A moment with a pervert

Toothy Smile (1957)
Starring: Nikola Todorow
Director: Roman Polanski
Rating: Six of Ten Stars

A man (Todorow) going out for the evening stops to ogle his topless neighbor, but learns he should have stopped while he was ahead.

"Toothy Smile" is a short film made by Roman Polanski while he was at film school in Poland. It's a silent film, although there is one moment where it really needed sound (or at least a shot including a different angle on the action). 

It runs just shy of two minutes, so it will take almost no time at all for you to check it out--it's well worth it. My summary might make it sound a little more dramatic than it actually is, but everything here shows that Polanski had excellent mastery of cinematic storytelling from the beginning.

Note: Tuesdays in August of 2021, there'll be a review of one of Roman Polanski's short films at this blog. This is in observation of his 88th birthday, which is on the 18th. While he may be a shitty human being (what with him being a convicted child rapist who refuses to face punishment for his crime), he's made some pretty good films that are worth checking out.

It's a Boy Band from Down Under...

 ... where sheila shrieks drown the thunder!

And that Boy Band is the Bee Gees in 1963. Here they are, performing one of their hits in that fabled land of Australia.

(Until shortly before this post, we here at Shades of Gray had no idea that the Brothers Gibb got their start performing while they were still in their early teens and younger. In fact, the Bee Gees [originally the BGs] was the third group they had either performed as or as part of.)

'Cul-de-sac' is darkly comedic

Cul-de-sac (1966)
Starring: Donald Pleasence, Lionel Stander, Françoise Dorléac, Jack MacGowran, and William Franklyn

Director: Roman Polanski

Rating: Seven of Ten Stars

A wealthy couple, George and Teresa (Pleasence and Dorléac) are taken hostage in their isolated home by a wounded criminal (Stander) on the run and hoping for rescue by his boss. 

"Cul-de-sac" is one of those movies where characters are forced together in a situation and then proceed to tear each other apart emotionally, as interpersonal power dynamics move back and forth between them like a storm-swelled tide. It's near equal parts comedy and drama... although the comedy is almost all of a very cruel variety. 

Like almost all movies of this kind, it's a film that can only be successful if the characters are being portrayed by the right actors, who also happen to be extremely talented. Unlike most films of this kind, there is a very real sense that one or more characters will be brutally murdered by the time the end credits roll--and who and how many changes repeatedly as the story unfolds. 

So, given my comment above, is this film successful? Yes--because the three leads are absolutely fantastic in their parts. 

Lionel Stander and Donald Pleasence are playing the sorts of characters you've seen them portray before--Stander's once again a small-time hood ("so this is what Max did before he met Jonathan Hart", I thought to myself at one point) and Pleasence is the high-strung, fussy weirdo we're seen in slasher films,  comedies, and war movies. 

Meanwhile Françoise Dorléac provides them with a solid background to be quirky against with a character that is both the most grounded and most inscrutable. She seems to be very much out of George's league (and at least half his age), is clearly having an affair, and doesn't hesitate to mock him whenever the opportunity arises; she shows every indication of being a trophy wife who is in love with George's money rather than George. But, at several points during the film--and especially during its conclusion--Dorléac seems very protective of George and shows a concern that goes beyond just love of his money. This makes Teresa a very interesting character, and Dorléac's great skill as an actress makes the character even more-so. She was the perfect actress for a movie of this kind, since she shows an equal ability for comic timing and dramatic flourishes. She was also equally good, whether she was the center of a scene or just being there for someone else to play off.

Writer/director Roman Polanski's best films are centered on relationships between people, and he does an excellent job here--not surprising since he co-wrote the script. According to a couple different sources, though, this was a troubled production. The remote location resulted in some very uncomfortable days for actors and crew alike, and Polanski's relationship with people both in front of and behind the camera was stormy at times. In fact, the making of this film was so stressful for Polanski that he reportedly considered giving up on directing. The tension and frustrations felt by actors and crew may well have ended up on screen, lending even more power to the performances of the three principles, especially during several fantastic scenes that take place on the beaches.

Although "Cul-de-sac" isn't a perfect movie--some of the interactions with characters who aren't the main three don't make a whole lot of sense and lack any sort of payoff--but the the absolute brilliance that we see every time Stander, Pleasence, and Dorléac share the screen together more than make up for any shortcomings elsewhere in the picture. Whether their characters are being playful, threatening, or trying to emotionally destroy each other, we're treated to great performances by talented actors. It's a shame that Dorléac died at just 25 years of age shortly after making this film, because she would have undoubtedly continued to grow as an actress and would have been remembered as one of the all-time greats.

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August 2021 is Roman Polanski Month here at Shades of Gray. Check back  every Tuesday and Wednesday for posts relating to his work and his life (and to watch some of his early works).

The Avengers Dossier, Page Fifteen

Some of the British Commonwealth's most talented actors and actresses made appearances in episodes of "The Avengers". Here's a look at one of them.

PHILIP LATHAM

In "Room Without a View", Philip Latham is a hotel manager keeping a dark secret.

Born in 1929, Philip Latham was a familiar face to British television viewers during the 1960s and 1970s. In addition to is lead role on the long-running BBC drama "The Troubleshooters" (1965-1972), he popped up in supporting roles and bit-parts in dozens of other series and made-for-television movies, ranging from "Emergency Ward 10" and "The Treasure Seekers" through "Danger Man" and "UFO" and even "Doctor Who". He appeared on two different episodes during the original run of "The Avengers", playing a different character each time.

Latham spent to bulk of his career on television. The most noteworthy of his Big Screen appearances were in Hammer Films productions, such as his co-starring turn in "Dracula, Prince of Darkness" (1966) and in pirate movies "The Devil-Ship Pirates" and "The Secret of Blood Island" (both in 1964). Latham also appeared in an episode of the Hammer-produced anthology series "Hammer House of Horror".

Latham retired from acting and withdrew completely from the public eye in 1990, after a busy 35 years in showbusiness. He passed away in 2020 at the age of 91.

Koko's off the rails while driving the crazy train

KoKo's Toot-Toot (aka"Toot-Toot") (1926, re-released 1950)
Starring: Max Fleischer
Director: Dave Fleischer

Rating: Six of Ten Stars

While traveling by train, the Animator (Fleischer) doodles in his sketch book. His drawings of KoKo the Clown and his pet dog come to life, and soon they are causing train-based havoc in both the animated and real worlds.

"KoKo's Toot-Toot" is another tale where animated characters escape their two-dimensional world to cause chaos in ours. It's not the best I've seen of this series--there are several sequences that go on for just long enough to stop being amusing--but it does have its high points. My favorite bit is where KoKo, after disassembling the sketch of a non-operational train and putting it back together again all wrong but now working, as well as much of the train-ride that follows.

A common weakness that all the Out of the Inkwell shorts seem to share is a lack of a satisfying close to the films. That is mostly the case here, too, but it is also so surrealistic that I can't help but give the filmmakers points for thinking big.

I've embedded the film below for your convenience and viewing pleasure. I believe the version I watched (and featured here) is the one that was aired on Australian television, with added sound effects and soundtrack. I felt the music got a bit tiresome as it looped through the same tune for the third or fourth time toward the end, but you're mileage and tolerance for such things may be higher than mine. I actually found myself wondering if someone has put this 'toon to "Crazy Train" by Ozzy Obourne--which in turn led to finding the "bonus" I've included at the bottom of the post. (Yes, it's two-for-one day here at Shades of Gray!)

And here's a bonus--Ozzy Osbourne's "Crazy Train" performed by cartoon characters!

Picture Perfect Wednesday with the Batgirls

It was announced last week that Leslie Grace has been cast as Batgirl in an upcoming film from Warner Bros. We celebrate her casting here at Shades of Gray with a picture of her and another Batgirl, Yvonne Craig--separated by almost six decades yet equally fit to play the role of Babs "Batgirl" Gordon, and equally fit for sea-side frolicking!

And while we're at it, there's the Batgirl who came in-between the first actress and the most recent one-Alicia Silverstone. Maybe she'll hit the beach, too... if she gets out of bed!

It's that moment when...

We don't post many straight-up art film here at Shades of Gray; we're simple folk, with simple tastes. But when we came across "Moment" on YouTube, we thought it was so excellent that it deserves to be seen by as many people as possible. 

Take a couple minutes to enjoy this bit of visual and spoken poetry.

Moment (2021)

Starring: Jean Lodescar, Jr.

Director: Jean Lodescar, Jr.

Rating: Nine of Ten Stars

Musical Monday with Leslie Grace

 Last week, it was announced that singer/actress Leslie Grace has been cast as Batgirl in an upcoming movie. We'd never heard of her until now, but a little research showed that one of her songs features a video that's a perfect Musical Monday selection: It's a 1950s retro video for a modern romantic song. In black-and-white, of course.

Christmas in July with Jingle Bones

I thought I'd get onboard with the whole Christmas in July thing  with a review of Christmas-themed Coffee! So here goes!

BONES COFFEE COMPANY: JINGLE BONES

The Jingle Bones blend is a medium roast, and, as the name implies, it's Christmas-themed. Jingle Bones is one of about half-a-dozen Christmas-oriented blends that Bones Coffee Company offers (other examples are Oh Fuuuudge and Eggnog).

This review is based on coffee brewed from a 4-oz. pre-ground pack, in a drip coffeemaker. Like previous Bones blends I've reviewed, the coffee smelled great while brewing, filling my kitchen with an air of caramel that wafted into my office. This was off to a promising start.

The Jingle Bones blend tasted as good as it smelled, with the advertised coconut, caramel, and vanilla being present both in the aroma and in each sip. The flavor was sweet and smooth enough that even someone like me who almost always cuts his coffee with almond milk or creamer (or a mix of the two) could drink it straight from the mug without cutting it. 

Hot, this blend leads with a caramel flavor but the vanilla and especially the coconut shine through as well. When it's consumed iced, the coconut flavor comes through even stronger, but however the blend is consumed, its flavors remain nicely balanced.

I can't quite see how Christmas-y this blend is honestly--unless it's supposed to bring to mind a plateful of cookies?--but it's very tasty and one I recommend highly if you like coffee.

Kylie Approves of Coffee

The Avengers: Small Game for Big Hunters

Small Game for Big Hunters (1966)
Starring: Patrick Macnee, Diana Rigg, Peter Burton, Liam Redmon, James Villiers, and Bill Fraser
Director: Gerry O'Hara
Rating: Seven of Ten Stars

Men, dressed for jungle safaris and shot with poisoned darts, are turning up near the manor of retired army officer Colonel Rawlings (Fraser). Government problem-solvers John Steed (Macnee) and Emma Peel (Rigg) are tasked with getting to the bottom of the mystery and stopping the violence before scandal occurs. 

"Small Game for Big Hunters" features both the best and the worst of what "The Avengers" series has to offer. 

First the good. It's got a supremely goofy plot that everyone treats with the utmost seriousness and straight faces of characters who exist in a comic-book universe where, on the outskirts of London, a delusion military officer can be kept within a recreation of a British military outpost in colonial Africa while his staff execute evil schemes--and no one notices for an extended period of time. It's also got comic relief characters who are, likewise, treated with absolute seriousness by those around them, because, again, everyone exists in a comic book universe where Crazy is Normal. This is the sort stuff, along with witty banter between Steed and Peel, that make most episodes of this series such a joy to watch.

On the downside, it's got an incoherent plot that sometimes seems to lose track of its own story-threads, which is made worse and even more obvious due to the way there are two separate narrative tracks for most of this episode, one of which is not all that interesting... and it's made worse by some comedic antics that aren't all that funny. At least we're not subjected to the all-too-common action/fight scenes that are so badly rehearsed and/or badly choreographed that one has to wonder if people actually got paid for working on the show--it would have dragged the rating down from a Seven to a Six. It might have been a rating of 5 if not for a couple twists that I didn't see coming, and for the clever social commentary on the faded British empire and the insanity (and inanity) of those who were still trying to revive it as late the the 1960s.

All that said, Diana Rigg's performance in this episode is also one of the strongest things about it, because it made me realize something that hadn't quite clicked before: She always seems to dial up the intensity of her performance if her Emma Peel character has been parked in the more boring parts of an episode, like she is here. It adds a greater sense of drama or comedy to sequences that are otherwise borderline drab. (Here, Rigg's dialed-up intensity saves a few scenes from coming across as too frivolous or silly.) .