Is that right? Is it appropriate to say happy International Goth Day (or World Goth Day)? Hm... wow. I don't know! If everyone wasn't under house-arrest and hiding from the Coronavirus, I could have just walked outside my front door and asked one of the goths who are usually hanging out around the corner.
Oh well; one must stay home in order to save lives. I hope any Goths out there takes my well-wishes and this small gallery of photos and art celebrating their ways in the friendly spirit is was intended!
Pots and Pans (1932)
Starring: Unknown Singers
Directors: John Foster and George Rufle
Rating: Seven of Ten Stars
Another day dawns at Tom and Jerry's Diner. Hash is slung and songs are sung.
"Pots and Pans" debuted in movie theaters on May 15, 1932, and it was the tenth installment in the "Tom and Jerry" series. Our heroes are engaged in yet another business venture in this one--they operate a diner inside a converted railroad car. Subsequently, all the gags and zany action revolve around short-order cooking and the odd characters who are demanding to be fed.
Like most "Tom and Jerry" cartoons, this is essentially an animated music video, with the songs being the main attraction. There is almost no spoken dialogue in the film, and there is one scene where it's disposed of with silent movie-style pantomime. Further, this installment is almost entirely plot-free, with the music and the diner setting serving to string together a series of more-or-less self-contained gags. It's a mostly swift-moving film, and if you have enjoyed other "Tom and Jerry" adventures, you'll enjoy this one as well. The animation is a bit more simplistic than the norm, and the pace falters a bit as the climax is building, but overall it's a solid bit of fun.
But don't just take my word for it... I've embedded "Pots and Pans for your viewing pleasure below!
Welcome to another Wonder Woman Wednesday... the time when we once again celebrate everyone's favorite Amazon's with some of the best portraits and action shots that have ever been created.
This time around, we're displaying Wonder Woman's expertise in deflecting--bullets that is! So long as she's got her magic bracelets, she doesn't have to be faster than a speeding bullet, and she might just return it to sender!
Ivy Levan is an American singer/songwriter/actress/model. This is the second time we're spotlighting her exuberant, quirky, over-the-top blusey stylings... and this second song is joined with a video that's equal parts thrilling and funny. Just like the last time around.
"Hot Damn" was the second track on Levan's debut EP, "Introducing the Lady" . This video is either a sequel, or perhaps a prequel, to the one for "Money", as it clearly features some of the same characters.
If you enjoyed "Hot Damn", I think you'll find Gin Wigmore's music and videos appealing as well. (And you should keep an eye out here; Levan will almost certainly be returning to these parts on future Musical Mondays.)
Just Neighbors (aka "Neighbors") (1919)
Starring: Harold Lloyd, Harry Pollard, Bebe Daniels, and Margaret Joslin
Directors: Harold Lloyd and Frank Terry
Rating: Seven of Ten Stars
Fighting breaks out between once-friendly neighbor couples (Lloyd & Daniels and Pollard & Joslin) after escalating damage happens to both homes following a failed attempt at one husband to help the other with a backyard construction project.
If one wanted a cinematic illustration of what "that escalated quickly" means, "Just Neighbors" fits that purpose exactly. From the point where the two husbands (Harold Lloyd and Harry Pollard) run into each other on their way home from work in the city through Lloyd's misbegotten attempt to show off his handyman skills, through to the property destruction and literal slap-fight across the backyard fence, this film is a string of small situations that get out of hand--and hilariously so.
While none of the gags in this film are going to surprise anyone--what we have here is sit-com territory that's been well-trod in the past 100 years--but they're economically delivered by a cast with perfect comedic timing, so the action is constantly moving and not a second of screen-time is wasted.
The only complaint I can mount about the film is that I would have liked to see some more situations where the wives fight with each other was well. Any movie where Bebe Daniels has more to do is a better movie! (I think the film might have been more interesting if perhaps it had played up and on the class differences between the two couples... but that would have probably resulted in a different and much longer movie.)
But, thanks to YouTube, you can check out "Just Neighbors" right now and see if you agree or disagree with my take on it.
Born in 1942. Stefanie Powers is an American actress who is best known for her role as the ever-cheerful and strongheaded Jennifer Hart across five seasons and eight made-for-television movies of "Hart to Hart", over a span of fifteen years. (The series ran from 1979 to 1984, and the movies were aired in 1993 and 1994. Powers was co-producer on the films.)
Powers began her professional acting career while still in her teens, and her first top billing came in the spy series "The Girl From U.N.C.L.E", which ran for two seasons 1966 and 1967.
In addition to the two aforementioned series, Powers had leading roles in 20 other television series and mini-series, and made guest appearances in more than 200 individual episodes of other shows, including a recurring role in "The Six Million Dollar Man" during the 1970s and 1980s.
A mainstay of American television during the 1970s, 1980s, and into the 1990s, Powers stopped acting on a regular basis after completing the final "Hart to Hart" film in 1994. While she continues to take the occasional role, most of her energy has been spent on conversation efforts and business ventures related to the William Holden Wildlife Foundation.
A composer suffering from a creative block is visited by Muses and other magical creatures that rekindle his creativity... or is he?
It may be over 100 years old, but I suspect more than a few of those of you out there who work in creative fields can relate to the "crazy composer" in this film. Heck, these days, we can probably all relate to this film's title character, in the sense that we're all going a little stir-crazy with the global pandemic keeping many of us housebound. It's even worse now that the weather is turning good in many places.
As good as the film itself is, the modern musical score that is featured in the version I've embedded below makes the viewing experience eve better. It's PERFECT and absolutely hilarious, and it proves that these films are so much better served when someone takes the time to actually score them instead of just using some random muzak trck.
I can't recommend "A Crazy Composer" strongly enough. Whether you're homebound, stuck working more than you'd like, or not working at all, due to the current global crisis, I think the four or so minutes you'll devote to this film will brighten the rest of your day tremendously.
Cartoonist, and creator extraordinaire of creepy comics, Richard Sala passed away last week, at the age of 61. We present this gallery of his drawings, as well as some pages excerpted from his "The Bloody Cardinal" graphic novel in his memory.
TRAIL OF THE CARDINAL
Richard Sala's 2017 graphic novel "The Bloody Cardinal" opens with was is presented as pages from the journal of the notorious and murderous madman know as the Cardinal. We offer those pages below. We encourage everyone who enjoys the sorts of mystery and horror films that are covered in this blog to get copy of this very excellent work by clicking here.
For more about Richard Sala, his works, and many more samples of the great art he has left behind for us to enjoy, you can visit his blog and his Tumblr pages. (You can also enjoy pages of the series he was working on when he passed away, "Carlotta Havoc versus Everybody".)
Baby Be Good (1935)
Starring: Mae Questel (Voices of Betty Boop and Little Jimmy)
Director: Dave Fleischer
Rating: Six of Ten Stars
Betty tries to convince a misbehaving child to go to sleep for the night.
By 1935, Hollywood filmmakers had completely surrendered to the morality clauses of the Motion Picture Production Code (MPPC), and the risque escapes that had made Betty Boop so popular with movie-goers were well behind her. In fact, they were so far behind her that in "Baby Be Good", she's a homemaker and the mother of a bratty toddler.
I've repeatedly read comments from critics that the MPPC ruined the Betty Boop series. While I agree that what I've sampled of the post-1934 Boop cartoons for the most part don't have the same edge as the earlier ones--some were so dull I doubt I'll bother revisiting them for a write-up in these parts--I disagree that the series was ruined. There is still plenty of inventiveness in and fun to be had watching some of the tamer exploits of the domesticated Betty. Animation-wise, this one is every bit as good as older Betty cartoons, with detailed characters and backgrounds. The music is, as always, omnipresent, catchy, and fun.
One disappointment for me is that "Baby Be Good" is almost completely free of the surreal, borderline horrific craziness that had once been the series' hallmark. What we do get of that sort of content is very tame and mostly relegated to the cautionary bedtime story that Betty relates to her bratty kid. Overall, the "reality" of Betty's world is quite sedate compared to what she lived through in her younger days--although the kid's antics are every bit as cartoony as hers were in the old days... and we even get a little old-school weirdness bleeding through from the fairytale to reality at the end.
"Baby Be Good" is embedded below, via YouTube. Please take a few minutes and check it out!
I suppose I should mention that I think Jimmy is fortunate that he gets his looks from his mother instead of his father, who I presume is Bimbo. To illustrate what I mean, here are a couple of pictures with Betty and Bimbo together...
AND--for the historically minded and detail-oriented readers out there, I should add that I am aware that the Little Jimmy character predates Betty Boop's creation by about 25 years. Maybe it's because of a misspent youth reading comics where characters co-existed in the same universe, or the years I spent working on properties with sprawling continuities that didn't always quite fit together, but when I first came across Boop cartoons with Little Jimmy in them, he immediately became her son in my mind/"head-canon". We can discuss who the father might be, but Jimmy will always be Betty's son to me when they're sharing the screen. (The Little Jimmy character originated in a newspaper strip distributed by the same syndicate that handled Popeye's printed home. I assume that the same sort of deal that led to Popeye sharing the screen with Betty was at work when it came to Little Jimmy's animated appearances.)
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