by ·Comments Off on The Big Clock (1948, John Farrow)

Ray Milland is a bad husband to Maureen O’Sullivan, working for toxic boss Charles Laughton. When the boss threatens to fire and blacklist Ray from the publishing industry if he leaves for a long-delayed honeymoon, Ray responds by standing up his wife and getting drunk with some strange girl (Rita Johnson, Ray’s fiancee in The Major and the Minor). Coincidentally the strange girl is the boss’s mistress, whom the boss murders that same night, calling in his cleaner Steve (Human Duplicator George Macready) and his top crime investigator Ray (still 15 years away from acquiring his X-RAY EYES).

Ray runs around finding clues that all point to himself, while everyone he met that night is being generous to him and his wife, understandably, is not. Bringing together the two greatest movies of the past decade, Laughton is terrific as the wicked publisher, and he’s inordinately proud of his clockwork device. Fighting his way out from the big clock, Ray incapacitates the henchman, and to everyone’s horror, he stops the big clock. The boss runs off shooting in a frenzy and falls down an elevator shaft.

The Big Sleeves:

Remade once with Yves Montand, again with Kevin Costner. The producer later wrote a pile of James Bond movies, the DP had recently shot three great Preston Sturges films, and the director and lead actress had recently produced Mia.

by ·Comments Off on Dreams That Money Can Buy (1947, Hans Richter)

Occasionally returning to the Vogel book – after the Nazi section I skipped, a “Secrets and Revelations” round-up of bonus films closes part two “The Subversion of Content.” This is what got me watching Salesman (“an inevitable indictment of the commercialization of religion”) and now this and the Herzog.

Different episodes corresponding to customers of a dream consultant. Restrained surrealism, attempts at dream logic, but the look and voices and pace are all off. I don’t think Americans in the 1940s were able to do dreaminess, with one big exception. Vogel calls it “ambitious,” and at least it’s that.

All dialogue dubbed, or rather narrated. Framing story of man-without-qualities Joe who opens a dream consulting business as an excuse to cram together dream imagery in a style I’d call Shabby Cocteau. Also full of poetry, but the basic kind that keeps rhyming art with heart. One episode is just spirograph animations. Four-ish minutes are devoted to shots of a mobile. I can’t slam the songs – “prefabricated heart” sung by a pair of mannequins was pretty good.

by ·Comments Off on Citizen Kane (1941, Orson Welles)

Kane’s death, then newsreel segment on him, then the news editor asking the reporter to find out more, seek the rosebud angle. So meek reporter William Alland (producer of 1950s monster movies) goes to see washed-up widow Dorothy Comingore (of Three Stooges shorts), who sends him away, then he finds his way into a chronological backstory with the help of others. Kane’s mom inherits a gold mine by chance, sends son away from an abusive dad to boarding school with rich guardian George Coulouris. The reporter meets boring old school friend Joseph Cotten and delightful newspaperman Everett Sloane, who tell of Kane’s takeover of the paper and his political aspirations. Kane’s run for governor is destroyed when rival Ray Collins reveals Kane’s affair with showgirl Dorothy while he was married to Ruth Warrick. Now that we’re caught up with her backstory, the reporter returns to Dorothy for his interview, but never finds his rosebud.

Rewatching for the first time in a long while… thought about listening to the four audio commentaries and watching the docs and reading two or three books on Welles, but the year’s almost over and I’ve got lists to make.

Lights & Mirrors:

by ·Comments Off on Some Cartoons watched in late November

Plane Crazy (1928, Ub Iwerks)

The whole barnyard pitches in to build Mickey a rubber-dog-powered airplane, but it explodes immediately, so he sticks a propeller and a turkey tail on a jalopy to get some real power. After terrorizing everyone during takeoff, including some sweet first-person views that might account for this movie being on Jerry Beck’s list, he gets Minnie in the air in order to sexually harass her, but she ditches him mid-flight.

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Balloon Land (1935, Ub Iwerks)

No spoken words in the Mickey, this one’s got singing. In a world where everyone/thing is made out of balloons except for the dreaded Pincushion Man, who threatens to pop our dim heroes who wander into the woods. He follows them into town and goes on a mass murder frenzy until the armed forces fight back with tree sap and knock him off the edge of the world. The young couple gets away with bringing grave peril into town since the only witness who could’ve fingered them was killed.

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Music Land (1935, Wilfred Jackson)

Princess Violin of Symphony island and Prince Alto Sax of Jazz island have a tryst which starts a war, until the opposing sides chill out and hold a wedding instead. Great character design in this one, with the voice of each character “spoken” by the instrument it represents.

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Mother Goose Goes Hollywood (1938, Wilfred Jackson)

Just a string of parodies of movie actors ending in a full-cast dance-off. Gross Katharine Hepburn blackface gag, good Marx Bros and Cab Calloway.

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A Wild Hare (1940, Tex Avery)

The original Elmer vs. Bugs mind-game cartoon. Lost an oscar to The Milky Way.

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Bugs Bunny Gets the Boid (1942, Robert Clampett)

Now a well-established character, Bugs faces off against a dim vulture (condor?), the bird version of Elmer. The buzzard’s voice was a parody of a well-known ventriloquist dummy, created by Edgar “father of Candice” Bergen, whose other well-known ventriloquist dummy was parodied in Mother Goose Goes Hollywood.

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Screwball Squirrel (1944, Tex Avery)

Having co-created Bugs, Daffy and Porky, Tex fell out with the Looney producers and moved to MGM, where he appears to have created new versions of Bugs/Daffy (squirrel) and Elmer/Buzzard (dog) to torment with even wilder gags. Full of fun meta jokes, far beyond Screwy talking to the audience – the action hitches when a turntable playing the music score skips, he pulls back the screen to see what happens in the next scene, he interrupts the iris-out to extend the action. Has the same ending as The Palm Beach Story.

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Baseball Bugs (1946, Friz Freleng)

Bugs in invincible trickster mode plays every position at once, singlehandedly takes on an entire baseball team – some good gags and frantic energy.

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The Big Snooze (1946, Arthur Davis)

Fed up with being tormented, Elmer rips up his contract with the cartoons and goes off to take a peaceful nap under a tree. Bugsy Krueger takes sleeping pills and invades Elmer’s dreams, feminizing him and setting wolves after him, terrifying him into rejoining the chase. One of the shorts Bob Clampett left unfinished when he quit the studio and moved to Screen Gems, where he created Beany and Cecil.

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Tweetie Pie (1947, Friz Freleng)

Another Clampett castoff, redesigned by Freleng. Sylvester (here named Thomas) is chasing an bird outside in the snow, which is then adopted by the cat’s owner. Dig the rube goldberg contraption. Ends with the bird just pummeling the cat with a shovel. The first Warner short to win an oscar (vs. a George Pal puppetoon).

by ·Comments Off on Blue Moon (2025, Richard Linklater)

Ethan Hawke showcase, playing a songwriter whose partner has found success with a different partner. He flails around his favorite bar, chatting with bartender Bobby Cannavale and random patron EB White, waiting for Margaret Qualley to show up (script is based on letters they wrote each other), but she mostly wants to meet ex-partner Rodgers, the man of the hour. Feels more filmed-theater than Nouvelle Vague, besides whatever effect they used to shrink Hawke so everybody will dwarf him, but I had a better time with this one.

by ·Comments Off on Abbott and Costello Meet Frankenstein (1948, Charles Barton)

Having watched a Laurel & Hardy short this year and checked out some Three Stooges shorts, might as well revisit these guys, who I haven’t seen since I was eight. I can remember Abbott is the straight man from the “Hey Abbott!” cries in Looney Tunes, but in person he’s got nothing going for him except the name – I’d trade him in for a second Costello.

Hey Ma:

Costello is an idiot delivery boy bringing crates to an upcoming House of Horrors (this part clearly inspired the first half of Salem’s Lot). He’s stalked by both Dracula and the Wolfman, while hotgirl Lenore wants his smooth pliable brain for her Frankenstein. It’s all tiresome and bad except for the use of animation in the vampire bat transformations, which actually look smoother than the CG assists in From Dusk Till Dawn.

by ·Comments Off on The Shanghai Gesture (1941, Josef von Sternberg)

Dixie (Toothpaste girl Phyllis Brooks) arrives in Shanghai from Brooklyn, immediately runs into trouble due to being broke and clueless, has to be rescued by hat-guy Vic Mature (before his postwar breakout in My Darling Clementine). At the casino, “Mother” is Ona Munson of Scandal Sheet (not that one). Neither of these gals are no Marlene Dietrich, though Ona does call herself Lily at one point – but the movie is rescued by a delightful Gene Tierney (year after The Return of Frank James), who is the lost daughter of bigwig Walter Huston.

In fact everyone’s got Big Secrets and half the room wants to kill the other half when Mother invites all the major players to her new year’s table – between this and Mildred Pierce I met my melodrama quota for the month. Unfortunately these secrets and rivalries aren’t interesting, and the movie fizzles after a first half that was full of possibility. Rosenbaum: “Given the censorship of the period, much of the decadence is implied rather than stated.”

Mother has been watching Uzumaki:

This movie needs a restoration, I demand one:

by ·Comments Off on Mildred Pierce (1945, Michael Curtiz)

In a noir mood, and this made up for The Big Knife being mid. Monte dies in the opening shot, Mildred runs, considers jumping off a bridge, settles for trying (unsuccessfully) to pin the crime on slimeball Wally.

Rewind to MP’s home life with hubbie Burt, young tomboy kid and older pretentious Veda. Burt has a very bad day, getting fired by partner Wally and thrown out of the house for cheating. Burt will agree to a divorce the day of MP’s big restaurant opening, after she buys property from the charismatic Monte, who then flits around with the extremely spoiled and shitty Veda (her younger sister having coughed once in an early scene, then died suddenly of pneumonia). Turns out MP married Monte for business reasons, caught Veda smooching on him, then V killed her own stepdad-boyfriend and mom was trying to cover-up for her criminal daughter.

Parrots keep popping up in scene backgrounds, and you know I love that. Crawford won the oscar, her business manager Ida and daughter Veda split the vote for best supporting, and The Lost Weekend won writing and picture. Veda is Ann Blyth of Brute Force, Bert is squaresville Bruce Bennett (olympic athlete-turned-Tarzan actor), Monte starred in Bunuel’s The Young One and Renoir’s The Southerner, and Wally would have his moment in the mid-50s with Red Garters & A Star is Born & Dangerous When Wet.

The nominees:

by ·Comments Off on White Heat (1949, Raoul Walsh)

Cagney and his dimwitted men rob a train and kill a lotta guys then hide out, but boring cop John Archer (Destination Moon) and his men are closing in, so Cagney confesses to a different, non-fatal job as an alibi for the train heist and goes to jail for a little while. “A very good friend of mine… me!” sounds like an Odenkirk line.

The cops want more on Cagney so they send Large-faced Eddie “Rock Around the Rockpile” O’Brien to jail as a mole to gain his trust. Rivalries in jail then prison break, while outside Big Ed steals his girl Virgino Mayo (Walsh’s Colorado Territory the same year) and they kill Cagney’s beloved Ma (Margaret Wycherly, fake mystic of The Thirteenth Chair). This is the movie where Cagney is a mother-obsessed seizure-prone psychopath, but I don’t find him any more psychotic than most movie gangsters. The cops track him to the next job with newfangled radio equipment – trapped in a burning building he’s made it, ma, top of the world.