This episode features some delightfully funny dialogue, and still has me laughing out loud after all these decades! Terrific shtick from the comedy team of Denver and Hale.
Reviews
13 Reviews
Great dialogue in the episode
14 January 2020
9-1-1
(2018– )
Potential let down by sensationalism and trite directing
20 May 2019
This is a show with some good performances and characters, but the unrealistic, sensational, nearly science-fiction incidents (which are a detriment to real-life EMTs) and the direction straight out of the music-video playbook (loudly mixed pop songs, narration, slow-motion and overuse of editing) ruin whatever drama could be generated by the work of the actors.
Blind Alley
(1939)
Engrossing crime drama
14 August 2018
Based on a 1935 Broadway success, this film presents an early "psychological" approach to depicting a cold-blooded criminal, here played by Chester Morris, an excellent and very versatile actor, ably supported by a fine cast including Ann Dvorak and Ralph Bellamy. My wife, Yuyun Yuningsih Nollen, and I are currently writing the first-ever book on Chester Morris, which hopefully will correct any oversights that have been made about this performer and introduce a new generation of classic film fans to his extensive body of work, on film, television and radio. Morris also was a well-respected star on stage, following in the footsteps of his father, William Morris, and sharing the profession with his younger brother, Adrian, who unfortunately died far too soon.
The Caretakers
(1963)
Joan is nothing but a typical Nazi in this film.
11 June 2017
Having more than 35 years' experience in film, psychiatry, psychology and group therapy, I can attest for a fact that this 1963 film was thoroughly groundbreaking in its day, and still remains so. Polly Bergen not only does not overact, she UNDERPLAYS a character based on REAL people I have witnessed, time and again, who suffer from what a still-uninformed and uncaring public views as "mental" illness, "craziness" or "insanity." Everyone should see this film, as I have seen real examples of each character, and this is ROBERT STACK's film, not the neo-Nazi JOAN CRAWFORD's, who plays the authoritarian, fascist fuehrer character who cares about no one but herself.
The Falcon Takes Over
(1942)
Bond steals the show
2 September 2016
A still buff (enhanced by a well-padded double-breasted suit) and pre-automobile accident (after which he nearly lost a leg) WARD BOND literally steals the show (as he does in many films throughout his 31-year film career). George Sanders and Allen Jenkins are again solid as well in this Hollywood detective series entry, based on Raymond Chandler's "Farewell, My Lovely." This well-directed, fast-moving blend of suspense, crime, comedy and a pretty high body count (at one point, police captain James Gleason--always such a frustrated delight--pleads to have "at least one murder" at which Jenkins' "Goldy" Locke is not "laying around with the bodies") is well-directed and entertaining throughout. If you enjoy this series (and/or other 1940s detective series), this is one film not to be missed.
Ebb Tide
(1922)
Let's correct the usual erros about RLS
13 August 2015
Just to correct errors in the above review: (1) Stevenson and Osbourne wrote EBB TIDE: A TRIO AND QUARTETTE together; it was not "finished" by Osbourne, as it was completed and published well before the death of RLS; (2) the novel is far from "dull," as it is one of the most stunningly descriptive prose works ever written by RLS. I've read the first edition, which may make quite a difference. I also happen to be one of the last RLS scholars alive, whose comprehensive book on RLS, his works, and all the films made from them, has been in print since 1994 (and recommended highly by several now-deceased Scottish literary historians). This early adaptation definitely has its problems, but so does the 1937 Paramount adaptation. The 1922 EBB TIDE has the benefit of starring the inimitable Donald Crisp, not only an incredible actor, but a prolific director in his own right. And there is plenty of booze in the novel, as there is in many a Stevenson story. THE STRANGE CASE OF DR. JEKYLL & MR. HYDE was inspired by the alcoholic death of one of the author's tragic young friends. It is very difficult to locate a copy of this 1922 EBB TIDE, but it is well worth seeing, especially if you have read the novel. As Stevenson became older (only to die at age 44) and more ill, his prose became even more elegant, spurred in part by his longing for a Scotland he never would see again, as he roamed the South Seas, hoping to find a climate that would extend his precarious, blood-soaked existence!
Treasure Island
(1990 TV Movie)
Fraser and Charlton Heston CHANNELED RLS!
14 December 2014
Simply put, this may be THE MOST FAITHFUL film adaptation of a novel EVER MADE. My 1991 book ROBERT LOUIS STEVENSON: LIFE. LITERATURE AND THE SILVER SCREEN (McFarland) explains it in full, but this film is like it was adapted and directed by Stevenson himself. Charlton Heston IS Long John Silver. Christian Bale IS Jim Hawkins (brilliant at 15 years old). Christopher Lee and the great Oliver Reed, along with every other actor--inspired casting. Paddy Moloney and the Chieftains--beautiful. So tasteful--and made before too much camera movement and rapid-editing became the norm. A wonderful experience that can be seen over and over again, just like the novel which never wears out its magical welcome. Any subsequent attempts at adapting this are foolish and unnecessary.
Gentleman Jim
(1942)
Ward Bond Rules!
24 January 2012
Warning: Spoilers
In Warner Bros.' "Gentleman Jim" (1942), Ward Bond gives one of his finest performances as world heavyweight champion boxer John L. Sullivan to Errol Flynn's James J. Corbett, under the direction of Raoul Walsh. Corbett (1866-1933), a San Francisco bank clerk and first boxer to honor the Marquess of Queensberry rules, was nicknamed "Gentleman Jim" because of his handsome features and scientific method of fighting. Born in Boston to Irish immigrant parents, Sullivan (1858-1918), the last heavyweight to hold the bare-knuckle title, also reigned as the first champion of gloved boxing from 1881 to 1892. He also was the first athlete in the United States to become a national celebrity.
In New Orleans on September 7, 1892, Corbett defeated the much-heavier Sullivan during a grueling, 21-round upset, gaining the championship title. Corbett subsequently appeared in several plays and 16 films, including the features "The Man from the Golden West" (1913) and "The Prince of Avenue A" (1920), and the serial "The Midnight Man" (1919).
For "Gentleman Jim," producer Robert Buckner hired Ed Cochrane, sports editor of the Chicago Herald-American and a Corbett aficionado, as technical adviser. "Mushy" Callahan was one of the trainers who worked with Flynn and Bond, and he also served as a "dancing" double for Flynn in close-ups detailing Corbett's famous footwork. Some location shooting was done at the Baldwin Estate at Santa Anita.
The boxing scenes are extremely well shot (by Sid Hickox) and edited (by Jack Killifer), with Flynn, Bond, Sammy Stein, Wee Willie Davis and others making a lot of real contact during the fights. The impressive montage sequences, directed by Don Siegel, are an example of economical storytelling at its best. With all the Irish-American blarney, and veterans of Ford films (Bond, Stein, Alan Hale, John Loder, Minor Watson, Rhys Williams, Arthur Shields, James Flavin, Frank Hagney and Mary Gordon), Gentleman Jim is a lot like a John Ford production stripped of its socio-political subtext.
As the self-confident Corbett,Flynn's fluid combination of graciousness and cockiness provides the ideal counter to Bond's egotistical, blustery Sullivan, supremely convinced that he "can lick any man in the world!" When Jim knocks John L. off his throne, the former champ approaches his conqueror at the post-fight reception, hands over his engraved championship belt and, in quiet, even whispered, tones, discusses Corbett's new style of "gentlemanly" boxing before turning and gallantly walking back through the crowd, triumphant in defeat.
As demonstrated by Corbett afterward,during his conversation with Victoria Ware (Alexis Smith), his sponsor and object of his affection, both proud men have been humbled by the experience. And Walsh doesn't spoil the mood with a typical Hollywood romantic embrace; he shows Jim and the fiery, independent Victoria having yet another argument.
Although the real Sullivan had pawned his belt years before his fight with Corbett, this fictional event provides an impeccable climax for the film. It is the most subtly moving scene in all of Bond's films and, arguably, Walsh's as well. It is difficult to find a bad film performance by Bond, but Sullivan, his first fully realized period characterization involving the use of an accent (which never falters), provides a rare example of perfect casting. Ward's solid beefcake physical condition (which was superior to Sullivan's)also adds to the authenticity of his acting.
The real Sullivan died at age 59, from the effects of prizefighting and a longtime overindulgence in both food and alcohol. In the film, Bond is shown regularly drinking beer as part of Sullivan's training exercises. (His own later life—and death—would eerily parallel Sullivan's.) In today's award-ridden culture, this performance, perhaps his finest in a non-Ford film, could be called "Oscar worthy."
Flynn, six years younger, nearly 50 pounds lighter, and only an inch shorter than Bond, was an equally fine choice. He was an excellent, if underrated, actor and clearly as handsome as it gets. Though every detail in the film may not be historically accurate, these two actors capture the very essence of the real men. In fact, all the roles are well cast, providing a rock-solid element in a great Walsh film. As Sullivan's father, Alan Hale is at his apex, as is Jack Carson, whose gift for physical comedy is well on display.
(Excerpted from a working draft of the forthcoming book THREE BAD MEN: JOHN FORD, JOHN WAYNE AND WARD BOND by Scott Allen Nollen.)
In New Orleans on September 7, 1892, Corbett defeated the much-heavier Sullivan during a grueling, 21-round upset, gaining the championship title. Corbett subsequently appeared in several plays and 16 films, including the features "The Man from the Golden West" (1913) and "The Prince of Avenue A" (1920), and the serial "The Midnight Man" (1919).
For "Gentleman Jim," producer Robert Buckner hired Ed Cochrane, sports editor of the Chicago Herald-American and a Corbett aficionado, as technical adviser. "Mushy" Callahan was one of the trainers who worked with Flynn and Bond, and he also served as a "dancing" double for Flynn in close-ups detailing Corbett's famous footwork. Some location shooting was done at the Baldwin Estate at Santa Anita.
The boxing scenes are extremely well shot (by Sid Hickox) and edited (by Jack Killifer), with Flynn, Bond, Sammy Stein, Wee Willie Davis and others making a lot of real contact during the fights. The impressive montage sequences, directed by Don Siegel, are an example of economical storytelling at its best. With all the Irish-American blarney, and veterans of Ford films (Bond, Stein, Alan Hale, John Loder, Minor Watson, Rhys Williams, Arthur Shields, James Flavin, Frank Hagney and Mary Gordon), Gentleman Jim is a lot like a John Ford production stripped of its socio-political subtext.
As the self-confident Corbett,Flynn's fluid combination of graciousness and cockiness provides the ideal counter to Bond's egotistical, blustery Sullivan, supremely convinced that he "can lick any man in the world!" When Jim knocks John L. off his throne, the former champ approaches his conqueror at the post-fight reception, hands over his engraved championship belt and, in quiet, even whispered, tones, discusses Corbett's new style of "gentlemanly" boxing before turning and gallantly walking back through the crowd, triumphant in defeat.
As demonstrated by Corbett afterward,during his conversation with Victoria Ware (Alexis Smith), his sponsor and object of his affection, both proud men have been humbled by the experience. And Walsh doesn't spoil the mood with a typical Hollywood romantic embrace; he shows Jim and the fiery, independent Victoria having yet another argument.
Although the real Sullivan had pawned his belt years before his fight with Corbett, this fictional event provides an impeccable climax for the film. It is the most subtly moving scene in all of Bond's films and, arguably, Walsh's as well. It is difficult to find a bad film performance by Bond, but Sullivan, his first fully realized period characterization involving the use of an accent (which never falters), provides a rare example of perfect casting. Ward's solid beefcake physical condition (which was superior to Sullivan's)also adds to the authenticity of his acting.
The real Sullivan died at age 59, from the effects of prizefighting and a longtime overindulgence in both food and alcohol. In the film, Bond is shown regularly drinking beer as part of Sullivan's training exercises. (His own later life—and death—would eerily parallel Sullivan's.) In today's award-ridden culture, this performance, perhaps his finest in a non-Ford film, could be called "Oscar worthy."
Flynn, six years younger, nearly 50 pounds lighter, and only an inch shorter than Bond, was an equally fine choice. He was an excellent, if underrated, actor and clearly as handsome as it gets. Though every detail in the film may not be historically accurate, these two actors capture the very essence of the real men. In fact, all the roles are well cast, providing a rock-solid element in a great Walsh film. As Sullivan's father, Alan Hale is at his apex, as is Jack Carson, whose gift for physical comedy is well on display.
(Excerpted from a working draft of the forthcoming book THREE BAD MEN: JOHN FORD, JOHN WAYNE AND WARD BOND by Scott Allen Nollen.)
The Conspirator
(2010)
Don't "review" it if you haven't seen it.
12 April 2011
THE RETURN OF FRANK JAMES, starring Hank Fonda, was directed by Fritz Lang and released by 20th Century-Fox in 1940.
Robert Redford is definitely using THE CONSPIRATOR as a political platform (he's the director). Of course, like any historical event, the Civil War fosters many varying opinions (none of us were there, and must rely on whatever evidence exists and has been discovered) but it was hardly the most unjustifiable military action ever taken by the Federal government. That is pure reactionary nonsense and ignores any pertinent fact about the conflict. Nearly EVERY military action taken by the U.S. government from Viet Nam to the present day could be considered unjustifiable (especially when the "reasons" for launching a war were completely fabricated to begin with). One need not argue the case for Abraham Lincoln here.
Before you perform brain surgery, make sure that you attend medical school, and at least SEE a film before passing judgment on it. (This writer has two degrees in U.S. History, a degree in Film, and has specialized in "Film as History" for the past 30 years--including writing and editing more than 40 books--so I have the necessary credentials.)
No number of films like THE CONSPIRATOR will ever level the cinematic playing field for past pro-Confederate hogwash like THE BIRTH OF A NATION (1915) and GONE WITH THE WIND (1939), STILL hailed as two of the greatest films ever made.
By the way, where in the name of Mudd is DR. MUDD in Redford's film?
Robert Redford is definitely using THE CONSPIRATOR as a political platform (he's the director). Of course, like any historical event, the Civil War fosters many varying opinions (none of us were there, and must rely on whatever evidence exists and has been discovered) but it was hardly the most unjustifiable military action ever taken by the Federal government. That is pure reactionary nonsense and ignores any pertinent fact about the conflict. Nearly EVERY military action taken by the U.S. government from Viet Nam to the present day could be considered unjustifiable (especially when the "reasons" for launching a war were completely fabricated to begin with). One need not argue the case for Abraham Lincoln here.
Before you perform brain surgery, make sure that you attend medical school, and at least SEE a film before passing judgment on it. (This writer has two degrees in U.S. History, a degree in Film, and has specialized in "Film as History" for the past 30 years--including writing and editing more than 40 books--so I have the necessary credentials.)
No number of films like THE CONSPIRATOR will ever level the cinematic playing field for past pro-Confederate hogwash like THE BIRTH OF A NATION (1915) and GONE WITH THE WIND (1939), STILL hailed as two of the greatest films ever made.
By the way, where in the name of Mudd is DR. MUDD in Redford's film?
The Right to Live
(1935)
Colin Clive's greatest performance
21 March 2011
Simply put, THE RIGHT TO LIFE arguably features the tragic Colin Clive's greatest performance on film. Made just before BRIDE OF FRANKENSTEIN, and costarring Josephine Hutchinson, who four years later would become "The Bride of the SON OF FRANKENSTEIN" to Basil Rathbone in the third of the Universal "Frankenstein" series (effectively becoming the late Colin Clive's daughter-in-law!), this film gives you the chance to see the much-tortured Clive just before he had to crank himself back up to a fever pitch for James Whale as Henry Frankenstein in BRIDE. His final scene with Hutchinson in THE RIGHT TO LIVE is utterly, believably heartbreaking. Two years later, he was dead, his ashed remaining unclaimed in the basement of a Hollywood mortuary for the next 41 years. Henrietta Crosman, so insidiously jealous and selfish in John Ford's great 1933 masterpiece PILGRIMAGE, superbly plays a VERY different sort of mother here, and the supporting cast is outstanding.
The Untouchables
(1959–1963)
This is Weekly Series TV, Not Reality
7 October 2007
I have been a historian of 20th century American culture for more than 25 years, with a specialty in the 1920s-1940s, as well as a film historian and filmmaker. "The Untouchables" is just as accurate any other Hollywood dramatization of gangland lore. When you have to crank out an hour-long TV episode every week for several years, who can afford to do research 24 hours a day? This show was more or less as accurate as it possibly could be. It is the ONLY version of gangland culture I have seen that has included Dutch Schultz's unforgettable babble, "A boy has never wept, nor dashed a thousand Kim." Hell, that was enough for me. If you need my credentials, check out my newest book (my 15th), "Warners Wiseguys," a look at the classic Warner Bros. gangland world.
The Maltese Falcon
(1941)
My pick for #1 American film
30 August 2006
Why? (1) Within the constraints of the Production Code of 1934, it is the most faithful literary adaptation produced in Golden Age Hollywood. (For those of you who prefer the 1931 Warner's version because it includes the sexual and gay material, REMEMBER that Huston could not OVERTLY include this in 1941, because of the PCA. The Code forced artists to become MORE creative, not less.) (2) It was the great John Huston's first film as a director; and it's arguably his best (and that's saying a lot). (3) It was then unheard of for a major Hollywood studio let the same man write AND direct the same film, and take credit for it on-screen. Prior to Huston, independents like Charles Chaplin were the only filmmakers who regularly did this. (4) Much to Jack Warner's horror, Huston shot the film IN SEQUENCE, so the actors could actually build their parts, like stage actors. (5) Acting in sequence, Bogart becomes more intense--in his superbly controlled fashion--up until the final moment. The last scene, when he delivers his big speech to Mary Astor, is the best screen acting you'll ever see, and it crackles with enough electricity to light San Francisco itself. (6) The entire cast is perfect: from the leads, to Sydney Greenstreet in his film debut, down to Ward Bond, playing Tom Polhaus EXACTLY as written by Dashiell Hammett. (Prefer the 1931 version? Ricardo Cortez was a good supporting and B-actor, but a real one-noter. Come on, folks. He wasn't fit to shine Bogie's shoes.) For more on this film, and EVERY film Humphrey Bogart made, check out my forthcoming (from McFarland) mammoth tome (20 years in the making), WARNER BROS. WISEGUYS: Starring EDWARD G. ROBINSON, JAMES CAGNEY and HUMPHREY BOGART. --Scott Allen Nollen
Indestructible Man
(1956)
Don't come down so hard on THE BUTCHER!
2 June 2005
This film is truly AWFUL, but it's one of those 1950s horror/sci-fi Z films that is so bad that it's hilarious! The makers of this mess, Aubrey Wisberg and Jack Pollexfen, were two of the true kings of ineptitude in the 1950s. In fact, in my 1994 book on Robert Louis Stevenson film adaptations, I accuse them of being guilty of "cinemacide!" I have discussed this film with Lon Chaney, Jr.'s, grandson, and he, too, considers this a pretty funny film. Yes, old Lon, Jr., was hurtin' pretty badly by the time he appeared in this schlock, but the film is infinitely preferable to scores of other similar programmers released during that era. Compare it to Ed Wood's films, which--let's admit it--are so bad they're UNWATCHABLE. Try sitting through "Glenda or Glenda" some time! Truly abysmal. Give THE INDESTRUCTIBLE MAN a chance as a comedy, especially the scenes where the furious, mute Chaney pummels highway patrol officers and THROWS cringing little gangster wannabes. It just doesn't get much more hilarious than that!
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