Then there was that time where Superman saved ZaSu from getting beat up by her abusive husband...
(We're presenting this slightly disturbing television ad, which aired during the Superman television series at some point between 1953 and 1958, because ZaSu Pitts was born on January 3, 1894--125 years ago today.)
Thursday, January 3, 2019
Wednesday, January 2, 2019
Thelma is a Bombshell for the Defense
Sneak Easily (1932)
Starring: ZaSu Pitts, Thelma Todd, James C. Morton, Bobby Burns, and Billy Gilbert
Director: Gus Meins
Rating: Six of Ten Stars
Attorney Thelma Tood (Todd) is defending a mad scientist (Burns) who has been accused of murdering is wife when juror ZaSu (Pitts) accidentally swallows a piece of evidence--which just happens to be a sample of the time-released high explosive of the madman's creation. Will ZaSu develop a case of terminal indigestion, or will the Thelma and the rest of the officers of the court find a way to save her before it's too late?
When I read a logline for this film--"Juror Zasu accidentally swallows a piece of evidence which just happens to be a time bomb."--it moved to the top of the list of things to watch. However, while amusing, this outing for these great comediennes is deeply flawed in several ways, almost all of them originating with the script.
The problems start almost immediately. Three minutes in, I felt like I had missed the beginning of the film, because so many questions are raised by the way Thelma Todd's attorney character is introduced. She is clearly an inexperienced attorney trying to inflate her image, but why? And how did she end up defending the mad scientist? Perhaps her apparent inexperience with court procedures is an indication that she isn't an attorney at all but is some sort of fraud? The sense of having missed out on a chunk of the story only deepened when an exchange between ZaSu makes comments to Thelma that not only establishes that they are closely acquainted but that they may even be roommates like they are in other entries in the series; how could ZaSu be on the jury in a murder trial if she has close ties to the defense attorney? It makes sense if Thelma is some sort of fraud and somehow managed to get ZaSu on the jury as a "ringer"... but, again, that means there's a chunk of story missing. I don't mind joining a story in progress when it comes to short films like these, but I do mind when it feels like I came in late.
Another problem is a bizarre repeat of footage during a high-speed driving sequence when ZaSu is being rushed to hopeful salvation in an ambulence. I thought maybe the DVD had skipped, but, no. For whatever reason, the filmmakers decided to insert the same few seconds of external footage of cars on a road twice in the same sequence, with only a short scene of the actors mugging it up in the ambulance in between. It's unncessarily distracting and looks sloppy and cheap. If it was done for comedy, I'm missing the joke.
Despite the flawed beginning, once ZaSu swallows the trial evidence, the film is utterly hilarious and top-notch. While Todd doesn't get to show off her flair for physical comedy, Pitts gets to do plenty of pratfalls. In fact, it many ways, Todd serves as the eye of a storm of craziness, as she is the only actor who isn't hamming it up... at least not until the explosive prelude to the film's twist ending.
"Sneak Easily" is one of 17 short films included on the two-DVD set containing
Starring: ZaSu Pitts, Thelma Todd, James C. Morton, Bobby Burns, and Billy Gilbert
Director: Gus Meins
Rating: Six of Ten Stars
Attorney Thelma Tood (Todd) is defending a mad scientist (Burns) who has been accused of murdering is wife when juror ZaSu (Pitts) accidentally swallows a piece of evidence--which just happens to be a sample of the time-released high explosive of the madman's creation. Will ZaSu develop a case of terminal indigestion, or will the Thelma and the rest of the officers of the court find a way to save her before it's too late?
When I read a logline for this film--"Juror Zasu accidentally swallows a piece of evidence which just happens to be a time bomb."--it moved to the top of the list of things to watch. However, while amusing, this outing for these great comediennes is deeply flawed in several ways, almost all of them originating with the script.
The problems start almost immediately. Three minutes in, I felt like I had missed the beginning of the film, because so many questions are raised by the way Thelma Todd's attorney character is introduced. She is clearly an inexperienced attorney trying to inflate her image, but why? And how did she end up defending the mad scientist? Perhaps her apparent inexperience with court procedures is an indication that she isn't an attorney at all but is some sort of fraud? The sense of having missed out on a chunk of the story only deepened when an exchange between ZaSu makes comments to Thelma that not only establishes that they are closely acquainted but that they may even be roommates like they are in other entries in the series; how could ZaSu be on the jury in a murder trial if she has close ties to the defense attorney? It makes sense if Thelma is some sort of fraud and somehow managed to get ZaSu on the jury as a "ringer"... but, again, that means there's a chunk of story missing. I don't mind joining a story in progress when it comes to short films like these, but I do mind when it feels like I came in late.
Another problem is a bizarre repeat of footage during a high-speed driving sequence when ZaSu is being rushed to hopeful salvation in an ambulence. I thought maybe the DVD had skipped, but, no. For whatever reason, the filmmakers decided to insert the same few seconds of external footage of cars on a road twice in the same sequence, with only a short scene of the actors mugging it up in the ambulance in between. It's unncessarily distracting and looks sloppy and cheap. If it was done for comedy, I'm missing the joke.
Despite the flawed beginning, once ZaSu swallows the trial evidence, the film is utterly hilarious and top-notch. While Todd doesn't get to show off her flair for physical comedy, Pitts gets to do plenty of pratfalls. In fact, it many ways, Todd serves as the eye of a storm of craziness, as she is the only actor who isn't hamming it up... at least not until the explosive prelude to the film's twist ending.
"Sneak Easily" is one of 17 short films included on the two-DVD set containing
Tuesday, January 1, 2019
Welcome to 2019!
Our thanks to Alice White for making sure we're keeping with the times here at Shades of Gray. 2019 promises to be a very busy year.
(Although we're hoping that the next time she makes an appearance, she'll be wearing one of her many silly hats.)
(Although we're hoping that the next time she makes an appearance, she'll be wearing one of her many silly hats.)
Monday, December 31, 2018
The end of 2018 is almost here...
... and Dorothy Lee and Thelma White are counting down the final minute of what's been a busy year here at Shades of Gray...
... while Lilian Harvey is ready with a toast...
... and Bessie Love just keeps on partying, because she knows that 2019 is going to be even busier!
WE'LL SEE YOU NEXT YEAR (in just another minute)!
... while Lilian Harvey is ready with a toast...
... and Bessie Love just keeps on partying, because she knows that 2019 is going to be even busier!
WE'LL SEE YOU NEXT YEAR (in just another minute)!
This 'Conspiracy' isn't worth uncovering
Conspiracy (1930)
Starring: Bessie Love, Ned Sparks, Hugh Trevor, Gertrude Howard, Rita La Roy, and Donald MacKenzie
Director: Christy Cabanne
Rating: Four of Ten Stars
After killing a drug kingpin, Margaret (Love) is hiding from both the drug syndicate and the police, her identity as the killer still unknown. Then a crime writer turned amateur detective, "Little Nemo" (Sparks), decides to solve the case, gets onto her trail, and may expose her to cops and crooks alike.
When I reviewed "The Sawdust Ring", I said that I could easily see why D.W. Griffith was sure Bessie Love was going to be a star from the moment he first saw her, and why she did indeed become a huge star during the 1920s. In that film, she had a certain charisma that almost seemed to make her leap off the screen. In "Conspiracy", however, very little of that aura is evident... in fact, the performance she gives here barely distinguishes her from a generic "damsel in distress"-type character. (I might even argue that her performance seems a bit off, since she's playing a character who's been undercover with a drug gang for several months. Sure, she's just stabbed someone to death as the film starts, and later she's been cooped up with an obnoxious asshole for two weeks, but I would still expect something more than confusion and panic to each and every situation she encounters.)
Perhaps Love was modulating her performance to be complimentary to the boring, bland stock hero played by Hugh Trevor. Maybe she was trying to be lowkey so Ned Sparks' supremely annoying, grumpy old man character would seem even more annoying and grumpy. Or maybe she knew she was in a badly directed third-rate movie with a weak script full of squandered opportunities and only one mildly interesting twist, and she wasn't giving it her all. Whatever the reason, there are only two times in "Conspiracy" where we see glimmers of the Love that graced the screen 15 years earlier: During the obligatory insta-romance-sparking scene where she tells her tale of woe to Trevor's dull alleged man of action, and during the scene where Sparks' character threatens to turn her over to the police, and she in turn threatens to bash his brains in with a paperweight.
Still, even if Love had given the performance of her career, she probably couldn't have saved this movie which leads with its very best scenes and then steadily goes down hill. The biggest problem here, really, is that the filmmakers couldn't decide if they were making a comedy or a thriller or a melodrama; or if the central character was Margaret, Love's caught-in-the-middle woman on the run; Little Nemo, Sparks' annoying and obnoxious and played-strictly-for-laughs crime writer; or Trevor's boring feature section reporter. It also doesn't help the movie that anything remotely suspenseful happens off-screen or in a flashback (where we already know the outcome).
As terrible as this movie is, and as disappointed as I was with Bessie Love's performance, I did keep watching. Ned Sparks as Little Nemo was entertaining in a train-wreck sort of way... and I watched with captivated awe while Sparks and Gertrude Howard (as Little Nemo's beleaguered black housekeeper) played through a series of comedic (but extremely unfunny) and deeply racist exchanges. Also, Rita La Roy's femme fatal-ish character that shows up at about the halfway point as an agent of the drug ring trying to milk Little Nemo for information and seduce him into turning Margaret over to the gang when he finds her, was a lot of fun.
Unless you're a huge Ned Sparks fan (I think this was the closest this accomplished character actor ever came to playing the lead); want an opportunity to be able to tell exactly how brilliant Bessie Love is in some of her other roles; or are looking for an old movie with some racists scenes to fill you with righteous outrage, there are far better movies to spend your time on. (But if you do decide to check it out, I recommend you watch it for free on YouTube.)
Starring: Bessie Love, Ned Sparks, Hugh Trevor, Gertrude Howard, Rita La Roy, and Donald MacKenzie
Director: Christy Cabanne
Rating: Four of Ten Stars
After killing a drug kingpin, Margaret (Love) is hiding from both the drug syndicate and the police, her identity as the killer still unknown. Then a crime writer turned amateur detective, "Little Nemo" (Sparks), decides to solve the case, gets onto her trail, and may expose her to cops and crooks alike.
Perhaps Love was modulating her performance to be complimentary to the boring, bland stock hero played by Hugh Trevor. Maybe she was trying to be lowkey so Ned Sparks' supremely annoying, grumpy old man character would seem even more annoying and grumpy. Or maybe she knew she was in a badly directed third-rate movie with a weak script full of squandered opportunities and only one mildly interesting twist, and she wasn't giving it her all. Whatever the reason, there are only two times in "Conspiracy" where we see glimmers of the Love that graced the screen 15 years earlier: During the obligatory insta-romance-sparking scene where she tells her tale of woe to Trevor's dull alleged man of action, and during the scene where Sparks' character threatens to turn her over to the police, and she in turn threatens to bash his brains in with a paperweight.
Still, even if Love had given the performance of her career, she probably couldn't have saved this movie which leads with its very best scenes and then steadily goes down hill. The biggest problem here, really, is that the filmmakers couldn't decide if they were making a comedy or a thriller or a melodrama; or if the central character was Margaret, Love's caught-in-the-middle woman on the run; Little Nemo, Sparks' annoying and obnoxious and played-strictly-for-laughs crime writer; or Trevor's boring feature section reporter. It also doesn't help the movie that anything remotely suspenseful happens off-screen or in a flashback (where we already know the outcome).
As terrible as this movie is, and as disappointed as I was with Bessie Love's performance, I did keep watching. Ned Sparks as Little Nemo was entertaining in a train-wreck sort of way... and I watched with captivated awe while Sparks and Gertrude Howard (as Little Nemo's beleaguered black housekeeper) played through a series of comedic (but extremely unfunny) and deeply racist exchanges. Also, Rita La Roy's femme fatal-ish character that shows up at about the halfway point as an agent of the drug ring trying to milk Little Nemo for information and seduce him into turning Margaret over to the gang when he finds her, was a lot of fun.
Unless you're a huge Ned Sparks fan (I think this was the closest this accomplished character actor ever came to playing the lead); want an opportunity to be able to tell exactly how brilliant Bessie Love is in some of her other roles; or are looking for an old movie with some racists scenes to fill you with righteous outrage, there are far better movies to spend your time on. (But if you do decide to check it out, I recommend you watch it for free on YouTube.)
It's almost 2019...
... and people are practicing their best kicks as they prepare to kick 2018 right the heck out of here!
Sunday, December 30, 2018
Horror movie giants at their best
The Body Snatcher (1945)
Starring: Boris Karloff, Henry Daniell, Russell Wade, Bela Lugosi, and Edith Atwater
Director: Robert Wise
Rating: Nine of Ten Stars
In this loose adaptation of a Robert Louis Stevenson short story, a young medical student (Wade) becomes drawn into the twisted relationship between a brilliant but coldhearted surgeon (Daniell) and a strange coachman who moonlights as a body snatcher to provide the doctor with research specimens (Karloff).
"The Body Snatcher" is a one-stop spot to discover why producer Val Lewton, actor Boris Karloff and director Robert Wise are held in such high regard by horror movie fans and filmmakers.
Lewton's touch is all over this film, and there is barely a scene that doesn't feature terror technqiues that filmmakers copy and rely on to this very day. Karloff gives one of the very best performances of his career, oozing greasy charm and quiet menace with every word and gesture. And then there's the very chilling scene where he's just choked a man to death, is sitting over the corpse, and then reaches out to stroke his pet cat. And, finally, Wise mounts a brilliantly structured film where the mystery and tension keeps mounting until the end, and every scene is perfectly paced, framed and lit. Much gets said about film noir, but the use of light and shadow in black and white horror films like this one is far more important that in crime dramas, and here Wise uses the medium to perfection.
And, of course, the stars are backed up by an excellent supporting cast, including Bela Lugosi in his final horror role for a major studio. Lugosi's role is small, but he brings a level of raw creepiness to his character, creepiness born more of stupidity than the evil that wafts from Karloff's character.
In retrospect, the fact that Lugosi dies in a very key scene in the film is something of an allegory for his career, as well as Karloff's. In the scene in question, Lugosi ends up dead on the floor and Karloff reaches out to pet a cat in a very creepy moment. This was the second-to-last film Lugosi made for a major studio, and his career and life were mostly a downward spiral from here, while Karloff's career in horror films continued to flourish.
Starring: Boris Karloff, Henry Daniell, Russell Wade, Bela Lugosi, and Edith Atwater
Director: Robert Wise
Rating: Nine of Ten Stars
In this loose adaptation of a Robert Louis Stevenson short story, a young medical student (Wade) becomes drawn into the twisted relationship between a brilliant but coldhearted surgeon (Daniell) and a strange coachman who moonlights as a body snatcher to provide the doctor with research specimens (Karloff).
"The Body Snatcher" is a one-stop spot to discover why producer Val Lewton, actor Boris Karloff and director Robert Wise are held in such high regard by horror movie fans and filmmakers.
Lewton's touch is all over this film, and there is barely a scene that doesn't feature terror technqiues that filmmakers copy and rely on to this very day. Karloff gives one of the very best performances of his career, oozing greasy charm and quiet menace with every word and gesture. And then there's the very chilling scene where he's just choked a man to death, is sitting over the corpse, and then reaches out to stroke his pet cat. And, finally, Wise mounts a brilliantly structured film where the mystery and tension keeps mounting until the end, and every scene is perfectly paced, framed and lit. Much gets said about film noir, but the use of light and shadow in black and white horror films like this one is far more important that in crime dramas, and here Wise uses the medium to perfection.
And, of course, the stars are backed up by an excellent supporting cast, including Bela Lugosi in his final horror role for a major studio. Lugosi's role is small, but he brings a level of raw creepiness to his character, creepiness born more of stupidity than the evil that wafts from Karloff's character.
In retrospect, the fact that Lugosi dies in a very key scene in the film is something of an allegory for his career, as well as Karloff's. In the scene in question, Lugosi ends up dead on the floor and Karloff reaches out to pet a cat in a very creepy moment. This was the second-to-last film Lugosi made for a major studio, and his career and life were mostly a downward spiral from here, while Karloff's career in horror films continued to flourish.
Getting ready for the change...
Ann Miller, who has helped us mark more holidays than anyone else here at Shades of Gray, stopped by to get things ready for the Coming of 2019.
Saturday, December 29, 2018
'The Adventures of Tartu' are thrilling!
The Adventures of Tartu (1943)
Starring: Robert Donat, Valerie Hobson, Walter Rilla, Glynis Johns, Phyllis Morris, and Martin Miller
Director: Harold S. Bucquet
Rating: Nine of Ten Stars
A British army officer and bomb expert (Donat), who happens to be a chemical engineer who is also fluent in German and Romanian, is recruited by military intelligence for a mission in German occupied Czechoslovakia. Here, is is to pose as Jan Tartu, a Romanian Nazi and chemist, infiltrate a plant where the Germans are making next-generation chemical weapons, and destroy it. Naturally, things go sideways with the mission, and while "Tartu" is improvising his way back on course, things go from urgent to dire: The Nazis aren't weeks or months away from launching a chemical weapons attack on Britain, but mere days!
"The Adventures of Tartu" is a tightly plotted and excellently executed spy thriller. There is literally not a moment of time wasted in the film, with every second spent deftly establishing characters and their relationships, or advancing and/or complicating the plot and the story. And what complications! I can't comment too much on them without spoiling them, but the way the predictable romance between leads Donat and Hobson intersects with the expected elements of a spy movie, as well as a couple of the plot complications, is wonderful and a great source of tension and suspense as the third act opens.
The already great script is brought to brilliant life by excellent, nuanced performances all around; even deeply vile characters like the lead Nazi in the film, played by William Rilla show glimpses of humanity. Every cast member is top-notch here.
Robert Donat is especially impressive since he essentially plays two different characters--Terence Stevensen of the British Army, an officer and a gentleman who loves his mother and visits her on weekends; and Jan Tartu of the Romanian Iron Guard who is a vain and self-centered womanizer. One could even say he plays a third character, since at two different points in the movie, he adopts a persona that's harder-edged than either Stevensen or Tartu, when he first has to show Nazi commanders and then resistance fighters that he "has what it takes" to be trusted by them. While I found Donat charming and lots of fun to watch in the only other film I recall seeing him in ("The 39 Steps", which happens to be another spy thriller), here I found him downright brilliant.
The final elements that makes this film a great joy to watch is the cinematography and the great sets, especially when it comes to the Nazi munitions plan and the secret weapons lab built inside a mountain. (And, boy, can those Movie Nazis build secret bases. Even James Bond villains can't match their ability to build massive and spacious underground labs!
"The Adventures of Tartu" is one of the 50 movies included in the "shovelware" set Fabulous Forties... and it's the original, superior British edit of the film. The American version is available for Streaming via Amazon Prime (and free for members); several scenes that are present just for character building are cut or shortened in the American version. I'm providing Amazon links to both below, but I want to stress that the one included in the Fabulous Forties collection is the superior film AND the digital transfer was made from a better print than the one available via Amazon Prime. (I've already posted reviews of other films included in the set. Click here to see them. and maybe decide if the set is worth your hard-earned dollars.)
While both versions of "The Adventures of Tartu" are worthwhile, and watching both is an interesting exercise, the Nine of Ten Stars rating at the top of this review is for the British version of the film; the American edit drops down to a Seven of Ten. It's still a good movie, but it's not as good.as the original cut.
Starring: Robert Donat, Valerie Hobson, Walter Rilla, Glynis Johns, Phyllis Morris, and Martin Miller
Director: Harold S. Bucquet
Rating: Nine of Ten Stars
A British army officer and bomb expert (Donat), who happens to be a chemical engineer who is also fluent in German and Romanian, is recruited by military intelligence for a mission in German occupied Czechoslovakia. Here, is is to pose as Jan Tartu, a Romanian Nazi and chemist, infiltrate a plant where the Germans are making next-generation chemical weapons, and destroy it. Naturally, things go sideways with the mission, and while "Tartu" is improvising his way back on course, things go from urgent to dire: The Nazis aren't weeks or months away from launching a chemical weapons attack on Britain, but mere days!
"The Adventures of Tartu" is a tightly plotted and excellently executed spy thriller. There is literally not a moment of time wasted in the film, with every second spent deftly establishing characters and their relationships, or advancing and/or complicating the plot and the story. And what complications! I can't comment too much on them without spoiling them, but the way the predictable romance between leads Donat and Hobson intersects with the expected elements of a spy movie, as well as a couple of the plot complications, is wonderful and a great source of tension and suspense as the third act opens.
The already great script is brought to brilliant life by excellent, nuanced performances all around; even deeply vile characters like the lead Nazi in the film, played by William Rilla show glimpses of humanity. Every cast member is top-notch here.
Robert Donat is especially impressive since he essentially plays two different characters--Terence Stevensen of the British Army, an officer and a gentleman who loves his mother and visits her on weekends; and Jan Tartu of the Romanian Iron Guard who is a vain and self-centered womanizer. One could even say he plays a third character, since at two different points in the movie, he adopts a persona that's harder-edged than either Stevensen or Tartu, when he first has to show Nazi commanders and then resistance fighters that he "has what it takes" to be trusted by them. While I found Donat charming and lots of fun to watch in the only other film I recall seeing him in ("The 39 Steps", which happens to be another spy thriller), here I found him downright brilliant.
The final elements that makes this film a great joy to watch is the cinematography and the great sets, especially when it comes to the Nazi munitions plan and the secret weapons lab built inside a mountain. (And, boy, can those Movie Nazis build secret bases. Even James Bond villains can't match their ability to build massive and spacious underground labs!
"The Adventures of Tartu" is one of the 50 movies included in the "shovelware" set Fabulous Forties... and it's the original, superior British edit of the film. The American version is available for Streaming via Amazon Prime (and free for members); several scenes that are present just for character building are cut or shortened in the American version. I'm providing Amazon links to both below, but I want to stress that the one included in the Fabulous Forties collection is the superior film AND the digital transfer was made from a better print than the one available via Amazon Prime. (I've already posted reviews of other films included in the set. Click here to see them. and maybe decide if the set is worth your hard-earned dollars.)
While both versions of "The Adventures of Tartu" are worthwhile, and watching both is an interesting exercise, the Nine of Ten Stars rating at the top of this review is for the British version of the film; the American edit drops down to a Seven of Ten. It's still a good movie, but it's not as good.as the original cut.
Friday, December 28, 2018
A case where the 'monster' is the hero
Creature from the Black Lagoon (1954)
Starring: Richard Carlson, Julie Adams, Antonio Moreno and Richard Denning
Director: Jack Arnold
Rating: Five of Ten Stars
A group of scientists travel into the Amazon jungle to retrieve an unusual fossil, but instead find themselves battling a very-much-alive amphibious humanoid.
I don't think I've ever seen a movie where I've been so quickly on the side of the monster, or rooted so strongly for it to kill off the cast of "heroes" as I did when I saw "Creature from the Black Lagoon".
I also don't think I've seen a movie that has irritated me quite so much as this one did.
If the morons we're supposed to be rooting for had behaved like scientists instead of big game hunters, they might have learned something about the creature, like, oh, that it was intelligent. From beginning to end, the assholes on the good riverboat Rita caused their own troubles, and they are completely unsympathetic as a result. The only member of the expedition with a brain was Richard Carlson's character, and even he seemed awfully slow on the uptake. (When the monster starts laying traps and blocking the river out of the lagoon, it's time to stop treating it like it's a shark with arms and legs, doofus.)
Despite my annoyance with every single character in the film, except the monster, whose initial mistake was one of curiosity and who later is justifiably pissed off at these interlopers who keep shooting sharp sticks and shining blinding lights at him (her?), I was very impressed with the astonishing quality of the underwater action photography and the amazing design of the creature. (And I'm even more amazed at the way the outfit allowed the stuntman wearing it to swim and seem more convincingly real than just about any other "guy in a rubber suit" monsters that have graced the silver screen.)
Unfortunately, the film has a padded feel to it, as there are several drawn-out pointless conversations, and a number of scenes that go on well past the point they should have ended. The film also suffers from a general lack of suspense, although perhaps if I hadn't been wishing for the monster to kill those idiots, maybe I would have felt a little more tension than I did.
Still, the look of the creature is fantastic, and the underwater sequences are amazingly well done. In fact, every shot of the creature swimming or fighting is a joy to watch, and the film is at its very best during a long sequence where the looks-great-in-a-bathing-suit marine biologist goes for a swim in the lagoon, and the creature is pacing her under the water, watching her with no menace but obvious curiosity.
The flaws and the strong parts of the film almost balance each other out, but the end result is a movie that's not quite as good as I expected. Maybe I had my expectations set to high, maybe it's a film that doesn't mesh well with modern attitudes--or maybe it just doesn't mesh well with my attitude.
This movie so annoyed me so much that it's the only one of the classic Universal Monsters where I haven't seen all of the original films. I'm getting around to changing that since I was gifted with a copy of the Creature of the Black Lagoon Legacy Collection. Time will tell if I keep rooting for the monster, or if the "heroes" are being bigger assholes in the rest of the series.
Starring: Richard Carlson, Julie Adams, Antonio Moreno and Richard Denning
Director: Jack Arnold
Rating: Five of Ten Stars
A group of scientists travel into the Amazon jungle to retrieve an unusual fossil, but instead find themselves battling a very-much-alive amphibious humanoid.
I don't think I've ever seen a movie where I've been so quickly on the side of the monster, or rooted so strongly for it to kill off the cast of "heroes" as I did when I saw "Creature from the Black Lagoon".
I also don't think I've seen a movie that has irritated me quite so much as this one did.
If the morons we're supposed to be rooting for had behaved like scientists instead of big game hunters, they might have learned something about the creature, like, oh, that it was intelligent. From beginning to end, the assholes on the good riverboat Rita caused their own troubles, and they are completely unsympathetic as a result. The only member of the expedition with a brain was Richard Carlson's character, and even he seemed awfully slow on the uptake. (When the monster starts laying traps and blocking the river out of the lagoon, it's time to stop treating it like it's a shark with arms and legs, doofus.)
Despite my annoyance with every single character in the film, except the monster, whose initial mistake was one of curiosity and who later is justifiably pissed off at these interlopers who keep shooting sharp sticks and shining blinding lights at him (her?), I was very impressed with the astonishing quality of the underwater action photography and the amazing design of the creature. (And I'm even more amazed at the way the outfit allowed the stuntman wearing it to swim and seem more convincingly real than just about any other "guy in a rubber suit" monsters that have graced the silver screen.)
Unfortunately, the film has a padded feel to it, as there are several drawn-out pointless conversations, and a number of scenes that go on well past the point they should have ended. The film also suffers from a general lack of suspense, although perhaps if I hadn't been wishing for the monster to kill those idiots, maybe I would have felt a little more tension than I did.
Still, the look of the creature is fantastic, and the underwater sequences are amazingly well done. In fact, every shot of the creature swimming or fighting is a joy to watch, and the film is at its very best during a long sequence where the looks-great-in-a-bathing-suit marine biologist goes for a swim in the lagoon, and the creature is pacing her under the water, watching her with no menace but obvious curiosity.
The flaws and the strong parts of the film almost balance each other out, but the end result is a movie that's not quite as good as I expected. Maybe I had my expectations set to high, maybe it's a film that doesn't mesh well with modern attitudes--or maybe it just doesn't mesh well with my attitude.
This movie so annoyed me so much that it's the only one of the classic Universal Monsters where I haven't seen all of the original films. I'm getting around to changing that since I was gifted with a copy of the Creature of the Black Lagoon Legacy Collection. Time will tell if I keep rooting for the monster, or if the "heroes" are being bigger assholes in the rest of the series.
Subscribe to:
Posts (Atom)
.jpg)
