She'll be appearing weekly here at Shades of Gray for all of 2019. Thanks for coming and don't forget to tip your waiter!
Wednesday, January 9, 2019
The Thelma Todd Quarterly
Ladies and Gentleman: We present to you the MAGIC OF THELMA TODD!
She'll be appearing weekly here at Shades of Gray for all of 2019. Thanks for coming and don't forget to tip your waiter!
She'll be appearing weekly here at Shades of Gray for all of 2019. Thanks for coming and don't forget to tip your waiter!
Tuesday, January 8, 2019
Keaton and Todd are absolute greatness in 'Speak Easily'
Speak Easily (1932)
Starring: Buster Keaton, Jimmy Durante, Thelma Todd, Ruth Selwyn, Sydney Toler, and Henry Arnetta
Director: Edward Sedgewick
Rating: Six of Ten Stars
A bookish professor (Keaton) gets news that he has inherited $700,000, and he decides it's time to live his life to its fullest. While on his way to New York, he encounters a struggling theatre troupe with more heart than talent. He become smitten with Pansy, the lead dancer (Selwyn), and he decides to be their financial backer for a Broadway show.
"Speak Easily" is a very uneven comedy that is dragged down by long stretches of unfunny or repetitive gags separated by some excellent bits. It's got a solid and talented cast that deserved better than the material they have to work with.
For example, poor Buster Keaton is the star of the film, but he still has very little do. He is more frequently than not relegated to the role of straight man to Jimmy Durante, and most of the bits he has of his own are dragged out past the point of being funny. As for Durante, he, too has to struggle with routines that drag on; there's a bit involving luggage that starts out amusing and grows tiresome and annoying by the time the film finally moves on.
The one performer in the film who gets to appear in all the films best scenes is Thelma Todd, and it's in these scenes were Keaton gets to shine his brightest, too. Todd shows up in the second act, and she is the closest thing this genial story has to a villain. Her character, Elanor, is a burlesque dancer who is willing to do almost anything to get a part in a Broadway play, from stripping down to her underwear at the slightest suggestion--which immediately convinces Durante's character, James, that she has what it takes to be in the show--to setting up Keaton's Professor Post to be blackmailed for sexual indiscretions. Unfortunately, the good professor is simply too oblivious to even realize that Elanor is trying to seduce him, and her big scheme backfires when her efforts end up with both of them so blindingly drunk the couldn't be "indiscreet" if they wanted to.
This drunken scene, and its aftermath, with Keaton and Todd features a hilarious mix of spoken and physical humor and it is the highlight of the movie. In fact, the story-thread that starts with Elanor showing up in the Professor's office, through her attempts to seduce him and blackmail him, through the steps that James takes to extract him from any possibility of scandal, is so sharp and so well-done that it feels like it belongs in a much better movie. These scenes show that it wasn't that the famed silent movie star Keaton was getting old and had lost his edge (as some claimed at the time... and perhaps even today); it was that he didn't have anything good to work with. With quality material, and partner that can give as well as she got--which he had in Todd in these scenes they did together--Keaton could still deliver the physical humor that had made him famous, as well as deliver spoken jokes with perfect timing and the driest of dry wit.
While Keaton also has a few great moments toward the end of the film--during a Broadway opening that's bound to be a disaster unless some miracle happens--the scenes he shares with Todd really are the film's high point. It's really a shame that the rest of the cast is stuck with mostly sub-par material,. because there are several instances where they show that they are all quite talented. Nowhere is this more clear that the scene where Professor Post decides to bring the troupe to Broadway. The performance they put on is such a wretched display of hammish acting, lousy singing, and bad choreography that leaves viewers in awe at how bad it is... which is proof that we are watching performers of the highest caliber. It takes a lot of skill, and even more practice and rehearsal, to be as bad as they are in that scene.
It's at once heart-breaking and touching that Professor Post is so smitten with the troupe's leading later that he can't see how bad Pansy and her fellow performers are... and it also gives Jimmy Durante's character a likable dimension to what otherwise comes across as a fairly wretched human being: James truly believes that he and his troupe could be the next big thing if only they could get a break. When the Professor offers to fund their show, James isn't motivated by greed, but rather by the excitement of making his (and his fellow actors) dreams come true and to get them the recognition he believes they so richly deserve. At no point does James's faith in his troupe waver, even when the experienced Broadway director that Professor Post hires (played by Sydney Toler, who is best known as Charlie Chan) accurately and truthfully describes the level of talent the performers have. As annoying as I find Durante as an actor, I really liked his character of James... and I really wished he'd been given better material to work with.
(Of course, here I am laying blame on the scriptwriters and the director for the movie being mostly weak when maybe I should be giving credit to Buster Keaton and Thelma Todd for making the scenes they have together so sparklingly brilliant. After all, they are the common denominator for the movie's best parts... and their hilarious scenes together are plenty reward for sticking around through the rest of the film.
One odd bit of trivia: When she appeared in this film, Thelma Todd was co-starring in her own series of comedy short films with ZaSu Pitts that was being produced by Hal Roach and released through MGM. One of these was titled "Sneak Easily", released in December of 1932 (and I actually posted a review of it last week). "Speak Easily" was released in August of that same year. That these titles are so similar can't be an accident--especially since the title of the short film makes little sense given its subject matter--but I can't figure out what the reason for it would be. Anyone out there have a thought about it?
Starring: Buster Keaton, Jimmy Durante, Thelma Todd, Ruth Selwyn, Sydney Toler, and Henry Arnetta
Director: Edward Sedgewick
Rating: Six of Ten Stars
A bookish professor (Keaton) gets news that he has inherited $700,000, and he decides it's time to live his life to its fullest. While on his way to New York, he encounters a struggling theatre troupe with more heart than talent. He become smitten with Pansy, the lead dancer (Selwyn), and he decides to be their financial backer for a Broadway show.
"Speak Easily" is a very uneven comedy that is dragged down by long stretches of unfunny or repetitive gags separated by some excellent bits. It's got a solid and talented cast that deserved better than the material they have to work with.
For example, poor Buster Keaton is the star of the film, but he still has very little do. He is more frequently than not relegated to the role of straight man to Jimmy Durante, and most of the bits he has of his own are dragged out past the point of being funny. As for Durante, he, too has to struggle with routines that drag on; there's a bit involving luggage that starts out amusing and grows tiresome and annoying by the time the film finally moves on.
The one performer in the film who gets to appear in all the films best scenes is Thelma Todd, and it's in these scenes were Keaton gets to shine his brightest, too. Todd shows up in the second act, and she is the closest thing this genial story has to a villain. Her character, Elanor, is a burlesque dancer who is willing to do almost anything to get a part in a Broadway play, from stripping down to her underwear at the slightest suggestion--which immediately convinces Durante's character, James, that she has what it takes to be in the show--to setting up Keaton's Professor Post to be blackmailed for sexual indiscretions. Unfortunately, the good professor is simply too oblivious to even realize that Elanor is trying to seduce him, and her big scheme backfires when her efforts end up with both of them so blindingly drunk the couldn't be "indiscreet" if they wanted to.
This drunken scene, and its aftermath, with Keaton and Todd features a hilarious mix of spoken and physical humor and it is the highlight of the movie. In fact, the story-thread that starts with Elanor showing up in the Professor's office, through her attempts to seduce him and blackmail him, through the steps that James takes to extract him from any possibility of scandal, is so sharp and so well-done that it feels like it belongs in a much better movie. These scenes show that it wasn't that the famed silent movie star Keaton was getting old and had lost his edge (as some claimed at the time... and perhaps even today); it was that he didn't have anything good to work with. With quality material, and partner that can give as well as she got--which he had in Todd in these scenes they did together--Keaton could still deliver the physical humor that had made him famous, as well as deliver spoken jokes with perfect timing and the driest of dry wit.
While Keaton also has a few great moments toward the end of the film--during a Broadway opening that's bound to be a disaster unless some miracle happens--the scenes he shares with Todd really are the film's high point. It's really a shame that the rest of the cast is stuck with mostly sub-par material,. because there are several instances where they show that they are all quite talented. Nowhere is this more clear that the scene where Professor Post decides to bring the troupe to Broadway. The performance they put on is such a wretched display of hammish acting, lousy singing, and bad choreography that leaves viewers in awe at how bad it is... which is proof that we are watching performers of the highest caliber. It takes a lot of skill, and even more practice and rehearsal, to be as bad as they are in that scene.
It's at once heart-breaking and touching that Professor Post is so smitten with the troupe's leading later that he can't see how bad Pansy and her fellow performers are... and it also gives Jimmy Durante's character a likable dimension to what otherwise comes across as a fairly wretched human being: James truly believes that he and his troupe could be the next big thing if only they could get a break. When the Professor offers to fund their show, James isn't motivated by greed, but rather by the excitement of making his (and his fellow actors) dreams come true and to get them the recognition he believes they so richly deserve. At no point does James's faith in his troupe waver, even when the experienced Broadway director that Professor Post hires (played by Sydney Toler, who is best known as Charlie Chan) accurately and truthfully describes the level of talent the performers have. As annoying as I find Durante as an actor, I really liked his character of James... and I really wished he'd been given better material to work with.
(Of course, here I am laying blame on the scriptwriters and the director for the movie being mostly weak when maybe I should be giving credit to Buster Keaton and Thelma Todd for making the scenes they have together so sparklingly brilliant. After all, they are the common denominator for the movie's best parts... and their hilarious scenes together are plenty reward for sticking around through the rest of the film.
Monday, January 7, 2019
Flash Gordon turns 85!
Today, January 7, 2019. it's exactly 85 years since Flash Gordon by Alex Raymond first graced the funny pages. Here's a gallery of photos and art celebrating Flash, his friends, and his enemies!
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| Jean Rogers and Buster Crabbe, the first live-action Dale & Flash |
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| Dale (Jean Rogers), Ming the Merciless (Charles Middleton), Princess Aura (Pricilla Lawson),and Minions of Ming, in a scene from the 1936 serial "Flash Gordon". |
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| Flash and Dale in Trouble (By Alex Raymond) |
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| Flash Gordon, Prof. Zarkoff, Dale Arden and Pal. (By Troy Burch) |
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| Flash! He'll save everyone of us! (By Don Newton) |
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| Flash and Dale: Ready for to the next 85 years of adventure (By Gabriel Hardiman) |
Musical Monday: Strangelove
Let's get the second week of 2019 started off right, with one of the greatest songs from Depeche Mode, orginally from the "Music of the Masses" album. (And be assured that there is nothing strange in loving Depeche Mode!)
Sunday, January 6, 2019
To Know Her is to Fear Her....
... and she's Jessica Drew, the only one TRUE Spider-Woman!
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| By Joyce Chin |
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| By Sean Izaak |
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| By David Finch and Danny Miki |
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| By Shonemitsu |
(And is this the beginning of a "Spider-Woman Sunday" series along the lines of the "Princess of Mars" one? Time will tell!)
Friday, January 4, 2019
'She-Wolf of London' is a disappointment
She-Wolf of London (aka "The Curse of the Allenbys") (1946)
Starring: June Lockhart, Don Porter, Jan Wiley, Sara Haden, and Dennis Hoey
Director: Jean Yarbrough
Rating: Four of Ten Stars
Young heiress Phyllis Allenby (Lockhart) comes to fear that she has fallen victim to a family curse and has begun committing grisly murders in a nearby park. Her fiance (Porter) sets about to prove her fears wrong by finding the real killer.
"She-Wolf of London" is a slightly lethargic thriller that's more of a mystery than a monster movie, despite the title. It could be that this is a movie that's become predictable given the hundreds of similar films that have been made since its release in 1946, but I pretty much knew how it was going to resolve some five-ten minutes in, as well the true reason for the Allenby curse's return.
Usually, I don't mind being right about guessing where a film is heading before it gets there, particuarly when the filmmmakers throw in some nice bits of misdirection that make me suspect I'm wrong... and the actions of Phyllis's insensitive friend Carol (Wiley) were so well orchestrated that they made me do just that--could she REALLY be that much of a bitch without trying, I had to ask myself? Unfortunately, in the case of this movie, when it does arrive at the ending I had already guessed, it completely botches it. Setting up Carol as a possibility for the she-wolf was really the only decent bit of storytelling here, everything else being very pedestrian and the ending being a suspenseless, badly written and badly staged cop-out.
I wish more effort and care had been put into giving "She-Wolf of London" a better ending. I became very interested in the film about halfway through when I realized that its storyline was very close to what the 1941 classic "The Wolf Man" (review here ) was originally supposed to be--a psychological thriller where the "werewolf" might just be a deluded psychopath whose "transformation" is a figment of a diseased mind--and this concept could have been put to far better use than it is here. I might have felt the letdown of the poorly executed ending more sharply because I got my hopes up for what was coming, but I suspect it's more likely the pathetic ending is simply the natural outcome of a production where quality wasn't a top priority. After all, this is a film set in 1890s London, with lead characters who are all British bluebloods, but none of the stars make even a halfhearted attempt at a British accent.
In the final analysis, this is a shoddy movie that is very solidly deserving of the 4/10 rating I'm giving it.
Starring: June Lockhart, Don Porter, Jan Wiley, Sara Haden, and Dennis Hoey
Director: Jean Yarbrough
Rating: Four of Ten Stars
Young heiress Phyllis Allenby (Lockhart) comes to fear that she has fallen victim to a family curse and has begun committing grisly murders in a nearby park. Her fiance (Porter) sets about to prove her fears wrong by finding the real killer.
"She-Wolf of London" is a slightly lethargic thriller that's more of a mystery than a monster movie, despite the title. It could be that this is a movie that's become predictable given the hundreds of similar films that have been made since its release in 1946, but I pretty much knew how it was going to resolve some five-ten minutes in, as well the true reason for the Allenby curse's return.
Usually, I don't mind being right about guessing where a film is heading before it gets there, particuarly when the filmmmakers throw in some nice bits of misdirection that make me suspect I'm wrong... and the actions of Phyllis's insensitive friend Carol (Wiley) were so well orchestrated that they made me do just that--could she REALLY be that much of a bitch without trying, I had to ask myself? Unfortunately, in the case of this movie, when it does arrive at the ending I had already guessed, it completely botches it. Setting up Carol as a possibility for the she-wolf was really the only decent bit of storytelling here, everything else being very pedestrian and the ending being a suspenseless, badly written and badly staged cop-out.
I wish more effort and care had been put into giving "She-Wolf of London" a better ending. I became very interested in the film about halfway through when I realized that its storyline was very close to what the 1941 classic "The Wolf Man" (review here ) was originally supposed to be--a psychological thriller where the "werewolf" might just be a deluded psychopath whose "transformation" is a figment of a diseased mind--and this concept could have been put to far better use than it is here. I might have felt the letdown of the poorly executed ending more sharply because I got my hopes up for what was coming, but I suspect it's more likely the pathetic ending is simply the natural outcome of a production where quality wasn't a top priority. After all, this is a film set in 1890s London, with lead characters who are all British bluebloods, but none of the stars make even a halfhearted attempt at a British accent.
In the final analysis, this is a shoddy movie that is very solidly deserving of the 4/10 rating I'm giving it.
Thursday, January 3, 2019
Who's greater than Tony the Tiger? Superman!
Then there was that time where Superman saved ZaSu from getting beat up by her abusive husband...
(We're presenting this slightly disturbing television ad, which aired during the Superman television series at some point between 1953 and 1958, because ZaSu Pitts was born on January 3, 1894--125 years ago today.)
(We're presenting this slightly disturbing television ad, which aired during the Superman television series at some point between 1953 and 1958, because ZaSu Pitts was born on January 3, 1894--125 years ago today.)
Wednesday, January 2, 2019
Thelma is a Bombshell for the Defense
Sneak Easily (1932)
Starring: ZaSu Pitts, Thelma Todd, James C. Morton, Bobby Burns, and Billy Gilbert
Director: Gus Meins
Rating: Six of Ten Stars
Attorney Thelma Tood (Todd) is defending a mad scientist (Burns) who has been accused of murdering is wife when juror ZaSu (Pitts) accidentally swallows a piece of evidence--which just happens to be a sample of the time-released high explosive of the madman's creation. Will ZaSu develop a case of terminal indigestion, or will the Thelma and the rest of the officers of the court find a way to save her before it's too late?
When I read a logline for this film--"Juror Zasu accidentally swallows a piece of evidence which just happens to be a time bomb."--it moved to the top of the list of things to watch. However, while amusing, this outing for these great comediennes is deeply flawed in several ways, almost all of them originating with the script.
The problems start almost immediately. Three minutes in, I felt like I had missed the beginning of the film, because so many questions are raised by the way Thelma Todd's attorney character is introduced. She is clearly an inexperienced attorney trying to inflate her image, but why? And how did she end up defending the mad scientist? Perhaps her apparent inexperience with court procedures is an indication that she isn't an attorney at all but is some sort of fraud? The sense of having missed out on a chunk of the story only deepened when an exchange between ZaSu makes comments to Thelma that not only establishes that they are closely acquainted but that they may even be roommates like they are in other entries in the series; how could ZaSu be on the jury in a murder trial if she has close ties to the defense attorney? It makes sense if Thelma is some sort of fraud and somehow managed to get ZaSu on the jury as a "ringer"... but, again, that means there's a chunk of story missing. I don't mind joining a story in progress when it comes to short films like these, but I do mind when it feels like I came in late.
Another problem is a bizarre repeat of footage during a high-speed driving sequence when ZaSu is being rushed to hopeful salvation in an ambulence. I thought maybe the DVD had skipped, but, no. For whatever reason, the filmmakers decided to insert the same few seconds of external footage of cars on a road twice in the same sequence, with only a short scene of the actors mugging it up in the ambulance in between. It's unncessarily distracting and looks sloppy and cheap. If it was done for comedy, I'm missing the joke.
Despite the flawed beginning, once ZaSu swallows the trial evidence, the film is utterly hilarious and top-notch. While Todd doesn't get to show off her flair for physical comedy, Pitts gets to do plenty of pratfalls. In fact, it many ways, Todd serves as the eye of a storm of craziness, as she is the only actor who isn't hamming it up... at least not until the explosive prelude to the film's twist ending.
"Sneak Easily" is one of 17 short films included on the two-DVD set containing
Starring: ZaSu Pitts, Thelma Todd, James C. Morton, Bobby Burns, and Billy Gilbert
Director: Gus Meins
Rating: Six of Ten Stars
Attorney Thelma Tood (Todd) is defending a mad scientist (Burns) who has been accused of murdering is wife when juror ZaSu (Pitts) accidentally swallows a piece of evidence--which just happens to be a sample of the time-released high explosive of the madman's creation. Will ZaSu develop a case of terminal indigestion, or will the Thelma and the rest of the officers of the court find a way to save her before it's too late?
When I read a logline for this film--"Juror Zasu accidentally swallows a piece of evidence which just happens to be a time bomb."--it moved to the top of the list of things to watch. However, while amusing, this outing for these great comediennes is deeply flawed in several ways, almost all of them originating with the script.
The problems start almost immediately. Three minutes in, I felt like I had missed the beginning of the film, because so many questions are raised by the way Thelma Todd's attorney character is introduced. She is clearly an inexperienced attorney trying to inflate her image, but why? And how did she end up defending the mad scientist? Perhaps her apparent inexperience with court procedures is an indication that she isn't an attorney at all but is some sort of fraud? The sense of having missed out on a chunk of the story only deepened when an exchange between ZaSu makes comments to Thelma that not only establishes that they are closely acquainted but that they may even be roommates like they are in other entries in the series; how could ZaSu be on the jury in a murder trial if she has close ties to the defense attorney? It makes sense if Thelma is some sort of fraud and somehow managed to get ZaSu on the jury as a "ringer"... but, again, that means there's a chunk of story missing. I don't mind joining a story in progress when it comes to short films like these, but I do mind when it feels like I came in late.
Another problem is a bizarre repeat of footage during a high-speed driving sequence when ZaSu is being rushed to hopeful salvation in an ambulence. I thought maybe the DVD had skipped, but, no. For whatever reason, the filmmakers decided to insert the same few seconds of external footage of cars on a road twice in the same sequence, with only a short scene of the actors mugging it up in the ambulance in between. It's unncessarily distracting and looks sloppy and cheap. If it was done for comedy, I'm missing the joke.
Despite the flawed beginning, once ZaSu swallows the trial evidence, the film is utterly hilarious and top-notch. While Todd doesn't get to show off her flair for physical comedy, Pitts gets to do plenty of pratfalls. In fact, it many ways, Todd serves as the eye of a storm of craziness, as she is the only actor who isn't hamming it up... at least not until the explosive prelude to the film's twist ending.
"Sneak Easily" is one of 17 short films included on the two-DVD set containing
Tuesday, January 1, 2019
Welcome to 2019!
Our thanks to Alice White for making sure we're keeping with the times here at Shades of Gray. 2019 promises to be a very busy year.
(Although we're hoping that the next time she makes an appearance, she'll be wearing one of her many silly hats.)
(Although we're hoping that the next time she makes an appearance, she'll be wearing one of her many silly hats.)
Monday, December 31, 2018
The end of 2018 is almost here...
... and Dorothy Lee and Thelma White are counting down the final minute of what's been a busy year here at Shades of Gray...
... while Lilian Harvey is ready with a toast...
... and Bessie Love just keeps on partying, because she knows that 2019 is going to be even busier!
WE'LL SEE YOU NEXT YEAR (in just another minute)!
... while Lilian Harvey is ready with a toast...
... and Bessie Love just keeps on partying, because she knows that 2019 is going to be even busier!
WE'LL SEE YOU NEXT YEAR (in just another minute)!
This 'Conspiracy' isn't worth uncovering
Conspiracy (1930)
Starring: Bessie Love, Ned Sparks, Hugh Trevor, Gertrude Howard, Rita La Roy, and Donald MacKenzie
Director: Christy Cabanne
Rating: Four of Ten Stars
After killing a drug kingpin, Margaret (Love) is hiding from both the drug syndicate and the police, her identity as the killer still unknown. Then a crime writer turned amateur detective, "Little Nemo" (Sparks), decides to solve the case, gets onto her trail, and may expose her to cops and crooks alike.
When I reviewed "The Sawdust Ring", I said that I could easily see why D.W. Griffith was sure Bessie Love was going to be a star from the moment he first saw her, and why she did indeed become a huge star during the 1920s. In that film, she had a certain charisma that almost seemed to make her leap off the screen. In "Conspiracy", however, very little of that aura is evident... in fact, the performance she gives here barely distinguishes her from a generic "damsel in distress"-type character. (I might even argue that her performance seems a bit off, since she's playing a character who's been undercover with a drug gang for several months. Sure, she's just stabbed someone to death as the film starts, and later she's been cooped up with an obnoxious asshole for two weeks, but I would still expect something more than confusion and panic to each and every situation she encounters.)
Perhaps Love was modulating her performance to be complimentary to the boring, bland stock hero played by Hugh Trevor. Maybe she was trying to be lowkey so Ned Sparks' supremely annoying, grumpy old man character would seem even more annoying and grumpy. Or maybe she knew she was in a badly directed third-rate movie with a weak script full of squandered opportunities and only one mildly interesting twist, and she wasn't giving it her all. Whatever the reason, there are only two times in "Conspiracy" where we see glimmers of the Love that graced the screen 15 years earlier: During the obligatory insta-romance-sparking scene where she tells her tale of woe to Trevor's dull alleged man of action, and during the scene where Sparks' character threatens to turn her over to the police, and she in turn threatens to bash his brains in with a paperweight.
Still, even if Love had given the performance of her career, she probably couldn't have saved this movie which leads with its very best scenes and then steadily goes down hill. The biggest problem here, really, is that the filmmakers couldn't decide if they were making a comedy or a thriller or a melodrama; or if the central character was Margaret, Love's caught-in-the-middle woman on the run; Little Nemo, Sparks' annoying and obnoxious and played-strictly-for-laughs crime writer; or Trevor's boring feature section reporter. It also doesn't help the movie that anything remotely suspenseful happens off-screen or in a flashback (where we already know the outcome).
As terrible as this movie is, and as disappointed as I was with Bessie Love's performance, I did keep watching. Ned Sparks as Little Nemo was entertaining in a train-wreck sort of way... and I watched with captivated awe while Sparks and Gertrude Howard (as Little Nemo's beleaguered black housekeeper) played through a series of comedic (but extremely unfunny) and deeply racist exchanges. Also, Rita La Roy's femme fatal-ish character that shows up at about the halfway point as an agent of the drug ring trying to milk Little Nemo for information and seduce him into turning Margaret over to the gang when he finds her, was a lot of fun.
Unless you're a huge Ned Sparks fan (I think this was the closest this accomplished character actor ever came to playing the lead); want an opportunity to be able to tell exactly how brilliant Bessie Love is in some of her other roles; or are looking for an old movie with some racists scenes to fill you with righteous outrage, there are far better movies to spend your time on. (But if you do decide to check it out, I recommend you watch it for free on YouTube.)
Starring: Bessie Love, Ned Sparks, Hugh Trevor, Gertrude Howard, Rita La Roy, and Donald MacKenzie
Director: Christy Cabanne
Rating: Four of Ten Stars
After killing a drug kingpin, Margaret (Love) is hiding from both the drug syndicate and the police, her identity as the killer still unknown. Then a crime writer turned amateur detective, "Little Nemo" (Sparks), decides to solve the case, gets onto her trail, and may expose her to cops and crooks alike.
Perhaps Love was modulating her performance to be complimentary to the boring, bland stock hero played by Hugh Trevor. Maybe she was trying to be lowkey so Ned Sparks' supremely annoying, grumpy old man character would seem even more annoying and grumpy. Or maybe she knew she was in a badly directed third-rate movie with a weak script full of squandered opportunities and only one mildly interesting twist, and she wasn't giving it her all. Whatever the reason, there are only two times in "Conspiracy" where we see glimmers of the Love that graced the screen 15 years earlier: During the obligatory insta-romance-sparking scene where she tells her tale of woe to Trevor's dull alleged man of action, and during the scene where Sparks' character threatens to turn her over to the police, and she in turn threatens to bash his brains in with a paperweight.
Still, even if Love had given the performance of her career, she probably couldn't have saved this movie which leads with its very best scenes and then steadily goes down hill. The biggest problem here, really, is that the filmmakers couldn't decide if they were making a comedy or a thriller or a melodrama; or if the central character was Margaret, Love's caught-in-the-middle woman on the run; Little Nemo, Sparks' annoying and obnoxious and played-strictly-for-laughs crime writer; or Trevor's boring feature section reporter. It also doesn't help the movie that anything remotely suspenseful happens off-screen or in a flashback (where we already know the outcome).
As terrible as this movie is, and as disappointed as I was with Bessie Love's performance, I did keep watching. Ned Sparks as Little Nemo was entertaining in a train-wreck sort of way... and I watched with captivated awe while Sparks and Gertrude Howard (as Little Nemo's beleaguered black housekeeper) played through a series of comedic (but extremely unfunny) and deeply racist exchanges. Also, Rita La Roy's femme fatal-ish character that shows up at about the halfway point as an agent of the drug ring trying to milk Little Nemo for information and seduce him into turning Margaret over to the gang when he finds her, was a lot of fun.
Unless you're a huge Ned Sparks fan (I think this was the closest this accomplished character actor ever came to playing the lead); want an opportunity to be able to tell exactly how brilliant Bessie Love is in some of her other roles; or are looking for an old movie with some racists scenes to fill you with righteous outrage, there are far better movies to spend your time on. (But if you do decide to check it out, I recommend you watch it for free on YouTube.)
It's almost 2019...
... and people are practicing their best kicks as they prepare to kick 2018 right the heck out of here!
Sunday, December 30, 2018
Horror movie giants at their best
The Body Snatcher (1945)
Starring: Boris Karloff, Henry Daniell, Russell Wade, Bela Lugosi, and Edith Atwater
Director: Robert Wise
Rating: Nine of Ten Stars
In this loose adaptation of a Robert Louis Stevenson short story, a young medical student (Wade) becomes drawn into the twisted relationship between a brilliant but coldhearted surgeon (Daniell) and a strange coachman who moonlights as a body snatcher to provide the doctor with research specimens (Karloff).
"The Body Snatcher" is a one-stop spot to discover why producer Val Lewton, actor Boris Karloff and director Robert Wise are held in such high regard by horror movie fans and filmmakers.
Lewton's touch is all over this film, and there is barely a scene that doesn't feature terror technqiues that filmmakers copy and rely on to this very day. Karloff gives one of the very best performances of his career, oozing greasy charm and quiet menace with every word and gesture. And then there's the very chilling scene where he's just choked a man to death, is sitting over the corpse, and then reaches out to stroke his pet cat. And, finally, Wise mounts a brilliantly structured film where the mystery and tension keeps mounting until the end, and every scene is perfectly paced, framed and lit. Much gets said about film noir, but the use of light and shadow in black and white horror films like this one is far more important that in crime dramas, and here Wise uses the medium to perfection.
And, of course, the stars are backed up by an excellent supporting cast, including Bela Lugosi in his final horror role for a major studio. Lugosi's role is small, but he brings a level of raw creepiness to his character, creepiness born more of stupidity than the evil that wafts from Karloff's character.
In retrospect, the fact that Lugosi dies in a very key scene in the film is something of an allegory for his career, as well as Karloff's. In the scene in question, Lugosi ends up dead on the floor and Karloff reaches out to pet a cat in a very creepy moment. This was the second-to-last film Lugosi made for a major studio, and his career and life were mostly a downward spiral from here, while Karloff's career in horror films continued to flourish.
Starring: Boris Karloff, Henry Daniell, Russell Wade, Bela Lugosi, and Edith Atwater
Director: Robert Wise
Rating: Nine of Ten Stars
In this loose adaptation of a Robert Louis Stevenson short story, a young medical student (Wade) becomes drawn into the twisted relationship between a brilliant but coldhearted surgeon (Daniell) and a strange coachman who moonlights as a body snatcher to provide the doctor with research specimens (Karloff).
"The Body Snatcher" is a one-stop spot to discover why producer Val Lewton, actor Boris Karloff and director Robert Wise are held in such high regard by horror movie fans and filmmakers.
Lewton's touch is all over this film, and there is barely a scene that doesn't feature terror technqiues that filmmakers copy and rely on to this very day. Karloff gives one of the very best performances of his career, oozing greasy charm and quiet menace with every word and gesture. And then there's the very chilling scene where he's just choked a man to death, is sitting over the corpse, and then reaches out to stroke his pet cat. And, finally, Wise mounts a brilliantly structured film where the mystery and tension keeps mounting until the end, and every scene is perfectly paced, framed and lit. Much gets said about film noir, but the use of light and shadow in black and white horror films like this one is far more important that in crime dramas, and here Wise uses the medium to perfection.
And, of course, the stars are backed up by an excellent supporting cast, including Bela Lugosi in his final horror role for a major studio. Lugosi's role is small, but he brings a level of raw creepiness to his character, creepiness born more of stupidity than the evil that wafts from Karloff's character.
In retrospect, the fact that Lugosi dies in a very key scene in the film is something of an allegory for his career, as well as Karloff's. In the scene in question, Lugosi ends up dead on the floor and Karloff reaches out to pet a cat in a very creepy moment. This was the second-to-last film Lugosi made for a major studio, and his career and life were mostly a downward spiral from here, while Karloff's career in horror films continued to flourish.
Getting ready for the change...
Ann Miller, who has helped us mark more holidays than anyone else here at Shades of Gray, stopped by to get things ready for the Coming of 2019.
Saturday, December 29, 2018
'The Adventures of Tartu' are thrilling!
The Adventures of Tartu (1943)
Starring: Robert Donat, Valerie Hobson, Walter Rilla, Glynis Johns, Phyllis Morris, and Martin Miller
Director: Harold S. Bucquet
Rating: Nine of Ten Stars
A British army officer and bomb expert (Donat), who happens to be a chemical engineer who is also fluent in German and Romanian, is recruited by military intelligence for a mission in German occupied Czechoslovakia. Here, is is to pose as Jan Tartu, a Romanian Nazi and chemist, infiltrate a plant where the Germans are making next-generation chemical weapons, and destroy it. Naturally, things go sideways with the mission, and while "Tartu" is improvising his way back on course, things go from urgent to dire: The Nazis aren't weeks or months away from launching a chemical weapons attack on Britain, but mere days!
"The Adventures of Tartu" is a tightly plotted and excellently executed spy thriller. There is literally not a moment of time wasted in the film, with every second spent deftly establishing characters and their relationships, or advancing and/or complicating the plot and the story. And what complications! I can't comment too much on them without spoiling them, but the way the predictable romance between leads Donat and Hobson intersects with the expected elements of a spy movie, as well as a couple of the plot complications, is wonderful and a great source of tension and suspense as the third act opens.
The already great script is brought to brilliant life by excellent, nuanced performances all around; even deeply vile characters like the lead Nazi in the film, played by William Rilla show glimpses of humanity. Every cast member is top-notch here.
Robert Donat is especially impressive since he essentially plays two different characters--Terence Stevensen of the British Army, an officer and a gentleman who loves his mother and visits her on weekends; and Jan Tartu of the Romanian Iron Guard who is a vain and self-centered womanizer. One could even say he plays a third character, since at two different points in the movie, he adopts a persona that's harder-edged than either Stevensen or Tartu, when he first has to show Nazi commanders and then resistance fighters that he "has what it takes" to be trusted by them. While I found Donat charming and lots of fun to watch in the only other film I recall seeing him in ("The 39 Steps", which happens to be another spy thriller), here I found him downright brilliant.
The final elements that makes this film a great joy to watch is the cinematography and the great sets, especially when it comes to the Nazi munitions plan and the secret weapons lab built inside a mountain. (And, boy, can those Movie Nazis build secret bases. Even James Bond villains can't match their ability to build massive and spacious underground labs!
"The Adventures of Tartu" is one of the 50 movies included in the "shovelware" set Fabulous Forties... and it's the original, superior British edit of the film. The American version is available for Streaming via Amazon Prime (and free for members); several scenes that are present just for character building are cut or shortened in the American version. I'm providing Amazon links to both below, but I want to stress that the one included in the Fabulous Forties collection is the superior film AND the digital transfer was made from a better print than the one available via Amazon Prime. (I've already posted reviews of other films included in the set. Click here to see them. and maybe decide if the set is worth your hard-earned dollars.)
While both versions of "The Adventures of Tartu" are worthwhile, and watching both is an interesting exercise, the Nine of Ten Stars rating at the top of this review is for the British version of the film; the American edit drops down to a Seven of Ten. It's still a good movie, but it's not as good.as the original cut.
Starring: Robert Donat, Valerie Hobson, Walter Rilla, Glynis Johns, Phyllis Morris, and Martin Miller
Director: Harold S. Bucquet
Rating: Nine of Ten Stars
A British army officer and bomb expert (Donat), who happens to be a chemical engineer who is also fluent in German and Romanian, is recruited by military intelligence for a mission in German occupied Czechoslovakia. Here, is is to pose as Jan Tartu, a Romanian Nazi and chemist, infiltrate a plant where the Germans are making next-generation chemical weapons, and destroy it. Naturally, things go sideways with the mission, and while "Tartu" is improvising his way back on course, things go from urgent to dire: The Nazis aren't weeks or months away from launching a chemical weapons attack on Britain, but mere days!
"The Adventures of Tartu" is a tightly plotted and excellently executed spy thriller. There is literally not a moment of time wasted in the film, with every second spent deftly establishing characters and their relationships, or advancing and/or complicating the plot and the story. And what complications! I can't comment too much on them without spoiling them, but the way the predictable romance between leads Donat and Hobson intersects with the expected elements of a spy movie, as well as a couple of the plot complications, is wonderful and a great source of tension and suspense as the third act opens.
The already great script is brought to brilliant life by excellent, nuanced performances all around; even deeply vile characters like the lead Nazi in the film, played by William Rilla show glimpses of humanity. Every cast member is top-notch here.
Robert Donat is especially impressive since he essentially plays two different characters--Terence Stevensen of the British Army, an officer and a gentleman who loves his mother and visits her on weekends; and Jan Tartu of the Romanian Iron Guard who is a vain and self-centered womanizer. One could even say he plays a third character, since at two different points in the movie, he adopts a persona that's harder-edged than either Stevensen or Tartu, when he first has to show Nazi commanders and then resistance fighters that he "has what it takes" to be trusted by them. While I found Donat charming and lots of fun to watch in the only other film I recall seeing him in ("The 39 Steps", which happens to be another spy thriller), here I found him downright brilliant.
The final elements that makes this film a great joy to watch is the cinematography and the great sets, especially when it comes to the Nazi munitions plan and the secret weapons lab built inside a mountain. (And, boy, can those Movie Nazis build secret bases. Even James Bond villains can't match their ability to build massive and spacious underground labs!
"The Adventures of Tartu" is one of the 50 movies included in the "shovelware" set Fabulous Forties... and it's the original, superior British edit of the film. The American version is available for Streaming via Amazon Prime (and free for members); several scenes that are present just for character building are cut or shortened in the American version. I'm providing Amazon links to both below, but I want to stress that the one included in the Fabulous Forties collection is the superior film AND the digital transfer was made from a better print than the one available via Amazon Prime. (I've already posted reviews of other films included in the set. Click here to see them. and maybe decide if the set is worth your hard-earned dollars.)
While both versions of "The Adventures of Tartu" are worthwhile, and watching both is an interesting exercise, the Nine of Ten Stars rating at the top of this review is for the British version of the film; the American edit drops down to a Seven of Ten. It's still a good movie, but it's not as good.as the original cut.
Friday, December 28, 2018
A case where the 'monster' is the hero
Creature from the Black Lagoon (1954)
Starring: Richard Carlson, Julie Adams, Antonio Moreno and Richard Denning
Director: Jack Arnold
Rating: Five of Ten Stars
A group of scientists travel into the Amazon jungle to retrieve an unusual fossil, but instead find themselves battling a very-much-alive amphibious humanoid.
I don't think I've ever seen a movie where I've been so quickly on the side of the monster, or rooted so strongly for it to kill off the cast of "heroes" as I did when I saw "Creature from the Black Lagoon".
I also don't think I've seen a movie that has irritated me quite so much as this one did.
If the morons we're supposed to be rooting for had behaved like scientists instead of big game hunters, they might have learned something about the creature, like, oh, that it was intelligent. From beginning to end, the assholes on the good riverboat Rita caused their own troubles, and they are completely unsympathetic as a result. The only member of the expedition with a brain was Richard Carlson's character, and even he seemed awfully slow on the uptake. (When the monster starts laying traps and blocking the river out of the lagoon, it's time to stop treating it like it's a shark with arms and legs, doofus.)
Despite my annoyance with every single character in the film, except the monster, whose initial mistake was one of curiosity and who later is justifiably pissed off at these interlopers who keep shooting sharp sticks and shining blinding lights at him (her?), I was very impressed with the astonishing quality of the underwater action photography and the amazing design of the creature. (And I'm even more amazed at the way the outfit allowed the stuntman wearing it to swim and seem more convincingly real than just about any other "guy in a rubber suit" monsters that have graced the silver screen.)
Unfortunately, the film has a padded feel to it, as there are several drawn-out pointless conversations, and a number of scenes that go on well past the point they should have ended. The film also suffers from a general lack of suspense, although perhaps if I hadn't been wishing for the monster to kill those idiots, maybe I would have felt a little more tension than I did.
Still, the look of the creature is fantastic, and the underwater sequences are amazingly well done. In fact, every shot of the creature swimming or fighting is a joy to watch, and the film is at its very best during a long sequence where the looks-great-in-a-bathing-suit marine biologist goes for a swim in the lagoon, and the creature is pacing her under the water, watching her with no menace but obvious curiosity.
The flaws and the strong parts of the film almost balance each other out, but the end result is a movie that's not quite as good as I expected. Maybe I had my expectations set to high, maybe it's a film that doesn't mesh well with modern attitudes--or maybe it just doesn't mesh well with my attitude.
This movie so annoyed me so much that it's the only one of the classic Universal Monsters where I haven't seen all of the original films. I'm getting around to changing that since I was gifted with a copy of the Creature of the Black Lagoon Legacy Collection. Time will tell if I keep rooting for the monster, or if the "heroes" are being bigger assholes in the rest of the series.
Starring: Richard Carlson, Julie Adams, Antonio Moreno and Richard Denning
Director: Jack Arnold
Rating: Five of Ten Stars
A group of scientists travel into the Amazon jungle to retrieve an unusual fossil, but instead find themselves battling a very-much-alive amphibious humanoid.
I don't think I've ever seen a movie where I've been so quickly on the side of the monster, or rooted so strongly for it to kill off the cast of "heroes" as I did when I saw "Creature from the Black Lagoon".
I also don't think I've seen a movie that has irritated me quite so much as this one did.
If the morons we're supposed to be rooting for had behaved like scientists instead of big game hunters, they might have learned something about the creature, like, oh, that it was intelligent. From beginning to end, the assholes on the good riverboat Rita caused their own troubles, and they are completely unsympathetic as a result. The only member of the expedition with a brain was Richard Carlson's character, and even he seemed awfully slow on the uptake. (When the monster starts laying traps and blocking the river out of the lagoon, it's time to stop treating it like it's a shark with arms and legs, doofus.)
Despite my annoyance with every single character in the film, except the monster, whose initial mistake was one of curiosity and who later is justifiably pissed off at these interlopers who keep shooting sharp sticks and shining blinding lights at him (her?), I was very impressed with the astonishing quality of the underwater action photography and the amazing design of the creature. (And I'm even more amazed at the way the outfit allowed the stuntman wearing it to swim and seem more convincingly real than just about any other "guy in a rubber suit" monsters that have graced the silver screen.)
Unfortunately, the film has a padded feel to it, as there are several drawn-out pointless conversations, and a number of scenes that go on well past the point they should have ended. The film also suffers from a general lack of suspense, although perhaps if I hadn't been wishing for the monster to kill those idiots, maybe I would have felt a little more tension than I did.
Still, the look of the creature is fantastic, and the underwater sequences are amazingly well done. In fact, every shot of the creature swimming or fighting is a joy to watch, and the film is at its very best during a long sequence where the looks-great-in-a-bathing-suit marine biologist goes for a swim in the lagoon, and the creature is pacing her under the water, watching her with no menace but obvious curiosity.
The flaws and the strong parts of the film almost balance each other out, but the end result is a movie that's not quite as good as I expected. Maybe I had my expectations set to high, maybe it's a film that doesn't mesh well with modern attitudes--or maybe it just doesn't mesh well with my attitude.
This movie so annoyed me so much that it's the only one of the classic Universal Monsters where I haven't seen all of the original films. I'm getting around to changing that since I was gifted with a copy of the Creature of the Black Lagoon Legacy Collection. Time will tell if I keep rooting for the monster, or if the "heroes" are being bigger assholes in the rest of the series.
Wednesday, December 26, 2018
Picture Perfect Wednesday: Thelma Todd
I was recently going through my pile of "To Be Watched & Reviewed" DVDs, and I noticed that the majority of them feature Thelma Todd. I didn't plan it this way, but appears that 2019 will be the Year of the Hot Toddy. (I'll add a "Thelma Todd Quarterly" to the line-up--with her joining Bessie Love and Milla Jovovich in rotation--to make it even more so!)
In addition to regular appearances by Thelma Todd, I am hoping and planning for 2019 to bring many more reviews of movies and comics, as well as a healthy dose of photos and art and the occasional music video and randomness.
I hope you all will join me on the other side!
In addition to regular appearances by Thelma Todd, I am hoping and planning for 2019 to bring many more reviews of movies and comics, as well as a healthy dose of photos and art and the occasional music video and randomness.
I hope you all will join me on the other side!
Tuesday, December 25, 2018
'It's a Cinch' is amusing but unremarkable... except for a really bizarre directorial choice
It's a Cinch (1932)
Starring: Monte Collins, Phyllis Crane, Tom O'Brien, and Richard Powell
Director: William B. Goodrich (aka Roscoe Arbuckle)
Rating: Five of Ten Stars
When a dance instructor (Collins) is tricked into facing a prize fighter (O'Brien) in the boxing ring, his girlfriend (Crane) devises a plan to turn the odds in his favor.
"It's a Cinch" is a mildly amusing short film with a fast-moving story performed by a pleasant but unremarkable cast. They are, sadly, made even more unremarkable by the degraded state of the of the film the DVD transfer was made from. The sound quality is okay, but the picture is so washed out and blurry that I couldn't even capture a good image with which to illustrate this review. (Hence, the use of a head shot of actress Phyllis Crane.)
"It's a Cinch" is perhaps of greatest interest to modern viewers because it is the last film directed by Roscoe "Fatty" Arbuckle. In 1921, he had been accused of rape by a woman who died before an investigation of her charges could even be properly begun, the prosecutor decided to link the two events and Arbuckle was tried for murder.
Although he was ultimately and emphatically found not guilty by a jury (so emphatically, in fact, that the jury felt obligated to issue a letter of apology to him with their verdict), Arbuckle's career was in ruins, because he had already been tried and convicted in the media. He could no longer get work as an actor, but he turned to directing under the pseudonym William B. Good. By the time work wrapped on "It's a Cinch", however, the murder trial was far enough in the past that Arbuckle's acting career began to revive and he stepped back in front of the camera.
Why am I rattling on about Roscoe Arbuckle? Because the only gripe I have about this picture leaves me wondering about the choices he made as a director.
"It's a Cinch" opens with a scene at the dance academy where the main character is an instructor that consists mostly of lingering shots of the dancers' chests and legs. Now, I don't usually have issues with cheesecake (as there is plenty of evidence for here and here), but those shots made me feel awkward, almost embarrassed, to be watching. What's more, these shots were completely out of tone with everything else that followed in the picture. In the final analysis, that opening scene almost made me knock the film down to a Four Out of Ten Star rating, but since the film was fun enough otherwise I held it to a low average rating. (I just wish I could figure out why someone thought that opening scene was a good idea... especially from a director who'd been accused of rape and who's pseudonym was Will B. Good. And my initial reaction wasn't even colored by that; it wasn't until I was starting this review that it registered who had directed the film.)
"It's a Cinch" is one of six short comedies included in the "Ultra-Rare Pre-Code Comedies Vol. 4" collection. The degraded quality of the original from which it was transferred is about the same as the others in the set--most have decent sound but awful picture--but this is a case where you get what you pay for. (Near as I can tell, this disc is also the first time these films have been available to the public for a long time.)
Starring: Monte Collins, Phyllis Crane, Tom O'Brien, and Richard Powell
Director: William B. Goodrich (aka Roscoe Arbuckle)
Rating: Five of Ten Stars
When a dance instructor (Collins) is tricked into facing a prize fighter (O'Brien) in the boxing ring, his girlfriend (Crane) devises a plan to turn the odds in his favor.
"It's a Cinch" is perhaps of greatest interest to modern viewers because it is the last film directed by Roscoe "Fatty" Arbuckle. In 1921, he had been accused of rape by a woman who died before an investigation of her charges could even be properly begun, the prosecutor decided to link the two events and Arbuckle was tried for murder.
Although he was ultimately and emphatically found not guilty by a jury (so emphatically, in fact, that the jury felt obligated to issue a letter of apology to him with their verdict), Arbuckle's career was in ruins, because he had already been tried and convicted in the media. He could no longer get work as an actor, but he turned to directing under the pseudonym William B. Good. By the time work wrapped on "It's a Cinch", however, the murder trial was far enough in the past that Arbuckle's acting career began to revive and he stepped back in front of the camera.
Why am I rattling on about Roscoe Arbuckle? Because the only gripe I have about this picture leaves me wondering about the choices he made as a director.
"It's a Cinch" opens with a scene at the dance academy where the main character is an instructor that consists mostly of lingering shots of the dancers' chests and legs. Now, I don't usually have issues with cheesecake (as there is plenty of evidence for here and here), but those shots made me feel awkward, almost embarrassed, to be watching. What's more, these shots were completely out of tone with everything else that followed in the picture. In the final analysis, that opening scene almost made me knock the film down to a Four Out of Ten Star rating, but since the film was fun enough otherwise I held it to a low average rating. (I just wish I could figure out why someone thought that opening scene was a good idea... especially from a director who'd been accused of rape and who's pseudonym was Will B. Good. And my initial reaction wasn't even colored by that; it wasn't until I was starting this review that it registered who had directed the film.)
"It's a Cinch" is one of six short comedies included in the "Ultra-Rare Pre-Code Comedies Vol. 4" collection. The degraded quality of the original from which it was transferred is about the same as the others in the set--most have decent sound but awful picture--but this is a case where you get what you pay for. (Near as I can tell, this disc is also the first time these films have been available to the public for a long time.)
Monday, December 24, 2018
Christmas is here!
Santa is making his rounds, but in case something goes wrong, we've arranged for back-up! Standing by are...
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| ... Shirley Knight ... |
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| ... Vera Ellen ... |
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| ... Joan Crawford ... |
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| ... and Mary Carlisle! |
Um... Mary seems to have left a few necessities behind at the North Pole staging area. Whoops.
Merry Christmas!
I hope all those who have visited 'Shades of Gray' for the reviews, pictures, and music videos over the past ten years are enjoying the company of friends, family, and other people who care about them. Thanks for stopping by, and I hope you'll be back in the future!
Sunday, December 23, 2018
'Thundering Tenors' sees a party ruined
Thundering Tenors (1931)
Starring: Charley Chase, Lena Malena, Lillian Elliot, Dorothy Granger, Elizabeth Forrester, and Edward Dillon
Director: James W. Horne
Rating: Six of Ten Stars
A socially inept radio star (Chase) causes chaos while trying to fit in at a high society dinner party hosted by his girlfriend's parents (Dillon and Elliot)
"Thundering Tenors" gets off to a slow start, but when it kicks into gear about five minutes in, it speeds ever-quicker down a path of growing craziness. The film is at its funniest and wildest when Chase gets into a running fight and wrestling match with a doctor played by Lena Malena in one of the biggest roles of her short career. She is called after Chase gets a fishbone stuck in his throat and the party's host calls for a doctor who lives nearby to come to his aid. The doctor, though, is a chiropractor who tries to use spinal and neck adjustments to get the bone loose, Chase doesn't appreciate her application of "medicine" and the hilarious fight mentioned above breaks out. (Interestingly, another Hal Roach-produced short released later the same year featured a similarly comic chiropractor--the inaugural teaming of Thelma Todd and ZaSu Pitts, "Let's Do Things". Either the screenwriter involved with both, H.M. Walker, found chiropractors and their "adjustments" funny, or chiropractic quackery was a common target of pop cultural mockery.)
The actors are all perfect in their parts, with Charley Chase being particularly charming and funny, with Lena Malena being hilariously physical in her fight with him. Unfortunately, those performances are undermined by inexplicable and unnecessary sound effects that someone must have thought were funny (like musical notes underscoring pratfalls, or the sound of tearing cloth as Chase undresses for "treatment" by the doctor); they don't ruin the movie, but they do make it less enjoyable. Another curious element of the film is that, despite the title, the presence of a band, and the fact that Chase is playing a supposedly famous singer, there isn't really a musical number in the film.
"Thundering Tenors" is one of 17 short films included in the two DVD set Charley Chase at Hal Roach: 1930 - 1931. It promises to be the first installment in a comprehensive collection of Chase's talkies.
Starring: Charley Chase, Lena Malena, Lillian Elliot, Dorothy Granger, Elizabeth Forrester, and Edward Dillon
Director: James W. Horne
Rating: Six of Ten Stars
A socially inept radio star (Chase) causes chaos while trying to fit in at a high society dinner party hosted by his girlfriend's parents (Dillon and Elliot)
"Thundering Tenors" gets off to a slow start, but when it kicks into gear about five minutes in, it speeds ever-quicker down a path of growing craziness. The film is at its funniest and wildest when Chase gets into a running fight and wrestling match with a doctor played by Lena Malena in one of the biggest roles of her short career. She is called after Chase gets a fishbone stuck in his throat and the party's host calls for a doctor who lives nearby to come to his aid. The doctor, though, is a chiropractor who tries to use spinal and neck adjustments to get the bone loose, Chase doesn't appreciate her application of "medicine" and the hilarious fight mentioned above breaks out. (Interestingly, another Hal Roach-produced short released later the same year featured a similarly comic chiropractor--the inaugural teaming of Thelma Todd and ZaSu Pitts, "Let's Do Things". Either the screenwriter involved with both, H.M. Walker, found chiropractors and their "adjustments" funny, or chiropractic quackery was a common target of pop cultural mockery.)
The actors are all perfect in their parts, with Charley Chase being particularly charming and funny, with Lena Malena being hilariously physical in her fight with him. Unfortunately, those performances are undermined by inexplicable and unnecessary sound effects that someone must have thought were funny (like musical notes underscoring pratfalls, or the sound of tearing cloth as Chase undresses for "treatment" by the doctor); they don't ruin the movie, but they do make it less enjoyable. Another curious element of the film is that, despite the title, the presence of a band, and the fact that Chase is playing a supposedly famous singer, there isn't really a musical number in the film.
"Thundering Tenors" is one of 17 short films included in the two DVD set Charley Chase at Hal Roach: 1930 - 1931. It promises to be the first installment in a comprehensive collection of Chase's talkies.
Saturday, December 22, 2018
Christmas is Coming...
... and rather than hang the wreath here at Shades of Gray, Dorothy Granger decided to hang *with* the wreath.
Hopefully, you're having an easier time decorating your place than we're having around here!
Hopefully, you're having an easier time decorating your place than we're having around here!
Friday, December 21, 2018
'Hit the Ice' has Bud & Lou at their finest
Hit the Ice (1943)
Starring: Lou Costello, Bud Abbott, Ginny Sims, Patric Knowles, Sheldon Leonard, Elyse Knox, Mark Lawrence, Joe Sawyer, and Johnny Long
Director: Charles Lamont and Erle C. Kenton
Rating: Six of Ten Stars
A pair of photographers (Abbott & Costello) accidentally become entangled in a bank heist and are mistaken for the robbers. As they try to clear their names, the actual thieves want to tie up loose ends by eliminating them when they cross paths again at a ski resort in Sun Valley.
"Hit the Ice" is a solid Abbott & Costello film. Almost every routine is perfect from set-up through execution, the plot that carries us from gag to gag is just enough to keep things moving, with the schemes of the villains providing suspense and connecting the various characters to each other as the paper thin story unfolds. The film is further lifted by the fact that, unlike in several other films that Abbott & Costello made together, their characters are written in such a way that viewers can believe that they're friends, because Abbott isn't as cruel and vicious toward Costello as his characters sometimes are. In fact, this may be one of the most cheerful A&C movies, because sympathetic character truly is smpathetic, Abbott and Costello are both portraying characters who are genuinely nice, and everyone comes out ahead in the end (except the bad guys of course); they get theirs in an extended and very funny and cartoonish skiing sequence.
As with many (most?) of Abbott & Costello's films, there's an attractive couple or two in the supporting cast that are acting out a romantic subplot. While the attractive couples are here, the romantic subplot is so light so as to be non-existent... while Costello becoming smitten with songstress Ginny Sims more or less erases her romance with band leader Johnny Long until the very end of the movie. It's a nice change of pace, and it's even nicer to see Abbott try to help his buddy impress and obtain the unobtainable girl instead of just dismissing him.
Unfortunately, for all its strengths, the weak parts of this movie are really weak... and they are all related to the film's musical numbers. Singer Ginny Sims, together with Johnny Long and His Orchestra, perform five different songs, each less interesting than the one before. The movie even more-or-less ends with them performing a song, ensuring that the final impression the movie will leave you with is boredom instead of cheerfulness--despite the great performances from Abbott & Costello. The boring musical numbers make the one sequence in the film that drags on seem even longer. About halfway though the movie, the ice-skating hijinx implied in the title arrive, but they quickly become unwelcome as Costello's pratfalls grow repetitive, the ice dancing goes on for too long, and it's all set too the seemingly never-ending and absolutely terrible song "The Double-Slap Polka" performed by Sims and Long's orchestra. The boring musical numbers cost this film a Star, and if it hadn't been for the superior material that Abbott & Costello had to work with here, they could have ruined the whole movie.
"Hit the Ice" is a really fun movie that I think lovers of classic comedies will enjoy... so long as they keep in mind that the reward for sitting through the boring songs is getting to see Abbott & Costello at their best.
Starring: Lou Costello, Bud Abbott, Ginny Sims, Patric Knowles, Sheldon Leonard, Elyse Knox, Mark Lawrence, Joe Sawyer, and Johnny Long
Director: Charles Lamont and Erle C. Kenton
Rating: Six of Ten Stars
A pair of photographers (Abbott & Costello) accidentally become entangled in a bank heist and are mistaken for the robbers. As they try to clear their names, the actual thieves want to tie up loose ends by eliminating them when they cross paths again at a ski resort in Sun Valley.
"Hit the Ice" is a solid Abbott & Costello film. Almost every routine is perfect from set-up through execution, the plot that carries us from gag to gag is just enough to keep things moving, with the schemes of the villains providing suspense and connecting the various characters to each other as the paper thin story unfolds. The film is further lifted by the fact that, unlike in several other films that Abbott & Costello made together, their characters are written in such a way that viewers can believe that they're friends, because Abbott isn't as cruel and vicious toward Costello as his characters sometimes are. In fact, this may be one of the most cheerful A&C movies, because sympathetic character truly is smpathetic, Abbott and Costello are both portraying characters who are genuinely nice, and everyone comes out ahead in the end (except the bad guys of course); they get theirs in an extended and very funny and cartoonish skiing sequence.
As with many (most?) of Abbott & Costello's films, there's an attractive couple or two in the supporting cast that are acting out a romantic subplot. While the attractive couples are here, the romantic subplot is so light so as to be non-existent... while Costello becoming smitten with songstress Ginny Sims more or less erases her romance with band leader Johnny Long until the very end of the movie. It's a nice change of pace, and it's even nicer to see Abbott try to help his buddy impress and obtain the unobtainable girl instead of just dismissing him.
Unfortunately, for all its strengths, the weak parts of this movie are really weak... and they are all related to the film's musical numbers. Singer Ginny Sims, together with Johnny Long and His Orchestra, perform five different songs, each less interesting than the one before. The movie even more-or-less ends with them performing a song, ensuring that the final impression the movie will leave you with is boredom instead of cheerfulness--despite the great performances from Abbott & Costello. The boring musical numbers make the one sequence in the film that drags on seem even longer. About halfway though the movie, the ice-skating hijinx implied in the title arrive, but they quickly become unwelcome as Costello's pratfalls grow repetitive, the ice dancing goes on for too long, and it's all set too the seemingly never-ending and absolutely terrible song "The Double-Slap Polka" performed by Sims and Long's orchestra. The boring musical numbers cost this film a Star, and if it hadn't been for the superior material that Abbott & Costello had to work with here, they could have ruined the whole movie.
"Hit the Ice" is a really fun movie that I think lovers of classic comedies will enjoy... so long as they keep in mind that the reward for sitting through the boring songs is getting to see Abbott & Costello at their best.
Wednesday, December 19, 2018
Picture Perfect Wednesday: Christmas Carole
Carole Lombard is trying to guess what's in the Christmas gifts. What's your favorite approach to figuring out what's in the packages under the tree?
Tuesday, December 18, 2018
Tuneful Tuesday with Big Bad Voodoo Daddy
Big Bad Voodoo Daddy is a modern band that plays music like that featured in many of the films reviewed on this blog. Today's song so authentic-sounding that it should have been set to a video featuring cartoon characters that are constantly bouncing to the beat.
Monday, December 17, 2018
'Horse Feathers' is high-quality nonsense
With the college football season coming to an end for 2018, it seemed like the perfect time to rewatch one of my favorite Marx Brothers films with an eye toward reviewing it for Shades of Gray. And it was.
Horse Feathers (1932)
Starring: The Marx Brothers, Thelma Todd, Nat Pendleton, and James Pierce
Director: Norman McLeod
Rating: Nine of Ten Stars
A crazy university president (Groucho Marx) tries to rig the Big Football Game against a rival school... with disastrous results.
"Horse Feathers" is one of the greatest movies the Marx Brothers ever made. It is an almost non-stop barrage of wild comedy--both visual, physical, and spoken--that is book-ended by my most favorite Marx Brothers song and dance routine--"Whatever It Is, I'm Against It"--and the craziest football spoof ever committed to film. Every joke and gag comes off perfectly, and the Marx Brothers are all top form, even the straight-man of the group, Zeppo, shines as a college football star and son of the university's president.
The stellar performances from the Marx Brothers are ably supported by equally great showings from Nat Pendleton (who appears as a football player) and Thelma Todd (who proves here that she will forever be one of the sexiest commedienes in history; films like this really show what a great loss to the world her tragic and premature death was). Todds comedic timing is absolutely perfect throughout this film, as she vamps it up as a campus man-eater and femme fatale with the scenes she shares with Chico and Groucho being among the film's brightest highlights.
There is really only one part of the film that doesn't click is the musical number performed by Harpo in an attemtp to woo Thelma Todd's character. It goes on for too long and it brings the movie to a screeching halt for over three minutes. Yes, "Everyone Says I Love You" is a nice tune and Harpo plays beautifully, but the segment is out of place... and Zeppo and Groucho's respective uses of the verses of the same song in serenading Todd don't interrupt the flow of this zany movie. (In fact, Groucho's performance and its aftermath cranks it up a notch.)
There are few films I have watched more than once--there are simply too many movies in the world--but I am glad that I now number "Horse Feathers" among them. This second viewing was time well spent.
Horse Feathers (1932)
Starring: The Marx Brothers, Thelma Todd, Nat Pendleton, and James Pierce
Director: Norman McLeod
Rating: Nine of Ten Stars
A crazy university president (Groucho Marx) tries to rig the Big Football Game against a rival school... with disastrous results.
The stellar performances from the Marx Brothers are ably supported by equally great showings from Nat Pendleton (who appears as a football player) and Thelma Todd (who proves here that she will forever be one of the sexiest commedienes in history; films like this really show what a great loss to the world her tragic and premature death was). Todds comedic timing is absolutely perfect throughout this film, as she vamps it up as a campus man-eater and femme fatale with the scenes she shares with Chico and Groucho being among the film's brightest highlights.
There is really only one part of the film that doesn't click is the musical number performed by Harpo in an attemtp to woo Thelma Todd's character. It goes on for too long and it brings the movie to a screeching halt for over three minutes. Yes, "Everyone Says I Love You" is a nice tune and Harpo plays beautifully, but the segment is out of place... and Zeppo and Groucho's respective uses of the verses of the same song in serenading Todd don't interrupt the flow of this zany movie. (In fact, Groucho's performance and its aftermath cranks it up a notch.)
There are few films I have watched more than once--there are simply too many movies in the world--but I am glad that I now number "Horse Feathers" among them. This second viewing was time well spent.
Saturday, December 15, 2018
Torchy is Returned to Her Roots
Torchy Gets Her Man (1938)
Starring: Glenda Farrell, Barton MacLane, Tom Kennedy, and Willard Robertson
Director: William Beaudine
Rating: Seven of Ten Stars
A counterfeiting ring, led by the elusive "100 Dollar Bill" Bailey (Robertson) engages in an elaborate deception to trick police detective Steve McBride (MacLane) and his superiors in the police department into thinking they are Secret Service agents conducting a sting operation and to inadvertently give them cover to operate. Meanwhile, his fiance, crime reporter Torchy Blane (Farrell), hopes those Secret Service agents will provide her with leads for her investigative article about Bailey and his career in crime, and she badgers a vacationing police officer (Kennedy) into helping her tail them.
"Torchy Blane Gets Her Man", the sixth film in this series, sees Glenda Farrell return as the character she originated... and it's great to have her back. It's also great to have the character back in full hard-nosed, dedicated crusading reporter mode, something that had faded in the two previous installments where Torchy was more a trickster and action heroine respectively.
While Farrell and the return of Classic Torchy is enough to boost this film, it is further enriched by a brazen and coldhearted villain with a clever scheme that, although I doubt it would ever work in the real world, makes for great movie entertainment. It also provides some nice old-school melodrama action during the third act with all the main characters assembled in house where a time bomb is counting down to their demise. We also get lots of Tom Kennedy's dimwitted Gahagan... and the dynamic between Torchy being the "straight-man" to his goofiness is a joy to behold. The only returning performer who doesn't shine is Barton MacLane, partly because Steve McBride is sidelined for most of the story, but also because some of the life seems to have gone out of MacLane's performance. He also appears puffier than he did in the previous three movies; perhaps he was ill, or maybe he just wasn't interested in even being on the set?
There are, however, two crucial aspects that prevent this film from being as great as it could have been. First, the film feels cheaper than previous installments, with a cramped feeling about most of the sets as well as a very sloppy use of stock footage badly matched to the sequence it's inserted into; the Torchy Blane films have always been low-budget B-pictures, but this is the first one that looks like it. Second, the story suffers from the same flaw that undermined "Torchy Blane in Panama"--Torchy ultimately ends up as a "damsel in distress" that must be rescued by her boyfriend. It's more deftly done here, but it would still have been nice if Torchy had played a more active role in the film's resolution.
"Torchy Gets Her Man" is included on DVD with the rest of the films in this classic 1930s series in the Torchy Blane Collection from the Warner Archives.
Starring: Glenda Farrell, Barton MacLane, Tom Kennedy, and Willard Robertson
Director: William Beaudine
Rating: Seven of Ten Stars
A counterfeiting ring, led by the elusive "100 Dollar Bill" Bailey (Robertson) engages in an elaborate deception to trick police detective Steve McBride (MacLane) and his superiors in the police department into thinking they are Secret Service agents conducting a sting operation and to inadvertently give them cover to operate. Meanwhile, his fiance, crime reporter Torchy Blane (Farrell), hopes those Secret Service agents will provide her with leads for her investigative article about Bailey and his career in crime, and she badgers a vacationing police officer (Kennedy) into helping her tail them.
"Torchy Blane Gets Her Man", the sixth film in this series, sees Glenda Farrell return as the character she originated... and it's great to have her back. It's also great to have the character back in full hard-nosed, dedicated crusading reporter mode, something that had faded in the two previous installments where Torchy was more a trickster and action heroine respectively.
While Farrell and the return of Classic Torchy is enough to boost this film, it is further enriched by a brazen and coldhearted villain with a clever scheme that, although I doubt it would ever work in the real world, makes for great movie entertainment. It also provides some nice old-school melodrama action during the third act with all the main characters assembled in house where a time bomb is counting down to their demise. We also get lots of Tom Kennedy's dimwitted Gahagan... and the dynamic between Torchy being the "straight-man" to his goofiness is a joy to behold. The only returning performer who doesn't shine is Barton MacLane, partly because Steve McBride is sidelined for most of the story, but also because some of the life seems to have gone out of MacLane's performance. He also appears puffier than he did in the previous three movies; perhaps he was ill, or maybe he just wasn't interested in even being on the set?
There are, however, two crucial aspects that prevent this film from being as great as it could have been. First, the film feels cheaper than previous installments, with a cramped feeling about most of the sets as well as a very sloppy use of stock footage badly matched to the sequence it's inserted into; the Torchy Blane films have always been low-budget B-pictures, but this is the first one that looks like it. Second, the story suffers from the same flaw that undermined "Torchy Blane in Panama"--Torchy ultimately ends up as a "damsel in distress" that must be rescued by her boyfriend. It's more deftly done here, but it would still have been nice if Torchy had played a more active role in the film's resolution.
"Torchy Gets Her Man" is included on DVD with the rest of the films in this classic 1930s series in the Torchy Blane Collection from the Warner Archives.
Friday, December 14, 2018
Sondra Locke passes away at 74
Actress, director, and film producer Sondra Locke passed away on November 3, 2018. She is best known for appearing in a string of films with Clint Eastwood during the 1970s and 1980s, as well as her later court battles with Eastwood and Warner Bros.
Locke was romantically involved with Eastwood for 14 years, and after he abruptly ended their relationship by literally moving her and her belongings out of his house, he covertly sabotaged her career by using his influence at Warner Bros. Locke sued both Eastwood and the studio for breach of contract and fraud in cases that were ultimately settled out of court. But the damage had been done.
Due to the after-effects of Eastwood's interference, and Locke's on-again, off-again battles with cancer, between the years of 1983 (her last film with Eastwood) and 2017, the once-busy actress only appeared in six more projects (two of those being television series episodes), and her directing career never truly got off the ground.
Sondra Locke was born in May 28, 1944 in Alabama. She made her first film appearance in the 1968 film "The Heart is a Lonely Hunter", in which she played a 14-year-old and landed the part by lying about her age. Aside from her screen appearances with Eastwood in "The Gauntlet" and "Sudden Impact," this first film is what she was most famous for.
Locke was romantically involved with Eastwood for 14 years, and after he abruptly ended their relationship by literally moving her and her belongings out of his house, he covertly sabotaged her career by using his influence at Warner Bros. Locke sued both Eastwood and the studio for breach of contract and fraud in cases that were ultimately settled out of court. But the damage had been done.
Sondra Locke was born in May 28, 1944 in Alabama. She made her first film appearance in the 1968 film "The Heart is a Lonely Hunter", in which she played a 14-year-old and landed the part by lying about her age. Aside from her screen appearances with Eastwood in "The Gauntlet" and "Sudden Impact," this first film is what she was most famous for.
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