Films Worth Viewing | Page 10 | The Boneyard

Films Worth Viewing

"To Be or Not to Be"-Ernst Lubitsch-1942

This film was not a particular critical favorite when it was made. Bosley Crowther wrote a nasty revue for the New York Times. He wasn't the only one. Lubitsch wrote a letter trying to explain that the film was satire, and that he was sensitive to the issues involved. The film was a financial success, part of that may be due to the death of Carole Lombard in a plane crash shortly before the film opened. Lubitsch was an Austrian Jew who came to Hollywood in 1929 during the transition from silent to sound pictures. He was one of the pioneers of the screwball comedy. This genre featured fast dialogue, unusual settings, and both physical and verbal humor.
Two famous examples of this genre are "The Philadelphia Story" and "The Lady Eve."

Jack Benny was Lubitsch's first and only choice to play "That Great Polish actor, Joseph Tura. Benny was a major radio star, and he had a film background, but despite his success in "Charlie's Aunt", he wasn't being asked for major roles. Carole Lombard was a later addition; Miriam Hopkins was slated to play the role, but she and Benny were incompatible. The set was a happy one; there are litterally dozens of photos showing playful antics on the set.

The story begins in Warsaw in August of 1939. Inside a popular theater the troupe is rehearsing an anti Nazi play; representatives of the Foreign Office force the cancellation of this show. The troupe returns to "Hamlet."
A young Polish pilot frequents the theater sitting in the center of the third row. Lt. Sobinski (Robert Stack) is taken with Maria Tura (Carole Lombard). He sends her flowers and comes to the dressing room. They set up a meeting. The signal is a famous speech by "Hamlet." When Tura begins "to be or not to be" ; the Lieutenant
rises and crosses to the aisle. Tura notices and is shocked. Maria and the lieutenant meet several times; she goes up in his bomber. Several weeks into their relationship, Poland is attacked and Warsaw is bombed. Poland falls quickly and the aircrews flee to England to continue the fight. The theater is not open.

In England a professor meets with the aircrews, and they give him information about friends and relatives in Poland. He is supposedly going to Poland to meet with the underground, but he is actually a German secret agent. Sobinski suspects him because the professor has never heard of Maria Tura. This sets up the meat of the film where great efforts are made to prevent this information from going to the Gezpatcho.

I'm not going to revealthe rest of the plot, the jokes, the misadventures, the pratfalls, and the ending. This is classic Lubitsch; the film has steadily risen in appreciation of both audiences and critics. Mel Brooks re-made the film in 1983 almost word for word. Stick with the original. The is a Bollywood re-make; that I haven't seen; nor have I seen the Polish and Hungarian plays, nor the Broadway Musical. This is widely available, and it is one of my all time favorite comedies. In my opinion a great comedy that Yarders will laugh with. The humor is both clever and broad.
 
I should mention that I've lost my wifi. This limits my time on line. Posts will be limited; I will try to preview two or three films a week.
 
zymurg said:
"To Be or Not to Be"-Ernst Lubitsch-1942

This film was not a particular critical favorite when it was made. Bosley Crowther wrote a nasty revue for the New York Times. He wasn't the only one. Lubitsch wrote a letter trying to explain that the film was satire, and that he was sensitive to the issues involved. The film was a financial success, part of that may be due to the death of Carole Lombard in a plane crash shortly before the film opened. Lubitsch was an Austrian Jew who came to Hollywood in 1929 during the transition from silent to sound pictures. He was one of the pioneers of the screwball comedy. This genre featured fast dialogue, unusual settings, and both physical and verbal humor.
Two famous examples of this genre are "The Philadelphia Story" and "The Lady Eve."

Jack Benny was Lubitsch's first and only choice to play "That Great Polish actor, Joseph Tura. Benny was a major radio star, and he had a film background, but despite his success in "Charlie's Aunt", he wasn't being asked for major roles. Carole Lombard was a later addition; Miriam Hopkins was slated to play the role, but she and Benny were incompatible. The set was a happy one; there are litterally dozens of photos showing playful antics on the set.

The story begins in Warsaw in August of 1939. Inside a popular theater the troupe is rehearsing an anti Nazi play; representatives of the Foreign Office force the cancellation of this show. The troupe returns to "Hamlet."
A young Polish pilot frequents the theater sitting in the center of the third row. Lt. Sobinski (Robert Stack) is taken with Maria Tura (Carole Lombard). He sends her flowers and comes to the dressing room. They set up a meeting. The signal is a famous speech by "Hamlet." When Tura begins "to be or not to be" ; the Lieutenant
rises and crosses to the aisle. Tura notices and is shocked. Maria and the lieutenant meet several times; she goes up in his bomber. Several weeks into their relationship, Poland is attacked and Warsaw is bombed. Poland falls quickly and the aircrews flee to England to continue the fight. The theater is not open.

In England a professor meets with the aircrews, and they give him information about friends and relatives in Poland. He is supposedly going to Poland to meet with the underground, but he is actually a German secret agent. Sobinski suspects him because the professor has never heard of Maria Tura. This sets up the meat of the film where great efforts are made to prevent this information from going to the Gezpatcho.

I'm not going to revealthe rest of the plot, the jokes, the misadventures, the pratfalls, and the ending. This is classic Lubitsch; the film has steadily risen in appreciation of both audiences and critics. Mel Brooks re-made the film in 1983 almost word for word. Stick with the original. The is a Bollywood re-make; that I haven't seen; nor have I seen the Polish and Hungarian plays, nor the Broadway Musical. This is widely available, and it is one of my all time favorite comedies. In my opinion a great comedy that Yarders will laugh with. The humor is both clever and broad.
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Actually, Ernst Lubitsch came to America in the early 1920's and did a number of silent movies in Hollywood from 1923 on. Still, from what I have seen of his flims, "To Be Or Not To Be" is as good as Lubitsch gets, and it is one of my favorite comedies of all time. As seems to be typical of many of his films, he may be making it in Hollywood, but the setting is often Europe. Lubitsch is often filming a very opulent class of people in these European settings. However, In the case of this film in dealing with wartime Europe and Nazis running amuck in Poland, the surroundings are definitely not ritzy, as only the Nazis are enjoying any opulence at this point and many of the actors in Jack Benny's theater troupe are going into more or less survival mode.

I'm also a big Jack Benny fan, this is probably the best movie that he ever did by far, as usually he wasn't working with a filmmaker of the caliber of Lubitsch. Carol Lombard also did fine work in this film. She was a very solid comic actress. Lombard also appears in another of my favorite comedies from this time period, "My Man Godfrey".
 
"Stardust"-Matthew Vaughan-2007

I actually like "Kickass" better, but I think that most of you have already seen that film. Vaughan is an interesting film maker. His natural mode is over the top, but he seems to inspire confidence in actors and the technical staff. He was able to convince Neil Gaiman that he would do justice to his book. Gaiman gave him the rights for nothing. Vaughan had made only previous film as director, "Layercake". Still he was able to get backing from Paramount for a 70 million$ film with an unknown star, Charlie Cox (Tristan). He did this by managing to recruit A list stars like Robert DeNiro, Michelle Pffeifer, and Peter O'Toole.

The story is complex. On one side of a wall is the Victorian English village of Wall; on the other side of the wall is Stormhold a magical kingdom. There is a hole in the wall; there is a watchman, but one young man eludes him. He crosses over and meets a young woman held captive by a witch. Nine months later he picks up his infant son. The young boy grows up, at age 18 he has fallen in love with a vain young woman. When a star falls to earth, he promises to return on her birthday with the fallen star. Meanwhile his father gives him a letter from his mother. The letter is wrapped in a magic candle which he can use to travel to Stormhold.

The old king of Stormhold is on his deathbed; he summons his sons. He originally had 12 sons; five had been killed previously. The path to the throne is the only surviving male heir. There is a missing princess, Una, but she is not in the line of secession. Secundus is pushed out the window, the King (O'Toole) imposes another task on his heirs. The king to be must be the last surviving male heir, and he must also bring back the star.
Several more heirs are poisoned. Only Primus and Septimus are left to pursue the fallen star.

Three witches are also pursuing the star, the heart of the star will bring back their youth. Lamia (Michelle Pffeifer) wins the right to pursue the star. She eats the remains of the last fallen star which gives her a youthful appearance. Tristan lights the candle and is transported across Stormhold to where the star has fallen; he literally smashes in to the star a beautiful young woman, Yvaine (Claire Danes).

There is one more key actor Captain Shakespeare (Robert DeNiro) who commands a pirate ship which is stealing lightning. Tristan and Yvaine end up on the ship, don't ask. The Captain protects them and trains them without revealing who they are. The Captain has one more good scene where he sells the lightning to
Freddie the Fence (Ricky Gervais).

The visual effects are a credit to Peter Chaing. The script is by Vaughan and Janet Goldman. There are some funny bits and clever dialogue, but the plot stuffs five pounds of stuff in a four pound sack. Visually the film is a treat. This is a qualified recommendation, appreciate its strengths and live with the weaknesses. Vaughan isn't like anyone else.
 
I love "Stardust." I think of it as akin to "The Princess Bride," with an actual special effects budget. It didn't do very well at the box office, I don't think it's become a cult classic like TPB either. Anyway I like the idea of turning a fairy tale on its ear and playing with the conventions and tropes of the genre.
 
I watched To Be or Not to Be on a whim a few years back and loved it. Benny was great. Made me wonder why he didn't do more movies.
 
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Waquoit said:
I watched To Be or Not to Be on a whim a few years back and loved it. Benny was great. Made me wonder why he didn't do more movies.
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Jack Benny was a huge comedic star due to the tremendous popularity of his Sunday night radio program and later on his television show. The movies he did make were just an outgrowth from his radio popularity. I would guess most of his creative energies went into those shows, so his focus was never in becoming a big movie star.
 
"Casablanca"-Micheal Curtiz-1942

I believe most of you have seen this film. If you are interested in directorial craft, find a DVD with the Ebert commentary. Few films have so much background information available. The film was adapted from a play "Everybody Comes to Rick's" which hadn't been produced at the time. Hal Wallis was responsible for the purchase and he oversaw almost every aspect of the production. He even added the famous closing line:Louis, I think this in the beginning of a beautiful friendship." The director, Michael Curtiz, came from Hungary in the '20's. He is an underrated great; another great film is his "Adventures of Robin Hood" with Errol Flynn. He was influenced by German Expressionism; this is evidenced by the use of shadows. Of all the speaking roles, only three are played by actors born in America:Humphrey Bogart, Dooley Wilson, and Joy Page (Warner's stepdaughter who plays the young Bulgarian wife) all the other actors were born abroad as were over 70% of the extras. The last surviving cast member. Madelline LeBeau, died in 2016. He story is somewhat typical; she and her husband, Marcel Danillo, fled the Nazis from France. Jack Warner supported many Nazi refugees by putting them under contract at Warners. The film won three Oscars: Best Picture, Best Director, and Best Screenplay. Jack Warner grabbed the Best Picture Oscar; this maddened Hal Wallis. He shortly left Warners.
The script had 3 credited writers the Epstein twins and Herbert Koch. There is doubt that anything written by Koch actually made it into the film.

I've commented on wartime difficulties before; the only new set built for the picture was Rick's Cafe American.
Everything was shot on Warner's back lot except one scene at the Van Nuys airport. The first scene shot was in La Belle Aurore because Paul Henreid and Claude Rains were both tied up in "Now Voyager." The line: "Here's looking at you, Kid" is a Bogart improvisation. When Ingrid Bergman (Ilse Lundt) enters Rick's she sees Sam(Dooley Wilson); she asks him to play "some of the old songs" then "Play it Sam; play "As Time Goes By."
Because of a recording strike, Dooley Wilson's version wasn't put on records. The version that reached #1 on Your Hit Parade was recorded by Rudy Valee in 1931. Max Steiner, the composer, wanted to write his own song, but filming was already completed and Bergman had already cut her hair for her next role. So Steiner used "As Time Goes By" as a motif throughout the movie. This is a terrific score; one more musical note. In the famous "Le Marseilles" scene the song the German's sing is "Watch on the Rhine." They had originally wanted to use "The Horst Wessel Song", the unofficial anthem of the Nazi party. There were copyright issues magnified by the war. Hal Wallis directed that "Le Marseilles" be started by Rick's band but finished by a full orchestra.

No film has more memorable quotes; this is the best script ever as voted by the Screenwriters' Guild; it made Bogart a super star; Claude Rains should have won Best Supporting Actor; you can watch it a hundred times and still find laughs and tears. There were real tears on the set shed by the extras who were predominately refugees. It is a timeless film, but it can still relate to the present; immigration and refugees and the U.S.A. as a beacon for refugees. The characters seem real, but they prove to have ideals, despite their flaws. The letters of transit are a ridiculous McGuffin, but we don't care. This is my favorite film of all time; I even arranged to teach it in a high school history class. The students read the screen play; then watched the film. I won't even make you read the screen play; you can just watch the film.
 
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"Lawless"-John Hillcoat-2012

Hiiicoat is an Australian born director who is probably best known for his short films and videos. "The Road" is the only other of his full length that I've seen. I watched because the subject matter, bootlegging, iterests me. It is set in Franklin County, Virginia in 1931. Illegal distilleries go back before the USA. There was a Whiskey Rebellion in the 1790's. Franklin County had good water and both corn and apples. The Bondaurant's had a solid family business before Prohibition, but Prohibition increased demand for their product exponentially. Suddenly, rural Virginia had a growth industry, while the effects of the Great Depression ravaged much of the country.

Jack (Shia La Beouf) was both the youngest Bondurant and the one with the most financial savvy. He saw the opportunity to expand the family business run by his two older brothers: Forrest (Tom Hardy) and Howard (Jason Clarke). At the same time gangsters from Chicago and the Commonwealth became very interested in controlling the local industry. The government and the Chicago gangsters reached an agreement to control distribution and marketing. Unlike most of their fellow distillers, the Bondurant's were unwilling to fall in line.
What followed was close to war. The movie is based on the book "The Wettest County in the World" by Matt Bondurant, a grandson of Jack. The script is by Nick Cave, yes, that Nick Cave. The film was shot in Georgiafor tax purposes. It made a fair amount of money, unusual for a Hillcoat film.

So we start with an interesting true story, and in addition to the Bondurants; The other roles drew top notch actors: Guy Pearce, Gary Oldman, Jessica Chastain, Mia Wasikowska, and Dave De Haan. Cave's script isn't bad, and the period detail is excellent. I liked this film. Of course Prohibition ends in 1933, it is remarkable that the three brothers all make it through alive. The ending set years later is a tack on. I'Ve seen worse. One further bit of info; Shia La Beouf is a dick. For this film he gained a lot of weight and drank a lot of moonshine. He was abusive with Mia Wasikowska; he got into a fight with Tom Hardy, and he continued to drink a lot. He can be appealing on screen, but his performances are often limited by his behavior.

One interesting line:"It is not violence that sets men apart, alright, it is the distance he is prepared to go." Recommended for viewing, I enjoyed it more than I thought I would.
 
zymurg said:
"Casablanca"-Micheal Curtiz-1942

I believe most of you have seen this film. If you are interested in directorial craft, find a DVD with the Ebert commentary. Few films have so much background information available. The film was adapted from a play "Everybody Comes to Rick's" which hadn't been produced at the time. Hal Wallis was responsible for the purchase and he oversaw almost every aspect of the production. He even added the famous closing line:Louis, I think this in the beginning of a beautiful friendship." The director, Michael Curtiz, came from Hungary in the '20's. He is an underrated great; another great film is his "Adventures of Robin Hood" with Errol Flynn. He was influenced by German Expressionism; this is evidenced by the use of shadows. Of all the speaking roles, only three are played by actors born in America:Humphrey Bogart, Dooley Wilson, and Joy Page (Warner's stepdaughter who plays the young Bulgarian wife) all the other actors were born abroad as were over 70% of the extras. The last surviving cast member. Madelline LeBeau, died in 2016. He story is somewhat typical; she and her husband, Marcel Danillo, fled the Nazis from France. Jack Warner supported many Nazi refugees by putting them under contract at Warners. The film won three Oscars: Best Picture, Best Director, and Best Screenplay. Jack Warner grabbed the Best Picture Oscar; this maddened Hal Wallis. He shortly left Warners.
The script had 3 credited writers the Epstein twins and Herbert Koch. There is doubt that anything written by Koch actually made it into the film.

I've commented on wartime difficulties before; the only new set built for the picture was Rick's Cafe American.
Everything was shot on Warner's back lot except one scene at the Van Nuys airport. The first scene shot was in La Belle Aurore because Paul Henreid and Claude Rains were both tied up in "Now Voyager." The line: "Here's looking at you, Kid" is a Bogart improvisation. When Ingrid Bergman (Ilse Lundt) enters Rick's she sees Sam(Dooley Wilson); she asks him to play "some of the old songs" then "Play it Sam; play "As Time Goes By."
Because of a recording strike, Dooley Wilson's version wasn't put on records. The version that reached #1 on Your Hit Parade was recorded by Rudy Valee in 1931. Max Steiner, the composer, wanted to write his own song, but filming was already completed and Bergman had already cut her hair for her next role. So Steiner used "As Time Goes By" as a motif throughout the movie. This is a terrific score; one more musical note. In the famous "Le Marseilles" scene the song the German's sing is "Watch on the Rhine." They had originally wanted to use "The Horst Wessel Song", the unofficial anthem of the Nazi party. There were copyright issues magnified by the war. Hal Wallis directed that "Le Marseilles" be started by Rick's band but finished by a full orchestra.

No film has more memorable quotes; this is the best script ever as voted by the Screenwriters' Guild; it made Bogart a super star; Claude Rains should have won Best Supporting Actor; you can watch it a hundred times and still find laughs and tears. There were real tears on the set shed by the extras who were predominately refugees. It is a timeless film, but it can still relate to the present; immigration and refugees and the U.S.A. as a beacon for refugees. The characters seem real, but they prove to have ideals, despite their flaws. The letters of transit are a ridiculous McGuffin, but we don't care. This is my favorite film of all time; I even arranged to teach it in a high school history class. The students read the screen play; then watched the film. I won't even make you read the screen play; you can just watch the film.
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Yes, Casablanca is a great film, one of my absolute all time favorites. I’m pretty much in agreement with everything said in the review above. The Maltese Falcon turned Humphrey Bogart into star, and Casablanca turned him into a superstar. The review mentions that no film has more memorable lines and dialogue. The amusing thing is that these memorable lines are not just confined to just Bogart and Claude Rains. They have more than their share of great dialogue, but this great dialogue is spread out to many members of the cast, both in large and small roles. Curt Bois has a very small bit part as a pickpocket appearing on screen briefly a few times, but his “vultures, vultures everywhere” warnings are hilarious as he goes about his business of fleecing those he encounters. Other great lines are delivered by Marcel Dalio as the croupier, Leonid Kinskey as the Russian bartender, and others.
 
"Quincearnera"-Richard Glazer, Wes Westmorland-2006

This is an interesting little film. It was made for $400,000 by a gay couple film makers. They secured local funding from 3 immigrants living in LA. When the film makers sought the money, they had really only an idea, not even a treatment. In 3 months they had a completed film. About 6 months later the film premiered at the Sundance Film Festival. It won both the audience and best film awards. It collected a handful of other independent awards. It opened commercially in 8 theaters. Its first week's box office $96,000. At the distribution peak it was showing in 90 theaters; including foreign revenue the film made $2.5 million. Surprisingly, it was widely reviewed. Some reviews criticized the film with not dealing realistically with the problems it showcased.

The film was made in the Echo Park area of LA. The cast was almost entirely amateurs. They often wore their own clothes. Local residents opened their houses, no sets were built. The only actor belonging to the Screen Actors Guild had to resign his membership. Chalo Gonzalez worked with Sam Peckingpah for many years. He plays the 80+ year old Tio Tomas. Emily Rios, Magdalena, had only appeared in school plays. Her passion was basketball, but she made a decent career as an actress mainly in television series. The idea for the film came from the directors going to a neighbor's Quinceanera. Echo Park was largely Hispanic, but gentrification in the form of gay couples was starting to become significant.

Quinceanera is a coming of age ceremony for 15 year old girls in many Hispanic communities. It is much more elaborate than a sweet sixteen party. It involves the entire community across generations; it can be likened to a Bat Mitzvah. Magdalena is involved her cousin's Quinceanera. She is approaching her own 15th birthday and looking forward to her own party. She is involved with an older boy, and one fateful evening his sperm finds a home. Despite not experiencing penetration; Magdalena becomes pregnant. Her father is a lay preacher, and he disowns his daughter. She goes to live with her uncle Tio. He is already hosting her cousin, Carlos, who is gay, a semi thug, and pot enthusiast.

Things go badly: "Uncle Tio is getting kicked out of his apartment, Carlos is involved with his gay Anglo neighbors, and the young man who impregnated Magdalena wants nothing to do with her. Uncle Tio's death brings the family and neighborhood together. Many find the ending too pat and feel good. I don't
the leading characters engage our interest, and this is fiction. Despite a realistic setting and filming style; the entire film has mystery/miracle approach. When you feature a pregnant virgin and a living saint, having a happily ever after ending, isn't a stretch. I didn't find the ending anything more than hopeful. The characters are normal human beings; they are flawed. Even Tio Tomas didn't have a perfect life.

I like this film a lot; it introduced me into a world I hadn't seen often. I thought the story was involving; the acting surprisingly good, and semi-documentary style is appropriate. This is a good little film; it shows that it is possible to make an engaging film on a tiny budget. Recommended for a change from big budget special effects visions.
 
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"Let the Right One In"-Tomas Alfredson-2008

I'm not sure what it is about Vampires, but they are everywhere. Seemingly every country which makes films has joined the VFG or the Vampire Film Group. I know India, China, Japan, and the Philippines belong to the Asian section. Clearly, Sweden is a member in good standing. We collectively understand Vampires; we appreciate that there are rules that Vampires live by. The title of this film spotlights one of the rules, a Vampire must be asked in to a human habitation. Not only must the door be opened, but the invitation must be explicit for it to be accepted.

This film and it's American twin, "Let Me In" come from the same Swedish author John Lindqvist. He has written a sequel, "Exchange of Blood." This hasn't been made into a film, but it deals with another rule; if a Vampire and a human exchange blood, then the human may become a Vampire. There appears to be some flexibility in this rule. The hardline approach is seen in "True Blood". The Vampire and the selected human must be buried together. The new Vampire is tied to his/her maker.

This film set in Sweden in 1982 has two principal characters: Oscar, a pre-teen nerd who is mocked and bullied, and Eli, a 12 year old Vampire who has been 12 for several hundred years. Eli comes to the same apartment complex where Oscar lives. Eli lives with a human adult who does her killing and blood gathering. She must move periodically when the crimes mount up. Eli and Oscar become friends recognizing a dare I say and emotional and spiritual affinity. She tells him to fight back against his tormentors; he loans her a Rubik's Cube.

The bond deepens particularly when Eli loses her adult human provider and the bullying rises to serious violence. Oscar lets Eli in his home and gives her warning when someone comes after her. Eli saves Oscar by killing his tormentors in a swimming pool. The film ends with Eli and Oscar traveling by train. Eli is in a large box, and they communicate using Morse Code. There is an implication that Oscar is going to be turned. Discussions about the film often posit that Eli is manipulating Oscar; I'm not sure I agree. Oscar knows what she is early on; despite the word Vampire being used only once in the film. He willingly leaves his old life behind, not that it was that great. I suppose one can consider Vampirism to be cult like.

The film was shot on a limited budget, $4 million; it brought in triple that worldwide, and it won numerous prizes at film festivals. It has continually risen in esteem among horror/supernatural fans. This is cleverly and engagingly filmed. The settings are realistic, and the color palate is evocative. The two child actors are excellent. Highly recommended, even for non Vampire afficinados. If you are into the genre; you have almost certainly seen this film.

I will probably doing some short takes next.
 
full disclosure: I am completely unqualified to offer an 'expert' opinion on most things fiction, be they books, tv, or films. never was my thing, excepting for cartoons, because, you know, laughter is healthy. but 'No film has more memorable quotes;' and 'The review mentions that no film has more memorable lines and dialogue.' I disagree, heartily.
50 Quotes From Casablanca, In Order Of Awesomeness vs.
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33 Best Caddyshack Quotes That Will Make You Laugh

Check out the best of Caddyshack quotes. We bring you the best quotes from Caddyshack movie. 1 Al Czervik: Oh, this is the worst-looking hat I ever saw. What, when you buy a hat like this I bet you get a free bowl of soup, huh? [looks at Judge Smails, who...
humoropedia.com
we shall see in the fullness of time. rosebud.
 
"Louis, I think is the beginning of a beautiful friendship."

"Badges? We ain't got no badges. We don't need no badges. I don't have to show you any stinking badges."
The immortal Gold Hat (Alfonso Bedoya)
 
"Shoeshine"-Vittorio De Sica-1946

This is one of the first films of Italian Realism. De Sica uses amateurs to film a story which offers some insights into immediate post war Italy. The story focuses on two boys who shine shoes to make money for themselves and their families. Actually only one of the boys has a family, and it is precisely these connections which will ruin his life.

The two boys have a dream of owning a horse. The film opens with the two protagonists riding in the park on rented horses. They are close to having enough money to purchase the horse. They are offered an opportunity to sell blankets to a medium/fortune teller. They take the money and give her the blankets. Just outside the door they meet the gang which includes the brother of one of the boys. The boys buy their coveted horse, but they quickly are arrested. They are detained in youth facility. This is worse than Dickens. From here things really go downhill. An inadvertent betrayal leads to the breaking of the friendship.

This film is difficult to find, try streaming services; Amazon Prime has it. Worth viewing, but not up to the standards of "Bicycle Thieves" and "Umberto D."

"The Adventures of Tin Tin"-Stephen Spielberg-2011

This film won the Oscar for best animated feature. It utilizes motion capture which offers a mid point between traditional animation and live action. Herge is a famous name worldwide, but his comics haven't really caught on in the U.S. Spielberg became a fan in the early 80's. He teamed with Peter Jackson (Lord of the Rings) to make this film. Visually, I found this interesting. The story is a little over the top, a meticulous antique model ship contains a portion of treasure map/clue. Tintin, a young journalist, buys the model from a street vendor. It turns out that there were three identical models made. All three are needed to solve the puzzle, but this isn't enough. The knowledge of the last male Haddock is vital.

The film has an appropriate villain, a descendant of the Red Pirate, who tried to rob the original treasure in the West Indies. Haddock is a drunk, but Tintin redeems him along with reaching the end of the quest. There is a dog involved. Technically, this is brilliant, but it isn't in my wheelhouse. I haven't seen the sequel directed by Peter Jackson. I'm on the fence about a recommendation.
 
zymurg said:
"Shoeshine"-Vittorio De Sica-1946

This is one of the first films of Italian Realism. De Sica uses amateurs to film a story which offers some insights into immediate post war Italy. The story focuses on two boys who shine shoes to make money for themselves and their families. Actually only one of the boys has a family, and it is precisely these connections which will ruin his life.

The two boys have a dream of owning a horse. The film opens with the two protagonists riding in the park on rented horses. They are close to having enough money to purchase the horse. They are offered an opportunity to sell blankets to a medium/fortune teller. They take the money and give her the blankets. Just outside the door they meet the gang which includes the brother of one of the boys. The boys buy their coveted horse, but they quickly are arrested. They are detained in youth facility. This is worse than Dickens. From here things really go downhill. An inadvertent betrayal leads to the breaking of the friendship.

This film is difficult to find, try streaming services; Amazon Prime has it. Worth viewing, but not up to the standards of "Bicycle Thieves" and "Umberto D."

"The Adventures of Tin Tin"-Stephen Spielberg-2011

This film won the Oscar for best animated feature. It utilizes motion capture which offers a mid point between traditional animation and live action. Herge is a famous name worldwide, but his comics haven't really caught on in the U.S. Spielberg became a fan in the early 80's. He teamed with Peter Jackson (Lord of the Rings) to make this film. Visually, I found this interesting. The story is a little over the top, a meticulous antique model ship contains a portion of treasure map/clue. Tintin, a young journalist, buys the model from a street vendor. It turns out that there were three identical models made. All three are needed to solve the puzzle, but this isn't enough. The knowledge of the last male Haddock is vital.

The film has an appropriate villain, a descendant of the Red Pirate, who tried to rob the original treasure in the West Indies. Haddock is a drunk, but Tintin redeems him along with reaching the end of the quest. There is a dog involved. Technically, this is brilliant, but it isn't in my wheelhouse. I haven't seen the sequel directed by Peter Jackson. I'm on the fence about a recommendation.
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I enjoyed “The Adventures of Tintin: The Secret of the Unicorn” movie that came out in 2011. The sequel to this Spielberg directed film has never materialized, although there is still occasional talk in the media by both Peter Jackson and Spielberg about it eventually being made.

I have to admit that some of my enjoyment for this movie no doubt comes from a double nostalgia kick that I have for Tintin. When I was a kid growing up in the 1960’s and early 1970’s, I remember watching and being rather enthralled by a number of Tintin cartoon productions that were made in Europe in the late 1950’s into the 1960’s that made their way to American television. I recall that these cartoons were shown often enough when I was a kid, but they had pretty much disappeared from television by the time I went to college in 1978.

As it turned out, I found out that one of my friends at UConn was a huge Tintin fan. In addition to the previously mentioned cartoons I grew up on, my friend John was quite familiar with the Herge produced books which he introduced me to, as well as other Herge related items. I recall that John came back from a trip to Europe with all sorts of Herge related tourist photos. So through John I found out that Herge and his Tintin work was indeed big thing outside the United States. So when the Tintin movie was released in 2011, when it got good reviews it was pretty much a must see thing for me.
 
"From Russia With Love"-Terence Young-1963

This is the second film in the Bond canon. It is the favorite Bond film of a diverse group of people associated with the Bond films including Sean Connery and Daniel Craig. It is the first film to have an action sequence before the titles; the first to have John Barry as principal composer; the first to have the coda naming the next film. It was also the last Bond film seen by Ian Fleming the author of the Bond books.

The plot is pretty complicated. It involves the theft of a Lektor decoding machine and bringing it and a cipher clerk from the Russian counsulate in Istanbul back to MI-6 in England. The Lektor is based on the real Enigma machine used by the German's in WWII. Possession of the machine would be the first step in decoding all secret Soviet communications. Of course Fleming's creation Spectre, the independent spy agency designed to sow discord between the Soviets and the West, wanted the machine. They have a plan devised by a Czech chess champion to steal the Lektor for their own purposes. The plan will be implemented by Rosa Kleb (Lotte Lenya) #3 in the Spectre hierarchy. The point man for the operation is Red Grant (Robert Shaw). His fight with Bond (Connery) of the Orient Express is one of the highlights of the film. The two principals do almost all of the fight sequence without stunt doubles. Many believe this is the best fight sequence in any Bond film.

Another first is the first real Bond gadget, Bond's briefcase designed by Q (and his staff); the briefcase contains hidden bullets, 50 gold coins, a special locking mechanism, and a disguised gas cannister which goes off if the briefcase is improperly unlocked. It features in a key scene on the train.

The film was shot in Istanbul and the environs and Pinewood Studios. Some scenes were shot in Scotland. To be eligible for British funding 70% of the filming had to be in Britain or the Commonwealth. There were some technical problems with shooting some of the action scenes in Istanbul, so they were moved to Pinewood or Scotland. Daniela Bianchi played the cipher clerk. Tatiana Romanova. She is the youngest Bond girl ever at 21 years old. Rosa Kleb recruits her; Tatiana believes she still works for Smersh. A story is concocted where she falls in love with Bond's picture from his file. Every one at MI6 believes it is a trap, but gaining a Lektor machine is worth the risk. There are two key action sequences after Tatiana and Bond escape from Orient Express. Both look great, but they caused key injuries to stunt personal (the boat chase) and the director (heliocopter sequence).

One final bit of trivia. Pedro Armendariz (Kerim Bey) was in the final stages of terminal cancer while filming. He insisted on completing the film; he was replaced by the director (Terence Young) in several long shots. He contracted cancer while filming "The Conqueror"(1956) near an atomic test site. He was one of 29 cast and crew members who died from cancer contracted on the film site. He actually committed suicide back in California before the film was finished.

The film was a huge success and cemented Connery as a huge star. "Goldfinger" is considered by most to be Connery's best Bond film, but I prefer "From Russia with Love." Highly recommended, next up "Goldfinger."
 
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zymurg said:
"From Russia With Love"-Terence Young-1963

This is the second film in the Bond canon. It is the favorite Bond film of a diverse group of people associated with the Bond films including Sean Connery and Daniel Craig. It is the first film to have an action sequence before the titles; the first to have John Barry as principal composer; the first to have the coda naming the next film. It was also the last Bond film seen by Ian Fleming the author of the Bond books.

The plot is pretty complicated. It involves the theft of a Lektor decoding machine and bringing it and a cipher clerk from the Russian counsulate in Istanbul back to MI-6 in England. The Lektor is based on the real Enigma machine used by the German's in WWII. Possession of the machine would be the first step in decoding all secret Soviet communications. Of course Fleming's creation Spectre, the independent spy agency designed to sow discord between the Soviets and the West, wanted the machine. They have a plan devised by a Czech chess champion to steal the Lektor for their own purposes. The plan will be implemented by Rosa Kleb (Lotte Lenya) #3 in the Spectre hierarchy. The point man for the operation is Red Grant (Robert Shaw). His fight with Bond (Connery) of the Orient Express is one of the highlights of the film. The two principals do almost all of the fight sequence without stunt doubles. Many believe this is the best fight sequence in any Bond film.

Another first is the first real Bond gadget, Bond's briefcase designed by Q (and his staff); the briefcase contains hidden bullets, 50 gold coins, a special locking mechanism, and a disguised gas cannister which goes off if the briefcase is improperly unlocked. It features in a key scene on the train.

The film was shot in Istanbul and the environs and Pinewood Studios. Some scenes were shot in Scotland. To be eligible for British funding 70% of the filming had to be in Britain or the Commonwealth. There were some technical problems with shooting some of the action scenes in Istanbul, so they were moved to Pinewood or Scotland. Daniela Bianchi played the cipher clerk. Tatiana Romanova. She is the youngest Bond girl ever at 21 years old. Rosa Kleb recruits her; Tatiana believes she still works for Smersh. A story is concocted where she falls in love with Bond's picture from his file. Every one at MI6 believes it is a trap, but gaining a Lektor machine is worth the risk. There are two key action sequences after Tatiana and Bond escape from Orient Express. Both look great, but they caused key injuries to stunt personal (the boat chase) and the director (heliocopter sequence).

One final bit of trivia. Pedro Armendariz (Kerim Bey) was in the final stages of terminal cancer while filming. He insisted on completing the film; he was replaced by the director (Terence Young) in several long shots. He contracted cancer while filming "The Conqueror"(1956) near an atomic test site. He was one of 29 cast and crew members who died from cancer contracted on the film site. He actually committed suicide back in California before the film was finished.

The film was a huge success and cemented Connery as a huge star. "Goldfinger" is considered by most to be Connery's best Bond film, but I prefer "From Russia with Love." Highly recommended, next up "Goldfinger."
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"From Russia with Love" and Goldfinger are my favorite Bond flicks, both are excellent.

Pedro Armendáriz has a great supporting role in "From Russia with Love", I just love watching him in this film. He also has a memorable supporting role in John Ford's "Fort Apache" where he plays a soldier who among other things functions as a translator for the cavalry and the Indian tribes in the film.
 
"Goldfinger"-Guy Hamilton-1964

This film sets the standards for the Bond franchise. Think of the iconic features: the most famous title song and the first to be played over the opening credits; the most famous poster; the most famous myth-you can be killed by having your skin covered by gold paint; the most iconic villain's weapon-Oddjob's bowler; the most iconic Bond car the Aston Martin DB5, and the greatest cultural encroachment-Goldfinger's model of Fort Knox is on display at Fort Knox. For well over 50 years with a new featured Bond every few years; this is without a question to most enduring series in film history.

The combination of Gert Frobe and Harold Sakata is one of the all time best couplings of villains. Did you know that Orson Welles was considered for Goldfinger? He wanted too much money; that's the reason Terence Young didn't direct this picture. Then there is Galore (Honor Blackman) spirited away from the Avengers, and the script re-written to make use of her judo skills. This film cemented the Bond persona, but nice. The constant quips coupled with gigantic action sequences, and Bond being in danger in unusual ways. In this film there is the famous scene with the laser approaching his Bondness. This was the first use of lasers in film. Q and the relationship with Bond is developed, and Bond gets a car which can do most anything. I am reminded of the song from "Dumbo": "I think I will have seen everything when I see and elephant fly." The Aston Martin doesn't fly, but it does have an ejection seat. In a later itteration it becomes functionally invisible.

This is top flight entertainment, but for me the film misses Spectre, and the central caper bombing Fort Knox and leaving it with radioactive gold misses the mark. If Goldfinger wants to make a buck, then why not take out some of the bullion before setting off the bomb? If Goldfinger is clever enough to smuggle bullion out of the UK (remember "The Lavender Hill Mob") surely with 50 years of planning; he can get some gold out of Fort Knox. I know, I know, who really cares. Highly recommended, fun viewing.
 
"The Hunchback of Notre Dame"-Wallace Worsley-1923

This film was adapted from a novel by Victor Hugo. Hugo's novel was published in 1831. Hugo used the novel as part of his campaign to save gothic architecture. The novel was quite popular. Hugo wrote the libretto for an opera L'Esmeralda, and a ballet followed shortly. New musical compositions using the basic story have been appearing even as recently as two years ago. the 1923 Universal Film wasn't the first film treatment, but this film version had the backing of a major studio and Lon Chaney in the title role.

I'm breaking with my normal practice to discuss options for viewing. The 35 mm print has vanished, so whatever versions are available come from 16 mm. Since the the copyright lapsed, there are dozens of versions available. You have several options for free streaming. The quality of all of the options I've seen is pretty poor.
There is a blueray version by Flicker; I've seen clips. This is much the best version available, but it retails for $28 on Amazon.

Given that the quality is poor and this is a silent film, why is it worth viewing? The Universal technicians did an amazing job constructing the sets. They hired a thousand extras for crowd scenes, and they employed 50 Pinkerton detectives to police the extras. The costume department created nearly 3,000 costumes. They spent six months filming; there were 17 other films in production on the Universal lot while "Hunchback" was shot.
It was one of the most expensive films of its day, and Universal used some unique promotions including a contest to write the score. This score would be played in theaters while the film ran. The also developed -a walki-talki system with Western Electric to co-ordinate the shooting. The studio re-issued the film twice in rapid succession. The 1929 sound version didn't have Chaney speaking. The sound was so bad that when Kino did a version; the found the soundtrack so flawed that they couldn't use it. Still the versions available today all come from the visuals of the 1929 version.

It is suggested that Frank Borzage was set to direct the film, He was a first rate studio staff director, but Wallace Worsley ended up directing the film. It is clear that Chaney had a big say in what went on. He did his own make-up, but he also gave direction to Patsy Ruth Miller (Esmeralda). There are numerous stories about the weight of the hump; estimates of 50 to 60 pounds can be found on some sites. Best information puts the weight at about 15 pounds. It took upwards of 4 1/2 hours to complete the make-up.

Chaney commands the screen when he first appears looking over a parapet, and he commands the film's end when he dies. I've mentioned the Chaney bio-pic before, "Man of a Thousand Faces," but it is not only his face which changes. His whole being changes. Chaney would probably object to that characterization; he believed he acted his roles rather than becoming the characters. Don Claudio, the Cathedral rector, is well played, but the remainder of the cast is a little above adequate. The crowd scenes are very well done, and the cathedral looks great. You can see the massive set in close-ups when Quasimodo is climbing the cathedral.

The plot is convoluted and verges significantly from the novel. The Hunchback version which hews to the novel is the one starring Anthony Quinn. Quasimodo is the slave of Jehan, brother of Don Claudio. He is deaf and partially blind. He rings the cathedral's great bells. Esmeralda is supposedly a gypsy,but the gypsies kidnapped her when she was a toddler. She is protected by Clopin, the king of the beggars. She has a secret crush on Phoebus, captain of the city guard. Jehan wants Esmeralda; he orders Quasimodo to kidnap her. The attempt fails, Jehan escapes, but Quasimodo is arrested. Esmeralda is saved by Phoebus, and a major attraction develops between them. Esmeralda tends to Quasimodo after his public whipping.

Things go from bad to worse; Clopin musters his followers from the Court of Miracles first to rescue Esmeralda from Phoebus while they are together at a ball. Esmeralda arranges a secret meeting at the cathedral with Phoebus. Jehan is watching; he stabs Phoebus, but Esmeralda is arrested. She is convicted and sentenced to death. Quasimodo rescues her while she is doing penance before the cathedral. Quasimodo rescues her and takes her to sanctuary inside the cathedral.

Despite the limitations of available viewing options; I highly recommend this film. For all the reasons stated before and, because it serves as a valuable introduction to the 1939 Charles Laughton version.
 
"The Hunchback of Notre Dame"-William Dieterle-1939

1939 the golden year of the Hollywood studio system and this film was one of the contenders. RKO really wanted this to be a quality film; they sent a sound team to Paris to record the bells of Notre Dame. They signed Charles Laughton to a contract with Hunchback being the first film. Laughton brought along Maureen O'Hara to play Esmeralda in her first American film. The studio invested more than $250, 000 in the main set.
They engaged 3,000 extras, and a group of top flight supporting actors: Cedric Hardwicke, Thomas Mitchell, Edmund O'Brien, Alan Marshall, Walter Hampden, and Henry Davenport. Did any actor have a better 1939 than Thomas Mitchell? He had featured roles in "Gone With the Wind," "Mr Smith Goes to Washington," "Only Angels Have Wings," "Stagecoach" (best supporting actor), and Hunchback. This was also Dieterle's first film under contract to RKO.

Dieterle was known for his ability to handle crowds; he had plenty of opportunity in this film. Critics often point to the scenes outside Notre Dame with opposing mobs in conflict while Esmeralda is inside. The portrait of
Louis XI is very interesting. The Spider King is shown as an intelligent ruler curious about new developments in France. He visits an early printing press, and he is aware of the potentials. He delights in Gringoire's pamphlet calling for the protection of Sanctuary. Gringoire is a much different character than he was in 1923. This is a much more coherent script. My favorite crowd scenes are those showing the Festival of Fools.

I should mention Laughton's performance. It originally took 5 hours to put on his make-up; they got it down to 2 1/2 hours. The mask was carefully concealed from the public; the first time we see Quasimodo's face looking down at the Festival of Fools; we are shocked. Louis XI has cogent remarks about the arresting power of extreme ugliness. What involves me are the expressions of wonder and delight on Quasimodo's face. Our laast view of Quasimodo sitting next to a gargoyle and bemoaning that he was not made of stone
is full of pathos. Quasimodo is not a figure of horror but one of humanity, honor, and love if we can see it.

This a great film; if you have any interest in this era of film making; this is a must see.
 
"Ten Things I Hate About You"-Gil Junger-1999

It's hard for me to believe that this film is 20 years old. Supposedly, Rom-Com's are back. They even have their own film festival. One of the films showing at this year's initial festival is Ten Things. The writers, Karen McCulluh and Kristen Smith, were first timers as was the director. It was filmed on location near Tacoma,Washington. The high school which looks like an 18th century castle is an actual high school. Surprisingly, it doesn't have a marching band; so, for a key movie scene a band from a neighboring school was brought to Stadium High.

For those of you not familiar with this film; it is a retelling of Shakespeare's "Taming of the Shrew." A single father, Walter Stratford, is raising two teenage daughters Kate (Julia Stiles0 and Bianca (Larisa Oleynik). His rule is no dating until after high school. Bianca is a teen hottie who wants a normal social life. Kate is disdainful of high school moraes. Obviously, she is overdue for an awakening. When her father changes the rules; Bianca can date if Kate dates; the gates of comedy are open for business.

Joseph Gordon-Levitt (Cameron James) is a senior transferring to Padua High; he is mesmerized by Bianca. Michael Eckman (David Krumholz) is the geek tasked with showing Cameron around. Joey Donner (Andrew Keegan) is a successful teen model who wants to take Bianca out for a spin. He is talked into paying someone to date Kate. That someone is Patrick Verona (Heath Ledger) the local bad boy.

This is a funny and clever movie. Shakespeare is a part of American high school and college life. I've mentioned my participation in Vanderbilt University Theater more for the opportunity it offered me to see classic films than for the theater. However, we did a Shakespeare play every year, but "Taming of the Shrew" wasn't one. There are many oblique Bard references; one of the obvious ones is when Kate's English class is given an assignment to write a sonnet. With Patrick listening, Kate recites "10 Things I Hate About You". She breaks up and runs out of class.

The romantic highpoint occurs earlier in the film. Patrick bribes the AV guy and the student band leader. He appears on the bleachers performing "Can't Take My Eyes Off Of You." Kate is on the field in her soccer kit. Patrick dances through the bleachers, chased by school security. The marching band echoes the Frankie Valli song. Julia Stiles suggested this song. The film takes time to flesh out the Patrick and Kate characters.

This film has aged well. I find it funny. The acting is spot on. There were no constructed sets, and giving the benefit of the doubt to the storyline; it's believable. However, what high school has a Prom in October/November? Still a solid recommendation, well worth viewing.

Next up the 1967 "The Taming of the Shrew"; that's the Burton Taylor version.
 
"10 Things..." was one of those movies with a young fairly unknown cast, several of whom went on to successful careers. A handful of them were all over tv and movies for the next decade or two.

Good soundtrack and a couple appearances by Letters to Cleo as themselves. I'm pretty sure I read somewhere that the filmmakers didn't have permission to shoot that closing scene w/ the band on the roof of Stadium High School, they had to sneak up there.
 
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The band members were told that with renting the helicopter and shooting the scene would cost $500,000, and they couldn't afford to re-shoot. The band was nervous, and then the wind came up. All's well that ends well, but the band was scared when the helicopter flew closer. Unlike "Fitzcaraldo" no one was killed.
 
"The Taming of the Shrew"-Franco Zefferelli-1967

You didn't hear it here, because silence is golden, and when you can't say anything good about a famous film, you don't say anything at all.

Next up the first 3 Busby Berkeley films for Warner Brothers.
 
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"42 Street", "Gold Diggers of 1933," and "Footlight Parade"

The screen musical was dead almost before it began. The Warner's were gamblers and they bet that they could make musicals that would draw a big audience even during the Depression. We call these Busby Berkeley musicals, but he didn't direct any of these three films. Daryl F. Zanuck was involved in these films; supposedly he found Warren and Dubin the songwriting team for all these films and 20 others in five years. Mervyn LeRoy was supposed to direct 42 Street, but he was behind schedule with another film; LLoyd Bacon directed 42 Street. The core cast drew heavily from Warner's contract players: Guy Kibbe, Ginger Rogers, Dick Powell, and Ruby Keeler made their bones in these films. This was filmed in 28 days, Selznick loved the film. When he saw the film of the song "42 Street," he signed Berkeley to a long time contract. He worked with Harry Warner Jr. to develop a spectacular promotional vehicle for the film. Joining with General Electric Warner's had a special silver train the 42 Street Express run from Hollywood to NYC for the film's opening. The train made a stop in
Washington for FDR's innaugration. The Warner's were huge supporters of FDR. They make no secret of it in their films.

Rather than trying to explain the Busby Berkeley numbers; I suggest you look at them. This Choreography would be impossible on a regular stage. Google 42 Street the movie, and you will find videos of the musical numbers on YouTube. "Gold Diggers of 1933" was already in production when "42 Street" opened. "Footlight Parade" followed shortly after. The success of "42 Street" at the box office led to RKO's decision to try musicals.
They recruited Fred Astaire; his sister Adele had retired. He needed a new partner; that partner was Ginger Rogers. She was dating Mervyn LeRoy; he convinced her to work on "42 Street."

The story is a cliche, but this movie invented the cliches. A new musical is being produced and, the top Broadway producer , Julian Marsh (Warner Baxter) is signed despite his health problems. The production is being financed by the star struck Abner Dillon (Guy Kibbe); he is infatuated with Dorothy Brock (Bebe Daniels) the star of "Pretty Girl." Naturally romantic complications ensue; Dorothy Brock breaks her ankle. The show must go on, and Polly Parker (Ruby Keeler) a dancer in her first show must carry the show. As Julian Marsh says to Polly:"You're going out a youngster, but you've got to come back a star." In real life this was Ruby Keeler's first picture. I love the 42 Street number, it tells several several stories about "bawdy 42 Street." Watch it on YouTube.

To be continued
 
"Gold Diggers of 1933"-Mervyn LeRoy-1933

The film opens with "We're in the Money" a musical number which features dancers holding giant coins and Ginger Rogers singing in English and Pig Latin. The story is that Zanuck heard Rogers fooling around singing Pig Latin and he convinced LeRoy to use it in the film. This the Depression and, the sheriff's office arrives to seize everything including the coins the dancers were using. Another Broadway musical is shut down before opening night. The Depression is a part of life even on Broadway. The lives of dancers may seem glamorous, but they are just workers, and they are out of work. They hear the news that Barney Hopkins is casting for a new show. He comes to visit three girls with Ginger Rogers. In the adjoining building a young composer, Brad Roberts (Dick Powell) is playing and Hopkins likes his music. He comes over and it turns out that Hopkins (Ned Sparks) lacks a backer. Brad offers to put up the money, and he provides it in cash the next day. He ends up writing the score, and despite his reluctance acting on stage opposite Polly Parker (Ruby Keeler).

It turns out that Brad is the scion of a wealthy Boston family. The stage is not an appropriate calling for a Bradford his real name. His elder brother, J. Lawrence ( William Warren) and the family lawyer Peabody (Guy Kibbee) come to New York to call Brad to task. Romantic complications ensue.

I want to talk about two Berkeley numbers. "Shadow Waltz" is an incredible show. 60 dancers in triple hoop skirts are moving down a circular platform playing neon lighted violins. At best the dancers received slight shocks, but when a 6.4 earthquake shook the Warner lot; things got very serious. The lights went out; Berkeley was dangling from a camera boom, and the violins shorted out. Berkeley put it back together, and the sequence was completed. The final number "My Forgotten Man" deals with the plight of World War I veterans.
They were promised bonuses; they didn't get them; they marched on Washington. They were scattered by the U.S. army; the units were commanded by MacArthur. This happened during 1932. The number features Joan Blondell and an un-credited black singer (Etta Moten). This overtly political commentary is remarkable for the time.

To be continued
 
"Footlight Parade"-Lloyd Bacon-1933

This is the third Busby Berkeley musical for Warner's in 1933. Supposedly "42 Street" rescued Warner's from bankruptcy. I find that a little hard to believe, remember the special train promotion which occurred before "42 Street" opened? Jimmy Cagney sought the lead role, Chester Kent, in "Footlight Parade." Bacon is back to direct; Warren and Dubin are writing songs, and many players return: Ruby Keeler, Dick Powell,Guy Kibbee, and Joan Blondel. One key song "By a Waterfall" was written by Fain and Kahel. The template of a behind the scenes look at musicals is utilized, but this time the musicals are to be prologues to talkies.

Jimmy Cagney (Chester Kent) comes up with the idea of developing mini-musicals to be performed before the feature at major movie theaters across the country. He develops routines and trains performers in NYC, and they perform these prologues across the country. His partners including Silas Gould (Guy Kibbe) are cheating him out the profits. He has a spy who is leaking his ideas to a competitor. He has recently divorced his wife, but wait she never went to Rio. He becomes involved with a gold digger who he promises to marry. He is ignoring his loyal and love struck secretary, Nan Prescott(Joan Blondel). The opportunity to sign up a new theater chain for prologues opens up, but there is huge time pressure and competition. The film ends with a three theater showcase for three different prologues. The key musical numbers are: "Honeymoon Hotel" which features the famous little person "Billy" Barty as a perverse observer; "By a Waterfall" which features a water ballet, and "Shanghai Lil" which features Cagney subbing for an injured performer.

It all works out; Chester Kent gets the contract and the girl (Joan Blondel). Cagney is dynamic as ever. This paved the way for "Yankee Doodle Dandy." Berkeley would go on to actually direct entire films and for different studios, with different stars Alice Faye, Carmen Miranda, and Esther Williams.

Finally, I must mention that a real Broadway musical "42 Street" was created by David Merrick and Gower Champion based closely
on the original story of the "42 Street" film. The song list was expanded to include songs from a variety of shows featuring Warren and Dubin songs. Gower Champion died the afternoon the show opened. It ran for
3,486 performances; it was a huge hit in London, and in 2001 it was revived on Broadway where it ran for 3 years. Since the revival, "42 Street" has been in almost continuous production around the world. Two full productions are available on YouTube. There are numerous clips from productions around the world which
feature the principal music numbers. One of the complete performances available is by the School of the Arts in San Francisco. This high school production has over 300,000 views.

Next up "Chef"
 
I am not big into movie musicals, although there are a bunch that I do like a lot. These three Warner/Busby Berkeley musicals 42nd Street, Gold Diggers of 1933, and Footlight Parade are on our favorite musical list. All three of these musicals often show up on Turner Classic Movies. "Gold Diggers" has both a great beginning with Ginger Rogers, and a terrific ending with the the Joan Blondell led Forgotten Man sequence. As for Footlight Parade, Cagney is a sight to watch and listen to. Makes you wish he had done more musicals. His dancing style tends to remind me of Ray Bolger in Wizard of Oz. Plus, in all three, it is interesting to see what crazy dance and filming ideas that Busby Berkeley can come up with. All three are great stuff.
 
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