Monday, December 17, 2018
Saturday, December 15, 2018
Torchy is Returned to Her Roots
Torchy Gets Her Man (1938)
Starring: Glenda Farrell, Barton MacLane, Tom Kennedy, and Willard Robertson
Director: William Beaudine
Rating: Seven of Ten Stars
A counterfeiting ring, led by the elusive "100 Dollar Bill" Bailey (Robertson) engages in an elaborate deception to trick police detective Steve McBride (MacLane) and his superiors in the police department into thinking they are Secret Service agents conducting a sting operation and to inadvertently give them cover to operate. Meanwhile, his fiance, crime reporter Torchy Blane (Farrell), hopes those Secret Service agents will provide her with leads for her investigative article about Bailey and his career in crime, and she badgers a vacationing police officer (Kennedy) into helping her tail them.
"Torchy Blane Gets Her Man", the sixth film in this series, sees Glenda Farrell return as the character she originated... and it's great to have her back. It's also great to have the character back in full hard-nosed, dedicated crusading reporter mode, something that had faded in the two previous installments where Torchy was more a trickster and action heroine respectively.
While Farrell and the return of Classic Torchy is enough to boost this film, it is further enriched by a brazen and coldhearted villain with a clever scheme that, although I doubt it would ever work in the real world, makes for great movie entertainment. It also provides some nice old-school melodrama action during the third act with all the main characters assembled in house where a time bomb is counting down to their demise. We also get lots of Tom Kennedy's dimwitted Gahagan... and the dynamic between Torchy being the "straight-man" to his goofiness is a joy to behold. The only returning performer who doesn't shine is Barton MacLane, partly because Steve McBride is sidelined for most of the story, but also because some of the life seems to have gone out of MacLane's performance. He also appears puffier than he did in the previous three movies; perhaps he was ill, or maybe he just wasn't interested in even being on the set?
There are, however, two crucial aspects that prevent this film from being as great as it could have been. First, the film feels cheaper than previous installments, with a cramped feeling about most of the sets as well as a very sloppy use of stock footage badly matched to the sequence it's inserted into; the Torchy Blane films have always been low-budget B-pictures, but this is the first one that looks like it. Second, the story suffers from the same flaw that undermined "Torchy Blane in Panama"--Torchy ultimately ends up as a "damsel in distress" that must be rescued by her boyfriend. It's more deftly done here, but it would still have been nice if Torchy had played a more active role in the film's resolution.
"Torchy Gets Her Man" is included on DVD with the rest of the films in this classic 1930s series in the Torchy Blane Collection from the Warner Archives.
Starring: Glenda Farrell, Barton MacLane, Tom Kennedy, and Willard Robertson
Director: William Beaudine
Rating: Seven of Ten Stars
A counterfeiting ring, led by the elusive "100 Dollar Bill" Bailey (Robertson) engages in an elaborate deception to trick police detective Steve McBride (MacLane) and his superiors in the police department into thinking they are Secret Service agents conducting a sting operation and to inadvertently give them cover to operate. Meanwhile, his fiance, crime reporter Torchy Blane (Farrell), hopes those Secret Service agents will provide her with leads for her investigative article about Bailey and his career in crime, and she badgers a vacationing police officer (Kennedy) into helping her tail them.
"Torchy Blane Gets Her Man", the sixth film in this series, sees Glenda Farrell return as the character she originated... and it's great to have her back. It's also great to have the character back in full hard-nosed, dedicated crusading reporter mode, something that had faded in the two previous installments where Torchy was more a trickster and action heroine respectively.
While Farrell and the return of Classic Torchy is enough to boost this film, it is further enriched by a brazen and coldhearted villain with a clever scheme that, although I doubt it would ever work in the real world, makes for great movie entertainment. It also provides some nice old-school melodrama action during the third act with all the main characters assembled in house where a time bomb is counting down to their demise. We also get lots of Tom Kennedy's dimwitted Gahagan... and the dynamic between Torchy being the "straight-man" to his goofiness is a joy to behold. The only returning performer who doesn't shine is Barton MacLane, partly because Steve McBride is sidelined for most of the story, but also because some of the life seems to have gone out of MacLane's performance. He also appears puffier than he did in the previous three movies; perhaps he was ill, or maybe he just wasn't interested in even being on the set?
There are, however, two crucial aspects that prevent this film from being as great as it could have been. First, the film feels cheaper than previous installments, with a cramped feeling about most of the sets as well as a very sloppy use of stock footage badly matched to the sequence it's inserted into; the Torchy Blane films have always been low-budget B-pictures, but this is the first one that looks like it. Second, the story suffers from the same flaw that undermined "Torchy Blane in Panama"--Torchy ultimately ends up as a "damsel in distress" that must be rescued by her boyfriend. It's more deftly done here, but it would still have been nice if Torchy had played a more active role in the film's resolution.
"Torchy Gets Her Man" is included on DVD with the rest of the films in this classic 1930s series in the Torchy Blane Collection from the Warner Archives.
Friday, December 14, 2018
Sondra Locke passes away at 74
Actress, director, and film producer Sondra Locke passed away on November 3, 2018. She is best known for appearing in a string of films with Clint Eastwood during the 1970s and 1980s, as well as her later court battles with Eastwood and Warner Bros.
Locke was romantically involved with Eastwood for 14 years, and after he abruptly ended their relationship by literally moving her and her belongings out of his house, he covertly sabotaged her career by using his influence at Warner Bros. Locke sued both Eastwood and the studio for breach of contract and fraud in cases that were ultimately settled out of court. But the damage had been done.
Due to the after-effects of Eastwood's interference, and Locke's on-again, off-again battles with cancer, between the years of 1983 (her last film with Eastwood) and 2017, the once-busy actress only appeared in six more projects (two of those being television series episodes), and her directing career never truly got off the ground.
Sondra Locke was born in May 28, 1944 in Alabama. She made her first film appearance in the 1968 film "The Heart is a Lonely Hunter", in which she played a 14-year-old and landed the part by lying about her age. Aside from her screen appearances with Eastwood in "The Gauntlet" and "Sudden Impact," this first film is what she was most famous for.
Locke was romantically involved with Eastwood for 14 years, and after he abruptly ended their relationship by literally moving her and her belongings out of his house, he covertly sabotaged her career by using his influence at Warner Bros. Locke sued both Eastwood and the studio for breach of contract and fraud in cases that were ultimately settled out of court. But the damage had been done.
Sondra Locke was born in May 28, 1944 in Alabama. She made her first film appearance in the 1968 film "The Heart is a Lonely Hunter", in which she played a 14-year-old and landed the part by lying about her age. Aside from her screen appearances with Eastwood in "The Gauntlet" and "Sudden Impact," this first film is what she was most famous for.
Wednesday, December 12, 2018
Christmas is Coming...
... and Ann Miller wants to remind Santa what might happen if he doesn't bring her what she wants this year. (She did not, apparently, learn anything form the example of Kathy Griffin's photo-shoot with the severed head of a much-respected figure.)
Tuesday, December 11, 2018
A killer strikes in the one of Abbott & Costello's greatest films!
Who Done It? (1942)
Starring: Bud Costello, Lou Abbott, Mary Wickes, William Gargan, Patric Knowles, Louise Allbritton, and William Bendix
Director: Erle C. Kenton
Rating: Nine of Ten Stars
When a pair of dimwitted, would-be scriptwriters (Abbott & Costello) witness the murder of a radio executive, they decide that if they solve the mystery on their own, the resulting fame will launch their careers. Unfortunately for them, the killer doesn't want to be captured...
"Who Done It?" is one of Abbott & Costello's best pictures. It's like someone took a serious script for a typical B-movie murder mystery and inserted comedy routines, deftly weaving the more serious story around them. The "straight" characters in the film react with the sort of confusion, frustration, or amusement that anyone would have when faced with the sort of harebrained nonsense that follow in our "heroes" wake, as these "straight" characters go about their business of a serious plot involving murder and espionage. The film also features great cinematography with an often shadowy, almost film-noirish look that supports the dramatic elements of the film and makes the wackiness of Abbott & Costello pop even more.
Every routine presented in the film is top-notch, every actor gives a great performance, and almost every character is actually a character with something interesting about them. (There is one very disappointing exception to this, which I can't comment on without ruining the plot... but it almost knocked the movie down to Eight Stars is bugged me so much.) The only other thing that I found distracting to the point of mild annoyance was the way Costello spends the movie pulling up his pants and/or anticipating the moronic now-nearly 30-year "fashion" of having your pants hanging low.
"Who Done It?" is one of eight movies included in the two DVD set "The Best of Bud Abbott and Lou Costello Volume 1" and it by itself is almost worth the price of the set.
Starring: Bud Costello, Lou Abbott, Mary Wickes, William Gargan, Patric Knowles, Louise Allbritton, and William Bendix
Director: Erle C. Kenton
Rating: Nine of Ten Stars
When a pair of dimwitted, would-be scriptwriters (Abbott & Costello) witness the murder of a radio executive, they decide that if they solve the mystery on their own, the resulting fame will launch their careers. Unfortunately for them, the killer doesn't want to be captured...
"Who Done It?" is one of Abbott & Costello's best pictures. It's like someone took a serious script for a typical B-movie murder mystery and inserted comedy routines, deftly weaving the more serious story around them. The "straight" characters in the film react with the sort of confusion, frustration, or amusement that anyone would have when faced with the sort of harebrained nonsense that follow in our "heroes" wake, as these "straight" characters go about their business of a serious plot involving murder and espionage. The film also features great cinematography with an often shadowy, almost film-noirish look that supports the dramatic elements of the film and makes the wackiness of Abbott & Costello pop even more.
Every routine presented in the film is top-notch, every actor gives a great performance, and almost every character is actually a character with something interesting about them. (There is one very disappointing exception to this, which I can't comment on without ruining the plot... but it almost knocked the movie down to Eight Stars is bugged me so much.) The only other thing that I found distracting to the point of mild annoyance was the way Costello spends the movie pulling up his pants and/or anticipating the moronic now-nearly 30-year "fashion" of having your pants hanging low.
"Who Done It?" is one of eight movies included in the two DVD set "The Best of Bud Abbott and Lou Costello Volume 1" and it by itself is almost worth the price of the set.
Monday, December 10, 2018
Christmas is coming...
... in 15 days! So you better get those gift packages mailed to family members TODAY! (It may already be too late to reach some places in time!)
Sunday, December 9, 2018
The first outing of a legendary comedy team
Let's Do Things (1931)
Starring: ZaSu Pitts, Thelma Todd, George Byron, Jerry Mandy, Mary Kornman, Maurice Black, Charlie Hall, and Dorothy Granger
Director: Hal Roach
Rating: Eight of Ten Stars
Thelma and ZaSu (Todd and Pitts) go on a double-date with ZaSu's deadbeat boyfriend (Byron) and his boorish doctor friend from Boston (Mandy). The night goes from bad to worse when Thelma initiates a scheme to bring it to an early end, and ZaSu accidentally gets drunk on the doctor's homemade "medicine."
"Let's Do Things" was originally produced to be part of "The Boyfriends" series of comedy shorts, but it must have been immediately apparent to everyone involved that there was something special about the teaming of Thelma Todd and ZaSu Pitts, because this instead became the launch of a new series centered on them.
Thelma Todd and ZaSu Pitts are a working women who are friends and roommates away from the job. In an example of deft writing, their relationship is established with a few lines, even as their characters are delineated: They moved to the Big City with the idea of finding jobs that would lead them to snare wealthy and influential boyfriends. Todd is the more ambitious, organized, and clear-eyed of the two, while Pitts is a naive romantic who stumbles her way through life, both literally and metaphorically.
The characters that Pitts and Todd portray in this film (and the entire series) are obvious from their types... Pitts, a veteran comedienne who got her start in silent pictures, is the gawky, befuddled. socially inept of the pair; while Todd, a beauty contest winner turned actress, is the attractive, sharp-witted one. However, in an atypical move--and one that takes full advantage of both actresses talents, Todd isn't just the "straight man" for Pitts to play off, but is just as likely to be delivering jokes and otherwise clowning it as Pitts is. In fact, some of the funniest physical comedy in the film involves Todd getting the world's worst chiropractic adjustment, and her being tossed around the dance floor like a ragdoll... before turning the proverbial tables on her dance partner and sending him flying.
As funny and well-written the material performed by Pitts and Todd is, the humor is augmented by the fact that the boyfriend characters are not bland cyphers (as often seems to be the case in films from this period) but are instead almost as complete characters as Thelma and ZaSu which makes the gags even funnier. It also doesn't hurt that both are played by veteran comedians, George Byron and Jerry Mandy.
"Let's Do Things" is included in a two-DVD set that contains all the short films that Pitts and Todd made together. If they're all as much fun as this one, it's going to be great pleasure watching and reviewing them.
Starring: ZaSu Pitts, Thelma Todd, George Byron, Jerry Mandy, Mary Kornman, Maurice Black, Charlie Hall, and Dorothy Granger
Director: Hal Roach
Rating: Eight of Ten Stars
Thelma and ZaSu (Todd and Pitts) go on a double-date with ZaSu's deadbeat boyfriend (Byron) and his boorish doctor friend from Boston (Mandy). The night goes from bad to worse when Thelma initiates a scheme to bring it to an early end, and ZaSu accidentally gets drunk on the doctor's homemade "medicine."
"Let's Do Things" was originally produced to be part of "The Boyfriends" series of comedy shorts, but it must have been immediately apparent to everyone involved that there was something special about the teaming of Thelma Todd and ZaSu Pitts, because this instead became the launch of a new series centered on them.
Thelma Todd and ZaSu Pitts are a working women who are friends and roommates away from the job. In an example of deft writing, their relationship is established with a few lines, even as their characters are delineated: They moved to the Big City with the idea of finding jobs that would lead them to snare wealthy and influential boyfriends. Todd is the more ambitious, organized, and clear-eyed of the two, while Pitts is a naive romantic who stumbles her way through life, both literally and metaphorically.
The characters that Pitts and Todd portray in this film (and the entire series) are obvious from their types... Pitts, a veteran comedienne who got her start in silent pictures, is the gawky, befuddled. socially inept of the pair; while Todd, a beauty contest winner turned actress, is the attractive, sharp-witted one. However, in an atypical move--and one that takes full advantage of both actresses talents, Todd isn't just the "straight man" for Pitts to play off, but is just as likely to be delivering jokes and otherwise clowning it as Pitts is. In fact, some of the funniest physical comedy in the film involves Todd getting the world's worst chiropractic adjustment, and her being tossed around the dance floor like a ragdoll... before turning the proverbial tables on her dance partner and sending him flying.
As funny and well-written the material performed by Pitts and Todd is, the humor is augmented by the fact that the boyfriend characters are not bland cyphers (as often seems to be the case in films from this period) but are instead almost as complete characters as Thelma and ZaSu which makes the gags even funnier. It also doesn't hurt that both are played by veteran comedians, George Byron and Jerry Mandy.
"Let's Do Things" is included in a two-DVD set that contains all the short films that Pitts and Todd made together. If they're all as much fun as this one, it's going to be great pleasure watching and reviewing them.
Friday, December 7, 2018
A mad scientist goes to extremes to get ahead (or is that "a head"?)
The Head (1959)
Starring: Horst Frank, Michel Simon, Karin Kernke, and Helmut Schmidt
Director: Victor Trivas
Rating: Five of Ten Stars
A mad scientist (Frank) keeps the head of a brilliant doctor (Simon) alive so that the doctor can consult on an operation to transplant the head of Brandt's beloved--a hunchback nurse (Kernke)--onto a sexy body.
Writer/director Victor Trivas's greatest claim to fame is that his directorial debut--"Hell on Earth" (1931) was outlawed and destroyed by the Nazis in 1940, with no copies known to have survived. His second greatest claim to fame was being nominated for an Oscar for the script for Orson Welles' "The Stranger". And then there's "The Head".
"The Head" is an extremely cheezy, intentionally schlocky film that surprised everyone involved (except maybe auteur Triva) by becoming a hit across Europe and in the United States. But for all the melodrama and dodgy scripting and the prerequisite for big-time suspension of disbelief for the film to even work (but if you're not already planning on doing that, you wouldn't be watching this film to begin with), it's got stylish visuals and it delivers its story with a high degree of tension.
Unfortunately, as the film builds toward what should be a weird, over-the-top, insane climax, it starts to sputter and lose steam. It doesn't quite stall out, but the final act drags to a conclusion instead of roaring toward it, giving this otherwise dark and fun ride a slightly disappointing in. It's still worth your while if you like movies with mad scientists doing mad things.
Starring: Horst Frank, Michel Simon, Karin Kernke, and Helmut Schmidt
Director: Victor Trivas
Rating: Five of Ten Stars
A mad scientist (Frank) keeps the head of a brilliant doctor (Simon) alive so that the doctor can consult on an operation to transplant the head of Brandt's beloved--a hunchback nurse (Kernke)--onto a sexy body.
Writer/director Victor Trivas's greatest claim to fame is that his directorial debut--"Hell on Earth" (1931) was outlawed and destroyed by the Nazis in 1940, with no copies known to have survived. His second greatest claim to fame was being nominated for an Oscar for the script for Orson Welles' "The Stranger". And then there's "The Head".
"The Head" is an extremely cheezy, intentionally schlocky film that surprised everyone involved (except maybe auteur Triva) by becoming a hit across Europe and in the United States. But for all the melodrama and dodgy scripting and the prerequisite for big-time suspension of disbelief for the film to even work (but if you're not already planning on doing that, you wouldn't be watching this film to begin with), it's got stylish visuals and it delivers its story with a high degree of tension.
Unfortunately, as the film builds toward what should be a weird, over-the-top, insane climax, it starts to sputter and lose steam. It doesn't quite stall out, but the final act drags to a conclusion instead of roaring toward it, giving this otherwise dark and fun ride a slightly disappointing in. It's still worth your while if you like movies with mad scientists doing mad things.
Wednesday, December 5, 2018
Picture Perfect Wednesday: Dorothy Malone and... Friend?
They're making porn parodies of everything these days.
I think this is a scene from "Frosty Gets Frisky".
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