Reviews

I consider this the best of the anti acid films of the era. This is a Sid Davis film. What sets it apart from the others is the pictures of several dead fetus used as examples of chromosome damage caused by LSD. In the other films a fake doctor in a white lab coat in a lab or hospital setting would talk about chromosome damage. That may seem hilarious now, but back then was very serious business: Drop acid and have deformed children. Mr. Davis took it over the top by trotting out the pathetic remains of unfortunate early death and blaming it on LSD. The plot is also pretty good with it's tale of two friends and how dropping acid leads to tragedy. This is all set in groovy Southern California and nicely shot in color.

It's too bad IMDb requires ten lines minimum for a comment. I'll have to reach to get there. Is this series over? Did the credits rolling after the third episode indicate the end? Was the absence of previews for the next episode a sign of closure? Did I miss something? Did I miss a whole bunch of somethings? Did they run out of money and have to wrap up this sloppy mess as a result. Did the leading man die and they had to make do with what they had shot? Did the writers succumb to multiple writer's block? Was all this just the teaser for the sequel? I am really mystified. I have no problem with ambiguous endings, but I object to throwing in half a dozen plot devices in the last twenty minutes and then not addressing any of them. After six hours of buildup to end like this is shameful.

This one has to be seen to be believed. Apparently the gang has witnessed a Ku Klux Klan meeting. They decide to form their own lodge. They call themselves the Cluck Cluck Clams. There is nothing racist about their lodge, which includes member Sunshine Sammy Morrison. The film ends with a chase. The gang gets tangled up with bank robbers. Sunshine Sammy gets his uncle and his pals to chase the bank robbers with the gang riding along. This short was shown on TV in the fifties under the title "Their Latest Prank."

I have been told this comment requires ten lines of type. That is silly. If several people had commented on this film I could see why. I am reminded of the old line "If I had more time I could have written a shorter letter." IMDb should encourage brevity.

Don't expect to see this one on TV. It is a perfect example that animators, especially at Warner Brothers, in the 1930's weren't afraid to use any topical subject for humor. No wonder Chris Rock cites Bugs Bunny as a major influence. It features Porky Pig before they slimmed him down. It was directed by Tex (as Fred in this case) Avery, his second directorial effort for WB. The Ha Ha subject? A terrorist bomber. It opens with a character looking like radio's The Shadow placing a bomb in front of a building and blowing it up. Next, newspaper front pages report on the further carnage and reward offered for the capture of the mad man. Porky enters the picture by trying to buy an ice cream soda. He comes up five cents short. He hits on the idea of picking up things people drop and returning them in hopes of a small reward. He sees the bomber deposit a bomb. The cartoon then kicks into high gear with Porky dogging the tale of the bomber trying to return the bomb. Now the hunter is the hunted, trying to escape his own murderous device. Porky finally chases him right into the welcoming arms of the police, earning the reward. He immediately goes back to the soda fountain and spends every penny on a mountain of ice cream sodas. If you think Tex Avery was the only animator who would make fun of terrorism, see Ali Baba Bound (Bob Clampett), oh yes, that one isn't shown any more either. Suppressing the past, doesn't it make you feel safe?

I'm afraid I've only seen this in black and white, although it was done in color. It contains some of the most fluid puppet animation ever done. The cartoon is comprised of two parts of equal length. In the first part the scene is a large nightclub. The orchestra of Ambrose is playing. Sam Browne sings Harbor Lights. People are seated at tables around a mirrored dance floor. Waiters hurry around. A couple modeled on Fred and Ginger, via the De Marcos, dance. The movement of the dancers is amazing. The mirrored image of the dancers on the floor begs belief. The second part is set in Harlem. Ambrose still provides the music but is not pictured. The music is hot. The citizens dance in the streets. An elevated train rumbles by. Again the animation is perfect. It roars to a finish.

Bing is a magazine salesman on the road who falls in love with a college girl who is featured on billboards. Bing writes her letters, which are answered by her nelly brother. When Bing arrives at the college town, expecting a hot romance, the girl doesn't know him. The nelly brother than arranges a date with Bing. He is dressed in drag by his fraternity brothers, down to undies and stockings. The billboard girl witnesses Bing's impassioned wooing of her brother and wants it for herself. She takes her brother's place, myopic Bing being none the wiser, and swoons when Bing sings to her. Bing convinces the girl to elope with him. Her father objects. A wild Mack Sennett chase ensues. Bing wins out. The brother will have to seek love elsewhere. One of the best of the Bing-Sennett two reelers.

A rare chance to see and hear the band of Nathaliel Shilkret. Footage from this film was used in Yours For A Song, The Women of Tin Pan Alley. He performs Anne Ronell's Baby's Birthday Party. Ruth Etting also sings. The plot is to promote an RCA radio. To show it's quality, a group is taken into a deep cavern, where the radio pulls in the signal and Nat is seen leading the band. The next scene is in a dirigible high over New York City. As it soars past the Chrysler building, Ruth appears singing in the clouds. One of the pilots puts on a parachute and jumps out, hoping to meet Ruth. A delightful short.

This is not the Tex Avery you know and love from his wild cartoons, but it is still nice. A simple device, Amateur night at a theater, with several interesting acts including the snake charmer "Swami Rivers." If you like this, try and see I Love To Singa. If you like Egghead, watch Johnny Smith and Poker-huntas. If you want to see other rare Tex at Warner Brothers, watch Don't Look Now and A Sunbonnet Blue.

A much better film than Leonard Maltin could appreciate. Rudy Vallee and Ann Dvorak are excellent. Among the good songs is Ev'ry Day, a real nice one. The finale, Fare Thee Well Annabelle, is a showstopper. Seeing Helen Morgan is a bonus. All in all, a sweet movie.

Actually, the title is Mongreloid. A nice look at George and his dog Bocko. Bocko starred in several of George's films and here is seen cavorting outdoors with the film maker Curt McDowell. He is also seen indoors with George. George shows Bocko some of the outdoor footage and comments on it, reminding him of the places they had visited. A wonderful film in beautiful color.

The black vaudeville team of Mantan Moreland and Flournoy Miller appear together as two men assigned to be night watchmen in a haunted pawn shop. One of the gags has Mr. Miller sitting down in an armchair, the arms of the chair grab him, and he shouts "Old rockin chair's got me", followed immediately by the song Rockin Chair, by Hoagy Carmichael, playing loudly. A miniature jazz band comes to life and plays. The band is led by Noble Sissle, the longtime musical partner of Eubie Blake. The great clarinettist Buster Bailey is featured in the band. They play red hot versions of Tiger Rag and The St. Louis Blues. The absolutely brilliant Harlem singer and dancer Cora La Redd tears up the place with her incredible singing and dancing. An old washboard comes to life and is soon being played by The Washboard Serenaders. Finally Mr. Miller and Mr. Moreland flee in fright, with Mr. Moreland running out of his shoes, which follow him, crying out "Wait for me". One of the greatest jazz shorts ever made.

As close to a perfect film as have ever been made. Running a fat free 62 minutes, not a second is wasted. Several of the ten minute scenes were released by Castle films as mini-masterpieces. Each of them can stand alone but are greater as part of the whole. W.C. Fields wrote one of his funniest, and easily most sympathetic role as the loving husband and father who dreams of escaping his life as a Eastern shopkeeper and traveling to sunny California where he can own an orange grove. He wrote wonderful supporting roles including the blind man, Mr. Muckle, and the irritating man looking for Carl LaFong. He stoicly suffers the barbs of his wife, the indifference of his children, the incompetence of his hired help and the wrath of his customers. When he reaches California and when his dreams appeared dashed, he triumphs at last. The everyman rewarded after suffering the slings and errors of outrageous fortune. It belongs with Homer, with Shakespeare, with Mark Twain. It is perfection.