The Shadow (1994).

Review #2575: The Shadow (1994).

Cast: 

Alec Baldwin (Lamont Cranston / The Shadow), John Lone (Shiwan Kahn), Penelope Ann Miller (Margo Lane), Ian McKellen (Dr. Reinhardt Lane), Peter Boyle (Moses "Moe" Shrevnitz), Jonathan Winters (Commissioner Wainwright Barth), Tim Curry (Farley Claymore), Joseph Maher (Isaac Newboldt), John Kapelos (Duke Rollins), Max Wright (Berger), Sab Shimono (Dr. Roy Tam), with Brady Tsurutani (the Tulku), Andre Gregory (Burbank), James Hong (Li Peng), Arsenio "Sonny" Trinidad (Wu), and Ethan Phillips (Nelson) Directed by Russell Mulcahy.

Review: 

There were quite a few folks who really, really, really wanted to make their own type of franchise based on some old books lying around in the latter stages of the 20th century. For every Superman (1978) or Batman (1989) or even Dick Tracy (1990), you would get movies such as Flash Gordon (1980) or Remo Williams: The Adventure Begins (1985) or The Phantom (1996) that just didn't pan out... or this. The Shadow actually arose first as a marketing tool, specifically as a storyteller with a distinct voice to narrate the Detective Story Hour for radio. The voice seemed more interesting than the show, so Walter B. Gibson was commissioned to begin writing stories of the character (with a pen name of Maxwell Grant, as one does) that ran on and off for 20 years. You've got a man clad in black (hat, cloak) as a vigilante (while spending his days as a rich playboy, most of the time) that fought crime starting in 1931. The radio drama apparently was the one that made him invisible when in operation. There were two low-budget films done in the late 1930s (The Shadow Strikes [1937], International Crime [1938]) with Rod La Rocque as the title character while Victor Jory starred in a 15-chapter serial for Columbia Pictures in 1940 and Kane Richjmond starred in a trio of B-movie quickies in 1946. The character did in fact prove an inspiration for both Batman and V for Vendetta* (Batman co-creator Bill Finger stated that his first story for the character was a takeoff of a Shadow story). Martin Bregman bought the rights to the character in the 1980s and had Robert Zemeckis in mind to direct, but this did not come to pass (incidentally, Sam Raimi had pitched an idea but was ignored, but he ended up doing Darkman [1990] anyway). Eventually, it worked out for Universal Pictures to have Australian-born Russell Mulcahy (responsible for the first two Highlander films) as director and David Koepp (who had co-adapted Jurassic Park [1993] as writer. Filmed with a mix of traditional practical and optical effects alongside CGI for a budget of $40 million that was released on July 1, 1994 (right between the releases of The Lion King and Forrest Gump), the movie made just $48 million with audiences.

If you like movies set in the 1930s that just rolls along with any offbeat situation possible for what you might call an aloof type of superhero movie, you might have fun with this film. How many movies do you know where one of the key aspects to the plan of the movie is to hypnotize an entire city to not see a whole building? It's a movie all about atonement and adventure in the most offbeat of ways that I can't help but appreciate for its execution and its style that plays fast and loose for 108 minutes. Koepp had actually listened to the radio shows when he was a kid and he utilized the pulp novels as inspiration for his script and it shows in the charm that comes through and through in pulpy oddness, at least for those who get into it (thin? well, your milage may vary). Baldwin proves to be fairly game as the lead that dazzles in serving as a pulp avenger that occasionally terrorizes folks with a booming voice (as one does when having the mental fortitude to only be detected by one's shadow) or has a ball trying to adjust to the charms of Miller; it's all suave and all spry with these folks, it's hard to not have fun. Lone (playing a Genghis Khan descendant, as one does) makes for a delightfully hammy villain, coasting along with clinical precision for a role that could've easily been cardboard. Plans of world domination and folks fighting crime in the middle of the night work when there is some style to it, and I liked what I saw in splattering of Art Deco that keeps its outlandish stuff right for when it needs its most (a naturally elaborate network of tubes to communicate stuff, bombs that roll around like a ball, a climax involving mirrors, for example). There is a bit of relief with McKellen, Boyle, Winters, and Curry* to provide further bits of charm and curiosity to make this oddball world of shadowy networking and henchmen stuff work without too many hitches. With the way the climax goes, I do wonder how the hell they were going to do more of these, but I love ridiculous endings to see where they can write their way out of it (which, well, you know how that worked out). As a whole, The Shadow is an underrated little gem that has enough charm and look to generally rise with its pulp trappings and offbeat plot to make for a curious recommendation for those who can see past shadows and fog.

Overall, I give it 8 out of 10 stars.

Song of the day!

*As devised by noted artist and also noted grumpy person Alan Moore. 

*As with Dolly Parton, we'll remember Tim Curry in this life and the next.

*Incidentally, it was nice to have a small role of Ethan Phillips, who played Neelix on Star Trek: Voyager. Why? Because I hate Neelix and Phillips' character in this film gets what Neelix deserved: bipped by the bad guy.

Well, it was a good run for Acknowledged in August Again.

There were many candidates that couldn't quite make the cut due to time or other reasons. These included: 1941, The Plague Dogs, Innocent Blood, Quintet, Sucker Punch, True Colors, Human Highway, Dream Lover, Over the Top, Things to Do in Denver When You're Dead, Bad Timing, Timebomb, Leviathan, Brain Donors, Rent-a-Cop, The Missing, 3000 Miles to Graceland, Cutters' Way, Swing Swift, Captain Ron, Circle of Iron, Keys to Tulsa, The New Age, Speaking of Sex, Powwow Highway, Monkeybone, The Frisco Kid, Twister (1989), Shoot 'em Up, The Phantom, Very Bad Things, Terminator: Dark Fate, The Taking of Beverly Hills, Moment by Moment, Big Wednesday, Let's Get Harry, The 13th Warrior, [Redux of Escape from L.A./Small Soldiers], Striptease

Barring an unforeseen emergency, August 2027 will see Around the World Again in August

The Russians Are Coming the Russians Are Coming.

Review #2544: The Russians Are Coming the Russians Are Coming.

Cast: 

Carl Reiner (Walt Whittaker), Eva Marie Saint (Elspeth Whittaker), Alan Arkin (Lieutenant Rozanov), Brian Keith (Link Mattocks), Jonathan Winters (Norman Jonas), Paul Ford (Fendall Hawkins), Theodore Bikel (Captain), Tessie O'Shea (Alice Foss), John Phillip Law (Alexei Kolchin), Ben Blue (Luther Grilk), Andrea Dromm (Alison Palmer), and Sheldon Collins (Pete Whittaker) Produced and Directed by Norman Jewison (#127 - Rollerball, #273 - The Cincinnati Kid, #544 - In the Heat of the Night, #691 - The Thomas Crown Affair, #1484 - Moonstruck)

Review: 

"I realized then that the film, although made primarily for an American audience, [it] expressed the hopes and fears felt by people in both countries at that period in the Cold War. What the Russians of course couldn't believe, and were blown away by, was the fact that I had been allowed to make the film at all."

Vaguely, I remember this movie being on the consideration list years ago. In the old days of Blockbuster (before people decided Netflix was somehow better*), I remember my dad buying the movie for a rental, but I sure don't remember if he saw it all the way through. Anyway, in the dog days of spring, it feels prudent to cover some of the directors that I haven't really given as much attention as I wish I did. After graduating from middle-ground comedies with The Cincinnati Kid (1965), here comes The Russians Are Coming, the Russians Are Coming (1966), the sixth feature film by Norman Jewison, who also produced the film. In 1963, Jewison was given a book by a friend of his with The Off-Islanders by Nathaniel Benchley. The plot involved a Russian sub accidentally running aground on a New England coast island. Jewison was intrigued about the idea of making a political satire. The Mirisch Corporation and United Artists were interested in financing the film, at least with a good writer behind it. After taking out an option for the novel, Jewison was told by his agent Charlie Baker that the one person who could do the screenplay best was William Rose (writer of such films as The Ladykillers [1955] and It's a Mad, Mad, Mad, Mad World [1963]). Aside from having to find a proper conclusion point to the film (namely in the catalyst for both sides to see their similarities), the final draft came around with relatively few bumps in the road, at least when compared to having to make a submarine (the U.S. Navy was not giving one away for filming, with Jewison claiming they made one out of Stryofoam and plywood,, although other sources say they borrowed the one that had been used in Morituri [1965]) and turning the Northern California coast into looking like New England. Released in May 1966 with a budget of nearly $4 million, the movie was a solid hit with audiences, and the film was nominated for four Academy Awards, one for Best Picture.* Jewison followed up the film with In the Heat of the Night (1967) with even further audience attention.

So, you've got a comedy about a few good buffoons all alike on an international level that works best for those who love a silly farce. Sure, the Cold War may be dead and buried now, but you can see the appeal that the film had for people who saw something entertaining in its view of human nature that has a few chuckles within mob mentality, misunderstandings, a unifying moment from an unlikely source and so on. You can mostly understand what goes on with the Russian characters (as played mostly by a group of Americans, although the dialogue director was a Russian with Leon Belasco) without really needing subtitles before it crashes along with the island folk and their own offbeat dreams and delusions (order, being a writer, you name it), with Saint and Keith mostly being the normal ones of the bunch (with kids such as Collins, geez...). Not to knock down Reiner much, but you know Arkin is the highlight pretty early, mainly because he has the confidence and charm to carry the film in all of its odd leanings (namely tomfoolery), and he does so it without straining to go along with the dialogue. You get straight-laced neatness from Keith and a good deal of bubbling annoyance from Winters. Sure, the budding romance between Dromm and Law can only go so far beyond "two cats awkwardly looking at each other", but so it goes. I do like that the climax manages to give the folks a way to come together without straining for a corny message or playing to some cheap cop-out, instead making a pyramid of understanding that beyond the odds and ends of paranoia and maneuvering, there are a few things we'll do with others when things get tough. The 126-minute runtime can be one to trudge along with if you don't go along with all of its frantic misadventures, and I get that, in the same way that I can see someone finding their eyes starting to grow tired in madcap mish-mashes such as say, Mad, Mad, Mad, Mad, World. But your milage may vary. As a whole, The Russians Are Coming the Russians Are Coming is a solid enough comedy for its time that will probably work just enough for you to have some enjoyment within the time old (and multi-cultural) comedy of understandings.

Overall, I give it 8 out of 10 stars.

Song of the day!

It may interest you to know that the San Antonio Spurs are in the NBA Finals. What a nice time :)

*A physical place to rent or buy movies will always be better than a streaming platform. Duh?

*That year, the nominees were: Alfie, The Sand Pebbles, Who's Afraid of Virginia Woolf?, and the winner...A Man for All Seasons. All four nominations (Jewison for Best Picture, Arkin for Best Actor, Rose for Adapted Screenplay, Hal Ashby & J. Terry Williams for Editing) lost but each ended up being nominated for future efforts, with Ashby, Arkin, and Rose all eventually winning an Academy Award.

It's a Mad, Mad, Mad, Mad World.

Review #1413: It's a Mad, Mad, Mad, Mad World.

Cast: 
Spencer Tracy (Captain T.G. Culpeper), Edie Adams (Monica Crump), Milton Berle (J. Russell Finch), Sid Caesar (Melville Crump), Buddy Hackett ("Benjy" Benjamin), Ethel Merman (Mrs. Marcus), Dorothy Provine (Emmeline Marcus-Finch), Mickey Rooney (Ding Bell), Dick Shawn (Sylvester Marcus), Phil Silvers (Otto Meyer), Terry-Thomas (Lt. Col. J. Algernon Hawthorne), Jonathan Winters (Lennie Pike), Eddie "Rochester" Anderson (a cab driver), Jim Backus (airplane owner Tyler Fitzgerald), William Demarest (Aloysius, Chief of the Santa Rosita Police Department), Jimmy Durante ("Smiler" Grogan), Peter Falk (a cab driver), and Paul Ford (Col. Wilberforce) Produced and Directed by Stanley Kramer (#139 - Guess Who's Coming to Dinner, #228 - Inherit the Wind, and #1402 - On the Beach)

Review: 

"Why do actors think they're so goddamn important? They're not. Acting is not an important job in the scheme of things. Plumbing is."

I have seen a few films that have had big ambitions before, but this one certainly takes the cake any day. There aren't as many films as bold to utilize such a cavalcade of comedians and actors as this one, and it only seems fitting that such bold action would be taken by a director with a keen eye for tough subjects. This was the seventh of fifteen films directed by Stanley Kramer, who wanted to make "the comedy to end all comedies", which stands in contrast to the films done before and after this one. It was part of a string of noted hits for Kramer that took place in the 1950s and 1960s, although his popularity would later wane as a reflection of the times, and he would muse about the changing times for filmmaking, describing technique as cover for a "multitude of sins". It was written by William and Tania Rose, with the former being known for scripts such as The Ladykillers (1955) and Guess Who's Coming to Dinner (1967). This was filmed in widescreen through Ultra-Panavision 70, a widescreen process that could be filmed with one camera (as opposed to Cinerama and its three) that could be projected on a Cinerama screen. For such a large film, it is amazing to note the fact that it doesn't even exist in the way it was originally screened. The original cut was 210 minutes, but it eventually was cut to 192 for the premiere. It then was cut to 161 for theatrical release, reportedly to fit in more screenings. However, restorations were done in recent years to try and get close to the intended vision by Kramer, with a 1991 cut running 183 minutes that had footage found in a warehouse set to be destroyed. A restoration was done with the approval of Metro-Goldwyn-Mayer that was released by Criterion Collection in 2014 that tried to reconstruct and restore the footage (which is derived from 70mm) that runs at 197 minutes, which also includes an overture and intermission (if one is into that sort of thing). It's interesting to see how the footage looks in contrast to the normal footage, whether as little bits by parts already in the film or as audio-only parts or parts that have Asian subtitles superimposed onto the print. 

In a normal film, one could make a comedy jell with one duo and a group of supporting characters, but this is one with multiple pairings and supporting characters, complete with their own versatile backgrounds. One could start with the comedienne/TV star/clothing designer Adams, or perhaps talk about the long-time comedian in show business of clubs, film, radio and television for eight decades in Berle, or TV pioneer stars in Caesar and Silvers. In a film of excess, why stop at those mentions? One can't forget about comedian character actors like Winters, Thomas, and Shawn or an esteemed singer of musical comedy stage in Merman to go along established actors of the Hollywood Golden Age like Rooney and Tracy (who at this point in his life and career could only film for four hours a day due to failing health, with this being his penultimate film before his death in 1967). One has to stop at that point, since you can't go on and on to note the importance of cameo appearances that range from Jack Benny to Buster Keaton to the Three Stooges to Don Knotts. Really one could summarize the performances by separating them into tiers, with Winters and Thomas making up the first one, the second goes to Berle, Caesar, and Silvers, the third goes to Hackett, Rooney, and Merman, and the fourth being Shawn, Adams, and Provine. This certainly seems to be a film where people enjoyed themselves, where one doesn't have to wonder if the best moments are by the smallest parts or wonder if someone is chewing the scenery too much (they all do). There are gags that pile on other gags that can and will be drawn out to the longest point imaginable. Tracy doesn't even encounter the others until about two hours in (one does not exactly think about things like time and pacing with something like this, really). He does a fine job in serving for some small gags and plot details with care expected of his natural versatility. Perhaps the only fitting way to note the gags and which ones work best is to do a list, so here are five highlighted ones:

1. The Three Stooges (comprised of Moe Howard, Larry Fine, and Curly Joe DeRita), dressed up as firemen with axes that don't say one word but drive a laugh regardless from the fact that they are there.

2. A masterful destruction of a gas station by Winters, with Marvin Kaplan and Arnold Stang being present as people to be pushed around all of the equipment that ends with one great big collapse.

3. The ladder sequence for the climax, which had help in animation from famed effects man Willis H. O'Brien (who died before the release of the film), a captivating end to a madcap buildup.

4. Airplane antics with Hackett and Rooney, whether that involves crashing into a sign or buzzing by windows.

5. Jimmy Durante, in his last film role, setting the stage of events with a face considered by Kramer to be fitting in being funny and tragic at the same time - which proves correct in the long run.

Perhaps this film's closest relative is Around the World in 80 Days (1956), which stuffed itself to the gills with cameo appearances when the word wasn't even a cliché yet that also had roadshow release. This is a maniacal effort for its era in a time that razzles, dazzles and bedazzles from scene to scene to make a tremendously long and winding road film befitting anyone who enjoys a good time with a laugh, right down to the last banana peel. There aren't many films like this one, that much is for sure. It wasn't the be all end all comedy to outdo them all (nor the one to end the idea of doing a big search for money with a big cast), but it certainly stands today as a comedy big enough for all people to enjoy in some fashion.

Overall, I give it 9 out of 10 stars.