film lover 293

"The Road to Hong Kong" (1962)--Starring Bob Hope, Bing Crosby, Joan Collins and Dorothy Lamour in a cameo role. Last of the Road films, movie is amusing time killer that provokes smiles and the occasional laugh. Crosby and Hope are fine in the opening number "Teamwork" and though the script lets them down, still get grins and a few laughs. Collins had developed comic timing and comes through with some laughs as she is "straight woman" and takes Lamours' place. Lamour isn't seen until the last 35 minutes of film, and comes through with the best song ("Chemistry") and gets the biggest laughs in the film. For 15-20 minutes, TRtHK gives the viewer a glimpse of the controlled craziness of the earlier Road films. Look for unbilled cameos from David Niven, Frank Sinatra, and Dean Martin. Film spoofs Grade Z "lost planet" films amusingly. Movie's not great, not as good as I'd hoped. 2.4/4.

"Anything Goes"--The third verse, movie history: "If Sam Goldwyn can with great conviction Instruct Anna Sten in diction, Then Anna shows Anything Goes" Next: a duet

"Love That Soap"--advertising jingle Clark Gable writes for Beautee Soap in "The Hucksters" (1947). Next: Gershwin.

Suddenly Last Summer

In classic film, I don't hate anyone; some stars I dislike ( Adolphe Menjou, Ward Bond, and Robert Taylor, to name three), but hate is too strong a word. I don't let the presence of any of these actors keep me from seeing a film.

Wed., August 3rd/4th; All times E.S.T.: 9:00 a.m. "The Road To Hong Kong" (1962)--The last "Road" film I haven't seen. 12:15 a.m. "The Road To Morocco" (1940)--The first and maybe funniest "Road" film (1947's "Road to Utopia" is as good or better).

TopBilled--Look at the KinoLorber (KL) restorations publicity. They are doing screenings in major cities like Los Angeles, Seattle, etc. There's always YouTube for those who are aware these films exist, and want to see them for "free". There is mention of the KL restorations on historiansdotorg, the KL website, and a few other websites. But TCM seems to be the major mainstream path to get the word out that these films exist, and are available to view. I would hate to think films had been forgotten 100 years after they were made. In my view, they're trying to preserve film history: an admirable goal. JMO.

Jezebel

Double post--please delete.

"Stille Nacht" (Silent Night) by The Russian Cossack Choir, in "Balalaika" (1939). Next: a song from a musical about sports.

Underwood, Ron

Robin and the Seven Hoods?

Lasser, Louise

Rouse, Russell

Ziegfeld Girl

"Stormy Weather" (1943)--Throw out Maltin's "fair" endorsement. SW is almost all music,with a thin thread for an excuse for a plot; there's a maximum of twenty minutes of just talk in a 78 minute movie. The music is what shines in this film, and the performers make the movie. Whether it's Fats Waller and Ada Brown singing "Ain't Misbehaving", Lena Horne singing "Stormy Weather", Katharine Dunham and Co. doing a ballet to SW, or the Nicholas Brothers doing a knockout tap routine at movies' end, music is flawlessly performed. Only thudder is a "blackface" routine. Otherwise, Stormy Weather is a movie to shout about (movie's last number is "Ain't That Something"). If the blackface routine was cut, rating would be higher. As it is, 3.6/4. "Studio Visit" (1946)--Is notable for using Lena Hornes' cut number "Ain't It The Truth" from "Cabin In The Sky" (1943); it uses a verse "That's Entertaiment ! Part III" (1994) Didn't use, and two shots TEP III didn't use. The viewer can see and hear for themselves why the song was cut from CITS (it's by no means Lena Hornes' fault--she's in sparkling clear voice).

I saw eight movies this week, seven for the first time: "The Floradora Girl" (1930)--Charming period piece set in the 1890's starring Marion Davies and Lawrence Gray. Fifteen songs of the era are used in the film, whether sung or integrated into the films' score; "Pass the Beer and Pretzels" and "After The Ball" are just two of them. TFGs' finale, "Tell Me, Pretty Maiden" was shot in two tone Technicolor; I believe that was the only time Davies appeared in Technicolor. Recommended. "Rogue of the Rio Grande" (1930)--Cheapie western from Atlantic Films is notable only for Myrna Loys' dancing and singing turn as a saloon girl. Loy makes the film worth watching. For her dance numbers, she was coached by Eduardo Cansino (Rita Hayworth's father). "Painted Faces" (1929)--Forerunner of "12 Angry Men" (1957) stars Joe E. Brown. Film starts off promisingly, then bogs down in a predictable screenplay. Touches of humor (the bridge game in the jury room, the circus act scenes) keep this watchable. If you like Browns' humor, you will enjoy this more than I did. "The Fighting Kentuckian" (1949)--Rambling film is about the settling of Alabama, multi-continental politics, and John Wayne romancing Vera Ralston. Oliver Hardy as Wayne's buddy, Marie Windsor as a duplicitous woman, and a good score make this an enjoyable watch. "Manpower" (1941)--Bad melodrama has Marlene Dietrich being fought over by electric linemen Edward G. Robinson and George Raft. Dietrich at least looks great, even when she's wet as a drowned rat. Eve Arden's one liners are a blessing. There's a very funny scene in a diner using 1940's slang that is the comedic highlight of the film. "Against All Flags" (1952)--Enjoyable pirate actioner with Errol Flynn and Maureen O'Hara. Flynn and O'Hara could play their roles in their sleep, but they give a standard script enough wit and class that AAF transcends its' genre. Mildred Natwick is hysterical as a outraged chaperone whom the pirates dismiss. "The Bride of Frankenstein" (1935)--Starring Boris Karloff, Elsa Lanchester, and Ernest Thesiger. Perfect blend of horror and comedy, directed by James Whale. Highest recommendation. "Klondike Annie" (1936)--Mae West, handicapped by The Production Code. They make her a missionary, to this viewers disbelief (and the films' detriment). Still, there's more good than bad. Highlight is song "I'm An Occidental Woman in an Oriental Mood For Love". Favorite--"The Bride of Frankenstein" (1935). Hardest to Find--"The Floradora Girl" (1930). Least Favorite--"Manpower" (1941).

"Klondike Annie" (1936)--Starring Mae West and Victor McLaglen, directed by Raoul Walsh. Film set in 1890's San Francisco and West is hamstrung by the Production Code, and it shows, especially in the watered down dialogue and lack of double entendres. The films' highlight is about fifteen minutes into the movie as West sings "I'm an Occidental Woman in an Oriental Mood For Love". The Code censored the overtly sexual lines, but they missed enough that the first 35 minutes is pleasant. It's when West starts trying to pass as a missionary(?!) that the film becomes actively painful. West looks like she's gagging on the mealy mouthed dialogue set in Nomes' missionary center. Film misses numerous opportunities for fun. West gets screen credit for the script, but from the sanctimonious tone of the scripts' second half, I'd say she got "help"--whether it was wanted or not. West is the whole show. The Code censored her words, but they couldn't censor her eye-rolling, gagging, air of supreme confidence, or her way of making an innocuous line an innuendo. KA wasn't as good as I'd hoped or as bad as I'd feared. Worth a watch. Just know the film peaks early. 2.6/4.

TomJH--No, I missed it last time round. I saw it over twenty years ago and wasn't impressed. Is it worth a rewatch?

Your Past Is Showing

"The Bride of Frankenstein" (1935)--Starring Boris Karloff, Elsa Lanchester, Una O'Connor and Ernest Thesiger. Horror and parody mesh effortlessly in this James Whale gem. Everything went right; from the opening,where Lanchester plays Mary Wollstonecraft Shelley with a gleam in her eye, and overly sweet sarcasm, to the beginning of the sequel, where Karloff is thought dead, to Lanchesters Nefertiti hair near the end , her priceless reactions. Karloff is excellent as a monster wanting a mate. Una O'Connor is a scream as Minnie, the old biddy who is screeching to see the Monster killed, then shrieks when she spots the Monster. She is told to shut up at least five times in the film. Ernest Thesiger as Dr. Pretorius is a great mix of horror and humor; he robs graves, and also swigs gin out of laboratory beakers, has supper on top of a coffin, gets the Monster to have cigars with him. Franz Waxmans' playful score, the cinematography and set design that are both reminiscent of "The Cabinet of Dr. Caligari" (1919), Everything works. The perfect mix of horror and humor. 4/4 Saw on Another website.

EricJ--Yes. Google "Battle at Glorieta Pass" (in AZ). There was also action in Kansas and Missouri, New Mexico and Texas. I don't remember all the details from Civil War History classes, LOL, but Google "The Lawrence Massacre". Sunday, July 31st; all times E.S.T. 12:15 p.m. "Stormy Weather" (1943)--Lena Horne, Cab Calloway, and one of the best tap numbers ever filmed to finish the movie--a real gem.

"Against All Flags" (1952)--Starring Errol Flynn, Maureen O'Hara, and Mildred Natwick. Universal pirate picture has a standard script, but good action sequences, some wit, and ad-libs among the connect-the dots plot. Film looks expensive for early 1950's Universal films. Flynn acts older but wiser, and is charming but slightly sarcastic in his scenes with O'Hara. O'Hara is gorgeous, and by now could play the role of a lady pirate in her sleep. The two seem to be having a good time, and O'Hara is unable to keep a grin off her face when she's supposed to be angry. Natwick is chaperone to a harem of girls on a ship taken by pirates, and gets off the best lines in the film. The handsome Technicolor cinematography was by Russell Metty, best known for his work on Orson Welles' films (1958's "Touch of Evil", 1942's "The Magnificent Ambersons") and his work with Douglas Sirk's films. AAF took five directors to film. One of them was Douglas Sirk, who directed the scenes with swordplay. AAF is Flynn's last really good swashbuckler. The charm, expertise, and wit of the cast make this an entertaining watch. 2.8/4

Lawrence--You're correct! There is a print of "Genuine" (1920) on YouTube; it's about 42 minutes long--that's why I said I didn't think it was complete. "The Hands of Orlac" (1924) is also worth a viewing. Lawrence, you've earned this thread, as Swithin said Your thread.

Giveaway Hint--One year earlier, directed "The Granddaddy of All Horror Films".