Tuesday, December 31, 2019
The New Year is creeping up on us...
... and Lilyan Tashman is NOT looking forward to it being the '20s again!
Monday, December 30, 2019
Musical Monday with Ghostly Kisses
"Ghostly Kisses" is the name under which singer/songwriter Margaux Sauvé releases her music. The video below's got beautiful music and arresting visuals... just what you need to get the last Monday of 2019 off to a good start!
Touch (2019)
Starring: Margaux Sauvé and Chelsea Keefer
Director: Eddie Grams
Rating: Seven of Ten Stars
Sunday, December 29, 2019
'An All-American Toothache' is agreeable nonsense
An All American Toothache (1936)
Starring: Thelma Todd, Patsy Kelly, Mickey Daniels, Johnny Arthur, and Duke York
Director: Gus Meins
Rating: Seven of Ten Stars
Thelma (Todd) tricks her co-worker Patsy (Kelly) into having her wisdom tooth pulled by an incompetent dental student (Daniels) who also happens to be the star player of the local college football team--but who will be barred from the big game if he doesn't show himself proficient in his field of study.
"An All-American Toothache" is one of the better films that Thelma Todd and Patsy Kelly made together. It's not the funniest, it's not the sweetest, nor is it the cleverest... but it is perhaps the best-structured and tone-consistent of them all. It delivers a complete story--with a beginning, a middle, and end--and while that story is complete nonsense, it is steeped in the nonsense from beginning to end, embraces the nonsense, and the characters even say "yeah, this makes no sense, but let's go with it!"
The main cast all have their moment in the spotlight, and they all play well with and off each other. Thelma Todd is once again relegated mostly to the role of "straight man" while Patsy Kelly gets to play the fool, but there isn't the sense of underlying contempt from Todd toward Kelly's character that tainted other films. This picture also benefits from the fact that instead of featuring several ill-conceived, badly rehearsed slapstick routines--something that plagued the Todd-headlined films even when she was teamed with ZaSu Pitts in the early stages of the series. Instead, it contains one single all-out brawl between dental students and the football team, with Thelma, Patsy, and a professor caught up in the melee.
"An All-American Toothache" would be the last film Thelma Todd and Patsy Kelly would make together. Todd's life was tragically cut short in December of 1935, and it wasn't released until after her demise. It's also the very last film Todd can be considered appearing in. She had a large role in the Laurel & Hardy feature film "The Bohemian Girl", but producer Roach had her scenes cut and reshot because of her death. (If he had been able to foresee the morbid obsession with Todd's mysterious passing that continues to the very day, he might have left the film as it was.)
Starring: Thelma Todd, Patsy Kelly, Mickey Daniels, Johnny Arthur, and Duke York
Director: Gus Meins
Rating: Seven of Ten Stars
Thelma (Todd) tricks her co-worker Patsy (Kelly) into having her wisdom tooth pulled by an incompetent dental student (Daniels) who also happens to be the star player of the local college football team--but who will be barred from the big game if he doesn't show himself proficient in his field of study.
"An All-American Toothache" is one of the better films that Thelma Todd and Patsy Kelly made together. It's not the funniest, it's not the sweetest, nor is it the cleverest... but it is perhaps the best-structured and tone-consistent of them all. It delivers a complete story--with a beginning, a middle, and end--and while that story is complete nonsense, it is steeped in the nonsense from beginning to end, embraces the nonsense, and the characters even say "yeah, this makes no sense, but let's go with it!"
The main cast all have their moment in the spotlight, and they all play well with and off each other. Thelma Todd is once again relegated mostly to the role of "straight man" while Patsy Kelly gets to play the fool, but there isn't the sense of underlying contempt from Todd toward Kelly's character that tainted other films. This picture also benefits from the fact that instead of featuring several ill-conceived, badly rehearsed slapstick routines--something that plagued the Todd-headlined films even when she was teamed with ZaSu Pitts in the early stages of the series. Instead, it contains one single all-out brawl between dental students and the football team, with Thelma, Patsy, and a professor caught up in the melee.
"An All-American Toothache" would be the last film Thelma Todd and Patsy Kelly would make together. Todd's life was tragically cut short in December of 1935, and it wasn't released until after her demise. It's also the very last film Todd can be considered appearing in. She had a large role in the Laurel & Hardy feature film "The Bohemian Girl", but producer Roach had her scenes cut and reshot because of her death. (If he had been able to foresee the morbid obsession with Todd's mysterious passing that continues to the very day, he might have left the film as it was.)
Mythos Madness: The Balls of Yog-Sogoth
This may or may not be the first post in an irregular series (which will also appear at the NUELOW Games blog) detailing mysteries of Lovecraft's Elder Gods Universe in terms of the d20 System roleplaying game.
THE BALLS OF YOG-SOGOTH
The Balls of Yog-Sogoth are a pair of perfect spheres of a smooth, white, semi-translucent crystaline substance. One can be comfortably cradled in the palm of an average adult male human's hand. Each glows softly with a white light that originates from the orb's center. Legend holds that the balls were dropped from the elder god Yog-Sogoth itself, and so they are highly sought after by the cults devoted to the various aspects of the entity. No one really knows their true origin, however.
POWERS OF THE BALLS OF YOG-SOGOTH
If subjected to a detect magic spell, the Balls of Yog-Sogoth radiate faint alteration and divination magic. No other magic short of a wish spell will reveal any additional information about the mysterious spheres. Seekers of knowledge must discover the power of the balls through their own experimentation, or by recovering and reading sacred scrolls possessed and jealously guarded by obscure cults, or perhaps an Immortal or two.
To use the Balls of Yog-Sogoth, a user must old them in their hands. The balls function in different ways, depending on whether a user is handling one or two of them.
One Ball: While cradling a single of Yog-Sogoth's balls, the character will receive a mental image of a magical item that is in his or her possession, or in the possession of a friend or ally. The charcter comes to know everything about the item as if he or she had cast an identify spell upon it. It takes 1d6 rounds for the vision to materalize. Once the user has realized this use of a ball, he or she can mentally picture specific items and gain information as if he or she had cast identify upon them.
Drawback: For each item past the first that the user identifies within a 72-hour period, there is an increasing chance (10% on the second item, 30% on the third item, 50% on the fourth item, 70% on the fifth item, 90% on each additional items) that the user will collapse into a deep coma that lasts 1d6+1 days. Upon regaining consciousness, the character must roll a Fortitude save (DC18) or feel weakened to the point of suffering a -4 penalty to Strength and Constitution scores for 24 hours.
Two Balls: While holding one of Yog-Sogoth's balls in each hand, the character can either envision a historical figure well-known contemporary figure, or someone with whom the character is personally acquainted, be it a friend or foe. After concentrating on the mental image of the person for 1d6+1 rounds, the character receives one of the following vividly detailed visions, as if he or she was present for the events and experienced them as the person did. (Roll 1d6 to determine which kind of vision.)
1. The happiest moment of the person's childhood.
2. The proudest moment of their youth.
3. Their greatest achievement during their lifetime.
4. The place the person felt most comfortable/spent most of their
leisure time (if dead); where the person will be in exactly one day
(if alive).
5. The place where the person spent/spends the most time with the person
they loved/love the most, as well as who that person is.
6. The single event or secret that the person wants to keep hidden forever.
Drawback: If the user tries to have more than one vision within a 72-hour period, there is an increasing chance (10% on the second vision, 30% on the third vision, 50% on the fourth vision, 70% on the fifth vision, 90% on each additional vision) that the user will collapse into a deep coma that lasts 1d6+1 days. Upon regaining consciousness, the character must roll a Fortitude save (DC18) or feel weakened to the point of suffering a -4 penalty to Strength and Constitution scores for 24 hours.
Each additional vision within the 72-hour period is determined randomly, just like the first. If the same scene is rolled more than once, the user sees it from a different angle, perhaps even experiencing the scene as someone else did/does. Each reiteration reveals new details.
THE BALLS OF YOG-SOGOTH
The Balls of Yog-Sogoth are a pair of perfect spheres of a smooth, white, semi-translucent crystaline substance. One can be comfortably cradled in the palm of an average adult male human's hand. Each glows softly with a white light that originates from the orb's center. Legend holds that the balls were dropped from the elder god Yog-Sogoth itself, and so they are highly sought after by the cults devoted to the various aspects of the entity. No one really knows their true origin, however.
 |
| A cultist handling a Ball of Yog-Sogoth |
POWERS OF THE BALLS OF YOG-SOGOTH
If subjected to a detect magic spell, the Balls of Yog-Sogoth radiate faint alteration and divination magic. No other magic short of a wish spell will reveal any additional information about the mysterious spheres. Seekers of knowledge must discover the power of the balls through their own experimentation, or by recovering and reading sacred scrolls possessed and jealously guarded by obscure cults, or perhaps an Immortal or two.
To use the Balls of Yog-Sogoth, a user must old them in their hands. The balls function in different ways, depending on whether a user is handling one or two of them.
One Ball: While cradling a single of Yog-Sogoth's balls, the character will receive a mental image of a magical item that is in his or her possession, or in the possession of a friend or ally. The charcter comes to know everything about the item as if he or she had cast an identify spell upon it. It takes 1d6 rounds for the vision to materalize. Once the user has realized this use of a ball, he or she can mentally picture specific items and gain information as if he or she had cast identify upon them.
Drawback: For each item past the first that the user identifies within a 72-hour period, there is an increasing chance (10% on the second item, 30% on the third item, 50% on the fourth item, 70% on the fifth item, 90% on each additional items) that the user will collapse into a deep coma that lasts 1d6+1 days. Upon regaining consciousness, the character must roll a Fortitude save (DC18) or feel weakened to the point of suffering a -4 penalty to Strength and Constitution scores for 24 hours.
Two Balls: While holding one of Yog-Sogoth's balls in each hand, the character can either envision a historical figure well-known contemporary figure, or someone with whom the character is personally acquainted, be it a friend or foe. After concentrating on the mental image of the person for 1d6+1 rounds, the character receives one of the following vividly detailed visions, as if he or she was present for the events and experienced them as the person did. (Roll 1d6 to determine which kind of vision.)
1. The happiest moment of the person's childhood.
2. The proudest moment of their youth.
3. Their greatest achievement during their lifetime.
4. The place the person felt most comfortable/spent most of their
leisure time (if dead); where the person will be in exactly one day
(if alive).
5. The place where the person spent/spends the most time with the person
they loved/love the most, as well as who that person is.
6. The single event or secret that the person wants to keep hidden forever.
Drawback: If the user tries to have more than one vision within a 72-hour period, there is an increasing chance (10% on the second vision, 30% on the third vision, 50% on the fourth vision, 70% on the fifth vision, 90% on each additional vision) that the user will collapse into a deep coma that lasts 1d6+1 days. Upon regaining consciousness, the character must roll a Fortitude save (DC18) or feel weakened to the point of suffering a -4 penalty to Strength and Constitution scores for 24 hours.
Each additional vision within the 72-hour period is determined randomly, just like the first. If the same scene is rolled more than once, the user sees it from a different angle, perhaps even experiencing the scene as someone else did/does. Each reiteration reveals new details.
--
All text in this post is released under the Open Game License and may be reproduced in accordance with its terms. Copyright 2019 Steve Miller. (If you find this material useful or interesting, please purchase some of our actual products. It will encourage us to make more!)
Thursday, December 26, 2019
'Preto Branco' is a stylish modern silent movie
The other day, I made a post in which I embedded a silent movie made in 1914. Just for the heck of it, here's a silent movie that was produced and released in 2014, one hundred years later!
Preto Branco (aka "Black/White") (2014)
Starring: Inês Cândido and João Teles
Director: Magdalena Traguil
Rating: Six of Ten Stars
A young woman escapes an abusive relationships in a permanent fashion.
"Preto Branco" is a brief, thoroughly modern silent movie. It's a stylish, straight-forward bit of filmmaking that uses the black-and-white media effectively, as well as communicates everything through action and scene framing. (Okay... there is one sound effect here, but I think it fall into the same category as a musical score.)
The only complaint I can mount is that I would have liked to see a little more effects work in the aftermath of the film's climactic violence. The act itself, though, was portrayed perfectly. (I have a couple additional minor quibbles, but they amount to nothing more than nitpicks.)
Why don't you take a few minutes to watch "Preto Branco" right now? I've embedded it below for your viewing pleasure!
Preto Branco (aka "Black/White") (2014)
Starring: Inês Cândido and João Teles
Director: Magdalena Traguil
Rating: Six of Ten Stars
A young woman escapes an abusive relationships in a permanent fashion.
"Preto Branco" is a brief, thoroughly modern silent movie. It's a stylish, straight-forward bit of filmmaking that uses the black-and-white media effectively, as well as communicates everything through action and scene framing. (Okay... there is one sound effect here, but I think it fall into the same category as a musical score.)
The only complaint I can mount is that I would have liked to see a little more effects work in the aftermath of the film's climactic violence. The act itself, though, was portrayed perfectly. (I have a couple additional minor quibbles, but they amount to nothing more than nitpicks.)
Why don't you take a few minutes to watch "Preto Branco" right now? I've embedded it below for your viewing pleasure!
Wednesday, December 25, 2019
Wonder Woman Wednesday
Wonder Woman offers you well-wishes and a toast, as we here at Shades of Gray hopes everyone out there is having the happiest of Christmases!
Christmas is here...
... and Santa's Helpers once again deployed across the world to help him keep his busy schedule! This year, Christmas was saved in part by:
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| Muriel Evans |
 |
| Mary Martin |
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| Virginia Grey |
Tuesday, December 24, 2019
'Caught in a Cabaret' is a fun little film
Caught in a Cabaret (1914)
Starring: Charlie Chaplin, Mabel Normand, Edgar Kennedy, Harry McCoy, and Minta Durfee
Director: Mabel Normand
Rating: Six of Ten Stars
A waiter at a low-class joint (Chaplin) comes to the aid and defense of a wealthy young woman (Normand) when her cowardly boyfriend (McCoy) doesn't. Romance subsequently blossoms, but will the jealous ex-boyfriend find a way to tear them apart?
"Caught in a Cabaret" is a fun little film that's marred by predictability. The moment Charlie Chaplin's character lies about who he is and what is social standing is--he claims to be a foreign ambassador--you know that eventually the truth will out and our hero will be in trouble. Nonetheless, the rest of the film is so artfully executed that the preordained ending. The scenes in the cabaret--whether it's the crowded hall full of customers and performers, or the back-room with the bickering employees and their slapstick battles--are excellently staged and beautifully framed. The cabaret's common room more than once takes on the feeling of an animated 19th century painting.
The only thing that keeps this film from getting a Seven on my 0-10 scale is that an important plot element of the first half of the film seems to be just dropped for no reason and with no explanation. (It's entirely possible that a piece of the film is missing, but it seemed really odd to me that Chaplin's dog just vanishes at one point...)
Aside from that one (major) flaw, "Caught in a Cabaret" is an excellent early Chaplin film, and a fine example of Mabel Normand's deft directorial touch. I invite you to take a few moments and watch this great little film right now!
Starring: Charlie Chaplin, Mabel Normand, Edgar Kennedy, Harry McCoy, and Minta Durfee
Director: Mabel Normand
Rating: Six of Ten Stars
A waiter at a low-class joint (Chaplin) comes to the aid and defense of a wealthy young woman (Normand) when her cowardly boyfriend (McCoy) doesn't. Romance subsequently blossoms, but will the jealous ex-boyfriend find a way to tear them apart?
"Caught in a Cabaret" is a fun little film that's marred by predictability. The moment Charlie Chaplin's character lies about who he is and what is social standing is--he claims to be a foreign ambassador--you know that eventually the truth will out and our hero will be in trouble. Nonetheless, the rest of the film is so artfully executed that the preordained ending. The scenes in the cabaret--whether it's the crowded hall full of customers and performers, or the back-room with the bickering employees and their slapstick battles--are excellently staged and beautifully framed. The cabaret's common room more than once takes on the feeling of an animated 19th century painting.
The only thing that keeps this film from getting a Seven on my 0-10 scale is that an important plot element of the first half of the film seems to be just dropped for no reason and with no explanation. (It's entirely possible that a piece of the film is missing, but it seemed really odd to me that Chaplin's dog just vanishes at one point...)
Aside from that one (major) flaw, "Caught in a Cabaret" is an excellent early Chaplin film, and a fine example of Mabel Normand's deft directorial touch. I invite you to take a few moments and watch this great little film right now!
Monday, December 23, 2019
Christmas is almost here...
… and Loretta Young found a spot here at Shades of Gray that hadn't been decorated yet.
If you're not done decorating for Christmas yet, you better get to it!
If you're not done decorating for Christmas yet, you better get to it!
Sunday, December 22, 2019
'After the Dance' feels incomplete
After the Dance (1935)
Starring: George Murphy, Nancy Carroll, Thelma Todd, and Wyrley Birch
Director: Leo Bulgakov
Rating: Five of Ten Stars
An innocent song-and-dance man (Murphy) is sent to prison for manslaughter after his shady partner (Todd) refuses to clear his name. A series of events prompts his escape from prison, and he finds an opportunity to rebuild his life and show business career with a new partner (Carroll). All is going well until the woman who sent him to prison re-enters his life.
"After the Dance" is a strangely constructed movie that feels like it is missing large chunks. It starts in medias res with our hero already having accidentally killed a man while defending his dance parter. We get no introduction to any of the involved characters, and the way he gets jammed up for the murder comes out of left field and is never explained. It's like five or ten minutes of opening scenes and establishing who the characters are is missing.
Similarly, as the movie is reaching its climax, the hero's past catches up with him, and the evil vixen from the movie's beginning once again ruins his life, we once again have the feeling that we've missed parts of the film. Not only does the movie not such much end but stop, it does so without ever explaining fully why Thelma Todd's character is such an evil bitch, because the film's instigating event is never explained in any detail.
It's a sad fact of Thelma Todd's career that most of her main dramatic roles of the talkie era took place in films that either had weak scripts (such as "Corsair"), have come down to us in modern times in a state butchered by censors or damaged by the passage of time (such as "Cheating Blondes"), or which is mysteriously flawed like "After the Dance". Given when it was released--at a time when Hollywood's move toward self-censorship had gained full steam and the censors were hacking and slashing, left and right and center--and the pristine condition of the print used to make the DVD I watched, I'm guessing that the incomplete nature of the story here is the fault of censorship. So... yet again, we are left with Todd giving a fine performance in a flawed vehicle. Once again, we can only imagine what she might have become as an actress if her life hadn't been tragically cut short in December of 1935. We will never know what she might have brought us if she had played more dramatic roles as she grew as an actress. ("After the Dance" was one of the last films she made.)
Todd isn't the only actor in this film who gives a performance better than it seems to have deserved. Everyone shines in their parts, and this could have been an excellent film if it had only been complete. George Murphy isn't the most charismatic actor, nor the lightest-of-foot dancer, but he's good enough... and what he lacks, Nancy Carroll more than makes up for with her energy and grace. They make the song and dance numbers that anchor the film very enjoyable.
Starring: George Murphy, Nancy Carroll, Thelma Todd, and Wyrley Birch
Director: Leo Bulgakov
Rating: Five of Ten Stars
An innocent song-and-dance man (Murphy) is sent to prison for manslaughter after his shady partner (Todd) refuses to clear his name. A series of events prompts his escape from prison, and he finds an opportunity to rebuild his life and show business career with a new partner (Carroll). All is going well until the woman who sent him to prison re-enters his life.
"After the Dance" is a strangely constructed movie that feels like it is missing large chunks. It starts in medias res with our hero already having accidentally killed a man while defending his dance parter. We get no introduction to any of the involved characters, and the way he gets jammed up for the murder comes out of left field and is never explained. It's like five or ten minutes of opening scenes and establishing who the characters are is missing.
Similarly, as the movie is reaching its climax, the hero's past catches up with him, and the evil vixen from the movie's beginning once again ruins his life, we once again have the feeling that we've missed parts of the film. Not only does the movie not such much end but stop, it does so without ever explaining fully why Thelma Todd's character is such an evil bitch, because the film's instigating event is never explained in any detail.
It's a sad fact of Thelma Todd's career that most of her main dramatic roles of the talkie era took place in films that either had weak scripts (such as "Corsair"), have come down to us in modern times in a state butchered by censors or damaged by the passage of time (such as "Cheating Blondes"), or which is mysteriously flawed like "After the Dance". Given when it was released--at a time when Hollywood's move toward self-censorship had gained full steam and the censors were hacking and slashing, left and right and center--and the pristine condition of the print used to make the DVD I watched, I'm guessing that the incomplete nature of the story here is the fault of censorship. So... yet again, we are left with Todd giving a fine performance in a flawed vehicle. Once again, we can only imagine what she might have become as an actress if her life hadn't been tragically cut short in December of 1935. We will never know what she might have brought us if she had played more dramatic roles as she grew as an actress. ("After the Dance" was one of the last films she made.)
Todd isn't the only actor in this film who gives a performance better than it seems to have deserved. Everyone shines in their parts, and this could have been an excellent film if it had only been complete. George Murphy isn't the most charismatic actor, nor the lightest-of-foot dancer, but he's good enough... and what he lacks, Nancy Carroll more than makes up for with her energy and grace. They make the song and dance numbers that anchor the film very enjoyable.
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