Tuesday, April 16, 2024

New Column in The Dark Pages

I'm pleased to share that I have an article appearing in the latest issue of The Dark Pages!

My 2019 review of the Flicker Alley Blu-ray release of TRAPPED (1949) has been adapted for the March/April 2024 edition which is Volume 20, No. 2.

Other articles in this print issue include Andy Wolverton writing on NIGHT EDITOR (1946) and Kristina Dijan on a pair of Robert Douglas crime films, HOMICIDE (1949) and THIS SIDE OF THE LAW (1950).

The Dark Pages may be subscribed to here. Back issues are also available, including issues I've written for in the past; descriptions of those issues are linked below.

Previous Dark Pages posts: January 2011, December 2011, January 2013, June 2013, December 2022, March 2023, and March 2024.

Monday, April 15, 2024

Tonight's Movie: Cocktail Hour (1933) - A Sony Blu-ray Review

One of the movies I most enjoyed at the 2022 TCM Classic Film Festival was the pre-Code COCKTAIL HOUR (1933).

The movie was introduced by the late Cari Beauchamp, so it seemed fitting that I watched it again this weekend on the day her memorial service took place. At the 2022 screening Cari interviewed Suzanne Lloyd about her grandfather Harold's friendship with the movie's star, Bebe Daniels. A fond memory.

At the time of that screening I expressed the hope that COCKTAIL HOUR would come out on DVD or Blu-ray, so what a delightful surprise to learn that the movie has just had a Blu-ray release from Sony!

This fast-moving 73-minute film tells the story of Cynthia (Daniels), a commercial artist who has many male admirers but loves her freedom. After a childhood on a Kansas farm, she's loving the high life and not having many responsibilities.

Randy (Randolph Scott), a magazine publisher who contracts for her paintings, proposes to Cynthia when she's about to leave for a European vacation. She boards her cruise anyway, where she's pursued by both a young nobleman (Barry Norton) and a cad (Sidney Blackmer) who conceals important information.

This movie is fun from the first seconds, as eagle-eyed classic film fans will spot "Wild Bill" Elliott delivering the first line and Dennis O'Keefe saying the third. Both actors worked frequently as extras and bit players throughout the '30s, very often -- as in this case -- in the same movies.

There's sort of a "taming of the shrew" theme and plenty of dialogue considered chauvinistic from the modern perspective, but honestly the eye-rolling lines just added to my enjoyment. It was a different time! And despite their periodic battles, both Daniels and Scott are appealing leads.

I also loved the Art Deco settings, especially the cruise ship. Movies set on ships and trains are among my favorite things.

The movie was directed by Victor Schertizinger and filmed by Joseph August. The screenplay was by Gertrude Purcell and Richard Schayer, based on a story by James Kevin McGuinness.

The supporting cast includes Muriel Kirkland, Jessie Ralph, George Nardelli, Willie Fung, and Marjorie Gateson.

The Blu-ray print is pristine, which adds to the enjoyment. A censored scene which now exists only via the soundtrack is included, with stills used while the dialogue plays.

There are no extras on the Blu-ray disc. English subtitles are available.

Kudos to Sony for making this rarely seen movie widely available, especially in such a nice print. Recommended for fans of pre-Code fun!

Thanks to Allied Vaughn and Sony for providing a review copy of this Blu-ray. COCKTAIL HOUR may be purchased from Movie Zyng, Amazon, and other online retailers.

Book Review: The Mae West Films

Three years ago this summer I began watching Mae West films for the first time, and -- frankly somewhat to my surprise -- I discovered that I thoroughly enjoyed them.

As I described at the time, West had been something of a punchline to jokes when I was growing up, and I hadn't been interested in digging deeper. I'm certainly glad I changed my mind, as I found West "a completely unique film persona in both looks and personality...[she] absolutely owns the screen." West's films proved to be a wonderful discovery for me.

I've now seen all but the last couple of West's films of the '30s and '40s, and I was delighted to learn more about her life and career thanks to the new book by James L. Neibaur, THE MAE WEST FILMS. It was recently published by Bear Manor Media.

The book opens with a brief overview of West's life and stage work before the movies, then launches into in-depth looks at her dozen films. (I certainly regret the relative brevity of her movie career!) Additional biographical information is included towards the end of the book.

Each movie chapter contains the film's credits, production history, and contemporaneous critical reception, as well as some more recent assessments.

In the interests of full disclosure, this is a good place to pause and mention that I had the lovely surprise of finding my review of West's first film, NIGHT AFTER NIGHT (1932), quoted in the book. I loved her in it!

West was a unique movie personality; as Neibaur notes in his introduction, due to her pre-film stage fame she was able to have some control over her characters and dialogue, although she faced challenges when Production Code enforcement began in 1934. I appreciated the book's behind-the-scenes descriptions of these issues.

I found the book an informative and enjoyable guide which would also be the perfect companion to read alongside viewing the films; I'll return to it as I watch MY LITTLE CHICKADEE (1940) and THE HEAT'S ON (1943) for the first time, and I'm sure I'll consult it again when I rewatch her earlier movies in the future.

I reviewed a paperback edition of this book, which is also available in hardcover and e-book formats. The paperback measures six by nine inches and is 211 pages including bibliography and index. A nice selection of well-reproduced black and white photographs are printed directly on the pages.

Finally, I loved seeing that the book is dedicated to someone I admire very much, Farran Smith Nehme, aka the "Self-Styled Siren."

Previous reviews of books authored by James L. Neibaur: FRANK SINATRA ON THE BIG SCREEN; THE GEORGE RAFT FILMS; THE FILMS OF JUDY GARLAND; THE JOHN WAYNE B-WESTERNS 1932-1939.

My previous reviews of Mae West films: NIGHT AFTER NIGHT (1932), SHE DONE HIM WRONG (1933), I'M NO ANGEL (1933), BELLE OF THE NINETIES (1934), GOIN' TO TOWN (1935), KLONDIKE ANNIE (1936), GO WEST YOUNG MAN (1936), and EVERY DAY'S A HOLIDAY (1937).

Thanks to James L. Neibaur and Bear Manor Media for providing a review copy of this book.

Sunday, April 14, 2024

Book Review: The Accidental Star - The Life and Films of Warner Baxter

I've seen Warner Baxter in a number of films over the years, but I can't claim to have known much about him

That's changed thanks to the excellent recently published book, THE ACCIDENTAL STAR - THE LIFE AND FILMS OF WARNER BAXTER. It was written by Dan Van Neste and published by Bear Manor Media.

This is an impressively detailed 491-page book. The first half is a biography which runs 243 pages; the second half of the book contains details on all Baxter's films, including cast credits, review excerpts, and miscellany regarding the productions. The filmography also includes information on whether the film still exists and currently available viewing formats.

My favorite Baxter films include 42ND STREET (1933) and PENTHOUSE (1933). Other titles I've liked include WIFE, DOCTOR AND NURSE (1937), WIFE, HUSBAND AND FRIEND (1939), and ADAM HAD FOUR SONS (1941).

I'll add that the film he made with director John Ford, THE PRISONER OF SHARK ISLAND (1936), will be playing at the upcoming TCM Classic Film Festival, so perhaps I'll have the chance to see another of his movies.

Despite having been aware of Baxter for many years, I couldn't have told you he was an Oscar-winning actor! He won Best Actor for IN OLD ARIZONA (1928).

Baxter worked in movies beginning with bit roles in 1918 and continued working until 1950, the year before his passing. He was a well-liked professional and steadily working actor who was long married to actress Winifred Bryson.

Baxter maintained his career despite ongoing mental health struggles and later declining physical health, including cancer. He was only 62 when he died on May 7, 1951, and was buried at Forest Lawn Glendale.

I found THE ACCIDENTAL STAR to be both well researched and engagingly written. The amount of material the author was able to share about Baxter's early years is particularly admirable, given that that time period is now a century or more ago.

The author concludes the biographical section of the book with reflections on his subject. He assesses some of the reasons for Baxter's relative obscurity, including much of his silent work being lost, and also writes about his legacy.

Like the author, I was left with a positive opinion of Warner Baxter, who had a successful career despite his struggles; moreover, he seems to have been a fine person. The book, including the filmography section, sparked my interest in exploring more of Baxter's films.

I read a paperback edition of the book, which is also available in hardback and e-book form. It's well illustrated with black and white photographs printed directly on the pages.

In addition to the information listed above, the book also includes a list of Baxter's radio appearances, a bibliography, extensive end notes, and index.

As a postscript, I was moved to discover the book was dedicated to three women, two of whom were special in my own life: "Moira Finnie" (Gina Neylon) and "Caftan Woman" (Patricia Nolan-Hall). What a lovely tribute.

Recommended.

Thanks to the author and Bear Manor Media for providing a review copy of this book.

Saturday, April 13, 2024

Around the Blogosphere This Week

Miscellaneous bits of news and fun stuff from around the Internet...

...Russ Tamblyn's new memoir, DANCING ON THE EDGE: A LIFE OF LIVING, LOVING, AND TUMBLING THROUGH HOLLYWOOD, has just been published by Blackstone Publishing.

...Leonard Maltin has a short but welcome column focused on rare cartoons now available on Blu-ray.

...Thanks to Chris Yogerst for sharing the interesting title GANGSTERS VS. NAZIS: HOW JEWISH MOBSTERS BATTLED NAZIS IN WARTIME AMERICA by Michael Benson. It came out in hardcover in 2022 and is due out in paperback this summer.

...The latest book by TV and film music historian Jon Burlingame is DREAMSVILLE: HENRY MANCINI, PETER GUNN, AND MUSIC FOR TV NOIR. It was just published by Bear Manor Media.

...Coming to Blu-ray June 11th from Kino Lorber Studio Classics: MACBETH (1948), starring Orson Welles and Jeanette Nolan. The two-disc special edition will include both 119- and 85-minute cuts. Extras will include a commentary track by Joseph McBride.

...Glenn Erickson's latest reviews for Trailers From Hell include the new Warner Archive Collection Blu-ray release of 3 GODFATHERS (1948) and "Accidentally Preserved Volume 5" from Ben Model's Undercrank Productions.

...Turner Classic Movies turns 30 on April 14th, and Aurora of Once Upon a Screen was able to ask the TCM hosts their thoughts on the network's importance.

...Over at Comet Over Hollywood, Jessica Pickens has reviewed a favorite Deanna Durbin musical, the hard-to-find SPRING PARADE (1940). I'm still hoping for a DVD or Blu-ray release.

...Notable Passings: Eleanor Coppola, the wife of Francis Ford Coppola and mother of Sofia Coppola, has passed away at 87. A documentary filmmaker, her first feature film, the charming PARIS CAN WAIT (2016) with Diane Lane, was released the year she turned 80! I was interested to learn she was originally "local," born in Long Beach, California, and she grew up in nearby Huntington Beach...Robert MacNeil, longtime cohost of THE MACNEIL/LEHRER REPORT, has died at 93...TV director Bruce Kessler has passed on at 88. He's survived by his wife, actress Joan Freeman.

...Please note there will not be an Around the Blogosphere This Week column next weekend, when I will be covering the TCM Classic Film Festival. The column will return on Saturday, April 27th.

...For additional recent links of interest to classic film fans, please visit my April 6th column.

Book Review: The Voice of Villainy: The Betty Lou Gerson Story

I love to read, particularly about movies, so one of the great pleasures of classic film blogging is reviewing books.

Sometimes between my day job -- which often requires reading hundreds of pages a day -- and my other writing commitments I'm a little slow getting book reviews up. Such was the case with THE VOICE OF VILLAINY: THE BETTY LOU GERSON STORY, which came out last year, but it was no less enjoyed!

THE VOICE OF VILLAINY was written by and self-published by Lona Bailey. Bailey's other books include biographies of actresses Virginia Gregg (for Bear Manor Media) and, more recently, Susan Cabot (self-published).

THE VOICE OF VILLAINY tells the story of the Disney Legend who memorably voiced legendary villainess Cruella de Vil in ONE HUNDRED AND ONE DALMATIANS (1961). Gerson also worked for Disney as the Narrator of CINDERELLA (1950) and in a small role in MARY POPPINS (1964).

Gerson was born to Russian Jewish immigrants in Tennessee in 1914. Bailey does a nice job reconstructing the Gerson family history, as well as placing it in a wider historical context. She was able to collect an impressive amount of information on family events which took place over a century ago.

Betty's father became a successful, well-off industrialist, and she had a comfortable upbringing in Birmingham, Alabama, but the family was rocked by his sudden death just as she entered her teens.

As a young woman living in Chicago, Betty took acting classes and in fairly short order became a radio actress in the 1930s. She moved to Hollywood in the '40s, working steadily not only in radio but movies and television. At one point she was appearing in nearly a dozen radio shows per week, as well as in occasional small roles in films like UNDERCOVER GIRL (1950).

Gerson was a steady working actress who was constantly busy yet never became a household name...but her most famous role, Cruella, certainly did!

Betty Lou Gerson died in Los Angeles in 1999, a few days after suffering a stroke. She was 84.

Bailey tells Gerson's life story in a fast-paced and interesting volume. The book seems to be very well-researched; Bailey describes some of her sources, such as recorded interviews and family remembrances, in general terms in the opening author's note.

That said, I would have found footnotes of interest clarifying the author's sources, other than the single brief bibliography/footnotes page provided; otherwise the reader takes her research on faith, though I would hasten to say I have no reason to quibble with it.

I read a paperback edition of the book, which is also available for Kindle. The printed book's size is six by nine inches.

The biographical section of the book is 121 pages, followed by lengthy lists of Gerson's impressive performance credits; the total page count is 222. There are no photographs.

I enjoyed THE VOICE OF VILLAINY and learned quite a bit about the actress behind the iconic character. As a result of reading this book I'm likely to seek out the author's other books in the future.

Thanks to the author for providing a review copy of this book.

Thursday, April 11, 2024

Tonight's TV: Columbo (1973) - "A Stitch in Crime," "The Most Dangerous Match," "Double Shock" - A Kino Lorber Blu-ray Review

I've now wrapped up viewing Season 2 of COLUMBO via Kino Lorber's Blu-ray collection, with a trio of 1973 episodes. Two of them were big winners, while the other was a rare dud.

"A Stitch in Crime" was one of the best episodes to date. It was well plotted, with an interesting premise, a good cast, and some nice humor.

A very sleepy Columbo is called to a hospital crime scene: A nurse (Anne Francis) has been murdered in the parking lot. As Columbo yawns, cracks open a hard-boiled egg, and begs for coffee, his mind is already hard at work analyzing the scene.

The viewer knows that the culprit is Dr. Barry Mayfield (Leonard Nimoy), who realized the nurse was on to his plan to kill his mentor, Dr. Edmund Hidemann (Will Geer), by using the wrong kind of surgical thread for Hidemann's heart surgery.

Dr. Mayfield and Columbo spar regularly as the detective inches closer to realizing that Mayfield is not only the murderer, but that Dr. Hidemann's life is in danger as he recovers from surgery.

One of the things I've noticed about the show, which is true of all three episodes reviewed here, is that the villains tend to taunt and argue with Columbo rather than be more circumspect in an attempt to cover up their crimes. I suppose we might say their egos get in their own way, but it's rather odd none are smart enough to recognize that being more subdued and cooperative might throw him off the scent!

Speaking of Columbo and Mayfield sparring, this is also a rare episode where the genial detective shows the depth of his anger toward a suspect, and it definitely gets the viewer's attention.

Everyone in the cast is good, including Francis in her brief role. Nita Talbot, playing Francis's somewhat kooky roommate, looks enough like her she could have convincingly played her sister.

I don't find Nimoy an actor with much range, but he was successful in this, as within his narrow "lane" he manages to be compelling.

The episode was written by Shirl Hendryx, who died last summer at the age of 99. It was directed by Hy Averback and shot by Harry Wolf, who filmed all three of the episodes in this review. I especially loved a shot of an ambulance speeding past KHJ Studios. Griffith Park also turns up in the episode.

We move from the sublime to its opposite with "The Most Dangerous Match," which is most certainly the only truly boring episode seen to date. Even the sub-par "Dagger of the Mind" was at least more interesting to follow.

The setup for the murder, which takes place against he background of an international chess match, is interminable, dragging on for well over 20 minutes. As someone who is always impatient to move on from the murder scenes to the appearance of Lt. Columbo, this was a real negative, especially as it focused on two colorless characters.

Laurence Harvey plays a partially deaf American chess master, Emmett Clayton, who attempts killing Russian chess player Tomlin Dudek (Jack Kruschen) when he realizes he won't be able to beat him.

Harvey plays the role completely on one note, staring and sneering, with no modulation to his performance. While Nimoy did much the same in the previous episode, he at least had enough charisma to keep things interesting. Harvey, on the other hand, simply can't pull it off. A better script might have helped, but I found his work in this quite poor.

Sadly the actor would die later the very same year this episode aired; he was only 45.

Lloyd Bochner is a complete cartoon character as a member of Dudek's delegation, complete with phony accent. The only bright spots in the show involve Columbo's dog and the veterinarian (Michael Fox).

This episode was written by Jackson Gillis based on a story he cowrote with series creators Richard Levinson and William Link. Edward M. Abroms directed.

I'm really glad I didn't start my COLUMBO viewing with "The Most Dangerous Match," or I might not have gone any further, it's that disappointing. Fortunately it's a rarity, and most COLUMBO episodes are good if not great. The next one in line, "Double Shock," certainly illustrates that.

"Double Shock" was well written by Steven Bocho, based on a story by Levinson, Link, and Gillis. The murder sequence is mercifully limited to about 13 minutes.

The episode is highly entertaining for a variety of reasons, starting with Martin Landau playing identical twins who stand to inherit a great deal of money from their uncle. As a matter of fact, thanks to the twins gimmick, this is a rare episode where we're not completely sure who the murderer is until the very end.

There's the fun surprise of Dabney Coleman turning up in a small role as a police officer working the murder scene with Columbo, and Julie Newmar is just great as a rather ditzy young woman who was engaged to the much older murder victim (Paul Stewart). It seems she genuinely loved him and not his money!

Jeanette Nolan is a hoot as the murder victim's persnickety longtime housekeeper, who can't stand disruption of either her household or her TV shows. A scene where Columbo sits in her pretty kitchen and earnestly apologizes for being messy -- she is not a fan of his cigars -- is really nicely done.

There's also a very unusual sequence where Columbo ends up appearing as an audience volunteer on a cooking show! This fun episode came as a great relief after the previous disappointment.

Robert Butler directed. He died last fall at the age of 95, and as a matter of fact there will be a tribute to Butler at the UCLA Film & Television Archives on April 13th. The evening will include screening the pilot for HILL STREET BLUES, which he directed.

As a side note regarding the Blu-ray set, I was surprised to realize that the first disc of Season 3 is at the back of the Season 2 snap case. Just a word to the wise which could prove useful.

The Kino Lorber Blu-ray prints and sound, as always, continue to be excellent.

Previous COLUMBO review posts: "Murder By the Book" (1971), "Death Lends a Hand" (1971), "Dead Weight" (1971), "Suitable for Framing" (1971), "Lady in Waiting" (1971), "Short Fuse" (1972), "Blueprint for Murder" (1972), "Etude in Black" (1972), "The Greenhouse Jungle" (1972), "The Most Crucial Game" (1972), "Dagger of the Mind" (1972), "Requiem for a Falling Star" (1973).

Tuesday, April 09, 2024

Tonight's Movie: The Gauntlet (1977) and Book: Another Run Through the Gauntlet

Over the last few years I've been gradually working my way through the filmography of actor-director Clint Eastwood.

It's a rich list, and I was inspired to check off another title, THE GAUNTLET (1977), thanks to a brand-new book by Toby Roan of 50 Westerns From the 50s and The Hannibal 8, ANOTHER RUN THROUGH THE GAUNTLET. More on the book below.

THE GAUNTLET came out in December of 1977, which for me will always be the year of STAR WARS (1977) and THE SPY WHO LOVED ME (1977). I remember the distinctive posters for THE GAUNTLET, but with its R rating it wasn't something I would have seen in my early teens.

It's the story of Ben Shockley (Eastwood), a hard-drinking Phoenix cop tasked with retrieving a witness, a prostitute named "Gus" Mally (Sondra Locke), from Las Vegas and bringing her to testify in a mob trial on Phoenix.

The problem, Shockley quickly realizes, is that his boss, Commissioner Blakelock (William Prince), is in cahoots with the mob and doesn't actually want the cop and the witness to make it back to Phoenix.

Blakelock tries to have them killed on numerous occasions, leading to Shockley and Mally's final brazen armored bus run to the courthouse through an army of cops and a barrage of bullets.

THE GAUNTLET is the classic story of a couple on the run from evil forces, a theme which reaches back decades to movies like Hitchcock's THE 39 STEPS (1935) or SABOTEUR (1942).

In particular, the movie struck me as a brash updating of THE NARROW MARGIN (1952), a favorite film with an identical theme which I just revisited a few days ago at the Noir City Hollywood Festival. In both cases a tough cop is ordered to transport a woman to testify against the mob while unknown forces attempt to kill them.

This being an "R" film from the '70s, I did have trouble with a couple aspects, namely the extremely graphic dialogue in the first half of the movie and an attack on Shockley and Mally by vagrants on a train later in the film.

Otherwise, I found this 109-minute film grand fun. Is it a bit predictable? Yes, I could see some of the situations coming a mile away, but I actually liked that aspect; it made the film relaxing "comfort viewing" instead of something more stressful. The film having some enjoyable humor at various points also added to it being a fun watch.

Is it silly at times, with insane numbers of bullets aimed at our hero and heroine? Yes to that also -- although Eastwood pointed out those scenes were partly inspired by an actual event I recall from my Southern California childhood, the SLA shootout with police in May 1974.

Amidst some of the over-the-top action scenes, the movie works as well as it does partly because of the believable development of the relationship between Shockley and Mally; cop and witness gradually come to admire one another and build a friendship. That turns into something more, leading to a marvelous scene when Mally phones her mother and announces she's met the man she wants to marry. It's an unexpected, unusual moment which is a highlight of the film.

From today's standpoint, the movie is also enjoyable as a love letter to the '70s, with terrific visuals reminding me of my childhood, including Hughes Airwest and Tab soda.

The Arizona locations, filmed by Rexford Metz, are distinctively different. The opening sunrise shots of Phoenix, scored by Jerry Fielding, are absolutely terrific. I didn't realize until reading the book that saxophonist Art Pepper solos on the soundtrack, with Jon Faddis on trumpet.

I also appreciated a couple familiar faces popping up in the movie: The jail matron is played by Mara Corday, who knew Clint at Universal Pictures in the '50s, and a Vegas waitress is amusingly played by Carole Cook. I had the pleasure of seeing Cook, who passed on last year, a couple of times in person, at the debut of a Warner Bros. studio tour in 2018 and at a tribute to Robert Osborne in 2019.

The cast also includes Pat Hingle, Bill McKinney, and Michael Cavanaugh.

I watched THE GAUNTLET on a very nice-looking Blu-ray which sadly has zero extras.

Toby Roan's book, ANOTHER RUN THROUGH THE GAUNTLET, is a small paperback about the size of the books in the BFI Film Classics series.

In a brisk 111 pages, Toby covers every aspect of the movie: The film's development, background on the cast and crew, production history, music, critical reception, poster art, and more, along with his personal thoughts on why he appreciates -- indeed, loves -- the movie.

The book has some fun information, such as Eastwood's "passive-aggressive" maneuvers to make sure his costar was Locke rather than Barbra Streisand (!), for which I'm grateful.

Mara Corday had been widowed when her husband, Richard Long, died in 1974. I loved reading that Eastwood hired her for THE GAUNTLET to help her with health insurance, later casting her in SUDDEN IMPACT (1983) for the same reason. I noted looking at her filmography that her last four films, in fact, were all Eastwood projects. As I write this review, Corday is now 94, as is Eastwood.

ANOTHER RUN THROUGH THE GAUNTLET is a breezy read which was the perfect companion for my first viewing of this very enjoyable film, and I'd love to see Toby do similar books in the future.

Previous reviews of films starring or directed by Clint Eastwood: FRANCIS IN THE NAVY (1955), STAR IN THE DUST (1956), AWAY ALL BOATS (1956), AMBUSH AT CIMARRON PASS (1958), COOGAN'S BLUFF (1968), BREEZY (1973), EVERY WHICH WAY BUT LOOSE (1978), BRONCO BILLY (1980), MIDNIGHT IN THE GARDEN OF GOOD AND EVIL (1997), SULLY (2016).

Although not reviewed, I've also seen ESCAPE FROM ALCATRAZ (1979) (at the 2019 TCM Classic Film Festival) and IN THE LINE OF FIRE (1993).

There may be another Eastwood film on the horizon for me in the near future, as I hope to see DIRTY HARRY (1971) at this year's TCM Classic Film Festival.

Sincere thanks to Toby Roan for providing a copy of ANOTHER RUN THROUGH THE GAUNTLET.

Monday, April 08, 2024

Tonight's Movie: Let's Dance (1950) - A Kino Lorber Blu-ray Review

LET'S DANCE (1950), the only Fred Astaire musical I'd never seen, was recently released on Blu-ray by Kino Lorber.

I'm happy to say I found the movie quite engaging and far better than its general reputation over the years would attest. Add in a beautiful Blu-ray print from a 2019 HD Paramount Pictures master and this disc is a winner.

Don (Astaire) and Kitty (Betty Hutton) have a USO act entertaining the troops during World War II.

Don wants to marry Kitty and even announces it at the end of a performance, unaware that Kitty has actually just married a pilot.

Flash forward several years and Kitty is now a widow with a little boy named Richie (Gregory Moffett), living under the thumb of her late husband's weather grandmother Serena (Lucile Watson).

Kitty runs away with Richie and runs into Don, who gets her a job at a nightclub run by Larry Channock (Barton MacLane).

Kitty and Don tentatively begin to rekindle their romance, but many complications ensue, including wealthy Timothy Bryant (Shepperd Strudwick) also having a crush on Kitty. There are also problems due to Serena's ongoing attempts to win custody of Richie.

While not a classic musical, this movie has a great deal going for it, starting with the bouncy Astaire-Hutton dance numbers, set to music by Frank Loesser.

I've never been the biggest Hutton fan but I increasingly have to give her her due, particularly after seeing her in THE MIRACLE OF MORGAN'S CREEK (1944). She's bright and cheery here, seen in fabulous Edith Head dresses with coordinating accessories, and as for her dancing, she could more than keep up with Fred Astaire. Their dance duets are terrific.

I had previously seen Astaire's solo "Piano Dance" number as a highlight of a clip show of underseen musical numbers screened at the 2022 TCM Classic Film Festival, and it was a joy to revisit it. This dance is one reason among many this film deserves to be more widely seen.

The movie's nightclub setting, with a cast of eccentric, well-meaning characters, reminded me strongly of the later THIS COULD BE THE NIGHT (1957); indeed, the two films would make a great double bill.

The way Larry, his French chef Marcel (Harold Huber), and the other employees take little Richie under their wing is charming, and their influence even impresses a judge (George Zucco) overseeing Richie's custody case. I loved when Larry sheepishly admitted to taking the boy to church on Sundays.

I particularly loved the bright, lovely showgirls Bubbles (Peggy Badley) and Elsie (Virginia Toland), who jump in to help as needed.

I haven't even mentioned several other players in the supporting cast, who include Nana Bryant at Timothy's mother, Melville Cooper and the inimitable Roland Young as Serena's lawyers, and lovely Ruth Warrick as another relative, Carola. Warrick is rather underused but looks gorgeous and has delightful reactions to the ongoing proceedings; her presence is a plus.

I would have condensed the plot somewhat, as 112 minutes is at least five minutes too long, but other than that I found this film a fun surprise, and I'll definitely be returning to it in the future.

The movie was directed by Norman Z. McLeod and filmed in beautiful Technicolor by George Barnes.

Disc extras consist of a commentary track by Lee Gambin plus a gallery of eight trailers for other films available from Kino Lorber.

My friend Jessica also recently reviewed this film and reacted much as I did; you can read her take at Comet Over Hollywood.

Recommended.

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

Sunday, April 07, 2024

Tonight's Movie: They Drive By Night (1940) - A Warner Archive Blu-ray Review

The Warner Bros. drama THEY DRIVE BY NIGHT (1940), directed by Raoul Walsh, has just been released on Blu-ray in the Warner Archive Collection.

I was surprised to realize I hadn't seen the movie since way back in 2007. I thoroughly enjoyed watching it via this pristine Blu-ray print.

This is quite an entertaining 95 minutes. It reminds me somewhat of HISTORY IS MADE AT NIGHT (1937) insofar as it's several movies in one: Action drama, romance, murder and courtroom melodrama. Yet despite its shifts in tone, it all works.

George Raft and Humphrey Bogart plays brothers Joe and Paul Fabrini, who are struggling to make a living as independent truckers. Things seem to be looking up thanks to a helping hand from Ed Carlsen (Alan Hale Sr.), who owns a trucking business, but then misfortune strikes when they have an accident and not only lose their truck, but Paul loses an arm.

Joe goes to work for Carlsen, helping to support Paul and his wife Pearl (Gale Page) during Paul's recovery, but Carlsen's wife Lana (Ida Lupino) makes things difficult. Lana has her eyes on Joe, but Joe is engaged to Cassie (Ann Sheridan). Lana, however, won't take no for an answer...

This film was written by Jerry Wald and Richard Macaulay from novel by A.I. Bezzerides. I find it very enjoyable, thanks to their snappy script, with lines delivered by a great cast. Sheridan, in particular, has never been better than she is here as a wisecracking waitress with a soft heart.

This was the year before Bogart hit the big time in HIGH SIERRA (1941) and THE MALTESE FALCON (1941), and he's very sympathetic as a loving husband and perpetually tired truck driver; the latter issue leads to the tragic accident.

Raft has been an acquired taste for me, but I like him fine in this, and it's great to see Page, who was one of the sisters in the FOUR DAUGHTERS series. Her role is small but her appealing presence adds to the film.

The movie has the typically fine Warner Bros. supporting cast, also including familiar faces such as John Litel, John Ridgely, Roscoe Karns, George Tobias, Joyce Compton, Marie Blake, and Henry O'Neill.

The black and white cinematography was by Arthur Edeson, and I frequently marveled at how good the film looks on this Blu-ray. Sound quality is also excellent. I definitely recommend this disc.

Blu-ray extras include the trailer; the 11-minute featurette DIVIDED HIGHWAY: THE STORY OF THEY DRIVE BY NIGHT (2003); a 20-minute short, SWINGTIME IN THE MOVIES (1938); and a 1941 Lux Radio Theater production with Raft and Lana Turner. The radio show was not included on the DVD released over 20 years ago and is a most welcome addition to the Blu-ray release.

Thanks to the Warner Archive for providing a review copy of this Blu-ray. Warner Archive Blu-rays may be ordered from Movie Zyng, Amazon, and other online retailers.

Tonight's Movie: Fingerman (1955) - A Kino Lorber Blu-ray Review

The latest Dark Side of Cinema set from Kino Lorber has just been released!

The Dark Side of Cinema XVIII collection is now out, containing a trio of films from the same release year: FINGERMAN (1955), CRASHOUT (1955), and CITY OF SHADOWS (1955).

All three films in the set are new to me, and I started with FINGERMAN which turned out to be just the kind of lesser-known crime film I love to discover. It was also fun to find a new "Christmas" film, as the story opens on Christmas Eve.

In a story inspired by true events, Frank Lovejoy plays ex-con Casey Martin, who's picked up by the feds after he takes part in a truck hijacking.

To Casey's surprise they don't immediately arrest him, offering him a chance to start over if he helps bring down mobster Dutch Becker (Forrest Tucker). Casey is partially motivated by his sister (Evelyn Eaton) having fallen into addiction after working for Becker, risking orphaning her little girl (Bernadette Withers).

Casey works his way into Dutch's gang, but it proves to be very dangerous both for Casey and for his girlfriend Gladys (Peggie Castle), who used to work for Dutch.

This 82-minute film was written by actor-screenwriter Warren Douglas, based on a story by Norris Lipsius (whose experiences inspired the story) and John Lardner. Douglas also served as the film's dialogue director.

The movie was directed by Harold D. Schuster and filmed in black and white by William Sickner. It's all pretty straightforward and won't win any "greatest movie" awards, yet at the same time it's exactly the kind of crime movie I like, including interesting Los Angeles locations such as Griffith Park. Those who share my liking of the cast and authentic settings will probably enjoy it as well.

Lovejoy and Castle are favorites and both seen to very good effect here. Tucker easily moved between hero and villain in his film career, and he's extremely creepy here as a violent mobster. A scene where he orders henchman Lou (the even creepier Timothy Carey) to mess up the face of a hooker (Dorothy Green) so she can't work for a while is chilling.

I enjoyed the undercover aspects of the story and the various ways Casey imparts information to his law enforcement contacts. My only real issue with the film was being unhappy with what happens to one of the characters.

Side note: While posters and IMDb list the title as two words, I always use the title as seen in the actual credits, and it's a solid word there.

As is typical for Kino Lorber, the print and sound quality are solid. Extras consist of a commentary track by Jason A. Ney and a pair of trailers for other films available from Kino Lorber.

Coming in the future: More reviews from this set, along with a handful of lingering reviews from other Dark Side sets, including the XVII collection containing Edward G. Robinson films. I recently really enjoyed VICE SQUAD (1953) from that set. So many movies, so little time!

Kino Lorber's Dark Side collections continue to be some of the most consistently interesting and enjoyable classic film releases.

Thanks to Kino Lorber for providing a review copy of this Blu-ray collection.

‹Older