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Review of THE GREY FOX (1982) (Blu-ray)

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Grade: B+
Western-drama
Rated PG

The Grey Fox is the kind of Western that holds some appeal for people who aren’t fans of the genre, because this independent Canadian film is about as far as you can get from the formula Western. Sure, there’s a little gunplay and a few robberies, but this 1982 film is a quiet Western, a character-based film—one that feels like a full-movie version of the “Raindrops Keep Fallin’ on My Head” montage from Butch Cassidy and the Sundance Kid. It’s a feature that feels every bit the indie film. There’s only the slightest bit of violence, sex, and language, with the focus on a grandfatherly figure that’s instantly sympathetic.

A number of revisionist Westerns—including Butch and Sundance, The Man Who Shot Liberty Valance, The Shootist, and The Wild Bunch—have embraced an elegiac tone and offered an aging hero who also stands as a symbol for the passing of a romantic Old West that’s now consigned to history. But The Grey Fox stands alone as a story that offers a character that’s stronger than the symbol he was meant to be. And it’s based on a true story, too.

Former stuntman Richard Farnsworth is compelling as the low-key, soft-spoken Bill Miner, who in Canada became as famous and oddly beloved by average people as Jesse James was south of the border. James robbed banks and Miner robbed the railroad—two institutions that were squeezing common people and were therefore resented. Miner was credited for first instructing people to put their “hands up,” and he became known as the Gentleman Bandit because of his politeness, gentility, and strict instructions that his men should never shoot or otherwise harm anyone. The Billy Miner Alehouse in Maple Ridge, British Columbiasd still celebrates this folk hero, not because he robbed from the rich to give to the poor, but because he only took from the hated Canadian Pacific Railway.

Writer John Hunter and director Phillip Borsos (who studied under Francis Ford Coppola) stay pretty close to the truthful parts of the Bill Miner story, choosing only to add their own bit of legend by giving Miner a low-key love interest (Jackie Burroughs) to match his personality—a strong, older woman who never married because she had other ambitions in life. More

Review of THE CAT AND THE CANARY (1939) (Blu-ray)

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Grade: B+
Comedy-Horror-Mystery
Not rated (would be PG)

If your family enjoyed Knives Out, you also might be entertained by an early entry in the self-conscious light mystery genre.

In The Cat and the Canary (1939)—based on a 1921 stage play by the same name—comedian Bob Hope plays it mostly straight, an actor without the ham in this tongue-in-cheek whodunit with a dash of horror. A year later, hitting the road with Bing Crosby and Dorothy Lamour, Hope would develop his famous persona as a bumbling coward of a second banana to Crosby’s straight man, but in this one he’s less goofy and more believable as a love interest for Paulette Goddard. Hope is a considerably more suave and in control than later characters he’ll play, and as a result viewers find themselves focused more on the atmosphere and plot.

The Cat and the Canary was so popular that Hope and Goddard would team up for a second haunted house picture in 1940—The Ghost Breakers, which isn’t recommended for family viewing because of offensive outdated cultural stereotypes. The sets and gimmicks from both films would provide the inspiration for Disney’s popular Haunted Mansion theme park attraction.

There are revolving bookcases, secret panels, and a Louisiana bayou mansion that wasn’t exactly prime real estate even before it fell into decrepit disrepair. Why would anyone visit now, especially when you have to be paddled there by various canoeists? As it turns out, all are relatives and named parties to attend the ceremonial reading of the will, according to instructions left by a reclusive millionaire who died 10 years ago. The deceased specified that his will must be read exactly at midnight, of course. One more thing: worried that insanity might run in the family, the eccentric recluse specified that the one bearing his surname (Norman) will inherit everything. But there’s a catch. If the named heir, Joyce Norman (Goddard), goes crazy before 30 days have passed, then a second replacement heir will be read from a second sealed envelope.

Kind of makes you want to run the other direction, right? Except that the canoe paddlers don’t operate late at night (they must have a strong union). But how else can you ensure that everyone has to spend the night in this spooky place? More

Review of BLOOD QUANTUM (Blu-ray)

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Grade: B-
Horror-thriller
Not rated (would be R)

Blood Quantum isn’t a title that screams “family friendly”—just plain screams, is more like it, considering that this 2019 horror film finds a few inventive new ways to kill zombies. There’s blood and gore and f-bombs galore, but if we’re being honest it’s the kind of film that appeals to older teens and families that enjoy a good frightfest every now and then.

Plus, Blood Quantum deserves a shout-out because this 2019 Canadian film from Jeff Barnaby is that rare horror film made by a First Nations director. Barnaby, a Mi’gmaq, shot much of the film on the same reserve in Listuguj, Quebec where he was born and he spotlights a large cast of First Nations actors. The history of indigenous people in North America is a history of segregation and forced relocation, but this film gets its own symbolic revenge (a theme suggested by two animated segments) by having the reserve be a place where all of the whites now want to go. The film’s key concept is that indigenous people are immune to the zombie plague. While they can be killed, they can’t be turned into zombies themselves. That is, they are immune to whatever zombie virus is being transmitted through zombie bites. As a result, the reserve, ironically, has become the only safe haven in the world.

The title itself is also ironic, because “blood quantum” or “Indian blood” laws were enacted by the U.S. government as a way of legally defining racial groups—too often a first step toward isolation and persecution. Here, blood quantum is a saving grace, and the political statement that Barnaby makes in his second full-length feature (the politically charged Rhymes for Young Ghouls was his first) is unmistakable. More

Review of LUCKY GRANDMA (Blu-ray)

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Grade: B
Comedy, Drama
Not rated (would be PG-13)

Timing matters, and this first full-length feature from director Sasie Sealy comes to Blu-ray at a time when Bong Joon-Ho’s surprising Oscar-winning Parasite is still fresh in everyone’s minds. Like that South Korean film, Lucky Grandma, set in New York’s Chinatown, is a black comedy that veers into thriller territory. It’s a mash-up of genres that also carries an unspoken social message. With Bong it was class inequity; with the New York-based Sealy, it’s aging. And her main character, the recently widowed Grandma Wong, refuses to go gently into that good night, or even move in with her son and his family.

Don’t bother looking up Sealy’s Wikipedia page, because she’s so new she doesn’t even have one yet. So far her big push to get on the film world’s radar has come from her participation in Manhattan’s Tribeca Film Festival, which twice honored her with Student Visionary Awards (Elephant Garden, 2008; Dance Mania Fantastic, 2005). But with a first feature that’s as solid as Bong’s own black comedy debut (Barking Dogs Never Bite), she’ll be getting that Wikipedia page and probably more awards soon enough.

If your family liked Parasite, you’ll like Lucky Grandma. It’s a film for families that like to push their entertainment boundaries. Children who enjoy it will be old enough to handle the mixed English, Mandarin, and Cantonese voice track with English subtitles, because when it comes right down to it that’s the biggest factor. There’s violence, but not nearly as much as what’s shown in the average superhero movie. There’s language, but again nothing compared to what Hollywood has been producing lately. And there’s smoking, but it’s more of a comic device than anything else. More

Review of AGAINST ALL FLAGS (Blu-ray)

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Grade: B-
Adventure-Romance
Not rated (would be PG)

Hollywood made a lot of Westerns in the ‘30s, ‘40s, and ‘50s, but they also made a fair number of pirate movies. Against All Flags (1952) wasn’t one of the absolute best, but it gave audiences a rare pairing of Errol Flynn and Maureen O’Hara—both of whom had starred in swashbucklers before.

For Flynn, who first played a pirate in Captain Blood (1935) opposite Olivia de Havilland, his best swordplay was behind him. In Against All Flags he’s less jumpy, calmer, mellowed a bit with age, and no doubt slightly slowed by his bad-boy partying lifestyle. Yet, in this film that only makes him interestingly more human and less of a cardboard Hollywood leading man. For O’Hara, who had appeared in Spanish Main costumers with Tyrone Power and John Payne, The Black Swan remains her slightly superior pirate pic, but she’s at her feistiest in Against All Flags.

Here are my Top 10 pirate movies, so you can appreciate where I’m coming from:

  1. Pirates of the Caribbean: Curse of the Black Pearl (2003)—A
  2. Pirates of the Caribbean: Dead Man’s Chest (2006)—A
  3. Captain Blood (1935)—A
  4. The Sea Hawk (1940)—A-
  5. The Crimson Pirate (1952)—A-
  6. Pirates of the Caribbean: At World’s End (2007)—B+
  7. The Princess and the Pirate (1944)—B+
  8. Treasure Island (1950)—B
  9. The Black Swan (1942)—B
  10. Against All Flags (1952)—B-

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Review of THE LADY EVE (Criterion) (Blu-ray)

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Grade: B+
Romantic Comedy
Not rated (would be PG-13)

When BBC Culture unveiled their list of 100 greatest comedies of all time, screwball comedies fared pretty well. Topping the list was Some Like It Hot, the Billy wilder comedy produced more than a decade after the subgenre’s hey-day. But Howard Hawks’ His Girl Friday and Bringing Up Baby turned up at #14 and #17, and closely behind them at #19 was Preston Sturges’ The Lady Eve—a 1941 screwball comedy just released on Blu-ray by Criterion.

It’s an enjoyable film, but not one that I would rate so far ahead of It Happened One Night (#28 on the BBC-Culture list) or even The Philadelphia Story (#38). The film rolls along at a brisk pace for the first two-thirds. Lady Eve is the serpent in this farce about a card sharp (Barbara Stanwyck) aboard a cruise ship who sets her sights on a well-known ale heir (Henry Fonda) who just happens to be a snake researcher. But then a third-act dinner party scene goes on too long, a lost snake is all but forgotten, and Lady Eve bounces back and forth between love and revenge so abruptly you’d swear she was under a spell. Then, just as abruptly, the film rushes to an ending with a last line clever enough to rival the most famous last line in cinema (“Nobody’s perfect,” from #1 comedy Some Like It Hot).

Screwball comedies are typically farces revolving around a courtship, pursuit by a member of the opposite sex, or divorced couples still playing games with each other. Film noir has its femme fatale, but the screwball comedy version is more benign, causing the male levels of distress but nothing that can’t be overcome by the end of the film. Screwball comedies are also characterized by clever, fast-paced and often overlapping dialogue, and more often than not they include implied social commentary involving the classes (rich vs. middle class). Some films, like His Girl Friday and Bringing Up Baby, are fast-paced enough and with a plot gimmick (escaped convict, escaped leopard) that make them best suited for family viewing. Others, like The Lady Eve, are driven by a spider/fly plot and a screwball femme fatale that make it still fun but a little more sophisticated. More

Review of GUNDALA (2019) (Blu-ray)

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Grade: B
Action
Not Rated (would be PG-13)

With the U.S. being the center of the Marvel and D.C. universes, it’s easy to think of superheroes as being an American thing. But Superman, “born” in 1938, debuted seven years after Japan’s Ogon Bat (“Golden Bat”), which is generally acknowledged to be the world’s first comic book superhero—that is, a hero with at least one super power.

Marvel and D.C. films are recognizably formulaic, so it’s fascinating to see how other countries “do” superhero films. Gundala is a 2019 cinematic origin story of the most popular superhero comic in Indonesia, a character created by Harya “Hasmi” Suraminata in 1969. And there are some striking differences.

For one thing, American superheroes, even before they fully develop their powers, appear in almost every scene. That’s not the case with Gundala, which offers a complex web of characters that get plenty of screen time without the hero present. That’s one big difference. Another is that Gundala has terrific fight sequences and plays more like a martial arts film with all characters on equal footing than it does a superhero flick—at least for four fifths of the film. Yet another difference is that the actual superpower and how it works is murkier than an American superhero film. And the filmmakers aren’t interested in traveling the shortest distance between two points to explain it. They get there eventually, but they’re in no hurry. You can pinpoint at least three moments in the film when an American superhero would have pivoted and hit that moment of discovery or resolve earlier than our Indonesian hero, because Hollywood likes to keep it simple.

What’s immediately striking is that Gundala has strong production values and seems to have been made with subtitles in mind. Though the film is fast-paced, subtitle texts don’t speed by and the dialogue is short enough to enable non-Indonesian viewers to read them comfortably. More than any non-English film I’ve watched over the past several years, this one required no conscious effort to juggle the “reading” of images and reading of text. More

Review of ORCA, THE KILLER WHALE! (Blu-ray)

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Grade: C
Drama
Rated PG

Orca: The Killer Whale! came out two years after Jaws and a year before the first Jaws sequel, so it would be natural to look at the poster art and assume we’re dealing with the same type of film. But they’re about as similar as a shark and a dolphin.

Jaws was a campy blend of adventure and horror tropes brought to the sea, with a storyline involving beach closings on the Fourth of July weekend and a hunt for a man-eating shark that was terrorizing swimmers. There was a logic to having a marine biologist paired with a shark hunter and the local police chief, and as the trio set off to kill the shark the film played out with the same kind of character attrition as we get in horror films—but with more character and relationship development.

Orca, meanwhile, takes itself way too seriously and tries to be a “message” film. It feels like a straight drama, intercut with sentimentalized footage of killer whales communicating. There are no jump scares typical of horror films (and Jaws), and no build-up of tension through music or any other means. It’s a fairly flat narrative boat ride from point A to point G, as in gee, this doesn’t make much sense, does it?

Set off the coast of Labrador, this 1977 film begins with footage of Captain Nolan (Richard Harris) and his crew of two trying to capture a Great White Shark to sell to an aquarium. Never mind that the ship doesn’t seem equipped with a tank and support system large enough to accommodate a 10-foot shark. In this opening sequence they cross paths with two researchers studying Orcas, and as one of the researchers (Robert Carradine) falls into the ocean and looks like a goner, out of nowhere comes an orca that rams the shark and kills it. So what does Nolan do after witnessing this unselfish act from one of nature’s creatures? Naturally, he decides to reward such heroism by trying to capture the killer whale—despite being warned by lead researcher Rachel (Charlotte Rampling) that orcas mate for life and can be very vengeful if anything happens to their mate. More

Review of ALI BABA AND THE FORTY THIEVES (1944) (Blu-ray)

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Grade: B-/C+
Action-Adventure
Not rated (would be PG)

“Open Sesame!”

Who hasn’t heard that phrase before, or immediately recognized it as the voice of Ali Baba? For that we can thank French translator Antoine Galland, who in the 1700s added “Ali Baba and the Forty Thieves” to One Thousand and One Nights. Over time it became one of the collection’s most popular tales, but it gets a revisionist spin in this 1944 color film starring Jon Hall, who’s best known to Baby Boomers as Ramar of the Jungle and the director-star of the campy ‘60s sci-fi flicks The Beach Girls and the Monster and The Navy vs. the Night Monsters.

In the original tale, Ali is a common woodsman who happens upon a thieves’ hideout, discovers the secret of gaining entrance, and sneaks a bag of gold coins. But his sister-in-law learns about it and forces Ali to reveal where he got the gold from, so his brother can follow suit. That brother is killed, but with the help of a slave girl Ali gets revenge and emerges victorious.

In this film version, Ali is the rich son of the Caliph of Baghdad who escapes being killed with his father after Mongols seize the kingdom. Ali is taken in by the thieves and becomes the adopted son of their leader, Baba. Instead of a plot revolving around thievery and wealth, Ali and his band are freedom fighters dedicated to killing the Khan (Kurt Katch) and retaking Baghdad for their people.

Though it’s the kind of solid-but-generic sword-and-sandal film that Hollywood loved to make during the Golden Age, Ali Baba and the Forty Thieves also has a campy feel to it because of the presence of veteran character actor Andy Devine, who made a career out of being the Western hero’s sidekick and delivering comic relief. It’s hard to see his rotund frame in Arab garb and hear his familiar raspy high-pitched voice without thinking of him in buckskin as Jingles in TV’s Adventures of Wild Bill Hickok, or Cookie from the Roy Rogers feature films. Others will recognize him as the driver in John Ford’s Stagecoach, but regardless, seeing him in a different costume adventure or seeing him for the first time is enough to make you smile. More

Review of THE PALEFACE (Blu-ray)

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Grade: B
Comedy
Not rated (would be PG)

Over a 60-year film career, comedian Bob Hope starred in 54 features, but the former vaudevillian was also known for the USO shows he emceed from 1941-91, performing for American military personnel in times of war and peace. He received the Congressional Gold Medal in 1962 and also received the Medal of Merit from Gen. Dwight D. Eisenhower, the Presidential Medal of Freedom from President Lyndon Johnson, the Medal of Liberty from President Ronald Reagan, the National Medal of Arts from President Bill Clinton, and the Spirit of Hope Award (named for him) from the U.S. Department of Defense.

In other words, Bob Hope, who died at age 100 in 2003, is a national treasure. Since only one of his films (Road to Morocco) has been included in the National Film Registry, the public is dependent upon studios like Kino Lorber to preserve and release the old classics that are worth watching and rewatching. And The Paleface is a good one.

Of Hope’s films, the historical costume comedies are as much fun as the Road pictures he did with Bing Crosby and Dorothy Lamour. While The Princess and the Pirate is the best of the powdered wig era comedies, The Paleface is tops among the Westerns that Hope made. In it, we see Hope at the height of his career, both as an actor and as a comedian. The hard-working comic had appeared in four feature films in 1947, and a year later The Paleface teamed him with Jane Russell—the WWII pin-up “girl” who famously debuted five years earlier in Howard Hughes’ The Outlaw and had only appeared in one other soapy drama. Surprisingly, the two play well off each other, with Russell the straight man, of course.

It’s good to finally get this title on Blu-ray, though the timing is probably unfortunate. As monuments are being toppled and even Mount Rushmore has come under fire, this film’s title and treatment of Native Americans is racist—there’s no other way to put it. But this was the ‘40s, and all of America was thinking along the lines of what talented writer Frank Tashlin incorporated into the screenplay. No one thought anything of having just two Native Americans playing Indians and the rest played by Caucasians, and no one bristled when Native Americans were depicted as stern-faced chiefs (“How!”) or wacky medicine men. Wrong as we now know it to be, it was all part of the stereotypical humor of the era.

So where does that leave us? I personally think that it’s wrong to deny or erase history. Instead, America needs to own up to that history, and you don’t do that by burying it and forgetting it. America needs to learn from the past and learn to appreciate artwork and cultural artifacts from previous eras for what they are. You can enjoy a film for its performances and comedy and also be aware that what you’re seeing is no longer appropriate. And Hope’s historical comedies—the Westerns especially—are a good place to start if you want to teach your children about racism and racial stereotypes. They’ll find the films amusing, but then you can also talk about what you just saw and educate them on the reality of Native Americans in the U.S.

Hope plays “Painless” Peter Potter, who picks a peck of trouble when he pulls the wrong tooth and has to skip town. As he’s leaving, Calamity Jane (Russell) hops aboard his wagon following a shootout. She’s a government agent on secret assignment: discover who’s supplying weapons and explosives to the Indians and stop them before they start another war. And what better way to blend in than by joining a wagon train with a “husband” who’s as clueless as they come?

Even the violence (and that includes people shot to death) is played for laughs in The Paleface. Some of the gags involve several Indians clueless as Potter as well as laughing gas that Potter uses to numb patients, but the bulk of them revolve around his bumbling ineptitude and cowardice—especially compared to his rough-and-tough sharpshooting “wife.” There’s a surprising amount of character development in this comedy, which also stars American Indian actors Iron Eyes Cody and Chief Yowlachie, and frequent “heavy” Jeff York.

Hope often found a way to sing in his films, and in The Paleface he’s in peak form performing “Buttons and Bows,” which won the Oscar that year for Best Original Song. Mostly, though The Paleface is just good old-fashioned slapstick and one-liner fun, with a plot that’s strong enough to pull the whole wagon.

Entire family: Yes
Run time: 91 min., Color
Studio/Distributor: Kino Lorber
Aspect ratio: 1.37:1
Featured audio: DTS 2.0
Trailer
Amazon link
Not rated (would be PG for hints of innuendo and comic violence)

Language: 0/10—Nothing here of consequence

Sex: 2/10—Women in pantaloons, repeated hints of romance, comic kisses and one passionate one

Violence: 3/10—All violence is comic, including fistfights, shootings, and running gags of being dragged by horses and the number of Indians killed by a proclaimed hero

Adult situations: 0/10—Nothing not already mentioned

Takeaway: Kino Lorber did an excellent job on the transfer, with crisp audio and Technicolor presentation sharp and vivid as can be. Would it be too much to hope for The Princess and the Pirate, Monsieur Boucaire or another Hope Western, Fancy Pants (with Lucille Ball) next?

 

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