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Pinocchio (1940)
A True Work Of Art. Brilliant For Anyone Who's Wished Upon A Star.
Following the release of the groundbreaking Snow White, Walt Disney's animation studio was off and running. The studio's second film was this one, which, while it might seem impossible to believe, was not a success upon its original release. However, the film has received acclaim since then, and has gone on to become a marvel in the field of animation, with some even referring to it as the "Citizen Kane of Animation." It's a film that further proves the idea that animation is a form of art.
Pinocchio is a momentous achievement in cinema, it certifies that When You Wish Upon A Star, you can expect to find greatness, and greatness is definitely what is found here. The film is a breathtaking experience that makes for an absolute classic that is one of the best animated features of all time, and is a film where your conscious should be your guide to seeing greatness, which this film has certainly achieved in the years since its release.
The film begins with a cricket by the name of Jiminy speaking directly to the audience, in which he tells them the story of a wish coming true. One night, he heads to a town in Italy, where he goes to the shop of a woodcarver named Geppetto, who lives with his Figaro and Cleo, his pet cat and goldfish respectively. Geppetto has created a wooden marionette that he names Pinocchio, and just before going to bed, he wishes that Pinocchio was a real boy. That night, a blue fairy visits Geppetto's shop and brings Pinocchio to life, although he remains a puppet. However, the fairy tells Pinocchio that he can become a real boy if he proves to be "brave, truthful, and unselfish." With Jiminy as his conscious, Pinocchio is primed up to head to school and start his foray into the world. However, things don't go as planned, and he ends up encountering a number of unsavory individuals, which represent temptation and the repercussions of wrong decisions. Not to mention that it provides viewers with an experience that is truly spectacular, one for anyone who's Wished Upon A Star.
The film features probably some of the finest animation that will ever appear in a film, which was definitely revolutionary for its time. The detail given to many of the sequences in the film is awestriking, particularly the entirety of the beginning at Geppetto's workshop. In addition to that, the characters are absolutely wonderful. There's of course, Pinocchio and Geppetto, have some of the most endearing and memorable interactions between two character in any animated film. Then, we have Jiminy Cricket, who, whenever he's not being the voice of reason, has some of the best comedic moments in the film. Honest John and his sidekick are also funny (whenever they're not being unsavory). Stromboli and the Coachmen are quite intimidating in villainous roles. And everything involving Monstro the Whale is also frightening. Another thing the film has going is the music, in which it produced some classics, most notably the award-winning, "When You Wish Upon A Star", which is one of the best known songs to appear in any film, and rightfully so, as like the film itself, it's legendary.
Something else that's worth mentioning is how dark the film can get, with many sequences having large senses of fear. Such a sense if perfectly conveyed in the scene where Pinocchio is under Stromboli's control, when he's in the latter's wagon, there's a very frightening feeling that is emitted from the scene, which is further driven by the fact that it's interspliced with a scene of Geppetto walking in a torrential downpour as he tries to find Pinocchio. Then there's also the scenes at Pleasure Island, where Pinocchio and some other boys who are taken there end up turning into donkeys. Immediately, one knows that something's not right, but that doesn't make it all the less frightening when it actually does happen. Not to mention that everything involving Monstro the Whale consists of an atmosphere filled with dread, as well as the climactic chase in which Pinocchio and Geppetto are being pursued by said whale, which is very exciting and intense.
To wrap up, Pinocchio is a monumental accomplishment in cinematic history, it's a masterpiece that is one of the best animated movies of all time, not just because of how fun it is, but because of how much attention to detail was put into it. It's a film that in many ways, can still be as relevant now as it was back then, mostly because of what it can teach us about trial and error, and about how we must learn from the wrong decisions we make to improve for the future.
Pinocchio is a prime standard of how "When You Wish Upon A Star", you can definitely expect to find something wonderful, and this film is something wonderful indeed.
Sergeant York (1941)
Positively Wonderful. Gary Cooper Is Sublime.
The story of Alvin York is one of the most famous in the history of the United States, at least, from a military standpoint. York started off as a poor worker from Tennessee, who mostly helped his family with manual labor. Upon being drafted in the Army, he became notable for an action of bravery during World War I, that earned him a place among the most famous heroes in U. S. history. Naturally, it would only be a matter of time before his story would be given a film adaptation. Like all historical films, it does take a few liberties with real life. Nevertheless, it does both York and his legacy proud.
Sergeant York is a superb film that is surprisingly one of the most accurate biopics I've ever watched. I mean that while it does take a few liberties with real life, it's still surprisingly accurate with the facts it presents. Not to mention that it also features some of the finest acting that you might see in any film. Much like John Ford, Howard Hawks certainly had a flair for developing his characters, and those abilities were on full display in this film, in which everyone is well developed, with them feeling like actual characters that are worthing getting invested in.
Gary Cooper leads the superb cast by playing Alvin York, who was personally selected by the man himself to portray him. Cooper would ultimately win the Academy Award for Best Actor for his performance in this film, and that, in my opinion, was a win that was definitely well deserved. I also agree with the real Alvin York's decision, as Cooper was the perfect fit. The type of characters that Cooper played throughout his career at something of what you might call the "aw shucks" mentality, and here, it fit like a key, as from what I read, the real Alvin York was very much like that back home. It's also worth mentioning the way Cooper progresses through the film, particularly on the subject of dealing with his consciousness when he joins the army, and comes to a certain type of terms on the subject of killing. He eventually learns that killing can only be justifiable if it's a way to end the killing and war as a whole. And this was something else that was true, as in real life, despite his heroic action, the real York was very much a pacifist at heart.
The film's supporting performances are also worth mentioning. Probably my favorite of the supporting actors is Walter Brennan, who plays a pastor in the area where York lives. Walter Brennan sometimes had a tendency to be typecasted in comedic roles because of his voice, but his performance here showed that he truly was a very talented actor, as every time he was onscreen, he was perfect. Joan Leslie was great as Gracie Williams, York's love interest. What also deserve a mention is her interactions with Cooper, because the way they interact with each other, you can feel a sense of genuineness and heartfulness. Then there's Margaret Wycherly, who play's Alvin's mother, who's character contrasts with how upbeat Gracie is. Instead, she's somber and lacking in emotion, and according to those who knew York's mother, Wycherly's portrayal was right on target. I also really liked the performance of Stanley Ridges, who plays Major Buxton, York's superior in the army, who in turn, as one of my favorite scenes in the film. In the scene in question, he helps York come to terms with his conscious. Though of course, Gary Cooper's performance was the best, but that doesn't detract from the talented supporting cast who backed him up.
What also deserves mention is the authenticity of the battle scenes. When York arrives at the trenches, he is immediately greeted by the familiar feeling of what the British had to undergo before the Americans entered the war, in which they had to wait in the trenches with long periods of stalemate while bombs rained down around them. Howard Hawks seemed to have an attention for detail in those scenes, because the way it's portrayed, you can actually come to understand the feeling that those soldiers had to undergo. And it's here where York is really put to the test, and if you know anything about the actual confrontation that happened, then you'll be surprised at how accurately it's portrayed in this film.
As I said, while the film itself does take a few liberties with real life, it's still an excellent film with a message that more people should probably pay attention to, and that lesson is, that the only justification for killing in action is to end the killing and the war itself, which is certainly what the real Alvin York seemed to feel. And above all, it's a great film that features outstanding performances and storytelling. If you haven't already seen the film, then you'd be doing yourself a favor if you did see it, because it's an example of filmmaking at its finest.
The Amazing Dr. Clitterhouse (1938)
A Rather Novel Film That Serves As One Of Robinson's Most Atypical Roles.
Edward G. Robinson primarily made a name for himself in the 1930's by playing villainous roles in gangster films. Then, in 1938, he would take on a role that for him, was something rather unusual. While it was a gangster role, it was rather different from the ones he usually played. And with that said, even though it was rather unique, there's no denying that he still managed to put forth a solid effort in his acting and was able to make the film rather atypical from the usual films of the genre.
The Amazing Dr. Clitterhouse is a rather interesting gangster film that stands out from some of the other gangster films from Warner Bros. While the film does follow the formula that was typical for these films, it presents a more psychological look, as it involves the infiltration of a gang to test the theories of the examination of criminal minds. In addition to that, it also features some very good acting from the usual Warner lineup, who were always very great to see.
The film is the story of Dr. Clitterhouse, a wealthy physician who indulges in a series of unusual experiments, in which he aims to study how criminals behave. Among these experiments involve him becoming one himself and pulling off several successful jewelry heists. However, he desires to do something for a larger test of his studies. Eventually, he ends up allying himself with a gang of thieves to participate in a few more heights in order to reach his goal, but finds himself potentially spiraling into what could be seen as insanity. At the same time, he also faces some problems from within the gang, particularly from their leader, "Rocks" Valentine, who eventually becomes wise to the doctor's activities. These elements combine to make for a rather entertaining and novel gangster picture that takes a different type of approach.
The movie combines elements of comedy, suspense, and drama into one for a very interesting picture. Most of the suspense revolves around the actions of the titular character, who seems to enjoy committing crimes. As the film goes on, the question arises: "Is he insane?" It's rather difficult to tell, because while there is the possibility that he is, it's also likely that he might not be. There's also some comedic moments in the film, with one of them being a scene where a detective is about to uncover some of the stolen jewels, and Robinson manages to outmaneuver him by making him show identification and even calling him out about how to properly do his job.
This was a very interesting role for Robinson, in which he plays something that isn't like the gangster roles that he was best known for. While he does technically play a gangster, he doesn't start out as one. Instead, he plays a very refined doctor with some rather unsavory qualities to him, which he surprisingly performed very well, and he also performed a rather convincing English accent. Though he considered it one of his least favorite roles, Humphrey Bogart was very good as a gangster who ends up working with the doctor on some heists, and at one point, tries to betray him by locking him in a freezer upon finding out who he really is. The role of an unlikeable gangster was typical for Bogart during the 1930's, however, as this showed, he was usually very good when doing it. Clarie Trevor was very good as well, in which she plays the leader of the gang that Clitterhouse joins, with her eventually becoming attracted to him. Probably the best performance besides Robinson was the one from Donald Crisp, who plays a police inspector who is assigned to investigate the crimes committed by the doctor, who also manages to make a few well transitions between comedy and drama, showing that he was also rather versatile in regards to his acting.
To reiterate, The Amazing Dr. Clitterhouse is one of the more novel and interesting of the gangster films made by Warner Bros. In the 1930's, primarily because of how it presents a more psychological examination of the genre. Even if the film isn't what one way consider spectacular, it's nevertheless a very entertaining gangster picture. To add to that, it's also worth seeing to see Robinson play a role that's quite different from the usual gangster that he played during this time.
Great Guy (1936)
A Decent Drama That's Worth Seeing For Cagney.
In the mid 1930's, James Cagney had a split with Warner Bros., the studio responsible for bringing him to stardom. Following said split, Cagney made two films for a studio known as Grand National Pictures, with this one being the first one. Both films were low budget, however, that doesn't necessarily mean that the films themselves were of completely low quality. Even if this film doesn't rank as one of Cagney's best efforts, there is still something that makes it worth seeing.
Great Guy is an unusual, but nevertheless enjoyable effort that's worth a viewing for Cagney. While the film isn't perfect (the story seems somewhat rushed in a few instances, and the production values show at a few moments), it's still an entertaining picture that has its charms. The film shows that Cagney didn't exactly need a large budget in order to show that a great actor he was, because in this film, he was definitely a delight to see.
In the film, Cagney plays Johnny Cave, an ex-boxer who becomes an inspector after his boss is severely injured in a car accident. Sensing right away that something's off, he becomes determined to flush out the corruption in the city. However, it isn't long before he becomes the focus of attention of a crooked politician by the name of Marty Cavanaugh, who opts to put a stop to Cave, one way or another. Furthermore, Cave's actions also threaten his relationship with fiancée, who accuses him of being pragmatic and hardheaded, which in some ways, could be a precursor to some of the roles that Cagney would play in the future, such as "Angels With Dirty Faces" and "The Roaring Twenties."
As one would expect, Cagney is the primary reason why the film works. The film itself isn't a masterpiece of cinema, but it still has many things going for it, with Cagney being the main one. While Johnny Cave is on the side of the law, he has many of Cagney's signature "tough guy" elements, particularly his fearlessness in the face of threats, and not being afraid to take risks to meet his goals. In comparison to some of Cagney's other "tough guy" characters, Cave first appears to be a rather unlikeable individual, but he does have well intentions, and Cagney's irresistible charm makes him hard to dislike. He's also got some great moments, such as a scene where he stages a confrontation with an acquaintance to steal something from a gangster, by pretending to punch somebody else, and then hitting the one he's aiming to steal from. There's also a very satisfying scene where he prevents one of his targets from being arrested just so he can give him a thrashing, which a policeman tries to stop, but then decides to just let him continue.
Another aspect the film has going for it, is that in addition to Cagney's efforts, the supporting cast also was worth seeing. Mae Clarke was a pleasure to see in her role as Cagney's love interest, with her and Cagney having some rather snarky and humorous interactions with each other. Robert Gleckler was also very good in his role as the corrupt politician who Cave makes an enemy of. Henry Kolker also was rather enjoyable in his role as Cave's fiancée's swindling boss, who is in league with the politician that Cave is out to bring down. If there's anything that can be said about the film, is that the acting was rather good, with Cagney of course, being the biggest standout. While I didn't dislike the film, I believe that it was Cagney's presence and performance that helped make it an enjoyable experience.
To reiterate, Great Guy isn't what could be considered a gem of a film and does show more than a few signs of age, but that doesn't mean that it's a terrible film on the whole scale. And as I said, it's worth a viewing to see Cagney play a role that's similar to most of his "tough guy" roles, but has it on the side of the law and not the criminal underworld. In fact, you could think of it as being a somewhat more determined version of his role in "G-Men."
Out of the Fog (1941)
A Very Atmospheric Noir. Ida Lupino Dazzles.
The 1930's and the 1940's were special times for Warner Bros., which during said times, became primarily known for their gangster and crime pictures. One such instance would be this effort from 1941, which in many aspects, is a film noir, as it contains the stark black and white cinematography with the atmospheric setting that are usual staples of such films. In addition to that, the film strongly benefits from the acting, which is possible from a very talented cast that manage to utilize their talents to very exceptional effect.
Out Of The Fog is an intriguing and atmospheric crime drama that is one of the more interesting outings from Warner. In many ways, the title is very true, as fog is employed heavily to add to the sense of unease that is present at every turn, which in turn, helps to play up the elements of suspense. However, the film is low on some of the exciting aspects that films like this one were usually known for. With that said, the film manages to perform strongly in other elements, all of which help to make the film one of the most novel outings from Warner Bros.
The film tells the story of Stella Goodwin, a woman who lives in a flat located near the docks of Brooklyn. Tired of living an ordinary life, she longs to see the world. At some point, a rather charismatic man named Harold Goff enters the picture. Goodwin takes a liking to Goff as a result of his ambitious charms. However, Goff is actually a ruthless blackmailer who preys on the financially dependent, with two of his victims including Stella's father, who spends most of his time fishing. Stella soon becomes more attracted to Goff, which earns the concern of her father, not to mention her fiancée. Not helping the situation is the fact that there isn't much that can be done to stop Goff, as he manages to find a loophole to stay out of the reach of the law. After trying to have him arrested proves futile, Stella's father eventually decides that in order to properly deal with Goff, he might have no choice but to take matters into his own hands. The end result is a very atmospheric drama that could be considered an early instance of film noir.
In comparison to some of the other crime pictures that Warner Bros. Released, this one lacks the action that one would expect to see. Instead, the film focuses primarily on the characters, which are all rather interesting in their own aspects. With that said however, there are some suspenseful elements to the film, with said elements stemming from the actions of the character of Goff, someone who might seem charming at first, but is actually sinister underneath, not to mention that he's also cunning, in which he exploits every angle to avoid being arrested. The film also has an immense atmospheric setting to it, with the cinematography helping to convey the sense of dread that takes place around the docks. Such settings are the result of Anatole Litvak's directing, who manages to maintain a grip on these devices, which results it a film that remains interesting throughout its length, and one that has a few twists and turns at key intervals.
The main driving point behind the film would be the performances of the talented lineup. Ida Lupino is positively dazzling in her role as the woman torn between her love for her father and wanting to see more of the world, even if it involves turning towards a world of darkness. Lupino was one of those actresses who always had an ability to capture the audience's attention whenever she appeared in front of the camera, and such an ability definitely showed in this film. John Garfield was smarmy and detestable in his role as the extortionist who doesn't have a single positive quality to him. He may seem rather charming, but beneath the façade, he's ruthless and slimy. Thomas Mitchell was also a delight to see, in which he plays Stella's sympathetic father, one who cares immensely for his daughter, while also getting on the wrong side of Goff. There were also some touching father-daughter moments between him and Lupino, which are rather endearing. John Qualen was also very effective in his role as Mitchell's fishing partner, who also suffers at the hands of Goff. There was also a very good effort from Eddie Albert, who plays the love interest of Lupino, who becomes worried about the latter's attraction to Goff. While the film might lack some of the action that would be expected from a noir, it makes up for it with some very committed acting from a talented lineup.
To reiterate, Out Of The Fog is another solid effort from Warner. Even if the film might be lacking in some of the categories that one would probably anticipate from a film like this, it excels in other elements, particularly the acting. Not to mention that most of the crime dramas that Warner Bros. Released during this period were usually worth seeing because of how compelling their stories were, with this one being among the most unique of the catalogue. Ultimately, it would be a detriment to see the film, since it's got just about everything that one would expect from such a film.
Lost in Alaska (1952)
Another Later Abbott & Costello Effort That's A Delight.
By 1952, Abbott & Costello were reaching the twilight of their success. It was at this point that their popularity was beginning to wane, as they found that they were no longer top box office attractions. But nevertheless, that didn't mean that they weren't still capable of being able to provide quality entertainment. Their 1952 Universal outing proved that even after 12 years and 30 moves, the two of them still had the ability to delightfully entertain their audiences.
Lost In Alaska is another later Abbott & Costello effort that definitely makes for a good time. It's a fast-paced and delightful film that features the duo continuing what they do best at, getting into difficult situations and trying hard to find a way out, only to get into further complications. Even though it doesn't rank among their best outings, it still manages to become a very pleasant experience that's worth seeing, and shows that the duo hadn't lost their abilities after over a decade, as there were some genuinely funny scenes in the film.
In the film, Abbott & Costello play a pair of firemen, who, on the job one night, save a prospector known as "Nugget Joe" from drowning. Unfortunately, Joe tells them that he wants to die, because his girlfriend, Rosette, doesn't love him. After getting a telegram from Rosette, who claims that she still does love him, however, Joe decides to return to Alaska. Unfortunately, the boys are suspected of murdering Joe, and they end up accompanying him. Upon arriving in Alaska, they find themselves walking into danger, as Joe is targeted by many of the townspeople, because he was once a local sheriff who had hanged many of their relatives. Also troubling is the fact that many of Joe's friends want him dead so that they can receive a large amount of gold from his will. Also interested is a saloon owner who wants to kill Joe so that he can gain a fortune. And along the way, Abbott & Costello get caught up in the situation.
As mentioned, the film is rather fast-paced. However, it features some very funny gags and sequences. There's a scene near the beginning where A&C keep an eye on Joe, by swapping places and sleeping, in which Abbott sleeps for two hours, and when Costello goes to sleep, Abbott sets a nearby clock forward two hours. There's also a sequence where Costello inadvertently wins a lot of money at Roulette, in which is talking to a lawyer, and whenever he names a number, the operator places his earnings on said number. And then, when he loses it, Costello, who is unaware of what happened, just shrugs it off like it's nothing. Another great moment involves Costello coming face to face with some crabs, as well as a scene where he and Abbott are fishing, and everything gets a little haywire.
Something else that's worth mentioning is that you might be surprised to see that this film is something of a throwback to Abbott & Costello's earlier films, as it contains two songs in it, both performed by Mitzi Green. However, I won't complain, because the music was legitimately good, and Mitzi Green was also rather lovely to watch, particularly in her second number, where she does a rather funny duet with Costello, which was something that didn't happen often in A&C's films, when one of them actually contributed to the music.
Ultimately, while Lost In Alaska is far from being among Abbott & Costello's best films, it's still a good film that has some very funny sequences in it. And, as I've said before, there's always something delightful about seeing Abbott & Costello get into the types of problems that they always find themselves in. Reiterating, the film is fast-paced, but such comedy can work if it's done right, and it was here, because when the gags do happen, they have a tendency to escalate, which is something that Abbott & Costello were perfect at.
Bud Abbott and Lou Costello Meet the Invisible Man (1951)
A Clever Comedy That's The Best Of Abbott & Costello's 1950's Output.
By the end of the 1940's, Abbott & Costello were starring in a few movies that featured their characters meeting various monsters that appeared in films released by Universal over the years. And while these films tended to be different from the typical Abbott & Costello formula, there's no denying that they were very inventive and clever, as this film showed, which is definitely among their more stellar and memorable outings, and undoubtedly their finest of their 1950's output.
Abbott & Costello Meet The Invisible is without a doubt the best of the films that the duo made in the 1950's. There have been some people I've known who have considered this to be among their favorite Abbott & Costello films, and that's something I can understand perfectly, because it's a brilliant and fun film. And as I said, it's a great departure from the type of films that they usually made. While I do enjoy the typical formula, it was nice to see a different type of film from one of the greatest comedy acts of all time.
The film opens with Abbott & Costello graduating from detective school, with Lou doing so because Bud "slipped them a few dollars." Afterwards, they are suddenly approached by Tommy Nelson, a boxer who is on the run from the law after being accused of murdering his manager after a fight, who thinks Bud and Lou can help him out. While Lou wants to help, Bud only wants to turn Tommy in for the reward. While visiting the home of his girlfriend (whose father is a scientist), the police arrive, and to avoid capture, Tommy injects himself with a serum that turns him invisible. Now, it becomes a race against time, a race for Bud (after being roped into helping Tommy) and Lou to help prove Tommy's innocence, and for the scientist to develop another serum to prevent Tommy from going off the deep end. The end result is an Abbott & Costello outing that tends to be ranked as among their most memorable.
Like I said, this film is different from the earlier Abbott & Costello films, because rather than focusing on many of their routines, the film relies primarily on sight gags. Probably one of the best moments involves a scene with Costello visiting a psychiatrist, and accidentally hypnotizes him during a hypnosis demonstration. There's also a great sequence in which Costello demonstrates his abilities at being a boxer, all while everyone else looks dumbfounded, as they are unaware that Lou has an invisible force helping him. There's also a hilarious sequence in a restaurant where Abbott & Costello are having dinner, but unfortunately, Tommy is with them, and naturally, he gets hungry, prompting Costello to grab the food away from him so that their waiter doesn't suspect anything. As mentioned, most of the humor consists of sight gags, all of which are helped buoyed not just by the performances of the cast, but also from some great visual effects.
In addition to Abbott & Costello, there's also some humor involving the supporting cast. One such example of that would be Arthur Franz, who plays Tommy Nelson, the boxer that A&C decide to help, but unfortunately, his actions while invisible sometimes tend to cause complications for the duo. William Frawley was hilarious as a detective on Nelson's trail, and who also gets into some spats with Costello over the idea of invisibility. There's also some big laughs from Paul Maxey, who plays the aforementioned psychiatrist that Costello ends up hypnotizing. So, while Abbott & Costello do provide a substantial amount of humor, there's also some great contributions from everyone else as well.
Ultimately, I can perfectly understand why this is some people's favorite Abbott & Costello film, because it certainly is one of their better efforts, as well as their best of the 1950's. In regards to the series where they meet various Universal Monsters, this one is second only to "Meet Frankenstein." Reiterating, this is definitely a film that Abbott & Costello fans will get a thrill with. In fact, I think that no matter who watches it, and what they're type of comedy is, there's something in here that they'll get a kick out of.
The Noose Hangs High (1948)
A Solid Abbott & Costello Entry That's Entertaining To See.
Throughout the 1940's, Abbott & Costello were the number one comedy act in the United States, in which they provided the country with much needed humor. During this time, they released around two dozen films, with some being more acclaimed than others. One of their lesser-known efforts is this film from 1948, which is something of a pity, because in my opinion, it's another one that certainly manages to be very funny.
The Noose Hangs High is another solid Abbott & Costello effort that's very entertaining to see. It's a frantic and fast-paced comedy that features the duo performing some of their best known routines, and also getting into some problems that they have to find a fast way out. The film shows that even after eight years and all the films they had released in that interval, Abbott & Costello still had the ability to produce laughter from the audience.
The film sounds like one's typical Abbott & Costello fare, but as mentioned, it's rather fast-paced. In the film, Abbott & Costello play a pair of window cleaners who find themselves in dire straits. More specifically, they are caught up in a situation involving a mobster and $50,000. After the money is mistakenly mailed to a woman who spends it on a new apartment, Abbott & Costello are given 36 hours to pay back the mobster, or face dire consequences. Naturally, the two of them must think fast to save themselves before it's too late, and of course, this turns out to be much harder than it sounds, especially with the fact that they are also trying to protect the woman who ended up with the money.
While the film doesn't rank among Abbott & Costello's best films, it's still a very funny experience. Some of the best moments include a scene near the beginning where Costello sees a rather unstable dentist in order to get a tooth pulled. There's also a rather hilarious variation of their "pack and unpack" routine, where Abbott contemplates whether or not they should escape while Costello puts his pants on and takes them off as instructed. There's also a recreation of the phone booth routine from Keep Em' Flying, which is still as funny this time around as it was in the aforementioned film. However, probably the funniest moment is a scene where the two of them are having dinner in a restaurant, and the two of them get into an argument over mustard. Another great moment involves the two of them making a bet with one of the mobsters over their present whereabouts, and it ends in way that's quite hilarious and different from how one would probably expect.
Something else that's interesting to notice, is, again, the fact that the movie is rather fast-paced in regards to the comedy, which is especially noticeable in the routines that are performed in this film. Frantic comedy can work if it's done right, and it was here. One thing I've noticed in many of their films, is that Abbott & Costello were masters of performing that type of comedy, which is one of the reasons why their routines are always fun to watch. This is simply my opinion, but I could watch them perform the same routines several times over and not get tired of them, which is a testament to how such comedy can still be as funny now as it was then.
In conclusion, the film may not be considered to be one of the best Abbott & Costello efforts, but nevertheless, it's still a funny movie that's worth every minute of its length, and as also stated, it's proof that the two of them still had it in them even after all the movies they had made up to this point. Though some might be surprised at how frantic the film gets in certain intervals, it wouldn't be detrimental to them if they were to see it.
Hit the Ice (1943)
A Rather Enjoyable And Fast-Paced Abbott & Costello Outing.
By the beginning of 1943, it was safe to say that Abbott and Costello had definitely hit their stride with the fact that they basically made themselves into Universal's top box office attractions, and it's rather easy to see why, as many of their movies were hilarious. Among the movies they made this year was this effort, which like the other films released in said year, is very funny.
Hit The Ice is another Abbott and Costello effort that manages to bring out the laughs as a result of the hilarious situations that the duo get themselves into. While I wouldn't consider it to be among their best efforts (such as Hold That Ghost and Abbott & Costello Meet Frankenstein), it still is effective in bringing out the laughs, as there are some big ones to be found here.
In this film, Abbott & Costello play a pair of photographers who get on the wrong end of a bank robbery. Things go from bad to worse when the police believe that they are the ones who robbed the bank, which ultimately prompts the two of them end up having to flee to a ski resort, where the real criminals are hiding out, who in turn, suspect Abbott & Costello of trying to frame them. All the while, the duo get into some rather funny situations, while Costello also tries to impress a singer that he's fallen in love with. All of this combine to make an Abbott & Costello outing that makes another success for the comedic duo.
As I said, I wouldn't rank this as being among the best of Abbott & Costello's output, but nevertheless, it still succeeds in doing what it's meant to do, which is provide laughter. There are many scenes in this film that definitely had me laughing. Near the beginning, there's a scene where Abbott & Costello try to avoid getting arrested by having the former carry the latter out of a bank on a stretcher, except that that doesn't happen, as someone steps on the covering over Costello to reveal that Costello is walking, but put his shoes on two poles to make it look like he was injured. It also features some of their classic routines, such as "Pack and Unpack", as well as a routine involving Costello pretending to play a piano to impress a woman he loves. There's also a hilarious scene where they sneak onto a train by pretending to be members of a band, with Abbott saying "Third Bass" and Costello saying "Shortstop."
And, as with some of the other films that Abbott & Costello made in the 1940's, there's some songs featured in the film, with the music primarily being performed by Ginny Simms, as well as Johnny Long and his Orchestra. One common criticism that these films received is that the musical numbers seemed to have been shoehorned in simply to add to the film's length. Personally, as I've said in some of my other Abbott & Costello reviews, I don't mind them at all, because if the musical numbers are genuinely good, then it would be a pleasure to hear them. There's also one that plays during a rather hilarious scene where Costello struggles to ice skate, which makes the scene rather fun due to the music, as well as Costello's attempts at skating.
On the large scale, Hit The Ice is another Abbott & Costello effort that features the two of them in fine form for comedy. Like I said, it may not rank among the duo's best, but it still has the capability of producing quality entertainment that will certainly make the audience laugh. If you like old comedy, as well as Abbott & Costello, then it wouldn't be detrimental if you were to watch this film, because it makes for a very good time. And above all, it's always funny to see Abbott & Costello get themselves into tough situations and then have difficulty trying to get themselves out.
A Dangerous Profession (1949)
An Entertaining Noir That Raft Manages To Carry Almost Singlehandedly.
Even though George Raft had a considerable abundance of talent as an actor, the same couldn't exactly be said in regards to his judgment. More specifically, he had a tendency to turn down many roles that other actors would end up taking, with many of Humphrey Bogart's most famous roles being perfect instances. Nevertheless, even when his career had mostly shifted towards B-movies, Raft was still able to make the most with what he had to work with. One of those films was this noir from 1949, in which Raft manages to carry almost singlehandedly.
A Dangerous Profession is an interesting noir that makes for an entertaining experience. Unlike other film noirs, this one doesn't exactly have the type of action usually associated with the genre, so some might be disappointed if they were expecting to see such elements. Instead, it's mostly driven by the actors and how they interact in the film. With that said, the movie is still worth seeing, and manages to rather effectively utilize what it has.
The film tells the story of bail bondsmen, with one of them being Vince Kane, who became one after leaving his previous profession as a police detective. One day, he receives a visit from a woman named Lucy Brackett, who requests that he help bail out her husband, Claude, whose bail is set at a large sum of $25,000. To his surprise, he sees that this woman in question is an old lover of his. After some initially reluctance, he ultimately contributes to the bail and before long, Lucy's husband is released. Shortly thereafter, Claude goes missing and eventually turns up dead. Upon finding out, Vince decides to basically return to his old profession and investigate on his own. However, this creates a few tensions with the police, who try to remind him repeatedly that he's out of his depth. What ultimately follows makes for noir film that proves to be engaging, with the contributions from the actors being the primary driving force.
As mentioned previously, George Raft makes the most of what he works with in this film. Much like some of the other films he was in at this stage of his career, his performance might seem on the low-key side, however, it works because it fits with the type of character he's playing, one who might seem cynical, but when things go south, he steps up to the challenge, showing the tough guy characteristics that he became known for during the 1930's. Something else that's interesting to point out is that while there are some exciting moments in the film, it focuses more on the interactions of the characters. While the film could have used some more action and scenes of excitement to it, that isn't to say that the focus on the characters was a detriment, because I did find many of their interactions to be engaging, such as whenever George Raft is interacting with Ella Rains.
In addition to Raft, the other actors in the film also manage to put forth some effective efforts. Ella Rains was a pleasure to watch, in which she plays Raft's ex-fiancée, who seems to be torn between her husband and the fact that she's still in love with Raft. While she and Raft do have some scenes of tension together, there are also a few scenes where they show genuine chemistry. Pat O'Brien was also effective, in which he plays Raft's partner in the bonds business. A rather pleasant surprise was the performance of Jim Backus, as a police lieutenant who has a few spats with Raft over the latter's actions, particularly when Raft decides to start investigating the death of his client. Ultimately, while George Raft might be the main star here, the rest of the cast manage to also make the most with what they have to work with.
To reiterate, A Dangerous Profession is an interesting noir picture that is worth seeing, if nothing else, for the performances of the cast. Had George Raft not had such poor judgement and turned down many roles that would become some of the most famous in film history, one can only imagine what his career would've been like. However, even if he did mostly become a secondary actor in the later stage of his career, Raft still was usually great in the roles that he ended up playing, as he still had the skills to carry a film.
Special Agent (1935)
A Rather Entertaining Gangster Film Bouyed By Effective Efforts From A Talented Lineup.
The 1930's were a productive time for Warner Bros., which was primarily the result of producing a high number of quality gangster and crime films, which usually tended to feature a big assortment of talent. One such film was this 1935 effort, which is heavily influenced by the case of notorious gangster Al Capone. The film might seem rather typical for the usual format that these Warner Bros. Pictures tended to follow, but even with that said, there's no denying that it's very entertaining.
Special Agent is a fast-paced but rather engaging gangster picture. While it might seem to be a standard effort in regards to the formula that such films usually applied, it has enough to make it stand out from some of the others. In addition to that, it also has just about everything that made these types of films worth seeing. With an interesting story, a talented cast, and some effective directing, this film manages to be another good entry in the studio's gangster series.
The film tells the story of a gangster based heavily on Al Capone. Alexander Carston is a crime kingpin who nobody can seem to touch, with his power seemingly being impenetrable. The Federal Government has been doing everything they can to bring him down, but try as they might, they can't seem to do anything about it. Before long, a newspaper reported named Bill Bradford is deputized as a treasury agent by the Interval Revenue Bureau to uncover enough evidence so that Carston can be hit with a charge of tax evasion. In order to do this, he has to infiltrate Carston's organization to achieve cooperation with Julie Gardner, Carston's bookkeeper, the only one who has access to Carston's records. What ultimately results is an effective crime drama that is rather different from the usual Warner Bros. Formula, but that is in no idea a detraction.
Compared to some of the other Warner Bros. Gangster films, this one is rather novel, because it doesn't have that much violence in it (although when it does, it does get rather violent). Instead, the film focuses more on the writing and the interactions with the characters. One of the best moments in the film involves Carston giving a speech of Bradford, in which he smugly gloats that somebody like him is above the law, and that no matter how hard the Feds try, they will never be able to convict him. However, there are some violent scenes in the film, such as moment where some of Carston's goons kill somebody who is going to be testifying against him, and in the process, they also kill a few bystanders who happened to be nearby. There's also the climax, which while brief, gets rather intense as the Fed close in one some more of Carston's minions.
The film also benefits from the fact that, par for the course for a film like this, the acting is great. George Brent gives a very good performance as the reporter turned agent who is tasked with bringing down Carston. Brent brings a sense of charm to his role that makes him easy to admire and hopeful that he will succeed in his objective. The always great Bette Davis is as usual, an absolute joy to see, with her having a tendency to steal the audience's attention whenever she's in front of the camera, not to mention that some of her interactions with Brent were rather delightful. Ricardo Cortez was positively brilliant as the Al Capone-esque Carston, a slimy and smarmy gangster who is lowkey, but nevertheless, extremely ruthless. Henry O'Neil put in a solid effort as the DA who recruits Brent for the task of getting Carston, with him having a sense of determination that shows he's quite confident that Brent's character will be the one to do it. Ultimately, as one would expect from a film like this one, the cast manages to utilize their talents to a positive effect.
To reiterate, Special Agent is a rather entertaining film that makes for another solid entry in the Warner Bros. Gangster repertoire. While the film might be less violent than some of the similar films of the era, it does get rather dark at certain intervals, and in other intervals, it manages to play up the more suspenseful elements. Furthermore, it's also worth seeing to see a talented lineup bringing out their talents.
Black Legion (1937)
A Bold Film That's One Of The Darkest Of Humphrey Bogart's Career.
Prior to becoming one of Hollywood's top stars in the 1940's, Humphrey Bogart established himself as one of the top actors among the alumni at Warner Bros. During the 1930's. As a result of this, he would appear in numerous pictures for them, in a variety of roles, with most of them involving him playing the tough type. However, in 1937, he would appear in a film that would make for a role that would be both one of his most unusual, and in addition to that, one of his darkest.
Black Legion is a very grim film, and when I say that, I don't mean that it's terrible, because it's actually a good film. However, it's grim in the way that it divulges into a substance that's always a complicated subject, xenophobia. On that subject, this film doesn't pull punches in regards to its approach. It would've been easy for it to become a heavy-handed film that preaches "racism is bad", but it's presented in a way that makes it feel genuinely frightening and unsettling. In other words, it is far different from the majority of the gangster films that Warner Bros. Produced during the decade, and one of the boldest at that.
Humphrey Bogart stars in a rather uncharacteristic role. Instead of the usual assertive role that he played during this era, he's a contemptible jerk, and one that's also cowardly. His character is Frank Taylor, a man who works in a factory somewhere in the Midwestern United States. When a promotion to the position of foreman becomes available, Frank is quite certain that he'll receive it. Unfortunately, his hopes are dashed when the one who does receive it is a hardworking Polish-American, who did deserve it. Frank is left seeing red, and shortly thereafter, he leaps at the opportunity to join a local gang known as the Black Legion. The Legion isn't just any type of gang, they're a hate group that specializes in terrorizing foreigners. As to what happens afterwards, the answer resides in a rather bold and daring film that's one of the darkest films released by Warner Bros. During the entirety of the 1930's.
As previously mentioned, this film is rather uneasy to watch, not because it's a bad film, but because of how dark and disturbing it gets. The titular legion is clearly inspired by the real Black Legion, as well as the KKK, with their outfits strongly resembling the robs that said Klan are usually seen wearing. The acts of violence that the Legion commits are also extremely unsettling, such as a scene where they torch the property of the Polish-American who won the promotion over Bogart, as well as a scene where they tie an Irish-American to a tree before they proceed to flog him. It's also rather terrifying to see how easily some of the members are recruited, which includes a moment where Bogart asks one of his co-workers to join the Legion. On an interesting subject, there supposedly was an intention to portray some of the political influence that actual Legion possessed, but this had to be downplayed to avoid legal repercussions. While the film would've been more effective had those been featured, that doesn't at all detract from the effectiveness of the message.
In addition to the powerful message the film conveys, the film is buoyed by the acting. In a very atypical role, Bogart is stellar as the pathetic and cowardly individual who doesn't look before he leaps in joining the Legion, and by the time he finally realizes his errors, it might be too late. It was rather chilling to see how he transitioned from someone who cared about his family and friends to becoming someone who is in so deep, he doesn't recognize himself. Dick Foran also stands out as the sympathetic friend of Bogart's, who becomes suspicious about some of his activities, only to have tragedy befall him. Ann Sheridan was great in her role as Foran's wife, who likewise, is sympathetic and easy to feel sorry for when she's stricken by tragedy. Erin O'Brien-Moore was similarly great as Bogart's wife, who also suffers as the result of her husband's disastrous actions.
To reiterate, Black Legion is a powerful film that's the one of (if not the) grimmest of the films that Warner Bros. Released during the 1930's. While the studio primarily dealt with crime drama, with most of them being gangster pictures, this one is a standout because it deals with a subject that many studios at the time were hesitant to touch. Even if the film's message might come off as preachy to a few, it's nevertheless, a very important message. It states that as Americans (natural and foreign alike), we all have liberties and rights, including rights to opportunity, and we should never take them for granted. The story of Frank Taylor is the type of story that we should remember, as an admonitory narrative to those who considering undertaking the route that he turned on.
The Mortal Storm (1940)
A Powerful And Emotional Film That Hitler Despised.
Even through there were numerous Anti-Nazi films made before and during World War II, there have been none quite so bold as this effort from 1940. This film is very notable for the fact that Adolf Hitler absolutely despised it to the point that he not only banned it in Germany, but he also banned all films from MGM for that matter. Such actions are testament to how powerful the film is, it's a film that dared to tell the truth about what the Nazis were truly capable of, one that was certainly brave for the time period.
The Mortal Storm is a powerful and emotional experience that is at times, very gut-wrenching to watch. Combined with masterful acting and a message for the ages, the film is one of the most powerful anti-Nazi films ever made. While the film takes a stance against the Nazis, it is surprisingly, free of propaganda, as it instead accurately depicts the actions that they were capable of doing prior to the start of the war.
The film tells the story of how totalitarianism can divide even the happiest of individuals. James Stewart plays Martin Breitner, a man who is friends with the family of Viktor Roth, a professor who teaches science classes at a university in Germany. On the evening of the professor's 60th birthday, Breitner is attending a celebration for him with his family, where everything is idyllic. Unfortunately, everything takes a sudden turn with the announcement that Adolf Hitler has taken power. It isn't long before the family finds itself divided when his steps sons, Otto and Erich join the Nazis, while his daughter, Freya, becomes worried about how non-Aryans will be affected, and Martin ends up getting entangled in the turmoil. As the film progresses, the Nazi influence takes a firm grip and Martin finds himself targeted by his former friends for his beliefs of free-thinking. The end result is what is the best anti-Nazi film released during the 1940's.
In addition to the powerful message that the film has, the acting is incredibly superb. James Stewart delivers a shining performance as someone who believes in the right to think freely, and. Margaret Sullavan was simply outstanding, delivering one of her best performances. Her abilities showed whenever she's on the verge of emotion, because the way she does it, one can almost feel her anguish. Robert Young was chilling in a role that was rather uncharacteristic for his usually "nice guy" persona, in which he plays someone who starts off as a very decent individual, but quickly becomes overtaken by the Nazi influence. The same goes for Robert Stack and William T. Orr, who play the brothers of Sullavan, both of who also start out as good people, but quickly turn into Nazis. Frank Morgan in what is probably his best role, plays the professor who also becomes a victim to the Nazi authority, in which his classes are boycotted, and his students participate in book burnings. All around, there wasn't a single performance in the film that felt out of place, as every single one of them made significant contributions to the film's effectiveness.
As also mentioned previously, the film is at times, almost too heart wrenching and bone-chilling to watch, particularly because of how accurately it portrays the type of influence that the Nazis had. It shows how easy it is for average and decent people to become monsters within the span of 24 hours, and is both frightening and gut-wrenching in every sense. One notable scene involves Professor Roth heading into his class where he finds that all of his rather fair-minded students are now wearing uniforms and call for boycotts of his class when he dares to challenge the idea of racial purity. There's also a scene where a friend of Martin's finds himself bullied by Nazis at an inn because he doesn't sing a patriotic anthem with them. There's nothing cliched or comedic about any of the actions that the Nazis perform in the film, instead, it's very disturbing. Most importantly, it's also disturbing at how very much like in reality, how even the happiest of friends and family can be torn apart by such ideologies, which also reflects just how frightening it was that the Nazis could be that influential.
Ultimately, it is very easy to see and understand why Hitler hated this film, because it dared to be courageous. It's courageous in the fact that it shows that people didn't start off as Nazis, instead, they started off as regular individuals who unfortunately allowed themselves to be corrupted by such a disturbingly powerful influence, which is something that could ultimately happen again in the future. In the end, The Mortal Storm is a moving and powerful film that contains a message for all of us, a message that tells us to beware of the power of corrupting influences, and to never forget the rights we have even in our darkest hours, or should I say, the darkest storm.
Make Way for Tomorrow (1937)
A Tearjerker That's One Of The Most Emotional Films In The History Of Hollywood.
When Leo McCarey won the Academy Award For Best Director for The Awful Truth, he famously said that while he accepted the award, he felt that they gave it to him for the wrong film. When he said that, the film he had wanted to win the award for was this film, which he considered to be the best of his entire filmography. After seeing it, I can agree why he had such a sentiment, because the only way to describe this film is that it's, for lack of a better word, perfect. It should also be mentioned that Orson Welles said that this film could "make a stone cry." When such a statement is made by someone such as him, then that is among the highest praise imaginable.
Make Way For Tomorrow is (at least in my opinion) the best film that Leo McCarey ever made, it's a powerful and emotional experience that is impossible for one to keep a dry eye while watching it. This is a film that I honestly can't think of anything negative to say about it, as everything in regards to it is perfect, the acting, the directing, the score, the writing, the cinematography, everything. Prior to watching this, I had been expecting it to be a good film, but I didn't think I would be moved by it the way I was, and yes, I didn't keep a dry eye during the course of it.
The film tells the story of an elderly couple who find themselves evicted from their home, and then experience further hardships when none of their children will take in both of them, and as a result they are forced to live hundreds of miles away from each other. Eventually, when the old man has to live in California because of his health, he and his wife decide to spend one last day with each other without their children. Throughout the course of the film, the viewer will hope that somehow things will get better, but the chances are that they probably won't. All of this is told in what is definitely one of the saddest films to every come out of Hollywood.
As I said in the second paragraph, what make this film so powerful is the performances from the actors, particularly from the ones playing the elderly couple, Victor Moore and Beulah Bondi. Those two could not have been any better than the where, as the way they acted, you could fully understand the situation of their characters. Also, their relationship is so touching and moving that you really want things to get better for them, but unfortunately, they don't. Probably the most moving moment for me is when the two of them are having their last day together, and they receive various acts of kindness from the people they interact with. That was very moving, as it felt as if they were aware of their situation and decided to help them have a good time before the end. Their children are also perfectly casted, particularly Thomas Mitchell, who the mother views as her favorite son. There's also an outstanding supporting performance from Maurice Moscovitch as a Jewish shopkeeper who becomes a friend to Victor Moore's character. I particularly enjoyed their reactions, because of how they obviously were friends, and as a result, the scenes were made all the more heartwarming.
I also said that this movie is unlikely to have viewers keeping a dry eye, and that's true, as this is movie can get rather merciless at times, I'm not saying that it's too gut-wrenching to watch (like The Elephant Man or All Quiet On The Western Front), but it will probably leave you with a strong feeling of sadness by the time it's over. And on a side note, Leo McCarey was put under pressure by the studio to add some moments that were more lighthearted so that the film wouldn't be so downbeat. However, rather than give in to the pressure, he held his ground and stuck with his original vision. And I'm glad that he stuck with that vision, as the result we got was a timeless classic.
Should you watch this movie? Yes, you should, because it's outstanding, however, as I've said several times in this review, you should be warned that like me, you will probably be left with a strong feeling of sadness by the time the film ends. Also, Leo McCarey considered this to be the best of all the films he made, and that is a statement that I can agree with, as it's a flawless film that is the work of a master. Make Way For Tomorrow is an example of filmmaking at its finest, and it's also one that tends to get overlooked, which is a pity as many films usually don't get any better than this.
Dodsworth (1936)
A Film Perfected With Paramount Elegance. William Wyler's First Great Picture.
While there have been many directors from the Golden Era of Hollywood that are held in high regard, there are none that are quite like William Wyler. In addition to being a master of his skills, Wyler had a flair for both character development, and bringing out the talent from those who portrayed them. One instance of that would be this film from 1936, a film that would earn him his first of 12 Oscar Nominations for Best Director, which would be a sign of the further greatness to come, because this is a film that is directed with the utmost class and elegance, which are the characteristics of a master.
Dodsworth is a cinematic treasure that is definitely one of the best of the unsung classics of the 1930's. As a result of the many great films that came out in the decade, this one has a tendency to get overlooked, which is unfortunate, since it's a film that in just about every way imaginable, is perfect. Furthermore, it's also one of the most genuine films that I've seen, because the story is executed in a way that it feels real, with all of the characters in the film feeling like real people, instead of the standard Hollywood image of what it considered to be real.
Adapted from Sinclair Lewis' novel of the same name, the film is the story of Samuel Dodsworth, a millionaire who has just sold his auto company in preparation for retirement. At one point, his wife Fran persuades him to go with her on a tour of Europe. Along the way, Dodsworth soon finds that while money can buy many things, it can't buy happiness. His wife feels trapped as a result of their boring social life, and wants to take this trip to find sophistication and allure, without giving regards to her husband's wishes. While in Europe, she deserts him and eventually begins a relationship with an impecunious baron. Distraught, Dodsworth meets a young divorcee named Edith Cortright, who sympathizes with his desires to expand his horizons. What follows is a wonderful and very lifelike film that explores the idea of coming to terms with age and taking happiness where one can find it.
As I previously mentioned, William Wyler had an ability for character development. In this film, all of the characters are memorable and at least serve some purpose for the story. Samuel Dodsworth is a very sympathetic character, one who some can easily identify with. His wife, Fran, is particularly interesting, she's stubborn and refuses to come with the terms of aging, which is why she ends up deserting her husband, who has loved her for twenty years. Even after she begs for forgiveness, she can't bring herself to abandon her desire to remain young. While Fran is rather pathetic, she's more tragically pathetic, she's someone who sacrifices everything she loves to try to cling on to her youth. Unfortunately, this is something that we all have to accept at one point or another, that as time goes on, age catches up with us, and while we may want to relieve the glory days, it's impossible to return to them, and we must find happiness in the future. Edith is also a great character, with her providing Dodsworth with the happiness he seeks in his later stage of life. Their interactions are genuinely heartfelt and are capable of inducing both joy and sadness, especially as Dodsworth realizes that, Edith is the one for him and not Fran.
And, in typical Wyler fashion, the actors utilize their talents to perfection. Walter Huston gives what is probably his best role (after his performance in The Treasure Of The Sierra Madre) as the man who tries to find joy, but learns that he and his wife both want something different in life. Huston has a sense of naturalness that makes his character extremely relatable and one that's easy to get involved with. Mary Astor is delightful as the divorcee who provides Dodsworth with the joy he's looking for, in which she has a bountiful amount of chemistry with Huston. Ruth Chatterton is incredible as Dodsworth's self-centered and snobbish wife, who, as I mentioned, who plays her character in a way that she comes off as both egocentric and sympathetic at the same time. David Niven has a short but memorable role as a an Englishman who tries to court Fran. There's also an extremely memorable scene involving Maria Ouspenskay, who plays the mother of a baron, who is someone that Fran falls in love with in her search for youth. While she's only onscreen for this scene, Ouspenskay makes her effort very effective, in which she calmly but firmly shatters Fran's ambitions in one fell swoop.
To reiterate, Dodsworth is a stupendous film that is filled with passion and class. Directed with paramount elegance, this would be a sign that there would be more greatness for William Wyler, who would eventually go on to become one of the greatest directors in film history. One of the reasons why the film still works after all these years, is the message it contains. More specifically, the film teaches us that while we may long for the days when we were young, it's impossible to return to them. However, that doesn't mean we won't be able to find happiness in what lies ahead. In fact, there is a high possibility that one will find happiness and enjoyment in life, if they're willing to look for it.
A Slight Case of Murder (1938)
A Great Showcase Of Robinson's Comedic Talents. Funny And Brilliant.
While he's definitely known for his roles in gangster pictures, Edward G. Robinson also had a talent for comedy, which he was able to showcase in The Little Giant. He would perform a similar role in this effort from 1938, which brings his comedic talents upfront, and shows just how truly versatile he was. It's also worth mentioning that the idea of a gangster comedy might seem far-fetched, but it worked very well here, with the film having some moments that would not be embellishing if you were to say that they were sidesplittingly funny.
A Slight Case Of Murder is a fast-paced and exceptionally funny gangster comedy that showcases Robinson's comedic talents. It's a witty, clever, brilliant, and delightful film that makes for one of the more memorable gangster films from Warner Bros. During the 1930's. During said decade, Warner Bros. Was the studio to go to for gangster films, with said studio releasing many films in that specific genre. Some are more memorable than others, with one of the more memorable ones being this film, primarily because it isn't exactly typical for the genre, as it's one that is genuinely funny.
The film is the comedic narrative of someone who desires to earn an honest living, all while trouble is always close at hand. More specifically, it's the story of Remy Marco, a gangster who previously made a name for himself during Prohibition, where he ran a bootlegging empire. However, times have changed, as alcohol has been legalized. With Prohibition over, Marco decides to go straight and turn his brewery into a legitimate business, but trying to market the same beer that he made while a bootlegger proves to be unsuccessful. He also seems to be a magnet for mishaps, with many problems happening around him, problems that he had not involvement with, but considering the type of person he is, he's likely to receive blame, especially in regards to four corpses that are found in the home that he's hosting a party in, where his daughter is engaged to a state policeman. He tries his hardest to avoid such complications, but the troubles keep on coming in this exceptionally delightful comedy that makes for one of Robinson's most brilliant roles.
There are many laughs to be seen throughout the film's length. Several times over, does Robinson do his best to go straight, but finds that trying to lead an honest life is difficult, as he is out of his depth. As mentioned previously, although he's innocent, trouble is never far behind, as many misfortunes happen at his expense. This easily could've been played as a drama; however, it's handled in a way that it's actually funny to see, with the many otherwise serious elements being played in a way that makes it delightful to see. The film also benefits from the fact that Robinson's character is very likeable, one that is purely a victim of circumstance, in which he's trying his best to go straight, but finds that it's far harder than it sounds.
Naturally, the cast is all a pleasure to see. As I've mentioned before, Robinson is a pure delight, with his comedic abilities being on full display here, in which he manages to elicit an abundance of laughs with his timing and delivery. He was very convincing as someone who tries to go legit, but it's something that he's unprepared for, especially when he's a magnet for trouble. Willard Parker was also very funny in his role as the state policeman that Robinson's daughter is going to marry, in which he seems almost as out of his depth as a policeman as Robinson does as someone trying to be legit. Not to mention that some of his interactions with Robinson's daughter were both funny and endearing. Ultimately, while Robinson was great as always, he definitely had some other actors with considerable comedic talents to support him.
To reiterate, A Slight Case Of Murder is a very delightful comedy that makes for one of Edward G. Robinson's most novel roles, as well as one of the more memorable Warner Bros. Gangster films of the 1930's. As previously stated, it would normally be very difficult to pull off a convincing gangster comedy, but this one worked perfectly. In fact, this one is similar to two other great films that Robinson appeared in, Brother Orchid and Larceny Inc., in which he also played roles that blended some drama with comedy. Robinson should've taken more roles like this one, because his efforts here showed, he had a seemingly natural talent for comedy.
How Green Was My Valley (1941)
John Ford's Gift To The Audience. A Film With The Utmost Humanity And Passion.
This is a film that many people very quickly dismiss, with many of them referring to it as "that film that beat Citizen Kane." While there's no denying that Citizen Kane deserves its reputation as one of the greatest movies of all time, that does not mean that one should completely ignore this film. As a matter of fact, this film is great in its own right, and it certainly qualifies as being probably the best film from one of the greatest directors in cinematic history, John Ford.
How Green Was My Valley is a stupendous film, it's a powerful experience that's filled with heart, and is one of the most genuine and lifelike films that I've ever seen. John Ford was known for his abilities to tell a compelling story, but he took that to a high echelon with this film, which as I said, is probably his finest film. Perhaps if this film wouldn't have been released the same year as Citizen Kane, then maybe there wouldn't have been any arguments over it winning Best Picture, because in its own right, it's a beautiful film that represents John Ford at the peak of his creative zenith.
The film is told primarily through flashback, in which a man by the name of Huw Morgan narrates the film by telling the story of his life growing up in a mining town in Wales. As the youngest member of his family, everything at first seems idyllic for Huw. However, as he gets older, severe hardships arise and the family begins to experience a series of tragedies. While the film does have some lighthearted moments in it, it's one that doesn't pull punches in regards to the emotional feelings, because it's unlikely that one will be able to keep a dry eye while watching it. The film is an emotional experience that plays up the realism as it explores the challenges of becoming older and accepting the consequences of fate. And while we may not want to admit it, it's something that we will all probably have to face at one point.
It would be not an overestimation to say that John Ford outshined himself with this film, because this is proof of what a masterful filmmaker he truly was. In what would bring him his third Oscar for Best Director, he brings everything to life in a way that makes everything very lifelike. The same goes for the characters, who are all portrayed in a very realistic manner that makes them relatable and worth caring about, which will also increase the emotional factor whenever something unfortunate happens to them. Even the secondary characters have life to them, and are worth investing in. It should also be mentioned that despite how emotional the film can get, there are some lighthearted moments as well. One of the best scenes involves two friends of the Morgan family who pay a visit to Huw's school after he was beaten by his sadist of a teacher. In the scene that follows, they demonstrate to the class who to be a boxer, which involves them beating up the teacher. This scene doubled as satisfying, because the teacher deserved it, and it was also funny, because the class seemed very amused by it.
Not to mention that the acting is among the finest that one would probably see from a Hollywood classic. Roddy McDowell gives one of the best performances from any child actor that I've ever seen in any film. In an Oscar-winning role, Donald Crisp is astounding as the patriarch of the family, who brings a sense of dignity and strength to his character. Walter Pidgeon shines as a traveling minister who raises a stir when he becomes attracted to Maureen O'Hara's character, as well as a mentor to Huw. There's one scene in particular in which he helps Huw relearn how to walk after the latter lost his ability to do so after falling into a frozen river, which culminates in a scene that's both heartwarming and touching to see. O'Hara was also sublime, particularly in her interactions with Pidgeon, as well as a scene near the end where she and Huw have a genuinely heartfelt moment, which is at the same time, endearing and rather poignant. All of these performances were brought to life as a result of Ford's sublime directing, who directs the film with the expertise of a master.
Is this film better than Citizen Kane? Maybe not, but nevertheless, it's unfair to deride the film simply because it won Best Picture over a film that is universally regarded as the greatest of all time. In fact, Orson Welles once said that his three favorite directors were "John Ford, John Ford, and John Ford", so in a way, perhaps it was appropriate that this film did win the award. As I said before, How Green Was My Valley is outstanding on its own terms, and should not be misjudged because it won over a revered film such as Citizen Kane. As I also mentioned, had it come out any other year, there probably wouldn't have been any objections to it winning Best Picture. What might ultimately be the reason for the film winning such an honor is the fact that it's John Ford's gift to us all, a film that's directed with the utmost passion and humanity.
Frau im Mond (1929)
Fritz Lang's Final Silent Is A Dazzling Film Of Astral Proportions.
In 1929, Fritz Lang would direct what would ultimately be his final silent film, and it would be a film that would be "out of this world", and in more ways than one. More specifically, the film deals with a concept that might seem rather unusual for the late 1920's, space travel. And for what would mark the end of an era for the master director, Lang would make what is probably one of the most visually stunning films to ever exist in the history of cinema, a film that is of astral proportions.
Woman In The Moon is an excellent film that marks the perfect swansong to Fritz Lang's silent films. It's an astonishing and enthralling experience that makes for one of the most dazzling silent experiences that one might see. One aspect that was definitely surprising in regards to the film, was the fact that it was rather scientifically accurate, and would feature many aspects that would become staples of the American space program during the space race. However, there's more to the film than just the visual effects and scientific aspects, there's also something that's a staple of a Fritz Lang silent, it has a very engaging story which is buoyed by great acting.
The film combines science fiction with some elements of espionage and other elements found in Lang's silent films. The film tells the story of Helius, an entrepreneur who is fascinated with space travel. He also happens to be friends with a professor named Manfeldt, who believes that there might be gold on the moon. While Manfeldt's views are ridiculed by others, Helius seems rather taken in by it, since he's planning a lunar expedition. Unfortunately, there's also someone else who is interested in Manfeldt's work. More specifically, it's a group of corrupt business executives who send a spy to infiltrate to expedition and eliminate those involved to claim a mass amount of gold for themselves. The stakes are high, as only one party will emerge victorious. Which one will it be? The answer lies in a film that's both ahead of its time, and out of this world.
As mentioned, in addition to the sci-fi, there's also some espionage and suspense involved, which make the film even more engaging, which further benefits from the fact that the acting is incredible. Willy Fristch is superb in the lead role, in which he's a very likeable and strong protagonist. Gerda Maurus was a pleasure to watch as Helius' love interest, with her having great chemistry with Fristch. Probably the best one in the film was Fritz Rasp, who is very sinister in his role as the man who calls himself Walter Turner. Though Mr. Turner is a villain, Rasp brings with him a certain charm that makes his performance very charismatic, and as a result, he has a tendency to steal attention from the audience whenever he's in front of the camera. While everyone in the cast did great work, the ones who stood out the most were Fristch and Maurus, as well as Gustav von Wangenheim and Klaus Pohl, and of course, Fritz Rasp.
However, what was especially astounding about the film was how plausible the film seemed. For a film that was made in 1929, the film looked very real in regards to the space elements. Lang actually worked with real scientists during the production of the film, and the work shows, particularly on the moon, which, while not entirely accurate, still looked incredibly realistic. There's also the scene where the rocket takes off from the launchpad, and the sequence is probably one of the most breathtaking sequences I've seen in any film, because for something that was just a model, I could have sworn that I was seeing an actually rocket taking off for outer space. This reinforces just what a great filmmaker Lang truly was, because even if some of his methods were rather questionable, one can't deny the fact that he certainly knew how to produce results, and what is in this film is further proof of that. In regards to the visuals, if you were to say that these are some of the best effects from any film, then you would not be wrong at all, because they are far better than most effects in today's films.
Reiterating, Woman In The Moon is a visually stunning delight that makes for another triumph from Fritz Lang. While the film would be the director's last silent, I don't think that he could've picked a better film to end the era with, because not only is the suspenseful and exciting, but it contains some of the best visual effects in any film, which in fact, are about as great as the ones in Metropolis. Ultimately, I believe that this is a film that should definitely be seen, because it's truly a gem of a film, and it's one that many could probably learn a lesson from in regards to how to dazzle the audience.
The Public Enemy (1931)
Cagney Excels In This Gangster Classic. One Of The Best Of Its Genre.
For cinema, 1931 was a year that was certainly a special one. Not only did the gangster genre become one of the most popular genres of the era, two actors who would become Hollywood legends would first make names for themselves, Edward G. Robinson and James Cagney. The former would star in Little Caeser, while the latter would star in this film, both of which are classics that would set the standards from the genre they represent, as well as the fact that they are both very entertaining films that can hold up to this day.
The Public Enemy is without a doubt a classic, it's a compelling and gripping film that is one of the best gangster films of all time. What's also great about it is the fact that it was quite a daring movie in itself, since it was capable of doing things that the Hays Code (which would be implemented a few years later) wouldn't have permitted. On top of all that, it features great acting from both Cagney and those who support him, as well as a great script and a solid directing effort from William Wellman.
The film tells the story of Tom Powers, an Irish-American who always had a troublesome side to him, which ultimately leads to him becoming a gangster during Prohibition. In addition to that, he also ends up becoming a ruthless individual who kills and steals as he rises through the criminal enterprises, and the deeper he goes, the more violent and ruthless he becomes. In the process, he also creates some tensions with his brother, who resents his turn to organized crime. However, despite his success, it's only a matter of time before it becomes apparent that Tom isn't as tough as he thinks he is. The end result is a film that represents one of the greatest films in the entirety of the gangster genre.
James Cagney stars in this film, which as I said in the opening paragraph, launched his career as a legend of Hollywood. He was stupendous throughout the film, in which he perfectly portrayed his character as someone who goes through various transitions of badness, to the point that he shows little if any regard for anyone else, and by the time he finally does realize that he might be in over his head, it might be too late. While Cagney commands the audience's attention whenever he's in front of the camera, the supporting cast also does very well. Donald Cook did great in his role as Tom's brother, who shows disdain for his brother's life of crime. I also enjoyed watching Edward Woods, who plays Tom's partner. Beryl Mercer was also quite delightful as Tom's mother, who is caught between the tensions between her sons. Joan Blondell and Jean Harlow also are very good as love interests of Woods and Cagney respectively. But as great as everyone else was, as I said, Cagney commanded the show here.
As I also mentioned before, this movie was considered to be very violent for its time. Probably the most notable scene involves Cagney wanting to break up with his first girlfriend because he's bored with her. So how does he do it? Easy, he presses half of a grapefruit against her face, which is definitely something that would never have happened under the Hays Code. I've seen that scene several times over, and each time, I always find myself absolutely impressed by the acting. At the same time however, the film also shows that what Tom Powers does in this film is not the sort of life that one should pursue, which can apply to various forms of criminal enterprise, which in many ways, can make the film just as relevant now as it was back in 1931.
I can definitely say with certainty that The Public Enemy is indeed a classic of cinema, it's one of the best in the gangster genre, and it's one of the best of James Cagney's career. Cagney is probably my favorite actor of the Golden Age of Hollywood, as he starred in several of my all time favorites, and by watching him in this film, it was easy to see why it launched him to stardom, because he was simply perfect in his role. It would not be a detriment if one were to see this film, not just because it's a great movie, but it's also the movie that helped catapult the career of one of the greatest actors in cinematic history. And it's also a movie that will tend to stay with whoever watches it, right down to (without spoiling it) one of the most memorable endings of probably any movie.
I Am a Fugitive from a Chain Gang (1932)
Powerful And Haunting. One Of The Darkest Films Of The 1930's.
During the early 1930's, it wasn't unusual for films to glorify gangsters and criminal activity. What was unusual, however, was a film to basically challenge the legal system, which was definitely an enterprising move for the time period. This film was up to task, and in many ways, it's still as relevant today as it was back in 1932, not to mention that it is also certainly one of the darkest films ever released by Warner Bros. During the decade.
I Am A Fugitive From A Chain Gang presents us with an interesting look at the justice system. Based on a true story, it's about a man who happens to be in the wrong place at the wrong time, and finds himself being abused by the system as he desperately tries to find a way out of his situation. And as the film progresses, his descent into hopelessness goes deeper and deeper, as he finds that there's no way he can truly escape the shackles that bind him, regardless of how hard he tries. And while we will probably end up hoping that things will miraculously work for him, we will see that there's no way out for him.
This film is a superb and powerful experience that will make one question about how the justice system works. As a matter of fact, one could say that this movie is inditing the justice system, as it shows not only how warped the system can be at times, but also the lengths that some will go to hide how warped it can be, and as some other people I know have said, it's the kind of movie that may make some people not want to place too much trust in a bureaucracy that to say is flawed is one of the biggest understatements that one could imagine. Think about that, one could place a lot of faith in the justice system to the point that they think it's perfect. But what about when there's a slipup? What about when that slipup is a miscarriage of justice? What about when the person that is affected by that miscarriage of justice is you, and try as you might, your words are meaningless? If that's the case, then you will definitely understand the story of James Allen.
Paul Muni leads the cast as James Allen, a World War I veteran who has returned from combat. Upon returning home he is told by his parents that he can return to his old job at a shoe factory that he worked at prior to the war. However, he's a changed man, and decides to go into engineering. After having a few unsuccessful attempts at getting a job around the eastern half of the country, he ends up going to a diner with an acquaintance of his. Unfortunately, he soon finds himself on the wrong end of a stickup, and is arrested and swiftly convicted. He's sentenced to hard labor in a chain gang, where he faces physical, emotional, and psychological torture. And what's more, is that you can feel the anguish that he's going through throughout his situation. Over the course of the film, one can empathize with Allen by just looking at him, and you can also feel the descending darkness and sense of despair that surrounds him, all while grasping a fading sense of hope that somehow, things will get better for him, and also while knowing that they won't. Out of all of the films he made, I say that this is probably Paul Muni's best performance. While he's usually outstanding in everything he is, this is hands down, the best film that Muni made, all the way down to one of the most haunting endings in the history of cinema.
There's also a great supporting cast, with the best supporting performance in this film being that of Edward Ellis, who plays Bomber Wells, a fellow convict who Allen befriends and eventually helps to hatch an escape attempt. Others include Glenda Farrell as Marie Woods, who takes advantage of Allen and blackmails him into a miserable marriage. Then there's Helen Vinson, who plays a woman named Helen, who tries to provide hope for Allen in his darkest hour. However, as I said before, while the entire cast does great with their roles, Paul Muni is hands down the best in the film. Also worth mention is that Mervyn Leroy's directing is sublime, in which he handles everything with the utmost expertise, and the end result is a film that ranks among the director's best works.
This film is what one may consider a wake-up call, not only to the flaws in the legal system, but also those who put too much support into it. Not to mention that it also serves as a cautionary tale to all of those who take personal freedoms for granted. I Am A Fugitive From A Chain Gang was made in 1932, and it still holds up to this day. In fact, one could argue that it's more important now than it was back then. This is a film that once you see it, you will probably never forget it, particularly the haunting ending. I won't say what it is, but there is a high probability that when you hear Paul Muni speak the film's final line of dialogue, it will send chills down your spine.
Der müde Tod (1921)
A Beautiful Film That Signals The Start Of Greatness For Fritz Lang.
Sometimes referred to as the "Master Of Darkness", Fritz Lang had a talent for taking German expressionism and elevating it to levels that are unparallel. With this effort from 1921, he began to polish the emotional and visual themes that would become staples of numerous films that he would make in the future. Furthermore, if there's one thing that this film would prove, it would prove that it was Destiny that Fritz Lang would end up becoming one of the greatest and most influential filmmakers in the history of cinema.
Destiny is a haunting and beautiful film that signals that first sign of greatness for Fritz Lang. It's an otherworldly, breathtaking, captivating, and moving experience brought to life by Lang in what would be his first truly great film. Filled with an excellent atmosphere and buoyed by an enthralling story, this film represents Lang's rising abilities as a filmmaker, as well as the pinnacle of his creative genius. In addition to that, it would also be, as mentioned before, a signal that he would be destined to achieve further greatness in cinematic history.
The film tells the story of how it's possible for love to be stronger than death. The story begins with a young romantic couple who are living their lives normally. However, everything takes a turn when the incarnation of Death arrives and takes the young man away, stating that his time is up. Distraught, the young woman confronts Death and pleads with him to return her lover to her. Although he states that what he does is simply his destiny, Death sympathizes with her and gives her an opportunity to save her husband. He'll return her husband to her, if in turn, she can use love to save one life that's hanging in balance. With three chances to save her love, the young woman is sent to three different time periods (The Middle East, Venice, and China) in order to fulfill her objective. While there, she experiences three separate stories of tragic romances. What ultimately happens is a film that would not be an overestimation to say is one of Lang's finest efforts, and even among the best German expressionist films ever made.
The film is stunning from a visual angle, with the effects being among the best from the era. Silent films were a paradise for German expressionist techniques, with Lang uses here to create something absolutely wonderful. An incredibly spectacular sequence involves a hall of candles, where Lang applies the aforementioned elements to create a dream atmosphere that is a visual masterpiece filled with surreal beauty and grace. Further elements are applied in other intervals in the film, which also contribute to it becoming an expressionist marvel. In addition, the film also benefits from its story, which, while rather downbeat, can also be extremely touching, although, since the romantic elements having a strong sense of poignancies to them, it's difficult to not get emotional. Without saying what happens, there's a strong possibility that the viewer won't be able to keep a dry eye by the time the ending comes around. Even though Lang used brutal methods in order to achieve the results he envisioned, the results speak for themselves, which are usually something dazzling. In fact, most of the visual themes that Lang would use in many of his other silent films can be linked directly back to this film, which remains one of the most enthralling efforts of his filmography.
Additionally, in usual Fritz Lang fashion, the actors utilize their talents to bring out some absolutely stupendous acting. Bernhard Goetzke gives probably the best effort of all of the films he appeared in, with his portrayal of Death being the most fascinating and interpretation of the character, someone who is very sympathetic towards the protagonist and doesn't exactly feel glee with what he does, but he must because it's his destiny. Lil Dagover gives probably the best performance of her career as the loving woman who is determined to reunite with her lover. Dagover portrays her character with a strong sense of care, compassion, and courage, which makes her easy to sympathize with. The efforts from some of the other actors are also noteworthy, particularly the always Rudolf Klein-Rogge, who proves to be a scene stealer in the time that he's in front of the camera. As a result of Lang's directing, the actors managed to use the best of their abilities. However, there's no doubt that Geotzke is the one who is the main driving force behind the film, in which it would not be wrong to say that his performance is one of the greatest of the entire silent film era.
To reiterate, Destiny is a positively brilliant and captivating silent that marks the beginning of greatness for Fritz Lang. Regardless of what one thinks of some of the way he treated the actors he directed, there's no denying that Lang knew how to get results, which are on full display in this captivating film. In numerous ways, the title of the film is extremely prophetic, as it seems that it was Destiny that Fritz Lang would earn himself a position as one of the masters of filmmaking, with this film being a sign of the greatness to come. Ultimately, Destiny is a visually stunning and hauntingly mesmerizing film that is very likely to remain with the audience, always.
Little Caesar (1931)
Edward G. Robinson Triumphs In A Gangster Classic That's One Of The Best Of Its Genre.
Little Caesar is famous, not just because of the star that it made, but because of the fact that it is one of the films that was responsible for launching one of the most influential genres in all of cinema, the gangster film genre. The film itself isn't very long (it clocks in at about 79 minutes long), but throughout the course of the film's length, the viewer will definitely see a film that's a classic, one that still manages to hold up even after nearly a century, and a film that usually is one of the first that one tends to bring up in discussions regarding the gangster genre.
Little Caesar is one of the best gangster films ever made, and it's a classic that still works to this day. It's a compelling look at how one can rise to the top of the echelons of organized crime, only to have it completely taken away in one fell swoop. Not to mention that this film is also responsible for making a star out of one of the most iconic actors of all time, Edward G. Robinson.
The film tells the story of Rico, a small-time hoodlum who grows up with his friend, Joe, who both have aspirations. However, their aspirations are both different. Joe's ambition is much more subtle, he wants to become a professional dancer. Rico, on the other hand, goes for something on the lines of the extreme, he wants to control all organized crime in the city, but whatever means necessary. As Rico's power grows, so does his ruthlessness, and eventually becomes someone who becomes so obsessed with power, that he shows no regard for anything else. What follows is a film that remains one of the best gangster films to ever come from Hollywood.
Edward G. Robinson became a star with this film, and upon seeing it, I can perfectly see why. He is superb at playing the utterly despicable hoodlum that is Rico. Robinson was always known more for playing the villain than the hero (a heroic example would be his role in Double Indemnity), and personally, I think the villain role suits him. In this film, he goes from bad to maniacal rather quickly, but he does it very convincingly, and as result, we end up with a very effective villain. Douglas Fairbanks Jr. Co-stars in the film as Rico's friend, Joe, who is torn between his friendship with Rico, and his desire to become a dancer, and be with his girlfriend, played by Glenda Farrell, who resents Rico. Then there's also another great supporting role from Thomas E. Jackson, who plays Flaherty, a police sergeant who is determined to bring down Rico. While the acting from everyone in the film is superb, there is no doubt that the best performance, hands down, is Robinson, who, pretty much became one of the codifiers for the 1930's movie gangster.
In the opening paragraph, I mentioned that the film isn't very long. However, in no way does it feel rushed or empty. Throughout the length of the film, we get to see an assortment of characters established, how their personalities unfold, and how the story affects them as it goes on. Normally, one would think that a film like this would have to be longer to effectively tell a story. However, I believe that this film did a fine job with its story and characters. And furthermore, if I do say so myself, I believe it told a better story than most of what is considered passable today.
It's also worth mentioning that at the same time Edward G. Robinson was making a name for himself in the gangster genre, another actor was doing the same, and that man was James Cagney, who appeared in The Public Enemy. Both of these films are excellent, and both showed how perfect Robinson and Cagney where at playing gangsters. However, what I think sets them apart, is their relation to others. In several of his gangster films, Cagney's characters, while at times, quite ruthless, still had others that they cared about. Edward G. Robinson however, his characters very seldomly had that. However, he does show it once, in this film, when he finds himself unable to kill his friend. Then after he and his partner flee, his partner is gunned down by police, yet Rico seems to brush it off with no qualms whatsoever. This transition from showing empathy to having a complete lack of it in such a short time shows how versatile Edward G. Robinson could be with a performance.
Is this film worth watching? Absolutely. It's worth watching not only if this is the kind of film you're interested in, but also because it's worth watching to see the role that helped establish Edward G. Robinson as a legend of cinema. Though, I must say, if you watch this film, there's a very good chance that you'll want to watch some other 1930's gangster classics. And if that happens, then that'll be a good thing, as there were plenty of classics released during this time.
Keep 'Em Flying (1941)
An Entertaining Sendoff To Abbott & Costello's Service Pictures.
This film was the final of the three service pictures that Abbott and Costello made in 1941, which was the year that the United States entered World War II. And I have to say that they certainly managed to go out on the service picture front with a good one, because there were many great and funny moments to be seen here, with there being more than a few fast-paced gags that are certainly guaranteed to elicit laughs from the audience.
Keep 'Em Flying is a fast-paced comedy that contains some frantic laughs in it, all that feature Abbott and Costello in fine comedic form. Although I wouldn't consider this film to be one of the best that they made, it's still a very funny and entertaining picture and is definitely worth watching for both the comedy and the music, not to mention that it also features a few routines that could be considered among Abbott & Costello's most famous and memorable.
In this film, Abbott and Costello play two men who are friends of a stunt pilot who upon being dismissed from a carnival, ends up joining the U. S. Army Air Corps. Bud and Lou follow in suit, and they end up getting tangled in a love triangle, as well as getting into numerous frantic situations, all while doing what they can to help their friend both prove himself as a pilot, as well as win the girl of his dreams, which is something of a recurring trend in a few other movies that Abbott and Costello were in, and at the same time, was something that Abbott and Costello were always able to make work without it become repetitive or irrelevant.
As I said, most of the comedy in the film can get rather frantic. One scene that really comes into mind is a scene where Costello is trying to impress Martha Raye, and he ends up accidentally launching a torpedo that goes haywire. There's also a very hilarious sequence where Abbott and Costello try to fly a plane, only to learn that it's much harder than they imagined. Then there's some comedy that isn't so frantic, but is still funny nevertheless. One scene in particular that stands out is a scene where Abbott and Costello are at a lunch counter, and Abbott decides to order some food, while Costello declines to order anything, but Abbott coaxes him into ordering something anyway, and when Costello does, Abbott gets irate and reprimands Costello for it. Though, probably the funniest moment in the film would have to be a gag involving Costello and William Gargan and a telephone.
While I normally would think that the subplots in this film would detract from the antics of Abbott and Costello, I don't think they did so in the slightest, since Abbott and Costello usually get involved in them, particularly if the subplot involves the two of them trying to help a friend of theirs find love, and it also helps that the supporting actors in the film are good in their roles. Something else that the film has are some musical numbers, which was almost a requirement of films like this that were made around this time. While I normally would've viewed them being inserted for the sake of padding the length, I can't really complain about it as long as the songs are good, and the ones in this film are.
On the whole scale, Keep 'Em Flying is a frantic and entertaining Abbott and Costello vehicle that is definitely capable of getting laughs out of the audience. While it's not as good as some of their other films, such as Hold That Ghost or Abbott and Costello Meet Frankenstein, it's still a very funny film that's worth watching. It's rather telling that with all of the Abbott and Costello movies I've seen, I haven't got tired of watching them get into crazy situations, which is a testament that their comedy can still be as relevant now as it was back then.
Something to Sing About (1937)
A Fun Film With Cagney Showcasing His Versatility.
Though he was perfect in his roles in gangster films, James Cagney had become tired of playing such roles, and so he decided to leave Warner Bros. And go to an independent studio to make something different. And I have to say, that for a film that has something of an ordinary story to it, Cagney managed to perform the best with what he had, and showed that he could be very adaptable with his acting abilities, and his incredibly energetic efforts make this a rather fun film to watch.
Something To Sing About is a spritely and entertaining film that showcases Cagney's versatility as an actor. Though I wouldn't consider the film to be among the best films he made, Cagney nevertheless, gives a performance that's very committed and full of energy, which makes since, because, even though he's best known for his gangster roles, he always considered himself more a musical person, and it definitely shows here, since we get to see such talents up front.
Cagney plays Terry Rooney, a bandleader in Manhattan who is in love with his band's singer, Rita Wyatt. One day, Rooney is offered a contract to star in Hollywood pictures, which he accepts. However, upon arriving, he finds that it's more than what he was anticipating, as he has a rather unpleasant experience during the filming of a picture. Before long, he becomes unhappy with this situation and decides to go away to San Francisco, where he marries Rita. Unfortunately, the film that he stars in becomes a big hit, and the studio wants him back for more, which threatens both his marriage, and his career as a bandleader, particularly since he wants to do things how he envisions them. This story is ultimately accompanied by some great music, some funny moments of comedy, and some genuinely touching moments.
Like I said before, Cagney is very committed to his role in this film, and as a result, he comes off as a delight to watch, particularly during the musical numbers, where he gets to showcase his talents at dancing. Evelyn Daw is rather charming as Cagney's love interest, not to mention that her singing is excellent, and there's also something rather endearing about her and Cagney's interactions with each other. There's also some comedy provided by William Frawley, who is quite funny as Hank Meyers, who plays a publicist who becomes something of a partner to Cagney. The cast all manages to do good with what they have here, but there's absolutely no doubt that Cagney was the star here, and like always, he manages to command most of the attention.
The movie combines comedy and music with some genuine moving scenes. One scene in particular, is a scene where Cagney asks his fiancée to sing a song for him over the phone, while sitting in his dark apartment, is surprisingly a rather moving scene to watch. And also, the music itself is great, in which Daw showcases her singing talents during the musical numbers, which are pleasant to listen to. Also, on an interesting note, there's something of what you might say is a deconstruction of stereotypes. More specifically, there's a subplot involving Cagney's manservant, Ito, played by Philip Ahn. At first, he seems to talk in the stereotypical way as an Asian who has is incapable of speaking idiomatic English. However, he then speaks normally, and tells Cagney that he speaks the more stereotypical way because he was told that his English was too good. Considering the way Asians usually tended to be portrayed in movies in that era, this was a rather bold move.
While Something To Sing About may not rank among James Cagney's best films, it's still worth seeing simply to see him play role that was a natural fit for him, particularly since throughout the film, he looks like he's enjoying himself. Cagney also doesn't sing any songs in this film, but he does manage to bring out his dancing talents, particularly at the beginning where he's dancing on piano keys. And lastly, whenever Cagney gets the opportunity to showcase his dancing abilities, it's always something great to see.
Smart Money (1931)
A Novel Gangster Film With Robinson And Cagney Being In Fine Form.
While Edward G. Robinson and James Cagney were both great actors, as well as both being synonymous with gangster roles, there was only one time that the two of them were in a movie together, which was this one. And I have to admit, that the two of them did a rather good job for the only film they were in together, which makes it something of a pity that they didn't appear together in more films, since they were both very talented individuals who showed more than once that they had substantial star power.
Smart Money is a rather interesting film that's different from the typical gangster film of the early 1930's. More specifically, it puts less emphasis on violence and more focus on drama and the characters. While the film does show its age and has some aspects that are definitely reflections of the time, it's still a very novel and interesting film that's worth a viewing, especially for the acting from a lineup that has a considerable amount of talent.
Edward G. Robinson stars as Nick Veinzelos, a barber who has a rather unusual talent, he can gamble and win easily. Eventually, his friends give him money to showcase his talents in "the big city." After initially running into trouble, he resorts to some rather unsavory methods and ends up becoming the most famous gambler in the country. However, things start to unravel with the fact that he's a poor judge of character in regards to women, not to mention that the district attorney becomes determined to get him by whatever means necessary. Throughout the film, Edward G. Robinson plays a different type of gangster, while he isn't a saint, he's not as hot tempered or volatile as he was in Little Caesar, although he does show some volatile tendencies, particularly when it appears that things are starting to look bad for him.
The supporting cast also manage to put forth good efforts in their roles. Although James Cagney was the lesser star at the time, and still manages to do a good job whenever he's onscreen, to the point that he even tends to upstage Robinson. Evalyn Knapp also makes a good effort, in which she plays a woman who becomes torn between her affections for Robinson, and her efforts in attempting to bring him down. Noel Francis was quite good in her role as another woman who takes a liking to Robinson, who also appears to return her feelings, especially when he's nice enough to buy her a box of candy. However, as one might expect, there's little doubt that this was Robinson's show, as he is definitely the best in film, with James Cagney coming right behind him.
Something else that's worth mentioning pertains to when the film was made. The film was made before the production code was implemented, and there are many scenes that show. Probably the one that stands out the most is a scene where Robinson pretends to show affection to a woman who he suspects of working for the district attorney, and as she's leaving, he kicks her in the rear. There's also a scene where it's implied that he wants a woman to sleep with him in order to pay a debt she owes him. Despite this however, compared to some of the other gangster films of the time, the film is rather lowkey in regards to the violence and what could be considered risqué.
On the whole scale, Smart Money is a rather smart film. While it may not be as good as some of the other films of the time (such as The Public Enemy and Little Caesar), it's still an enjoyable film that's worth seeing to see Edward G. Robinson and James Cagney in their only film together. It's also worth seeing for the fact that, like I said, it's different from your typical pre-code gangster film, since it doesn't contain that much violence in it. The film may not be a classic of cinema, but for what it's worth, it manages to put for a good effort with what it is, and as mentioned already, it's a pleasure to see two of the greatest actors of all time together.