Carolina Moon (1940)

Intro.

Some days, you just need a good movie to cheer you up.  That's how I was feeling today, so I decided to watch a movie from my Netflix instant play list.  Turns out they've posted quite a few Gene Autry films, so I'm pretty much in fangirl heaven.  I chose Carolina Moon mainly because it was from 1940 (one of Gene's best years) and co-starred June Storey and Mary Lee.  While the singing was superb, the storyline and the over-done Southern cliches were not.

Overview

The film begins with Caroline Stanhope (June Storey) and her grandfather (Eddy Waller) on their way North to a rodeo, where they hope to ride their prize thoroughbred and win enough money to pay the back taxes on their plantation.  At the rodeo they meet Gene and Frog, who tell them that a thoroughbred can't compete with cow-ponies.  Of course, our guys are right and when the grandfather loses a large bet, he is forced to sell Gene his horse in order to pay.  Unfortunately, Caroline has other ideas and gets the family (and the horse) back to Carolina and leave Gene and Frog holding the bag.  Well, the boys head South (despite Frog claiming there's no such place as Carolina).  Once there, it's clear that the Stanhopes aren't the only ones in danger of losing their plantation.  Gene and Frog naturally decide to help (mostly Gene, because he's obviously falling for Caroline).  The main problem is a guy named Henry Wheeler (Hardie Albright) who wants all the owners to sell him their plantations so that he in turn can sell them for a profit to a lumber company.  Gene and Frog figure it out after a fox-hunt, a Steeplechase, and a challenge to a duel.  Anyway, just when you think it's worked out (the plantation owners sell their timber rights and are able to keep their land), the bad guys add one more twist.  I won't give it away, but let's just say that lumberjacks vs. cowboys makes for one great fight!

Highlights

I couldn't help but laugh during this film, both at the intentionally funny parts and the not-so-intentional parts.  There were good points, but also a few very bad ones.  On the one hand, Gene is great.  He's funny and handsome and at the top of his game.  His singing is just as great as his other films, and there is plenty of it.  Worthy of note are the title song, as well as "Dancing Dreams That Won't Come True", "Say Si Si" and a great one by Mary Lee: "Me and My Echo."  There are some great action scenes too - I already mentioned the fight between cowboys and lumberjacks (good money on the cowboys, of course!) and the race sequence where Gene rides in a Steeplechase.  And he's right, he does look silly in that jockey cap!   Gene and Frog manage to have some great comedy bits too, especially at the rodeo where Frog's trying to pick up a girl.  Finally, to wrap up the highlights was Gene's final showdown with Wheeler.  I didn't think Gene could really intimidate people, but somehow he pulls it off here: "I've heard that word honor ever since I've been here.  We have it out West too.  Only we handle them a little different.  We just start shootin'." 

The hard parts to watch revolved around the Southern cliches.  Although the highlight there was how Mary Lee stopped the fox hunt!  Still, the Southern Colonel obsessed with telling stories of the Civil War and the poor portrayal of African-Americans was too over the top.  I think I finally had enough when Frog tried to disguise himself as a "Mamie."  Really, Frog?  I had to remind myself that this film was in 1940 and I'm in 2010, but it's still troubling to watch.   

Review

This was one of the few times where I wasn't sure just how I felt about a movie.  I think overall, Carolina Moon is not one of Gene's best films.  The golden parts are the singing, the few action scenes and the comedic banter between Gene and Frog.  Other than that, it feels dated and unusual.  I missed Gene being out West and look forward to the next film that takes him back to the prairie.

Western Jamboree (1938)

Intro.

Gene Autry first began appearing in films in 1934, and needless to say, he didn't have much experience.  His acting was stiff and uncomfortable, but he could always save the day with a good fistfight and an even better song.  Through the years his acting improved immensely and his voice smoothed out to transform him from a yodeling cowboy to a crooner of the West.  Western Jamboree is near the early to middle part of his career, so there is some fine singing and decent acting.

Overview

Western Jamboree focuses on two storylines with Gene as the connecting thread.  He's a foreman on a ranch that is about to be taken over by a new owner.  The previous owner had discovered natural gas containing  much sought after helium, on the property just before he died, so with him gone the men who filed his claim are trying to discover the pipeline and take it over.  Meanwhile, Gene's friend Haskell (played by Frank Darien) has a problem - his grown daughter is newly engaged and coming back home from the East in order to see her father and introduce him to her fiancee and soon to be mother-in-law.  The only problem is, he's told her that he owns a dude ranch when the truth is that he's been doing odd jobs and barely scraping together enough money to put her through school.  So Gene decides to get his local friends to pose as high-society guests and turn the ranch into a dude ranch.  Haskell's daughter Betty loves the whole place, but her fiancee and his mother (both very arrogant socialites) hate it.  Gene tries his best to pass off the place as a real dude ranch, but when the bad guys try to move in on them for the gas and then the ranch's true owner turns up, the cover's blown and a fight for the ranch begins.

Highlights

Gene has some great songs in here.  I mentioned in an earlier post that Gene's films tend toward music, comedy or action.  This one is heavy on the comedy and then on the music.  He does a great rendition of "Cielito Lindo" as well as the beautiful "Old November Moon."  And perhaps the best number bookends the picture, "When the Bloom is on the Sage."  Gene opens the film with that song, and the ensemble closes the film with it.  As for the comedy, there's never a dull moment.  In addition to Smiley Burnett's routines, there is the additional comedy inherent in the "masquerade" - Gene's friends are local folks who prefer saloons to society parties, so when they try to act high-class, you can't help but smile.  It reminded me a bit of the film Higher and Higher (which is adorable and you should definitely watch sometime!).        

Review

An enjoyable Gene Autry film, Western Jamboree is a fun movie.  It's never dull or slow, but also not as polished as his later ones.  All in all, good, clean entertainment and a wonderful soundtrack make it a standard but lovable picture. 

Want to read more?  Check out IMDb.  Also, I just found GeneAutry.com, possibly the most awesome website ever.  Seriously, any website that features a place to submit questions called "Ask Champion" just makes my day.

The Red Pony (1949)

Intro.

At long last, the mail has been going out regularly, so my new Netflix DVD arrived.  The film was added a long time ago, but in light of my "leading men we adore" theme, I had to include a film with Robert Mitchum.  About a year ago I had seen only a clip of this film (of course it was the incredibly sad part) and knew I'd need to see the whole thing eventually.  I'm glad I did too.  The film is based on the Steinbeck novel, which was published in 1945.  Steinbeck himself wrote the screenplay for the film, and his writing style shows in the rich but minimal-dialogue scenes.

Overview

This is not an epic or a sweeping tale of the West.  It does not have a cast of thousands.  It is a brilliant, small film simply about a boy and his first pony.  Tom Tiflin is the little boy in this film, played by the adorable Peter Miles.  Tom gets his first pony, a beautiful red colt.  He is determined to care for it and train it with the help of his grandfather (played by Louis Calhern) and his family's only hired hand, Billy Buck (Robert Mitchum).  He can talk to these two men more than he can to his father Fred (Shepperd Strudwick), who only wants to sell the ranch and go back to the city.  Myrna Loy plays Tom's mother, who loves her father and his ranch and wants to stay.  As much as the family seems to be falling apart, they have to come together when the colt breaks loose during a rainstorm and winds up with a deathly cold.  Despite all attempts to save him, the colt dies, leaving Tom brokenhearted with only Billy Buck to take it out on.  In the end, Billy's prize mare births a colt, which he gives to Tom, and the family begins to put their pieces back together.

Highlights & History
I couldn't get enough of these characters.  Each one is so well written and well acted, that I felt as though it should have been a series, not a single stand-alone film.  I wanted to see Tom grow up and watch his parents get back together.  The simplest stories are often the most touching, and such is the case here.  It's about a lot more than a boy and his horse - it's about the loss of youth and the discovery that death is real.  It's about the end of part of an American dream.  Tom's grandfather talks about the end of "Westering" and how once men hit the ocean, that dream died.  I'm going to detour here a bit for some background.  In 1890, the Census Bureau said that the American frontier was closed - no more expansion was left.  For the years that followed, right up through the 1930s, there was a certain anxiety about our national identity.  We were a country of pioneers, but there was nowhere left to explore.  The nostalgia of the West grew from that period, giving rise to great writers and later to great films.  It's interesting that the same themes would reappear after WWII when the book was written, but that same nostalgia and sadness is very present in the picture.

Now, as for the rest of the film, fine performances by the whole cast.  Robert Mitchum is good in this role.  In 1949 he was still taking less-risky roles.  He had just done some jail time in 1948, so afterward he avoided those gritty, bad guy roles.  It was the same year he made Holiday Affair as well (and the same reason).  His career didn't suffer too much from his record though, and even gave him more of a tough-guy image that led him to roles like Cady in Cape Fear.  Still, as the good-guy cowhand Billy, he does a fine job and is wonderful to watch with Peter Miles.  I should also mention the outstanding performance by Louis Calhern.  He's so much fun to watch and more fun to listen to - his voice and the way he delivers his lines is in the great tradition of storytellers.  I could almost picture him as Mark Twain.  And I knew he looked familiar - turns out he's been in quite a few great films, including High Society (1956).

Review

An understated classic - that's the label I would give The Red Pony.  It's told simply and honestly, with great attention to character.  It also boasts some nice cinematography and an incredible score by Aaron Copland.  A must see for many reasons, this film is one of the great American stories.

As always, check it out on IMDb.  I also found a book review about the end of the American frontier - I really want to read it now.
     

Casablanca (1942)

Intro.
Casablanca.  The name alone conjures the now-iconic images from the film: Bogart slumped at a table drinking and muttering about all the gin joints in all the world, the look on Ingrid Bergman's face as she asks Sam to play "As Time Goes By", the ending that leaves us breathless - the plane, the fog, the beginning of a beautiful friendship.  This film above all others defines what it means to be a classic. 

The first time I saw this film, I have to say, I wasn't all that impressed.  I couldn't follow the German/French resistance storyline and Claude Rains just got on my nerves.  But now that I've seen it about four times, I have to say that it's grown to be one of my favorite films.  However, like some of the people I've talked to, I have to be in the right mood to watch it, mainly because it is a bit slow in some parts.  I wasn't feeling very festive this past Valentine's Day, but TCM aired the film and for some reason I couldn't turn it off.  That's when I knew I had to bend my blog rules and write about it.

Overview

Rick (Bogart) runs a bar and nightclub in the town of Casablanca.  It's 1942 and while Morocco is unoccupied, the German Gestapo is a real presence.  With WWII raging in Europe, many refugees are coming to Casablanca in order to make the trip to America.  Travel papers are hard to come by, so most of them come to Rick's to find contacts.  Such is the case of Victor Laszlo and his wife Ilsa.  Rick, it so happens, has gotten two passes to America - tickets to freedom.  And Ilsa happens to be the woman he loved a long time ago in Paris (hence "we'll always have Paris") who left him without explanation and completely broke him.  Ilsa and Rick must ask themselves if their love is still alive and worth fighting for, despite the danger that lies for Victor, who is a key leader in the Resistance.   

Highlights

I think part of what makes this film work is the mood - as I wrote earlier, you have to be ready to watch it.  Despite its usual label of a "love story" I would argue that it is instead a film about love and heartbreak.  I'm never ready to watch it when I'm happy or want a fun movie to cheer me up.  I want to see it on those days when I'm curled up in blankets on the couch with the rain beating down on the windowsill.  It's a melancholy type of film.  We see the love that Rick and Ilsa had and we are made painfully aware that it is gone.  Ilsa tries to convince Rick she still loves him, but does she really?  I change my mind each time I watch.  Which leads to the next point - great acting.  Ingrid Bergman is beautiful, smart and such a natural.  Claude Rains is funny and a bit over the top as Captain Renault (although after viewing it a few times, I've noticed more of his backstory, which made him more endearing).

I was going to keep this post short since it's such a famous movie, but I can't stop without mentioning Bogart.  Humphrey Bogart makes this film.  It was his "breakout" role in the sense that it established him as a romantic leading man, not just a gangster or tough guy or wisecracking detective.  He had just done The Maltese Falcon the previous year, and established himself as an icon in film noir.  This film, however, makes him even more of a star.  And most of that is how well he plays the role of Rick.  This tough, neutral-standing saloon keeper lets down his rocky facade and shows how vulnerable he is.  It's moving, it's completely human and it's darn good movie-making.  Rick becomes the classic American hero - he is willing to sacrifice his own happiness for the "greater good."  He's got a criminal past, he runs a saloon with illegal gambling, has lousy friends yet somehow we love him. 
 

Review

This part I will keep short - if you haven't seen this film, watch it.  If you've seen it once and not been too impressed, wait awhile and watch it again, preferably on a rainy night when you're in the mood to think about things like lost loves and old memories.

As always, check out IMDb, and if you get a chance, try to see the documentary "Bacall on Bogart."  It's a great look at the life and career of Bogie, and will shed some light into this film as well. 

The Pride and the Passion (1957)

Intro.
As February was going to be focused on leading men we adore, I thought the perfect film would be one starring both Cary Grant and Frank Sinatra.  I mean, two of my favorite guys in one film - how could I go wrong?  Well, it turns out there was a reason I had never heard of The Pride and the Passion until I went hunting for Sinatra films I hadn't seen yet. 

Overview
Cary Grant plays a British officer named Anthony, who is sent to Spain during the Napoleonic Wars to salvage a huge cannon that the French army has discarded.  What he finds is a group of Spanish resistance fighters who have not only found the cannon, but have fixed it and are trying to take it cross country to the town of Avila, which is protected by a fortress now occupied by the French.  Anthony is only interested in getting the gun back to England, but he needs the Spanish group to help him move it (that sucker is heavy!).  So he and the Spanish leader Miguel (Frank Sinatra) make a deal - Anthony will help them take the fortress with the gun (because he knows all about artillery) and they in turn will help him haul the gun to a ship bound for England.  The rest of the story is pretty solid - lots of pushing, lots of hiding from the French, lots of Anthony hooking up with Miguel's girlfriend, Juana (Sophia Loren).  The love triangle affects the whole film and we are finally drawn from Anthony's dilemma to Juana's as she has to choose between the two men (what a choice to have!!).  The ending is pretty spectacular as hundreds upon hundreds of Spaniards rush the fortress in order to save the town of Avila from the French.  I won't ruin it, but let's just say that Juana finally learns that she can't have it all.

Highlights (and some Low Points too)
First of all, there is an undeniable chemistry between Cary Grant and Sophia Loren.  I thought at first I was imagining it, since it was on the set of this movie that Cary supposedly proposed to Sophia.  Those shots where we see Anthony watching Juana, you can't help but wonder how much of that look is love and how much is just darn good acting.  It makes the film much more interesting to watch at that point, particularly for the, how shall I say it, "well censored" love scene between the two.  Oh I love when films subtly hint at sex and just as the couple embraces, the camera cuts to something like trees and then later comes back to the couple after the fact.  Such is the case here. 

This is not one of Frank Sinatra's best roles, though it is still much better than The Kissing Bandit.  His accent comes and goes (which is actually kind of endearing) and that haircut just doesn't look right on him.  But it is pretty neat to see him hold his own with Sophia and Cary.  Sophia Loren didn't seem as polished, but it could be because this was her first English film (although another film, Boy on a Dolphin was released sooner).  And Cary is good, but not his usual scene-stealing self (except when he's charming Sophia, of course!).   

Most importantly, the ending is really well done.  For a film that didn't hold my attention much, I was glued to the screen once they reach the fort and Juana must choose to either stay behind with Anthony and the cannon (where she'd be safe) or to go with Miguel and risk her life for her country.  I also enjoyed the scene before it where they ask for the help of the church in Avila - there is a beautiful mass that is held and the music and color fills up the screen.  That scene, particularly the statue of "The Pieta," is echoed in the film's ending in a delicate way.  It made me wonder if the film I had started to watch was really the same as the one that I was finishing.        

Review
While there are some good moments to this film (aside from those mentioned above, there is a great part where Anthony must explain to a puzzled Miguel why the cannon will "weigh" more going downhill and tries to use the laws of physics to show the math behind it), it feels long and heavy, as if you're pushing the cannon along with that mob of people.  It's a cool piece of Hollywood history because of Sophia Loren's earliest US work and her off-screen relationship with Cary Grant.  I didn't like the film, but I liked the history and really, any chance to watch Sinatra (even in awful roles) is still a chance I'll take.  

Want to read more?  Check out IMDb.  Also, if you are interested in a Cary Grant love triangle film, try The Philadelphia Story or The Grass is Greener.  Both films are fantastic - look for write-ups on those in the weeks to come!

February is for Love!

The theme this month was supposed to be Leading Men We All Love.  I was planning on doing films featuring Cary Grant, Robert Mitchum, Humphrey Bogart, William Holden, Jimmy Stewart and a few others.  However, the recent blizzard that hit the mid-Atlantic region has changed a few of my plans.  Instead I've been watching anything that's available, from borrowed DVDs to TCM showings and Netflix downloads.  In all honesty, this month has become more about how much I love classic films instead of just the leading men.  So here's wishing you a month of love (and warm weather!), and this Valentine's Day I hope you find time to spend with the things you love, whether that's your significant other, your best friend, chocolates, books, or old movies.  Share the love!

The Guns of Navarone (1961)

Intro.
February is the month of love.  Even though I hate Valentine's Day, I decided that the theme for posts this month would be Leading Men We Love.  It's been a bit tough lately because of the blizzard that hit the whole state of Maryland, but between Netflix online and TCM, I've been able to put together a few films.  I wasn't planning on watching The Guns of Navarone, but as it starred the always wonderful Gregory Peck, I decided to add it to my list. 

Overview
The Allies are trying to save a group of 2,000 British prisoners from the island of Kiros.  The only thing stopping them is the pair of gigantic anti-ship guns situated in the rocky cliffside of the island of Navarone.  The fortress around the guns makes an air attack impossible, and the Allied ships don't have a chance against those guns.  So the only solution is to send British officer Keith Mallory (Gregory Peck) with a team of the best fighters and explosives experts to Navarone, where they will climb a sheer cliff, meet up with a few Greek Resistance fighters and then make their way into the fortress and destroy the guns with explosives.  No part of the mission goes smoothly - the ship they take on the way to the island sinks in a storm; they have to climb the cliff in the rain at night; the head British officer, Roy Franklin (played by Anthony Quayle) breaks his leg; they get captured by the Germans; and finally when they reach the fortress, they discover someone has destroyed all of the explosive devices.  Through it all, Mallory must lead his men with conviction, even with the most difficult decisions and obstacles.  The Allies win of course, and the ending is one of the most triumphant of all WWII films.

Highlights
The acting in this film is incredible.  Anthony Quinn, as Col. Stavros, is outstanding as the friend/enemy of Mallory.  You both love and fear him.  Gregory Peck is at the top of his game as well and gives a commanding performance.  He shows us how difficult his job is without saying so.  Also worthy of note is the charming David Niven, whose witty remarks offer the necessary relief both for the men and the audience.  Nivens plays the role of the chemistry professor turned anti-officer very well, and his role in figuring out who the traitor is reminded me of his work in murder mysteries (like The Pink Panther and Death on the Nile).  His is the much needed foil for Gregory Peck's ramrod-like command, and together the two men truly lead the film.

Points of Note
Robert Osborn introduced this film as part of TCM's 31 days of Oscar.  The Guns of Navarone won the Oscar for Best Special Effects, and was nominated for several more honors.  The ending truly deserves the honor, as do all of the actors.  David Niven reportedly had an accident on set which resulted in a split lip which got infected and sent him to the hospital for four weeks.  And Gregory Peck, with his solid acting, had this film named as the highest-grossing picture in his career up to that point.  Memorable on all fronts, perhaps the best is the way the film pays tribute to the real-life battles on the Dodecanese islands in Greece.  While some of the story is elaborated or completely different from the true story, many elements remain (read more here).

Review
Often called the greatest war film of all time, The Guns of Navarone is definitely one of the most memorable.  The fine cast and great effects has established it as an undeniable classic.  There is enough action, intrigue and full character development to interest any viewer, and the unusual setting of Greece for a WWII film makes it even better.  While it is not among my favorite WWII films (like The Great Escape), I still found the entire film very enjoyable and well worth watching.  I recommend it to fans of Gregory Peck and fans of war films, particularly those set in WWII.      

Night Stage to Galveston (1952)

Intro.
Another of Gene's last Westerns, Night Stage to Galveston also feels more like a longer verison of one of his TV episodes.  It's based on a little-known and interesting piece of Texas history.  After the Civil War, Texas legislation had tried to pass a bill for three companies of Rangers, but when funding failed, they instead put together a group of State Police.  As in most states, these State Police weren't trusted, leading to distrust among the residents.  This sets the stage for Gene's picture.

Overview
Gene is one of the now-retired Texas Rangers, along with his friend Pat Buttram.  They are working with Colonel Bellamy, who runs a newspaper with his daughter Ann.  The town's been getting pushed around by the local State Police, who pretty much throw anyone they don't like in jail on false charges.  When they kill a local rancher, Gene goes after them and shoots one of them in self-defense.  He and Pat take in the dead rancher's little girl Cathy (Judy Nugent), and take her back to the Colonel.  Gene, Pat and the Colonel come up with a plan to contact all of the old Rangers and have them gather as much proof of police corruption as possible.  It almost works until the State Police steal the affadivts, kidnap Ann and Cathy and beat up the Colonel.  It all culminates in a rip-roaring stagecoah hijacking by Gene and the re-establishment of the Rangers!

Highlights
As in most of his post-WWII films, there is less singing and more action.  The plot is better than some of his later work, and the feature songs in this picture are great.  Gene sings "Heart as Big as Texas" (one of my favorites!) and the theme of the movie, "Eyes of Texas" is a great, old Texas Ranger song.  If it sounds familiar, it could be because the song was also used in the TV series Tales of the Texas Rangers and later was rewritten a bit as the theme song for Walker, Texas Ranger.

The supporting cast is great in this film as well (outside of Pat Buttram's chauvinistic lines about a woman's place).  Colonel  Bellamy is well played, as is the character of Cathy.  Little Cathy (played by 12 year old Judy Nugent) is quite a scene-stealer and has a big part to play.  Aside from hiding several times and overhearing the police plotting, she is also kidnapped with Ann and escapes by climbing out of a chimney.  She gets Gene to come save Ann, then later on she saves the Colonel when he gets shot in the arm and ruptures his artery.  Finally, Gene's horse Champion shares top billing with Gene.  This film highlights what a beautiful horse he is during all of the great chase scenes.

Review
Gene's films usually lean towards comedy, singing or action.  This one is heavy on the action, but has some comedy and singing too.  If you can get past Pat's shenanigans, then I think you'll really appreciate this film.  It's good, solid entertainment and a fine example of the singing cowboy Western.

Want to read more?  Check out the Official Website of the Texas Rangers here.

The Court Jester (1955)

Intro.
I am lucky enough to work with some awesome people.  Sometimes we borrow each other's DVDs - TV shows, movies, you name it.  I just found out that our art director loves old movies too, and brought in The Court Jester for me to watch.  I have to admit (a bit shamefully) that I hadn't seen any Danny Kaye movies.  Honestly, now I have no idea what took me so long!

Overview
The plot in this story is pretty interesting - an evil ruler has just overthrown the palace and killed the royal family.  The only survivor is an infant who bears the royal birthmark and who has been rescued by a group of "outlaws" - think Robin Hood and his merry men.  Two members of the team, Hubert (Danny Kaye) and Maid Jean (Glynis Johns) take the baby in disguise and try to get him to a convent for safety.  On the way they meet Giacomo the court jester, and decide to send Hubert in his place.  By gaining access to the palace, Hubert can then open the secret passageway and let the rest of the gang in for an attack.  Hubert makes it in okay as Giacomo, but once there he is hypnotized by one of the ladies of the court, who is determined to make him fall in love with the Princess (Angela Lansbury).  While in this spell, he believes he truly is Giacomo the great lover, scoundrel and assassin hired by someone in the court to kill the king!  The only thing that will bring him back to sweet, good-natured Hubert is the snap of someone's fingers.  As you can imagine, all three storylines carry onward with lots of snapping!  Hubert finds himself knighted, dueling for the hand of the Princess, trying to avoid the cup of poison and finally calling on his acrobat friends to save the day. 

Highlights
Danny Kaye is outstanding in this film.  I wasn't sure how I felt about a comedy with some singing and lots of clowning.  But if anyone could do this role, it's him.  His timing is the most remarkable part.  I've never, ever seen someone so sharp and so fast on their lines.  I read up a little on him online, and he was famous for his ability to recite tongue-twisters like the now-famous one in this film - the "pellet with the poison" bit.  Not only that, but this role required him to switch very quickly between two "characters," often in the middle of a sword fight.  While this is a film driven very much by Danny Kaye, his costars are also wonderful.  Angela Lansbury is both enchanting and powerful as the Princess, and Glynis Johns becomes a great foil for Danny.  Not to mention a beautiful love interest too! 

Review
I believe that in some films, there is one moment that just captivates you.  From that point on you are sucked in, completely immersed.  For me it was the point where Danny Kaye sings a lullaby to the infant prince.  There is something so gentle, wholesome and pure about that scene that made me fall in love with this movie even when I wasn't sure if I'd like it.  It's innocent and kid-friendly, so if you're looking for a lot of drama and intrigue, you won't find it.  You also won't find a whole lot of stale slap-stick.  Another great family comedy, The Court Jester is a delightful film that will introduce you (if you haven't already seen him) to the incredibly talented Danny Kaye.     

As always, check it out on IMDb!  There's a much better write-up there posted by jhclues in December of 01.

The Three Musketeers (1948)

Intro.
In one of my earlier posts, I had written about the 1921 version of The Three Musketeers, which had starred Douglas Fairbanks.  I had commented about Gene Kelly seeing that version and wanting to someday play d'Artagnan.  I finally got the chance to see the 1948 remake with Gene Kelly, and I have to say you can definitely see Fairbanks's influence.

Overview
The plot of the first hour of this film follows the original pretty closely (see the prior post).  However, where the first film ended with the safe return of the jewels, this one extended the storyline to include the whole of the original novel.  D'Artagnan returns to find each of his fellow musketeers where he had left them en route to London, and once reunited they have to find a way to earn some money.  D'Artagnan runs into the Lady de Winter and that's where things get interesting.  He pretends to be her lover in order to get her ring, and he discovers that on her shoulder is the brand of a convict.  We then learn that she is the wife of Athos and has been using men and leading them to their deaths.  She heads to London, where the Musketeers have warned the Duke of Buckingham.  He jails her and has Constance (the innocent seamstress and D'Artagnan's wife) act as jailer.  Lady de Winter feigns a serious illness and when Constance tries to help her, she kills Constance and a guard and flees back to France to seek out D'Artagnan and kill him too.  D'Artagnan, however, is in London and finds Constance.  He vows revenge, so with the help of his friends they find Lady de Winter and execute her in a very troubling, disturbing ending.  At the end D'Artagnan gets what he's always wanted - a commission with the King's Musketeers.

Highlights
One of the things Gene Kelly does so well in this film is his sword fighting.  Already an athlete and light on his feet as a dancer, he effortlessly goes from sword fight to sword fight in an almost comical manner.  It does get a bit ridiculous when he fights the captain of Richelieu's guards, but his seemingly boundless energy keeps the film going.  You do have to remember that d'Artagnan is only supposed to be 21, so it makes sense that he's a bit of a ham.

I was very pleasantly surprised by the other actors and actresses in this film.  I didn't realize it until I started watching, but this film also stars Angela Lansbury, Vincent Price (as a fantastic Richelieu!!), Lana Turner, Frank Morgan and June Allyson.  It also stars Van Heflin as Athos - he's an actor I hadn't seen much of previously, but I really enjoyed him in this role.  He adds a certain vulnerability to his character which sets him apart from the other Musketeers.

Comparison
It puzzled me that this film ran 2 hours and the 1921 version ran 2 hours but the stories were so different.  This version told in 1 hour what the 1921 version had done in 2 hours.  It made the story much harder to follow, and if I hadn't seen the 1921 version, I wouldn't have understood any of what was happening.  I missed the subtlety and development of character that was in the 1921 version.  We hardly get to see or understand Angela Lansbury as the Queen, and Vincent Price as Richelieu doesn't get nearly enough screen time.  I did enjoy seeing the entire story, though.  And I can understand why the storyline of Lady de Winter may have been a concern.  It is handled well in the remake and certainly toned down from the way the book was written.       

Review
All in all, an entertaining film.  I wouldn't recommend it as highly as other period films, mainly because the plot is hard to follow without previously knowing the story.  Gene Kelly's stunts and sword fighting are great, but his acting is too over-the-top.  I actually preferred the 1921 version, so if you like the book, start there.  I hope to see one of the newer remakes as well; who knows, maybe I'll have a series.  Meanwhile, if you're in the mood to watch some Gene Kelly, I'd recommend An American in Paris, Singin' in the Rain, Take Me Out to the Ball Game, It's Always Fair Weather (tap dancing on roller skates!!) and Inherit the Wind. 

To read more, check out IMDb.  There's also a brief write-up about the book here.

The Great Escape (1963)

Intro.
Lately I've felt like I've seen so many films, but only in pieces.  I'll catch the first twenty minutes here and maybe the ending there, or a piece or two in the middle a few weeks later.  The Great Escape was one of those films for a long time.  Of course I had seen Steve McQueen in "the cooler" with his baseball - it's iconic.  So awhile ago I sat down and saw the entire thing and loved it.  Then this past weekend when the whole state of Maryland got a nice two feet of snow, I curled up with a few movies and happily found this one on Turner Classic Movies (in High-Def!!!).  So I thought I should probably write about it.

Overview
Based on a true story, The Great Escape tells the tale of 76 men who successfully escaped a German POW camp during WWII.  This camp had specifically been designed for prisoners who had escaped from other camps.  The hard work and organization that went into their escape is fascinating and drives the entire film.  It is very much a character driven film as well, as we get to know and care about each of the main prisoners.  Steve McQueen plays Hilts, the "cooler king", whose main job is to keep the Germans busy with his escape attempts so as to divert attention from the big escape.  James Gardner plays Hendley, the "scrounger", who must come up with a set of travel papers so that the forgers can copy them, as well as other provisions.  The two main leaders are Richard Attenborough (playing Roger Bartlett) and Gordon Jackson (playing MacDonald).  The entire group digs three tunnels (Tom, Dick and Harry), forges travel papers, makes civilian suits and bags, and one night sneaks out into the woods where they part ways and try their best to make it out of Germany.

Highlights
The acting in this film is outstanding.  I can't go on enough about all of the actors involved.  In addition to the ones I mentioned, there's also Charles Bronson, James Coburn, and James Donald (who, in a side note, also BRILLIANTLY played my favorite movie doctor, Clipton, in the Bridge Over the River Kwai in 1957).  All of the details, all of the planning is so well organized and orchestrated.  The directors wanted it that way - they even hired a survivor of the original camp to come and be a technical advisor on set.  That's why the details really make this movie.  Watching this film reminds you of the determination of the spirit to be free. It's breathtaking and terribly sad at the end; worse still when you read about the real story and learn just how much of this was true.

Should be Mentioned...
Steve McQueen's character does feel a bit out of place, but according to history sources, there were some Americans in the camp.  His timing at the end is a bit off, as Steve almost makes Switzerland on a motorcycle while simultaneously James Gardner tries to make it there in a plane and crashes 20 miles short.  But in light of the history and how well made the film is, you can overlook some of the Hollywood-ness.  I can almost hear comedian Eddie Izzard's voice now: "Steve McQueen plays the American who is dropped into British films to make them sell."  Well, that may be true, but the film still earns its place as a classic.  As it compares to another classic, The Bridge Over the River Kwai, it's fascinating how differently the POWs deal with their imprisonment.  Both groups are distinctly British and go about their plans with great foresight and attention to detail.  (And on a side note, Hilts gets time in solitary called "the cooler" while Alec Guiness gets time in solitary called "the oven.")  Then both films end tragically, reminding us (in the words of Clipton) that war is madness.

Review
I love this movie more each time I see it.  Every time another character captivates me and I have to follow and root for him clear through to the end.  It's amazing, humbling, and undeniably devastating to know that real men lived this life and died trying to escape.  If you haven't seen this movie yet, or if you are like I was and only saw a few bits, do yourself a favor and watch it.  All of it.  Straight through.  And you may need a tissue.

Want to learn more?  I read a lot about the film and the story behind it at HistoryinFilm.com.  Also, if you want to see Eddie Izzard's routine about the movie, click here (he starts around 1:45, but please note that he does use a few obscenities).           

The Road to Morocco (1942)

Intro.
The third of the Bob Hope and Bing Crosby road pictures, The Road to Morocco definitely has the most memorable theme song!  It had been a long, long time since I had seen any of the "Road" pictures, so when TCM held a night filled with Bob and Bing, I had to catch up with this one.  It certainly illustrates the crooner-comedian format that defined many comedies of the forties and fifties and even 64 years later continues to entertain and delight audiences.

Overview
In this parody of Arabian swashbuckling adventures, Orville (Bob Hope) and Jeff (Bing Crosby) have been stranded on a raft in the ocean.  After nearly starving and getting sick of each other, they land on a sandy beach and climb aboard a camel that takes them through the desert and into a bustling city somewhere in Morocco.  Once there, Orville gets noticed by a princess (Princess Shalamar, played by Dorothy Lamour) and Jeff gets his hands on $200.  The only problem is, Jeff gets the dough by selling Orville!  Jeff's conscience gets the best of him, so he goes out to rescue Orville.  Only thing is, Orville has been sold to the Princess and is set to marry her.  But when Orville finds out that the first husband of the princess is fated to die within a week of the wedding, he tries to get Jeff to take his place.  It almost works until sheik Mullay Kassim takes them all hostage in order to marry the Princess himself.  The prophecy is found out to be false, so Bob and Bing must escape and save Dorothy and make it back to the good ole USA! 

Highlights
I love this movie.  Bob and Bing always make a terrific pair, but here is one of their best performances.  I think what makes the movie such a standout is that it doesn't take itself seriously.  Throughout the film, the boys are constantly breaking "the fourth wall" - in their opening song, they sing "I'll bet you eight to five that we meet Dorothy Lamour!"  Later, and perhaps my favorite gag, is when the sheik throws the boys in jail, Orville starts going through all of what's happened up to that point.  When Jeff says he knows all that, Orville replies, "well, the people who just came into the movie don't know that." 

I'm not normally a huge Bing Crosby fan.  Don't get me wrong, I like him and I think he can really sing well, but I guess I'm more of a Frank Sinatra girl.  But when Bing sings "Moonlight Becomes You" I have to admit, I kind of swooned.  If you ever want to know why millions of women went nuts for Bing, listen to him sing this ballad.   

Celebrity Spotings
Anthony Quinn plays Mullay Kassim.  According to Robert Osborn, Anthony was often cast in a wide range of ethnic supporting roles because of his appearance.  He was of Irish-Mexican descent, yet he looked a little Middle Eastern.  He would later go on to play in The Guns of Navarone and The Old Man and the Sea, and would win Oscars for Viva Zapata! and Lust for Life.  And he is both strong and funny as the sheik.  Also of note is Dona Drake, who plays one of the princess's handmaidens who falls in love with Orville and helps him escape.  I had to look her up on IMDb because she looked so familiar - I had seen her in Without Reservations (ironically enough, another funny road movie).  She's pretty awesome in this one too, and can keep up with Bob's quick humor.

Review
The Road to Morocco is what good family comedy is all about.  There's enough humor for everyone to enjoy and will endure as a comedy classic for a long, long time.  If you want to see a Bob Hope Bing Crosby film, I strongly urge you to start with this one - you won't regret it!  (And I'll bet you eight to one that you get the theme song stuck in your head!)

As always, read more at IMDb.com.  Want to hear the theme song?  Check it out here.

Apache Country (1952)

Intro.
Encore Westerns had a great Gene Autry double feature today: Melody Ranch and Apache Country.  I watched both, even though I had already seen Melody Ranch (but the second viewing was just as good!).  I have to admit, I was a bit apprehensive about Apache Country.  As a fan of Westerns, I am painfully aware of sometimes awful treatment of Native Americans in motion pictures.  I haven't seen many films where they are not the bad guys, and fewer still where they have been portrayed as complex, important characters.  This picture struck me because the Apaches are the very people Gene is protecting, and they are respected.  The main Apaches in the film are not main characters, but important to the plot.  In a timeline sense, this film came after Gene had already been on his TV show for about 2 years.  He's a bit older than his early classics, but he can still pull a few punches (and sing a few melodies!).

Overview
This film reminds me of a longer, more polished version of one of Gene's TV episodes.  The plot is fairly simple - Gene is chief of scouts for the Army, and his latest assignment is to go undercover in the town of Apache Springs to find out who's been inciting Apache uprisings to cover up real train robbers.  The easy part is finding out the couple behind the outlaw ring - the hard part is proving it.  Lucky for Gene and his sidekick Pat Buttram, they run into Carolina Cotton (playing herself), a gal who runs her late father's medicine show.  Carolina can out shoot and out yodel everyone in the territory, and she and Gene become fast friends.  He entrusts her with a coded report that will expose the outlaw leaders, but the leaders get wind and try to ambush her when she joins a wagon train to the nearest fort.  Gene and Pat ride in just as the bullets start flying, and of course they all get the bad guys.

Highlights
What this film lacks in plot, it makes up for in the character of Carolina Cotton.  She is unstoppable!  Not only is she running her own business, but she's joining up with Gene and Pat to help them in a pretty dangerous situation.  Gene pays her quite a compliment too when he says that next to her father, she's the best they could have asked for.  It's so refreshing to see a woman in a Western who is her own person, not dependant on anyone, able to shoot and fight better than any man.  And she's not the usual old, bitter spinster with a gun - she's gorgeous!

Carolina sounds great when she sings too, and just as terrific when she and Gene sing together.  He doesn't sing as much in this picture, probably because he's too busy chasing train robbers and punching out bad guys.  But he does manage to sing a beautiful version of "Cold, Cold Heart."  The Cass County boys are also along for the ride, providing some nice backup for both Gene and Carolina (although they really should have had more screen time).

Finally, the Apaches that tour with Carolina perform some traditional dances for us, and Gene narrates their actions.  He pays respect to their traditions and helps those around him understand the symbolism of the Eagle Dance and the Buffalo Hunt.  It's very different from other cowboy-and-Indian movies, and makes me happy Gene did it.

Review and Recommendation
There are a few reviews out there that say this film is only mediocre.  It really is a usual, run-of-the-mill oater, but still entertaining.  There are a few good reasons to see it.  If you think that Native Americans are never portrayed well, you should see this picture.  If you think women are never strong Western characters, then this film will prove you wrong.  All in all, not Gene's best, but far from his worst either.

Back in the Saddle (1941)

Intro.
Although it's Monday, this review is a tad bit late for "Fridays with the Flying A."  Nevertheless, Back in the Saddle proved to be another fine Gene Autry film.  I had seen a clip of the film on Encore Westerns during an interview with (I think) Douglas Green.  He talked about the man who wrote "Back in the Saddle" - apparently Ray Whitley was the guy, and as they worked on the film he said he needed one last song.  Somehow he said he was getting "back in the saddle" to go to work and a song (and a legend) was born.

Overview
The song, "Back in the Saddle," opens up the film as we see Gene backstage after a rodeo at Madison Square Gardens.  His character is literally going back to his work saddle by leaving the tour and going back to work out West.  While in New York, however, his job is to find Tom Bennet, the man who just inherited Gene's boss's ranch.  Gene and Frog Millhouse find Tom alright and make their way West.  But once they hit town, they find that the copper mine has had a strike and their humble cow town has exploded into a huge mining town.  And at its head is E. G. Blaine, who has the whole town in his pocket.  When Gene and his men discover that Blaine's mine is dumping their runoff into the main river, which is killing their cattle, he tries to put an end to it - first by way of the law.  As Gene tries to get an impartial judge out of town, Tom takes action, resulting in a shootout between the cattlemen and the miners.  In the crossfire, Tom shoots a miner in self-defense.  He is arrested and held with the understanding that as long as Gene doesn't try to stop the mining company, they won't hang Tom.  What results is a battle of wills, which involves two lovely ladies (Julie Bishop and Mary Lee), a gambler who switches to Gene's side, a stampede of cattle and a firey shootout to the end. 

Highlights
I just can't resist Mary Lee and Gene Autry.  They sing so well together, and in this film they are paired for "I'm an Old Cowhand."  Apart from their singing, this film is a pretty standard Western - that is, right up until the last part.  As soon as Tom is taken into custody and Gene is given the ultimatum, the film started to remind me more and more of Rio Bravo (which, ironically enough, stars Dean Martin as a singing cowboy).  That's when the film really starts to turn from a lighthearted oater to a more serious film.  The scene where Gene rides into town to serve the papers to get Tom transferred to another town is breathtaking.  You can feel the tension as he slowly makes his way to the jailhouse at the end of the street.  There's literally no escape.  You know it and Gene knows it.  And that's all I'll say for fear of spoiling it!

Review and Recommendation
While not one of my all time favorite Gene Autry films, Back in the Saddle still deserves a good rating.  It's fun, enjoyable, suspenseful and action-packed.  Plus a few classic songs (I mean, at least watch the first 5 minutes to see where Gene's theme song began!)  It's a well-rounded film with Gene at the top of his game.  Oh yeah, and Mary Lee saves the day - how great is that??