A Nightmare (1896) Starring: Georges Melies and Jehanna d'Alcy Director: Georges Melies Rating: Seven of Ten Stars
A man (Melies) has a dream that starts out pleasant enough, but quickly turns frightening and bizarre.
At just a little more than one minute in length, "A Nightmare" still manages to deliver a ton of entertainment. Like most of special effects pioneer Georges Melies' early efforts, it moves at such a breakneck pace that if you blink you'll miss some of the magic and jokes. (And even if you're paying close attention--like some guy watching it with a mind toward perhaps writing a review--there's so much non-stop activity that you're likely to miss something. I, for example, didn't notice that the room changes more than once as the dream/nightmare unfolds until I captured an image for use with this piece.
If you're interested in film history, "A Nightmare" is not only a good time, but it's also a must-see. If you're familiar with Melies' work, either through posts here or from more reputable sources, you know that he commonly tells fantastic short stories where he uses his trick photography techniques to either transport his protagonist onto other words or into dreamscapes, or to cause supernatural forces to haunt them in mundane surroundings. As far as I can tell, this film was the first time he used dreams as a narrative device and it's also the basic template for many of the fantasy-oriented short films he made over the decade or so that followed.
You should take a (literal) minute to check out this great little film. It's quite well done, considering Melies was still developing his techniques. The only thing that could have made it better was a slightly different ending--I was hoping for one of the dream characters to show up and give a little twist... but I know that's not the approach they took back then: Normalcy was almost always restored by the end of any fantasy or horror film, (One VERY amusing detail is that when the version I watched was digitized, someone felt obligated to "protect" viewers from seeing Melies' shlong in his onesie, so they pixilated his crotch area. Hilariously, the eye is now drawn to his crotch now than it probably was before.)
It's probably because I'm old, but I have never understood why Justin Bieber appeals to ANYONE. His music is lame, his public persona waffles between imbicilic and obnoxious, and when he grew that mustache he looked hilarious! But... he has things I don't have--like a ton of money, a ton of adoring fans (many of whom seem to tack -atic upon their fan-status), and a photo-model wife, fellow show-business lifer Hailey Bieber (formerly Baldwin).
In January of 2021, Bieber released a love song devoted to his wife Hailey. As is the case with almost every Justin Bieber song I've heard, I can't say I loved it. The video is also a curious one. I can't quit get a read on whether it's supposed to invoke home movies (which seems likely) or if it's supposed to give us the feeling that Bieber is observing the love of his life when she's not aware he's looking.
Whichever the case, Hailey Bieber is very photo model-y throughout, having a sultry/surly air about her that she'd rather be doing anything than what THIS is. There are some rare glimpses of her seeming natural and even smiling a bit, but, all in all, I think the video misses the mark a bit; Justin may love this more than anything and anyone, but she may not feel that way about him. (The fact it's shot in the desert Southwest of the U.S. also doesn't exactly scream "flourishing romance" to me.)
Although this Bieber/Bieber video stirred some nostalgic feelings in me about time I spent some time with a girlfriend in similar locations when I was in my 20s, I find the relationship portrayed in this similar-themed John Legend video and song ("All of Me") far more appealing.
Is there a Justin Bieber fan out there who can tell me what I'm missing when it comes to his popularity? And perhaps someone can even tell me if I'm offbase in how I view the music video below.
Anyone (2021) Starring: Hailey Bieber Director: Joe Termini Rating: Five of Ten Stars
After the animation studio is closed for the night, Ko-Ko the Clown and his sidekick escape from an ink bottle to put on a variety show for local kittens.
"It's the Cats" is one of many short films from the Fleischer brothers that combines live action footage with animation that starred Ko-Ko the Clown. They were always framed with Ko-Ko emerging from an ink bottle and then eventually returning back to it. The series, and for a brief time the company that produced them, were known as Out of the Inkwell.
The typical "Out of the Inkwell" short had Ko-Ko bringing the laws of the animated world into the real one, often while interacting with his animator. Here, the only interaction between film and animation happens at the very end when Ko-Ko and his puppy assistant let mice loose for the kittens to chase as the grand finale to their show. Otherwise, all we get are shots of kittens looking at cartoon posters and sitting in chairs, supposedly watching the escaped animations performing on stage. (The kittens do cross over from the real world into the animated ones, as Ko-Ko's theatre--except for the seating--is entirely animated.)
"It's the Cats" is the most disappointing Max Fleischer cartoon from the 1920s/early 1930s that I've watched so far. It opens with a series of repetitive gags involving Ko-Ko putting up posters advertising his show to the kittens. It the proceeds with a series of so-so animated vaudeville style performances, one of which drags on for too entirely too long--a hi-dive act with some amusing visuals but that manages to overstay its welcome--and another very short bit that still manages to grow unfunny due to some looped animation. If I understand the timeline of Max Fleischer's business correctly, this cartoon was made as it was teetering on the brink of bankruptcy and had to be saved by an "angel investor" with whom neither Max or his brother Dave got along. The level of creative effort that went into making this one was probably not as high as the "Out of the Inkwell" installments the preceded it, so the overall outcome is a little lackluster. It's not bad exactly... it just pales in comparison to what came before, as well as much of what would follow in the early 1930s. (Oh... one nitpicky thing that bothered me were to toy cats used to fill chairs in the theatre. Did the Fleischers think the audience wouldn't notice?)
But you can watch "It's the Cats" below and form your own opinion--and I hope you'll share it if it's different than mine!
Trivia: There were two different versions of "It's the Cats" released. First, was a silent version in 1926. It was re-released the following year with a new title card (where the "savior" of Fleisher's operation got top billing) and synchronized music and sound. (Ko-Ko engages in some muttering that could charitably be described as spoken lines.)
Continuing the mini-profiles of supporting players in Season Four episodes of "The Avengers":
ANDRE MORELL
In "Death at Bargain Prices", Andre Morell played Horatio Kane. He's an eccentric businessman who's grown embittered with society and who has withdrawn from public life and taken up residence on the top floor of a department store he owns. From here, he is overseeing his ultimate deal and money-making scheme.
Andre Morell was born in London, in 1909. He was a classically trained actress who began his professional career at the Old Vic in the early 1930s, and transitioned into television with parts in screen adaptions of classic novels and various other made-for-television movies during the late 1930s. For the next three decades, and into the 1970s, Morell was a fixture on British television, as well as a familiar face in big screen thrillers and horror films during the 1950s and 1960s from the legendary Hammer Films and other studios, His appearance along side Peter Cushing in "Cash on Demand" being a favorite here at Shades of Gray.
Playing Horatio Kane in "Death at Bargain Prices" was Morell's second appearance on "The Avengers". He was also in the Season Three episode "The Death of a Batman" as a different character.
Morell, who had started smoking at the age 14, passed away from lung cancer in 1978.
Mad Dogs #1 - #3 (Eclipse Comics, Feb - April 1992) Writer: Chuck Dixon Artist: Victor Toppi Rating: Seven of Ten Stars
An Assistant District Attorney tasks a burned-out detective on the verge of suicide with assembling an off-the-books task force of violent, former law enforcement officers to go outside the rules to make cases against the city's most dangerous criminals. Their first target is a brutal drug lord who is seeking to expand his operation beyond Chinatown by crushing and coopting rival Jamaican gangs and through alliances with the Mafia.
"Mad Dogs" is a brutal, bloody cop story where the line between the heroes and villains is razor thin and the moral high ground upon which the heroes of our story stand is only inches above the cesspool that the drug dealers, murderers, and gangsters they are taking on wallow. The tone and pacing is very much like the gritty Italian and American cop dramas of the 1970s and 1980s. In fact, it feels far more cinematic it its execution than most modern comics, despite the fact that many of those feel more like they're made up of storyboards than comic book panels and pages.
Writer Chuck Dixon takes a "show, don't tell" approach to almost every aspect of "Mad Dogs" as it unfolds across three action-and story-packed issues. The first issue is spent mostly introducing the soon-to-be team of former cops through flashbacks that reveal the violent incidents that got them cashiered and closes with an introduction of their soon-to-be target that illustrates exactly how vile he is. The dialog is well-crafted and, although sparse, gives each character a distinct voice. If you take the as the homage to "grindhouse" cop flicks that it is--and therefore accept the reality that governs those kinds of movies--this is an excellently done story. Heck, the script here would have made a better movie than most of the films it emulates.
Artist Victor Toppi has a style that very effectively captures the decaying urban landscape that "Mad Dogs" takes place in. He also great with action scenes, and he understands how to guide the reader's eye on a comics page with character positioning and panel layouts. He also fully understands how to use shadow and light when working in a pure pen-and-ink medium, and he is the perfect artist for the black-and-white presentation of this book. Unfortunately, Toppi is not good with faces; whenever he attempts to draw a face that isn't showing a neutral or a batshit-crazy enraged expression, he can't pull it off. When the situation calls for a character to be laughing or smiling, more often than not, the facial expression seems closer to blind, top-of-the-lungs screaming rage. It seems that Toppi is aware of this weakness and he tries to hide it with heavy shadows on the faces that are supposed to be smiling or showing amusement... which just makes them look creepy or maniacal. Over all though, the work here is excellent and it reminds me of the black-and-white comics I grew up reading while living in Europe. (Toppi was, near as I can determine, an Argentinian who worked extensively for Italian and British publishers during the late 1970s and well into the 1980s. "Mad Dogs" was his final published work before he passed away in 1992.)
According to the house ads in "Mad Dogs" #3, this series was the pilot project for several other mini-series that were going to take their cues from the "grindhouse"-type action movies and that would also be published in black-and-white. I find it interesting that Eclipse Comics would decide to start producing black-and-white materials at a time when other publishers were abandoning the format--Eclipse had been producing color books when black-and-whites were all the rage among the independent publishers. Personally, I prefer black-and-white comics over most color ones (which is partly why the NUELOW Games comics/rpg products are what they are), so I would have loved to see more high-quality b/w titles, but the follow-up titles never materialized: Eclipse ceased publishing in 1993 and were formally out of business by 1995.
Although "Mad Dogs" has its flaws, it's impressive due to the way it captures the pacing and tone--and the brutality--of the gritty cop dramas that were coming out of low-budget production houses in Italy and the United States during the 1970s and 1980. The series has never been reprinted in a collected edition.
In a broadcast interview, while revealing intimate details of their personal life, Harry and Meghan said they aren't seeking public attention and value their privacy. Here at Shades of Gray, we're nothing if not accommodating.
Body Count is a rap/heavy metal fusion group fronted by Ice-T. He founded it with guitarist Ernie C. in 1990, as a vehicle for both of them to explore and express their love of heavy metal music... and to allow the rest of us to come along for the ride.
Ice-T and the band join us today with a song and a video that embodies fantasies of the sorts that we suspect any creative person who's crossed paths with an online "critic" or twit on Twitter (or maybe just negative reviewers in general) has engaged in at least once.
A word of warning in case you like visiting this blog at work: Do NOT click on this video. Very little of it is Safe For Work (or even polite company) ... but it's funny, rockin', and worth watching.
Wait until you get home to watch it. But watch it. (I don't want Body Count to think I am discouraging anyone from enjoying their work. Please don't misunderstand guys--and I hope you think an Eight of Ten Rating is high enough. If not... can't we talk about it? Please?)
Plane Dumb (1932) Starring: F.E. Miller and Aubrey Lyles
Directors: John Foster and George Rufle
Rating: Four of Ten Stars
While trying to circumnavigate the globe in a plane, Tom & Jerry (Miller and Lyles) crash in the ocean near Africa. Disguised as black people, they hope to blend in with the natives... with predictable results.
I've been putting off reviewing "Plane Dumb" for quite some time. I decided to post about all the "Tom & Jerry" cartoons here at Shades of Gray, partly because I wasn't clear on how I would accurately describe something that's both innovative and absolutely awful at the same time; it goes in a direction that no other entries in the series go... but it is also terribly stupid and inexplicably racist in so many ways that it must have even surprised many audience members even back in 1932.
It turns out that putting this one off was a Good Thing, because a little research and reading the excellent book by Hal Erickson about the Van Beuren productions gave me insight into how "Plane Dumb" came to be that softened by stance as a reviewer (but not necessarily as a viewer): The fact is that this cartoon didn't start out as "Tom & Jerry" cartoon goes a long way to explain a number of its flaws.
According to Erickson's book, and other sources, the Tom & Jerry cartoon we know as "Plane Dumb" actually began production as "All Wet". There is some speculation that it may have been intended as part of a series featuring animated versions of the popular African-American comedy team Miller & Lyles, but the project fell apart... most likely due to Aubrey Lyles' death shortly after voice work on "All Wet" is believed to have been completed. Not wanting effort (and money) to go to waste, Van Beuren seems to have had the existing footage and recorded dialog from Miller & Lyles combined with an ill-considered opening scene where Tom and Jerry transform themselves into two black guys.
Anyone who's seen more than one "Tom & Jerry" installment before this one--and who paid attention--will find their transformation baffling and annoying. Unlike what some commentators may lead you to believe, Tom & Jerry did actually have distinct personalities. Through all the ups and downs of inconsistent quality across the various installments, you could always count on Tom to be the more grounded and cautious (even cowardly on many occasions) of the two, while Jerry is an aggressive risk-taker whose actions often create more chaos than is good for anyone. In "Plane Dumb", however, their personalities have inexplicably changed--inexplicable until you learn that this tall and short duo were never intended to be Tom & Jerry. The personalities exhibited line up with the characters usually portrayed by Miller and Lyles, with the tall one being the aggressor and the short one being the reactor, so, given the fact these characters weren't originally Tom & Jerry. (Actually, what I am saying is not completely accurate; when it comes right down it, both Tom and Jerry are somewhat cowardly, but overall, their personalities are reversed when considered in the context of the overall series.)
Part of me wants to excuse the shift in personalities, because, back before I realized that this cartoon is a patchwork of fresh and recycled material, I thought it was something of an innovation for the series: Most "Tom & Jerry" cartoons might as well be silent films there is so little meaningful dialog--but here there are back-and-forth comedy routines, spoken jokes, and puns that tie into visual gags. It was an amazing departure for an entry in this series--which, of course, is because most of the material here didn't start out as a "Tom & Jerry" episode--but even apart from that, "Plane Dumb" is remarkable because of the nature of the dialog.
Few cartoons were driven by spoken exchanges in the early 1930s, so it was quite remarkable that Van Beuren teamed up with a pair of comedians known for their verbal back-and-forths for what COULD have been a bit of trail-blazing. The Miller & Lyles bits are interspersed among the usual surreal, visual nonsense consumers of Van Beuren cartoons would be accustomed to, but the main driver was the dialog.
Why Van Beuren's deal with Miller & Lyles fell apart remains unknown to me. I found a couple explanations, but nothing solid. One suggestion is that the pair were simply too busy and broke the contract, while another posited that they were unhappy with the quality Van Beuren's animators were producing, as well as the rate at which the pair was being paid. Either explanation seems plausible to me. At the end of it all, what we're left with is a cartoon that's equal parts awful and innovative... and one that has NOT aged well. The bits with Tom and Jerry stranded at sea and their battle with the creatures there is fun (even if the bit with the octopus is a bit of headscratcher), but it's mostly downhill from there... with rock-bottom being our heroes fleeing from hostile African natives who are literally spear-chuckers.
The Four Rating I'm assigning "Plane Dumb" is the lowest possible, and even that may be generous--and it's entirely because of the innovative nature of the use of dialog. It's interesting to consider if this cartoon had seemed as outrageously racist if whatever the original set-up that caused Miller & Lyles' fast-talking jokesters crash their plane in the ocean had been intact. Would it have seemed less racist?
"Plane Dumb" is the worst entry in the "Tom & Jerry" series. I can't recommend watching it, but I am embedding it below anyway, so you can form your own opinion. (And if it differs from mine, I hope you leave a comment to tell the world what it is.)
Starring: Patrick Macnee, Diana Rigg, Robert Urquhart, Gordon Jackson, and Jack Lambert
Director: James Hill
Rating: Six of Ten Stars
Two of Britain's top government agents, Steed & Mrs. Peel (Macnee and Rigg) go undercover to investigate a strange death at an isolated castle and its possible connection to a decline in the fish population off the coast of Scotland.
"Castle De'Ath" is both a great episode and a terrible episode, with the bad outweighing the good (however slightly).
The good is that it has an excellent cast, with guest-stars Robert Urquhart and Gordon Jackson playing the pair of Scottish brothers who own the castle, and who are as different as night and day, being at the top of the list for well-deserved praise. Either one--or perhaps even both--may be behind a devilish plot to destroy Scotland and England's fishing industry. Of course, they may also just be eccentric and/or greedy; These two characters and their conflict with each other and with our heroes are the main drivers of this episode, with Urquhart and Jackson striking just the right balance between dubious and sincere, restrained and ridiculously over-the-top in their performances to keep the audience unsure as to what's truly motivating either one of them.
The usual amount of praise must also be given to Diana Rigg and Patrick Macnee. Their portrayals of their characters are a little less playful this time out, because there's limited opportunity for it; Steed and Peel are both undercover, supposedly don't know each other, and arrive at the castle at different times, so they can investigate from different angles. Interestingly, their cover-stories are reversed from the usual approach; Steed is posing as a writer and Rigg is a tourism executive with an interest in turning Castle De'Ath into an attraction. Rigg also gets to sneak through the castle in a flimsy nightgown, so that's another definite plus for the episode.
The last-minute reveal of the true identity of the villainous mastermind in the show is an exciting moment, as is the battle royal that surrounds it. In several episodes of "The Avengers", the climactic action of an episode is often dragged down by poor staging and badly rehearsed stage fighting; that is not the case here. The action is fluid and fun (well, for the viewers at least... for some of the participants in the fight, it's quite deadly), and the only complaint I can field is that I wish the final fate of one of the Brothers De'Ath was a little clearer.
Speaking of complaints, I have a major one with "Castle De'Ath"--one so big that it almost ruins the entire episode. While the script here was generally well-written and the story constructed well enough to keep the viewer guessing who the real villain in Castle De'Ath is, everything falls apart once the Big Reveal happens. It's not that things don't make sense in the context of the clues that an attentive viewer would have picked up on, it's that the villain's actions both prior to and during the events of the episode are so monumentally stupid that they were certain to invite circumstances that would almost certainly expose himself and his co-conspirators to discovery. A somewhat smaller complaint is that some of the episode's humor felt forced--such as Steed performing a clownish Scottish dance while Peel plays miniature bagpipes--but when combined with the the botched logical underpinnings of the story, this Avengers outing only rates Six Stars.
.jpg)
