'The Mouthpiece' has Warren William at his best

The Mouthpiece (1932)

Starring: Warren William, Sidney Fox, Ailine MacMohan, Ralph Incee, Willam Janney, Walter Walker, and Guy Kibbee

Directors: James Flood and Elliot Nugent

Rating: Eight of Ten Stars

An attorney (William) who has grown rich and powerful by using every trick to get gangsters and other criminals is reminded that there is more to life than money and winning when a naïve young woman (Fox) enters his life.

"The Mouthpiece" is equal parts courtroom drama, melodrama, and comedy, with Warren William delivering a fantastic performance in which he brings life to Vince Day, a brilliant man who finds his faith in the justice system shattered and his spirit broken when a man he sent to the electric chair turns out to be innocent. Instead of confronting his anger, as well as his feelings of guilt and self-doubt, he loses himself in a maelstrom of booze, womanizing, and partying... while using his knowledge of law and his ability to manipulate juries to prove over and over to himself that the courts and legal system are useless as vehicles to bring about justice. In the hands of a lesser actor, this character would come across as loathsome and pathetic beyond redemption, especially during the scenes where he starts to engage in some self-reflection and he initially retreats deeper into his protective cocoon of destructive behavior and self-gratification. William plays the character with such charm and energy that rather than joining in on his self-hatred by hating him, too, viewers instead will be rooting for him to rediscover the decent person he still is deep down.

As the film unfolds, viewers have an ally in Vince Day's no-nonsense legal secretary, Hickey (played by Ailine MacMohan). She sees the person that Vince could be if he would confront his demons, and she is a rock that keeps him slightly grounded by stepping in to curb his worst excesses and negative impulses. While it's the naivete and purehearted devotion to doing what is right (not to mention her absolute refusal to be drawn into Vince's dark world) of young the young typist, Miss Farraday (portrayed by Sidney Fox) that finally makes Vince rethink his life, it's Hickey whom he turns to for the support and encouragement he needs to change his life. It's also Hickey who is there when Vince ends up paying a heavy price for rejecting the man he'd become.

The relationship between Vince and Hickey are the most important one in the movie, and it is made even moreso by the fact that Warren William and Ailine MacMohan give the best performances in it. They are also great together, and each scene they share together are among the best in the film. The only parts that are better than William and MacMohan playing off each other are the courtroom scenes.

"The Mouthpiece" is one of five movies included in "Forbidden Hollywood Vol. 10", and it's such a good film that it's almost worth the price of the set by itself.

Musical Monday with Oasis

It may be the start to a new work week, but we want to remind our readers and visitors that there is MUCH more to a rewarding life than just whatever you do to put a roof over your head and food on the table. That's the case even if you enjoy what you do for a living.

Here's a nifty reminder of that fact with the 2005 music video for "The Importance of Being Idle", featuring Oasis along with singing and dancing undertakers.

The Importance of Being Idle (2005)

Starring: Liam Gallagher and the rest of Oasis

Director: Dawn Shadforth

Rating: Eight of Ten Stars

Kids today will never know how tough it was...

... what with dial-up modems, and VHS cassettes that could be eaten by the players, only three or four channels on television--and if you missed a show, you would have to wait MONTHS before there was even a slim chance of it being broadcast again. And that's if you were lucky. And we didn't have these fancy cellphones... oh no. We had to go inside if we wanted to make phone calls!

But speaking of kids not knowing how good they have it, here's something to brighten your day, as you spend a few moments with some folks who had it even worse that you did: It's a classic television comedy sketch from "At Last: The 1948 Show" featuring future members of the Monte Python comedy troupe and the great Marty Feldman.

'Remina' delivers horror, but isn't Ito's best

Remina (2020, Viz Media)
Story and Art: Junji Ito
Rating: Seven of Ten Stars

A rogue planet emerges from a wormhole and the astromoner who discovered it names it after his daughter, Remina, who becomes an instant global celebrity. When it becomes apparent that the planet is a destructive force, and that it is heading straight for Earth at unimaginable speeds, all of humanity turn from loving Remina to hating her... and soon, she is hunted by mobs who believe that if they sacrifice her, the Planet Remina won't destroy the Earth and all of humanity.

I have said in previous posts (here and here, for example) that Junji Ito is one of the few people who is a true master of the very difficult art of creating effective horror comics. That view is reaffirmed  with "Remina", in which Ito uses a backdrop of literal cosmic horror to deliver commentary on a whole host of negative aspects of the human race, as well as reminding the reader that disasters can also bring out the best in some of us. And, ultimately, in "Remina", the world doesn't end with a bang, or a whimper, but with the largest slapstick comedy routine since time began. (And, no, I am not breaking my self-imposed rules on spoilers here; there is really no OTHER way this story could end than with the destruction of Earth. This is something that's obvious when you're ten pages in, and it keeps getting reinforced as you progress through the book.)

However, there is a weakness in "Remina" that underscores where Ito's true strength lies: In telling short stories.

Although "Remina" uses the same sort of cosmic, Lovecraftian horror that Ito has previously drawn on in "Uzumaki", this book does not invoke the same level of gut-wrenching horror in the reader that his previous work did. Although the tales in "Uzumaki" add up to a single, novel-length story, each is also a self-contained short story. The longer tale in "Remina" never reaches the level of intensity that's present in the "Uzumaki" tales--even if the crucifixion/human sacrifice scenes come close. 

Similarly, there are several stories in Ito's famous "Tomie" cycle that convey the message that obsession is a destructive force (whether it be adoration or hatred) and that the human tendency to mob action will always end badly both for the actors and for the thing or person being acted upon more effectively than is done here.

What I think "Remina" shows very clearly is that Junji Ito is far better at telling short stories than he is at creating novel-length works. This isn't a bad book; it's just not as good as some of his other works. The horror is more impactful in his short stories than what we get here, and the characters are more interesting overall, despite the room Ito has to develop them in this longer format work. That said, I understand that the title character of this work is something of a useless dishrag and perpetual victim by design. At no point does she have it in her to be the figure deserving of the admiration nor scorn and hatred that the entire world heaps upon her in their superstitious zealotry. Therefore, she never rises to the occasion of fighting back in any way, but instead is swept along by events and defended at every turn by others.

Thematically, Remina is a perfect lead character for this story, but she pales in comparison to other Ito leads--female or male--and she really isn't the right character to carry a long-form story like "Remina". That said, though, she IS the perfect heroine to be in the extended aerial chase scene toward the end of the book, during which she is literally being swept along by circumstances completely out of her control.

Artwise, the book is of the caliber we've come to expect from Ito. The Lovecraftian imagery of the Planet Remina's surface is some of the most bizarre and intricate he's created, and the rest of the art is as sleek as it always is. The work here may lack some of the intensity of some of his other efforts, but it is nonetheless still very in the quality of workmanship that is displayed.

The Avengers: The Cybernauts

The Cybernauts (1965)
Starring: Patrick Macnee, Diana Rigg, Michael Gough, John Hollis, Frederick Jaeger, Burt Kwouk, and Ronald Lee-Hunt
Director: Sidney Hayers
Rating: Nine of Ten Stars

When corporates executives from firms competing to purchase the manufacturing rights to a revolutionary micro-circuit are murdered one after another, secret agents John Steed (Macnee) and Emma Peel (Rigg) are assigned to catch the killer.

With a story that's part murder mystery, part sci-fi, and industrial espionage caper, "The Cybernauts" is one of the best episodes of the Macnee/Rigg era of "The Avengers". It's got a suspenseful storyline where it feels as though the main characters are in serious danger--and this sense of danger grows right up until the episode's resolution.

The writing on this episode is also excellent in every way. The camaraderie between Steed and Peel is again highlighted by some great banter; the way the investigation into the murders and espionage is portrayed is sensible and logical within the comic-book universe rules that apply to "The Avengers"; and Emma Peel going undercover always adds an interesting aspect to the show--and here, she gets to show off her martial arts skills against an arrogant sensei and his students. The way each of the firms and their executives are portrayed as being distinctly different was also a nice touch--and one that I've found lacking in a couple modern shows I've been watching recently. Were the executives all stereotypes on this episode? Sure. But they were each a different stereotype.

"The Cybernauts" also benefits greatly from the presence of Michael Gough who plays a wheelchair-bound computer genius turned tech mogul. He plays the character with just right mix of excitement over the new world that technology can usher in, arrogance, and outright crazy that he steals every scene he's in. He's so good that I found myself wanting to see more of this character in the future. 

Picture Perfect Wednesday: Alien Can-Can

 Will someone put us in touch with Charles Band? We have a film we want to pitch...

'Her Boy Friend' falters at the end

Her Boy Friend (1924)
Starring: Larry Semon, Oliver Hardy, Dorothy Dwan, Frank Alexander, Alma Bennett, and Fred Spencer
Directors: Larry Semon and Noel M. Smith
Rating: Seven of Ten Stars

After one of their colleagues (Dwan) is kidnapped by the dangerous gang of bootleggers run by Slim Chance (Hardy), a pair of plain-clothes police officers (Semon and Spencer) set out to save her by busting it and the speakeasy it operates through.

"Her Boy Friend" is a fun action/comedy that presages and boils down all the elements of the buddy cop genre into a fun, fast-moving 12-minute film. There's a fight scene that's very amusing and an extended back-and-forth escape-and-chase scene aboard a ship that serves as the film's climax that's got even more laughs, as well as some impressive stunts. Along the way there are some prop gags and other routines that work to varying degrees, but the action scenes are where this film is at its best.

This film would have gotten an Eight-star rating if not for it completely falling apart at the end. I think they were going to a meta-gag that breaks the fourth wall and pokes fun at the way so many of the short comedies from a few years earlier ended, but I also think they failed. An actual resolution to the story we just watched would have been preferable to the out-of-left-field twist to the character relationships and the clumsily and lamely executed pratfall.

But why don't you take a few minutes out of your day to check the film out yourself, since it's embedded below via YouTube? I'm pretty sure you'll find it to be time well spent (since you're here, reading posts on this blog).

Musical Monday with Marc Cohn

This month, it's 30 years since singer/songwriter Marc Cohn's "Walking in Memphis" was released. It was the first track on his self-titled album from 1991, and it went onto becoming a world-wide hit, it remains Cohn's signature song to this day, and it is a handful of songs that I believe all Americans can forever rally around.

It's a great way to kick off the first work-week of February 2021.

When Bernie Met Charlie

It's the crossover no one demanded and the love story no one expected, but it's perfect for Shades of Gray!

via GIPHY

(In January 2021, the Meme of the Moment was a mitten-wearing, tired-looking Bernie Sanders being tricked into all sorts of photos. This one seemed perfect for immortalization on this blog. Sanders, for those who are unaware, was a U.S. politician who declares himself a Democrat when convenient, such as during his failed attempts to be nominated as a presidential candidate.)

Richard Sala has a warning for us all

 This first month of the new year is almost over... and there are few indications that 2021 will be a better year than the one we left behind. But you can still keep things from being worse than they have to be. Cartoonist Richard Sala wants you stay on your guard, because creeps and killers may still make things hard!

A slightly revised version of "Beware! Beware!" in included "The Ghastly Ones & Other Fiendish Frolics", a collection of several of Richard Sala's spoofs of illustrated children's books. Click here to read more about it, in a previous post at this blog.