And he even took on all comers--the police, a shadowy group of assassins--and walked away!
Well... presumably he walked away. We don't know for sure, because only fragments remain of the movie where Harold Lloyd came across a band of terrorists after following the beautiful Bebe Daniels back to their lair. I can't really review the movie, because all that remains is a chunk of the middle... but based on what's here, I think this would have been a solid 8 of 10 rating, perhaps even a 9.
Take a look. It's the best action film you'll see this weekend (aside, maybe, for "John Wick: Chapter Three").
The Astronomer's Dream (1898) (aka "A Trip to the Moon")
Starring: Georges Méliès and Jehanne d'Alcy
Director: Georges Méliès
Rating: Eight of Ten Stars
An astronomer (Méliès) is plagued by strange events in his observatory, culminating in it being invaded by celestial bodies, and an angelic figure with a heavenly body (d'Alcy).
Georges Méliès was a French illusionist who fell in love with the power of moving pictures back when filmmaking was in its infancy. He made dozens upon dozens of trippy short films that were full of inanimate objects turning into people, and visa-versa; people and spirits appearing from, and vanishing into, thin air; and even rocket ships traveling to other worlds. He is widely and accurately considered the father of cinematic special effect, and by 1898, he had already perfected his basic techniques and his films and their visual trickery would only get more elaborate as the Silent Movie Age progressed.
"The Astronomer's Dream" is a rollicking 3-minute long special effects extravaganza which I think is almost as entertaining to modern viewers as it was back in the 1890s. Although there is a story here (but whether it's ultimately a comedy or a tragedy is left up to the viewers' interperation), and there are a some actors doing actor things, the driving force and star of this movie is the special effects. They must have been awe-inspiring back as the 19th century was giving way to the 20th, and while we may be less amazed by them today--since all but the youngest of children or most sheltered of adults know the basics of special effects--the trippiness they bring to the viewing experience remains undulled. After all, what's not to love about a movie where the moon descends to Earth to eat the content of an observatory and disgorge some children? Or a movie where a sexy space goddess decides to drop in, just because?
Whether you're interested in film as an art form, or just want to spend three minutes enjoying a weird little movie that's as charming now as it was 121 years ago, I strongly encourage you watch "The Astronomer's Drea", right here, right now!
Actress Peggy Lipton, best know for her roles on the legendary TV shows "Mod Squad" and "Twin Peaks", passed away on May 11, 2019, at the age of 72. Here are some photos in memory.
Klondike (1932) (aka "The Doctor's Sacrifice")
Starring: Lyle Talbot, Thelma Todd, Jason Robards, Henry B. Walthall, George Hayes, Frank Hawks, and Pricilla Dean
Director: Phil Rosen
Rating: Seven of Ten Stars
After a patient dies following an experimental surgery, Dr. Cromwell (Talbot) finds escape from the harsh judgement of the press and the public in a remote corner or Alaska. His new life and relationship with his new friends are threatened, including his budding romance with the beautiful Klondike (Todd), when he is convinced to perform the surgery on a local (Robards) who is suffering from the same affliction as Cromwell's ill-fated former patient.
"Klondike" is a slightly creaky melodrama that is still has enough elements to recommend it to modern audiences, with two of these being particularly noteworthy. One is a plot twist I don't want to talk about, because I'd ruin the story. The other is the commentary the film makes about a news media that is more interested in being self-righteous and self-important than actually covering the truth of the matter; and public that is either too simple minded or too wrapped up in their own self-righteousness to think any substantive thoughts about an issue beyond what they told by the news media. While it's a newspaper and its editor who have it in for Dr. Cromwell, because they want to make a larger point about medical ethics, its function in the story is no different than some "reporter" on a cable newsprogram or the operator of a website who stirs up the Outrage Brigades against this or that person they believe represents whatever ill they want to destroy. If they destroy the person who's their scapegoat n the process, so much the better--it's entirely secondary if the targeted person is even guilty of what he is being tried and convicted of.
Production-wise, the film is a little better looking than many of Monogram's notriously low-budget pictures. Story-wise, it moves along at a pretty brisk pace and it keeps you invested in the plight of Dr. Cromwell, and the various supporting characters are given enough color that we come to care about them, too. Even more, the story comes to a climax far more tension-laden than many A-list pictures, and we're even given a denoument which is a nicety so often forgotten in movies of this period. (The only time the film dragged was in a scene that took place in an airplane where the characters seemed to go around in circles and repeat variations of the same lines; it felt like either like filler, or the director and producers wanted to use every bit of footage with real-life celebrity aviator Frank Hawks, so they included all takes of Hawks and star Lyle Talbot improvising their lines during the scene.)
Another key to the success of this film is its cast. Although the pregnant pauses are a bit much in certain scenes, every cast member does a far better job than you'd expect in a film like this. The star Lyle Talbot is better in "Klondike" than anything else I've seen him in, and, while Thelma Todd is up to her usual captivating standards, her performance here adds further "evidence" to my theory that her performances are enhanced or hampered by whoever she's playing off/acting with in any given scene. For example, Todd seems to light up the screen even in bit parts when appearing with Charley Chase in a way she doesn't with ZaSu Pitts, for example. In this one film, however, we see her perform several involved scenes with different actors, and she seems more engaged and engaging in her scenes with Lyle Talbot than she does with the ones with Jason Robards. Part of this could be explained by the nature of the characters to one another, but mostly, I think it's how Todd feeds off certain other actors when working with them. (If you're a fan of Thelma Todd, this is a movie you should watch; it's one of the very few dramas she got to appear in during her entirely too-short career.)
Check out "Klondike" below, via YouTube. Until just a few years ago, it was believed that no prints of the film still existed. A copy was found in a private collection in Arizona, and it has been restored to as good a condition as possible, digitized, and released online for all of us to enjoy. (The DVD version of this film from Alpha Video features what appears to be a TV edit, and it is about 15 minutes shorter than the one embedded in this post.)
Rammstein is a German hard rock/industrial metal band who's been melting minds and eardrums for a quarter of a century. And they show few signs of slowing down.
The look of the video for their latest single, "Radio", is of the time when much of what this blog covers was created, but the sound is all modern! This new song from German heavy metal band Rammstein is a darker take on the same subject as Queen's "Radio GaGa"... and it's fabulous! (The video is pretty excellent too! I give 'em both 9/10 Stars!)
Take a look and a listen and feel free to let me know if you don't agree, either in the comments, or over on my Facebook page.
And if you don't understand German, here are the lyrics of "Radio" translated into English by Genius.
--
Radio Announcer: "Attention, attention. This is Berlin Königs Wusterhausen and the German Shortwave Transmitter. We're broadcasting dance music."
[Verse 1]
We were not allowed to belong
Not to see, speak or listen
But every night for an hour or two
I am gone from this world
Every night, a bit of happiness
My ear up close to the world receiver
[Refrain]
Radio, my radio
I let myself be sucked into the airwaves
My ears become eyes
Radio, my radio
So I hear what I do not see
Still secretly wanderlust
[Verse 2]
We were not allowed to belong
Not to see, speak or disrupt
Those kinds of songs were forbidden
Such dangerous foreign notes
So every night, a little happiness
My ear up close to the world receiver
[Refrain]
Radio, my radio
I let myself be sucked into the airwaves
My ears become eyes
Radio, my radio
So I listen to what I do not see
Still secretly wanderlust
[Bridge]
Every night I secretly climbed
On the back of the music
Put the ears to the wings
Sing quietly into the hands
Every night and again I fly
Just away with the music
Float through all rooms
No borders, no fences
[Interlude]
Radio, radio
Radio, radio
[Refrain]
Radio, my radio (my radio)
I let myself suck into the ether
My ears become eyes
Radio, my radio (my radio)
So I hear what I do not see
Silence secretly wanderlust
--
Rammstein's new album is available for sale on May 17, 2019. Get it! Get it NAUHW!
Dissolving Classroom (2017, Vertical Comics)
Story and Art: Junji Ito
Rating: Six of Ten Stars
Whereever handsome Yuuma and his hideous little sister Chizumi go, horror follows in their wake. Beautiful young women are left disfigured, classrooms of students are reduced to mysterious puddles of slime, and the all residents of entire apartment buildings vanish mysteriously. Guilt-ridden Yuuma is constantly apologizing to those who are doomed while Chizumi cackles madly and prances about. What is the terrible truth behind these happenings?
Many of horror master Junji Ito's stories deliver bits of social commentary along with the creepy scares. In "Dissolving Classroom", these messages are more front and center that is usual, and they are the driving force of them. There are two issues tackled in the five stories of "Dissolving" cycle--which are all collected in this volume--and these are that it's sometimes difficult to recognize who is the abuser and who is the abused in relationships; and the ever-growing popularity of call-out culture and the attendant displays of empty apologies. This dual messaging and commentary on how damaging it is to individuals and society as a whole are most clearly on display in the second story, "Dissolving Beauty", and the final tale "Interview with the Devil", which wraps up the cycle with a literally cataclysmic event.
The "Dissolving" stories bear a resemblance in their nature to Ito's most famous cycle of stories, Tomie: In each story, the recurring characters visit doom upon the hapless individuals who cross their paths. Ito was wise in wrapping this one up quickly, though, because there's no mystery behind Yuuma and Chizumi and why people are meeting gruesome ends around them--Yuuma's apologies are actually rituals that sacrifice people to Satan. There's also nothing sympathetic about them; as monstrous as Tomie is, there's an occasional glimmer of humanity that the reader can sympathize with... and her victims sometimes are deserving of their fates. Although Ito tries to inject some humanity in Yuuma and Chizumi toward the end of the cycle, it's too little and it's too late.
Aside from the five "Dissolving" stories, this anthology contains two brief tales. I'm going to take a guess that they were inspired by headlines or news articles that Ito read, and they are both quite thin and at the low end of the quality spectrum that we can expect from him. ("The Return" is curiously touching while "Children of the Earth" is nonsensical--not to mention covering ground that he's already trod more effectively in other stories).
The stories collected in "Dissolving Classroom" aren't among Ito's best work. They're still better than the majority of horror comics that have been published over the years, but there were were none of the moments of dread I've felt reading his previous works. In many ways, Ito has delivered a cycle of stories that felt more like standard horror comics than his usual work. Artistically, there also wasn't much that impressed--nothing was bad, but the only truly standout images were the ones where Ito drew Satan as Yuuma perceived him.
If you're familiar with Ito's work, and you've read everything else, this book is worth checking out. If you're a newcomer, "Uzumaki" is his greatest work to date. "Frankenstein", "Smash", "Shiver", or "Flesh-Colored Horror" are all short story collections that will give you a view of the range of horrors he can deliver when he is at his best.
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