Here's some Monday morning madness with Moracchioli!
Monday, May 6, 2019
Sunday, May 5, 2019
Saturday, May 4, 2019
The OTHER 'The Maltese Falcon' film adaptation
The Maltese Falcon (1931) (aka "Dangerous Female" and "Woman of the World")
Starring: Ricardo Cortez, Bebe Daniels, Otto Matieson, Dudley Digges, Uma Merkel, J. Farrell MacDonald, and Thelma Todd
Director: Roy Del Ruth
Rating: Seven of Ten Stars
After his partner is murdered, private detective Sam Spade (Cortez) finds himself drawn deeper and deeper into involvement with a growing assortment of odd characters, each of whom may be the murderer, as they chase each other in search of the elusive treasure known as the Maltese Falcon.
Most film buffs have at least heard of the 1941 film "The Maltese Falcon" with Humphrey Bogart, Mary Astor, Sidney Greenstreet, and Peter Lorre, but few know that it's a remake of this 1931 picture of the same name, and even fewer have seen the original. (I admit to not knowing of the existence of the 1931 version until it showed up on my radar, due to my current Year of the Hot Toddy project, since Thelma Todd has a small role in it.)
This review draws on my experience with both films. If you haven't see the 1941 version, I recommend holding off until you've seen this one. The later adaptation is the superior film, but the 1931 version has its strengths as well. It pales a little in comparison to what is an undisputed masterpiece, but it has some strengths that the other film couldn't possess.
Since both films adapt the same novels, the story lines are mostly the same, as are the characters and their relationships to each other. The films also share the similarity that the characters that come in and out of the story are more fun to try to puzzle out than the intersecting mysteries of murder and treasure hunt.
One very important difference between the films is the nature of the main character, Sam Spade. In the 1941 version, Spade is a dour, snarling man that is being worn down by the world, but in the this one, Spade smiles his way through even the most deadly of encounters, having fun laughing at danger while chasing after everyone with a nice pair of breasts. Where the later picture is film-noirish in its tone, the 1931 version hews closer to the pulp fiction stories in the magazines of the time; they were stories about tough people doing nasty things, but jokes were being cracked and lots of fun was had along the way. The two Sam Spades are the main source of these differences.
While Ricardo Cortez is the undisputed star of the film, I think Bebe Daniels (who by the time this film was made had already spent nearly two decades in front of film cameras, enjoying a career that survived not only the transition from child to adult star but also the technological leap from silent to sound films) deserved the top billing she has in this picture. She's a far more effective "mystery woman" than Mary Astor, in no small part due to the fact that there's no dancing around the fact that she uses sex and her good looks as lethal weapons. After having watched Daniels in a number of silent movies she made as a teenager--where she played everything from a loyal girlfriend, to a con-artist, to a girl coyly as much on the make as the film's male lead--it was interesting to see her play a character who is apparently rotten through and through. On many levels, the more overt approach this film has to Sam Spade's womanizing and the sexuality of the film's femme fatale makes the characters more interesting and a little deeper.
For example, the affair that Spade is having with Ida Archer, the wife of his murdered partner, is not just hinted at here; it's out in the open, and it's used more effectively as a plot point and as a looking into the nature of the characters than in the 1941 version. At one point, Spade treats Ida Archer extremely coldly, given the affair, and depending on how you choose to interpret that in the context of when he's doing it, it shows that there's a truly vile human being hiding behind that broad smile, or Spade is just as devious and calculating as the crooks he is trying to deal with throughout the picture. (Personally, I like to think it's the latter, a notion I'll come back to below.)
I found this to be a very entertaining little movie when taken on its own terms. When compared to the 1941 version, the supporting cast can't hold a candle to their counterparts, with the exception of Effie the Secretary; I really enjoyed Uma Merkel. Thelma Todd is more memorable than the Ida Archer in the 1941 version, but that's more because her relationship to Spade is more blatant than anything she does as actress here. Nonetheless, knowing that Todd was under contract to Hal Roach when this film was made, and busy appearing in short films opposite Charley Chase as well as gearing up to headline her series of comedies, I can't help but imagine that she was "lent to Warner Bros. for an afternoon of shooting, with the intent of boosting her resume and lifting her profile. In the end, Todd did her usual excellent job, but it really isn't much of a part.
One part of the film that I initially didn't like, but which grew on me as I thought about it, was the final scenes between Spade and the "dangerous female", Wonderly. My initial reaction to the film's wrap-up was that it was another one of those Hollywood insta-romances that have spoiled so many otherwise good movies for me... but then it dawned on me that there was more to the scenes than that. It struck me that those closing interactions between the two characters were a redemption of sorts--their sexual fling had reawakened some of the humanity that they had buried deep within themselves, and despite their natures, they had actually connected on a real and emotional level. Ultimately, it was too late for either character to derive any happiness from this realization, as the many lies and deceptions they engaged obscured their emotions even from themselves. (Cortez's expression when the truth about where he and Wonderly truly stand with one another is probably the best bit of acting he does in the entire film.)
You can get 1931 version "The Maltese Falcon" along with the 1934 spoof, "Satan Met a Lady", the 1941 version, and some great bonus features in the two-disc set The Matese Falcon: Special Edition. It's a great value, and I think it's a set any lover of classic mystery movies will enjoy.
Starring: Ricardo Cortez, Bebe Daniels, Otto Matieson, Dudley Digges, Uma Merkel, J. Farrell MacDonald, and Thelma Todd
Director: Roy Del Ruth
Rating: Seven of Ten Stars
After his partner is murdered, private detective Sam Spade (Cortez) finds himself drawn deeper and deeper into involvement with a growing assortment of odd characters, each of whom may be the murderer, as they chase each other in search of the elusive treasure known as the Maltese Falcon.
Most film buffs have at least heard of the 1941 film "The Maltese Falcon" with Humphrey Bogart, Mary Astor, Sidney Greenstreet, and Peter Lorre, but few know that it's a remake of this 1931 picture of the same name, and even fewer have seen the original. (I admit to not knowing of the existence of the 1931 version until it showed up on my radar, due to my current Year of the Hot Toddy project, since Thelma Todd has a small role in it.)
This review draws on my experience with both films. If you haven't see the 1941 version, I recommend holding off until you've seen this one. The later adaptation is the superior film, but the 1931 version has its strengths as well. It pales a little in comparison to what is an undisputed masterpiece, but it has some strengths that the other film couldn't possess.
Since both films adapt the same novels, the story lines are mostly the same, as are the characters and their relationships to each other. The films also share the similarity that the characters that come in and out of the story are more fun to try to puzzle out than the intersecting mysteries of murder and treasure hunt.
One very important difference between the films is the nature of the main character, Sam Spade. In the 1941 version, Spade is a dour, snarling man that is being worn down by the world, but in the this one, Spade smiles his way through even the most deadly of encounters, having fun laughing at danger while chasing after everyone with a nice pair of breasts. Where the later picture is film-noirish in its tone, the 1931 version hews closer to the pulp fiction stories in the magazines of the time; they were stories about tough people doing nasty things, but jokes were being cracked and lots of fun was had along the way. The two Sam Spades are the main source of these differences.
While Ricardo Cortez is the undisputed star of the film, I think Bebe Daniels (who by the time this film was made had already spent nearly two decades in front of film cameras, enjoying a career that survived not only the transition from child to adult star but also the technological leap from silent to sound films) deserved the top billing she has in this picture. She's a far more effective "mystery woman" than Mary Astor, in no small part due to the fact that there's no dancing around the fact that she uses sex and her good looks as lethal weapons. After having watched Daniels in a number of silent movies she made as a teenager--where she played everything from a loyal girlfriend, to a con-artist, to a girl coyly as much on the make as the film's male lead--it was interesting to see her play a character who is apparently rotten through and through. On many levels, the more overt approach this film has to Sam Spade's womanizing and the sexuality of the film's femme fatale makes the characters more interesting and a little deeper.
For example, the affair that Spade is having with Ida Archer, the wife of his murdered partner, is not just hinted at here; it's out in the open, and it's used more effectively as a plot point and as a looking into the nature of the characters than in the 1941 version. At one point, Spade treats Ida Archer extremely coldly, given the affair, and depending on how you choose to interpret that in the context of when he's doing it, it shows that there's a truly vile human being hiding behind that broad smile, or Spade is just as devious and calculating as the crooks he is trying to deal with throughout the picture. (Personally, I like to think it's the latter, a notion I'll come back to below.)
I found this to be a very entertaining little movie when taken on its own terms. When compared to the 1941 version, the supporting cast can't hold a candle to their counterparts, with the exception of Effie the Secretary; I really enjoyed Uma Merkel. Thelma Todd is more memorable than the Ida Archer in the 1941 version, but that's more because her relationship to Spade is more blatant than anything she does as actress here. Nonetheless, knowing that Todd was under contract to Hal Roach when this film was made, and busy appearing in short films opposite Charley Chase as well as gearing up to headline her series of comedies, I can't help but imagine that she was "lent to Warner Bros. for an afternoon of shooting, with the intent of boosting her resume and lifting her profile. In the end, Todd did her usual excellent job, but it really isn't much of a part.
One part of the film that I initially didn't like, but which grew on me as I thought about it, was the final scenes between Spade and the "dangerous female", Wonderly. My initial reaction to the film's wrap-up was that it was another one of those Hollywood insta-romances that have spoiled so many otherwise good movies for me... but then it dawned on me that there was more to the scenes than that. It struck me that those closing interactions between the two characters were a redemption of sorts--their sexual fling had reawakened some of the humanity that they had buried deep within themselves, and despite their natures, they had actually connected on a real and emotional level. Ultimately, it was too late for either character to derive any happiness from this realization, as the many lies and deceptions they engaged obscured their emotions even from themselves. (Cortez's expression when the truth about where he and Wonderly truly stand with one another is probably the best bit of acting he does in the entire film.)
You can get 1931 version "The Maltese Falcon" along with the 1934 spoof, "Satan Met a Lady", the 1941 version, and some great bonus features in the two-disc set The Matese Falcon: Special Edition. It's a great value, and I think it's a set any lover of classic mystery movies will enjoy.
Wednesday, May 1, 2019
Princesses of Mars, Part 30
It's National Pet Month, and here are some portraits of Martian Princesses with their favorite pets.
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| By Mike Hoffman |
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| By William Stout |
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| By Thomas Yates |
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| By Frank Frazetta |
Monday, April 29, 2019
Musical Monday with the Pet Shop Boys
It's a great video for one of the best songs from the Pet Shop Boys! Here's hoping you have a great Monday!
Sunday, April 28, 2019
'Hey There' is non-stop fun with great performances by all lead actors
Hey There (1918)
Starring: Harold Lloyd, Bebe Daniels, William Blaisdell, and Harry Pollard
Director: Alfred J. Goulding
Rating: Nine of Ten Stars
A man (Lloyd) goes to great lengths to return a letter dropped by a beautiful actress (Daniels). His attempt at gallantry throws an entire movie studio into chaos.
There are few films where "action-packed" is a more apt discriptor than it is for "Hey There". From the first fade-in to the final image of Harold Lloyd's character in the street, there is not a second wasted. Even better, as tightly packed as the script is with non-stop gags, its so well crafted that it provides some very nice character-defining moments that greatly enhance the film and give Bebe Daniels, William Blaisdell, and Lloyd to engage in acting that goes beyond merely clowning around. The writer of the film is unknown, or I'd be praising him by name.
This is another one of those films where Lloyd plays a guy on the make, but he comes off as more likable than in some of the others, partly because he's trying to do a nice thing (even if his motivations aren't entirely pure), and he's not intentionally trying to be an ass.
While the storytelling and performances by the actors are excellent, the film is made even more worthwhile by the way it takes a couple of silent movie tropes and demolishes them. One of my favorite bits in the film revolves around the nearly obligatory scene where a character in a rediculously bad disgusie tries to bluff one of the other characters.
I think even if you don't usually like silent movies, you might enjoy this one, due to the non-stop comedy and solid acting by the performers. That is doubly-true if you enjoy "behind the scenes"-type fictionalizations of the movie business and the personalities who work in it. (If you're a lover of hashtag activism, the film might also hold appeal, because it shows that directors have been sexually harassing actresses since the dawn of filmmaking.
I've made it easy for you to watch "Hey There" by embedding it below, via YouTube. The last bit of the movie is in bad shape, and I think a small or two piece may be missing toward the end as well, but it won't detract much from your enjoyment..
Starring: Harold Lloyd, Bebe Daniels, William Blaisdell, and Harry Pollard
Director: Alfred J. Goulding
Rating: Nine of Ten Stars
A man (Lloyd) goes to great lengths to return a letter dropped by a beautiful actress (Daniels). His attempt at gallantry throws an entire movie studio into chaos.
This is another one of those films where Lloyd plays a guy on the make, but he comes off as more likable than in some of the others, partly because he's trying to do a nice thing (even if his motivations aren't entirely pure), and he's not intentionally trying to be an ass.
While the storytelling and performances by the actors are excellent, the film is made even more worthwhile by the way it takes a couple of silent movie tropes and demolishes them. One of my favorite bits in the film revolves around the nearly obligatory scene where a character in a rediculously bad disgusie tries to bluff one of the other characters.
I think even if you don't usually like silent movies, you might enjoy this one, due to the non-stop comedy and solid acting by the performers. That is doubly-true if you enjoy "behind the scenes"-type fictionalizations of the movie business and the personalities who work in it. (If you're a lover of hashtag activism, the film might also hold appeal, because it shows that directors have been sexually harassing actresses since the dawn of filmmaking.
I've made it easy for you to watch "Hey There" by embedding it below, via YouTube. The last bit of the movie is in bad shape, and I think a small or two piece may be missing toward the end as well, but it won't detract much from your enjoyment..
Friday, April 26, 2019
'Catch-As-Catch-Can' is a shaky start for the Todd/Pitts comedy series
Catch-As-Catch-Can (1931)
Starring: ZaSu Pitts, Thelma Todd, Guinn 'Big Boy' Williams, Al Cooke, Eddie Dillon, and Reed Howes
Director: Marshall Neilan
Rating: Five of Ten Stars
When ZaSu (Pitts) and a professional wrestler (Williams) bond over their shared backgrounds as country folk, Thelma (Todd) and his manager (Howes) move to turn the bond into romance. When the ladies attend his big match to inspire him to fight, there's as much action in the audience as in the ring.
"Catch-As-Catch-Can" was the first true installment in the series of films that producer Hal Roach intended to use as a vehicle to create a female comedy team with the box-office might of Laurel & Hardy. While watching it, a thought kept popping into my head: There were better films later in the series, and Thelma Todd had enjoyed better vehicles in the Charley Chase films.
This isn't a bad film... but it's not exactly good either. It's nicely paced, all the actors do good jobs bringing to life a cast of pleasant and likable characters, but it's a little light on comedy. In fact, the first five-ten minutes of the film, which spends time setting up the two co-workers and roommates who are ostensibly the focus of the film, offer only a few mild chuckles... unless one thinks that a pair of home sick small-towners in the big city are funny just for being small-towners in the big city? The laughs don't even come from the main characters, but are instead generated by a drunk (Al Cooke) who first causes difficulties for Thelma and ZaSu at work, and then later at the wrestling match.
The fact the drunk is the source of comedy is sort of an early warning for what occurs in the second half of the movie, when the action movies to the sports arena. Technically, it's all extremely well-staged and filmed, and, as mentioned above, the actors are all great, but there are so many bit- and secondary players doing comedy routines that it feels like the main characters are almost being crowded out of their own picture. This sense is strengthened by the fact that those secondary players are also the ones who deliver most of the laughs.
Maybe my problem with the film is that the main characters get to mostly remain genteel and emerge from the evening's activities with their dignity mostly intact (even if poor ZaSu will need a hat)? This is not something I'm used to in these Hal Roach short films, especially when it comes to Thelma Todd. Todd usually manages to keep projecting poise and dignity even while her character is being subjected to, or taking part in, the most ridiculous slapstick situations. Even in the films where Todd is the "straight-woman", she usually gets to show off that remarkable ability to some degree.
"Catch-As-Catch Can" is a pleasant enough film, although it's an inauspicious beginning for Pitts' and Todd's run together. Since I intend to watch and review all of the films they were teamed for, I hope that this one is the exception rather than the rule. (I know that they made better films together than this one, since I've watched and reviewed a few of them already; this is the weakest of their 17 films together that I've seem so far.)
Starring: ZaSu Pitts, Thelma Todd, Guinn 'Big Boy' Williams, Al Cooke, Eddie Dillon, and Reed Howes
Director: Marshall Neilan
Rating: Five of Ten Stars
When ZaSu (Pitts) and a professional wrestler (Williams) bond over their shared backgrounds as country folk, Thelma (Todd) and his manager (Howes) move to turn the bond into romance. When the ladies attend his big match to inspire him to fight, there's as much action in the audience as in the ring.
"Catch-As-Catch-Can" was the first true installment in the series of films that producer Hal Roach intended to use as a vehicle to create a female comedy team with the box-office might of Laurel & Hardy. While watching it, a thought kept popping into my head: There were better films later in the series, and Thelma Todd had enjoyed better vehicles in the Charley Chase films.
This isn't a bad film... but it's not exactly good either. It's nicely paced, all the actors do good jobs bringing to life a cast of pleasant and likable characters, but it's a little light on comedy. In fact, the first five-ten minutes of the film, which spends time setting up the two co-workers and roommates who are ostensibly the focus of the film, offer only a few mild chuckles... unless one thinks that a pair of home sick small-towners in the big city are funny just for being small-towners in the big city? The laughs don't even come from the main characters, but are instead generated by a drunk (Al Cooke) who first causes difficulties for Thelma and ZaSu at work, and then later at the wrestling match.
The fact the drunk is the source of comedy is sort of an early warning for what occurs in the second half of the movie, when the action movies to the sports arena. Technically, it's all extremely well-staged and filmed, and, as mentioned above, the actors are all great, but there are so many bit- and secondary players doing comedy routines that it feels like the main characters are almost being crowded out of their own picture. This sense is strengthened by the fact that those secondary players are also the ones who deliver most of the laughs.
Maybe my problem with the film is that the main characters get to mostly remain genteel and emerge from the evening's activities with their dignity mostly intact (even if poor ZaSu will need a hat)? This is not something I'm used to in these Hal Roach short films, especially when it comes to Thelma Todd. Todd usually manages to keep projecting poise and dignity even while her character is being subjected to, or taking part in, the most ridiculous slapstick situations. Even in the films where Todd is the "straight-woman", she usually gets to show off that remarkable ability to some degree.
"Catch-As-Catch Can" is a pleasant enough film, although it's an inauspicious beginning for Pitts' and Todd's run together. Since I intend to watch and review all of the films they were teamed for, I hope that this one is the exception rather than the rule. (I know that they made better films together than this one, since I've watched and reviewed a few of them already; this is the weakest of their 17 films together that I've seem so far.)
Wednesday, April 24, 2019
Spacegirl Adventures, Part Seventeen
During 2011, I reposted the "Spacegirl" strips by Travis Charest here at Shades of Gray. Then I caught up to where he was, and I stopped. Charest continued, but I ended the postings here on a cliffhanger.
Today, those posts resume. I plan to post two "Spacegirl" strips every other Wednesday until I catch up with Charest again. Then we'll see how long it goes before she returns to this part of the galaxy. (In addition to the comic strips, I'll be posting an illo or two of a Space Girl by Charest or some other artist.)
Today, those posts resume. I plan to post two "Spacegirl" strips every other Wednesday until I catch up with Charest again. Then we'll see how long it goes before she returns to this part of the galaxy. (In addition to the comic strips, I'll be posting an illo or two of a Space Girl by Charest or some other artist.)
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| The Space Girl of "Spacegirl" by Travis Charest |
SPACEGIRL
by Travis Charest
PART SEVENTEEN
What Has Gone Before; On the run from her superiors, Spacegirl, has just escaped from a ship carrying a deadly life form. She is trying to reach the airlock of a nearby space station... without getting killed by its defensive cannons first.
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| By Bryan Baugh |
Tuesday, April 23, 2019
'Convict 13' is a wonderful blend of slapstick and absurdist humor
Convict 13 (1920)
Starring: Buster Keaton, Joe Roberts, and Sybil Seely
Directors: Buster Keaton and Eddie Cline
Rating: Eight of Ten Stars
A series of events leads a golfer (Keaton) to be mistaken for an escaped convict and get dragged off to prison. That's when things get really crazy.
The first few minutes of "Convict 13" is a fun bit of comedy based around golf, which at that time was a growing craze sweeping the nation, flowing downward from the upper-class to engage anyone who had the money for clubs and the time to play. It offers up a little social commentary that's relevant even today, as well having an African-American play the part of a black caddy rather than have someone in black face doing it. The part was substantive in the opening scenes, which makes this even more remarkable. (I recently watched a Harold Lloyd picture that I think was from this same year, and there were numerous men and women made-up to look as if they were African-American but weren't.)
With no warning, however, the film takes a turn for the humorously bizarre. After he gets hauled off to prison in case of mistaken identity, his problems keep escalating following failed escape attempts, foiling his execution in place of the prisoner he's been mistaken for, and finally a prison riot during which his girlfriend, who also happens to be the warden's daughter (played with great charm by Sybil Seeley).
As with a couple of the other early Buster Keaton films I've written about here, I don't want to go into too much detail about the storyline and the wonderful blend of absurdist humor and slapstick gags that come rapid-fire at the viewer, because it would spoil a lot of the fun. (I will say that "Convict 13" has one of the funniest aborted executions scenes you are likely to ever see. Additionally, Sybil Seely really gets to show off her comic chops in this one; it's easy to see why Keaton reportedly wished he could have been able to work with her on more films.)
Although it's a little slow at first, once "Convict 13" gets going, it turns into a hilariously wild ride. What's more, it's tightly scripted, so gags set up other gags as the film unfolds. It is so good that I am even able to overlook the fact that it concludes using what I find one of the most annoying ways to wrap up a story, be it fiction or film; in fact, if I were to set aside my biases, I might even say that this is one of those very rare creations where that ending is actually appropriate.
I recommend that you sit back and watch this great movie, right now, via the embedded YouTube video below!
As with a couple of the other early Buster Keaton films I've written about here, I don't want to go into too much detail about the storyline and the wonderful blend of absurdist humor and slapstick gags that come rapid-fire at the viewer, because it would spoil a lot of the fun. (I will say that "Convict 13" has one of the funniest aborted executions scenes you are likely to ever see. Additionally, Sybil Seely really gets to show off her comic chops in this one; it's easy to see why Keaton reportedly wished he could have been able to work with her on more films.)
Although it's a little slow at first, once "Convict 13" gets going, it turns into a hilariously wild ride. What's more, it's tightly scripted, so gags set up other gags as the film unfolds. It is so good that I am even able to overlook the fact that it concludes using what I find one of the most annoying ways to wrap up a story, be it fiction or film; in fact, if I were to set aside my biases, I might even say that this is one of those very rare creations where that ending is actually appropriate.
I recommend that you sit back and watch this great movie, right now, via the embedded YouTube video below!
Monday, April 22, 2019
The Milla Jovovich Quarterly on Musical Monday
In 2016, Milla Jovovich made her directorial debut at the helm of the video for a single from UK musician Sohn. She also stars in the haunting piece of film, which sees her giving a dramatic non-verbal performance in front of a screen where she's giving a dramatic non-verbal performance while a third image of her is being projected upon her face and bare shoulders. You can check out the excellent song and even more excellent video below.
Milla will be back for another appearance next quarter... and hopefully she'll seem a little happier then!
NOTE: This post was originally slated to appear in February, but I forgot to let it "go live." (It was probably Fate, given that Milla Jovovich can currently be seen in theaters as the villain in the new "Hellboy" movie. I hope to get around to seeing it this weekend! I trust she will be as spectacular as she always is!
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