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TheCapsuleCritic
I first started doing on air movie reviews in 1979 when I was with a public radio station in Charleston, SC. After moving to Asheville, NC in 1983, I became a classical music announcer with the local NPR affiliate. I retired in 2019 after 36 years. I also recently retired from the Southeastern Film Critics Association (SEFCA).
I taught film classes for the OLLI program at UNC Asheville from 2008-2019 and at USC Beaufort from 2019-2020. I started writing about films in 2001. The majority of my 600+ reviews concern either silent movies or B movie horror/sci-fi films. To read them all, visit my blog-thecapsulecritic.com-
Reviews
The Battle of the Century (1927)
Laurel & Hardy: Year One - The 1927 Shorts.
In 1927 Hal Roach made 14 short comedies featuring Stan Laurel and Oliver Hardy. In the earliest films, Laurel & Hardy weren't working as a comedy duo and were simply a part of the cast. By the end of the year, in the last two comedies, they got top billing and were on their way to becoming the Laurel & Hardy we know and love. Both had been in silent comedies for at least 10 years beforehand and both worked in support of Larry Semon, a popular comedian of the late Teens and early 1920s. A couple of those films can be found in Flicker Alley's earlier LAUREL OR HARDY release which explores the movies that they made on their own. This set, over 5 years in the making, comes as a much needed update of the old 1993 Hal Roach Studios offerings which were released on 10 DVDs in 1998 by Image Entertainment.
LAUREL & HARDY: YEAR ONE - THE NEWLY RESTORED 1927 SILENTS presents 13 of the 14 comedies along with two earlier films in which L & H also appeared. The films are presented in chronological order so that you watch them progress from supporting players to headliners. It's a fascinating journey to watch as both men had essentially developed the trademarks and characteristics that we would later associate with L & H such as Stan in crying mode or Ollie staring directly into the camera in frustration. The two earlier shorts are from 1921 (LUCKY DOG) and 1926 (45 MINUTES FROM HOLLYWOOD). Stan has the lead in the former while Ollie has a significant part in the latter. The one lost short is HATS OFF which is a dry run for their Oscar winning sound short THE MUSIC BOX (1932).
The first Hal Roach short in which they appeared was DUCK SOUP where they play vagrants who impersonate a rich homeowner and his servant. They have several scenes together and are close to the later Stan & Ollie characters (they remade it in 1930 as ANOTHER FINE MESS). However in the next 5 shorts, they play a variety of supporting characters. One of them, SLIPPING WIVES, features one time Universal top star Priscilla Dean. In another, DO DETECTIVES THINK?, they dress in their traditional costumes but have different names. In the next two, FLYING ELEPHANTS and SUGAR DADDIES, Stan gets the lion's share of screen time. Finally in THE SECOND 100 YEARS, they are a true team followed by PUTTING PANTS ON PHILLIP and THE BATTLE OF THE CENTURY where they are both top billed.
These restorations were truly a labor of love as it not only involved years of researching various archives to find prints then these prints once found, they had to be reassembled. In some cases it took as many as 5 different prints to create one complete short although the average was 3. Most of the films look top notch. Some are even tinted and toned. A couple though are still in rough shape despite every effort made. This is not a criticism simply an observation as we are extremely fortunate to have them at all. It's especially nice to have CALL OF THE CUCKOO, a Max Davidson comedy where Stan & Ollie join other Hal Roach stars in cameo appearances. Davidson, who was Jewish, specialized in playing Old World Jewish characters. Although described as an Ethnic comedy, you won't find anything to offend. In fact, it's quite funny.
As is always the case with Flicker Alley, this set comes with a number of informational extras that include a 34 page booklet, commentary for every short, a documentary on the restoration, visiting filming locations as they are (or aren't) today, and piano scores by several of today's top silent film specialists. BATTLE OF THE CENTURY gets an ensemble accompaniment. This is the first of an ongoing project by Blackhawk Films and Lobster Films to restore all the Laurel & Hardy silents year by year. Historically this might be the most interesting of the batch as it follows both men from solo players to starring duo. Up next will be 1928 and finally 1929 both of which show L & H continuing to develop their on-air chemistry and creating many classic situations which they would rework in the sound era...I can't wait...For more reviews visit The Capsule Critic.
The Haunting (1963)
Val Lewton Inspired Haunted House Movie Still Packs A Punch.
When the original version of THE HAUNTING came out in 1963, it received good critical reviews but did lukewarm business at the box office although most people thought it was the scariest movie they had ever seen. That's because it had been carefully crafted in order to have this effect on an audience. Director Robert Wise had gotten his start in the 1940's under legendary RKO producer Val Lewton. Lewton was responsible for a series of low budget B movie horror films which became famous for what they DIDN'T show. Movies like CAT PEOPLE (1942) and THE LEOPARD MAN (1943) frightened viewers through clever editing and skillful use of sound. The monsters were left to the viewer's imagination.
Shirley Jackson's novel THE HAUNTING OF HILL HOUSE had been published in 1959. After Wise read it, he saw in it an ideal opportunity to pay tribute to Val Lewton by making a movie using Lewton's techniques but on an A picture budget. His first directing credit had been THE BODY SNATCHER with Boris Karloff in 1945, shot for $150,000. The budget for THE HAUNTING was 10 times that. The methods would remain the same. Very specific editing and the creative use of sound cues. Wise began his career as a film editor and had worked on Orson Welles' CITIZEN KANE and THE MAGNIFICENT AMBERSONS so he knew exactly what to do.
The plot involves a psychic researcher (Richard Johnson) and his two hand picked assistants, both women, who are to spend time in what is reputed to be a truly haunted house. He hopes to experience paranormal/supernatural events and keep a record of whatever occurs. One of the assistants, a neurotic spinster (Julie Harris), who had a paranormal experience when she was a child, is the narrator of the events while the other woman (Claire Bloom) is experienced in ESP and is sensitive to atmosphere. They are joined by a relative of the house's owners (Russ Tamblyn) who wants to examine what will eventually become his inheritance.
Jackson's book takes place in a series of locations but the movie takes place primarily inside of the house which helps to increase tension by creating a sense of claustrophobia. The Victorian mansion chosen for exteriors was in Shakespeare's home town of Stratford-Upon-Avon and is known as Ettington Park. Director Wise shot the house through an infrared filter that darkens the film's contrast and make it appear more menacing. Today it's a Grand Hotel with a 4 star rating. The dissonant soundtrack by modern British composer Humphrey Searle also helped to place the audience on edge.
Although American financed, THE HAUNTING was shot in England to keep costs down and to take advantage of their quality technicians who were available at the time. British regulations stipulated that 2 of the 4 stars were required to be Brits which is why Richard Johnson and Claire Bloom are in the cast joining Americans Julie Harris and Russ Tamblyn. Johnson, Bloom and especially Tamblyn, in in what starts out as a thankless role, are fine. Julie Harris, as the narrator/central figure Eleanor, is another matter. Harris is a fine stage actress, but after a while her overly theatrical performance starts to grate, which might have been the director's intention.
Although followed by the more overt THE LEGEND OF HELL HOUSE (1973) and THE AMITYVILLE HORROR (1979) as well as such low budget offerings as THE HOUSE OF THE SEVEN CORPSES (1974) and THE EVIL (1978) along with the over-the-top remake from 1999, Robert Wise's THE HAUNTING remains the quintessential old school haunted house movie. Only 1979's THE CHANGELING with George C. Scott and Nicole Kidman's THE OTHERS from 2001 made attempts to scare audiences with a less-is-more approach. THE HAUNTING is available in every format including streaming. Watch it late at night with the lights out for maximum effect...For more reviews visit The Capsule Critic.
The Plow That Broke the Plains (1936)
1930s Documentaries Still Have Much To Teach Us.
The recent devastation of flooding caused by Tropical Storm Helene in Western NC (where my wife and I lived for many years) has its roots in THE RIVER, the second of the two short documentaries made in the 1930s and featured on this DVD. They are also available on YouTube and other streaming services but this disc provides much more background about the subject matter.
While climate change was not an issue in the 1930s, destruction of the environment certainly was as both THE PLOW THAT BROKE THE PLAINS (1936) and THE RIVER (1937) clearly show. Made by novice filmmaker Pare Lorentz (1905-1992) for less than $10,000 each, they showcased a new type of documentary which not only featured events but had something important and instructive to say about them.
In PLOW we see how non-stop expansion in the Midwest during the early 20th century followed by overfarming the cleared land led to the dry conditions that became the Dust Bowl of the 1930s. Today overexpansion and poor stewardship of the land along with extremely dry conditions in the Pacific Northwest and Canada have resulted in continuous wildfires rather than swirling dusty winds.
THE RIVER shows how deforestation of the Northern Midwest states led to massive flooding from the Mississippi which devastated areas from Illinois to Louisiana . Ultimately huge dam had to be built to control the flooding and provide power but at the cost of submerging long established smaller and poorer communities. Now those aging dams have become a cause for concern.
The lesson to be learned from these vintage documentaries is that humans haven't learned their lesson when it comes to the environment. Recent events in California, Minnesota, and North Carolina bear this out..."the more things change, the more they stay the same". Still, it's important to have a record of the past and these docs helped inspire filmmakers like Ken Burns.
A number of reviews criticize the narration (powerfully read by. Thomas Chalmers) as being overly simplistic. That's true on the surface but these films have only 30 minutes to make their point and were aimed at a rural audience. The same applies to the music of Virgil Thomsom which incorporates a number of old American folk tunes which are easily recognizable.
This DVD was issued to highlight Thomsom's music and is the best way to view these documentaries. In addition to providing high quality (but not fully restored) prints), Thomson's music and the original narration have been newly recorded. Fortunately the original soundtracks are still there for a more authentic viewing experience...For more reviews visit The Capsule Critic.
Die Schlangengrube und das Pendel (1967)
One Of Christopher Lee's Best European Horror Movies.
Finally a decent DVD version of one of my favorite Euro-Horror films is cause for rejoicing. THE SNAKE PIT AND THE PENDULUM is a German made film from 1967 by Krimi specialist Harald Reinl. It has outstanding camerawork and some outrageous set pieces. Think of Poe's PIT AND THE PENDULUM re-imagined as a fairy tale by the Brothers Grimm or as a story by E. T. A. Hoffmann. The movie opens with a remarkable tracking shot that follows Christopher Lee as he is led down a series of corridors on his way to be executed. He is to be quartered and this sequence is well staged in the historic town of Rothenburg.
Move forward 35 years when two descendants of the people responsible for his death (Lex Barker and Karin Dor) are summoned to a castle where they are summarily imprisoned and tortured as a resurrected Lee and his servant (Karl Lange) need Dor's blood to attain immortality. Several images linger in the mind from the forest of limbs to the Hieronymous Bosch room. The wall of skulls and the flesh eating vultures are another nice touch that you don't run across every day. Totally surreal to say the least. The one drawback, as noted in other reviews, is the soundtrack which uses German muzak for the carriage scenes. Mildly annoying but that helps to date the film and is not without its own peculiar charm.
For years there were numerous public domain versions of this film available under various titles. The most popular was its outlandish American drive-in title which was TORTURE CHAMBER OF DR. SADISM. In Britain it was known as THE BLOOD DEMON which at least is a better description of what the movie is about. Finally there was a cut-rate DVD version known as CASTLE OF THE WALKING DEAD which tried to capitalize on Lee's earlier CASTLE OF THE LIVING DEAD. The best looking version came out in 2022 under its original title which uses an original German print and is part of the box set THE EUROCRYPT OF CHRISTOPHER LEE...For more reviews visit The Capsule Critic.
Geheimnisse einer Seele (1926)
Psychoanalytic Time Capsule Is Still Of Some Interest
There are many people who consider G. W. Pabst to be the finest director of German silent cinema. I am not one of them. I find his movies to be poorly paced and lacking in visual interest. They are kept afloat by their adult subject matter and by the performances of his female stars (Greta Garbo in THE JOYLESS STREET, Edith Jehanne and Brigitte Helm in THE LOVE OF JEANNE NEY, and of course Louise Brooks in PANDORA'S BOX and DIARY OF A LOST GIRL). A prime example of this is THE WHITE HELL OF PILZ PAULU co- directed by Pabst and Arnold Fanck and starring Leni Riefenstahl. Compare the dramatic scenes with the rest of the film and I think you'll see my point which brings me to SECRETS OF A SOUL.
This was Pabst's follow-up to the highly successful JOYLESS STREET (1925). The subject matter and the film's raison d'etre is the "new" subject of psychoanalysis. The breakdown of the protagonist and the fascinatng dream sequences (designed by Erno Metzner) are true to the film's Expressionist roots while the unfolding analysis of his problems are still of interest to a modern audience. There is also an amazing central performance from Werner Krauss as the patient undergoing analysis that really holds the movie together.
Krauss may be the finest German performer from that time period. He has a greater range than Emil Jannings and is less stylized than Conrad Veidt. Unfortunately very little of his work survives and his most famous role (CABINET OF DR CALIGARI) doesn't do him justice. This film does. Also check out his Iago in the 1922 version of OTHELLO and Orgon in the 1925 TARTUFFE (both opposite Jannings). SECRETS OF A SOUL is part of the Kino set GERMAN EXPRESSIONISM which contains 3 other films (CABINET OF DR CALIGARI, WARNING SHADOWS, and THE HANDS OF ORLAC). All of these films can be obtained separately although if you don't have the others I highly recommend the set...For more reviews visit The Capsule Critic.
Heart o' the Hills (1919)
Interesting Mary Pickford Vehicle With a Great New Score.
HEART O'THE HILLS was Mary Pickford's final film project before the formation of United Artists in 1919 and was her fourth film of that year. She had recently left Adolph Zukor and Paramount and was stretching her wings as an independent producer (they predicted she would fall flat on her face). It is one of a quartet of new Pickford releases from The Mary Pickford Foundation and Milestone Films and is one of Mary's best. The others three are LITTLE LORD FAUNTLEROY, SUDS, and THROUGH THE BACK DOOR.
The film is set in the mountains of Kentucky (it was shot in California) and deals with a young mountain girl's attempt to avenge the murder of her father. It gives Pickford another opportunity to do what she did best, a coming of age story in which she plays a young girl who becomes a young woman by the time the film is finished. The recreation of an isolated mountain community is remarkable although the dialect used in the title cards may annoy some people and the "Night Rider" sequence will disturb others. It has fantastic scenery, outstanding photography, and mighty fine performances from all concerned. There's a nice turn from veteran silent villain Sam De Grasse and check out the young John (Jack) Gilbert in his first significant role as a lowland suitor.
In addition to the quality print used for the video transfer (it's sharp and well defined with color tints), there is a remarkable new score from Maria Newman which captures the flavor of old timey mountain music while still being thoroughly modern in style. For me it enhanced the viewing experience tremendously. The DVD also comes with a second Pickford feature, M'LISS from 1918. While it is not as good as HEART and the print is not as well presented, M'LISS still has a lot to recommend it including sure handed direction from Marshall Neilan (Pickford's favorite director) and colorful performances from silent character stalwarts Theodore Roberts, Charles Ogle, and Tully Marshall. All in all an outstanding DVD and my favorite of the set...For more reviews visit The Capsule Critic.
The Whisperer in Darkness (2011)
Sincere & Effective Low Budget H.P, Lovecraft Adaptation.
If anyone ought to be able to turn out a decent, relatively faithful cinematic adaptation of an H. P. Lovecraft story, then it should be an outfit that calls itself the H. P. Lovecraft Historical Society and that is precisely what they have done. In fact this is their second film effort following on the heels of 2005's THE CALL OF CTHULHU which was also a first class adaptation. What makes both of these films so remarkable is that they were done on what would today be considered shoestring budgets. It just goes to show what can be done with today's visual technology if you have the necessary skills and vision. A wise and extremely clever decision made by HPLHS was to film both movies as if they were shot in the years that Lovecraft wrote them (1927, 1931). That means that CTHULHU was shot as a modern day silent film (before THE ARTIST) and WHISPERER was shot as if it were an early Universal horror film.
THE WHISPERER IN DARKNESS begins at Lovecraft's legendary Miskatonic University in Arkham, Massachusetts (shot at Mount Holyoke College) where we meet professor Albert Wilmarth (Matt Foyer), a skeptical folklore specialist who likes to use science to debunk old myths and legends. After a failed radio show attempt to triumph over a believer in the supernatural (Andrew Leman), he goes to an isolated farm in Vermont to speak with its owner (Barry Lynch) and discovers the type of cataclysmic horror that H. P. Lovecraft specialized in. Fans already know what it is but this review is primarily addressed to those readers who are not familiar with Lovecraft. The film is beautifully made from the opening parody of the old Universal logo (instead of a plane circling the globe it's a zeppelin that crosses over the North Pole) to the period costumes, the old school editing, and an extremely effective soundtrack. The performances by all concerned especially Foyer, Lynch and Autumn Wendel as the young girl Hannah (who is not in the original story) are all you could ask for in an undertaking of this nature. My only reservations, and they are minor ones, are as follows.
1) Every modern day attempt I have seen to shoot a black & white film set in the 1920s and 30's (and this includes THE ARTIST) is clearly shot in color first with the color then removed (HPLHS's MythoScope). This creates a sharp focus picture with harsh lighting instead of a soft focus one with subtle lighting although this was likely done out of budget considerations and is therefore understandable. 2) The rather cynical ending (not Lovecraft's own as the last third is an extension by the filmmakers) would not have occured in a film set in 1931. The tone yes (this would have been a pre-Code movie before censorship clamped down) but not the ending. From a visual standpoint, however, it is remarkably effective. 3) I would not have shown the creatures in close-up at the end as a lot of Lovecraft's horror deals with the human mind being unable to process what it sees and they didn't match my imagination's depictions of them. Unfortunately, subtlety and discretion are not trademarks of the 21st century.
I offer these observations as a film historian in a purely pedantic way out of a desire to provide some additional background on how films in the 1930s were made, not in an attempt to criticize the film or the filmmakers. I think THE WHISPERER IN DARKNESS and its companion piece THE CALL OF CTHULHU to be minor masterpieces which are truly exceptional when you consider their budgetary limitations (check out the special features on Disc 2 for a true appreciation). I not only look forward to more cinematic endeavors from the HPLHS (so buy this DVD which is available on a made-to-order basis and help to finance their next project) but I wish that other low budget filmmakers as well as big budget ones who attempt to do H. P. Lovecraft would follow in their footsteps. They have proved conclusively that is possible to do cinematic adaptations which are faithful in spirit and execution to HPL's work...For more reviews visit The Capsule Critic.
The Blue Bird (1918)
1918 Version Of THE BLUE BIRD Is The First & Still The Best
If you mention the name Tourneur (tour-NURR) to most film aficianados they will say Jacques Tourneur (1904-1977) the director of the film noir classic OUT OF THE PAST and several Val Lewton horror films such as CAT PEOPLE and I WALKED WITH A ZOMBIE. But before Jacques there was his father Maurice Tourneur (1873-1961) who was one of the major directors of the silent era. He came to the U. S. in 1912 and made a number of major films until 1926 when studio interference drove him back to France where his career continued but was never quite the same. Until recently he was long overshadowed by his son because so many of his films were unavailable. Now that is being rectified with the release in the last few years of many of his silent classics (see VICTORY, THE WISHING RING, and THE LAST OF THE MOHICANS).
Two brand new releases are LORNA DOONE and this first and best version of Maurice Maeterlinck's allegorical play THE BLUE BIRD. Tourneur was one of the great visual stylists of the silent era and nowhere is that more apparent than here. The film is a combination of realistic and deliberately stylised elements that draw on Tourneur's former theatrical background. This mixing of styles confused audiences of 1918 and the film, though critically praised, was not a success. Even today it takes some getting used to but if you make the effort THE BLUE BIRD has its share of rewards.
The print used for this DVD comes from the George Eastman House and is a restored version of an old VHS version released through Grapevine Video. It too features the original 1918 color tints and is in much better shape though parts of the film still retain some damage but not enough to ruin the viewing experience especially for silent film enthusiasts. The new score by the Mont Alto Motion Picture Orchestra is well performed and has a great deal of charm, but I would have preferred something a little more ethereal during the fantasy scenes to enhance the unreal quality.
For those of you who don't know the story, it follows the efforts of two children to find the blue bird of happiness by going on a journey into the past and future. They are accompanied by the living souls of their pets and ordinary household objects. After many adventures in fantastic locales, they discover that it was at home all along (sound familiar?). Unlike THE WIZARD OF OZ there are philosophical and theosophical points to be made along the way. After all this was a major work by one of the most popular writers of the pre-World War I era. One of the special DVD features includes written excerpts of the original play for you to check out.
Although remade twice (1940 with Shirley Temple and in 1976 in a fabled Russian-American disaster directed by George Cukor), this version remains the closest to Maeterlinck's intentions. That coupled with Maurice Tourneur's imaginative touches and delicate direction make this a classic that's great to have back in circulation. If you prefer reality to fantasy check out Tourneur's just released LORNA DOONE. It is one of the great historical romance films of any era...For more reviews visit The Capsule Critic.
The Last of the Mohicans (1920)
The 1920 Version Is A Remarkable Achievement.
Having recently revisited this title as part of the available films of Maurice Tourneur on commercial DVD (the others are ALIAS JIMMY VALENTINE, THE BLUE BIRD, A GIRL'S FOLLY, LORNA DOONE, VICTORY, and THE WISHING RING), I am again reminded of what a remarkable director he was and what a remarkable achievement this film is. Of all the existing versions this one is by far and away the most faithful to the James Fennimore Cooper original (the Daniel Day-Lewis version strays the farthest).
The film was beautifully photographed on mostly natural locations (Yosemite Valley) and features fine understated performances from all the principal players especially Barbara Bedford as Cora (Boris Karloff is briefly seen as an Indian). The film is co-credited to Tourneur and Clarence Brown (Garbo's favorite director and maker of THE YEARLING). Tourneur was injured during the filming and Brown shot most of it. In a magnanimous gesture Tourneur wanted Brown to receive full credit but Brown refused saying that he only followed what Tourneur had already laid out and that he learned his craft from him.
The print used here is from the George Eastman House and it is beautiful with subtle tints and proper framing. The title cards are new as is the electronic music score. While the score is perfectly suitable it really needs a chamber ensemble or small orchestra to fully bring it to life but this is a small quibble. This Lumivision DVD is officially out-of-print but is worth tracking down as one of the very best silent examples of transferring a classic book to the screen. That comes as no surprise for if you check Tourneur's available titles, all but one are taken from literary sources...For more reviews visit The Capsule Critic.
Il castello dei morti vivi (1964)
Genuinely Odd & Grotesque.
CASTLE OF THE LIVING DEAD was the first of Christopher Lee's "European vacation" movies that I had ever come across. I saw it in a drive-in back in the late 1960s along with several other "dubbed horrors" as we called them. I remembered it because unlike most of the other movies that were featured, this one was in black and white and it was genuinely odd. It isn't a true horror film but more of a Gothic mystery with elements of the grotesque included. There are a few murders but no gore, a truly creepy servant (Europeans LOVE creepy servants), and a restrained but effective performance from Lee as a Count who can instantly embalm animals (and people). The remarkable menagerie that inhabit his castle is truly effective.
Set in the late 18th century, this 1964 movie was shot on location at a castle in Bomarzo, Italy with large grotesque stone creatures on the grounds that the filmmakers took good advantage of. The music is effective and in its original aspect ratio the photography was quite striking (more about that later). Low budget to be sure but producer Paul Maslansky makes the most of it. CASTLE has gained latter day notoriety because it marks the debut of actor Donald Sutherland playing two roles (a soldier and a witch!). In gratitude Sutherland named his son Kiefer after the film's director (Warren Kiefer). It also is noteworthy for employing second unit director Michael Reeves (WITCHFINDER GENERAL) who appears briefly with his girlfriend as part of the Count's collection.
A word or two about the Sinister Cinema transfer. They are to be commended for making this rare title available to the public. However their copy comes from a 16mm American International television print which is in the wrong aspect ratio (full screen). You can clearly see this in the opening credits when Christoper Lee's name looks like RISTOPHER LE. The rest of the film is framed fairly well and the condition of the print is remarkably good. It's just a shame that for the present there is no restored, widescreen version like the one I saw at the drive-in. Hopefully that will be remedied before too long as it would be far more effective to see it the way it was intended to be seen.
UPDATE: In 2022 Severin Films issued the best print yet of CASTLE looking like it was shot yesterday. This was part of a set called THE EUROCRYPT OF CHRISTOPHER LEE. It even contains the soundtrack album to the movie...For more reviews visit The Capsule Critic.
The House of Rothschild (1934)
A Remarkable Achievement That Is Still Worthwhile.
Movies portraying Jews in a positive light were a rarity in Hollywood despite the fact that all but one of the major studios were headed up by men who were Jewish in origin. The studio that wasn't, 20th Century Pictures (soon to become 20th Century-Fox), wound up making THE HOUSE OF ROTHSCHILD. Darryl F. Zanuck had worked at Warner Brothers where THE JAZZ SINGER (1927) not only revolutionized the industry through the introduction of sound, but also featured a sympathetic portrayal of New York Jewish life. Filmed in 1934, ROTHSCHILD is a product of its time. Today it sounds strange to hear the Jewish characters refer to themselves as a race rather than followers of a particular religion but that was the norm until after WW II.
The film opens in Germany in 1780 when Jews all over Europe lived in ghettos. Mayer Amschel Rothschild explains to his 5 sons how Jews are moneylenders because society won't allow them to be anything else. He instructs them to leave the ghetto and open banking houses in 5 major European cities (Berlin, Vienna, Amsterdam, Milan, and London). The oldest son, Nathan, goes to London and establishes what would become the House of Rothschild. He puts forth the policy of financing the allies against Napoleon even though most of the countries are antisemitic in practice. By controlling finances he hopes to promote peace and equality for the Jewish people.
He encounters antisemitism at every turn but especially from Count Ledrantz of Prussia who resents having to borrow money from Rothschild in order to battle Napoleon. Once Bonaparte is defeated and sent into exile, Ledrantz instigates a European-wide pogrom against the Jews. When Napoleon escapes and war breaks out again, Rothschild is able to negotiate an end to pogroms in exchange for new financing. After Wellington's victory at Waterloo, Rothschild is made a titled member of British aristocracy. This allows his daughter to marry into a highly regarded British family which helps to further assimilate the Rothschilds as well as people of Jewish origin into English & European society.
The film was the pet project of British actor George Arliss (1868-1946) who specialized in playing historical figures such as Cardinal Richelieu and Benjamin Disraeli .Arliss was granted an unusual amount of control over his movies. He picked the projects, supervised the productions, cast the movies, and directed them in all but name. He cast Boris Karloff as the antisemitic Count Ledrantz which showed that Karloff could play a straight role not related to horror. Also in the cast are Robert & Loretta Young (no relation) just starting out on their careers. The final scene was shot in the then brand new 3 color Technicolor process which would quickly become the Hollywood standard.
THE HOUSE OF ROTHSCHILD first appeared back in the 1980s as a Pioneer laserdisc which was then transferred to VHS and then to DVD. That version (the one shown here) featured the Technicolor finale but the current print on You Tube is in black & white. The visual quality is pretty good but the sound is not as clear as the original issue. Nevertheless it's good to know that ROTHSCHILD is still available for viewing as it a rare example of a film from the 1930s that is Pro-Semitic. While the movie deserves to be seen for that aspect, it is a well mounted and well acted historical drama that educates as it entertains...For more reviews visit The Capsule Critic.
The Unknown (1927)
A Farewell To "Arms".
THE UNKNOWN has nothing to do with Ernest Hemingway. It is yet another bizarre collaboration between Lon Chaney and director Tod Browning. It has been around since the VHS days but only in a 50 minute version in so-so condition and that was all we had available. The George Eastman Museum restored the film from a recently discovered 67 minute Czech archive print which is only 3 minutes short of its original running time. Chaney plays an armless knife thrower who uses his feet to do everything. He loves his assistant (Crawford) who has a phobia about men's hands. She, in turn, is loved by the circus strongman (Norman Kerry).
It's even more bizarre than it sounds. Chaney's character isn't really without arms. He keeps them hidden to avoid detection for past crimes. The strongman wants to embrace Crawford who recoils in horror. Chaney encourages this to feed her phobia and then has a plan to make her his own. Browning uses a body double for most of the foot sequences but it is very skillfully done. Crawford (who was 18 at the time) and Chaney got along very well and she fondly remembered working with him over 40 years later. Norman Kerry had worked with Chaney before on HUNCHBACK OF NOTRE DAME & PHANTOM OF THE OPERA. The digital 2K resolution looks great and is accompanied by an atmospheric piano score by silent film specialist Phillip Carli.
The initial rediscovery of THE UNKNOWN is both ironic and somewhat amusing. Long thought lost in a vault fire like LONDON AFTER MIDNIGHT and other MGM Chaney silents, it was rediscovered in a French film archive purely by accident. The movie's title had gotten it cataloged along with other "unknown" films in a long neglected collection which was only gone through in 1968. This was the 50 minute version. The current 66 minute Czech version was premiered in 2022. BTW, according to an MGM press release, the title was intended to refer to unknown areas of the mind that produce obsessions and phobias...For more reviews visit The Capsule Critic.
Creature with the Atom Brain (1955)
Science Fiction Meets Film Noir.
Edward L. Cahn (1899-1963) was an extremely prolific B movie director who cranked out 128 films during the years 1931-1962 (that's an average of 4 films per year). He got his start making several OUR GANG / LITTLE RASCALS comedies for MGM before moving on to B movie features in the 1940s. Cahn covered all the basic B movie genres (Western, Crime/Noir, War, Horror) with the occasional comedy or low rent musical thrown in for good measure. Between 1955 and 1962 he made the 10 Horror/Sci-FI movies (out of 49 total movies during that 7 year period) upon which his reputation primarily rests today. Cahn delivered more bang for the buck thanks to his film editor skills which not only made for some interesting viewing, but with their approximate 70 minutes running time, his films rarely wore out their welcome.
CREATURE WITH THE ATOM BRAIN (1955) was the first of two pictures Cahn directed for legendary low budget producer Sam Katzman known throughout Hollywood as "Jungle Sam" because of his JUNGLE JIM series with Johnny Weissmuller and his frequent use of verdant backlot settings. Radioactivity and atomic energy were an ubiquitous theme during the mid 1950s so Katzman, ever the trend follower, decided to make a film mixing this subject matter (no pun intended) into another major staple of B movie filmmaking, the crime picture. This gives ATOM BRAIN the distinction of being the first and possibly only Sci-Fi/Noir movie ever made. It works because its improbable script is played straight with low-key performances and no hint of tongue-in-cheek. Director Cahn moves things along at his usual brisk pace (69 min.) creating some memorable visuals along the way.
The cast is led by B movie veteran and sci-fi specialist Richard Denning who had just finished CREATURE FROM THE BLACK LAGOON. Denning gives his usual solid, if somewhat detached, performance as the hero who tries to solve a series of "impossible" killings which are being committed by dead men with incredible strength. Perhaps the only other familiar face belongs to S. John Launer (one of my wife's favorite actors) who is best remembered for portraying a judge on several episodes of PERRY MASON. The rest of the cast consists of B movie contract players who wound up doing most of their acting work in 1950s and 60s television. The one exception is Russian born actor Gregory Gay who plays the German scientist. He started acting in movies in the 1930s and continued working in film through 1979.
An expatriate mobster, who has illegally returned to the U. S. and the German scientist fabricate a group of atomic powered cadavers to carry out the gangster's obsessive quest for revenge against those who were responsible for his deportation. An intrepid police doctor, his boss, and his cohorts work to stop them before they exterminate the remaining witnesses, take over the city and...perhaps...the world (there's lots of stock footage of disasters occurring on land, sea, and in the air). The doctor must also protect his wife and young daughter when the mobster decides it's time to try get rid of him. Needless to say, and without giving too much away, everything works out well in the end. After all, this is the 1950s and a B movie to boot so good always triumphs over evil, at least in the last 10 minutes. This low budget nonsense is actually great fun...For more reviews visit The Capsule Critic.
Gojira (1954)
From Metaphor To Icon To Box Office Superstar.
Who would have thought that a radioactive, fire breathing dragon, intended to be a metaphor for the fire bombing of Tokyo during World War II would have turned into a cultural icon known and loved (yes, loved!) the world over. Certainly not the Japanese but that's exactly what happened.
Who also would have guessed that the 1954 Japanese original and its Americanized counterpart would inspire at least 25 sequels and/or remakes up to this point with the newest one having just opened in movie theaters all over the world? This latest installment cost 150 times what the original did and, unlike the original outside of Japan, it's receiving mostly positive reviews.
It all began when Japanese director Inoshiro Honda (no relation to the car company) saw the 1953 American sci-fi flick THE BEAST FROM 20,000 FATHOMS about a radioactive dinosaur awakened by atomic testing. Honda took this basic idea and turned it not only into a warning of the dangers of atomic testing, but also a direct allegory of the firebombing of Tokyo by the Allies with its appalling number of civilian casualties.
Honda's version featured a highly stylized creature out of Japanese mythology in the form of a dragon that not only had a devastating breath of fire but was also radioactive. Originally called GOJIRA in Japanese, Godzilla was an unparalleled destructive force with no redeeming features. He destroyed ships at sea, flattened cities and villages, and incinerated women and children.
The original's somber tone was carried over into an Americanized version that featured new footage of a pre-PERRY MASON Raymond Burr as reporter Steve Martin. This version was released two years later. Most of the carnage was left in, but references to the firebombing were removed. The creature was also renamed Godzilla for non-Japanese audiences, and his distinctive roar (made by rubbing the strings of a double bass with a leather glove and then altering the pitch) became his trademark. The movie was a worldwide hit.
In the best Hollywood tradition, the Japanese rushed a sequel into production (even though Godzilla had been thoroughly destroyed at the end of the first film) called GODZILLA RAIDS AGAIN. It took 4 years to reach the U. S where it was renamed GIGANTIS, THE FIRE MONSTER for copyright reasons. This is the first time that Godzilla would do battle with another giant monster which would become a cornerstone of the later sequels.
Within less than a decade Godzilla had been transformed from a fearsome symbol of man's inhumanity into the savior of Japan (and by association the rest of the Free World) by doing battle with various monsters and invaders and always emerging triumphant (except in 1962's GODZILLA-VS-KING KONG where Kong was allowed to win in the American version).
Godzilla's transformation from bad guy to good guy paralleled the rise of the Japanese economy in the 1970s and 80s and with success came formulaic repetition with the movies getting cheaper and cheaper and the character became little more than a live action cartoon with "the man in the rubber suit" origin of the character played strictly for laughs. He even uses kung fu in 1971's GODZILLA-VS-THE SMOG MONSTER.
For his 30th anniversary in 1984 an attempt was made to return the series to its serious roots. For GODZILLA 1985 he doesn't battle anything else and proceeds to destroy much of Tokyo before being lured away and falling into a live volcano. Raymond Burr was even brought in to comment on the action. The film was not a success and Godzilla disappeared from movie screens for over a decade.
After the success of JURASSIC PARK a wholly reinvented Godzilla was launched in 1998 with Matthew Broderick in the lead and New York standing in for Tokyo. The creature looked nothing like the old one and the physical resemblance to Jurassic Park was quite pronounced. The story resembled THE BEAST FROM 20,000 FATHOMS and fans were not pleased.
The Japanese were so offended that they quickly made their own new version GODZILLA 2000 to restore the monster's honor and integrity. While the American version bombed (primarily due to its $100 million budget) the Japanese one was a modest success but it seemed that Godzilla had roared his last roar...until now.
The new Godzilla goes back to the beginning with man's stupidity concerning nuclear power resulting in a disaster of spectacular proportions. Godzilla is now a force of nature needed to save the world (mostly San Francisco) from two rampaging, energy sucking creatures that are updates of the second great Japanese monster, Rodan.
At $150 million it's the most expensive Godzilla movie yet and certainly the most realistic looking although it was the lack of realism that made the original series what it was. Godzilla may be 60 but with an opening weekend of almost $100 million, he still remains a "huge" box office draw.
...UPDATE 2024: The latest installment GODZILLA MINUS ONE (2023) which is an updating of the 1954 original was a critical and a financial success. There's also the ongoing GODZILLA/KING KONG series so at 70 , so there's still plenty of life in the old boy yet...For more reviews visit The Capsule Critic.
Amanti d'oltretomba (1965)
An Italian Gothic Essential & Then Some.
This 2015 single Blu-Ray from Severin Films contains 3 essential Italian Gothic Horror movies. They are the titular NIGHTMARE CASTLE (Lovers From Beyond The Grave - 1965), CASTLE OF BLOOD (Dance Macabre - 1964) and TERROR CREATURES FROM THE GRAVE (5 Graves For A Medium - 1965)). I have included the translated Italian titles as they more accurately describe what the movies are about as opposed to the Americanized ones. All three films feature Barbara Steele, the English born "Queen of Italian Horror", are in black and white, and have atmospheric sets and lighting.
The three directors here (Mario Caiano, Antonio Margheriti, Massimo Pupillo) are more than capable of delivering the goods thanks to the other Italian craftsmen involved including the set designers, the cameramen and the lighting directors. Next to Bava, Antonio Margheriti is the most celebrated purveyor of Italian Gothic. The headline feature in this set is NIGHTMARE CASTLE which was directed by Caiano who is billed here as "Allan Grunewald". An amusing fact concerning the Italian Gothics is that, even in their original versions, the names used are English pseudonyms because Italians didn't believe that Italians could make horror films.
NIGHTMARE CASTLE (here called NIGHT OF THE DOOMED its U. K. title) concerns a husband who murders his rich wife and her lover and then encloses their hearts inside a statue. He later marries her cousin (also Steele) and plans to drive her insane so he can inherit the estate. He is aided in this by his faithful old housekeeper whose youth he has restored from his wife's blood. A young doctor, brought to the castle to certify the cousin, discovers their nefarious scheme and recovers the missing hearts. This brings back the spirits of the wife and lover who proceed to wreak a terrible vengeance on the husband and the housekeeper. The print is taken from the original uncut negative and it looks gorgeous.
CASTLE is taken from the edited American print that I saw in a theater in 1964. The opening titles are sketchy but after that the film settles down and looks pretty good for the rest of the way. For my money, this is the top Italian Gothic in this set. It was directed by Antonio Margheretti (under the alias Anthony Dawson) and tells the story of a 19th century journalist who accepts a bet to stay overnight in a haunted castle on October 31st. He meets a variety of people whose deaths he sees re-enacted before realizing that he's next. Immensely atmospheric with a solid performance by Steele as one of the ghosts.
TERROR CREATURES is in somewhat reminiscent of the much later WOMAN IN BLACK, it tells the story of a young solicitor in 1905 who goes to an old villa to settle a will only to realize that it is haunted by the former head of the estate who has summoned the spirits of 1 4th century plague victims to get revenge on the people responsible for his death. These include 4 "friends" and his younger second wife (Steele). While it is the least visually atmospheric of the 3 films, it is still quite creepy in the last third when the plague victims show up and the guilty parties are punished. Two of the deaths are explicit for the time .
Severin is another one of those companies, along with Criterion and Flicker Alley, whose products cost a little more but who give you lots of supplemental extras. In the case of this Blu-Ray, you get 3 movies, one of them beautifully restored, along with a number of supplements that include commentaries on each film, interviews with some of the principal people involved in their making including Barbara Steele herself, and various trailers and featurettes for each movie. This is one of Severin's first Blu-Ray forays into 1960s Italian & European Gothic cinema...For more reviews visit The Capsule Critic.
Circus of Horrors (1960)
The Best Of The So-Called "Sadian Trio".
Most people believe that the "modern" horror movie (those without a supernatural or fantasy element and with a contemporary setting) began in 1960 with Alfred Hitchcock's PSYCHO but in fact modern horror began a year earlier in England and not with a single movie but with 3. All were set in the present (ca. 1959) and feature then graphic depictions of gruesome deaths which are committed by a maniacal killer. They became known as "The Sadian Trio"
This term refers to a series of movies produced by Brit company Anglo-Amalgamated that were in deliberate contrast to the Gothic films being produced at Hammer Films. These films were partially financed by American producer Herman Cohen who specialized in exploitation movies like I WAS A TEENAGE FRANKENSTEIN. Anglo's purpose was to make low budget fare for the British market which then could be exported to America.
The movies were made at 3 different studios and shot by 3 different directors. They were HORRORS OF THE BLACK MUSEUM, PEEPING TOM and CIRCUS OF HORRORS. CIRCUS was directed by Sidney Hayers (who also did the creepy NIGHT OF THE EAGLE/BURN WITCH, BURN) and is my favorite. Part of this stems from the fact that I love old school circuses and circus pictures and that this film comes with a clever and engaging plot.
After botching an operation on a wealthy socialite, a fugitive plastic surgeon (Anton Diffring) leaves England and hides out in a small European carnival. When the owner is accidentally killed, he takes over the circus and turns it into an international success. He accomplishes this by filling it with disfigured people he has transformed through his surgery. The catch is that those who wish to leave meet with "accidents" while performing.
This leads to even more box office success for the circus as audiences come hoping to witness these calamities which continue to occur. COH even features a song "Look For A Star '' which became a hit on the European pop charts. The ending, in which the socialite gets her revenge, is ironic and appropriate. Joining Diffring in this endeavor are Conrad Phillips (fresh from WILLIAM TELL), Yvonne Muldaur, Kenneth Griffith, and Donald Pleasance.
Over the past 60 years a number of increasingly graphic horror movies have been made and today CIRCUS seems quaint by comparison. However there is a degree of intelligence in the screenplay and in the performances which is missing from most horror films of today. If you enjoy classic Brit horror movies, then you may want to check out CIRCUS OF HORRORS to discover just how far we haven't come...For more reviews visit The Capsule Critic.
The Case of the Howling Dog (1934)
The Original PERRY MASON.
My mother was a great fan of mysteries and our home library (back when there was such a thing) was filled with them. Most of these dated from the 1930s and early 1940s because following World War II the taste for mysteries declined. As a child of the 1950s, I grew up with the PERRY MASON TV series starring Raymond Burr but my mother, also a great fan of old movies, told me Burr wasn't the first Perry Mason. That distinction belonged to 1930s character actor Warren William who starred in 4 of the 6 Perry Mason B movies made in 1936 by Warner Brothers. This is back when Erle Stanley Gardner had just begun writing his Perry Mason books and the character was new. In fact, my mother purchased most of the Mason books when they were first published and added them to our library collection.
Warren William's Perry Mason was very different from Raymond Burr's take on the character. Mason was rich, he was cocky, had a mustache, and was somewhat conceited. He was also as much a private detective as a lawyer. This is because rich detectives like Philo Vance and Nick Charles were in vogue at the time. This suited William's screen image perfectly. Gardner was just starting out and didn't have the clout that he would have after becoming famous. As a result, these B movies differed from what Gardner had written although the plots were adhered to. It's an interesting paradox that the plots of the TV show stray even further from Gardner's books than the 1930s movies did even though, by the Fifties, Gardner was well known and should have had more creative control over his material.
The first of the 6 movies, THE CASE OF THE HOWLING DOG, is narrowly the best of the set. Perry Mason was being introduced to a movie audience and a surprising amount of care was taken with this film. It's well written (much better than the TV version of the same title), well photographed, well acted, and far more serious in tone than the episodes that followed. Up next is THE CASE OF THE CURIOUS BRIDE which has the distinction of being directed by Michael Curtiz (CASABLANCA). More stylish than DOG it ends with a room-gathering revelation rather than in a courtroom. THE CASE OF THE LUCKY LEGS is easily the worst as it's played more as a screwball comedy than a mystery. THE CASE OF THE VELVET CLAWS (Gardner's first PM mystery) has ...SPOILER ALERT...Perry and Della Street getting married!
Warner Brothers then decided to cut the budgets for the remaining two films. Warren William, who was a big name at the time, moved on and so Ricardo Cortez, who played the original Sam Spade, took over the role of Perry in THE CASE OF THE BLACK CAT. Despite the cuts, BLACK CAT (misnamed as the cat in the film is gray and white) is a distinct improvement over LUCKY LEGS and VELVET CLAWS as the focus once again shifts to mystery and not comedy. For my money, Cortez was the best Perry Mason but Gardner was not of that opinion so in the final film, THE CASE OF THE STUTTERING BISHOP, Cortez was replaced by Donald Woods who'd been one of the suspects from CURIOUS BRIDE. Woods also played his Perry straight and was very effective in the courtroom finale. FYI...Della goes back to being unmarried in the last two movies.
The one word to best describe these movies is...uneven. Della Street was portrayed by 5 different actresses and Paul Drake, known as "Spudsy" Drake, was used for comedic relief in the Warren William Perrys. Paul Drake finally shows up as Paul Drake in the last 2 installments as does Hamilton Burger whose last name is pronounced "Bur-jer" in the final film. Both Drake and Burg-jer were played by a different actor in the last 2 films. It should be noted that Gardner did not write any of the screenplays. This bare bones DVD-R set from Warner Archive comes with no extras but is worth acquiring for fans of 1930s mysteries and of Perry Mason...For more reviews Visit The Capsule Critic.
Lonesome (1928)
"A Coney Island of The Mind".
Even though I have been a silent film enthusiast for 50 years now (I started very young) and have read a number of books on the subject as well as having amassed a rather large collection of silent movies on DVD, I can't remember ever having run across the name of Hungarian born director Paul Fejos. I'm sure there must have been something but I simply can't recall it. After watching this Criterion release, it seems unbelievable that his Hollywood films could have been lost for as long as they were. Two of the three films are welcome additions to the silent film catalog while one is a curious early sound offering. All 3 films on this disc were made for Universal so it's only fitting that they reappear in time for the company's 100th anniversary.
The true prize of the collection is LONESOME, a 1929 film that recalls both SUNRISE and 7th HEAVEN in its storyline and in its cinematic expression of that story. Glenn Tryon (who I knew from some Hal Roach comedy shorts) and Barbara Kent (the sister in FLESH & THE DEVIL) play a pair of lonely blue collar workers who discover each other during a visit to Coney Island. They meet, fall in love, and then are separated by a massive rainstorm without knowing their last names. A simple enough story but it's what Fejos does with the material that makes LONESOME so remarkable. Technically this film goes far beyond SUNRISE in its camerawork and editing resulting in an eye opening cinematic experience that the director called a "Coney Island of the mind".
The other two films on an additional DVD make for an interesting evening. THE LAST PERFORMANCE stars Conrad Veidt as a jealous stage magician whose love for his young assistant (Mary Philbin in her best performance) leads to tragedy. Imagine one of the Tod Browning Lon Chaney films as if it had been directed by F. W. Murnau and that will give you some idea of what it's like. The print used here was found in Denmark and still has Danish title cards. While that proves the universality of silent movies, it would have been nice if new title cards could have been made. The film has also not been restored and is occasionally contrasty and shows some print damage. It's not ideal but is quite serviceable and Conrad Veidt is amazing.
BROADWAY was one of Universal's early sound extravaganzas. It not only features dialogue and musical numbers but it also has an early Technicolor finale. Unless you are really into early sound musicals, BROADWAY is more of historical interest. There are some truly remarkable camera shots courtesy of the "BROADWAY crane" which revolutionized camera movement. The influence on later musicals and Busby Berkeley is obvious. Unfortunately the dialog is incredibly stiff ("Where-is-Steve? He's-in-the-next-room.) and slows down the action. Glenn Tryon is on hand once again as the male lead and it's always great to see Evelyn Brent in anything. This is what THE ARTIST would have been like had it been made in 1929. While this release is an absolute must for silent movie fans others will find it to be of limited interest...For more reviews visit The Capsule Critic.
Her Night of Romance (1924)
A Rare Opportunity To See Constance Talmadge.
Having recently reviewed the NORMA TALMADGE COLLECTION from Kino, It's time now to say a few words regarding sister Constance. THE CONSTANCE TALMADGE COLLECTION contains the double feature HER NIGHT OF ROMANCE (1924) and HER SISTER FROM PARIS (1925). Both feature Ronald Colman as her leading man already perfecting the look and stylish interplay of the Ronald Colman we all know and love (Colman was also the love interest in sister Norma's KIKI part of the earlier mentioned collection).
What we have are two well made, lightweight vehicles that show off both stars to good advantage. Of the two I prefer HER NIGHT OF ROMANCE where Connie is an heiress who makes herself homely in order to find a man interested in her and not her money. It seems clear to me that the "homely" scenes were definitely seen by Lucille Ball as some of the facial gestures and grimaces are just too similar to what Lucy would do later on. HER SISTER FROM PARIS is the old warhorse about twin sisters, one vivacious, one mousy, who swap places in order to win the latter's husband back.
We are lucky to have these movies at all as both Talmadge sisters had invested wisely and once sound arrived they retired (Norma made 2 talkies, Connie none). That, combined with their own indifference and the fact that their movies were made for First National a company swallowed up by Warner Brothers, resulted in virtually all of their films disappearing from public view and being forgotten in the Warner vaults until recently. As a result both of these films suffer from nitrate decomposition which is readily apparent but not enough to put off a silent film enthusiast.
Both films were directed by Sidney Franklin who would later become an award winning director with THE GOOD EARTH in 1937. The musical accompaniment by Bruce Loeb and Judith Rosenberg is pleasant without ever being intrusive. A decent introduction to one of the silent screen's most graceful comediennes even if the material is nothing new and the conditions of the prints less than stellar. You can also catch Connie in Douglas Fairbanks' THE MATRIMANIAC and as the Mountain Girl in D. W. Griffith's INTOLERANCE...For more reviews visit The Capsule Critic.
Within the Law (1923)
A Rare Opportunity To See Norma Talmadge.
I have been a fan of silent movies since 1962 but not until the release of this DVD have I had a chance to see Norma Talmadge in action. I've known about her for years and have seen numerous pictures of her without ever having seen her pictures. I knew her sister Constance from her role in INTOLERANCE and the Douglas Fairbanks comedy THE MATRIMANIAC and saw other sister Natalie in Buster Keaton's OUR HOSPITALITY but no Norma.
I find it absolutely mindboggling how a star of her magnitude (she was more popular than Mary Pickford in the 1920s) could have so completely disappeared from Hollywood's and the public's collective memory but with only 2 early talkies which are never shown and no effort on her part to preserve her silent legacy, that is precisely what happened. Now Kino has brought her back in two highly regarded films from the mid-1920s that clearly show us why she was once such a big star.
The KIKI storyline I was already familiar with from the 1931 Mary Pickford remake which I thoroughly enjoyed but this version is clearly better. Norma, who was known as a dramatic actress, shines in her comedic role as a French chorus girl out to snag her producer played by a young and dapper Ronald Colman. The most remarkable thing here and in the dramatic second film, WITHIN THE LAW where she plays a falsely imprisoned woman out for revenge, is the sumptuousness of the sets and the quality of the cinematography.
The fact that she had Clarence Brown (FLESH AND THE DEVIL) and Frank Lloyd (MUTINY ON THE BOUNTY) as her directors shows the kind of clout she must have had. WITHIN THE LAW also gives us a rare opportunity to see Lew Cody who would later become Mabel Normand's husband. These Library of Congress preservations look quite good and the musical accompaniment compliments the action nicely. Hopefully more of Norma's films will come to light and we can see more of this shamefully forgotten actress...For more reviews visit The Capsule Critic.
The Ocean Waif (1916)
A Tantalizing Tidbit From Alice Guy-Blache'.
Alice Guy-Blache' (1873-1968) was not only the world's first woman film director but quite possibly the first film director period. Her work as Alice Guy for Gaumont predates Fantasy filmmaker Georges Melies by several months. Her earliest film LA FEE AUX CHOUX/THE CABBAGE FAIRY dates from 1896. After coming to America in 1907 with her husband Herbert Blache', she starts up her own studio in 1910 and opens her major studio called Solax in Fort Lee N. J. in 1912. Among the people who work for her is a young actress/writer named Lois Weber who would also develop into a major director.
THE OCEAN WAIF survives as a fragment of the original. It is a little over 41 minutes long and suffers from nitrate decomposition in many places. However the skill of Alice Guy-Blache' still shines through in the restrained performances from the actors (remember this is 1916) and the strong visual composition of the shots. Sadly this is her only feature film to survive and it's incomplete. There are still several of her short films but for someone so important to film history, it's a sad legacy and a sad comment on how the films of independent producer-directors were treated. As an example of that, the other film on the disc Ruth Ann Baldwin's 49-17 which was made for Universal in 1917, survives in virtually pristine condition. It has the added attraction of an early film appearance from the great Danish born actor and later humanitarian Jean Hersholt.
Thanks are due to producer Jessica Rosner, Kino International, and pianist Jon Mirsalis for putting together and then releasing this FIRST LADIES: EARLY AMERICAN FILMMAKERS series on DVD. They look as good as they possibly can and are indispensable to students of film, people interested in women pioneers, and of course silent film aficionados. Rounding out the series is Dorothy Davenport Reid's THE RED KIMONO. To find out more about Alice Guy-Blache' check out Alison McMahan's thorough biography of her, ALICE GUY-BLACHE': LOST VISIONARY OF THE CINEMA. Kino Lorber has now issued a 3 DVD box set GAUMONT TREASURES 1897-1913 with Disc 1featuring several Alice Guy short films...For more reviews visit The Capsule Critic.
The Red Kimono (1926)
An Important Work From A Forgotten Female Pioneer.
Dorothy Davenport Reid (1895-1977) was one of the most important women producer/directors during the 1920s. She came from a distinguished theatrical family. Her father Harry Davenport is best remembered as Dr. Meade in GONE WITH THE WIND. She was married to early matinee idol Wallace Reid hence her being known as Mrs Wallace Reid. When he died in 1923 of complications from drug addiction, she became an advocate for social causes. Her hard hitting film about drug addiction HUMAN WRECKAGE (1923) with Bessie Love and her next film BROKEN LAWS no longer survive but THE RED KIMON0, a film about prostitution made in 1925, does.
While the real life story of New Orleans prostitute Gabrielle Darley who murders her pimp/lover is melodramatized for the screen, it remains surprisingly effective thanks to the lead performance of Priscilla Bonner (IT, THE STRONG MAN). There are also small parts for silent film regulars Tyrone Power Sr, Virginia Pearson, and George Siegmann. The direction is credited solely to Walter Lang who would become an in-house workhorse at 20th Century Fox for many years but the film was co-directed by Reid. Why she chose to leave her name off is curious. Perhaps as producer and with her appearance as herself, she felt it would be a case of overkill. Who can say. By the early 1930s with the advent of sound and the studio system firmly in place her career was over although she lived another 40+ years.
Today like so many of the women film pioneers she is forgotten but hopefully the release of this film on DVD along with the two others in the FIRST LADIES: EARLY WOMEN FILMMAKERS series from Kino will help to correct that. While not a great film, THE RED KIMONO is an important one and still plays well today. The social criticism of judgmental attitudes and misplaced philanthropy is still relevant to our time. The print from the Library Of Congress looks great and the hand tinted red sequences for certain scenes have been beautifully restored. Robert Israel's piano score is also a plus. The title comes from the article of clothing worn by Gabrielle as a prostitute...For more reviews visit The Capsule Critic.
Annie Laurie (1927)
First Class Restoration Of A Once Lost Lillian Gish Movie.
By the time she made ANNIE LAURIE in 1927, Lillian Gish was 33 years old and had appeared in over 20 feature films and more than 40 shorts. It was her third movie for MGM after LA BOHEME & THE SCARLET LETTER, both of which were moderately successful. MGM at that time was the biggest, most powerful studio in Hollywood. Studio head Louis B. Mayer didn't like Gish because she was allowed more autonomy than most female stars (initially she had script approval and could choose her director) but as long as her movies made money, he left her alone. However ANNIE was an expensive flop, and that, coupled with the arrival of Greta Garbo assured Lillian's days at MGM would be numbered. After 3 more poorly performing movies (including the highly acclaimed THE WIND), Gish left Hollywood for 10 years.
It's hard to fathom why ANNIE failed at the box office at the time of its release. The film took its name from a well known ballad and was based on an actual historical event. Joining Gish were popular 1920s leading man Norman Kerry (PHANTOM OF THE OPERA) along with silent film veterans Brandon Hurst and Hobart Bosworth as the leaders of the rival clans. Also in the cast, in an atypical role, was Creighton Hale who was known for his comedic roles like in THE CAT AND THE CANARY. Here Hale portrays the chief villain and he's very good. The movie also had lavish production values as can be seen in the massive castle sets and in the hundreds of extras clothed in traditional Scottish dress (lots and lots of kilts representing the different clans).
The plot concerns two warring clans, the Campbells and the MacDonalds in 17th century Scotland. Gish portrays the title character who is the daughter of a diplomat trying to initiate peace between the two families. She commits herself to a Campbell but then falls for a MacDonald. When her jilted boyfriend plans a gruesome revenge upon the opposing family, Annie must risk her life to warn them before it is too late. The circumstances are based on the Glencoe Massacre which occurred February 13, 1692. While this event has been fictionalized and romanticized, it actually did happen. The attack is rousingly staged and is definitely the action highlight of the film. The final scene of the movie was shot in two-strip Technicolor which added to the expense.
After the movie tanked, MGM "forgot" about it (as they did all 4 of Gish's movies made there) and it disappeared for almost 60 years and was considered lost. In the 1980s a print was located in Oregon and turned over to the American Film Institute who sent it to the Library of Congress. The film was in less than pristine condition but at least it was preserved. After a number of years, restoration efforts began and the fully restored version, complete with a brand new full orchestral score, premiered in January of 2024. The music by Robert Israel is a medley of familiar Scottish tunes including the titular one which was the initial inspiration for the movie. It is this restored version that has now been made available on Blu-ray by Kino Lorber.
ANNIE LAURIE, while not top drawer Gish, still has lots of things going for it. It's a delight to look at with superbly detailed sets and excellent location shooting beautifully captured by longtime MGM cinematographer Oliver Marsh. The underrated Norman Kerry is both handsome and rugged but, as mentioned earlier, acting honors belong to Creighton Hale. Lillian is good as always but seems less at home in the lighter scenes. She does come to life during the dramatic finale which was more her mien. From my POV, the action sequences have been transferred a trifle fast but the LOC should know what it's doing. The ending Technicolor scenes do look good. While it's great to have ANNIE LAURIE, I'm still waiting for a restored Version of THE WIND...For more reviews visit The Capsule Critic.
Der Richter und sein Henker (1975)
Swiss Curio With Jon Voight & Jacqueline Bisset
I saw this 1975 film when it first came out under the English title of END OF THE GAME which literally describes what happens but is not nearly as appropriate as the original title of THE JUDGE & HIS HANGMAN. If you are familiar with Swiss playwright/novelist Friedrich Durrenmatt (THE VISIT, THE PHYSICISTS) then you know what to expect. Durrenmatt is like a Swiss Samuel Beckett with a little of Harold Pinter thrown in for good measure. On the surface this is a standard murder mystery that isn't that hard to figure out. That isn't the point. How it arrives at its solution, the past incident that drives it, and the neatly absurdist dialogue that the major characters exchange are what END OF THE GAME is really about.
Maximillian Schell, who is much better known for his acting, directed a handful of films of which this is undoubtedly the strangest. In fact it is splendidly strange. That is why it plays better today than it did then. Most Americans (certainly the reviewers) didn't get it at all. The scene with Donald Sutherland as a corpse, his rain soaked funeral, and the verbal exchanges between Martin Ritt and Jon Voight and Ritt and Robert Shaw should have tipped them off. This is no ordinary run-of-the-mill mystery even if the murder turns out to have been extremely ordinary.
The movie is one of those international or Continental films that were so popular in the 1970s with a mixed cast of British, American, and European actors. Some of the dubbing leaves a lot to be desired and that is even true of the original German soundtrack but it doesn't really detract from the proceedings. It actually adds to the strangeness as does the Ennio Morricone score. Jon Voight, Jacqueline Bisset and Robert Shaw were already well known performers but casting director Martin Ritt (who had acted early in his Actors Studio days) was definitely an eccentric move but Ritt acquits himself well. Schell himself makes a brief cameo appearance (playing the piano for Pinchas Zukerman) and there's another cameo from silent screen star Lil Dagover (CABINET OF DR CALIGARI) as Shaw's mother. Fittingly she doesn't utter a word.
I have waited patiently for years for 20th Century Fox to release this title on home video but had to settle for a DVD-R copied off the Fox Movie Channel until now. As another reviewer pointed out, the lack of subtitles is unfortunate as it is clear there are substantial differences between the German and English soundtracks. I was able to access the special features on my Blu-Ray player but without subtitles I can't understand what Maximillian Schell has to say about the film. Anyway, no matter where it comes from, I am delighted to have this in a more than respectable transfer with good sound. It has its flaws but it remains fascinating to watch...For more reviews visit The Capsule Critic.
Maria Marten, or The Murder in the Red Barn (1935)
The Ideal Introduction To Tod Slaughter.
Unless you have a taste for old school, heavy-handed, unashamedly red blooded Victorian melodrama, then I would steer clear of this or any other Tod Slaughter movie that you might run across. However if you enjoy English history and would like to see what the Victorians considered a good time, then you owe it to yourself to check out this double feature starring the inestimable Mister Slaughter (1885-1956). Already well known for touring throughout the country in the 1910s and 20s (with time off to fight in World War I), Slaughter teamed up with "Quota Quickie" producer George King to make film versions of Slaughter's best known and most successful melodramas (FYI a "quota quickie" referred to an English film made for very little money to help offset the rising imports of Hollywood movies).
His signature role was as SWEENEY TODD: THE DEMON BARBER OF FLEET STREET (where do you think the idea for the musical came from?) which is also available but this double feature contains his other signature role, Squire Corder in MURDER IN THE RED BARN as well as his most frightening film THE FACE AT THE WINDOW and in the best quality prints available so far. These 2 movie are the way to go to get a proper introduction to Tod who was to British horror what Karloff & Lugosi were to American horror. There are quality prints out there but they British and therefore Region 2. Avoid You Tube or other streaming copies as they are terrible.
MARIA MARTEN OR MURDER IN THE RED BARN was Slaughter's first film and was made in 1935 when he was already 50 years old and had been barnstorming up and down the U. K. for years. It is based on a stage melodrama which is based on a ballad that was based on actual events that took place in 1827. It would have been well known to British audiences of the time, second only to SWEENEY TODD which Slaughter & King would film after the success of this movie. Slaughter plays William Corder, a local squire who promises country girl Maria Marten that he will marry her only to murder her in the title structure so that he can marry a wealthy spinster. Maria's mother has a dream for several nights running that her daughter was murdered and buried in the barn. When Corder is finally forced to dig in the barn, he cracks up and then breaks down and is taken away to be executed. In classic 19th century style, Slaughter rubs his hands, leers lasciviously, and invites the audience to boo and hiss him which, apparently, they did wholeheartedly. The movie opens in a provincial theater where we are formally introduced to the characters who are about to perform the play and then the movie proper begins. A nice touch.
THE FACE AT THE WINDOW is a rather different affair made 4 years later in 1939. While Slaughter is up to his old tricks, relishing his misdeeds and lusting after the heroine, he is also a serial murderer known as "The Wolf" who is terrorizing all of 19th century Paris. Just before each murder occurs, a hideous face appears outside the window of each victim. This visage is truly disturbing and steers the film toward outright horror. That and a sequence of reanimating a corpse to reveal the true identity of the murderer makes THE FACE AT THE WINDOW the best of Slaughter's "quota quickies". Only THE GREED OF WILLIAM HART made after World War II and based on the exploits of real life grave robbers Burke & Hare can lay claim to being Slaughter's best film.
While I am a huge Tod Slaughter fan, it's hard to recommend him to a modern day audience. If they laugh at the original DRACULA and FRANKENSTEIN, they should find Tod hysterical. Instead they would probably find him very boring. Old school melodrama was never meant to be taken seriously and today's horror fans want their horror straight and as boringly realistic as possible. So if you enjoy all things British, don't mind some obvious theatricality, and are a fan of old school 1930s horror films, this double bill will be a treat. If you're not, then it's your loss...For more reviews visit The Capsule Critic.