Merry Christmas... Mo-Mo-Mo!
(May pecan pie be upon him.)
Monday, December 20, 2010
Wednesday, December 15, 2010
Picture Perfect Wednesday:
Ten Days to Christmas!
Ten Days to Christmas!
Janet Leigh reminds everyone that you have ten days to get Christmas cards and presents to the people you love (or even me, your kind host).
Tuesday, December 14, 2010
'The Moth' is not worth catching
The Moth (1934)
Starring: Sally O'Neil, Paul Page, Wilfred Lucas, Rae Dagget, Fred Kelsey, and Duncan Renaldo
Director: Fred C. Newmeyer
Rating: Four of Ten Stars
Wild-child heiress Diane Wyman (O'Neil) loses her fortune when her guardian (Lucas) invokes a morality clause in her father's will following one media scandal too many. The lecherous old man helped engineered the scandal, hoping to force her completely under his power, but she runs off to New Orleans, where she naively falls in with a pair of jewel thieves (Dagget and Renaldo). The thieves pretend to be her friends, but they are just setting her up to take the fall for their latest heist and make a detective who has pursued them from New York that the disgraced socialite is actually the mysterious jewel thief known as "The Moth." Will George (Page), the handsome engineer who has become infatuated with her, manage to save Diane from the many sinister forces arrayed against her?
"The Moth" is an almost inappropriately light-hearted movie, given the fairly vile characters that are set to destroy the naive young woman who is its focal character, be it the dirty old man who is supposed to be looking out for her best interests but really just wants to possess her; or the cold-hearted thieves, who take advantage of her to cover their escape. Of course, given that it's so sloppily written movie that relies on coincidence after coincidence to keep the plot going, fails to be funny in most places where it's supposed to be, and the straight-forwardness of the plot makes the build-up of suspense nearly non-existent, it's hard to tell if its creators failed to make a drama or created one of the least funny comedies ever made.
The film is especially unfunny in the sense that the disgusting character who is Diane's guardian is supposed to be comic relief, and the screen writers and director blow both their key moments of suspense--when it looks like Diane is going to be caught with the stolen jewels, and when one of the thieves wants to turn to murder to insure his get-away--by introducing the threats and disposing of them before the audience even has time to grow concerned about them. It's rare to find a movie as brief as this one where the pacing is off, but that is the major flaw here.
Another flaw is the directing and the acting, both of which were more suitable to the silent movies where the director and much of the cast got their starts. While it's easy to see why the very pretty Sally O'Neil was a big star, it's equally easy to understand why she couldn't make a successful transition to the talkies. While she had charisma and beauty, she had an acting style more suitable for theatre or the always larger-than-life pantomimes needed to convey action and emotion in silent films. By 1937, her screen career was over, and O'Neil returned to theatre where her career had started.
Despite my criticism of her performance, O'Neil and her character of Diane Wyman are the only thing that makes this movie worth watching. She is by far the most interesting performer in the film, and even the most cynical viewer will want this likable, if none-to-bright, character to somehow recognize that the only person around who cares at all for her well-being is George, the one person she keeps pushing away and abusing.
Still, this is not a movie that's really worth seeking out. It's one of those films that's been from oblivion and once again put in front of the public by the advent of digital media and the relative ease of manufacturing DVDs, but unlike so many hidden treasures found in the Alpha Video catalogue, I doubt anyone would have missed "The Moth" had vanished forever. (Although I must congratulate the art department at Alpha Video for coming up with a cover design far more interesting than the movie; it was the cover alone that prompted me to buy the disc. It's got nothing at all to do with the movie, but it's pretty cool... almost like the days of the exploitation films where the crappier the movie, the more exciting the poster. The Roger Corman Marketing Team Spirit is alive and well in DVD Land!)
Starring: Sally O'Neil, Paul Page, Wilfred Lucas, Rae Dagget, Fred Kelsey, and Duncan Renaldo
Director: Fred C. Newmeyer
Rating: Four of Ten Stars
 |
"The Moth" is an almost inappropriately light-hearted movie, given the fairly vile characters that are set to destroy the naive young woman who is its focal character, be it the dirty old man who is supposed to be looking out for her best interests but really just wants to possess her; or the cold-hearted thieves, who take advantage of her to cover their escape. Of course, given that it's so sloppily written movie that relies on coincidence after coincidence to keep the plot going, fails to be funny in most places where it's supposed to be, and the straight-forwardness of the plot makes the build-up of suspense nearly non-existent, it's hard to tell if its creators failed to make a drama or created one of the least funny comedies ever made.
The film is especially unfunny in the sense that the disgusting character who is Diane's guardian is supposed to be comic relief, and the screen writers and director blow both their key moments of suspense--when it looks like Diane is going to be caught with the stolen jewels, and when one of the thieves wants to turn to murder to insure his get-away--by introducing the threats and disposing of them before the audience even has time to grow concerned about them. It's rare to find a movie as brief as this one where the pacing is off, but that is the major flaw here.
Another flaw is the directing and the acting, both of which were more suitable to the silent movies where the director and much of the cast got their starts. While it's easy to see why the very pretty Sally O'Neil was a big star, it's equally easy to understand why she couldn't make a successful transition to the talkies. While she had charisma and beauty, she had an acting style more suitable for theatre or the always larger-than-life pantomimes needed to convey action and emotion in silent films. By 1937, her screen career was over, and O'Neil returned to theatre where her career had started.
Despite my criticism of her performance, O'Neil and her character of Diane Wyman are the only thing that makes this movie worth watching. She is by far the most interesting performer in the film, and even the most cynical viewer will want this likable, if none-to-bright, character to somehow recognize that the only person around who cares at all for her well-being is George, the one person she keeps pushing away and abusing.
Still, this is not a movie that's really worth seeking out. It's one of those films that's been from oblivion and once again put in front of the public by the advent of digital media and the relative ease of manufacturing DVDs, but unlike so many hidden treasures found in the Alpha Video catalogue, I doubt anyone would have missed "The Moth" had vanished forever. (Although I must congratulate the art department at Alpha Video for coming up with a cover design far more interesting than the movie; it was the cover alone that prompted me to buy the disc. It's got nothing at all to do with the movie, but it's pretty cool... almost like the days of the exploitation films where the crappier the movie, the more exciting the poster. The Roger Corman Marketing Team Spirit is alive and well in DVD Land!)Monday, December 13, 2010
Mohammad Monday: Correcting Islam's Image
Here's another sampling of the long-running strip "Jesus and Mo". I think there are "holy men" out there once again saying exactly what Mo is reporting, given the adherent of the Islamic Death Cult who failed at his attempted mass-murder in Stockholm this weekend.
Sunday, December 12, 2010
Shaheed Sunday: Celebrating brave Jihadists!
You can read all about the glorious strike for the honor of Islam and the Prophet Mohammed (may peas be upon him) made yesterday in Sweden by clicking here.
And here are cartoons presented in celebration of this grand martyr's achievement (as well as providing another image of the Prophet Mohammed (may pinatas be upon him) in all his glory!
For images guarenteed suitable for all your idol-worshiping needs, be sure to stop by for Mohammed Mondays.
And here are cartoons presented in celebration of this grand martyr's achievement (as well as providing another image of the Prophet Mohammed (may pinatas be upon him) in all his glory!
For images guarenteed suitable for all your idol-worshiping needs, be sure to stop by for Mohammed Mondays.
Thursday, December 9, 2010
'The Ghost Ship' is an offbeat thriller
The Ghost Ship (1943)
Starring: Russell Wade, Richard Dix, Skelton Knaggs, Ben Bard, Edmund Glover, and Edith Barrett
Director: Mark Robson
Rating: Seven of Ten Stars
During the 1940s, producer Val Lewton made a string of landmark horror films for RKO, films with humble origins--he was given small budgets, titles picked in advance by the marketing people, and in many cases additional requirements that he had use certain specific standing sets. Yet, it was in these movies that many of the tricks that horror filmmakers still use to this very day were either first used or perfected. And while Lewton didn't actually direct any of the films, those who did credit him with defining the style and their trail-blazing filmmaking vocabulary.
With "The Ghost Ship," Lewton was given the task to make a horror movie using a ship set left over from the 1938 production "Pacific Liner". As was typical, he more than rose to the task and created a psychological thriller dripping with atmosphere and that keeps viewers guessing about the outcome until the very end. It also features moments of horror that few (if any) directors and producers will never be able to get up on the screen even in their wildest dreams.
In "Ghost Ship", young Tom Merriam (Wade) signs on as third officer of the Altair, a ship under the command of the respected and well-known Captain Stone (Dix). Tom quickly realizes that Stone is gradually going insane, becoming obsessed with power and believing the crew is plotting against him. He tries to call the attention of his fellow officers to this fact, but their loyalty to the captain blinds them to his growing and evermore dangerous eccentricities. Tom finds himself the target of the captain's deadly resentment, but manages to end his contract and leave the ship, safely escaping his clutches. Or so he thinks... as a series of misunderstandings places him right back on the Altair as it leaves for an extended cruise. A cruise that Tom is not likely to survive.
Simple both in story and execution, "Ghost Ship" is nonetheless a tense, character-driven thriller that keeps viewers engaged by placing its sympathetic and reluctant hero at the mercy of a madman that no one but he recognizes for what he is. Further, by demonstrating the homicidal nature of Captain Stone in a couple of very well-staged scenes of horror--the foremost of these being the one where Stone locks a crewman in the housing for the anchor chain as the anchor is being lifted--director Mark Robson makes it seem more than likely that Tom won't live as far as the end credits.
Of course, the tight script and moody cinematography wouldn't have seemed half as effective if the cast hasn't been so good. Russell Wade is a bit bland, but he works well in the part of the earnest officer who finds his idealism crashing headlong into a nightmare, while Richard Dix is almost brilliant in the part of the insane captain, switching from menacing to stern to bat-shit maniacal to coldly rational within short order... and coming across equally convincing in all modes of behavior. Dix's performances makes it absolutely plausible that Stone's insanity could go completely unnoticed by everyone else in his life and under his command, and this is what makes the movie so very scary.
Six decades after it was made, "Ghost Ship" remains a film that would-be makers of horror movies and thrillers should be forced to study and write 2,000 word essays on... especially if their last names are Argento, Zombie, or De Palma. Maybe their film-craft would improve.
Has anyone out there seen "Ghost Ship"? What do you think is the scariest moment in the film? For me, it's the life-and-death struggle during the climax that happens mere feet from a group of unaware sailors happily singing Calypso music.
Interesting Fact: Shortly after the release of "Ghost Ship", a pair of play-wrights claimed Val Lewton had stolen their story and took Lewton and RKO to court. Although an out-of-court settlement offer was made, Lewton didn't want the accusation of him being plagerist hanging out there, so he insisted the case go to trail. The courts found against Lewton and RKO, and the film was was withdrawn from distribution. It was not seen again by the public for over 50 years.
Starring: Russell Wade, Richard Dix, Skelton Knaggs, Ben Bard, Edmund Glover, and Edith Barrett
Director: Mark Robson
Rating: Seven of Ten Stars
During the 1940s, producer Val Lewton made a string of landmark horror films for RKO, films with humble origins--he was given small budgets, titles picked in advance by the marketing people, and in many cases additional requirements that he had use certain specific standing sets. Yet, it was in these movies that many of the tricks that horror filmmakers still use to this very day were either first used or perfected. And while Lewton didn't actually direct any of the films, those who did credit him with defining the style and their trail-blazing filmmaking vocabulary.
With "The Ghost Ship," Lewton was given the task to make a horror movie using a ship set left over from the 1938 production "Pacific Liner". As was typical, he more than rose to the task and created a psychological thriller dripping with atmosphere and that keeps viewers guessing about the outcome until the very end. It also features moments of horror that few (if any) directors and producers will never be able to get up on the screen even in their wildest dreams.
In "Ghost Ship", young Tom Merriam (Wade) signs on as third officer of the Altair, a ship under the command of the respected and well-known Captain Stone (Dix). Tom quickly realizes that Stone is gradually going insane, becoming obsessed with power and believing the crew is plotting against him. He tries to call the attention of his fellow officers to this fact, but their loyalty to the captain blinds them to his growing and evermore dangerous eccentricities. Tom finds himself the target of the captain's deadly resentment, but manages to end his contract and leave the ship, safely escaping his clutches. Or so he thinks... as a series of misunderstandings places him right back on the Altair as it leaves for an extended cruise. A cruise that Tom is not likely to survive.
Simple both in story and execution, "Ghost Ship" is nonetheless a tense, character-driven thriller that keeps viewers engaged by placing its sympathetic and reluctant hero at the mercy of a madman that no one but he recognizes for what he is. Further, by demonstrating the homicidal nature of Captain Stone in a couple of very well-staged scenes of horror--the foremost of these being the one where Stone locks a crewman in the housing for the anchor chain as the anchor is being lifted--director Mark Robson makes it seem more than likely that Tom won't live as far as the end credits.
Of course, the tight script and moody cinematography wouldn't have seemed half as effective if the cast hasn't been so good. Russell Wade is a bit bland, but he works well in the part of the earnest officer who finds his idealism crashing headlong into a nightmare, while Richard Dix is almost brilliant in the part of the insane captain, switching from menacing to stern to bat-shit maniacal to coldly rational within short order... and coming across equally convincing in all modes of behavior. Dix's performances makes it absolutely plausible that Stone's insanity could go completely unnoticed by everyone else in his life and under his command, and this is what makes the movie so very scary.
Six decades after it was made, "Ghost Ship" remains a film that would-be makers of horror movies and thrillers should be forced to study and write 2,000 word essays on... especially if their last names are Argento, Zombie, or De Palma. Maybe their film-craft would improve.
Has anyone out there seen "Ghost Ship"? What do you think is the scariest moment in the film? For me, it's the life-and-death struggle during the climax that happens mere feet from a group of unaware sailors happily singing Calypso music.
Interesting Fact: Shortly after the release of "Ghost Ship", a pair of play-wrights claimed Val Lewton had stolen their story and took Lewton and RKO to court. Although an out-of-court settlement offer was made, Lewton didn't want the accusation of him being plagerist hanging out there, so he insisted the case go to trail. The courts found against Lewton and RKO, and the film was was withdrawn from distribution. It was not seen again by the public for over 50 years.
Wednesday, December 8, 2010
Monday, December 6, 2010
Mohammed Monday:
What Would Mohammed Drive?
What Would Mohammed Drive?
In December of 2002, editorial cartoonist Doug Marlette answered the question "What would Mohammed drive?" with the following cartoon:
He got the usual threats of murder and mutilation from Mohammed death cultists and other followers of the Religion of Peace.
It's interesting how the idolators of the Prophet Mohammed (may peaches be upon him) automatically assumed that the cartoon referred to the Prophet Mohammed (may peas be upon him). Why would they have such an idea? There were no Ryder trucks or missiles in the day of their beloved and most perfect Prophet. And there are all sorts of guys named Mohammed who want to murder people.
Take for example Mohamed O. Mohamud, devout Muslim (according to his friends) and typical Lion of Islam slacker terrorist/mass-murderer wanna-be. In November 2010, Mohmamud provided his own answer to the question "what would Mohamed drive?" and it's the same that the cartoonist came up with. Does this mean that Mohamed O. Muhamud is a Prophet? Or does it mean he is like unto the Prophet Mohammed (may pleats be upon him), carrying on as he would and as he commands in the Most Holy Koran?
The lesson here is that the idolators (and perhaps even the "faithful Muslims") seem to know exactly what Mohammed would drive, whether it be the Prophet Mohammed (may peat be upon him) or Mohamed O. Mohamud, the MOM of all Mohammedans!
In fairness, at least one Imam disavowed Mohamed O. Mohamud, so I suppose this means there is at least ONE Muslim who is peaceful. This also indicates that he is smarter than a lot of Oregonians, many of whom seemed to blame the FBI for MOM's murderous intentions.
(The Mohammed Mondays series will continue on a weekly basis through the end of the year, after which it will become a bi-weekly feature. Submissions are welcomed. Click here for links to background and details.)
He got the usual threats of murder and mutilation from Mohammed death cultists and other followers of the Religion of Peace.
It's interesting how the idolators of the Prophet Mohammed (may peaches be upon him) automatically assumed that the cartoon referred to the Prophet Mohammed (may peas be upon him). Why would they have such an idea? There were no Ryder trucks or missiles in the day of their beloved and most perfect Prophet. And there are all sorts of guys named Mohammed who want to murder people.
Take for example Mohamed O. Mohamud, devout Muslim (according to his friends) and typical Lion of Islam slacker terrorist/mass-murderer wanna-be. In November 2010, Mohmamud provided his own answer to the question "what would Mohamed drive?" and it's the same that the cartoonist came up with. Does this mean that Mohamed O. Muhamud is a Prophet? Or does it mean he is like unto the Prophet Mohammed (may pleats be upon him), carrying on as he would and as he commands in the Most Holy Koran?
The lesson here is that the idolators (and perhaps even the "faithful Muslims") seem to know exactly what Mohammed would drive, whether it be the Prophet Mohammed (may peat be upon him) or Mohamed O. Mohamud, the MOM of all Mohammedans!
In fairness, at least one Imam disavowed Mohamed O. Mohamud, so I suppose this means there is at least ONE Muslim who is peaceful. This also indicates that he is smarter than a lot of Oregonians, many of whom seemed to blame the FBI for MOM's murderous intentions.
(The Mohammed Mondays series will continue on a weekly basis through the end of the year, after which it will become a bi-weekly feature. Submissions are welcomed. Click here for links to background and details.)
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