Contestant to Groucho: Have you ever been made love to a Frenchman?
Groucho: [Pause] Not that I can recall.
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| Groucho Marx and Eden Hartford |
Showing posts with label Television. Show all posts
Showing posts with label Television. Show all posts
Thursday, September 6, 2012
The Groucho Monthly
More outtakes from "You Bet Your Life", from a blooper reel compiled by the show's sponsor.
Contestant to Groucho: Have you ever been made love to a Frenchman?
Groucho: [Pause] Not that I can recall.
Contestant to Groucho: Have you ever been made love to a Frenchman?
Groucho: [Pause] Not that I can recall.
Saturday, August 11, 2012
The Groucho Monthly
Here's a compilation of outtakes from 1950s game show "You Bet Your Life".
("Let me explain something to you Pat," says Groucho at one point. "This audience is even filthier than I am.")
("Let me explain something to you Pat," says Groucho at one point. "This audience is even filthier than I am.")
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| Groucho doing more than just dreaming of Jeanie with Barbara Eden |
Wednesday, July 4, 2012
The Groucho Monthly
Starting a new series... hilarious clips featuring the great Grouch Marx. I'm kicking it off with outtakes from the "You Bet Your Life" series. (This was inspired by a post on Boingboing.net.)
Friday, April 8, 2011
'They Saved Hitler's Brain': A bad movie
that didn't improve when expanded by 30 mins
They Saved Hitler's Brain (1974 (?))
Starring: Lots of mustaches and a couple of blondes.
Director: David Bradley and someone working for "Paragon Production"
Rating: Three of Ten Stars
"They Saved Hitler's Brain" is a television edit of "The Madmen of Madragor", a film about a clumsy international conspiracy orchestrated by Nazis and Hitler's head-in-a-jar from a diamond-rich South American country. For the bulk of the details about the film, read my review of the original version by clicking here.
When producers looked into selling the film to television in the late 1960s, they discovered it was too short for the two-hour programming time block occupied by movies--which needed to be 92 minutes, with the remaining 28 minutes being occupied by commericals.
So, they shot an additional 30 minutes of film, expanding the original plot of "The Mad Men of Madragor" to inclue a spy-vs-spy angle with intelligence agencies from around the globe (I think) shooting at each other and performing asassinations in order to make sure that only they have the secret of the super nervegas at the center of the story.
The filmmakers charged with expanding the film TRIED to make their new material match the original footage, but I think budget and time conspired against them. Basically, the agents from the new storyline sport 1970s hairstyles and clothing styles, and they clash when they are intercut with the cast with their 1960s crewcuts and fashions. Government agents cruising around in a VW Bug is a particularly amusing aspect of the additions to the film, even if it wasn't intended to be amusing.
A worse slip-up made in the efforts to expand the film is a continuity gaffe of such epic scale that one wonders if whoever scripted that new half-hour bothered to sit through the original movie; a big deal is made out of the fact that only two scientists know the formula for the deadly nerve gas that Nazis are threatening to unleash on the world. However, in other scenes, the gas formula has already been acquired by "foreign powers", but the antidote is still a well-guarded American secret which makes it useless as a weapon (or so the filmmakers believed, in an innocent time before Islamic suicide bombing psychos started making Nazis look like choir boys).
All in all, the 30 minutes of additional material neither adds or subtracts particularly from the film. It doesn't fix any of the problems with the original, and while it offers a bit more action up front than the film contained originally, it creates new continuity flubs.
"Mad Men of Madragor" still has a slight advantage, though, as it's shorter. Unless you REALLY want to torture yourself, go with the original instead of "They Saved Hitler's Brain"; it may have a sexier title--which I remain astonished that they didn't use on the original film--but "Mad Men" is more to the point.
Starring: Lots of mustaches and a couple of blondes.
Director: David Bradley and someone working for "Paragon Production"
Rating: Three of Ten Stars
"They Saved Hitler's Brain" is a television edit of "The Madmen of Madragor", a film about a clumsy international conspiracy orchestrated by Nazis and Hitler's head-in-a-jar from a diamond-rich South American country. For the bulk of the details about the film, read my review of the original version by clicking here.
When producers looked into selling the film to television in the late 1960s, they discovered it was too short for the two-hour programming time block occupied by movies--which needed to be 92 minutes, with the remaining 28 minutes being occupied by commericals.
So, they shot an additional 30 minutes of film, expanding the original plot of "The Mad Men of Madragor" to inclue a spy-vs-spy angle with intelligence agencies from around the globe (I think) shooting at each other and performing asassinations in order to make sure that only they have the secret of the super nervegas at the center of the story.
The filmmakers charged with expanding the film TRIED to make their new material match the original footage, but I think budget and time conspired against them. Basically, the agents from the new storyline sport 1970s hairstyles and clothing styles, and they clash when they are intercut with the cast with their 1960s crewcuts and fashions. Government agents cruising around in a VW Bug is a particularly amusing aspect of the additions to the film, even if it wasn't intended to be amusing.
A worse slip-up made in the efforts to expand the film is a continuity gaffe of such epic scale that one wonders if whoever scripted that new half-hour bothered to sit through the original movie; a big deal is made out of the fact that only two scientists know the formula for the deadly nerve gas that Nazis are threatening to unleash on the world. However, in other scenes, the gas formula has already been acquired by "foreign powers", but the antidote is still a well-guarded American secret which makes it useless as a weapon (or so the filmmakers believed, in an innocent time before Islamic suicide bombing psychos started making Nazis look like choir boys).
All in all, the 30 minutes of additional material neither adds or subtracts particularly from the film. It doesn't fix any of the problems with the original, and while it offers a bit more action up front than the film contained originally, it creates new continuity flubs.
"Mad Men of Madragor" still has a slight advantage, though, as it's shorter. Unless you REALLY want to torture yourself, go with the original instead of "They Saved Hitler's Brain"; it may have a sexier title--which I remain astonished that they didn't use on the original film--but "Mad Men" is more to the point.
Wednesday, January 12, 2011
Picture Perfect Wednesday:
NananananananaBATMAN!
NananananananaBATMAN!
Yesterday, it was 45 years ago that the "Batman" TV show debuted on ABC, with Adam West as Batman, Burt Ward as Robin. Yvonne Craig later joined the heroic line-up as Batgirl. Legendary iconic television performances as recurring villains were provided by Cesar Romero (as The Joker), Frank Gorshin (as The Riddler), Burgess Meredith (as The Penguin) and Julie Newmar and Eartha Kitt (as Catwoman, at various points).
The failure of the spin-off series to materialize doesn't change the fact that version of Batgirl remains the coolest version. Within the next month or so, I'll be reviewing the book reprinting her comic book adventures from the 1960s and 1970s, but in the meantime, here are some recent portrayals of her.
For more pictures from the classic Batman television show, check out this post at Cinema Steve.
The new Batgirl (secretly Commissioner Gordon's daugther, Barbara) was created by DC Comics editor Julie Schwartz and artist Carmine Infantino at the request of the show's producer, William Dozier, for its third season. Dozier envisioned Batgirl in her own spin-off series, a plan that never came to be.
The failure of the spin-off series to materialize doesn't change the fact that version of Batgirl remains the coolest version. Within the next month or so, I'll be reviewing the book reprinting her comic book adventures from the 1960s and 1970s, but in the meantime, here are some recent portrayals of her.
For more pictures from the classic Batman television show, check out this post at Cinema Steve.
Thursday, June 3, 2010
Hollywood couple dreams up tales in 'Charade'
Charade (1953)
Starring: James Mason and Pamela Mason
Director: Roy Kellino
Rating: Eight of Ten Stars
This "Charade" is a black-and-white anthology film starring James Mason and his wife Pamela,and it predates the more famous "Charade" (with Cary Grant and Audrey Hepburn) by a decade. It draws its title from the set-up and linking device for the three stories--James dreams of being a film producer instead of just an actor, and together with his wife imagines what the movies he might produce would be like.
The three tales in the film share a common thread of love and how it might enrich or destroy a life. The first story is a little chiller about a failed artist who developes a fatal attraction for a man she knows to be a murderer, the second one is a melodrama about a man of honor who is tricked into a duel by a dishonorable man who once had designs on his fiance, while the closer is a light-hearted little story about a man blessed with infallable luck who goes looking for that one thing that's missing in his life and discovers it may or may not be love. (The first of the three stories even bears a small resemblence to the more famous "Charade", in that it takes place inside a shabby rooming house and focuses on a woman who is attracted to a potentially dangerous man.)
All three stories are well written, well staged, and expertly acted, with James and Pamela playing the leads in each one. The third, comedic story is a bit of a head-scratcher, but it's fun and entertaining nonetheless. The framing sequences add to the overall fun of the film, with the moment where what seemed to be James and Pamela's sitting room suddenly gives way to a partially struck sound-stage when James starts dreaming about the movies he's going to produce.
James Mason's talent as actor are clearly on display in this film, particularly between the first and second stories, where he goes from a character of quiet menace to one of stiff-necked, hidebound honor. and gives an excellent performance in each role.
"Charade" is definately a movie that isn't seen nearly enough. I recommend tracking down a copy and taking a look for yourself.
Starring: James Mason and Pamela Mason
Director: Roy Kellino
Rating: Eight of Ten Stars
This "Charade" is a black-and-white anthology film starring James Mason and his wife Pamela,and it predates the more famous "Charade" (with Cary Grant and Audrey Hepburn) by a decade. It draws its title from the set-up and linking device for the three stories--James dreams of being a film producer instead of just an actor, and together with his wife imagines what the movies he might produce would be like.
The three tales in the film share a common thread of love and how it might enrich or destroy a life. The first story is a little chiller about a failed artist who developes a fatal attraction for a man she knows to be a murderer, the second one is a melodrama about a man of honor who is tricked into a duel by a dishonorable man who once had designs on his fiance, while the closer is a light-hearted little story about a man blessed with infallable luck who goes looking for that one thing that's missing in his life and discovers it may or may not be love. (The first of the three stories even bears a small resemblence to the more famous "Charade", in that it takes place inside a shabby rooming house and focuses on a woman who is attracted to a potentially dangerous man.)
All three stories are well written, well staged, and expertly acted, with James and Pamela playing the leads in each one. The third, comedic story is a bit of a head-scratcher, but it's fun and entertaining nonetheless. The framing sequences add to the overall fun of the film, with the moment where what seemed to be James and Pamela's sitting room suddenly gives way to a partially struck sound-stage when James starts dreaming about the movies he's going to produce.
James Mason's talent as actor are clearly on display in this film, particularly between the first and second stories, where he goes from a character of quiet menace to one of stiff-necked, hidebound honor. and gives an excellent performance in each role.
"Charade" is definately a movie that isn't seen nearly enough. I recommend tracking down a copy and taking a look for yourself.
Monday, April 26, 2010
Nelson, Barry Nelson: The first James Bond
Casino Royale (1954)
Starring: Barry Nelson, Linda Christian, Peter Lorre and Michael Pate
Director: William H. Brown Jr.
Rating: Six of Ten Stars
When allied intelligence agencies learn that a key Soviet operative (Lorre) has been funding his gambling habit with KGB money, secret agent James Bond (Nelson) is charged with beating him at one final high-stakes card game and then expose his theft and force the Soviet spymasters to kill him in order to save face. When one of Bond's former lovers (Christian) turns up in the employ of the enemy, the mission becomes far more complicated and dangerous.
I did not make a mistake in the plot summary above. In this, the very first screen adventure of Ian Fleming's James Bond, Britain's super-spy isn't British at all. It's a little known fact that the very first James Bond adaptation was made by American producers and directed at an American television audience. They decided that Bond needed to be an American so they could relate better to him. While it feels a bit odd to have James Bond presented as an American, Barry Nelson does a decent job with the character, being at least the equal of the other one-shot James Bond, George Lazenby from "On Her Majesty's Secret Service".
As would be expected from a 1950s television drama, Bond more a man of romance than randiness. Also, as would be expected from a 1950s television drama, especially when one considers that it was performed and broadcast live, the adventure is not as wild as any of the "official" Bond pictures that followed. What is very unexpected, however, is the cold brutality of the villain, La Chiffe. He is as vicious and brutal as any Bond villain that follows. In fact, I don't think Bond was tortured in such a straight-forward manner as he is in this film until the Pierce Brosnan-starring "Die Another Day" in 2002.
Cast-wise, the film is also better than expected. As mentioned, Barry Nelson plays a very good Bond, while Peter Lorre is likewise the equal of any actor who portrayed a Bond villain in the 25 other cinematic Bond adventures in the 50+ years since this was filmed. Even Linda Christian is good--perhaps she is better in live performances than traditional filmmaking, because I never would have thought she could act based on other performances I've seen from her.
If you like spy thrillers, I think this movie is worth checking out. That goes double if you're a big-time Bond fan, as this historical curiosity shows that there has been more than one "reboot" of the James Bond "franchise" since its beginning.
(This version of "Casino Royale" is included as a bonus feature on the 2002 edition of the David Niven- and Ursula Andress-starring "Casino Royale" from 1967. (I will be reviewing that version eventually on the Watching the Detectives blog.)
Starring: Barry Nelson, Linda Christian, Peter Lorre and Michael Pate
Director: William H. Brown Jr.
Rating: Six of Ten Stars
When allied intelligence agencies learn that a key Soviet operative (Lorre) has been funding his gambling habit with KGB money, secret agent James Bond (Nelson) is charged with beating him at one final high-stakes card game and then expose his theft and force the Soviet spymasters to kill him in order to save face. When one of Bond's former lovers (Christian) turns up in the employ of the enemy, the mission becomes far more complicated and dangerous.
I did not make a mistake in the plot summary above. In this, the very first screen adventure of Ian Fleming's James Bond, Britain's super-spy isn't British at all. It's a little known fact that the very first James Bond adaptation was made by American producers and directed at an American television audience. They decided that Bond needed to be an American so they could relate better to him. While it feels a bit odd to have James Bond presented as an American, Barry Nelson does a decent job with the character, being at least the equal of the other one-shot James Bond, George Lazenby from "On Her Majesty's Secret Service".
As would be expected from a 1950s television drama, Bond more a man of romance than randiness. Also, as would be expected from a 1950s television drama, especially when one considers that it was performed and broadcast live, the adventure is not as wild as any of the "official" Bond pictures that followed. What is very unexpected, however, is the cold brutality of the villain, La Chiffe. He is as vicious and brutal as any Bond villain that follows. In fact, I don't think Bond was tortured in such a straight-forward manner as he is in this film until the Pierce Brosnan-starring "Die Another Day" in 2002.
Cast-wise, the film is also better than expected. As mentioned, Barry Nelson plays a very good Bond, while Peter Lorre is likewise the equal of any actor who portrayed a Bond villain in the 25 other cinematic Bond adventures in the 50+ years since this was filmed. Even Linda Christian is good--perhaps she is better in live performances than traditional filmmaking, because I never would have thought she could act based on other performances I've seen from her.
If you like spy thrillers, I think this movie is worth checking out. That goes double if you're a big-time Bond fan, as this historical curiosity shows that there has been more than one "reboot" of the James Bond "franchise" since its beginning.
(This version of "Casino Royale" is included as a bonus feature on the 2002 edition of the David Niven- and Ursula Andress-starring "Casino Royale" from 1967. (I will be reviewing that version eventually on the Watching the Detectives blog.)
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