Wonder Woman offers you well-wishes and a toast, as we here at Shades of Gray hopes everyone out there is having the happiest of Christmases!
Wednesday, December 25, 2019
Christmas is here...
... and Santa's Helpers once again deployed across the world to help him keep his busy schedule! This year, Christmas was saved in part by:
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| Muriel Evans |
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| Mary Martin |
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| Virginia Grey |
Tuesday, December 24, 2019
'Caught in a Cabaret' is a fun little film
Caught in a Cabaret (1914)
Starring: Charlie Chaplin, Mabel Normand, Edgar Kennedy, Harry McCoy, and Minta Durfee
Director: Mabel Normand
Rating: Six of Ten Stars
A waiter at a low-class joint (Chaplin) comes to the aid and defense of a wealthy young woman (Normand) when her cowardly boyfriend (McCoy) doesn't. Romance subsequently blossoms, but will the jealous ex-boyfriend find a way to tear them apart?
"Caught in a Cabaret" is a fun little film that's marred by predictability. The moment Charlie Chaplin's character lies about who he is and what is social standing is--he claims to be a foreign ambassador--you know that eventually the truth will out and our hero will be in trouble. Nonetheless, the rest of the film is so artfully executed that the preordained ending. The scenes in the cabaret--whether it's the crowded hall full of customers and performers, or the back-room with the bickering employees and their slapstick battles--are excellently staged and beautifully framed. The cabaret's common room more than once takes on the feeling of an animated 19th century painting.
The only thing that keeps this film from getting a Seven on my 0-10 scale is that an important plot element of the first half of the film seems to be just dropped for no reason and with no explanation. (It's entirely possible that a piece of the film is missing, but it seemed really odd to me that Chaplin's dog just vanishes at one point...)
Aside from that one (major) flaw, "Caught in a Cabaret" is an excellent early Chaplin film, and a fine example of Mabel Normand's deft directorial touch. I invite you to take a few moments and watch this great little film right now!
Starring: Charlie Chaplin, Mabel Normand, Edgar Kennedy, Harry McCoy, and Minta Durfee
Director: Mabel Normand
Rating: Six of Ten Stars
A waiter at a low-class joint (Chaplin) comes to the aid and defense of a wealthy young woman (Normand) when her cowardly boyfriend (McCoy) doesn't. Romance subsequently blossoms, but will the jealous ex-boyfriend find a way to tear them apart?
"Caught in a Cabaret" is a fun little film that's marred by predictability. The moment Charlie Chaplin's character lies about who he is and what is social standing is--he claims to be a foreign ambassador--you know that eventually the truth will out and our hero will be in trouble. Nonetheless, the rest of the film is so artfully executed that the preordained ending. The scenes in the cabaret--whether it's the crowded hall full of customers and performers, or the back-room with the bickering employees and their slapstick battles--are excellently staged and beautifully framed. The cabaret's common room more than once takes on the feeling of an animated 19th century painting.
The only thing that keeps this film from getting a Seven on my 0-10 scale is that an important plot element of the first half of the film seems to be just dropped for no reason and with no explanation. (It's entirely possible that a piece of the film is missing, but it seemed really odd to me that Chaplin's dog just vanishes at one point...)
Aside from that one (major) flaw, "Caught in a Cabaret" is an excellent early Chaplin film, and a fine example of Mabel Normand's deft directorial touch. I invite you to take a few moments and watch this great little film right now!
Monday, December 23, 2019
Christmas is almost here...
… and Loretta Young found a spot here at Shades of Gray that hadn't been decorated yet.
If you're not done decorating for Christmas yet, you better get to it!
If you're not done decorating for Christmas yet, you better get to it!
Sunday, December 22, 2019
'After the Dance' feels incomplete
After the Dance (1935)
Starring: George Murphy, Nancy Carroll, Thelma Todd, and Wyrley Birch
Director: Leo Bulgakov
Rating: Five of Ten Stars
An innocent song-and-dance man (Murphy) is sent to prison for manslaughter after his shady partner (Todd) refuses to clear his name. A series of events prompts his escape from prison, and he finds an opportunity to rebuild his life and show business career with a new partner (Carroll). All is going well until the woman who sent him to prison re-enters his life.
"After the Dance" is a strangely constructed movie that feels like it is missing large chunks. It starts in medias res with our hero already having accidentally killed a man while defending his dance parter. We get no introduction to any of the involved characters, and the way he gets jammed up for the murder comes out of left field and is never explained. It's like five or ten minutes of opening scenes and establishing who the characters are is missing.
Similarly, as the movie is reaching its climax, the hero's past catches up with him, and the evil vixen from the movie's beginning once again ruins his life, we once again have the feeling that we've missed parts of the film. Not only does the movie not such much end but stop, it does so without ever explaining fully why Thelma Todd's character is such an evil bitch, because the film's instigating event is never explained in any detail.
It's a sad fact of Thelma Todd's career that most of her main dramatic roles of the talkie era took place in films that either had weak scripts (such as "Corsair"), have come down to us in modern times in a state butchered by censors or damaged by the passage of time (such as "Cheating Blondes"), or which is mysteriously flawed like "After the Dance". Given when it was released--at a time when Hollywood's move toward self-censorship had gained full steam and the censors were hacking and slashing, left and right and center--and the pristine condition of the print used to make the DVD I watched, I'm guessing that the incomplete nature of the story here is the fault of censorship. So... yet again, we are left with Todd giving a fine performance in a flawed vehicle. Once again, we can only imagine what she might have become as an actress if her life hadn't been tragically cut short in December of 1935. We will never know what she might have brought us if she had played more dramatic roles as she grew as an actress. ("After the Dance" was one of the last films she made.)
Todd isn't the only actor in this film who gives a performance better than it seems to have deserved. Everyone shines in their parts, and this could have been an excellent film if it had only been complete. George Murphy isn't the most charismatic actor, nor the lightest-of-foot dancer, but he's good enough... and what he lacks, Nancy Carroll more than makes up for with her energy and grace. They make the song and dance numbers that anchor the film very enjoyable.
Starring: George Murphy, Nancy Carroll, Thelma Todd, and Wyrley Birch
Director: Leo Bulgakov
Rating: Five of Ten Stars
An innocent song-and-dance man (Murphy) is sent to prison for manslaughter after his shady partner (Todd) refuses to clear his name. A series of events prompts his escape from prison, and he finds an opportunity to rebuild his life and show business career with a new partner (Carroll). All is going well until the woman who sent him to prison re-enters his life.
"After the Dance" is a strangely constructed movie that feels like it is missing large chunks. It starts in medias res with our hero already having accidentally killed a man while defending his dance parter. We get no introduction to any of the involved characters, and the way he gets jammed up for the murder comes out of left field and is never explained. It's like five or ten minutes of opening scenes and establishing who the characters are is missing.
Similarly, as the movie is reaching its climax, the hero's past catches up with him, and the evil vixen from the movie's beginning once again ruins his life, we once again have the feeling that we've missed parts of the film. Not only does the movie not such much end but stop, it does so without ever explaining fully why Thelma Todd's character is such an evil bitch, because the film's instigating event is never explained in any detail.
It's a sad fact of Thelma Todd's career that most of her main dramatic roles of the talkie era took place in films that either had weak scripts (such as "Corsair"), have come down to us in modern times in a state butchered by censors or damaged by the passage of time (such as "Cheating Blondes"), or which is mysteriously flawed like "After the Dance". Given when it was released--at a time when Hollywood's move toward self-censorship had gained full steam and the censors were hacking and slashing, left and right and center--and the pristine condition of the print used to make the DVD I watched, I'm guessing that the incomplete nature of the story here is the fault of censorship. So... yet again, we are left with Todd giving a fine performance in a flawed vehicle. Once again, we can only imagine what she might have become as an actress if her life hadn't been tragically cut short in December of 1935. We will never know what she might have brought us if she had played more dramatic roles as she grew as an actress. ("After the Dance" was one of the last films she made.)
Todd isn't the only actor in this film who gives a performance better than it seems to have deserved. Everyone shines in their parts, and this could have been an excellent film if it had only been complete. George Murphy isn't the most charismatic actor, nor the lightest-of-foot dancer, but he's good enough... and what he lacks, Nancy Carroll more than makes up for with her energy and grace. They make the song and dance numbers that anchor the film very enjoyable.
Friday, December 20, 2019
Celebrating the Rise of Skywalker!
Today is the official release day for "Star Wars IX: The Rise of Skywalker", and to celebrate, we're presenting a gallery of art featuring some of the great characters from the galaxy far, far away!
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| By Gary Erskine |
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| By C. Love |
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| By Colleen Doran |
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| By Russ Manning |
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| By Gene Day |
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| By Gene Day |
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| By Tony DeZuniga |
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| By David Golding |
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| By Randy Martinez |
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| By Randy Martinez |
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| By Carmine Infantino & Gene Day |
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| By Arthur Adams |
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| By Art Hodges |
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| By Bill Sienkiewicz |
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| By Admira Wijaya |
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| By Odoro |
Thursday, December 19, 2019
'The Christmas Dream' brings Holiday Cheer
The Christmas Dream (1901)
Starring: Uncredited Actors
Directed by Georges Méliès
Rating: Six of Ten Stars
A child dreams about more than just fairies and sugar plums on Christmas Eve.
"The Christmas Dream" consists of a series scenes of Yuletide merriment and magic, as dreamed by a child. Some of them are standard Christmas scenes (such as church bells being rung and a sumptuous feast for rich nobles being shared with a beggar). some are variations on standard Christmas imagery (angels delivering presents by dropping them down chimneys, and dancing fairies magically turning a wintery landscape into a Christmas tree), and others are just plain strange (such as some sort of weird Christmas parade with Punch & Judy-style jesters and a line of can-can dancers; I think maybe it's the 12 Days of Christmas song brought to life, but I'm not sure).
There’s no plot to speak of in this film, just lots of Christmas cheer. For a Méliès film, it's also very light on special effects, with only a couple simple (compared to what he does in other films) tick photography shots. It's not his most remarkable work, but it's worth checking out if you're in the mood for something with a different sort of Christmas Spirit. What's more, you can watch it in this very post, by clicking below!
Starring: Uncredited Actors
Directed by Georges Méliès
Rating: Six of Ten Stars
A child dreams about more than just fairies and sugar plums on Christmas Eve.
"The Christmas Dream" consists of a series scenes of Yuletide merriment and magic, as dreamed by a child. Some of them are standard Christmas scenes (such as church bells being rung and a sumptuous feast for rich nobles being shared with a beggar). some are variations on standard Christmas imagery (angels delivering presents by dropping them down chimneys, and dancing fairies magically turning a wintery landscape into a Christmas tree), and others are just plain strange (such as some sort of weird Christmas parade with Punch & Judy-style jesters and a line of can-can dancers; I think maybe it's the 12 Days of Christmas song brought to life, but I'm not sure).
There’s no plot to speak of in this film, just lots of Christmas cheer. For a Méliès film, it's also very light on special effects, with only a couple simple (compared to what he does in other films) tick photography shots. It's not his most remarkable work, but it's worth checking out if you're in the mood for something with a different sort of Christmas Spirit. What's more, you can watch it in this very post, by clicking below!
Wednesday, December 18, 2019
The Milla Jovovich Quarterly
Is Milla looking into a second career as a cab driver or a rocketship pilot? We don't know, but we do know that while this may be her last appearance in these parts during the 2010s, she'll be back for the Roaring '20s Redux!
Monday, December 16, 2019
In memory of Thelma Todd
For all of 2019, I've been reviewing at least one film featuring actress Thelma Todd each week, and posting quarterly photo galleries from Todd's modeling sessions, having declared it The Year of the Hot Toddy. During this time, I have focused entirely on the legacy of entertainment this talented actress left behind, which, sadly, seems to be the exception rather than the rule.
Today is December 16, and on this day in 1935, Todd passed away. She died of carbon monoxide poisoning, in a car that was idling in a closed garage. Whether her death was accidental or homicide, we'll never know, but it has eclipsed everything else that she brought to the world. Aside from this single paragraph, we here at Shades of Gray will always remember Thelma Todd for her performances instead of her death. We will always remember her lighting up the screen with some of Hollywood's stars, such as....
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| William Powell and Gary Cooper |
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| Chester Morris |
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| Cary Grant |
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| Buster Keaton |
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| Bela Lugosi, Marjorie White, William Collier Jr, Ona Munson & Joe E Brown |
Sunday, December 15, 2019
'The Balloonatic' doesn't exactly soar
The Balloonatic (1923)
Starring: Buster Keaton and Phyllis Haver
Directors: Buster Keaton and Eddie Kline
Rating: Six of Ten Stars
A young man (Keaton) becomes stranded in the wilderness after accidentally taking off in a balloon. Will the more out-doorsy girl (Haver) he encounters be his salvation, or will she be the death of him?
"The Balloonatic" is one of Buster Keaton's lesser efforts. It's a series of loosely connected skits that sees our hero move from a bad day at the amusement park to a worse time in the wilderness, with the connecting element no so much being Buster but the far more interesting character of the young woman he first tries to put the moves on at the amusement park (and gets a black eye and bloody nose for his fresh behavior) and then later crosses her path again in the wilderness. But, as fun as Phyllis Haver's character is, the film is still feels disjointed and directionless.
This isn't the first Buster Keaton short I've watched that felt like its elements didn't quite connect properly ("The Frozen North" springs immediately to mind as the worst "offender" so far), but it is the first that felt like it lacked heart, as well as being short of elaborate stunt-based comedy that's made his other shorts so spectacular.
For a film titled "The Ballonatic", this is flick is very grounded. Most of the gags are modest, the stunts little more than prat-falls, and the balloon isn't much more than a device to get Keaton's character from the amusement park into the wilderness. While here is a little business onboard the drifting balloon, I really wanted a little more airborne dangling action, so while this colors my opinion of the movie as a whole, it's also fact that there are several routines that are predictable and therefore feel like they've gone on for too long by the time the pay-off arrives; and that Keaton already did similar bits in other films, and did them better. (The fishing routines in both "Hard Luck" and "Convict 13" are funnier than the one here.)
That said, the film does feature some very funny interactions between Keaton and Haver (with her rescuing him, and he later trying to rescue her but her ultimately having to give up on being the damsel in distress and deal with the threat on her own). Keaton also has some very funny bits with a canoe, both in and out of the water. There's just nothing as wild or exhuberant as what viewers experience in some of Keaton's other films. The relationship between Keaton and Haver's characters is one of the most interesting ones in any of Keaton's shorts, but it doesn't quite make up for the shortcomings. This isn't a bad film--it's lots of fun--but it isn't as good as Keaton's other works.
But why don't you check out this film for yourself, below. Afterwards, you can let me know if you agree or disagree with my take on it.
Starring: Buster Keaton and Phyllis Haver
Directors: Buster Keaton and Eddie Kline
Rating: Six of Ten Stars
A young man (Keaton) becomes stranded in the wilderness after accidentally taking off in a balloon. Will the more out-doorsy girl (Haver) he encounters be his salvation, or will she be the death of him?
"The Balloonatic" is one of Buster Keaton's lesser efforts. It's a series of loosely connected skits that sees our hero move from a bad day at the amusement park to a worse time in the wilderness, with the connecting element no so much being Buster but the far more interesting character of the young woman he first tries to put the moves on at the amusement park (and gets a black eye and bloody nose for his fresh behavior) and then later crosses her path again in the wilderness. But, as fun as Phyllis Haver's character is, the film is still feels disjointed and directionless.
This isn't the first Buster Keaton short I've watched that felt like its elements didn't quite connect properly ("The Frozen North" springs immediately to mind as the worst "offender" so far), but it is the first that felt like it lacked heart, as well as being short of elaborate stunt-based comedy that's made his other shorts so spectacular.
For a film titled "The Ballonatic", this is flick is very grounded. Most of the gags are modest, the stunts little more than prat-falls, and the balloon isn't much more than a device to get Keaton's character from the amusement park into the wilderness. While here is a little business onboard the drifting balloon, I really wanted a little more airborne dangling action, so while this colors my opinion of the movie as a whole, it's also fact that there are several routines that are predictable and therefore feel like they've gone on for too long by the time the pay-off arrives; and that Keaton already did similar bits in other films, and did them better. (The fishing routines in both "Hard Luck" and "Convict 13" are funnier than the one here.)
That said, the film does feature some very funny interactions between Keaton and Haver (with her rescuing him, and he later trying to rescue her but her ultimately having to give up on being the damsel in distress and deal with the threat on her own). Keaton also has some very funny bits with a canoe, both in and out of the water. There's just nothing as wild or exhuberant as what viewers experience in some of Keaton's other films. The relationship between Keaton and Haver's characters is one of the most interesting ones in any of Keaton's shorts, but it doesn't quite make up for the shortcomings. This isn't a bad film--it's lots of fun--but it isn't as good as Keaton's other works.
But why don't you check out this film for yourself, below. Afterwards, you can let me know if you agree or disagree with my take on it.
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