His Girl Friday

• Title:  His Girl Friday
• Director:  Howard Hawks
• Date:  1940
• Studio:  Columbia Pictures
• Genre:  Comedy, Romance
• Cast:  Cary Grant, Rosalind Russell, Ralph Bellamy
• Format:  Standard, Black and White
• DVD Format:  R1, NTSC

"There's nobody else on The Paper who can write!"  -- Walter Burns

"All they've been doing is lying, all they've been doing is writing lies, Why don't they listen to me?"  -- Molly

"There are 365 days in a year one can get married, How many times - you got a murderer locked up in a desk?"  -- Walter

"His Girl Friday" is based on the play, "The Front Page", but whereas in the original play the reporter was a man - in this version, he's a she, -- and therein lies the fun.  Hildy Johnson (Rosalind Russell) goes to her old stomping grounds, the Morning Post, to officially resign and tell her ex-husband, Walter, that she's going to get married again, to an insurance salesman named Bruce Baldwin (Ralph Bellamy).  Walter, still in love with Hildy, but even more, in need of  her talent as a writer, does everything he can to stop this, including get poor Bruce thrown in jail three times.

Meanwhile, a convicted murderer is going to be hanged the next day.  Walter and his paper have maintained the man's innocence, and tried to get a reprieve for him.  Walter manages to get Hildy to go and interview the condemned man.  Hildy does, and when she's out of the room one of  the other hardened "newspapermen" read her story and remark on the quality of the writing.  But Hildy, angered at yet another of Walter's jokes on Bruce, rips up the story.  She swears, yet again, to quit.  Then Earl Williams, the convicted man, escapes.  Hildy, like all the other reporters, starts covering the story, and really gets caught up in it when first Williams, then his girlfriend, Molly, show up in the press room.  Hildy calls Walter over to the courthouse, and they are trying to decide what to do.  The sheriff, cops, and mayor show up.  Williams is found in the roll-top desk, Hildy and Walter are arrested.  Then a process-server arrives from the governor -- for the second time that night he tries to deliver the governor's reprieve for the convicted man.  Hildy and Walter are freed.  Walter convinces Hildy to marry him.  Hildy also realizes that she is:  "a newspaperman";  as the story has fired her blood, and the dream of  marriage to a dull insurance salesman and a boring life in Albany is just that - a pipe dream, not her at all.

"His Girl Friday" is a great film -- it's funny, and the main plot of a manhunt for a escaped felon is still relevant today.  The film is known for it's incredibly fast, overlapping dialog, which it does have, and it definitely adds to the warp drive feel of  the film.  Grant and Russell have great chemistry together, and the audience knows from their first scene together that Hildy belongs with Walter - not plain vanilla Bruce.  But the film is also interesting in that it's very much a woman's liberation film.  Hildy, a woman, is successfully making her way in a career that is still, seventy years later, traditionally held by men, thus the use of  the term "newspaperman" throughout the film rather than reporter or journalist, though those terms pop-up as well.  And though Hildy talks about giving up her career for marriage, family, children, etc -- in the end she chooses something very novel for the 1940s - to have both, her career, and her marriage.  Because Walter would expect her to work right alongside him, just as she had done before, and Hildy's realized that what she really wants is to have both.

It should be noted that the popular 1980s romantic detective series, Moonlighting and Remington Steele, were referencing "His Girl Friday" in particular, with their use of fast paced, over-lapping dialog, and both a strong man and a strong woman in a adversarial romantic comedy.  That is, Hildy, wasn't exactly going to sit around and wait for "her prince" to come to her -- or even to go out searching for a man, but she was capable of  being happy with both a man who loved her and a career.

Recommendation:  See it!  You simply must!

Rating:  5 of 5 Stars

Next Film:  Raiders of  the Lost Ark (Indiana Jones)

Highlander

• Title:  Highlander
• Director:  Russell Mulcahy
• Date:  1986
• Studio:  Republic Pictures
• Genre:  Action, Romance
• Cast:  Christopher Lambert, Roxanne Hart, Clancy Brown, Sean Connery
• Format:  Color, Widescreen 
• DVD Format:  R1, NTSC (DVD is 10th Anniversary Ed. - Director's Cut)
• Soundtrack:  Queen

This is a review of  the first Highlander film, not the subsequent ones (which were pretty awful) or the TV series (which wasn't bad, but I personally didn't like the lead).  It's a real pity the sequels were such a mess - because the original film is really, really good.  The cast is excellent, though Lambert's accent is a tad distracting at times.  The filming is beautiful - especially in the scenes in Scotland.  The film is built on layers of contrast -- even the romances contrast with each other.  And, the intercutting between Connor MacLeod's past and his present is extremely well done and keeps the audience interested, by using short vignettes to build up the characters.  And the sword fighting is excellent as well.

Highlander drops you in to the middle of the action,  trusting the audience enough to stay with the film long enough to understand what's going on.  Russell Nash attends a wrestling match at Madison Square Garden, then ends up in the parking garage having a sword fight with a guy who I swear looks like the Equalizer -- dark suit, glasses, even semi-grey hair.  Nash wins his sword fight, cutting off the guy's head and uttering the catch phrase of the film, "There can be only one!"  He then hides his sword and leaves, but gets caught by the cops.  He's released because the cops don't have enough to hold him on.

However, during the wrestling match, Nash has dreams, or as we learn, memories... of  his life in the Scottish Highlands as Connor MacLeod of the clan McLeod.  Over the course of  the film, we see flashbacks to his life in Scotland that explain what's going on.  His clan are to fight the Frasers, but on the field of battle no one will fight Connor and they even run away.  Unbeknownest to Conner -- a mysterious Black Knight has paid the Fraser's to fight anyone but Conner.  The Knight intends to kill Conner.  However, he is only mortally wounded and his cousin fends off  the Black Knight.  Conner's taken back to his village to die, but he recovers.  His girlfriend becomes convinced he has "the devil in him", and stirs up trouble in the village against Conner.  He's banished.  He ends up at a small sheep farm, where he meets Heather, falls in love with her, and marries her.

While living on the sheep farm, he meets Ramirez (Connery), another Immortal, like Conner and the Black Knight.  Ramirez takes Conner under his wing, teaches him how to fight, and about their ways.  He knows that some are Immortal, but doesn't know why.  He knows that wounds that would kill a normal man, drowning, etc, will not kill an Immortal -- the only method of  killing one is by decapitation. He knows they cannot have children.  And he advises not falling in love -- because he was devastated when his own third wife, a Japanese princess, died.  He also tells Conner that the Black Knight is the Kurgan (Clancy Brown), the oldest and strongest of the Immortals from the steppes of  Russia (think Ghangis Khan).  He also tells Conner that when only a few are left, The Gathering will take place, the last Immortals will be forced to fight and There Can Be Only One.  The last remaining Immortal will win The Prize.

Back in the "present" (the 1980s) the New York police are confused and befuddled by the sudden rash of beheadings.  An old friend of Conner's shows up - but is killed by the Kurgan.  An woman who's an expert in ancient swords, and works in forensics for the New York police, starts investigating both Russell Nash and one of the beheadings because the forensics of  the sword used show it to be extra-ordinary -- folded 200 times, yet made in 600 B.C.

We learn more about Nash/MacLeod's life past and present -- he does fall in love with Heather, marry her, and live with her until she dies.  The Kurgan also kills Ramirez -- and Connor inherits his Katana.  When Heather dies, he buries her under his MacLeod Claymore, and leaves, taking the Katana.  In the present, we meet Nash's secretary, Rachel, who he had rescued when she was a child, during World War II -- she knows all his secrets.

Nash and Brenda have a brief hot and steamy romance, and the Kurgan kidnaps her.  The climatic final sword fight between  MacLeod and the Kurgan is on a rooftop by a bright red neon sign reading, "Silvercup".  MacLeod wins - and discovers the prize is mortality, the ability to have children -- and total knowledge of what everyone in the world is thinking.  The total knowledge thing is a bit scary, though a closing remembrance of  Ramirez reminds MacLeod to use his gift wisely.

But the film is filmed beautifully -- and filled with contrasts.  There's the natural wide-open beauty of  Scotland, verses the dirty and claustrophobic feel of  modern day New York.  Most of the scenes in Scotland take place in the day as well; whereas the scenes in New York are mostly at night.  There's the two romances -- Conner's original love, Heather, is sweet and kind and they have a life-long love.  His relationship with Brenda is more an animal attraction that quickly progresses to the hot and steamy side.  However, they do seem to still be together at the end of  the film.  And then there's Rachel, who almost seems to mother Nash, though she knows exactly who and what he is.  Conner and Kurgan contrast as well -- Kurgan is cruel, mean, and disgusting and only wants The Prize for whatever power it may bring him.  Conner seems to be honest and forthright, who will only use The Prize to help humanity.

And the sword fighting, both the fights and the various characters practicing their moves at various points, or Ramirez teaching Conner, are well realized.  Even watching Kurgan put together his multi-pieced broadsword and practice his moves is enjoyable to watch.

Overall, an excellent, enjoyable film, highly recommended.

Recommendation:  See it!
Rating:  5 of 5 Stars
Next Film:  His Girl Friday

Henry V

• Title:  Henry V
• Director:  Kenneth Branagh
• Date:  1989
• Studio:  MGM (DVD release)
• Genre:  Action, Drama
• Cast:  Christian Bale, Kenneth Branagh, Brian Blessed, Robbie Coltrane, Judi Dench, Richard Easton, Ian Holm, Derek Jacobi, Paul Scofield, John Sessions, Emma Thompson
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC

"Oh, for a Muse of Fire that would ascend the brightest heart of invention."  -- Chorus

"No King of England if not King of France."  -- Henry V

"Once more into the breach, dear friends, once more..."  -- Henry V

"And upon this charge, cry God for England, Harry, and St. George."  -- Henry V

Branagh does a very traditional take on Shakespeare's history play, Henry V, and brings it to life on the screen wonderfully.  The film features an excellent cast.  When watching Shakespeare, either live, or a television or film presentation, I'm always almost distracted by the famous quotes and Henry V is no exception, which goes to show just what an excellent writer Shakespeare really was.

But Henry V is also a history play, meant to instruct the Elizabethan audience on their history, with a favorable nod toward the Tudor line.  The film opens with Henry's advisors explaining to him that he has a just claim to the throne of France, through the female line, tho' France is claiming Sallic law -- that is, Royal descent through the male line only.  The French Delphin arrives, bearing the message the King has refused Henry's claim -- and an insulting present.  This pushes Henry into the decision he was leaning towards:  he will invade France and pursue his claim militarily.

Henry and company are next in  Southampton.  Henry is asking his advisors how to deal with a man who has broken the law.  They advise harshly.  However, the audience knows these advisors are conspiring against Henry and are actually in the employ of  France.  Henry gives the man accused a light sentence, then he has the three conspirators arrested.  They are accused of High Treason.  Henry, points out that since they did not advise mercy for a lesser crime, he will show no mercy to them.

The English army heads to France, and into a battle.  Henry himself  leads the charge, with rousing words of bravery on horseback, "Once more into the breach, dear friends, once more..."  -- Henry V.  They take the castle, but Henry advises his men, they are not to harrass the villagers.  Nothing is to be taken, but paid for.  The French people are not to be harrassed.  Henry even orders the execution of one of his own men who was caught stealing from a church, though the man is an old friend and advisor.

Finally, the English army reaches Avincourt.  They are cold, wet, tired, and sick.  On the eve of battle, it is plain they are out-numbered five to one.  Henry takes another advisor's cloak and wanders through the British camp, getting a feel for how his soldiers really feel about the king.  Some support the king, others, fear they are on a fool's errand and the king will only get himself captured and need to be ransomed.  Henry swears this will not happen, though he is also worried by the long odds.  The next day, Henry gives the rousing St. Crispin's Day speech ("We few, we happy few, we band of brothers...") and the English charge into battle.  The battle is extremely well-filmed, showing both chaos and violence, and historic tactics.  Again, Henry leads his own men into battle.  The English archers fire thousands of arrows into the French army, killing hundreds of men and boys.

At the end, though it looks like the English have one, Henry is unsure.  The French envoy arrives and tells him that he has won the day.  Later there is an accounting -- the French have lost 8000 men, including over 500 newly named knights.  The English, about five named men, and an additional twenty-five.  Henry gives credit to God for fighting for them.

Henry then goes to the French king.  Among his terms, the crown of  France and the king's daughter - Katherine.  The French king gives all to Henry.  Henry, after some courting of  Katharine is to marry her.  The film shows the two as the new king and queen.  However, Chorus reminds the audience that Henry's son is not the man his father was, and he will lose France.

The courting scene between Henry (Kenneth Branagh) and Katharine (Emma Thompson) is wonderful, and the sparks fly -- though she speaks only French, and he really only speaks English.  He tries speaking in French to her, but only succeeds in making her laugh.  Still, the chemistry is palatable.

Christian Bale is extremely young in this, playing one of  the boy pages, who sets off  the flight of arrows at Agincourt, and is also killed.  He's like, eight in this.  But he's recognizable -- and it's surprising to see him.  The cast is filled with excellent British talent:  Derek Jacobi, Ian Holm, John Sessions, Robbie Coltrane, Brian Blessed and Judi Dench, as well as, of course, Branagh and Thompson.

Recommendation:  See it!

Rating:  5 of 5 Stars

Next Film:  Highlander

Harry Potter and the Goblet of Fire

• Title:  Harry Potter and the Goblet of Fire
• Director:  Mike Newell
• Date:  2005
• Studio:  Warner Brothers
• Genre:  Fantasy
• Cast:  Daniel Radcliffe, Rupert Grint, Emma Watson, Robbie Coltrane, Warwick Davis, Ralph Fiennes, Michael Gambon, Robert Hardy, Jason Isaacs, Gary Oldman, Miranda Richardson, Alan Rickman, Maggie Smith, David Tennant
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC

"Dark and difficult times lay ahead, soon we must all face the choice between what is right and what is easy.  But remember this -- you have friends here, you're not alone."  -- Professor Dumbledore

With Goblet of Fire, the Harry Potter series take a turn for the darker, and the new director, Mike Newell, doesn't shoot the film and its environment the way his predecessors did.  Rather than giving us lovely, beautiful shots and placing the characters in them perfectly -- Newell concentrates on showing us close-ups of the characters' faces.  Not as interesting an approach to watch, but, on the other hand, it does add to the emotional feel of  the film.

This is the first Harry Potter film to have a very episodic feel to it.  We see a brief, almost prologue, at the Quiddich World Cup, which is broken up by a show of force by the Death Eaters, the first and second Tri-Wizarding Tournament tasks, the Yule Ball, and the final task and Harry's confrontation with Voldemort.  Each episode is well realized and told, but of course details from the book are lost, as they have been for all the Harry Potter films.

Still, it is a very good movie, and a good adaptation of  the novel.  The Wizarding World is again expanded and Harry goes with Ron and his family to the Quiddich World Cup; then at Hogwarts, exchange students from Drumstrang and Madam Beaux Batons Academy come to Hogwarts for the Tri-Wizarding Tournament.  It's interesting to note that apparently Drumstrang is a boys school and Beaux Batons a girls school.  Only Hogwarts appears to be co-ed of  the three Wizarding Schools.  A champion is to be chosen from each school, but he or she must be seventeen or older.  Yet, not only is Hogwarts represented by Cedric Diggory, but also by Harry.  This causes Harry some problems, as even Ron is jealous and angry.  However, Ron and Harry work out their differences after Ron sees the danger Harry is in during the first task of challenging a dragon.  During the second task, Harry comes in last as he's determined to rescue all the kidnapped people (Ron, Hermione, Cho, and Fleur's younger sister).  Cedric and Krum save their "treasures" and Harry rescues Ron and Fleur's sister.  His bravery and determination, however, earn him extra points for moral fibre, and he ends up in second place behind Cedric.

The third task is a maze, with the Tri-Wizarding Cup hidden somewhere inside.  After spooky challenges, Harry and Cedric take the Cup at the same time.  But it's a portkey, transporting them to the graveyard where Tom Riddle's parents are buried.  Cedric is killed.  Wormtail performs an incantation which brings back Voldemort.  Harry and Voldemort duel, but their wanes become locked.  Harry escapes, bringing Cedric back and sobbing.

In a sober end-of-year lecture, Dumbledore informs all the Hogwarts students that Cedric was killed by Voldemort, who's back.

Recommendation:  See It

Rating: 5 of 5 Stars

Next Film:  Henry V

Harry Potter and the Prisoner of Azkaban

• Title:  Harry Potter and the Prisoner of Azkaban
• Director:  Alfonso Cuaron
• Date:  2004
• Studio:  Warner Brothers
• Genre:  Fantasy, Children
• Cast:  Daniel Radcliffe, Rupert Grint, Emma Watson, Julie Christie, Robbie Coltrane, Michael Gambon, Gary Oldman, Alan Rickman, Fiona Shaw, Maggie Smith, Emma Thompson, Dawn French, Robert Hardy, Julie Walters
• Format:  Widescreen, Color, 
• Format:  R1, NTSC

"Happiness can be found, even in the darkest of  times." -- Professor Dumbledore

Prisoner of Azkaban is my favorite Harry Potter book, and so far it still remains my favorite Harry Potter movie.  The book opens up the Wizarding World even more by introducing the Wizard town of Hogsmeade just outside of  Hogwarts.  The movie doesn't spend as much time in Hogsmeade, I would have liked to see more, but it's still an important part of  the plot.  The danger and sense of  evil is also much stronger in this film.

The director has changed, but the film is still beautifully shot, just gorgeous, especially the way quick-acting frost is used to visually signify the appearance of a Dementor.  This film as introduces a new Defense Against the Dark Arts teacher, Professor Lupin (later revealed to be a werewolf), whom I really, really liked.  And we find out about Harry's Godfather, Sirius Black, who's accused of betraying Lily and James Potter to Voldemort and causing their deaths.

However (spoiler alert!), the core of  the film is the discovery that Sirius wasn't guilty of killing Peter Pettigrew, and it was Pettigrew who actually betrayed the Potters to Voldemort.  Still, Sirius has spent all that time in Azkaban, the Wizard prison, and only escapes at the beginning of this film.  Even at the end, he's on the run for his life, because no one will believe Harry, Ron, and Hermione that he's innocent.

Also, this film is the only one with time travel.  Hermione over-loads herself with a triple load of classes, and uses a time turner to attend classes held at the same time.  She and Harry are able to use the time turner to save Buckbeak, the Hippogriff, and Sirius.  Harry also conjures a Patronus for the first time, saving himself and Sirius from the Dementors.  (It's cool -- we see the scene from Harry I and Harry II's perspective).

This film is also the last time the look and feel of  the Harry Potter films is still innocent and young.  After this, the films get progressively darker (as do the novels they are based on).  Highly, highly recommended for children eight and up.  Later films are better for the over-thirteen crowd.

Recommendation:  See it!

Rating:  5 of 5 Stars

Next Film:  Harry Potter and the Goblet of  Fire

Harry Potter and the Chamber of Secrets

• Title:  Harry Potter and the Chamber of Secrets
• Director:  Chris Columbus
• Date:  2002
• Studio:  Warner Brothers
• Genre:  Fantasy, Children
• Cast:  Daniel Radcliffe, Rupert Grint, Emma Watson, Kenneth Branagh, John Cleese, Robbie Coltrane, Warwick Davis, Richard Harris, Robert Hardy, Jason Isaacs, Alan Rickman, Fiona Shaw, Maggie Smith, Julie Walters
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC

"I fashioned a new name, a name I knew wizards everywhere would fear to speak when I became the greatest sorcerer in the world."  -- Tom Riddle

"Albus Dumbledore is the greatest sorcerer in the world."  -- Harry Potter

"Albus Dumbledore's been driven out of  this castle by the mere memory of  me."  -- Tom Riddle

"He'll never be gone, not so long as those that remain are loyal to him."  -- Harry Potter

"It is not our abilities that show us what we truly are - it is our choices."  -- Professor Dumbledore

"Chamber of Secrets" previously was my least favorite of  the first four Harry Potter films, but upon re-watching it today, I actually enjoyed it very much.  Like, "Sorcerer's Stone", also directed by Chris Columbus, this film has a sense of  whimsy, and is beautifully shot.  The film begins with Harry looking at the photo album containing pictures of  his parents, given to him at the end of  the previous film.  However, it also opens up the world that Harry is learning about, the "Wizarding World", by bringing us to Ron's home and to the frightening Knockturn Alley  (I love the wordplay in that almost as much as "Diagon Alley").  However, besides a good mystery (eg "What is the Chamber of Secrets?  Where is it?  What's hiddened there and who opened it?) that is better than the one in the first film -- there's more of a sense of danger.  Students are being attacked, including Hermione.  Ron's own sister is kidnapped -- though the book goes into greater detail of  how Riddle uses his diary to en-trance Ginny into doing his bidding.

Still, another successful, enjoyable, and fun movie appropriate for all ages.  The young actors playing the students are all quite brilliant; and the established British actors playing the teachers bring gravitas to the film.  Kenneth Branagh appears in this one as Gildroy (as in gilded) Lockheart, the new Defense Against the Dark Arts teacher -- and a man who's all talk and bluster with no skill at all.  I highly recommend it.

Recommendation:  See it

Rating:  5

Next Film:  Harry Potter and the Prisoner of Azkaban

Harry Potter and the Sorcerer's Stone

• Title:  Harry Potter and the Sorcerer's Stone
• Director:  Chris Columbus
• Date:  2001
• Studio:  Warner Brothers
• Genre:  Fantasy, Children
• Cast:  Daniel Radcliffe, Rupert Grint, Emma Watson, Robbie Coltrane, John Cleese, Richard Harris, Alan Rickman, Fiona Shaw, Maggie Smith, Warwick Davis, Julie Walters, Zoe Wanamaker
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC

"This boy will be famous.  There won't be a child in our world who doesn't know his name." -- Professor McConagall

"You're the boy who lived."  -- Hagrid

"I can teach you how to bewitch the mind, and ensnare the senses.  I can tell you how to bottle fame, brew glory, and even put a stopper in death."  -- Professor Snape

Harry Potter is beautifully shot, with an excellent young and at the time of  this film, largely unknown cast  -- for the children.  But the film is also rounded out by a who's who of  talented British actors.  However, this first film also has a sense of  whimsy that the later, darker films lack.  Not every detail or scene from JK Rowling's novel is in the film, but the film still is a wonderful adaptation of  the story.  And it's just beautifully, beautifully shot.  Hogwart's Express is wonderful, and looks just as it should.  The boat ride across the lake is beautiful.  And there's a lovely scene of  Harry walking by himself  in the courtyard to fly Hedwig, his owl, in winter, surrounded by snow that, again, is just lovely.

The Sorceror's Stone introduces the world of  Harry Potter -- Harry, his friends, the rules of  magic, the teachers at Hogwarts.  In this fantasy series, one must have a talent for magic -- that is, witches and wizards are born, not made (and parents can be witches and wizards or muggles). But, just being born with the talent for witchcraft doesn't mean young witches and wizards know what they are doing -- thus they must be taught how to use their gifts wisely.  It also involves the noted alchemist, Nicholas Flamel, who developed the Sorceror's Stone (Philosopher's Stone in the original British novel, tho' it was changed for the US novel as well) wgich grants immortality.  Harry, Ron, and Hermione, discover how to be students at Hogwarts, have various adventures (a fight against a troll, exploring the Dark Forest, and a series of  tests when they confront Lord Voldemort).  Most of  the scenes from the novel are in film, though some are shorter.

One thing I loved about the Harry Potter novels, especially the early ones, is they show Harry enjoying and being excited by school -- and not simply because he's suddenly discovered he's a wizard.  For the first time in his life, this young orphan is happy and has real friends -- something sorely missing from his life when he lives with his aunt, uncle, and spoiled, bullying cousin.  But Hermione, a natural student, also loves school.  The novels, actually, get more into her characterization -- showing how her fears of  being behind because she's muggle-born cause her to almost over-compensate.  And Ron, from a large, loving, yet poor wizarding family, has his own issues.  All will be explored more in depth in later books/films in the series.  The school itself  is drawn from the traditional English boarding school.  However, to me, especially reading the books, it reminded me of  college.  I had to keep reminding myself  just how young Harry is meant to be (He's only 11 here).

Recommendation:  See it!  Especially good for children eight and up

Rating: 5

Next Film:  Harry Potter and the Chamber of  Secrets

Green Lantern First Flight

• Title:  Green Lantern First Flight
• Director:  Lauren Montgomery
• Date:  2009
• Studio:  Warner Brothers Animation
• Genre:  SF, Action, Animation
• Cast:  Christopher Meloni, Tricia Helfer, John Larroquette, William Schallert
• Format:  Widescreen, color animation
• DVD Format:  R1, NTSC

Another excellent movie in the DC Animated Universe series.  This one gives us Hal Jordan's origin story and the betrayal of  the Green Lantern Corps by Sinestro in one fell swoop.  And it's Sinestro who initially takes Hal under his wing and starts his training.  But Hal, especially after being set up by Sinestro realizes he's not the "super-cop" or in this case "super Lantern" everyone thinks he is.  So Hal is learning about the corps,  learning to use his powers, and yet still smart enough to realize when something just isn't right.  I also liked Hal's constructs -- witty, useful, and showing us Hal's personality in glowing green light.  This is Hal Jordan.

The story is also very dark at times.  Sinestro kills Keja Ro -- whom he's secretly been working with to find the Yellow Element and construct (or have constructed for him) the Great  Weapon.  He then frames Hal Jordan for the crime, getting the newest Lantern thrown out of  the Corps.  But  Hal isn't willing to go quietly.  When Sinestro shows up on Oa with the Yellow Battery (the Great Weapon)  he does considerable damage, killing countless Lanterns.  One of  the most impressive scenes, in terms of  "wow" factor is after Sinestro destroys the Green Power Battery on Oa, a few minutes later, it rains green rings -- the "sky" is filled with countless rings.  Sinestro explains they are from all the Lanterns in space, unprotected, once the power of the battery was shut off.  The shear size of  Sinestro's crime is almost unimaginable.

Hal, however, tries to help and fight back, and finally a Guardian gets him his ring, Hal charges it through a crack in the Power Battery, then goes after Sinestro -- and what a fight!  These guys are throwing planets around.

By the way -- a lot of  members of  Green Lantern Corps make their appearances:  Sinestro, Kilowog, Bodica, Tamor-Re, even Chip and it's great to see them.  Un-named alien Corps members are also seen in various crowd shots.  It was nice to see they paid attention to the rich Green Lantern history from DC Comics.

Overall, an impressive movie, I recommend it.

Recommendation:  See It

Rating:  4 out of 5 Stars

Next Film:  Harry Potter and the Sorcerer's Stone

Green Lantern Emerald Knights

• Title:  Green Lantern  Emerald Knights
• Voice Director:  Andrea Romano
• Date:  2011
• Studio:  Warner Brothers Animation
• Genre:  Action, SF
• Cast:  Nathan Fillion, Jason Isaacs, Elisabeth Moss, Henry Rollins, Arnold Vosloo
• Format:  Widescreen, Color, Animation
• DVD Format:  R1, NTSC

"He held the first construct, no longer a scribe, now a warrior, the First Lantern."  -- Hal Jordan, Narrating

"When you shape the light of  your ring, you walk in the footsteps of the First Lantern."  -- Hal Jordan, Narrating

I just bought and watched this, so here's a bonus review!

Emerald Knights is really six short stories interwoven into an arc-plot.  Each of  the separate stories are written and directed by different people, though this is part of  the DC Animated Universe, so Bruce Timm  produces and Andrea Romano is the voice director for the entire thing.  The stories are pulled directly from the DC Green Lantern Corps comic books.  I loved the movie.  In many ways, I liked it better than the live-action Green Lantern movie I saw last weekend, which was only so-so.  This film really showcased the rich history of  Green Lantern, bringing in several characters and plotlines.  And because Hal is telling these tales to Arista, a new Green Lantern recruit, it's like he's explaining the history to the audience.  Nathan Fillion does an excellent job of playing an older, more experienced, Hal -- who still remembers his younger days and wishes to help a fellow recruit get her feet under her.

The six stories are:

• The First Lantern
• Kilowog (based on "New Blood")
• Mogo Doesn't Socialize
• Abin Sur (based on "Tygers")
• Emerald Knights
• Laira (based on "What Price Honor?"

My favorite in terms of pure story was "The First Lantern", just because it was so awesome to see how the Lanterns first came to be -- and I love how Avro wasn't willing to give up, and thus figured out how the rings were supposed to be used.  I also loved the visual image used to show the first Lantern's ring being handed down from Lantern to Lantern throughout the centuries, and finally to Abin Sur and from him to Hal.  That was awesome!

"Mogo Doesn't Socialize" was amusing.  It's a great story, and probably would have had more impact if I hadn't  had  it spoiled for me.

"Kilowog" gives background and a bit more of  a human side to the Lanterns' drill sargeant by showing us his drill sargeant.  Still, it's the same old "new recruit is terrorized by the drill sargeant but learns to love the tough love approach" story we've seen many times before.

"Abin Sur" is weird because it shows he and Sinestro working together, and also the criminal Abin Sur arrests and jails makes several predictions, which I'm guessing come true in the GL continuity.  Abin Sur, of course, doesn't believe the predictions, especially of  Sinestro, his dear friend, going rogue.

"Laira" is probably the darkest of  the stories -- but it's fascinating and highly, highly enjoyable.  I really liked that one too.

Finally, "Emerald Knights" is the name of  the wrap-around story and the finale.  Yes, it's excellent.  The entire film is extremely well done, enjoyable, and I just loved it.  I highly, highly recommend this movie.

Recommendation:  See it!

Rating: 4 of 5 Stars

Next Film:  Green Lantern First Flight

Goldeneye

• Title:  Goldeneye
• Director:  Martin Campbell
• Date:  1995
• Studio:  United Artists (MGM)
• Genre:  Action
• Cast:  Pierce Brosnan, Sean Bean, Robbie Coltrane, Desmond Llewelyn, Samantha Bond, Judi Dench
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC

"If  you think for one moment I don't have the balls to send a man out to die, your instincts are dead wrong.  I have no compution about sending you to your death.  But I won't do it on a whim."  -- M

"Need I remind you 007, that you have a license to kill -- not to break the traffic laws." -- Q

Goldeneye is Pierce Brosnan's first Bond film and he does a marvelous job -- Brosnan plays to his strengths, giving Bond a core of  steel and toughness, that isn't all that nice.  With Brosnan's portrayal --the charm, clothes, and air of sophistication are a thin veneer at best that covers an icy man.  The villainess in this film is Onatopp, a Russian pilot and assassin, who can kill men by squeezing them until they stop breathing.  Yet, she  isn't all that different than Bond -- both are functioning psychopaths -- Bond more functioning than Onatopp -- who clearly gets off  on violence and killing.

The Bond franchise re-invented itself  with Brosnan, bringing in Judi Dench as the new female "M" -- and she has more balls than any previous M.  Dench is wonderful as the hard-hitting head of  MI 6.  Samantha Bond is excellent as Moneypenny -- able to give as good as she gets to Bond, and turning down his habitual offers. Desmond Llewelyn is back as Q, but fun and light-hearted.

The plot of  the film involves a stolen Russian satellite weapon, an EMP-generator code-named, Goldeneye.  But unlike the cold-war plots of  Bond vs. Russia or China -- the first half of  Goldeneye involves Bond trying to figure out who has the weapon.  Suspects include a Russian arms dealer named Janus, a runaway general, or the two programmers who escaped the disaster when the weapon was stolen and its base destroyed.  Bond eventually discovers Janus is none other than Alec -- an old friend and MI6 agent who's not dead as Bond thought but has gone rogue.  Alec's working with one of  the programmers from the Siberan installation.  Bond ends up working with the other one, a female computer programmer named Natalia.  She's tough, smart, and although she sort of  falls for Bond's charms, she seems to know his involvement with her won't be permanent.  They eventually end up in Cuba where Bond and Natalia destroy the satellite antenna and also cause the actual Goldeneye satellite to burn up in the atmosphere.

But it's a typical Bond film in that there is plenty of  action, vehicle chases, flying bullets, and gorgeous women.  The nice thing about this film is the women are all strong:  M, Moneypenny, Onatopp, Natalia  -- none are just mindless pretty faces.  But at the same time, this isn't some "feminst counter-strike" at Bond -- the film hits all the line items one has come to expect from a Bond film.  It's highly enjoyable, if a bit long.  And Pierce Brosnan is gorgeous.  Drop dead gorgeous.  Plus he's talented and lights-up the screen, with presence and magnetism.

Recommendation:  See it!

Rating:  4 out of 5 Stars

Next Film:  Green Lantern:  Emerald Knights

Life issues / break

Hi all -
I wasn't planning on posting anything personal on this blog, but I'm going to have to.  My old computer broke on Sat.  Total Blue Screen of Death log-on failure.  It's now in the shop and I've ordered a new system from Dell.  But it will be three days to a week until I have a computer with Internet access at home.  So, even if I have time to watch a movie, I'll need to write it up off-line and post from an Internet cafe' and with the over-time I'm pulling at work, I might not have time to do that.  BUT as soon as  I can I'll return to this project.
--Jacqueline O. Moleski

Ghostbusters

• Title:  Ghostbusters
• Director:  Ivan Reitman
• Date:  1984
• Studio:  Columbia Pictures
• Genre:  SF, Fantasy, Comedy
• Cast:  Bill Murray, Dan Aykroyd, Sigourney Weaver, Harold Ramis, Annie Potts, Rick Moranis, Ernie Hudson
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC

"Back off  man, I'm a scientist!" -- Dr. Peter Venkman 

"Yes, of course, they're serious." --Janine 

"If  there's a steady paycheck in it, I'll believe anything you say."  -- Winston Zeddemore

Ghostbusters was a favorite film of  mine when I first saw it when it came out, and it remains a favorite.  It's one of  those movies where I can quote most of  the dialogue.  I also enjoy and own the complete The Real Ghostbusters animated series.

But what seems hard to imagine now was just how revolutionary the film was at the time it was made.  Prior to Ghostbusters, most science fiction movies were deadly serious or even depressing (think 2001, Planet of  the Apes, Soylent Green, etc).  Ghostbusters is funny -- and works as a comedy as equally well as a SF/Fantasy film.  Second, the film used real newscasters and television personalities in it's montage sequence in the middle of  the film (including Larry King and Casey Kasem), as well as real newspapers and magazines with obviously created headlines about the Ghostbusters -- this placed a fantasy/SF film in a real context.  Also, the special effects were state of  the art for the time, and included model work, matte paintings, and hand animation -- this would have been a bit early for CGI.  In many ways, Ghostbusters, as a film is the grandfather of a lot of  today's popular films.

The film also has an almost vignette style to it -- though the vignettes build on and support each other, building to the big confrontation on the top of  Dana Barrett's apartment building with Gozer.  Drs. Peter Venkman (Bill Murray), Ray Stanz (Dan Aykroyd) and Egon Spangler (Harold Ramis), are paranormal researchers at Columbia University but are fired for wasting department resources and poor skills at research and publishing.  However, having just actually encountered their first real ghost at the New York Public Library, Peter comes up with the idea of  opening their own paranormal elimination and storage business.  At first, they aren't getting anywhere.  Then one client, Dana Barrett (Sigourney Weaver) arrives, and Peter immediately takes a shine to her.  Peter's initial investigation doesn't really turn up much, but Dana and her neighbor Lewis Tully (Rick Moranis) will prove to be at the center of  the paranormal happenings.  Meanwhile, EPA Agent Walter Peck, whom Peter's irritated once, shows up at Ghostbuster Central and shuts down the protection grid for the ghost containment system.  It blows sky high, as does the building.  The Ghostbusters are arrested, but as ghosts take over the city, and Dana's apartment is obviously the center of  it all, the mayor gets them out of  jail and Peter convinces him to allow them to try to stop Gozer.  They do, of course, in a thrilling and exciting sequence.

Overall, Ghostbusters is a really, really good film.  It's funny, clever, intelligent, and has a fair amount of  action, as well as good special effects.  I do highly recommend it.

Recommendation:  See It
Rating:  5 out of 5 Stars
Next Film:  Goldeneye

Get Smart

• Title:  Get Smart
• Director:  Peter Segal
• Date:  2008
• Studio:  Warner Brothers (Time Warner)
• Genre:  Comedy, Action
• Cast:  Steve Carell, Anne Hathaway, Alan Arkin, James Caan, Masi Oka
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC

"All I'm saying is that until we understand that our enemies are human beings, we will never be able to defeat them.  Yes, they are Bad Guys but that is what they do, not who they are." -- Max Smart

"So, to be clear - you're not promoting me because I do such a great job." -- Max Smart

I loved this film when I originally saw it at the theater, and it's still a very enjoyable movie to re-watch.  The movie begins with Max in his apartment, which is covered with post-it notes, some motivational ("You can do it," and "8th time's the charm," etc.) some merely practical reminders.  We then follow Max as he listens to Russian chatter on his way to work.  Max walks into the Control museum exhibit at the Smithsonian but when no one is looking slips in -- through the complicated multi-door entrance seen in the opening credits of  the original TV show (updated slightly with CGI effects), finally he reaches the phone booth and uses that as an elevator to reach CONTROL.  Far from the dis-banded organization described by the museum guards, Control is an alive and vibrant secret intelligence organization.  Max is their top analyst, a job he is actually very competent at -- picking up on subtleties that agents ignore and even other analysts don't catch.  He's even friends with two CONTROL scientists - Bruce and Lloyd, who design the various gadgets used by the agents.  Max had been very over weight and out of shape, but he's slimmed down in order to pass the physical portion of  his agent's exam.

Max is playing paintball war games with Agent 23, being teased unmercifully by the other agents when he's called into the chief's office.  The chief  tells him the good news - he's finally passed his agent's exam (we learn later with an A+ or perfect score).  However, the Chief  isn't going to promote him to agent status because he's too good an analyst.  Bummed -- Max leaves the office for the day, talks to Fang (the dog) and literally bumps into Agent 99.  When he returns to Control headquarters, the place has been attacked.  In the aftermath, it's learned that the identities of  all CONTROL agents have been compromised and the agents are being systematically killed.  The chief decides to sent Max out as a full agent, pairing him with the more experienced Agent 99, who's just had a complete facial re-sculpt, and thus is unrecognizable.

They travel to Russia to track down a KAOS threat to use yellow cake plutonium to make a bomb.  They find the KAOS assassin at his mansion and the yellow cake at a bakery, but despite Max's best efforts, he's set-up so it appears he is the double agent who attacked CONTROL.  However, while in lock-up, despite his own nightmares, Max figures it out and travels to LA -- where Max, 99, and the Chief  stop the bombing of  the Disney concert hall and some very special guests.  They also figure out who the double-agent is.

Get Smart is a lesson in how a TV Show to Movie remake should be done.  I loved that not only is Max earnest, which he was in the series, but he's smart and competent.  The chief  isn't kidding when he calls Max his best analyst.  What keeps Max from being the next James Bond, is he's inexperienced.  And Carell's also great at physical comedy -- so there are some very funny parts to the movie -- both physical and witty.  I also really, really appreciated that Carell did NOT even attempt to do the "Maxwell Smart" voice that Don Adams made so famous.  I think if  he had, the movie would have been painful to watch instead of  very enjoyable.

The second part to the excellent remake status of  this film is that the action sequences are very well done.  In the series, Max actually was a good hand-to-hand and sword fighter (see "The King Lives?" and "To Sire, with Love" for Max's sword-fighting abilities); the film takes that competence in action and extends it to Max's abilities to figure things out and solve a mystery, basically.  Max's issues come from a lack of  real world experience -- something 99 ends up teaching him, not a complete lack of  ability.  And he does have the book smarts, as a successful analyst with over eight years of  experience, and, having gotten an A+ on his agent's exam (99 received an A-).  Also, Max is a really nice guy too -- something that came from the series as well.  Max's ability to sympathize with and help others (the overweight girl he dances with at the assassin's party; his befriending of  a very physically large KAOS agent, which leads to the agent passing a coded message to Max which then helps Max solve the case) also becomes important to the film - something I really liked.

Overall, I really enjoyed this film..  Honestly, before making a film of  Starsky and Hutch, or I Spy, or The Man from U.N.C.L.E. -- the film producers should be required to watch this, and Bewitched.  Maybe then we'd get better remake films.

Recommendation:  See it!
Rating:  4.5 of 5 Stars
Next Film:  Ghostbusters

The Gay Divorcee

• Title:  The Gay Divorcee
•  Director:  Mark Sandrich
• Date:  1934
• Studio:  RKO Radio Pictures
• Genre:  Musical, Romance, Comedy
• Cast:  Fred Astaire, Ginger Rogers, Alice Brady, Edward Everett Horton, Erik Rhodes, Eric Blore, Betty Grable
• Format:  Standard, Black and White
• DVD Format:  R1, NTSC

"Guy, you're not pining for that girl?" -- Egbert Fitzgerald
"Pining?  Men don't pine, girls pine.  Men just suffer."  -- Guy Holden

"Chance is the fool's name for Fate." --  Guy Holden (becomes a catch-phrase of the film)

Guy Holden (Fred Astaire) is a professional dancer, who bumps into Mimi Glossop (Ginger Rogers) quite accidentally.  He's taken a steam ship to England for vacation.  She's only on the ship after boarding to pick-up her Aunt, who is dragged off  by a custom inspector.  Prior to leaving, Mimi's aunt, Hortense Ditherwell (Alice Brady), accidentally locks her skirt in her steamer trunk - then runs off  with the key.  Guy happens by, tries to help, but only succeeds in ripping her skirt.  Mimi is upset so he lends her his coat.  But he's smitten.  Mimi returns the coat but without an address for him to reach her.  He searches London for her, but has no luck.  After two weeks, Guy's good friend, a lawyer named Egbert (Edward Everett Horton) convinces him to leave London and go to Brighton for a nice seaside vacation.

Meanwhile, Mimi has seen Egbert as well, in his official capacity as a lawyer.  She wants a divorce, but her husband, whom he's barely seen over the last two years, won't grant her one.  Egbert suggests her only recourse is to go to a seaside resort, to get caught in flagrante delicto with a correspondent (or a man who makes his living doing this).  Mimi also heads to Brighton.

Mimi and Guy run into each other, and begin to get along.  Then Guy casually tells her, "Chance is the fool's name for fate".  Unfortunately, he'd used the phrase before with Egbert, who liked it so much that he told Mimi that would be the password of  her correspondent.  Meanwhile, he tells the correspondent (Erik Rhodes) the password, but the poor man is Italian, and his English is very bad, so he mangles the phrase every time he repeats it to various women at the resort.  Mimi invites Guy to her room so they can get caught, but due to the misunderstanding with the catch-phrase, she misunderstands many of  the things Guy says, and she gets more and more mad at him.

Aunt Hortense, and Guy's friend, Egbert, end up finding the correspondent and bring him to Mimi and Guy, the mess with Mimi's mistake is straightened out and Astaire and Rogers dance the show-stopping "The Continental".  The next morning, Mimi's husband arrives, but finding her with the Italian refuses to believe there was an affair, and forgives her.  Mimi brings in Guy and he starts to waver.  Then the waiter comes in and points out that "Mr. Brown" had been at the resort before with his wife (not Mimi), and thus the divorce will be granted.  The finale is a reprise of  "The Continental" as Guy and Mimi dance together having now been married (probably, from their clothes and the fact that they seem to be sharing an hotel room).

Musical Numbers

• Don't Let It Bother You - Vocals - Chorus
• Don't Let It Bother You - Dance, Astaire (Fast tap, solo)
• A Needle in a Haystack - Vocals - Astaire, Dance - Astaire
• Let's Knock K-nees -  Vocals - Chorus and Edward Everett Horton, Dance - Chorus
• Night and Day - Vocals - Astaire, Dance - Astaire and Rogers
• The Continental - Vocals - Rogers, 
• The Continental - Dance - Astaire and Rogers
• The Continental - Dance full chorus ensemble
• The Continental - Dance Astaire and Rogers (Finale)

"The Continental" is one of  the few Busby Berkley-styled numbers in an Astaire and Rogers film - and this is only the second film they did, chronologically.  The number is very impressive, but doesn't have the intimacy of later dances in other pictures.  However, "Night and Day" is the film's sweet, romantic dance between Astaire and Rogers, as he's finally found this woman he's fallen for, and she's slowly drawn to him.  "The Continental", by contrast, is a very showy, impressive dance, and both the Astaire/Rogers portions and the chorus portion (with the strong, contrasting black and white dresses and full suits with tails) are an excellent example of not only really good Broadway style dancing, but also excellent black and white photography and use of contrast.  The lines of  dancers in alternating black and white, and even dresses that are half  black/half white form patterns and are just impressive.  Directors at the time knew how to use black and white photography to their advantage.  However, the short reprise of  "The Continental" with Astaire and Rogers dancing in their hotel room, including, over a breakfast nook table, is very romantic and intimate, and beautifully shot.  This film also has two separate dances where Fred performs his "triple" as I call it -- both feet off  the ground, body absolutely straight, including both legs, angled to the floor, and a triple scissor flourish.  It's an fantastic move because Astaire is completely off  the ground so long, he almost appears to hang in the air.  The man was that good.  And, yeah, it's like he could float on air.

The plot of  The Gay Divorcee is that of  a light, romantic comedy.  The film is based on a Broadway play, which had also starred Astaire, and was actually titled, The Gay Divorce.  The Hollywood production code actually made a note on the film that, "there is nothing happy about divorce", and thus forced the change in the title.  This film also showcases many of  the bit players (Alice Brady, Eric Blore, Erik Rhodes, Edward Everett Horton) and ensemble actors who are sometimes but not always in the Fred Astaire, Ginger Rogers RKO musicals.  Though I wouldn't call it one of  the three best Fred & Ginger musicals, it could easily place fourth.

Recommendation:  See it!
Rating: 4
Next Film:  Get Smart

Gaslight (1940)

• Title:  Gaslight
• Director:  Thorold Dickinson
• Date:  1940
• Studio:  British National Films, MGM
• Genre:  Drama, Suspense
• Cast:  Anton Walbrook, Diana Wyngood
• Format:  Standard, Black and White
• Format:  R1, NTSC

"You can't possibly tell  if  you're hurt until you've had time to think about it." --Ex-cop to Bella

I actually watched this film last night, but couldn't post my blog 'til tonight.  Also, this film is on the reverse side of  the 1944 version DVD I own.  The original film, based on an 1938 play.  This version of  the film begins with a bang, showing an old woman getting strangled at Number 12, and the murderer tearing up the house looking for something.  We then see several people who live in the square talking about the horrible crime that happened there, and we're made aware the house has stood empty for several years.  Next, Paul and Bella Mellon arrive (the characters known as Gregory and Paula Anton in the 1944 version).  We also see an ex-cop talking to a groom as they care for their horses about the strange happenings at Number 12.

There is considerably more exposition and more discussion by minor characters of  the murder, and the new residents of  Number 12, almost so much that the movie at first seems to be about the house rather than the people living there.  The 1944 version, is much more grounded in the characters living in the house, and told mostly from Paula's point of view.  This older version switches points of view several times, showing us exactly what Paul is doing, showing the ex-cop's investigation (without ever giving his name either), showing us various residents of  the same square and their impressions, etc.

Paul's flirting with Nancy, the parlourmaid, is much more pronounced.  In one scene he kisses her, in another he actually takes her on a date to a music hall (and we're subjected to watching it, as awful as it is, though the Can-Can dancers are interesting).  Nancy, however, isn't nearly as sinister as she is in the 1944 versions.  She's almost a harmless flirt.  Paul's playing around with the maid is contemptible but Bella seems to intentionally turn a blind eye to it.

The scene in the parlour with Paul torturing Bella about the missing picture, making her call in the servants, and questioning the servants is almost word-for-word the same in both films, as is the scene of  Bella at the concert where he tortures her about taking his watch.  However, in this film we actually see Paul put the watch in Bella's purse.

Besides having a lot more exposition up front; there's also less suspense than the 1944 version because we see a lot of what Paul is doing straight out.  In the 1944 version, especially if you've never seen the film before, you don't know what's going on - is Paula actually going mad?  In this version, we know Paul is torturing Bella, and although the actress does, in some scenes, do a good job of portraying someone who thinks she's going out of  her mind -- her belief that she's for some reason taking things, becomes weak and wimpy when we see Bella begging Paul to keep her anyway.

Like the 1944 version, Paul has a roll top desk which hides some of  his secrets - including a brooch he's taken from Bella and told her she lost.  However, there's no letter from an admirer to Paula's aunt -- because in this story, Bella isn't related to the murdered woman, but rather her husband is.  However, Bella does find an envelope address to "Anton Boyer" which is Paul's real name.  The search for rubies (L20,000 Pounds worth) is much more pronounced, but rather than being hidden in plain sight, sewn onto a theatrical costume among fakes; the rubies are actually hidden inside the brooch.  (One of the more unbelievable bits - Bella takes the rubies out of a vase, where she'd hidden them after finding them loose inside the brooch.  She asks the ex-cop helping her -- Are they valuable?)

Less is made of  Paul's nocturnal visits out - and even Bella's hearing footsteps and the gaslight going down then back-up don't occur until over halfway through the film -- making it considerably less spooky.  A minor character, Bella's cousin, is more important - he tries to see Bella, but is refused by her husband.  He doesn't exist in the 1944 version, and one of  his visits is given to Joseph Cotten's detective, as is some of  his dialogue.  Another change is one of  the cops who start investigating is in number 14 (the next door empty house) when Paul enters it.

There is a nice shot of  Bella's reflection in a music box, as she hears footsteps and finally starts to scream for Elizabeth, the cook, who pooh-poohs her.  However, like Nancy, the cook seems harmless.  She's also not deaf as she is in the 1944 version.

There is a scene with Paul telling Bella she's mad and she will die in a lunatic asylum and he hates her, in which he is quite, quite sinister.  And, of course, we've seen all along exactly what he's doing to drive his wife mad.  And since we've also seen the old woman's murder and the ransacking of  the house rather than hearing about it later, one can make the connection between that crime and Paul's behavior towards Bella, even though we don't see his face.

Overall, a competent film.  Competent direction, not overly flat, with some nice touches.  Competent acting, too.  Diana Wyngood isn't bad as Bella -- but she does seem wimpy at times, simply from the rearrangement of  scenes, and the lack of  focus on her.  There is the scene between Bella and Paul at the end, where Paul's been caught, but it lack the raw power of  Bergman's performance, despite almost identical dialogue, simply because we're not so caught up in Bella's story.

Recommendation:  Wouldn't hurt to see it, but the 1944 version is much better.
Rating:  3
Next film:  The Gay Divorcee

Gaslight

• Title:  Gaslight
• Director:  George Cukor
• Date:  1944
• Studio:  MGM
• Genre:  Drama, Film Noir, Suspense, Classic
• Cast:  Ingrid Bergman, Charles Boyer, Joseph Cotten, Angela Lansbury
• Format:  Standard, Black and White
• DVD Format:  R1, NTSC, (Double-sided)

"I was right about you -- I knew from the first moment I saw you, you were dangerous to me." -Gregory
"I knew from the first moment I saw you, you were dangerous to her." -- Mr. Brian Cameron, Scotland Yard

I've always thought that Gaslight is one of the scariest movies to watch.  It's spine-tingling and chilling, rather than gross, or shocking.  The best way to get the full effect, is to watch it with all the lights off, at night, when you're alone in the house, and of course a thunderstorm helps.  There is nothing scarier than the idea of someone coldly trying to drive you insane.  Films about those kinds of  mind games are truly frightening.

The movie opens with Paula leaving her aunt's house, she thinks for the last time.  She had been raised by her aunt, after her mother died in childbirth.  She's been encouraged to go to Italy to study singing and forget the recent tragedy that's befallen her.  We learn later that her aunt was a famous opera singer and she was murdered.  Still later we learn the murder is still unsolved, there was a jewel theft at the same time, but the jewels were never found, sold, or traded.

In Italy, Paula quickly discovers she has no talent for operatic singing, and she meets the man of  her dreams, she thinks.  After two weeks, he's proposed.  She tells him she needs time to think about it, and wants a week to herself at a lakeside vacation resort.  When her train arrives there, he's waiting for her.  He talks her into settling down in London, and even though Paula doesn't want to return to London, she agrees.  The film is, by the way, set in Victorian London.  They end up living in Paula's Aunt's house, which Paula has inherited.

The film then gets weird - Gregory Anton completely controls his wife's life.  He doesn't allow her to go out of the house, not even on a short walk (even by Victorian standards, that's excessive).  He fires Paula's maid, and hires an impertinent girl named Nancy (beautifully played by Angela Lansbury as alternately sinister and flirty).  Again, normally the hiring and firing of servants would be a woman's job.  And he slowly starts to drive Paula insane, giving her things, then taking them away but telling her she lost them.  Taking a picture down off the wall, then pointing it out to be missing and saying she did it.  And going out at night, leaving her alone with a deaf cook and rude maid, who do everything he says and thus join in on his mind games of turning down the gaslight (and saying it hasn't been) and ignoring the footsteps in the closed off attic that Paula hears.

But the genius of  the movie is that it isn't obvious about any of  this.  We don't actually see Gregory take a brooch from Paula's purse, we only see him fiddle with it.  We don't see him tell the servants to lie to make Paula look nuts either - we only see him tell Nancy she's to take all her orders from him and not her mistress.

Joseph Cotten is Mr. (Brian) Cameron, a Scotland Yard detective who happens to see Paula with Gregory one day when they are sight-seeing at the Tower of  London.  Gregory is immensely jealous when Paula smiles at Cameron after he tips his hat to her, but she was merely being polite.  Gregory then goes back to the Yard and examines the cold case of  Paula's aunt's murder, but is told to leave it alone.  Luckily for Paula, he doesn't.

Paula, Gregory and Mr. Cameron again run into each other at a party thrown by one of Paula's aunt's friends.  Again, Gregory pulls his slight of  hand, telling Paula his watch is gone and pulling it out of  her purse - the hysterical Paula is led from the party.

Gregory's cold, calculating, insidious little plans get worse and worse, as he tells Paula a letter she found in her aunt's music doesn't exist and she was staring at nothing, and that her mother didn't die in childbirth but rather a year later in an insane asylum.

Fortunately, by this time Cameron and a bobby named  Williams have started investigating, and find out  Gregory only goes out to "work" at night, they even find that he disappears in an alley behind the house, and comes out looking dirty and dusty, his tie askew.  One night, when Gregory has left, Cameron goes to the house and finds Paula, he starts talking to her when the gaslight dims.  She's excited that he also sees the gas lower.  Then he hears the footsteps, and, knowing what he does from his own investigation, concludes her husband is poking around in the attic.  They also find the letter that Gregory had claimed didn't exist.

Then the light turns to normal, Paula encourages Cameron to leave, he does, and when Gregory returns he, and Elizabeth try to convince Paula no one was there that evening.  Paula starts to break down and Gregory arrives.  After a struggle, Cameron arrests Gregory finding the jewels on him.  Paula's aunt had sewn them on her costume amongst all the paste jewels.  Nothing like hiding in plain sight!

But this isn't a case of  the boy rescues the girl.  Ingrid Bergman's performance is masterful - she portrays a deliriously happy bride, and a frightened wife equally well.  But her best scene is at the end of  the movie, she she turns the tables on her husband, playing the same mind games on him that he had played on her, if only for a short while, before turning him over to Cameron and the police.

The directing, the use of  light and shadow, and the acting, especially by the women in the piece is all masterful.  It's also a flip-flop of the typical Film Noir motif -- that usually involves a cunning, conniving, designing woman, known as the femme fatale, dragging a relatively innocent man down into a well of crime and evil, and thus destroying him.  In Gaslight, it's the man who's cunning, conniving, cold, and chilling, and he's attempting to drive his wife insane, after murdering her aunt, to get the jewels he didn't have time to steal because she had interrupted him.  (The police knew Paula had awoken, walked down the stairs, and found her aunt dead, but everything else on the case remained open.)  Also, where the man often dies as a result of committing a crime for the femme fatale - here Paula not only survives, but in the end, she's triumphant, discovering she's not going insane, getting the chance to pay her husband back (who's secretly married to someone else, and thus not legally her husband), and possibly even finding happiness with the detective who solved the case.  How often can a Film Noir film have a truly happy ending?  Not often.

Anyway, it's an incredibly good film, everyone in it does an excellent and admirable job, and I love it.  It can be good to watch something spooky occasionally.

Recommendation:  See It!
Rating:  5 Stars
Next film:  Gaslight (1940)

Galaxy Quest

• Title:  Galaxy Quest
• Director:  Dean Parisot
• Date:  1999
• Studio:  Dreamworks Pictures
• Genre:  SF, Comedy
• Cast:  Tim Allen, Sigourney Weaver, Alan Rickman, Tony Shalhoub, Sam Rockwell, Robin Sachs
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC

"For the past one hundred years our society had fallen into disarray, our goals, our values had become scattered, but since the transmission we have modeled every aspect of our society from your example and it has saved us.  Your courage, and teamwork, and friendship through adversity.  In fact, all you see around you has been taken from the lessons garnered from the historical documents."  -- Mathezar

"Jason, we’re actors, not astronauts." --Gwen

"Did you guys ever watch the show?" –Guy

"Ducts? Why is it always ducts?" –Gwen

Galaxy Quest is a great movie -- it's funny, it has an original plot, and the special effects and make-up still stand up twelve years later.  Galaxy Quest is the story of a group of actors from a science fiction television series who suddenly find themselves on a real spaceship created by a group of aliens after watching their tv series, or "historical documents".  The film begins at a convention for the "Galaxy Quest" TV show which is filled with the cliches about costume-wearing fans.  The actors don't really like each other but are their because they are desperate for work.  Jason Naismith (Allen) even over-hears a group of  guys in the men's room poking fun at him.  He goes home, gets drunk, and the next morning goes to what he thinks is a gig with the Thurmians.

Later he discovers he really was on an alien ship - and he and his crew end up on the ship too.  Before long they are involved in a war between the Thurmians and Sarris a bug-like alien who has been destroying their civilization because he can.  Jason attacks Sarris's ship but it's a disaster, and the Protector is damaged.  They go to an alien planet to get a replacement Beryllium sphere (engine part), and Jason fights a pig monster and a rock monster.  But soon Sarris has the upper hand again, capturing Mathezar, the Thurmian leader, and trying to kill everyone on the ship.  Jason explains about being actors, and Galaxy Quest being a tv show - then creates a distraction while the guards are taking them away.  Everyone splits up with different tasks to do to rescue the dying Thurmians and get Sarris's crew off  the ship.

Finally, Jason has his third space battle with Sarris, and succeeds.  But is it too easy?

After something I'm not going to spoil, because I loved it so -- the Protector returns to Earth, and our "actors" make a triumphant appearance at the Galaxy Quest convention.  Jason rescues the crowd from another of Sarris' men - which the crowd assumes is a great effect.

Jason also works with three of  the Galaxy Quest fans via a transmitter - when he needs help sneaking around the ship.

Galaxy Quest, in a way, is a complex movie.  Each of the actors, playing actors, had three roles to play - their characters in the 1982 TV show, themselves as typecast actors in the 1990s making ends meet by convention appearances and opening electronics stores, and the characters the Thurmians think they are - as all of  the "actors" try to work things out in the science fiction plot of being on a space ship and fighting a war.  It's a bit to wrap your head around -- but the film works well because everything in it feels real and true to the story.  It's not a nod-nod wink-wink breaking the fourth wall type of comedy at all - the story itself  is a good science fiction story with a lot of action and a lot of comedy.  There are also serious parts - such as the torturing of  Mathezar, the death of Qualleg, and Jason's growing realization that the entire mess is his fault - that are handled well.

The other question in this film is:  "Who are the real fans?"  And actually, the fans in the film aren't the convention guests -- but the Thurmians.  These are a people who, first, are very innocent, child-like, and naive.  Yet, at the same time, they had the vision and scientific skills to look at something on a TV show and actually build it and make it work.  They also more or less abandoned their own culture to adapt that they saw in the "historical documents" - sort of  anthropologists gone native to the extreme.

However, it is interesting that the fans at the convention are shown as stereotypical fans, buying tons of merchandise, wearing costumes, asking technical questions of the actors, or if "Commander Taggart and Lt. Madison had a thing."  But when the movie returns to the convention at the end -- the fans in the audience are for the most part wearing T-shirts and jeans, in other words, dressed "normally", and waiting for Jason and his crew to appear and speak.  In the end, the film isn't poking fun of  science fiction and media fans - it's celebrating them.

Recommendation:  See it and own it!
Rating:  5 Stars
Next Film:  Gaslight (1944)

The Full Monty

• Title:  The Full Monty
• Director:  Peter Cattaneo
• Date:  1997
• Studio:  20th Century Fox, Fox Searchlight Pictures
• Genre:  Comedy, Drama
• Cast:  Robert Carlyle, Tom Wilkinson, Mark Addy
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC

"When women start pissing like us, that's it, we finished, Dave, extincto."  - Gaz

"I like you.  I love you, you bugger."  - Gaz, to his son, Nathan

"And they won't say nought about your personality, neither, which is good, 'cause your basically a b.....d."  -- Dave

The Full Monty took the upper Midwest by storm, much to the shock of  Hollywood and perhaps even the film's makers.  First released as an "art house" film -- it became a blockbuster in Michigan, Wisconsin, and Ohio, and probably other "rust belt" states as well.  Critics praised the film and it moved from "art house" slots to main theater venues.  I saw the film when it came out and I remember how excited the crowd was.  But, the thing is, the success of  the movie had to do with the fact that audiences in the Midwest, in steel towns and auto manufacturing towns could identify with the story.

The Full Monty isn't really about stripping.  It's a film about a group of unemployed steel workers.  The film opens with a promotional film about Sheffield, in England, a place that is attracting workers, full of attractions and night life, and is built on steel.  The comes the caption, 25 years later, and the film starts in earnest.  The mills are shut down, most everybody is unemployed, and the few who have found jobs are working low income service jobs, such as security guards at the local superstore or at the abandoned plant.

One night the Chippendale male dancers come to town and perform for one night only at a women's only night at the local "workingman's pub".  Gaz is disgusted he can't go in for a drink, but when his pal Dave tells him his wife's inside, Gaz decides to pull her out by sneaking in through the bathroom window.  Dave is to accompany him but can't get through the window.  Just as Gaz and his son are heading into the pub, three women come into the men's room.  Gaz hides, and watches as they check their make-up and chat.  Then he sees one of  the girls stand and pee in the urinal (something she learned at "girl guides" she says).  Gaz is shocked.  The next day at Job Club, the unemployment center, he's complaining about how useless he feels.

The men are poking fun at the Chippendales, when someone points out how much money the one night made.  And Gaz comes up with a plan -- getting his mates together as their own "Hot Metal" strippers.  No one seems to take his idea seriously, but when his ex-wife and her new husband threaten to sue for sole custody of his son unless he comes up with 700 pounds, Gaz becomes more and more persuasive.  He holds try-outs, but only gets one guy that way.  He sees his old boss, whom he doesn't get on with, at a ballroom and recruits him.  But mostly, it Gaz, his friend, Dave, and guys from Job Club.  In total, the six men decide to teach themselves how to dance, and find a venue so they can make their money.

But again, the heart of  the movie isn't in the stripping.  And it's not the "humor" of  a group of  overweight, too old, or too skinny steel workers becoming male strippers.  The tale is in the people, and the little moments of characterization.  Gaz and Dave are walking along and they find a guy, sitting in a car, that's not working.  Dave gets the car started, failing to notice the hose running from the tailpipe inside the car.  The guy inside rolls up his window, Dave walks back to Gaz - then notices, and pulls the guy out of the car.  At one point he argues with him, throws him back in, then pulls him out.  The guy ends up being one of  the six.

It's moments like Gerald, Gaz's boss, who goes to Job Club every day because he hasn't told his wife that he lost his job.  She finds out when everything, including the house is repossessed, and she throws him out -- the same day he received the notice that he'd got the job he applied for at a different factory.

Even Gaz's story is about his need to continue to see his son, rather than just trying to make some money.

But the film is also very funny, with great music, which prevents the dire situation of the characters from being too much.  And, again, plant closures, families torn apart, increases in crime, desperation, are all themes anyone from a one industry town like Detroit, Cleveland, or Pittsburgh of the 1970s can identify with.  But the humor prevents it from becoming too much.  In a sense it's a question that asks, "What if?" as well as "What would you do?"

In the end, despite a near arrest, and various problems, the six men all go on stage and strip.  And, as they promised, they do "go for it" and bare it all (tastefully shown from the back).  But it's the characters that make the film.  Though the freeze frame at the end is really a brilliant way to end the film.

Fair warning - like Billy Elliot and The Commitments this film has plenty of swearing and blue language.  It's not for young children for that reason.  It's a film for adults, but not in the sexy sense.

Recommendation:  See it!
Rating:  4 of 5 Stars
Next Film:  Galaxy Quest

Frankenstein

• Title:  Frankenstein
• Director:  James Whale
• Date:  1931
• Studio: Universal
• Genre:  Horror
• Cast:  Colin Clive, Boris Karloff, Mae Clarke, Edward Van Sloan
• Format:  Standard, Black and White
• Format: R1, NTSC

"It's alive! It's alive!  It's alive" -- Henry Frankenstein 

"Have you never wanted to do anything that was dangerous?  Where should we be if nobody tried to find out what lies beyond?  You never wanted to look beyond the clouds and the stars?"  -- Henry Frankenstein

I liked this "monster movie" better than Dracula because the story flowed better.  However, that are several parts in the film where it is considerably difficult to keep a straight face, simply because I have seen Mel Brooks' wonderful "Young Frankenstein" many, many, many times.

However, getting to the movie, it is of course based on the novel of the same title by Mary W. Shelley, though for the film she is credited as "Mrs. Percy B. Shelley" (isn't that ridiculous?  I could see Mary Shelley or Mrs. Mary Shelley.  But Mrs. Percy Shelley?  Why not take all her individuality away.)  But anyway.

Henry Frankenstein is an experimental scientist who's engaged to be married to the local Baron's daughter in a Bavarian village.  But for the last three weeks he's been shut-up in an abandoned watch tower working on experiments.  His fiancee, a friend, and his instructor from university find him there on the quintessential "dark and stormy night" -- it's rainy buckets with thunder and lighting to match.  However, that's perfect for Henry's experiments.  He and his assistant, Fritz, use the electricity of the storm to bring the Creature to life.  But unknown to Henry - rather than the normal brain he requested that he pick up at the local medical college, Fritz was startled, dropped the normal one, and brought an abnormal, criminal brain instead.

The creature cannot speak and has a horrible fear of  fire.  Fritz uses this fear to torture the creature, who escapes Frankenstein's care.  The Creature explores the world, including throwing a little girl into a lake, while the Baron presses for his daughter's wedding to Henry.  When the villager brings his drowned daughter to town; and at the same time, the Creature attacks Henry's fiancee.  It the end, the mayor, the Baron, and Henry form a mob of villagers, and track the creature down.  Henry's captured by the Creature and both end up in a windmill.  Henry then escapes, but the mob burns the windmill. 

Frankenstein is a frustrating film - at times the visuals are stunning, especially for the early 30s.  For example, Henry's experimental lab is amazing; and the scene of the burning windmill at the end of  the film is also stunning.  But at other times the film looks amazingly cheap (when the villagers are running around in the "forest" the sky looks like a painted backdrop).  The film is only 69 minutes long, which is quite short.  Henry's fiancee is strong enough to instead she go with he friend and his teacher to talk sense into him about abandoning his experiments, yet on her wedding day she allows Henry to lock her in the parlour, making her a perfect target for the Creature.

Colin Clive, an actor I've frankly never even heard of, gives an excellent performance as Henry Frankenstein.  And Boris Karloff steals the show as the Creature.

Recommendation:  See it, at least once.
Rating:  3
Next Film:  The Full Monty

Footloose

• Title:  Footloose
• Director:  Herbert Ross
• Date:  1984
• Studio:  Paramount
• Genre:  Musical, Drama, Romance
• Cast:  Kevin Bacon, John Lithgow, Lori Singer, Dianne Wiest, Christopher Penn, Sarah Jessica Parker
• Format:  Color, Widescreen
• DVD Format:  R1, NTSC

"Well, boy, a lot of folks are going to give you problems, right off, because, you see, you're an outsider.  You're dangerous.  They're going to worry about you."  Foreman at the planet where Ren works

"There was a time for this law, but not anymore.  this is our time to dance.  This is our way of celebrating life.  That's the way it was in the beginning.  That's the way it's always been.  That's the way it should be now."  Ren McCormick

Ren and his mother Ethel, arrive in the small town of  Beaumont, Utah, after being abandoned by his father/her husband.  Almost immediately, Ren has trouble fitting in, really through no fault of  his own.  The townspeople, especially fellow student, Chuck, and his own uncle seem determined to ostracize him from having any social life in the town.  Ren makes a few friends -- Willard, and his girl, Rusty.  He also, eventually becomes friends with Ariel, the preacher's daughter.  Ren longs to dance to work out his troubles, but the small town of Beaumont has outlawed dancing.  About halfway through the film, Ren discovers why -- several teenagers were killed after going to the next town to party in a drunken car accident on the one lane bridge back into town.  One of  the teenagers was Ariel's brother.

Ren is now more sympathetic, but he still wants to have a senior dance, a prom.  He gets most of  the high school class together and pleads his case at the town council meeting.  Ren even quotes the Bible to make his point about dancing being a celebration of  life.  But the council is stacked against him.  Almost immediately after the council meeting, several of the more conservative adults in town head over to the town library and begin burning "inappropriate" books.  This time the preacher intervenes, aghast at what's happened.  At his next Sunday sermon, he gives his permission for the dance to be held at a warehouse just outside of town.

Footloose is a film filled with teenaged rebellion in the metaphor of dance.  It's Ren's story, perfectly played by Kevin Bacon, but by the end of  the film we understand everyone's point of view, even the preacher's (perfectly played by John Lithgow).  Well, except maybe Chuck, Ariel's former boyfriend the lout who beats her up when she officially breaks up with him to go out with Ren.  The preacher's really just an over-protective father, partially destroyed by the loss of  his son.  Ariel's has a bit of  a death wish -- both because of  what happened to her brother, and possibly as a rebellion against her father.  Willard and Rusty are normal teenagers who are being denied a normal teenaged experience by the Draconian rules of  the town.  Ariel's mother, Vi, is silent and dutiful (she even dresses like a Quaker), but eventually is so fed-up with her husband pushing the family apart that she challenges him.

Classic dances include Ren going to the deserted factory where he works, and dancing by himself to "Never", in powerful moves full of gymnastics.  Ren had also tried out for the gymnastic team, but was cut for pure malice.  Ren teaching Willard to dance to "Let's Hear It for the Boy" is classic.  And the first and finale/reprise of  "Footloose" are both excellent.  Plus the movie gives us, Ren and Chuck challenging each other to a game of chicken in tractors, to the music of  Bonnie Tyler's "Holding Out for a Hero".  Overall, it's a modern, yet 80s, musical.  Heavy on plot, music integrated fairly well into the plot, but, the dances are not full-frame and contain a lot of cuts, edits, cutaways, and close-ups, with no flow.

Musical Numbers / Songs

• Footloose -- Kenny Loggins
• The Girl Gets Around -- Sammy Hagar
• Dancing in the Streets -- Shalamar
• Holding Out For a Hero -- Bonnie Tyler
• Never -- Moving Pictures
• Somebody's Eyes -- Karla Bonoff
• Let's Hear It For the Boy -- Deniece Williams
• I'm Free (Heaven Help the Man) -- Kenny Loggins
• Almost Paradise (Love Theme from Footloose) -- Mike Reno & Ann Wilson

Recommendation:  See it.  I especially recommend this film for teenagers.
Rating:  3.5 out of  5 Stars
Next Film:  Frankenstein (1931)

Follow the Fleet

• Title:  Follow the Fleet
• Director:  Mark Sandrich
• Date:  1936
• Studio:  RKO Radio Pictures
• Genre:  Musical, Romance, Comedy
• Lyrics and Music:  Irving Berlin
• Cast:  Fred Astaire, Ginger Rogers, Randolph Scott, Harriet Hilliard, Lucille Ball, Betty Grable, Astrid Allwyn
• Format:  Black and White, Standard
• DVD Format:  R1, NTSC

"Say, Will you guys let me forget I was once a hoofer?"  Bake Baker

"Sorry, miss, it's the rules of  the Paradise, no girls are allowed in without an escort."  -- Ticket Girl
"Oh, I see, women aren't even admitted to Paradise without a man." -- Connie Martin

"But I bet you're used to seeing pretty girls all over the world."" --Connie
"I never give them a tumble, sister, women don't interest me."  -- Bilge Smith

Follow the Fleet is another Fred Astaire and Ginger Rogers musical where, unfortunately, they play second fiddle.  The main romance is between Connie (Harriet Hillard) and Bilge (Randolph Scott) -- and Hillard even sings, unfortunately.  Fred and Ginger do have a lot to do, but as the "B plot" of  the film.  Astaire plays Bake Baker, an ex-hoofer, or dancer, now in the Navy.  Ginger is Sherry Martin, his former dance partner, now trying to make it on her own with a career in show business.  Connie is Sherry's sister, a music teacher.  And Bilge is Bake's best friend aboard his ship.  By the way, keep in mind, this film is from 1936, or before World War II; thus this is a peace-time Navy.

When Bilge and Bake's ship makes port in San Francisco, they, as well as a group of sailors, head into town for shore leave.  Bake runs into his old dancing partner again.  He had been in love with her, and had even proposed, but she turned him down to concentrate on her career.  Meanwhile, Bilge meets Connie, and they have a nice date.  However, he also meets Iris (Astrid Allwyn), who as the vivacious blonde is much more his type, he thinks.  Bake promises to help Sherry find a better job in show business, but before he can do anything (and after he's accidentally cost her her job at the Paradise club) all shore leave is cancelled and all the sailors have to return to their ships.

Connie is now head-over-heels in love with Bilge and doesn't realise he's fallen for Iris.  She decides to take out a loan to refurbish her father's ship, which needs a lot of work.  Sherry gives Connie her savings to help as much as she can.  Sherry's also angry at Bake for leaving her without the better job he promised her.

When the ship returns that Spring, Connie's refurbished the ship, with help, but she also has a massive loan that's due.  Sherry is still angry at Bake.  Bake is completely in love with Sherry, so much so that he's decided to leave the Navy and go back to show business.  Bilge, though, thinks he's in love with Iris, not Connie.  Sherry and Connie, with Bake's help, decide to put on a show to raise funds to pay off Connie's loan (in part because a family friend also helped, and now he's in trouble for covering the debt).  Bake convinces Iris to perform "a small part" in the show, then writes a scene that Bilge is intended to over-hear, so he'll get sore and run to Connie (it sort-of works).  Bake also gets himself  in trouble, hitting an officer he was told was harassing Sherry (a misunderstanding) and has to go AWOL to get to the show on time.  Bilge lets him go on-stage, once he is told the show was to help out Connie.  In the end, Sherry and Bake are together, with the promise of their own show once Bake finishes his term in the Navy (including his time in the brig) and Sherry even proposes to him.  Bilge and Connie are also together, though, like Bake, Bilge has to finish his term in the Navy before he can be master of  his own ship and sail the world, with Connie, on her ship.

Musical Numbers

• We Saw the Sea  -- Fred Astaire and Ensemble, vocals
• Let Yourself Go -- Ginger Rogers, vocals
• Get Thee Behind Me, Satan -- Harriet Hilliard, vocals
• I'd Rather Lead a Band -- Fred Astaire, vocals (and tap dance) also dance with ensemble
• Ginger's solo tap dance, for her "audition"
• Let Yourself Go -- Ginger Rogers, vocals (reprise)
• But Where Are You? -- Harriet Hilliard, vocals
• I'm Putting All My Eggs in One Basket (Piano) -- Fred Astaire
• I'm Putting All My Eggs in One Basket (Song) -- Fred Astaire, vocals; Fred and Ginger, dance (tap)
• Let's Face the Music and Dance  -- Fred Astaire, vocals; Fred and Ginger, dance (ballroom / waltz)

"Let's Face the Music and Dance" is one of Fred Astaire and Ginger Rogers best numbers together, and it's worth waiting through the entire picture to see it.  It's highly unusual for a Fred and Ginger musical in that the number is part of the "show within a show" that the two characters, Bake and Sherry, and putting on for Sherry's sister.  It's the only number for the show within a show.  And, in a sense, it's a ballet -- it's a story, with a beginning, a middle, and an end, told entirely through music, dance, and the expressions of the characters.  Fred is a gambling at a casino, but loses all his money; then he loses the girls that hovered around the table with him.  When he finds all the girls ignoring him, he goes to the roof of the casino hotel, takes out a pistol, and is considering shooting himself.  But, while on the rooftop, he runs into Ginger, who's about to jump off  the roof.  He rescues her, and the two dance a marvelous slow waltz to "Let's Face the Music and Dance" (Fred provides vocals at the start, before it segues to the dance).  The dance is the perfect embodiment of romance that Fred and Ginger do so well, and it's a story in and of  itself.  And this despite the accident which occurred in the middle, where Ginger's beaded gown accidentally hit Fred in the face (he continued anyway, and though other takes were done later, the first was the best and remained in the film, and yes, you can see the smack).

It is a shame that the relationship between smart and sassy, Sherry, and working-class, Bake, is the B plot, and Bilge and Connie are the "A plot".  Randolph Scott really doesn't seem to be any sort of a catch for Connie - he's a bit of a cad.  But there you go, a rather uneven film, but with a fantastic dance at the end.  This is one of the Fred and Ginger musicals I owned on VHS video tape, that I replaced with DVD.

Recommendation:  Though not perfect, see it.
Rating:  3.5 out of 5 Stars
Next Film:  Footloose