Friday, August 1, 2014

Caftan Woman's Choice: One for August on TCM


I'm a sucker for an after-life fantasy.  As an impressionable youngster I saw The Green Pastures on television and I'll certainly be surprised if I get past those Pearly Gates and the head guy doesn't look like Rex Ingram.  Of course, in Cabin in the Sky Mr. Ingram was in charge of that other place, which impressed me because of the presence of Louis Armstrong ("You gotta get hot to play real cool.").  However, in that movie Ethel Waters was so adamant about Heaven being THE place to go that she made me feel guilty about liking the music.  

In Powell and Pressburger's Stairway to Heaven an angelic emissary opines that "Many people would consider it heaven to be a clerk (as in office worker)".  That's for me!  I can find heaven browsing in a stationery shop.

Someone else who was a sucker for after-life fantasies was writer Harry Segall whose play Heaven Can Wait aka The Wonderful Journey was filmed in 1941 as Here Comes Mr. Jordan.  The Jordan of the title was played by stylish Claude Rains.  As the angel in charge, his unflappability could be either comforting or annoying as the mood strikes you.  Most of us, I imagine, would retain our human fallibility as Messenger 7013 played by Edward Everett Horton exhibits when he causes all the fuss in the plot.

Like Mr. Ingram mentioned previously, Claude Rains covered both realms of Forever-after on screen.  Also written by Harry Segall, in Angel on My Shoulder Rains plays Nick, the harried manager of the repository of soiled souls.  The 1946 film directed by Archie Mayo (The Petrified Forest, Orchestra Wives, Moontide) tells the tale of his experiences with bumped off mobster Eddie Kagel played by Paul Muni.

Paul Muni
1895 - 1967

In his time Mr. Muni was a highly respected actor of stage and screen.  He received a Tony as Henry Drummond in the 1956 Broadway production of Inherit the Wind and won an Oscar for 1937s The Story of Louis Pasteur.  His five other Oscar nominations were for 1929s The Valiant, 1934s I Am a Fugitive from a Chain Gang, 1936s Black Fury, 1938s The Life of Emile Zola and 1959s The Last Angry Man.  Paul Muni's reputation has diminished as tastes in acting have changed, but I believe audiences do themselves a disservice in dismissing Muni's range and commitment.

Paul Muni Day during TCM's August Summer Under the Stars salute is the perfect opportunity to judge anew the man who seamlessly immersed himself in the roles of intellectuals and brutes, labourers and gangsters.

 Paul Muni, Claude Rains 

Angel on My Shoulder's Eddie Kagle is a kid of the streets, a self-made man who used his instincts and his strength to gain power.  After doing a stretch in prison and expecting due consideration from his partner in crime, Smiley Williams played by Hardy Albright, Kagle gets what's coming to him.  Shot with his own rod and sent straight to ... well, where the "H" is he?  The place is a hellhole, suffocatingly hot and smelling of sulphur.  Guards or no guards, nothing will stand in Eddie's way.  He has to crash out and make Smiley pay for his betrayal. 

Nick or Mephistopheles or whatever you want to call him, has a use for Eddie.  It seems our boy is the spitting image of a crusading judge named Parker.  Nick has got to stop Parker from cleaning up the streets and helping disadvantaged kids.  If he plants Eddie's body in Judge Parker's, Eddie will have the means to get even with Smiley and the thick-headed lout will ruin Judge Parker's reputation in time to keep him from becoming Governor.  Win-Win as far as old Beelzebub is concerned.  Eddie's willing to go along, even though he senses that Nick is a con man of the highest order.  Revenge is the engine moving his actions.

Anne Baxter, Paul Muni

You'll be able to see the plot coming a mile away, but the fun is in the journey.  Judge Parker's pretty secretary, Barbara, played by Anne Baxter (The Magnificent Ambersons, The Razor's Edge, All About Eve) has a softening influence on Eddie's heart and Eddie's impetuosity turns each misstep into something favourable on the Judge's behalf.  The screenplay is a delight to my ears.  Nick speaks as if he had swallowed the Oxford English Dictionary while Eddie's speech is a jumble of blunt and colourful 1940s slang.

The fun and philosophy can be found on Wednesday, August 6th at 4 p.m.  Let's spend Summer Under the Stars with Paul Muni.     

Monday, July 21, 2014

James Garner (1928 - 2014)




James Garner, whose great ease and charm on screen has convinced generations that he was only playing himself, does his thing in the greatest comedy-western of all time, 1969s Support Your Local Sheriff!. Written by William Bowers and directed by Burt Kennedy, the movie spoofs everything which is near and dear to my heart, My Darling Clementine, Red River, Rio Bravo, High Noon and Winchester '73, et cetera.

Jim plays Jason McCullough, a stranger in town who drifts into the sheriff's job.  Life is complicated by every character actor from every western you have ever seen including Walter Brennan, Harry Morgan, Jack Elam, Willis Bouchey, Walter Burke, Bruce Dern, Gene Evans and Kathleen Freeman.  

The scene posted here for your pleasure has Jim/Jason working out his High Noon dilemma with off-kilter leading lady, Prudy, played by the extremely talented Joan Hackett.

Wednesday, July 9, 2014

The John Ford Blogathon: Ford and The Informer (1935)


"For a director there are commercial rules that it is necessary to obey. In our profession, an artistic failure is nothing; a commercial failure is a sentence. The secret is to make films that please the public and also allow the director to reveal his personality."

The "baby" of his family, 19-year-old John Feeney, Jr. followed his successful actor/director elder brother Francis Ford to Hollywood in 1914.  The son of Irish immigrants would be successful beyond imagining, growing up with an industry and helping it to grow.  At the Francis Ford serial unit at Universal, Ford learned by doing everything - stunts, extra, assisting cameramen and directors, and writing.  By the age of 22 the newly billed Jack Ford was a full-fledged director of westerns and collaborating with the great actor Harry Carey.  At 25 he became a contract director at Fox Studios where, in addition to westerns, his talents were put to use in dramas, crime pictures and comedies.  It was noticeable to the public and the studio that Ford was an able and reliable movie director.  Occasionally critics would take note as well at his unerring eye and way with a story.

"It's no use talking to me about art, I make pictures to pay the rent."

He protests too much.  John Ford continually pushed himself as a creator and that often placed him in positions of conflict with budget and time conscious officials.  While shooting backgrounds in Europe for the 1928 release Four Sons Ford met and became friends with F.W. Murnau, soon to work for Fox.  Ford studied the German filmmakers methods of pre-production and their sophisticated visual techniques, bringing those to his WWI drama.

"I'm a journeyman director, a traffic cop in front of the camera, but the best traffic cop in Hollywood."

The "traffic cop" may have been proud of his working class attitude toward the job, but obviously yearned for more control over content as his contract at Fox/20th Century Fox allowed for freelance work.  The freelance clause would prove most fortuitous for a singular project when Ford met the Irish author Liam O'Flaherty and in 1933 optioned his award winning 1925 novel The Informer.  The novel spoke to Ford's Irish soul and his artist's heart.

"It's going to be very hard to find a studio that will back this picture.  It's very different from the usual fare."

Ford knew his industry and was not welcomed when he shopped his and Dudley Nichols (The Long Voyage Home, The Lost Patrol) treatment of The Informer at the various studios.  Merian C. Cooper at RKO was fearless enough in spirit and looking for something artistic to compliment the great commercial success he had experienced with King Kong.  It was the beginning of a friendship and a business partnership resulting in Argosy Pictures.

The budget for the film as $243,000 and the soundstage a building formerly used for storage.  

"I'm going to build all the production values into the camera."

Ford and Nichols had pared the story down to its essential dialogue and Ford was excited about a stylistic approach to the shoot, giving a sense of the mystical in the fogbound night and the foggy mind of the leading character, Gypo Nolan.  Meticulous planning and storyboarding was carried out with cinematographer Joseph August (The Hunchback of Notre Dame, They Were Expendable), art director Van Nest Polglase (Citizen Kane, Top Hat), set decorator Julia Heron (The Best Years of Our Lives, The Bishop's Wife) and composer Max Steiner (King Kong, Gone With the Wind).


Victor McLaglen as Gypo Nolan

It is 1920, the height of the "the troubles" in Ireland when the brutish, but loyal Gypo Nolan foolishly seizes upon an opportunity to get a little money and save his girlfriend Katie from prostitution and give them a new life.  He informs on his best friend Frankie McPhillip, wanted for murder by the British.  Gypo's love for his friend hasn't died, but he sees a way out and takes it.  Perhaps he didn't foresee Frankie's death at the hands of the police.  Gypo is not one who thinks very far ahead.  The enormity of his betrayal he both understands and denies.  While the local IRA commander Dan Gallagher hunts for the informer, Gypo wanders through the city in increasing remorse and in trying to run away from himself, he loses all his money at the prodding of a fair weather friend and drink.  Brought to trial by his former comrades the frightened Gypo struggles to divert blame and escape.  Katie pleads with the commander for the hapless soul, but what Gypo set in motion cannot be stopped.  

Victor McLaglen was the only choice Ford had for Nolan and the director constantly kept his lead off balance to achieve the performance he desired.  Often noted for over-the-top cruelty toward some actors, one wonders whether or not it was necessary, but the proof is in the performance.  The Informer was McLaglen's seventh picture with Ford and he would vow never to work with him again.  He would appear in five more Ford movies.


John Ford 
1895 - 1973

The Informer opened at Radio City Music Hall to glowing critical response, but little box office.  Surprisingly, to Hollywood brains, it was in the smaller cities throughout the country that The Informer gathered steam.  If audiences were at first taken aback by the unexpected Ford/ McLaglen collaboration, they were impressed.

Ford was awarded the first of four Oscars for Best Director for The Informer; the other titles being The Grapes of Wrath, How Green Was My Valley and The Quiet Man.  The nomination for Stagecoach was caught up in the Gone With the Wind juggernaut.  However, with The Informer John Ford's reputation as a director of artistic merit was now assured.  

The Informer is, to this date, the only film to win the New York Film Critics Circle award for Best Picture by a unanimous vote on the first ballot.  John Ford was acclaimed Best Director.  The National Board of Review named The Informer Best Picture.

Oscar wins
Best Actor in a leading role, Victor McLaglen
Best Director, John Ford
Best Writing, screenplay, Dudley Nichols
Best Music, score, Max Steiner

Oscar nominations
Best Picture (winner, Mutiny on the Bounty)
Best Editing, George Hivey (winner, Ralph Dawson, A Midsummer Night's Dream)

At the time of the release of The Informer John Ford was active in the Screen Directors Guild as treasurer and fervent supporter of labor.  The Guild boycotted the Academy Awards that year and Dudley Nichols and John Ford refused their awards.  A few months after the event John Ford chose to accept his well-deserved award and his ties with the Guild were irreparably broken.

In the cyclical nature of motion picture criticism and assessment, The Informer has gone through periods where it has taken hits as "not living up to its reputation", even from its creator.  I don't know where it stands currently in the minds of the great thinkers.  Personally, the characters, the conflict and the masterfully controlled and visually exciting storytelling leaves my gut wrenched and my heart singing.

I'm very grateful that Krell Laboratories and Bemused and Nonplussed for hosting The John Ford Blogathon from July 7 - 13 and so will you be when you check out the insightful articles from passionate writers.    
   


Quotes
Pappy: The Life of John Ford by Dan Ford

Tuesday, July 1, 2014

Caftan Woman's Choice: One for July on TCM


Ah, summer.  Many folks long to get away from the day to day routine of life.  Maybe visit an exotic location.  Meet some interesting people.  Have an adventure!  Can't get away?  Well, that's where movies come in handy.  We can hit the road to an exotic location, meet some interesting people and have an adventure all from the comfort of our favourite chair.

Our behind-the-scenes tour guide on the trip known as The Big Steal is Don Siegel, early in his career change from editor and montage creator (The Roaring Twenties, Gentleman Jim) to director (Invasion of the Body Snatchers, Charley Varrick).  Our on-screen hosts are Jane Greer and Robert Mitchum, stars of 1947s Out of the Past as a couple with a twisted, angst-filled relationship that drips pure noir.  This time around the characters played by our attractive leads do not have a past, but a present filled with danger.

Jane Greer, Robert Mitchum

The Big Steal, based on crime and western writer Richard Wormser's The Road to Carmichael's, is a road picture filmed on location in Tehuacan, Pueblo and at the Iverson Ranch.  A gentleman by the name of Fisk played by Patric Knowles (The Adventures of Robin Hood, Auntie Mame) is a very popular fellow.  His former fiance played by Jane Greer is most anxious to locate him and the $2,000 he "borrowed".  Robert Mitchum is after Fisk for reasons which are initially unclear, but may parallel Ms. Greer's somewhat.  Hot on Mitchum's tail is a door crashing, gun toting, hot headed William Bendix (The Blue Dahlia, Kill the Umpire).  When there's a door crashing, gun toting, hot headed guy following you, you just want to keep moving, but watch where you're going as you might bump into a fussy art dealer played by John Qualen (The Grapes of Wrath, Casablanca). 

These visitors to Mexico may well give tourists a bad name.  They lie, cheat, speed, shoot and make general nuisances of themselves all over the countryside.  None of their actions go unobserved as a very cool and smart official in the form of Inspector General Ortega played by Ramon Navarro (The Cat and the Fiddle, Ben-Hur: A Tale of the Christ) works his own agenda.

The great fun in The Big Steal is the relationship between Greer and Mitchum that begins with outright dislike and progresses to wary admiration then trust through their masterful way with wisecracks and innuendo.  The vigorous chase scenes and characterizations make The Big Steal a joy to watch.

TCM has a day of crime pictures on tap Tuesday, July 8th.  Check out The Big Steal scheduled for 4:15 pm.  It's a dandy!

Friday, June 27, 2014

MGM Blogathon: Three Godfathers (1936)


I'm thrilled to be taking part in the MGM Blogathon sponsored by Diana and Connie of Silver Scenes and running from June 26th - 29th.

MGM is justly renowned for its epics such as Ben-Hur: A Tale of the Christ and The Big Parade, its meticulously crafted costume dramas like Camille and Marie Antoinette, and its gloriously talent-stuffed musicals like Singin' in the Rain and The Wizard of Oz.  MGM is not the first studio that leaps to mind when considering that Hollywood staple, the western.

The studio's western output of the 1920s is barely more than a dozen features, but they can boost of a genuine genre star in Tim McCoy.  The real life sharpshooter and Native expert's storied career from soldier to film star to Ringling Brothers performer would be as interesting as any of his movies.  In the 1940s MGM's westerns were mainly used as buffoonish vehicles for Wallace Beery (Jackass Mail, The Bad Man).  They stepped up during the 1950s, a golden era for the genre, releasing a small but laudable group of titles including Devil's Doorway, Stars in My Crown, Westward the Women and The Naked Spur.

MGM's western output in the 1930s was dismally sparse and included mainly musicals like the operetta The Girl of the Golden West with Jeanette MacDonald and Joan Crawford in Montana Moon, and comedies such as William Haines in Way Out West and Frank Morgan in Henry Goes Arizona.  However, in the middle of the decade MGM surprises us with a gritty and artistic version of a venerable story by Peter B. Kyne.

The timeless Christmas tale of redemption The Three Godfathers first published in 1913 is the story for which Peter Kyne is best remembered thanks to the many film versions beginning in 1916 with The Three Godfathers directed by Edward LeSaint up to television with 1974s The Godchild directed by John Badham.  William Wyler's Hell's Heroes in 1929 was the first sound version of the story.  You can read Jim Lane's excellent article on that film here.  The animated features 2002s Ice Age and 2003s Tokyo Godfathers owe more than a passing debt of gratitude to that long ago Saturday Evening Post serial.  Spoiler alert:  the discussion of the story and film here will make the bold assumption that you are familiar with The Three Godfathers either in its original form or from one of its many filmed adaption.


"Four Bad Men had ridden into Wickenburg that December afternoon, but only three rode out.  One of the three had a bullet hole through his left shoulder."

The Worst Bad Man, The Wounded Bad Man and The Youngest Bad Man make their way across a desert to elude a posse and come across a stranded and recently widowed young woman about to give birth.  The unfortunate woman asks the unholy trio to care for her child, placing most of her hope on The Youngest Bad Man.  The Wounded Bad Man is the first to realize that their young compatriot is the truest hope for the child as neither he nor The Worst Bad Man possess the strength to complete the arduous journey to civilization after the loss of their horses and potable water.  The Youngest Bad Man, a newcomer to the outlaw world, is also the purest of the trio and one The Wounded Bad Man hopes will be able to go forward and live a more blameless life for the sake of his fellows.

Richard Boleslawski, Jean and Judith Kircher, Joseph Ruttenberg

The screenplay for this 1936 film version of the story is by Edward E. Paramore Jr. (The Virginian, The Bitter Tea of General Yen, Three Comrades) and Manuel Seff (Woman Chases Man, Trouble for Two, Blessed Event).  Joseph Ruttenberg, four time Academy Award winning cinematographer (Gigi, Somebody Up There Likes Me, Mrs. Miniver, The Great Waltz) here plied his trade on location at Mojave and Red Rock Canyon State Park.  The sense of desolation and weariness brings the viewer uncomfortably into the world of the story.  

Three Godfathers was directed by Richard Boleslawski (Rasputin and the Empress, Les Miserables, Theodora Goes Wild).  Director Boleslawski is described by actress Marilyn Knowlden (young Cosette, Les Miserables) in her autobiography Little Girl in Big Pictures as "a great bear of a man ... perfectly costumed in the role of director, with his leather-front sweater, pipe, and ascot tie."  Boleslawski, a student of Constantin Stanislavski, was at the forefront of bringing that "method" of acting to the 20th century theatre.  He founded the American Laboratory Theatre in 1923, and published Acting: The First Six Lessons in 1933.  Spontaneity and sincerity were the hallmarks Richard Boleslawski sought from his actors.


Chester Morris, Irene Hervey

The setting of New Jerusalem is presented as the hometown of Bob, The Worst Bad Man, played by Chester Morris (The Big House).  He takes a particular glee in robbing the "hypocrites" at Christmas.  Bob torments his former love, Molly, played by Irene Hervey (Destry Rides Again) and her betrothed, a bank clerk played by Robert Livingston (The Three Mesquiteers).  The vibrant Morris gives us a character brimming with cynicism and contempt.  Everyone is a sucker and he uses their sentimentality against them.

Chester Morris, Walter Brennan, Lewis Stone

Lewis Stone (Grand Hotel) plays the outlaw known as "Doc", The Wounded Bad Man, and by his manner and interactions with the townspeople we learn that he is an educated man from New England, a wry observer of humanity.  It is Doc who clearly sees the hopelessness of their situation, keeps Gus on the side of the angels, and uses all of his power to convince Bob to "give the kid a break".  Bob's chilling response: "I'll give him a break.  If he wants to crawl to New Jerusalem I won't stand in his way."  For it is back to New Jerusalem they must travel, the shortest way to civilization, the longest way to Bob's redemption.  Doc is the first of the trio to die.  In a quiet and unforgettable scene, Doc, alone with his books and a gun, recites Macbeth's famous soliloquy from Act 5 of that play.  We hear Stone's resonant voice as the camera follows Gus and Bob walking away with the baby, then a shot.

Walter Brennan (Red River) plays "Gus" who claims to be the world's oldest outlaw.  At first glance Gus appears to be a stock comic relief character, but he proves to be quick on his feet, adept at his trade and entirely loyal.  Gus is a man seemingly addicted to lying, but played by Brennan with a refreshing lack of artifice.  On one level he has understood the import of their task, but the only way he can continue is by trying not to think about this being his end.  When the full realization of his situation hits him Gus recites a prayer from his childhood, ashamed that he cannot recall it entirely and embarrassed by Bob's cynical derision.  While Bob and the child sleep, Gus will wander off into the desert to die.

The baby in this version of the story is a sturdy, trusting crawler starting to teeth (twins Jean and Judith Kircher), rather than a newborn.  After Gus' death Bob takes the loot and leaves the child on a blanket.  A few yards from the infant Bob turns and fires his gun.  He has shot a rattlesnake crawling perilously close to the child.  Bob admonishes the baby for making him kill the innocent critter.  The die is cast.  

Kyne's original story does not specifically state that The Youngest Bad Man dies when he reaches the next town with the baby, only that he collapses.  The extent of his privations lead his death to be a natural conclusion, but prior to arriving at the saloon he has been imagining the life he will make for himself and the baby.  In John Ford's 1948 version of 3 Godfathers (an Argosy Pictures production distributed by MGM) that dream is realized in the ending.  You can read Kevin Deany's look at that film here.  Ford had filmed the story previously in 1919 as Marked Men starring Harry Carey.  I don't know how he ended that film, but I hope that as in the 1948 film he included my favourite part of the book.  It is when the outlaws struggle to care for their helpless charge following instructions from a 19th century Dr. Spock.

The 1936 film gives us no doubt as to the fate of Bob, The Worst Bad Man.  An hour away from New Jerusalem and knowing his strength is failing, Bob drinks from a poisoned water hole.  Doc had mentioned when they had passed this way on the run that the poison would take about an hour to kill.  Bob's sacrifice is done with this knowledge.  He stumbles into New Jerusalem and, more dead than alive, drags himself to the front of the church during Christmas service.  He places the child in Molly's arms and leans against a pillar where hangs a crown of thorns before collapsing in death.  The last close-up of the film is not on the man we have journeyed with, but with his legacy as Molly resolutely leaves the church with the rescued child.  The hope of the Three Bad Men.

The Three Godfathers is an unforgettable story that works as much as an adventure as an exploration of the depths of men's souls and the ironic twists of fate.  It is understandable that it has inspired so many films.  The IMDb lists two films projects as currently under production, one with a contemporary setting.  Using the same plot different directors and screenwriters have been able to reach our hearts and minds, with audiences claiming one or more of the films as "ours".  The rugged determination in the face of destruction is what touches me most in Richard Boleslawski's Three Godfathers.

 


Saturday, June 21, 2014

1967 in Film Blogathon: Who's Minding the Mint?


Today we travel to 1967 in Film for a blogathon co-sponsored by Silver Screenings and The Rosebud Cinema.

Canada celebrated its Centennial in 1967 and the most successful World's Fair of the 20th century, Expo '67, made Montreal a happening destination.  I received my first wristwatch for my 10th birthday.  Little Women was my favourite book, The Jungle Book my favourite movie and my favourite pop groups were The Seekers and The 5th Dimension.  I loved to snack on Humpty Dumpty Potato Chips and Buried Treasure ice cream treats.  All my TV crushes wore cowboy hats.  My observations of adults in general, and the goings on on Search for Tomorrow in particular, led me to the conclusion that grown-ups were a screwy and emotional lot, and I feared for my impending journey into adulthood.  It was all downhill from here!  It is perhaps a good thing that I didn't see Who's Minding the Mint? as a serious minded 10-year-old.  Talk about your screwballs!
  
Walter Brennan, Jim Hutton

Harry Lucas (Jim Hutton, TVs Ellery Queen) is a man with a plan.  By day he is an average, fairly disgruntled wage slave at the U.S. Mint.  He draws to himself the unwanted friendship of old coots (Walter Brennan, TVs The Real McCoys) and pups, the unlooked for romantic attentions of nice girls (Dorothy Provine, TVs The Roaring Twenties), and the suspicions of officious middle management types (David J. Stewart, TVs The Defenders).  By night, courtesy of sample promotions and installment plans, Harry lives the high life with snazzy cars, snazzy apartments, snazzy suits and snazzier dames.  Life is good until fate places Harry in a sticky situation making him responsible for the loss of 50,000 samples of his employer's product.

Harry needs another plan.  Somehow he must replace what has been lost before the long arm of the law puts the kibosh on all that is snazzy.  His pal Pop can help as he wants one more kick at the presses before his retirement forced by a soon to be implemented automated system.  Verna, whose affection is behind the trouble, can access necessary plates and would do anything for Harry.  It's a start.

The services of a safe cracker are required and Pop knows just the man.  Avery Dugan (Jack Gilford, TVs Soap) is about to get out of the Pen.  He's down on his luck and hard of hearing.  Every gang needs a deaf safe cracker!  Armies march on their stomachs and crooks on a big job need backing and supplies.  Meet Luther Burton (Milton Berle, TVs The Milton Berle Show), a pawnbroker with a generous streak of larceny.

Entering such a visible edifice as the Mint in the dead of night requires stealth and knowledge of the city's underground tunnel system.  Meet the sewer guy, Ralph Randazzo (Joey Bishop, TVs The Joey Bishop Show) who is always short of funds.  For lookout there is Ralph's cousin Mario (Jamie Farr, TVs M*A*S*H).  English is his second language, or would be if he had a second language.  Their entry to and exit from the underground tunnel system is located under a most inconvenient window.  There must be a way to keep the apartment's occupant occupied.  Awkward ice cream peddler Willie Owens (Bob Denver, TVs Gilligan's Island) is like catnip to kooky artist Imogene (Jackie Joseph, TVs The Doris Day Show).  He'll keep her busy!

Jim Hutton, Dorothy Provine, Jack Gilford
Milton Berle, Walter Brennan, Joey Bishop, Victor Buono

The atmosphere of sewers being somewhat damp, it is determined that watercraft of some description be obtained for the reverse raid.  You will never meet a more stalwart and focused mariner than "Captain" (Victor Buono, TVs Batman).  Perhaps as a fan of the movie you have your favourite from among the zanies in the cast.  Mine is Victor Buono as "Captain".  I have only to think about his accent and his single-intentioned performance to lapse into convulsions.  

Harry is a man with a gang or does the gang have Harry?  What's a few minutes more in the Mint?  What's a few more runs of the press for a few dollars more evenly split among the worthies?  It is the way of all heist flicks that one thing interferes with the strength of a well-rehearsed plan and so it is with ours when the Mint moves up the date of automation.  You know how it is when you've planned something one way and suddenly it's not how you expect.  There will be glitches and these glitches in Who's Minding the Mint? are hysterically and impeccably funny as these mismatched misfits of mayhem doggedly carry out "the plan".


Howard Morris, genius

Who's Minding the Mint? is my idea of the perfect 1960s comedy.  How can it fail being directed by a certifiable genius in the comedy line, Howard Morris (TVs Caesar's Hour, immortal as Ernest T. Bass on The Andy Griffith Show, Hanna-Barbera performer)?  Under Morris' direction the consummate ensemble plays the witty lines and sight-gags for maximum effect.  The score by Lalo Schrifin has the driving insistence of his Mission Impossible theme, but with a goofy, off-kilter bounce.  The sights and sounds of Who's Minding the Mint? bring me back to the world of yesterday and makes today just that much more amusing with its all or nothing wackiness.




Monday, June 9, 2014

Let's Go to the Movies: The Navigator (1924)



What's better than a Sunday afternoon at the movies?  How about Silent Sundays at the Revue Cinema. Throughout the year, Silent Sundays gives Toronto movie fans the chance to enjoy silent era shorts and features at the saved-from-the-brink charming Revue Cinema on Roncesvalles Avenue in west end Toronto.  Nolan girls of various ages and shapes can often be found in attendance.  One of us, Maureen, is the official tweeter (@SilentRevue) for the group.


Real movie theatre popcorn.
It's what they munch in Asgard.


It was with unspoken assent that Nolan girls planned to attend The Navigator on June 8th, but it turned into something even more special than a regular #TeamBuster outing.  It was niece Lenny's first at-the-movies movie experience!  Her first movie theatre popcorn!  Her first Buster movie!

I have had the opportunity to see many of Buster's films in theatres in recent years and never have I shared more laughs with an audience be it a short like The Neighbors or an acclaimed feature like The Cameraman.  When the lights go up you can actually feel the ache of stomach muscles.

Girls Go Wild!
Lenny with her cousin Janet, Aunt Paddy, Aunt Maureen, mom Tracey, Aunt Paula
(dad Jim was the photographer)


1924s The Navigator co-directed by Buster and Donald Crisp is one of Keaton's most popular features.  A rich young sap and the rich young lady who spurned his marriage proposal are trapped on a luxury liner set adrift by spies.  Her father sold the ship, spies bought it and other spies want to wreck it.  It's the MacGuffin.  The fun begins when these two babes at sea have to fend for themselves far away from civilization.  Among the biggest laughs at yesterdays screening were the scene where Rollo (Buster) and Betsy (Kathryn McGuire) are running around the ship and keep  missing each other, and the clever cameo from director Donald Crisp.  Lenny, an aficionado of Margaret and H.A. Rey's Curious George was particularly fond of the scene where the monkey showed up.

It is especially heartwarming at silent film screenings to see families attending with their children.  Kids laugh the loudest and it is wonderfully contagious.  Lenny's excitement in the lobby when she saw the poster, "Look!  It's the picture of Buster in his under water outfit!" caused a ripple of smiles down the queue of ticket buyers.

Makia Matsumura and Lenny
Not the usual "first movie" experience.

Here's Lenny with accompanist Makia Matz, a large part of the wonderful experience of enjoying Buster's The Navigator.  A great time was had by all, and we want more.  Silent Sundays curator Alicia Fletcher mentioned that before the summer is over they will have a screening in Lenny's east end neighbourhood.  We're there!  The fall season will start off with Josef von Sternberg's Underworld, which has long been on my wish list.  It's not exactly a Lenny movie, but Janet has already committed.  Toronto is lucky to have Silent Sundays at the Revue.