Tobacco Road.

Review #1827: Tobacco Road.

Cast: 

Charley Grapewin (Jeeter Lester), Marjorie Rambeau (Sister Bessie Rice), Gene Tierney (Ellie May Lester), William Tracy (Dude Lester), Elizabeth Patterson (Ada Lester), Dana Andrews (Capt. Tim Harmon), Ward Bond (Lov Bensey), Slim Summerville (Henry Peabody), Grant Mitchell (George Payne), and Zeffie Tilbury (Grandma Lester) Directed by John Ford (#398 - The Last Hurrah, #1324 - 3 Bad Men, #1349 - Stagecoach, #1372 - Fort Apache, #1392 - The Searchers, #1409 - The Man Who Shot Liberty Valance, and #1778 - 3 Godfathers)

Review: 

"We have no dirt in the picture. We’ve eliminated the horrible details and what we’ve got left is a nice dramatic story. It’s a tear-jerker, with some comedy relief. What we’re aiming at is to have the customers sympathize with our people and not feel disgusted.”

Sometimes even a famous director has a film falls through the cracks. This is one of those films, even with the source material it arose from: the 1932 novel of the same name, which had been written by Erskine Caldwell, which in turn was successful and controversial enough to spawn a play that had been written by Jack Kirkland that premiered on December 4, 1933. The play ran for nearly eight years over the span of two theatres for 3,182 performances, which is the second-longest running non-musical on Broadway. When it came time to possibly sign the right for a film adaptation, Kirkland wanted someone who would help to picturize the film with honesty and fearlessness (as they put it), or at the very least one that could make a useful profit. Of course, the idea to make a movie out of it took a number of years and negotiations due to objections from the Production Code, which thought the contents of the play would not be suitable for a film, which scuttled RKO Radio Pictures from their idea to do a film with Charles Laughton as the lead (as opposed to the lead star of the production, Henry Hull). By 1940, the responsibility would spring for 20th Century Fox, who the Production Code likely favored because they had just adapted The Grapes of Wrath (1940) into a feature film, and the director and writer would be the same for this one: John Ford and Nunnally Johnson, respectively. The studio decided to avoid any potential judgement by shooting in Sherwood Forest and Encino in California as opposed to Augusta, Georgia (since the title of the book refers to a road for tobacco, not the rivalry of the same name that involves the state of North Carolina). The film ended up making almost $2 million in box office returns on release, which means a fair success. Honestly, even peering at the synopsis of the book or play makes one curious on just how one really thought that making a rural comedy with such strange enthusiasm was a good idea. Aspects are familiar, since the play features tattered clothed sharecroppers with bad soil that means one can't make the crop or a proper living, and the family sees one of their own get married to a preacher before having to face the prospect of the bank taking over the property, complete with a prideful patriarch that wouldn't dream of working in a cotton mill. The play has been cited as a "challenging play", since it isn't just a tragedy or a comedy but a mix that ended up with bans in major cities as immoral; of course, the film doesn't feature the cleft lip for the character of Ellie May or the boneless nose of Sister Bessie, although apparently the constant honking of the car horn from the Dude character is actually in the book. The film runs at 84 minutes.

Of course, some folks (me) did not actually watch The Grapes of Wrath, but I am sure there are more folks who haven't seen Tobacco Road, particularly with all the other John Ford films out there; of course, I do imagine there are some folks who aren't quite as familiar with Ford's non-Western output. I am astounded at the idea that one could turn a book that features folks being burned to death and grotesque descriptions and utter depravity...and turn it into a weird mix of comedy and drama with a hopeful bow on top of it all but such is the life under a Production Code. Grapewin certainly must have been the lucky one in the whole proceedings, since it might have been strange to see a different studio try to consider someone like Walter Brennan or even Henry Fonda for the role. Instead, it went to a man that ran away from home to dabble in the circus and Broadway before becoming a film actor, with one of his films coincidentally being The Grapes of Wrath; one can only imagine how it feels to have a starring role at the age of 72. Actually, he does fine with the performance here, if only because he maintains a stubborn sense of lazy pride is probably the most endearing of the cast-mates, engaging without awful caricature. Rambeau does chew the scenery a bit as a ham, but at least it is a serviceable ham performance that homes in some sort of interest when it comes to weird hypocrisy that entails a bit of singing. Tierney is seemingly used just for shots of longing that might have worked in a more desperate film. Patterson does fine alongside Grapewin in terms of long-standing diligence in the face of squalor. Tracy fares the worst, if only because one does not want to hear so much hooting and hollering, which indeed includes him honking a car horn from time to time. Andrews and Bond are in the background for most of the film as if they are just name actors, but at least they seem game for "mild presence" and "goofball foil" types. Honestly, while I can understand the appeal of optimistic features, the movie just doesn't seem to ring the right notes to actually make it sound believable enough to work for a whole time. It seems too easy, too nice-looking, and too loud to really belong to the pantheon of memorable Ford films. Maybe there is something "subversive" in the maintained status of a proud family from Georgia or something, but one knows that even an average Ford film is still better than a mediocre movie, since it does manage to be efficient with its time in not wasting all of it. I can't exactly recommend the movie as one to start on when it comes to looking at John Ford, but I can say that it does what it wants to do in mild amusement and engagement without becoming completely interminable, so I suppose that can be more than enough for those curious enough for a film from long ago.

Overall, I give it 7 out of 10 stars.

Dumbo.

Review #1768: Dumbo.

Cast: 

Edward Brophy (Timothy Q. Mouse), Verna Felton (Elephant Matriarch / Mrs. Jumbo), Cliff Edwards (Dandy Crow), Herman Bing (The Ringmaster), Sterling Holloway (Mr. Stork), Margaret Wright (Casey Junior), and The Hall Johnson Choir [Crow Chorus: Hall Johnson (Deacon), James Baskett (Fats), Nick Stewart (Specks), Jim Carmichael (Dopey)] Directed by Samuel Armstrong, Norman Ferguson (#511 - The Three Caballeros), Wilfred Jackson (#178 - Peter Pan, #373 - Cinderella, and #683 - Alice in Wonderland, #810 - Snow White and the Seven Dwarfs), Jack Kinney (#511), Bill Roberts (#511), Ben Sharpsteen (#810), and John Elliotte.

Review: 

Dumbo is one of those timeless classic movies, pure and simple. Whether two or twenty-two or even one-hundred two, it manages to captivate its audience with a short run-time (64 minutes) while being a unique feature among the number of features that was created by Walt Disney Productions (with distribution by RKO Radio Pictures, who tried to get Disney to lengthen the film a bit), particularly when you look at the studio for just the 1940s or in the eight decades that followed the release of the film. Of course, Dumbo (1941) was released as the fourth animated feature film released by the studio that followed along the heels of 1940's Pinocchio and Fantasia, which while regarded well by critics were actually not major hits for the studio at the time, owing to a lack of distribution in Europe because of World War II, while Dumbo was made for less than a million dollars and became a modest hit for the studio. It would not be an easy production, however, since an animator strike would occur for a couple of weeks in the Disney studio (which was later immortalized by the clown characters in the film, who are depicted wanting to go to the boss for a raise). The film was the second-to-last feature film to be released by Disney in the decade, with Bambi (1942) was followed by six package features). The movie is based on the story Dumbo the Flying Elephant, which was written by Helen Aberson-Mayer and Harold Pearl (while having illustrations by Helen Durney), a married couple of writers that had sold the book to a company called Roll-a-Book in 1939, who in term sold the story to Walt Disney Productions that same year (no copies of it apparently exist, since the "roll-a-book" was a cardboard contraption with a little wheel on it, although Dumbo was turned into a softcover book later); Joe Grant and Dick Huemer were tasked to write a script outline over the course of a month in 1940, which Disney made into a feature rather than a short film, and Otto Englander would head a story team to turn the outline into sketches (as such, Grant, Huemer, and Englander were credited as story writers).

What can I tell you that you did not already know about it? I hadn't seen the movie for over a decade and yet it still managed to seem quite refreshing and meaningful regardless of that fact. It has a delightful pace and quality to it, one that is quite joyful and curious with its subject matter without becoming mired in too much cotton-candy sentimentality; in other words, it doesn't just go for "cute" with its animation or even its lead character, since there isn't a voice for him (one of the few times you can say that in an animated film). The folks that are present to speak prove right for the task of delivering right to the point when it comes to engaging atmosphere, whether that means smart-mouth do-gooders (Brophy, a character actor making his first and only voice role, which was both un-credited and memorable) or amusing folks that close the film with a song led by Edwards (a face and voice familiar for his roles within film and in music, most notably with Pinocchio) and the choir of Hall Johnson and company (familiar to folks who have heard Lost Horizon (1937), while Baskett would end up starring in Song of the South). Besides, finding a way to overcome an obstacle, such as say, being made fun of because of one's look, is a tradition like no other when it comes to honing a lively fable for everyone to enjoy. Well, that and showing folks up when it comes to provine oneself, although most would only dream to be as humble as a flying elephant. Everyone will have their own little favorite moments or sequences to chuckle or appreciate, whether that involves a little bit with a train engine, or as one might expect, a dazzling sequence involving pink elephants. The animation is exactly what you would expect from Disney's animators, crisp and effective in what needs to be seen on screen that can look as interesting on the first viewing to the next one, and I'm sure most would say this applies to the films as well when it comes to having variety (i.e. one can see where they have done in features since Snow White). By the time the film soars towards its conclusion, it sticks the landing with dazzling its audience with the art of seeing flight take place that doesn't diminish whether one was familiar with the subject matter or not (there will also be that one person who does not latch onto Disney films early). In essence, it is the movie for all kids at heart, ones who appreciate the fine touch of animation done by Disney's animators (most notably with Bill Tytla and Art Babbitt) that makes a sure winner anytime for all time.

Overall, I give it 10 out of 10 stars.

That Night in Rio.

Review #1357: That Night in Rio.

Cast: 
Don Ameche (Larry Martin / Baron Manuel Duarte), Alice Faye (Baroness Cecilia Duarte), Carmen Miranda (Carmen), S. Z. Sakall (Arthur Penna), J. Carrol Naish (Machado), Curt Bois (Felicio Salles), Leonid Kinskey (Monsieur Pierre Dufond), and Frank Puglia (Pedro) Directed by Irving Cummings (#1328 - In Old Arizona)

Review: 
Everybody needs a bit of musical comedy flair now and then. It does help to have a good trio at hand to deliver a few musical numbers and laughs, complete with Technicolor and a bit of worldly charm that makes for a moderately decent time. It was the second of three adaptations of the play The Red Cat, which Fox Film had adapted as Folies Bergère de Paris (1935) while 20th Century Fox would do it over again with On the Riviera (1951). This was the sixth and final pairing of Ameche and Faye in a film together along with the second film of Ameche with Miranda (after Down Argentine Way, also directed by Cummings). Miranda had arrived to the United States in 1939 from Brazil (where she had made a few appearances on film), making her way onto Broadway that year before making her American film debut with Down Argentine Way the following year. She appeared in numerous films for Fox over six years, and she was one of the highest paid entertainers of those years, although she soon went into decline and tragically died at 46 in 1955. With her fruit hat and absorbing personality, she certainly captures your attention fairly well. Her and Ameche certainly have a few moments to get a few laughs with quirky chemistry together and a diverting number or two. Ameche does fine with a double role that goes pretty much exactly as you might expect (it's the journey that counts, one would argue), a double-act that can be diverting to see the differences. Faye carries off her part with fair timing and singing to go alongside a storyline (done by five writers in George Seaton, Bess Meredyth, Hal Long, Samuel Hoffenstein, and Jessie Ernst) that gives a few by-the-book things that she does without too much trouble. The rest of the cast do just fine, making things go by with casual timing for a casual film. If one needs to kill time for 91 minutes with something flashy and fairly charming, I suppose one can't go wrong with something like this. It may be a bit predictable, but it is the kind of escapist entertainment that can deliver a smile or two at times for the curious, if one is into that sort of thing. The 1940s have plenty of films to pick from in musicals, and That Night in Rio has a fair standing as average yet useful to recommend to others.

Overall, I give it 7 out of 10 stars.

Meet John Doe.

Review #1356: Meet John Doe.

Cast: 
Gary Cooper (John Doe/Long John Willoughby), Barbara Stanwyck (Ann Mitchell), Edward Arnold (D.B. Norton), Walter Brennan (The Colonel), Spring Byington (Mrs. Mitchell), James Gleason (Henry Connell), Gene Lockhart (Mayor Lovett), Rod La Rocque (Ted Sheldon), Irving Bacon ("Beanie"), Regis Toomey (Bert), and J. Farrell MacDonald ("Sourpuss") Directed by Frank Capra (#102 - Mr. Smith Goes to Washington, #319 - It's a Wonderful Life and #456 - It Happened One Night)

Review: 
Frank Capra was a director of tremendous skill who came out of the rags to make great memorable entertainment in the 1930s and 1940s. He had emigrated from Italy with his family at the age of five to America, eventually ending up in Los Angeles. By the time he was 25, he had done a variety of jobs before and after graduating college, ranging from selling newspapers to working at the laundry facility at the California Institute of Technology (where he graduated from in chemical engineering). He would serve in both World Wars, serving as a teacher of mathematics to artillerymen in the former and as a director for war information documentaries (Why We Fight) in the latter. He found his way to films in gagwriting and luck. He directed his first film with independent Fireside Productions in 1922 with Fultah Fisher's Boarding House, getting the job by touting his experience with film (which was scant) but it proved effective. He also wrote gags for the Our Gang series alongside scripts for comedian Harry Langdon, which led to his feature film debut with The Strong Man (1926). After one more film with Langdon, he was fired by the comedian. He eventually found himself with newly named Columbia Pictures, which at the time was a start-up studio in minor status compared to the big icons that had their own facilities and distribution. From 1928 to 1939, he made 25 features for the company, including numerous classics such as Lady for a Day (1933) and Mr. Deeds Goes to Town (1936) among others, winning Best Director at the Academy Awards three times in a period of four years. This film was one of two films that he did with Warner Bros (the other being Arsenic and Old Lace) along with the last before America entered World War II. The screenplay was done by Robert Riskin (his tenth and last collaboration with Capra) with story from Robert Presnell that was adapted from Richard Connell's A Reputation, a 1922 story originally published in Century Magazine.

Of course who better to headline the film than Cooper and Stanwyck, both veteran actors who had previous experience with Capra that would have decades-long careers of success. They both prove important to the film's success in material that is dark but still relevant in its message about the everyman and creeping corporate influence when dealing with hope. Cooper makes it worth his while as a folksy everyman, rising to the occasion through gradual evolution from anonymous tramp to club-creating philosopher. Stanwyck proves just as well, ambitious but warm to follow along with in her zealous energy. Arnold proves a conniving clever presence, and Brennan proves a worthy tramp foil for Cooper alongside Byington for Stanwyck. Gleason makes a worthy hard-driving role, particularly in one scene where he reveals a deception about to take place to our star while espousing about the good done by him (including unwittingly creating a grassroot movement) to folks that need it. Lockhart and the rest prove just as worthy with filling the details for the film to make its statements without needless aspects for a diverting 122 minutes. The ending is certainly an interesting one. There were numerous ideas shot or edited that found their way into previews, owing in part because Capra hadn't had a clear idea of how it should end when production began. All of them revolved around the exposing the truth of John Doe (done at a convention), with one ending directing ending on the convention scene with his disgrace. Another apparently ended up with him committing suicide, while others involved him being saved or the reforming of Arnold's character. A comment from a preview led to a fifth and eventual ending, where some of the club members show up to express their still-present belief in him and the club (along with a statement by Stanwyck's character about how another "John Doe" already gave himself up for humanity). The film holds itself together without too many troubles, making its point about media and hope without becoming sanctimonious or overly cynical. It's a fair comedy-drama, balancing its way through with enough competency worth a viewing alongside other Capra movies. In fact, it is an easy one to do because of its public domain status (occurring due to a failure in copyright renewal). For each of its main talents at stars and director, it's a good one to go with for curiosity and perhaps some subsequent discussion afterwards.

Overall, I give it 9 out of 10 stars.

Mr. & Mrs. Smith (1941).

Review #970: Mr. & Mrs. Smith.

Cast: 
Carole Lombard (Ann Krausheimer Smith), Robert Montgomery (David Smith), Gene Raymond (Jefferson Custer), Jack Carson (Chuck Benson), Philip Merivale (Ashley Custer), Lucile Watson (Mrs. Custer), William Tracy (Sammy), Charles Halton (Harry Deever), Esther Dale (Mrs. Krausheimer), Emma Dunn (Martha), Betty Compson (Gertie), and Patricia Farr (Gloria) Directed by Alfred Hitchcock (#219 - Rope, #223 - North by Northwest, #446 - Spellbound, #447 - Psycho, #450 - Vertigo, #455 - Rear Window, #553 - Strangers on a Train, #800 - Shadow of a Doubt, #910 - Notorious, #963 - The Lodger: A Story of the London Fog, #964 - The Ring (1927), and #965 - Downhill)

Review: 
This is the only screwball comedy that Alfred Hitchcock ever directed in his career, and while it may not be up to par with some of the films previously covered on here, this is at least serviceable entertainment, even if built on flimsy ground. It has a dry and sometimes offbeat feel that definitely could rankle a viewer if they don't have enough patience - or not in the right mood, anyway. Lombard and Montgomery are fairly decent together, though admittedly they work better in the first half of the movie, with the climax being the weakest part of the film due to feeling clunky; the Florida Club sequence is a fine highlight to showcase with the two (along with Carson). They have fine timing together, though Lombard is the more interesting one to follow. This was the last film released during Carole Lombard's lifetime, as she died the following year in a plane crash prior to her last film appearance in To Be or Not to Be (1942). Raymond is decent (such as the sequence at the World's Fair), and Carson is fairly charming as well. The circumstances that set up the plot are a bit offbeat, but fairly fitting for the time and kind of comedy the film is going for. The movie lasts 94 minutes, which is fairly acceptable and the movie has a fine enough pace that doesn't seem to drag too much. Without trying to give too much away, the climax is where the movie nearly pulls itself out of the seams, in part because of how the main characters get back together; it just feels a bit clumsy and not very justified. Regardless of how the movie ends, this is an adequate (if not okay) movie that benefits best from trying to make laughs that just happens to have been shot by Alfred Hitchcock.

Overall, I give it 7 out of 10 stars.

Movie Night: The Man Who Came to Dinner.

Review #501: The Man Who Came to Dinner.

Cast
Monty Woolley (Sheridan Whiteside), Bette Davis (Maggie Cutler), Ann Sheridan (Lorraine Sheldon), Richard Travis (Bertram H. Jefferson), Jimmy Durante (Banjo), Grant Mitchell (Ernest W. Stanley), Billie Burke (Daisy Stanley), Reginald Gardiner (Beverly Carlton), Elisabeth Fraser (June Stanley), George Barbier (Dr. E. Bradley), and Mary Wickes (Nurse Preen) Directed by William Keighley.

Review
Based on the comedy play of the same name, The Man Who Came to Dinner tries its best, and while it doesn't always succeed, it certainly hits more than it misses. Monty Woolley certainly is the big attraction of the film, and while he certainly is an odd fellow to watch, he is at least moderately funny to watch. Bette Davis is our leading actress, reportedly wanting the role solely due to wanting to play a comedic role for once, and she does a decent job at it. The rest of the cast is all well and good, and Durante is frantic, but effective. The film starts a bit slow, but it has its fun, and while it could be more, it's well enough, I suppose.

Overall, I give it 7 out of 10 stars.

Movie Night: Mr. Bug Goes to Town.

Review #264: Mr. Bug Goes to Town.

Cast
Stan Freed (Hoppity), Pauline Loth (Honey), Tedd Pierce (C. Bagley Beetle), Jack Mercer (Mr. Bumble / Swat), Kenny Gardner (Dick), Gwen Williams (Mary), and Carl Meyer (Smack) Directed by Dave Fleischer.

Review
Mr. Bug Goes to Town would be the second and last film made by Fleischer Studios, in late 1941. Oddly enough this was an original story, not based off a tale (Though there were plans for it to be) In the end, the film...works. It's an odd story filled with weird characters and frantic animation. And I love it. Ths film has some good moments, particularly the chase scenes and the dancing sequencr, which showcase some good animation and a bit of comedy. The story works, even if again it is a bit odd (It's less odd in Antz actually) You might wondering if I gave this some praise, why did Fleischer Studios only make two animated features. The short answer is really, really bad luck. See, it was released on December 5, 1941, two days before the attack on Pearl Harbor, which lead to financial disaster, leading to the ousting of the Fleischers and the end of the studio and some classics as we know it. It may have oddities, but it is an improvement from Gulliver's Travels, being a hidden gem.

Overall, I give it 9 out of 10 stars.

Movie Night: The Wolf Man (1941).

Review #260: The Wolf Man.

Cast
Lon Chaney, Jr (Larry Talbot/The Wolf Man), Claude Rains (John Talbot), Warren William (Dr. Lloyd), Ralph Bellamy (Colonel Montford), Patric Knowles (Frank Andrews), Béla Lugosi (Bela), and Maria Ouspenskaya (Maleva) Directed by George Waggner.

Review
The Wolf Man was only the second film released by Universal Pictures (Dracula, Frankenstein & The Invisible Man - #069, #071 & #072) involving werewolves, the first being Werewolf in London back in 1935. This is my first foray with Lon Chaney, Jr (Who I have heard about before as was his father before him), and he does a good job, as does Claude Rains (who is very familiar: The Invisible Man, #102 - Mr. Smith Goes to Washington and #125 - Casablanca). The film has good moments, mostly in the last act with the makeup. It starts off slowly, but eventually gets better. It's a flick not as good as Dracula or Frankenstein, but it come close. By sheer coincidence, today just happens to be Béla Lugosi's birthday (who also is in this film).

Overall, I give it 8 out of 10 stars.

Movie Night: Citizen Kane.

Review #200: Citizen Kane.

Cast
Orson Welles (Charles Foster Kane), William Alland (Jerry Thompson), Dorothy Comingore (Susan Alexander Kane), Joseph Cotten (Jedediah Leland), George Coulouris (Walter Parks Thatcher), Everett Sloane (Mr. Bernstein), Ruth Warrick (Emily Monroe Norton Kane), Agnes Moorehead (Mary Kane), Ray Collins (Jim W. Gettys), and Paul Stewart (Raymond) Directed by Orson Welles.

Review
This film feels like a detective story, as you are invested into the life of the man known as Kane. The acting is great, with Welles being the main standout (As it should be) This was his first film that he directed, and this is his more remembered (More so then The Magnificent Ambersons) The film grows on you, it turns from seeing a young, grand Kane to the end, where he is alone, old, in his grand palace, Xanadu. The screenplay is great as well. There aren't many effects in this film, but when they are apparent, they're good. My favorite is the rise of the theater along with the shot of the many Kanes walking in his palace. The ending is just great, giving you a twist that hasn't really been done ever since. It has been 71 years since this film was released, and it is still one of, if not the greatest. For people who want to learn how to make films, it is a grand tool for that department. It may not have been respected as it is today back in 1941, but now it is respected as one of the greatest films of our time. And that ends the 200th Review. Thank you for reading, commenting, and just being there for Movie Night. There's still more to come.

Overall, I give it 10 out of 10 stars.

Movie Night: Sullivan's Travels.

Review #188: Sullivan's Travels.

Cast
Joel McCrea (John L. Sullivan), Veronica Lake (The Girl), Robert Warwick (Mr. Lebrand), William Demarest (Mr. Jonas), Franklin Pangborn (Mr. Casalsis), Porter Hall (Mr. Hadrian), Byron Foulger (Mr. Johnny Valdelle), Margaret Hayes (Secretary), and Robert Greig (Burrows) Directed by Preston Sturges.

Review
I admit that there are comedies out there that aren't in the best quality, but people are entertained. This movie is an excellent lesson in that and more. People even in their worst state feel good with comedy. The acting is good, especially from McCrea. This is a fun and brilliant film that can make you laugh and feel entertained. 70 years and it still holds up.

Overall, I give it 10 out of 10 stars.

Movie Night: The Maltese Falcon (1941).

Review #081: The Maltese Falcon.

Cast
Humphrey Bogart (Sam Spade), Mary Astor (Ruth Wonderly/Brigid O'Shaughnessy), Gladys George (Iva Archer), Peter Lorre (Joel Cairo), Barton MacLane (Lieutenant Dundy), Lee Patrick (Effie Perine), Sydney Greenstreet (Kasper Gutman), Ward Bond (Detective Tom Polhaus), and Jerome Cowan (Miles Archer) Directed by John Huston.

Review
This is a classic film that should be watched at least once by people who like film. Yes, that's my first line. And it's truthful straight down to the last period. The acting is good, especially from Bogart. The film has a style to it that helps the film makes its case for a good film, if not already from the acting. The story's good, making you interested in it for the entirety of the film. This film is the stuff that dreams are made of...

Overall, I give it 10 out of 10 stars.