Shorts Collections (2004)Genre : Drama, Thriller
A diverse collection of award-winning shorts by Abigail Severance. Includes Saint Henry, Come Nightfall, Siren, Wake, Bone Wish and Pump. Severance's films combine breath-taking visuals and intriguing characters to create worlds where the fantastic and the real collide.
Show Boat (1951)iMDB Rating: 7.0The "Cotton Blossom", owned by the Hawk family, is the show boat where everyone comes for great musical entertainment down south. Julie Laverne and her husband are the stars of the show. After, a snitch on board calls the local police that Julie (who's half- African-American) is married to a whiteman, they are forced to leave the show boat. The reason being, that down south interracial marriages are forbidden. Magnolia Hawk, Captain Andy Hawks daughter, becomes the new show boat attraction and her leading man is Gaylord Ravenal, a gambler. The two instantly fall in love, and marry, without Parthy Hawks approval. Magnolia and Gaylord leave the, "Cotton Blossom", for a whirl wind honeymoon and being to live in a Pl: fantasy world. Magnolia soon faces reality quickly, that gambling means more to Gaylord than anything else. Magnolia confront Gaylord and after he gambles away their fortune he leaves her - not knowing she is pregnant. Magnolia is left penniless and pregnant, and is left to ...
A Tough Musical To Film
I've been a Showboat fan for a long time. I've seen it live on stage 5 times as well as the 1936 version and the PBS version. After watching the MGM version again on TCM, I decided that it is almost impossible to make a satisfying version of a Showboat movie.
Its strange to say, but I think "opening up" the stage version took away some of the intimacy a live version has. Showboat's greatness does not come from the standard boy meets girl - boy loses girl - boy gets girl storyline. It comes from the music and on stage a number can start with one guy on the docks lamenting the suffering endured along the Mississippi and end with a chorus of voices singing about Ol Man River. The numbers themselves "open up" to fill the stage. But no movie can do that to the same effect.
But my biggest problem with this version is the abbreviation of the story and the musical numbers. The songs Kern and Hammerstein wrote deserve to be fleshed out in all their operatic grandeur. The first act contains what I consider the best back to back to back musical numbers in Broadway history with Make Believe - Ol' Man River - Can't Help Lovin Dat Man and the movie rearranges them out of order and only River is fleshed out. Can't Help should be an 8 minute number with the chorus joining in at the end instead of the barely noticed number in the movie.
Because the music is among the best ever written, it is really hard to make a bad version of Showboat. I'll watch this movie whenever it is on TV but if you really love Showboat, get the EMI 3 CD recording with Frederica Von Stade and Jerry Hadley. And go see it live when you have the chance.
I figli di nessuno (1951)iMDB Rating: 6.7The tragic love story between Guido, the owner of a marble quarry and Luisa, the humble daughter of one of his employees, ends up in her giving birth to a baby boy. Giulio's mother is against them: at first she takes her son abroad with an excuse and then has her grandson kidnapped making Luisa think the boy died in a fire.
Nobody's Children
This is pretty much the same as TORMENTO, only a little more so. More suffering, more vicious villains, more Catholic themes. Sanson and Nazzari both return, again as a couple torn apart by a manipulative mother with her own agenda, again with a newborn child who life hangs in the balance. Narrative nuance is pretty much tossed to the wolves, leaving just one sledgehammer tragedy after another. If you like your melodrama cranked up to the limit, this might be the film for you. I found it enjoyable just to see what happens next, but I can't say I was too invested in the characters.
NOBODY'S CHILDREN - 7/10
Under the Paris Sky (1951)iMDB Rating: 7.1The French fifties were great!
It has been often mooted that the Nouvelle Vague was the Second Coming,saving French cinema from tediousness,routine,ennui,mediocrity,you name it.
So on the site n+x comments on Godard and co,and only one on this Duvivier jewel.It's when one sees such marvels one realizes all that the New Wave has deprived French cinema of:the very substance of a film,the telling of a story.And Duvivier comes first for that;here he transcends the film made up of sketches he brilliantly pioneered in the thirties with "un carnet de bal"(1937):he uses now intertwined plots with gusto,and Paris places with taste.All his characters are endearing,and he runs the whole gamut:the young girl coming from her province (Brigitte Auber who will be in Hitchcock's "To catch a thief");you're going to say it's a cliché,but wait and see,you"ll never guess what fate is in store for her,it defies conventions;the old lady and her cats (A marvelous Sylvie),trying to make ends meet;the children who find themselves back on a boat alone on the Seine ;the student who always fails(Daniel Ivernel);a sculptor gone mad;a working man,celebrating his silver wedding,and more,and more....And all that happens in the space of one day under Paris sky (sous le ciel de Paris), all these lives run into each other,or don't,making a whole,under Duvivier's magic wand.
Because magic is the only name that can describe such a treat.Orson Welles used to admire Duvivier,how I understand him!
Broken Arrow (1950)iMDB Rating: 7.3By 1870, there has been 10 years of cruel war between settlers and Cochise's Apaches. Ex-soldier Tom Jeffords saves the life of an Apache boy and starts to wonder if Indians are human, after all; soon, he determines to use this chance to make himself an ambassador. Against all odds, his solitary mission into Cochise's stronghold opens a dialogue. Opportunely, the president sends General Howard with orders to conclude peace. But even with Jeffords's luck, the deep grievance and hatred on both sides make tragic failure all too likely.
A thoughtful classic unlike others of its era
Tagline: Of this motion picture the screen can be proud... Today... Tomorrow... A generation from now...
Worth repeating this tagline, because after seeing the film again for the first time in 42 years, it's right on. 50s westerns almost universally depicted Indians as pigeon-English speaking savages... or tried to talk Indian that translated to pigeon-Indian.
While the leading cast is all-Anglo, the perspective is that both sides in the Wild West were had more than a few intelligent, caring individuals among them. A willingness to sacrifice much (including renegades) to achieve a lasting peace is the message.
Jimmy Stewart had something to lose by doing a picture like this, but the acting here stands with any in his career. The portrayal of Cochise by Jeff Chandler is powerful, although unquestionably a little bit too noble-savagish.
"Let's mosey on over there" is a line spoken by Stewart toward the end of the film. Takes you back to a time when people took time to mosey.
A good-hearted picture by a little-known director standing up against the prevailing stereotypes. Wouldn't be surprised if Costner watched it more than once before making "Dances with Wolves".
Border Outlaws (1950)iMDB Rating: 5.7Another in the list of B-westerns made in the early 1950's by the same people (usually changing the name of the production company on each film to get it by the previously-stung exhibitors) and easily avoided if one learns to look out for the names of Spade Cooley or Jack Schwarz. This one has undercover agent Mike Hoskins (Bill Edwards) teaming up with dude ranch proprietor Spade Cooley (Spade Cooley, what else could he play?) to put an end to The Phantom Rider and his seedy gang of diamond smugglers.
the least-bad of Spade Cooley's three western features
The other two westerns that "starred" Spade Cooley--THE SILVER BANDIT and THE KID FROM GOWER GULCH--are usually thought of as some of the worst westerns of the post-World War II era (along with some of the Sunset Carson westerns made in 16mm), and they are. They are as incompetently done on every level as such 30's fodder as THE IRISH GRINGO or LIGHTING BILL (sic) or THE PHANTOM COWBOY. BORDER OUTLAWS, however, is nowhere near as bad. At its best, it's about as good as one of the lower quality entries from Monogram at the same time--say, whatever would be considered the worst Whip Wilson western. Bill Edwards, a too-stoic actor who sounds like he might have been a radio actor before getting into film(although looking up his credits, I see that that is not true--he was a rodeo champ!), is the leading man and hero in the film (by the way, is the Bill Edwards credited for the 1969 experimental film A MARRIED COUPLE the same person??). Spade, of course, plays himself, the jovial owner of a dude ranch. He's actually quite comfortable on screen this time and does not do a bad job. While I fast-forwarded through a few scenes (I initially saw this film back in the 80s) this time around, I think there is only one song, and it's a horrible operetta sounding thing sung (or at least mouthed) by the leading lady in the film, Maria Hart, who had leading roles in a few other z-grade westerns in this period, and whose last credit is Nicholas Ray's THE LUSTY MEN with Robert Mitchum. The film is directed by silent and early-sound action star and stunt whiz Richard Talmadge. He was second-unit director on many big Hollywood productions in the 50s and 60s, but his directing credits are mostly limited to small z-grade productions, including at least one shot in 16mm. I've always loved Talmadge's features (THE SPEED REPORTER being a personal favorite), so it's good to see him do an adequate job here (he also makes a brief appearance for about a second--don't blink!). The film also features his brothers, THE METZETTI BROTHERS acrobatic team, who play ranch hands who for no reason at all work in outrageous acrobatic stunts into every chore they do on the ranch. Those who like this kind of thing should check out some of the films directed by Gianfranco Parolini (aka Frank Kramer), who also puts in irrelevant acrobatic antics where they are not needed (remember RETURN OF SABATA, anyone?). I like this technique--it's like getting a circus act free for the price of the movie ticket! John Laurenz plays the same kind of Hispanic role here as he did in two James Warren westerns as "Chito Rafferty" (paging Chris-Pin Martin!)-- if Mr. Laurenz is himself Hispanic, I apologize, but he doesn't sound very convincing to me. Bud Osborne is his usual reliable self as the sheriff. Overall, this is an average z-grade western, but it's by far the least bad of Spade Cooley's three "starring" westerns. The film actually stars Bill Edwards (who starred in his own z-grade westerns, none of which I've seen), but Cooley's name and notoriety make this better known than any of Edwards' own films. There's not much music here and there's not much camp value, so I can't imagine the film having much appeal beyond fanatics who want to see all the obscure post World War II indie westerns that they can.
Sealed Cargo (1951)iMDB Rating: 6.8During the war off Nova Scotia a fishing boat comes across a badly damaged Danish schooner with only the captain aboard after it has apparently been shelled by a German U-boat. Not realising the sinister real purpose of the larger boat, the fishermen agree to tow it into an isolated harbour.
Great WWII film!
This film is great for the era it was filmed in! The cast is awesome, with Dana Andrews and Claude Rains as the two main characters. I liked it, and had never seen it before the "Memorial Day" War movie weekend on TCM. This film will have you guessing and once you think you have it figured out, __________________!!! I liked it and I usually get tired of the same old..... but, this is a good movie. I recommend viewing this film even if you aren't a WAR film buff. It has an element of film noir, lighting and spooky, lots of tension. Keep an open mind. Watch it! You might learn some things you didn't know. I sure did! This film is good viewing, great special effects, remember it was in the 50's so don't confuse it with any of the special effects that are available now. I don't especially like WAR films, but this is not just a 'shoot everyone, ask questions later' type of film. Quite enjoyable!
Captain Blackjack (1950)iMDB Rating: 6.2Bold and attractive, Mike Alexander is an American who smuggles drugs across the Spanish Mediterranean. Ingrid Dekker is in love with him while the double-crossing Emily Birk tries to exploit him, which is also the case of Nikarescu, a shady trafficker. Meanwhile, lurking behind the scenes, is inspector Carnero, waiting patiently until he gets Mike...
Production problems sink film
An early production effort by the Salkind brothers (Superman) this uneasy mixture of neo-realism and and standard actioner was plagued with production problems. Location filming on Majorca dragged on for an incredible seven months. Rushes had to be sent to the mainland for processing so it was impossible to view progress on a daily basis. Some of the post-synching in outdoors scenes is muffled and doesn't seem to match the actors voices in studio sequences.The photography is also uneven, even though the cinematographer Andre Thomas was married to leading lady Patricia Roc some of her close ups are less than flattering. The climax of the film set on two boats is so badly edited that you have a job working out what is going on. George Sanders is completely miscast in an Errol Flynn role whilst poor Pat Roc struggles with an unevenly written part as a Swedish refugee, seeming constantly on the verge of hysterics for no good reason. The technical shortcomings sink a potentially enjoyable film
Flex (1988)Date Released : 30 May 1988Abodybuilding film starring Harry Grant and Tom Platz. Grant was Mr. Los Angeles and Mr. Southern California, Platz was a Mr. Universe title-holder. Grant plays Vince, personal trainer at a gym in San Diego who wants to open his own gym. To get the money, Vince dates a rich heiress, but gets caught by his former fiancee. Vince's plans for a new gym take a downturn from there, being exposed by all related.
The Scarf (1951)iMDB Rating: 6.6John Barrington escapes from an asylum for the criminally-insane and finds refuge on the ranch of turkey-raiser Ezra Thompson. Barrington, who has suffered from amnesia, finds his memory returning slightly and he sets out on his mission of learning the truth about whether or not he really murdered his sweetheart and is actually insane. He goes to Los Angeles to visit his oldest-and-best friend, psychiatrist David Dunbar, who was a witness to Barrington's crime. Dunbar repeats his story to Barrington, convinces Barrington that he did commit the crime, and then betrays him to the police. However, Thompson, Connie Carter and others are not totally convinced of Barrington's guilt.
It's on TCM!
The previous reviewer said it was a shame this film was never shown on any cable channels. I just saw it today on TCM (Turner Classic Movies). I had never seen it before, and have to agree it is a great example of the films noir of the '50s. There is a lot of suspense in the film with a "did he do it or not?" theme, where the protagonist has a loss of memory and can't recall the crime. Mercedes McCambridge is excellent in the film, and the bar scenes give us lots of the '50-era atmosphere. There are so few movies with Mercedes McCambridge that one can see anymore, so this movie is a treat if only for being able to see her. So don't give up hope. TCM's website is a great source for info on classic movies, and you can look up the dates and times they will be showing this film again.
Comin' Round the Mountain (1951)iMDB Rating: 6.9Bud and Lou get mixed up with hillbillies, witches and love potions.
Worse then Africa Screams
In my rewatching of the Abbott and Costello series that I loved in my youth, this is by far the worst of the series that I have rewatched. The problem is not in the subject material. The problem is in the script, the execution and the performances. Abbott and Costello have never been more bland and the songs from the Manhatten Hillbilly take up seemingly half of the movie's length. The song about a half an hour in goes on forever. The old granny is fun but isn't allowed to do enough. The "courtship" between Costello and the 14 year old hillbilly girl is ghoulish. Bud Abbott is non-existent and the hillbilly clans do nothing whatsoever. There are a few chuckles and nothing more. The opener and the conclusion are awful. On the bright side, Glenn Strange is great here and Costello's duel with the witch is funny. Costello's "christening" is a gut buster. But that's it. Has a little of the same flavor as The Wistful Widow of Wagon Gap but isn't in the same league, much less the same ballpark.
The Rossiter Case (1951)iMDB Rating: 5.9A husband cheats on his disabled wife--who has been paralyzed in a car accident--with her sister. When the sister is murdered he is accused of the crime, but it turns out that he may not be the killer after all.
A drama or a crime movie?
Not bad for this little flick from UK and directed by the prolific Francis Searle, as were Godfrey Grayson, Monty Tully, Vernon Sewell and many other filmmakers who worked for small companies: Butchers, Danzigers etc...
Pleasant, entertaining tale of a paralysed young woman after a car accident who have to face her husband and his new mistress. Predictable, as you may guess, especially between the two women. But it remains an acceptable time waster, and really well acted. The seventy five minutes are quick for the viewer in front of his TV set.
I can't although tell it's a film noir, as I am used to. But at least a fairly good drama.
Rosauro Castro (1950)iMDB Rating: 6.9Mexican Rural Melodrama at Its Best
Actor Pedro Armendáriz and director Roberto Gavaldón produced this strong rural melodrama, set in an iconic Mexican town, where landowners rule in a feudalistic manner (as they still do up to this day in many places). Probably Armendáriz produced the film as a reaction to his frequent casting as a passive indigenous peasant or too good loud-mouthed soldier: he is still shouting in this one, but now as Rosauro Castro, a mean and menacing tyrant who stops at nothing to control the town and its people. A moral tale written by Gavaldón and playwright José Revueltas (with dramatic elements that predate both "High Noon" and "The Man Who Shot Liberty Valance", from a story by Robert Quigley, British writer and filmmaker who frequently worked in Mexico), it starts with the killing of a candidate to mayor, and the arrival of a government official (Arturo Martínez in a rare performance as a good guy), who suspects of Castro's tyrannical ways and wants to teach the town authority a more civilized way to administer justice. All the action takes place in 24 hours, with a highly dramatic third act, but everything is told in less than 90 satisfactory minutes.
The Big Hangover (1950)iMDB Rating: 5.9A law school graduate is hired by a top law firm but doesn't tell them about a problem he has--he's so allergic to alcohol that one whiff of it and he passes out like a light.
A film that's unsure of what it is
"The Big Hangover" is a rather unpleasant film that seen today doesn't play well. Acting-wise, the cast is very attractive: a gorgeous Elizabeth Taylor, then 18 years old, Van Johnson, Leon Ames, Rosemary DeCamp, Percy Waram, and Edgar Buchanan. Johnson plays a law student on the GI bill who's about to graduate. He has an embarrassing problem with alcohol: one taste and he's plastered. He talks to lamps; he thinks his dog is talking to him; he sings loudly at a formal alumni dinner. His boss' daughter, Taylor, who once worked for a psychiatrist, wants to cure him.
All of this has the makings of a comedy, except the film takes a turn with the introduction of a subplot where a Chinese man and his wife are denied an apartment. Johnson believes the matter to be resolved in the man's favor, and then learns that the law firm he works with has lied to him. This has the makings of a good drama, with Johnson having to face some cold facts of life and decide what he wants to stand for in his career.
But as neither comedy nor drama, the film ends up as not much. There's an aggravating scene where one of the good old boy attorneys spikes Johnson's food at the alumni dinner to watch him get plotzed. It's mean-spirited, and it makes you wonder why the other people at the table are laughing.
Despite its excellent cast and good performances, The Big Hangover is more of The Big Waste.
