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8/10
Documentary "Bears" Down on Teddy's Motivations
1 June 2022
Using contemporary photos and film footage combined with reenactments and commentary from noted historians, this program explores Roosevelt's life in depth with an emphasis on the factors that led to his attitudes and decisions.

The first episode starts with his sickly childhood and his father's conviction that Teddy could triumph over any affliction or impediment through zealous effort (a lesson that resonated with Teddy his entire life). It then explores his pampered formative years and Teddy's life changing nighttime visit to the slums that changed his perspective on the unfairness and lack of equity between the rich and poor in America. The episode follows his rise in Republican politics and his battles to change the party from a tool of the wealthy into a force for reform. The first episode ends with the Republican elitists seeking to sideline him by making him Vice-president, a job with no power and little influence. That move majorly backfires when President McKinley is assassinated in 1901 catapulting Roosevelt to the American Presidency.

The second episode follows T. R. through his "Trust Busting" square deal Presidency, the details of the start of the U. S. construction of the Panama canal, Teddy's long regretted decision not to run for a third term, his influence through The World War, and his death at the age of 60.

This was a well rounded, thoughtful and even handed look at a man who swam against the political currents and won the love and respect of the American public. The production doesn't shy away from presenting him as a bit of a nut and an egomaniac, but it also portrays him as a man who got things done through sheer force of will.

My only quibble with the series is that the producers chose to divide it into only two episodes instead of 5 one hour shows. I'm not sure the average viewer wants to invest two an a half hours per episode.
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8/10
Extraordinary for a 1916 film
29 September 2021
THE FATHER OF HER CHILD is well worth watching. Not only to see a young Gibson Gowland eight years before his starring role in Von Stroheim's GREED, but because it was ahead of it's time in mixing bits of comedy into a conventional love triangle melodramatic plot.

It is a drama, not a slapstick comedy by any means, but self aware humor permeates the entire film. Eph the good for nothing husband, and the slow burning Farmer Grey are broadly drawn characters played mostly for laughs. Even the dramatic, emotional conclusion is punctuated by Farmer Grey farcically kicking the portrait of his former son-in-law to pieces.

This film is newly available on YouTube with a first class piano score by David Drazin. If you like the silent movies of this period, you should really check out this strange little gem.
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Cats (2019)
8/10
Charming tribute to T.S. Eloit and felines everywhere.
5 April 2021
I couldn't agree less with the host of hostile reviewers here!

I watched CATS for the first time today. I'd never seen the musical, and I'd only heard snatches of the poems as references in other works of fiction. I had low expectations (given the harsh reviews), but I found the movie charming. The CGI didn't bother me any more than AVATAR did (which is to say not at all).

Most of the criticism leveled here is really aimed not at the movie, but at the 1981 play and the T. S. Eliot poems. Of course the plot construction of CATS is not normal... The poems are the reason that each scene introduces a different archetypal cat (each one is a different poem about cat personalities), and why there are no character arcs, and only a bare bones overlying narrative structure (that's how the play organized the poems into a "story").

It's true some of the numbers ran too long and outstayed their welcome (notably Jelical Cats) but condemning a film simply because it's structure is not like every other movie is truly narrow minded, and leaves no room for variety in artistic expression.

Some of the savage criticism I've read here remind me of the many uncomprehending, brutal reviews 2001: A SPACE ODYSSEY got when it premiered.

HRH.
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7/10
Funny stuff, but also has distasteful aspects
25 February 2021
On the recommendation of noted silent movie authority and accompanist David Drazin, I watched the Reginald Denny comedy California Straight Ahead last night on YouTube. Denny was doing his signature 'upper class twit' part (this time a bit sportier than usual) and there were a lot of good gags and funny parts in the movie. The out of control circus animals invading a campground was the standout sequence. The bit with the monkey and the daydreaming banker was funny (wasn't that how AIDS was reputed to start?) and the big race at the end was well done with real racing footage mixed in. The gag near the climax with the befuddled banker dodging speeding cars to retrieve the wrong piece of paper was also pretty funny.

But... I just couldn't get past white actor Tom Wilson appearing in blackface as "Sambo". It wasn't just the subservient shuck and jive, or brandishing the oversized razor, or the lip smackin' chicken references that were so offensive, but also the way the rest of the cast acted toward a character who was essentially the hero's sidekick. Take the sequence where Tom is forgiven by "the gang". He shakes everybody's hand. He accidentally shakes Sambo's hand and the whites in the background look perplexed, and when Tom realizes he's shaking a black hand he is embarrassed. That's the punchline of the scene! Immediately after, the gang are all happily dancing to the radio. A pair of (white) hobos mix in and start to dance with them. That's OK with the gang, they keep on dancing, but when Sambo joins in they stop and just watch. Sure, they tap their feet and clap along, but they won't dance alongside a black man "Oh heavens forfend"! I was also struck by the bit where Sambo and the banker run to catch the back of the speeding diner wagon. When Sambo manages to climb aboard, the girl's parents who are at the railing watching, sort of get out of his way, but when the banker catches the handrail the old couple exert themselves and strain to help pull up the white guy.

Of course, this type of implicit racism was an unfortunate feature of many films of the period, and often it was more cultural bias than malicious intent, but it's still hard to watch and the blackface angle made it somehow even more offensive for me (especially as portrayed by Tom Wilson, D.W. Griffith's own slavering feral scapegoat from The Birth of a Nation). I'm sorry to say that the almost constant inferred (and, sometimes extreme and explicit) racial overtones really overshadowed the fun of the picture for me. So, did I enjoy this movie? The best I can say is, parts were funny and it's still worth seeing.

HRH
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The Immortal Story (1968 TV Movie)
9/10
A lonely old man wants to bring a story he has heard to life.
8 August 2014
I just saw The Immortal story for the first time today thanks to TCM. I was impressed by the otherworldly quality of the film. Reading through the IMDb reviews I was surprised that no one speculated as to why Wells chose this story. To me the answer seems obvious. The film is about a lonely old man who wants to bring a story he has heard to life. He knows that he cannot accomplish the task alone so he turns to a minion in his employ to arrange the set piece and hire the players. Ironically even when he succeeds, it becomes clear that no one will ever hear the recounting of the story.

This is how Wells probably viewed his own life. ​Throughout his film career he struggled unhappily with his dependence on the help of producers and his need to control actors in order to bring his artistic visions to life. Sadly, even on the few occasions when he successfully got films completed, to him it seemed as if he never really had an audience.
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