chrisart7 Reviews

The Persuaders! (1971–1972)

*Lite* show with a "heavy" intro theme

[6/10 · 13 January 2024]

After watching Roger Moore in "The Saint" for seven years, fans of that program (featuring often clever whodunnits with some genuine dramatic tension, danger, glamour, and sparkling wit) probably had a knee jerk reaction to how light-hearted and casual this nonetheless expensive series was.

The first episode "Overture" was probably the worst. Only the charisma of its stars carried it, as the plot was paper thin. Subsequent episodes got better, some quite good, with a few propelled by superb guest stars (like Joss Ackland and Nigel Green in "Read and Destroy," probably the best of the series).

It was a bit jarring at first to see how much weight Roger Moore had gained since he had left "The Saint" in 1969, not to mention his "groovy" long hair (the James Bond producers made him trim off both, much to Moore's chagrin, when he took the role of 007 in 1973). Tony Curtis, on the other hand, couldn't decide whether to keep his hair dyed dark brown, light brown with a touch of grey, or fully grey, and it fluctuates from episode to episode, sometimes radically. He was beginning to lose his hair at this point as well. But Curtis was in superb shape and quite athletic, as he frequently demonstrated in the series.

Not essential viewing, but there is some witty banter, nice chemistry between the leads, good locations, some good to great guest stars, but the scripts fail to hit classic status (though one or two make a good attempt).

The Black Stallion (1979)

superb 'art film' for all ages - a great rarity

[10/10 · 13 July 2015]

Director Ballard and cinematographer Deschanel, along with composer Carmine Coppola create an amazing ambiance for the actors to work within. This film is something of a precursor to "E.T.: the Extra-Terrestrial," as both had screenplays by Melissa Mathison, and both have a boy and his horse/alien with a wordless, symbiotic understanding between them. Child actor Kelly Reno (Alec Ramsey) could have easily played Elliot in "E.T." One wonders if he were in the running for that part.

"The Black Stallion" is also quite evidently a precursor and inspiration for "Chariots of Fire" (1981). The images of the boy and the horse running along the beach have similar optical effects to that of the young Brits running along the beach in "Chariots." Interestingly, actor Hoyt Axton (portraying Alec's father) plays a melody on flute in an early "Black Stallion" scene which is indeed the "Chariots of Fire" theme, but with a different tempo and duration of notes. Vangelis undoubtedly saw this, but when he was brought to court for plagiarism the judge ruled in his favour (instead of composer Carmine Coppola).

"The Black Stallion" is a beautiful work of art.

Once Upon a Time in the West (1968)

lumbering and interminable

[3/10 · 17 February 2015]

I recently purchased a double DVD package of "Once Upon a Time in the West" and re-watched this film after having revisited the "Dollars" trilogy...and what a comedown. First the positives: a lovely score from Ennio Morricone (especially the "Jill"/Claudia Cardinale theme), gorgeous photography, sets, locations, lighting, and some decent (but not terribly great) acting - Gabriele Ferzetti probably comes off best in his role. You know you're in trouble when the very last bit in the documentary extras is a quotation of Sergio Leone worriedly admitting to co-scripter Bernardo Bertolucci that he had set the pace far too slow when filming the opening sequences, and that the ensuing film would probably be five hours long as a result. It was almost three, and it barely moves along at all. The plot is paper thin and could have easily been filmed in 90 minutes. Perhaps then the much-needed forward momentum and suspense would be in place. As it is, the film has far too protracted silences which do not advance it at all.

Henry Fonda's villain Frank is rather drab and one dimensional, especially in comparison to Gian Maria Volonté's romanticized villains Ramon and Indio in the first two "Dollars" films. Fonda is also not even remotely formidable as a physical opponent for Charles Bronson. I'm not certain why Jason Robards' Cheyenne character is even in the film---perhaps as comic relief, but he does not ever really seem to belong in the Old West, despite his grizzled appearance. He and Bronson have none of the chemistry and camaraderie that Clint Eastwood and Lee Van Cleef had in "For a Few Dollars More." Claudia Cardinale is beautiful and beautifully photographed, but even her character is rather one dimensional.

Back to the music: for this film Ennio Morricone recorded the score in advance (unlike the "Dollars" films), and some of the soaring themes arrive early in the film and are far too stridently emotional for characters and situations which have not yet won the viewers' hearts. He should have subdued some of his orchestration of the same themes earlier in the film, then revisited them in full intensity after some of the drama had likewise escalated. As such it is a bad marriage of sound and celluloid at the outset.

In the end it is director Sergio Leone's fault for not shooting this film so that the story would unfold at a much faster pace. It seems he didn't learn his lesson, though, as his next film "A Fistful of Dynamite" (1972) suffered from the very same problems. I donated the "West" DVD set to my local library just before writing this review; perhaps someone else will enjoy it.

The Adventures of Tartu (1943)

better than expected, but falls short of a classic

[7/10 · 3 December 2013]

"The Adventures of Tartu" has a fine opening scene, quickly establishing Robert Donat as a cool and collected expert in defusing bomb which hadn't exploded in one of the Nazi's blitzes of London. The scenes which follow are a bit erratic. Donat's acting is always superb, but the dialog and situations which he has been given generally do not build suspense or audience sympathy. There are fleetingly good lines and occasionally good moments, but the opening and the finale are the finest parts of the film---it would seem that these were the most concentrated upon by the filmmakers, with the centre section being somewhat secondary.

The closing scenario and its seemingly expansive set anticipate that of "Dr. No" and many subsequent Bond films. Donat essayed a similar role in "Knight Without Armour" (1937) in which he was a British spy posing as a Russian revolutionary during and after WWI, but that film was far superior on every level to this one. Still, any film with Donat is interesting at the very least, and "Tartu" is fairly good.

Thus far (as of 2013) a very clear print of this motion picture hasn't surfaced, but perhaps Criterion will restore/release one in the future, should the British Film Institute or some such other organisation have a good transfer from the original negative on hand.

Excalibur (1981)

twin films from the same 'father'

[9/10 · 18 August 2012]

Fans of "Excalibur" would find it interesting (puzzling at first, perhaps) to see it on a double bill with "Deliverance". John Boorman directed both films, and there are echoes of "Deliverance" (1972) throughout "Excalibur" (1981). Both films are about people living in wilderness vs. living in cities/castles (both manmade structures). Both films prominently feature a beautiful waterfall at certain points.

Parallel scenes:

E: Uthor (Gabriel Byrne) rapes Igrayne. D: Bobby (Ned Beatty) is raped by a mountain man.

E: Lancelot (Nicholas Clay) accidentally pierces his side with his own sword whilst having a nightmare. D: Ed (John Voight) accidentally pierces his side with an arrow after hesitantly releasing another one with his compound bow.

E: Perceval (Paul Geoffrey) is hung by a rope from a tree by the evil Morgana (Helen Mirren), but the rope snaps. D: Ed (John Voight) is lowering a mountain man's corpse down a cliffside with a rope, and descending via the same, but it snaps, sending them both into the rapids.

E: Perceval (Paul Geoffrey) falls into water, escaping from angry peasants, but his armour makes it difficult for him to resurface. D: Ed (John Voight) falls into the water after the rope has snapped, but the mountain man's corpse and the entangled rope make it difficult for him to resurface.

E: King Arthur (Nigel Terry) is wasting away in health, having lost his will to live (and Excalibur---and his wife and champion knight). D: Lewis (Burt Reynolds) is wasting away in health, having broken his leg in the rapids when his canoe overturned.

E: Charley Boorman plays Morgana's (Helen Miren) son. D: Charley Boorman plays Ed's (John Voight) son.

E: At the film's end Perceval (Paul Geoffrey) casts Excalibur into the water, and the lady of the lake's hand reaches up and takes hold of it, then descends into the water. D: At the film's end Ed (John Voight) has a nightmare of the mountain man's hand emerging from the water (after having weighed his body down with a large stone tied to a rope).

Interesting to compare and contrast these two; Rospo Pallenberg also had a hand in both films.

Shadowlands (1993)

evocative film

[22 September 2011]

"Shadowlands" is possibly the most emotionally resonant, evocative film made in the 1990s, and it is amazing that this motion picture has not been available on region 1 DVD for many years.

Anthony Hopkins plays the Oxford don well, though his Welsh-accented English would have been more accurate had it an Irish tinge instead. Debra Winger is an appealing choice for Joy Gresham, but her Brooklyn accent comes and goes, sometimes within a single scene. She could have used a language coach.

Though much attention is paid to period detail (1952), it is jarring to see some post-Beatles moptops on several of Lewis' Oxford colleagues (Christopher Riley, marvellously played by John Wood, for one) and their scenes spoil the illusion somewhat.

The film ends with a crisis of faith for C. S. Lewis after the death of his beloved Joy, which doubtless resonated with many viewers who have no particular convictions, but in truth Lewis' faith in Jesus Christ was renewed yet again.

Lord Richard Attenborough did a fine job of direction, as did George Fenton with the film's score, and William Nicholson who adapted his own stage play. The resulting movie, whether intentional or not, shares some of the same ambiance as "Love Letters" and "Brief Encounter" (both filmed in 1945).

Peg Leg, Musket & Sabre (1973)

botched effort, despite many talents involved

[3/10 · 30 June 2011]

Director-star Kirk Douglas is all ham as 'Peg' in this surprisingly amateurish remake of "Treasure Island" in a western setting. What probably undoes this film more than anything else is the inept editing. Scenes do not transition well at all. Lesley-Anne Down is quite beautiful as Lucy-Ann, and even gets to sing a ballad (probably the film's highlight) written by John Cameron (who provided the film's score). Danny Devito turns up in perhaps his first major film role as a pirate, along with Don Stroud (the villain in "Coogan's Bluff"). Mark Lester's early '70s haircut (or lack of one) is more in keeping with then-mod fashion than with the early 19th century (he had a much shorter coif in the Dickens musical "Oliver"). Mel Blanc provides the voice of the parrot. Filmed in Yugoslavia. Odd picture. Should have been much better. Douglas is a maverick actor, but he plays this one verrrry broadly. At least he seemed to have been genuinely enjoying himself.

Lost in Space: The Anti-Matter Man (1967) Season 3, Episode 15

Surprisingly suspenseful gem amidst campy season

[7/10 · 27 May 2010]

As stated in another review, if the camp element had been weeded out from this episode, it could have stood up with the first eight episodes (and episode 15) of "Lost in Space." As it is, it's on a par with "Follow the Leader", the first season finale which had many great moments and a few campy ones which detracted from its complete effectiveness.

"The Anti-Matter Man" is probably the very best use of recycling (a common occurrence) in this series: the stark, Stravinsky-like stock music was scored by Herman Stein, and was originally from episode two ("The Derelict"); the rubber-suited red alien was an entirely different character in a prior episode, but put to very good (if utilitarian) use here. There are some superb camera bits, too (kudos to the director, Sutton Roley). And stars Guy Williams and Mark Goddard show more range than expected as Prof. Robinson's and Major West's villainous counterparts.

The effects are OK, but quite atmospheric nonetheless.

The Secrets of Jonathan Sperry (2008)

Beautiful Christian film

[8/10 · 1 May 2010]

This is the Christiano brothers' best film (thus far), a lovely coming-of-age story about several youths in a sleepy upstate New York town circa 1970. In some ways it seems like the '50s, and the boys' shorts are definitely post-1985 length, but these are minor quibbles. Gavin MacLeod solidly portrays the title character, perhaps the meatiest role of his entire career, and quite likely an accurate reflection of his offscreen personality.

I saw this in the theatre, and the Gospel message is completely at odds with what the other films were selling/saying. It was a sad reminder of what this nation has fallen from.

For what could have been a pedantic, by-the-numbers evangelistic tract on film, this is instead a moving, well-crafted, tightly scripted bit of cinema. If this is any indication, we can expect even better things from the Christiano brothers in the years ahead.

Raiders of the Lost Ark (1981)

filmic inspirations for "Raiders of the Lost Ark"

[10/10 · 25 March 2010]

It's an action-adventure classic, as most know, but what follows may be regarded as SPOILERS to those who haven't yet seen this remarkable roller-coaster ride of a film. In sharing the following paragraphs of information, please do not take this as a denigration of "Raiders of the Lost Ark." It was and is a superb motion picture.

Spielberg, Lucas, and screenwriter Lawrence Kasdan were obviously well-acquainted with many, many Hollywood films of decades past when they and the rest of the creative team put "Raiders of the Lost Ark" together, as it really is, in many ways, a collage of other movies.

The entire opening sequence was borrowed from the 1973 film "Papillon" starring Steve McQueen. McQueen even wears a similar open shirt and fedora when approaching a leper colony settlement amid a South American jungle in one scene, and is subsequently pursued by natives with blowguns in a following scene (sound familiar?). McQueen encounters a Hispanic man who helps him along the way, only to be impaled on a wooden-barbed booby trap (just like Satipo/Alfred Molina in the opening of "Raiders"). Even John Williams' score in that pursuit sequence sounds like Jerry Goldsmith's score in "Papillon." When Indy travels to Nepal we see the map with a red line running along it. This device was used in many films of Hollywood's golden age, notably "Casablanca" (1942). The Nazi character in black civilian clothes was modelled, to some degree, after Peter Lorre (who also co-starred in "Casablanca"), and when Indy and Marion leave Nepal in a DC-3(or 2?) with Chinese characters written on its side, flying over Himalayan mountains, it is a clear nod to a similar scene in Frank Capra's 1937 "Lost Horizon" film.

Once in Egypt, Marion is pursued by locals working for the Nazis, and hides in one basket amid many. This is an homage to a similar scene featuring Sabu in the 1940 Korda film "Thief of Bagdad." After Marion's (presumed) death, Indy sits despondently at a table with liquor bottle in hand (an intentional remake of a scene with Humphrey Bogart from "Casablanca"). When a native's monkey emulates (and mocks) the Nazi's 'Sieg heil' hand gesture it is a similar humorous device used by a monkey tipping his hat to the Queen in the Errol Flynn-starring film "The Sea Hawk" (1940).

When Indy (and later Marion) is lowered into a pit filled with ancient sarcophagi and treasures (and snakes), facing a king cobra, it is mirroring a scene with Sabu in a pit filled with ancient Indian treasures and a king cobra in the 1942 Korda film "The Jungle Book." Much of Indy's derring do and fighting with Egyptians who are in league with the Nazis is derived from the type of antics seen in "Gunga Din" (1939) starring Cary Grant, Victor McLagen, and Douglas Fairbanks Jr. as British sergeants in colonial India.

Indiana Jones' look (the fedora, leather jacket, unshaved face, etc.) was chiefly taken from that of Charlton Heston's character in "Secret of the Incas" (1954), and there is a scene in that film where Heston discovers the location of a treasure by the passage of light through on object, much like Indiana Jones' use of the staff in the well of souls to find the ark's location.

When Indy is dragged by his bullwhip on a dusty road by the Nazi's lorry (truck) the scene recalls men being dragged by ropes behind camels in the 1939 Korda film "The Four Feathers." The scene with the ark lid spinning around what is supposed to be a heavenly tornado of sorts is a direct allusion to Dorothy's house spinning around in "The Wizard of Oz" (1939).

The finale with the large room of boxes, one containing the ark, is a reference to the finale of Orson Welles' "Citizen Kane" (1941) showing the title character's vast, posthumous holdings.

Star Trek: The City on the Edge of Forever (1967) Season 1, Episode 28

One of the very best episodes of the original series

[10/10 · 22 January 2010]

We're all wired differently, so I expect we all have different takes on and tastes in things. Still, many regard "City on the Edge of Forever" as the best of the original "Star Trek" series, and it may well be. However, the two-part "The Menagerie" (creating a framing story around the scrapped pilot film "The Cage") has far more story (and colourful settings/situations) to chew on, and "The Naked Time" makes some definitive characterisations of the main cast, as well as being a 'nail biter' of a suspense yarn in the second half of the episode. I suspect Ellison nicked his "We were successful" line of Spock's in "City on the Edge of Forever" from "Naked Time"---if not the whole premise of time travel in a "Star Trek" yarn. Also, the Guardian's statement, "All is as it was," was already spoken by the Thasian in "Charlie X."

"City on the Edge of Forever" is beautifully written and acted, as has been stated by volumes of fans. Some even give kudos to director Joseph Pevney (who said he intentionally shot this episode in the style of a movie rather than a TV show). However, after perhaps a dozen viewings of "City" over several dozen years, it becomes apparent that the MUSIC is also an essential ingredient in its success, and Fred Steiner composed the new cues (using a few old ones by Mullendore and the usual Alexander Courage "Star Trek" theme song). Fred Steiner, just as Max Steiner (no relation) did with "As Time Goes By" in "Casablanca", weaves the theme of "Good Night, Sweetheart" into various portions of "City on the Edge of Forever" to great effect, even in a minor key in the final portion. Very, very effective blend of audio-visual from many contributors, though screenwriter Harlan Ellison (and script doctor Gene Roddenberry) is usually singled out, and deservedly so.

Minor quibbles: watching this episode on DVD without the original commercial interruptions causes the story to progress a bit too quickly. The advertisements actually seem to 'spread out' the progression of time a bit, without which the central love story rolls forward a bit too fast (but we're only talking about a 50 minute episode, folks). Also, it is supposed to take place in New York City of 1930, but the buildings just aren't tall enough. Shatner and guest star Joan Collins even pass by Floyd's barber shop (from "The Andy Griffith Show"!) in a night scene. Matte paintings to heighten the buildings would have helped.

Nevertheless, working with a very limited budget and some very creative people, this absolutely sublime episode captures lightning in a bottle. Watch it and see why.

The Four Feathers (1939)

my personal favourite of all motion pictures

[10/10 · 23 October 2009]

Sir John Clements had made cameo appearances in several other Korda films ("Things to Come" and "Rembrandt", e.g.), but it was his portrayal as the doomed Russian commissar Poushkeff in "Knight Without Armour" (1937) which first displayed his considerable talent. He held his own acting opposite of Sir Ralph Richardson in the 1938 film "South Riding", and once again in "The Four Feathers" in 1939.

This film is so rich an experience on every level---action, adventure, romance, patriotism, and sundry other themes---as well as in superb acting, full colour cinematography, authentic locations, and that rousing Miklos Rosza score; it is a clear predecessor to Sir David Lean's "Lawrence of Arabia" (1962).

The Korda brothers made many fine motion pictures under their London Films umbrella, but "The Four Feathers" is their finest. Watch it and see why. A treasure for the ages.

Age of Consent (1969)

not a good filmic swansong for director Michael Powell

[5/10 · 23 September 2009]

Helen Mirren's fine acting as the feral yet alluring Cora, poor country girl-turned-artist's model, and the natural beauty of the Great Barrier Reef (above and below water) are the chief assets in this rather hamfisted comedy/romance/art film directed by Michael Powell in 1969 (his last feature length film) and co-produced by and starring James Mason as a world famous (and world weary) artist looking to recharge his batteries. Mason's effete manner is believable enough, but his dodgy 'Oz' accent is not. The film's weakest aspect is its strained attempt at (sex) comedy. There is little to propel the film forward to its largely unsatisfying conclusion. All of the plot points seem to be forced. Frank Thring, a decade after his magnificent portrayal of Pilate in "Ben Hur", is wasted in a cameo role as an art dealer.

Michael Powell's short featurette from 1978, "Return to the Edge of the World", was, in contrast, much more satisfying, and hearkened back to his earlier days when he directed "The Edge of the World" in 1937, a much more artistically (and morally) satisfying film, made prior to his teaming with Emeric Pressburger for a string of successful motion pictures in the 1940s.

"Age of Consent" is really only for Powell completists, or those who want to see a young Helen Mirren au naturel.

Revenge of the Pink Panther (1978)

Uneven, but entertaining

[7/10 · 27 August 2009]

"The Return of the Pink Panther" (1975) and "The Pink Panther Strikes Again" (1976) are the two funniest films I've ever seen (in my subjective opinion, of course). "Revenge of the Pink Panter" (1978) seems a bit thin and strained by comparison. The running time is too short at 99 minutes---it needed more story, more subplot (with running gags, of course). There are several VERY hilarious moments in this one, though, usually revolving around Clouseau's disguises (as the artist Toulouse Lautrec, a Swedish pirate, a Catholic prelate, and as a mafioso type), and also with Herbert Lom's eulogy scene which is sidesplittingly funny.

The story is very slight, and the two leads, Robert Webber as Philippe Douvier and Dyan Cannon as Simone Legree, should NOT have been played by Americans (though these two are fine actors, their accents are just too out of place---and character).

Also, the finale in Hong Kong had many funny moments, but the background music kept repeating so much that it sounded 'canned' and seemed to try to 'force' hilarity. It would have been much funnier in the fireworks scenes if dramatic music were used, to offset the scenes with irony and a sense of (tongue in cheek) danger. The formidable Mr. Chong should have also been brought back for a final showdown. After all, the story said he had been brought in from Hong Kong. It could have been a hilarious send up of the Bruce Lee/Chuck Norris fight in "Return of the Dragon", for example.

Lastly, a minor pet peeve: since the Pink Panther (diamond) is mentioned in the title, it ought to be worked into the plot. Perhaps Douvier could have proved his 'strength' to his New York cohorts by stealing the diamond again in an effort to draw Clouseau in an ambush. This and another Chong fight would have certainly boosted the running time to a proper two hours.

Ah, well, one can't redirect a thirty-one year old film now, can one? It is what it is: very funny, but not quite up to the level of its two predecessors which are comedy classics.

Waterloo Bridge (1940)

Beautifully filmed and acted

[8/10 · 18 August 2009]

Very romantic film with fine actors. Robert Taylor is quite American, but it seems that Hollywood intentionally used Americans in films that were supposed to have all (or nearly all) British characters so that American audiences would not find the films too 'foreign.' Some of the supporting characters in Frank Capra's 1936 "Lost Horizon" come to mind, for instance. While Robert Taylor is of ideal stature and appearance in "Waterloo Bridge", a British actor like Ronald Colman would have been a better fit (though he was beginning to get on in years by 1940). Colman did appear in Mervyn LeRoy's "Random Harvest" two years later, and, interestingly, the haunting music of "Swan Lake" makes its way into that film, too. Vivien Leigh does not even seem to be acting in "Waterloo Bridge". It is as if she and the role were one, which is a supreme compliment to an actor. And it is always a pleasure to see a veteran character actor like C. Aubrey Smith, usually cast as blustery (but lovable) curmudgeons---retired generals and the like.

Journey Into Fear (1943)

Somewhat interesting career footnote of Welles

[3/10 · 21 July 2009]

"Journey into Fear" is one of those 'what if' films...in this case, one wonders, "What if Orson Welles had not been taken off this film by the studio? Would he have been able to make it another masterpiece on a par with "Citizen Kane" or "Magnificent Ambersons" (despite its studio-tacked on ending)? The opening shot of "Journey into Fear" is riveting, pure Welles, and promises of great things to come...but they never do, until perhaps the final ten minutes of the motion picture. Great tracking shot in the opening, fine premise set up with the film's first (and principal) villain, then the scene cuts to Joseph Cotten, Edward Sloan, and Ruth Warrick, and suddenly it is like the driest stage play one can imagine. What happened? Joseph Cotten has played many memorable roles, but he was not know as a writer, and the screenplay of "Journey into Fear" is paper-thin. Welles' performance is somewhat interesting, and his camera-work in the opening, closing, and a few fleeting moments in between are brilliant, but it is not enough to carry this film. For completists only.

Citizen Kane (1941)

Seminal, innovative film

[10/10 · 15 July 2009]

A friend once remarked that "Casablanca" is a much 'warmer' film than "Citizen Kane." Upon rewatching 'Kane', I found that is not quite the case. It starts out rather ominously, intentionally so, but once Charles Foster Kane's early adulthood is portrayed there is much humour abounding, both subtle and slapstick, until his (first) marriage begins to cool (as a decade is depicted in a memorable montage sequence over a long dinner table). Thereafter the film's noir shadows complement a descent into a very unpleasant downward spiral until the finale (obviously inspired by "Rebecca", produced by David O. Selznick and directed by Alfred Hitchcock, only a year earlier; some of that film's opulent interiors are also mirrored in Kane's extravagant settings). Welles must have realised the picture was plummeting into such dark, glamourless territory as to leave the moviegoers with a 'negative' experience that he tacked on an introduction to the Mercury Theatre players at the end of "Citizen Kane", backed by a jolly tune utilised in one of the earlier sequences.

Not all of the music is by Bernard Herrmann, as is commonly believed. Two musical segments in the "News on the March" sequence were appropriated from the 1939 "Gunga Din" film which was scored by Alfred Newman. The first, a pastorale snippet accompanying a quote about Xanadu from Coleridge's (unfinished) poem "Kubla Khan", then the trenchant strains while Kane meets with infamous world leaders like Hitler and Mussolini. The first appears in the "Gunga Din" scene where Sgt. Cutter (Cary Grant), atop an Indian elephant, halts just before a chasm spanned by a wooden bridge. The second appears in "Din" during a scene where the Thuggee cult leader (Eduardo Ciannelli) rants about prior despots, saying, "Surely Napoleon was the maddest of them all!"

None of Welles' later films comes close to "Citizen Kane" which only affirms that this was not a one-man show. A long list of superb collaborators only heightened the quality of this landmark motion picture.

Lost in Space: The Derelict (1965) Season 1, Episode 2

fine music and visuals

[9/10 · 10 October 2008]

Many like to cite (justifiably so) the music of John Williams (principly from episodes one, three, and seven) as one of the great assets of "Lost in Space," but episode two, "The Derelict," boasts a fine score from the often overlooked Herman Stein. No stock music here; he wrote this beautiful programme music particularly for this episode, and it considerably heightens the dramatic qualities of many scenes, along with much of the almost 'noir' lighting. One can tell that Stein was well acquainted with the dissonance of Stravinsky, Bartok and the like, and put his knowledge of classical composition and orchestration to good use.

Many of the scenes are almost like a silent movie: music and visuals with little or no dialog characterise long stretches in the narrative, and with fine results. The acting is average but adequate, with the exception of Jonathan Harris whose sinister portrayal of Dr. Smith (not at all the camp incarnation that would later become world famous) is a marvel to behold. His modulation of voice and expression makes him by far the most compelling character in these early episodes. The second half of "The Derelict" is unquestionably an early inspiration for Ridley Scott's "Alien" film (1979) with its semi-organic alien spaceship interiors.

A fine sophomore effort in a series that quickly degenerated into a silly competitor with "Batman," originally aired at the same time on a rival network in the United States.

Nine Days a Queen (1936)

First film to dramatise the story of Lady Jane Grey

[6/10 · 5 September 2008]

This film is a misfire, but it was hard to put my finger on why, at first. The acting is superb, led by Sir Cedric Hardwicke as the Duke of Northumberland, Nova Pilbeam as Jane Grey, a young John Mills as Guilford Dudley, and fine character actors such as Miles Malleson and John Laurie, to name but a few. The camera work and particularly the lighting make for many a striking composition. The music, however, though of adequate period flavour, is what pulls down all of the proceedings. It is simply too dull, too slow, and entirely out of sync with the tone of many scenes. A score by someone of the calibre of, say, Miklos Rozsa would have worked wonders with this picture! Or John Greenwood, Muir Mathieson, or any number of musicians who worked on British films in the 1930s. Alas...

Also, I was surprised at how patently ignored Lady Jane Grey's faith in Christ was. Only John Knox (played by Laurie) or those surrounding her execution make any mention of God or the Scriptures. This is one area that was more satisfactorily explored in the 1986 film "Lady Jane" (with Helena Bonham Carter playing the title role).

The Lion Has Wings (1939)

Thief, Interrupted

[4/10 · 26 August 2008]

One can understand why Alexander Korda and his entourage interrupted their work on the marvellous fantasy film "Thief of Bagdad" to construct this patriotic, morale-boosting quickie, "The Lion Has Wings." It's somewhat amusing to see the lovely June Duprez still with her 'vulcan' pointed eyebrows (to make her look more exotic for her princess role in "Thief of Bagdad"). Ralph Richardson and several other officers from "The Four Feathers" are also on hand here, but in then-contemporary uniforms. This is not an 'art' film by any stretch, but it fulfills its purpose and is certainly of interest to anyone who has seen the other two films (aforementioned) as a minor footnote.

Blackout (1940)

Hitchcockian? More like 'camp' expressionism

[6/10 · 4 March 2008]

Hobson and Veidt co-starred in "Spy in Black" in 1938 (released in '39), a beautiful WWI drama about spies and counterspies made by Alexander Korda's London Films. This film was the first pairing of director Michael Powell and scripter Emeric Pressburger who would soon come to be known as The Archers.

1940 saw the release of "Contraband", also featuring the same stars, as well as director and screenwriter. Technically, this film is superior to "Spy in Black", but if one is expecting a Hitchcockian romance-thriller laced with sparkling wit, a la "The 39 Steps" or "The Lady Vanishes," one is in for a big disappointment. Conrad Veidt, only three years away from death, looks much older than forty-seven in "Contraband". It is sad to see him cast as a 'romantic lead' having to occasionally spout some inane, undignified dialogue. Try to imagine Humphrey Bogart playing the lead in "Casablanca" in 1956 instead of 1942, and you have the idea. Even between "The Spy in Black" and "Contraband" Veidt had aged considerably.

The acting, direction, and camera-work are superb---diminutive Hay Petrie steals every scene he is in, as he did in "The Spy in Black" and "Knight Without Armour" (1937). Had he worked in Hollywood, he would likely have been a successful character lead, as was Claude Rains. It is Emeric Pressburger's script which ultimately sinks "Contraband". There are many potentially dramatic moments which are undermined by campy dialogue and situations, so much so that one cannot take the film seriously at all. The same occurs to a lesser degree in the otherwise excellent "The Life and Death of Colonel Blimp" and "A Matter of Life and Death". Pressburger, a Hungarian emigrè, also ham-fistedly telegraphs an appeal for sympathy towards all non-Brits in the aforementioned UK films.

I much prefer the Korda-produced films to the work of The Archers for the above reasons.

Knight Without Armor (1937)

Fantastic film; watch, pay attention, enjoy!

[9/10 · 7 January 2008]

One truly cares about the characters in "Knight Without Armour" (1937) (which at present is only available on Region 4 DVD---officially, that is). John Clements almost steals the film with a role that is little more than a cameo, but superbly acted. One can see how this part led to his being cast as the lead in "The Four Feathers" (1939), the very best motion picture produced by Alexander Korda and released by London Films, and one of the best movies of all time. Other character actors such as Miles Malleson also do memorable bits.

This atypical role for Marlene Dietrich---a truly vulnerable, feminine character, though noble and glamorous---is superbly realised by the German actress, here playing a Russian countess. Robert Donat, excellent as always, is the lead, an Englishman travelling incognito in Russia before, during, and after the Revolution.

There is one scene early in the film which is an interesting reversal of a portion of "Battleship Potemkin"'s Odessa Steps sequence: in "Potemkin" the "White" Cossacks, a faceless, cruelly efficient horde simultaneously gun down a "Red" woman who tries to appeal to them for mercy for her dying child. In "Knight Without Armour" a horde of Reds trudge en masse across the palatial estate of "White" Countess Alexandra, played by Marlene Dietrich. The scene in which she encounters the unsympathetic, destructive mob on her great lawn, and the momentary lull before they act, is unmistakably a comment upon "Potemkin" and its pro-Red propaganda.

American audiences may find the various, regional British accents of the Russian characters a bit jarring. Filmed during the height of the Depression, this is a great lovers-on-the-run film with a world-falling-apart backdrop, irresistible entertainment in any era. Find this one! Used VHS copies are easily had. Miklos Rozsa's score, one of his first for film, has the same warmth and pathos that embodies most of his splendid catalog of work.

Green Light (1937)

"Green Light" is full of rewards

[7/10 · 6 August 2007]

Though not a 'period piece' "Green Light" dates much more than its Errol Flynn-starring predecessors "Captain Blood" and "Charge of the Light Brigade". And that's not necessarily a bad thing. The film was made when the Art Deco-1930s were in full flower. Frank Borzage's direction and the cinematography are beautifully impressionistic and occasionally artsy in a then-modern way as well. Flynn's smiles a bit too broadly and too often in early scenes, in a seeming bid to bring across a likable character. When he shifts attention to others he is much more natural and believable in the film.

Sir Cedric Hardwicke is well cast as the venerable Anglican reverend Dean Harcourt. His booming baritone voice put across his character's appeals for faith and other Christian virtues which are immediately believable (though his pipe-smoking is a bit incongruous with such a character).

One drawback of the film is that its script literally contorts to AVOID the direct mention of Jesus Christ, or the quotation of any recognizable Scriptures (until the finale), substituting semi-mystical pieties and somewhat vague aphorisms of encouragement. It is strongly implied that Flynn's character has undergone a conversion by the time the picture concludes, but it is never expressly stated.

Anita Louise, a lovely blonde, plays one of the women vying for Flynn's affections. Playing the role of her mother is Spring Byington, a delightful busybody in "Charge of the Light Brigade", but here a radiant Christian woman, full of faith, hope, and love which Flynn's initially-sceptical character comments upon long after her scenes are over.

The screenplay and film editing are not as sharp as those of Flynn's most beloved films, and Max Steiner's music is beautifully romantic but oddly unmemorable---which is hard to believe considering his catalog of work (the rousing "Charge of the Light Brigade", for instance, or the classics "The Wizard of Oz" or "Casablanca"). The choristers (boys) of St. Luke's Episcopal Church effectively lend their voices to a few scenes, and would do so in Flynn's follow-up film, "The Prince and the Pauper".

"Green Light" is a diamond in the rough, a neglected gem, and somewhat of a spiritual cousin to Hollywood's "One Foot in Heaven" which starred Fredric March as a minister some four or five years later. It is aired on occasion on TCM (Turner Classic Movies), but has yet to be officially released on videocassette or DVD.

In retrospect it is a bit of surprise choice for an Errol Flynn role, as the film is not nearly so high-budgeted as his preceding pictures. But he desired to prove himself as an actor, not just an action hero in the Douglas Fairbanks Sr. mode, and this was his first non-swashbuckler in which to essay the sort of role Ronald Colman took on in "Arrowsmith" six years earlier.

The Thief of Bagdad (1940)

classic Arabian Nights fantasy

[10/10 · 12 April 2007]

Probably the finest fantasy film ever made. Sumptuous colour, spectacular sets, incredible, spot-on Miklos Rosza musical score that is perfect for each scene and mood. Acting is superb as well in what could have been stiff and pretentious in lesser hands, but here the poetic dialog is deftly, sensitively spoken (the humour is subtle and delightful as well).

Doubtless Spielberg and Lucas were enthralled by this one. Along with "The Four Feathers" (1939), one of the two finest motion pictures released by Alexander Korda and London Films---and one of the finest motion pictures ever made.

A true, compelling classic!