Meet Me In St. Louis

Meet me in St. Louis. Metro Goldwyn Meyer 1944.

Before watching the movie:

When I decided to cover jukebox musicals, I did some research to try to get some more variety. I found that Wikipedia is a bit lax with their definition of a jukebox musical. My impression is that they count any musical that has at least one preexisting song in it. However, a significant percentage of the songs in this show seem to be songs that were not originated for the production, and among those, many seem to be from the time the story is set in, if not already associated with the 1904 World’s Fair. It is at least close enough that I’ll take it.

That said, a lot of musicals from the golden age of Hollywood musicals have songs that originated with them but have become completely divorced from them and become standards. I’ve been taken by surprise by some other musicals, but in studying the musical credits I see that “The Trolley Song” and “Have Yourself a Merry Little Christmas” both appear to have basically originated with this movie, but have long since come to stand on their own.

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The Pearl of Death

The Pearl of Death. Universal Pictures 1944.
The Pearl of Death. Universal Pictures 1944.

Before watching the movie:

Sherlock Holmes pops up so often here that he has his own genre category. So it was fairly inevitable that I’d get to the series starring Basil Rathbone eventually, even though I haven’t been very up on that version in the past. This is mostly by reputation at this point. Rathbone is considered definitive by some, and by others a poor portrayal that damages subsequent attempts. I have seen one installment before, but not much of it held my attention and my own opinions have changed since then.

At the time, I found the idea of setting the stories contemporary to their WWII production was lazy. The BBC’s current hit, Sherlock, however, has since demonstrated to me how much brilliance can be involved in making that kind of leap, and I should be judging it on the quality of the shift, not on the presence of it. Additionally, I was annoyed that they apparently tied Moriarty to everything, but most other adaptations do that too, and I should be judging it on how much they made that make sense, starting from the basis that a Napoleon of Crime would in fact have his fingers in a lot of crime. Finally, at the time I wasn’t aware that this series has been accused of practically lobotomizing Watson next to Doyle’s character, influencing many subsequent takes.

There’s a delicate balance in reviewing an installment from a film series. I try to avoid sequels that build on events from their predecessors, but this is more of the franchise type, with each individual film standing alone. In fact, it’s practically a television series before the popularization of television, due to the sheer number of films, the turnaround time between each, and the length of each (this one is only 69 minutes, and seems fairly typical). So how did I select which one? I have access to the third volume of the collection and this was the most interesting one in it. It’s based somewhat on The Adventure of the Six Napoleons.

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