I Just Watched...

[kingrat]

Lawrence, I'm glad you liked Sawdust and Tinsel. Definitely one of my favorite Bergman films.

And it's interesting that About Mrs. Leslie grew on you, despite your initial feelings about Shirley Booth. It's one of those films that is better than it ought to be. Shirley Booth and Robert Ryan actually have some chemistry, which helps.

[Tikisoo]

I watched two movies in succession....and boy were they a contrast!

First I watched 2016's HIDDEN FIGURES, the story of the group of black women who calculated all the mathematical figures for NASA's (I believe actually NACA) Mercury project, in Hampton VA. It was not explained why this particular division consisted of only women, but apparently, this is how it was. The story centers around three women -all brilliant- who carpool to work together facing sexism AND racism in the south of the early 60's. Don't worry if you don't understand their calculations...(no one does) it's just dramatic effect as they calculate in chalk on a blackboard in scenes.

These women know their stuff and they are focused on the success of the project while several of their colleagues are disturbed by their gender and/or race. I found the segregation and oppression shown in the movie almost unbelievable. While I know there was such a thing as separate bathrooms/water coolers/public seating, actually SEEING it depicted was appalling. The dismissive attitude of the coworkers & supervisors was obvious & blatant. I don't know if people were actually that rude or if it was for dramatic effect. It came across as cartoony and more like TV acting but I suppose there was no other way to express it for this movie. The point of all this was to show how elegantly these women handled the adversity.

I especially loved actress Octavia Spencer as Dorothy Vaughan take it upon herself to decipher the new IBM computer, which none of the other staff could get up & working. HA- I remember all those cards that had to be filled out and the CRT monitor (you Windows people should be familiar with that) from those primitive computer days! She could see her position (and her entire division) would be eliminated by this machine, so she embraced it, securing her job and the rest of her crew's future.

I loved this movie for several reasons: I come from a NASA family and thought I had read everything about it's early days. This story came as a complete surprise to me. I did not know anything about these Hidden Figures.
This movie put me in their place seeing just how it felt to be discounted for what is on the outside rather than the inside. I have experienced prejudice, but never to the degree depicted in this movie. I will always remember how these women handled themselves & their position. Wow.

Next, I watched 2017's I, TONYA which couldn't be more different. This is the story of Tonya Harding, an Olympic figure skater whose career is defined by a physical attack on her strongest competitor Nancy Kerrigan. Her husband was implicated in the crime and did time for it, but that's pretty much all the public knows. This movie is based on personal interviews with those involved-conflicting stories too! So the director deftly shows every conflicting report so the viewer can actually formulate their own opinion!

Talk about cartoony, these charactors don't seem real at all, especially Harding's mother brilliantly played by Allison Janney. Halfway through this movie I watched some YT videos of the real person just to confirm, and yes, she really is a whacko. The guy who plays Tonya's husband Jeff Gillooly also does a great job, seeming just like greasy Gillooly. Too pretty Margot Robbie plays Tonya well "hardening" her appearance for the role. The skating scenes are astounding...the bonus features explained that Robbie's face was digitally superimposed onto real skaters-great use of CGI!

There's a LOT of f-bombs in this movie but instead of shocking the viewer, they're included to illustrate the low level of intelligence of the principles. These people are repulsive, but somehow we're rooting for them. Whether it's the great direction, snappy dialogue or through the stellar acting, we empathise and see humor & sincerity within these trashy people. I think the mother is so evil, we feel sorry for Tonya which I'm sure is EXACTLY how she wants us to feel from her interviews. Same for Gillooly, who denies his involvement as a "misunderstanding".
This is a very well told story....you can't imagine there are actually people like this in the world and more unimaginable they attempted such a bungling crime. If this was fiction, it would be discounted immediately, but despite (or maybe due to) the charactors repugnancy, the story is comedically tragic. Another wow.

[LornaHansonForbes]

9 hours ago, LawrenceA said:

About Mrs. Leslie (1954) -

I can only tolerate Shirley Booth for a short while, and then the timbre of her voice starts to drive me up a wall. It happened earlier than usual here, as soon as her singing nightclub act started. Was that supposed to be bad, or was it just bad? I can't imagine the audience reaction upon being "treated" with that "singing" after paying a cover charge. It certainly ranks as one of the lousiest nightclub acts that I've seen in a movie. However, despite the displeasure of that sequence, I slowly found the movie growing on me. Even Booth regained my sympathy, and I was moved by her various plights. I also liked Harry Morgan in a small role as a sleazy talent manager with a pencil mustache.     (7/10)

Source: TCM.

+1

except- TCM showed this a couple of summers ago and (MUCH to my surprise) I actually really liked it (and as I recall, I was in the minority.) Of the four films Shirley Booth appeared in, this is the only one where I can see her appeal.

file under: THEY DON'T MAKE 'EM LIKE THIS ANYMORE.

in re: the nightclub act. She sings KISS THE BOYS GOODBYE and I remember liking it; maybe that's because I just CANNOT HATE a song that begins with the line "Daddy, let me wear the mink..."

[LornaHansonForbes]

8 hours ago, kingrat said:

Lawrence, it's interesting that About Mrs. Leslie grew on you, despite your initial feelings about Shirley Booth. It's one of those films that is better than it ought to be. Shirley Booth and Robert Ryan actually have some chemistry, which helps.

Or do they?

ROBERT RYAN, on screen, always seems conflicted about something (to me)...that sense of conflict sometime reads (accurately or not) as if his characters are conflicted about their sexuality...with ABOUT MRS. LESLIE- whether it was the intention of the filmmakers or not- I read what is going on as "Closet Case with Granny Complex Lucks Out**."

it's not really a love affair he and Shirley have in this movie, but in many ways it's purer and more honest that many physical relationships.

 

**Which, after translation, is what the German title for ABOUT MRS LESLIE most likely was.

 

CLOSET CASE MIT Oma-Komplex wird GLÜCKLICH; mit SHIRLEY BOOTH undt ROBERT RYAN

[LornaHansonForbes]

I watched BADLANDS (1973) last night on TCM OnDemand (and on a nice, HD widescreen TV too)

those of you who are familiar with MYSTERY SCIENCE THEATER 3000 will maybe recognize the name COLEMAN FRANCIS. He directed three films, RED ZONE CUBA, THE SKYDIVERS and THE BEAST OF YUCCA FLATS [the last with TOR JOHNSON as, of course, THE TITULAR BEAST].

Francis's movies are agony- meandering shots of bleak, empty vistas; minimal story; large convertibles driving offroad through sagebrush, helicopter POVs done badly, endless spells with no dialogue and frenetic editing...

why do I bring him up?

because if Coleman Francis had been a cinematic genius, he would've directed a film like BADLANDS.

In many ways this movie is the antithesis of what I like artistically- I'm a listener; I like dialogue. I got nothing against visuals, mind you- but i have an almost compulsive fear of silence. I REALLY WONDER WHAT THE SCRIPT TO THIS MOVIE LOOKED LIKE.

anyway, I like this film much better than BONNIE AND CLYDE (I get why BONNIE AND CLYDE is supposed to be such a big deal, but still, I just like this one more.)

this movie NAILS the BANALITY OF EVIL so well...it is one of the most conventionally unconventional films i have ever seen.

I've never thought much one way or the other about MARTIN SHEEN, but he's brilliant in this film. i've met people like he plays in this movie, and i have the feeling he had too At the time he made this.

I also get the feeling that this movie is- in many ways- the Dragon TERRENCE MALICK has been chasing all these years...in its brief, maverick two hours- it manages to convey everything artistically that any one film could want to say in such a succint time and with (largely) just perfectly-executed visuals.

[LawrenceA]

[LawrenceA]

The Black Knight (1954) - Technicolor Arthurian adventure, from Columbia Pictures and director Tay Garnett. Alan Ladd stars as John, a blacksmith in the employ of the Earl of Yeonil (Harry Andrews). After the Earl's castle is laid waste to by marauding vikings, John travels to the Camelot, the castle of King Arthur (Anthony Bushell). John discovers that the "vikings" are actually costumed soldiers in the employ of the Cornish King Mark (Patrick Troughton) and his cruel Saracen cohort Sir Palamides (Peter Cushing). John decides to adopt the identity of the Black Knight in order to expose the machinations of King Mark and Palamides, and to prove his honor to the fair maiden Linet (Patricia Medina). Also featuring Andre Morell, Laurence Naismith, Bill Brandon, Ronald Adam, Basil Appleby, Jean Lodge, John Laurie, and Pauline Jameson.

Ladd fits into Arthurian Britain about as well as you'd imagine, which is not at all. His Black Knight wears a big white chestplate. Some costumes look good, but many others do not. The action is clunky and performed by obvious stunt doubles. The only saving grace of the film is Peter Cushing as the hissable villain Palamides. With a dark tan, a longish black wig, and dangling earrings, Cushing looks leagues away from his Van Helsing or Dr. Frankenstein.   (5/10)

Source: Amazon video.

[LawrenceA]

Black Widow (1954) - CinemaScope backstage melodrama/mystery from 20th Century Fox and writer-producer-director Nunnally Johnson. Ambitious young would-be playwright Nancy Ordway (Peggy Ann Garner) worms her way into the lives of several Broadway figures, including producer Peter Denver (Van Heflin) and aging star Carlotta Marin (Ginger Rogers). When someone turns up dead, the suspect pool is large, and Detective Bruce (George Raft) of the NYPD has his work cut out for him. Also featuring Gene Tierney, Reginald Gardiner, Otto Kruger, Virginia Leith, Skip Homeier, Cathleen Nesbitt, Hilda Simms, and Aaron Spelling.

I was expecting more of a noir/mystery from this, but instead it's one of those undercooked multi-character melodramas that threatens to get lost in the then-new CinemaScope compositions. It's neither well-written enough to be compelling, nor tawdry enough to be a trashy guilty pleasure. It's just kind of there, with the stars moving through the motions but registering very little. I watched it for Tierney who has a throw-away role as Heflin's much-absent wife.   (6/10)

Source: TCM.

[cigarjoe]

The Scarf (1951) Mojave Noir

Wow, what a good print will do for a quirky little film.

I watched it the first time years ago on a YouTube upload of a multi generation print. A restored print does wonders. I really enjoyed the film this go around. It's a pristine print from another streaming service. The print has a TCM logo BTW.

Competently directed by Ewald André Dupont or E.A. Dupont. The writing credits go to Dupont for the screenplay and Isadore Goldsmith and E.A. Rolfe for the original story idea.

The beautiful chiaroscuro images are the work of cinematographer  Franz Planer (The Face Behind the Mask (1941), The  Chase (1946),  Criss Cross (1949), 711 Ocean Drive(1950), Breakfast at Tiffany's (1961), 99 River Street (1953), The Long Wait (1954) and for Marilyn Monroe's last uncompleted film Something's Got to Give (1962)). The Music was by Johnny Mercer (Breakfast at Tiffany's (1961)).

The film stars John Ireland (five Classic Film Noir and Neo Noir Farewell My Lovely (1975)) as John Howard Barrington, Mercedes McCambridge (All the King's Men (1949), Lightning Strikes Twice (1951) Touch of Evil (1958)) as Connie Carter, James Barton as Ezra "Cactus" Thompson, Emlyn Williams as Dr. David Dunbar, Lloyd Gough as Asylum Dr. Gordon, Basil Ruysdael as Cyrus Barrington John's father, and David Wolfe (three Classic Film Noir) as South Main St. Los Angeles Bar owner, Level Louie. 

Enjoyable film though a bit rushed at the end. Fuller review in Film Noir/Gangster 7/10. 

[LornaHansonForbes]

It's my fault.

I'm the one who got the thread knocked off the boards.

I was posting during the spampocalpse and I think they froze everything that got posted during that time as suspicious. 

Also my original review of BADLANDS was in Korean, which might've led to some confusion.

[LawrenceA]

Casanova's Big Night (1954) - Silly but amusing Technicolor comedy from Paramount Pictures and director Norman Z. McLeod. In 18th century Italy, tailor's apprentice Pippo Popolino (Bob Hope) decides to impersonate notorious lover and swordsman Casanova (Vincent Price) in order to get some action. Things don't work out, but when Casanova skips town to avoid his debtors, Pippo agrees to a dubious scheme cooked up by Casanova's creditors to have Pippo masquerade as Casanova in Venice, where he will filch a valuable item that will pay off all of Casanova's debts. Pippo is accompanied by grocer Francesca (Joan Fontaine) and Casanova's valet Lucio (Basil Rathbone), and once in Venice, Pippo falls for the lovely Donna Elena (Audrey Dalton). Also featuring Hugh Marlowe, Arnold Moss, John Carradine, Raymond Burr, Hope Emerson, John Hoyt, Robert Hutton, Frieda Inescort, Primo Carnera, Frank Puglia, Henry Brandon, Paul Cavanagh, Natalie Schafer, Douglas Fowley, Nestor Paiva, Lucien Littlefield, John Doucette, Fritz Feld, Kathryn Grant,  and Lon Chaney Jr.

This handsomely produced period piece has sumptuous costumes and nice sets. It's silly and uneven, like many of Hope's movies, but I laughed quite a bit, and I loved the great supporting cast. Fontaine seems like she's having fun playing in something unlike most her films, and Rathbone gets a few good scenes, as well. I liked seeing Price as Casanova in what I thought was a fun little uncredited cameo, but I learned after watching this that he was originally to be credited, only for Paramount to remove his name after he was called before the HUAC boys.   (7/10)

Source: Amazon video.

[Guest]

2 hours ago, LawrenceA said:

Casanova's Big Night (1954) - Silly but amusing Technicolor comedy from Paramount Pictures and director Norman Z. McLeod. In 18th century Italy, tailor's apprentice Pippo Popolino (Bob Hope) decides to impersonate notorious lover and swordsman Casanova (Vincent Price) in order to get some action. Things don't work out, but when Casanova skips town to avoid his debtors, Pippo agrees to a dubious scheme cooked up by Casanova's creditors to have Pippo masquerade as Casanova in Venice, where he will filch a valuable item that will pay off all of Casanova's debts. Pippo is accompanied by grocer Francesca (Joan Fontaine) and Casanova's valet Lucio (Basil Rathbone), and once in Venice, Pippo falls for the lovely Donna Elena (Audrey Dalton). Also featuring Hugh Marlowe, Arnold Moss, John Carradine, Raymond Burr, Hope Emerson, John Hoyt, Robert Hutton, Frieda Inescort, Primo Carnera, Frank Puglia, Henry Brandon, Paul Cavanagh, Natalie Schafer, Douglas Fowley, Nestor Paiva, Lucien Littlefield, John Doucette, Fritz Feld, Kathryn Grant,  and Lon Chaney Jr.

This handsomely produced period piece has sumptuous costumes and nice sets. It's silly and uneven, like many of Hope's movies, but I laughed quite a bit, and I loved the great supporting cast. Fontaine seems like she's having fun playing in something unlike most her films, and Rathbone gets a few good scenes, as well. I liked seeing Price as Casanova in what I thought was a fun little uncredited cameo, but I learned after watching this that he was originally to be credited, only for Paramount to remove his name after he was called before the HUAC boys.   (7/10)

Source: Amazon video.

 

[kingrat]

Lorna, thanks for such a lovely and thoughtful review of Badlands. To my mind, it's one of the few official 70s classics which actually lives up to its reputation. I hate to oversell it to people who haven't seen it, but I do think it's one of the very best films of its decade.

And Lawrence, you are so right about Black Widow and Cinemascope. The writer-director, Nunnally Johnson, doesn't have much visual skill to begin with, and he has no idea what to do with the new ratio. The wide screen doesn't benefit the story at all. One interesting aspect of Black Widow is that Peggy Ann Garner, the sweet and sympathetic Francie of A Tree Grows in Brooklyn, is all grown up and playing a sexy and unsympathetic role. Apparently this did not help her career, although her performance is fine. Ginger Rogers isn't playing a sympathetic role, either.

 

[LawrenceA]

Cattle Queen of Montana (1954) - Corny Technicolor western from RKO and director Allan Dwan. Barbara Stanwyck stars as Sierra Nevada Jones, a Texas gal who travels with her father to Montana where they have a large land holding. When they arrive, they are attacked by hostile natives, leaving only Jones and her old-timer employee Nat (Chubby Johnson) alive. The native warrior Natchakoa (Anthony Caruso) is secretly in cahoots with rancher McCord (Gene Evans), with the natives killing any would-be settlers and McCord taking possession of any livestock they may have had. McCord's newly hired gunman Farrell (Ronald Reagan) doesn't care for this set-up, and decides to help Jones get justice. Also featuring Lance Fuller, Jack Elam, Morris Ankrum, Yvette Duguay, Myron Healey, Rodd Redwing, Paul Birch, Burt Mustin, and Byron Foulger.

There's a lot going on in this 88 minute movie, but not much of it is interesting. There's political maneuvering within the Indian tribe, secret deals among the rustlers, and secret agents on the prowl. Stanwyck looks very 1954 with her makeup and hairstyle. Reagan's character lacks any flair via the script, and he's not the kind of actor to bring any himself.    (5/10)

Source: VCI DVD.

[scsu1975]

4 hours ago, LawrenceA said:

Casanova's Big Night (1954) - Silly but amusing Technicolor comedy from Paramount Pictures and director Norman Z. McLeod. In 18th century Italy, tailor's apprentice Pippo Popolino (Bob Hope) decides to impersonate notorious lover and swordsman Casanova (Vincent Price) in order to get some action. Things don't work out, but when Casanova skips town to avoid his debtors, Pippo agrees to a dubious scheme cooked up by Casanova's creditors to have Pippo masquerade as Casanova in Venice, where he will filch a valuable item that will pay off all of Casanova's debts. Pippo is accompanied by grocer Francesca (Joan Fontaine) and Casanova's valet Lucio (Basil Rathbone), and once in Venice, Pippo falls for the lovely Donna Elena (Audrey Dalton). Also featuring Hugh Marlowe, Arnold Moss, John Carradine, Raymond Burr, Hope Emerson, John Hoyt, Robert Hutton, Frieda Inescort, Primo Carnera, Frank Puglia, Henry Brandon, Paul Cavanagh, Natalie Schafer, Douglas Fowley, Nestor Paiva, Lucien Littlefield, John Doucette, Fritz Feld, Kathryn Grant,  and Lon Chaney Jr.

This handsomely produced period piece has sumptuous costumes and nice sets. It's silly and uneven, like many of Hope's movies, but I laughed quite a bit, and I loved the great supporting cast. Fontaine seems like she's having fun playing in something unlike most her films, and Rathbone gets a few good scenes, as well. I liked seeing Price as Casanova in what I thought was a fun little uncredited cameo, but I learned after watching this that he was originally to be credited, only for Paramount to remove his name after he was called before the HUAC boys.   (7/10)

The ending is pretty funny. I also liked the scene of Hope (disguised as a foreign woman) dancing with Moss. Moss hurls every insult at him/her he can think of, and Hope responds with gibberish like "farfer farfer piffik."

[TomJH]

13 hours ago, LawrenceA said:

Casanova's Big Night (1954)

 

 

Casanova's Big Night marked Basil Rathbone's return to the big screen for the first time since Dressed to Kill in 1946. Tired of being stereotyped as Sherlock Holmes he had walked away from Hollywood (much to the chagrin of his friend Nigel Bruce) to return to the stage. He would have mixed results there, the highlight being when he played Dr. Sloper on Broadway in The Heiress opposite Wendy Hiller for 410 performances. Rathbone would get a Tony nomination for his performance.

I've often pondered how ironic it would have been if he could have played the role in the film version, as well, reunited with Olivia de Havilland, the former Guy of Gisbourne now playing the former Maid Marian's father. I don't know, though, if Rathbone was even up for consideration for the film role.

Rathbone did a fair amount of early '50s television but he found there was no longer much film work for him when he returned to Hollywood. He would have one marvelous self spoofing turn in Danny Kaye's The Court Jester but soon afterward was appearing in The Black Sleep, a "B" horror schlock with a cast of horror veterans who all needed the work, and a forerunner to the kind of low budget horror/sci fi tripe in which he would primarily get employment during his final years in the '60s.

Rathbone's final two film titles reflect the grim financial times he was going through, Hillbilllys in a Haunted House and a Mexican comedy in which Rathbone's voice was Spanish dubbed, Autopsia de un Fantasma. I don't know if there is an English dubbed version of the latter film. The only one I've seen is the Mexican version with English sub titles. I've yet to sit through the film. Even when appearing in terrible films, though, that had to be demeaning to him, Rathbone, just like Bela Lugosi, gave it his all. Always the professional.

Shortly before his death I sent Rathbone a fan letter. I knew nothing about the type of miserable films in which he was appearing at the time but, based upon my late night television viewings of his '30s and '40s films, extolled the virtues of his performances in Robin Hood and Captain Blood and Zorro, and how much pleasure they brought me. While I didn't receive a response from the actor I like to think that he had the opportunity to read my letter and it briefly warmed his heart to know that there were still fans out there discovering his earlier work and appreciating his tremendous film accomplishments from better days.

[Sukhov]

Be Kind to 'Aminals' - They used a different voice actor for Popeye in this cartoon and you can really tell. His laugh sounds really creepy and he doesn't sound like Popeye at all.  Also Bluto punching his horse wasn't really funny. It just seemed cruel and not even "cartoon funny cruel" like in some of the Tom and Jerry cartoons. This was definitely one of the weaker Popeye cartoons. 

[TomJH]

1 hour ago, Gershwin fan said:

Be Kind to 'Aminals' - They used a different voice actor for Popeye in this cartoon and you can really tell. His laugh sounds really creepy and he doesn't sound like Popeye at all.  Also Bluto punching his horse wasn't really funny. It just seemed cruel and not even "cartoon funny cruel" like in some of the Tom and Jerry cartoons. This was definitely one of the weaker Popeye cartoons. 

Before Jack Mercer settled into the role as Popeye's voice, there were two other voice artists who did it, one named William Costello who, apparently, developed a swollen head because of it. Mercer, who initially impersonated Popeye as a lark, had no idea that his version of the voice would become a career for him. He softened the characterization, bringing to it much of the under the breath comments, endearing the character more to fans with his sense of humour. Many of the off the cuff moments by Mercer were actually planned but sometimes they were, indeed, done spontaneously during the recording session.

Much of the success of those under the breath comments, I feel, is because of their delightful throwaway quality. At one point in Popeye The Sailor Meets Ali Baba's Forty Thieves (a special Technicolor 20 minute feature) the villain, Abu Hassan, says to Popeye, "You try make fool of me." "Nature beat me to it," Mercer's Popeye quickly responds. At another point in the cartoon Popeye reaches into Hasen's clothes and pulls out his long red flannel underwear. "Abu hasn't got 'em anymore," he happily beams.

[LawrenceA]

The Crucified Lovers aka A Story from Chikamatsu (1954) - Japanese romantic drama from Daiei Studios and director Kenji Mizoguchi. When artist and calligrapher Mohei (Kazuo Hasegawa) is accused of committing adultery with his boss's wife Osan (Kyoko Kagawa), the two go on the run to avoid capital punishment. Osan's husband Ishun (Eitaro Shindo) wishes to avoid the scandal involved, and hires men to find Osan and bring her back, while Mohei will be accused instead of embezzlement. This unfortunate series of events inspires others toward unscrupulous ends, and causes hardship among many, while Mohei and Osan find themselves falling in love despite their uncertain future. Also featuring Eitaro Ozawa, Yoko Minamida, Haruo Tanaka, Tatsuya Ishiguro, and Chieko Naniwa.

This is basically a typical Japanese "weepie" elevated a bit by the examination of the often unjust laws and moral codes of the time. As with most of Mizoguchi's films, I had trouble warming to the characters, and none of the performers stand out. I still enjoyed the movie, particularly the cinematography and the sparse music score.   (7/10)

Source: TCM.

[LawrenceA]

Fear (1954) - West German/Italian co-production melodrama, from Minerva Film and director Roberto Rossellini. Ingrid Bergman stars as Irene Wagner, a wealthy married woman who has been having an affair with Erich (Kurt Kreuger). Irene calls off the affair, but Erich's ex-girlfriend Giovanna Schultze (Renate Mannhardt) shows up on the Wagner doorstep and begins to blackmail Irene, threatening the tell her husband Albert (Mathias Wieman) everything. Irene tries to maintain order, but cracks are starting to show. 

This is a fairly basic tale of infidelity and guilt, with a minor twist to enliven things. It's primarily an acting showcase for Bergman, and she's excellent. The brief 78 minute running time is just about right, although the resolution is a bit rushed and too tidy. This was shot in German, but the version I saw was in Italian.    (7/10)

Source: FilmStruck

[rayban]

"The Family Way" - Roy and John Boulting - 1966

This charming comedy-drama from England is the reverse of a romantic comedy.

A young couple, Arthur (Hywel Bennett) and Jenny (Hayley Mills), fall in love, go steady for two years and then get married.

On the night of their wedding, they stay at his parents' home, Ezra (John Mills) amd Lucy (Marjorie Rhodes).

The next day, they depart for their honeymoon to Spain - only to learn that the travel agency is bogus and their money has been stolen.

They try to find a home - but haven't filled out the proper forms.

They are forced to remain at his parents' home and encounter a serious problem.

They are unable to consummate their marriage.

Jenny decides to be patient with Arthur.

Arthur returns to his job as a movie projectionist.

When the truth finally gets out, the possibility of Arthur's homosexuality looms large.

And we discover that Ezra and Lucy have a very hidden secret, too - one that threatened to destroy their marriage and involved Ezra's possible homosexuality, too.

In the end, as Arthur and Jenny are about to lose each other, they discover that they do love each other.

Suddenly, they are able to consummate their marriage.

And the neighborhood gossips approve.

The film has a nicely-observed lower middle-class setting which lends it a great deal of charm.

All of the supporting players are first-rate, including Murray Head, as Geoffrey, Arthur's ever-present, noisy brother.

Love comes in many colors.

[LawrenceA]

Her Twelve Men (1954) - Boarding school comedy-drama from MGM and director Robert Z. Leonard. Jan Stewart (Greer Garson) takes on a new position as teacher and den mother to an unruly group of young students at an expensive boarding school. She travels a bumpy road learning to how to work with the children and the head of the younger students division of the school, Joe Hargraves (Robert Ryan). Also featuring Barry Sullivan, Richard Haydn, James Arness, Frances Bergen, Barbara Lawrence, Rex Thompson, Tim Considine, David Stollery, Donald MacDonald, Ivan Triesault, Stuffy Singer, Lee Aaker, Robert Clarke, and Ian Wolfe.

Family-film wholesomeness and sappy schmaltz make up this unexceptional school tale. Garson assays her role well enough, but her persona had become a bit old-fashioned for mid-50's cinema, Ryan is just picking up a pay check. In real life, Ryan was deeply involved in education, and helped found a respected private school. In a strange example of things coming full circle, after this movie flopped, MGM decided not to renew their contract with Garson, who had started out with them in the co-starring role in 1939's Goodbye Mr. Chips, perhaps the greatest school-set film of Hollywood's golden era.    (6/10)

Source: TCM.

 

[EricJ]

14 hours ago, TomJH said:

Before Jack Mercer settled into the role as Popeye's voice, there were two other voice artists who did it, one named William Costello who, apparently, developed a swollen head because of it. Mercer, who initially impersonated Popeye as a lark, had no idea that his version of the voice would become a career for him. He softened the characterization, bringing to it much of the under the breath comments, endearing the character more to fans with his sense of humour. Many of the off the cuff moments by Mercer were actually planned but sometimes they were, indeed, done spontaneously during the recording session.

Popeye/Ali Baba also has some of my favorite Mercer mutter-libbed Popeye-isms:

"Wish there was a boardwalk on this beach...If I had some bread, I'd make a SAND-wich, if I had a witch...(stops to rest at red stoplight in the middle of the desert, stoplight turns green) C'mon, we got the green light with us..."

We don't get the Mercer-voiced toons for about five more (until "King of the Mardi Gras"), but listen to a few of those, and you'll KNOW why they cast Robin Williams in the 1980 movie.

[Sukhov]

I saw Paths of Glory for the first time. I never got around to seeing this before. It was a very powerful film. After a failed advance on a German fortification outcasts are chosen to be executed by the French aristocrats to "show an example" to the other soldiers. This really shows the futility of war and the self-servingness of the generals who only wished to protect themselves. This was a very powerful and sad movie. I give it a 10/10.

[LawrenceA]

A Lesson in Love (1954) - Romantic comedy from Svensk Filmindustri and writer-director Ingmar Bergman. Doctor David Erneman (Gunnar Bjornstrand) tries to win back his ex-wife Marianne (Eva Dahlbeck) who is set to marry David's best friend Carl-Adam (Ake Gronberg). David reflects on his affair with aggressive patient Susanne (Yvonne Lombard), and how the tumult has affected his teenage daughter Nix (Harriet Andersson). Also featuring Olof Winnerstrand, Birgitte Reimer, John Elfstrom, Renee Bjorling, Dagmar Ebbesen, Sigge Furst, and Carl Strom.

When one thinks of Ingmar Bergman, romantic comedy isn't the first thing one thinks of. However, he made a few such films in his early career, and this one is enjoyable, although notably complex in structure, switching from flashback to the present frequently. Bjornstrand and Dahlbeck are both very good, and there are a few laugh-out-loud moments along with some pointed observations on love and marriage. There's a short sequence with an elderly relative that reminded me of Bergman's later masterpiece Wild Strawberries.    (7/10)

Source: TCM. This is one of the few Bergman movies that has yet to see a Criterion disc release. As such, it hasn't been remastered, and the subtitles are out-dated and are occasionally hard to read (white lettering on a B&W film). However, this movie is included in the massive forthcoming Bergman box set, which reportedly features all-remastered films with improved subtitles, so an improved print may be shown on TCM in the future, or at least become available on the FilmStruck streaming service.