He Who Gets Slapped.

Review #1771: He Who Gets Slapped.

Cast: 
Lon Chaney (Paul Beaumont, aka HE), Norma Shearer (Consuelo), John Gilbert (Bezano), Tully Marshall (Count Mancini), Marc McDermott (Baron Regnard), Ford Sterling (Tricaud), Harvey Clark (Briquet), Paulette Duval (Zinida), Ruth King (Maria Beaumont), Clyde Cook (A Clown), Brandon Hurst (A Clown), and George Davis (A Clown) Directed by Victor Sjöström (#1327 - The Wind and #1731 - The Phantom Carriage)

Review: 

It should only figure that having a prime presence in Lon Chaney and a noted directing figure in Victor Sjostrom would result in an interesting movie. Sjostrom had moved to the United States when he was hired to direct Name the Man (1924), and he modified his name to "Seastrom". He would direct a handful of films in America in the silent era, and this was the first one to be produced by Metro Goldwyn Mayer (MGM) in its history (albeit not the first released, since it was released in November for the holiday season), which if you remember had Louis B. Mayer as studio chief and Irving Thalberg as supervisor of productions, and the latter knew Chaney well enough from Universal Pictures to bring him to contract with the new studio. Sjostrom and Chaney would each benefit from the overall success that the film brought (one that made double its budget while being shot in the span of nearly two months). The film is adapted from the 1915 Russian play of the same name by Leonid Andreyev, with Sjostrom and Carey Wilson adapting it to the screen.

The film runs at 71 minutes (at least for versions in the public domain and on television, owing to an increased frame per second rate), and it manages to do quite well in making grisly entertainment. Well, at least for a film that involves a man who experiences humiliation so great that he becomes a clown only referred to as "HE" that gets a chance at romance but also revenge. Folks familiar with the actor referred to as "The Man with a Thousand Faces" will find a worthy treat in Chaney's lead performance as a dutiful clown, which technically means he is doing a dual performance: the normal mild-mannered man in the opening and a clown that prefers to laugh at people within pain (of course, there is also exploitation too). In that sense, he does exactly what is needed in a resourceful performance of pathos that we are generally sympathetic to, as in the tradition most would know from his previous highlights like The Penalty (1920), and it probably made sense that he would portray a clown again with Laugh, Clown, Laugh just four years later (which also had a love triangle). In fact, he nearly overshadows the other two folks in this love triangle story. Thalberg took an interest in Shearer, and this worked out pretty well for each side (they married in 1927), and one can see why. She has the bright charm required for what is needed here, and she seems quite suited in matching with Gilbert. He was in the midst of turning into a leading man around this period, and even with a segmented role like this he rolls with it pretty well (i.e. he doesn't get lost as just a nice face to romance another nice face). It might qualify as a thriller feature, if you think about it, since one definitely gets curious over just what will happen with the (unstable) lead presence, particularly when Marshall and McDermott enter the picture. McDermott makes a useful adversary as a bully that doesn't need much screen-time to make it work out, while Marshall makes a worthy exploiting figure. As one of MGM's early standout features, one should certainly not hesitate to pick this feature out, particularly since it happens to now be in the public domain. As a whole, the film is breezy and always interesting when it needs to be when it comes to showing a look into the circus along with being a fairly built thriller that still holds well within the standards of its time. 

Overall, I give it 8 out of 10 stars.

Bright Eyes.

Review #1342: Bright Eyes.

Cast: 
Shirley Temple (Shirley Blake), James Dunn (James "Loop" Merritt), Lois Wilson (Mary Blake), Judith Allen (Adele Martin), Charles Sellon (Uncle Ned Smith), Theodor von Eltz (J. Wellington Smythe), Dorothy Christy (Anita Smythe), Jane Withers (Joy Smythe), Brandon Hurst (Higgins), Jane Darwell (Elizabeth Higgins), Walter Johnson (Thomas), and George Irving (Judge Thompson) Directed by David Butler (#1334 - Just Imagine)

Review: 
When it comes to needing a charming and good-natured kid presence for a film or two, one can't really go wrong with Shirley Temple. Born in 1928, she had been enrolled at Meglin's Dance School with encouragement from her mother by the time she was three years old, and she was noticed by a producer from Educational Pictures, known for their one-reel comedies in the 1920s and 1930s. In 1934, she was given her first major breakthrough with Stand Up and Cheer!, a musical from Fox Film that served as a vehicle for various actors to sing. In that year alone, she made appearances in nine films (two of them without credit), with this being her last one released (done so on December 28), which happened to be the first one made specifically as a starring vehicle for her, which was written by director Butler and Edwin J. Burke. Her run was a quick but memorable one, starring in at least two films until 1940 while making appearances in thirteen further films before her last in 1949. Her main features were usually made on the cheap, with songs and dances to go alongside sentimental and melodramatic situations, which certainly must've proven to inspire plenty of hope when it comes to escapist fare for Great Depression audiences. In that sense, this proves to be an okay piece to look back upon with the age of nearly 85 years behind it. If one can get behind a kid singing "On the Good Ship Lollipop", one could probably get behind any sort of sugary stuff for 83 minutes. It isn't so much a predictable film as it is just one that will go exactly where it wants to go and nowhere else. Oddly enough, the best parts of the film are usually when Sellon or Withers (who would star in her own kid films) are on screen, delivering a good share of the laughs despite having cranky characterizations. This is especially true for the latter, who was defended by Butler from calls of being cut down by Temple's mother - the contrast between the two is importantly distinct and amusing, right down to one being slapped again and again. Temple carries the film enough, in that one really doesn't need much to go along with a nice kid for a film (barring a lack of personality of course), but she makes the experience worth it in her enthusiasm. Dunn goes along fine, carefully crafted to suit Temple when it comes to being a guardian of the clouds. The rest are here and there, lending help to try and make this fairly predictable tale of spunky kids cheering up old cranks and young people go without trouble. The film received one award for its main star in an Academy Juvenile Award, which was given out to twelve child performers until it was discontinued in 1960. Temple is (and remains) the youngest recipient to be honored by the Academy. The curiosity is fair, and it should prove fine for the young ones looking for some old-fashioned charms like Temple can provide.

Overall, I give it 7 out of 10 stars.

Dr. Jekyll and Mr. Hyde (1920).

Review #1152: Dr. Jekyll and Mr. Hyde.

Cast: 
John Barrymore (Dr. Henry Jekyll / Mr. Edward Hyde), Brandon Hurst (Sir George Carewe), Martha Mansfield (Millicent Carewe), Charles Willis Lane (Dr. Richard Lanyon), Cecil Clovelly (Edward Enfield), Nita Naldi (Miss Gina), and Louis Wolheim (Dance Hall proprietor) Directed by John S. Robertson.

Review: 
It is always interesting to look deep into the past for films, particularly with horror movies. 1920 was a particularly interesting year for horror, with this film being released alongside other horror films such as The Cabinet of Dr. Caligari and The Golem: How He Came into the World. In any case, this film is a pretty effective one that is worth a look for horror fans, particularly ones into silent features with a standout lead performance. The credits list Clara Beranger as providing the scenario for the film, which took inspiration from the stage play adaptation by Thomas Russell Sullivan that had first opened in 1887, the year after the publishing of the original novella by Robert Louis Stevenson. The changes from the novella for the stage play are reflected here in the film, such as giving Jekyll a fiancee and making more of a contrast between him and Hyde in their morals. This was the fourth adaptation of the work into film (the other three being done in 1908, 1912, and 1913, respectively), along with the first of three adaptations released in 1920, with one being directed by F. W. Murnau, although his film, The Head of Janus, is now lost. Barrymore shines above the rest of the cast, managing to play both roles with a clear distinction through his expressions that make for some fairly compelling drama with him. Hurst does pretty good as the counterpart to play against Barrymore for certain scenes, presenting a somewhat compelling argument for yielding to temptation in order to combat it. The other cast members aren't too bad, but the real focus stays on its star for the chunk of its 79 minute run-time, and it never really borders on boredom at any main point.

The struggle between trying to separate evil impulse and the soul is certainly something that can be worth thinking about for time after a viewing of something nearly a century old. The film takes its time to build to its big highlight - the transformation of Jekyll to Hyde. This is where Barrymore shines the most, as this was a scene without any sort of special makeup or camera tricks, being one long sequence where he turns away from the camera by hiding his face with his hands to later reveal his features of the beast, complete with face contortions from Barrymore. Of course in later sequences there is makeup used to show a pointy head and fangs, but they are well-done for the time. The Hyde sequences certainly must have proved a bit shocking for its time, adding to the entertainment factor fairly well. The climax delivers a fair and quick payoff, and on the whole the movie is a fairly entertaining one, with Barrymore being the key highlight that makes this one worth a watch nearly a century since its release.

Overall, I give it 8 out of 10 stars.

The Man Who Laughs (1928).

Review #999: The Man Who Laughs.

Cast: 
Mary Philbin (Dea), Conrad Veidt (Gwynplaine / Lord Clancharlie), Brandon Hurst (Barkilphedro), Olga Baclanova (Duchess Josiana), Cesare Gravina (Ursus), Stuart Holmes (Lord Dirry-Moir), Samuel de Grasse (King James II Stuart), George Siegmann (Dr. Hardquanonne), and Josephine Crowell (Queen Anne Stuart) Directed by Paul Leni (#863 - Waxworks)

Review: 
I figured that it would be fitting to do a silent film for the 999th review, with this being the 62nd of its type covered on Movie Night. You may notice that the square right next to the title card is in a few colors like pink, grey and black. These colors were utilized for the 99th review (Mutiny on the Bounty), albeit with a bit more stylizing this time around. Enjoy this review.

This was adapted from Victor Hugo's 1869 novel of the same name. The novel had one previous adaptation in 1921 named The Grinning Face, made in Austria. Universal had previously adapted Hugo's The Hunchback of Notre Dame (#850) back in 1923, and the intent was to have Chaney star in the title role after the success of that film, although issues to the rights of the novel meant that Chaney would be released from doing this film in favor of The Phantom of the Opera (#774). After that film's release, producer Carl Laemmle decided to try and make this as his next attempt at Gothic success, with Veidt picked to play the title role. Leni, who had recently moved to Hollywood after having been invited by Laemmele, was selected as director. Both choices prove to be fairly crucial in why this film works as well as it does; Leni uses his lighting and sets to fine effect, as one might expect from a German Expressionist such as him. Veidt wears a makeup device that made his mouth swollen while being supplied disturbing teeth, which contributes to the look of his character. While it is a great effect, it takes a good actor to help convey numerous emotions with only his eyes, and Veidt stands up to the challenge quite well. The appearance of Veidt proved to be the visual inspiration for the comic book villain the Joker, appearing in comics over a decade later. Philbin, playing a role not too different from her role from Phantom of the Opera (in which she played opposite Chaney), does a decent job, given that she is playing a blind person.

This film is sometimes counted as one of the films of the Universal Monsters series, and while it isn't much of a horror film, there is a fair amount of gloom within its tone to make a case for it, although it also has elements of romance and swashbuckling action. Yes, it has a climax with excitement, but the scenes that precede it also can be sad, such as when Veidt's character is shown in a freak show, or when he is being propositioned by Baklanova's character. The scene at the House of Lords proves to a moving and effective scene in part because of Vedit and his mannerisms towards the others. Though this is a silent movie, it was (on re-release) shown with sound effects, a synchronized score, and even a theme song (named "When Love Comes Stealing"). The sounds we get to hear are of laughter during the freak show, which is certainly a startling (and satisfying) effect, and the theme is fairly passable as well. As a whole, this is an efficient movie that satisfies on numerous levels while being fairly paced well at 110 minutes. It might not be the horror film that you might expect from seeing Veidt's appearance on screen, but it is a satisfying romance drama (with a bit of horror) with enough competence and style to make a top-notch effort.

Well. Here we are at end of review nine hundred ninty-nine. 
You are likely wondering what is next for the one thousandth review, so I'll tell you...

...tomorrow night, when the review is actually up. I'm not trying to hype the review, but I figure it makes sense to let you all wonder a bit and enjoy. 

Overall, I give it 9 out of 10 stars.

The Hunchback of Notre Dame (1923).

Review #850: The Hunchback of Notre Dame.

Cast
Lon Chaney (Quasimodo), Patsy Ruth Miller (Esmeralda), Norman Kerry (Phoebus de Chateaupers), Kate Lester (Madame de Gondelaurier), Winifred Bryson (Fleur de Lys), Nigel De Brulier (Don Claudio), Brandon Hurst (Jehan), Ernest Torrence (Clopin), and Tully Marshall (King Louis XI) Directed by Wallace Worsley.

Review
While this does not necessarily fall into the horror genre (being more of a romance/drama), it is often considered the first film in the "Universal Monsters" series, with a few of the films from that line already reviewed on this show (such as The Phantom of the Opera (#774), the Dracula films, the Frankenstein films, The Invisible Man (#069), The Old Dark House (#465), Murders in the Rue Morgue (#531), The Mummy (#632)...), adapted from the 1831 novel of the same name by Victor Hugo, with certain liberties taken. I figured it was time to get to this film, which I had considered doing for quite some time, though I always seemed to push it back for other movies, until now. It is clear to see why Chaney was often called "The Man of a Thousand Faces", as he is spectacularly unrecognizable as the Hunchback, with the makeup being exquisitely grotesque, looking great for the time and even now. Miller and Kerry do fine in their romance scenes, having some sort of chemistry amidst the ultimate heartbreak. Hurst plays a decent villain, but the real star of the show is the grand scale of everything. There is a good deal of depth in the sets and costumes that create such a magnificent and true atmosphere, with different color hues in certain scenes that really stick out nicely. There isn't too much use of inter-titles, but the film manages to convey itself neatly without dialogue, like most great silent films do. The version I watched includes music compiled by Donald Hunsberger (with adaption and conduction by Robert Israel and his orchestra), which accompanies the movie excellently in capturing the movie's scale. The length of the movie depends on what copy you are seeing, ranging from 95 minutes to over two hours, with the version I watched being nearly around 110 minutes, and it paces itself well. Clearly I recommend this movie, and you can find it almost anywhere in part due to it being in the public domain.

Overall, I give it 9 out of 10 stars.

Movie Night: Murders in the Rue Morgue.

Review #531: Murders in the Rue Morgue.

Cast
Bela Lugosi (Doctor Mirakle), Sidney Fox (Mademoiselle Camille L'Espanaye), Leon Ames (Pierre Dupin), Bert Roach (Paul), Betty Ross Clarke (Mademoiselle L'Espanaye), Brandon Hurst (Prefect of Police), D'Arcy Corrigan (Morgue Keeper), Noble Johnson (Janos), and Arlene Francis (Streetwalker) Directed by Robert Florey.

Review
I'm very familiar with Bela Lugosi already, with his work in (#071) Dracula, (#183) Plan 9 from Outer Space, (#260) The Wolf Man, (#274) White Zombie, and (#470) Mark of the Vampire. A theme week is 7 reviews of a subject in 7 days (Such as Robot Week with #086-#092, Harry Potter Week with 8 reviews from #117-#124, and the last one until this, Dreamworks Animation Week, from #160-#166), and I'm starting with the earliest Lugosi film I could find on short notice, and end...with his last speaking role. Murders in the Rue Morgue was (loosely) based off a short story by Edgar Allen Poe (notable for being the first detective story), with a few more of his works being adapted by Universal in the following years as part of their Universal Monsters line. Lugosi doesn't do that bad of a job, he certainly has a level of lunacy for this character, and it works well. The rest of the cast do fine and all, they aren't too overdramatic, and while Lugosi nearly steals the show, the cast don't do that bad. This film was sadly butchered upon original release from 80 minutes to 61 minutes by the studio, the deleted scenes apparently being cut due to being deemed too disturbing, and while the film does feel hacked off, the camera angles and the way of filming make up for it just enough. This is a disturbing, but entertaining film that lets Lugosi have his moment. Tune in next time for another one of Lugosi's films from 1932.

Overall, I give it 8 out of 10 stars.

Movie Night: The Thief of Bagdad (1924)

Review #399: The Thief of Bagdad.

Cast
Douglas Fairbanks (Ahmed, the Thief of Bagdad), Snitz Edwards (His Evil Associate), Charles Belcher (The Holy Man (Imam) / Narrator), Julanne Johnston (The Princess), Sojin Kamiyama (Cham Shang, Prince of the Mongols), Anna May Wong (The Mongol Slave), Brandon Hurst (The Caliph), Tote Du Crow (The Soothsayer), and Noble Johnson (The Prince of the Indies) Directed by Raoul Walsh.

Review
The Thief of Bagdad provides a few firsts for Movie Night, the first film from 1924 reviewed here, the first film with Douglas Fairbanks (Who also wrote and produced this film) on here, and the first film on here directed by Raoul Walsh, who directed many films in six decades. How is the film though? It's a fun tale, to say the least. The film (Who some might recognize is freely adapted from One Thousand and One Nights) has a good enough story that manages to not feel stretched, not feeling too short or too long at 140 minutes. The actors don't speak, but they do have actions and movements to them, and Douglas Fairbanks uses the action to his advantage swashbuckling excellently as the rest of the actors do a fine job, keeping the film from falling off balance. The production design by William Cameron Menzies is extraordinary, a new thing at the time. The effects work well, looking state of the art for the 1920s, especially given that Fairbanks wanted his epic to look and work well, which while being expensive (At the time) to make, was a success back then and it still is today, spawning two remakes and also the film Aladdin as well. This is a film of spectacle, that manages to work brilliantly. There's only one more thing to review...Countdown to 400 Reviews: 10, 9, 8, 7, 6, 5, 4, 3, 2, 1.

Overall, I give it 10 out of 10 stars.

Movie Night: White Zombie.

Review #274: White Zombie.

Cast
Béla Lugosi ('Murder' Legendre), Madge Bellamy (Madeleine Short Parker), John Harron (Neil Parker), Robert Frazer (Charles Beaumont), Clarence Muse (The Coach driver), Joseph Cawthorn (Dr. Bruner), Brandon Hurst (Silver), George Burr Macannan (Von Gelder), Frederick Peters (Chauvin), and Annette Stone (Maid) Directed by Victor Halperin.

Review
It has been 80 years, but does it still hold up. In a way, yes, but in another...not so much. On the negative side (for once I do this first), the film's acting is not really good. With the exception of Lugosi, the actors aren't really inspired, not as good as Dracula (#071), it just feels dull. But then what is the main thing that saves it? Bela Lugosi and his eyes. The way he stares at the camera (or the person, whatever) is really gripping at you, almost as much as in Village of the Dmmned (#270) While it isn't as good as other horror films of its time, it did introduce one aspect that would live on to this day: Zombies. So there you go.

Overall, I give it 7 out of 10 stars.