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Wednesday, January 30, 2019
Tuesday, January 29, 2019
No cheers for 'Cheers of the Crowd"
Cheers of the Crowd (1935)
Starring: Russell Hopton, Harry Holman, Irene Ware, Bradley Page, John Dilson, Wade Boteler, John Quillan, Roberta Gale, and Betty Blythe
Director: Vin Moore
Rating: Four of Ten Stars
When a publicity stunt staged to save an failing Broadway show succeeds beyond his wildest imagination, Lee Adams (Hopton) exposes his boss (Dilson) to blackmail by a sleazy business manager (Page); his reporter girlfriend (Ware) to career ruin; and an old friend (Holman) to possible jail-time.
"Cheers of the Crowd" has a nice set-up, unfolds in a steady fashion with complications and stakes-raisings happening pretty much when you'd expect them to, and then wraps itself up in a happy ending for all--except the bad guy. And yet, the film doesn't work, because this very well constructed frame has been draped with half-developed story elements that the scriptwriter appears to have been afraid of taking as far as they needed to go, or which go nowhere.
The perfect storm of these flaws is embodied in the film's rather unremarkable villain. There are some really interesting story elements hinted at in his actions and references made to other characters, but they aren't developed. Even his final fate at the end of the movie is half-baked and unsatisfactory (unlike the nice wrap-ups that every other character gets).
It's a shame the film has such a shoddy script, because the actors all give nice performances... and they are especially admirable since much of the cast were at the end of their careers. (It's always sad to realize that Irene Ware, who was done in not due to a lack of talent or dedication, but due to being part of failed projects. She doesn't have much to do in this film, but she brightens every scene she's in.)
"Cheers of the Crowd" can be streamed without additional charge by Amazon Prime members. I'm not sure if it's worth you time, though. It's a generally uplifting move story-wise, but the execution is sorely lacking.
Starring: Russell Hopton, Harry Holman, Irene Ware, Bradley Page, John Dilson, Wade Boteler, John Quillan, Roberta Gale, and Betty Blythe
Director: Vin Moore
Rating: Four of Ten Stars
When a publicity stunt staged to save an failing Broadway show succeeds beyond his wildest imagination, Lee Adams (Hopton) exposes his boss (Dilson) to blackmail by a sleazy business manager (Page); his reporter girlfriend (Ware) to career ruin; and an old friend (Holman) to possible jail-time.
"Cheers of the Crowd" has a nice set-up, unfolds in a steady fashion with complications and stakes-raisings happening pretty much when you'd expect them to, and then wraps itself up in a happy ending for all--except the bad guy. And yet, the film doesn't work, because this very well constructed frame has been draped with half-developed story elements that the scriptwriter appears to have been afraid of taking as far as they needed to go, or which go nowhere.
The perfect storm of these flaws is embodied in the film's rather unremarkable villain. There are some really interesting story elements hinted at in his actions and references made to other characters, but they aren't developed. Even his final fate at the end of the movie is half-baked and unsatisfactory (unlike the nice wrap-ups that every other character gets).
It's a shame the film has such a shoddy script, because the actors all give nice performances... and they are especially admirable since much of the cast were at the end of their careers. (It's always sad to realize that Irene Ware, who was done in not due to a lack of talent or dedication, but due to being part of failed projects. She doesn't have much to do in this film, but she brightens every scene she's in.)
"Cheers of the Crowd" can be streamed without additional charge by Amazon Prime members. I'm not sure if it's worth you time, though. It's a generally uplifting move story-wise, but the execution is sorely lacking.
Monday, January 28, 2019
Drink Wilkins Coffee... or Else!
Meet Willkins and Wontkins, the first celebrity Muppets to be born of the mind of Jim Henson.
In 1957, Henson was approached by the Wilkins Coffee Company, which operated in the Washington D.C. area, to create a series of television ads that could run along with station identifications. This meant Henson had 6-7 seconds to capture viewers' attention and market Wilkins Coffee to them. The path he took to accomplishing this is something that needs to be seen to be believed--but suffice to say that a recurring theme of the ads is: Strange things happen to those who don't drink Wilkins Coffee... strange, terrible things!. (I've embedded a video, via YouTube, that compiles several dozen of Henson's Wilkins Coffee commercials below, for your viewing pleasure and amazement.)
Once you've watched just a few of the Willkins & Wontkins commercials, you'll fine this bit of trivia amusing: Jim Henson didn't drink coffee... he didn't even like it.
The two Muppets featured in the ads were so popular with televion viewers that Wilkins marketed and sold toys based on them in the early 1960s. The campaign was so successful that Henson was able to take the concept and puppets to other local coffee companies across the United States and re-film the ads using their brands in place of Wilkins.
Jim Henson, assisted by his wife Jill, wrote and performed the Wilkins Coffee ads from 1957 through 1961. Wilkins Coffee was eventually acquired by Maxwell House and the brand was retired.
Brands and corporations come and go, but Willkins & Wontkins (and their boss Mr. Wilkins) will live forever in our hearts and imaginations (and possibly our nightmares). You can read more information about the insane Wilkins Coffee ads by Jim and Jane Henson here.
In 1957, Henson was approached by the Wilkins Coffee Company, which operated in the Washington D.C. area, to create a series of television ads that could run along with station identifications. This meant Henson had 6-7 seconds to capture viewers' attention and market Wilkins Coffee to them. The path he took to accomplishing this is something that needs to be seen to be believed--but suffice to say that a recurring theme of the ads is: Strange things happen to those who don't drink Wilkins Coffee... strange, terrible things!. (I've embedded a video, via YouTube, that compiles several dozen of Henson's Wilkins Coffee commercials below, for your viewing pleasure and amazement.)
Once you've watched just a few of the Willkins & Wontkins commercials, you'll fine this bit of trivia amusing: Jim Henson didn't drink coffee... he didn't even like it.
The two Muppets featured in the ads were so popular with televion viewers that Wilkins marketed and sold toys based on them in the early 1960s. The campaign was so successful that Henson was able to take the concept and puppets to other local coffee companies across the United States and re-film the ads using their brands in place of Wilkins.
Jim Henson, assisted by his wife Jill, wrote and performed the Wilkins Coffee ads from 1957 through 1961. Wilkins Coffee was eventually acquired by Maxwell House and the brand was retired.
Brands and corporations come and go, but Willkins & Wontkins (and their boss Mr. Wilkins) will live forever in our hearts and imaginations (and possibly our nightmares). You can read more information about the insane Wilkins Coffee ads by Jim and Jane Henson here.
Sunday, January 27, 2019
Read the Review, Watch the Movie: 'Seven Footprints to Satan'
The subject of the following review was released to movie theaters exactly 90 years ago today! (The Year of the Hot Toddy is truly a year of happy coincidences. When I initially chose this movie from among the many Thelma Todd-featuring films I'll be writing about during 2019, to watch at this point, I didn't realize I would have the opportunity to post the review to coincide with such an anniversary!)
Seven Footprints to Satan (aka "Satan's Stairwell") (1929)
Starring: Creighton Hale, Thelma Todd, Laska Winter, Sheldon Lewis, Sojin Kamiyama, William V. Mong, Angelo Rossitto, Nora Cecil, Dewitt Jennings, Loretta Young, and Charles Gemora
Director: Benjamin Christensen
Rating: Eight of Ten Stars
While he is deep in the throes of a midlife crisis (Hale) and his girlfriend (Todd) are find themselves victims of a kidnapping during an elaborate heist at an exclusive art auction... and then things go from bad to nightmarish.
"Seven Footsteps to Satan" is one of those films that's hard to review without spoiling it. I think it really works best if you come to it cold, not knowing really what to expect... because the impact of the film revealing what it's really about and begins to spiral into fantastic and creepy weirdness is all the greater. (You THINK you're watching a crime drama, but then....)
With that in mind, all I can say about the film is that in addition to an impressive, fast-moving and twist-laden storyline, the film sports creative camera work and editing (I especially like the way wipes are used), spectacularly elaborate sets, elegant costumes (mostly evening gowns and tuxes but the other outfits that show up are really neat), excellent monster make-up jobs, and some really fine acting from the principals in the cast.
I thought the performance by star Creighton Hale, who, once again, is a bespecled and unlikely hero, was excellent. Unlike the comedic character he played in "The Cat and the Canary", here he's quite competent and extremely brave at every turn. Actress Thelma Todd, also impresses, showing that she was as good a dramatic actress as she was a comedienne.
By the way, The film has a very large supporting cast (so large, in fact, that it sometimes feels like costar Todd is just another face in the crowd), but among them we have Loretta Young standing out with a memorable performance in one of the film's most intense and frightening scenes, and an honest-to-god Asian actor playing a sinister Oriental Mystice, Sojin Kamiyama. (Maybe someone forgot to tell the Danish director that he should use white guys in make-up for the Asian characters.)
"Seven Footprints to Satan" was one of three silent thrillers/horror films directed by Benjamin Christensen for American studios, and until just a few years ago, it was believed to be lost. Now, however, several versions are available to watch online. None are of stellar quality, but given how many of these great old movies are gone forever (or hard to access because they've not yet been digitized and released online or on DVD), lovers of this sort of material are lucky we're getting this much.
If you like silent movies, especially ones of the more "trippy" variety, you need to watch "Seven Footprints to Satan". I highly recommend the version I've embedded below: It's the complete film, it's it was digitized from filmstock that was in relatively good shape, and it features an all-new, modern musical score that adds greatly to the experience.
By the way, if there's a film that could do with a remake, it's this one. It's got all KINDS of elements that would appeal to modern audiences, especially lovers of horror films. (Hell, I think this film may even be an ancient ancestor of the Torture Porn subgenre!)
Seven Footprints to Satan (aka "Satan's Stairwell") (1929)
Starring: Creighton Hale, Thelma Todd, Laska Winter, Sheldon Lewis, Sojin Kamiyama, William V. Mong, Angelo Rossitto, Nora Cecil, Dewitt Jennings, Loretta Young, and Charles Gemora
Director: Benjamin Christensen
Rating: Eight of Ten Stars
While he is deep in the throes of a midlife crisis (Hale) and his girlfriend (Todd) are find themselves victims of a kidnapping during an elaborate heist at an exclusive art auction... and then things go from bad to nightmarish.
"Seven Footsteps to Satan" is one of those films that's hard to review without spoiling it. I think it really works best if you come to it cold, not knowing really what to expect... because the impact of the film revealing what it's really about and begins to spiral into fantastic and creepy weirdness is all the greater. (You THINK you're watching a crime drama, but then....)
With that in mind, all I can say about the film is that in addition to an impressive, fast-moving and twist-laden storyline, the film sports creative camera work and editing (I especially like the way wipes are used), spectacularly elaborate sets, elegant costumes (mostly evening gowns and tuxes but the other outfits that show up are really neat), excellent monster make-up jobs, and some really fine acting from the principals in the cast.
I thought the performance by star Creighton Hale, who, once again, is a bespecled and unlikely hero, was excellent. Unlike the comedic character he played in "The Cat and the Canary", here he's quite competent and extremely brave at every turn. Actress Thelma Todd, also impresses, showing that she was as good a dramatic actress as she was a comedienne.
By the way, The film has a very large supporting cast (so large, in fact, that it sometimes feels like costar Todd is just another face in the crowd), but among them we have Loretta Young standing out with a memorable performance in one of the film's most intense and frightening scenes, and an honest-to-god Asian actor playing a sinister Oriental Mystice, Sojin Kamiyama. (Maybe someone forgot to tell the Danish director that he should use white guys in make-up for the Asian characters.)
"Seven Footprints to Satan" was one of three silent thrillers/horror films directed by Benjamin Christensen for American studios, and until just a few years ago, it was believed to be lost. Now, however, several versions are available to watch online. None are of stellar quality, but given how many of these great old movies are gone forever (or hard to access because they've not yet been digitized and released online or on DVD), lovers of this sort of material are lucky we're getting this much.
If you like silent movies, especially ones of the more "trippy" variety, you need to watch "Seven Footprints to Satan". I highly recommend the version I've embedded below: It's the complete film, it's it was digitized from filmstock that was in relatively good shape, and it features an all-new, modern musical score that adds greatly to the experience.
By the way, if there's a film that could do with a remake, it's this one. It's got all KINDS of elements that would appeal to modern audiences, especially lovers of horror films. (Hell, I think this film may even be an ancient ancestor of the Torture Porn subgenre!)
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| The heroes and villains of "Seven Footprints to Satan" |
Saturday, January 26, 2019
'Abbott & Costello Meet the Invisible Man' is a flawed film but still lots of fun
Abbott & Costello Meet the Invisible Man (1951)
Starring: Lou Costello, Bud Abbott, Arthur Franz, William Frawley, Nancy Guild, Gavin Muir, Adele Jurgens, Sheldon Leonard, Paul Maxey, John Day, and Syd Saylor
Director: Charles Lamont
Rating: Six of Ten Stars
Tommy (Franz), a professional boxer framed for murder by a mobster (Leonard), hides from the police by using an invisibility serum. He teams up with a pair of rookie private detectives (Abbott and Costello) in a desperate gambit to prove his innocence.
In the late 1940s and early 1950s, Abbott & Costello made a series of comedies that incorporated Universal's classic monsters from the 1930s, like Dracula, the Mummy, Frankenstein's Monster, and, the Invisible Man. Universal had revived the properties in a series of mostly serious sequels, several of which were crossovers with the Larry Talbot, the Wolfman, who encountered Dracula and Frankenstein's Monster while searching for a cure to his condition. (Larry Talbot's character was itself a revival of a 1930s horror character, the Wolfman of London, but it been the success of the other Universal horror films, so it was "rebooted" rather than being subject to sequels.)
Unlike some of their monster comedies, "Abbott & Costello Meet the Invisible Man" is established as a true sequel to previous films in the series with references to the origins of the invisibility serum. For viewers familiar with "The Invisible Man" (1930) or its sequels ("The Invisible Man Returns" and "The Invisible Agent"), this tie-in lends a sense of urgency as the longer a person has the invisibility serum in their bloodstream, the more likely it is that he or she will be driven insane by it.
Unfortunately, that sense of urgency never becomes what it should be, because Tommy, our invisible man wanting to prove his innocence comes across as a total jerk and more than just a little crazy from the moment he is first introduced. There is literally not a moment where he isn't rude and abrasive to everyone he interacts with. Even in scenes where he is interacting with his girlfriend and the scientist who are risking imprisonment themselves to help him--scenes where there was an opportunity to make him more sympathetic--he is so obnoxious and paranoid that one wonders why the girlfriend even wants to be around him. (There are also a couple of plotting issues--big, gaping holes in the story that leads one to wonder if a scene or two were cut... because it's hard to imagine that any script could be so sloppily written and no one noticed as the film was being made.)
Of course the drama of whether the wrongfully accused man gets cleared of murder before the serum drives him insane or not is basically just an excuse to get us from comedy bit to comedy bit. Most of the routines in the film revolve around characters reacting to seeing--or rather NOT seeing--the invisible man, or boxing gags. The former gets a little old, with the callbacks later in the film being more tiresome than funny (although the spin-off gag involving hypnotism and half the officers and support staff at a police precinct is one of the film's comedic highlights). The latter, however, keeps getting funnier and more involved as the film unfolds, with Costello cartoonishly throwing punches that are actually being landed by the invisible pro-boxer--in a bar fight, in a boxing gym, and ultimately in a the boxing ring. Costello gets to to the physical comedy and pratfalls that he so excelled at, and he does it brilliantly. Meanwhile, Abbott is also very funny as a fundamentally self-centered and greedy huckster who wold probably sell out his own mother for a buck... but he is a charming rogue and you can't help but like him even while thinking he's being a bastard.
While this isn't the strongest of Abbott & Costello's efforts, it has enough going for it that I am giving it a very high Six rating. It might have been a low Seven if the filmmakers hadn't decided to end it on gag that's nonsensical and completely illogical and out-of-step with the rest of the movie. While the supposedly romantic lead being an unlikely jerk hurt the film, it's final 30 or so seconds nearly torpedoed it the material is so bad.
Starring: Lou Costello, Bud Abbott, Arthur Franz, William Frawley, Nancy Guild, Gavin Muir, Adele Jurgens, Sheldon Leonard, Paul Maxey, John Day, and Syd Saylor
Director: Charles Lamont
Rating: Six of Ten Stars
Tommy (Franz), a professional boxer framed for murder by a mobster (Leonard), hides from the police by using an invisibility serum. He teams up with a pair of rookie private detectives (Abbott and Costello) in a desperate gambit to prove his innocence.
In the late 1940s and early 1950s, Abbott & Costello made a series of comedies that incorporated Universal's classic monsters from the 1930s, like Dracula, the Mummy, Frankenstein's Monster, and, the Invisible Man. Universal had revived the properties in a series of mostly serious sequels, several of which were crossovers with the Larry Talbot, the Wolfman, who encountered Dracula and Frankenstein's Monster while searching for a cure to his condition. (Larry Talbot's character was itself a revival of a 1930s horror character, the Wolfman of London, but it been the success of the other Universal horror films, so it was "rebooted" rather than being subject to sequels.)
Unlike some of their monster comedies, "Abbott & Costello Meet the Invisible Man" is established as a true sequel to previous films in the series with references to the origins of the invisibility serum. For viewers familiar with "The Invisible Man" (1930) or its sequels ("The Invisible Man Returns" and "The Invisible Agent"), this tie-in lends a sense of urgency as the longer a person has the invisibility serum in their bloodstream, the more likely it is that he or she will be driven insane by it.
Unfortunately, that sense of urgency never becomes what it should be, because Tommy, our invisible man wanting to prove his innocence comes across as a total jerk and more than just a little crazy from the moment he is first introduced. There is literally not a moment where he isn't rude and abrasive to everyone he interacts with. Even in scenes where he is interacting with his girlfriend and the scientist who are risking imprisonment themselves to help him--scenes where there was an opportunity to make him more sympathetic--he is so obnoxious and paranoid that one wonders why the girlfriend even wants to be around him. (There are also a couple of plotting issues--big, gaping holes in the story that leads one to wonder if a scene or two were cut... because it's hard to imagine that any script could be so sloppily written and no one noticed as the film was being made.)
Of course the drama of whether the wrongfully accused man gets cleared of murder before the serum drives him insane or not is basically just an excuse to get us from comedy bit to comedy bit. Most of the routines in the film revolve around characters reacting to seeing--or rather NOT seeing--the invisible man, or boxing gags. The former gets a little old, with the callbacks later in the film being more tiresome than funny (although the spin-off gag involving hypnotism and half the officers and support staff at a police precinct is one of the film's comedic highlights). The latter, however, keeps getting funnier and more involved as the film unfolds, with Costello cartoonishly throwing punches that are actually being landed by the invisible pro-boxer--in a bar fight, in a boxing gym, and ultimately in a the boxing ring. Costello gets to to the physical comedy and pratfalls that he so excelled at, and he does it brilliantly. Meanwhile, Abbott is also very funny as a fundamentally self-centered and greedy huckster who wold probably sell out his own mother for a buck... but he is a charming rogue and you can't help but like him even while thinking he's being a bastard.
While this isn't the strongest of Abbott & Costello's efforts, it has enough going for it that I am giving it a very high Six rating. It might have been a low Seven if the filmmakers hadn't decided to end it on gag that's nonsensical and completely illogical and out-of-step with the rest of the movie. While the supposedly romantic lead being an unlikely jerk hurt the film, it's final 30 or so seconds nearly torpedoed it the material is so bad.
Thursday, January 24, 2019
A Forgotten King of Comedy (and a Queen)
During the early 1920s, comedian Harry Langdon was a star on the magnitude of Harold Lloyd and Buster Keaton. As sound films became the Thing, bad project choices and worse business decisions had put his career on a disastrously downward trajectory. In 1929, he joined the Hal Roach studios with a contract to star in and supervise a series of short films.
The video embedded below is reportedly the first time Langdon's voice was heard by movie-viewing audiences. This untitled short film made to announce Roach's new star to MGM's marketing department (which distributed Roach's pictures). In addition to Langdon, the film (which is really nothing more than a skit) also features Thelma Todd and Eddie Dunn.
According to comedian Joe Libby, this short film was made to announce Roach's newest star to the marketing department of MGM, which distributed Roach's productions. I had assumed was some form of preview or trailer that Roach made to be shown in theaters featuring his short films, but now I am wondering what the reaction of the salespeople was. To me, this skit should have been about half as long as it is, and even then it might have seemed to drag. I have a sense that it was ad-libbed, and the fact that you can hear Todd laughing off camera at one point may bear this out, and perhaps it was funnier if you were there at the time. Still, if this was my introduction to the "all-new, all-talking Harry Langdon", and it was my job to make his work product commercial successes, I would be wondering how I would go about doing that. And if I were to go what is in this skit alone, I am not surprised by Harry Langdon, despite being a massive star at one point, is all but forgotten today.
Langdon's employment with Hal Roach lasted eight films, none of which were, according to film historians and other commentators, very successful, commercially or as entertainment. I read that they got better as Langdon and the Roach team--specifically many of the same talents who were part of Charley Chase's unit--got used to each other, so I chose to hunt down and watch the last one made before he was shown the door. (Since Thelma Todd co-starred in it, it was also perfect review fodder during this, The Year of the Hot Toddy.)
The King (1930)
Starring: Harry Langdon, Thelma Todd, and Dorothy Granger
Directors: James W. Horne and Charles Rogers
Rating: Six of Ten Stars
When the frivolous-minded and childish King (Langdon) is seduced by his advisor's slutty wife (Granger), the Queen (Todd) takes extreme measures to stop the extra-marital shenanigans before they fully start. Naturally, her plan backfires spectacularly.
"The King" leads me to believe that either Harry Langdon's short films for Hal Roach have an undeservedly bad reputation, or his final film for Hal Roach is a masterpiece when compared to the rest. It's not perfect, but there's never a dull moment. Even the several gags that don't quite work are not dragged out to the point where they become tedious, which is more than I can say for many comedies that I've watched.
That said, one thing that really stood out about this picture is that it didn't seem to have what I think of as the "Hal Roach Style." There's a certain similarity between the way stories unfold and the way the actors perform in the Laurel & Hardy-led shorts, the Charley Chase-led shorts, and the Thelma Todd-led shorts I've watched that isn't present here. This is probably a result of Langdon having his own style and working habits that didn't fit the "Hal Roach Style", and this may been why Langdon's films didn't go over well with audiences back then, why Roach cancelled Langdon's contract, and why these films are held in such low regard today: Harry Langdon was a square peg that Hal Roach tried--and failed--to fit into a round hole.
Maybe, Hal Roach pulled the plug on Harry Langdon's films too soon, because some of the funniest bits in the film are a melding of the Roach Style with the general feel of the rest of "The King." One of these scenes--both of which take place in the royal bedchamber--may be the first time that Thelma Todd got to show how adept she was at doing physical comedy while still managing to remain poised. During the time this film was made, Todd was being allowed to fully spread her wings as a comedienne for the first time. She had already held her own in films shared with Charley Chase, and here she shows that she could shine just as brightly along side the very different performance style of Harry Langdon. If Langdon's other Roach films are as bad as I've been led to believe, maybe this one shows that he was finally figuring out how to work with Roach's other talents. Or maybe the others he did weren't as bad as is claimed; I will have to seek out and watch one or two of them to see for myself.
But--back to "The King". Aside from the fast pace and the non-stop wackiness, this is also one of those comedies that adults and children can enjoy equally but walk away with different impressions of the story and the characters.
For adults, Harry Langdon's impish character is both funny and infuriating, and even while we're laughing at his antics, most adult viewers will be able to understand why the Queen is so agitated. I've seen her referred to as shrewish, but that's not how she comes across to me. I get the sense that she's fed up with her husband's crap and is trying to keep him from embarrassing her, himself, and the high position he occupies. Little kids, on the other hand, will most certainly identify with the King and view the Queen as the parent getting in the way of his fun.
"The King" is not a perfect film, but it's full of laughs and never dull. If you like off-the-wall comedies, I think you'll enjoy this one. I really recommend you check it out if you've heard some of those blanket statements about how awful Harry Langdon talkies are. And to make it easy, I am providing you with the opportunity to watch it right here via YouTube. (As of this writing, none of Langdon's films for Hal Roach are available on DVD.)
The video embedded below is reportedly the first time Langdon's voice was heard by movie-viewing audiences. This untitled short film made to announce Roach's new star to MGM's marketing department (which distributed Roach's pictures). In addition to Langdon, the film (which is really nothing more than a skit) also features Thelma Todd and Eddie Dunn.
According to comedian Joe Libby, this short film was made to announce Roach's newest star to the marketing department of MGM, which distributed Roach's productions. I had assumed was some form of preview or trailer that Roach made to be shown in theaters featuring his short films, but now I am wondering what the reaction of the salespeople was. To me, this skit should have been about half as long as it is, and even then it might have seemed to drag. I have a sense that it was ad-libbed, and the fact that you can hear Todd laughing off camera at one point may bear this out, and perhaps it was funnier if you were there at the time. Still, if this was my introduction to the "all-new, all-talking Harry Langdon", and it was my job to make his work product commercial successes, I would be wondering how I would go about doing that. And if I were to go what is in this skit alone, I am not surprised by Harry Langdon, despite being a massive star at one point, is all but forgotten today.
Langdon's employment with Hal Roach lasted eight films, none of which were, according to film historians and other commentators, very successful, commercially or as entertainment. I read that they got better as Langdon and the Roach team--specifically many of the same talents who were part of Charley Chase's unit--got used to each other, so I chose to hunt down and watch the last one made before he was shown the door. (Since Thelma Todd co-starred in it, it was also perfect review fodder during this, The Year of the Hot Toddy.)
The King (1930)
Starring: Harry Langdon, Thelma Todd, and Dorothy Granger
Directors: James W. Horne and Charles Rogers
Rating: Six of Ten Stars
When the frivolous-minded and childish King (Langdon) is seduced by his advisor's slutty wife (Granger), the Queen (Todd) takes extreme measures to stop the extra-marital shenanigans before they fully start. Naturally, her plan backfires spectacularly.
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Thelma Todd in costume (but definitely not in character) while filming "The King"
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That said, one thing that really stood out about this picture is that it didn't seem to have what I think of as the "Hal Roach Style." There's a certain similarity between the way stories unfold and the way the actors perform in the Laurel & Hardy-led shorts, the Charley Chase-led shorts, and the Thelma Todd-led shorts I've watched that isn't present here. This is probably a result of Langdon having his own style and working habits that didn't fit the "Hal Roach Style", and this may been why Langdon's films didn't go over well with audiences back then, why Roach cancelled Langdon's contract, and why these films are held in such low regard today: Harry Langdon was a square peg that Hal Roach tried--and failed--to fit into a round hole.
Maybe, Hal Roach pulled the plug on Harry Langdon's films too soon, because some of the funniest bits in the film are a melding of the Roach Style with the general feel of the rest of "The King." One of these scenes--both of which take place in the royal bedchamber--may be the first time that Thelma Todd got to show how adept she was at doing physical comedy while still managing to remain poised. During the time this film was made, Todd was being allowed to fully spread her wings as a comedienne for the first time. She had already held her own in films shared with Charley Chase, and here she shows that she could shine just as brightly along side the very different performance style of Harry Langdon. If Langdon's other Roach films are as bad as I've been led to believe, maybe this one shows that he was finally figuring out how to work with Roach's other talents. Or maybe the others he did weren't as bad as is claimed; I will have to seek out and watch one or two of them to see for myself.
But--back to "The King". Aside from the fast pace and the non-stop wackiness, this is also one of those comedies that adults and children can enjoy equally but walk away with different impressions of the story and the characters.
For adults, Harry Langdon's impish character is both funny and infuriating, and even while we're laughing at his antics, most adult viewers will be able to understand why the Queen is so agitated. I've seen her referred to as shrewish, but that's not how she comes across to me. I get the sense that she's fed up with her husband's crap and is trying to keep him from embarrassing her, himself, and the high position he occupies. Little kids, on the other hand, will most certainly identify with the King and view the Queen as the parent getting in the way of his fun.
"The King" is not a perfect film, but it's full of laughs and never dull. If you like off-the-wall comedies, I think you'll enjoy this one. I really recommend you check it out if you've heard some of those blanket statements about how awful Harry Langdon talkies are. And to make it easy, I am providing you with the opportunity to watch it right here via YouTube. (As of this writing, none of Langdon's films for Hal Roach are available on DVD.)
Wednesday, January 23, 2019
Picture Perfect Wednesday: George Perez
Legendary comics artist George Perez recently announced that he is retiring, due to failing eyesight and other health issues. He's been at the drawing board for more than forty years. I'll be devoting a number of Picture Perfect Wednesdays to Perez this year, celebrating the decades of beauty and exciting story-telling he brought to the pages and covers of American comic books.
We're going to start with a look at the history of and relationship between Batman and Robin (and Alfred the faithful manservant) as portrayed by Perez in the late 1980s. (Click on the pictures to see larger versions and fully enjoy the many details in the artwork.)
And, just because... here's a drawing Perez did of the classic Barbara Gordon Batgirl.
We're going to start with a look at the history of and relationship between Batman and Robin (and Alfred the faithful manservant) as portrayed by Perez in the late 1980s. (Click on the pictures to see larger versions and fully enjoy the many details in the artwork.)
And, just because... here's a drawing Perez did of the classic Barbara Gordon Batgirl.
Monday, January 21, 2019
Musical Monday: Wildside
Ladies and Gentleman... something from the days when Mark Whalberg was Marky Mark and he hung out with the Funky Bunch. (I don't know what meaning of "funky" they were referring to.)
Enjoy the music--the sweet, sweet rap music!
Saturday, January 19, 2019
The Complete 'Tomie' in One Big Book
Tomie: Complete Deluxe Edition (2016, Viz Media)
Story and Art: Junji Ito
Rating: Nine of Ten Stars
High school girl Tomie is found dismembered by an unknown killer. When she later shows up at school, alive and well and insisting she doesn't know anything about being murdered, it's the beginning of an ever-expanding web of madness, violence, and murder.
"Tomie" is the best known and most commercially successful work by Japanese horror comics writer and artist Juni Ito. It lasted for 20 installments in the magazines "Halloween Monthly" and "Namuki", running from 1987 to 2000, and has so far been adapted into seven live-action horror films (the first in 1999 and the most recent in 2011). It has been translated into English and published in collected volumes a number of times, most recently by Viz Media.
The series revolves around its title character, who, although she is mostly absent in a few of the stories, is always at the center of a maelstrom of lust and violent murders. Invariably, Tomie herself ends up murdered herself... but she never stays dead for long. (While I would normally consider that a spoiler that aspect of the series is given away on the cover of the collection this review is about.)
Whether she's a demon, the manifestation of an angry spirit, or some sort of evil parasitical creature that feeds off lust and homicidal violence, Tomie is both the beauty and the beast in this series. She uses her beauty to fill men and women with obsession and spur them onto committing murderous acts against each other and Tomie herself, all in an attempt to possess her, or to keep others from possessing her.
The latest English-language edition of "Tomie" collects all the stories that Junji Ito did with the character, in one big 700+-page book. They are a fascinating read, because you get to see how Ito's improved as an artist from his first professional work (which was also the first Tomie story) through to when he perfected his style. Reading all these stories also gives you a survey of the themes that are common in this writer/artist's tales--obsessions turning into madness, horrific bodily transformations, and mysterious terrible horrors that arrive unexpectedly and remain forever unexplained. This complete collection also lets readers see that the Tomie stories come full circle, in the sense that the series opened with a series of linked stories that mixed science and the supernatural, and it ends with a series of linked stories that mix science and the supernatural.
Sandwiched in between these are other multi-part stories, and many single episodes... all of which are deeply horrific. In some other reviews of I've done Ito's work ("Gyo" and "Uzumaki", the latter being his greatest work so far), I've stated that he is among the very few creators whose horror comics are actually scary on the level that a movie can be scary. That great talent is on display time and time again in this book. If you are a fan of well-made horror films, and you haven't experienced Junji Ito, you are missing out, big time. A few of the "Tomie" stories are the typical twist-ending, poetic justice type affairs that make up the bulk of horror comics, but the vast majority of them are far beyond that.
Some of the most chilling stories I've read from Ito are included in this volume, and my most favorite are "Revenge" (where a search-and-rescue team find a naked girl in a snow storm, and solve a mystery), ""Little Finger" and "Boy" (stories that show Tomie at her monstrous), "Gathering" (where Tomie tries to break a man who is immune to her powers), "Moromi" (where a pair of men try to dispose of a dismembered Tomie in a creative fashion... with disastrous results), and "Waterfall Basin" (where strange happenings in a village culminate in a bizarre nocturnal parade).
Another aspect that I've always liked to the Tomie stories, and which is front-and-center in a number of the ones in this book, is the way that pieces of Tomie will grow into a full-fledged Tomie who then goes out in the world to wreak havoc. She's almost like a virus that keeps spreading. ("Gathering" reveals that someone can resist the Tomie Virus... but that even those who fight it off will be impacted by it. It also shows that as long as there is vanity, lust, and greed in the world, Tomie will never be stopped.)
"Tomie" is a must-read for horror fans... and that includes those who otherwise might be put off by the art style that is usually associated with Japanese comics. Ito's visuals fall closer to what until the past decade or two was the standard story-telling techniques in American comics. The only drawback I see to the book is that it is presented to read from right-to-left and back-to-front--opposite with how Western books and comics read, but in keeping with the original Japanese version. I still don't care for such half-assed translations, but it's long since become the standard, and I'm willing to accept it when it gives me access to great works such as the stories in this collection.
One final note: Junji Ito's favorite Tomie story ("Painter") was one that I could take or leave. It contained almost all the elements that are found throughout the various tales--which is why it may be Ito's personal favorite--but I thought it was average for this book and way below average for Ito's output in geneal.
Story and Art: Junji Ito
Rating: Nine of Ten Stars
High school girl Tomie is found dismembered by an unknown killer. When she later shows up at school, alive and well and insisting she doesn't know anything about being murdered, it's the beginning of an ever-expanding web of madness, violence, and murder.
"Tomie" is the best known and most commercially successful work by Japanese horror comics writer and artist Juni Ito. It lasted for 20 installments in the magazines "Halloween Monthly" and "Namuki", running from 1987 to 2000, and has so far been adapted into seven live-action horror films (the first in 1999 and the most recent in 2011). It has been translated into English and published in collected volumes a number of times, most recently by Viz Media.
The series revolves around its title character, who, although she is mostly absent in a few of the stories, is always at the center of a maelstrom of lust and violent murders. Invariably, Tomie herself ends up murdered herself... but she never stays dead for long. (While I would normally consider that a spoiler that aspect of the series is given away on the cover of the collection this review is about.)
Whether she's a demon, the manifestation of an angry spirit, or some sort of evil parasitical creature that feeds off lust and homicidal violence, Tomie is both the beauty and the beast in this series. She uses her beauty to fill men and women with obsession and spur them onto committing murderous acts against each other and Tomie herself, all in an attempt to possess her, or to keep others from possessing her.
The latest English-language edition of "Tomie" collects all the stories that Junji Ito did with the character, in one big 700+-page book. They are a fascinating read, because you get to see how Ito's improved as an artist from his first professional work (which was also the first Tomie story) through to when he perfected his style. Reading all these stories also gives you a survey of the themes that are common in this writer/artist's tales--obsessions turning into madness, horrific bodily transformations, and mysterious terrible horrors that arrive unexpectedly and remain forever unexplained. This complete collection also lets readers see that the Tomie stories come full circle, in the sense that the series opened with a series of linked stories that mixed science and the supernatural, and it ends with a series of linked stories that mix science and the supernatural.
Sandwiched in between these are other multi-part stories, and many single episodes... all of which are deeply horrific. In some other reviews of I've done Ito's work ("Gyo" and "Uzumaki", the latter being his greatest work so far), I've stated that he is among the very few creators whose horror comics are actually scary on the level that a movie can be scary. That great talent is on display time and time again in this book. If you are a fan of well-made horror films, and you haven't experienced Junji Ito, you are missing out, big time. A few of the "Tomie" stories are the typical twist-ending, poetic justice type affairs that make up the bulk of horror comics, but the vast majority of them are far beyond that.
Some of the most chilling stories I've read from Ito are included in this volume, and my most favorite are "Revenge" (where a search-and-rescue team find a naked girl in a snow storm, and solve a mystery), ""Little Finger" and "Boy" (stories that show Tomie at her monstrous), "Gathering" (where Tomie tries to break a man who is immune to her powers), "Moromi" (where a pair of men try to dispose of a dismembered Tomie in a creative fashion... with disastrous results), and "Waterfall Basin" (where strange happenings in a village culminate in a bizarre nocturnal parade).
Another aspect that I've always liked to the Tomie stories, and which is front-and-center in a number of the ones in this book, is the way that pieces of Tomie will grow into a full-fledged Tomie who then goes out in the world to wreak havoc. She's almost like a virus that keeps spreading. ("Gathering" reveals that someone can resist the Tomie Virus... but that even those who fight it off will be impacted by it. It also shows that as long as there is vanity, lust, and greed in the world, Tomie will never be stopped.)
"Tomie" is a must-read for horror fans... and that includes those who otherwise might be put off by the art style that is usually associated with Japanese comics. Ito's visuals fall closer to what until the past decade or two was the standard story-telling techniques in American comics. The only drawback I see to the book is that it is presented to read from right-to-left and back-to-front--opposite with how Western books and comics read, but in keeping with the original Japanese version. I still don't care for such half-assed translations, but it's long since become the standard, and I'm willing to accept it when it gives me access to great works such as the stories in this collection.
One final note: Junji Ito's favorite Tomie story ("Painter") was one that I could take or leave. It contained almost all the elements that are found throughout the various tales--which is why it may be Ito's personal favorite--but I thought it was average for this book and way below average for Ito's output in geneal.
Thursday, January 17, 2019
Hillbilly Comedy Double Bill!
Early in his career, during the Silent Film Days, Charley Chase made a comedy or two where he was a city slicker trying to get by in hillbilly country. He must have found something appealing and/or inherently funny about backwoods, rural culture, because he returned to that well at least twice more during his career. I cover those films today.
One interesting similarity between the two films I comment on in this post (in addition to the hillbilly settings) is that each features a dance number where Chase does a gag involving a disability. In both films, the cast performs a Virginia Reel, with Chase clowning around while dancing with his leading lady. Chase also performs a folk song in each film; in "The Real McCoy" he also plays half a dozen or so instruments--ranging from a fiddle to a mouth-harp--and in "One of the Smiths" he harmonizes with himself thanks to a drunken hallucination by one of the characters, and, of course special effects. (And on a complete side-note, a film where everything is set up for Chase to perform a song--without being roped into it like he is in both of these--is "Thundering Tenors", but he DOESN'T perform a song in that one.
The Real McCoy (1930)
Starring: Charley Chase, Thelma Todd, Edgar Kennedy, and Eddie Dunn
Director: Warren Doane
Rating: Nine of Ten Stars
Charley, a speed-loving driver from the big city (Chase), and a Highway Patrol Officer Cicero (Kennedy) are stuck in a remote mountain village after their chase leads them to a crash. They declare a tempoary truce, because Charley falls in love with a local girl, Thelma (Todd), and sets about pretending to be a mountain man so he can woo her.
I loved how tightly scripted this film was. Each gag is meticulously set up through something a character says or does, and often-times a gag is the set-up for an even bigger gag that follows. What's more, almost every joke and gag actively furthers the plot in some way. There is literally not a second of screen time that's wasted in this film. For example, a scene that developes the romantic relationship between Charley and Thelma also sets up the circumstances under which he is eventually unmasked as an interloper in the mountain community.
Not only is the script tight, but it gives each significant cast member something to do that plays to their strengths. This generally means that they are "straight-men" to Chase's antics, but their parts allow them to shine to the point where his main supporting players--Edgar Kennedy and Thelma Todd--feel like they are co-stars. Chase was the first filmmaker to fully use Todd's comedic abilities, and in every film they made together, she gets to do some schtick... and do it while looking pretty. Here, she takes part in a bit involving a skin cap and a skunk, and later in a sequence where the two of them must escape from angry townsfolk. She is mostly reacting to Chase in the scenes, but she hams it up in a most amusing fashion while doing it. Chase is the star of the film, but his best scenes are shared with Todd.
(Todd would be Chase's primary leading lady during 1930 and 1931, after which studio boss Hal Roach gave her a comedy series of her own. Todd headlined nearly 40 films in this series between 1931 and her untimely death in 1935, and she proved herself a master of every type of comedy, proving that Chase's eye for talent was a sharp one.)
One of the Smiths (1931)
Starring: Charley Chase, Peggy Howard, Leo Willis, Eddie Baker, and James Finlayson
Director: James Parrott
Rating: Seven of Ten Stars
An employee of a company that manufactures trumpets and other brass musician instruments (Chase) is dispatched to the remote mountain town of Beaver's Dam to locate and repossess dozens of instruments that have been delivered there and not paid for. Upon arriving in the town, he finds the citizens to be musically inclined, but none are playing the missing brass instruments. A local girl (Howard) warns him of the dangers of investigating this matter, but when he persists, she helps by vouching for him as being one of the Smith Boys from a neighboring town. Will the mystery of the missing instruments be solved... and will our hero escape from hillbilly country alive?
"One of the Smiths" breaks into two distinct parts--Charley's journey to the town of Beaver's Dam, followed by adventure in the town itself, with some bridging business in between. The first section is mostly made up of a hilarious bit where Chase tries to fit himself and his luggage (which includes a tuba, because his intended cover is as a traveling salesman of musical instruments) into a small upper berth in a train's sleeper car. It only gets funnier once he manages to get situated and falls asleep, inadvertently causing even more chaos. This part of the film is mostly prop humor, and it's very well done.
After a stunt involving the moving train (which I won't go into details about because it'll ruin some of the fun), and Charley's meeting with the cute country girl Sally (Peggy Howard), the rest of the action takes place in Beaver's Dam. The humor here is varied, and Chase gets to show that he's equally adept at verbal humor, prop humor, and physical gags. He also gets to showcase his talent as a singer when he has to prove his his identity by performing a song to the assembled townsfolk, since his assumed identity comes from a musical family. Eventually, his cover is blown, and he has to flee to stay alive... but not before finding out what happened to those musical instruments.
As mentioned above, this film was one of several trips that Charley Chase took to hillbilly country in the service of comedy. "One of the Smiths" has numerous similarities to the film he made just a year prior--folk music, folk dancing, clannish locals out the lookout for Revenuers, just to name a few--but unlike "The Real McCoy" which felt like an ensemble piece, this is very much Chase's film, with him standing as its single and clear star. The most surprising appearance is that by James Finlayson, who has perhaps the smallest role I've ever seen him in (he still plays it to the hilt and is very funny), but even Chase's leading lady in this picture does little more than look pretty.
Even though "One of the Smiths" is pretty much the Charley Chase Show, or maybe BECAUSE it's the Charley Chase Show, it's still a fast-moving, very funny, and well-constructed comedy. When I realized it was so severely divided into two halves, I was expecting to be irritated by dangling plot threads and unresolved character issues by the end, but I was instead pleasantly surprised. Chase had a reputation for his films being carefully plotted and precisely executed, and he lives up to that reputation even here, as the final scene brings both halves together neatly.
Trivia: Peggy Howard (who plays country girl Sally in "One of the Smiths") makes her final screen appearance in this movie. Her screen career was short--she only has three Hollywood credits listed at IMDB--and her role here was the most significant. Thelma Todd was in those other two films, so it's possible that Howard and Todd were friends, or that Todd thought she was the right actress to replace her as Charley Chase's leading lady and recommended her to him. However Howard came to appear in this film, it was the end of her Hollywood aspirations.
One interesting similarity between the two films I comment on in this post (in addition to the hillbilly settings) is that each features a dance number where Chase does a gag involving a disability. In both films, the cast performs a Virginia Reel, with Chase clowning around while dancing with his leading lady. Chase also performs a folk song in each film; in "The Real McCoy" he also plays half a dozen or so instruments--ranging from a fiddle to a mouth-harp--and in "One of the Smiths" he harmonizes with himself thanks to a drunken hallucination by one of the characters, and, of course special effects. (And on a complete side-note, a film where everything is set up for Chase to perform a song--without being roped into it like he is in both of these--is "Thundering Tenors", but he DOESN'T perform a song in that one.
The Real McCoy (1930)
Starring: Charley Chase, Thelma Todd, Edgar Kennedy, and Eddie Dunn
Director: Warren Doane
Rating: Nine of Ten Stars
Charley, a speed-loving driver from the big city (Chase), and a Highway Patrol Officer Cicero (Kennedy) are stuck in a remote mountain village after their chase leads them to a crash. They declare a tempoary truce, because Charley falls in love with a local girl, Thelma (Todd), and sets about pretending to be a mountain man so he can woo her.
Not only is the script tight, but it gives each significant cast member something to do that plays to their strengths. This generally means that they are "straight-men" to Chase's antics, but their parts allow them to shine to the point where his main supporting players--Edgar Kennedy and Thelma Todd--feel like they are co-stars. Chase was the first filmmaker to fully use Todd's comedic abilities, and in every film they made together, she gets to do some schtick... and do it while looking pretty. Here, she takes part in a bit involving a skin cap and a skunk, and later in a sequence where the two of them must escape from angry townsfolk. She is mostly reacting to Chase in the scenes, but she hams it up in a most amusing fashion while doing it. Chase is the star of the film, but his best scenes are shared with Todd.
(Todd would be Chase's primary leading lady during 1930 and 1931, after which studio boss Hal Roach gave her a comedy series of her own. Todd headlined nearly 40 films in this series between 1931 and her untimely death in 1935, and she proved herself a master of every type of comedy, proving that Chase's eye for talent was a sharp one.)
One of the Smiths (1931)
Starring: Charley Chase, Peggy Howard, Leo Willis, Eddie Baker, and James Finlayson
Director: James Parrott
Rating: Seven of Ten Stars
An employee of a company that manufactures trumpets and other brass musician instruments (Chase) is dispatched to the remote mountain town of Beaver's Dam to locate and repossess dozens of instruments that have been delivered there and not paid for. Upon arriving in the town, he finds the citizens to be musically inclined, but none are playing the missing brass instruments. A local girl (Howard) warns him of the dangers of investigating this matter, but when he persists, she helps by vouching for him as being one of the Smith Boys from a neighboring town. Will the mystery of the missing instruments be solved... and will our hero escape from hillbilly country alive?
After a stunt involving the moving train (which I won't go into details about because it'll ruin some of the fun), and Charley's meeting with the cute country girl Sally (Peggy Howard), the rest of the action takes place in Beaver's Dam. The humor here is varied, and Chase gets to show that he's equally adept at verbal humor, prop humor, and physical gags. He also gets to showcase his talent as a singer when he has to prove his his identity by performing a song to the assembled townsfolk, since his assumed identity comes from a musical family. Eventually, his cover is blown, and he has to flee to stay alive... but not before finding out what happened to those musical instruments.
As mentioned above, this film was one of several trips that Charley Chase took to hillbilly country in the service of comedy. "One of the Smiths" has numerous similarities to the film he made just a year prior--folk music, folk dancing, clannish locals out the lookout for Revenuers, just to name a few--but unlike "The Real McCoy" which felt like an ensemble piece, this is very much Chase's film, with him standing as its single and clear star. The most surprising appearance is that by James Finlayson, who has perhaps the smallest role I've ever seen him in (he still plays it to the hilt and is very funny), but even Chase's leading lady in this picture does little more than look pretty.
Even though "One of the Smiths" is pretty much the Charley Chase Show, or maybe BECAUSE it's the Charley Chase Show, it's still a fast-moving, very funny, and well-constructed comedy. When I realized it was so severely divided into two halves, I was expecting to be irritated by dangling plot threads and unresolved character issues by the end, but I was instead pleasantly surprised. Chase had a reputation for his films being carefully plotted and precisely executed, and he lives up to that reputation even here, as the final scene brings both halves together neatly.
Trivia: Peggy Howard (who plays country girl Sally in "One of the Smiths") makes her final screen appearance in this movie. Her screen career was short--she only has three Hollywood credits listed at IMDB--and her role here was the most significant. Thelma Todd was in those other two films, so it's possible that Howard and Todd were friends, or that Todd thought she was the right actress to replace her as Charley Chase's leading lady and recommended her to him. However Howard came to appear in this film, it was the end of her Hollywood aspirations.
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