Picture Perfect Wednesday:Everybody Draw Mohammed Day Preview

Tomorrow is the long-awaited Everybody Draw Mohammed Day! It's too bad that cartoonist Molly Norris (who is NOT taking part in the festivities... she made a joke but others made it reality) didn't pick May 19 as the date, because what could make a more Picture Perfect Wednesday than thousands of bloggers posting pictures of the Prophet Mohammed (peas be upon him) within the same 24-hour period?

Anyhow, I forgive you, Ms. Norris. I'm sure the Islamic Thought Police forgive you, too. At any rate, the fact Everybody Draw Muhammed Day is torrow, gives me one more opportunity to plug the event by posting one of my favorite early Mohammed cartoons that showed up here. (Once again, the link takes you to Aaron Worthing's "Everyone Draw Mohammed" blog.)

This illo is one of the hundreds already posted there. It's by Kevin Johnson and it was captioned "Early censorship of Muhammed's image".



I hope you'll come back tomorrow to take a look at my contribution to the Day of a Million Moes. I hope even more strongly that you'll be participating with a drawing of your own.

'Essential Spider-Woman' features top-notch horror-tinged superhero tales

Essential Spider-Woman Vol. 1 (Marvel Comics, 2005)
Writers: Marv Wolfman, Mark Gruenwald, Michael Fleisher, and Archie Goodwin
Artists: Carmine infantino, Al Gordon, Tony DeZuniga, Ron Wilson, Frank Springer, Trevor von Eedon, Mike Esposito, Steve Leialoha, et.al.
Rating: Nine of Ten Stars

Jessica Drew is Spider-Woman, a young woman with super-strength, the ability to climb and cling to the smoothest walls and ceilings, and the ability to shoot venom-blasts of varying lethality. She comes from a background that even she herself doesn't fully understand, and after being manipulated into serving as an agent of the international fascist movement Hydra, she ventures into the world to find a place for herself.

"Essential Spider-Woman" is a massive collection of Marvel Comics from the late 70s. It features some of the niftiest supernatural- and horror-tinged superhero comics ever put into print, created by some of the best writers and artists who were active in the 70s and 80s. With allies like Mordred and Magnus (immortal, one-time students of sorceress Morgan LeFay), Jack Russell (Werewolf by Night), the Shroud (mystery-man with the ability to summon darkness with a thought), and several agents of SHIELD, Jessica Drew's friends are as odd as her enemies--Morgan LeFey, the Needle, the Brothers Grimm, the Moth, Nekra, and various demons and spirits and monstrous servants of Hydra.

The tales reprinted from "Spider-Woman" 1-20, penned by Wolfman and Gruenwald, are particularly excellent, as Jessica Drew struggles to find a place in the world and come to terms with the blessings and curses that her past has left her with. The threads of strangeness and Jessica's loneliness make these stories really stand out among the comics of that period, and the fantastic art by Infantino (with perfectly complimentary inks by DeZuniga and Gordon, primarily) really makes the stories shine.


Not everything in the book is perfect. The story-arc where Spider-Woman clashes with the Hangman and eventually meets Jack Russell and battles Morgan LeFey is such a mess plotwise that it feels like the writer must have been replaced mid-stream, yet the credits list only Wolfman. Neither the Hangman nor Jack Russell really serve any purpose in the story, and the Hangman just drops out of it without any resolution.

Also, when Fleisher comes onboard as the writer at the very end of the collection, pretty much all the supernatural and horror elements of the series vanish, and Spider-Woman becomes a typical costumed superhero, existing somewhere between Batman and Catwoman. It's a surprising change, given the DC work of Fleisher--foremost among that being the Jonah Hex series and "Wrath of the Spectre" for Adventure Comics--that Spider-Woman should take such a turn towards the mundane when guided by his pen. The first Fleisher stories also represent the lowpoint of the book artwise, with the Springer pencils and Esposito inks giving them a look more suitable for a 1960s era romance comic than a superhero thriller like "Spider-Woman." But the art quality shoots back up with the final, Leialoha illustrated, tale in the book.

I loved the Jessica Drew character, from her appearances in Marvel Spotlight and Marvel Two-in-One, and through all the other stories in this book and well beyond them. Although I had stopped following the character, I was sad to hear when Marvel ruined her by removing her powers because her title got cancelled.

When I saw "Essential Spider-Woman," I snatched it up, and the good stories are every bit as good as I thought they were as a kid (unlike "Essential Ghostrider," where the reprinted content was no where near as good as I remembered it). The bad ones...well, either my tastes have grown more refined, or I those faded completely from memory. I recommend this volume to lovers of quirky superhero titles, and I encourage those of you who might find Infantino's unusual art style a bit offputting to let him grow on you. He's one of my all-time favorite artists, but I know that for some he can be an acquired taste.

Abbott and Costello vs Bedouins and Cheese-eatin' Surrender Monkeys!

Abbott and Costello in the Foreign Legion (1950)
Starring: Bud Abbott, Lou Costello, Patricia Medina, Walter Slezak, Douglas Dumbrille and Wee Willie Davis
Director: Charles Lamont
Rating: Seven of Ten Stars

While in North Africa on business, a couple of American wrestling promoters (Abbott and Costello) become drawn into local intrigues by a beautiful French intelligence agent (Medina) and agents of a villainous Arab Bedouin sheik (Dumbrille) and are tricked into joining the French Foreign Legion.

"Abbott and Costello in the Foreign Legion" is one of the funniest, fastest-paced films the duo made. The film barrels from comedy setpiece to comedy set piece and and nonsense verbal routine to nonsense verbal routine with barely an establishing shot to separate them.

As funny as the film is, it's not perfect. A couple of the extended comedy routines don't quite work--like the chase scene involving a jeep and Arab bad guys on horseback--and the ending feels a little rushed and badly constructed. However, the good far outweighs the bad here, and it's definitely worth checking out if you've enjoyed other Abbott and Costello films, or if you're just a lover of wild crazy comedies.

Or if you're a lover of films that probably couldn't even be made today. This film features villainous Arabs who are sexist, violent and duplicitous in all things--oh noes! Never mind that the real world contains plenty of real people who are far worse than the character portrayed by Douglass Dumbrille in this film.

Picture Perfect Wednesday:Everybody Draw Mohammed Day Preview

Here's my first contribution to the run-up to the "Everybody Draw Mohammed Day" on May 20th (a day that will be remembered as the Day of a Million Mo's!). It started as a sketch for the more elaborate cartoon I am working on, but then an idea struck and the sketch became the first drawing I've "published" in over 15 years.



Heck, I almost remember what I loved about cartooning and drawing back when I did it on a regular basis!

I'll be posting my full-fledged Mohammed cartoon on May 20th. I hope you'll swing by to check it out. Meanwhile, you can shudder in horror at Cartoons of Blasphemy here and here.

Great screen version of great novel

Lord of the Flies (1963) 

Starring: James Aubrey, Tom Chapin and Hugh Edwards 

Director: Peter Brook Rating: Nine of Ten Stars 

 A group of schoolboys are stranded on a deserted island and must fend for themselves. Despite their initial best efforts, they soon descend into murderous savagery.

 

"Lord of the Flies" is perhaps one the very most effective movie adaptations of a novel I've ever seen. I read the book, and I found it to be a gripping, chilling read... and the movie captured the book exactly!

 Not only do all the child actors give great performances, but even the filming style and subtle changes in the way the island appears as the boys drift further and further from the civilized behavior they all know is proper and toward the murderous, pagan savagery that most of them have grown devoted to by the films end serves to drive home the developments in the film. On both a conscious and subconscious level, the viewer is drawn into the increasingly brutal and horrifying world of the desert island. 

 With as many interpretations and subtleties of message as William Golding's book--even if the overall thrust is a downer for those who believe in the innate goodness of humanity--"Lord of the Flies" is a true classics that's every bit as engrossing for intelligent viewers as it was when it was first released nearly 50 years ago. It's a true classic that doesn't get nearly enough recognition.

 

'Dead Men Walk' is so-so chiller

Dead Men Walk (1943)
Starring: George Zucco, Mary Carlisle, and Nedrick Young
Director: Sam Newfield
Rating: Five of Ten Stars

Elwyn Clayton (Zucco) is a devoted Satanist who is murdered by his twin brother Lloyd (also Zucco), who wants to rid the world of this evil wearing his face. Although Lloyd successfully covers up the murder, he soon finds himself stalked by his dead brother who has been resurrected by the Dark Powers as a vampire. Worse, Elwyn intends to drain the life from Lloyd's beautiful ward, Gayle (Carlisle) before visiting his undead revenge upon his brother.


"Dead Men Walk" is a just about as typical a vampire movie as you'll ever see. Everything in it is pretty much as you would expect. So long as you're not hoping for anything original, it's a fairly entertaining B-movie.

The best part of the film is the climax where Lloyd battles Elwyn and his hunchbacked minion as a house burns down around them. Again, it's not anything you haven't seen before, but it's nicely staged.

'The Screaming Skull' is a failed thriller

The Screaming Skull (1958)
Starring: John Hudson and Peggy Webber
Director: Alex Nicol
Rating: Three of Ten Stars

"The Screaming Skull" is at its best before the movie actually starts. There is a gimmicky bit where the producers promise to pay the funeral costs for anyone who dies of fright during the movie's climax. It's far more likely that a captive audience member will die of boredom or irritation before the movie runs its course, so the producers will never have to deliver on their promis, as that little bit is more chilling in a corny sort of way than most of what follows.

This is a would-be thriller with the now well-worn backdrop of a widower marrying a one-time institutionalized (but very rich) woman, moving back to the isolated old mansion he shared with his first love, and the fragile psyche of the new wife either starts unraveling, or perhaps she is really being haunted by the jealous ghost of the original lady of the house... or maybe someone is trying to drive her insane again.

I can't fault the film for its I've-seen-this-a-hundred-times-before plot, because it dates from 1958, but I do fault it for being just plain bad. The script is awful, and the acting is worse. There are only two things the filmmakers do right--first, they reveal the source of Jenni's (the mentally frazzled rich wife) terror at just the right moment in the film; second, they successfully manage to convey the woman's deteriorating sanity and growing sense of isolation).he acting is worse. In fact, the only actor who delives even close to a passable performance is Russ Conway, who plays Reverend Snow.

I will also grant that the final ten-fifteen minutes of the film are actually not bad in a third-rate horror movie kinda way. But the ending isn't so good that it makes up for suffering through what led up to it. (And the filmmakers back off from making the ending as powerful as it SHOULD be by wimping out when it comes to Jenni's mental health, or lack thereof.)

Other positive notes are that aside from portions of the ending, there are a few other genuinely creepy moments, such as when Jenni is left alone in the house (which is suddenly filled with animated skulls). There are also some very nice shots of her roaming the house, and of the mysterious, shadowhaunted, vegetation-choked grounds that surround the southern mansion where the movie takes place that show some glimmer of talent on the part of the cinematographer and technical crew. Unfortunately, every time the actors open their mouths to deliver badly written dialogue with a level of acting ability that might not even get them into a high school play, whatever gains the movie made it loses. The leading lady, Peggy Webber, is a great screamer, but that's all she's good for (although I suspect the scene of her stripping down to her bra and panties was pretty racey in its day, so maybe we can list stripping among her talents).

'Terror in the Tropics' isn't what I wished

Terror in the Tropics (2005)
Starring: Mark Redfield, Jennifer Rouse, Jonathan Ruckman, Wayne Shipley, Kimberly Hannold, and Bela Lugosi
Director: A. Susan Svehla
Rating: Four of Ten Stars

A group of strangers are summoned to the reading of a will that names them as beneficiaries of a multi-million dollar estate. The trip is dangerous to all, not just because of the murderer and thief hiding in their midst, but because the insane Tesla Brothers (Redfield and Lugosi) await at their destination with murderous intent.


I really, really wanted to like this movie. The idea sounded excellent--taking scenes from Poverty Row movies of the 1930s and 1940s and incorporating them into a new movie by shooting scenes with modern actors. I still think it's an excellent idea... I just think Svehla and the fine folks at Midnight Marquee failed to execute it properly.

The biggest problem with the film is the story, or, more accurately, the stories.

There are two distinct stories here, and they are completely unrelated... we have a thief who stole the real map to Skull Island (King Kong's home) and who launched a failed expedition to it, and then we have the will-reading storyline. Both also feature unnecessarily subplots and characters... the Skull Island story treats us to a unnecessary (and, in context, utterly illogical) flashback to the failed expedition, and the will-reading story sees the shoehorning of a the archetypal fiery girl-reporter and sexist photographer into the going-ons. If the filmmakers had focused EITHER on the Skull Island/detective storyline OR the will-reading/evil Tesla Brothers storyline, the end product would have been far better.

(The filmmakers seemed to have recognized this problem as some point, and they write out a trio of characters in a lame fashion at about the 3/4 mark.)

Another problem is with the actors. For the most part, they aren't bad. They are about what I'd expect in a production like this... if it hadn't been billed as a tribute to the low-budget films of the 30s and 40s.

There's no sign that ANY of the actors here bothered taking the time to examine how actors of that time performed the characters they were playing. I saw no sign that any of the performers were making any attempt to bring the sort of energy to their parts that just about EVERYONE displayed in the films back then... and that includes the two actors who came closest to feeling like they belonged in a Monogram Picture--Jonathan Ruckman (who was playing the typical dishwater love interest) and Mark Redfield.

Then there's the new footage. The incompatibility of the acting styles aside, a number of bad decisions were made when the new footage was filmed. Prime among these was the string of cheap plastic party flags featured prominently on the ship-board set. On the flip-side, however, the first scene with the city editor was very impressive in its use of green-screens. (Later, when a ballroom scene uses similar tricking-in of backgrounds, it's badly done... but old-time office that wasn't actually there looked GREAT.)

Finally, there's the film's main selling point... the re-use of Lugosi, Karloff, and Lon Chaney Jr. footage in new and fun ways. Observant readers may already have noticed that when I listed the stars of the film, I didn't mention Karloff and Chaney, even though they're listed on the DVD case. Well, that's because Karloff is featured in some "Mr. Wong" footage that's incorporated in a very awkward and gratuitous fashion--and the Chaney is featured only in some bits taken from "The Indestructible Man" and it's almost as pointless as the Karloff bits.

Lugosi is used very cleverly in the picture, and his "new" character of Vitus Tesla is incorporated quite nicely. The footage from "The Devil Bat" and "The Invisible Ghost" is put to good and fun use. It's a glimpse into what the entire film could have been like if perhaps the filmmakers had chosen to focus a bit more on story rather than trying to cram as many different B-movie elements as possible into one film with a running-time of just above one hour.

I also contend that the film has too much new footage and not enough old. There's also too many instances of the same bit being used more than once, given how little old material is actually incorporated. More thought and time should have been devoted to using and incorporating the archive footage.

For all my complaining, I do want to mention that the filmmakers did blend old and new footage in a very impressive way during the film's climax as the hero attempts to get his hapless new girlfriend (Hannold) safely away from the Tesla Brothers. If the rest of the film had been this good, you'd be seeing a Fresh Rating instead of the measly Three Tomatoes I've giving it now.

I can't really recommend the film "Terror in the Tropics", and the rating I'm giving it probably on the generous side... a reflection of what I hoped it would be rather than what it is. There is a mostly botched attempt at creating movie in the spirit of the old Monogram and PRC films, but I can't help but appreciate the attempt.

However, while I can't recommend the DVD for the "Terror in the Tropics" film, I can recommend it for the extras. There's a very interesting lecture by an expert on the Poverty Row studios about why great actors like George Zucco, John Carradine, and Bela Lugosi did so much work for them.

Happy Cinco de Mayo (or sumthin')

Mexican Hayride (1948)
Starring: Bud Abbott, Lou Costello, Luba Malina, Tim Powers, Pat Costello, Virginia Grey and John Hubbard
Director: Charles Barton
Rating: Three of Ten Stars

After being framed for a swindle by a greasy conman (Abbott), Joe Bascombe (Costello) follows the scoundrel to Mexico to clear his name. Unfortunately, Joe is tricked into being the fall guy for another scheme.


"Mexican Hayride" is the first truly bad Abbott & Costello picture I've seen. Not only is the storyline illogical (even by Abbott & Costello standards), but the best gags in here will evoke mild chuckles at best. Even if it was included in a DVD multipack titled "The Best of Abbott & Costello Vol. 3", this is one of their worst.

Biggest sign this is a bad movie? The bullfighting sequence is the funniest part in here. Yes, something as repulsive as bullfighting serves as the foundation for the best jokes and routines in the film.

One very strange thing about this film is that it was based on a successful musical from the early 1940s. However, there is only one song in the film and it isn't even by Cole Porter, who wrote the music for the original stage production.

Picture Perfect Wednesday: Liberation Day

Several European nations--including Holland and Denmark--recognize May 5, 1945, as the day they were liberated from occupying Nazi forces. It's also the day when the German U-boat forces formally surrendered and the people of the Czech capitol Prague revolted against the Nazis.



This captioned picture was borrowed from demotivatedphotos.com.