Every Movie I Watch 2019 - Tumblr Posts
STUDENT EXCHANGE (Dir: Mollie Miller, 1987).
A lightweight teen comedy from Walt Disney Television. Originally screened in two parts on ABC's The Disney Sunday Movie series.
Greeley High School students Carole and Neil are top of the class academically but bottom of the heap socially. Passing themselves of as foreign exchange students in a bid to be noticed, they are a hit with fellow pupils, less so with the school principal. Predictably, things get a little out of hand and the pair are soon wishing they were their old selves again.
Inexplicably, identity switch movies were something of a Disney Sunday Movie staple in the 1980s. The previous season had presented Young Again (Steven Hilliard Stern, 1986), Double Switch (David Greenwalt, 1987) and Double Agent (Michael Vejar, 1987) while the current series also offered Rock 'n' Roll Mom (Michael Schultz, 1988) and 14 Going on 30 (Paul Schneider, 1988). Meanwhile The Disney Channel was churning out a seemingly endless series of sequels to Disney's original switheroo comedy The Parent Trap (David Swift, 1961).
There is little in Student Exchange that is particularly original and nothing that really makes it stand out among the plethora of teenage wish fulfillment movies. Mollie Miller's direction is solid and the performances are fine, although the production cannot quite shake the feeling of an extended TV episode.
It also suffers from a message that is slightly muddled. While it is undoubtedly important to be yourself, Student Exchange makes it seem a lot more fun to be the popular kid and get the girl/boy of your dreams.
Viveka Davis and Todd Field are likeable leads, but perhaps of more interest to modern audiences is the supporting cast. A post-Bionic Woman Lindsay Wagner, pre-fame Heather Graham and pre-infamy O J Simpson all put in appearances.
Student Exchange is a pleasant enough nostalgia trip. Teens and tweens of the late 80s may get more out of it than anybody else. But i don't see why younger audiences wouldn't enjoy it too; essentially it is a modern day Disney Channel movie in 1980s clothing. It is predictable and formulaic but also good-natured fun.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Student Exchange!
A BILLION FOR BORIS (Dir: Alex Grasshoff, 1984).
A Billion for Boris is the film adaptation of Mary Rodgers' sequel to her novel Freaky Friday.
Repairing an old TV set, Ben ‘Apeface’ Andrews (Seth Green) fixes it to show the next day’s programmes. He duly shares this information with his sister Annabel (Mary Tanner) and friend Boris (Scott Tiler). Seeing the money making potential, Boris heads off to bookies, but his winning streak attracts the unwanted attention of gangsters.
A movie version of Freaky Friday (Gary Nelson) was released by Walt Disney Productions in 1976. Although popular, Disney chose not to film either of Rodgers’ published sequels. A Billion for Boris was brought to the screen almost a decade later courtesy of independent Comworld Pictures.
As such, it is an adaptation of the sequel to the novel, rather than a sequel to the Disney feature. The setting, as in Rodgers’ books, is a New York apartment block, not the suburban Los Angeles of Disney’s Freaky Friday. The events of the earlier movie are not referenced, with the exception of the firing of the Andrews’ housekeeper for stealing liquor.
As a low budget production, A Billion for Boris lacks the polish of Freaky Friday. Also missing is Rodgers’ prose; as screenwriter of the original movie she captured much of the spirit of her book, even though significant changes were made to the plot.
Its largely unrecognisable cast doesn’t have the appeal of the previous movie. Of the adults, Lee Grant does a neat turn as Boris’ quirky mom. Future star Seth Green is standout among the kids as ‘Ape Face’.
In spite of this, it is still an entertaining movie. Some might question the theme of underage gambling and while it would raise a few eyebrows today, I doubt it did in 1984. Use it as opportunity to discuss with your kids the morality of betting if you will, but I wouldn’t let it put you off.
While A Billion for Boris doesn’t raise big laughs it does provides some chuckles. I am fairly certain I won’t revisit it as often as Freaky Friday, a childhood favourite that holds up as an adult. However, it does hold curiosity value to fans of that movie and is undemanding, lightweight fun.
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K-12 (Dir: Melanie Martinez, 2019).
The movie debut of singer Melanie Martinez, released to coincide with her album of the same name.
The plot of K-12 follows on from and elaborates on the themes of Martinez’s previous album Cry Baby. However, prior knowledge of Cry Baby is not essential, as the movie is best enjoyed for its music and stunning visuals in what is, essentially, a long form music video. Albeit one with an ambitious cinematic grandeur.
With a distinctive colour palette utilising mostly pink and pastel shades, it has an arresting otherworldly quality, at times recalling the work of Terry Gilliam and the high kitsch of John Waters.
There is a certain brutal beauty to Martinez’s music which she has matched perfectly to the visuals. The dystopian fantasy addresses issues such as bullying and acceptance, but always in tuneful fashion!
As you might expect from Martinez the movie is sweary and creepy and not recommended for those of a sensitive nature. With its language, drug taking and no nips nudity, it is definitely not one to show the kids!
In truth, K-12 is a bit of an acquired taste and is probably limited largely to Melanie Martinez’s fan base. But it is artfully produced. Recommended especially to fans of Martinez but also to open minded movie lovers in the mood for an off kilter fantasy musical.
K-12 is available to steam on Melanie Martinez’s official YouTube channel: https://youtu.be/2HtaIvb61Uk
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CANDLESHOE (Dir: Norman Tokar, 1977).
Walt Disney Poductions' Candleshoe is a comedy crime caper based upon Michael Innes' novel Christmas at Candleshoe.
Leaving the mean streets of Los Angeles, Casey Brown (Jodie Foster) heads to England to hustle the elderly Lady St Edmund (Helen Hayes) out of her dilapidated stately home Candleshoe. Within Candleshoe lays the hidden treasure of pirate Captain St Edmund to which Casey holds the first clue. In cahoots are disgraced former Candleshoe employee Clara (Vivien Pickles) and her brother Bundage (Leo Mckern) who masterminds the misdemeanour. Welcomed into the Candleshoe family, Casey turns the tables on Bundage and sets about the treasure hunt with intent to save the debt racked estate from foreclosure.
A first rate cast was assembled for this production. 15 year old Jodie Foster was fresh from her Oscar nominated turn in Taxi Driver (Martin Scorsese, 1976). She does excellent work here too and it is to her credit that she is not overshadowed by the acting heavyweights in support. Most notably David Niven, donning multiple disguises as butler, gardener, chauffeur and a visiting Colonel, in what is perhaps his best late career role.
A neat premise also lifts the movie above the usual formulaic fluff the Disney Studios were producing in the late 70s. Rosemary Anne Sisson's and David Swift's screenplay mixes humour and excitement as the race is on to recover the spoils before the bad guys. Norman Tokar directs at a surprisingly steady pace, but one that allows the mystery to unfold and for characters to develop so that Casey's change of heart is completely believable.
Candleshoe’s view of a genteel England of stately homes and steam trains must have seemed downright archaic in 1977. However, in 2019 it feels innocent and charming; nostalgic for an idealised period in British history which never really existed.
With a superior story and a distinguished cast Candleshoe is easily a highlight of the Disney Studios' live-action catalogue. Equally entertaining for children and adults, this treasure hunt movie is a gem.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Candleshoe!
THE MAN IN THE WHITE SUIT (Dir: Alexander Mackendrick, 1951).
Ealing Studios were on fine form in 1951, producing two classic comedies. The Lavender Hill Mob (Charles Crichton) released in June, was followed two months later by possibly the greatest Ealing comedy of all, The Man in the White Suit.
Set in the textile mills of the north of England, The Man in the White Suit tells of Sidney Stratton (Alec Guinness), a research chemist who delivers a new wonder fabric. Indestructible and dirt repellent, the miracle fabric initially has Sidney lauded a genius. However, once the ramifications of such a product become clear, both mill owners and trade unions are keen to suppress Sidney and his invention.
In some repects, The Man in the White Suit in atypical of the Ealing Comedies. It shares with the others the broad theme of the individual vs the Establishment, but here seems to be taking a swipe at trade unions and the common man. In actuality its view of big business and commercialism is just as critical. Yet here, the 'little guy against the system' is a more ambiguous figure than usual. Although Sidney's noble ambition to clothe the world in indestructible fabric is a commendable one, ultimately the price of doing so would come at too great a cost. As his landlady remarks "What's to become of my bit of washing when there's no washing to do?" On the flipside of this is the wealthy mill owners whose greed sees them clamouring for Sidney's invention before attempting to suppress it, initially with bribes, then with more underhanded means. Business and labour eventually side with each other as poor Sidney is chased through the dark streets with his suit glowing luminous white! While the audience sympathy undoubtedly lies with Sidney, we are not too sorry at his inevitable downfall.
Thankfully, social commentary does not get in the way of this being a very funny film. The astute screenplay by John Dighton, Roger MacDougall and Alexander Mackendrick nicely balances the two opposing sides of industry with equal satirical bite. Mackendrick directs at brisk pace, creating a real feeling of suspense in the final moments.
Alec Guinness, arguably the greatest comic actor all time, is excellent here. His childlike optimism offsetting the cynical nature of the film. While Sidney’s blinkered belief in his invention is foolhardy, Guinness never portrays him as foolish, eliciting audience sympathy for a character who could have easily evoked derision. Reunited with Guinness is his Kind Hearts and Coronets (Robert Hamer, 1949) leading Joan Greenwood, equally effective here as his chaste love interest.
The Man in the White Suit walks a thin line between cynical satire and offbeat whimsy, but it does so with ease. I would argue it is the greatest of the Ealing comedies and an absolute comedy masterpiece. Highly recommended to anybody with the slightest semblance of a sense of humour.
Check out my blog JINGLE BONES MOVIE TIME for more reviews of classic Ealing Studios movies!
THE SHAGGY DOG (Dir: Charles Barton, 1959).
Walt Disney's first live-action comedy movie, suggested by 'Bambi' author Felix Salten's novel 'The Hound of Florence'.
Wilby Daniels (Tommy Kirk) discovers an ancient Borgian ring which magically transforms him into a shaggy Bratislavian sheepdog. Unfortunately for Wilby he has no control over when or where he will change. Also unfortunate is Wilby's father (Fred MacMurray) is a dog hating postman! As if this wasn't problem enough, Wilby is soon mixed up with Russian spies in what is undoubtedly one of the oddest concepts for a movie of all time!
Two years before the release of The Shaggy Dog, the Disney Studios scored a massive hit with Old Yeller (Robert Stevenson, 1957). This set the standard for a series of boy and dog movies such as Big Red (Norman Tokar, 1962) and The Biscuit Eater (Vincent McEveety, 1972). On the surface The Shaggy Dog might appear to be another boy and dog movie but the twist here is that the boy IS the dog. This weird set up was a welcome riposte to horror movie I Was a Teenage Werewolf (Gene Fowler Jr, 1957) and set the template for the seemingly endless steam of kooky comedies released by Disney for the next two decades.
Fresh from Old Yeller, Tommy Kirk was one of Disney's most appealing juvenile stars and here shows a knack for quirky comedy. MacMurray too, though a highly capable dramatic actor, had a flair for light comedy.
The plot is ludicrous, certainly, but it is very funny. Much of the humour comes from sight gags such as the dog putting on pyjamas and cleaning his teeth. Honestly, there is little I find funnier that a sheepdog driving a hot rod! The pre CGI effects that allow Wilby to turn canine are neat, low tech but effective.
The Shaggy Dog would eventually make over $12 million at the US box office, a massive return on an investment of around $1 million and 60 years after its original release has lost little of its peculiar charm. Disney comedies were notorious for their reliance on formula. Here the formula still feels fresh. It may not be high art but it is highly entertaining.
On a side note, the movie was computer colorized in 1986. While I highly recommend this enjoyable shaggy dog story I would implore you to watch it in its original beautiful black and white.
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ONE HUNDRED AND ONE DALMATIANS (Dir: Wolfgang Reitherman, Hamilton S Luske & Clyde Geronimi, 1961).
Walt Disney's classic animated feature based upon Dodie Smith's novel The Hundred and One Dalmatians.
One Hundred and One Dalmatians tells the story of dalmatians Pongo (Rod Taylor) and Perdita (Cate Bauer), whose 15 puppies are stolen by the evil Cruella de Vil (Betty Lou Gerson). With the help of cohorts Horace and Jasper, Cruella intends to turn these and 84 additional pups into spotty dog skin coats. Utilising the ingenious Twilight Bark dog social network, Pongo and Perdita track their offspring to Cruella's abandoned Hell Hall country estate and embark on a daring rescue.
With it's impressionist background art and loose, stylistic approach to character design ...Dalmatians was Disney's most stylish and contemporary animation to date. Nearly sixty years after release it's highly graphic Mid-century modern stylings are as fresh and appealing as ever. In fact it's difficult to recall any other animated feature with such a dramatic and arresting visual style. In particular, praise must be given to beautiful rendering of early 1960s London; effortlessly capturing the spirit and atmosphere of the city and it's surrounding countryside.
Matching the impressive visuals is an exceptionally well realised screenplay by Bill Peet. One Hundred and One Dalmatians is an expertly crafted thriller, tightly plotted and exciting while remaining lighthearted and extremely witty. It is populated by a fantastic cast of characters, not least Cruella de Vil, possibly the greatest of all Disney villains. Clean-cut canine leads Pongo and Perdita are both heroic and charming and audiences will have no trouble identifying with the parental pooches on their daring quest to rescue the stolen pups.
One Hundred and One Dalmatians easily ranks among the greatest of Walt Disney's many significant achievements. Its beautiful visuals, flawless storytelling, top notch vocal work and fantastic music combine to make ...Dalmatians a masterpiece of movie making.
Check out my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of One Hundred and One Dalmatians! Link below.
THE COMPUTER WORE TENNIS SHOES (Dir: Robert Butler, 1969).
Kurt Russell stars in the first of Walt Disney Productions' Dexter Riley trilogy.
Ordinary Medfield College student Dexter Riley (Russell) acquires extraordinary knowledge after an electric shock from the science lab computer. Now able to learn facts and figures at lightning speeds, he finds himself mingling with the world's top intellectuals and winning TV game shows. However, he also finds himself dealing with bent bookie A J Arno; details of his illegal gambling ring having also been stored on the machine.
A decade after their first foray into live action fantasy comedy with The Shaggy Dog (Charles Barton, 1959) one might expect the formula to be wearing a little thin. But actually The Computer Wore Tennis Shoes finds it in pretty robust form. It's all innocent, inoffensive fun, with the attractive youths, inept crooks and car chases that fans of 60s/70s era Disney comedies had come to expect.
Much of the movies appeal comes from the game playing of its appealing cast. 18 year old Kurt Russell was always one of Disney's most likeable leading men and here proves himself adept at light comedy. He is supported by an accomplished cast, notably Joe Flynn as the long-suffering Dean Higgins and TV Batman's The Joker Cesar Romero as shady businessman A J Arno. Disney regular Richard Bakalyan played one of his many small-time hood characters; a role in which he seemed eternally typecast.
The Computer Wore Tennis Shoes was a significant hit for Disney and spawned a valuable franchise. Two sequels followed Now You See Him, Now You Don't (Robert Butler, 1972) and The Strongest Man in the World (Vincent McEveety, 1975), while a remake would appear on US TV in 1995.
Nobody would argue that The Computer Wore Tennis Shoes is a masterpiece. Yet, at the same time it would be churlish to be over critical of it. It is lightweight fun that sets out to entertain and in this it succeeds. Perhaps best enjoyed for nostalgia value today; a whimsical period piece but with enough easygoing charm to coast through its 90 odd minutes.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Computer Wore Tennis Shoes. Link below.
THE LAVENDER HILL MOB (Dir: Charles Crichton, 1951).
A classic comedy from the golden age of the Ealing Studios.
Mild mannered bank clerk 'Dutch Holland' (Alec Guinness) concocts a daring gold bullion robbery. Engaging the help of souvenir maker Al Pendlebury (Stanley Holloway) they execute the crime and disguise the gold in the form of miniature Eiffel Towers. However, things do not go to plan when a casement of the souvenirs is accidentally opened and sold to group of British schoolgirls.
Released the same year as The Man in the White Suit (Alexander Mackendrick), The Lavender Hill Mob is less satirical, but equally humorous as it gleefully sends up Ealing’s own popular crime dramas such as The Blue Lamp (Basil Dearden, 1951) and Pool of London (Basil Dearden, 1951). Director Charles Crichton effortlessly apes the quasi-documentary realist approach of those movies. The heist itself is as thrilling as it is humorous and makes excellent use of its real life London backstreets and warehouse locales. Crichton also manages to out Hitchcock Hitchcock with a vertigo inducing sequence which sees Guinness and Holloway make a dizzying descent down the steps of the Eiffel Tower. Significantly for a British film of the era, it was rewarded by the American Academy, winning the Best Original Screenplay Oscar for TEB Clarke’s excellent script.
As the criminal mastermind with the meek exterior, Guinness delivers another excellent performance; eliciting audience sympathy for a character which could have easily evoked apathy. Stanley Holloway is equally effective in the less showy role of co-conspirator. They make for a winning comedy team here, ably supported by Sidney James and Alfie Bass as fellow Mob members.
The Lavender Hill Mob made more impact internationally than any other Ealing film. Its theme of longing to escape from day to day drudgery is clearly a universal one. Like the best of the Ealing comedies it has hardly dated, despite its obvious post-War trappings.
Excelling in all areas: writing, directing and acting, The Lavender Hill Mob is another Ealing masterpiece.
Check out my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Lavender Hill Mob! Link below.
FATHER BROWN aka THE DETECTIVE (Dir: Robert Hamer, 1954).
The second big screen outing for G K Chesterton's fictional detective Father Brown, adapted from his 1910 short story The Blue Cross.
Roman Catholic priest and amateur detective Father Brown (Alec Guinness) pits his wits against elusive master criminal Flambeau (Peter Finch), intent on stealing a priceless cross from the clergyman.
Originally exhibited in the UK as Father Brown, the movie is now more widely available in prints bearing its US title The Detective. A glance at Father Brown’ s cast and crew and one would be forgiven for thinking this Columbia Pictures release was an Ealing Studios production. Director Hamer is reunited with his Kind Hearts and Coronets (1949) stars Alec Guinness and Joan Greenwood, whilst Ealing alumni Peter Finch, Bernard Lee, Sidney James and Cecil Parker all feature. However, any similarity between this lightly humorous detective story and an Ealing comedy ends here.
Languishing part way between comedy and mystery, the movie straddles both genres without a firm footing in either. Never reaching the witty heights of Kind Hearts and Coronets and not quite exciting enough to convince as a thriller. It ambles along nicely enough but lacks the narrative twists and turns that would have elevated the story above the mundane. Thelma Schnee and Hamer's screenplay never quite manages to over come the source material's inherent quaintness and at times threatens to become unbearably twee.
Alec Guinness is excellent as ever here, once again immersing himself chameleon like in the role of Brown. He is matched by the equally impressive Finch in a rare comedic performance for the actor, albeit not one especially played for big laughs. The rest of cast are, unfortunately, somewhat underused in what is largely a two-hander between Guinness and Finch.
Father Brown is good movie, but can't help but feel a little bit of a disappointment considering the talent involved. It is still worth a watch, if only for the excellent performances from its leading men. Not quite a classic, but a high quality time passer nonetheless.
Check out my blog JINGLE BONES MOVIE TIME for a longer review of Father Brown. Link below.
VICEROY’S HOUSE (Dir: Gurinder Chadha, 2017).
Viceroy’s House is a fact based drama detailing the events surrounding the Partition of India from British born Indian director Gurinder Chadha.
Set in 1947 Delhi during the dissolution of the British Raj. As the last Viceroy of India, Lord Louis Mountbatten (Hugh Bonneville) is to oversee the transition from British rule to Independence. India is a country divided, between those who wish the independent nation to remain intact and those who wish to establish the separate Muslim country Pakistan. Against this backdrop is the Romeo and Juliet-esq tale of Jeet (Manish Dayal) and Alia (Huma Qureshi) whose love is thwarted as he is Hindu and she is Muslim.
The Partition of India was a bloody mess at the hands of the UK government. As the film's postscript informs us "14 million people were displaced and one million Hindus, Muslims and Sikhs died". It is a dark episode in 20th Century British history rarely spoken of in the UK. For this reason, Viceroy's House is a difficult film to criticise, as it relays such an important story. Perhaps it can only be faulted for not depicting how truly horrific it was.
Hugh Bonneville is very effective as the beleaguered Mountbatten faced with the thankless and controversial task of dividing India. He is surrounded by a quality supporting cast of acting legends including Gillian Anderson, Michael Gambon, Om Puri and Simon Callow. As the star-crossed young lovers Manish Dayal and Huma Qureshi are both touching and appealing.
Director Gurinder Chadha is a talented filmmaker. Her feature is incredibly moving and made more powerful by the knowledge that it draws upon Chadha's own family history; her grandparents were among those displaced and her aunt starved to death on the migration.
It could be argued that Chadra's gentle approach to Partition does make a challenging subject more accessible for audiences. The fact that it addresses an issue largely untold in film is significant, however more palatable that issue has been made. The powerful tale may provide uncomfortable viewing for many, but do not let that dissuade you from watching this ultimately very moving film.
Check out my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Viceroy’s House. Link below.
JOKER (Dir: Todd Phillips, 2019).
Joaquin Phoenix stars in Todd Phillips much anticipated movie based on the DC comic book villain the Joker.
Set in a pre-Batman Gotham City, Joker charts the descent into madness of failed comedian Arthur Fleck (Phoenix). Fleck bears a depressing, isolated existence, working as a clown-for-hire by day and caring for his elderly mother by night. Fired from his job and suffering a beating at the hands of Wayne Enterprises employees Fleck turns vigilante on those who those he feels have wronged him, while desperately trying to find acceptance in an uncaring society, ultimately becoming his alter ego Joker.
Joker has divided critics and audiences and I can see why.
Director Phillips found fame with comedy movies Old School (2003) and The Hangover (2009), but his Joker is anything but funny. In many respects it is a love letter to 70s cinema; paying homage, in particular, to the work of Martin Scorsese, notably Taxi Driver (1976) and King of Comedy (1983) and Paddy Chayefsky’s dark media satire Network (Sidney Lumet, 1976). Borrowing its themes and visual style from those movies, Joker could be accused of being derivative, but it certainly is a handsome production; its gritty 70s milieu is arguably its strong suit.
Phoenix’s central performance is undoubtedly powerful and very intense. Many will acclaim this while others, myself included, may find it a little overwrought and lacking subtlety. By contrast, the surprisingly low-key performance by Robert De Niro, as a late night talk show host, is one of his best in recent years. Zazie Beetz, in a relatively small but important role as Fleck’s neighbour was the standout among the cast for me.
Much controversy has arisen over the glorification of violence in the movie. Yes, it is brutal in places but I feel this is inevitable in a DC origins movie about a deeply disturbed, complex character. This is no PG13 or 12A superhero movie. Take heed of the rating, it is a relentlessly dark and very distressing movie and is definitely not suitable for children or young teens. This is a movie whose lead character is suffering mental illness and this was my major problem with Joker. I understand the movie’s conceit that Fleck is the manifestation and result of an unfeeling, disinterested society. However, I feel very uneasy about how mental health is paraded as entertainment and found its depiction here both cruel and potentially damaging.
I wanted to love Joker but I didn’t. I don’t wish to discourage anyone else from watching the movie; this review represents my personal opinion. This may well be a movie that you enjoy as others at the screening I attended obviously did. For me both the handling of the theme and Phoenix's performance were lacking in sensitivity and bordering on the offensive. A disturbing and unsettling viewing experience that I would have difficulty recommending.
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THE LADYKILLERS (Dir: Alexander Mackendrick, 1955).
Alec Guinness heads an ensemble cast in the last great Ealing comedy.
Seemingly mild mannered Professor Marcus (Guinness) leads a gang of oddball criminals, masquerading as classical musicians, in the planning and execution of a daring bank van raid. When their elderly landlady Mrs Wilberforce learns of the wrongdoings they all agree she must be silenced. However, Mrs Wilberforce is not as easy to do away with and their perfect crime begins to go awry.
Disguised with an oversized set of false teeth, Alec Guinness is excellent in his role as the cardigan wearing criminal. An outstanding ensemble cast makes up the rest of the gang. Cecil Parker as a corrupt retired army major, Herbert Lom as a Soho gangster, a subdued Peter Sellers as a cockney spiv and Danny Green as a dim-witted heavy; all give superlative performances. Upstaging them all, however, is the marvellous Katie Johnson as the seemingly frail Mrs Wilberforce who outsmarts the robbers.
One of a handful of Ealing productions shot in Technicolor, cinematographer Otto Heller's beautiful muted colour palette lends it an oddly surreal, atmosphere. This is complemented by Jim Morahan's excellent art direction; the wonderful tumbledown Victorian house in which much of the movie is set adding to the general off kilter ambience.
Director Alexander Mackendrick fashioned a deliriously dark comedy of the highest order; the only film blacker in the Ealing canon is Kind Hearts and Coronets. He elicits career best performances from his distinguished cast in what is among his greatest films.
William Rose's screenplay balances the light and dark with tightrope precision; neatly offsetting the contrasting worlds of ruthless criminals and twee little old ladies. Some broad farce involving an escaped parrot should sit uneasily with the otherwise subtle humour but, amazingly, the whole thing gels perfectly.
The Ladykillers is a masterpiece among comedy movies. Its mix of humour and thrills is irresistible and as an ambassador for the Ealing legacy it cannot be bettered.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Ladykillers. Link below.
THE INFORMERS aka UNDERWORLD INFORMERS (Dir: Ken Annakin, 1963).
Based upon Douglas Warner's novel Death of a Snout. The Informers, released in the US as Underworld Informers is a police procedural drama shot in a quasi-realist style.
Chief Inspector 'Johnno' (Nigel Patrick) investigates the murder of an underworld informer or 'snout' (John Cowley) linked to a series of bank robberies masterminded by gangsters Bertie Hoyle (Derren Nesbitt) and Leon Sale (Frank Finlay). Hot on the their trail, the hoods set 'Johnno' up so as to appear to have accepted a bribe. On suspension, he takes the law into his own hands and with the help of Ruskin's brother sets to bring the gang to justice.
Ken Annakin was a talented filmmaker, prolific in his time but vastly underrated today. With The Informers he delivers a crime drama which, 56 years after release, still feels uncompromisingly gritty.
Standouts among the cast are the distinctively voiced Nigel Patrick as the wronged 'Johnno' and Harry Andrews as his tough superintendent. Derren Nesbitt makes for a thoroughly unpleasant bad guy, while impressing further down the cast is Colin Blakely as the brother of the murdered snout.
The movie can be seen as something of a ‘missing link’ between the depiction of the friendly copper of TVs Dixon of Dock Green (1955 -76) and the more complex characterisation of the police force in The Sweeney (1974-78). Indeed, it seems ahead of its time in its depiction of the police and their relationship with the criminal underworld. It benefits from use of London locations from the banks of the Thames to backstreet Soho dives, shot in crisp black and white by cinematographer Reginald Wyer.
Some of the characters in Alun Falconer and Paul Durst's screenplay do border on stereotypes, while the climatic big punch up between good(ish) guys and the bad guys verges on the comic, but overall this is still fairly hard-hitting stuff.
With some stylish direction from Annakin and a quality cast The Informers is a solidly entertaining, if occasionally nasty, gangland thriller.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Informers. Link below.
THE SIGN OF ZORRO (Dir: Norman Foster & Lewis R Foster, 1958)
Guy Williams stars as the vigilante hero who "makes the sign of a Z" in Walt Disney's feature film version of the hit Zorro TV series, broadcast on the ABC network from 1957-59.
Following a lengthy absence, Don Diego (Guy Williams) returns home to the Spanish Californian pueblo of Los Angeles. Finding his hometown under the rule of cruel Captain Monastario (Britt Lomand), he dons a black cape, assumes the new identity of Zorro and determines to overthrow Monastario and restore order to the pueblo. Cue lots of sword fights!
As with Disney's earlier feature Davy Crockett, King of the Wild Frontier (Norman Foster, 1955), The Sign of Zorro was edited together from episodes of a TV series. Screened in black and white but filmed in colour, Davy Crockett was a high quality production that transferred to the cinema with ease. Zorro was a more modestly budgeted production shot in black and white. Its static camera work and proliferation of close-ups did not hold up as well on the big screen. The cobbling together of various episodes results in a somewhat disjointed narrative with multiple climaxes and plot threads which are never properly resolved.
That said, the movie does have it compensations. Guy Williams makes for an appealing, athletic hero and is well supported by Gene Sheldon as mute man servant Bernardo and Henry Calvin as local law enforcer Sergeant Garcia; their deft comic performances nicely complementing the lighthearted heroics.
While the movie did not manage to repeat the success of the superior Davy Crockett, it did well enough to warrant a sequel. However, Zorro the Avenger (Charles Barton, 1959) was marketed solely to international audiences and was not released in the US.
Despite its shortcomings, this is an entertaining movie, thanks to its appealing cast and general good-natured ambience. If, like me, you enjoy a bit of swashbuckling you will find The Sign of Zorro has an easy going charm that is hard to resist. Slightly shabby but a lot of fun!
Check out my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Sign of Zorro. Link below.
TOUCH AND GO (Dir: Michael Truman, 1955).
Jack Hawkins makes a rare foray into comedy in this lightweight, late period effort from the Ealing Studios.
Following a disagreement with his boss, furniture designer Jim Fletcher (Hawkins) makes the snap decision to emigrate to Australia. Less than enthusiastic are his wife Helen (Margaret Johnston) and teenage daughter Peggy (June Thorburn) with concerns for the family cat and Peggy's new sweetheart.
Aside from the excellent The League of Gentlemen (Basil Dearden, 1960), comedy was not really Jack Hawkins’ forte. Although an otherwise fine dramatic actor, he often seemed a little uncomfortable in domestic situations and was at his best as stoic men of action. Oddly, Hawkins was far more convincing as a naval officer or a pilot than he ever was as husband or father and his performance here is rather broad and lacking in subtlety. In fairness, he is given little to work with in a role which involves little more than expressing exasperation at his wife and daughter.
Scenarist William Rose was an accomplished comedy writer; responsible for Ealing classics such as The Maggie (Alexander Mackendrick, 1954) and The Ladykillers (Alexander Mackendrick, 1955) and later co-scripting Hollywood epic It’s a Mad, Mad, Mad, Mad World (Stanley Kramer,1955). So it is all the more surprising that Touch and Go doesn’t quite deliver the goods. Its attempts at humour are somewhat laboured and never raise the hoped for big laughs in a plot which offers no surprises; the denouncement can be guessed within the first 10 minutes. Which is not to suggest the movie is without merit. It ambles along nicely enough and certainly provides some mild chuckles. The muted colour palette is attractive and the atmosphere is cosily nostalgic.
Viewed today Touch and Go is a quaintly dated period piece. It does not rank among the greatest of Ealing Studios movies but neither is it a complete failure. Ultimately, it is just a little undistinguished and lacks the bite of other Ealing comedies. Still, it is a pleasant enough time waster that will certainly be of interest to Ealing completists.
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SIX-FIVE SPECIAL (Dir: Alfred Shaughnessy, 1958).
Six-Five Special was a pre-Top of the Pops, youth oriented music television show, broadcast on the BBC for 96 episodes during 1957-58. Although short-lived the show was significant as the first Rock 'n' Roll programme on British TV. It was also vastly influential, pioneering a style of music television that would continue to be copied for decades to come. It also inspired this feature film adaptation from B-movie purveyors Insignia Films.
The slender story involves Anne (Diane Todd) a young woman with a talent for singing who is persuaded by her friend Judy (Avril Leslie) to up sticks and travel to London to pursue a career in showbusiness. Boarding the overnight 6.5 special train, the pair are surprised to find the locomotive full of stars, themselves bound for London to perform on the Six-Five Special television show. All pretence of a plot goes out of the window at about the halfway mark when the movie becomes strictly a musical revue.
Among the acts you won’t remember (The Ken Tones?) are enough genuine legends to make the movie a musical treat. Notable among the acts are Lonnie Donegan, Petula Clark, Jim Dale, Cleo Laine and Johnny Dankworth. Some laboured comedy skits come courtesy of Mike and Bernie Winters. Television's Six-Five Special presenters Pete Murray and Jo Douglas also make an appearance, as does its resident bandleader Don Lang. It's undoubted highlight is the terrific performance from skiffle pioneer Donegan who sings two songs, 'Jack O'Diamonds' and 'Grand Coolie Dam'. He alone makes it worth watching.
If you are seeking intricately plotted cinema with a serious message I would look elsewhere. However, if you are looking for a lighthearted, dare I say twee, documentation of the state of the Hit Parade in 1958 you are in for a treat! Admittedly, this nostalgia fest will be most appreciated by 1950s teens and those with an interest in that era's music. Railway enthusiasts will also appreciate the steam locomotives on display. An invaluable record of the pre-Beatles British music scene, Six-Five Special is corny by today's standards but a lot of fun, nonetheless.
100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME. Link below.
THE SHAGGY D.A. (Dir: Robert Stevenson, 1976).
This kooky canine comedy from Walt Disney Productions was the belated sequel to hit The Shaggy Dog (Charles Barton, 1959).
Following on from the events of the original movie, now adult Wilby Daniels is now a successful lawyer, his dog morphing days behind him. However, the ancient cursed ring which turned him into a Bratislavian Sheepdog has been stolen from a local museum by some crooks in the pay of unscrupulous politician 'Honest' John Slade. With incredibly unfortunate timing, this occurs just as Daniels is about to run against Slade in a local election for the position of District Attorney. Daniels must run his campaign and try to get the ring back from Slade, whilst proving him corrupt. All the time running the risk of inadvertently turning into a sheepdog!
Replacing Tommy Kirk in role of Wilby Daniels from the original movie is Disney regular Dean Jones. Jones is appealing as ever, displaying his considerable talent for quirky comedy. Reunited with Jones in their 3rd film together is the equally appealing Suzanne Pleshette. With less to do than Jones, she still makes a good impression as the understanding Mrs Daniels.
Don Tait's screenplay, suggested by the Felix Salten novel The Hound of Florence, is his 5th screenplay for the studio and adheres rigidly to the cookie cutter approach adopted by Disney in this era. True to form, we have some broad slapstick humour, the inevitable car chase and the expected police car pile up. All achieved by some unconvincing back projection. Director Robert Stevenson had a 20 year association with the studio and this was to be his last feature before retiring. Responsible for classics such as Old Yeller (1957) and Mary Poppins (1964), The Shaggy D.A. must be regarded as one of his lesser works.
Still, I enjoyed this film as a child and get a nostalgic kick out of it as an adult. It doesn't quite live up to the weird and wonderful original but is certainly worth a watch if you like this sort of thing. Not quite Best in Show then, but a likeable mutt of a movie nonetheless.
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MOSBY'S MARAUDERS aka WILLIE AND THE YANK (Dir: Michael O'Herlihy, 1967).
Originally produced for US television, Mosby's Marauders in a fictional historical drama set during the American Civil War.
Young Confederate Willie Prentiss (Kurt Russell) is protected by Union Corporal Henry Jenkins (James MacArthur) after accidentally shooting his commanding officer Lieutenant Mosby (Jack Ging). They strike up an unlikely friendship despite fighting on opposing sides. Jenkins soon develops a romantic interest in Willie's cousin Oralee (Peggy Lipton), further complicating their already compromised friendship and arousing the suspicions of Jenkins superior Sgt Gregg (Nick Adams).
Mosby's Marauders was originally screened in three parts on Walt Disney's Wonderful World of Color in January 1967, under its US title Willie and the Yank. Retitled, it was shown in UK cinemas on the second half of a double feature with Monkeys Go Home (Andrew V. McLagan, 1967).
Its appealing cast is headed by 15 year old Kurt Russell, previously seen in Disney's Follow Me, Boys! (Norman Tokar, 1966). Although Disney would later cast him exclusively in light comedy, he acquits himself well here in a dramatic performance. James MacArthur was a Disney regular from a decade earlier. His co-starring role as 'the Yank' was his first for the studio since Swiss Family Robinson (Ken Annakin, 1960). Always underrated as an actor, MacArthur would find greater fame a year later in the role of Danny in TVs Hawaii Five-O (1968-80).
Mosby's Marauders is an unusual Civil War picture, in that it is told from the perspective of the South. Yet this is no Confederate flag waver and is told in a fairly matter of fact manner, sympathetic with the plight of those fighting for both North and South.
Modern audiences, especially children, may be put off by the movie's subject matter and the fairly dry manner in which it is presented. Still, Mosby’s Marauders is a handsome outdoor adventure with none the budgetary restraints one might expect from a TV movie. Not for everyone, perhaps, but a quality product which is well worth a watch.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Mosby’s Marauders. Link below.
THE LION KING (Dir: Roger Allers & Rob Minkoff).
The 1990s Disney Animation renaissance continued with The Lion King, their biggest hit (when adjusted for inflation) to date.
The movie tells the story of young lion and future king Simba (voiced by Jonathan Taylor Thomas as a juvenile and Matthew Broderick as an adult). Simba’s father Mufasa (James Earl Jones) is killed by his brother and Simba’s uncle Scar (Jeremy Irons). Scar leads Simba to be believe he is responsible for Mufasa’s death and goes into hiding. Believing Simba has been killed by Hyenas, Scar takes his place as king of the Pride Lands. However, Simba is rescued by comic relief duo meerkat Timon (Nathan Lane) and warthog Pumbaa (Ernie Sabella). When adult Simba learns of his uncle’s despotic machinations he returns to fight Scar, reclaim his crown and restore order to the Pride Lands.
Majestic seems a fitting word for The Lion King. Recalling earlier classic The Jungle Book (Wolfgang Reitherman, 1967) with its animal cast, particularly in the characterisation of Scar, a upper-crust Disney villain in the Sheer Khan mode. The movie feels both fresh, in its break from the fairytale genre, yet classic Disney with its anthropomorphised animal antics.
It is easily one of the Studio’s most visually appealing features of the 1990s. It’s beautiful backgrounds of African landscapes is the match of the superior character animation. This is highlighted particularly in the opening scene as the African animal populous gathers to welcome the newly born Simba to the Pride Lands. So impressed were the Disney execs by this scene, that it was used wholesale as the movie’s trailer. Happily the rest of the film has no problem in living up to this breathtaking beginning.
With outstanding animation, excellent voice work and a handful of hit songs by Tim Rice and Elton John, The Lion King reigns as one of Disney’s greatest post-Walt animated feature films.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Lion King. Link in bio.
