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Reviews
Francis (1950)
Charming offbeat character study
Donald O'Connor had already proven himself in musical comedies at Universal by the time he was inducted into the U. S. Army in 1943. He was just eighteen years old, but beloved by movie audiences. More importantly, he was well-liked by studio execs who would continue to feature him in light fare when he returned from service to Hollywood after the war.
In 1949, the studio had an agreement with O'Connor which paid the actor $30,000 to appear in FRANCIS, a war comedy with a silly premise. Even if O'Connor wasn't bowled over by the script, the paycheck would come in handy and he said yes. It turned out to be a fortuitous bit of casting, since O'Connor's affable screen persona would work quite well with his playing opposite a mule. That's right, a mule.
It could be argued that O'Connor's character isn't nearly as fleshed out as the titular animal. In fact, Francis the mule gets some of the best dialogue (voiced by Chill Wills). Though, to be sure, O'Connor gets to ham it up as a slightly befuddled second lieutenant named Peter Stirling, whom we learn was sent to Burma where he met Francis.
The duo's initial meeting is quite memorable. Francis saves Peter, who seems very flustered in battle, from being killed. Later, Peter is recovering at a medical facility, and he tells the other men he made it to safety because of what a mule had told him. Of course, they think he's wacky. So, off he goes to a psychiatric ward. The head nurse, Valerie Humpert, is probably even nuttier than Peter is; she's portrayed by ZaSu Pitts. (Pitts would reprise her role in a later installment of the franchise.)
A subplot involves a sexy French woman (Patricia Medina) at the army camp who is dating a much-older colonel (Ray Collins). But Medina's character ends up spending more time with O'Connor's character, once she realizes he and his pal the mule can give her information that she might pass on to the Japanese. This means a long-term romance is out, since she is obviously a spy and will be caught.
Though the situations are rather amusing, none of it is really laugh out loud funny. Unless talking mules and spastic lieutenants tickle your funny bone. Mostly, this is a charming offbeat character study about a lonely guy who is befriended by an animal while serving abroad. In that regard, it's a sincerely played scenario. Contemporary audiences enjoyed it so much that Universal made six more sequels, five with O'Connor and the last one with Mickey Rooney.
The Living Daylights (1987)
Spy noir
In THE LIVING DAYLIGHTS Timothy Dalton makes his first appearance as James Bond. With any actor new to the role there are going to be sight adjustments-- ones the producers have to make to accommodate the replacement star, and ones the audience has to make in order to accept him as 007. In this case Dalton has the unenviable task of following Roger Moore who put his indelible stamp on the character.
Dalton doesn't convey Moore's brand of humor or on-screen style. But the screenplay was finished before Dalton signed on, so the material was not exactly written to his strengths as a performer. Also, I don't think the humorless stretches in THE LIVING DAYLIGHTS can be blamed on Dalton; he has been tasked with a more serious adventure and cold war drama. This installment gives viewers political intrigue and realism. And I would say Dalton is a good choice in presenting a harder edged, grittier side of the character.
In fact it feels like 007 is more mysterious. Dalton's sexuality differs from Moore and the other predecessors. His Bond isn't direct with women like we've seen in the previous films. Dalton is not necessarily reserved but he comes across as a private person. And actually, it makes sense for this type of character who should be cautious about the kinds of women he can trust and be intimate with.
Dalton brings stage experience to his acting; and his performance is more theatrically constructed than the other Bonds. He keeps the character coolly detached from the situations and a bit sharper, which in a story about tensions with the Russians would be appropriate. Yet there are still vulnerable touches the actor adds, which I believe are Dalton's own traits coming through once the defenses are down.
The Bond girl is British actress Maryam d'Abo, playing a cellist named Kara. Despite her introduction as a sniper, it is soon revealed that she is only pretending to shoot someone. She is not a killer, but a musician trying to help her boyfriend escape the KGB. She is a loving woman, which Bond can see despite the coldness in his heart. In the next part of the story, they get to know each other and he warms up to her. He realizes he can rely on her when they are trying to escape some Russians-- they go on the run through the Czech wilderness and across the border into Austria.
It is just the two of them, plus a cello she's brought along for her next concert, in Bond's all-purpose Aston Martin V8 Vantage. Eventually they have to ditch the vehicle and "sled" down a mountain on her cello case. It's a fun breathtaking sequence, and we begin to root for them as a couple, even though she still has a dangerous boyfriend who will complicate things.
Jeroen Krabbe plays the boyfriend, a creep named Koskov. He's in cahoots with a rogue arms dealer portrayed by Joe Don Baker. Baker seems to be giving his best Brando imitation as a self-appointed Napoleonic warrior who calls himself a general-- though we might question how legitimate those credentials are. Koskov is his ally and is a renegade Soviet who finds Kara disposable after a certain point, which of course clears the way for Kara to enjoy a more meaningful romance with Bond. Ultimately Kara and Bond come face to face with Koskov during a game of cat-and-mouse in Afghanistan. There's a thrilling airplane sequence which seems to have been inspired by Indiana Jones.
As things come full circle, the emphasis is on espionage. It all leads to the general's gruesome death in a standoff with Bond that takes place in a dimly lit war room. Though the action in Afghanistan occurs during the daytime, many of the film's key scenes occur at night. Visually and thematically, the picture has an overall dark tone. I'd say it is a spy-noir. Of course, you can either agree or disagree. But if you disagree too much, I might have someone knock the living daylights out of you.
Wednesday's Child (1934)
Full of woe
Based on a moderately successful Broadway play, this RKO adaptation was presented by studio producer Pandro Berman. Berman brought child star Frankie Thomas to Hollywood for his motion picture debut; Thomas had wowed critics and audiences back in New York as a ten year old boy full of woe, deeply troubled by his wealthy parents' sudden breakup. It's a searing look at a broken marriage and the child caught in the middle.
For the role of the father, Edward Arnold has been cast as a successful businessman. He's a man who loves his son but finds himself pulled in other directions. When he's not closing deals and making money, he's dealing with a cheating wife then a messy divorce. After the divorce, he still doesn't seem to have time for the boy; since there's a new woman (Shirley Grey) in the picture competing for his affections.
In the role of the mother RKO borrowed Karen Morley from MGM. Morley was not known for her sympathetic portrayals, and she does not disappoint in this offering. She's a wild cheating wife who realizes too late the error of her ways. After her affair has been found out, she's belted by Arnold, which is then used against him in the divorce court. The marriage is soon dissolved, and she gets custody of her young son. But she has quickly remarried which causes great tension.
There is some interesting dialogue. At one point Thomas's character prays to god to kill his new stepfather. In the final act, when he's been sent off to a military academy, he tells a roommate (David Durand) that he no longer has parents and boys are all he's got. It's heartbreaking stuff. Since this is a domestic melodrama, the angst is poured on thick in a few spots; but the performances are so good, and the characters so carefully etched, that can be forgiven. It's a thought-provoking story about the devastating long-term effects of a family splitting apart.
RKO remade it in 1946. That time the film was called CHILD OF DIVORCE. Frankie Thomas's character Bobby was also called Bobby in the remake. However, the child was a girl named Bobby, short for Roberta, played by Sharyn Moffett. If you're in the mood for a well-produced, well-acted think piece, I recommend watching.
The Beast of Hollow Mountain (1956)
Western horror with romance
If you like films with death by animals, then you will probably enjoy THE BEAST OF HOLLOW MOUNTAIN. This co-production between U. S. and Mexican companies was filmed on location in Mexico. It features two Hollywood stars in the lead roles- Guy Madison who had made a name for himself in the western genre; and Patricia Medina, a British import who had established herself in romance dramas and adventure flicks.
Madison and Medina play the central love story, with Medina as a Latina woman engaged to another man (Eduardo Noriega) but finding out that she'd much rather spend her life with Madison. He just came down from Texas to assume control of a ranch as well as assume control of her heart. The film's first 45 minutes or so is about the love triangle and various other Mexican-American conflicts that occur, with the two Hollywood stars flanked by an assortment of Mexican character actors.
During the romantic drama, there is a subplot involving the loss of some livestock. At first this is attributed to rustlers, but the truth is much scarier than that. Apparently, there is a dinosaur living inside a hollow mountain, hence the title, who comes out when it's hungry to devour cattle. I don't think the beast is too discerning and will eat anything fleshy, including sheep and humans.
A shadow of the prehistoric villain is not glimpsed until more than halfway into the story. And its full presence is not revealed until the 59-minute mark. Since this is a motion picture that only lasts about 80 minutes, the Tyrannosaurus Rex itself does not take center stage until the last twenty minutes. I suppose there was only so much budget and so much creativity to allow for just one elongated sequence with stop-animation techniques bringing the monster to life on screen.
While the special effects, and acting, might be regarded by today's viewers as primitive, pun intended, it's still a rather harmless way to be entertained. These kinds of movies were popular with the drive-in crowds back in the day, and they are a chance for filmmakers to try to blend genres and storytelling styles, even if the results are somewhat uneven and not one hundred percent classic.
A View to a Kill (1985)
Moore's last effort as James Bond
Roger Moore's last film as super agent James Bond is a bit of a letdown, though it is still worth watching. I'd say it's a case where the parts do not really equal a whole. It has one of the most diverse casts, the last half takes place in and around San Francisco, and as we've come to expect, there are some great stunts (involving axe-wielding along the Golden Gate bridge). But it seems like there was a better intentioned film than the one that was actually produced.
First I think the idea Bond would be caught up in technology-related crimes in the Silicon Valley is an inspired one. In the mid-80s, people were looking ahead and wondering what might happen if computerized technologies fell into the wrong hands. A bad guy like Max Zorin (Christopher Walken) sort of represents those fears. But unfortunately Zorin is not crafty enough. He doesn't come across as smart or resourceful as other Bond villains, especially with so much power and money at his disposal.
Originally David Bowie was who the producers had in mind when they were devising the villain for A VIEW TO A KILL. It's a shame Bowie turned them down, because I think he would have had a flair that would not have been upstaged by Grace Jones, who plays May Day, Zorin's partner in crime. But since we don't have Bowie, and a lot of the picture's "charm" relies on Jones, we have to just accept what we're given. Though we might ask why the writers thought it was a good idea to insert a scene where she and Bond go to bed.
We know Bond has an appetite for different types of women, but she doesn't quite seem his type; and more importantly, he doesn't seem to be her type. It's kind of far-fetched to expect them to hit it off. What's even more far-fetched is her weird change of heart near the end, where she agrees to help Bond defeat Zorin. It leads to her death, and she seems too intelligent to sacrifice herself and come to such a foolish end.
Another female character involved in the story is heiress Stacey Sutton (Tanya Roberts). She's the main Bond girl, and Zorin has been after her ass(ets) for a long time. Unfortunately, Roberts doesn't seem to have a lot of screen chemistry with Moore. In interviews he had given, Moore didn't seem to care for this picture as much as his previous turns. He made jokes about being too old, and he also did not like the excessive violence. Certainly, there are increased shootings in this installment.
But I don't think there's anything wrong with Bond being older, or his being involved in a deadlier, more violent adventure. I don't even have a major problem with a weak villain or a miscast Bond girl. All those things hurt the picture, but a Bond film can still succeed in spite of them.
I think the bigger issue is the parts do not seem to fit together like they should. It's almost like we have standalone sequences torn out of different scripts. Then someone tried to glue them together to create one huge exciting piece of entertainment. A perfect example is the firetruck chase scene, which attempts a bit of Keystone Kops comedy with Bond at the wheel, driving like mad through the city. Those ten minutes feel like they belong in another movie.
In a Bond picture we need the parts to connect. Other productions in the franchise have self-indulgent sequences but there is usually a transition or an overall theme to bring it together. Moore deserved a better swan song. Anyone who plays the world's greatest man 007 times should have a grand sendoff.
Supernatural (1933)
A force beyond her control
Though she has top billing, Carole Lombard doesn't appear until around the 14-minute mark of this 64 minute film. It's a horror flick from the folks at Paramount, who usually gave the actress comedic assignments. But Lombard was more than capable of pulling off serious dramatic roles, even if the basic concept is a bit far-fetched. She's playing a wealthy woman in her mid-20s, whose twin brother (Lyman Williams) recently died. After returning to the mansion from the funeral, she receives a note from a fake spiritualist (Alan Dinehart) who claims he's been in contact with her dead brother.
But before we get to that part of the plot, an opening sequence details the death of an unrepentant murderess (Vivienne Osborne) who cackles with delight that she's killed three of her former lovers. But there's one man who turned her into the police that she didn't kill; and before her execution, she'd like to get even with him. That man is Dinehart.
Following a bizarre conversation with a prison warden about how evil can live on after death, a doctor (H. B. Warner) is able to see Osborne in her cell. He convinces her to sign a paper, which will allow him to claim her body after the execution. Then he will see if he can combat the evil energy from her body. As I said, the concept is far-fetched, if not still intriguing. Osborne's character agrees to participate in the after-death experiment, because she hopes to transubstantiate into another body, to get revenge on Dinehart.
And this is where Lombard comes into the story. She attends a seance by Dinehart, despite her boyfriend (Randolph Scott) insisting it is all trickery. The initial seance scene is short, but there is a second seance later back at Lombard's manse, which is interestingly staged. Of course, we know Dinehart is a charlatan and he's only after Lombard's money. He kills a few people who stand in the way of that, including a drunken landlady (Beryl Mercer) who knows what he's up to and blackmails him.
Perhaps the film's most memorable sequence is the one where Lombard and Scott visit Warner's home to discuss the spiritualist. They interrupt the doc while he's working on Osborne's dead body. It's sufficiently creepy and atmospheric. Osborne tries to take over Lombard's body, but fails; but she tries again later and succeeds the second time.
The spooky hokum continues into the film's last act. Lombard is now possessed by Osborne, and she attempts to kill Dinehart while he is trying to seduce her. This occurs at Osborne's former apartment, then moves to Lombard's yacht. The sexually charged murder scene is full of precode perversity, but it's all strangely entertaining to watch. Lombard has some fascinating closeups during the climactic moments.
It's all wrapped up a bit too neatly. Scott barges on to the yacht, and he saves Lombard from killing Dinehart. Dinehart then flees and falls to his death. At which point Lombard has snapped out of her trance and is content to marry Scott and travel with him to Bermuda. I guess she won't really think too much more about her deceased brother; and nothing else is said about the doctor's experiments with the body of the woman who had been executed.
Inferno (1953)
Survival mode
This was 20th Century Fox's first and only motion picture in 3D. The fad, which didn't last long, was already petering out by the time Fox released the film into theaters. Most theaters were not equipped for 3D; so many patrons watched it in normal 2D. But the gripping final sequence which involves a huge fight with objects flying directly at the camera gives an idea of its 3D capabilities. Not to mention an exciting shot inside a burning shack where rafters cave in and flames engulf the bad guy.
William Lundigan, normally a nice guy lead in social message dramas and musicals, is cast against type as the bad guy. Sharing villain duties with him is Rhonda Fleming, an actress made for Technicolor. Lundigan is romancing the very married Fleming, and they concoct a plan to strand Fleming's wealthy husband out in the hot California desert, where he is expected to die. After Ryan's death Fleming will be free to go public with Lundigan. Then they will enjoy spending all the money she stands to inherit as a grieving widow.
While these two plot and scheme, the action continues to cut back to the desert locale, to show what is happening to Ryan. A good deal of the movie involves him suffering from a broken leg in the arid climate. He is running out of food and water, and trying to stay alive. Those scenes, filmed on location in Apple Valley, depict Ryan's very detailed situation in survival mode. There is considerable voice-over dialogue; I guess the screenwriters were afraid to have him talk to himself out loud. When he comes across a bird or a wild rabbit, or a wolf that takes the rabbit, he does talk to those animals.
As we watch Ryan's determination to get back to civilization and exact revenge against his wife and her lover, we are reminded just how delicate a person's life can be. Ryan grows as a character, learning something about himself in his battle against a harsh nature; namely, that money is not everything. What's more important is one's resourcefulness. There's a great scene where he learns to harvest cactus juice. God helps those who help themselves and all that.
Eventually, Ryan's character is rescued by an old prospector (Henry Hull) in a jalopy who takes him to the aforementioned shack. Meanwhile, Lundigan and Fleming realize Ryan must still be alive; so they return to the place where they originally abandoned Ryan. To ensure he's really dead this time, they will commit coldblooded murder. However, a lovers quarrel causes them to separate, which leads Lundigan to the shack and a fateful confrontation with Ryan in which the prospector's dwelling catches fire.
The film is kind of a three-character study, four if you count the prospector. There isn't a lot of action or glamour. It's more a meditation on the basics of life, as opposed to material trappings. Indeed, we realize that those things only invite greed and killing. It's what a man can do when he relies on his own ingenuity that counts...his spirit and will to live. It's not just his ability to fight back; it's his great resilience.
The F.B.I.: The Hiding Place (1966)
Irresponsible episode
It's a bit baffling to see the higher scores from others. What is not baffling is why the episode's broadcast was delayed by the network. What we have is an irresponsible plot that revisits the U. S.-Japanese conflicts of World War II...only this time the villain is not just a Japanese man, but a Japanese-American man...indicating there is still a threat within the country by such people, and the FBI must intervene.
As if that is not enough, there is a McCarthy era type witch hunt going on...where everyone in the town suspects each other of being the Japanese-American bad guy. Of course the town has to be populated by all Japanese Americans (and populated by more men than women) for this plot to work. Apparently there is no such thing in the mid-1960s as an integrated community.
There is a cringeworthy scene in the middle of the episode in which a gang of Japanese American youth wreck a store because they falsely blame the store owner of being the villain. None of them get arrested.
When a blind Caucasian guy shows up to help expose the villain, because he was a former POW in a Japanese camp and knows what the man's voice sounds like, we are meant to sympathize and root for him. He lost his sight and his mind due to the atrocities that were inflicted on him in the Japanese camp. This is a story clearly aimed at Caucasian men at home watching, who had been in the war, and who still hated the Japanese.
It's an episode that should've never seen the light of day. I might have gone along with it on some level if the acting was decent, but there is a lot of poor acting from the guest stars. Strange jingoism twenty years after the Second World War mixed with high school level theatrics make this a poorly devised offering of The FBI series.
The Wolf Man (1941)
A lot of innocent people might be hurt
Released six years after WEREWOLF OF LONDON, Universal's original entry in the series- and just two days after the bombing of Pearl Harbor- THE WOLF MAN lives in infamy as one of the studio's most popular horror films. Though initially panned by some critics in late 1941, it would prove successful with audiences and was a bigger hit at the box office than its predecessor.
While the real-life horror of the second world war played out during the next several years, horror as a movie genre evolved from serious "A" budget fare to lower budgeted whimsy and ultimately turned into a form of self-parody. But THE WOLF MAN is done in a fairly straightforward fashion...no small feat.
The film was given more than a modest-sized budget for hair and make-up; plenty of that is on display in the form of the title character, played by Lon Chaney Jr. He had been known up to this point as the son of Lon Chaney (Sr.), who specialized in grotesque characterizations during the silent era. Also, Chaney Jr. Was regarded for his role as the mentally challenged Lennie in the stage version and subsequent 1939 screen adaptation of John Steinbeck's Of Mice and Men.
But when he was hired to play Larry Talbot in THE WOLF MAN, the actor found his greatest role and lasting fame. His screen immortality would be assured with this iconic appearance as well as a succession of appearances in several sequels. Bela Lugosi, who is cast as a gypsy's son, had coveted the lead role here. But Bela's star was waning. Interestingly, Chaney Jr. Wanted to play the PHANTOM OF THE OPERA in the studio's 1943 remake of his father's most well-known picture, but Claude Rains snagged it.
Rains takes an important supporting role in THE WOLF MAN. He's on hand as the estranged British father of Larry Talbot (Chaney Jr.). Their relationship is a Greek tragedy of sorts. When Larry becomes bitten during a brawl- and experiences the curse of a werewolf- a killing spree occurs. His refined dear old dad must stop him and put him out of his misery forever. Otherwise a lot of innocent people might be hurt.
Octopussy (1983)
Moore's back with Adams
Roger Moore returns for a sixth time as James Bond in this motion picture. It's a different story, somewhat darker in tone than it's predecessor-- a bit sexier and more glamorous. Moore is starting to show his age (he will have plastic surgery before he makes his next and last Bond film); and he's not as fit as he was when he starred in his first Bond picture. But he makes up for these inadequacies in grand style and in his genuine understanding of the character. As expected, he brings finesse to the more outlandish plot points and carries it all off with complete conviction.
One thing I love about this film is its powerful lead female, the title character. She's portrayed by Maud Adams, whom I have to admit is my favorite of all the Bond girls. They've colored her hair a darker shade to make it seem like the character has been influenced the culture of India (where she's based); and also probably to distinguish her from the blonde tresses she sported as another character in THE MAN WITH THE GOLDEN GUN.
In some Bond offerings, Moore does not have a lot of chemistry with the leading ladies because they tend to be too young or miscast; but his chemistry with Adams is enjoyable to watch. They're good friends off camera, which gives their scenes together a real dimension whether they're supposed to be enemies or lovers-- and in this story, they're both.
One thing that doesn't work so well is the casting of Louis Jourdan as a "villain" interested in a faberge egg. His character is quite emasculated around Adams, and it's difficult to tell if this was intentional. As a result, Jourdan lacks menace in scenes where he is supposed to be a formidable opponent for Bond, whether they're playing high-stakes backgammon or having an outdoor chase atop elephants.
At one point we see Jourdan aiming a rifle at our hero with the goal of killing him; but I wouldn't even imagine Jourdan harmed a fly during that little adventure. Jourdan is too polished, too clean to really make us think he would ever get his hands dirty chasing an agent through a jungle. We see him again during the climactic finale where he's trying to outfox Adams and steal some gems, but he still comes across as an amateur rogue.
Some critics find fault with the last sequence. I agree the film works better in its Indian locale. When it heads to Europe for a circus show (in which Moore gets to dress up as a clown), things get bogged down. The circus sequence is 45 minutes long, and it drags out to the point that we almost don't care anymore about the outcome, practically forgetting how it all connects back to a sequence near the beginning of the movie.
In 1983 there were two Bond films in release. This is because a different set of producers remade THUNDERBALL, and Sean Connery appeared in NEVER SAY NEVER AGAIN. Moore's film premiered in June and grossed $183 million; while Connery's flick hit screens in October, grossing $160 million.
It's a shame they couldn't get together and make a more original story about two Bonds, with Moore and Connery playing opposite each other in a mystery about which one was real and which one was an impostor. It might have been kind of comical to see them side by side, letting us figure out how Bond should really act. The story might have gone in more interesting directions, as many directions as the tentacles of an octopus.
As the Earth Turns (1934)
"It's where I want to be. My whole life is here."
In a way, there are almost too many characters to keep track of in this film; and I suspect there are more in the novel by Gladys Carroll upon which it is based. Some of them are introduced in the first act, called Winter, then diminish in importance. During one of the later seasons, a whole family moves away, because they cannot make a go of their land. Often, leaving for the city is the only answer, a means of escape.
A few characters, though, do remain on screen for most of the picture. The star is Jean Muir, playing a very plain farm girl who mothers everyone around her...including her needy stepmother (Clara Blandick) and even needier stepsister (Dorothy Appleby). She also finds time to make meals for her dad (David Landau) and counsels her brother (William Janney) that his future is in a law office, not on the farm.
This is set in rural Maine. It all starts during a harsh winter, and the story progresses through the following seasons until it comes full circle again the next winter. Living off the land is based on what happens each season, related to crops and harvesting; or to the production of dairy and sale of livestock. One compelling segment shows how a neighboring family will fall on hard times when an important cow dies. The economy is fragile in this environment.
Also fragile in this environment: matters of the heart. Muir's character falls in love with the son of a new Polish family, played by Donald Woods. They are the couple we are meant to root for, even though they are slow to acknowledge their feelings for each other. At one point Woods leaves the area when his barn burns down, but he does come back at the end to marry Muir, providing a happy ending.
Watching the film I was reminded of my own background, growing up in rural Wisconsin. My grandfather was somewhat shiftless, like one of the characters on screen. As a result, my grandmother had to take matters into her own hands to ensure the home farm ran smoothly and the family didn't starve. This was in the days before birth control was widely practiced. Women like my grandmother were tied down with lots of kids; my grandparents had nine, not counting some that my grandmother miscarried or lost in childbirth.
My father was the oldest, and like one of the younger characters in the movie, he tried to get away. He went off to college to forge a different career, but he did come back. That is how my sister and I spent our early childhood on a farm. But my father didn't make a go of it, so we left for a nearby town, then moved out west where my father found work as a teacher.
Meanwhile, my grandmother had become quite wealthy. She ended up owning seven farms and was one of the first millionaires in that agricultural community. Actually, she bought the farm we vacated; it became one of her investments. I could always go back to visit what we left behind. The land and its people have stayed with me. I still feel connected to it, no matter how many times the earth has turned.
I colpevoli (1957)
"It's difficult to hide your responsibility."
Translated into English, the title of this film literally means THE GUILTY. It's a step up from the usual juvenile delinquent dramas of the period, taking its cue from Hollywood's REBEL WITHOUT A CAUSE, but going the extra mile. It is more a philosophical examination of a teen who has failed and the parents who have failed him. A young son (Sandro Ninchi) will be charged and stand trial, convicted as the guilty one along with his hoodlum pals; but mother (Isa Miranda) and father (Carlo Ninchi, real-life uncle of Sandro) are just as guilty in their own way.
The most riveting performance is the one given by Isa Miranda. She was an international success, making films in different countries, including the United States where Paramount Pictures touted her as an Italian Dietrich. At this stage, she is 52 and easily looks like she's in her late 30s. Her line readings are fascinating, and her dramatic emoting is mesmerizing to say the least.
The story features Miranda as a doting, overprotective mom; while hubby is a magistrate, up for an important government position. On the eve of this promotion, it is learned their son went out with a group of friends to a party. But after dancing and drinking, they did something rather dumb- they went to a gas station where they had been earlier in the day and proceeded to rob the joint. In the process of robbing the place, someone was shot and killed.
What's kind of great about this film is that it doesn't rush into the violence, and the murder scene is delayed so it is not viewed until halfway into the movie. Even then, it is a flashback...quick scenes really, as the teen boy confesses in a distraught scene at home, to his folks, that he was involved in a killing some time earlier in the evening.
Initial reactions denote shock and horror. Mixed into this is a bit of a mystery. Did their son pull the trigger, or was it another boy in the gang who did the actual shooting? They need to believe everything they are being told. The father goes off to visit the other boy to get the truth. Meanwhile, Miranda's character continues trying to protect her boy, thinking what occurred can be covered up and that none of it will have to be reported. She's wrong, of course.
Not only must she deal with her own serious denial about her son's serious problems, she becomes alienated from her husband. If the truth is known, it will ruin any chances of getting the new government job. Also, if the son is convicted, and he is the only child they have, this couple will be left alone to deal with their grief.
This is a family that suffers immeasurably because of something terrible that has happened. It's something that might have been prevented with better parenting. We're left to ponder that for ourselves. The premise is a simple one. As the tragedy spins outward, everyone is caught up in it and forever changed by it.
For Your Eyes Only (1981)
Logically plotted, provides consistent thrills
It had been two years since MOONRAKER, and this time the producers decided to bring 007 back down to earth. Aside from an opening sequence that is unrelated to the rest of the movie, FOR YOUR EYES ONLY is very logically plotted and provides consistent thrills. What works so well in this installment is the stupendous stunt work. Sometimes it's like the rest of the material takes a backseat. I'd compare it to going to a circus where you just sit back and let the flying trapeze artists take over and wow you with their own brand of magic or razzmatazz.
After some fancy helicopter flying in the pre-opening credit sequence, there is an amazing ski chase that has to be seen to be believed; as well as great underwater stunts that occur later in the picture. Plus there's a heart-pounding finale where Bond and his friends climb a steep mountain, and one character falls off the side of it.
When we're not watching the stunts, our eyes are focused on the acting. The Bond girl is Carole Bouquet-- she's playing the daughter of a murdered tycoon who wants to avenge her father's death. Meanwhile the story's main villain comes in the form of Julian Glover. Glover's character is presented as an ally in the early part of the story but gradually his true colors are revealed. In addition to these two we have Topol in a role about as far removed from Tevye as you can possibly imagine-- he's a pistachio munching businessman with a penchant for adventure who assists Bond and the girl on various capers.
There is quite a bit of cheeky humor this time around. Moore is given lines that mock his opponents and says things to the opposite sex that can be interpreted in a variety of ways. Of course, this occurs in all the Bond films. But I think because this is the fifth one he's done, Moore is a lot more sardonic at this point, and he's having fun with the situations and the dialogue.
Finally I should mention a scene where Bond has to be more ruthless than usual. In fact Moore tried to have this part of the script changed, then realized it worked for the character. It's where he's chased some nefarious dude to the edge of a cliff and as the man's car teeters over the side and he begs for mercy, Bond just sort of reaches out with his foot and kicks him down into the abyss. Some people get kicked to the curb and some get kicked a little further.
Moonraker (1979)
Bond gets help defeating a space age villain
Roger Moore is back as the world's number one spy. Only this time Bond becomes more like an astronaut. In order to capitalize on the late 70s science fiction craze, producers have decided to get a bit futuristic with the character. He is now battling an adversary named Drax-- an evil industrialist determined to control the space age for personal gain. Drax is portrayed by French actor Michael Lonsdale. And trust me, he's not someone you want to mess with before he has his first cup of coffee in the morning.
Meanwhile, our lovely Bond girl is Holly Goodhead played by Lois Chiles. It is quickly established that Holly is an American CIA agent, posing as an astronaut. Like Bond she's been sent to infiltrate Drax's organization. Together they will thwart his plans to destroy the earth's population and start over with a new super race. Of course, Holly falls in love with Bond and the relationship develops into one that is out of this world in more ways than one.
The first half of the film seems fairly routine as these plots go. Bond is seen globe trotting, dealing with various people working for Drax. One of them is Jaws, a henchman who appeared in the previous 007 picture. Jaws is now less sinister and used for comic relief. There is a spectacular scene atop a hanging cable car in Rio, where Jaws wants to harm Bond. He tries to sever the cable by chewing his way through it. He probably had a bit of indigestion afterward. (The thick cable was actually soft licorice that actor Richard Kiel was able to enjoy on camera.)
After the Rio sequence, Bond and Holly make their way up the Amazon jungle to Drax's South American headquarters. This is where the story heads into sci-fi territory. Bond and Holly arrive just as Drax is launching rockets into outer space, taking with him the "perfect" human specimens he has chosen to start his new race. In a way it's funny to see Roger Moore and Lois Chiles try to blend in with the other actors, who are much younger and different in appearance.
It's even funnier watching Jaws and his girlfriend Dolly try to blend in. They're a true cinematic match if ever there was one. Of course Jaws with his deformities and Dolly with her unique height make them less than ideal for Drax's experiment. But hey, they're not going anywhere, and neither is Bond, until Drax gets what he deserves.
The Man Who Died Twice (1958)
Vera Ralston's movie swan song
The man whose death occurs twice in this story is about as bad as they come. He probably deserved to die a few more times, just for good measure. The first death is a staged one, where criminal T. J. Brennon (Don Megowan) pretends to go over a cliff in a car. He has fooled the police and members of the underworld into thinking he's perished, by substituting his body with another hood's body, which is charred beyond recognition.
Megowan's lovely wife (Vera Ralston, in her last motion picture) is summoned to identify the remains, what little there may be. She grieves the man she loved and thought she knew well. They'd only been wed for three months, after they met when she started singing at his club. They enjoyed a whirlwind courtship and lavish honeymoon in Mexico. Then came the car crash, which is followed by a few more deaths in rapid succession.
The latest deaths take place at Ralston's apartment, on her balcony. These involve some goons fighting over drugs stashed inside the place. A third man has vanished up the fire escape. We are not told till much later that this mystery man, whom Ralston hasn't been able to identify with certainty, is Megowan. We are also not told that in addition to running a trendy club, Megowan is a heroin dealer. He is in debt to two different mob families.
One thing I like about the film is that all the pieces fit together, but we are deliberately kept in the dark about much of what's going on. I guess that is so we can either sympathize with Ralston, or else suspect her since she keeps claiming she doesn't know anything. When Megowan's brother (Rod Cameron) comes to town, he is suspicious of Ralston at first, then starts to fall for her charms. The casting of Cameron and Megowan as brothers is inspired, since they really do resemble each other.
Vera Ralston was never going to be considered the world's best actress. In fact, she is often maligned for her skills as a performer. But she was still a movie star, and one thing I always like about Ralston is how much kindness she radiates on screen, even when playing a morally ambiguous character. She always wins me over.
In this final motion picture for her at Republic Pictures, she shows us once again what class and grace she possessed. She also conveys more maturity and understanding of the English language and American culture than she does in her previous efforts. While this is not a great noir, it is still competently made and a good production for our lead actress to wrap up her career.
The Spy Who Loved Me (1977)
Nobody does it better than Bond
What I love about the Bond films-- especially the ones with Roger Moore-- is how the hero is presented in a fairly straightforward manner, despite all the elaborate plotting. At the risk of comparing him to the other actors in the role, Moore's demeanor is predictably smooth and consistently stylish in all his scenes. And as Carly Simon declares with the theme song, nobody does it better.
James Bond seems to have an endless supply of energy, whether he's jumping off an Austrian mountain on skis during the opening sequence or taking on his next assignment, which is to stop a villain name Stromberg (Curt Jurgens). Stromberg is intent on starting World War III, though we're not exactly told why. As he seeks to destroy the world's population and create his own new civilization underwater, we might assume that with a German surname, he's a modern-day Nazi who wants to establish an improved, more advanced race of humans.
Since this film was made during the cold war, the British (and the Americans) are at odds with the Russians. This makes things tricky when Bond has to team up with an icy KGB agent (Bond girl Barbara Bach). Gradually she begins to thaw, and they become lovers as they unite to defeat Stromberg. Then she learns Bond was responsible for the death of her previous lover, and she contemplates getting rid of him as their mission ends. But her idea of betrayal will undoubtedly be offset by her attraction to Bond. And there would be no more fun or on-going adventure if she did away with him.
In the meantime they have numerous altercations with one of Stromberg's henchmen. Based on a character in Ian Fleming's novel, we have bad guy Jaws (Richard Kiel). He is so named, because he has metal teeth and is able to bite through almost anything, including predatory sharks. Jaws will carry over into the next Bond film, meaning he does not get killed off in this story and remains fairly indestructible. In some ways Jaws is kind of like a cross between a hulking Frankenstein and a metallic vampire, and he's a lot of fun to watch on screen.
The second half of the film takes us to Stromberg's undersea headquarters off the coast of Italy. At one point, a Lotus Esprit sports car Bond has been driving magically converts into a submarine. This allows him to navigate through dangerous waters and reach Stromberg.
Meanwhile, it has been revealed that Stromberg has captured submariners from other governments and is holding them on his supertanker. So it is up to Bond to free these men before he heads into a showdown with Stromberg. Eventually Stromberg is knocked off (where it hurts most); and as he takes his last breath, even Carly Simon would agree that nobody could have killed him better.
The Secret Heart (1946)
A secret and a special talent
June Allyson's teenaged character has a talent for drawing attention to herself in this touching MGM melodrama. She plays a troubled rich girl still dealing with the death of her beloved musician father (Richard Derr) ten years earlier. In extended flashbacks we see that Derr, who had been pressured by his own father to take up a career in banking instead of music, had no aptitude for it. To cover losses on bad investment deals, he embezzled funds. On the night before he was to be found out and arrested, he killed himself.
The word suicide is only mentioned once in the script, and not until more than halfway into the story. It's a profound event that has a lasting effect on not just his daughter (Allyson) but his son (Robert Sterling) and devoted wife (Claudette Colbert). In most respects, this is Colbert's picture. The actress was freelancing after 15 years at Paramount. She was now essaying more matronly roles, which she began doing a short time earlier, as mother to Jennifer Jones and Shirley Temple in SINCE YOU WENT AWAY.
Colbert's costar from that earlier film, Lionel Barrymore, plays the family's shrink. He convinces Colbert to take the kids, now almost grown, from New York City back to their farm in New England where Derr had ended everything. Barrymore, in what is merely just a facsimile of his Dr. Gillespie role from the Dr. Kildare series, is a no-nonsense tough-talking analyst. He thinks that if Colbert and her brood return to the farm they will finally put the past into perspective.
Of course, several things need to be worked out. One of these issues involves Derr's best friend (Walter Pidgeon) who had always carried a torch for Colbert. In addition to the suicide, Colbert had taken the kids to the city to avoid gossip by locals about a supposed love affair between her and Pidgeon.
This point is revisited later when Allyson is finally told the truth about the cause of her father's death, that it was not actually a heart attack. She also assumes that Colbert's infidelity drove her dear old dad to jump off a cliff. She is wrong, for Colbert was always faithful; and afterward, Colbert built a flourishing career as a realtor to continue supporting Allyson and Sterling, as well as to pay off the people Derr swindled.
It's interesting to see Colbert do so well in a saintly mother role. She is the same performer who made a name for herself in the 1930s as Cleopatra and as an accused witch in MAID OF SALEM. While Colbert is a fantastic dramatic actress, she sometimes seems more comfortable with comedy. She does take to playfulness in several scenes with Pidgeon, which are nicely played. A raucous little dance number is a delight to watch.
The final sequence where Allyson's character decides to take a cue from her deceased father and jump to her death as well, contains very emotional scenes. I did have tears in my eyes when Colbert saved her along the edge of the cliff. Somehow, despite all the melodrama and angst, this family will have a happy ending. And thank goodness. I don't think my heart could've taken an unhappy conclusion.
The Case Against Brooklyn (1958)
The case against corruption
This Columbia crime flick, based on a true story, casts Darren McGavin in the lead role of a rookie cop in Brooklyn. His assignment, along with a few other newbies, is to ferret out corruption among the higher ups on the police force. That doesn't sound too plausible, but we are told McGavin's character had formerly been part of military intelligence overseas. So I guess it is a bit logical that he would have skills to conduct surveillance and investigatory techniques despite being a fresh-faced recruit.
The story is based on a series of articles that journalist Ed Reid had originally penned in the late 1940s. These muckraking pieces were serialized in True Magazine, which caught the eye of story editors at Columbia. Reid's accounts of crime and corruption in New York City helped expose cops on the take, and these daring exploits were combined into a volume called The Shame of New York, which hit book stores in 1954.
Reid's later books chronicled further mob activity on the east coast, as well as mob operations in Las Vegas. At one point, Reid published something that connected a mafia don to Republican politician Barry Goldwater, which led to Reid being fired from a newspaper job. Apparently, Goldwater or his allies had considerable pull with his employers and tried to ruin his career.
Because Reid's write-ups are carefully researched examinations of lawlessness in urban America, there is an almost semi-documentary feel to this story. While Columbia doesn't allocate a substantial budget, director Paul Wendkos is able to make the most of economy sets and studio locations. He elicits decent performances from a most capable cast. This was only the second feature film directed by Wendkos, his first effort was THE BURGLAR (1957). In the 1960s, he would become more associated with youth pictures. But here, he does a credible job with hard-hitting noir.
Lead star McGavin had just made THE DELICATE DELINQUENT at Paramount, in which he played an officer. That time, the story was comedic, since he was mentoring a bumbling recruit played by Jerry Lewis. Moviegoing audiences were already familiar with McGavin playing a law enforcer. Working with McGavin on screen is Brian Hutton as a doomed rookie; Warren Stevens as a slimy go-between to the mob; Peggy McCay as McGavin's wife; and Maggie Hayes as a sexy widow who puts the moves on McGavin while he is undercover as a "single man."
The film's best sequence comes late in the picture, where McGavin is closing in on the corrupt members of the department. His cover has been blown, so the mob places a bomb inside a telephone. Then they call McGavin's apartment. When his wife (McCay) answers the phone, the whole place is blown to smithereens and she is instantly killed. This only fuels McGavin's resolve to nail those responsible.
The Burning Cross (1947)
When he wore the sheet
This independent production was released thru Robert Lippert's company. It details the adjustments a former solder (Hank Daniels) makes returning to his hometown community in the southern U. S., a place where prejudice exists. Most elements of racism are muted due to a request from the production code office; the focus is more on a group of powerful white men who don't want outsiders to have any say in their community affairs. If an outsider gains a toehold, he is immediately branded a communist and dealt with severely. As for blacks in the area, they are dissuaded from voting and exercising basic human rights.
Some of what plays out is heavy handed if not well-meaning. Daniels is adequate in the lead role, his only lead (and his last motion picture) after a trial period at MGM where he'd done a series of minor parts in prestigious 'A' films. This is his chance to shine as Johnny, the returning vet, a white man who is caught up in the xenophobia and intolerance of his surroundings.
At first Johnny is happily reunited with his folks (Betty Rodman and Raymond Bond). He looks for a regular job and catches up with an ex-girlfriend named Doris (Virginia Patton). She has moved on with one of his pals that did not serve in the war. Johnny is resentful of his friend Tony (John Fostini) for horning in on his territory. Meanwhile, Tony has run afoul of the white men in town, because he is an Italian, which to them means he's an undesirable foreigner.
Johnny's anger about Tony hooking up with Doris, as well as his frustration over not finding a decent paying job, makes him vulnerable to the suspicious fraternity of white men. He is recruited to join these men and is soon initiated in a Ku Klux Klan ceremony out in the woods. This is a well-staged sequence reminiscent of scenes in Warner Brothers' STORM WARNING (1951).
Johnny is still angry and content to become a marauder, basically, with these other men. But after the guys tar and feather Tony- yes, this scene is a bit graphic- one of the leaders shoots and kills Tony. As this happens, Johnny's regained his conscience and tries to stop the killing by grabbing at the gun. But he fails to save Tony's life. Now his fingerprints are on the weapon, which will be used against him. And there is seemingly no way out of his membership with the Klan.
Woven into this is the melodrama of Doris mourning Tony and agreeing to help an investigator by rebuilding Johnny's confidence in her to wrangle a confession. Of course, she starts to fall in love with him all over again. At the same time, Johnny's parents have their own worries about their son's involvement in the recent crime wave which includes not only Tony's death, but the beating of a friendly black man (Joel Fluellen).
A lot happens on screen, some of it a bit over-the-top, but the filmmakers still get their thesis across. The main idea is that America wasn't intended to be one group thriving at the expense of another group; or a majority group abusing power to silence the minority.
The Man with the Golden Gun (1974)
Captures the imagination in a way movies should
THE MAN WITH THE GOLDEN GUN captures the imagination in a way movies should capture our imagination. It provides larger-than-life moments, as most pictures in this franchise do. At its core is a strong story about someone who is just as sharp a marksman as Bond. It's almost as if Bond is a total mirror image of Scaramanga, or perhaps Scaramanga is a copy of him. They would appear to be the same in almost all areas-- except for one man the violence is evil; and for the other it is justifiable.
Scaramanga is expertly played by Christopher Lee, and in a film of this type, a megalomaniac has to be played by someone who has perfected screen villainy. Lee fits the role to a tee, and his scenes with Roger Moore couldn't be better. You almost expect his character to win against Bond, because he's thought everything out; and he's been practicing. A small-sized associate (Herve Villechaize) tests Scaramanga's shooting abilities by inviting hit men over to play deadly games in his boss's funhouse. To me that's the most interesting part of the film-- the killing of "innocent" murderers in order to prepare for Scaramanga's ultimate battle with Bond.
Before we get to the climactic finale on Scaramanga's secluded island, we have some wild goose chases in Asia. Much of the early portion of the story occurs in Hong Kong. It is scenic, but it is filler; though it entertains us and gets us in the mood for the final act.
Once again comic relief character J. W. Pepper (Clifton James) is on hand for more laughs and high-speed chases-- apparently the writers felt the Louisiana sheriff we saw in the previous Bond installment was worth a reprise. This time Pepper and his wife are in the Orient on a vacation (which seems a bit implausible to think a couple on their modest salary could afford to go there or would even want to go there). They bump into Bond twice, well almost twice. The first time Pepper sees Bond go by during a canal chase.
In the next segment Pepper finds himself in the passenger seat of a stolen vehicle with Bond. They zigzag in and out of traffic as Bond plays cat-and-mouse with some dangerous men connected to Scaramanga. The sequence with Bond and Pepper comes to a spectacular conclusion when the car they're driving flips in mid-air and manages to land on the other side of a ramp. Of course, they walk away from the incident without any broken collarbones or even a scratch. We don't see Pepper again after this point, but he's served his purpose and has probably outworn his welcome.
After the interlude with Pepper, Bond gets involved with a woman played by Maud Adams. He's now trying to get his hands on a MacGuffin that Scaramanga also needs in order to unharness solar energy. Bond soon goes to bed with Adams, while another Bond girl is in the closet no less. But their "romance" doesn't last long since a short time later, Adams is killed at a public event while sitting next to Bond. (Adams returns to the series as another delicious dish in a later production.)
Meanwhile, the chick who was in the closet-- she's one of the good girls that works with Bond-- somehow gets stuck in the trunk of a car (she must like enclosed spaces). Scaramanaga is at the wheel this time, and in a fantastic sequence, the car manages to fly off into the sky and back to his island. We know Bond will rendezvous with him, and most assuredly, there's a bullet with someone's name on it.
Son of India (1931)
Two hearts
This precode picture from MGM tries hard to convey the exotic nature of love between two people from different backgrounds in India. One is the son of a rajah, played by studio star Ramon Novarro, who was actually from Mexico. The other is a wealthy American woman (Madge Evans) who is bound by the conventions of her socially proper upbringing. They embark upon a forbidden romance that is thwarted by prejudice on all sides.
The opening sequence of the film is much more exciting than most of what follows. While stereotypes abound- the people in India are presented as cutthroats and thieves - there is well-played action involving the murder of Navarro's father (Mitchell Lewis). In addition to being a rajah, he is also a jewel merchant. He has in his possession a large diamond that he gives his son moments before dying.
Novarro's character escapes the same fate as his father, since a holy man (Nigel De Brulier) helps to hide him by digging a shallow grave. Navarro's own assassination is thus prevented, and after the trouble is over, he is left to start a new life with his father's diamond. One thing I found a bit unbelievable is that after the holy man had unearthed him, Navarro's clothing was perfectly clean. Of course, there was no mention how long Novarro went without eating or using a restroom.
In the next part Novarro is trying to sell the diamond in a nearby town, but a crooked businessman attempts to cheat him. When that fails, Novarro is accused of being a thief. There's an exciting scene where he runs through the streets until the police nab him.
An American (Conrad Nagel) who had been in the shop where Novarro had hoped to sell the diamond ultimately verifies the truth of Novarro's statements in court. So, he is cleared of any crime. A short time later, another man buys the diamond in a legitimate business deal, meaning Novarro has now become a very wealthy man.
We don't see Nagel's character again, till the end, when it is revealed that he is the older brother of Evans' character. Novarro has met Evans while playing polo one day. In typical Hollywood fashion, they have a whirlwind courtship though their cultural background and religious differences may be too much to overcome...not to mention, their obvious racial differences, as well.
The middle part of the film bogs down in romantic slush. That's fine for people who enjoy such things. But after such a strong start, I felt the movie was just marking time after awhile. Yes, there is an intriguing scene where Evans visits Novarro's home and is taken down into a dungeon where he keeps his priceless collectibles. However, the story didn't really pick up again until Evans' aunt (Marjorie Rambeau) stepped in to break up the couple, and Novarro whisked Evans off to the jungle on a tiger hunt.
The tiger hunt sequence contains a lot of cute and cuddly animals, which I felt was unrealistic. Instead, the danger that is presented comes in the form of the assassin that Novarro crosses paths with again. There is a skirmish, with the assassin trying to kill Novarro but seriously harming an adorable elephant. The elephant won't stand for this and it chases after the killer, grabs him with its trunk and proceeds to drown the bad man in a pool of water. Only in the movies!
The next danger occurs when Evans falls and lands on some poisonous plant. She needs to have her blood drawn to save her life. The dashing son of India is apparently schooled in medicine, and he uses a knife to lance her arm and remove the poison. The part where he does this is strangely played in a romantic way.
The final portion of the film has Novarro learning that Evans is related to Nagel, with Nagel convincing Novarro that marrying Evans just won't work out. They will be too ostracized. The whole thing ends on a slightly ambiguous note. We are told that miscegenation is a no-no, and the lovers debate giving each other up, but their two hearts will still continue to beat as one.
There Ain't No Justice (1939)
A pug or a mug
There is a moment when Jimmy Hanley's character Tommy Mutch realizes that his new career as a boxer isn't what it initially seemed to be to him. He's been played for a mug, by a crooked promoter (Edward Chapman) who's been building up his career as an overnight sensation. Only to require, per a contract, that Tommy take a fall during the next bout. Tommy decides he may have been a mug, but he's honest. And once he knows the score, that's it, he quits.
When this British sports drama hit screens, contemporary reviewers were trying to decide if it was a human document about real people with real problems. While some of the plot is formulaic and exaggerated in spots, I do think the characters correctly represent working class folks. Tommy is from Notting Hill, and he first entered boxing to make some dough to impress a girl he likes (Jill Furse). But he rethinks all this, after he steps into the ring and gets wise to the rackets.
However, things change suddenly, when his sister Elsie (Phyllis Stanley) finds herself in financial trouble. Elsie works in a nearby cafe, and she's been charmed by a smooth talking cad (Michael Wilding, in an early screen role) whose romantic gestures are not genuine. Instead, he angles to steal money from the till the moment Elsie's back is turned, which he does. Unfortunately, he gets away, and Elsie is now responsible for the theft and must replace the missing loot.
Tommy decides that he will go back to the promoter, and agree to take a dive in the ring. Although this goes against his principles, it's important he earn some quick money to help his sister out of a jam. The promoter (Chapman) couldn't be happier.
Of course, once Tommy's got the gloves back on, will he really be able to go through with it? Or will he experience pangs of conscience and fight an honest match against his opponent? Even if it means his taking a bad beating?
The story of the independent fighter is often romanticized in cinema, especially Hollywood productions where charismatic guys like John Garfield, Kirk Douglas or Sylvester Stallone occasionally slug it out to the death. Here, Jimmy Hanley, who was a popular young performer in British cinema during the 1930s and 1940s, conveys a different energy. But he is no less effective in such a role. What plays out on screen is rather predictable and nothing new for most viewers, but this is still an entertaining flick with strong characterizations for it to be recommended.
70,000 Witnesses (1932)
"A boy was killed, a game was lost."
There's something I've always liked about this Paramount precode. Maybe it's because all the performers, from the younger stars to the older supporting cast members, fully believe in the story and play their scenes with considerable honesty and integrity. Even the bad guy, tough dude Lew Cody as a gangster, is ultimately on the level.
One thing I didn't buy was that Cody was the older brother of star Phillips Holmes. Genetically, they don't resemble each other; but it's more than that. Cody seems old enough to be Holmes' father, not brother. But I did like how differently they approach the melodrama, where Holmes is the golden child, a character going to a prestigious state college in love with a pretty rich girl (Dorothy Jordan), good at his studies, and successful on the football field with his pal (Johnny Mack Brown) and all their buddies.
In stark contrast to that, Cody has had to chisel for a living. Cody has spent years conquering the local rackets to make a fortune to send Holmes to the right school and make the right connections. One bro has had the perfect life, while the other one has struggled to gain respectability. When Holmes' life suddenly comes crashing down after Brown dies during a hugely important game and is the police's prime suspect, it's up to Cody to step in and help; even if Cody may be suspected by Holmes of having murdered Brown. This is because Cody had a lot riding on a big bet about the outcome of the game.
Keep in mind that this is the early 1930s. We are told that football is not quite a national sport the way baseball is. I don't know when that would change, but it did change. Football became a much more prominent American sport, where gambling on the outcomes would be just as much a part of experience as it is with baseball or boxing. At this point, while football is considered a fun endeavor, and certainly popular enough to bring seventy thousand spectators into the stands, it is still not seen as a professional sport, more just a college sport.
Besides Holmes and Cody, there are an assortment of additional characters that may be suspected of contributing to Brown's death. With the assistance of the state team's knowledgeable coach (J. Farrell Macdonald, demonstrating qualities that he probably exhibited behind the camera as a director of silent films), a sensible police detective (David Landau) decides to re-stage the action on the field that had occurred when Brown died.
The story is an interesting mix of athleticism and crime mystery. There is a twist, where we learn that Brown had received a rub down from a man who put a nitroglycerine solution on his upper torso, which is what led to the death. This is done to Holmes during the re-enactment sequence, and he also comes perilously close to death. When the culprit is cornered, he throws a container of nitroglycerine which causes a dramatic explosion. It is tense, nail-biting stuff.
Of course, we know Holmes will survive and be cleared...so he can marry Jordan. We aren't told whether he ever fully reconciles with his older brother (Cody). Because this is a precode, a gangster's life and the wild fraternity parties, will continue to go on. But there won't always be seventy thousand people watching.
Without Reservations (1946)
Road trip with Claudette Colbert
I recently re-watched WITHOUT RESERVATIONS, a charming road comedy starring Claudette Colbert. Critic James Agee was a huge fan of both the actress and this film. While watching, it occurred to me how similar parts of it were to IT HAPPENED ONE NIGHT, which had been produced a dozen years earlier. It's nice to see Colbert recapture the magic, sans Gable; she's having a blast with her leading man John Wayne and their costar Don DeFore.
The script by Andrew Solt is based on a cheeky novel by Jane Allen and Mae Livingston called 'Thanks God! I'll Take It From Here.' A contemporary review in the New York Times called the plot a frivolous romance, though I wouldn't exactly call it that. When you think about it most farcical romances are frivolous; we sort of expect that when watching these kinds of movies.
Colbert portrays a sociable gal undertaking a cross-country journey under an assumed name. In the 1934 classic with Clark Gable, she was an heiress trying to avoid an arranged marriage ceremony. Here, she is a much more stable novelist bound for Hollywood, where some generic studio will make a picture based on one of her bestselling books.
Along the way she is accompanied by a nice marine (Wayne) with whom she strikes up a casual friendship on the train. Of course, this is merely the prelude to a full-blown romance after they get off the locomotive and travel through the southwest in a car. There are plenty of peculiar, worrying incidents, but none of that, nor the presence of Wayne's wartime pal (DeFore), seem to get in the way of their love.
The plot is somewhat predictable in spots, but a lot of Colbert's interactions with her costars make it worth watching. The actress comes across cool and glib, while having an inordinate amount of fun. She and Wayne seem to have plenty of chemistry and enjoy each other's company. Most of what we get are pleasant scenes. Though there is a strange and somewhat annoying running gag involving another lady traveler (Anne Triola) who is pawned off as a Brooklyn 'beetle.' I will let you watch those scenes to see what that means!
As if the basic storyline and inherent travelogue are not enough, we are treated to a few glimpses of famous Hollywood stars when Colbert makes it to the motion picture capital. One such person is Cary Grant, appearing as himself in a memorable walk-on role. To my knowledge, this was the only time Colbert and Grant, who had previously been contract players at Paramount, ever shared the screen.
Live and Let Die (1973)
Who knows what's really in the cards?
Not long ago I watched Roger Moore's adventures series The Persuaders!, which he made in the early 70s with Tony Curtis. It was produced just before he took over the role of James Bond. Watching Roger in those episodes inspired me to take a look at his films as 007. He has longer hair and has a slightly more laid-back style in The Persuaders!, but as Bond his hair has been shortened, he's in shape, and his performances are very precise.
LIVE AND LET DIE was the first of seven Bond pictures for Roger, and it's the first Bond picture I watched. Compared to the other ones in the series, it's not a typical entry. There is a blaxploitation feel to the story- the bad guy (Yaphet Kotto) is the leader of a fictional Caribbean nation called San Monique, and he also doubles as a dangerous drug lord. Bond is sent after him when several agents have been murdered that were trying to stop the heroin trade. One of the killed spies is a black female agent that has a romantic dalliance with Bond before Kotto's character has her rubbed out.
Of course, because he's Bond: James Bond, there is more than one romantic dalliance. He becomes acquainted with a beautiful fortune teller named Solitaire (Jane Seymour, in her motion picture debut) and sparks fly with her, too. This leads to a complicated triangle with Kotto who had been saving Solitaire for himself. Soon the action moves from San Monique to Louisiana and there are more adventures ahead for Bond in bayou country. I was impressed by the stunt work with the speedboat chase, though it did seem to go on a bit too long.
I also enjoyed a sequence where Bond was at an alligator farm, left to be eaten alive in the middle of a lake. In a clever twist, he runs across the backs of the alligators as they snap at his heels, in order to get away. The whole film is over-the-top (in a good way), and it has larger than life (though stereotypical) characters. In addition to the black stereotypes, we are also treated to an uncouth redneck sheriff played by Clifton James. It's obvious he is the film's main comic relief, and he provides a huge contrast to Bond's more unflappable style.
The film ends after the villain experiences a strange untimely death. It's big, in more ways than one. Bond and Solitaire are seemingly reunited and on a train bound for parts unknown. They have another foe to deal with on the train, then there's an ending that is very reminiscent of NORTH BY NORTHWEST. Whether theirs is a love that will last-who knows what's really in the cards.