warner Bros. put under contract. Among her husbands were Lew Ayres and Roland West.

The Big Bonanza (1944)

Compare and contrast to HBO's Deadwood

[5/10 · 23 June 2004]

This is a bigger-budget Republic western redeemed by director George Archainbaud's handling of the action scenes. It has strikingly similar plot elements to HBO's Deadwood series, chiefly that of the cutthroat, goldmine stealing, whoremongering, saloonkeeper played by former good guy actor, Robert Livingston, who has it in for the kid who witnessed his henchmen commit murder. The latter is not a typical plot element of this era's westerns. Unlike Ian McShane in Deadwood, there's no psychological depth, just the novelty of a former white hat hero playing a very black hat villain. The child, so quiet and watchful in Deadwood, here is a shrill and unnatural Bobby Driscoll.

Metropolitan (1935)

Good vehicle for the legendary Met baritone

[8/10 · 23 June 2004]

Darryl Zanuck's first release after the merging of his 20th Century co. and Fox studio, this features the boyish baritone, Lawrence Tibbett, in his prime. He was a busy guy in the 30s: top Metropolitan Opera star, movies, concerts, recitals and many radio appearances. The usual backstage story is played out with cheerful verve by the superior cast. Tibbett singing highlights are the famous "Figaro" aria from Barber of Seville; The Toreador Song from Bizet's Carmen; the Prologue to Pagliacci; as well as his rousing concert showpieces, "On the Road To Mandalay" and "De Glory Road: a negro spiritual." Tibbett's autobiography is titled The Glory Road.

All Quiet on the Western Front (1930)

Newly restored, silent version w. sound effects and score

[10/10 · 18 June 2004]

Now, in addition to The Library of Congress's restoration of the sound version, we have the silent version. It was released simultaneously (with the sound version) to theaters not yet fully equipped for "all-talking". The silent version does have a synchronized film score and constant sound effects, including singing, marching and all that artillery. Originally intended as a silent, the soundtrack works splendidly and improves many of the bunker scenes. For example, it helps one accept American actors, such as Slim Summerville, as Germans. The stabbed Frenchman scene is the main exception; unfortunately, it lacks the famous death gurgles. Also, occasionally, instead of trusting the visuals, there are too many dialogue titles.

Lew Ayres is so great being mentored by Louis Wolheim (check out his bio), presaging his later relationship with Lionel Barrymore.