'An Unseen Enemy' is a little creaky but still worth watching

The Unseen Enemy (1912)
Starring: Dorothy Gish, Lillian Gish, Grace Henderson, Elmer Booth, and Harry Carey
Director: D.W. Griffith
Rating: Seven of Ten Stars

Recently orphaned sisters (Gish and Gish) may be the victims of more than just robbery when their corrupt maid (Henderson) and her safe-cracking boyfriend (Carey) decide to steal part of their inheritance.

"The Unseen Enemy" was a surprising treat. While its a historically important film in that it's the debut picture of future silent movie super-stars Lillian and Dorothy Gish, it's also a thrilling little drama that has held up surprisingly well. While viewers will have to have some level of tolerance for the sometimes overly dramatic acting styles of the day, this is a film with  well-drawn characters, a multi-pronged and fast-moving plot, a nicely staged action sequence involving speeding automobiles... all of which leads to a satisfying conclusion.

Although Griffith manages to deliver a story that has everything (romance, comedy, drama) in less than 1/3rd the time it takes most modern crime dramas with stories like this, it's not a perfect effort. In addition for viewers to a need to have tolerance for some over-the-top acting at a couple points, the dramatic scene shown in the picture I've used to illustrate this piece ends up being a tad more silly than suspenseful. It starts out tense, and there's a couple moments during the sequence where Griffith manages to recapture the suspense, but there's an easy way for the girls to get out of the threatening situation they're in, and even when they try to take it, Griffin cops out and makes it so they don't succeed.

I'm aware that these days one is supposed to react with faux outrage when the names D.W. Griffith and Lillian Gish are mentioned, and we're supposed to run for the fainting couch at the merest suggestion that one should watch a film Griffith directed or one that Gish appears in--because, you know, of the terrible, TERRIBLE sin against all of humanity that is "The Birth of a Nation". However, since I have a greater interest in the art of film than I have in over-the-top hystrionics that would even embarrass Elmer Booth (the most prolific over-actor in "An Unseen Enemy"), I appreciate Griffith as a man who had a talent for cinematic storytelling and who recognized potential when he met with actors. (Sure, it would have been easy for him to see the talent in the Gish sisters, who came to him already seasoned stage actresses, but he also saw the greatness in Bessie Love who had no acting experience and was just looking for a summer job.)

I recommend you check out "An Unseen Enemy", right here and now, as I've embedded it below.

'On the Loose' is worth catching

On the Loose (1931)
Starring: Thelma Todd, ZaSu Pitts, John Loder, Claude Allister, Billy Gilbert, Otto Fries, Dorothy Layton, Oliver Hardy, and Stan Laurel
Director: Hal Roach
Rating: Eight of Ten Stars

A chance encounter with a rich Englishman (Loder) gives a pair of young women (Pitts and Todd) hope that they'll finally have dates that doesn't take place at the Coney Island amusement park. They hope in vain, because, to a pair of wealthy Brits, there's nothing as exciting and exotic as a trip to an American amusement park.

"On the Loose" is what more of these Thelma Todd-starring short films should have been like--more situational comedy and less slapstick. More of them should also have quiet scenes like the one featured here where we just have the lead characters chatting with one another. Little moments like that makes the characters more appealing. If more films had followed the pattern of this one--presenting a complete story with a beginning , a middle, and end, and focused on characters and situational human instead of lamely executed slapstick routines and incompletely written scripts--this could have been a great series of films instead of a mediocre one with flashes of greatness every now and then. (Patsy Kelly, who replaced ZaSu Pitts after the first batch of films, might have seemed less obnoxious if she'd had material to work with.)

As for the cast, Hal Roach (doing double-duty as both studio boss and director on this one) gets excellent performances out of everyone. Thelma Todd in particular shines in this picture, giving a nuanced performance that adds a tremendous amount of fun to every scene she's in. ZaSu Pitts delivers one of her typical, competent and amusing performances; she's also doesn't have to do any awkwardly staged, badly executed physical bits.

Meanwhile, British actors John Loder and Claude Allister provide some great moments as the gentlemen who sincerely believe they are showing their dates the greatest and most unusual time they have ever experienced. (Allister repeatedly ending up between couple Otto Fries and Dorothy Layton is a very funny running gag, and it's literal punchline is one of the film's high points.)

One thing I found fascinating about this film is the amusement park setting. I remember some of the things portrayed as being present in "fun houses" when I was a kid, as well as the shooting galleries. With some of the others, I was amazed that such rides/activities could even exist in the 1930s they appeared to be so prone to getting participants injured. I haven't been to an amusement park or traveling carnival in 25-30 years, so I found myself wondering if any of those sorts of games and activities even exist anymore. Maybe I need to get out more!

"On the Loose" is one of the films included on the two-DVD collection of all the films Thelma Todd and ZaSu Pitts co-starred in

Han Solo didn't shoot first...

... because Bebe Daniels pulled the trigger before getting out of bed!

The Art of Terese Nielsen

Here's small gallery of pencil sketches by fantasy artist Terese Nielsen. She is perhaps best known for her gorgeous illustrations on "Magic: The Gathering" cards.

You can visit Nielsen's website and see finished paintings here.

How to Communicate with Aliens: Part One

Anna-Marie Hefele, resident alien language expert

Watch the video embedded below, imitate the techniques of Anna-Marie Helefe, and you will be speaking (and gesturing--because it's important to do both) a widely used alien language in no time.



Check back for How to Communicate with Aliens: Part Two, during which Anna-Marie will explain what exactly she's "saying."

Doughboy Double Feature!

High Cs (1930)
Starring: Charley Chase, Carlton Griffin, Thelma Todd, Otto Fries, Harry Schultz, Lucien Prival, and the Ranch Boys band
Director: James W. Horne
Rating: Seven of Ten Stars

A WWI doughboy (Chase), who'd rather sing than fight, tricks the Germans into thinking the war is over so he can recruit one of their soldiers (Fries) into his musical quartet.

"High C's" is different than most other Charley Chase films I've watched so far. First, it's more loosely structured than any of the others. Rather than the film being structured around a tightly plotted sequence of jokes and gags that build upon each other until the film's finale this one breaks into three distinct sections that are only loosely connected. It's still a well-enough crafted story, though.

There's also more music in this film than any of the previous ones I've seen from Chase, which actually explains the different structure of the film. It's not so much a comedy short as a mini-musical, as such it's built around the musical numbers rather than gags.

Despite being different than what I had expected, I enjoyed "High Cs" immensely. Charley Chase was on the top of his game, and the supporting cast were all equally excellent. Thelma Todd, who portrays Chase's love interest, was a joy to watch as always when she's paired with Chase; and Carlton Griffin and Lucien Prival were great fun as the villainous, self-important officers on the Allied and German sides of the trenches respectively.

This isn't the strongest of Charley Chase's films, but it's still got good music and some really funny moments. The sequence where they fake the end of World War 1 just to capture and recruit a German soldier into the band, as well as the closing song, are must-sees for fans of old-time musical comedy.

Rough Seas (1931)
Starring: Charley Chase, Carlton Griffin, Thelma Todd, Frank Brownlee, and the Ranch Boys band
Director: James Parrott
Rating: Six of Ten Stars

The war is over and Charley (Chase) is being shipped back to the States and civilian life. But he needs to find a way to get his French girlfriend (Todd) and his pet monkey safely onboard the transport ship without his commanding officer (Griffin) knowing.

"Rough Seas" is a sequel to "High Cs", and it, too, is a mini-musical comedy. It picks up all the story threads from "High Cs", and brings along all the supporting characters from the first film, while adding a couple new complications. I was particularly impressed at the attention to detail shown in continuing to develop a somewhat morbid gag from the first film around the tenor whose voice was ruined because he got shot in the Adam's apple. It was another example of how the Charley Chase films should be remembered among the best Roach productions, because they were crafted with a level of care that became increasingly hard to find as the 1930s wore on.

Overall, this is a simple film where the ship-board antics of Chase's character as he tries to keep himself, his monkey, and his stowaway girlfriend out of the cross-hairs of his superiors are mostly a vehicle to get us from musical number to musical number. What plot we do have is a sweet little love story between Charley and Thelma (who, although she has less to do in this film than the monkey, the chemistry she shared with Chase once again leaps off the screen), which also exposes the truly vile nature of Carlton Griffin's officer character; it's satisfying to see him finally get put in his place.

This was the second-to-last Charley Chase film that Thelma Todd would appear in. She was quickly becoming a popular comedienne, and producer Hal Roach didn't want to "waste" her in supporting roles. Even as this film was being made, the stage was being set for her to co-star with ZaSu Pitts in her own series. The films she headlined 40 films, but few were of the quality of the ones she made with Chase.

Another macabre trip for Betty Boop

Is My Palm Read? (1933)
Starring: Mae Questal (the voice of Betty Boop) and Billy Murray (the voice of Bimbo)
Directors: Dave Fleischer and Dave Tendlar
Rating: Six of Ten Stars

Professor Bimbo and his crystal ball reveal Betty's past as a baby, and her grim future on a ghost-haunted desert island.

Much is made of Betty Boop's sexiness, but, to my eyes, these cartoons are more about being spooky than sexy. Sure, she ran around in a tiny dress that sometimes got pulled off her... but she was always being menaced by ghosts, demons, hillbilly rapists, and more! I'm far from an expert, but my sampling of Betty Boop cartoons from the 1930s seem more creepy than sexy to me, with only two not featuring some sort of supernatural element. Some even have the feel and pacing and logic of bad dreams and nightmares. (Okay, they have the feel and pacing and logic of MY bad dreams... so maybe that says more about my psychological state than it does about the cartoons....)

"Is My Palm Read" is another Betty Boop adventure that sees her (and recurring supporting characters Bimbo and Koko) menaced by ghosts. While Betty's captivity within a haunted hut on a desert island is initially just a psychic vision, the ghosts manage to somehow break out of Bimbo's crystal ball toward the end of the cartoon. In doing so, they somehow transform the reality of the cartoon from an urban setting to the desert island from the vision. How or why is impossible to discern, and the characters just seem to take it in stride--they do, after all, live in one of the most surreal worlds ever committed to film. However, while this sudden merging of psychic vision and reality leads to an amusing chase scene, it makes no sense in any context.

While I feel a bit foolish for expecting a Betty Boop cartoon to make sense, this move was just a little too dream-like, too surreal, and too chaotic for me; it made me go "waitaminnit" and got me thinking about the mechanics of the story instead of just enjoying it. I don't think that was the intention the director and animators, so I think it's a flaw in the execution here.

That said, it's really the only flaw. It's a flaw that takes away from the overall enjoyment of the cartoon, but not from the excellent and lush animation it features, nor from the catchy tunes  it delivers.

How about you take a few minutes out of your day to watch "Is My Palm Read?" and tell me whether I'm right or wrong in my take on it. You can check it out below, courtesy of YouTube.



Trivia: There are at least four different edits of this Betty Boop cartoon available for viewing online, on YouTube, Amazon Prime, and elsewhere. The version I have embedded here is, as far as I can tell, the most complete and closest to what was originally released into theaters in February of 1933. Most versions available to not feature the sequence with Betty as a baby, and at least one has a slightly different musical score. (The opening titles song does not have lyrics, for example.)

The Thelma Todd Quarterly

We don't have anything cute or pithy to say here. We just hope you enjoy these unusual portraits of a beautiful and talented actress who was taken from this world entirely too soon.

(For more images from this same photo-shoot, click here. They were in the first Thelma Todd Quarterly post of The Year of the Hot Toddy, so it seems fitting that we begin to wrap things up with pictures from the same series.)

Musical Monday with Kate Bush

"Hounds of Love" is one of Kate Bush's all-time classics, whether we're talking about the song or the fantastic music video that goes along with it. Someone who "always thought it would look fantastic in black and white" went ahead and de-colorized it! The result is indeed fantastic! It looks a lot like many of the films that have been written about on this blog, including ones you watch in posts here.


Hounds of Love in Black and White (2015)
Starring: Kate Bush and Gow Hunter
Director: Kate Bush
Rating: Nine of Ten Stars

A spa with the cure for the common cold?

Red Noses (1932)

Starring: ZaSu Pitts, Thelma Todd, Blanche Payson, Germaine De Noel, and Wilfred Lucas

Director: James Horne

Rating: Five of Ten Stars

Thelma and ZaSu (Todd and Pitts) are suffering at home with colds, but their boss (Lucas) needs them at the office, because he can't close a business deal without their help. He arranges for them to go for a treatment at a health spa that is guaranteed to cure them and get them quickly back in the office.

"Red Noses" is another entry in the Thelma Todd-starring comedies that feels like a good idea that lost its way. Sending our heroines off to a health spa is a great concept and the end result here is mostly amusing, but it's another example of where not enough attention was paid to the story, nor even the gags. It's a shame, because the cast--led by Pitts who takes most of the abuse at the hands of the physical therapists at the spa--all do an excellent job; they're all playing the sorts of characters they're old hands at, and they're all in top form.

One of the biggest flaws with the script on the story front is that this is another film that just sort of stops without really ending. So much emphasis was put on how important it was that the Thelma and ZaSu be present at the business meeting that the film feels incomplete without some sort of callback to that. It seems that even the filmakers felt there was something missing at the end of the film, because, while our heroines make a perfectly acceptable getaway from the health spa (after their requests to leave have been repeatedly denied because the spa's policy is that you're either cured of your ailment or you're due a refund), it's followed up with Thelma and ZaSu walking in front of the worst worst back projection I've ever seen.

 The treatment regiment the girls are subjected to at the spa also seems a bit strange, given that they are there with the express purpose of being cured of a cold. As funny as some of the physical gags are, shouldn't they be sitting in steam rooms or soaking in hot baths augmented with various herbs and spices? The resulting film would have required more thought on the part of the writers, but most of the better gags would still have fit into the film, including the Turkish massages the girls are subjected to.

And speaking of the gags, they run the gamut from under-developed, to just right, to dragging on, something which I, again, contribute to a lack of effort being put into the script. There's a bit of mud-throwing that doesn't really go anywhere (except serving for long-walk set-up for a cross-dressing scene and ensuing brawl.. which did add up to something funny). The bits involving Turkish massages are pretty flawless, while those involving exercise equipment drag on and on (except for one strange device that is basically Thelma Todd strapped to a bouncing chair).

In general, though, the film moves fast enough, and is funny enough, that the misfired and overly milked bits of physical comedy can be excused. In the end, this is an uneven but entertaining comedy and a nice way to waste 20 minutes.

There is one aspect to this film that I can't quite get a bead on, though, and I can't tell whether it's a subtext that's there or if it's because I live in a day and age where EVERYTHING is sexualized. Are Thelma and ZaSu more than just friends in this film? Are they a couple? There are two jokes that seem to say outright that they are (never mind the fact that they're sharing the same bed as the film opens). As the editor and publisher who green-lit turning the Science Sleuths gay, it's an odd position for me to be in....

Picture Perfect Halloween with Vampirella

Vampirella has made a new friend, and she's bringing him with her to a Halloween party near you!

By Art Adams

'The Mad Ghoul' is worth knowing

The Mad Ghoul (1943)
Starring: George Zucco, David Bruce, Evelyn Ankers, Turhan Bey, and Robert Armstrong
Director: James Hogan
Rating: Seven of Ten Stars

College chemistry professor Alfred Morris (Zucco) re-discovers a formula for a gas that ancient Central Americans used turn people into pseudo-living zombies, as well as a means for reversing the transformation. He uses his assistant, Ted (Bruce), as an unwitting human test subject while trying to put the moves on Ted's opera-singing fiance (Ankers)... but when the antidote for the gas turns out to only be temporary, Morris's life and Ted's psuedo-undeath become a lot more complicated.

"The Mad Ghoul" is a horror film from Universal Pictures--the studio that bought the world "The Mummy", "Dracula", and "Frankenstein"--that sounds like a film from Monogram or PRC, with its mad scientist with an even madder scheme, a young couple being threatened by evil, and a crusading reporter who is going to stop the monster the police have been unable to catch.

What the writers and director does with those elements are a great change of, though: The crusading reporter ends up, the young couple's romance is revealed to have been over even before the film starts, and the mad doctor's mad scheme keeps getting more insane, first because he was cocky and had to cover up a failed experiment and then because he wanted to remove all rivals for the woman with whom he believes he shares a mutual attraction. (Some of my favorite parts of the film is when George Zucco and Evelyn Ankers' characters are talking past each other; Zucco thinks they are expressing their love for each other while Ankers thinks she's just unloading her sorrows to a sympathetic ear. These scenes feature some nice acting and even better writing, because they perfectly communicate the notion that Zucco's character later expresses, after he realizes he was mistaken: "Sometimes we see what we want to see.")

The cast of "The Mad Ghoul" all provide good performances. Zucco is in particularly fine form, playing the crazed heavy he specialized in but with a tiny bit of nuances thrown in. Robert Armstrong is also fun as the "I'm smarter than the cops" newsman who populates films of this type, and while I saw his brutal end coming before it actually happened, I was a little sad to see him go. Meanwhile, Ankers and Bey play the kinds of characters they portrayed in many other films, and they do it with their usual skill. Finally, David Bruce, in one of his few starring roles, is good as what initially comes across as the standard, fairly bland romantic lead, but becomes an increasingly interesting and nuanced character as the film unfolds.

Picture Perfect Vampirella

Halloween is almost here, and so is Vampirella... whether you are ready or not!

By Jason Robinson

If you say the name three times...

Early urban fantasy film is still lots of fun

The "?" Motorist (1906)
Starring: Anonymous
Director: Walter R. Booth
Rating: Seven of Ten Stars

Then there was that time Harry Potter's great-grandparents took their newly enchanted automobile for a spin in Muggles territory...

At the dawn of the British film industry, there was basically only one person who was making sci-fi/fantasy movies... and that was Walter R. Booth. He made dozens of wild short films that were full of fantastic concepts, special effects, and characters speeding around in cars and aircraft, or, in the case of this film, cars that become aircraft.

In "The '?' Motorist", a couple out for a drive have a very literal run-in with a police officer. While attempting to escape pursuit, they drive their magical car up the side of a building, onto the clouds over the city, and... well, to more distant locales. It's a special-effects laden romp that is still lots of fun and surprising in its weirdness even though its more than 110 years since it was first released. While some of the effects are weak by modern standards (and may even have disappointed audiences in the day), it barely matters because of how extremely whacky the action is. The only real flaw in the film is a bizarre editing choice where a crash seems to happen twice, or scenes take place in a poorly thought-out order, but that could just as easily be an artifact of bad restoration as incompetent choices on the part of Booth. It's hard to tell with something this old.

"The '?' Motorist" is only one of a small handful of Booth's films that are known to survive to present day. I enjoyed this one so much that I will have to seek out the other remaining pictures and post about them here. In the meantime, I want to share my joy of discovery with all you, via YouTube, by embedding the complete film below. I hope you find Booth's film as entertaining as I did--for me, it was three minutes of pure fun!

Musical Monday with Rod Serling

(Just a little something to get you warmed up for the Big Night of Tricks and Treats.)

'Haunted Spooks' is among Lloyd's best

Haunted Spooks (1920)
Starring: Harold Lloyd, Mildred Davis, Ernest Morrison, Blue Washington, Marie Benson, and Wallace Howe
Directors: Alf Goulding and Hal Roach
Rating: Nine of Ten Stars

After she inherits the entirety of her uncle's estate Mildred Hillary (Davis), is swiftly married to a young man with nothing to lose (Lloyd), because the will states she must live in the main house with her husband for a year or everything goes to her other uncle (Howe). Meanwhile, said other uncle comes up with a scheme to scare the newlyweds off the property by making them think the house is haunted.

I sat down to watch "Haunted Spooks" with some trepidation--given its age and its title, I feared I may be in for a movie that hadn't aged well. Turns out, my fears were unfounded. While the film does feature "superstitious negroes", they are no more or less rediculous than the white characters who run around the old house while panicking after being confronted by the fake ghosts. Further, the black butler (played by Blue Washington) gets to redeem himself by throwing the greedy hoaxers by throwing them out of the house as the movie is coming to an end (come on, that's not a spoiler... does anyone watching this film a century later really think there was ever any chance the bad guys would be successful?) while our skeptic hero, Harold Lloyd, has one last moment of panic when it appears the house really might be haunted after all.

As for the rest of the movie, everything flows smoothly, and while the team here comes dangerously close to making the same mistakes that sank "Captain Kidd's Kids" (1919). Like "Captain Kidd's Kids", this film takes a long time getting to the spooks we're promised in the title and on the poster; the film is more than half over before Harold and his new bride arrive at the supposedly haunted house. However, unlike "Captain Kidd's Kids", the long journey to the pay-off is one that we share with likable and rediculous characters, so it's a fun ride all the way. (In the other film, there was little to nothing to like about the lead characters.)

The ending to this film is also one of the most satisfying of any of the ones to a Harold Lloyd film I've seen so far. Often, even when it's a generally happy ending for most of the characters in the film, they've involved Harold running for the hills to escape disaster, or him going off to wallow in self-pitiying misery. Here, we get a happy ending all around (except for those dastardly relatives who were trying to steal Mildred's inheritence), and the writers even get in one final joke that I found to be among the funniest in the whole picture.

There's an excellent version of "Haunted Spooks" that can be watched on YouTube. There are a few missing frames here and there, but the image is constently clear and the music isn't half-bad. I've embedded it below, so you can take a few minutes out of your day to enjoy yourself right now! (I should note that fans of romances and Scooby-Doo cartoons will probably like this alot: The first half of the film is a highly amusing send-up of common gothic romance tropes while the second half could well be a Scooby-Doo plotline.)

'Maids in Hollywood' is a fun Todd/Kelly vehicle

Maid in Hollywood (1934)
Starring: Thelma Todd, Patsy Kelly, Eddie Foy Jr., Alphonse Martell, Billy Gilbert, and Constance Bergen
Director: Guy Meins
Rating: Eight of Ten Stars

After failing to make it as actress, Thelma (Todd) is on the verge of leaving Hollywood forever when her friend Patsy (Kelly) manages to manipulate circumstances so her friend has one more screen-test... and one final shot at stardom.

I have observed several times that Thelma Todd managed to somehow project poise and grace even when in the most ridiculous and embarrassing circumstances. That is not the case in "Maid in Hollywood." Here, she looks every bit as frazzled as someone whose dream is dying, and becomes every bit as disheveled as you would assume someone would become in the situations she ends up in during the picture. And that is a nice change, because it adds a slightly different flavor to Todd's character in this film.

What's also nice is that one can feel a warmth in the friendship between Todd's and Kelly's characters that's missing in some of their films. Their friendship seems deep enough that it's believable that Kelly goes to the lengths she does to help Todd be successful in achieving her dream. I wonder if that might not be a sign that perhaps this script was originally written for Todd and her previous co-star in this series, ZaSu Pitts? The relationship between those two characters never had the nasty edge that sometimes creeps into the Todd/Kelly pictures, so that could explain the different tone here. (And this is despite Kelly being as loud and brash and as stupidly aggressive as she is in many of these pictures; in other films, this is one of the reasons I felt it hard to believe Todd and Kelly's characters were friends, but here, it works.)

Overall, the script for "Maid in Hollywood" is among the better ones in the Todd headlined comedies, in that it presents a full story with a beginning, middle, end, and even a denouement. This is particularly noteworthy to me, because it feels like a sequel to "One Track Minds" (1933) where Todd's character was traveling to Hollywood with hopes of becoming a movie star, and "One Track Minds" had one of the worst scripts in the series.

The film is made even better by the fact that it sports a talented cast that elevate the good material they are working with excellent performances. The reason I didn't give it a Nine of Ten rating is because much of the physical comedy that Patsy Kelly engages in feels a bit rough and under-rehearsed--it's clunky and repetitive, especially her repeated run-ins with the sound equipment on the film set.

"Maid in Hollywood" is an excellent little comedy, and it is one of several that make the three-disc collection of all of the films Thelma Todd and Patsy Kelly made together worth your while.

'Getting Acquainted' is a film worth seeing

Getting Aquainted (aka "A Fair Exchange") (1914)
Starring: Mabel Normand, Charlie Chaplin, Phyllis Allen, Mack Swain, Edgar Kennedy, and Glen Cavender
Director: Charlie Chaplin
Rating: Eight of Ten Stars

A day in the park turns chaotic when husbands (Chaplin and Swain) hit on each other's wives (Normand and Allen) and then up being chased by an increasingly irate police officer (Kennedy).

"Getting Acquainted" is a comedy of manners--mostly bad manners--with a healthy helping of slapstick thrown in. The comedy grows in equal amounts from the bad behavior of the husbands, the reactions of their wives, the threat to the husbands when the wives meet each other, and the various beatings doled out by the cop, a random guy (whose girlfriend the husbands also hit on), and even the wives. There's also some slight humor in the fact that physically you'd think Chaplin's character would be Normand's husband, while Allen and Swain's characters seem like they'd a better match, too.

This film may also be of historical interest to Chaplin fans, as it features one of the earliest appearances of his "Little Tramp" character--at least as far as the costume goes, since I don't think I've ever seen Chaplin's signature character being quite this much of a caddish horndog in any other films. Meanwhile, it's also easy to see why Normand was such a big star in her day; she all but leaps off the screen she has so much presence. It's also helpful that she keeps the Cuteness Meter pegged at Maximum in every scene.

You can get acquainted with "Getting Acquainted right here in this post, because the film is embedded below, via YouTube. Take a few minutes and watch it right now!

Picture Perfect Vampirella and Dejah Thoris

Although October is Vampirella's month, she didn't the Princesses of Mars to feel left out, so she called up Dejah Thoris, the most famous of the princesses, and asked her stop by. But before they had a chance to discuss how entertain the visitors to Shades of Gray, they got wind of a scheme by the Great Old Ones to destroy all Halloween candy on Earth! That called for a team-up and lots of ass-kicking!

And with Halloween saved, they kicked back and relaxed...

'Return of the Ape Man' can be skipped

Return of the Ape Man (1944)
Starring: Bela Lugosi, John Carradine, Frank Moran, Teala Loring (as Judith Gibson), Michael Ames, and Mary Currier
Director: Phil Rosen
Rating: Five of Ten Stars

A mad scientist (Lugosi) manages to restore life to a caveman (Moran) who had been frozen in ice above the Arctic Circle for 20,000 years. He then performs a partial brain-transplant from an unwilling donor (Carradine) so that he can control and communicate with the pre-historic man. Things go about as well as you might expect...

"Return of the Ape Man" is such a supremely, disastrously goofy movie that it's easy to hate it. However, it's so fast-paced and the cast so pleasant that the true awfulness of the film fades isn't felt as much; unlike so many weak other B-movies, this one is lean and straight to the point. The closest we get to padding is some stock footage of a ship in the Arctic, and a little too much running to and fro during the movie's climax. (The climax is actually undermined by the fact that it's dragged out too long.)

Highlights of the film include Bela Lugosi's performance as the mad scientist. a role in which I think he would have been even better if a scene like the one in the publicity still (with Lugosi, Teala Loring, and Frank Moran) had actually taken place in the film. Another bit that I really liked was that the mad doctor's original plan was to put part of a lawyer's brain in the caveman--which would have probably made him even more monstrous! And speaking of the caveman... I got a chuckle out of the fact that, as part of a sequence intended to show that some of the memories of the donor of brain tissue still exist, the caveman goes to the home of John Carradine's character, plays the piano, and proceeds to murder his wife. I can only assume there were some serious problems in that relationship...

In the final analysis, "Return of the Ape Man" is probably a movie you can skip, unless you're on a quest to watch everything Bela Lugosi starred in, or to experience the Complete Works of Phil Rosen.  It would make an excellent addition to a Bad Movie Night, as it's silly but never boring. The fact that it is a solidly entertaining effort--if you're in the mood for this kind of movie--earned it a bump from a high Four-star rating to a low Five.

(By the way, despite its title, this film has nothing whatsoever to do with "The Ape Man", which Lugosi headlined in 1943 for the same studio.)

'Minnie the Moocher' is a freaky trip

Minnie the Moocher (1932)
Starring: The Voices of Cab Calloway and Mae Questal
Director: Dave Fleischer
Rating: Eight of Ten Stars


Betty (Questal) and her boyfriend Bimbo run away from home, but they are confronted by a ghostly walrus (Calloway) and other spooks when they seek shelter in what turns out to be haunted cave.

"Minnie the Moocher" is one of the greatest Betty Boop cartoons, and some even say it is the greatest. Me, I think that honor goes to "The Old Man of the Mountain", but there's no question that this is one jazzy, snazzy, kooky. spooky filmlette!

"Minnie the Moocher" was the first of three collaborations between producer Max Fleischer and pioneering jazz-man Cab Calloway, and, like the other two, it plays like a precusor to the sorts of music videos that were the hallmark of MTV during its glory days: Each is a tour-de-force of creativity and surreal weirdness, as well as vehicle for delivering excellent music to present fans and introducing it to new ones.

As for the cartoon itself, "Minnie the Moocher" will keep you engaged with both its storyline, its weird visuals, and the great songs, with the main attraction being the song of the title, but Betty singing about how distressed she is over her mean parents is fun as well. Like the other two cartoons that Calloway made with Fleisher, it's also a great deal of fun to see him turned into a cartoon creature that still moves in a very Calloway-esque fashion thanks to Rotoscope--which was invented by Fleischer animators and first used on these cartoons.

Why don't you take a few minutes to enjoy some great music and watch an even greater cartoon? Just click below to start the video!

The Doggie and Death

We're going to break the usual jovial mood here at Shades of Gray with this very excellent comic strip by Jenny Jinya.

'Treasure Blues' is lacking

Treasure Blues (1935)
Starring: Patsy Kelly, Thelma Todd, and Arthur Housman
Director: James Parrott
Rating: Four of Ten Stars

Patsy (Kelly) inherits a diving suit and a map, so she takes Thelma (Todd) and a drunken sea captain-turned-plumber (Housman) onto the high seas to retrieve a sunken treasure.

"Treasure Blues" is one of weaker Thelma Todd/Patsy Kelly comedies. It's unfocused, not very funny, and, to make matters worse, it extends its good parts to the point where they become bad. This film is so weak that I thought "that's stupid" at some parts that had the live actors behave like they were in a cartoon universe--and I usually LOVE that sort of absurdist humor.

Unfortunately, as cartoonish action is employed in this film, it merely ruins what was up to that point a cute and fairly effective way to make it look like the characters were on the ocean floor--and this was after director James Parrott showed us, yet again, that he'd never seen a gag he couldn't drag out to the point where it went from amusing to lame.

The Four rating I'm giving this film may be a little on the generous side, but the cast members all perform admirably, especially given what they're working with. Todd is amusing, Kelly is charming (which is a rarity, since her onscreen persona in most of these pictures is like nails being dragged across a chalkboard), and Housman is amusing as his usual charicature of a drunk. It's a shame their efforts are taking place within such a poorly made film.

"Treasure Blues" is included with all of the films Thelma Todd and Patsy Kelly made together in a single three-DVD collection.

'The Haunted House' is a treat full of tricks

The Haunted House (1921)
Starring: Buster Keaton, Virginia Fox, Joe Roberts, and Mark Hamilton
Directors: Buster Keaton and Eddie Cline
Rating: Eight of Ten Stars

On the run from the law, a bank teller (Keaton) who has been wrongfully accused of counterfeiting and trying to rob his place of employment, takes refuge in a house seemingly haunted by ghosts and demons.

"The Haunted House" is fun, funny, but most of all, good-natured and cute. Sure, it's the story of crooks (led by the towering Joe Roberts) who are using a small-town bank to exchange their counterfiet dollars for real ones; and sure, an innocent, if mishap-prone, bank teller (Buster Keaton) ends up blamed for their crimes; and, yeah, Roberts and his gang end up kidnapping the bank president's daughter (Virginia Fox)... but, despite all of that, this movie has a jovial air about it that makes it breeze by while you're watching. You even forget how fundamentally silly it is that Keaton, an adult, is scared and confused by men in devil and skeleton costumes, or by people wearing sheets pretending to be ghosts. (And as is my habit when reviewing these short films, I'm not going to go into too man details about the jokes and gags, because that would ruin the film for you. It's established up front that the hauntings and demonic infestations are

High points of the film include a series of gags involving paper currency, glue, and a botched bank robbery; Keaton's character first reacting with fear to the fake hauntings and then with marked sarcasm once he discovers it's just a bunch of guys in costumes; Keaton's interactions with the "devil" in the house; and Keaton's adventures in the Afterlife following a last-minute dramatic twist. There are also some really funny slapstick bits involving a trick staircase, and a very clever--and surprisinglyspecial effects sequence that is actually the film's single truly unnerving moment. (It's also completely out of place with everything else in the picture, but I suspect it was just too good a concept to not use.)


Aside from the out-of-place special effects gag (which is still excellent, just out of place), the only other real complaint I can mount about the film is that Virginia Fox's character needed a little more screen time and development. What we get is a very perfunctory "this is our damsel in distress" and not much else, and the film would have benefitted greatly if just a little more time had been devoted to her. These weaknesses still result in me rating the film a very high Eight on my Ten-star scale rather than a Nine.

But just don't take my word for how fun "The Haunted House" is. I've embedded it below, via YouTube, for your viewing pleasure!


Trivia: Buster Keaton liked the stair gags so much that he developed further routines and included a similar idea in "The Electric House" (1922).

Halloween Costume Ideas!

Everyone's looking for good costume ideas this time of year, so we're sharing what some people will be wearing to the Shades of Gray Halloween Party this year. Maybe you'll be inspired!


Dusty Anderson says the classics are always "in", so she's dressing up like a black cat.

Stan Laurel and Oliver Hardy are going as a loving Puritan couple.

Meanwhile, Myrna Loy's going as Perry Mason.

Helen Bennett says she's going as a mobile hot-spot.

Finally, Thelma Todd will be the Pearl in the Oyster. If we weren't having the shindig at her place, this costume wouldn't be practical.

This year's party is sponsored in part by the Associated Shades of Hades.