She (1935).

Review #1841: She.

Cast: 

Helen Gahagan (She Who Must Be Obeyed), Randolph Scott (Leo Vincey), Nigel Bruce (Professor Horace Holly), Helen Mack (Tanya Dugmore), Gustav von Seyffertitz (Billali, She's mortal Governor), Lumsden Hare (Dugmore), Samuel S. Hinds (John Vincey), and Noble Johnson (Amahaggar Chief) Directed by Lansing C. Holden and Irving Pichel (#617 - Destination Moon, #709 - The Most Dangerous Game, and #1374 - Quicksand)

Review: 

There are certainly a few weird distinctions that come with this film, if you think about it. For one, it was produced by Merian C. Cooper, who worked in film for over four decades in a variety of positions that ranged from director to producer; King Kong (1933) is undoubtedly the one he is remembered for and for good reason, so one isn't surprised to see Cooper involved with this film, which was meant to be an fantasy adventure epic (complete with a score by the same composer as Kong in Max Steiner). The movie is an adaptation of the 1886 novel of the same name by H. Rider Haggard (likely best known for King Solomon's Mines, which he wrote one year prior), with the screenplay written by Dudley Nichols and Ruth Rose; you may recognize the latter name as the co-writer of the screenplay for King Kong (she met Ernest B. Schoedsack, a collaborator with Cooper on numerous films on the production of Grass in 1925 and thus wrote a total of six scripts for Cooper's productions after Schoedsack and Rose married), and Nichols would win an Academy Award that year for another script with The Informer. The most unusual pairing of directors might be with this film, since it features a journeyman director in Pichel and Holden, with the latter being more known for his service in World War I for the 95th Aero Squadron, where he shot down seven enemy pilots. As it turns out, Cooper was also serving in the War as a pilot. For Holden, this was his first and only feature film while also serving as a production illustrator; he worked on two other films in the art department alongside one short directed before he died in a plane crash in 1938 at the age of 42. 

Of course, the main thing to remember is that the film was meant to be shot in Technicolor, complete with sets and costumes ready for its lavish fantasy adventure, but RKO Radio Pictures at the last moment cut Cooper's budget (instead of $1 million for this film and another production with RKO, he now had just $1 million combined to make two films). However, a recent re-release by Legend Films presents the film in "colorized" form by screen legend Ray Harryhausen, who was a friend to Cooper, so one technically has the option to see the film as it might have been if it the film was shot in color (having seen what the color print looks like, I cannot actually agree with the idea, but folks will be folks). RKO wanted to have Joel McCrea and Frances Dee for the leads, while Cooper wanted to borrow Greta Garbo from MGM for the title role, but Randolph Scott (borrowed from Paramount) and Helen Gahagan make a fair compromise. The film failed at the box office, costing the studio over $180,000, although it did break even after it was re-released in 1949 when paired with The Last Days of Pompeii (the other RKO production Cooper produced in 1935), although twelve minutes of the 102 minute run-time were cut. It was feared that the film was lost because of a fire that wiped out a print from the studio vault. The original film only exists because of the efforts of Raymond Rohauer. He had invited filmmakers and stars to attend showing and discuss their contributions to film, and it was during one of these tributes that he was approached by Buster Keaton, who asked him if he would be interested in his "garage full of film", and one of the prints found was this film.

Haggard wrote three further novels involving the title character before his death at the age of 68 in 1925. Five adaptations of varying length were constructed before the making of this feature, with the 1925 version (the first feature-length adaptation) even having intertitles written by Haggard himself. Since the making of this film, three further adaptations have followed, with one occurring in 1965, a sequel to that film in 1968, and a post-apocalyptic version in 1984. The striking difference between the film and novel is that the book was set in the Artic rather than Africa, and the film reportedly takes elements from the previous She works. So, we have a pursuit for a fountain of youth-I mean a Flame of Life involving Art Deco decoration and one prominent prop utilized from King Kong that features a dance sequence with choreography that was nominated for an Academy Award. It results in a production that obviously deserved better from RKO that nevertheless makes for useful spectacle. It eventually turns from general pulp to useful curiosity in romance when Gahagan finally appears, but the general trio of Scott-Bruce-Mack do prove worthy in setting the movie up without falling prey to all of the wooden dialogue they sometimes have to say to get the adventure going. Scott walks through the role with the kind of "strong, silent type" of patience that makes one see why he would become an ideal man for the Western for years to come. Bruce had moved to Hollywood from Britian in 1934, and he cultivates a stuffy but always diverting piece of the puzzle, while Mack makes for an assertive romantic interest that serves a worthy spark with Scott. Speaking of which, there is Gahagan to consider. A stage actress before she became a member of the U.S. House of Representatives, her icy demeanor in the face of immortality and diminishing humanity certainly jumps the movie's interest level when she shows up to engage with Scott; her appearance and cadence would inspire the look of the Evil Queen for Snow White and the Seven Dwarfs (1937). While the sets and effects generally work out well for the movie, I would say that the lessened budget does affect the scope of certain scenes, where one wonders just what would have happened with the right amount of staging, but I do think there is still a worthy flair for adventure and allure present to push the film with enough conviction to make the eventual climax more than just someone deciding their future on a flame. In that sense, She (1935) is quite the fascination to hear about along with actually watch as a whole, serving as an interesting example of the quest feature with dutiful fascination fit for a hidden gem.

Overall, I give it 8 out of 10 stars.

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.

Quicksand (1950).

Review #1374: Quicksand.

Cast: 
Mickey Rooney (Dan), Jeanne Cagney (Vera), Barbara Bates (Helen), Peter Lorre (Nick), Taylor Holmes (Harvey), Art Smith (Mackey), Wally Cassell (Chuck), Richard Lane (Lt. Nelson), Patsy O'Connora (Millie), John Gallaudet (Moriarity), and Minerva Urecal (Landlady) Directed by Irving Pichel (#617 - Destination Moon and #709 - The Most Dangerous Game)

Review: 
Every decade has its dawn and characteristics that distinguish it from the one before it, particularly for film. The 1920s served as a prosperous time for silent film while the 1930s cultivated sound into a permanent trend alongside finding ways to entertain Great Depression audiences and the 1940s
found war along with film noir and the beginning of the end of the studio system. With the beginning of the Atomic Age, one could only wonder how different things could get for film and the world at large. With scares of the television and red kind, stars and directors found themselves at a crossroad over where to go with a choice beyond studio loyalty in free-lance work. In this case, this film served as a crossroad for its stars and director. Rooney, to put it lightly, had one of the most distinguished careers in acting. He had his debut in film at the age of six, having started in vaudeville with his parents before they separated and his mother moved with him to Hollywood. The following year, he starred in the short film series Mickey McGuire, doing 78 films in seven years. He would find himself into stardom in the latter half of the 1930s with films such as A Midsummer Night's Dream (1935), A Family Affair (1937), and Boys Town (1938). He had reached the peak of his career by the time of his 30s (including an Academy Juvenile Award at the age of 18), but he kept on in a variety of media for 88 years until his death in 2014, whether it was a big or small film role, television, or even Broadway. Lorre had come from the stage to film through Fritz Lang's M (1931) before settling in Hollywood four years later. He had a career of B-movies and character roles that allowed for some highlights, such as Mad Love (1935), The Maltese Falcon (1941), and The Beast with Five Fingers (1946). His career had slowed down in the late 1940s, but he continued on until his death in 1964. Pichel had his start in the theater after graduating from Harvard, soon finding himself into directing alongside character roles in film in the 1920s and 1930s. He had his debut in film direction with The Most Dangerous Game (1932). His career slowed down in the 1950s as a victim of blacklisting (a consequence of fear over certain activity of American writers and directors), with a subsequent heart condition leading to his death in 1954.

This is a decent little film noir, one with a quiet presence of careful pace and a standout performance from Rooney that makes this ever-growing web of seediness and naivety work out fine. Rooney makes things work as well as they do because we can see ourselves in this everyman though his various moments with others in an attempt to play against type, playing tension with grace. Cagney does well with in a role oozing alongside a descent, while Bates serves as a decent contrast, although both have just slight chemistry with Rooney. Lorre is nice to see with his careful seedy presence, but he disappears from the film after the first half (speaking of sudden appearances, Bates really only becomes a presence in the last 25 minutes), since the real villain of the film is ill-advised decision making. Noirs can find themselves in binding twists and turns, and this one (written by Robert Smith) moves along for 79 minutes with an aim for descent that one can at least think is possible (where one mistake can lead to several others) without shaking their heads too much, particularly with its ending, where crime may not pay, but that doesn't mean one mistake is too much to overcome with time. Ultimately, this is a fairly competent little noir from Pichel as a useful curiosity through Rooney and Lorre that serves itself well in the public domain to view at some point in time.

Overall, I give it 7 out of 10 stars.

The Most Dangerous Game.

Review #709: The Most Dangerous Game.

Cast
Joel McCrea (Sanger "Bob" Rainsford), Fay Wray (Eve Trowbridge), Leslie Banks (Count Zaroff), Robert Armstrong (Martin Trowbridge), Noble Johnson (Ivan), Steve Clemente (Tartar), and Dutch Hendrian (Servant) Directed by Irving Pichel (#617 - Destination Moon) and Ernest B. Schoedsack (#283 - King Kong and #604 - Mighty Joe Young)

Review
The movie was filmed on the jungle sets of King Kong, with Wray and Armstrong being used for both films, while filmed at night. Strangely enough, this movie managed to be finished first, though it being only barely an hour long in length sure helped. As for the movie, it's pretty good. It has a good atmosphere, and I attribute that mostly to the sets, which make the movie look really nice. McCrea does a good job as the lead, maybe because he just gels well in the short time he has, especially with Wray, who as usual is good at being both a lead and screaming in terror. Banks is a decent villain, he isn't too over the top, and he does do well in the action scenes. In total, the movie is fine mainly because it just gets going quick, even beginning with a ship wreck. I like how it seems there will be three survivors who will be the main focus...and then two of them suddenly get swept away. I guess it means to never assume you've survived a ship wreck, which isn't the worst lesson I've heard. Anyway, the movie is enjoyable and quick, and if you like 30's cinema or thriller movies, you'll like this one.

Overall, I give it 9 out of 10 stars.

Movie Night: Destination Moon.

Review #617: Destination Moon.

Cast
John Archer (Jim Barnes), Warner Anderson (Dr. Charles Cargraves), Tom Powers (General Thayer), Dick Wesson (Joe Sweeney), and Erin O'Brien-Moore (Emily Cargraves) Directed by Irving Pichel.

Review
In honor of the 45th anniversary of the Apollo 11 landing today, I've decided to do a double feature of films dealing with expeditions to the moon, both movies being released in 1950, this one being released second. This was made way before Sputnik helped begin the Space Age, and 19 years before Apollo 11. This was produced by George Pal, who would later produce the 1953 version of The War of the Worlds and later direct 7 Faces of Dr. Lao (#430). So how is this film? This is a really interesting movie that manages to seal itself and its premise in a 90 minute window, with really dazzling special effects to boot. While there is a small cast, it more then makes up for it by being exceptionally entertaining, the cast itself is fine, Wesson steals the show and makes for a good wisecracking relief character. The effects by Lee Zavitz are really astounding to watch, even the matte paintings by Chesley Bonestell are nice to look at. My favorite scene for some reason is the scene in which a cartoon is shown to would-be funders of the spaceship Luna to help explain how a rocket can get from the Earth to the Moon and how it lands, starring none other than Woody Woodpecker. It's a amusing scene, but it also is a informative scene that just shows how cool space travel can be. The story (written by the trio James O'Hanlon, Rip Van Ronkel, and Robert A. Heinlein) is pretty good, it's balanced well and certainly adds to the level of entertainment, The movie is fun to watch, especially in the last half hour, which is actually pretty riveting. In the end, this is a good film to watch not only on this day, but any day, for anyone looking for a good sci-fi flick. That, and one with the Moon in it.

Overall, I give it 9 out of 10 stars.

Movie Night: Dracula's Daughter.

Review #297: Dracula's Daughter.

Cast
Otto Kruger (Dr. Jeffrey Garth), Gloria Holden (Marya Zaleska), Marguerite Churchill (Janet), Edward Van Sloan (Van Helsing), Gilbert Emery (Basil Humphrey), Irving Pichel (Sandor), Halliwell Hobbes (Hawkins), Billy Bevan (Albert), and Nan Grey (Lili) Directed by Lambert Hillyer.

Review
This is one of those "Wait, there was a sequel to this?" kind of film, having been a sequel of Dracula (#71), released 5 years it, with no Lugosi (Except one wax model of him), but Van Sloan is back as Van Helsing (misspelled as Von Helsing, but whatever), which is a plus. The acting is ranges from good to okay, depending on the actor/actress. Kruger and Holden do a good job, along with Van Sloan, as he was back in Dracula. Churchill is okay, but not much else other then a small annoyance. The rest of the actors are all alright, doing a standard yet useful job. There are a few scares, but not as chilling as the first one or as mysterious. It is slightly original, not really based off any novels (Okay it was actually based off a short story, but it apparently didn't take any of the story's plot), but it is short enough to run a suddenly short length of 71 minutes. In the end, while the film does have some good moments that might work, it is slightly bogged down by sluggish pace at times and a weird pace of story. Not bad, but not great either. Countdown to 300 Reviews: 10, 9, 8, 7, 6, 5, 4, 3...

Overall, I give it 7 out of 10 stars.