Topper Takes a Trip.

Review #1829: Topper Takes a Trip.

Cast: 

Constance Bennett (Marion Kerby), Roland Young (Cosmo Topper), Billie Burke (Clara Topper), Alan Mowbray (Wilkins, Topper's butler), Verree Teasdale (Mrs. Nancy Parkhurst), Franklin Pangborn (Louis), Alexander D'Arcy (Baron de Rossi), Spencer Charters (Judge), Irving Pichel (Prosecutor), and Asta the dog (Mr. Atlus) Directed by Norman Z. McLeod. (#688 - Horse Feathers and #1346 - Topper)

Review: 

You remember the 1937 movie Topper, do you? Well, maybe not, but I'm sure a little refresher would not hurt. The original film featured Cary Grant, Constance Bennett, Roland Young, Billie Burke, and Alan Mowbray in an adaptation of the 1926 novel of the same name by Thorne Smith. The movie was about newly-dead folks who come back as ghosts and decide to do a good deed in order to be stuck in limbo, which involves helping their stuffy and tired friend - wacky hijinks ensue, at least what you would call hijinks from the 1930s. McLeod, a director of comedies such as Monkey Business (1931), returns as director and all except Grant in the main cast return for this film, while Jack Jevne and Eddie Moran return to write the sequel, with Corey Ford joining as screenwriter. Perhaps not surprisingly, the film features footage taken from the 1937 film as a recap, complete with a thanks given to Grant for allowing the footage to be used. A sequel followed in 1941 called Topper Returns, which retained Young and Burke. 

Instead of a husband learning to loosen up (alongside his social climbing wife), now we have a story about a ghost trying to bring them back together as opposed to divorce - perish the thought of him trying to explain that the only friend he is seeing is a friendly ghost, who now is accompanied by a ghost dog. Oh, and there is a trip to Paris that sees all of them together and I think you know how it ends. Honestly, the only thing that might be a highlight is the effects by Roy Seawright, who received the only Academy Award nomination for the film for Best Special Effects. Bennett and Young are fine actors, but man I was not really that invested in this film. It exemplifies all the average qualities of an average movie that is just not quite my thing, since it is barely funny and barely that compelling, mostly because I see a movie that is going through the motions with ghost hijinks that aren't really that clever to see actually play out. 80 minutes go by with creaky maneuvering that never really incites a big guffaw or even a big groan, not even for the dog (of The Thin Man notice). Young is staid as ever, but it felt more interesting the first time around with him as a foil. Bennett may be playful, but the movie is sorely lacking her having Grant to play on as a proper freewheeling duo with charm for the proper bubbly flavor. Instead, it comes off as milk that seems spoiled in the wrong light. Burke seems there for the ride more than anything, not really making it any funnier or less enjoyable, which basically means a neutral result (Mowbray is hardly noticeable). It's hard to even come up with many highlights or odd scenes to really spot besides just saying "oh, that's a thing". There are basically two roads of thought when it comes to films from the 1930s: good ones you can recommend without too much trouble, and ones that are harder to watch or recommend. So, with the sequel to Topper, it's all up to you.

Overall, I give it 6 out of 10 stars.

As boring as this review might seem, at least one interesting thing happened this week: 

THE RIO GRANDE VALLEY VIPERS WON THE NBA G-LEAGUE CHAMPIONSHIP! Imagine seeing your region winning a championship for the fourth time in twelve years. What a feeling.

Now, Voyager.

Review #1362: Now, Voyager.

Cast: 
Bette Davis (Charlotte Vale), Paul Henreid (Jeremiah "Jerry" Duvaux Durrance), Claude Rains (Dr. Jaquith), Gladys Cooper (Mrs. Windle Vale), Bonita Granville (June Vale), John Loder (Elliot Livingston), Ilka Chase (Lisa Vale), Lee Patrick (Deb McIntyre), Franklin Pangborn (Mr. Thompson), and Janis Wilson (Tina Durrance) Directed by Irving Rapper.

Review: 
"This has always been a motto of mine: Attempt the impossible in order to improve your work."

I think we all can say we have had our moments involving an ugly duckling. The feeling of inferiority or the feeling of isolation within having a lack of self confidence or missing people to help in that regard. Simply put, sometimes we just need help. The screenplay was done by Casey Robinson as an adaptation of the 1941 novel of the same name by Olive Higgins Prouty, the third in a five-book series of the Vale family. She had spent time in a sanitarium herself due to a mental breakdown sixteen years prior due to the death of one of her daughters. The depiction of psychotherapy in the book and film were thought of as pioneering for the time, and she was also noted for her philanthropic work. At the helm for stars is quite an interesting pair in Davis, Henreid, and Rains. Davis had lobbied hard for the role, which had been thought of for actresses ranging from Irene Dunne to Ginger Rogers, while directors considered had gone from Edmund Goulding to Michael Curtiz. Who better to helm the production than Hal B. Wallis, who was behind several hits for Warner Bros since 1930 with films such as The Letter (1940, featuring Davis) and Casablanca (1942, featuring Henreid and Rains). Rapper had started his career in Hollywood as a dialogue coach and assistant director in 1936 for Warner Brothers, and he made his debut in 1941 with Shining Victory, which had Davis in a cameo appearance. He directed her in four other films while having a moderate career in directing, with his last being Born Again in 1978.

Who better to sink into a tortured main role in terms of showing struggle and growth than Davis? She was always known for her intensity as a perfectionist, reading the novel and being involved in the wardrobe design for her character. She gives a dignity to this role that dominates the film in sincerity, a transformation that she makes thoroughly believable with chemistry to boot with Henreid, best signified by the sequence where they share a cigarette together after he lights two of them in his mouth (a scene that had been done in a few productions before but made notable here) and puts one in her mouth. Henreid proves to be a fair match for Davis, one with inviting charisma. Rains (described by Davis as her favorite co-star) pulls through with professionalism in his moments on screen (with are a bit scattered after the initial scenes), never seeming unbelievable at any moment. Cooper pulls in venom with ease for her clashes with Davis, which seem to be like a soap opera just as much as the rest of the film is. On the whole, the movie pulls through in tugging at the heartstrings (aided through Max Steiner's dynamic music, which naturally won an Oscar) for 117 minutes that succeeds most of the time in capable drama without becoming a complete soggy sponge of drama. It's a film with its own spirit of independence that one can still find useful today, where one only needs to look to the stars to find something to behold for themselves.

Overall, I give it 8 out of 10 stars.

The Bank Dick.

Review #1354: The Bank Dick.

Cast: 
W.C. Fields (Egbert Sousé), Cora Witherspoon (Agatha Sousé), Una Merkel (Myrtle Sousé), Evelyn Del Rio (Elsie Mae Adele Brunch Sousé), Jessie Ralph (Mrs. Hermisillo Brunch), Grady Sutton (Og Oggilby), Franklin Pangborn (J. Pinkerton Snoopington), Shemp Howard (Joe Guelpe), Dick Purcell (Mackley Q. Greene), Russell Hicks (J. Frothingham Waterbury), Pierre Watkin (Mr. Skinner), and Jack Norton (A. Pismo Clam) Directed by Edward F. Cline (#877 - Three Ages)

Review: 
"You've heard the old legend that it's the little put-upon guy who gets the laughs, but I'm the most belligerent guy on the screen. I'm going to kill everybody. But, at the same time, I'm afraid of everybody—just a great big frightened bully"

Comedians can come in all shapes and sizes. They can deliver laughs on screen through sight gags, verbal puns, or through their comic persona. One can see many kinds of personas play out in film if they watch enough of them, and W. C. Fields is one that isn't easily forgotten. he was characterized for his misanthropic persona alongside a distinct hard-drinking drawl, with his strong presence often being identified with Fields (particularly his supposed hatred of dogs and kids). Fields' first talent was in juggling, entering vaudeville in 1898. He made his Broadway debut seven years later before appearing in the Ziegfeld Follies revue in 1915 to entertain the audience with a billiards skit. That year, he made his appearance in film for the first time with Pool Sharks, a short film. Not until 1924 did he return to film (due to stage-work), and he worked with various directors over the following decade ranging from D. W. Griffith (Sally of the Sawdust, That Royle Girl) to A. Edward Sutherland (It's the Old Army Game and five others). Health troubles led to his career slowing down in his final years, where he starred in just five films from 1938 to 1941, while making appearances in four other films in the following three years (along with continued radio appearances) before his death in 1946. at the age of 66. In any case, this was his penultimate starring role, for which he also contributed the story (under the pun name of Mahatma Kane Jeeves), while Richard A. Carroll helped with dialogue. Cline, who also began his career in vaudeville along with being one of the Keystone Kops, served as director, his fourth of five collaborations with Fields (the first was Million Dollar Legs in 1932). He believed in just letting Fields run with whatever he wanted to do, while editing out any undesired ad-libs (which tended to crack up the crew, including Cline at times).

Fields seems right at home with this film, a drunken crank who still manages to generate amusement alongside sympathy that makes for a entertaining sit at 72 minutes. He has a confidence to him in delivering zippy lines (whether when seeming drunk or not) and interacting with the others, whether that means pretending to be a film director or nearly throwing a urn at his daughter. He is exactly the kind of person we love to see be on screen with his flaws because they are the flaws we can see in ourselves. He may mistreat a kid or a mess with a comic foil, but we find ourselves laughing all the same. The film definitely has an episodic feel to it, particularly whether when seeing him as a director or in the saloon or the bank, but it never loses momentum at any rate. The rest of the cast keep up as useful foils, particularly with Sutton, Pangborn, and Howard. They have different manners of interacting against Fields (whether friendly or not), and they keep up with his antics just fine. The film builds itself up to a frantic chase sequence (complete with a re-used gag from one of Cline's earlier works) that makes for silly charm. One will have a fun time with this feature, a stand-out that represents Fields at the top of his game in making one laugh with entertainment. There should be no doubts about watching this to alleviate their curiosity, that much is for sure.

Overall, I give it 8 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.