A Chorus Line

• Title:  A Chorus Line
• Director:  Richard Attenborough
• Date:  1985
• Studio:  Columbia Pictures
• Genre:  Musical
• Cast:  Michael Douglas
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC

A Chorus Line is quite possibly the first musical I ever saw - on film.  I remember watching this movie in high school, and enjoying it immensely.  The film still has a lot of pull, because it's also very dramatic.  Michael Douglas plays a masochistic choreographer - who subjects sixteen dancers to the audition of their lives.  He sits in the shadows, unseen by the dancers on stage as they pour out their hearts -- each telling very personal stories.  Some are funny, some sad, some will even make you cry.  This film has a sense of depth and feeling to it.

There are a lot of edits and cuts in the dances -- close ups of the dancer's faces, different angles, and the use of a lot of mirrors.  To quote Ginger Rogers:  "Do they think I dance with my face?"  But, filming with mirrors is always tricky -- the mirrors and cameras and other equipment have to be carefully placed to avoid cameras, mikes, and lights appearing in the mirrors.  And some of  the dancing is shown full frame -- I just wish the editors would trust that an entire dance can hold the audience's attention - if shown from start to finish without close-ups!  As it is, though some of the more dramatic conversations work -- in a musical, it's all about the dance and the lyrics.  Though to give them credit - each of  the dancers that gets a starring number - is expressing themselves, their feelings about dance, and their experiences in life.

Musical Numbers (Guessing on the Titles, here -- my DVD copy does not have a list of musical numbers)

• I Can do That
• Everything was Beautiful at the Ballet
• Hello, Love
• Surprise
• Nothing
• Tits and Ass (Dance 10, Looks 3)
• I'm a Dancer
• One Singular Sensation
• What I Did for Love
• One Singular Sensation (Reprise)

One unusual thing for a film about making a musical - we never actually see the finished musical Broadway play.  The film's plot is about casting the chorus.  And the final reprise number, of  "One Singular Sensation", with it's ever expanding group of  dancers - goes back to the audience seeing the chorus as a mass of moving bodies, not as individuals.  Whereas, as I've said, the film's content takes the time to make the chorus members real people - with dreams, ambitions, problems, etc.

Recommendation:  See it - at least once.
Rating:  3.5
Next Film:  Citizen Kane

Chitty Chitty Bang Bang

• Title:  Chitty Chitty Bang Bang
• Director:  Ken Hughes
• Date:  1968
• Studio:  United Artists / MGM
• Genre:  Musical, Children, Romance
• Cast:  Dick Van Dyke, Sally Ann Howes, Lionel Jeffries, Benny Hill
• Format:  Technicolor, Widescreen
• DVD Format:  R1, NTSC

"Do you think they're going to get married?"  -- Jeremy
"Has he kissed her yet?"  Jemina
"Not yet."  -- Jeremy
"Just as soon as he kisses her -- then they'll have to get married." --Jemina

In Edwardian England, Mr. Potts (Dick Van Dyke), a poor inventor, is raising his two young children on his own.  Simultaneously two things happen -- his children want him to buy a wrecked race car for 30 shillings because it's been their plaything and the local junk man wants to melt it for scrap; and, Potts runs in to Truly Scrumptious, daughter of the local candy maker.

Potts brings one of  his few working inventions, a candy that whistles, to the Scrumptious Candy Factory hoping to raise some money -- he fails, he thinks, when the factory is invaded by dogs.  But later, he ends up at a fun fair, where he performs with a singing/dancing group ("Me Ol' Bamboo") -- to his surprise, coins flood the stage and he ends up with more than enough to buy the wrecked car.  He tows it, behind a horse, back to his workshop, and spends days putting the car back together.  But when it's done it's a truly wonderful car.

To celebrate the completion of  the car, Potts takes his children to the beach for a picnic.  He runs into Truly, and she comes along.  A fine day is had by all, and as they are winding up the picnic, the children ask their father for a story - about pirates.  Potts begins to tell the story, and suddenly they are in the story - pirates come to take Chitty Chitty Bang Bang, the car turns into a boat and they escape.  The story is not over, though, because when they return home ... Baron Bomburst have taken Grandpa Potts away in their dirigible - believing him to be Professor Potts, the man who invented the floating car.

Potts, Truly, and  the children follow, in Chitty Chitty Bang Bang which has now grown wings and flies.  They arrive in Vulgaria, where the local toymaker (Benny Hill) tells them children have been outlawed because the local Baroness (Bomburst) hates children.  The toymaker hides the four, but while Potts goes to find his father, the children are captured by the local "child catcher".  However, Potts, the toymaker, Truly, and eventually the captured children revolt at the castle and Potts family is freed and they escape.

Dissolve to Potts concluding that they "all lived happily ever after", as the four sit in the car at the beach.  Potts drops off Truly, declaring it would be ridiculous for them to get married.  But when he gets home, he discovers his father and her father playing toy soldiers in his living room.  It seems his father was Mr. Scrumptious's batman and Scrumptious was his "brigadier".  Also, further testing has shown Potts whistle treats are awful for people but terribly popular with dogs -- he wants to offer Potts a contract that will make him rich.  Before he can even accept Potts rushes off  to find Truly -- who's rushing off  to find him.  Potts kisses her -- and she replies, "Now you have to marry me!".  And everyone is happy.

The Technicolor filming really adds to this movie -- the colors pop right off  the screen.  But for a children's movie it is quite long (it even has the dreaded intermission).  Also, other than the title song, "Chitty Chitty Bang Bang", and "Doll on a Music Box" the music is only so-so, and there really isn't much dancing (and what there is manages to be rather static).  Overall, I much prefer Van Dyke's "Mary Poppins".  But, the movie must be given credit as a fun fantasy for children.

Trivia:  The film is based on a book by Ian Fleming, produced by Albert R Broccoli, and filmed on location in England, Germany, and France, and at Pinewood Studios in England.  If you're wondering -- yes, it is the same Ian Fleming who wrote James Bond.  And Albert Broccoli produced many of  the Bond films, which were often filmed at Pinewood.

Musical Numbers

• You Two
• Toot Sweets
• Hushabye Mountain
• Me Ol' Bamboo
• Chitty Chitty Bang Bang
• Truly Scrumptious
• This Lovely Lonely Man
• POSH (Port Out, Starboard Home)
• Roses of Success
• Hushabye Mountain (reprise)
• Chu-Chi Face
• Doll on a Music Box
• Truly Scrumptious (reprise)
• Chitty Chitty Bang Bang (reprise)

Recommendation:  Show it to your kids.
Rating:  3.5 out of 5 Stars
Next Film:  A Chorus Line

Charade (1953)

• Title:  Charade (1953)
• Director:  Roy Kellino
• Date:  1953
• Studio:  Portland Picture
• Genre:  Short Stories, Film Noir
• Cast:  James Mason, Pamela Mason
• Format:  Black and White, Standard
• Format:  R1, NTSC 

"We can reconstruct the crime over dessert."  -- Max

"Because this had to end like this, and because you're more than a little mad, that makes you my perfect love.  This is a love that will never wilt, it will survive like a pressed flower, I shall never learn that you are stupid, or shallow, or inconstant.  Jealousy and disillusion will never make you hateful or dangerous."  -- Max


Though it has the same title as the film reviewed previously (Charade - 1963), this film really has nothing to do with the other.  Rather, it's actually three short films, no more than half an hour each (probably a bit less, I didn't keep close track), connected with scenes between James and Pamela Mason discussing the movie project they are working on.  The film, actually, starts oddly with the two talking to each other - James Mason about his desire to be a producer, and Pamela saying he's an actor who will never be a producer.  He mentions three scripts she'd worked on -- saying they were too short to produce, she counters with the idea of doing a Trio.  Between each completely separate story, and at the end as a concluding bookend we return to the two as themselves talking.

The first story is actually quite a nice film noir piece, tho' the production values are extremely low.  Everything takes place in one set, which isn't too bad, but Pamela Mason's voice-over reminds me of  Victoria Winters from Dark Shadows.  And in one scene, James Mason's menacing appearance at her door is totally spoiled by a boom in the shot.

However, that said -- it does draw you in.  Pamela Mason is a British ex-pat, living in Paris, and trying to become a painter -- and failing miserably.  Her next door neighbor is loud and annoying, especially when she plays the piano -- badly, at all hours of  the night.  Pamela even fantasizes about killing her annoying neighbor.  Then one night she hears the piano being played surprisingly well, followed by an argument and a suspicious thump.  She looks out her door and sees a man standing in the hall under the naked light bulb.  Being an artist, she sketches the man.  Deciding it would be more fun to keep the secret of what she saw -- she tells the police she slept soundly that night and saw and heard nothing.

Suddenly, "Max" (James Mason), the man she had seen in the hall appears -- he's rented the apartment next door.  Yes, the dead girl's apartment.  He's aware of  the room's history, but it doesn't bother him.  The two get to talking and before long, Pamela is painting his portrait.  As she finishes painting when he isn't there, she writes "Portrait of a Murderer" on the painting, then covers it with a canvas.

Max arrives, and tells her he's been attending the trial of  the man who is accused of killing her neighbor.  He mentions some details from the man's defense, and demands to have the original sketch she drew.  Looking at the sketch, they see a detail mentioned by the man which had never been mentioned before.  Pamela tries to convince "Max" she loves him and will never betray him.  He kills her anyway.  Two French policemen finding the body, also find the portrait...

and we return to James and Pamela Mason, discussing that "Max" will most certainly be caught.

The second story, Duel at Dawn based on an Alexandre Dumas story, has the former boyfriend of a countess challenging her current fiance to a duel.  The conditions of the duel sound impossible, one man is certain to die.  The Countess (Pamela Mason) is so distressed she writes a letter to her fiance telling him she'll die as well if  he doesn't survive -- she also tells her maid to stay there out of sight and tell her who survives.  She also writes a letter of  intent to her father.  The maid, sees the Countess's ex-boyfriend leave the dueling barn.  However, unbeknownest  to her both men survived -- the duel was a trick, meant to test Mason's courage.  However, before the Countess can go all Juliet at the news her maid brings her of her fiance's death, Mason arrives just in time.  Realising what she was about to do -- he swears off dueling for life.

The third story, The Midas Touch concerns a boring captain of  industry, who's only talent is making money.  He's so good at it he finally gets bored and takes off for England where he holds a series of  low jobs before becoming a butler and falling for the Lady's maid (Pamela Mason).  However, when the head of  the household decides to take his Yacht to the US, he's faced with a problem -- he wants to marry the maid and live a quiet life.  Somehow, instead, he ends up back in New York, captain of industry again, but now married to the maid -- who's now an aspiring actress.

Overall, I liked the first piece best -- Mason was quite menacing, and the use of mirrors to get tricky shots was interesting to watch.  Use of a single set is quite stagey, but at the end becomes effectively claustrophobic.  It's a pity that single story wasn't extended to full movie length, and the intermediate dialogue between Pamela and James Mason cut.

The second piece isn't bad -- tho' it's predictable, and James Mason's character, tho' the "hero" for once, is quite annoying as well (he does put his "honor" over his fiancee's life).

The third story is just plain awful... no doubt about it.

Overall, tho' the first story is worth watching, the rest of  Charade (1953) isn't really worth it.  I'm glad this was only an extra feature on another film I bought (Charade 1963) rather than something I really paid for.

Recommendation:  Turn it off after the end of the first story
Rating: 2.5 of 5 Stars
Next Film:  Chitty Chitty Bang Bang

Charade (1963)

• Title:  Charade
• Director:  Stanley Donen
• Date:  1963
• Studio:  Universal
• Genre:  Suspense, Romance, Mystery
• Cast:  Cary Grant, Audrey Hepburn, Walter Matthau, James Coburn, George Kennedy
• Format:  Technicolor, Widescreen
• Format:  R1, NTSC

"It is infuriating that your unhappiness does not turn to fat."  -- Sylvie to Regina

"Any morning now, you could wake-up dead, Mrs. Lambert."  -- Threat spoken to Regina

"Being murdered in cold blood is not nonsense!  Why don't you try it sometime?"  -- Regina to Peter

Audrey Hepburn is Regina Lambert, who returns to her flat in Paris, determined to ask her husband for a divorce, only to find the flat completely empty, the electricity shut off, and a police officer waiting to tell her that her husband has been murdered -- thrown off a train.  Shortly thereafter, a man claiming to be from the CIA (Walter Matthau) informs her that her husband was wanted for stealing $250,000 in gold during World War II along with four other men.  What follows is a complicated suspense movie of  multiple identities, miscellaneous murders, revenge, and a search for the missing money.  Cary Grant alone, who keeps showing up around Audrey Hepburn, has at least four names.

This film is directed like a classic Hitchcock film, though the director is actually Stanley Donen - better known for his musicals.  There is some romantic tension between Hepburn and Grant as well, but not as much as is typical for a Cary Grant-led romantic comedy.

Overall, though a bit long, it's still a fun film.  I picked up my copy at Suncoast on sale for $4.99 -- back when there was a Suncoast Video, simply because with Grant and Hepburn as leads I figured I couldn't go wrong and I was right.  The film is very enjoyable.  Cary Grant is excellent as the mystery man Hepburn isn't sure she should trust or not.  And Audrey Hepburn is excellent and believable as the only one in the film who really has no idea what's going on.  Also, there's two surprises at the end:  where the money was hidden (a classic - I love it, tho' the idea has been played with since in several formats) and who Cary Grant "really" is - another classic.

Recommendation:  See it!
Rating:  4 of 5 Stars
Next Film:  Charade (1953)

Casablanca

• Title:  Casablanca
• Director:  Michael Curtiz
• Date:  1942
• Studio:  Warner Brothers
• Genre:  Classic, Drama
• Cast:  Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Sydney Greenstreet, Peter Lorre
• Format:  Black & White, Standard
• R1, NTSC

"What in heavens name brought you to Casablanca?"  Cap't Louis Renault
"My health, I came to Casablanca for the waters."  Rick Blaine
"The waters?  What waters -- we're in the desert." -- Cap't Renault
"I was misinformed." -- Rick

"What's your nationality?" Maj. Strasser
"I'm a drunkard."  -- Rick

"Of all the gin joints, in all the towns, in all the world -- she walks into mine." -- Rick

"I'm shocked, shocked to find that gambling is going on in here." -- Cap't Renault
"Your winnings, sir."  -- Waiter
"Oh, thank you very much."  -- Cap't Renault

Casablanca is one of  the best movies ever made.  Like all great movies it is still enjoyable after repeat viewings, and can even become more enjoyable because of  the anticipation of favorite lines and scenes and actions.  The movie, after a brief audio introduction, swiftly carries you into it's world.  Casablanca -- crossroads of the world, filled with refugees from war-torn Europe hoping to beg, borrow, or steal enough to obtain exit visas and passage on the plane to Lisbon and from there passage to America.  Part of  what Casablanca does so well is not only the main plot of three "little people" -- but the small side plots -- the older German couple who have finally obtained passage and are practicing their imperfect English, the woman who sells her diamond tennis bracelet - for far less than it's worth because she's desperate for money (and the broker knows it), the pickpocket, the young girl who asks Rick if she should trust Cap't Renault and do a "very bad thing" so she and her husband can escape Casablanca.  There is a real sense that everyone in Casablanca has a story - and it may be as compelling as the story of  Rick, Ilsa and Victor Laszlo.

But at the heart Casablanca is about Rick, Ilsa, and Victor -- three good people caught in a mess.  Rick - the cynic, who "sticks his neck out for nobody," Victor - hero of  the people, who escaped a German Concentration Camp and is leader of the underground free French.  And Ilsa - the girl they both love and have loved at different times.  The film is about Rick's journey from cynic to unlikely hero -- but there's an edginess to the movie - the audience doesn't know what Rick's final decision will be.  Part of this may have been the cast didn't know, supposedly the script was unfinished and the movie was made on the fly.  But even if that wasn't so, and even when you have the final scene with all it's perfect dialogue memorised - you've seen this movie that often, the film still manages to have a sense of surprise to it, a sense of anticipation, and it creates a world that envelops you.  It truly is a brilliant, brilliant film.

Also - Casablanca is filled with great lines, those quoted above, and gems like Cap't Renault's "I'm only a poor, corrupt official," or his "Major Strasser has been shot - round up the usual suspects," not to mention Rick's speech to Ilsa at the end of  the film -- and the last line of  the film as well.  Totally classic!

Besides the sparkling script -- the film is filled with great images as well:  Ilsa's hand knocking over the champagne glass as Rick kisses her as the Germans match into Paris; the rain washing away the ink of Ilsa's note to Rick; the close-up as Cap't Renault drops the bottle of  "Viche Water" into the trash.  And light and shadow is used so well in the film.  Ingrid Bergman looks so beautiful, especially when she walks into Rick's the lighting on her face makes her practically glow.  But shadows and half  light are used well.  Mist and smoke are also used to enhance the visual image:  the smoke obscuring Rick as he gets on the train in Paris, and the mist and fog shrouded airport at the end of the film are two examples.  Another of my favorite scenes is when Victor leads all of  Rick's Cafe' Americain in singing the Marseillais to drown out the Germans who are singing De Fatherland, especially Yvonne crying.

And Rick -- Richard Blaine, who "sticks his neck out for nobody," who at the start of the film does nothing to help poor Ugarte (Lorre), despite his pleas, and despite him saying Rick's the only one he trusts - an action which later results in Ugarte's death.  This is the man who is the noble one at the end of  the picture -- he's the one who gives up love for something greater, and because he knows the woman he loves - loves someone else.  I just love this movie and could watch it again and again and again.  Which is often the best compliment a work of  art can have - to make you want to experience it over and over again.

All in all - just about a perfect movie.

Recommendation:  See it!  Own it!
Rating:  5 (out of 5) Stars
Next Film:  Charade

Carefree

• Title:  Carefree
• Director:  Mark Sandrich
• Date:  1938
• Studio:  RKO Radio Pictures
• Genre:  Musical, Romantic Comedy
• Music and Lyrics:  Irving Berlin
• Cast:  Fred Astaire, Ginger Rogers, Ralph Bellamy
• Format:  Black & White, Standard
• DVD Format:  R1, NTSC

"We all try to escape reality.  We all want to be something entirely different than we really are."  Dr. Tony Flagg

Carefree is one of  the less well-known Fred Astaire-Ginger Rogers musicals.  And it is somewhat unusual in that it's one of the few, if  not the only one, where Fred and Ginger are not playing professional dancers - thus the film is more like a romantic comedy (especially a screwball comedy) than a musical.  In this film , Fred is Dr. Tony Flagg, a Freudian psychiatrist and hypnotherapist.  Ginger is his patient, Amanda Cooper, brought to see Tony by his friend Steven (Ralph Bellamy) because she's afraid of  matrimony.  Also, whereas in most of  the Fred Astaire-Ginger Rogers musicals, Fred meets Ginger and falls for her.  In Carefree, it's Amanda (Rogers) who falls for Dr. Flagg (Astaire) almost as soon as she meets him.  It takes Dr. Flagg awhile to realise his true feeling for Amanda.

Also, Carefree, is a very dreamy, effects-laden film, well, for 1938, that is.  Dr. Flagg, as an expert in psycho-analysis, asks Amanda to tell him her dreams.  Told that she doesn't dream, he takes her to dinner with friends and has her eat a variety of  strange foods -- to induce dreams.  And dream she does -- but not of  Steven, instead she dreams of  Tony.  And the dance in her dream includes a slow motion sequence that's a joy to watch.

Later, at the country club, Amanda sings "The Yam", bringing Tony into the dance with her.  The dance is interesting because in the first part of  the dance -- she's actually the one leading. Though that changes to Fred leading as the dance becomes more elaborate.   As a whole, "The Yam" is elaborate partner tap dance, with ballroom moves, and swing, that's also light and humorous.  The dance also moves through several rooms of  the country club, and at the conclusion, Fred flips Ginger over his leg several times (bracing the leg against a table, flipping her over it like a gymnast's bar, dancing to the next table, bracing his leg, flipping her over it, going to the next table, etc, in a complete circle around the room).  It's impressive in the pure strength and athleticism it took to do that -- as well as Astaire's natural grace, and Ginger's balance.  Astaire often manages to look like he's floating in air.  It's amazing.

Finally, in desperation, after Amanda admits she's fallen in love with him; Tony hypnotizes her into thinking she loves Steven and that Tony's "terrible, and should be shot down like a dog".  Poor choice of  words on Tony's part.  Because, yet again, he leaves her alone -- this time having a conversation with himself in the mirror, in which he realises he's fallen for his patient.  He returns, only to discover, yet again, she's escaped while under the influence.  This time - she goes to a skeet-shooting contest and starts shooting up the place with a rifle.  Tony must figure out how to undo what he did ... when Steven, and his pal the judge, are determined to not let Tony see Amanda again.

Carefree also has the ballroom number, "Change Partners, and Dance", with Dr. Tony attempting to hypnotize Amanda during their dance, which is also quite a nice number.  (She's in a black dress, he's in full black tux with tails).

As always the dances are shot full-frame (Fred and Ginger are shown from head to toe), and the dance is filmed in a single shot, without a lot of  edits and cuts.  This method of  filming makes it easier to follow the dance, but also means the dancer's pure talent can shine through.

Eventually everything works out.  Tony gets in to see Amanda at her wedding, Steven accidentally knocks out Amanda, Tony reverses his negative post-hypnotic suggestions, and Tony and Amanda marry.  Ralph Bellamy, of course, is left alone and single as always.  Carefree is also a short film, only 82 minutes, but still very fun, light, and funny.

This film is fun, and the novelty of  Ginger chasing Fred instead of  the normal Fred chasing Ginger makes it a bit unusual.  It's a screwball comedy classic, but with singing and dancing.

List of  Musical Numbers

Since They Turned Loch Lamond into Swing - Fred (tap)
I Used to Be Color Blind - (Fred, vocals), Fred and Ginger (Ballroom dance)
The Yam - Ginger (vocals), Fred and Ginger (Partner tap)
Change Partners and Dance - Fred (Vocals)
Change Partners and Dance - Fred and Ginger (Ballroom)

Recommendation:  See it!
Rating:  4
Next film:  Casablanca

Broadway Melody of 1940

• Title:  Broadway Melody of 1940
• Director:  Norman Taurog
• Date:  1940
• Studio:  MGM
• Genre:  Musical
• Lyrics & Music:  Cole Porter
• Cast:  Fred Astaire, Eleanor Powell, George Murphy, Frank Morgan, Ian Hunter
• Format:  Black & White, Standard
• DVD Format:  R1, NTSC

"Say listen, we may never get anywhere, but if we don't think so... I'd rather break it up, now."  -- Johnny

"I think people can be platonic -- and still be friends."  Casey's blonde

"The more you know about women -- the less you know about women." -- King
"Maybe it's time you found out they're not all alike."  -- Johnny

Johnny Brett (Astaire) and King Shaw (George Murphy) are struggling dancers making ends meet by walking brides down the aisle in place of  the father-of-the-bride, and dancing (for .05 cents a dance) at the reception to make ends meet while they try to break into a professional Broadway gig.  King is so fed-up and disgusted with their lack of  success he's about to give up.  Johnny, keeps his partner's spirits up, cheering him on.  That night when the two perform their comedy-dance number at the hotel, they are spotted by a talent scout.  The scout sees Brett and wants to offer him a chance to dance with Claire Bennett (Eleanor Powell) the biggest star on Broadway, and Brett's secret crush.  Brett, however, mistakes him for a bill collector - and gives him his partner's name.  So the agent calls King in, thinking he's Brett, for an interview - which turns into an audition, which turns into a job.

King, is, somewhat torn that his big break is his big break - and he has to leave behind his partnership with Johnny; but he tells Johnny he was going to pass on the offer - both or nothing, so to speak.  Johnny talks him into it anyway.

The audition goes fantastically.  Throughout the film, Johnny gives King tips and even improves steps from the show.  Both King and Johnny fall for Claire.  Claire's in something of a relationship with her manager- but, despite his continued proposals, and her continued refusals, they are both married to their careers, and Claire, in particular, won't give up the stage for marriage.  (What a concept for a film from 1940 - a woman who chooses career over marriage!  ).

Meanwhile, the talent scout (Frank Morgan) runs into Johnny and tells him how bad he feels about the mix-up and says he wants to make it right.  Johnny refuses.  In the end, the scout promises to discover him next year and get him a job.  Johnny shakes on that.

Claire catches Johnny playing "I've Got My Eyes on You" on the piano, tapping while sitting, then dancing with her photo.  The two go to lunch, and end-up dancing together (a nicely done partner tap dance).

Finally the first night of  the new show rolls around.  But King is drunk in his dressing room - he's convinced that Johnny has stolen Claire from him.  Johnny substitutes for King in the first number, and when he returns back stage, convinces King he fainted in the wings after the first number, but he was a sensation, and gets him ready for the rest of the show.  The next day, though, Claire sets him straight.

Though King and Johnny are now squabbling, King sets things right by faking being drunk and Johnny goes on instead.  Astaire and Powell perform the stunning "Begin the Beguine" as the show-within-a-show.  The number is fantastic -- with two sections and a transition between them.  Section 1 is a white and black set with Astaire in a Bolero outfit.  The transition has four chorus girls in plaid.  Then Section 2 has Astaire in a white tux and Powell in a floaty white dress - and has some very, very nice and accomplished partner tap dancing.  (Partner Tap is side-by-side; as opposed to ballroom dance which is face to face).  The second part set is a black set that's so shiny the dancers are reflected in the floor.  Also, the dances are full-frame, that is, we see the dancers from head to toe and the dance from start to finish without edits and cuts.

After the big finale dance - Johnny and Claire return back stage only to find that King was faking, and the three return "on-stage" for a threesome partner tap dance, which ends the film.

Broadway Melody of 1940 has a rhythm like a sine wave -- the scenes between Astaire and Murphy are great, as are the dances -- but whenever anyone else is talking, the plot is incredibly slow.  And I frankly could have done without the female juggler scene at the talent agency, or the hopeless bad "comedy" soprano.

The other thing is Astaire and Powell:  she's not Astaire's best partner, who is of course Ginger Rogers; or even someone like Cyd Charisse who's contrasting training provides a good counter-balance to Astaire.  Whenever I watch a movie with Astaire and Powell -- it feels, to me, like I'm watching two separate dancers - not a unit.  Powell is a good tap dancer -- and extremely athletic - her gymnastic maneuvers in "I am the Captain" are truly impressive - they take your breath away.  Whereas Astaire is extremely impressive on his own in "I've Go My Eyes on You" where he plays the piano, taps while sitting, moves effortlessly into a jazz/ballroom/tap dance with Claire's portrait, and ends by tap dancing on a step -- with one foot on one level and the other on a different level.  Amazing.  But it says something that the two do some of their best work alone - where their "partner" is merely watching and the dancer doesn't even realise it.  Even in "Begin the Beguine" - which is a fantastic number, with impressive tap dancing and partner dancing - it just feels like there's an ice wall of  separation between Powell and Astaire.  Frankly, Astaire has better chemistry with George Murphy in this film -- and I don't think it's Astaire's fault.

List of  Musical Numbers

• Please Don't Monkey with Broadway -- Murphy and Astaire
• I am the Captain -- Eleanor Powell
• Between You and Me -- Powell and Murphy (ballroom)
• I've Got My Eyes on You -- Fred Astaire
• Jukebox Dance -- Powell and Astaire (tap)
• I Concentrate on You -- Powell (ballet)
• I've Got My Eyes on You -- Powell and Astaire (Harlequin number) (Ballroom/jazz)
• Begin the Beguine 1 -- Astaire and Powell
• Begin the Beguin 2 -- Astaire and Powell

Recommendation:  Actually not bad - see it.
Rating:  3.5 out of 5
Next film:  Carefree

Broadcast News

• Title:  Broadcast News
• Director:  James L. Brooks
• Date:  1987
• Studio:  20th Century Fox
• Genre:  Romantic Comedy
• Cast:  William Hurt, Holly Hunter, Albert Brooks,  Joan Cusack, Christian Clemenson, Jack Nicholson
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC

"Did you go to college? (pause)  So -- you're not well-educated, you have almost no experience and you can't write."  -- Jane
"Yeah, and I'm making a fortune." -- Tom

"So, don't get me wrong when I tell you that Tom, while being a very nice guy, is the devil."  -- Aaron
"This isn't friendship!  You're crazy, you know that?" -- Jane
"What do you thing the devil's going to look like if he's around?" --Aaron
"God!" -- Jane
"Come on!  No one's going to be taken in by a guy with a long red pointy tail. ...  No - I'm semi-serious here!  He'll be attractive, he'll be nice and helpful!  He'll get a job where he influences a great God-fearing nation!  He'll never do an evil thing!  He'll never delibrately hurt a living thing!  He'll just bit by little bit, lower our standards where they're important.  Just a tiny little bit -- just coax along flash over substance!" -- Aaron

"This is one story they're not going to cover, 'course if the network doesn't cover it - it must not be important, so why worry about it, right?" -- Aaron

Broadcast News is a very funny, yet bittersweet romantic comedy.  In some ways it does follow the typical romantic comedy conventions -- girl is torn between two guys.  Or, rather, girl is friends with one guy who'd be great for her romantically -- but she's swept off  her feet, so to speak, by the handsome new guy she's just met.  A guy who flatters her at every turn.

But, besides the comic elements what makes this film work is how it introduces us to three people we end up emphasizing with - even when they are angry at each other, and making a few important points about the status of journalism in the US - without soapboxing or turning the film into an overly depressing drama.

The main characters are:  Jane (Holly Hunter) -- a woman so driven and tightly wound that she tells taxi drivers what route to take, and starts every day (or deals with stressful situations) by unplugging her phone and crying for a few minutes.  Jane is very, very good at her job as a Washington news producer.  And Jane's best friend is Aaron.

Aaron (Albert Brooks) is a professional reporter -- he knows his stuff, he knows how to write and how to produce / manage shooting news.  He's friends with Jane but also loves her and would like to be more than friends with her.  He's also supported Jane's fight against "entertainment as news".

Tom (William Hurt) is the new kid on the block -- even he knows he was hired for his looks and that he's not all that bright.  Jane argues with him that he can do something about that - he can study-up, and watch and learn from the other more experienced reporters.  Tom sees Jane and immediately falls for her - but at times, he almost seems to be acting like he sees her as a good career move, because he also has a one night stand with another female reporter at the Washington news bureau.

More serious plotlines include exposing entertainment news as NOT news; cuts to staff, especially actual reporters with experience, and faking the news.  Relatively early in the film, Jane and Aaron are in South America with a group of Contras who are fighting the Sandanistas.  A cameraman says something to one of the soldiers about his boots.  Jane strides in and screams that they are not in the business of making news, then explains to the soldier he can do whatever he wants.  The soldier puts on his boots.  Later - she's happy to have a shot of that because it makes a fine point in the story.

However, Tom's first story on his own -- a well-done piece about date rape, includes a cutaway shot to Tom, the reporter, tearing up.  At the very end of the film, Jane pulls the rough tape and sees Tom faking (or acting) his reaction - which was used in the finished news story.  She's livid - he doesn't see what's wrong with it.  In the end, instead of going for a week's vacation someplace warm, sunny, and with plenty of sand, together -- Tom goes alone, because Jane's realized she can't be with someone so contrary to her own ethics.

Meanwhile, Aaron has also decided to leave -- with the huge amount of cuts in the Washington bureau, and thinking Jane will be with Tom, or at the very least, never be in love with him.  He takes a job in Portland.

Jane is left alone -- not ending up with either of the two men in her life.

The film has two bookends -- the opening shows all three characters as children.  The end, taking place seven years later, shows Tom getting the network news anchor spot but refusing to be the managing producer controlling content -- instead, he asks Jane to do that, and she accepts.  Aaron is still in Portland, married, with one child.  Tom's engaged.  And Jane's still single, but "seeing a guy".  These bookends are a classy way of  introducing the characters and opening and closing the film.

Besides the entire film's critique of entertainment-as-news, and flash over substance; the film also introduces a very important concept:  budget cuts at national news networks.  At the end of the film, nearly thirty people lose their jobs at the Washington Bureau.  These are characters we've come to know and care about like our leads.  But Jane's promoted -- first female Washington Bureau chief;  Tom's also promoted - sent to London to be groomed for the network anchor position, and in disgust - Aaron quits and heads to Portland.  As the business manager is making the cuts, and the current anchor (played by Jack Nicholoson no less) shows up to show his support for people who have just lost their jobs, the anchor makes the comment about how awful it is that they had to cut so much from the news budget, "all because they couldn't program Wednesday nights", and says he wish he could do more.  The business manager says in an undertone, "Or they could have cut a million or two from your salary", then passes it off as a bad joke, a nervous joke.  The audience knows better.

I highly recommend seeing this film, it's enjoyable, the character's are great, and surprisingly enough for a romantic comedy - it actually has something to say.

Recommendation:  See it!
Rating:  4 of  5 Stars
Next Film:  Broadway Melody of 1940

Bringing Up Baby

• Title:  Bringing Up Baby
• Director:  Howard Hawks
• Studio:  RKO Radio Pictures
• Date:  1938
• Genre:  Classic, Romance, Comedy
• Cast:  Katharine Hepburn, Cary Grant
• Format:  Black & White, Standard
• DVD Format:  R1, NTSC, 2-disc Special Edition

Bringing Up Baby is a classic and very funny "screwball comedy".  It's a simple joy to watch.  Cary Grant plays a "zoologist" (Considering he's building a brontosaur skeleton for a museum, he's more likely an archeologist, anthropologist, or paleontologist -- Zoologists study living animals) who keeps running into Susan Vance (Hepburn) -- an heiress who seems to never stop talking or take five seconds to consider the consequences of  her actions.  Grant is also due to get married -- something Hepburn foils by keeping him busy on her Aunt's estate in Connecticut.  Though there is very little plot, the film is brilliantly funny -- from Hepburn and Grant walking out of a very fancy restaurant pressed close together to hide the fact that Hepburn has lost the train and backside of  her skirt -- to various shenanigans chasing her pet leopard, Baby, the film is laugh out loud funny.

Cary Grant plays an out-of-his-depth professor perfectly -- confused and confounded throughout - until he finally realizes how he feels about Susan.  Whereas, Katharine Hepburn is at her screwball comedy best, talking a mile a minute without ever making sense.

The dialogue in the film is fast and furious, and frequently overlaps -- working to add to the pace and the hilarious nature of  the film.  Truly, not a film to be missed.

Recommendation:  See it! -- What are you waiting for?
Rating: 4 out of 5
Next Film:  Broadcast News

The Breakfast Club

• Title:  The Breakfast Club
• Director:  John Hughes
• Date:  1985
• Studio:  Universal
• Genre:  Comedy, Drama
• Cast:  Emilio Estevez, Anthony Michael Hall, John Kapelos, Judd Nelson, Molly Ringwald, Ally Sheedy
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC

Five characters in search of an exit is a format for a play that's pretty simple:  take a group of characters with nothing in common, and stick them someplace they can't escape, and watch what happens.  The Breakfast Club does that by sticking five students with nothing in common with each other in the school library for a Saturday detention.  The students each represent a clique or group in a typical high school:  an athlete, a Princess, a brain, a criminal, and a basket case.  Nowadays -- the athlete would be called a Jock and the brain -- a geek, but overall the movie doesn't even look dated, because teenagers are still teenagers.  The movie was also one of the very first to not romanticize being a teenager, but to portray teens in a realistic way with real problems.  But one of the best things about the film is that it evokes sympathy and empathy for all the characters -- even the mysterious "basket case".  The Breakfast Club challenges audience members, especially teens whom the movie was meant for -- to see beyond the stereotypes they hold about each other, and see what they have in common, or to at least understand that someone else might have problems too.  Each of the teens in the movie has issues:  problems with their parents, problems with their friends, problems with their image --and the film addresses those issues and problems and gets them in the open.

Scene not to miss:  The lunch scene -- each of them have a lunch that represents their group on a plate.

Overall, it's a great movie.  This is a teen movie that means something.  Which is why it became so iconic.

Recommendation:  See it!
Rating:  4
Next Film:  Bringing Up Baby

Breakfast at Tiffany's

• Title:  Breakfast at Tiffany's
• Director:  Blake Edwards
• Date:  1961
• Studio:  Paramount
• Genre:  Drama, Romance
• Cast:  Audrey Hepburn, George Peppard, Patricia Neal, Buddy Ebsen, Mickey Rooney
• Format:  Technicolor, Widescreen
• DVD Format:  R1, NTSC

I bought Breakfast at Tiffany's as part of a three-pack of  Audrey Hepburn films, but even though it's regarded as a classic, it's actually my least favorite of  the three (my favorite being Sabrina).  The problem with the movie, for me, is it's not really about anything.  There really isn't much of  a plot.  The film doesn't even have much of  the standard romantic comedy plot, though romance is an important thread that runs through the picture.  Hepburn is Holly Golightly, a party girl, who gives the impression there isn't a brain in her head.  She's looking for a rich husband, and going through New York society to do it.

George Peppard is Paul Varjak, a struggling writer, and "kept man" who runs into Holly when he moves into the apartment above hers.  The two have an attraction, especially as they keep running into each other over and over again.  But she wants a rich husband, not someone who loves her, she says.  And she's cruel about it.  When Paul ends his relationship with the woman who's supporting him (Patricia Neal), Holly throws him out as well, announcing her intention to marry a rich Brazilian she met at one of  her fancy parties.  At the end of the picture, she even abandons her cat, "Cat", on the cold, rainy, New York streets in an attempt to convince Paul she doesn't care about anything.

Paul, who's a much more sympathetic character, loves Holly.  Or he keeps saying he does.  But somehow, it seems skin deep.  This film doesn't have the realistic built characters, like, say The Apartment does, when we are sympathetic to Bud and Fran.  Neither is the plot of a man being exploited by a designing woman and trying to get away, fully realized as it is in Sunset Blvd (where the writer fails).  Rather, Breakfast At Tiffany's  just sort of meanders along, never reaching a goal, even the end doesn't feel satisfying and happy like your typical romantic comedy.  I liked Paul a lot, and Hepburn looks stunning as usual, but overall, not my favorite Audrey Hepburn film.

Recommendation:  Skip It
Rating:  3 of 5 Stars
Next Film:  The Breakfast Club

The Blues Brothers

• Title:  The Blues Brothers
• Director:  John Landis
• Date:  1980
• Studio:  Universal
• Genre:  Comedy, Musical
• Cast:  John Belushi, Dan Aykroyd, Carrie Fisher, John Candy, Henry Gibson, Steve Lawrence, Twiggy, Steven Spielburg, Frank Oz, James Brown, Cab Calloway, Ray Charles, Aretha Franklin
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC (Expanded Ed.)

"It's 106 miles to Chicago, we've got a full tank of gas, half a pack of cigarettes, it's dark and we're wearing sunglasses."  -- Elwood
"Hit it!" -- Joliet Jake

"They're not going to catch us, we're on a mission from God."  -- Elwood

"Well, this is definitely Lower Wacker Drive..." -- Elwood

The Blues Brothers is a classic comedy, but it is also filled with great music and excellent musical numbers with some impressive choreography.  The film is a farce or screwball comedy in the best sense -- from small, tiny events, things just snowball, and thus it gets funnier, and funnier, and funnier, as the plot gets more and more outrageous.  Simply, Jake is picked up by his brother, Elwood, from the Joliet State Prison in Illinois, after serving three years for we later find out armed robbery.  The first thing they do is visit The Penguin, a nun.  From her, they find out that the orphanage where they grew up needs $5000.00 to pay back taxes.  Jake and Elwood need to raise the money honestly, so they decide to get their blues band back together and do a few gigs to get the money.  From such tiny events...  First, the boys must find their band mates, who are now mostly in "straight" jobs, or married, or whatever.  Accomplishing that they must find a few gigs.  But, in the mean time, they manage to cross an awful lot of people who end-up wanting them dead, including the police, Jake's ex-girlfriend (Carrie Fisher), the Neo-Nazi party of Illinois (led by Henry Gibson), and a Country-Western singing group called the Good Ole' Boys, who's gig they stole.  This results not only in a triumphant musical number, but quite possibly the best, and the funniest car chase ever filmed.  The film crew bought an entire year's run of retiring police cars to trash in the film.  They also made a deal to film in and destroy a condemned shopping mall that was scheduled for demolition before it was destroyed.

The vast majority of  the film was filmed in and around Chicago, including Waukegan (North of Chicago), and Joliet State Prison (South of Chicago), and a small portion was filmed in Milwaukee.  The final car chase down Lower Wacker Drive, LaSalle Street and Daley plaza is not only fantastically filmed, shot, and executed -- but actually shows off that part of the city well.  (And some of the same locations were also used in Batman Begins / The Dark Knight and are recognizable, esp. if you know downtown Chicago).  The bridge scene, where Joliet Jake manages to avoid driving off a very high expressway bridge, back up, and flips their car, to avoid the Nazis -- and the Nazi's fall right off the bridge, was filmed in Milwaukee.  That's the Horn Bridge (at the time under construction, when I lived in Milwaukee from 1995 to 2002 it had been completed), the tall white building behind the falling car is the First Star Building.  There's a noticeable jump in the film where it moves from Milwaukee to Chicago (you can tell it's Chicago when you spot the Hancock building -- that's a black building with slanting/angled sides).  By the bye, the Sears Tower is the square, black, stacked building -- you can spot it several times in the film.  But what is also special is the shots of  the people, especially in the scenes in Maxwell Street.  And then there's the music.

Credited Music
Shake Your Tail Feather (Created as "Shake your Money Maker")
Soothe Me
Hold One I'm Comin'
Boogie Chillun
Let the Good Times Roll
Your Cheatin' Heart
Anema & Core
I'm Walkin'
Ride of  the Valkyries
Minnie the Moocher -- Performed by Cab Calloway

Uncredited Music
Peter Gunn Theme (Instrumental)
The Old Landmark -- Performed by James Brown
Boom Boom
Think -- Performed by Aretha Franklin
Shake a Tail Feather -- Performed by Ray Charles
Theme from Rawhide -- Performed by The Blues Brothers
Stand by your Man -- Performed by The Blues Brothers
Everybody Needs Somebody to Love -- Performed by The Blues Brothers
Sweet Home Chicago -- Performed by The Blues Brothers
Jailhouse Rock -- Performed by The Blues Brothers

That's more music than the average traditional musical, also the film is almost completely scored, so the film is filled with music.  Great music!  And of course, it's quite enjoyable, funny, fun, and a wild ride from start to finish.

Recommendation:  See it!
Rating:  5 of 5 Stars
Next Film:  Breakfast at Tiffany's

Blazing Saddles

• Title:  Blazing Saddles
• Director:  Mel Brooks
• Date:  1974
• Studio:  Warner Brothers
• Genre:  Comedy
• Cast:  Cleavon Little, Gene Wilder, Madeline Kahn, Slim Pickens, Alex Karras, Mel Brooks, John Hillerman, Harvey Korman, Dom DeLuise
• Format:  Widescreen, Technicolor
• DVD Format:  R1, NTSC (Double-sided, Widescreen/Standard)

Mel Brooks is a Jewish writer/producer/director who had a lot of experience with Broadway before moving to Hollywood to make parodies of  famous Hollywood genre pictures.  However, many of  his comedies have become more famous or at least as famous as the movies he pokes fun of.  But he has the Jewish sense of  humor of  poking fun at something that frightens or angers you.  Keep that in mind when watching this film.  Also, it's a 70s movie and thus was able to get away with things that a movie made today probably wouldn't.

That said, Blazing Saddles is a hilarious, laugh out loud movie, with a fantastic cast.  Cleavon Little is the lead, a Black man who goes from being nearly a slave on the railroad, to being nearly hung, to suddenly being the newly appointed sheriff of Rock Ridge - a quaint Western town.  However, the towns-people don't accept him right away, and once they do (after he and the washed-up Pecos Kid (Gene Wilder) save the town) he leaves.

However, that really simplifies this movie that is just chock full of puns, silly humor, sight gags, clever wordplay, great performances (Who can forget Madeline Kahn  as the lisping German bombshell Lily Von Shuppt?), and even theater in-jokes?  The film, with all it's humor, also is the story of  Bart's (Little) fight to be accepted, and a great friendship between him and the Kid (Wilder) who immediately takes a shine to him.

The film also plays with breaking the fourth wall, as characters stop the action to address the audience, and the film concludes with a fist fight that breaks into the studio lot and the Bugsy Berkley -style musical (directed by Dom DeLuise) filming next door.  Brooks also has a fairly large role (rather than his usual cameo) in this film, as the corrupt governor as well as an Indian (Native American) chief  in Bart's flashback.

This film also has a kick-ass theme song ("He rode a Blazing Saddle...") with music by John Morris and Lyrics by Mel Brooks sung by Frankie Laine, as well as other numbers with music and lyrics by Mel Brooks, including Lily's "I'm Tired", "The Ballad of Rock Ridge", and the musical number at the end, "The French Mistake".

Recommendation:  See it, if  you haven't already.  Tho' I would not recommend it for young children, simply because of the language.
Rating:  4
Next film:  The Blues Brothers

Billy Elliot

• Title:  Billy Elliot
• Director:  Stephen Daldry
• Date:  2000
• Studio:  Universal (Working Title Films, BBC Films, et al)
• Grant Funding:  Arts Council of England
• Genre:  Drama
• Cast:  Julie Walters, Gary Lewis, Jamie Draven, Jamie Bell (as Billy)
• Format:  Color, Widescreen
• DVD Format:  R2, PAL (Anamorphic Widescreen)

"[Ballet is normal] For girls.  Not for lads, Billy.  Lads do football, ... or boxing, ... or wrestling. ... Not frigging ballet." -- Jackie Elliot, Billy's father.

I received Billy Elliot as a gift and knew nothing about it the first time I watched it.  But it is, nevertheless an excellent drama, set for the most part in a small British mining town in Northern England (County Durham), in the late 1970s or possibly the early 80s during a major Mine Union strike.  Billy is 11, and his life has already been torn apart by the death of  his mother.  Now, he, his gran, and his father and older brother are merely existing in a flat that's really only one or two rooms.  Both his father and brother are miners, and, because of the strike, there's very nearly no money for the family.

Billy's only solace is music, but since the death of  his wife, Billy's father forbids anyone to play her piano or to listen to the record player.  For recreation, Jackie sends his son to boxing lessons at the local community hall.  Since the lower level's been turned into a soup kitchen to feed the striking miners, Mrs. Wilkinson's ballet class is also moved upstairs to share space with the boxing coaching.  Billy, horrible at boxing, watches the girls with envy, and one day goes and tries it out.  Mrs. Wilkinson (Julie Walters), sees special raw talent in Billy and teaches him, as well as being tough on him.

Meanwhile, things for the miners are getting worse and worse as the police are called in the escort scabs into the mine to work.  Billy's brother, Tony, is the union leader, and thus, is wanted by the police.  His father is doing his best to make ends meet, but he's a mess since the loss of  his wife.  Billy's best friend, Michael, is gayer than a Christmas tree, much to the surprise of  the totally straight Billy -- who's also interested in his dance instructor's daughter, Debbie.

Finally, Jackie Elliot discovers his son is not going to boxing lessons like he thought but to ballet.  Fearing his son is a "pouf" (e.i. gay), and not understanding why he would want to dance, he forbids his son from going to the dance school.  Billy, however, continues to take secret private lessons from Mrs. Wilkinson.  She, then, arranges for Billy to go to an audition for the Royal Ballet School  in London that's being held in Newcastle.  Billy has every intention of going, but his brother is chased down, beaten, and arrested by the police and he spends the day at the court house instead.

Mrs. Wilkinson goes to the Elliots's house to confront Jackie -- things do not go well, and Jackie forbids his son from dancing, seeing Debbie, or having anything to do with Mrs. Wilkinson.  And the situation deteriorates.  Billy continues to dance in the streets, or anywhere he can't be seen.  Finally, at Christmas, Jackie takes the family piano, a piano obviously loved by Mrs. Elliot, we can safely assume, and chops it up with an ax to use as fire wood.  As the piano burns, he wishes everyone a happy Christmas - which his sons and Nana return, then Jackie begins to cry.

Later, Billy now with only Michael as a friend, ends up at the dance hall.  The two are playing around, Michael, in a tutu Billy has given him (we've seen Michael dressing up in dresses and make-up earlier in the film).  Billy shows Michael basic positions in ballet and then begins to dance.  The boxing instructor sees this, gets Jackie and brings him to see.  But when his father walks in, Billy dances -- first Irish Step, then American Tap, and then Ballet.  Jackie is astonded and realises his son has real talent.  He's also seeing just how hopeless the situation is in their town -- that working in the mines is no place for his son.  He goes to Mrs. Wilkinson to find out about getting Billy into the Royal Ballet School.  And finds out it will take about two thousand Pounds.

Not having the money, knowing no one in town who works (or did work) has the money, the next day he goes to the place where the scab workers are picked up.  Even though he's a hard and tough man, the play of emotions on his face as the bus approaches the mine show just how awful he feels -- he's caught between his principles, his eldest son (who's led the miners out on strike), and his youngest son, and he has no place to turn.  Tony, though, sees him on the bus and climbs the fence to get in.  He confronts his father, and Jackie breaks down, saying he's doing it for Billy.  Tony swears they will get the money another way, and helps his father away from the mine.

Jackie pawns his wife's jewelry, and he and Billy go to the audition at the Royal Ballet School in London.  Billy and Jackie both  feel completely out of  place, with their harsh Northern accents and working-class values.  At first, Billy is terrified by the audition, he answers questions in mono-syllables, and is nervous and frightened when asked to dance.  When he finally does his own dance to music, he does quite well, but he's afraid that he didn't do the right thing, that it wasn't a classical performance.  In the locker room later, another boy tries to comfort him (unfortunately reminding him of  Michael's advances -- whereas he accepted it from his friend, from a stranger - he freaks).  Billy freaks out and hits the boy.  This does not go over well.

The panel of judges bring Billy and his father in -- and both can't answer any questions, they are both petrified.  Until one woman asks Billy what it feels like when he's dancing -- and his eloquent answer floors the room.  Later, he gets a letter...  he's in.  But, on the same day, the miner strike ends, and the union's caved.  Jackie and Tony go back to work, but Billy will have a chance at a better life.  Years later, Jackie and Tony return to London to see Billy's first performance -- in Swan Lake.  At the theatre they run into Michael - who's all dolled up.

Billy Elliot is a quiet movie, that often moves one to tears.  The performances are excellent, especially young Billy and young Michael, both of  whom are struggling with questions of  identity in a town where entire families have done the exact same thing for generations.  Jackie's biggest fear about his son doing ballet isn't, specifically, that there's anything wrong with ballet -- it's that his son's gay or will be thought of  as gay.  One doesn't want to think about what Michael's going through (and the film doesn't show it -- a missed opportunity, there).  The backdrop of  the mining strike adds to the feeling of  desperation that surrounds everyone in the movie -- even Mrs. Wilkinson, who's long since lost her interest in teaching ballet, until she spots Billy.  Definitely a film that awakens empathy to it's characters.

By the way - lots of  harsh language in this one, typical of  British or Irish films depicting the lower classes.  After awhile, you become immune to it.

Recommendation:  See it!
Rating:  3.5
Next Film:  Blazing Saddles

Bewitched

• Title:  Bewitched
• Director:  Nora Ephron
• Date:  2005
• Studio:  Columbia
• Genre:  Romantic Comedy
• Cast:  Nicole Kidman, Will Ferrell, Michael Caine, Shirley MacLaine, Steve Carell, Stephen Colbert
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC

"I'm about to be killed by a fictional character!" -- Jack  Wyatt

"I can't be normal because I'm a witch; I can't be a witch because I really want to be normal."  -- Isabel Bigalow

Since I reviewed this movie when I saw it in 2005 at the theater and when I finally picked up and watched the DVD in March 2010, I figured I would save a little work.  Below is my original review.  New comments at bottom.

Bewitched was a surprisingly fun, cute movie.  Unlike many movie remakes of television shows which are often very poorly done, Bewitched travels quite happily down a slightly different path.  In the film, Will Farrell plays Jack, a down on his luck actor, unable to get starring film roles after his last film tanked at the box office.  Nicole Kidman plays Isabel, a witch, who like Samantha in the original television program wants to give up witchcraft and lead a normal life.  And like any romantic comedy, Jack meets Isabel, the audience knows they are meant for each other, and after a few trials and tribulations, Jack and Isabel do get together, cut to end credits.

However, what makes Bewitched, incredibly fun to watch is the "B" plot, the making of a new --remake-- television show called, Bewitched. Farrell's character, Jack, meets Isabel (Kidman) in a bookshop.  He offers her the part of  Samantha on his new show.  However, once casting her, he realises she is up-staging him right and left, and decides to make Bewitched his show.  He overacts, steals scenes, has the shows writers cut Isabel's lines, insists on delivering all the punch lines, and in short makes every mistake both a bad actor and a remake (television or film) could possibly make.  When the focus group blue cards come back, Isabel is tremendously popular (99 points) but Jack isn't (32 points; the dog did better).  Farrell throws a tantrum.

Isabel, meanwhile, is having problems of  her own.  She figures out how poorly Jack's been treating her and decides to quit, but before she can do that, her Aunt Clara experimentally places a hex on Jack turning him into the perfect, and horribly fake, movie-like romantic man hopelessly in love with Isabel.  Isabel, to her credit, sees this as a fake, and un-dos the hex, starting over again.  She then blows up at Jack, calling him out on the carpet for being selfish and self-centered (she's right).

Jack, seeing the error of his ways, more or less tells Isabel she's right, and the two begin working on their new television show as partners instead of as competitors.  The resulting montage sequence of the creation of a new hit TV show is well done.  But Isabel's and Jack's problems aren't quite over-- Isabel still has to tell Farrell she's a witch, a real witch.  The next sequence in the film, consists of Isabel revealing the truth to Jack.  A truth that he at first does not believe, and once she proves it to him, causes him to reject her -- in true romantic movie fashion.  It takes Uncle Arthur, a character that Jack (a fan of the original program), imagines -- to get Jack to realise the error of his ways, and that he really loves Isabel, which brings the two together.

The entire film, however, full of television in-jokes, manages to parody television, without, necessarily, parodying the show the film is based on.  The film breaks the reality/screen wall over and over again, to full audience acceptance, in truly excellent style.  For example, in one sequence where Jack courts Isabel, the two chase each other around various sets and partial set-pieces in the television studio where both work -- in a sequence extremely reminiscent of Gene Kelly's courtship of Debbie Reynolds in Singin' in the Rain.  (A film referenced earlier in the movie when Isabel, runs into the rain, joyfully, after arguing with her father about whether or not she can give up being a witch).  In another sequence, Jack and Isabel chat on what appears to be a romantic balcony, until two stage hands move the background away while they talk.  Those sequences, and the parodies of television and film conventions are what make the film Bewitched truly magical.

Update:  Yes, Bewitched is still a very fun romantic comedy with a twist.  It's enjoyable to watch, even when one knows where it is going (which let's face it - is the case for all romantic comedies).  The playing with the "Fourth Wall" still works, even when it's no longer a surprise.  Steve Carell plays "Uncle Arthur", as a really, really good impersonation of Paul Lynde (even to the point of being a little swish) - but because his character is one that Will Farrell dreams-up, the dead-on impersonation works.  Shirley MacLaine is Endora - in the new TV series remake of Bewitched, playing the part in flamboyant style and with the best wardrobe in the film (except for possibly Isabel's).  She also gets her own subplot, in that the actress, Iris, falls for Isabel's father, Nigel, played by Michael Caine.  In fact, that older romance - between Caine and MacLaine - who have fantastic on-screen chemistry, adds to the feel and enjoyment factor of the film.  Will Farrell is a bit over-the-top at times, but in a sense, he's meant to be playing an over-the-top actor/drama queen (drama king?) and it works.

Oh, and by the way, - the soundtrack / music is terrific in this movie.

Recommendation:  See it!

Rating:  4 of 5 Stars

Next Film:  Billy Elliot

Beverly Hills Cop

• Title:  Beverly Hills Cop
• Director:  Martin Brest
• Date:  1984
• Studio:  Paramount Pictures
• Genre:  Comedy, Action
• Cast:  Eddie Murphy, Judge Reinhold, Ronny Cox, Jonathan Banks, Paul Reiser
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC

Beverly Hills Cop is a very funny, action-packed cop movie with great music. Eddie Murphy is an unconventional Detroit Cop, and in the opening sequence he gets in trouble when his approach loses a bust and destroys several cop cars (not to mention a cab, a double-trailer semi, etc).  After a dressing down from his boss, he heads to his apartment and finds an old friend waiting.  The friend shows him some German bearer bonds, and plainly has something to tell him, but the two go out on the town instead and have a great time.  Upon returning to the apartment, Alex Foley (Eddie Murphy) is knocked out and his friend killed.  All of which is really on prelude, as Foley heads to Beverly Hills to find his friends' killer.

But what keeps this from being a conventional fish-out-of-water story is the humor - Eddie Murphy is funny, and this film showcases his talent well.  He also pulls off  the more dramatic scenes, making it believable that he's a cop who lost a good friend.

Judge Reinhold is excellent as the younger cop, whom Murphy sways to his unconventional, not exactly by -the-book method of doing police work.  And their are plenty of fun cameos.

The opening montage of  working Detroit is extremely well shot -- as is a parallel sequence of  Beverly Hills when Foley arrives.  The poverty and working-man's world of  Detroit is balanced against the rich play ground of  Beverly Hills.

There is a lot of bad language in the movie, which is probably the reason for the "R" rating, but over all it's just fun.

Recommendation:  An enjoyable film to see.
Rating:  3.8
Next Film:  Bewitched

Batman Beyond Return of the Joker SPOILERS

• Title:  Batman Beyond Return of the Joker
• Director:  Curt Geda
• Voice Director:  Andrea Romano
• Date:  2000
• Studio:  Warner Brothers
• Genre:  Action, Fantasy, Mystery
• Cast:  Kevin Conroy, Will Friedle, Mark Hamill, Dean Stockwell, Teri Garr, Tara Strong, Frank Welker, Michael Rosenbum
• Format:  Color Animation, Widescreen
• DVD Format:  R1, NTSC

This film bridges the gap between Batman:  The Animated Series and Batman Beyond, answering some of  the unanswered questions.  And it brings back the most famous Batman villian -- the Joker.  Briefly, Batman Beyond was a television series set 50 years after Batman:  The Animated Series.  Bruce has gotten old and is now unable to fight crime.  Terry McGinnis becomes the new Batman, having at first stolen Bruce's latest Batsuit (used before his retirement) and then with Bruce's blessing.  Terry is a bit more light-hearted than Bruce but not as light-hearted as some of the Robins.  He has a mother and a younger brother (tho' his father was murdered) and even a girlfriend.  The solid black suit with a red bat symbol is more technically advanced, with jet packs that allow real flight (so the cape is gone).  It also has a video and audio link to the Cave where Bruce advises Terry.  Throughout the series The Joker's been missing but a gang of trouble-makers called Jokerz have caused Terry and the city of New Gotham trouble.  It's a cyber-punked/21st century Batman rather than the Art Deco/30s/Film Noir look of  Batman the Animated Series.

This film opens with Batman breaking up a theft of electronic equipment by the Jokerz.  All goes well, but when he discusses it later with Bruce, Terry's confused, because high-end electronics and computers aren't normally the Jokerz' style -- they usually go for quick cash.  Bruce dismissed the theft as "looking for stuff  they could fence".  Bruce, perhaps, has too much on his mind -- he's returning to be the active head of  Wayne Enterprises.

The Joker (again, voiced by Mark Hamill, as he was in B:TAS) breaks up the party welcoming back Bruce.  Terry changes into the Batsuit and rescues Bruce and the party-goers but the Joker gets away.  At the Cave, he insists Bruce fill him in on the background of the Joker.  Bruce merely insists that Joker is dead, saying he was there when it happened.  Terry jumps to the conclusion Bruce killed Joker, he had no choice, then stopped being Batman.  Bruce refuses to comment.  He also forbids Terry to go after Joker and even asks for the suit back.

Terry goes to see Barbara Gordon.  Barbara refuses to talk, only mentioning Tim Drake (Robin # 3).  Terry sees Tim, but gets no answers from him either.

Deciding he will quit, Terry is relieved to spend time with his family and Dana, his girlfriend.  But the Jokerz show up at the club Terry and Dana frequent and try to kidnap the girl.  They also try to kill Terry.  After speaking with the police, and checking on Dana, Terry goes to see Bruce.  But he's too late -- Ace, Bruce's protective Great Dane is injured, and Bruce is unconscious with a hideous smile on his face.  The Cave is a wreck, the costume displays destroyed, and "Ha Ha" written in red everywhere.  Bruce, between laughs, manages to point Terry to the anti-toxin for the Joker's laughing gas, and Terry gives him a shot, then calls Barbara.

Barbara Gordon, who was once Batgirl and is now Police Commissioner Gordon, decides to explain what happened in the past.  In a well-executed flashback, we learn what happened:  Harley Quinn had set-up young Robin, Tim Drake, and he is kidnapped by the Joker.  Batman and Batgirl search for him for three weeks.  Finally, Joker leaves them a blatant clue -- Batman and Batgirl follow, and discover the horrifying truth:  Tim/Robin was tortured, electrocuted, drugged, beaten, and finally programmed to be Joker Jr.  They find him complete with the white face, green hair, and a miniature purple suit.  But merely turning Robin into a copy of  himself  isn't enough for Joker -- he also orders the boy to shoot and kill Batman.  (Batgirl is meanwhile somewhere else in the now abandoned Arkham Asylum fighting Harley Quinn).  But Tim shoots, and kills, Joker instead.  Barbara rushes to Tim, as does Batman.

In the present, Barbara explains they buried Joker then took Tim to Dr. Leslie Thompkins, who took a year to put him back together again.  After that, Batman forbade him to ever put on the Robin suit.  It was the disastrous final clash with Joker that caused Bruce to forbid Terry from going after the super villain.

Terry, meanwhile, is trying to find out what's going on.  Evidence leads to Tim, yet Tim claims to be innocent.  However, in front of Terry (in the Batsuit) and Bruce's (at home in the cave, barely recovered) eyes Tim turns into Joker -- victim of a transmitter containing Joker DNA that takes over his subconscience and brain.  It's basically like a scientific explanation of  the "split personality" villain.  Tim isn't even aware that the Joker is piggy-backing in his body, thinking any memories are only bad dreams.  Joker plans to take over a government laser defense satellite, using telecom equipment stolen by the Jokerz and Tim's know-how to put it together.  He's already blown-up a boat, and now plans to strike close to home for Terry:  blowing up the hospital where Dana's recovering, blowing up Terry's home where his Mom and brother are, and blowing up Wayne Manor and Bruce -- just to get started.  However, Terry has discovered the secret to defeating the Joker, which is does, then he destroys the control chip in Tim's head, bringing the man back to normal.

An excellent movie, yes, it is like a longer version of  a Batman Beyond episode, but it was also quite dark -- especially the torture of  Tim Drake, and Bruce and Barbara covering up a murder.  There's also some extremely effective visuals.  The film is enjoyable tho', with the saucy dialog common to Batman Beyond, and it answered some questions -- where was the Joker?  What happened to Tim Drake?  What caused Bruce to give up the Batsuit? (something touched on in the series premiere as well).  But it also didn't answer everything -- Nightwing/Dick Grayson is mentioned, a couple of times, but it's never explained what happened to him.

Recommendation:  See it!  Buy it!
Rating:  4 of 5 stars
Next Film:  Beverly Hills Cop

Batman Under the Red Hood (Warning: Major Spoilers)

• Title:  Batman Under the Red Hood
• Director:  Brandon Vietti
• Voice Director:  Andrea Romano
• Date:  2010
• Studio:  Warner Brothers
• Genre:  Action, Fantasy, Mystery
• Cast:  Bruce Greenwood, Jensen Ackles, Neil Patrick Harris, Gary Cole, Jason Isaacs
• Format:  Color Animation, Widescreen
• DVD Format:  R1, NTSC

"Could you just once say - 'Let's get in the car', Is that so hard?" -- Nightwing, as he finds himself  talking to thin air

"You really think I would stir up so much trouble and not make sure you knew it was me?" -- Joker

Under the Red Hood is a major departure from previous WB Animation Batman films.  Where those films (previously reviewed, see Mystery of  the Batwoman, Subzero, and Mask of the Phantasm) felt like longer episodes of  Batman:  The Animated Series, this film is cinematic, full of action, and also tragic.  In short it feels like a film.  It's also very grounded in Batman graphic novels published by DC Comics, especially A Death in the Family and Under the Hood.  And this film is violent.  People die.  Granted, most are criminals, but still - not for the under 15 set.  This is a film for adults, which, again, is more in the same tone as the more adult Batman graphic novels.

The film opens with a scene from the end of my favorite Batman graphic novel, A Death in the Family, Joker beating Jason Todd/Robin nearly to death with a crowbar and then blowing him sky high.  Batman arrives, but too late to save the boy wonder.  The shot of  Batman, standing in the rain, holding Jason's dead body is nearly as effective as the still in the novel - where Batman is half kneeling (one knee on the ground, one up) clutching Jason, and has his head bowed.  Jason's death would haunt Bruce nearly as much as his parents' death.

The film then moves forward five years.  Batman is out on patrol and ends up fighting Amazo (a killer android), Nightwing arrives and the two work together flawlessly.  Nightwing (aka Dick Greyson), voiced by Neil Patrick Harris, I really liked.  And I actually thought the re-casting worked.  I preferred him to Loren Lester who had voiced Dick/Robin/Nightwing in Batman:  The Animated Series.  But what Batman discovers is that two new players are at work in Gotham:  Black Mask and the Red Hood.  Black Mask is a gangster, similar to what we've seen before in Gotham City, but grotesquely disfigured with a skeletal black head.  Red Hood is both attacking, and killing, criminals in Gotham, and taking a percentage of  their take.  Batman, at first with Nightwing's help, goes after Red Hood.  Since Red Hood was once upon a time an alias of the Joker, they pursue a lead to Arkham Asylum, checking in on the straight-jacket restrained Joker.  But, Joker has been held tight, and even more convincing, says he wouldn't keep it a secret if  he was causing chaos in Gotham.

After their first confrontation with Red Hood, Batman and Nightwing, now suffering a broken ankle, are in the Cave with Alfred (who's bandaging said ankle) going through Batman's video and audio recordings of the fight.  Nightwing notes that Red Hood isn't just some hood or gangster - he's trained.  Batman points out that even the ability to have knives that can cut his lines is unheard of.  However, Batman also sends Nightwing away, asking Alfred to bring Dick home.  In part, because Bruce still sees a need to protect Dick.

Once Dick is gone, Bruce reviews the audio, and thinks he hears the Red Hood call him "Bruce".  Only a handful of  people know that Batman is Bruce Wayne.  After another confrontation with the Red Hood, Bruce is able to get a blood sample for analysis.  He's running the sample through the computers in the cave, running a comparison.  The results come back just as Alfred walks in.  The result:  a match between Red Hood and Jason Todd, startles the normally unflappable butler so much he drops the coffee service he's carrying.  But he also, immediately, tries to console Bruce, while trying to figure out what's happened.  Together, they dig up Jason's grave.  Bruce realises he's buried a latex dummy.  Alfred tries to comfort Bruce, reminds him how distraught he was, but Bruce is angry with himself and insists he should have realised.

Bruce flies off to the middle of  nowhere and  confronts Ra's al Ghul.  Ghul explains exactly what happened.  During a confrontation between himself and Batman five years before, in desperation, he had hired the Joker to provide a distraction.  But, he hadn't counted on the Joker's madness or savagery.  Ra's, in short, actually felt bad about Jason's death, arranges the switcharoo with the bodies, and takes Jason's body to a Lazarus pit.  But, the resurrected Jason is quite literally, quite nuts.

After he's discovered the truth, Batman heads back to Gotham in his jet.  Alfred talks to him over the video link.

"Sir, please take this to heart.  Who Jason was before, how we lost him, and this dark miracle or curse that has brought about his return, it is not your fault." -- Alfred
...
"Then I got him killed.  My partner.  My soldier.  My fault.  I own that.  I'll carry that like everything else." --Batman

The conversation is filled with everything I love about Bruce and Alfred's relationship, and nearly brought me to tears.  Alfred cares so much for Bruce, the man he sees as a son.  Bruce, however, can't really accept that caring in any way.  (He has the same problem accepting how Dick feels about him).  And Bruce is, oh, so ready to take the weight of  the world on his shoulders.

Brilliant writing.

The conversation is cut short, however, by Alfred's discovery on the news that Joker is causing trouble.  Batman needs to rush to the scene.  Red Hood shows up where Joker is (who's taken all of  Gotham's criminals who work for Red Hood hostage) and reveals everything was a plan to get an audience between himself and Joker.  Joker scoffs, but is then impressed.  Then he's on the run for his life.  (Imagine -- someone scarier that Joker chasing the Joker.  And in this film, it works.)  Red Hood catches the Joker, takes him to a room, and starts to beat the crap out of him with a crowbar -- using the exact same taunting words Joker had used five years ago.  Formerly confused as who Red Hood was, now Joker gets it, and still manages to insult Jason.

Batman does arrive and tries to stop Jason.  In the fight, Jason tears off the cowl, then removes his own red helmet. (He does return the cowl to Bruce)  He leads Batman to Joker.  Their conversation, again, is heartbreaking.  Bruce tries to apologise and tries to make things right, but it doesn't work.  Finally, Jason tells a startled Bruce that he forgave him for dying (that is for Jason's death).  But he doesn't forgive him for not killing the Joker.  Batman tries to explain that he has thought about it, but that's a dark pit he'd never crawl out of.  Jason continues with -- "I'm not talking about Penguin, or Scarecrow, or Dent -- just him!"  But Batman is adamant - he will not kill.  So, Jason gives him a choice -- kill the Joker or kill Jason (as he puts a gun to Joker's head).  Batman turns, slowly walks away, then after Jason's fired at him, he ducks the bullet as he turns back and throws a batarang into Jason's gun, which explodes and so does the room, with charges that Jason has set.  Batman isn't able to get everyone out safely.

This is a dark, violent story.  But vintage Batman.  Well, new Batman, to be precise.  It's an excellent, excellent movie, dealing with dark themes.  The voice actors are good, especially Neil Patrick Harris as Nightwing and Jensen Ackles as Jason Todd/Red Hood.  I was very disappointed that Kevin Conroy, who was so excellent as Batman, and in many ways is my favorite Batman actor, (Batman:  The Animated Series, Justice League, Justice League Unlimited, and old Bruce Wayne in Batman Beyond, plus various movies) is re-cast with Bruce Greenwood.  However, Greenwood does do a good job.  And oddly enough, Batman, Alfred, and Joker, all sound very much like their counterparts in the Warner Brothers live action movies, Batman Begins and The Dark Knight.

But, I also cannot stress enough just how good this film was.  It's cinematic, it's shot or filmed like a film -- with some really great shots (the close-up of Robin's eye as he realises the Joker's rigged the place in Sarejevo to explode; Batman holding Jason's broken body, etc).  I also loved how flashbacks were introduced with ghost images that then became solid.  The storyline is great, and based in the books (always a plus for any filmed version of  Batman).  And, Warner's has gotten away from the "no one can really die" code that makes it's animated television shows occasionally resemble The A-Team (the original TV series, not the movie).

Recommendation:  See it!  Buy it!  Appropriate for children over 15 and adults.
Rating:  5 out of 5 Stars
Next film:  Batman Beyond  Return of  the Joker

Batman Mystery of the Batwoman

• Title:  Batman  Mystery of  the Batwoman
• Director:  Curt Geda
• Voice Director:  Andrea Romano
• Date:  2003
• Studio:  Warner Brothers
• Genre:  Action, Fantasy, Mystery
• Cast:  Kevin Conroy, Efrem Zimbalist Jr, David Ogden Stiers, Kimberly Brooks, Kelly Ripa, Elisa Gabrielli, Bob Hastings
• Format:  Color Animation, Standard
• DVD Format:  R1, NTSC

"The last thing Gotham City needs is a vigilante running amok."  -- Bruce Wayne

"As they say on the streets - 'I ain't touching that one.' " -- Alfred

A mysterious new vigilante appears in Gotham -- the Batwoman, but is she a force for good, or a criminal?  That, and just who is the Batwoman, is a mystery that Batman must solve.  Bruce meets Kathy Duquesne, the daughter of  famous gangster, Carlton Duquesne, and begins dating her, in part because he wonders if she might have something to do with the sudden appearance of  the Batwoman, a masked vigilante.  He also meets a brilliant, and pretty, and blonde female metallurgist, nicknamed Rocky, who is newly employed at Wayne Enterprises.  When Batman finds her new programmable metal at the scene of  Batwoman's attack on the Penguin's club, he wonders if she might be involved.  And he also runs into Harvey Bullock's new partner, Sonia, but doesn't initially realize the importance of  that meeting.

Meanwhile, Carlton Duquesne, Penguin, and Rupert Thorne (another gangster) are plotting how to deliver a cargo of weapons to whatever-stan (a made-up name that's not really that important).  Batwoman had destroyed their first shipment, being transported by truck, so they plot for the next shipment to leave Gotham on a ship -- a ship disguised to look like a cruise ship.  For insurance, Penguin calls in Bane (the muscle-bound, steroid-addicted, South American merc, famous for once literally breaking the back of  the Bat).

Batman, with help from Robin, and the ever present support of  Alfred, investigates the mystery, trying to determine who the Batwoman is.  He comes to the conclusion it might be Rocky and Kathy working together, but Robin finds no evidence that the two ever met.  But, Batman then discovers a link:  Sonia -- who knew them both.  Batman, or Bruce, as the case may be, has also discovered what the three have in common:  a reason to be angry at the unholy triumvirate of  Penguin, Thorne, and Duquesne.  Sonia, as a child, saw her parents business destroyed by Thorne -- a disaster from which the family never recovered and tore them apart (tho' it was Batman who saved her life in the fire).  Rocky's boyfriend was framed by Thorne and Penguin and sits in jail.  And Kathy lost her mother when a rival gang shot at her father and killed her mother instead.

But Bruce also cannot condone someone else being a vigilante in his town, especially when innocent people get hurt, or even criminals get killed.  He sets out to stop them.  Meanwhile, Kathy's taken a bomb to the ship that carries Penguin and Thorne's guns -- but she gets caught by Bane.  She's unmasked, but Batman arrives to save her, followed by Robin in the Batboat and the other two Batwomen on their glider-rockets.  The bomb explodes, sinking the ship, but all three Batwomen are rescued and Throne, Penguin and Duquesne are caught.

I enjoyed this Batman animated movie.  This was the second time I'd seen it, so I knew who the Batwoman was, yet the care the storyline takes in drawing character studies of  these three women, who have all be affected by crime and violence, makes the story very re-watchable.  Also, the cast is excellent, bringing back many of  the regulars from Batman:  The Animated Series -- Robert Conzanso as Bullock, Bob Hastings as Gordon, Tara Strong as Barbara, and, of course Efrem Zimbalist, Jr. as Alfred.  Yes, a Robin is in this, but since Barbara is away at college, I suspect Dick is too (and possibly not yet Nightwing) and the Robin is Tim Drake, tho' he's never actually called by name.

Recommendation:  See it
Rating: 4 Stars
Next Film:  Batman Under the Red Hood

Batman Subzero

• Title:  Batman Subzero (aka Batman & Mr. Freeze Subzero)
• Director:  Boyd Kirkland
• Voice Director:  Andrea Romano
• Date:  1998
• Studio:  Warner Brothers
• Genre:  Action, Adventure, Fantasy
• Cast:  Kevin Conroy, Michael Ansara, Efrem Zimbalist Jr., Loren Lester, Bob Hastings, Mary Kay Bergman
• Format:  Color Animation, Standard
• DVD Formats:  R1, NTSC
• Length:  67 Minutes

As with many Batman movies, this animated film is more about the villian than about Batman.  It's also the only one of  the many DC Animated Universe movies that I saw first on TV, prior to buying the DVD.  In some ways, it's more like a double-length or two-parter Batman:  The Animated Series story than a movie (tho' a true 2-parter would only be about 44 minutes).  The film opens with Freeze, outside his survival suit, swimming in the Antarctic with his two pet polar bears - he gathers some fish then returns to his cave, stopping to give the fish to a Native boy.  Freeze then goes to give a flower to his beloved wife Nora, who is trapped in a cryogenic capsule that keeps her alive.

An accident occurs -- a sub surfaces in the cave, causing a earthquake-like disturbance which destroys Nora's cryo chamber.  Freeze takes her to Gotham City, finds a doctor he had worked with who was an expert in cryogenics, and kidnaps him.  They discover the only way to save Nora is an organ transplant, and because of  her "rare blood type - AB-" kidnap Barbara Gordon, who is the only one in the donor database who shares that blood type.

Now, anyone with a high school knowledge of  basic biology and who's watched a few medical dramas can spot the major flaw in this plot.  First -- someone with AB- blood is a nearly universal RECEIVER - they can take any negative blood type (A, B, AB, or O).  Only a positive RH factor can't be used.  And second, to be an organ donor - one needs to match a heck of a lot more than blood types, this is why organ matching is so difficult.  If  only blood matching mattered chances would be as low as 1 in 4 of  finding a match, modified by regional variances in blood types.  But I digress... if  you ignore that little plot hole...

Dick Greyson (Robin) and Barbara Gordon (Batgirl) are on a date when Freeze and his two polar bears arrive and kidnap her.  Dick tries to prevent it but is unable to; he gives chase, but eventually Freeze escapes.  Batman and Robin investigate, and eventually figure out Barbara is being held on an abandoned oil drilling platform in the ocean.  They take the Batwing to rescue her.  Meanwhile, Barbara's gotten herself  free for the second time, but she gets trapped on an upper gangway when the doctor Freeze found (and hired to help him literally with the promise of  lots of  gold) fires at her with a gun, igniting the fuel tanks.  As Batman and Robin arrive, Freeze does too.  Barbara gets to the deck of  the platform, and Freeze insists Batman rescue Nora.  Barbara also points out the Native boy is also trapped below decks.  Barbara and Batman rescue Nora and the boy, with some assistance from Freeze (he cools down the fires in their way with his Freeze gun), and bring the two to the Batwing.  Then Batman goes back to rescue Freeze.  Bruce is crushed when he fails and Freeze falls to his (supposed) death.

In the coda, after seeing the two polar bears and Freeze swimming away, we see Freeze in the Antarctic again, watching through the window of a research station.  Nora Fris (Victor Fris, aka Mr. Freeze's wife) is alive, thanks to an operation paid for by the Wayne Foundation.  Freeze smiles.

Overall, a fairly good story.  I liked that Freeze wasn't portrayed as completely evil (although wanting to kill Barbara to save his wife was pretty heartless), just a man who completely loved his wife and couldn't stand losing her.  I also liked that in their final battle -- Batman tries to save Freeze -- though Freeze had injured Dick and kidnapped Barbara.  Kevin Conroy is an excellent Batman/Bruce Wayne.  Ansara does a great job as Freeze.  Efrem Zimbalist Jr. is great as Alfred as always.  The voice cast of  Batman:  The Animated Series is excellent as always.  Barbara Gordon, for some reason, was re-cast -- Mary Kay Bergman sounds a bit young, but manages to avoid giving Barbara a "Nancy Drew" feel.

By the way, in case your wondering - I found my copy at a grocery store for $5.00, it's the last of  the DC Animated movies I bought, even though it's an early one.

Recommendation:  For the series Batman collector only; worth a rental.
Rating:  3 of  5 Stars
Next Film:  Batman:  Mystery of  the Batwoman