Wednesday, December 26, 2018

Picture Perfect Wednesday: Thelma Todd

I was recently going through my pile of "To Be Watched & Reviewed" DVDs, and I noticed that the majority of them feature Thelma Todd. I didn't plan it this way, but appears that 2019 will be the Year of the Hot Toddy. (I'll add a "Thelma Todd Quarterly" to the line-up--with her joining Bessie Love and Milla Jovovich in rotation--to make it even more so!)

In addition to regular appearances by Thelma Todd, I am hoping and planning for 2019 to bring many more reviews of movies and comics, as well as a healthy dose of photos and art and the occasional music video and randomness.



I hope you all will join me on the other side!

Tuesday, December 25, 2018

'It's a Cinch' is amusing but unremarkable... except for a really bizarre directorial choice

It's a Cinch (1932)
Starring: Monte Collins, Phyllis Crane, Tom O'Brien, and Richard Powell
Director: William B. Goodrich (aka Roscoe Arbuckle)
Rating: Five of Ten Stars

When a dance instructor (Collins) is tricked into facing a prize fighter (O'Brien) in the boxing ring, his girlfriend (Crane) devises a plan to turn the odds in his favor.

"It's a Cinch" is a mildly amusing short film with a fast-moving story performed by a pleasant but  unremarkable cast. They are, sadly, made even more unremarkable by the degraded state of the of the film the DVD transfer was made from. The sound quality is okay, but the picture is so washed out and blurry that I couldn't even capture a good image with which to illustrate this review. (Hence, the use of a head shot of actress Phyllis Crane.)

"It's a Cinch" is perhaps of greatest interest to modern viewers because it is the last film directed by Roscoe "Fatty" Arbuckle. In 1921, he had been accused of rape by a woman who died before an investigation of her charges could even be properly begun, the prosecutor decided to link the two events and Arbuckle was tried for murder.

Although he was ultimately and emphatically found not guilty by a jury (so emphatically, in fact, that the jury felt obligated to issue a letter of apology to him with their verdict), Arbuckle's career was in ruins, because he had already been tried and convicted in the media. He could no longer get work as an actor, but he turned to directing under the pseudonym William B. Good. By the time work wrapped on "It's a Cinch", however, the murder trial was far enough in the past that Arbuckle's acting career began to revive and he stepped back in front of the camera.

Why am I rattling on about Roscoe Arbuckle? Because the only gripe I have about this picture leaves me wondering about the choices he made as a director.

"It's a Cinch" opens with a scene at the dance academy where the main character is an instructor that consists mostly of lingering shots of the dancers' chests and legs. Now, I don't usually have issues with cheesecake (as there is plenty of evidence for here and here), but those shots made me feel awkward, almost embarrassed, to be watching. What's more, these shots were completely out of tone with everything else that followed in the picture. In the final analysis, that opening scene almost made me knock the film down to a Four Out of Ten Star rating, but since the film was fun enough otherwise I held it to a low average rating. (I just wish I could figure out why someone thought that opening scene was a good idea... especially from a director who'd been accused of rape and who's pseudonym was Will B. Good. And my initial reaction wasn't even colored by that; it wasn't until I was starting this review that it registered who had directed the film.)

"It's a Cinch" is one of six short comedies included in the "Ultra-Rare Pre-Code Comedies Vol. 4" collection. The degraded quality of the original from which it was transferred is about the same as the others in the set--most have decent sound but awful picture--but this is a case where you get what you pay for. (Near as I can tell, this disc is also the first time these films have been available to the public for a long time.)

Monday, December 24, 2018

Christmas is here!

Santa is making his rounds, but in case something goes wrong, we've arranged for back-up! Standing by are...


... Shirley Knight ...
... Vera Ellen ...


... Joan Crawford ...

... and Mary Carlisle!
Um... Mary seems to have left a few necessities behind at the North Pole staging area. Whoops.

Merry Christmas!


I hope all those who have visited 'Shades of Gray' for the reviews, pictures, and music videos over the past ten years are enjoying the company of friends, family, and other people who care about them. Thanks for stopping by, and I hope you'll be back in the future!


Sunday, December 23, 2018

'Thundering Tenors' sees a party ruined

Thundering Tenors (1931)
Starring: Charley Chase, Lena Malena, Lillian Elliot, Dorothy Granger, Elizabeth Forrester, and Edward Dillon
Director: James W. Horne
Rating: Six of Ten Stars

A socially inept radio star (Chase) causes chaos while trying to fit in at a high society dinner party hosted by his girlfriend's parents (Dillon and Elliot)


"Thundering Tenors" gets off to a slow start, but when it kicks into gear about five minutes in, it speeds ever-quicker down a path of growing craziness. The film is at its funniest and wildest when Chase gets into a running fight and wrestling match with a doctor played by Lena Malena in one of the biggest roles of her short career. She is called after Chase gets a fishbone stuck in his throat and the party's host calls for a doctor who lives nearby to come to his aid. The doctor, though, is a chiropractor who tries to use spinal and neck adjustments to get the bone loose, Chase doesn't appreciate her application of "medicine" and the hilarious fight mentioned above breaks out. (Interestingly, another Hal Roach-produced short released later the same year featured a similarly comic chiropractor--the inaugural teaming of Thelma Todd and ZaSu Pitts, "Let's Do Things". Either the screenwriter involved with both, H.M. Walker, found chiropractors and their "adjustments" funny, or chiropractic quackery was a common target of pop cultural mockery.)

The actors are all perfect in their parts, with Charley Chase being particularly charming and funny, with Lena Malena being hilariously physical in her fight with him. Unfortunately, those performances are undermined by inexplicable and unnecessary sound effects that someone must have thought were funny (like musical notes underscoring pratfalls, or the sound of tearing cloth as Chase undresses for "treatment" by the doctor); they don't ruin the movie, but they do make it less enjoyable. Another curious element of the film is that, despite the title, the presence of a band, and the fact that Chase is playing a supposedly famous singer, there isn't really a musical number in the film.


"Thundering Tenors" is one of 17 short films included in the two DVD set Charley Chase at Hal Roach: 1930 - 1931. It promises to be the first installment in a comprehensive collection of Chase's talkies.

Saturday, December 22, 2018

Christmas is Coming...

... and rather than hang the wreath here at Shades of Gray, Dorothy Granger decided to hang *with* the wreath.


Hopefully, you're having an easier time decorating your place than we're having around here!

Friday, December 21, 2018

'Hit the Ice' has Bud & Lou at their finest

Hit the Ice (1943)
Starring: Lou Costello, Bud Abbott, Ginny Sims, Patric Knowles, Sheldon Leonard, Elyse Knox, Mark Lawrence, Joe Sawyer, and Johnny Long
Director: Charles Lamont and Erle C. Kenton
Rating: Six of Ten Stars

A pair of photographers (Abbott & Costello) accidentally become entangled in a bank heist and are mistaken for the robbers. As they try to clear their names, the actual thieves want to tie up loose ends by eliminating them when they cross paths again at a ski resort in Sun Valley.



"Hit the Ice" is a solid Abbott & Costello film. Almost every routine is perfect from set-up through execution, the plot that carries us from gag to gag is just enough to keep things moving, with the schemes of the villains providing suspense and connecting the various characters to each other as the paper thin story unfolds. The film is further lifted by the fact that, unlike in several other films that Abbott & Costello made together, their characters are written in such a way that viewers can believe that they're friends, because Abbott isn't as cruel and vicious toward Costello as his characters sometimes are. In fact, this may be one of the most cheerful A&C movies, because sympathetic character truly is smpathetic, Abbott and Costello are both portraying characters who are genuinely nice, and everyone comes out ahead in the end (except the bad guys of course); they get theirs in an extended and very funny and cartoonish skiing sequence.

As with many (most?) of Abbott & Costello's films, there's an attractive couple or two in the supporting cast that are acting out a romantic subplot. While the attractive couples are here, the romantic subplot is so light so as to be non-existent... while Costello becoming smitten with songstress Ginny Sims more or less erases her romance with band leader Johnny Long until the very end of the movie. It's a nice change of pace, and it's even nicer to see Abbott try to help his buddy impress and obtain the unobtainable girl instead of just dismissing him.

Unfortunately, for all its strengths, the weak parts of this movie are really weak... and they are all related to the film's musical numbers. Singer Ginny Sims, together with Johnny Long and His Orchestra, perform five different songs, each less interesting than the one before. The movie even more-or-less ends with them performing a song, ensuring that the final impression the movie will leave you with is boredom instead of cheerfulness--despite the great performances from Abbott & Costello. The boring musical numbers make the one sequence in the film that drags on seem even longer. About halfway though the movie, the ice-skating hijinx implied in the title arrive, but they quickly become unwelcome as Costello's pratfalls grow repetitive, the ice dancing goes on for too long, and it's all set too the seemingly never-ending and absolutely terrible song "The Double-Slap Polka" performed by Sims and Long's orchestra. The boring musical numbers cost this film a Star, and if it hadn't been for the superior material that Abbott & Costello had to work with here, they could have ruined the whole movie.

"Hit the Ice" is a really fun movie that I think lovers of classic comedies will enjoy... so long as they keep in mind that the reward for sitting through the boring songs is getting to see Abbott & Costello at their best.


Wednesday, December 19, 2018

Picture Perfect Wednesday: Christmas Carole

Carole Lombard is trying to guess what's in the Christmas gifts. What's your favorite approach to figuring out what's in the packages under the tree?


Tuesday, December 18, 2018

Tuneful Tuesday with Big Bad Voodoo Daddy

Big Bad Voodoo Daddy performing

Big Bad Voodoo Daddy is a modern band that plays music like that featured in many of the films reviewed on this blog. Today's song so authentic-sounding that it should have been set to a video featuring cartoon characters that are constantly bouncing to the beat.



Monday, December 17, 2018

'Horse Feathers' is high-quality nonsense

With the college football season coming to an end for 2018, it seemed like the perfect time to rewatch one of my favorite Marx Brothers films with an eye toward reviewing it for Shades of Gray. And it was.


Horse Feathers (1932)
Starring: The Marx Brothers, Thelma Todd, Nat Pendleton, and James Pierce
Director: Norman McLeod
Rating: Nine of Ten Stars

A crazy university president (Groucho Marx) tries to rig the Big Football Game against a rival school... with disastrous results.

"Horse Feathers" is one of the greatest movies the Marx Brothers ever made. It is an almost non-stop barrage of wild comedy--both visual, physical, and spoken--that is book-ended by my most favorite Marx Brothers song and dance routine--"Whatever It Is, I'm Against It"--and the craziest football spoof ever committed to film. Every joke and gag comes off perfectly, and the Marx Brothers are all top form, even the straight-man of the group, Zeppo, shines as a college football star and son of the university's president.

The stellar performances from the Marx Brothers are ably supported by equally great showings from Nat Pendleton (who appears as a football player) and Thelma Todd (who proves here that she will forever be one of the sexiest commedienes in history; films like this really show what a great loss to the world her tragic and premature death  was). Todds comedic timing is absolutely perfect throughout this film, as she vamps it up as a campus man-eater and femme fatale with the scenes she shares with Chico and Groucho being among the film's brightest highlights.


There is really only one part of the film that doesn't click is the musical number performed by Harpo in an attemtp to woo Thelma Todd's character. It goes on for too long and it brings the movie to a screeching halt for over three minutes. Yes, "Everyone Says I Love You" is a nice tune and Harpo plays beautifully, but the segment is out of place... and Zeppo and Groucho's respective uses of the verses of the same song in serenading Todd don't interrupt the flow of this zany movie. (In fact, Groucho's performance and its aftermath cranks it up a notch.)

There are few films I have watched more than once--there are simply too many movies in the world--but I am glad that I now number "Horse Feathers" among them. This second viewing was time well spent.