Here are some promotional stills and glamour shots of the real Lamarr. Maybe I'll dig around to see if I can find some suitable images of Sutherland and feature her on some Wednesday as well.
Wednesday, March 28, 2018
Picture Perfect Wednesday: Hedy Lamarr
In "Hollywoodland", the time-traveling heroes of "Timeless" went to 1941 to save Orson Welles' "Citizen Kane" from oblivion. Along the way, they met Hedy Lamarr (portrayed by Alyssa Sutherland), 1940s superstar and brilliant inventor who came up with the basic idea that led to WiFi.
Sunday, March 25, 2018
Sherlock Sunday: The Great Detective on TV
Sherlock Holmes (39 half-hour episodes, produced 1954-1955)
Starring: Ronald Howard, Howard Marion Crawford, Archie Duncan and Kenneth Richards
Directors: Steve Previn (25 episodes), Sheldon Reynolds (9 episodes) and Jack Gage (4episodes)
Rating: Six of Ten Stars
From 1954 through 1955, Ronald Howard starred as Sherlock Holmes, with Howard Marion-Crawford as Dr. Watson, in a 39-episode series that was produced in France with a British cast. The half-hour episode were mostly original stories, with some drawing heavily on some of Doyle's original tales (like "The Case of the Red Headed League," and "The French Interpreter," which was almost a straight adaptation of "The Greek Interpreter").
The series is more lighthearted than most Holmes adaptations that don't bill themselves as comedy, with Watson, Holmes and Lestrade taking turns at being the focus of humor, the butt of jokes, and even solving the mysteries at hand.
Ronald Howard's Holmes is a flighty, playful man possessed with an almost juvenile sense of humor. While he is every bit the genius one finds in the Conan Doyle tales, he comes across more like an overgrown child than a man who grows erratic when bored. But he is also probably far more fun to be around than Holmes would have been as he was written by Watson (and portrayed in most other adaptions). In fact, the boyish nature of Holmes as we find him here makes the cluttered rooms at 221B Baker Street seem almost like a clubhouse where he and Watson hang out after school. It's a sense that is enhanced by the good humor and comedy running through nearly every episode.
The comedic touches in the episodes is a nice addition to the Holmes tales, but an even nicer touch is the fact that Watson is repeatedly shown to be smart and capable. On more than on occasion, he even manages to out-do Holmes, primarily because Watson is more down-to-earth and less prone to flights of fancy. Another refreshing aspect to Watson's character is that he more than once stands up to Holmes rather fiercely, refusing to be the brunt of his jokes and on more than one occasion getting Holmes to apologize. In fact, the relationship between Holmes and Watson seems more real in this series than in several other versions, despite the buffoonery and antics.
Another interesting aspect of the series is the way Archie Duncan appears as several different characters throughout. His main role is as Inspector Lestrade, but he also appears as Lestrade's cousin and even one of the villains as the series unfolds.
Like all television series, this one is a mixed bag. Of the 39 episodes produced, a handful are excellent (like "The Case of the Jolly Hangman" where Holmes helps a widow by proving her husband didn't commit suicide, "The Case of the Perfect Husband" where Holmes must save an innocent woman from her psychopathic husband while attempting to prove that he has murdered half a dozen women previously) or "The Case of the Belligerent Ghost" where Watson is repeated assaulted by a dead man), a few are absolutely awful (like "The Case of the Texas Cowgirl" which has a nonsensical plot and a lame mystery, while "The Case of the Thistle Killer" was so weak that Holmes should hang his head in shame for taking so long to solve it), but most are decent little mystery tales. Some have darker tones than others--"The Case of the Perfect Husband" and "The Mother Hubbard Case" are chillers that deal with deadly serial killers, while "The Christmas Pudding" sees Holmes under real threat of death for perhaps the only time in the whole series--but the series can be a great introduction to Sherlock Holmes if you have young kids who are getting into mysteries.
There are a couple of different DVD packages that contain the entire series. I viewed the one issued by Mill Creek. The quality of the source tapes varies from episode to episode, but the sound is generally clear and the picture is only occasionally washed out. It's not perfect, but the three-disk set is very reasonably priced.
Friday, March 23, 2018
For the broken hearted on this Friday night.
It's the ultimate "that loving feeling's gone" ballad. Cheer up... it could be worse!
Wednesday, March 21, 2018
The Milla Jovovich Quarterly:
Looking Out for Spring
Looking Out for Spring
Spring is here. Milla is patrolling the streets, looking to pop a cap in Winter if he dares to show his cold nose again!
Saturday, March 17, 2018
Friday, March 16, 2018
'Murder by Invitation' is a fine effort from Monogram
Murder by Invitation (1941)
Starring: Sarah Padden, Wallace Ford, Marian Marsh, Gavin Gordon, and J. Arthur Young
Director: Phil Rosen
Rating: Seven of Ten Stars
After her scheming relatives fail to have her committed to a mental hospital, eccentric millionaire Cassie Denham (Padden) invites them to her remote mansion, ostensibly to show she forgives them and to determine who is worthy to inherit her wealth. Within hours of their arrival, the guests start to disappear, and it falls upon reporters Bob White (Ford) and Nora O'Brien (Marsh) to identify the killer before they fall victim themselves.
"Murder by Invitation" is a fast-paced comedy-mystery with all the Old Dark House tropes. The acting is solid from all performers, the dialogue is sharp and quippy, and even the buffoonish cops act logically in the steps they take to capture the murderer. The plot is also above average, as screenwriter George Bricker actually took the time to present several viable suspects and a few credible twists that made it hard to guess who the killer was, but not impossible because enough clues were provided to let the viewer play along.
Of special note in this film is Marian Marsh, who was at the end of her ten-year rollercoaster acting career. She gives an excellent performance as a sharp-tongued newspaper woman who can stand toe-to-toe with the boys that is different from the damsel-in-distress parts she was most-often cast in. It's a shame that marriage and burn-out caused her to, in her words, "drift away from the acting profession."
The only true weak spot of the film is the opening courtroom scene... and I may think of it as such because of changes in American culture. The allegedly mentally incompetent Cassie Denham is put on the stand to testify in her own defense, and almost every response she gives is met with gales of laughter from the gallery. The problem is that she's not all that funny; she's being a smart-ass and she's putting her obnoxious relatives in their places, but she's not being fall-out-of-your-chair laughing like the courtroom audience seems to think. Given the skillful way the rest of the film is put together, I can only assume that some banter that was hilarious in 1941 isn't in 2018.
Starring: Sarah Padden, Wallace Ford, Marian Marsh, Gavin Gordon, and J. Arthur Young
Director: Phil Rosen
Rating: Seven of Ten Stars
After her scheming relatives fail to have her committed to a mental hospital, eccentric millionaire Cassie Denham (Padden) invites them to her remote mansion, ostensibly to show she forgives them and to determine who is worthy to inherit her wealth. Within hours of their arrival, the guests start to disappear, and it falls upon reporters Bob White (Ford) and Nora O'Brien (Marsh) to identify the killer before they fall victim themselves.
"Murder by Invitation" is a fast-paced comedy-mystery with all the Old Dark House tropes. The acting is solid from all performers, the dialogue is sharp and quippy, and even the buffoonish cops act logically in the steps they take to capture the murderer. The plot is also above average, as screenwriter George Bricker actually took the time to present several viable suspects and a few credible twists that made it hard to guess who the killer was, but not impossible because enough clues were provided to let the viewer play along.
Of special note in this film is Marian Marsh, who was at the end of her ten-year rollercoaster acting career. She gives an excellent performance as a sharp-tongued newspaper woman who can stand toe-to-toe with the boys that is different from the damsel-in-distress parts she was most-often cast in. It's a shame that marriage and burn-out caused her to, in her words, "drift away from the acting profession."
The only true weak spot of the film is the opening courtroom scene... and I may think of it as such because of changes in American culture. The allegedly mentally incompetent Cassie Denham is put on the stand to testify in her own defense, and almost every response she gives is met with gales of laughter from the gallery. The problem is that she's not all that funny; she's being a smart-ass and she's putting her obnoxious relatives in their places, but she's not being fall-out-of-your-chair laughing like the courtroom audience seems to think. Given the skillful way the rest of the film is put together, I can only assume that some banter that was hilarious in 1941 isn't in 2018.
Wednesday, March 14, 2018
Picture Perfect Wednesday: Abigail Spencer
One of my all-time favorite TV shows--"Timeless"--is back for a 2nd Season (after almost being cancelled on a cliffhanger)! To celebrate, and to illustrate the unifying theme of this blog, here's phere's actress Abigail Spencer. She plays the secret-society-busting, time-traveling-historian Lucy Preston on "Timeless.", showing us the unifying theme of this blog!
Saturday, March 10, 2018
'Tomorrow at Seven' is a one-suspect mystery
Tomorrow at Seven (1933)
Starring: Chester Morris, Vivienne Osborne, Frank McHugh, Allen Jenkins, and Henry Stephenson
Director: Ray Enright
Rating: Five of Ten Stars
A writer (Morris), working on a book about the serial killer known as the Black Ace, gets close to his subject while onboard a chartered flight where another passenger becomes the maniac's latest victim.
"Tomorrow at Seven" is one of those films that needs to be remade. It's a story with TONS of potenial that is mostly unrealized because no risks are taken in the way the plot develops... and what is set up as the ultimate locked room mystery (a murder takes place with all suspects and potential victims together, in the air, in an airplane!) instead unfolds as a mildly interesting comedy with some dramatic moments and romantic overtones.
Maybe it's because it's 85 years since this film was made, but all the characters had barely been introduced when I settled upon who I thought was the Black Ace. I turned out I was right, despite the fact there was a second character who could just as easily have been the killer (and a third who would have been slightly more far-fetched but still plausible)... and I was right, because the cast of characters are the stock figures you expect them to be based on their roles at the beginning of the story and the physical appearance of the actors playing them; once the handsome, romantic male lead is crossed off the list as the murderer, there's really only one suspect left. (That said, there are some nice steps taken to cast suspicion around on a couple different characters... and what a great movie this could have been if more bravery had been shown in the plotting.)
As it stands, "Tomorrow at Seven" isn't a bad movie... it's just unremarkable. All the actors are good in the parts, the film moves along a good pace, and there's never a dull moment. Even the comic relief characters--a pair of bumbling police detectives (portrayed with great charm by Jenkins and McHugh)--are good, because they are actually funny instead of just annoying or stupid as is often the case in films from this period.
If you like "old dark house" flicks, or light mystery films from the early 1930s, "Tomorrow at Seven" is worth checking out if you dont' have to go out of your way for it.
(For my part, I think "Tomorrow at Seven" has inspired me to do another random mystery plot generator for the NUELOW Games blog, like "Who Killed Buck Robin?" and "Who Killed Major Payne?")
Starring: Chester Morris, Vivienne Osborne, Frank McHugh, Allen Jenkins, and Henry Stephenson
Director: Ray Enright
Rating: Five of Ten Stars
A writer (Morris), working on a book about the serial killer known as the Black Ace, gets close to his subject while onboard a chartered flight where another passenger becomes the maniac's latest victim.
"Tomorrow at Seven" is one of those films that needs to be remade. It's a story with TONS of potenial that is mostly unrealized because no risks are taken in the way the plot develops... and what is set up as the ultimate locked room mystery (a murder takes place with all suspects and potential victims together, in the air, in an airplane!) instead unfolds as a mildly interesting comedy with some dramatic moments and romantic overtones.
Maybe it's because it's 85 years since this film was made, but all the characters had barely been introduced when I settled upon who I thought was the Black Ace. I turned out I was right, despite the fact there was a second character who could just as easily have been the killer (and a third who would have been slightly more far-fetched but still plausible)... and I was right, because the cast of characters are the stock figures you expect them to be based on their roles at the beginning of the story and the physical appearance of the actors playing them; once the handsome, romantic male lead is crossed off the list as the murderer, there's really only one suspect left. (That said, there are some nice steps taken to cast suspicion around on a couple different characters... and what a great movie this could have been if more bravery had been shown in the plotting.)
As it stands, "Tomorrow at Seven" isn't a bad movie... it's just unremarkable. All the actors are good in the parts, the film moves along a good pace, and there's never a dull moment. Even the comic relief characters--a pair of bumbling police detectives (portrayed with great charm by Jenkins and McHugh)--are good, because they are actually funny instead of just annoying or stupid as is often the case in films from this period.
If you like "old dark house" flicks, or light mystery films from the early 1930s, "Tomorrow at Seven" is worth checking out if you dont' have to go out of your way for it.
(For my part, I think "Tomorrow at Seven" has inspired me to do another random mystery plot generator for the NUELOW Games blog, like "Who Killed Buck Robin?" and "Who Killed Major Payne?")
Wednesday, March 7, 2018
Picture Perfect Wednesday: Valerie Valusek
Over a ten year span, from the mid-1980s through the mid-1990s, Valerie Valusek gave shape to hundreds of characters for fantasy games and fiction publisher TSR. Here's a small sample of her work.
Valusek's last work for TSR was some last-minute art on a Ravenloft adventure module, which had been overlooked by an incompetent art director. Valusek was unfairly blamed for the scheduling problems and her long-standing relationship with TSR ended.
Valusek's last work for TSR was some last-minute art on a Ravenloft adventure module, which had been overlooked by an incompetent art director. Valusek was unfairly blamed for the scheduling problems and her long-standing relationship with TSR ended.
Sunday, March 4, 2018
'The Perfect Clue' is flawed
The Perfect Clue (1935)
Starring: Dorothy Libaire, David Manners, and Richard 'Skeets' Gallagher
Director: Robert G. Vignola
Rating: Four of Ten Stars
A rebellious rich girl (Libaire) and a hard-luck ex-con (Manners) must rely on the help of her besotted friend (Gallager) when they are falsely accused and arrested for murder.
"The Perfect Clue" is a film with no clue about what it wants to be. It lurches back and forth from being a screwball comedy, to being a melodrama, to being a romantic comedy, to being a crime drama. To make matters worse, what's presented is a fair to awful example of those genres, and when it's at its best--in crime drama mode--it feels at times like we're watching scenes from an entirely different movie.
The acting ranges from standard for a film of this period and budget-level, to quite good. With the exception of one scene that feels like it was being performed for the stage, Libaire is excellent throughout. I've never been a big fan of Manners, but he is worse here than I've ever seen him; not only is he playing a fairly unpleasant character, but he's doing so with a manner that makes me wonder if he wanted to be anywhere but working on this picture.
While Libaire and Gallagher elevate the film with their performances, everything else about it drags it down... and the Four-star rating I am giving it is on the brink of slipping to a Three.
By a curious coincidence, Libaire and Manners, who had been extremely busy and appeared in a number of successful films during the early 1930s, were at the end of their careers by the time the co-starred in "The Perfect Clue". Libaire would only make two more films, Manning five more.
Starring: Dorothy Libaire, David Manners, and Richard 'Skeets' Gallagher
Director: Robert G. Vignola
Rating: Four of Ten Stars
A rebellious rich girl (Libaire) and a hard-luck ex-con (Manners) must rely on the help of her besotted friend (Gallager) when they are falsely accused and arrested for murder.
"The Perfect Clue" is a film with no clue about what it wants to be. It lurches back and forth from being a screwball comedy, to being a melodrama, to being a romantic comedy, to being a crime drama. To make matters worse, what's presented is a fair to awful example of those genres, and when it's at its best--in crime drama mode--it feels at times like we're watching scenes from an entirely different movie.
The acting ranges from standard for a film of this period and budget-level, to quite good. With the exception of one scene that feels like it was being performed for the stage, Libaire is excellent throughout. I've never been a big fan of Manners, but he is worse here than I've ever seen him; not only is he playing a fairly unpleasant character, but he's doing so with a manner that makes me wonder if he wanted to be anywhere but working on this picture.
While Libaire and Gallagher elevate the film with their performances, everything else about it drags it down... and the Four-star rating I am giving it is on the brink of slipping to a Three.
By a curious coincidence, Libaire and Manners, who had been extremely busy and appeared in a number of successful films during the early 1930s, were at the end of their careers by the time the co-starred in "The Perfect Clue". Libaire would only make two more films, Manning five more.
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