An amusing flick with a botched ending

Hook, Line, and Sinker (1930)
Starring: Bert Wheeler, Robert Woolsey, Dorothy Lee, George Marion, Natalie Moorehead, Jobyna Howland, and Ralf Harolde, and Hugh Herbert
Director: Edward Cline
Rating: Six of Ten Stars

A pair of con artists (Wheeler and Woolsey) go straight to help a young heiress (Lee) to turn a rundown hotel into a successful destination for the rich and famous so she can gain independence and avoid an arranged marriage. Their efforts attract the attention of numerous gangsters who want rob the hotel's guests, including a gang operating out of the hotel's secret basement that just happens to be led by the heiress's would-be husband (Harolde).

"Hook, Line, and Sinker" was a box office smash in 1930--it was the top-grossing film for RKO, and may have been the top-grossing film, period. Knowing that, and watching the film in 2021, is a reminder of how tastes change over the decades. I like old movies (as clearly demonstrated by the fact this blog even exists), but I still had a hard time seeing how this film could have been so popular. It's got strong points, and it's fairly funny, but I don't see how it could have set the box office on fire the way it did.

In its favor, it's got plenty of straight-up bawdy humor and even more double entendres. There isn't any one particular bit that sticks out, but the non-stop stream of banter and humorous situations keeps the film moving along at a fast pace. It also manages to make the two clownish heroes the center of all romantic subplots, completely eschewing the usual  "serious" couple that normally carries at least some of those; instead, true love seems to reform the scoundrels here, so they get to clown around and have a romantic happy ending. It's a nice change of pace that no time is wasted on a bland, uninteresting couple.

Unfortunately, this otherwise entertaining movie is dragged by an ending that goes on for entirely too long. Without spoiling too much, the final portion of the film is devoted to a shoot-out between the various gangs trying to rob the hotel safe, with our heroes and their lady friends caught in the middle and trying to fight back. It's the sort of chaotic free-for-all that's been the hallmark of action comedies for decades, but here it goes on for too long. The jokes are funny, but the action feels padded and a climax that was undoubtedly conceived to be equal parts exciting and funny, but it meanders instead of builds in intensity and ends up being tedious and should have ended well before a conclusion is forced with a splash of deus ex machina. (The film does give us the nicety of a little dénouement, but it doesn't make up for the flabby climax.)

Part of me almost excused the badly executed action of the climax, using the logic that in the 90+ years since "Hook, Like, and Sinker" the flow of action sequences have been worked and reworked and perfected over time... but then I remembered that Edward Cline was co-directing action films back when he was working with Buster Keaton. Films like "Cops" (1922) and "Convict 13" (1920) shows that Cline should have had a better understanding of how to execute comedic and chaotic action climaxes. Therefore, I can only conclude the the ending was just straight--up botched.

"Hook, Line, and Sinker" is one of nine Wheeler & Woolsey vehicles included in the RKO Comedy Classics, Volume One set. While this film has its flaws, other films in the sex more than make up for those in value.

The Avengers Dossier, Page Eight

Here's another brief look at one of the supporting players from Season Four of "The Avengers".

SUZANNE LLOYD

In "The Murder Market", Suzanne Lloyd plays a "fixer" at a murder-for-hire firm masquerading as a dating service.

Born in 1932, Canadian actress Suzanne Lloyd moved to the U.S. in the mid-1950s to attend college and start her acting career. After gaining parts in a few stage plays, she made the move to television in 1958, with a small part in an episode of the short-lived anthology series "Lux Playhouse".

Lloyd remained busy with supporting roles of varying sizes and importance on television in the United States and Great Britain, with her recurring role as Raquel Toeldano on "Zorro" (in 1958) and her six appearances as six different characters on "The Saint" (between the years of 1964 and 1968).

Along the way, Lloyd landed leading roles in a few feature films--"Who Was Maddox" (1964), "The Return of Mr. Moto" (1965) and "That Rivera Touch" (1966)--but stardom eluded her and steady work became harder to come by as the 1960s wore on. So, in 1968, Lloyd retired from show business to focus on raising her daughter with then-husband Buddy Bregman. (Lloyd's daughter, Tracey Bregman has gone onto a successful career starring on soap operas. She's been acting since she was 11 years old, and she's been portraying a lead character on "The Young and the Restless" since 2001.)

Hussy breaks clown's heart in 'Circus Capers'

Circus Capers (1930)
Starring: Anonymous Singer and Voice Actor
Directors: John Foster and Harry Bailey

Rating: Six of Ten Stars

A circus clown has his heart broken when he discovers that his bareback-riding girlfriend is also carrying on with the ringmaster (who tries to kill him).

"Circus Capers" was one of four or so short films presented under the "Aesop's Fables" banner that featured a pair of amorous mice who just happened to (purely by coincidence and not-at-all-intentionally [wink-wink, nudge-nudge]) look very much like Walt Disney's Mickey and Minnie characters. 

While Milton and Rita (as the Van Beuren characters are named) looked like their more famous counterparts, they and their adventures were far raunchier: While I can imagine Mickey having a rival for Minnie's affections, I can't picture her being as slutty as Rita is in this cartoon. And the Walt Disney Company couldn't picture it either, and a successful lawsuit against Van Beuren eventually put an end to Milton and Rita's antics.

As for "Circus Capers" specifically, the plot is pretty much described in its entirety in the teaser summary at the top of this review. I could pad it out with punny double-entendres to describe the action and the characters, but I'll spare you that and instead just note that the strongest part of the cartoon is when the broken hearted Milton sings the at-the-time well-known song "Laugh Clown, Laugh"; it's actually one of the better renditions I've come across. The ending was also one that I appreciated very much, as I think Milton behaved exactly as he should when Rita tried to get him to her back. On the downside, the cartoon suffers from slip-shod animation that results in characters changing shapes and sizes for no reason other than poor quality control. It's a shame, because, with a little more effort this could have been quite good instead of merely average. (That said, I loved the supremely goofy lion-tamer bit; it takes an unexpected turn, and it make me laugh.)

But don't just take my word for how good or bad "Circus Capers" is. If you have ten minutes, you can watch it for yourself by clicking below..

International Wanna-Be Dancer Day!

On next Thursday, April 29, it's International Dance Day... but today, we celebrate International Wanna-Be Dancer Day. Here are a few noteworthy wanna-bes!

Milla Jovovich

Gloria Talbott



Ann Sothern

 

Bessie Love

I didn't love 'Love Happy'

Love Happy (1949)
Starring: Harpo Marx, Vera Ellen, Chico Marx, Ilona Massey, Groucho Marx, Paul Valentine, Melville Cooper, Raymond Burr, and Marilyn Monroe

Director: David Miller

Rating: Five of Ten Stars 

A struggling Broadway play gets drawn into the game of cat-and-mouse of a psychopathic jewel thief (Massey) and an oddball private detective (Groucho Marx) when the theater's gopher (Harpo Marx) happens to take diamonds she was smuggling in a sardine can while on a shoplifting spree.

There are two historically noteworthy things about "Love Happy". First, it was the last time that the three-man center of the Marx Bros. comedy team appeared together in a film. Second, it was the first film appearance for future star Marilyn Monroe. Beyond that, there really isn't to recommend this film for anyone but the most entertainment-starved viewers--even huge Marx Bros. fans will be saddened by how the passage of time appears to have dulled their comedic edges. The frenetic pace and escalating insanity that was present in their great films from the 1930s is almost completely absent here, with just some faint echoes of it hovering around Harpo's character.)

Reportedly, the film was originally conceived to revolve entirely around Harpo Marx, and he also came up with the the story--which could be why the strongest echoes of what the Marx Brothers had once delivered is found around his character. While Chico is here, his character serves no purpose (other than to make references and a couple musical performances that remind us of much better Marx Brothers vehicles). Similarly, Groucho's role in the film is entirely incidental to the main action, and, although his character serves a purpose in the story, nothing would be lost--other than a few mildly amusing jokes--if it wasn't present at all. Although there's a widespread belief that both Groucho and Chico were added late in the development process, the only character that feels completely irrelevant is Chico. In fact, if most of his lines had been given to the Vera Ellen character, the film would have been much stronger for it. It would have put a greater emphasis on the relationship between Vera Ellen and Harpo Marx's characters, which would have made the film feel more coherent, as well as giving the two best performers and characters in the film more screen-time together.

The best parts of the film are all the scenes involving Vera Ellen; she's a bubbly, cute, and talented dancer playing a bubbly, cute, and talented dancer. Her song-and-dance production number at roughly the halfway point through the film is a definite highlight. Her scenes with Harpo are also great, even if a little sad since it's clear that he loves her, but she's got him squarely in the "Friend Zone." The plot elements advanced in those scenes are also among the most engaging in the film, both when they cross-over with the jewel thief plot, or are just there to advance mushy romance. Sadly, the film is so poorly scripted that neither Vera Ellen's character's relationship with Harpo, nor the main romantic subplot with Paul Valentine are given a proper resolution. Instead, after a wanna-be madcap chase around the theatre and across the rooftop involving the Marx Bros., the film's villains, the diamond necklace and some costume jewelry being passed back and forth, the film ends on the character portrayed by Groucho Marx. Some take this as evidence to the theory that he and Chico were forced into the film late in the process, but production notes and correspondence implies that Groucho was intended to be part of the project from the outset. He has some funny lines, but the fact the film ends on him--and in a way that is completely nonsensical and disconnected from just about everything that's been established previously in the film--is the final and most obvious sign of how poorly written this film is.

The low quality of the script also manifests itself in the fact that even otherwise funny gags are allowed to drag on to the point they become dull--like Harpo shoplifting; the bad guys (one of which is played hilariously by future Perry Mason Raymond Burr) pulling an impossible amount of items from Harpo's jacket; and the climactic rooftop chase where multiple antics on the part of Harpo and other characters start funny and end up tedious. The continuity issues and the attempt to augment comedic performances hampered by bad writing with dumb sound effects (which pretty much ruins some of Ilona Massey's scenes) only make the experience of watching this film more miserable.

I thought Vera Ellen and Harpo were so charming in this film, and their scenes together so enjoyable that I couldn't bring myself to give it the Four Rating that "Love Happy" probably deserves. I wish everything else around them had been better (and that their characters had gotten the proper story wrap-up they deserved.)

Musical Monday with Patty Smyth & Don Henley

"Sometimes Love Just Ain't Enough" is a beautiful and very sad song was a big hit in 1992. It remains a personal favorite here at Shades of Gray.

It's a song that's gained more relevance in this age of Covid-19; many relationships--even some that have lasted for decades--have been crushed under the weight of the lockdowns and the general disruption of our daily lives.

Sometimes Love Just Ain't Enough (1992)

Starring: Patty Smyth and Don Henley

Director: Scott Calvert

Rating: Nine of Ten Stars

'Doctor Cupid' is predictable but still well-done

Doctor Cupid (1911)
Starring: John Bunny, Carlyle Blackwell, and Edith Storey
Director: Unknown

Rating: Seven of Ten Stars

A young poet (Blackwell) disguises himself as a doctor to get around the overly protective father (Bunny) of the woman he loves (Storey).

Although mostly forgotten today, John Bunny was a comedian who became an international screen star during the early days of film. Reportedly, he tended to stay away from slapstick and physical comedy and instead focused on more character- and relationship-based material. That is certainly the case in "Doctor Cupid", which is one of only a handful of the roughly 300 films he appeared in that survive to the present day.

"Doctor Cupid" runs a little over 12 minutes and it doesn't waste a second with its fast-moving, proto-sitcom story that straddles the line between comedy and melodrama. The characters all take the unfolding events very seriously, but there's a sense that the audience isn't necessarily supposed to, from Bunny's obtuse character nodding off during a poetry reading to his daughter becoming literally love-sick when she is forbidden to see the man she barely knows yet has decided is the love of her life. There's the occassional over-emoting that one expects from films of this period, but generally the actors deliver performances that are more in line with what you'd expect from a well-performed stage production. Overall, everyone does an impressive job, especially since there is not a single moment where an actor seems unsure of where they're to direct their energy or where they're supposed to stand in the shot. (There's one bit where Edith Storey's back is to the camera for an awkwardly long period of time, but other than that, the framing of each shot and the actors positioning within it is well above average in competence for films of this period.

If you're in the mood for a bit of light entertainment that occupies a space between a sitcom and a French farce, I think you'll enjoy "Doctor Cupid"; you can watch it right here, right now, as it's embedded below. (And if I steer you wrong, feel free to sound off by leaving a comment beneath this post.)

'Sweet Childe': An example of the Boobs & Blades comics craze.

Sweet Childe #1 (New Moon Studios, 1993)
Script: Vinson Watson
Art: Harold Cupec

Rating: Five of Ten Stars

After being ignored by her spiritual leaders, set upon by sexually harrassers, and coming under threat of a murderous ex-boyfriend, Tasha is given a magic amulet by a strange old lady. From then on, when she is set upon by a male predator, she transforms into a blood-thirsty, killing machine that leaves no menacing males (or even friendly ones) alive.

From about the mid-1980s and through most of the 1990s, busty women in little clothing who ran around disemboweling their opponents were all the rage. Such characters existed before, and they exist to this day, but for 10-15 years, they were everywhere. They were so prevalent that they'd take over comics where they were initially secondary characters (Lady Death in "Evil Ernie") or existing characters would literally be mutilated and transformed into sword-wielding babes in skimpy outfits (Psylocke from "Captain Britain" and "X-Men").

One example of this comics trend was "Sweet Childe" from New Moon Studios. I came across it in a pile of underground and alternative and self-published comics from the 1980s and 1990s that was recently donated to the Shades of Gray cause (so there will be even more reviews of black-and-white comics coming to this space).

Story-wise, I'd say it's about average for the Boobs & Blades fare of that period. The general content and tone seems inspired equally by slasher films and 1980s exploitation flicks, with characters also drawn from the pool of stock figures from those genres. Where "Sweet Childe" stand apart, however, is that I don't remember any other title being quite so dedicated to its viewpoint that nearly all men are predators just looking for a woman to abuse or rape... and even those who aren't actually are, because if they have consensual sex with a woman who they hook up with in a bar, well, that just proves that they're predators who deserve to be killed. 

That last part bothers me--that one of Tasha's victims is a guy with him she picks up on the bar, goes back to a hotel with, and has mutually agreed upon sex. She and the man are both very clear on what they are looking for. And yet, she brutally murders him for having sex with her. This makes no sense in the context of the rest of the issue. Maybe it's because I like a little bit of a "morality tale" aspect to my horror stories, but this makes no sense to me and seems out of key with everything else that happens in the issue. If the transformed/possessed Tasha (the "Sweet Childe" of the title?; I am realizing I'm not sure why the book is called that) is a Furie out to avenge the evils of men against women, why does she then become the very evil predator she is supposed to be targeting? Maybe Watson was setting Tasha/Sweet Childe up to be the villain of her own series (as was the original intent with Marvel's Punisher? The final page makes me think this might be the case, but it could just be sloppy writing. Actually, the way the victim's connection to other characters is revealed, I'm thinking this might be the case more than anything.

Art-wise, it's a bit below average. One problem is that Cupec's art appears flat and static, despite the violent action that dominates the book. Maybe this wouldn't have been a problem if a good colorist had worked on the pages, but this is black and white, and Cupec doesn't use enough black to make things pop, or he uses it badly. 

The biggest problem, though, is that the action is sometimes hard to follow both in individual panels and pages and across pages. Harold Cupec's choice of PoV in a number of panels is odd and it causes disruption in the flow of the story because it's often unclear how the events in one panel led to what is happening in the one following--and this sometimes leads to a cascade failure where it becomes unclear what's happening from one page to the next.  There's a mass-slaughter sequence onboard a subway train where this becomes a huge problem as it turns into a perfect storm of all of Cupec's weanesses.. It also doesn't help that he tries to do some Tim Vigil-style gore... but he's no Tim Vigil. (That said, I adore Tasha/Sweet Childe's facial expression in the last panel. It may be the best moment in the whole book.)

Given the widespread popularity in some quarters of the notion that all men are evil rapists just looking for the right opportunity to show their true colors, I suppose "Sweet Childe" might hold some appeal to modern readers--if it was available anywhere or had made it past the first issue. I've not been able to find evidence of either being the case; I can't find any information on the title nor its publisher nor the publisher's parent company anywhere on the Web.

I am torn between awarding this title a Low Five or High Four on the 0 - 10 scale used here at Shades of Gray. I probably would not have bothered getting issue #2 of "Sweet Childe" (or even #1, frankly) Back in the Day unless I'd been at a convention and either liked a conversation/encounter I had with the creators, or it was given to me for free. That said, part of me is curious to see where "Sweet Childe" might have gone if it made it to issue #2 and beyond. Was our "heroine" going to be the villain in her book, as the final page seems to hint at? And why is the series called "Sweet Childe" when no one in the story seems to fit that name? Would there have been answers to those questions? Probably not, but the fact that I was even motivated to ask them tells me there's a spark of something here, even if the creators weren't fully able to fan it into life. That's worth some consideration, so I am erring on the side of generosity.

If, in the unlikely event you come across a copy of "Sweet Childe" out there, or remember reading it, feel free to hop on and share YOUR take on it.

Happy Birthday to Gina Carano!

Gina Carano, martial artist turned actress--pretty much a female version of Chuck Norris with the added fun of Twitter Controversies. (In 2012, she even won the Chuck Norris Award for Best Female Actor for her performance in "Haywire" (2012).)

Carano was born on this day, April 16, in 1982. Here are some pictures in celebration.

It's no bull...

 ... that Elizabeth Montgomery was born on this day, 88 years ago.