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Reviews
Algiers (1938)
Almost a "Casablanca"
If you have been a lifelong "Casablanca" fan, you might get deju vu watching "Algiers"--except that "Algiers" predates the Bogart classic. And indeed the two films share many similarities. They're set in exotic North African cities, populated by colorful characters, and benefit from crackerjack scripts and strong direction.
Where "Algiers" falls short is in the casting. Charles Boyer is superb as jewel thief Pepe Le Moko, and a couple of the supporting actors--Joseph Calleia as the native policemen Slimane and Stanley Fields as Pepe's dimwitted henchman--acquit themselves well. Alas, Hedy Lamarr, lovely as she is, just isn't convincing. Alan Hale, so good as Errol Flynn's bluff and hearty sidekick, is badly miscast as a fence (receiver of stolen goods). As for the rest there are too many Americans in roles that would have been better played by expatriate actors a la Casablanca.
Still, this is well worth watching, especially for the scenes of Boyer and Calleia, and the glimpses into the Casbah's teeming alleys, even though they were shot on a Hollywood soundstage.
The White Countess (2005)
Drama, History, Not Enough Romance
There are echoes, but only faint ones, of Doctor Zhivago, The English Patient, and Casablanca in this tale of two people caught up in the tides of 20th century history.
There is acting talent to spare with Ralph Fiennes and Natasha Richardson (Vanessa Redgrave is there too, but has little to do). Sets, costume, direction are all fine; the flaw is in the script.
There is simply no reason why Fiennes' character shouldn't have been English; he is never quite comfortable playing an American. Also, his lines are too formal and he overexplains everything.
As in The English Patient, there is a secret tragedy he is hiding.
Natasha Richardson is incredibly appealing--beautiful, warm and sad. Unfortunately, the desired explosion of passion between Fiennes and Richardson never happens. He spends almost the whole film avoiding her. When he finally lets her in, it's too little too late.
If you like historical films, this is still worth watching, even if it isn't all it could have been. Randolph Walker.
Hang 'Em High (1968)
Aims high, and hits close to the mark
Hang 'Em High is a strong western with many memorable scenes and solid acting throughout. A few flaws keep it from classic status but its enjoyable nonetheless.
Composer Dominic Frontiere was asked to come up with an Ennio Morricone type score. The result is too heavily orchestrated in places, but the main theme works perfectly.
We are asked to believe that Eastwood can survive being hanged for what has to be a minimum of three minutes at the least, without suffering irreversible brain damage. And also that the man who rescues him--within a minute or two of the lynch mob departing--happens to be a lawman hauling a rolling cell full of prisoners.
If you can believe that, the rest of the movie unfolds nicely. The lynch mob members are painted, for the most part, as basically decent men who thought they were doing the right thing. LQ Jones in particular has a nice scene where he comes to grip with the fact that one ill considered decision has ruined his life.
The hanging of the six prisoners is beautifully written and acted, with each condemned man facing death in his own individual way.
And the romantic interlude with sad actress Inger Stevens is perfectly done. Inger and Clint reportedly had a brief offscreen affair, and the warmth show through on the screen, a beautiful contrast to the tough action that fills the rest of the film.
Clint, rather than an inflexible revenge machine, shows a nuanced judgment of the characters he encounters.
Well done, Clint.
Star Trek: Is There in Truth No Beauty? (1968)
Interesting concept bogged down by plot muddles
This is one of two episodes penned by the librarian Jean Lisette Aeroeste, the other being the far more successful All Our Yesterdays.
The first half of the episode unfolds promisingly with a strong performance by guest actor David Frankham as the assistant who is love with the beautiful psychologist Miranda Jones.
Things start to go wrong (with the episode) when the Enterprises crosses through some kind of psychedelic "barrier" at the edge of our galaxy, which is nonsense, from a scientific point of view. There is also trouble portraying the Medusan ambassador, who is frequently described as ugly, but actually looks like some kind of light show. As other commenters noted, the senior officers make too much of Dr Jones' beauty. Spock's mind-meld with the Medusan is not really convincing, and Kirk's speech persuading Miranda to save Spock doesn't make much sense. If the point of the ep was supposed to be that love transcends physical appearance, the script just doesn't quite carry the point home.
I do give credit for the appearance of the IDIC symbol. Reportedly the actors opposed it as a thinly veiled commercial for a product to be sold to fans. It may have been that, but when you consider some of the philosophies and dogmas that human beings have devoted their lives to, there are a lot of worse things than finding beauty in the infinite diversity of the universe.
Disneyland: The Scarecrow of Romney Marsh: Part 1 (1963)
Perfect entertainment for young and old alike
If you saw this as a kid and remember it fondly, you won't be disappointed if you see it again. Fortunately the entire movie can be seen on YouTube for free of 2020. Originally produced for Walt Disney's TV show then repackaged as a film, it compares favorably with many theatrical productions of its day. The English locations add depth and color. The supporting cast perform ably but it is Patrick McGoohan's authoritative presence which makes this a classic. Bravo to the costume designer who came up with his sinister mask and also the stick which appears to widen his shoulders. We know all along that the good guys will win and nothing truly distressing will happen, and yet there is more than enough drama to keep us interested... in short, when you want some diverting entertainment, produced with taste and care, you can't do better. Well done, Walt Disney.
Gunsmoke: Old Dan (1962)
Beautifully written and acted.
Sensitive and nuanced treatment of the difficult topic of alcoholism, beautifully acted by the entire cast including the stars and the guests headed by Edgar Buchanan, ably supported by Dabbs Greer as the storekeeper and Philip Coolidge as a homesteader. The finely polished script by Kathleen Hite endows even the smaller roles with humanity, and has nary a flaw except for the unnecessary violence at the end. Thoroughly believable portrait of a charming drunk who elicits compassion from the town residents, which is what we all really want--kindness rather than judgment. Bravo, Gunsmoke. -- Randolph Walker
The Body Snatcher (1945)
Menace, mood and atmosphere
SPOILER ALERT.
Producer Val Lewton and director Robert Wise, working with a top cast and script, turn Robert Louis Stevenson's tale of scurrilous goings-on in 1830s Edinburgh into a cinema classic replete with mood, menace and atmosphere. It's classified as horror but transcends the genre.
As another reviewer pointed out, the murder of the street singer is a painted on screen with restraint and taste, in chiaroscuro tones, instead of the blood bath that a modern director would give us. The result is a haunting image that lingers in the mind, fully meeting the requirement of art: to turn pain into beauty.
The oily malevolence of Karloff simply has to be seen. It's a magnificent performance that should have been rewarded with a Best Actor nomination if not the statuette itself. Karloff's depth makes us believe that Cabman John Gray might once have been a good-hearted lad whose character was tragicallly poisoned by poverty, injustice and brutality. He is utterly monstrous, yet fully human. To see human nature so fully displayed on screen, as it so rarely is, makes "The Body Snatcher" worth seeing again and again.
Henry Daniell is also excellent as the morally compromised medical professor.
The weak link in the cast is Russell Wade as young doctor Fettes. Aside from the obvious--he's an American playing a Scotsman, and unable to produce the accent--he simply lacks the gravitas to hold his own with Karloff and Daniell.
As the dimwitted servant Joseph, Bela Lugosi only has a few minutes of screen time, but he makes the most of it in a memorable scene with Karloff.
The healing of the little girl introduces a nice note of moral ambiguity--the murders did in fact lead to a good outcome for somebody.
The fact that Stevenson's story was based on a real incident--the Burke and Hare murders--lends additional weight. This isn't some house of teenagers menaced by a concocted bogeyman.
The chilling climax is beautifully directed by Robert Wise, as is the entire movie.
I am not sure if anyone recognized "The Body Snatcher" as a classic when it first came out, but as the decades pass, its stock will only go up.
We Want Our Mummy (1939)
Stooges turned loose in the mummy's tomb
Stooges at their peak in 1939, with a good story, good gags and a brilliant performance from Curly. The boys take a cab (!) to Egypt to bring back the mummy of King Rootentooten. Curly accidently crushes a mummy, then has to play a mummy himself. Curly's "swim" in mirage-pond is pure genius. Hard to go wrong with the boys in a chamber of priceless artefacts, menaced by spooks and villains. I can't think of 16 minutes of film with more laughs per minute.