Classic Film and TV Cafe

The Man in Grey (1943)

2012-02-11T05:13:00.000-06:00

First off, please don’t tell me I’ve misspelled “grey”—as this is a British film, so the title will be spelled in proper English. Second, I am not surprised that you haven’t seen this—it’s rarely (if ever) shown on TCM and is unavailable on DVD in the USA. Lastly, you should find a way to see this, as it is so outrageously different from anything in early-1940s English-speaking cinema.

The Man in Grey (1943) is a Gainsborough Pictures melodrama starring James Mason as Lord Rohan (literally the man in grey) and Phyllis Calvert as Clarissa (AKA Lady Rohan). Ah, but they weren’t the real stars of the film, as Margaret Lockwood got top billing playing one of the most deplorable characters of her career—Hesther Barbary! Based on Lady Eleanor Smith’s 1942 novel of the same name, the film is set during Regency England (1811-1820) and tells the story of how a beautiful, ebullient woman has her life ruined by a callous husband and a calculating “best” friend. Quite simply, if I didn’t know the story was written by an Englishwoman, I would have thought it was French!

How can I describe this without telling you everything—thus ruining it (sort of) if you ever see it for yourself? Little known British director Leslie Arliss must have been given free reign to do whatever he liked with Margaret Kennedy and Doreen Montgomery’s adapted screenplay—that should tell you all you need to know: woman author + 2 woman screenwriters = wickedness gone wild (especially for 1943). In addition, it’s a costume melodrama, so the wardrobe and sets are somewhat gothic, which gives the film an almost otherworldly feel.

Calvert’s blonde Clarissa represents innocence and goodness; Lockwood’s brunette Hesther represents evil and sinfulness. They meet at Miss Patchett's school for young ladies, where Clarissa is beloved by all and Hesther is shunned by everyone but Clarissa. When they meet a gypsy fortune teller (Beatrice Varley) she sees bad things to come for the two girls. Obviously foreshadowing and foreboding are necessary elements of any good melodrama, so this is no surprise. What is a surprise is how these bad things happen and by whom.

Eventually, Hesther runs off and elopes with a local soldier and Clarissa meets and marries the man in grey, Lord Rohan. To say that he his less than doting would be an understatement. When asked why he married her, Rohan says Clarissa was pretty, healthy and able to produce an heir. James Mason is beyond brooding as Rohan, and, I must say, every bit the S.O.B. He lives by his family crest, which reads “He who dishonors us dies.” Hence, he enjoys duels. He also enjoys bad women, so when Clarissa brings the recently widowed Hesther into their home he finds her to his liking. Hesther’s been through some hard times and has turned into quite the opportunist since her school days. She wants everything that Clarissa has and she has no qualms about getting what she wants. I can’t recall Lockwood ever playing such an out-and-out bitch. She makes you hate Hesther—there is nothing, and I mean nothing, redeeming whatsoever about her.

Yet, don’t feel too sorry for Clarissa. Once she produces a son (which she and we never see) Rohan lets her do whatever she likes as long as it doesn’t dishonor his name. Also, for some reason, she is completely oblivious to the fact that her husband and best friend are carrying on a torrid affair—though I doubt she would have cared anyway, but it would have made her less likely to trust Hesther’s advice in her own illicit affair. Yes, Clarissa must have been attracted to no-good men, because she falls for another rogue in Rokeby (Stewart Granger). And, this sets up two very shocking events, both of which Hesther plays a crucial role. I won’t say what happens, but you will be both repulsed and outraged.

There are a few things that make this film standout (some good, some just bizarre). The affair between Rohan and Hesther is brazenly presented for our eyes. One scene has her leaving Rohan’s bedroom in the middle of the night and creeping back to her own. Just so many amoral characters running about in 1943 England when the Brits are trying to win WWII just seems wrong, but this is the only good thing about the film.

Another thing that stood out for me was Clarissa’s slave boy Toby, played by Harry Scott. Okay, please don’t get upset about what I’m about to say, but what the hell! If you have seen this, please explain to me whether Harry Scott was black or if he was a white child in blackface. When I checked on IMBD he only had one film credit and there is no information listed about him. I know it sounds strange, but every scene he was in I couldn’t take my eyes off him (and not because his performance was great because it surely was not), because I was so shocked. They couldn’t find a black child somewhere in England to play this part? The things I find fascinating!

Okay, so what’s the final assessment? The Man in Grey is an average movie with an above-average cast. The final ten minutes of the film are what makes it memorable. Once you see how far Hesther will go to get what she wants you will never forget it—nor what she gets in return for her loathsome behavior. If you are interested, email me and I will inform you where you can procure a viewing.

John Frankenheimer Counts Down "Seven Days in May"

2012-02-08T21:00:00.000-06:00

John Frankenheimer followed his classic The Manchurian Candidate (1962) withthis equally original political thriller. Rod Serling’s taut screenplayinterweaves the stories of three men: President Jordan Lyman (Fredric March),whose popularity has plunged as a result of pushing for a nuclear arms treatywith Russia; General James Mattoon Scott (Burt Lancaster), the influential,egotistical head of the Joint Chiefs of Staff; and Marine Colonel “Jiggs” Casey(Kirk Douglas), a key member of Scott’s staff.

The still-timely political debate isneatly conveyed in the opening scene of protestors marching outside the WhiteHouse. One group is holding up signs that proclaim: “Peace on Earth or No Earthat all!” The other protestors wave posters with slogans like: “Don’t ban thebomb Stupid—Ban the Treaty.”

The President.

After this prologue, Colonel Casey setsthe plot in motion when he learns of a top secret message involving a PreaknessStakes betting pool. Later, he meets Colonel Henderson, an old friend, whomakes an odd comment about his Army unit: “It’s funny…we spend more timetraining for seizure than prevention.” Casey continues to collect more unusualclues—none of which means much individually. However, they slowly lead him to astunning realization that has ramifications upon the very nature of ourdemocracy.

Part mystery, part suspense film, Seven Days in May is a rare motionpicture in which the outcome is always in doubt until the climax. Thatuncertainty is a testament to Frankenheimer’s craftsmanship as a filmmaker. Healso excels in making excellent use of his settings and in making time animportant element in the film. Frankenheimer gives us a complete tour of thenation’s capitol—from the Pentagon’s chambers to the President’s study to darkalleyways where deals are made. And, after cueing us into the fact that something will happen on Sunday, hecounts down each day, leading his characters to their inevitable confrontation.

The General.

In Serling's screenplay, President Lyman and General Scott initially appear to be polar opposites. Scott comes across as a strong, charismatic leader convinced that a nuclear threat is the only way to hold the Soviet Union in check. Lyman, on the other hand, seems bland, weak, and unpopular (his approval rating is a disasterous 29%). Lyman can't even convince his own military leaders that peace is the best option. However, as events unfold, these initial perceptions are put to the test. One realizes that Lyman's conviction to stay his course despite an onslaught of criticism is a testament to his inner strength. In contrast, Scott's impatience and ego propel him to attack the very foundations of our country, using its best interests--as interpreted by him--as an excuse.

The man in the middle.

Though March and Lancaster are compelling as the protagonists, Kirk Douglas grounds the film with his excellent performance as Jiggs. It's a great role, as Jiggs is the man in middle whose compass shifts from one man to the other--as the audience moves along with him.

Seven Days in May represented a career peak for director John Frankenheimer. He continued to makeinteresting movies in the 1960s with TheTrain (1964), the cult classic Seconds(1966), and Grand Prix (interesting from a technical standpoint). However, his career faltered in the 1970s, with critics drubbing Prophecy (1979), an entertaining monsterfilm with an environmental message. Toward the latter part of his career, heearned recognition again with well-reviewed made-for-cable films.

Ironically, Seven Days in May was remade as the 1994 cable movie The Enemy Within, but it was notdirected by Frankenheimer. The cast featured Sam Waterston as the President,Jason Robards as the general, and Forest Whitaker as Casey.

May "The Best Man" Win

2012-02-06T14:00:00.000-06:00

Russell (Fonda) contemplates
his future.

A political convention provides the backdrop for The Best Man, a 1964 adaptation of Gore Vidal's stage play about the maneuverings of a pair of would-be presidential nominees. Henry Fonda plays William Russell, the current Secretary of State and a self-confessed egghead who spouts quotes, jokes with reporters, and avoids rumors about his philandering. Cliff Robertson portrays his opponent, Senator Joe Cantwell, a fiery politican who rose from humble beginnings and gained fame trying to connect the mob to communists. With Russell holding a slim (but undecisive) lead among the delegates, each man seeks the endorsement of the party's popular former president, Art Hockstader (Lee Tracy).

In a candid conversation with Russell, Hockstader reveals that he's dying from cancer. It's clear that these men value their friendship and respect each other, but Hockstader also harbors concerns about Russell's indecisiveness. He confides to his friend: "Sometimes, you get so busy thinking how complex everything is that the important problems don't get solved." After the meeting, when Russell's wife and his campaign manager ask if he got the endoresement, Russell replies: "It's what he (Hockstader) didn't say. He's going to support Joe Cantwell."

Cantwell confronts an accuser.

Cantwell, though, is convinced that the former president will endorse Russell. He meets with Hockstader and shows him medical documentation that Russell once suffered a nervous breakdown. Cantwell believes this knowledge will sway Hockstader to shift his support. Instead, the plan backfires. Hockstader, already aware of Russell's past, tells Cantwell: "I don't object to you being a bastard. It's your being such a stupid bastard that I object to." As Cantwell storms out of the hotel room, Hockstader informs him that he just lost the endorsement.

That evening, during the pre-convention dinner, Hockstader surprises everyone when he endorses no one. Without a clear favorite, the party's nomination is truly up for grabs--and that's when the political chess moves really begin.

The former president endorses no one.

A heavy dose of cynicism permeates The Best Man, most notably in the unexpected ending. Vidal, who adapted his play, takes potshots at everything from the candidates' posters ("Hustle with Russell") to their carefully orchestrated political ploys. In one scene, as Russell and his staff view a "spontanteous demonstration" on the convention floor, a staffer comments that it's supposed to last for twenty-two minutes. One suspects that Hockstader best represents Vidal's own views, with dialogue such as (spoken to Cantwell): "It's par for the course when you fool people."

Still, The Best Man is a film with neither heroes nor villains. Cantwell may be ruthless, dangerously ambitious, and willing to distort the truth. However, he is also a faithful, affectionate husband who is innocent of key accusations made against him. Furthermore, as Hockstader notes, he "knows his own mind"--which might make him a better president than Russell. As for Russell, he is certainly more likable, but has cheated on his wife, may lack decisiveness, and finds himself a hostage of his own ego ("I never pass a mirror I don't look in...I wonder why?").

Fine performances abound in the The Best Man, with Robertson and Fonda at the top of their games. Lee Tracy steals many scenes, but then Vidal gives Hockstader most of the juicy dialogue. Tracy originated the role in the 1961 stage version of The Best Man and won a Tony. He received an Oscar nomination for Best Supporting Actor for the film version (losing out to Peter Ustinov in Topkapi).

An intelligent examination of American politics, The Best Man shares many similarities with the earlier Advise and Consent (e.g., Fonda is a nominee for Secretary of State in the latter film, Robertson and Don Murray cope with similar allegations). It may lack the intensity of Advise & Consent, but it's a rewarding, still relevant film. It also foreshadowed two of the darker periods in American politics: In 1972, Senator Thomas Eagleton, George McGovern's running mate, resigned as the vice presidential nominee when it was revealed he had been treated for depression; The Best Man was filmed at the Ambassador Hotel in Los Angeles, the place where Robert Kennedy would be assassinated in 1968.

The Reckless Moment (1949)

2012-02-04T02:18:00.000-06:00

Who knew a 1949 film starring James Mason and Joan Bennett would be so obscure? It took me years to finally see this, and this would not have happened if TCM hadn’t finally premiered it this past January. TCM has been on the air for almost thirty years, you would think The Reckless Moment might have found its way to the airwaves before now. Yet, sometimes there are reasons a film doesn’t show up on TCM very often: it’s not popular, contract rights, lost prints, etc. Or, in the case of this film, it’s just not that good and not many people are clamoring to see it. I suppose if the 1001 Movies You Must See Before You Die book hadn’t listed it in its first edition many people wouldn’t have requested that TCM show it. Ah, so much anticipation but so much disappointment—it reminds me of my first (and only) encounter with caviar. For years I’d seen rich people on TV and in movies praise the glory of this delicacy, so imagine my disappointment when I tasted what amounted to salty Pop Rocks (without the sugar) in my mouth at a college luncheon. How can you tactfully spit out such swill when you are surrounded by inquisitive academics who have a really bad habit of invading your personal space? Perhaps my experience with The Reckless Moment wasn’t as bad as the one with caviar, but it was such a letdown.

The great Max Ophuls only directed four Hollywood films: The Exile (1947), Letter from an Unknown Woman (1948), Caught (1949), and this less than stellar endeavor. Of the four, only Letter from an Unknown Woman showcases his true brilliance. Many critics would disagree with my assessment of The Reckless Moment, as one has went so far as to call it a masterpiece on par with Ophuls’ French marvels The Earrings of Madame de…(1953), Lola Montes (1955), and La Ronde (1950). I can’t bring myself to say this for many reasons—the most important being I can’t decide what type of film it is. Is it a film noir or a melodrama? Personally, it feels like a combination of both, and I don’t like to mix oil and water together.

Joan Bennett plays Lucia Harper, mother of two and fixer of all. When her incessantly annoying teenage daughter Bea (Geraldine Brooks) gets involved with an unsavory older man named Darby (Shepperd Strudwick), she pays the man a visit and threatens him. After an unfortunate accident involving her daughter, in which Darby falls from the Harper’s pier and unto an anchor, Lucia must drag the body out to sea and dispose of it. Not long after this unusual chore, a very calm Irish thug named Martin Donnelly (James Mason) shows up and demands $5,000 for some letters Bea wrote to Darby.

Donnelly’s interactions with the entire Harper family can only be described as bizarre. I think this is what I most dislike about the film. There are few would-be movie gangsters that I recall being polite and friendly to those from whom they are extorting money. He gives horseracing tips to the father-in-law (Henry O’Neill) and helps Lucia’s son (David Bair) fix something on his car. Oh, and then there is his quick infatuation with Lucia herself. Mind you, an infatuation he knows can’t go anywhere since she thinks he’s scum. Perhaps it was the short running time (a brisk 82 minutes) or the Hollywood constraints Ophuls found himself working under, but I couldn’t believe the sacrifices that Donnelly makes for Lucia. While unfulfilled love is a consistent Ophuls’ theme, it does not work here.

The acting is not the issue, as both Mason and Bennett give good performances. He is quietly menacing and she is confidently controlled. Mason comes off as his usually does—as though he isn’t trying. To me, Bennett’s character is the more interesting of the two. No matter what comes her way, Lucia always seems to steady herself and continue on with a cigarette in one hand and a plan in the other. Thrown into a world so unlike her own she never seems to change—it’s perfectly natural that a blackmailer is in her living room and that her father-in-law wants to invite him to dinner. Perhaps if Ophuls had had more time to develop the story, or if the writers had written a better adaptation of Elizabeth Sanxay Holding’s “The Blank Wall”, Bennett’s strange performance could have saved this picture. Who knows?

One thing, on a sort of side note, that we do know is that Bennett would personally find herself in a somewhat similar situation in 1951 when her husband, Walter Wanger (who produced this film), shot Bennett’s agent, Jennings Lang, because he was having an affair with Bennett. Wanger’s sensational attempted-murder trial rocked Hollywood. Wanger pleaded temporary insanity (the crime of passion defense) and served four months. Oddly enough, Bennett and Wanger remained married until 1965. It is said that the clandestine meetings between Bennett and Lang were an inspiration for Billy Wilder’s The Apartment (1960). The event effectively ended Bennett’s film career, she would only make a handful of movies following the incident.

Preminger Takes an Insider's Look at Politics in Advise & Consent

2012-02-02T05:00:00.000-06:00

Like TheDay the Earth Stood Still, Advise& Consent is one of those rare films whose themes never seem to age. Even its plot has held upremarkably well. When I watched it a few years ago, President George W. Bush wasencountering opposition from the Senate—and his own party—on the appointment ofRobert Bolton as United Nations ambassador. In Advise & Consent, the President (his name is never given) clashes with the Senate and hisown party on his nomination of a liberal academic to become Secretary of State.

Fonda as the President's pick.

His nominee Robert Leffingwell (HenryFonda) isn’t even sure he wants the job at first. But the President (FranchotTone), whose ailing health threatens the future of his policies, remainssteadfast in his choice. Even a potentially scandalous secret from Leffington’spast can’t convince the Commander in Chief to alter his position. ThePresident’s unyielding stance sets into motion a political chess match in whichSenators take sides and people become pawns. (The chess analogy is aninteresting one: Walter Pidgeon, who fights for Leffingwell, wears a dark suit;Charles Laughton, who opposes him, wears white).

Laughton on the Senate's floor.

The characters come alive courtesy of an exceptionalcast: Laughton as the curmudgeonly senior senator from South Carolina; Pidgeon as the President’s right-handman; Don Murray as a bright well-intentioned junior senator with his ownsecret; George Grizzard as an overly ambitious right-winger; Peter Lawford as ateam player who finally sees through the hypocrisy; and Lew Ayres as an ignoredvice president who may be stronger than people think.

My favorite aspect of the film, though, isits “behind the scenes” look at Washingtonpolitics. A powerful senator, not selected for a subcommittee, pulls strings sohe can influence a hearing as an “observer.” Strategists project votes todetermine when they think they have enough to make their move. An ambitious juniorsenator campaigns to be selected as a committee chair. There are subtle threatsof blackmail and not-so-subtle ones. Allen Drury, who wrote the Pulitzer Prize-winning bestseller on whichthe film was based, spent several years as a political reporter. His insiderlook is revealing and engrossing.

Pidgeon and Gene Tierney,
Preminger's Laura.

I'm often surprised that director Otto Preminger is mentioned so rarely in conversations about great directors. It may have to do with his versatility. Many of the great filmmakers are associated with certain types of films, such as Hitchcock and suspense, Ford and Westerns, and Lubitsch and comedy. But Preminger, like Billy Wilder, could make a movie about anything: film noir (Laura); comedy (The Moon Is Blue); social drama (The Man With the Golden Arm); courtroom drama (Anatomy of a Murder); or suspense (Bunny Lake Is Missing). His direction is subtle and flawless in Advise & Consent, inconspicuously moving along the dialogue-driven plot.

The 1960s were a banner decade forpolitical dramas. The Best Man (1964),about two men seeking their party’s presidential nomination, is a finecompanion piece to Advise & Consent (interestingly,it also shares a key subplot and also stars Henry Fonda). And though it’s moreof a thriller, Seven Days in May (1964)provides a sharp portrait of a president facing a leadership crisis. All threefilms hold up amazingly well today and come highly recommended.

Want to Participate in the Cafe's Classic Movie Dogathon?

2012-01-30T16:59:00.000-06:00

On February 19-22, the Classic Film & TV Cafe will host its first blogathon. Combining our love of dogs and cinema, it will be a Classic Movie Dogathon! Click here to check the schedule for this tail-wagging event.

For any bloggers interested in participating, here are the rules:

1. Your post must be about a classic film that features a dog in a prominent role or you can profile a famous canine performer such as Skippy (better known as Asta) or Pal (aka Lassie). Animated films are welcomed, as course, as there are a host of fine Disney dog movies.

2. It's a Classic Movie Dogathon and, for this event, we'll define "classic" as a film made before the mid-1980s.

3. The content of your post cannot contain obscene, indecent, or profane materials or links to such materials.

4. Send an e-mail with your film's title and desired posting date (if you have one) to classic.film.tv.cafe@gmail.com by February 14th. Please put "Classic Movie Dogathon" as the title of your e-mail.

5. Only one post will be accepted for each film. So, don't delay if you want to review a popular dog movie. I'll try to accomodate desired posting dates, but can't make any guarantees.

That's it. If you have any questions, please send an e-mail. We're looking forward to a great Dogathon!

The Grapes of Wrath (1940)

2012-01-29T02:00:00.000-06:00

You don’t get more of a Depression-era film than director John Ford’s The Grapes of Wrath (1940). Based on John Steinbeck’s Pulitzer Prize winning novel of the same name, the story follows the displaced Joad family from the Dust Bowl of Oklahoma to the sunny orchards of California. Darryl Zanuck took a chance when he bought the film rights for 20th Century Fox, but in the end it paid off with seven Oscar nominations—two of which earned Oscars for Best Director John Ford and Best Supporting Actress Jane Darwell. While it isn’t surprising that the film was nominated for Best Picture; it is a tad shocking that renowned cinematographer Gregg Toland’s striking images were overlooked by the Academy. You see, the story is gripping and the acting is mesmerizing, but the visuals are what make this film a treasure.

When I read Steinbeck’s 600+ page novel in college I found myself admiring preacher Casy (John Carradine) and rooting for poor Rose-of-Sharon (Dorris Bowden). I also didn’t really like Tom Joad (Henry Fonda) and I could have done without the intercalary chapters. Thankfully, the intercalary sections were left out of the film and what remains is a story that rips your heart out, chops it up, and then feeds it to the pigs. Here you have a poor Oklahoma family thrown off the land their family has worked for generations by both mechanization and the banks. No one seems to care that they have nothing but an old rickety truck loaded to the brim with a few pieces of furniture and articles of clothing. They search out a new life in California, only to find that they are not needed or wanted. Along the way they meet mostly scorn and mistreatment (mostly by land owners and law enforcement), but they do meet a few compassionate people. The most memorable being the diner waitress who sells two peppermint sticks to the children for a penny, when they really cost a dime.

While red-baiting was taking a coffee break in 1940 America, it was still risky to include Steinbeck’s rather socialistic themes. In one memorable scene Tom asks, “What is these 'Reds' anyway? Every time ya turn around, somebody callin' somebody else a Red. What is these 'Reds' anyway?” Steinbeck, and even Ford to a degree, are making the point that anyone who asks to be treated like a human being and be paid a fair wage is viewed as a “red” agitator.

Henry Fonda does a good job of conveying Tom Joad’s underlying seething rage. Rewarded with a Best Actor nomination by the Academy, Fonda plays the embittered Tom as a man who could (and often does) explode at any moment. You can see the resentment Tom feels in the way Fonda moves, looks, and delivers his lines.

In addition to Fonda’s fine acting, Jane Darwell delivers the performance of her life as Ma Joad. It is the simple and quiet way that she goes about building her character into the backbone of the Joad family that I think most people admire. It would have been easy to play up the stereotypical hysterical hillbilly matriarch that some actresses went for, but Darwell is calm, resigned, and resilient in her role.

The other standout performance is John Carradine’s (one of Ford’s favorite character actors) as Casy. He adds an almost spiritual element to the film—and not because his character is a fallen preacher, either. He just seems to have a very reverent screen presence, and he delivers his lines in a prayer-like fashion. Casy was my favorite character in the book, and while he doesn’t get as much screen time as one might like, I think Carradine uses what time he gets to make his Casy one of the most memorable things about the film.

While Carradine’s Casy is memorable, it is Gregg Toland’s cinematography that steals the entire production. Employing the purity of black and white film, Toland used wide-angle lenses to capture the parched desolation of the Oklahoma plains and the deserted isolation of the desert. How small is man compared to such images? When dealing with capturing the human element, Toland used deep focus so savagely that you feel uncomfortable looking at the ragged and malnourished people he sets his sights on. He also uses shadows in a very clever way to literally illustrate when someone has something hanging over their head or breathing down their neck. His images are stark, realistic, and uncomfortable—just what the film and the book were trying to convey about the plight of the Joads and thousands others like them.

Now, some might be disappointed that I haven’t discussed the biblical references in the film. It’s there—Casy’s murder is like the crucifixion of Christ and the whole trip is like Exodus—but I find this element severally lacking from that of the book (much was cut), so I don’t find it to be that important. What I think makes The Grapes of Wrath an enduring picture is the stunning photography and the nuanced presentation of one of the best examples of Americana during the Great Depression.

CMBA Comedy Classics Blogathon: A Shot in the Dark

2012-01-27T05:40:00.000-06:00

It's ironic that A Shot in the Dark, the second Panther Panther film, turned out to be the one that established the formula for the film series. It was based on the French stage play, L'Idiote, which didn't even feature Inspector Clouseau. The play was adapted for Broadway in 1961 as A Shot in the Dark and starred Walter Matthau and Julie Harris. After Peter Sellers agreed to play the lead in a 1964 film version, the actor had second thoughts. He asked Pink Panther director Blake Edwards to take over the film.

Initially, Edwards declined, but finally relented on the condition that it be revamped as a Clouseau vehicle. Sellers enthusiastically agreed and convinced the film's backers. Edwards and William Peter Blatty (who would later write The Exorcist) completely rewrote what Edwards could come to call "the unintentional Clouseau" film.

Clouseau: "You've been cutting flowers."

As with all of The Pink Panther movies, the plot is just a framework for the gags. When a murder occurs at a millionaire's country estate (where everyone seems to be having an affair), Clouseau is sent to investigate. The obvious suspect is the maid Maria (Elke Sommer), who is found in possession of the murder weapon. However, Clouseau becomes smitten with her on first sight and becomes determined to prove her innocence.

Herbert Lom with eye twitch.

A Shot in the Dark introduces several elements that would define the Pink Panther formula. Herbert Lom makes his first appearance as Commissioner Dreyfus, who is slowly driven (literally) insane by Clouseau's incompetency. Burt Kwouk makes his debut as Clouseau's valet Kato, who attacks his boss at the most inconvenient times to "strengthen Clouseau's reflexes" (or so the French detective says). A Shot in the Dark also marks the first appearance of the running gag of a killer failing to assassinate Clouseau (often at the expense of innocent bystanders). This is even the film which Sellers perfected Clouseau's unique mangling of the English language (in a French accent). In the documentary, The Pink Panther Story, Blake Edwards recounts a weekend in which Sellers inexplicably disappeared during the production. When he returned, Sellers told Edwards that he'd met a concierge whose voice was perfect for Clouseau.

Although there are classic comedic routines in other Pink Panther films, A Shot in the Dark features three of my favorites. The first occurs when Clouseau tracks Maria to a resort that turns out to be a nudist camp. The sight of Clouseau navigating among the camp members--with a guitar hanging strategically in front of him--is brilliant visual comedy. Equally amusing in a more subtle way is the running gag of Clouseau being arrested and carted away to jail for selling balloons without a licence, hunting without a license, painting on a sidewalk without a license, and--of course--indecent exposure while fleeing from the nudist camp. Of course, Sellers isn't responsible for all the best scenes. Herbert Lom's eye ticks and muffled manic laughs are funny on their own, but the part where an irritated Dreyfus accidentally cuts off one of his fingers is a classic.

Kato stops to answer the phone
during martial arts practice.

Yet, while Lom and Kwouk are fine supporting players, A Shot in the Dark--like all Pink Panther films--belongs to Sellers. He can generate laughs simply from walking into closets, destroying a rack of billiard cues, spinning a globe, or mispronouncing a word. Paired with a director like Edwards, who understood the dynamics of physical comedy, it's no wonder that the Pink Panther movies became immensely successful.

What is amazing is that additional Pink Panther films were made at all after A Shot in the Dark. Despite their successful partnership, Sellers and Edwards frequently clashed when working together. In fact, they swore they'd never work together again after A Shot in the Dark. Yet, four years later, they made The Party, a fairly funny film with Sellers as a small-time Indian actor mistakenly invited to a posh Hollywood party.

Clouseau in disguise!

Ironically, that same year saw the release of Inspector Clouseau, which starred Alan Arkin and was directed by Bud Yorkin. It proved that audiences weren't interested in a Clouseau movie without Sellers--though it still left the door open for future Pink Panther films. Seven years later, Edwards and Sellers rebooted the franchise with The Return of the Pink Panther (1975). Its worldwide success surprised everyone--save Edwards and Sellers--and set the stage for two direct sequels and a slew of spinoff and remakes.
None of them can match A Shot in the Dark for laughs per minute and originality. In 2000, when the American Film Institute saluted great screen comedies, it ranked A Shot in the Dark at #48 among the all-time comedy classics. I might have ranked it even higher.

Classic British Spy TV: Sark and Rick Discuss The Avengers, Secret Agent, and The Prisoner

2012-01-24T05:00:00.000-06:00

The best decade for spy television series? The obvious answer is the 1960s, in which British TV produced a plethora of well-regarded espionage series from Danger Man in 1960 to The Baron (1965) and Man in a Suitcase (1967). The most influential of these shows were undoubtedly The Avengers, Danger Man (aka Secret Agent), and The Prisoner. All three were imported to U.S. television, where they attracted solid followings. Their popularity hasn’t waned over the years with frequent appearances on cable and through video releases. Sark and Rick, two film and TV buffs from different generations, discuss these classics:

Rick: The Avengers went through several iterations which can be categorized by the different female leads from Honor Blackman to Diana Rigg to Linda Thorson to Joanna Lumley (The New Avengers). Starting with the best, how would you rank them and what’s your rationale?

Linda Thorson as Tara.

Sark: As you suggested, my favorite ladies on The Avengers are easily associated with the series itself. I would rank Diana Rigg as the best, when the series was at its peak -- plus, she’s ridiculously charming and astoundingly beautiful. I also really like Linda Thorson: she was able to capture that delightful quality and starred in some great episodes, though some with Linda weren’t as strong. Joanna Lumley is good, and Purdy is an odd but intriguing character, much like The New Avengers. And while I like Honor Blackman, she was on the show during its early days, where it was stiff and and a little dreary, and her performances unfortunately reflect that. How would you rank the Blackman, Rigg, Thorson and Lumley years?

The one and only Mrs. Peel.

Rick: I agree that the Diana Rigg years were the best. The stories were often witty, the dialogue delicious, and the Mrs. Peel-Steed relationship just vague enough to keep one wondering. My second pick would be Honor Blackman. Yes, her episodes were often clunky, but she defined the kick-butt heroine and--without her--there may have never been a Mrs. Peel (perish the thought!). My third pick would be Purdy--sort of a Mrs. Peel “lite”--and finally Tara. I like that the producers tried to do something different with Tara, to make her more vulnerable than Emma. But I never warmed up to her...perhaps, it was just a matter of still mourning Diana Rigg’s departure. What are some of your favorite Avengers episodes?

Rigg and Patrick Macnee.

Sark: While I do enjoy The New Avengers, I don’t recall any standout episodes. The majority of my faves are Emma-centric: “The Master Minds”, “Quick-Quick Slow Death”, “Death at Bargain Prices”, “A Funny Thing Happened on the Way to the Station”, “The House That Jack Built”, “The Joker” and “Murdersville”. There’s also “A Touch of Brimstone”, which is great because... well, if you’ve seen it, you’ll know. I think Patrick Macnee had the best chemistry with Dame Diana Rigg, which really did make the episodes much more fun. I do like some episodes with Tara King, however, including her intro and Emma’s goodbye, “The Forget-Me-Knot” and the ridiculously titled “Look -- (Stop Me If You’ve Heard This One) -- But There Were These Two Fellers...”, which is a good one for Tara. What are your faves? Any with Purdy or Cathy?

Rick: I haven’t seen the Honor Blackman episodes since A&E showed them in the 1990s. As for The New Avengers, I recall enjoying “The Last of the Cybernauts...?”, especially since it linked back to the original show. To be honest, all my favorites come from the Emma years and include the ones you mentioned, especially “The Master Minds” and “A Touch of Brimstone”. Other personal picks include the highly amusing “The Winged Avenger”, “A Surfeit of H20” (what a great opening), “What the Butler Saw” (with Steed as a gentleman’s gentleman), and “A Sense of History” (loved the Robin Hood part). I could talk for hours about The Avengers, but let’s move on to Danger Man, better known in the U.S. in its one-hour format as Secret Agent. The half-hour episodes, which ran from 1960-62 in the U.K. are pretty good, but I think the series took off when it returned in 1964 in its one-hour incarnation. It’s well-written and features some fine guest stars, but--for me--the series works due to the casting of Patrick McGoohan as the anti-James Bond. What say you?

Sark: I agree that the later, longer episodes are better than the earlier ones. Perhaps, it's only because I viewed the half-hour episodes after the more popular versions, but the shorter feel too short, like the story’s just taking off and then suddenly stops. They're wonderful, but just not They’re wonderful, but just not as strong or entertaining as the hour-long episodes. And yes, some great stars! I remember seeing Hammer queen, Barbara Shelley! I like that you called Patrick McGoohan’s John Drake an “anti-James Bond,” but I’ve always maintained that McGoohan would have made a most excellent 007. Since we’ve already discussed The Avengers, how do you think Drake would have fared with a partner, female or otherwise? That would have been interesting, but I like him much better as a solo agent. What do you think?

Rick: I can’t imagine Drake with a partner of either gender. He comes across very much as a loner, which seems realistic to me because relationships could cloud his judgment. I can’t think of an episode in which there was even a hint of romance. Am I missing one? He did express remorse over the fate of a female character in one of my favorite episodes “Colony Three.” In it, he infiltrates a training camp for enemy spies. There are a lot of parallels with The Prisoner, which would come a few years later. Plus, that episode featured the great Niall MacGinnis from Curse of the Demon. Danger Man boasted some fine guest star turns, from MacGinnis and the fabulous Barbara Shelley to Bernard Lee (M in the 007 films), Susan Hampshire, Ian Hendry, Barbara Steele, and Joan Greenwood. Though a big Danger Man fan, I do have some minor complaints about the series. The modest budgets required a lot of in-studio shooting to substitute for international locations. That could look pretty bad, which was sometimes distracting. Also, I think MacGoohan ended the series at the right time, as some of the plots were beginning to become repetitious.

Sark: Speaking of shows’ endings, what about The Prisoner? Not necessarily its final episode, but the fact that it ended so soon. I love having access to quite an abundance of Avengers episodes, as well as Danger Man/Secret Agent, but I can’t readily complain of The Prisoner’s short life, as it never wanes in quality. I think it would have flourished with additional episodes, but for how long? As it is, the series will forever be strong. Any thoughts?

Rick: It ended at the perfect time, though I think the final revelation is one of the all-time great puzzlers. My theory is that every TV series has a specific life span and rarely does that exceed, say, three years. After that, there may still be good episodes, but typically the quality of the show declines. The Prisoner was such a great concept: Retired spy is kidnapped and held against his will in a weird village as his captors try to find out why he left the spy business. It’s a fiendishly clever show--my favorite episode is the Western “Living in Harmony”--but the concept is limited from the start. No. 2 tries to find out what No. 6 knows, No. 6 tries to escape, he gets caught. There are only so many variations to this central plot. I think McGoohan understood that and envisioned a limited series. Yet, despite all I’ve just said, it’s not the plots that made The Prisoner unique...it was the Kafkaesque themes and the look of the show, from the Village itself to the clothes and the local “newspaper.” Well, that’s my take on it away. Where do you place The Prisoner in the pantheon of TV spy series?

Sark: As a spy series, The Prisoner is surprisingly effective. I’d have to rank it fairly high because it’s so odd and unconventional. Though, honestly, neither The Avengers nor Danger Man bows to convention. All three series makes spy shows endlessly refreshing. You can even put them together in their own timeline: The Avengers with the playfulness of youth; Danger Man with a world-weary spy; and The Prisoner with the spy in retirement. A playground, a spy at home wherever he is, and a retirement home. I think the best spy series are remembered for the characters, and these UK shows prove that with the titles alone, all referencing the story’s players. Any final thoughts?

Rick: That's a nice wrap-up to close out this discussion. As always, Sark, I had a blast hanging out at the Cafe with you and discussing classic TV. I assume you're picking up the check this time? Otherwise, I wouldn't have ordered the deluxe blueberry pancake breakfast.

Sark: Thanks, Rick, for an enjoyable look at television in the UK. Let’s do this again sometime. And don’t worry, I’ll get the check. I’ll just need a minute or two alone with your wallet.

Mr. Deeds Goes to Town (1936)

2012-01-22T16:05:00.000-06:00

I know I am supposed to say Mr. Deeds Goes to Town (1936) is a screwball comedy, but I just can’t do it! Yes, it has many funny moments in it and the main character is a tad screwy, but I can’t put it in the same category as Bringing Up Baby (1938), The Lady Eve (1941), or The Awful Truth (1937). Plus, being a Frank Capra directed film it has a bit of a dark underside to it—and I don’t mean dark humor. I would actually categorize it as a dramedy, as the first half of the film is mostly comedy and the second half mostly drama (with a few choice comical moments pixielated in). Whatever you label it, Mr. Deeds is a film anchored by understated, good acting and a strong story about the value of honesty and goodness in a corrupt world.

A standard theme in Capra films, the idea of the simple everyman exposing the falseness of overindulged city slickers, is a crucial element in this film. Gary Cooper plays Longfellow Deeds, a country gentleman from Mandrake Falls, Vermont, who inherits $20 million from an overindulgent uncle from New York City. Deeds is a poet who loves nature and plays the tuba, and is often mistaken for a country yokel because of his naiveté and plainspoken ways. He looks like an easy mark to one of his uncle’s shady lawyers, Mr. Cedar (Douglas Dumbrille), but Deeds knows (and says) that working for nothing isn’t natural and so he instantly doesn’t trust Cedar. Transplanted to New York City, Deeds finds himself surrounded by many people he doesn’t trust—or worse, who think they are better than him because they are cosmopolitan. His best friends turn out to be his valet, Walter (Raymond Walburn), and his fixer, Corny Cobb (Lionel Stander)—both of which happen to be working class stiffs.

An idealist in every sense, Deeds finds himself instantly attracted to a woman who faints outside his mansion one rainy night. Thinking he has rescued a damsel in distress, Deeds believes he has found his dream woman in stenographer Mary Dawson (Jean Arthur). What he doesn’t know is Mary isn’t a stenographer, but a Pulitzer Prize winning reporter for The Morning Mail named Babe Bennett. She labels him the Cinderella Man and opens him up to the ridicule of the entire city. Eventually Babe falls in love with her “assignment” and starts to regret what she has done, but before she can come clean with Deeds the truth comes out. At this point the film’s mood totally changes, and I don’t know that I agree with how abrupt the shift is.

If you have seen the film then you remember the gun-wielding, displaced farmer (John Wray), who convinces Deeds he should give away his $20 million to those who need it. Up until this point there hasn’t been any meaningful reference to the Depression or the downtrodden (except for the fainting Mary). So, when a man bursts into Deed’s mansion and aims a gun at him and goes off on a tirade about feeding doughnuts to horses and having lavish parties, it is completely jarring. Yes, I know it was a plot device to move the story along to the whole insanity hearing part of the film, but I think some earlier ground-laying of this theme would have been useful. If I have one nit-pick with the movie it is this…oh, and that hideous Robin Hood feather in her cap hat that Arthur wears in one scene—Samuel Lange, you had a short career for a reason!

Both Cooper and Arthur give understated performances in Mr. Deeds. Cooper (nominated for a Best Actor Oscar) always played the geez, smarter than you think country bumpkin well, and his Deeds is no exception. His slack-jawed line delivery and easy-going physical mannerisms play well for Deed’s personality. Some might say that Cooper lacked acting range, but they would also have to admit that he owned his own style and it worked (none better than in his role as Clint Maroon in Saratoga Trunk [1945]). Arthur, for her part, is not, as she is often described, the “quintessential comedic leading lady.” She’s not that funny in this film because this isn’t a screwball comedy! As a matter of fact, besides a few good one liners and a couple of comical sideway looks, her role mostly consists of her being depressed by her bad behavior or being anxious over the possibility of Deeds being institutionalized. Am I the only one who notices this? Still, I always like Arthur—she is just so likable, even when she’s playing a liar.

Overall, Mr. Deed Goes to Town is an enjoyable dramedy. Nominated for a Best Picture Oscar, this is a typical Frank Capra Depression-Era vehicle. I don’t subscribe to the school of film critics who refer to this period of his work as Capra-corn. Instead, like many others, I believe people went to films like Mr. Deeds because they were inspirational and uplifting. In the end, that is exactly what this movie turns out to be.

Doctor Who: Just the Doctor, I Presume?

2012-01-19T07:29:00.004-06:00

The following is meant as a basic introduction to the BBC series Doctor Who and is by no means intended as an exhaustive study of the show’s vast universe. I would like to express my gratitude for my lovely and intelligent wife, a devout fan of the series who provided me with info, tidbits, and insights. Without her, this post would have been nothing more than links to other sites and several dozen pictures.

Time is transitory. The present is ever-changing, the past stays the same, and the future is unknown. For the extraterrestrial Time Lords, however, their abilities make time malleable, like a piece of clay. While stability is best, time can be manipulated to mend imperfections and strengthen its entirety. The Time Lords can travel back to fix a mistake or move forward to prevent it from happening. Perhaps the most famous member of this race of beings is one known as the Doctor.

Doctor Who is considered the longest running sci-fi TV series – in the world, not just in the UK. It was created by Sydney Newman (who also created The Avengers), C.E. Webber and Donald Wilson. The series premiered in November of 1963 (the day after JFK was assassinated) and ran until 1989. A TV movie in 1996 failed in resurrecting the series, but it was finally revived in 2005 and is currently still airing. This year will see the Doctor return for a 33rd series (or what yankees would call a season). Each of the six series since the relaunch has been a compilation of 13 hour-long (with commercials) episodes, discounting specials. The 26 preceding series consisted of a number of serials per series, each serial with varying numbers of episodes, anywhere from two to 12. Episodes were usually about 25 minutes. On DVD or a streaming service such as Netflix, you may see what look to be feature-length films but they are in actuality collected serials (you’ll know when you watch one, as closing and opening credits will roll at the appropriate intervals).

The Doctor has the unique talent of being able to regenerate when death is imminent. In effect, he never dies, but this plot point has likewise allowed the series to never die. A new actor portraying the doctor is literally playing the same character, and there are frequent references throughout the series of the previous versions of the Doctor, called “incarnations.” Officially there are 11 incarnations of the Doctor, portrayed by 11 different actors. There are, in fact, many more actors who have played the Doctor, but specials and movies are not considered part of the official series. Peter Cushing, as a for instance, played the part in two movies, Doctor Who and the Daleks (1965) and Daleks – Invasion Earth: 2150 AD (1966). Similarly, Doctor Who and the Curse of Fatal Death, a telethon charity event broadcast in 1999, featured five variations: Rowan Atkinson, Richard E. Grant, Jim Broadbent, Hugh Grant, and even a woman, played by Joanna Lumley.

William Hartnell had the distinction of being the first actor to play the Doctor (credited retrospectively as the First Doctor). In 1966, Patrick Troughton was the Doctor, and Jon Pertwee took over the role in 1970. One of the most popular actors to portray the Doctor was Tom Baker, who held the role from 1974-81. Baker was also the narrator of the UK sketch comedy show, Little Britain, as well as its American version, Little Britain USA. Peter Davison, who starred in All Creatures Great and Small and who recently joined the cast of Law & Order: UK as the Director of CPS (Crown Prosecution Service) London, was the Fifth Doctor from 1982-84, while the Sixth and Seventh Doctors were played by, respectively, Colin Baker (1984-86) and Sylvester McCoy (1987-89). McCoy technically played the Sixth Doctor briefly before regenerating into the Seventh (Colin Baker would not reprise the role), and he also returned to the role in the 1996 telefilm before being regenerated into the Eighth Doctor, played by Paul McGann. Christopher Eccleston was the Ninth Doctor in the 2005 revival, followed by the immensely popular David Tennant for three series (2005-10) and the current Doctor, the 11th incarnation, portrayed by the likewise well-received Matt Smith.

As the 2005 update is truly a continuation of the series, the Doctor has acknowledged the previous incarnations, and they’ve sometimes even appeared together. In the four-episode serial, The Three Doctors (1972-73), the Third Doctor gets help from his two former selves. In the comparably-titled The Five Doctors (1983), the fifth incarnation learns that the previous Doctors are being pulled from their time streams (Richard Hurndall played the First Doctor, as Hartnell had died in 1975). The Two Doctors (1985) showcased… well, two doctors: the Sixth and the Second. In the latter episodes with Tennant and Smith, there have been flashes of previous incarnations, often as pictures of the actors who had previously helmed the role.

The Doctor most often travels with a companion. The companion is usually a young and beautiful woman, but while there have been instances of playful interaction, there is never a legitimate romantic interest between the two. An exception to this was the ’96 TV movie, in which the Doctor kisses his companion, Dr. Grace Holloway (Daphne Ashbrook), with accompanying dramatic music and a fireworks backdrop to refute any doubts of the intimacy. The first companion, to the First Doctor, was Susan Foreman (Carole Ann Ford), a significant character as she is the Doctor’s granddaughter and has been traveling with him for some time before the series’ timeline begins. Sarah Jane Smith (Elizabeth Sladen) is one of the most popular companions, first appearing with the Third Doctor in 1973 and acting as companion to the Fourth Doctor from 1974-76, as well as starring alongside other companions in The Five Doctors and with the Tenth Doctor in various episodes, including the two-parter, “The End of Time”, which introduces the Eleventh Doctor. In addition to Sarah Jane, the third series with Tennant’s Doctor included returning companions, Rose (Billie Piper), Martha (Freema Agyeman, who starred with another Doctor, Davison, in Law & Order: UK), and Captain Jack (John Barrowman). The Doctor’s current companions are Amy (Karen Gillan) and her husband, Rory (Arthur Darvill).

Spin-offs of a show as successful as Doctor Who are hardly surprising. Sarah Jane Smith had her own series, aptly titled The Sarah Jane Adventures, a children’s show which ran for five series and only ended due to Sladen’s death in April of last year. Tennant and Smith, as their respective Doctors, had cameos in separate episodes. Sarah Jane’s robot dog (and companion to the Fourth Doctor), K-9, had a spin-off, K-9 and Company, though it never made it past the pilot. There have been various models of K-9, but he’s appeared on The Sarah Jane Adventures and had a second offset, the kid-friendly K-9 (however, as it was not a BBC production, its ties to Doctor Who are superficial). Captain Jack leads a team of alien hunters in Torchwood, which recently completed its fourth series. Agyeman’s Martha appeared in two episodes of Series 2.

The Doctor’s means of travel is a police box, what we Americans would call a phone booth and which functions as a direct line to the police. In the series, the police box is in reality a TARDIS (Time And Relative Dimension In Space), a machine designed by the Time Lords for traveling through time and space. The TARDIS can take different forms, but the Doctor’s is a decommissioned relict stolen from a museum and is locked in its police-box shape. The craft is much larger inside than the exterior would suggest, a fact pointed out by numerous characters throughout the series. In the series with Smith as the Eleventh Doctor, the TARDIS’ essence is placed into a woman, and in this form, she claims that it is she who stole the Doctor, not the other around.

There are other characteristics of Doctor Who that have been retained throughout the years. The Doctor has long battled the evil Daleks, who made their first appearance very early in the series and remain one of the protagonist’s most formidable opponents. The Daleks are a race of cyborgs hell-bent on intergalactic genocide, summarized by their oft-spoken (and rather brusque) line, “Exterminate!” Another Doctor Who enemy is the Cybermen, who look like robots but are actually cyborgs. They debuted in 1966 and are still showing up beyond the 2005 relaunch, even on the spin-off, Torchwood, in the episode, “Cyberwoman”. Perhaps the Doctor’s true archenemy is the Master, who, like the Doctor, is a Time Lord from the planet, Gallifrey. Quite unlike the Doctor, the Master is predisposed to universal domination. He was most recently portrayed by Derek Jacobi of the medieval murder series, Brother Cadfael, and John Simm of the original Life on Mars. The series has also, for the most part, preserved its wonderfully unsettling main theme, courtesy of Ron Grainer, who also wrote the themes for the cult British series, The Prisoner and Man in a Suitcase. The Doctor Who title sequence has had many deviations visually (though it’s always given the impression of traveling through outer space or with the TARDIS), but the music essentially stays the same.

Doctor Who has appeared in other formats, including novels, audio plays, webcasts, comic strips/books and animated serials. There have also been countless magazines and websites and merchandise. One can sometimes see its influence, not just film/TV (though 1989’s Bill & Ted’s Excellent Adventure shared a shockingly similar time-traveling device), but also in the English language, as both “Daleks” and “TARDIS” are now included in the Oxford English Dictionary. One of its most significant aspects is its consistency. The ambiguity suggested by the show’s title is almost ironic, because while companions and Cybermen and even the Doctor himself will change, the series is unmistakably a one and only.

Fawlty Towers: Come for the Lodging, Stay for the Laughs

2012-01-17T07:09:00.000-06:00

Back in the mid-1970s, in Torquay, an England seaside town in the county of Devon, visitors to the area could stay overnight at a charming hotel known as Fawlty Towers. It was owned and operated by Basil Fawlty and his wife, Sybil. Any guest looking for a place to sleep would likely be content. But someone hoping for rest and relaxation might be bothered by the scornful Basil, whose thinly-veiled condescension was only slightly more conspicuous than his animosity for anyone who spoke or happened to be standing in the same room during one of his seemingly endless rants.

Fawlty Towers was a UK show that ran for two six-episode series, the first in 1975 and the second in 1979. It was created by Monty Python alum John Cleese, who also starred as the neurotic hotel proprietor, and Cleese’s then-wife, Connie Booth, who appeared on the series as Polly, the hotel’s maid who handled multiple tasks (sometimes working behind the desk, in the restaurant as a waitress, etc.). Prunella Scales played Basil’s domineering spouse, Sybil, and Andrew Sachs portrayed Manuel, the porter and waiter from Barcelona whose English was significantly limited.

The comedy in Fawlty Towers comes from all sides: the husband/wife bickering, Polly helping Basil hide something from Sybil, Basil’s frequent misinterpretations of guests’ intentions or identities. But the highlight in a ceaselessly entertaining show is the interactions between Basil and Manuel. Evidently, Basil, when hiring Manuel, informed Sybil that he understood Spanish. This was clearly a fabrication, as he knows only a few words, and the simplest command for Manuel results in the two men futilely speaking back and forth. One of the best scenes, from the premiere episode, involves Basil asking Manuel for the wine list. Eventually, Basil resorts to pointing to the desired item on a table behind Manuel and – when the Barcelonan still doesn’t comprehend – picking up the wine list and handing it to Manuel so that he can give it back.

The show likewise does a marvelous job of relating all the comedy to the hotel itself. Basil deals with builders working on the hotel, gets word of a surprise visit from hotel inspectors, and is constantly troubled with orders in the restaurant and the bar. The guests, too, provide much humor. Another amusing sequence, also from the first episode, is a guest signing in and asking for a single room, before quickly changing it to a double because he’s “feeling lucky.” Basil, for his part, is conservative, going out of his way to please a visiting lord and refusing to allow a non-married couple to rent a double room – not even offering two adjacent singles.

One of the show’s best episodes is “The Germans”, the fifth episode of Series 1. It’s noteworthy in many ways, one being that it’s the only episode that doesn’t open with an exterior of the hotel (and its sign altered in some fashion). It begins at a hospital, where Basil is visiting Sybil, who will be undergoing surgery for an ingrown toenail. Basil heads back to Fawlty Towers, where he is anticipating the arrival of German guests. Though he boasts of being able to finally run the hotel properly (sans his unruly wife is the insinuation), he cannot even handle a fire drill. After reminding as many people as he’s able of the impending fire drill, Basil inadvertently triggers the burglar alarm, causing guests to head for the door. He stops them and insists that the burglar alarm sounds distinctly different from the fire bell, which is “a semitone higher.” Then he hits the fire bell but won’t let anyone leave, as he’s merely demonstrating the difference between the sounds. Once that’s settled, he announces that the fire drill will commence in 30 seconds and is visibly annoyed when everyone stands in the lobby and waits (“I don’t know why we bother; we should let you all burn!”). Not surprisingly, when an actual fire starts in the kitchen, Basil believes that an agitated Manuel is overreacting.

“The Germans” shows that Basil cannot honestly function any better without Sybil. In fact, he’s far worse, it seems. And she’s still controlling, with a copious amount of phone calls from the hospital bed! After Basil suffers a concussion and is hospitalized, he heads back to the hotel, against the doctor’s wishes. The result is an even more reckless and unrestrained Basil, who manages to offend the German guests at every turn. To Polly, he warns her, a little too loudly, in his now immensely popular quote: “Don’t mention the war!”

Though Fawlty Towers only ran for two series, it’s become common for British TV shows to only run for two or three series, regardless of popularity. Both The Office and Extras, created by Rick Gervais and Stephen Merchant, ran for two six-episode series, Christmas specials aside. The same is true for The Young Ones from the early 80s. There were only two series for the successful shows, Spaced, 15 Storeys High, and Green Wing, and Black Books and The League of Gentlemen never made it past a third series. The sketch comedy show, Little Britain, really only had three series, as Little Britain USA is generally regarded as a spin-off. The creators of these shows often resist pressure to continue their shows, typically to deter waning quality with additional episodes.

Advocates of humor in British shows sometimes deem it more sophisticated than the U.S. equivalency, while adversaries may find it excessively pompous or stuffy. I disagree on both counts. Fawlty Towers is funny on a global scale. There’s wordplay, physical comedy, a barrage of insults, and quirky characters. It’s a celebration and adoration of the many faults of Basil and his hotel. And the appreciation of its humor is not dependent upon your nationality or locale. It’s funny just because it is.

Upcoming CMBA Comedy Classics Blogathon

2012-01-15T17:20:00.000-06:00

Peter Sellers as Inspector Clouseau.

Next week, the Cafe will participate in the Classic Movie Blog Association's (CMBA) Comedy Classics Blogathon. From January 22nd through January 27th, CMBA bloggers will write about their favorite classic comedy films. As you can see from the list below, the scheduled films and topics are both diverse and...well...very funny! Here at the Cafe, we will review the best of the Pink Panther films: 1964's A Shot in the Dark. It's the series entry that introduced Herbert Lom as the highly-strung Inspector Dreyfus and Burt Kwouk as Clouseau's valet/martial arts partner Kato. Hope you can stop by all the blogs below next week and enjoy some laughs at their expense!

Sunday 22 Jan

Ball of Fire and Oscar – Tales of the Easily Distracted

Road to Utopia - The Bing Crosby Media Archive

Sons of the Desert and Way Out West - Caftan Woman

Monday 23 Jan

Arsenic and Old Lace – ClassicBecky’s Film and Literary Review

Miss Tatlock’s Millions – Jim Lane’s Cinedrome

The Palm Beach Story - The Movie Projector

More Than a Secretary – Another Old Movie Blog

Tuesday 24 Jan

Easy Living – My Love of Old Hollywood

Gene Tierney and Her Classic Romantic Comedies - Noir and Chick Flicks

Pillow Talk - Classicfilmboy's Movie Paradise

The Producers - A Person in the Dark

Wednesday 25 Jan

His Girl Friday – All Good Things

Hips, Hips, Hooray with Bert Wheeler and Robert Woolsey - Distant Voices and Flickering Shadows

The Great McGinty - True Classics

A Night at the Opera – 1001 Movies You Must See Before You Die

Thursday 26 Jan

Jean Harlow Tribute – The Scarlett Olive

Some Like It Hot – Twenty Four Frames

The Three Musketeers (1939) - Kevin's Movie Corner

Friday 27 Jan

A Shot in the Dark – Classic Film &TV Café

The Odd Couple (1967) - Bette's Classic Movie Blog

City Lights - The Great Entertainers Media Archive

I Know Where I’m Going! (1945)

2012-01-14T06:01:00.002-06:00

The Archers, Michael Powell and Emeric Pressburger, collaborated on eighteen films over a thirty year period (1939-72). While their first true “Archer” production (where they share writing, directing and producing credit) didn’t come until 1943 with The Life and Death of Colonel Blimp, they had previously worked on four films together. Usually, it was Powell who did the bulk of the directing and Pressburger who came up with the story ideas and handled most of the production chores (especially when it came to editing and music incorporation). Some of their endeavors are quite memorable, like Black Narcissus (1947) and The Red Shoes (1948), while others are easily forgotten, such as The Battle of the River Plate (1956) and Ill Met By Moonlight (1957). Somewhere in-between their masterpieces and their flops is located I Know Where I’m Going! (1945), which stars Wendy Hiller as a young woman who’d rather marry for money than love.

Manchesterian Joan Webster (Hiller) is supposed to marry wealthy industrialist Sir Robert Bellinger (Norman Shelley’s voice—he’s never seen) on the Isle of Kiloran, but the weather (or fate) in the Scottish Hebrides has other plans. For some reason I’ve never really liked Hiller. I don’t know exactly why, but I think it’s her voice—it just rubs me the wrong way. Still, she was a decent actress who was nominated for three Oscars (she won one for Separate Tables [1958]) and she worked in the industry for nearly sixty years. In I Know Where I’m Going! she does a nice job of portraying her character’s steely determination to not be sabotaged by love (and an island full of eccentric Scots). However, I like her much more in the beginning of the film when she is calling her bank managing father “Darling” (George Carney) than I do when she is risking poor Kenny’s (Murdo Morrison) life to get across to Kiloran.

Roger Livesey (an Archer veteran) gives his usual steady performance as Torquil MacNeil (what a name!). A kilt-wearing naval officer, Torquil is the broke Laird of Kiloran (FYI a laird is one step below a baron) and the owner of the Isle of Kiloran. He sees in Joan a woman he would like to tame, but unlike Petruchio, he attempts to do it with kindness and patience. Too bad his childhood friend Catriona (Pamela Brown) is married, because she is much prettier and, more importantly, way more interesting than Joan. It just grates on my nerves when the supporting actress is more enjoyable than the lead actress (see Kristen Scott Thomas and Andie MacDowell in Four Weddings and a Funeral [1994]). In addition to Livesey and Brown’s nice acting turns, Captain C.W.R. Knight is a hoot as Colonel Barnstaple, a falconer with a delightful sense of style.

What I think sets this movie apart from a number of others during this period is it’s cinematography. This was most probably cinematographer Erwin Hillier’s best work over his thirty year career. It is said the he didn’t use a light meter at all, which must have made his task more difficult than usual, especially when you consider the weather conditions. There are many long distance shots that capture the overall majesty of the Scottish shoreline. As someone who has spent time in the Scottish towns of Carnoustie and Killin it was a reminder of just how beautiful the land of Scots can be. Hillier also used a hand-held camera to capture some of the close-up shots—most notably the ones of the boat struggling against the Corryvreckan whirlpool. Interestingly enough, what most people don’t know is that Livesey never once set foot in Scotland for any of the location shots because he was doing a play in London at the time they were shot.

Overall, I Know Where I’m Going! is a somewhat enjoyable light romantic comedy. Other than some very fine photography, there is not much else that stands out. Still, it was nice to learn a little bit about Scottish customs, and the bagpipes weren’t played so much that I wanted to hit mute too often, either.

Opening "Christmas Crackers" in "Are You Being Served?"

2012-01-13T09:40:00.000-06:00

This Cafe special, written by natsumi13, was originally published in 2009. It's being reposted this month as part of our tribute to classic British television.

At Grace Brothers department store, the Christmas holiday is approaching, and the ladies and menswear departments have been requested to come in early for a staff meeting. They are to come up with ideas for decorating their departments, but no one is very happy about it. When Mr. Rumbold hasn't shown up to start the meeting, Capt. Peacock decides to go ahead and begin the discussion. After much bickering and insults, Mr. Rumbold arrives and announces that young Mr. Grace has already decided to use items from a theatrical company that he owns.

The highlight for both departments is that they are to have their Christmas lunch that day -- even though Miss Brahms points out, "But it's ages till Christmas!" Mrs. Slocombe reminds her that last year the canteen couldn't handle all the employees at once.

The lunch that follows is hardly what anyone would want. The turkey for five is the size of a cornish game hen and tough as boot leather, with the legs being stubbly; and with the flaming pudding not flaming because the brandy was probably soaked up by a currant, according to Mr. Humphries. The only one to enjoy the lunch is Mr. Lucas because he missed purchasing his ticket and is unable to buy one that day. He is forced to go through the canteen line, which he points out by saying that the others should have had the halibut. At the end of the lunch, young Mr. Grace arrives and tells them to go to the boardroom to pick out their costumes, while their departments are being decorated.

As the lift doors open, everyone has been transformed into fairy tale and fantasy characters. Capt. Peacock is a snowman, Mr. Lucas is a one legged pirate with a fake parrot on his shoulder, Miss Brahms is a fairy princess, Mrs. Slocombe is Robin Hood, Mr. Grainger is Humpty Dumpty or an easter egg (it isn't specified), and Mr. Humphries is Louis the 14th. After the staff members tease each other, the decorations are revealed and everyone joins in singing a Christmas carol.

Are You Being Served? was a UK series that aired from 1972 to 1985. The humor of the show used the class system of Britain as its basis. The characters were middle class and tended to look down on the maintence and canteen staffs. They rarely used each other's first names, always referring to one another as Mr. Humphries or Mrs. Slocombe. It employed double entendres, innuendos, mistaken identity, and sight gags to show humor.

The cast was comprised of:

John Inman- Mr. Humphries

Mollie Sugden- Mrs. Slocombe

Wendy Richards- Miss Brahms

Frank Thorton- Capt. Peacock

Trevor Bannister- Mr. Lucas

Arthur Brough- Mr. Grainger

Nicholas Smith- Mr. Rumbold

10 Must-See Classic British TV Series (Part 3 of 3)

2012-01-11T05:00:00.000-06:00

Our review of ten must-see classic British TV series from the 1960s and 1970s concludes with: All Creatures Great and Small; The First Churchills; The Forsyte Saga; and Rumpole of the Bailey.

James checks out a new friend.

All Creatures Great and Small – James Herriot’s beloved autobiographical stories of life as a veterinarian in rural Britain were first filmed as the movies All Creatures Great and Small (1977) and It Shouldn’t Happen to a Vet (1977). Simon Ward and John Alderton played Herriot, respectively. When a television series was developed in 1978, the role of the inexperienced vet went to Christopher Timothy, with Robert Hardy playing his eccentric employer, Siegfried Farnum. Peter Davison played Siegfried’s brother, Tristan, who struggles to graduate from vet school. Carol Drinkwater played Helen, a local resident who eventually marries James. The first three seasons featured this cast and were based on Herriot’s stories. The episodes ranged from funny (Mrs. Pomfrey and Tricky Woo) to charming (the courtship between James and Helen), with a touch of seriousness (as when Siegfried discusses the impending war with sometime girlfriend Margery). After two “Christmas specials,” the series was revived in 1988 for four more seasons. The wonderful Carol Drinkwater was replaced as Helen and the stories were original (as opposed to those written by Herriot). I stopped watching after the fourth season…but dearly loved the first three seasons.

Susan Hampshire and John Neville as a future "power couple."

The First Churchills – Unless you’re a history a buff, you’re probably unfamiliar with Winston Churchill’s ancestors. If so, then you’re in for a treat—for John Churchill, the first Duke of Marlborough, and his wife Sarah were a fascinating couple. He was a great military leader and statesman who served five British rulers during the late 17^th century and early 18^th century. The strong-willed Sarah Churchill was a political strategist in her own right and, for several years, was a key unofficial advisor to Queen Anne. This well-done 12-part series begins with the first meeting between John and Sarah and ends shortly before his death. The early episodes are the best, as the later ones get a bit bogged down in John’s military exploits. Still, The First Churchills is a fascinating look into the political and social culture of Great Britain during one of its most tumultuous periods. John Neville and Susan Hampshire are marvelous as the Churchills; she evolves Sarah from a headstrong young woman to a powerful, sometimes bitter politician. The First Churchills was shown in Great Britain in 1969 and was the first-ever series shown on Masterpiece Theatre in 1971.

A Forsyte wedding.

The Forsyte Saga – James Galsworthy’s three novels about the Forsytes, a nouveau riche Victorian family, have been adapted for both film and television. Errol Flynn and Greer Garson starred in 1949’s That Forsyte Woman (derived from the first book, A Man of Property) and a popular 2002 adaptation of the trilogy appeared on Masterpiece Theatre. However, the most renowned version remains the 1967 26-episode series starring Eric Porter, Nyree Dawn Porter, Kenneth More, and Susan Hampshire. It included not only the three Forsyte novels, but also Galworthy’s later trilogy A Modern Comedy. When originally broadcast, the series was a huge hit in Britain and was picked up by local PBS stations in the U.S. In fact, its success in America is generally believed to have led to the creation of Masterpiece Theatre.

Leo McKern as Rumpole.

Rumpole of the Bailey – British barrister and author John Mortimer wrote Rumpole of the Bailey as an original play for the BBC anthology series Play for Today in 1975. It was popular enough to warrant discussion of a series, but it wasn’t until 1978 that the Rumpole of the Bailey TV series appeared on Thames Television (and later in the U.S. on Mystery!). Mortimer’s original choice to play the witty, scruffy, late middle-aged barrister was Michael Hordern. Instead, the producers chose Leo McKern—in a stroke of casting genius. McKern perfectly captured the complexities of Rumpole, from his willingness to defend anybody (“I never plead guilty”) to his relationship with his wife (whom Rumpole referred to as “she who must be obeyed”). McKern played Rumpole for seven seasons between 1978 and 1992.

If you missed Parts 1 and 2, click here for capsule reviews of Poldark, Upstairs Downstairs, Lord Peter Wimsey, The Pallisers, The Duchess of Duke Street and I, Claudius.

10 Must-See Classic British TV Series (Part 2 of 3)

2012-01-08T10:19:00.032-06:00

Our review of classic British TV series from the 1960s and 1970s continues with: The Pallisers; I, Claudius; and The Duchess of Duke Street. If you missed Part 1 on Poldark, Upstairs Downstairs, and Lord Peter Wimsey, click here.

The arranged marriage between Plantagenet and Glencora.

The Pallisers- Anthony Trollope’s six Palliser novels portrayed the lifestyles and politics of the mid-to-late 19^th century. The fine 26-part, 1974 TV adaptation starred Philip Latham as Plantagenet Palliser and Susan Hamsphire as Lady Glencora. For those viewers familiar only with Hampshire’s later work, in lighthearted series such as Monarch of the Glen, The Pallisers will be a revelation. She provides a rich portrait of a privileged woman who grows from a lovesick teenage girl to a strong-willed, socially savvy woman dedicated to her family. Latham is equally compelling as the erudite Plantagenet, whose passion to improve the nation’s economy earns the disdain of more party-minded politicians (who refer to him as Plantypal). My favorite part of the series is the first-third, which focuses on the courtship between Glencora and Plantagenet. Yet, even when the focal point shifts to other characters, The Pallisers remains an engrossing drama that also works as an inside look at British politics. The strong supporting cast includes future stars such as Derek Jacobi, Jeremy Irons, and Anthony Andrews.

Derek Jacobi as Claudius.

I, Claudius – Speaking of politics, such a career could be a short-lived one in early Rome, as shown in this popular 13-part TV adaptation of Robert Graves’ Claudius novels. Spanning roughly 23 BC through 54 AD, I, Claudius is an “autobiography” of the Roman emperor Claudius and shows his gradual rise to power amid his relatives’ political intrigues, family tragedies, and assassinations. As in Graves’ novels, Claudius’ limp and stammer cause treacherous opponents to underestimate his intelligence and will to survive. Derek Jacobi (as Claudius) and Siân Phillips (as the ruthless Livia) head an outstanding cast featuring John Hurt, Brian Blessed, Patrick Stewart, and George Baker. Although I, Claudius won several awards from the British Academy of Film & Television Arts, it lost the 1978 Emmy for Outstanding Limited Series to Holocaust.

The Duchess of Duke Street – The life of Rosa Lewis, rumored to have been a mistress to King Edward VII circa the late 1890s, provided the inspiration for this fictionalized dramatic series. The incomparable Gemma Jones stars as Louisa Leyton, a middle-class woman who aspires to be the greatest cook in London. Taking a chef’s assistant position with a noble family, she achieves her goal. Her culinary delights—and looks—catch the eye of the Prince of Wales, which leads to a “special arrangement.” When the prince becomes king, the affair ends, but his generosity enables Louisa to open a hotel that becomes the setting for the bulk of the series. With plots that focused on both the hotel’s staff and its typically affluent guests, The Duchess of Duke Street owed some of its success to the earlier Upstairs, Downstairs (producer John Hawkesworth worked on both). However, it was more of a star vehicle and, with Gemma Jones in the lead, that made for absorbing television for two seasons.

The Bank Dick (1940)

2012-01-07T03:15:00.002-06:00

W.C. Fields isn’t as timeless as one would like. Overall, vaudeville humor hasn’t aged well, either. Still, Fields was a devilishly delicious deadpan comic who knew how to keep a gag running. He was greatly aided in this endeavor by his own clever writing. Who better to convincingly deliver funny lines than the person who wrote them—I’m sure Woody Allen would attest to this. The Bank Dick (1940) is a product of Fields’ comedic wit (director Edward F. Cline was just along for the ride). Oh, pay no attention to the name listed in the writing credit either, Mahatma Kane Jeeves--it was one of Fields’ many pseudonyms (evidently Gandhi was on his mind). The story follows the Fields’ blueprint: an easy-going, imbibing man just wants to be left alone but finds himself hampered by domestic disturbances and inconvenient chance meetings. What follows is a 74-minute study in Fields’ own unique brand of comedy.

Usually the best parts of Fields’ films deal with his character being mistreated by his ungrateful family—which is mostly filled with women: wife, daughters and an occasional cranky mother-in-law. However, this theme isn’t really the crux of The Bank Dick. Yes, his aptly named character, Egbert Sousè, has a nagging wife (Cora Witherspoon as Agatha), an unpleasant mother-in-law (Jessie Ralph as Mrs. Brunch), and two daughters, one being a terror (Evelyn Del Rio as Elsie Mae) and one being stupid (Una Merkel as Myrtle). Yet, unlike some of his other films, the family doesn’t figure heavily in the story. They are used intermittently to show how unappreciated Mr. Sousè is, but otherwise they don’t really bring much to the table. I personally would have liked to have seen more of Jessie Ralph’s belittling mother-in-law. She had some of the best lines in the entire film. Here are two of my favorites:

Myrtle: I'll bet that's Og!
Mrs.Bruch: Mmm, he's got her bettin' now. She never gambled 'fore she met him.

Myrtle: What's a six-letter word meaning "embezzlement"?
Mrs.Brunch: Prison.

I definitely think they should have used her acerbic tongue more and less of Una Merkel'’s Myrtle, who is engaged to Og Oggilby (Grady Sutton), one of her father’s unfortunate co-workers and co-conspirators. Still, stupid characters often play the much needed role of straight man (or woman, let’s be PC!), so I suppose she serves her purpose.

There are a few random gags in the film, another trait of a Fields’ production, that I could have done without. His stumbling into the role of film director after the actual director goes on a bender wasn’t very funny to me. Perhaps he was trying to make a inside dig at someone (perhaps himself, LOL!), but I just found it completely useless to the story. Another thing I could have missed was a few of his sojourns into the local watering hole. Yet, I must admit that the name of the establishment, the Black Pussy Cat Café, is pure Fields gold. Who else in 1940s Hollywood would have dreamed up such a name and got away with it?

All of the best things about this movie revolve around his work as an unqualified bank dick. What security guard in his right mind would tackle a small child holding a toy gun? Sousè does, though I doubt he was in his right mind, and the result is laugh-out-loud funny. When he asks the child’s mother if the gun is loaded, she replies, “No, but I think you are!” Who would think it was a good idea to buy $500 in bonds from a slickster (who says: “I want to show you I'm honest in the worst way”) he met at the Black Pussy and then convince his soon-to-be son-in-law to “borrow” money from the bank to buy them? Sousè would—and he’d do it with a big grin on his face and rye on his breath. Who would try to postpone the bank’s books from being examined by the wonderfully named J. Pinkerton Snoopington (Franklin Pangborn) by using food (or, in this case, liquid) poisoning? Sousè would, and then he’d have another drink!

What most people remember about this film is the extended road chase scene at the end of the film, where Sousè has to drive the getaway car for a bank robber. The scene is reminiscent of the old silent chase scenes from the likes of the Keystone Cops. I’m not a big fan of slapstick chase scenes, but Fields gets off some great lines as the car slowly falls apart. A particular favorite barb is: “The resale value of this car is going to be nil after this trip.” I also got a hearty chuckle out of him handing the wheel to the robber when he was told to let the robber have the wheel. It’s silly humor, but it’s smart silly humor.

While this isn’t my favorite Fields’ film (I prefer It’s a Gift) The Bank Dick has many enjoyable moments in it. It is also a showcase for Fields’ comedic genius.

10 Must-See Classic British TV Series (Part 1 of 3)

2012-01-05T05:00:00.003-06:00

All this month, the Cafe will pay tribute to classic British televison of the late 1960s and 1970s. We could easily devote six months to this endeavor, because it was such a rich period for British TV. Some of the series we'll be highlighting were shown on U.S. commercial networks, many appeared on PBS, and a handful could be seen only on local stations in America. Some of our posts will focus on certain genres (e.g., those snappy spy series) and others will highlight specific series. That said, we'll start this month showering some Yankee love on ten classic British series that everyone should see! So, here's the first installment in our three-part series on must-see British shows.

Poldark – Set in late 18^th century Cornwall, Winston Graham’s sweeping historical drama centers on the Poldark and Warleggan families. The opening episode establishes a gripping premise. Captain Ross Poldark (Robin Ellis), supposedly killed during the American Revolution, returns to his home to find his father dead, his estate in ruins, massive debts, and his fiancée about to marry his cousin. While Ross’s story dominates the early part of the series, Poldark evolves into an ensemble saga populated by rich characters portrayed by a first-rate cast (e.g., Ellis, Angharad Rees, Ralph Bates, Jill Townsend, etc.). Graham’s script also comments on the social injustices and political ploys of the period. The breath-taking Cornish cliffs and beaches are an added bonus. Poldark ran for 29 episodes over 1975-77 and covered the first seven Poldark novels (all that had been written to that date). Both seasons are available on DVD from Acorn Media. Different producers mounted a new Poldark in 1996, based on an eighth novel, but it featured a different cast and never found a following.

Upstairs, Downstairs – As part of the 35^th anniversary of PBS’s Masterpiece Theatre in 2006, viewers chose Upstairs, Downstairs as their favorite series (my choice, Poldark, was seventh). The series spanned 27 years in the lives of the Bellamy family and their servants at 165 Eaton Place in the Belgravia district of London. Starting in 1903, the series addressed political unrest in Europe, the suffragette movement, World War I, the stock market crash, and even the sinking of the Titanic (which plays a small, but very significant, part on the plotline). However, the majority of the drama focused on the relationships among and between the Bellamy family and their servants. The superb cast is anchored by: Gordon Jackson as Hudson (the Scottish butler and senior staff member); Jean Marsh as Rose (the parlor maid and later a lady’s maid); and David Langdon as Richard Bellamy (the head of the family); and Angela Baddeley as Mrs. Bridges (the cook). Upstairs, Downstairs won numerous awards in Great Britain and the U.S., where it earned Emmys for Outstanding Drama Series in 1974, 1975 and 1977. A 1979 spin-off, Thomas and Sarah, followed two characters that left Eaton Place—but the tone was very different and it fizzled quickly. In August 2010, Jean Marsh starred in an updated version of Upstairs, Downstairs, set in 1936. It was popular enough to earn additional seasons, but I think it lacks the sparkle of the original.

Lord Peter Wimsey – Dorothy L. Sayers’ Wimsey mysteries have been adapted for television several times. In my opinion, the best version remains the 1972-75 series with Ian Carmichael as Lord Peter and Glyn Houston as his versatile valet Bunter. Sayers purists may quibble that Carmichael was too old for the part, but he still projects just the right amount of intelligence, likability, and upper-class manners. Set in the 1920s and 1930s, the multi-part mysteries range from superb (The Nine Tailors) to good (Five Red Herrings). The series excels at capturing Great Britain at a transitional period between the two World Wars, from the flapper lifestyle and gentleman clubs in London to the country gentry and rural impoverished villagers. Carmichael and Houston (who played Bunter in four of the five) make a fine pair of inquisitive amateur sleuths, their relationship a combination of mutual respect, professional pride, and friendship.

Quatermass and the Pit: Nigel Kneale's Original BBC Serial

2012-01-03T05:00:00.000-06:00

As regular readers of this blog know, Hammer's 1967 science fiction classic Quatermass and the Pit (aka Five Million Years to Earth) ranks among my favorite films. Its ingenious premise captured my imagination as a youth and has held my interest through repeated viewings over the last four decades. So, it was with excitement--and a little trepidation--that I approached the original 1958 BBC serial that inspired the movie adaptation.

Andre Morell as Professor Quatermass.

The serial opens with the discovery of a human-like skull during construction in the Hobbs Lane area of London. An American paleontologist, Dr. Matthew Roney, find more skeletal remains and proclaims that these "ape men" hail from five million years ago. When further excavation reveals a large cylinder made of an unknown material, Roney contacts his friend, Professor Bernard Quatermass of the British Experimental Rocket Group.

Meanwhile, Barbara Judd, Roney's assistant, learns that local residents consider Hobbs Lane to be haunted. She uncovers tales of "dwarfs that disappear into walls" that surface after any physical disturbance in the area. Barbara's findings, revealed only to Quatermass and Roney, become more terrifying when a soldier working inside the cylinder claims to have seen the "dwarfs."

The situation becomes significantly more perplexing when Quatermass discovers a hidden chamber in the cylinder--filled with the remains of large insect-like creatures. Is the cylinder a spaceship? Were the dead creatures from another planet? Are the "ape-men" genetically-altered mutations that evolved into the human race? Are we Martians?

Writer Nigel Kneale integrates a host of a fascinating ideas in his thematrically complex plot. Not only does he expand on his basic premise--that the human race may be a result of alien colonization--but he also offers scientifically-inspired explanations for the supernatural.

If this all sounds familiar to admirers of the 1967 film version, then I will confirm what you've probably guessed: the film was an extremely faithful adapation of the serial. Kneale wrote the film's screenplay and did a marvelous job in condensing his 210-minute serial into a crisp 97-minute movie. Indeed, the serial seems quite slow compared to the film and the serial's longer running time doesn't result in any additional insights.

Quatermass helps a soldier who
"saw" a Martian.

In terms of lead performances, both Andre Morell (serial) and Andrew Keir (film) are marvelous as the passionate, inquisitive Quatermass. Originally, Morell was asked to reprise his performance for the film adaptation, but he turned it down. A fine actor, Morell appeared in dozens of films from the 1930s through the 1970s, including The Bridge on the River Kwai and Ben-Hur. He made possibly the screen's best Dr. John Watson opposite Peter Cushing's Sherlock Holmes in 1959's The Hound of the Baskervilles. He had another plum role opposite Cushing in the underrated suspense film Cash on Demand.

Unfortunately, although Morell is excellent in the Quatermass and the Pit serial, Anthony Bushell delivers a one-note performance as his adversary, Colonel Breen. Shouting dialogue in a stern voice, Bushnell's Breen comes across as a stereotype instead of an intelligent officer unwilling to accept the compelling evidence before him. Furthermore, Bushnell's portrayal dilutes Kneale's examination of the popular theme of military vs. science (explored, albeit briefly, in 1951's The Thing from Another World).

The 1958 Quatermass and the Pit was the third of four Quatermass television serials written by the prolific Nigel Kneale. After studying acting at the Royal Academy of Dramatic Arts, Kneale turned to writing full time after winning the prestigious Somerset Maugham Award in 1950 for Tomato Cain & Other Stories. After penning a radio play for the BBC, Kneale joined the television staff at the British network. He introduced TV audiences to Professor Bernard Quatermass with The Quatermass Experiment, a 1953 serial consisting of six 30-minute episodes. It was a landmark event in early British television. Film historian and critic Leslie Halliwell noted in his Halliwell's Television Companion that The Quatermass Experiment "became the first TV serial to have the whole country (or such parts as could receive television) agog."

In the four original TV serials: Reginald Tate played Quatermass in The Quatermass Experiment; John Robinson starred in Quatermass II (1955); Morell followed in Quatermass and the Pit; and finally John Mills in 1979's Quatermass (aka The Quatermass Conclusion). Although Morell's performance is widely praised, I'm also fond of Mills' interpretation of an older Quatermass. In 2005, the BBC mounted a live remake of The Quatermass Experiment starring Jason Flemyng as a much younger scientist than his predecessors. On the silver screen, Brian Donlevy was woefully miscast as the lead in adaptations of The Quatermass Experiement and Quatermass II.

As for my final summation of the Quatermass and the Pit serial: Had I never seen the film version, I suspect the 1958 original would have had a stronger impact. It's well-written, generally well-acted, and I'm excited that I finally had an opportunity to see it. However, it lacks the energy of the 1967 film, which grips the viewer tightly and never lets up for 97 enthralling minutes.

My Man Godfrey (1936)

2011-12-31T04:47:00.001-06:00

There are few films from the 1930s that I like more than My Man Godfrey (1936). Screwball comedies are a particular favorite of mine, and this is one of the best ever made. It is a film filled with memorable characters and lines. In addition, it has a bit of a serious side, touching on the plight of the Forgotten Man during the Depression. When you combine all of these ingredients, you come up with a deliciously entertaining movie.

If you went to see this in 1936 you would have seen William Powell and Carole Lombard’s names on the marquee, but while both give fine performances, they are greatly aided by the stellar supporting performances of Alice Brady, Gail Patrick, Eugene Pallette, and Mischa Auer. It is the supporting characters that carry this film along its crazy path.

Powell plays Godfrey Smith/Park, a privileged Bostonian who chucks it all after a woman does him wrong. He ends up living in New York City Dump 32 until Cornelia (Patrick) and Irene Bullock (Lombard) find him there while looking for a Forgotten Man as part of a scavenger hunt. He soon ends up being their 5th Avenue butler.

Both sisters are spoiled and narcissistic, but they are different in that Cornelia has a malicious side and Irene is compassionate incarnate. I suppose this is what makes Patrick’s character the more interesting of the two. Cornelia is intelligent and jaded, while Irene is flighty and naïve. I often think director Gregory La Cava and screenwriters Eric Hatch and Morrie Ryskind used Cornelia as their focal point in developing their social satire. Here is a woman who has everything: beauty, class, money, and intelligence. Yet, she seethes with resentment and discontent. A lot of people think Godfrey should have ended up with Cornelia in the end (the whole Taming of the Shrew thing), but what most people forget is Cornelia was the sort of woman Godfrey left back in Boston. For me, Patrick’s is the standout performance.

Eugene Pallette and Alice Brady also do memorable turns as Alexander and Angelica Bullock, the parents of Cornelia and Irene. Pallette, in particular, does a fine job of presenting his character’s astonishment at the complete insanity of his family. Perhaps it’s his voice, but he conveys both irritation and apathy extremely well. Brady’s pixie-seeing Angelica is the epitome of oblivious mothering. Here is a woman who has a protégé (really her paramour, but the Hays Code was around) in would-be musician Carlo (Auer); drinks too much (hence the pixies); and, supports her daughters’ eccentric behavior. She is no role model, but her daughters are a lot like her—especially Irene, who decides to make Godfrey her protégé.

Now, I’m not saying that Powell and Lombard don’t give fine performances, because both are very good. Powell plays the calm caretaker of the insane asylum that the Bullocks call home well. He is both bemused and detached in his role as Godfrey. It is quite comical to watch him thwart off Irene’s advances--especially since Powell and Lombard had been previously married. It is said that she was too animated for him; plus, he was sixteen years older. So, when Godfrey makes the comment in the film that Irene should find someone her own age and class it was a bit like art imitating life. Lombard, for her part, plays Irene as a theatrical little girl who doesn’t know how to get what she wants without faux fainting or crying. The “laugh” is what I find most hysterical about Irene. Anytime she doesn’t understand what is happening, or when she is unsure of herself, she falls back on that childish laugh.

Besides fine acting, the writing is superb. The dialogue is rapid-fire and sharp as an axe. Each character has their own memorable lines, but I’ve always thought that Angelica Bullock got the best ones—or maybe Alice Brady just delivered hers better than the rest. My favorite exchange comes between Angelica and Godfrey:

Angelica: My ancestors came over on the boat. Oh, not the Mayflower, but the boat after that. What did your ancestors come over on, Godfrey?
Godfrey: As far as I know, they've always been here.
Angelica: They weren't Indians, I hope.
Godfrey: One can never be sure of one's ancestors.
Angelica: You know, you have rather high cheek bones.

And from that point on there is a running gag about Godfrey being of Indian descent. Overall, it’s just a pleasure to listen to such clever dialogue (especially if you compare it to some of the dialogue in modern film). Smart witticisms never age and that’s one of the reasons My Man Godfrey seems timeless.

Finally, what most people forget about My Man Godfrey is that it is a slight social commentary about the difference between the rich and poor during the Depression. The Forgotten Man, men who served in WWI or lost everything in the Crash, found themselves unemployed and displaced living in places like City Dump 32, while the Bullocks lived the high life on 5th Avenue. The only time the Bullocks of the world notice the Forgotten Man is when they need him to win a silly game for them. At one point in the film Godfrey says, “The only difference between a derelict and a man is a job.” Of course, more could have been done with this theme. If I have one complaint with the film it would be that Godfrey shouldn’t have been pretending to be down on his luck but actually have been down and out. Still, it is a nice twist when you learn the reason he can handle the Bullocks so well is that he was once afflicted with their disease as well.

One interesting aside about My Man Godfrey is that it was the first film to receive nominations in all four acting categories: Best Actor (Powell), Best Actress (Lombard), Best Supporting Actor (Mischa Auer) and Best Supporting Actress (Alice Brady). While none of the actors won the coveted statue, they should have taken solace in the fact that La Cava was passed over as Best Director and Hatch and Ryskind didn’t win Best Screenplay either. However, the strangest thing about the whole Oscar situation is this: My Man Godfrey wasn't even nominated for Best Picture. Somehow the math just doesn’t seem right there. Oh, well…

ABC's The Movie of the Week

2011-12-29T22:28:00.007-06:00

Made-for-TV movies eventually got a bad rap, which explains why they pretty much faded from network television in the 1990s. But I still fondly recall what I call the "Golden Age of the TV Movie": the early 1970s when ABC began broadcasting its Movie of the Week.

Every Tuesday night, ABC introduced a world premiere telefilm in a ninety-minute time slot (about 72 minutes without commercials). The success of the series can be attributed, in part, to the variety of its films: suspense (The Longest Night), horror (The Night Stalker), science fiction (Night Slaves), World War II action (Death Race), comedy (The Daughters of Joshua Cabe), Western (The Hanged Man), serious drama (That Certain Smile), film noir (Goodnight, My Love) and even kung fu (Men of the Dragon). Many of the telefilms were also pilots for TV series--some of which made it as regular series (The Six Million Dollar Man) and some that didn’t (The Monk with George Maharis as a private eye).

Dennis Weaver in Duel, written by
Richard Matheson.

Several films earned critical plaudits, such as Brian's Song, Duel, That Certain Summer, Tribes, and The Point. Occasionally, one would be released theatrically in either in the U.S. or Europe--often with additional footage--after its TV broadcast. That was the case with Steven Spielberg's suspenseful chase drama Duel and The Sex Symbol with Connie Stevens playing an actress loosely inspired by Marilyn Monroe.

I'm always surprised by how many of the ABC Movie of Week telefilms are fondly remembered by fellow film buffs. For example, people may not remember the title of Trilogy of Terror--but mention the creepy TV movie with Karen Black about the killer doll and a lot of folks will know it.

The original Movie of the Week debuted on Tuesday night in 1969. It was so successful that ABC launched a Movie of the Weekend, which subsequently shifted to mid-week so there were Tuesday and Wednesday Movies of the Week installments. The final Movie of the Week was broadcast in 1976.

The catchy theme to the Movie of the Week opening was written by Burt Bacharach. Its actual title is "Nikki," named after Burt's daughter with Angie Dickinson. Click on the clip below to view the full opening for When Michael Calls, a thriller with Ben Gazzara, Elizabeth Ashley, and Michal Douglas. At the end of the clip is preview for the following week's movie, The Screaming Woman, starring Olivia de Havilland. Unfortunately, the video quality doesn't do justice to the bright, colorful graphics.

In terms of originality, the only network that competed with ABC was CBS, which launched CBS Tuesday Night Movie in 1972. It sent speeding helicopters (Birds of Prey), ancient evil Druids (The Horror at 37,000 Feet), and, most memorably, Gargoyles to battle its TV-movie rival at ABC.

Crosby as Dr. Cook.

Sadly, only a handful of these films are available on DVD (and even then, the prints are usually inferior in quality). I’d love to see TCM get the rights to the Movie of the Week. It’d be great to see Bing Crosby in Dr. Cook’s Garden again and see if the film as good as I remember.

Below is a sampling of the telefilms that played on The Movie of the Week (to include the Tuesday and Wednesay editions and The Movie of the Weekend on Saturday). Note that several movies featured performers from the classic film era:

Seven in Darkness (1969)

Daughter of the Mind (1969) with Gene Tierney & Ray Milland

Gidget Grows Up (1969)

Honeymoon with a Stranger (1969)

The Over-the-Hill Gang (1969) with Walter Brennan & Andy Devine

The Ballad of Andy Crocker (1969)

The Immortal (1969)

Wake Me When the War Is Over (1969)

Along Came a Spider (1970)

Carter's Army (1970)

Crowhaven Farm (1970)

How Awful about Allan (1970) with Anthony Perkins & Julie Harris

Night Slaves (1970)
The Over the Hill Gang Rides Again with Walter Brennan & Fred Astaire

Run, Simon, Run (1970)

The Love War (1970)

Tribes (1970)

Brian's Song (1971)

Do Not Fold, Spindle, or Mutilate (1971) with Helen Hayes, Myrna Loy, Sylvia Sidney

Dr. Cook's Garden (1971)

Duel (1971)

In Broad Daylight (1971)

In Search of America (1971)

Maybe I'll Come Home in the Spring (1971)

The Birdmen (1971)

The Devil and Miss Sarah (1971)

The Feminist and the Fuzz (1971)

The Point! (1971)

The Reluctant Heroes (1971)

A Great American Tragedy (1972)

Goodnight, My Love (1972)

Moon of the Wolf (1972)

That Certain Summer (1972)

The Astronaut (1972)

The Daughters of Joshua Cabe (1972) with Buddy Ebsen & Sandra Dee

The Longest Night (1972)
Madame Sin (1972) with Bette Davis & Robert Wagner

The People (1972)

The Screaming Woman (1972) with Olivia de Havilland

Women in Chains (1972)

A Cold Night's Death (1973)

A Summer Without Boys (1973)

Don't Be Afraid of the Dark (1973)

Female Artillery (1973)

Go Ask Alice (1973)

Isn't It Shocking? (1973)

Satan's School for Girls (1973)

Shirts/Skins (1973)

The Girl Most Likely to... (1973)

The Girls of Huntington House (1973)

The Man Without a Country (1973) with Cliff Robertson

The Night Strangler (1973)

The Third Girl from the Left (1973)

Get Christie Love! (1974)

Hit Lady (1974)

Houston, We've Got a Problem (1974)

Killdozer (1974)

Locusts (1974)

The Mark of Zorro (1974)

The Morning After (1974)

Thursday's Game (1974)

Winter Kill (1974)

Remembering "The CBS Late Movie"

2011-12-26T14:53:00.000-06:00

One of my favorite summer memories is watching The CBS Late Movie. Launched on Valentine’s Day in 1972, The CBS Late Movie was a delightful gift for movie-lovers. For four years, it offered an eclectic mix of movies five nights a week.

The only film fan not thrilled by The CBS Late Movie may have been Judith Crist. The famous critic once wrote a weekly column for TV Guide, where she reviewed movies making their network TV debuts. She initially tried to encompass The CBS Late Movie, but the dramatic increase in workload (five more movies every week) may have proved too much, for she eventually focused solely on network movies playing in prime time.

Seven Brides on The CBS Late Movie.

For the rest of us, The CBS Late Movie was a treasure trove that revived classics (Seven Brides for Seven Brothers, Showboat), unearthed movies all but forgotten (Darby’s Rangers, Bunny O’Hare, Mister Buddwing, The World, the Flesh and the Devil), and introduced some films destined for cult movie status (7 Faces of Dr. Lao, The Fearless Vampire Killers).

Vincent Price as Dr. Phibes.

My favorite night was Friday, of course. Even during the school year, I could see the Friday edition. But more importantly, it eventually became “horror film night” for The CBS Late Movie. This was where several long-in-demand Hammer movies made their American television debuts, to include: Curse of Frankenstein, The Two Faces of Dr. Jekyll, The Mummy, and Dracula, Prince of Darkness. Other Friday night fright features were The Valley of Gwangi, Scream and Scream Again, The Creeping Unknown, and The Abominable Dr. Phibes.

Sadly, starting in 1976, CBS began mixing TV series with its movies and gradually shifted to showing just TV shows. Most of these series were repeats of network fodder like Kojak, Banacek, and Kolchak: The Night Stalker (shown on Fridays, naturally). For a bit of originality, CBS offered British import series like The New Avengers and Return of the Saint. Still, I missed the movies! In 1985, CBS changed the title to CBS Late Night, officially signaling the end of The CBS Late Movie.

The opening graphics and theme music to The CBS Late Movie have their admirers. The theme was written by Morton Stevens, whose credits include the popular title theme to Hawaii Five-O. The clip below is one of the best available on YouTube. Note that the film's title, The Medusa Touch, is misspelled!

I’d love to read some comments from other fans of The CBS Late Movie. I haven’t found a good list of all the movies broadcast.

“These Amazing Shadows” on PBS: Preserving the Treasures of Cinema

2011-12-22T07:15:00.003-06:00

The Emmy Award-winning PBS series, Independent Lens, will be presenting the film, These Amazing Shadows. The hour-long documentary details the movies that have been selected each year for the National Film Registry. It was directed by Paul Mariano and Kurt Norton and will be premiering on PBS next Thursday, Dec. 29th, at 10:00 pm.

In the 1980s, colorization of black-and-white films was championed publicly by the likes of Ted Turner. The process was condemned by filmmakers and film historians, who believed that colorization diminished the films’ artistic merits. In retaliation, the National Film Preservation Act was passed in 1988, its purpose to identify and register films that are “culturally, historically, or aesthetically significant.”

These Amazing Shadows includes plentiful clips of noteworthy movies that have been listed as part of the Registry. There are interviews with many directors, actors, writers, and others working in films or the study of films, such as director Christopher Nolan, producer Gale Anne Hurd, actress Debbie Reynolds, the Librarian of Congress, Dr. James H. Billington, and members of the National Film Preservation Board. There are also discussions of the importance of particular movies, as well as personal stories and reminiscences, like director Wayne Wang citing Natalie Wood as a key reason for his adoration of West Side Story (1961).

The movies chosen for the Registry are not picked solely for aesthetic value or popularity. They are listed for a variety of reasons, and as such, there is much diversity. Well known classics such as Casablanca (1942), To Kill a Mockingbird (1962) and The Godfather (1972) are there, but so is Mel Brooks’ Western comedy Blazing Saddles (1974), James Cameron’s sci-fi actioner The Terminator (1984) and John Singleton’s urban drama Boyz n the Hood (1991). The Registry likewise has documentaries, the 1950s propaganda film, The House in the Middle – which shows you that painting your house and cleaning your yard of clutter will protect you from a nuclear detonation – and even that one advertisement that would play between movies, in which anthropomorphized refreshments would sing and dance and convince viewers to “all go to the lobby to get ourselves a treat.”

The documentary additionally highlights the impression of many films, in terms of race, gender, etc. Some of the Registry’s movies may, in retrospect, seem offensive to a particular race or creed, but they are included as they represent America’s history and the cinema’s impact on society and culture.

These Amazing Shadows should appease film buffs with an informative and entertaining presentation. Visit the film’s website to view clips, read details on the documentary, accept a trivia challenge of films in the Registry, and join the “Talkback” section for discussion among fans and enthusiasts. And don’t forget to clear your schedule or set your DVR on Dec. 29th.

PBS provided the Cafe with a preview copy of These Amazing Shadows. Photos courtesy of PBS.

What is Your Favorite Classic Film? Who Are Your Favorite Stars? The 2011 Classic Film Survey Has Answers

2011-12-19T18:57:00.001-06:00

Last month, the Cafe surveyed over 125 classic film lovers as part of its first annual Classic Film Survey. The survey's final question proved to be the most difficult for many survey participants: "What is your favorite: film, actress, actor and director?"

Several people stated it was too difficult to pick just one of each category. Others noted: "If you asked me the same question tomorrow, my answers would be different." Still, most of the surveyed film fans listed their favorites and here are the results.

What is your favorite film?

This was the most diverse of the four "favorite" categories, with the results being spread among 61 motion pictures. They ranged from silent films (Sherlock Jr.) to movies from the early 1980s (e.g., Raging Bull). Surprisingly, there were a number of foreign-language films, such as Seven Samurai, Cinema Paradiso, Babette's Feast, and Yojimbo. However, the top vote-getter was no surprise at all, with Casablanca earning the honors. Here are the top six films:

Casablanca (10.8%)
Gone With the Wind (6.5%)
North by Northwest (4.3%)
Philadelphia Story (4.3%)
Citizen Kane (3.2%)
Vertigo (3.2%)

Other films with more than one vote: All About Eve, The Life and Times of Colonel Blimp, It's a Wonderful Life, My Man Godfrey, Notorious, Random Harvest, and The Thin Man.

Who is your favorite actress?

It was a two-person race in this category and, in the end, Bette Davis emerged as the top vote-getter with 14.3% of the total. The only actress to come near that percentage was Katharine Hepburn with 10.9%. What's interesting about Bette's popularity is that only one of her films--All About Eve--garnered any support as favorite film. The implication is that, in some cases, star appeal transcends the films featuring the star.

Thirty-five actresses received at least one vote. There were silent film actresses (Lillian Gish), foreign-language stars (Jeanne Moreau, Claudia Cardinale), and recent screen favorites (Naomi Watts). Here are the top six actresses:

Bette Davis (14.3%)
Katharine Hepburn (10.9%)
Barbara Stanwyck (6.5%)
Audrey Hepburn (6.5%)
Jean Arthur (5.5%)
Myrna Loy (5.5%)

Other actresses with more than one vote: Ingrid Bergman, Deborah Kerr, Vivian Leigh, Carole Lombard, Ginger Rogers, and Natalie Wood.

Who is your favorite actor?

The resounding answer is Cary Grant. Mr. Grant dominated in the actor category, crushing his competitors with 31% of the total votes. What's impressive about his "victory" is that the question was an open-ended one. Thus, with no choices on a form to select from, 31% of the survey participants typed in Cary Grant as their favorite actor.

James Stewart was a distant No. 2 with 12% of the votes. Still, he was a clear second choice, outdistancing the rest of the pack by at least 8%. Furthermore, Stewart's 12% was almost enough to win any other category.

With Grant and Stewart collecting so many votes, it's somewhat surprising that the remaining votes were spread among 47 actors. Several current performers made the list, to include George Clooney, Ewan McGregor, and Alan Rickman. A single vote prevented many Hollywood favorites, such as John Wayne and Ronald Colman, from being shut out totally. Here are the top five actors:

Cary Grant (31%)
James Stewart (12%)
Humphrey Bogart (4%)
Errol Flynn (3%)
James Cagney (3%)

Other actors with more than one vote: Leslie Howard, Robert Mitchum, Paul Newman, and Anton Walbrook.

Who is your favorite director?

The expected winner--Alfred Hitchcock--was the top choice with 28% of the votes. His total more than doubled that of second-place finisher Billy Wilder. Still, it wasn't the landslide that I expected. Once again, classic film fans proved to possess a wide range of tastes. This category, in particular, reflected a fondness for foreign-language cinema with votes being cast for Ingmar Bergman, Akira Kurosawa, Jacques Tati, Erich Von Stroheim, Rene Clair, Federico Fellini, Jean Cocteau, Pedro Almodovar, and even John Woo. The top six directors were:

Alfred Hitchcock (28.4%)
Billy Wilder (13.7%)
Frank Capra (7.4%)
John Ford (4.2%)
Howard Hawks (4.2%)
George Stevens (4.2%)

Other directors with more than one vote: Ingmar Bergman, Charles Chaplin, George Cukor, Stanley Kubrick, Akira Kurosawa, Otto Preminger, Preston Sturges, Orson Welles, and William Wyler.

A Special Thanks

I want to personally thank everyone who voted in the 2011 Classic Film Survey. It's been a lot of fun to analyze and share the results. The feedback has been overwhelmingly positive, especially from the Cafe's fans on Twitter. In fact, we're already thinking up questions for the 2012 survey, which we'll launch next November!

Classic Film Fan, Who Are You? Survey says....

2011-12-13T05:00:00.001-06:00

Last month, over 125 classic film lovers from across the Internet participated in the Cafe's first annual Classic Film Survey. One of the goals of the survey was to learn more about classic film fans. How did they become fans? How often do they watch classic movies? What's their preferred source of vintage favorites? Here are the results:

How did you become a classic film fan?
The answer to this question yielded no surprises. There was no statistical difference between survey respondents who discovered films on their own (61%) or were influenced by family or friends (57%). Many people selected both responses. In contrast, only 12% became fans as a result of taking a college course. So, you don't need a college degree to love classic films! (On the other hand, an added bonus to a college education is that it converts some folks into classic movie lovers.)

How many classic films do you watch weekly?
Two-to-five films earned the most responses, accounting for 48% of the total. 27% of the survey's respondents said they viewed 6-10 movies weekly and one person even confessed to watching 26 or more every seven days! Foreign-language films comprised a small portion of the movie-watching experience, with 47% of the survey participants stating that foreign-language films comprised 5% or less of the total classic films seen annually. The decreased availability of foreign-language films--compared to English-language ones--certainly impacted the answers to this question.

What is the main source of films you watch?
No surprise here...55% answered Turner Classic Movies. Still, a healthy 25% of respondents rely on their own video libraries. Video service providers, such as Netflix, earned 16% of the votes. That number is unlikely to grow, given that classic film fans still represent a small portion of the total movie rental audience.

If you enjoy reading about classic films, what is your favorite source?
Three sources were statistically tied: the Internet Movie Database; printed reference books; and classic movie blogs written by individuals not affiliated with a film-oriented company. The popularity of blogs may be skewed because I distributed the survey to members of the Classic Movie Blog Association. On the other hand, the enormous number of active classic movie blogs on the Internet would seem to validate that a significant number of them are being read with regularity.

What is your favorite decade of classic films? What is your favorite genre of classic films?
The 1940s dominated over all other decades with a robust 47% of the total votes. The 1930s came in second with a still impressive 35%. No other decade mustered more than 8%. The conclusion: Classic film fans favor the Golden Days of Hollywood when the major studios dominated in the U.S. As for favorite genre, the votes were dispersed among all the choices, with no single genre separating itself from the pack.

Next week, we'll conclude this series by sharing survey results on favorite films, directors, actresses, and actor. If you missed Part 1 of the 2011 Classic Film Survey results, click here.

H.G. Wells vs. Jack the Ripper in "Time After Time"

2011-12-10T09:34:00.000-06:00

This ingenious concoction of science fiction, thriller, and romance comes from the fertile imagination of Nicholas Meyer. A former publicity agent, Meyer first gained recognition with his best-selling mystery The Seven Per Cent Solution, which teamed up Sherlock Holmes with Dr. Sigmund Freud. After adapting his novel for the screen, Meyer served up a second pairing of real-life figures in Time After Time—only with a double twist. Instead of working together, the pair would be adversaries. And instead of setting the plot in the past, it would take place in the past and the present.

Time After Time opens in fog-enshrouded London in 1893 with the murder of a prostitute by Jack the Ripper (shot in first-person, perhaps an homage to the opening scene in Mamoulian’s Dr. Jekyll and Mr. Hyde). The Ripper then appears at the home of H.G. Wells, who does not know that his friend Dr. John Leslie Stevenson is a serial killer. Stevenson joins the dinner party as Wells is explaining to other skeptical guests about his latest invention: a time machine.

Malcolm McDowell as H.G. Wells.

When a policeman tracking the Ripper shows up at Wells’ house, Stevenson’s bloody murder weapon is discovered in his physician’s bag. However, Stevenson has miraculously escaped from the house. It is only after the police have left that Wells realizes that Jack the Ripper has stolen his time machine and escaped into the future.

Believing that the future will be a perfect world without war and crime, Wells is devastated (“What have I done? I’ve turned that bloody maniac loose upon Utopia.”). When the time machines returns, Wells follows Stevenson into the future—San Francisco in 1979.

Wells and his time machine "land" in a San Francisco museum.

David Warner as Jack the Ripper.

Watching these two turn-of-the-century intellectuals in a contemporary setting is fascinating. Much of the film’s humor is derived from Wells’s attempts to fit in. He eats at a “Scottish restaurant” called McDonald’s. He boldly discusses his ideas on “free love” to bank employee Amy Robbins, who is amused by his old-fashioned values. In contrast, Stevenson adapts to his new environment quickly and smoothly. In an eerie scene, he flips through several TV channels filled with violent images and informs Wells: “I belong here completely and utterly. I’m home. Ninety years ago, I was a freak. Now, I’m an amateur.”

McDowell and Steenburgen as time-challenged lovers.

The film relies strongly on its three leads and they are all in peak form. Malcolm McDowell gives one of his best performances as the wonder-filled Wells. David Warner exudes creepiness as Stevenson. And Mary Steenburgen comes across as both vulnerable and strong. She and McDowell have a wonderful chemistry together. They met on the set of Time After Time and married shortly afterwards (but subsequently divorced).

Writer-director Nicholas Meyer went on to contribute to three of the best Star Trek films: The Wrath of Khan, The Voyage Home (another time travel picture),and The Undiscovered Country. Earlier in his career, he wrote two above-average made-for-TV movies: The Night That Panicked America (about Orson Welles' radio adaptation of The War of the Worlds) and Judge Dee and the Monastery Murders (an engrossing mystery featuring Robert van Gulik's seventh-century Chinese detective).

Time After Time tops my list of the best time travel movies. It explores the usual time travel conumdrums with aplomb, but never lets them get in the way of a delightful love story and clever social satire.

Five Favorite Classic Movie Villains

2011-12-07T22:36:00.000-06:00

I must apologize in advance for the skimpiness of detail in discussing my villains. Computer problems are preventing me from pulling up sites that I use to refresh memory and find information. If you are reading this at all, it means that I got lucky. Instead of a more comprehensive look at the actors, I offer this pictorial with the information I have in my memory. I have many favorite villains in movies, and I have picked five to share with you. I have chosen pictures of the actors in their roles, as well as the same actors as just themselves. It would be fun to hear from you about your favorites:

#1 Henry Daniell as Lord Wolfingham in The Sea Hawk (1940). As a slimy, deceitful Englishmen who spies for Spain, Daniell incurs the wrath of one of England's Sea Hawks (Errol Flynn). Daniell's wonderfully clipped, nasal British accent makes him a perfect villain who believes he will win in the end. He doesn't...

Daniell could not swing a sword at all, and was doubled
in all fencing shots -- but who cares? He was a great villain!

I'm not sure if he smiled much, but
he is distinguished and very proper!

#2 Richard Widmark as Tommy Udo in Kiss of Death (1947). Widmark became a star with his portrayal of the disgusting, giggling psychopath member of a crime mob. He would stop at nothing, and enjoyed his job.

Yes, Tommy Udo gleefully pushed the crippled lady down the stairs...

Widmark ... handsome and well-liked by colleagues.

#3 Jane Greer as Kathie in Out of the Past (1947). Beautiful, slinky, a dame who epitomized female sociopaths in classic film noir, Jane Greer worked her deadly wiles on Robert Mitchum and Kirk Douglas. She almost got away with it ... almost...

Kathie is ready to do anything to get what she wants...

Jane washing her hair like any other woman...

#4 Steve Cochran as "Big Ed" in White Heat (1949). Scheming and cocky, Big Ed plans to take over crime operations led by the insane gangster Cody Jarrett (James Cagney). He also plans to take over Cody's wife Verna (Virginia Mayo). Big Ed gets his in the end...

Big Ed with Verna.
Love the way he spits out his gum before he kisses her...

Steve Cochran looking handsome and friendly in real life...

#5 Claude Rains as Victor Grandison in The Unsuspected (1947). Rains can play anything, and he does a tour de force performance in a rather flawed movie. He plays Victor Grandison, a smooth-voiced, gentle and smiling radio writer and performer. In reality, he is a killer who plans to knock off his loving ward and anybody else who gets in the way.

Dear, sweet "Grandy" comforts his ward as he plots
to kill her for her money...

Rains ... a great actor respected by all...

What Is a Classic Film? Survey says....

2011-12-06T05:00:00.002-06:00

Ask the average person on the street to define "classic film" and your answer is likely to be: "An old black and white movie." Ask the same question to a classic film fan and you will get a myriad of responses. As I tried to craft my own definition, I decided to gather input from the experts and thus published the Cafe's first annual Classic Film Survey. Over 125 classic film enthusiasts from across the internet participated. My thanks to each of them, especially the many who took extra time to leave thought-provoking comments at the end of the survey.

Age Does Matter
One question that intrigued me was whether age played a significant role in defining "classic" (an issue that certainly applies to other forms of art as well). The answer is a resounding "yes" from two-thirds of the respondents. So then, how old does a film have to be before it's considered a classic? Survey respondents identified the 1960s and 1970s as the decades which formed the start points for classic status. Each of those decades received about 30% of the total votes, with the 1950s, 1980s, and 1990s sharing the rest (each earning between 12% and 15%).

West Side Story: A classic within a decade?

Think of the responses in another way: The survey's findings indicate that a film must be over 30 years old before it's considered a classic! Certainly, that hasn't always been true. When I took film courses in college in the last 1970s, West Side Story and To Kill a Mockingbird were already considered classics--and they had been made a scant 16 years earlier (of course, both were based on earlier works, which may have impacted their classic status). Still, I can think of numerous 1960s films that were considered classics by the following decade. So why is the overwhelming perception now that a film must be at least three decades old to be classic?

Richard Widmark and Wayne--still stars
in the 1960s.

One possibility suggested by a handful of survey respondents is that the Hollywood studio system of the 1930s and 1940s created stars that were still dominant through most of the 1960s. Perhaps their box office popularity was fading, but stars like Doris Day, Henry Fonda, and John Wayne were at the top of their game in 1960s classics such as Lover Come Back, Fail-Safe, and The Man Who Shot Liberty Valance. By the latter part of the decade, the "new stars" weren't graduates of the studio system--they gained their experiences in television (e.g., Robert Redford) and independent films (e.g., Jack Nicholson). They made fewer films and often took roles in small pictures like The Passenger (with Nicholson). Thus, this hypothesis proposes that the cutoff point for "classic" status is when the majority of stars from Hollywood's "Golden Age" retired from acting--in the 1960s and 1970s.

A Film's Enduring Appeal
However, the survey results also indicate that a film's enduring appeal is significantly more important than its stars or age. When asked what criterion was most important in defining a classic film, 57% said it was the film's enduring appeal. A distant second was "when a film was made" (25%), followed by "a film's impact on culture and the industry" (12%) and and the "iconic appeal of a film's stars or director" (5%).

Of course, it's hard to discuss a film's overall appeal without focusing, in part, on the contributions of the actors in it and the film's age. We also can't forget that nostalgia--a partial by-product of age--plays a role in the "timeless" quality of some films. Thus, there's overlap between the different criteria...let's just call that a survey design flaw.

To avoid getting mired in analysis, we'll look at "enduring appeal" from a holistic viewpoint. Aside from nostalgia, why do some classic films maintain--or even increase--their appeal through the years? One potential reason is that films from the 1930s through the 1960s spanned so many genres. Lavish musicals? Check. Westerns? Hundreds were made. Gangster films, film noir, war movies, historical adventure? Yes to all!

Cabaret: A rare 1970s musical.

Yet, by the 1970s, almost all those genres were dead, on life support, or buoyed by a couple of hits. Quick, can you name a significant musical other than Cabaret or Grease from the 1970s? I suspect films like A Matter of Time, Funny Lady, and All That Jazz have their admirers, but none of them is considered a classic. How about a rousing pirate action film from the 70s? I think Scalawag and Swashbuckler are best forgotten.

Another contributing factor to enduring appeal, related to the variety of genres, is the number of films with non-contemporary settings. Simply put, historical films and Westerns--which were plentiful in the 1930s through 1950s--don't date as quickly as most contemporary-set dramas. Admittedly, I'm generalizing to a degree, because Gene Autrey's Westerns seem very dated! But Shane, Winchester '73, Dodge City? Their settings give them a timeless quality that keeps these films fresh over the years.

Finally, I suppose some classic film fans may argue that "movies were just better in the old days" and that's why their appeal has endured over the last 70 years. Personally, I don't buy that. There are fine films made every year and, in time, the definition of classic film is bound to evolve.

But for now, we'll stick with the definition provided by our survey results. What is a classic film? A movie made prior to the 1980s that possesses enduring appeal. That's short and sweet...but the supporting reasons are what make for intriguing discussion. I've listed my thoughts. What are yours?

Stay tuned for Part 2, in which we'll examine more survey results to define the prototypical classic film fan.

Trivia Time 104

2011-12-04T15:30:00.015-06:00

Here are the leftovers from last week. Not a bad week overall…there were more questions answered than not! Thanks to all who participated!

5. Name the Olivia de Havilland films in which Ward Bond makes an appearance. Name the leading men in each film.

Answers: Gone With The Wind (Clark Gable), Dodge City (Errol Flynn), Santa Fe Trail (Errol Flynn).

6. This '60s game show producer liked to use former DJs as hosts for his shows. Name him and his two famous DJ hosts.

Answers: Jerome took a shot at this one and got half credit for doing so; I was looking for Chuck Barris (as the producer), Jim Lang, and Bob Eubanks.

7. Which classic game show host is featured in a Weird Al video?

Answer: Art Fleming (the original host of Jeopardy).

9. In which major '60s film did Jim Hutton have a small uncredited part? What was the part? Name the stars of the film.

Answers: Sunday in New York; Hutton played a guy in a rowboat with a radio; Jane Fonda, Rod Taylor, Cliff Robertson, and Robert Culp.

13. Name the DJ from KRLA in Pasadena, CA and his long-running TV show.

Answers: Bob Eubanks, The Newlywed Game.

And here is Trivia Time 104; no worries, it's short and sweet...enjoy!

1. Name at least two well-known character actors who worked with both Tyrone Power and Errol Flynn, and name the films in question.

2. In which James Stewart film is Richard Loo featured?

3. Name three James Stewart films directed by Anthony Mann which are NOT Westerns.

4. Name James Stewart's female co-stars in the films in #3.

5. Name a film with a score by Miles Davis.

6. While making The Brady Bunch, which other TV show did Robert Reed work on simultaneously?

7. Who Said This in Which Film? "Who's the pale copper Apollo?"

8. Name the actor who played the "pale copper Apollo" in the above movie.

The 5 Best Christmas Movies

2011-12-01T07:46:00.003-06:00

With the holiday season upon us, it only seems appropriate to do a Yuletide version of "The Five Best" series. Between 1938 and 2000 alone, there were over 100 movies centered around Christmas and I'm not even counting films with Christmas scenes such as The Bells of St. Mary's and Meet Me in St. Louis. Picking out a Top 5 was not an easy task and I fully expect to receive some comments on omissions and the rationale for my picks. But, as I've said previously, there's nothing like a good movie discussion!

1. The Bishop's Wife. When I first saw this film on TV in the 1970s, it was not the annual holiday favorite that it is today. Its stature has grown exponentially since then and it’s typically listed among the best films of all three of its stars: Cary Grant, Loretta Young, and David Niven. Aside from its magical moments (e.g., the angel Dudley’s visit with the professor, the ice skating scene, etc.), what I admire most about The Bishop’s Wife is Grant’s performance. For once, despite his looks and charm, he doesn’t get the girl. Furthermore, Dudley becomes jealous and, in one scene, perhaps a little petty. In the hands of a less gifted actor, this often human-like angel could have posed a problem. But Grant provides all the required character shading and still keeps Dudley likable. That was one of his greatest gifts as a performer.

2. A Christmas Story. Jean Shepherd's nostalgic, affectionate childhood memories--centered around his Christmas wish for a Red Ryder BB rifle--come to life in this perfect family film. It's a funny comedy, to be sure, but it's the little family scenes that make this one special (e.g., when Mom has Randy play "piggy in the trough" to finish his dinner). This deft blend of warmth, humor, and the spirit of childhood is tough to capture on film. Jean Shepherd and director Bob Clark tried again with a 1994 sequel called It Runs in the Family, which featured a different cast. Despite some amusing scenes, it lacks that special spark. (If you can find it, a better sequel is the TV-movie Ollie Hopnoodle's Haven of Bliss, which also features Ralphie's family).

3. It's a Wonderful Life. Repeated showings on television may have diminished its impact for many people...but I still remember its emotional wallop when I first saw Frank Capra's holiday classic. Certainly, except for Dickens' A Christmas Carol, no Christmas tale has maintained such an enduring appeal and influenced popular culture. Hey, even Dallas did an episode in which J.R. Ewing was shown what would have happened to others if he had never existed. While there is much to admire in It's a Wonderful Life, what always draws me to the film is James Stewart in his first great post-World War II performance.

4. White Christmas and Holiday Inn. OK, I'm cheating by listing two films in one slot, but it's hard to separate these two Bing Crosby musicals that featured his biggest hit song. When I was young, I preferred Holiday Inn because it wasn't shown frequently on television and contained a rare Crosby-Astaire pairing. As a adult, my preference shifted solidly to White Christmas. Its detractors harp about the flimsy plot, but with such an incredible cast and Irving Berlin's songs, who cares? Danny Kaye is at the top of his game and has probably his best dance number with "The Best Things Happen While You're Dancing" with the underrated Vera-Ellen. Plus, Bing duets with Rosemary Clooney (who never sounded better) on "Count Your Blessings." It's worth mentioning that versatile Michael Curtiz directed--the one who helmed Casablanca, The Adventures of Robin Hood, and many other memorable movies.

5. Christmas in Connecticut. Barbara Stanwyck so excelled playing "bad girls" in classics like Double Indemnity that her comedic skills are sometimes overlooked. She is simply marvelous in this fine example of a "snowball comedy" in which a simple situation quickly gets out of control. In Christmas in Connecticut, Ms. Stanwyck plays a food and style critic for a popular magazine--the only problem being she has no actual experience. When she's required to play the part, she convinces friends to help out pull off the deception, to include getting a fake husband and baby. The supporting cast includes scene-stealing character actors such as Sydney Greenstreet, S.Z. "Cuddles" Sakall, and Una O'Connor.

Honorable mentions: Miracle on 34th Street; A Christmas Carol (the Alastair Sim version is my favorite); The Shop Around the Corner; The Cheaters (aka The Castaway); Remember the Night (also with Barbara Stanwyck); and National Lampoon's Christmas Vacation.

My 100 Favorite Films: From 10 to 1

2011-11-29T05:00:00.001-06:00

I began this endeavor last February and now, after counting down 90 of my favorite movies, I’ve arrived at the Top Ten. It’s been grand fun for me—I’ve enjoyed revisiting each of these films and have delighted in reading comments from others who hold them in esteem. Thanks for all the wonderful feedback. Click here to read the complete list from 100-1. And now, without further discourse, here is (as Miss Jean Brodie would say) the crème de la crème.

Bronson as the mysterious Harmonica.

10. Once Upon a Time in the West – "Epic" and "sprawling" are the words critics frequently used to describe this now-revered 1968 Spaghetti Western. Yet, despite its lengthy running time and visually massive backdrop, Once Upon a Time in the West focuses tightly on the relationships among four people over a relatively short period of time. These characters are: Frank (Henry Fonda), a ruthless gunfighter who aspires to be a powerful businessman; Cheyenne (Jason Robards), a rascally outlaw with killer instincts; Jill (Claudia Cardinale), a former prostitute in search of a more meaningful life; and a mysterious revenge-minded stranger whom Cheyenne calls Harmonica (Charles Bronson). It took multiple viewings over the span of several years for me to fully appreciate Sergio Leone’s masterpiece. In the end, I was won over by its fascinating characters, overarching theme, Ennio Morricone’s score, and some marvelous set pieces (especially the opening and climactic showdown between Frank and Harmonica).

Don't you love Doris's hat?

9. Lover Come Back – There aren’t many comedies in my 100 Favorite Movies and only two in the Top 10—there just aren’t that many films that tickle my funny bone. A major exception is this bright 1960s laugh fest with Rock Hudson and Doris Day as advertising rivals. To distract Doris, Rock comes up with a fake product called Vip. He even films commercials for the fake product—which are, unfortunately aired on TV. To avoid criminal charges on fraud, he hires a Nobel scientist to invent something that could be passed off as Vip. Meanwhile, Doris mistakes Rock for the Vip inventor and he plays along. It’s a classic “snowball comedy” played by a cast of pros, including Tony Randall and Edie Adama. But the main attraction here is the pairing of Doris and Rock in their best outing. This is the film that reminded me that Rock Hudson was an exceptional comedian, as evidenced by his expert timing in the delicious scene when he tries to seduce Doris.

Tippi as another Hitchcock blonde heroine.

8. Marnie – When I first saw Marnie as a teenager, it made no impression at all. I thought Tippi Hedren was miscast and Sean Connery dull. The plot--what there was of one--seemed thin and the characters lacked interest. Decades later, I watched it it again and, to my complete surprise, I loved it! Tippi Hedren's subtle detached performance made Marnie a vulnerable, intriguing character. The progressively complex relationship between Marnie and Sean Connery’s character generated suspense--in its own quiet way--worthy of Hitch’s best man-on-the-run films. I was captivated by Hitch's finest use of color (especially during the opening scenes). And finally, there was Bernard Herrmann's incredible score (which, for me, ranks second only to Vertigo among his Hitchcock soundtracks). I've often wondered how I missed all of this the first time around?

Bing and Danny singing "Sisters."

7. White Christmas – There was a time when I grumbled because White Christmas was shown every Yuletide season while Holiday Inn (1942) only made sporadic appearances. Most critics consider the latter film, in which the song “White Christmas” was introduced, to be the superior musical. It was only after my wife and I acquired both films on video that I recognized the virtues of White Christmas. It’s a near-perfect blend of music and comedy, with the cast and crew at, or near, the peak of their careers. The dance numbers are staged energetically, with the highlight being Danny and Vera-Ellen dancing outside a nightclub to the melodic “The Best Things Happen While You’re Dancing.” Crosby and Clooney generate a more subdued, but no less effective, chemistry. Their duet “Count Your Blessings” was the big hit song from the film. The most effective pairing in the film, though, is the one between Crosby and Kaye. They’re a sensational team, whether doing musical numbers or comedy (their version of “Sisters”, done originally as a joke on the set, is hysterically funny).

The quartet on their way to Oz.

6. The Wizard of Oz – When I was growing up, the annual network broadcast of The Wizard of Oz was a big event. I never failed to watch it. It’s so much a part of my movie-watching DNA that it’s hard to describe its appeal other than to say it’s one of the most perfect films ever made. The cast, the characters, the themes, the sets, the costumes, the music—does Oz fail to earn a top grade in any of those categories? But for me, the most amazing aspect of the film is this: Despite the thousands of pop culture products derived from the film over the last 70-plus years—which are more than enough to overwhelm even a dedicated fan—I never tire of watching The Wizard of Oz.

Danny and Basil in their delightful
duel (snap!).

5. The Court Jester – My favorite comedy is a spot-on, delightful spoof of swashbuckling films. In a rare role worthy of his talents, Danny Kaye gets to sing, dance, use funny voices, contort his expressive face, and excel at physical comedy (such as walking in magnetized armor). The supporting players are all at the top of their game, too. Basil Rathbone has a grand time parodying past roles such as Sir Guy of Gisbourne in The Adventures of Robin Hood. Angela Lansbury displays a deft comedic touch, while Cecil Parker steals his scenes as the bored king whose only interest appears to be “wenches.” The Court Jester also includes Danny’s most famous routine—the one that involves the pellet with the poison in the chalice from the palace, the vessel with the pestle has the brew that is true, and (finally) the flagon with the picture of a dragon (which is used for the brew that is true after the vessel with the pestle is broken). And did I mention that Danny and Basil Rathbone engage in the funniest sword duel in the history of cinema?

Gort melts a tank...how cool is that?

4. The Day the Earth Stood Still – If there were a Hall of Fame for Timeless Movies, then one of its founding members would be The Day the Earth Stood Still. I've probably watched it at least once every decade since I first saw it on NBC's Saturday Night at the Movies in the 1960s. When I was a youngster, the film's fantastic elements--and Gort, the coolest robot in the history of cinema--appealed to me. When I was a teen, its stern warning about the perils of nuclear war resonated with me. With each subsequent viewing, The Day the Earth Stood Still has revealed something new: presenting itself as a Biblical analogy, an editorial on the influence of media on public opinion, a portrait of fear of the unknown, etc. Its themes never fail to thrill me…making it much more exciting than any action-oriented sci fi film.

3. Anatomy of a Murder – Otto Preminger’s enthralling courtroom drama requires multiple viewings to be fully appreciated. When I first saw it, I focused on the riveting story, which treats the viewer much like the jury. We listen to testimonies, watch the lawyers try to manipulate our emotions, and struggle to make sense of the evidence. When I saw it a second time, I knew the case’s outcome and was able to concentrate on the splendid performances. James Stewart, Arthur O’Connell, and George C. Scott earned Oscar nominations, but the rest of the cast is also exceptionally strong. In subsequent viewings, I’ve come to appreciate the film’s well-preserved details, from the small town upper-Michigan atmosphere to Preminger’s brilliant direction (e.g., in one shot, as Scott cross-examines a witness in close-up, Stewart—the defending lawyer—is framed between them in the background).

Talk about doomed love...

2. Vertigo – This richly-layered masterpiece reveals its big twist when least expected--turning the film on its proverbial head. It causes love to blur with obsession and greed to give way to guilt and perhaps love. What we see at the bell tower is initially false, but ultimately true. I could go on and on…but, hey, whole books have been devoted to this film. I think it’s Hitch’s best job of writing (as usual uncredited) and directing…plus we get superb performances (especially from James Stewart), a marvelous San Francisco setting, an unforgettably disturbing score from Bernard Hermann, and nifty Saul Bass titles. Like all great films, I glean something new from it or appreciate another facet every time I watch it. My latest viewing reminded me just how brilliant James Stewart is in the lead. In a career filled with fine performances, I think Stewart does his finest work as a typical Stewart “nice guy” who evolves into a man obsessed with an illusion. Contrast Scotty’s (Stewart) playful banter early on with Midge with his climactic confrontation with Judy—his eyes ablaze with confusion, hate, and something akin to love. It’s a brilliant and chilling transition.

1. The Adventures of Robin Hood – For many readers, I’m sure it comes as no surprise that Robin Hood occupies the No. 1 spot on my list. For me, it shares many traits with The Wizard of Oz in that, from top to bottom, it’s a flawless film (well, except for one tiny continuity gap). The early Technicolor color is rich. Michael Curtiz, who took over the film from William Keighley, keeps the pacing tight. Errol and Olivia, one of the great screen couples, exude celluloid chemistry. Basil and Claude make for dastardly villains. And the supporting cast, from Alan Hale to Una O’Connor, is incredible. My favorite aspect, though, is that it’s the penultimate “let’s form a team” movie. As discussed in this blog before, I hold a special affection for movies in which one character recruits others to form a team to accomplish a goal (e.g., The Magnificent Seven, The Dirty Dozen). There’s nothing as satisfying as watch Errol assmble his Band of Merry Men. As for that one tiny flaw in Robin Hood, watch where the sword lands when Basil drops it on the staircase and note how it magically moves courtesy of a continuity gaff. Those are the kinds of things one notices when watching a favorite film a few dozen times!

Welcome Back, Mr. Osborne!

2011-11-28T22:06:00.000-06:00

No, it's not a TV series revival with a bunch of classic movie sweat hogs (though that would be interesting!). Instead, the Cafe just wants to welcome Robert Osborne back to his prime time hosting duties at Turner Classic Movies (TCM). If anything, his absence made many classic film fans realize just how effortlessly he performed his job. It's been 17 years since Osborne moved from The Movie Channel to TCM. During that time, he's shared background information on thousands of films, discussed his favorites with Molly Haskell and others, and shared his love of classic cinema with fans from all over the world. An impressive resume that can only continue to grow! Nice to have Bob Osborne back in our living rooms.

Trivia Time 103

2011-11-27T23:43:00.012-06:00

Since all questions were answered last time, we can jump right into TT103! Of course we will first post our Flynn pic of the week:

1. With which of the following gentlemen did Barbara Stanwyck make the greatest number of movies: Gary Cooper, Joel McCrea, or George Brent?

2. Name at least two films featuring Barbara Stanwyck and Margaret Lindsey.

3. How many times did Stanwyck work with Clark Gable? Name the film(s) and the director(s).

4. What was Hedda Hopper's connection to Margaret Lindsey?

5. Name the Olivia de Havilland films in which Ward Bond makes an appearance. Name the leading men in each film.

6. This '60s game show producer liked to use former DJs as hosts for his shows. Name him and his two famous DJ hosts.

7. Which classic game show host is featured in a Weird Al video?

8. Who Said This? "We'll be right back with more stuff!"

9. In which major '60s film did Jim Hutton have a small uncredited part? What was the part? Name the stars of the film.

10. Who was the host of Monster Chiller Horror Theater?

11. Name two different TV shows that featured both Jean Byron and William Schallert. Bonus points for the correct time order, networks, and stars.

12. Name both ABC's and NBC's primetime '60s "Rock" shows.

13. Name the DJ from KRLA in Pasadena, CA and his long-running TV show.

Holiday Gift Ideas for the Classic Film & TV Fan (2011 Edition)

2011-11-24T16:52:00.000-06:00

One of the Cafe's most popular articles each year is a list of holiday gift ideas from our contributors (click here to read previous recommendations). This year, we're proud to present the third post in this series (hey, it's a trilogy now!). Hopefully, you'll find some gift ideas for the classic film and/or TV lover in your family. Our picks run the gamut from a boxed set from the Master of Suspense to Raymond Burr's Perry Mason TV series to creepy horror films from the 1980s.

Alfred Hitchcock: The Masterpiece Collection (recommended by Rick29). Although this boxed set of 14 Hitchcock classics retails for $120, you can buy it online for less than $75. It's a steal at that price, considering it includes Hitchcock favorites such as Shadow of a Doubt, Rear Window, Vertigo, Psycho, and The Birds. Plus, you get some genuine surprises such as the underrated Marnie and The Trouble With Harry (which improves with subsequent viewings for me). The films have been digitally remastered and come with lots of extra goodies: a 360-page booklet, 14 documentaries, and nine featurettes.

The Brigitte Bardot Classic DVD Collection (recommended by Dawn). One of the silver screen's best-known blonde bombshells sizzles in three stories of love, scandal and betrayal: The Night Heaven Fell (1958); Plucking the Daisy (1956); and Don Juan (1973). Ms. Bardot's stunning looks often overshadowed that she was a fine light comedienne, as evidenced by Plucking the Daisy. The other two films in this collection were directed by her one-time husband, Roger Vadim.

West Side Story: 50th Anniversary Edition (recommended by Paul). A must-have for any West Side Story fan, this new three-disc Blu-ray set includes a book, postcards, tribute CD, and much more. For many fans, watching the film in high definition and listening to the remastered songs will be enough! Russ Tamblyn, who played Riff, said: "Fox has made this Blu-ray rendition that is just beautiful and so clear. You see so many things that you missed in the original."

Make your own Rebecca Gift Basket (recommended by TheLadyEve). My holiday gift recommendation this year springs from an idea that came to me a month or so ago when I started thinking about how best to enjoy chilly evenings at home. I spent a few nights reading Daphne du Maurier’s classic modern gothic, Rebecca and watching the classic 1940 film version starring Joan Fontaine and Laurence Olivier. In the end, I put together a couple of blog posts on the joys of books and the movies made from them – plus warm drink recipe suggestions to accompany…so here’s my 2011 gift idea…A Rebecca gift basket containing: one copy of Daphne du Maurier’s 1938 novel (from $5.98 new on Amazon); one copy of the Oscar-winning Hitchcock/Selznick film (DVD @$14.99 on TCM.com); one 14.5 oz. canister of Godiva Dark Chocolate Hot Cocoa mix (from $13.99 on Amazon); 16 oz. Hot & Spicy Winter Toddy Mix (add ice cream, hot water or spirits) available on Amazon.com for $6.95; one 50 g. canister of loose leaf tea (black, green white or flavored tea of your choice from the Tea Fountain (from $4.95 at http://www.teafountain.com/). Feel free to add or subtract to your gift basket.

A Free Film! (recommended by ClassicBecky). It may seem mundane, but I would love to receive a gift packet for my favorite movie theatre, good for two shows with popcorn and a Coke for each. Givers with more pocket money could add more tickets or give enough for prime-time movies. Those with limited budgets could give a matinee packet. Considering the high cost of going to the movies, I would be thrilled with such a gift!

Perry Mason (recommended by Rick29). Seasons 1-5 of Raymond Burr's first-rate courtroom TV series are available separately or in a (pricey) boxed set. If you want to go with just one season, I recommend the first, which includes a number of episodes adapted from the Erle Stanley Gardner novels. The mysteries are fun and Burr is fabulous as the clever, sometimes smug super-lawyer. Plus, as you and your friends watch, you can discuss the relationship between Perry and Della...are they more than just co-workers?

Any Horror Fans among your family and friends? (Recommended by Sarkoffagus) This holiday, scare yourself silly and see what terror looks like in high definition. Numerous horror movies have been released on Blu-ray just in time for the festive season. Movies that came out for Halloween but would still make great gifts include the 30th anniversary of the 1981 cult TV movie, Dark Night of the Scarecrow; William Lustig’s Maniac Cop (1988), featuring cinematic icons Bruce Campbell and Richard Roundtree; two impressive outings from famed Italian horror maestro, Lucio Fulci, Zombie (aka Zombi 2/1979) and The House by the Cemetery (1981); and Lon Chaney making horror movie history in the classic 1925 silent version of The Phantom of the Opera. Released this month was the 25th anniversary of Sam Raimi’s horror-comedy sequel, Evil Dead II: Dead by Dawn (1987), which also happens to star Bruce Campbell, and the Spanish/UK produced Horror Express (1972), featuring Christopher Lee, Peter Cushing and Telly Savalas, will make its way onto Blu-ray on Nov. 29th. Tuesday, Dec. 13th, will see two horror gems on hi-def format: The 1989 Intruder, written and directed by Scott Spiegel, who co-wrote Evil Dead II with Sam Raimi, who appears in Spiegel’s film (with appearances from Sam’s brother, actor Ted Raimi, and – one more time – Bruce Campbell); and the popular vampire flick, Fright Night (1985), whose release coincides with the home media debut of its recent 2011 remake. And finally, if you don’t mind dropping an IOU into people’s Christmas stockings, two offbeat classics will sleep through the holidays and sneak onto Blu-ray in late January 2012, The Deadly Spawn (1983) and Night Train Murders (aka L’ultimotrenodellanotte/1975).