I’m unclear whether the anti-Semitism the main character wants to expose is within a particular institution, or more broadly, within society at large, like the seminal Black Like Me, or less seminal White Chicks.
While there are people, perhaps even people who would not be considered eugenicists or race-nationalists, who consider “Jewish” a morphological race, the physical characteristics are very subtle, to the point where I’m not sure how a Gentile reporter would pose as a Jewish man other than introducing himself to people who don’t know him with a “hi, I’m Jewish, by the way!” A long game approach would probably be to get a new job somewhere and drop big hints, but that would point back to “within a single institution”. I feel like I got out of my depth three paragraphs ago and I should just let the movie tell its own story.
I’m not sure if I’ve been aware of this movie before it came up in recommendations or not. I seem to be vaguely aware of “Laura” as a title, but I may just be thinking of the song (which I know because Spike Jones exploded it), that turns out to be the theme from the movie with lyrics added.
Vincent Price appears to have a small role, judging by his billing, but he’s the biggest name I can see. The only other name I even recognize on the shortlist is Clifton Webb.
There are at least three major screen adaptations of this show, and I’m not sure if this version is the most popular or just the most available. The 1933 version stars Will Rogers, but it’s in black and white, so it’s probably not expected to sell as well.
I thoroughly expect this to be a thin plot for hanging songs about rural Americana on, but it’s Rodgers and Hammerstein, so they should be great songs. I’ve probably heard of at least one, but I can’t think of any I specifically associate with it. Continue reading →
This was a suggestion from a Facebook friend. All I needed was Fred MacMurray or “murder comedy”, but this appears to be both. I actually wasn’t sure when I decided to do this if it was a comedy or a thriller, but I was fairly certain MacMurray never played against type (0r at least in anything dark) in anything but Double Indemnity. So I was fairly certain it’ll be a good time.
I’m a little surprised I don’t already have a tag for Fred MacMurray. I’ve invoked The Happiest Millionaire in a few other blog posts, and he actually appeared via archive footage in Dead Men Don’t Wear Plaid, but in too minor a role to merit getting tagged as a star, and also I didn’t like what the movie did with the clips from Double Indemnity. Thanks to classic Disney films like Happiest Millionaire and The Absent-Minded Professor, as well as the impact Double Indemnity left on me as a young film student, I’ve always felt like MacMurray has had a minor presence here, but this is somehow the first time he’s starred in a review.
I only know this movie exists because it famously has a scene where one of the men, probably Gene Kelly, dances with Jerry the cartoon mouse, which must be a fantasy number.
Apparently, this is a musical about falling in love on shore leave. Sinatra and Kelly are friends and shipmates and at least one of them falls in love with a local girl in port. I would be pleasantly surprised if this didn’t make up the bulk of its plot on a love triangle, but I’m just looking forward to some songs about sailors having good clean fun ashore.
On the one hand, Abbot and Costello. On the other, the theme park version of stereotypical Darkest Africa. Not sure how I’m going to feel about this, but the cartoon native on the poster isn’t helping.
I thought I’d already done an Abbot and Costello, but I was thinking of Laurel and Hardy in The Flying Deuces, so I don’t feel like I’m retreading much here. Even though star vehicle series don’t have continuity, I’m reluctant to revisit duos.
I felt like I knew a lot about this movie until I started to try to write about it. What I know is that it was remade as a Richard Pryor vehicle (infamously), and the plot concerns having to spend a lot of money quickly in order to inherit a massive fortune. Apparently this is one in a long line of adaptations of a book, so it must have been very popular.
The name Dennis O’Keefe sounds familiar, and I thought I must have reviewed something else starring him, but I don’t seem to have a tag for him. Also the poster clued me in to the fact that Eddie Anderson, breakout star from the Jack Benny Program, has a role. I think it’s the first time I’ll be encountering him not playing Rochester, though the popularity of that character may mean this one is basically the same under a different name.
This is one I thought I’d get to for years and never did, until now. I had access to it for a long time, and then I moved away from it. But now I can see it again, so I am.
I have the impression this is a screwball comedy, but I may be reading too much into it from its superficial similarity to His Girl Friday via the married couple and ex-husband dynamic and the fact that it shares one third of the same stars. Certainly it has more to do with that movie than with Philadelphia. Continue reading →
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.
I was only familiar with this story previously through a Wishbone adaptation of the play. What I recall of it is rather different from the summary I’ve seen of this movie, though on the one hand this is credited as “suggested by” the play, admitting they’ve walked rather far away from it, while Wishbone could well have bowdlerized the bungled assassination attempts mentioned as being in this movie. Having quickly scanned a summary of the play, I’m inclined to think it’s more the former than the latter.
It’s a rather surprising notion to do a story about corruption in the Imperial Russian government as a cheery-looking musical starring Danny Kaye, no matter how farcical the plot may be.The songs should either be quite something or a lot of nothing.