You should witness 'Shep's Race with Death'

Shep's Race with Death (1914)
Starring: Shep the Dog, Marion Fairbanks & Madeline Fairbanks [as the Thanhouser Twins], J.S. Murray, M. Whitcove, and Marie Rainford
Director: John Harvey
Rating: Seven of Ten Stars

Although they are identical twins (Fairbanks and Fairbanks), who have similar personalities and ways of behaving, their grandmother (Whitcove) hates one and loves the other... and she's not shy about either emotion. When the beloved sister lashes out at the grandmother for the mistreatment of her sister, the grandmother convinces their mother (Rainford) to separate the sisters by leaving the hated one with the father (Murray) while leaving with the beloved one away to live at their grandmother's house. But the separation of the sisters and the broken family is only the beginning of the misery and danger.

Shep was a Rough Collie who helped set the mold for heroic dogs like Rin-Tin-Tin and Lassie. He headlined 14 films from 1912 to 1914, and in "Shep's Race with Death", he shares the screen with the "Thanhouser Twins", a pair of girls whose brief film career overlapped with his. The twins were actually Madeline Fairbanks and Marion Fairbanks; their joint screen-name was derived from the production company for which the majority of their films were made. Born in 1900, they appeared in roughly 45 short films between the years of 1912 and 1916. They also had successful stage careers before, during, and after their time in movies, performing both in musical theatre, variety shows, and plays.

As for "Shep's Race with Death", the girls and the dog make great onscreen companions. The affection they show for Shep, and visa-versa, seems genuine, and the scenes where they are playing with each other or otherwise interacting are some of the best parts of the film. (As it should be, since Shep has top billing...)

Another strong suit of the film is that it wastes no time getting started, keeps a breakneck pace throughout, and never gives the viewer much of a chance to notice the overacting that comes with the melodramatic genre to which this film belongs. Despite the swift pace of the film, we're even given a denouement that wraps up the film perfectly while showing off the strength of its stars performing together.

All that said, the film's breakneck pace also works against it. It's confusing that the parents of the twins just fold without any objections or questions when the nasty mother-in-law insists on breaking up the household and making the twin she likes and the wife (her daughter) to come live with her. Perhaps this, one of the greatest intertitles ever made, and which amused me to no end, is so true that they didn't dare stand up to her?

Could the mother-in-law have brought more doom and misery to the household beyond breaking it up? Is that why the parents fold so easily? The film doesn't take the time to explain this, so maybe it's not something that would have crossed the minds of 1914 viewers, but it's a point that bothered me. It also bothers me that there's no resolution of the plotline involving the nasty mother-in-law. She just sort of vanishes from the story and we never see what reaction she might have to the family reuniting happily after the "race with death" of the title. Maybe, before racing with death, Shep pushed the evil mother-in-law off a cliff, or maybe the Dad or the Twins got together and somehow disposed of her? 

Whatever the case, it's something the film doesn't deal with, and I think it might have been stronger if it had. (Sometimes, with films of this age, all we have are fragments, so it's possible there was originally a scene or two that dealt with the mother-in-law later in the film. I find this to be unlikely, since the running time of the version I viewed matches all the running-times listed for this film I've been able to find. I think, in this case, the mother-in-law vanishing is just bad storytelling. 

Despite its flaws, I think that, if you enjoy silent movies, you'll find the quarter of an hour it'll take you to watch "Shep's Race With Death" to be time well spent. Click below and sit back. (And if you feel so inclined, share YOUR opinion of the film in a comment to this post.)

 

Musical Monday with Wale

Rappers Wale and Gunna are here on this Musical Monday, with a pair of very lovely ladies. They're performing "Flawed"--a rather sad piece about relationships with some strong melodic hooks--while you get to watch the very visually engaging video that was made to promote the track.

Flawed (2020)
Starring: Wale and Gunna

Directors: Joseph Desrosiers and Melissa Forde

Rating: Seven of Ten Stars

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.

The Avengers: A Surfeit of H2O

A Surfeit of H2O (1965)

Starring: Patrick Macnee, Diana Rigg, Noel Purcell, Albert Lieven, Geoffrey Palmer, Talfryn Thomas, John Kidd, and Sue Lloyd

Director: Sidney Hayers

Rating: Seven of Ten Stars

A doomsday prophet (Purcell) and a winery with secret, highly scientific production methods are at the center of the mystery when agents John Steed (Macnee) and Emma Peel (Rigg) are tasked with uncovering how a man drowned in the middle of an empty field.

This is another excellent episode that features a tight script; a brilliant mix of sci-fi and investigative secret agent action; and an assortment of interesting and quirky characters that make it tricky to pinpoint who the bad guys are and what they are actually up to until the Big Reveal. It also features another nice "damsel in distress" riff along the same lines as what we had in "The Gravediggers", but with a stronger sense of danger than comedy. There's also a great bit with Steed's steel-plated trick bowler as an adjunct to that business.

Character-wise, the wisecracking between Steed and Mrs. Peel is topnotch, and some of the incidental characters here are so interesting and well-acted that I sorry to see them meet a violent end, or I wished there could have been a reason for them to make reappearance in a future episode--Noel Purcell's doomsday prophet Jonah Barnard being prime among these. The different approaches that Steed and Peel take to investigating the mysterious deaths also lend a great deal of entertainment value to this episode--Peel remains methodical and cautious in her approach, while Steed starts out that way but quickly starts resorting to antics to see what he can stir up. At the end, though, it's a combination of the two approaches that leads to the good guys ultimately winning the day. Peel's dignified unflappability also leads to one of the most amusing (and possibly one of the most British) witness interviews ever committed to film. Another nice bit in this episode is the way Steed and Peel turn firmly to science to help them figure out what's happening with the weather around the winery--which also gives the writers an opportunity to show that Mrs. Peel is also knowledgeable in the field of meteorology.

As great as this episode is, it's another instance of where the creators don't quite pull off the ending. It's got a dramatic set-up and the location in which it unfolds should make it one of the deadliest fights our heroes have ever been in--since they are exchanges punches with the bad guys at the very heart of a mad science experiment that has claimed three lives that we know of--but it's almost like the actors, director, and writers have forgotten what's happened earlier in the episode.

All in all, though... some 55 years after it first aired, "A Surfeit of H2O" is still highly entertaining and well worth the time you'll spend watching it.

The Jane Birkin Quarterly

It's time for another visit with Jane Birkin. What is she getting up to?

 

Your guess is as good as mine.

I don't know what she's doing here, either...

Harold and Bebe grapple with 'Spring Fever'

Spring Fever (1919)

Starring: Harold Lloyd, Bebe Daniels, Snub Pollard, Noah Young, Fred C. Newmeyer, Marie Mosquini, Gus Leonard, and Raye Hampton

Director: Hal Roach

Rating: Six of Ten Stars

Stricken with Spring Fever, a bookkeeper (Lloyd) leaves work early. He proceeds to cause chaos in the park and find love in the arms of a young lady (Daniels).

"Spring Fever" is a few minutes of fast-paced fun. It hasn't aged as well as some of the other Harold Lloyd/Bebe Daniels team-ups--Lloyd plays a trickster character who is just a tad too obnoxious to be likeable and Daniels plays far more interesting characters in some of their other films together--but director Hal Roach doesn't waste a second of the film's eight minutes of run-time: If characters aren't being established, plot isn't being forwarded, and gags aren't being executed, then gags are being set up.

If you like silent comedies, I think you'll find this one entertaining. It's even more fun to watch if you've seen other of Lloyds and Daniels' vehicles, as you'll recognize some of the locations from other films. Why don't you kick back and take a few minutes to watch it right now?

Musical Monday with Nirvana

Is there a better song to feature on this beautiful Spring Musical Monday than "In Bloom"? I should think not! 

In Bloom (1992)

Starring: Nirvana and Doug Llewelyn

Director: Kevin Kerslake

Rating: Seven of Ten Stars

"In Bloom" is one of my favorite Nirvana songs... and this video makes me love it even more, because it's perfect for this blog. (That said, one can't really fault people for singing along with a Nirvana song and not knowing that the lyrics are pretty gruesome or depressing; Weird Al nailed it in his spoof of "Smells Like Teen Spirit"--unless you're reading a lyrics sheet, it's hard to know what's actually being said half the time.)

When the King met Betty

Betty Boop and the Little King (1936)
Starring: Jack Mercer (voice of the Little King and others) and Mae Questel (voice of Betty Boop)
Directors: Dave Fleischer
Rating: Six of Ten Stars

A fun-loving king sneaks out of an opera performance and out from under the iron fist of his queen to enjoy a vaudevillian rodeo performance by Betty Boop. 

In 1933, producer Max Fleischer approached Kings Features Syndicate with a proposal to turn their Popeye the Sailor comic strip character into an animated character. The Syndicate was dubious, but Popeye proved to be a far bigger hit in animation than he ever was on the printed page. After the demise of the Van Beuren Corporation, which had licensed Kings Features strip "Little King" for use in animation (and had produced a dozen shorts starring him), Fleischer decided to see if he could replicate the success he'd seen with Popeye.

"Betty Boop and the Little King" was a back-door "pilot episode" for a potential "Little King" series, just like "Popeye the Sailor" had been in 1933, and it follows the same template as that previous effort: Betty Boop is relegated to supporting-character status in her own series, as the Little King encounters her performing, joins the act, and triggers additional events and complications.

Unfortunately, the attempt to launch "The Little King" to screen stardom fizzled on the ground. The reasons for this could be many, but obvious ones are plain to see as the cartoon unfolds. First of all, Betty Boop lost her edge when the Production Code made the Fleischers feel obligated to redirect her adventures from an adult audience toward children, so the sly humor and escalating violence of "Popeye the Sailor" is nowhere to be found here. Second, where both "Betty Boop and the Little King" and "Popeye the Sailor" were structured in a way that they introduced viewers who might not be familiar with the source material to the characters, only "Popeye the Sailor" put major effort into building some new, unique, and fresh for the animated version. In fact, the Fleischer cartoon unnecessarily violates a standard of "The Little King" comic strip when they have the King speak. In the strip, he NEVER speaks... and there was no reason for him to do so here, either. Thirdly, while the story is cute and the King is equal parts funny and sympathetic (just like his more proper Queen is equal parts funny and UNsympathetic since she is trying to keep him behaving in a way that is befitting his status), it's generally a low energy affair. The animation is nice--even impressive at a couple of points--but when compared to other Betty Boop cartoons, the gags are weak and prone to overstay their welcome and there's barely enough going on to keep viewers engaged.

"Betty Boop and the Little King" isn't a terrible cartoon... it's just a little too tame and genteel.

This was the only time Fleischer used the Little King in one of his productions. It was probably for the best, since I have a feeling that he was much better suited for the type of fare that the Van Beuren Corporation put out--and with that said, I will have to seek out and watch some of those to see if I'm right or wrong. If anything, I'm fairly certain that the King didn't speak in those shorts, because most of the Van Beuren cartoons were essentially silent movies with elaborate musical scores.

But just don't take my word for whether "Betty Boop and the Little King" is good or not. I've embedded it" below, you can can check it out yourself; it's only seven or so minutes long. If you disagree with my take, I'd love to hear from you in the comments section below.

The Avengers Dossier, Page Seven

Here's another look at a supporting player from the Fourth Season of "The Avengers".

PATRICIA HAINES

In "The Master Minds", Patricia Haines played the archery instructor to an exclusive club of super-geniuses.

Born in 1932, Patricia Haines was a familiar face on British television during the 1960s and into the mid-1970s. She had incidental roles in many popular series and was a regular cast member in "The Flower of Evil" (1961), "Six Proud Walkers" (1962), and in early seasons of soap operas "Compact" and "Emmerdale Farm". She also appeared in several films, with her role in the horror film "The Virgin Witch" (1971) being perhaps the most remarkable--as she played a particularly evil villainess.

Haines appeared three times during the six seasons of "The Avengers", playing a different character each time. In addition to her role on "The Master Minds", she was in "The Nutshell" (1963) and "Who's Who???" (1967).

Although a talented actress, Haines is more frequently mentioned as the one-time wife of Michael Cain. (They were married in 1954 and were divorced in 1962.)

Haines, a smoker since she was in her teens, passed away from lung cancer at the age of 45 in 1977. 

Wonder Woman Wednesday

Women's History Month may be over, but Wonder Woman and her gal pals are still making history--by delivering epic beat-downs to bad guys!

It's a 60-year old film that still resonates today

Cone of Silence (aka "Trouble in the Sky") (1960)
Starring: Michael Craig, Bernard Lee, Peter Cushing, Elizabeth Seal, Gordon Jackson, George Sanders, Noel Willman, Marne Maitland, and Andre Morell

Director: Charles Frend

Rating: Seven of Ten Stars

An aging pilot (Lee) is blamed for a near-crash with the latest passenger jet design, the Phoenix. While the designer of the jet (Willman) and a pilot-turned-airline-executive (Cushing) are pushing all the blame onto pilot error, a training pilot (Craig) starts to discover evidence that the problem may be with the aircraft design.

"Cone of Silence" is a nice little drama that revolves around the business and politics involved in running an airline and the processes by which mistakes and accidents are investigated, blame is assigned, and steps are taken to understand why the mistake or accident happened and how they can be prevented from occurring again. In the hands of less talented people, and with a cast that wasn't comprised entirely of top-notch actors--with even smaller roles being filled by the likes of Gordon Jackson, George Sanders, and Andre Morell--this could easily have turned into a preachy melodrama. Instead, we're treated to some nice performances by talented actors and a character-driven story that's made even more suspenseful by the fact that the audience knows there's going to another plane crash (or several) than just the one that got pinned on old Captain Gort (played with great charm by Bernard Lee) at the outset.

One interesting aspect of the film is that none of the major characters are ever acting out of malice--every character has blind spots/fatal flaws that contribute to the film's chain of events, but there isn't anyone who can truly be described as villains. Everyone is acting in a way that they believe forwards the greater good, and in the interest of truth and public safety. (There is one character who remains as apparently shady and misguided at the end of the film as he seemed at the beginning, but even he is more arrogant than outright bad.)

Further, with the plane crashes that have been dominating the news about the airline industry in recent years, this sixty year-old movie still has relevance today. I suspect that you'll find the exact same personalities in those same jobs, performing the same functions, today as you did back then... and I think that they'll behave in much the same fashion and be motivated by the same outlooks as those in "Cone of Silence."

If you have some time, you can watch "Cone of Silence" from this very post. I think you'll enjoy it. It's got fine performances from Elizabeth Seal, in her only starring role, as a dutiful daughter hoping that her father's name will be cleared; Michael Craig striking a nice balance between earnest and smarmy as a cocky pilot; and Peter Cushing as a "company man" trying to find a truth that is most beneficial to growing the bottom line. (It may be because I'm a huge fan of him, but I think that out of all the cast Cushing gave the most excellent of performances. He communicates more with a shift in body language, a darting of the eyes, or a slight change in tone than pages of dialog might reveal about a character. I don't recall ever seeing him give a bad performance, but he is particular excellent in this film.)

Musical Monday with Lykke Li

Lykke Li is a Swedish singer/songwriter who spent her childhood globe-trotting with her family. As an adult, she settled in Brooklyn, N.Y., where she began her musical career. 

Lykke Li's music is mostly danceable pop with an undercurrent of darkness and a strong indie flavor. She joins us today to get your week started with a bit of video madness--and one that in some ways sums up the nature of this blog--and a song with lyrics that have multiple layers of interpretation.

Get Some (2010)

Starring: Lykke Li

Director: Johan Soderborg

Rating: Eight of Ten Stars

Happy birthday, Amanda Righetti!

Actress and model Amanda Righetti--best known for her roles on the television series "The O.C." (2003-2005), "Reunion" (2005-2006), "The Mentalist" (2008-2015) and "Colony" (2017-2018) was born on April 4, 1983. Here are some photos in celebration!

No Rest for the Wandering Jew

The Wandering Jew (1905)
Starring: Georges Méliès
Director: Georges Méliès
Rating: Six of Ten Stars

A man (Méliès), who has been cursed to wander the world until Judgement Day, rests and dreams about how he came to suffer this fate.

From a 21st century perspective, "The Wandering Jew" is one of Georges Méliès's lesser efforts. In 1905, I suspect that the audiences were very impressed by elaborately painted sets that give this film an almost three-dimensional look, as well as the way a dream unfolds semi-transparently on the screen and devils and angels appear and disappear in split seconds. To the modern viewer, though, these things are common place... and they way Méliès does it may even seem clumsy. For the time it was remarkable, especially considering that he invented and developed the techniques that. 

One good reason for a modern viewer to watch this short film is for its succinct telling of the 13th century story of the man who was watching Jesus drag his cross through Jerusalem on his way to be executed--and this man not only refused Jesus's plea for water but also mocked him. As a result, he was cursed to wander the earth, without rest, until God renders Final Judgement on all humans who ever lived.

It's been a story that's fascinated me since I first heard it as a little kid, so I am predisposed to liking adaptations of it. This one I enjoyed because it is very literally in its interpretation of the Wandering Jew not ever being able to rest... and that not only do angels enforce the curse, but devils do as well. This is a nicely done adaptation that relates the core of the original story in a clear and straightforward fashion. Another sign of its effectiveness is that it once again made me wonder why the man remains cursed, given the central theme of Jesus's sacrifice and Christianity in general.

As always, you're invited to take a few moments to watch this historic short film right here, from this post.

You can check out another of Méliès' films based in Christian tales--"The Temptation of St. Anthony" by clicking here. The effects in that one are more extensive... and it's also just a whole lot of fun.