Welcome to another Musical Monday Morning at Shades of Gray!
This week's selection is by MØ, a Danish singer/songwriter who has been steadily growing in popularity in Scandinavia since the early 2010s, and even poked her head out into the rest of world with songs appearing in the Billboard 100 and UK top pop charts in 2017. (Click here to read more.)
Monday, January 6, 2020
Friday, January 3, 2020
Firearms Friday with Alexis Smith
It's the beginning of a new year, and the beginning of a new post series! Every other Friday, there'll be a picture or two of a weapons-brandishing actress or model in this space.
Alexis Smith was a dancer-turned-actress whose career in movies and on television spanned more than 40 years. She is perhaps best remembered for "Day and Night (1946), "Undercover Girl" (1957), and a recurring role on the TV series "Dallas" during the 1984 and 1990 seasons.
Thursday, January 2, 2020
'Rocketeers' is something of a misfire
Tom and Jerry: Rocketeers (1932)
Starring: Anonymous Voice Actors
Directors: John Foster and George Rufle
Rating: Five of Ten Stars
Tom and Jerry build an experimental rocket intending to go to the Moon. After the rocket misfires, out heroes instead find themselves exploring a strange world at the bottom of the sea and frolicking with mermaids.
The title made me excited for this one, and I hoped I was in for surreal sci-fi weirdness similar to "Astronomeous" or "The '?' Motorist". Instead... well, let's just say I was disappointed. This Tom and Jerry installment has the crisp, fluid animation that I so love in this series, as well as a hefty amount of the cartoon physics and physical transformations that I love in many of the cartoons from the late 1920s and early 1930s, but I just couldn't enjoy this one.
I can't really point to something that made me cringe or that I found boring--I just wasn't engaged with the one I the way I've been with some of the other "Tom and Jerry" installments. Maybe it's because I can't watch it through th eyes of a 6 year-old, and so I couldn't get past the notion of Tom and Jerry surviving, not to mention singing and dancing and playing the piano, on the bottom of the ocean as easily as they would on land. Maybe it's because the music wasn't as good in this one as in some of the others. I don't know... I just couldn't get into this one the way I did with "The Piano Tooners", for example.
That said... "Rocketeers" did contain both the most horrific scene I've ever encountered in a cartoon, as well as one of the cutest. The first involves Tom and Jerry merging into a single, singing creature, while the second is them dancing and singing with mermaids. The unbridled insanity of cartoons from the late 1920s and early 1930s is both the stuff of dreams and nightmares...
Why don't you take a few minutes out of your day and check out "Rocketeers" for yourself? I've embedded it below for your convience and viewing pleasure. I would also love to hear your opinions!
Starring: Anonymous Voice Actors
Directors: John Foster and George Rufle
Rating: Five of Ten Stars
Tom and Jerry build an experimental rocket intending to go to the Moon. After the rocket misfires, out heroes instead find themselves exploring a strange world at the bottom of the sea and frolicking with mermaids.
The title made me excited for this one, and I hoped I was in for surreal sci-fi weirdness similar to "Astronomeous" or "The '?' Motorist". Instead... well, let's just say I was disappointed. This Tom and Jerry installment has the crisp, fluid animation that I so love in this series, as well as a hefty amount of the cartoon physics and physical transformations that I love in many of the cartoons from the late 1920s and early 1930s, but I just couldn't enjoy this one.
I can't really point to something that made me cringe or that I found boring--I just wasn't engaged with the one I the way I've been with some of the other "Tom and Jerry" installments. Maybe it's because I can't watch it through th eyes of a 6 year-old, and so I couldn't get past the notion of Tom and Jerry surviving, not to mention singing and dancing and playing the piano, on the bottom of the ocean as easily as they would on land. Maybe it's because the music wasn't as good in this one as in some of the others. I don't know... I just couldn't get into this one the way I did with "The Piano Tooners", for example.
That said... "Rocketeers" did contain both the most horrific scene I've ever encountered in a cartoon, as well as one of the cutest. The first involves Tom and Jerry merging into a single, singing creature, while the second is them dancing and singing with mermaids. The unbridled insanity of cartoons from the late 1920s and early 1930s is both the stuff of dreams and nightmares...
Why don't you take a few minutes out of your day and check out "Rocketeers" for yourself? I've embedded it below for your convience and viewing pleasure. I would also love to hear your opinions!
Wednesday, January 1, 2020
The Epic Tales of Buster & Sybil!
Looking for something a little different to build a couple "movie nights" or "watch parties" out of? Permit us to suggest watching the five films that Buster Keaton and Sybil Seely made together between 1920 and 1922. Don't watch them in the order they were made, but but the order in which they combine to form two different story arcs that relate The Epic Tales of Buster & Sybil!
This epic is told in three parts. Click on the links to each film, as well as my comments.
Convict 13 (1920)
One Week (1920)
The Boat (1921)
This epic consists of the book-end films from Keaton's and Seely's collaborations: The very first film they made together, and the very last.
The Scarecrow (1920)
The Frozen North (1922)
All five films can be found online (as is obvious from the posts linked to above), or, in DVD or Blu-Ray collections like the one that we've linked to below. The ones found on disc are generally sourced from better quality--and there's no risk of the link I provide in the posts becoming invalid.
TALE #1
Buster is an up-and-coming man of business, Sybil is the daughter of a prison warden, and they are in love. Upon getting married, they are gifted with an empty lot build-it-yourself house as a wedding present, and its construction proves to be the first test of their marriage. Several years and two sons later, Buster builds a boat in the garage and then sets out to take the family on a cruise. This epic is told in three parts. Click on the links to each film, as well as my comments.
Convict 13 (1920)
One Week (1920)
The Boat (1921)
TALE #2
Buster woos a farmer's daughter. After being wed on the run, the two move to Alaska to make a new life. But Buster's dark side emerges, and this marriage is not a happy one... This epic consists of the book-end films from Keaton's and Seely's collaborations: The very first film they made together, and the very last.
The Scarecrow (1920)
The Frozen North (1922)
All five films can be found online (as is obvious from the posts linked to above), or, in DVD or Blu-Ray collections like the one that we've linked to below. The ones found on disc are generally sourced from better quality--and there's no risk of the link I provide in the posts becoming invalid.
Happy New Year! Welcome to the '20s!
Like Janet Leigh, we're bursting into the New Year with joy and excitement!
And we hope you'll join us in sharing a toast with Vera Ellen!
It may be a New Year, but we'll be up the same old stuff here at Shades of Gray, as we launch into the second decade of this blog's existence!
Tuesday, December 31, 2019
Monday, December 30, 2019
Musical Monday with Ghostly Kisses
"Ghostly Kisses" is the name under which singer/songwriter Margaux Sauvé releases her music. The video below's got beautiful music and arresting visuals... just what you need to get the last Monday of 2019 off to a good start!
Touch (2019)
Starring: Margaux Sauvé and Chelsea Keefer
Director: Eddie Grams
Rating: Seven of Ten Stars
Sunday, December 29, 2019
'An All-American Toothache' is agreeable nonsense
An All American Toothache (1936)
Starring: Thelma Todd, Patsy Kelly, Mickey Daniels, Johnny Arthur, and Duke York
Director: Gus Meins
Rating: Seven of Ten Stars
Thelma (Todd) tricks her co-worker Patsy (Kelly) into having her wisdom tooth pulled by an incompetent dental student (Daniels) who also happens to be the star player of the local college football team--but who will be barred from the big game if he doesn't show himself proficient in his field of study.
"An All-American Toothache" is one of the better films that Thelma Todd and Patsy Kelly made together. It's not the funniest, it's not the sweetest, nor is it the cleverest... but it is perhaps the best-structured and tone-consistent of them all. It delivers a complete story--with a beginning, a middle, and end--and while that story is complete nonsense, it is steeped in the nonsense from beginning to end, embraces the nonsense, and the characters even say "yeah, this makes no sense, but let's go with it!"
The main cast all have their moment in the spotlight, and they all play well with and off each other. Thelma Todd is once again relegated mostly to the role of "straight man" while Patsy Kelly gets to play the fool, but there isn't the sense of underlying contempt from Todd toward Kelly's character that tainted other films. This picture also benefits from the fact that instead of featuring several ill-conceived, badly rehearsed slapstick routines--something that plagued the Todd-headlined films even when she was teamed with ZaSu Pitts in the early stages of the series. Instead, it contains one single all-out brawl between dental students and the football team, with Thelma, Patsy, and a professor caught up in the melee.
"An All-American Toothache" would be the last film Thelma Todd and Patsy Kelly would make together. Todd's life was tragically cut short in December of 1935, and it wasn't released until after her demise. It's also the very last film Todd can be considered appearing in. She had a large role in the Laurel & Hardy feature film "The Bohemian Girl", but producer Roach had her scenes cut and reshot because of her death. (If he had been able to foresee the morbid obsession with Todd's mysterious passing that continues to the very day, he might have left the film as it was.)
Starring: Thelma Todd, Patsy Kelly, Mickey Daniels, Johnny Arthur, and Duke York
Director: Gus Meins
Rating: Seven of Ten Stars
Thelma (Todd) tricks her co-worker Patsy (Kelly) into having her wisdom tooth pulled by an incompetent dental student (Daniels) who also happens to be the star player of the local college football team--but who will be barred from the big game if he doesn't show himself proficient in his field of study.
"An All-American Toothache" is one of the better films that Thelma Todd and Patsy Kelly made together. It's not the funniest, it's not the sweetest, nor is it the cleverest... but it is perhaps the best-structured and tone-consistent of them all. It delivers a complete story--with a beginning, a middle, and end--and while that story is complete nonsense, it is steeped in the nonsense from beginning to end, embraces the nonsense, and the characters even say "yeah, this makes no sense, but let's go with it!"
The main cast all have their moment in the spotlight, and they all play well with and off each other. Thelma Todd is once again relegated mostly to the role of "straight man" while Patsy Kelly gets to play the fool, but there isn't the sense of underlying contempt from Todd toward Kelly's character that tainted other films. This picture also benefits from the fact that instead of featuring several ill-conceived, badly rehearsed slapstick routines--something that plagued the Todd-headlined films even when she was teamed with ZaSu Pitts in the early stages of the series. Instead, it contains one single all-out brawl between dental students and the football team, with Thelma, Patsy, and a professor caught up in the melee.
"An All-American Toothache" would be the last film Thelma Todd and Patsy Kelly would make together. Todd's life was tragically cut short in December of 1935, and it wasn't released until after her demise. It's also the very last film Todd can be considered appearing in. She had a large role in the Laurel & Hardy feature film "The Bohemian Girl", but producer Roach had her scenes cut and reshot because of her death. (If he had been able to foresee the morbid obsession with Todd's mysterious passing that continues to the very day, he might have left the film as it was.)
Mythos Madness: The Balls of Yog-Sogoth
This may or may not be the first post in an irregular series (which will also appear at the NUELOW Games blog) detailing mysteries of Lovecraft's Elder Gods Universe in terms of the d20 System roleplaying game.
THE BALLS OF YOG-SOGOTH
The Balls of Yog-Sogoth are a pair of perfect spheres of a smooth, white, semi-translucent crystaline substance. One can be comfortably cradled in the palm of an average adult male human's hand. Each glows softly with a white light that originates from the orb's center. Legend holds that the balls were dropped from the elder god Yog-Sogoth itself, and so they are highly sought after by the cults devoted to the various aspects of the entity. No one really knows their true origin, however.
POWERS OF THE BALLS OF YOG-SOGOTH
If subjected to a detect magic spell, the Balls of Yog-Sogoth radiate faint alteration and divination magic. No other magic short of a wish spell will reveal any additional information about the mysterious spheres. Seekers of knowledge must discover the power of the balls through their own experimentation, or by recovering and reading sacred scrolls possessed and jealously guarded by obscure cults, or perhaps an Immortal or two.
To use the Balls of Yog-Sogoth, a user must old them in their hands. The balls function in different ways, depending on whether a user is handling one or two of them.
One Ball: While cradling a single of Yog-Sogoth's balls, the character will receive a mental image of a magical item that is in his or her possession, or in the possession of a friend or ally. The charcter comes to know everything about the item as if he or she had cast an identify spell upon it. It takes 1d6 rounds for the vision to materalize. Once the user has realized this use of a ball, he or she can mentally picture specific items and gain information as if he or she had cast identify upon them.
Drawback: For each item past the first that the user identifies within a 72-hour period, there is an increasing chance (10% on the second item, 30% on the third item, 50% on the fourth item, 70% on the fifth item, 90% on each additional items) that the user will collapse into a deep coma that lasts 1d6+1 days. Upon regaining consciousness, the character must roll a Fortitude save (DC18) or feel weakened to the point of suffering a -4 penalty to Strength and Constitution scores for 24 hours.
Two Balls: While holding one of Yog-Sogoth's balls in each hand, the character can either envision a historical figure well-known contemporary figure, or someone with whom the character is personally acquainted, be it a friend or foe. After concentrating on the mental image of the person for 1d6+1 rounds, the character receives one of the following vividly detailed visions, as if he or she was present for the events and experienced them as the person did. (Roll 1d6 to determine which kind of vision.)
1. The happiest moment of the person's childhood.
2. The proudest moment of their youth.
3. Their greatest achievement during their lifetime.
4. The place the person felt most comfortable/spent most of their
leisure time (if dead); where the person will be in exactly one day
(if alive).
5. The place where the person spent/spends the most time with the person
they loved/love the most, as well as who that person is.
6. The single event or secret that the person wants to keep hidden forever.
Drawback: If the user tries to have more than one vision within a 72-hour period, there is an increasing chance (10% on the second vision, 30% on the third vision, 50% on the fourth vision, 70% on the fifth vision, 90% on each additional vision) that the user will collapse into a deep coma that lasts 1d6+1 days. Upon regaining consciousness, the character must roll a Fortitude save (DC18) or feel weakened to the point of suffering a -4 penalty to Strength and Constitution scores for 24 hours.
Each additional vision within the 72-hour period is determined randomly, just like the first. If the same scene is rolled more than once, the user sees it from a different angle, perhaps even experiencing the scene as someone else did/does. Each reiteration reveals new details.
THE BALLS OF YOG-SOGOTH
The Balls of Yog-Sogoth are a pair of perfect spheres of a smooth, white, semi-translucent crystaline substance. One can be comfortably cradled in the palm of an average adult male human's hand. Each glows softly with a white light that originates from the orb's center. Legend holds that the balls were dropped from the elder god Yog-Sogoth itself, and so they are highly sought after by the cults devoted to the various aspects of the entity. No one really knows their true origin, however.
A cultist handling a Ball of Yog-Sogoth |
POWERS OF THE BALLS OF YOG-SOGOTH
If subjected to a detect magic spell, the Balls of Yog-Sogoth radiate faint alteration and divination magic. No other magic short of a wish spell will reveal any additional information about the mysterious spheres. Seekers of knowledge must discover the power of the balls through their own experimentation, or by recovering and reading sacred scrolls possessed and jealously guarded by obscure cults, or perhaps an Immortal or two.
To use the Balls of Yog-Sogoth, a user must old them in their hands. The balls function in different ways, depending on whether a user is handling one or two of them.
One Ball: While cradling a single of Yog-Sogoth's balls, the character will receive a mental image of a magical item that is in his or her possession, or in the possession of a friend or ally. The charcter comes to know everything about the item as if he or she had cast an identify spell upon it. It takes 1d6 rounds for the vision to materalize. Once the user has realized this use of a ball, he or she can mentally picture specific items and gain information as if he or she had cast identify upon them.
Drawback: For each item past the first that the user identifies within a 72-hour period, there is an increasing chance (10% on the second item, 30% on the third item, 50% on the fourth item, 70% on the fifth item, 90% on each additional items) that the user will collapse into a deep coma that lasts 1d6+1 days. Upon regaining consciousness, the character must roll a Fortitude save (DC18) or feel weakened to the point of suffering a -4 penalty to Strength and Constitution scores for 24 hours.
Two Balls: While holding one of Yog-Sogoth's balls in each hand, the character can either envision a historical figure well-known contemporary figure, or someone with whom the character is personally acquainted, be it a friend or foe. After concentrating on the mental image of the person for 1d6+1 rounds, the character receives one of the following vividly detailed visions, as if he or she was present for the events and experienced them as the person did. (Roll 1d6 to determine which kind of vision.)
1. The happiest moment of the person's childhood.
2. The proudest moment of their youth.
3. Their greatest achievement during their lifetime.
4. The place the person felt most comfortable/spent most of their
leisure time (if dead); where the person will be in exactly one day
(if alive).
5. The place where the person spent/spends the most time with the person
they loved/love the most, as well as who that person is.
6. The single event or secret that the person wants to keep hidden forever.
Drawback: If the user tries to have more than one vision within a 72-hour period, there is an increasing chance (10% on the second vision, 30% on the third vision, 50% on the fourth vision, 70% on the fifth vision, 90% on each additional vision) that the user will collapse into a deep coma that lasts 1d6+1 days. Upon regaining consciousness, the character must roll a Fortitude save (DC18) or feel weakened to the point of suffering a -4 penalty to Strength and Constitution scores for 24 hours.
Each additional vision within the 72-hour period is determined randomly, just like the first. If the same scene is rolled more than once, the user sees it from a different angle, perhaps even experiencing the scene as someone else did/does. Each reiteration reveals new details.
--
All text in this post is released under the Open Game License and may be reproduced in accordance with its terms. Copyright 2019 Steve Miller. (If you find this material useful or interesting, please purchase some of our actual products. It will encourage us to make more!)
Thursday, December 26, 2019
'Preto Branco' is a stylish modern silent movie
The other day, I made a post in which I embedded a silent movie made in 1914. Just for the heck of it, here's a silent movie that was produced and released in 2014, one hundred years later!
Preto Branco (aka "Black/White") (2014)
Starring: Inês Cândido and João Teles
Director: Magdalena Traguil
Rating: Six of Ten Stars
A young woman escapes an abusive relationships in a permanent fashion.
"Preto Branco" is a brief, thoroughly modern silent movie. It's a stylish, straight-forward bit of filmmaking that uses the black-and-white media effectively, as well as communicates everything through action and scene framing. (Okay... there is one sound effect here, but I think it fall into the same category as a musical score.)
The only complaint I can mount is that I would have liked to see a little more effects work in the aftermath of the film's climactic violence. The act itself, though, was portrayed perfectly. (I have a couple additional minor quibbles, but they amount to nothing more than nitpicks.)
Why don't you take a few minutes to watch "Preto Branco" right now? I've embedded it below for your viewing pleasure!
Preto Branco (aka "Black/White") (2014)
Starring: Inês Cândido and João Teles
Director: Magdalena Traguil
Rating: Six of Ten Stars
A young woman escapes an abusive relationships in a permanent fashion.
"Preto Branco" is a brief, thoroughly modern silent movie. It's a stylish, straight-forward bit of filmmaking that uses the black-and-white media effectively, as well as communicates everything through action and scene framing. (Okay... there is one sound effect here, but I think it fall into the same category as a musical score.)
The only complaint I can mount is that I would have liked to see a little more effects work in the aftermath of the film's climactic violence. The act itself, though, was portrayed perfectly. (I have a couple additional minor quibbles, but they amount to nothing more than nitpicks.)
Why don't you take a few minutes to watch "Preto Branco" right now? I've embedded it below for your viewing pleasure!
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