This image was borrowed from motivatedphotos.com. Click on the link to check out thousands of similar amusingly captioned photos.
Wednesday, January 13, 2010
Picture Perfect Wednesday: Ninjas...
This image was borrowed from motivatedphotos.com. Click on the link to check out thousands of similar amusingly captioned photos.
Tuesday, January 12, 2010
Bates Motel is a little like Hotel California
Psycho (1960)
Starring: Anthony Perkins, Janet Leigh, John Gavin and Vera Miles
Director: Alfred Hitchcock
Rating: Ten of Ten Stars
Marion Crane (Leigh) steals $40,000 from her employer and heads off to start a new life with her lover, Sam Loomis (Gavin). Before she can meet up with him, however, she vanishes without a trace. Sam and her worried sister, Lila (Miles) track her to the isolated Bates Motel, where a soft-spoken young man named Norman (Perkins) struggles under the heavy hand of his shrewish, possessive mother. But Norman is a man who has many dark secrets....
I think everyone reading this knows what Norman is hiding, as well as where Marion and the $40,000 vanished to... but in case someone hasn't seen one of the greatest horror films ever made, I'll keep to my policy of not offering any spoilers.
Suffice it to say that I think this movie must have been absolutely, jaw-dropping in its audacity with the plot-twist that happens about 15-20 minutes in. I doubt anyone could have been prepared for it, and "Psycho" is still remarkable for flawless way it pulls it off... few films can take such a shocking left turn and not spill the audience on the curve. Instead, after the shock wears off--and it IS shocking if you aren't expecting it, even in this day and age when movies go back for reshoots to add violence and nudity--the audience is even more captivating. Where can the movie go from there, they're asking themselves.
"Psycho" is one of Hitchcock's finest movies. The cast is perfect; the script is perfect; the sets are amazing; the camerawork and creative use of lighting is astonishingly creative and effective; and the Bernard Hermann score is absolutely mindblowing (even if I'm not as fond of the "Murder Theme" as so many others are... there are far better bits of music in the film).
If you haven't see it, or if you've seen the pale imitation that was released in 1998 under the guise of a "remake" (and it was an imitation... to call that travesty a "remake" is an insult to genuine remakes, no matter how bad they might be), you need to see "Psycho". It's a film every movie lover should experience.
Starring: Anthony Perkins, Janet Leigh, John Gavin and Vera Miles
Director: Alfred Hitchcock
Rating: Ten of Ten Stars
Marion Crane (Leigh) steals $40,000 from her employer and heads off to start a new life with her lover, Sam Loomis (Gavin). Before she can meet up with him, however, she vanishes without a trace. Sam and her worried sister, Lila (Miles) track her to the isolated Bates Motel, where a soft-spoken young man named Norman (Perkins) struggles under the heavy hand of his shrewish, possessive mother. But Norman is a man who has many dark secrets....
I think everyone reading this knows what Norman is hiding, as well as where Marion and the $40,000 vanished to... but in case someone hasn't seen one of the greatest horror films ever made, I'll keep to my policy of not offering any spoilers.
Suffice it to say that I think this movie must have been absolutely, jaw-dropping in its audacity with the plot-twist that happens about 15-20 minutes in. I doubt anyone could have been prepared for it, and "Psycho" is still remarkable for flawless way it pulls it off... few films can take such a shocking left turn and not spill the audience on the curve. Instead, after the shock wears off--and it IS shocking if you aren't expecting it, even in this day and age when movies go back for reshoots to add violence and nudity--the audience is even more captivating. Where can the movie go from there, they're asking themselves.
"Psycho" is one of Hitchcock's finest movies. The cast is perfect; the script is perfect; the sets are amazing; the camerawork and creative use of lighting is astonishingly creative and effective; and the Bernard Hermann score is absolutely mindblowing (even if I'm not as fond of the "Murder Theme" as so many others are... there are far better bits of music in the film).
If you haven't see it, or if you've seen the pale imitation that was released in 1998 under the guise of a "remake" (and it was an imitation... to call that travesty a "remake" is an insult to genuine remakes, no matter how bad they might be), you need to see "Psycho". It's a film every movie lover should experience.
Monday, January 11, 2010
A killer lurks in the Monte Carlo night
Monte Carlo Nights (1934)
Starring: John Darrow, Mary Brian, George Hayes and Kate Campbell
Director: William Nigh
Rating: Five of Ten Stars
After being convicted for a murder he didn't commit, adventurer Larry Sturgis (Darrow) is on his way to prison when a lucky coincidence gives him a chance to not only escape, but also to cover his trial by appearing to be dead. Following the only lead to the real killer--a system for playing the roulette wheel--he travels to Monte Carlo in hopes of tracking him down. Here, he reunites with his fiancee (Brian) and a police detective (Hayes), both of whom never gave up on proving his innocence. Will they find a killer before he strikes at them from the shadows of the Monte Carlo night?
"Monte Carlo Nights" is among the best-looking films that prolific low-budget mystery director William Nigh ever helmed. With three gorgeous and talented actresses in key roles, a decent leading man, and a bigger budget than average for a Monogram production--as evident in the sets, costumes, and crane shots featured in the film--Nigh delivers a decent little thriller that holds up nicely some 75+ years later.
The film has two weaknesses that causes me to rate it at the lower end of average, one of which is direction, the other a script issue. First, the film starts slowly, forcing the viewer to sit through an entire horse race while an ineffective attempt at establishing the lead characters takes place; it is such an obvious bit of padding that I had low hopes for the rest of the film... but it quickly got better. Second, the script is too sloppy to be truly effective in the "innocent man accused" genre that it belongs to. While it's a subgenre that was still taking shape--and Alfred Hitchcock wouldn't perfect it in movies until a few years after the release of "Monte Carlo Nights"--there's no excuse for the incompetent way the film's red herrings are served out (and then barely adressed as the film moves along).
Still, despite its flaws, this is one of those pleasant surprises that emeges while one digs through the piles of neglected or completely forgotten films that have received new life with the coming of DVD.
Starring: John Darrow, Mary Brian, George Hayes and Kate Campbell
Director: William Nigh
Rating: Five of Ten Stars
After being convicted for a murder he didn't commit, adventurer Larry Sturgis (Darrow) is on his way to prison when a lucky coincidence gives him a chance to not only escape, but also to cover his trial by appearing to be dead. Following the only lead to the real killer--a system for playing the roulette wheel--he travels to Monte Carlo in hopes of tracking him down. Here, he reunites with his fiancee (Brian) and a police detective (Hayes), both of whom never gave up on proving his innocence. Will they find a killer before he strikes at them from the shadows of the Monte Carlo night?
"Monte Carlo Nights" is among the best-looking films that prolific low-budget mystery director William Nigh ever helmed. With three gorgeous and talented actresses in key roles, a decent leading man, and a bigger budget than average for a Monogram production--as evident in the sets, costumes, and crane shots featured in the film--Nigh delivers a decent little thriller that holds up nicely some 75+ years later.
The film has two weaknesses that causes me to rate it at the lower end of average, one of which is direction, the other a script issue. First, the film starts slowly, forcing the viewer to sit through an entire horse race while an ineffective attempt at establishing the lead characters takes place; it is such an obvious bit of padding that I had low hopes for the rest of the film... but it quickly got better. Second, the script is too sloppy to be truly effective in the "innocent man accused" genre that it belongs to. While it's a subgenre that was still taking shape--and Alfred Hitchcock wouldn't perfect it in movies until a few years after the release of "Monte Carlo Nights"--there's no excuse for the incompetent way the film's red herrings are served out (and then barely adressed as the film moves along).
Still, despite its flaws, this is one of those pleasant surprises that emeges while one digs through the piles of neglected or completely forgotten films that have received new life with the coming of DVD.
Sunday, January 10, 2010
Oliver Stone promises to show how Hitler has been vilified and misunderstood
Everyone praise Oliver Stone! He's going to join some brave souls--like Hamas leaders, Mahmoud Ahmadinejad and great Neo-Nazi thinkers through the decades--to put Hitler in context by bringing us the Truth about him and his life.
Stone promises to show us that Hitler can't be judged as "good" or "bad" and that he has been unfairly scapegoated by smallminded bigots (not to mention nerfarious agents of the Zionist Conspiracy)! Click here to read about the forthcoming Showtime series "Secret History."
While we wait for Oliver Stone's magnum opus to reveal the True Hitler, here's song that might well embody Stone's thinking on this unjustly tarred Man of Greatness:
And here's my attempt at putting Hitler "in context" (although I'm no Oliver Stone) using captioned photos borrowed from www.motivatedphotos.com.
Friday, January 8, 2010
'A Face in the Fog' not worth chasing after
A Face in the Fog (1936)
Starring: Lloyd Hughes, June Collyer, Al St. John, Jack Mulhall, and Lawrence Gray
Director: Robert Hill
Rating: Five of Ten Stars
When society reporter-trying-to-become-a-crimebeat-reporter Jean Monroe (Collyer) claims to have seen the face of the mysterious killer who is poisoning theatre people in the city, and that she intends to reveal his identity in a future column, she becomes his next target. Her fiance and fellow reporter Frank Gordon (Hughes) teams with criminologist and playwright Peter Fortune (Gray) to catch the killer before he claims Jean's life.
"A Face in the Fog" is one of those weakly written mysteries where there is only one possible suspect, who, after concocting a really brilliant method of committing his murders, subsequently behaves so stupidly that even Barney Fife could have caught him while in the middle of a three-day moonshine bender. The plot also doesn't make a lot of sense, nor do the reasons for who the killer chooses as his victims.
However, the actors perform with such charm and sincerity, and the film moves at such a break-neck pace that you'll hardly have time to notice its shortcomings--which means my criticisms probably amount to no more than nitpicking. June Collyer as the stubbornly brave, career-minded journalist is especially good, in what proved to be her last movie before she left acting for some 15 years to raise her chiklren.
Although this is an entertaining enough movie, with an excellent cast and sharp direction, the script is just shaky enough that I can't give it a wholehearted recommendation. Admirers of June Collyer or Lloyd Hughes should certainly check it out, and I think it's worth adding to the line-up of any in-home film festival you might want to hold centering on either one, but it's not quite a must-see if you're just looking for something to pass the time with.
Starring: Lloyd Hughes, June Collyer, Al St. John, Jack Mulhall, and Lawrence Gray
Director: Robert Hill
Rating: Five of Ten Stars
When society reporter-trying-to-become-a-crimebeat-reporter Jean Monroe (Collyer) claims to have seen the face of the mysterious killer who is poisoning theatre people in the city, and that she intends to reveal his identity in a future column, she becomes his next target. Her fiance and fellow reporter Frank Gordon (Hughes) teams with criminologist and playwright Peter Fortune (Gray) to catch the killer before he claims Jean's life.
"A Face in the Fog" is one of those weakly written mysteries where there is only one possible suspect, who, after concocting a really brilliant method of committing his murders, subsequently behaves so stupidly that even Barney Fife could have caught him while in the middle of a three-day moonshine bender. The plot also doesn't make a lot of sense, nor do the reasons for who the killer chooses as his victims.
However, the actors perform with such charm and sincerity, and the film moves at such a break-neck pace that you'll hardly have time to notice its shortcomings--which means my criticisms probably amount to no more than nitpicking. June Collyer as the stubbornly brave, career-minded journalist is especially good, in what proved to be her last movie before she left acting for some 15 years to raise her chiklren.
Although this is an entertaining enough movie, with an excellent cast and sharp direction, the script is just shaky enough that I can't give it a wholehearted recommendation. Admirers of June Collyer or Lloyd Hughes should certainly check it out, and I think it's worth adding to the line-up of any in-home film festival you might want to hold centering on either one, but it's not quite a must-see if you're just looking for something to pass the time with.
Thursday, January 7, 2010
It's always the little things that trip up a killer....
The Scar (aka "Hollow Triumph" and "The Man Who Murdered Himself") (1948)
Starring: Paul Henreid and Joan Bennett
Director: Steve Sekeley
Rating: Seven of Ten Stars
John Muller (Henreid), a career criminal on the run from vengeful gangsters after a botched casino robbery, finds the ultimate hideout: He remakes himself to take the place of a successful psychoanalyst who bears a strong resemblence to him. However, John fails to take into account that when you take over someone's life, you get the good with the bad.
"The Scar" is a somewhat far-fetched film-noir crime drama, but it's well-filmed, well-acted (with a couple of slips into over-the-top melodrama), and tense from beginning to end.
Henreid gives an interesting performance as a sociopathic schemer who finds an apparent path to safety and a new life; while co-star Bennett gives a nuanced performance as John's love interest--a character who starts out seeming like a fairly typical secretary for this kind of movie, but which ends up as one of the deeper and interesting characters in the film. What's more, the romance between the two characters actually feels genuine--something very rare in movies--and this makes the viewer feel true sympathy with Bennett's character at the end of the movie.
Another thing that makes the film interesting is the recurring theme that no one really cares enough about anyone but themselves to truly notice the world around them. This is what lets John Muller steal a man's life in every sense, and in a suitably ironic twist, this tendency toward total self-centeredness also ends up contributing to John's undoing.
After a near-perfect execution of everything leading up to it, the movie falters a bit at the ending. Given that crime hardly ever pays in movies, John clearly will not manage to live happily ever after in his stolen identity. However, the main reason for his Bad End comes about due to what feels more like Script-Dictated Character Stupidity rather than a natural consequence of events; John had the information and means to solve the biggest probem facing his new identity, yet he doesn't even make an attempt to do so before it's too late. (I could justify this lapse with some character psychology and the overall themes of the film--John was too arrogant and greedy to deal with the issue, or he was too self-centered for the full magnitude of the problem--but it still doesn't make the ending feel quite right.)
This is a near-perfect crime drama with an excellent script and decent performances. It's well-worth seeking out, particularly if you're a fan of the film noir subgenre.
Starring: Paul Henreid and Joan Bennett
Director: Steve Sekeley
Rating: Seven of Ten Stars
John Muller (Henreid), a career criminal on the run from vengeful gangsters after a botched casino robbery, finds the ultimate hideout: He remakes himself to take the place of a successful psychoanalyst who bears a strong resemblence to him. However, John fails to take into account that when you take over someone's life, you get the good with the bad.
"The Scar" is a somewhat far-fetched film-noir crime drama, but it's well-filmed, well-acted (with a couple of slips into over-the-top melodrama), and tense from beginning to end.
Henreid gives an interesting performance as a sociopathic schemer who finds an apparent path to safety and a new life; while co-star Bennett gives a nuanced performance as John's love interest--a character who starts out seeming like a fairly typical secretary for this kind of movie, but which ends up as one of the deeper and interesting characters in the film. What's more, the romance between the two characters actually feels genuine--something very rare in movies--and this makes the viewer feel true sympathy with Bennett's character at the end of the movie.
Another thing that makes the film interesting is the recurring theme that no one really cares enough about anyone but themselves to truly notice the world around them. This is what lets John Muller steal a man's life in every sense, and in a suitably ironic twist, this tendency toward total self-centeredness also ends up contributing to John's undoing.
After a near-perfect execution of everything leading up to it, the movie falters a bit at the ending. Given that crime hardly ever pays in movies, John clearly will not manage to live happily ever after in his stolen identity. However, the main reason for his Bad End comes about due to what feels more like Script-Dictated Character Stupidity rather than a natural consequence of events; John had the information and means to solve the biggest probem facing his new identity, yet he doesn't even make an attempt to do so before it's too late. (I could justify this lapse with some character psychology and the overall themes of the film--John was too arrogant and greedy to deal with the issue, or he was too self-centered for the full magnitude of the problem--but it still doesn't make the ending feel quite right.)
This is a near-perfect crime drama with an excellent script and decent performances. It's well-worth seeking out, particularly if you're a fan of the film noir subgenre.
Wednesday, January 6, 2010
Ginger Rogers is excellent in this obscure thriller
A Shriek in the Night (1933)
Starring: Ginger Rogers, Lyle Talbot, Purnell Pratt, Harvel Clark, Lillian Harmer, Louise Beaver, and Arthur Hoyt
Director: Albert Ray
Rating: Seven of Ten Stars
A series of murders take place in an upscale apartment building, and reporters Pat Morgan (Rogers) and Ted Kord (Talbot)--working for rival newspapers but involved in a romantic relationship--are hot on the trail of the killer, or killers. Morgan happened to be working on an investigative piece about one of the victims, so she is in a perfect place to help both her career and the police... so long as she doesn't end up a murder victim herself.
"A Shriek in the Night" is, for the most part, a fairly typical early 1930s low-budget mystery, with dimwitted maids, cranky police detectives (although in this one the detective is not incompetent, just cranky), and wise-cracking reporters running circles around everyone and ultimately providing the clues needed to solve the mystery. The acting is above average here, and the characterizations of the two reporters and the police detective are also a bit more intelligent and three-dimensional than is often the case in these movies. (The comic relief maids are still as annoying as ever; if this is what American-born house-servants were like, it's no wonder we took to importing illegal aliens to turn down our beds and clean our homes!)
What really sets the film apart from others like it is its villain, and a surprisingly chilling sequence where he prepares to burn Pat Morgan alive. This character feels in many ways like an ancestor to the mad killers who came into vogue during the 1970s, and which continue to slash, strangle, and mutilate their way across the movie screen to this very day.
Another thing I found interesting in this film is how different Ginger Rogers' character was from the one she played two years later in "The Thirteenth Guest".
Many actors and actresses that appeared in these B-movies gave pretty much the same performance in movie after movie--for instance, there's very little difference between the smart-ass character Lyle Talbot plays here and the one he played in "The Thirteenth Guest." I haven't seen enough of Rogers' performances to really know why there is this difference--was she lucky enough to have a chance to show different facets of her acting ability, or did she make each part she played different somehow?--but it was an unexpected surprise.
Those of you out there with more than just a passing interest in suspense and horror movies may want to check this film out for its very modern, proto-"maniac killer" character/sequence. Those of you who just enjoy this style of movies--mysteries that get solved by wise-cracking reporters who take nothing seriously--should also check it out. It's a fun way to spend an hour.
Starring: Ginger Rogers, Lyle Talbot, Purnell Pratt, Harvel Clark, Lillian Harmer, Louise Beaver, and Arthur Hoyt
Director: Albert Ray
Rating: Seven of Ten Stars
A series of murders take place in an upscale apartment building, and reporters Pat Morgan (Rogers) and Ted Kord (Talbot)--working for rival newspapers but involved in a romantic relationship--are hot on the trail of the killer, or killers. Morgan happened to be working on an investigative piece about one of the victims, so she is in a perfect place to help both her career and the police... so long as she doesn't end up a murder victim herself.
"A Shriek in the Night" is, for the most part, a fairly typical early 1930s low-budget mystery, with dimwitted maids, cranky police detectives (although in this one the detective is not incompetent, just cranky), and wise-cracking reporters running circles around everyone and ultimately providing the clues needed to solve the mystery. The acting is above average here, and the characterizations of the two reporters and the police detective are also a bit more intelligent and three-dimensional than is often the case in these movies. (The comic relief maids are still as annoying as ever; if this is what American-born house-servants were like, it's no wonder we took to importing illegal aliens to turn down our beds and clean our homes!)
What really sets the film apart from others like it is its villain, and a surprisingly chilling sequence where he prepares to burn Pat Morgan alive. This character feels in many ways like an ancestor to the mad killers who came into vogue during the 1970s, and which continue to slash, strangle, and mutilate their way across the movie screen to this very day.
Another thing I found interesting in this film is how different Ginger Rogers' character was from the one she played two years later in "The Thirteenth Guest".
Many actors and actresses that appeared in these B-movies gave pretty much the same performance in movie after movie--for instance, there's very little difference between the smart-ass character Lyle Talbot plays here and the one he played in "The Thirteenth Guest." I haven't seen enough of Rogers' performances to really know why there is this difference--was she lucky enough to have a chance to show different facets of her acting ability, or did she make each part she played different somehow?--but it was an unexpected surprise.
Those of you out there with more than just a passing interest in suspense and horror movies may want to check this film out for its very modern, proto-"maniac killer" character/sequence. Those of you who just enjoy this style of movies--mysteries that get solved by wise-cracking reporters who take nothing seriously--should also check it out. It's a fun way to spend an hour.
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